Summer Studio: folding through space: an accumulative removal
16–18 Jan 2020
The ‘first moves’ made in the studio can be the most anticipated and unsettling. These early traces of doing are something I like to consider as a key material that remains in a work. By building upon, through and around these marks, the point of their beginning and departure starts to defy a sense of specific duration or time. Instead they come to stand-in for experience as a generative and fluid act. Each moment is folding in on itself, moving further away, rather than closer to, an answer.
Space does not rest. Surface is a spatial agent.
Through presenting this as a reflective look at making in the studio, I offer up an unknowing, and the hopeful yet uncomfortable certainty within that.
I have used a camera and a projector to layer up images of a body in space. A distancing of visual information occurs through repeated filming of projection upon projection. Until only light is captured, the figure lost and just the space remains. This act of disappearing is a form of accumulation and removal – a method I often think about in studio. This is why inhabiting a studio-gallery space becomes important in allowing this process to unfold.
I have also included other materials that respond to these layers of space and light, trying to capture this temporary logic in folds of paper and rolls of tape. By using these tactile materials, including my own body , I seek to decentre the experience of being in a studio-gallery and heighten the affect of its space towards a serious consideration of thought as its own process of accumulation and removal.
There is no audio recording attached to the moving image. I don’t mind external noise, or the sound of other artwork. In fact, I like this as additional interference that is incidental rather than enacted. The incidental has the capacity to make you more aware of where you are and is not something you can construct. Leaving a space vulnerable to such events remains an important element in how I consider the openness of a work.
Blurring the lines between the creation, installation and exhibition process, recent graduates use BLINDSIDE as a working studio and conclude with a brief open studio.
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.
Inneke Taalman is an emerging artist currently based in Adelaide, Australia. Inneke grew up in Melbourne and also lived in Sydney and Singapore. Their practice is situated in the field of sculpture, looking at video, installation and performative practices as a way of considering subtle embodied experiences and spatial relationships. Inneke recently completed an Honours degree at Adelaide Central School of Art (ACSA). They also have a Bachelor in Visual Art, ACSA, and a Bachelor in Linguistics and Drama, Deakin University. In 2019, Inneke exhibited in the group show The Scene is the seen in collaboration with artist Nicole Cliftfor the South Australian Living Artists (SALA) Festival at artist run initiative Holy Rollers gallery. This exhibition featured emerging, mid-career and established artists. Inneke has a background working for performing arts organisations until returning to study visual art.