The Double Effect exhibition catalogue is out...I will see if I can attach it but you may have to go see the play or contact me direct for a copy

No, can't do it ;-( But, here is the cover ....

Coming soon.... "Double effect" opening 29th July at Griffin Theatre, Sydney

Double effect is a visual art exhibition in the foyer of the STB stable theatre - home of Griffin Theatre, Kings Cross, Sydney. Double effect is a visual art exhibition I have curated in response to a recent Australian play entitled And No More Shall We Part by Tom Holloway. From the Griffin Theatre website...

Double Effect will enliven the foyer of the SBW Theatre with visually sumptuous artworks that will enhance and challenge the performance of And No More Shall We Part.

The Double Effect is a visual arts exhibition that uses Tom Holloway’s play And No More Shall We Part as a departure point to consider the universal theme of mortality.

Located in the foyer of the SBW Stables Theatre, the exhibition consists of conceptually urgent, visually sumptuous art works that will extend, enhance and potentially challenge Griffin’s production of And No More Shall We Part.

The title Double Effect draws attention to the doubling of art forms – both performing and visual – as well as the predicament of mortality.
The group exhibition includes Alumni of Sydney College of the Arts, Master of Fine Arts program with Francesca Heinz, Elise Penith, Leyla Stevens, Ben Terakes, Matt Yeldham and curator Sara Givins.

This exhibition hopes to provoke discussion and exchange between the performing and visual arts communities against the background of the Holloway’s play. 

This is a very exciting project! Here are some pix to whet your appetite...

Elise Penith, Bedsheet, 2010

Leyla Stevens, Ngendag, 2010

Francesca Heinz, Eliza, 2010

Matt Yeldham, Untitled audio track 2011

Ben Terakes, Embroidery, 2010

Lexicon ii in Idiom group exxhibition at SCA, March 2011

Lexicon ii

Communication of a purely abstract nature is explored in Lexicon ii (2010). The ellipse and linear forms are loosely based on the curves and constraints of letters from the English alphabet – in so far as font is made up of a series of lines and curves. Rather then spell a message the work consists of a series of signs made from raw components of opaque natural material and transparent coloured synthetic material. The material may be seen to reference signs from modern advertising however promote abstract concepts rather then explicit statement. Differing from the propaganda of advertising, this installation encourages the candid interpretation of abstract sculptural environments. As in a dictionary definitions are provided for words, as such, Lexicon ii (2010) asks for each sculptural component to be given an interpretation. In this instance paradoxically, by provoking definition the legacy of abstraction is drawn into focus, so too is the arbitrariness of words.

In this installation I hope to elicit multiple aspects of perception and interpretation from the viewer. This notion of the viewers experience is not just cognitive, but active in the composition as physical progression through the artwork is encouraged. This strategy of composition with installation includes the fragmentation and dispersal of identifiable elements with emphasis on process. For this reason this work will be broken down and reinvented as several other projects during a forthcoming residency at ARTSPACE, Sydney August – October 2011.

S.G

Photos by Joy Lai

Solo exhibition at Peloton Gallery, Sydney

Play of IO at Peloton Gallery in Chippendale, Sydney until 26th Feb, 2011

Photos by Adrian Gebers

Play of IO

The audio-visual installation entitled Play of IO (2011) is an exploration of the chiasm between perception and language. It consists of coloured fluorescent lights forming the letter "I" on the floor. Adjacent to the foundation letter "I" is a sound piece installed in the fireplace, emitting various permutations of the spoken letter “O”. This letter has been digitally manipulated and layered to elicit both meditative and sexual motif. Above the fireplace is a digital photographic print on watercolour paper of a huge human eye. The windows are masked in transparent coloured vinyl and allude to eyelids. The physicality of the eye as an orifice evokes the boundary or void in the “O” form. Furthermore, the sound of the letter “O” emitting out of the mouth and into the ears is at once pre linguistic, internally reflexive, coital and correspondent. As the viewer moves around the living-room like space various connections may be made: the pun with the eye and the letter “I,” the physicality of the human eye and the domestic architecture, the eeriness of sound coming from a fireplace, the way colour effects the psyche, repetition of the audio and physical form of “I” and “O.”   

                                                                                                                                                              S.G

 

http://www.peloton.net.au/artist/sara-givins/105

SCA MFA graduate exhibition, Sydney College of the Arts, Dec 2010

Play of IO, 2010. Fluroescent lights, audio equipment, pigment print on watercolour paper. 

Lexicon of Absence, 2010. Perspex, ink, pine plywood, fluroescent light, stainless steel.

Photograph by Carley Wright

In Search of Percival Redwood exhibition catalogue, A5 size with 3 pages

New exhibition at Firstdraft Gallery, Sydney

Sara Givins. In Search of Percival Redwood (2010). 

Vinyl, pine ply wood, light. Dimensions variable.

Photographs by Joy Lai for Lyrebird Photography

Copyright of Sara Givins