Cast
June 24th - July 9th 2023
The shadow is recognised throughout history for its functional and symbolical versatility. Both in its literal and conceptual form, it invites contemplation through its invariable behaviour: it is a loose copy, imitating, mimicking, and mutating; it is a place of hiding, sanctuary and shade; it is a tool, an illuminator, a language; it tempts illusion; and it challenges perception.
A conversation between a cast of emerging artists and writers, Cast is a multidisciplinary exhibition staged across three weekends at Mounted ARI in Springwood, Blue Mountains.
artists & writers
lachlan thompson
lillian neal
lucy teague
maya hendler
michael pham
Left: Anna Seymour, Dwellings, 2023. Middle: Lachlan Thompson, ‘To Sit Beneath a Tree: Shadows And Their Uses’, 2023. Right: Elizabeth Creixell, Pests, and Other Dilemmas, 2023.
Maya Hendler, Dias-Porous, 2022-2023, single-channel video
Lachlan Thompson, ‘To Sit Beneath a Tree: Shadows And Their Uses’, 2023
“It’s obscure to think that your shadow could not be made for you or made to not fit you… if someone hides behind a wall, their shadow may give them away. Here, their shadow is used against them.”
Lachlan Thompson, excerpt from ‘To Sit Beneath a Tree: Shadows and Their Uses’, 2023
Left: Anna Seymour, Dwellings, 2023. Right: Claire Paul, re-connect, 2023
Anna Seymour, Dwellings, 2023, new and re-used hessian, recycled cotton, jute thread and clay., dimensions variable
Left: Michael Pham, Nekyia: The Shades of Odysseus, 2023. Right: Jess Montecinos, Diablada II, 2023.
Em Best, ‘Mould and Soap Scum’ and ‘It’s likely I won’t remember any of this’, 2023
“I want to make sure I’m remembering this properly.
I’m doomed to forget twice over, from either side.
It will find me eventually. For now I am hiding.”
Em Best, excerpt from ‘Mould and Soap Scum’, 2023
Nic Narapiromkwan Foo, Don’t Whistle At Night, Bad Spirits Will Come, 2023, sound installation
“…if she accidentally whistles at night she takes it back by sucking the air back in. By inverting the act of whistling, she un-conjures and un-invites, holding the invitation in her mouth and swallowing it or letting it disperse into breath.”
Nic Narapiromkwan Foo, excerpt from Don’t Whistle At Night, Bad Spirits Will Come, 2023.
Claire Paul, re-connect, 2023, charcoal screen-printed onto handmade paper (plant matter, recycled artworks), 24cm x 32cm
Lucy Teague, through the mesh, 2023, silver gelatin prints, 20.3cm x 25.4cm ea.
Dean Qiulin Li, Croquet, 2022, C-type print, edition of 3 + IAP, 50in x 40in.
Fiona Macpherson, Apparition, 2023, acrylic, toner, oil and epoxy resin on plywood, 24.5cm x 19.5cm
Left: Lillian Neal, Contours and Cutouts, 2023. Middle: Fiona Macpherson, Apparition, 2023. Right: Anna Seymour, Dwellings, 2023.
Jess Montecinos, Diablada II, 2023, galvanised wire, dimensions variable.
Elizabeth Creixell, Pests, and Other Dilemmas, 2023, linocut on Hahnemuhle paper, 22cm x 28cm
Lucy Teague, through the mesh, 2023, silver gelatin prints, 20.3cm x 25.4cm ea.
Lillian Neal, Contours and Cutouts, 2023, ceramic, 35cm x 23cm ea.
Tia Madden, To Reprimand a Threat, etched glass, 57cm x 13cm x 24cm
Maya Hendler, Dias-Porous, 2022-2023, clay
Anna Seymour, Dwellings, 2023, new and re-used hessian, recycled cotton, jute thread and clay. Dimensions variable
“Pulled deeper and deeper inside yourself, expansion and contraction become one in this space. Memory gains clarity as a distinct affect, sentimental of itself, sentimental of how you were, still are, and will continue to be.”
Owen Redmond, excerpt from In a Beautiful Place, 2023
exhibition photography: dean qiulin li