579X425X337

Genevieve Felix Reynolds, Meagan Streader, Eloise Breskvar

7–24 Mar 2018

Meagan Streader and Genevieve Felix Reynolds share a preoccupation with three dimensional space and architecture. This concern is explored in diverse but formally related ways - Streader focuses on light; accessible voids, physical but ephemeral. Felix Reynolds tackles the painting tradition, experimenting in two and three dimensions, with canvas shape and placement. Both artists utilise the language of Euclidian geometry to communicate distinctions between digital, virtual space and physical experience. Paying respects to the traditions of Modernism and Minimalism, both artists generate works that acknowledge, prohibit or re-evaluate the physical gallery space, while flirting with the distinction between the mathematically perfect and the handmade.

Genevieve Felix Reynolds + Meagan Streader, '579X425X337', Blindside, 2018. Artwork: Meagan Streader, 'Shift (corner)', 2018. Courtesy the artists. Photo: Lou Fourie.

Documentation of opening celebration of '579X425X337' at Blindside, 2018. Genevieve Felix Reynolds + Meagan Streader, '579X425X337', Blindside, 2018. Courtesy the artists. Photo: Lou Fourie.

Genevieve Felix Reynolds + Meagan Streader, '579X425X337', Blindside, 2018. Artwork: Genevieve Felix Reynolds, 'A New Economy', 2018. Courtesy the artists. Photo: Lou Fourie.

In space, through time.
Eloise Breskvar

Onsite, Exhibition

Overview

Meagan Streader and Genevieve Felix Reynolds share a preoccupation with three dimensional space and architecture. Paying respects to the traditions of Modernism and Minimalism, both artists generate works that acknowledge, prohibit or re-evaluate the physical gallery space, while flirting with the distinction between the mathematically perfect and the handmade.

Key Dates

Opening: 8 Mar 2018, 7am–9am

Acknowledgment

This program takes place on the land of the Wurundjeri people of the Kulin Nation. We recognise that sovereignty was never ceded - this land is stolen land. We pay respects to Wurundjeri Elders, past, present and emerging, to the Elders from other communities and to any other Aboriginal or Torres Strait Islanders who might encounter or participate in the program.

Biographies

Genevieve Felix Reynolds responds to the digital abstraction of contemporary society with the abstraction of objects and space in an exploration of the impact of contemporary technologies on painting. The mythos of classical art and architecture anchors her image making; contrasting the weight of historic objects against efficient, reproducible technologies and the pleasure-seeking immediacy of our post-internet generation. Abstractions of artefacts are framed as objects of new idolisation. Refreshed and disembodied in paint, they simultaneously crave and mock a slower, simpler platonic era.

Reynolds graduated from the Queensland College of Art (QCP) with first class honours in 2011. Recent exhibitions include Chasm Gallery, New York, Michael Reid, Murrurundi, The Brisbane Powerhouse and Nicholas Thompson, Melbourne. She has been the recipient of several awards and grants including the Godfrey River’s Medal and an Art Start Grant, and was recently a finalist in the Churchie Emerging Artist Award and the Fisher’s Ghost Award. She is currently director of the artist-run gallery Wellington Street Projects in Sydney.

Meagan Streader’s work pushes the limits of light within sculpture and installation. Streader manipulates, reinterprets and extends upon the boundaries of constructed spaces. Through site-specific interventions, her multidimensional use of light re-orientates the viewer’s relationship to the pre-existing architecture and scale of a given space. In this way, Streader’s work reveals the pervasive role of light in governing physical and social navigations of fabricated spaces. Currently based in Melbourne, Australia.

Eloise Breskvar is an emerging arts writer and curator. In 2017, she completed a Bachelor of Arts (Honours) in Art History, receiving first class for her dissertation titled “Complicit Relations: feminist criticality and relational labour in Barbara Cleveland’s Performance Fee (2012)”. She presented a contraction of her thesis at the Women, Art and Feminism in Australia conference held at the VCA in March 2018, and is continuing her research into the efficacy of feminist critical strategies in the art world.

Associated Events

This event was part of Melbourne Design Week 2018, an initiative of the Victorian Government in collaboration with the NGV.