Addiction of Choice
Ben Aitkens takes no prisoners.
Ben Aitkens takes no prisoners.
Science Fiction, from H.G. Wells’ Time Machine to William Gibson’s Sprawl Trilogy, is awash with technologies gone awry, usually with startling and dystopian results. Such was certainly the case when Melbourne-based artist Stephen Haley embraced a new image-manipulation software called photogrammetry.
Gareth Sansom has made the art of montage into a life-long gesamtkunstwerk.
There can be little doubt that it is a momentous year for Ronnie van Hout.
On a three-month residency in the Philippines, David Griggs was blown away by Manila’s radical art scene. These days, he calls the city home.
Some people like their art easy to consume, something recognisable, something safe. Julia Robinson doesn’t make art for those people.
In the hands of Fiona Hall, even a discarded sardine can become an intricate construction, as she tirelessly toils to make detritus desirable.
If Doble knows paint and Strong knows technology and photography, it is Behruz Aligorgi who knows silk and wool.
The surgeons go to work with delicate care, rubber gloves correctly adorned.
Ashley Crawford is a freelance cultural critic based in Melbourne, Australia.