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Ocula ReportFrieze Week 2018: London, Masters and 1-5412 Oct 2018 : Amah-Rose McKnight-Abrams for Ocula{{document.location.href}}
A rush of politics kicked off Frieze Week this year, with a talk between Chelsea Manning and James Bridle organised by the Institute of Contemporary Arts at the Royal Institution, three days ahead of the opening of Frieze London, Frieze Masters and 1-54 (4–7 October 2018). The event felt more like a press conference, with attendees seemingly...
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Ocula ConversationCristina Ricupero and Jörg HeiserCurators, Busan Biennale{{document.location.href}}
Divided We Stand, the tongue-in-cheek title of the 9th Busan Biennale (8 September–1 November 2018), speaks to the psychological effects of borders on individual and collective social consciousness. Co-curated by artistic directors Cristina Ricupero and Jörg Heiser, with guest curator Gahee Park, the exhibition explores the divisions haunting...
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Ocula ReportAnni Albers: In Focus6 Oct 2018 : Inga Lace for Ocula{{document.location.href}}
Walking through the Anni Albers exhibition at the K20, Kunstsammlung Nordrhein-Westfalen, in Düsseldorf this summer (9 June–9 September 2018), I couldn't help thinking about the 1944 poem by American dancer and artist Raymond Duncan, 'I Sing the Weaver'. The poem talks about weaving as a practice linking a weaver's body to the world; a view that...
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Sam Falls came to art through the study of physics, linguistics and philosophy. Inspired by the natural world, he creates artworks that explore the materiality of colour and light. Using a range of generic objects and textiles, such as garden hoses, tyres, wooden pallets, bed sheets and moving blankets, and exploiting the aesthetic potential of weather patterns and environmental conditions, Falls employs photographic techniques to create works that investigate the opposing ideas of abstraction and representation.

Continuing his exploration of materials, techniques and processes, Falls presents a series of large-format works on canvas for the 21st Biennale of Sydney at Carriageworks. Often created outside in the urban or natural landscape, the scale of Falls' artworks is influenced by and connected to the places they are made. Using fundamental image-making techniques, Falls transforms large swathes of canvas into abstract landscapes that carry echos of the environment in which they were produced. His 'rain paintings' are essentially photograms; a negative shadow image transferred to a surface without the use of a camera. Falls covers expanses of canvas with organic matter - branches, leaves and flowers that are particular to an area - before scattering the assemblage with handfuls of pigment and leaving it exposed to the elements. After the intervention of mist or rain and the removal of the organic material, the residual silhouettes and patterns imprinted on the canvas retain the physical qualities of place.

While the artworks exemplify Falls' fascination with colour and light, and advance his investigations into figuration and abstraction, the canvases also display an intimate connection with location and landscape. The paintings exhibited at Carriageworks were created at Falls' childhood home in the town of Hartland, Vermont, USA, each artwork produced at a site of personal significance to the artist, reflecting his memories of growing up in the area. The plant matter and organic materials Falls uses to create his works articulate the meteorological and environmental conditions inherent to the region, thus each canvas serves as a location and time-specific record of the natural world, as well as a personal archive of place.

by Tai Spruyt and Stephanie Berlangieri | Biennale of Sydney Exhibition Team | 2018
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