Overview, Images
Félicia Atkinson. Stick ad dStone, 2021. Courtesy the artist.

Stick and Stone

Félicia Atkinson

2–19 Aug 2017

An exhibition by Félicia Atkinson is a particular event, a window in which the artist’s writing, music, sound composition and visual essays come into an alignment to our eyes and ears.

It’s an antiphony. Each part answers or echo another. It’s a mise-en-phrase. It’s audio-visual language staged and timed. But stretched.

For this first exhibition in Australia, Félicia Atkinson will create new works and a new chapter of a novel started in 2015 A Forest, Petrifies. The artist will continue her exploration of forests and deserts with processes of decomposition, trace making and muffling and present specific forms for infinite variations.

BLINDSIDE Sound Series 2017 is a Liquid Architecture project supported by Institut Français and Bundanon Trust.

WITHDRAWALS AND PROLONGATIONS by Anabelle Lacroix

‘I would prefer for this note not to be read or, if skimmed, that it be forgotten.’ *

My first encounter with Félicia Atkinson’s work was through a collection of images on the page. Immediately, for me, these images recalled Mallarme’s poem; spatial, rhythmic, poetic, with surrounding silence (the emptiness of negative space).

An exhibition by Félicia Atkinson is a window through which the artist’s texts, music, composition and visual essays come into and out of alignment for our eyes and ears. It is a modular event, produced from numerous smaller events in motion. It’s an antiphony. Each part answers or echo another. A mise-en-phrase; audio-visual language staged and timed. But stretched.

‘Stick or Stone,’ the title of this exhibition, is named for a track on Atkinson’s new album, Hand in Hand and presents new works developed along the continuum of the artist’s practice, infused with research on Australian native plants, and reflecting her process of making, reading and recording at Bundanon and on the Australian East Coast.

Félicia comments, ‘my studio is nomadic and swallows the landscape it crosses’. Hers is an artistic appetite marked by openness to more-than-human relations, between us and landscapes and plants, to the connections that exist beyond the ordinary binaries of stasis and movement, sound and silence, physical and psychological, terrestrial and cosmic, present and science-fictional time. Not A, nor B, Félicia’s work is abstract, making spaces that remain porous and relational. She never provides a straight answer, instead inviting the audience to take a dérive or a drift in space and through the mind.

Félicia Atkinson was born in Paris in 1981 and lives in Rennes, France. She works in painting, drawing, sculpture, text, noise, landscape, abstraction and poetry inspired by her travels. Atkinson also creates electronic music and co-publishes the independent imprint Shelter Press/curatorial platform Argument with Bartolomé Sanson. She has exhibited her work widely in group and solo shows across Europe, Mexico, and the United States. She attended l’Ecole Nationale Supérieure des Beaux-Arts de Paris.

*Mallarmé’s original preface to the 1897 Cosmopolis Edition of ‘One Toss of The Dice Would Never Abolish Chance’


Onsite, Exhibition, Sound Series
Overview

Every year since 2014 Blindside has invited Liquid Architecture to organise an exhibition under the banner ‘Sound Series’ by artists working in experimental ways with sound and listening.

Opening Performance by Félicia Atkinson: 3 Aug 2017, 8:30am

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.