Failspace is a project space that aims to initiate a critical discourse and presentation of Contemporary craft and labour intensive art through a series of experimental and participatory exhibitions. The project was active between January to June 2013 at Gaffa Gallery, Sydney.
I Don’t Know Where I’m Going, But I’m Going Somewhere… is an art installation, that deals with sensation, simulation and a current interpretation of that age-old condition - Loneliness.
Moving away from the existentialist tendencies that cyberspace represents, and backwards to our primary sources of communication, touch, taste, smell, sound and sight, the artist’s work aims at highlighting the sensory by denying access to it. Creating spaces of fantasies through referencing childhood, play and games, the work shines a light upon private isolated experiences - in this case, from that of a child.
Chung’s work weaves difficult issues about the world into the forms of toys, stories and lost memories - giving the viewer a detached, simulated experience.
Born in Hong Kong in 1981, Thomas C. Chung is an Australian artist based in Sydney and Scandinavia. In 2004, Chung completed his BFA at the College of Fine Arts at the University of New South Wales. For the past 6 years, he has received various artist-in-residency opportunities, travelling to New London (USA), Gothenburg (Sweden), Kemijärvi (Finland), and most recently Drammen (Norway). Since 2008, Chung has exhibited in 6 solo exhibitions and has shown in 2011 at the Lands Museum (Norway) and Kherson Local Lore Museum (Ukraine).
I Don’t Know Where I’m Going, But I’m Going Somewhere… is part of City of Sydney Chinese New Year 2012.
Michelle Mantsio’s art practice is cross media, which includes installation, drawing, and video. Knockout Artist is a video installation negotiating the lagniappe (a little something extra, like the 13th bun in the bakers dozen) that is passing between Osmond (boxer) and Michelle (the artist).
Michelle has completed a Bachelor of Fine Arts with honours and a Master of Art in Public Space from RMIT University. She is currently completing a PhD at the Victorian College of the Arts, where in 2010 and 2008, Michelle studied at Goldsmiths College on research residencies. Michelle is a practising artist, who has exhibited nationally and internationally and participated in various international workshops, think tanks, symposiums and conferences such as Sense Lab, Metronome and Documenta.
Work by Michelle Mantsio
Neil Brandhorst’s artistic practice investigates the process of perception through sculptures and installations that inspire an active inquiry of the environment.
Suddenly is an exploration of the threshold of awareness. By introducing the element of time through an artwork that impinges itself upon the viewer Neil introduces an introspective and collective event that interrupts the contextualised process of viewing art.
Emily Morandini has performed and exhibited as a sound-based artist over the last seven years. Traversing live, improvised, compositional, and installation works, her practice incorporates handmade elements into audio production processes.
Creations include fillet-lace embedded circuits, handmade magnetic tape, live razor blade audio mixes, and bobbin-lace ground-loop microphone cable.
Emily’s current work focuses on basic elements of conduction and insulation to explore pattern in signal, motif in transmission. By intersecting lacemaking techniques with audio electronics, hidden lines are revealed, shielded elements are exposed, and oscillation combines with structure to create a delicate, audible fabric.
Thomas Marcusson is an artist experimenting with interactive media and film, often incorporating themes of science in an interesting and unexpected way. Collaborating with the Powerhouse Museum in Sydney, he has among other things developed a popular interactive artwork called the MicroCineScope, which utilises a microscopic platform to display interactive video content. He has also have work exhibited at the Vivid Festival in Sydney and at the Science Gallery in Dublin. Thomas also runs an art collective called Scissors (www.scissors.cc), where some of his work can be seen.
Navel-gazing plays with modern notions of observation and self-obsession, through the aid of technology. By searching for a meaning, viewers will literally experience their own examining gaze starring back at them as a physical manifestation in the form of a projection. In a digital age where voyeurism is both more common and inconspicuous, Navel-gazing is trying to re-examine what it means to look at the world, and at ourselves, through everyday mediums that in a way split our sensory receptors from our bodies.
LOST is a typographic experiment that explores the ontological relationships between the function of language, the human body as the relational object and possible modes of urban way finding in this impending ‘age of unsettlement’.
Baron Chau & Nancy Liang operate together as Twotinkabout on a scope of cross-disciplinary art and design projects that propose possible, parallel, fictional, or even undesirable future systems of acting and being with the world in crisis. Their shared practice explores drawing, writing, teaching, installation, graphic design, environments, textiles, and participatory art that conjure real or imag- ined tales of viable future forms through critical dialogue and site-responsive interventions that shift the social, cultural, geo-political and other acting forces.
Image credit: Towtinkabout