Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...
The fifth edition of Sydney Contemporary will take place once again at Carriageworks between 12 and 15 September 2019, with Spring 1883 bringing together a cohort of 27 galleries from across Australia and the region to inhabit rooms at the Establishment Hotel from 11 to 14 September 2019, uniquely presenting contemporary works propped up on...
Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...
THIS IS NO FANTASY is excited to present The Gazed, an exhibition of new photographic and video works by Petrina Hicks. This exhibition coincides with Hicks' first survey show, Bleached Gothic, at the National Gallery of Victoria. This major exhibition at the NGV reflects Hicks' status as one of Australia's most exciting artists. Her practice both challenges and reflects the now.
Hicks' sophisticated, hyper-real works are at once beautiful and disconcerting, combining heightened technical skill and elegant compositions with an unsettling ambiguity. Meticulously assembled and shot in her studio, her images exist within strangely placeless realities making them hard to pin down.
Hicks' works reflect her ongoing fascination with flawed or alternate beauty, probing narratives of female representation through art history, mythology and the media. She employs the seductive visual language of commerce and advertising to challenge and corrupt the premises of perfection they seek to promote. The images highlight the dichotomy between the surface aesthetic and their ambiguous, subversive subtext, engaging in debate about the capacity of the visual image to conjure, distract and mislead.
'Myths, symbolism, archetypes and history have always been of interest. I am fascinated by the immediacy of symbols and longevity of myths, reinterpreted through lens of history and culture over and over again since origin. Depictions of objects and symbols that relate to the past reflect on our transition through history and show us how significantly we have, or have not, changed.' (Petrina Hicks)
Hicks' shoots on film using a large format camera, as a way to preserve the film medium and the integrity of the photographic image in today's culture of digital image overload. Her carefully crafted scenes have a three dimensional quality, nudging photography closer to sculpture.
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