Now showing at Bundoora Homestead Art Centre
13 July – 1 September 2019
Trees Crashing to The Ground
Jon Butt with special guest Katie Paine, Saturday August 10 from 2-3pm at the gallery
Collider is a video site response work that investigates the physical and conceptual notions of landscape as matter and phenomena.
Using video sequences, this work places the Bundoora Homestead site within a shifting scale of material territories, molecular energies and entropic disorder. Collider includes both abstracted and live video sequences shot throughout the Homestead grounds and across the Bundoora Park and Mt Cooper area that appear to be capturing unknown, signalling phenomena. The work depicts time, space and place where the idea of a site is viewed as both poetic and quantum. Locations float and revolve with a sense of shifting dimensionality, containing endless physical potential, objects transmitting or receiving signals of unknown significance, referencing terrestrial/extra-terrestrial landscapes and mindscapes. Space felt rather than understood.
Spectra is an immersive photographic installation that formalises both an expanded and compressed notion of landscape. Spectra aims to pull viewers into a fluid, gravity-free space in which to contemplate our place within the system of universal space/time/place/matter. What is offered is a shifted scale of vast territories, molecular energies and entropic disorder. The work depicts time, space and place when the idea of the landscape is viewed in terms of pure matter. Objects float with a sense of shifting dimensionality, containing endless physical potential and mass, referencing terrestrial/extra-terrestrial landscapes and mind-scapes. Space sensed rather than understood.
Call Numbers of readings on quantum physics, landscape art, philosophy and more, for all ages and experience, float within the image providing a bridge between the aesthetic experi-ence of the artwork and new scientific, philosophical learning.
05.07.2017 - 29.07.2017
Fieldcast is a video and photographic installation that formalises both an expanded and compressed notion of landscape through a process of material force-work and camera-less photography. A pile of mineral samples, liquid metals, dust, slate, gold and gemstone shards were sculpted, scraped, mashed, liquefied and forced upon a hapless flatbed scanner to articulate textural dimensions through a controlled failure of the image making processes. Playing with inherent artefacts that occur when the imaging device is pushed way past intended limits, the resulting works resist the descriptive potential of photography and video to inform and locate the ‘where’ and ‘when’ of landscape. Instead what is offered is a shifted scale of vast territories, molecular energies and entropic disorder. The work depicts time, space and place when the idea of the landscape is viewed in terms of pure matter. Objects float with a sense of shifting dimensionality, containing endless physical potential and mass, transmitting or receiving signals of unknown significance, referencing terrestrial/extra-terrestrial landscapes and mindscapes. Space sensed rather than understood.
Click HERE for a preview by Amelia Winata for Artguide
Click HERE for the catalogue with a written work by Katie Paine
But I’m going strange.
Presented by Constance ARI for Dark Mofo
Town Hall Underground
14.06.17 - 17.06.17
11am - 9pm
Venture underground to a space of silent foreboding, where six artists will disrupt our expectations of the modern world.
The Ryan Sisters (VIC, AUS)
Natalie Ryan (VIC, AUS)
Andy Hutson (TAS, AUS)
Eva Nilson (TAS, AUS)
Jon Butt (VIC, AUS)
Joseph Ray Shrimpton (TAS, AUS)
c3/Testing Grounds: 2 Signals, Jon Butt + c3.
Internet connected LED beacons, motion sensors, 2017 (technical assistance by Alexander Radesvki & Ryan Ralph)
Work presented in tandem with Benjamin Woods for c3's contribution
Click HERE for a review of the exhibition by Anna Dunnill for Artguide
17.05.2017 - 27.05.2017
Wednesday 17 May, 6-9pm
with performances by LISTEN,
Saturday 20 May, 3-6pm
Internet-enabled RGB LED beacons are situated at c3 and Testing Grounds and remain connected at all times. A sensor in each gallery space activates the system. If you are in one space, you will set off the sensor, send a signal through a number of internet pathways and the light beacon will pulse at the other space. You are both in this space and the other space.
Red Button: You may choose to press the red button. (press and hold for 5 seconds) This sends a signal back to c3 and sets off the corresponding red LED in the foyer space. Someone may or may not see this occur. You are reaching out. Someone may or may not respond and you may see your red LED flash.
Set as a material conversation between Artist Run Initiatives (ARI’s) and Aboriginal Art Centres in Australia and the Asia-Pacific, this project embodies and provokes conversations about place: How does place matter for artists? Why do ARIs exist in specific places? What is the place of practice?
Writer Chris Kraus’s ‘radical localism’ points to the importance of the local places of art-making compared to global-centrism noting that ARIs create “an opportunity to remain in one’s own community and assert an alternative ethos.” This ethos is crucial to the survival of art because ARIs create a sustainable and rich culture built from the ground up.
This exhibition includes creative responses from AirSpace Projects, Articulate Project Space, BUS Projects, BLINDSIDE, Boomalli Aboriginal Artists Cooperative, c3 Contemporary Art Space, Cementa, FELTspace, One Place After Another, Open-Contemporary Art Center (Taipei), Raygun Projects, Ruang MES 56 (Yogyakarta), Trocadero Art Space, The Laundry Art Space, The Walls, Waringarri Arts, Watch This Space, West Space and more…
Curated by Anabelle Lacroix. A research project directed by Maria Miranda.
This project is supported by the City of Melbourne, the Australia Council for the Arts and the Australian Research Council
(Map data: Google, DigitalGlobe)
PAUL PHILIPSON – MELANIE UPTON – JON BUTT
c3 Contemporary Art Space Feb 2015
..it is enough in life
To speak of what you see. But wait
Until sight wakens the sleepy eye
And pierces the physical fix of things.
Strange Neighbour - May 2014
Field constructs a view from which to consider nature, the material universe and its inherent phenomena. At its core, the work is landscape photography, however a number of filters are at play. Microcosm, in contrast to vast unending place (where action, time and space are evident), the interconnectedness of matter and the sublime, all inform this inquiry. Stillness and motion, the residue of chaos and unending time are deliberated through a variety of material approaches and visual cues.
c3 Archive 4: Collaborative project. Jon Butt + Jessica Hood
Magdalen Laundries, Abbotsford Convent.
Documentation images: Cameron Clarke
Proposition For Viewing
2 Channel Video (11:00 mins duration each channel)
Designed in the Naturalistic Style, the ornamental gardens were a place for quiet reflection. Today the gardens offer a far more informal space for a variety of users and are often experienced socially rather than absorbed over time. Proposition For Viewing, filmed over a month-long period during the height of spring, suggests a literal reading of the contemplative state, the video sequences present a determinedly slow pace reflecting the simple act of meditative observation. Installed within the dilapidated Sacred Heart and Industrial Laundry buildings, the two-screen installation renders the garden in a different context to allow new readings.
Portrait of a Specimen Tree
(Tree installation on platform: Jon Butt – Jessica Hood)
Installation of living tree with 35mm slide projection.
Portrait of a Specimen Tree sets up a link between experiencing and recording the site of the Abbotsford Convent garden. A portrait series uses the garden and its activities as a backdrop, while images of plant specimens document the vegetation of the site in 2004 when the Abbotsford Convent Foundation were handed the title.
The works encourage a close up consideration of the leaves and flowers of the plant specimens, with the visitor then able to step outside the exhibition to access the backdrop of the portraits, the garden itself.
The central feature of Portrait of a Specimen Tree, a Vitex lucens, or Puriri, is kept alive in the space by means of water drip feeder, reflected sunlight and UV lights.
At the conclusion of the show this tree will be planted in the garden to stand as a living reference to this specific c3 Archive Project.
In this way Portrait of a Specimen Tree is made in response to the ongoing documentary nature of the c3 Archive Project. The maintenance of the tree within the garden site and beyond the project is the means by which the work itself becomes part of the continuity of the garden as an archived site.
Fraser Faithful, archivist at The Good Shepherd
The Abbotsford Convent Foundation
The Good Shepherd
PAUL PHILIPSON – LOUISE PARAMOR – JON BUTT
A group show operating as a discourse between the artists, Light Years looked at molecular connections in the artist's wider practices.
There is a life to be lived, one imagined, created with blind force. Rooted far in the fundamentals of dirt, not owned or dictated by anyone. It’s in a permanent state of becoming, never to decay; a home you can’t grow out of, a beauty not stolen. The longing that has travelled light years to be with you, the most human feeling of all.
St Heliers Street Gallery at The Abbotsford Convent arts precinct. Control Study was a joint exhibition with Vivian Cooper Smith.