Econasia: Explicate

A formal exploration of space, absent of people, Walkers video, while at times alienating and impersonal, is a compelling and mesmerising reflection upon the social function of architecture.”

Ross Coulter (presenting Explicate as winner of Excellence in New Media RSG Art Prize)

The work addresses the way in which Western countries perpetuate the state of lack that haunts formerly colonized territories and problematizes the prosperity of economic neoliberalism.”
Diego Ramirez (from Money Map: Thoughts on M.T. Walkers Explicate)

Econasia 9: Explicate exhibition opens at Rubicon ARI on June 11 from 6pm
Level 1 / 309 Queensberry Street, City.
June 11June 28, 2014


Blue Movie


In the context of cinema, blue walls are inevitably associated with theblue
screen roomand thechroma key effect’ – subjects are recorded in front of a blue
background later to be replaced during postproduction. Blue Movie subverts this
process by concentrating on the materiality of the walls, and therefore disrupting
the illusory effect associated with theblue screen’. Payne discharges a vision of
degradation in which blockbuster escapismcastaway tigers, Ninja Turtles and
James Franco in funny hatsis replaced with the presentness (and perhaps the
bleakness) ofreality’. However, a more sophisticated critique lies in the way in
which it communicates to cinematic video art practices and their relationship to
the art complexa communion crystallised by the emergence of the black cube.
This syncretism remains a highly contested ground, with a blend of various art
historicalwormsand a myriad of filmiccorpsesfertilizing the land.
It may be hard to tell if Jackson Paynes Blue Movie is rotting, sprouting or perhaps
mutating, but his enthusiastic references to mortality bring late Syd Barretts No
Mans Land lyrics to mind: “When I live I die!”.

BLUE MOVIE is at Kings ARI until May 23 at Level 1 / 171 King Street Melbourne

From the essay Jackson Payne and the dematerialization of cinema by Diego Ramirez

Carl Scrase

Carl Synchronicity Scrase is a Melbourne bornandbred artist; an exile of the leafy suburban bourgeoise set. From this somewhat culturally tethered outlook, Scrase resolved to change the world through art. Immediately following his graduation from the VCA Fine Arts (Painting) programme, Scrase hit the ground running with an impressive display of works. As an exhibitor in the Next Wave Festival, he was accordingly represented in the esteemed Melbourne Art Fair. Subsequently, Scrase has maintained his artistic integrity with shows at local ARIs (Artist Run Initiatives) including TCB Waratah Place, and as part of the Platform Artists Group in the Degraves Subway. He says that some of his greatest influences come frompsychologists, philosophers and writers; Carl Jung, Haruki Murakami, Tom Robbinsand I believe you may well be able to detect shades of Half Asleep in Frogs Pajamas in some of his works.
As stated, Scrase endeavours to change the world and has established a framework in doing so; using a threepronged approach that encompasses (documented) personal introspection, his pronounced tactility in objets dart, and in seeking to determine the nature of societal reflex and the possibility of such an endeavour. Although I define these 3 directions in my own words; his Artistic Statement can be found on the website. I must also comment that within these endeavours it is clear in my mind, that Scrase has achieved such a pronouncement in the tactility of his art. This was most recently seen in his 14metre tall The Generative Power of Opposites; an inflated2finger salute that was featured at the Splendour In The Grass festival and then remounted during February at the Perth Cultural Centre.

But of course you must see his art to make of it what you will, yourself. Carl Synchronicity Scrase (or) his Wemakeus Collective will no doubt be exhibiting at a gallery near you.

Psychological landscape of a man flying off the planet.
Photo Collage on Wood, 2010

Carl Scrase is represented by John Buckley Gallery in Richmond.