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outside interference 2004
'A SPACE on cleveland ' opening
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THE STUDIO GALLERY, OPERA HOUSE opening
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list of works - A space
list of works - the studio
A Space : List of Works
Stripes1. Data Ribbons 1000 x 18502. & 750 x 10003. Broadcast 750 x 10004. Narrowcast 750 x 1000
Flower Stripes1. Veil 1050 x 12302. Cross Pollination 1000 x 15503. Trickle 590 x 710
Cups & saucers1. All Over Pattern Cuppa 400 x 400 x 902. All Over Pattern with Sugar Please 400 x 400 x 90
Sculptures1. Puddle 830 x 450 x 1352. Scuttle 830 x 450 x 1353. Stroll 830 x 450 x 1354. Passing 530 x 450 x1355. Pelting 530 x 450 x1356. Disintegration 530 x 450 x1207. Meeting 350 x 215 x 1508. Dissolving 350 x 215 x 150
TV’s1. Rolling Blonde 850 x 9202. Rolling Cowboy 850 x 9203. Rolling Joan 850 x 920 4. Static 850 x 9205. Outside interference 1050 x 1230
Hollys1. Holly, Holly, Holly 1650 x 11702. Six Eyes and Two Mouths 1650 x 1170
Shadows1. Shifting shadows 220 x 2752. Crawling Shadows 220 x 2753. Bollywood 220 x 275
Flower Stripes1. Veil 1050 x 12302. Cross Pollination 1000 x 15503. Trickle 590 x 710
Cups & saucers1. All Over Pattern Cuppa 400 x 400 x 902. All Over Pattern with Sugar Please 400 x 400 x 90
Sculptures1. Puddle 830 x 450 x 1352. Scuttle 830 x 450 x 1353. Stroll 830 x 450 x 1354. Passing 530 x 450 x1355. Pelting 530 x 450 x1356. Disintegration 530 x 450 x1207. Meeting 350 x 215 x 1508. Dissolving 350 x 215 x 150
TV’s1. Rolling Blonde 850 x 9202. Rolling Cowboy 850 x 9203. Rolling Joan 850 x 920 4. Static 850 x 9205. Outside interference 1050 x 1230
Hollys1. Holly, Holly, Holly 1650 x 11702. Six Eyes and Two Mouths 1650 x 1170
Shadows1. Shifting shadows 220 x 2752. Crawling Shadows 220 x 2753. Bollywood 220 x 275
media release - a space
Miss Collins goes under the knife in Shane Forrest's poster-inspired show. Dominique Angeloro reports.OUTSIDE INTERFERENCEWhere: A-Space on Cleveland, 420 Cleveland Street, Surry HillsWhen: Wednesday-Saturday, 10am-5.30pm, until October 16More information: 9698 5156It's not often you get to view art fitting for the design of an '80s sweatshirt. But the giddy colour assault of Shane Forrest's exhibition Outside Interference provides such a joy. This solo show at A-Space on Cleveland is a combination of attention-seizing works on paper and a series of perforated wooden sculptures. Forrest is a Sydney artist who scavenges public spaces for billboard posters, which he gathers into orderly heaps. Then he slices into the thick piles in search of visual riches. The resulting compositions could be thought of as delirious maps of popular culture. Curiously, much of the excavated paper is fluorescent, marking all the works with a dizzy mix of clashing colour. The artist deliberately flirts with overkill, at times even embedding his eye-candy compositions with found items such as a chocolate wrapper. But what's particularly interesting about these poster works is that Forrest experiments with a variety of methods of paper mutilation. The surface has been roughly torn away in works such as Data Ribbons and Broadcast. They resemble rugged flags, with horizontal strips ripped from their surfaces producing jagged bands of colour.However, in other instances Forrest displays an obsessive attention to detail, engraving intricate patterns with carefully controlled scalpel incisions. In Rolling Joan, a poster of an Andy Warhol screen print is posed as the surface image of the work. Joan Collins's face has been cut into, with severe slivers of paper extracted from the image. The decorative contours seem laced with violence, winking at Collins's love affair with the cosmetic surgeon's knife.Alternatively, a number of works have been embellished with cut-out daisy shapes that recall the craftiness of floral decoupage. In All Over Pattern Cuppa, Forrest turns up his kitsch value by constructing a three-dimensional cup and saucer out of these daisy chains.The freestanding sculptural pieces that accompany the wall works continue Forrest's aesthetic obsession with pierced surfaces and dissolving boundaries. These works are model mock-ups of proposed large-scale sculptural projects. Crafted from punctured panels of white painted wood, these forms appear to take inspiration from disintegrated human silhouettes. Caption: PHOTO: Collins class: Rolling Joan by Shane Forrest.
The Studio Gallery, Opera House : List of works
Cross PollinationCollage and de-collage on street posters1000mm x 1550mm
Data StreamsCollage and de-collage on street posters1000mm x 1850mm
Evening CuppaCollage and de-collage on street posters400mm x 400mm x 90mm
FoldCollage and de-collage on street posters720mm x 1020mm
HanamiCollage and de-collage on street posters850mm x 1030mm
Holly, Holly, HollyCollage and de-collage on street posters1170mm x 1650mm
Morning CuppaCollage and de-collage on street posters400mm x 400mm x 90mm
Six eyes and Two MouthsCollage and de-collage on street posters1170mm x 1850mm
Tenki Man Collage and de-collage on street posters790mm x 760mm
Tenki Woman Collage and de-collage on street posters790mm x 760mm
VeilCollage and de-collage on street posters1050mm x 1230mm
Cross PollinationCollage and de-collage on street posters1000mm x 1550mm
Data StreamsCollage and de-collage on street posters1000mm x 1850mm
Evening CuppaCollage and de-collage on street posters400mm x 400mm x 90mm
FoldCollage and de-collage on street posters720mm x 1020mm
HanamiCollage and de-collage on street posters850mm x 1030mm
Holly, Holly, HollyCollage and de-collage on street posters1170mm x 1650mm
Morning CuppaCollage and de-collage on street posters400mm x 400mm x 90mm
Six eyes and Two MouthsCollage and de-collage on street posters1170mm x 1850mm
Tenki Man Collage and de-collage on street posters790mm x 760mm
Tenki Woman Collage and de-collage on street posters790mm x 760mm
VeilCollage and de-collage on street posters1050mm x 1230mm
catalogue essay - the studio
CATALOGUE ESSAY FOR EXHIBITION IN OPERA HOUSE STUDIO FOYER
Outside Interference
When Shane Forrest was a boy, televisions weren’t the sleek commodities they are in 2004. Reception was variable and the screened image was prone to disintegrate into rolling distortion. This flickering corruption of the image made a profound impact - several decades later the artist cites the televisual dysfunction as a major influence on the perceptual processes at work in his large-scale collages.
More precisely, Forrest’s idiosyncratic practice relies not only on collage, but also on the much rarer French tradition of de-collage, or cutting into the paper layers. The artist chooses to re-work scavenged street and billboard posters. Consequently there is a deliciously random quality to Forrest’s subject matter, as it reflects what he’s been able to find on Sydney’s hoardings and streets.
Sydney Morning Herald art critic Dominique Angeloro recently pronounced Forrest’s Outside Interference series as ‘delirious maps of popular culture’. In the current series, pop star of the moment Holly Valance features in Holly Holly Holly and also Six Eyes and Two Mouths, while popular culture perennial Joan Collins is transformed in Rolling Joan. And they are indeed ‘delirious’ –densely built layers of paper are torn and cut into so that in the case of Six Eyes and Two Mouths, the pop princess’s features disintegrate. The iconic Warhol poster which forms the basis of Rolling Joan remains recognisable, nevertheless Forrest’s knife has inscribed it with curving ribbons of colour – transforming the pop icon into an ‘op pop’ icon.
Forrest sees his collage/de-collage practice as an extension of painting, which he describes as a matter of ‘layering and scratching away’. His interest in the ‘tension between ground and figure’, and his ‘drive to integrate the two’ reflect a couple of timeless concerns for painters. We would do well to remember that these strangely alluring works which force reflection on perceptual and optical processes have their origins in a 1960s rolling television screen.
Shane Forrest is represented by A-SPACE on Cleveland.
420 Cleveland Street Surry Hills ph 02 9698 5156Anne Loxley
Outside Interference
When Shane Forrest was a boy, televisions weren’t the sleek commodities they are in 2004. Reception was variable and the screened image was prone to disintegrate into rolling distortion. This flickering corruption of the image made a profound impact - several decades later the artist cites the televisual dysfunction as a major influence on the perceptual processes at work in his large-scale collages.
More precisely, Forrest’s idiosyncratic practice relies not only on collage, but also on the much rarer French tradition of de-collage, or cutting into the paper layers. The artist chooses to re-work scavenged street and billboard posters. Consequently there is a deliciously random quality to Forrest’s subject matter, as it reflects what he’s been able to find on Sydney’s hoardings and streets.
Sydney Morning Herald art critic Dominique Angeloro recently pronounced Forrest’s Outside Interference series as ‘delirious maps of popular culture’. In the current series, pop star of the moment Holly Valance features in Holly Holly Holly and also Six Eyes and Two Mouths, while popular culture perennial Joan Collins is transformed in Rolling Joan. And they are indeed ‘delirious’ –densely built layers of paper are torn and cut into so that in the case of Six Eyes and Two Mouths, the pop princess’s features disintegrate. The iconic Warhol poster which forms the basis of Rolling Joan remains recognisable, nevertheless Forrest’s knife has inscribed it with curving ribbons of colour – transforming the pop icon into an ‘op pop’ icon.
Forrest sees his collage/de-collage practice as an extension of painting, which he describes as a matter of ‘layering and scratching away’. His interest in the ‘tension between ground and figure’, and his ‘drive to integrate the two’ reflect a couple of timeless concerns for painters. We would do well to remember that these strangely alluring works which force reflection on perceptual and optical processes have their origins in a 1960s rolling television screen.
Shane Forrest is represented by A-SPACE on Cleveland.
420 Cleveland Street Surry Hills ph 02 9698 5156Anne Loxley
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