Lee GangKathryn Brimblecombe-Fox, a research fellow at the University of Queensland, will present a series drone paintings that investigates the militarisation of this technology as a form of surveillance.




We invite to the group exhibition "My Optic"

David Harris, Pamela See (Xue Mei-Ling), Kathryn Brimblecombe-Fox, Li Gang, Svetlana Trefilova.

Exhibition opening is Thursday 4th July at 18:00

During the exhibition period, the arteriet is open from Thursday to Sunday at. 12-16. The exhibition lasts until 12th July.

My Optic

During the fifteenth century, artist emerged as a distinct profession to artisan and art was classified as a science. To create compositions in service of god, artists during the renaissance developed optics.

The artists in My Optic provide a diversity of interpretations on this friend of scientific study. Kathryn Brimblecombe-Fox, a research fellow at the University of Queensland, will present a series drone paintings that investigates the militarisation of this technology as a form of surveillance. The papercuts by Griffith University PhD Candidate, Pamela See depicted drones of the apes variety. In addition to acknowledging the ecological role of this keystone species, her vignettes use depictions of distinct bee behaviours as allegories for human interactions. Similarly representing macrocosms, Griffith University Doctor of Visual Arts Candidate Svetlana Trefilova’s video artwork depicts painting under a microscope. Fellow scientist and Griffith University PhD Candidate, David Harris, will exhibit a generative code animation based on celestial mechanics. The code creates a unique composition each time it is activated that bears resemblance to 1970s Geometric Op Art. Li Gang, a graduate of the Victorian College of Art, will present a video depicting the ignition of Catkins Willow seed, a process that resembles the burning of snow.

- David Harris: David Harris is a new media artist, interactive designer, lecturer, and researcher. He has exhibited works in Australia, the United States, and Europe, and created internet-native works. Much of his work sits at the interface between the creative arts and sciences explores how collaborative work can lead to a range of outcomes including works of art, design, and scientific research papers and instrumentation. He has also worked as a science journalist and editor, as founding editor of two science magazines, and written for a variety of international publications including Scientific American, Popular Science, New Scientist, WIRED, and Make. His art writing has appeared in a variety of outlets including CLOT magazine, and SciArt magazine.
David has undergraduate and postgraduate degrees in theoretical physics, science communication, and fine art and is currently back in PhD land at the Queensland College of Art, Griffith University, where he also lectures in the interactive media and design programmes.

-Kathryn Brimblecombe-Fox:
Kathryn is a visual artist based in Brisbane, Queensland, Australia. Long-term interests in existential risks posed by emerging technologies, cosmology, age-old symbols and landscape inform her paintings. Kathryn has a B. A. [double major Art History] and a Master of Philosophy [Cultural Studies & Art History research degree], both from the University of Queensland. Her post-graduate research into issues surrounding contemporary militarised technology has influenced her creative practice. She invites viewers of her paintings to fly into cosmic landscapes, to hover above, below and beside airborne militarised drones or indications of their presence. She sees this as a way to re-establish surveillance as a human activity, rather than an increasingly predominant machinic one. The age-old transcultural/religious tree-of-life is often placed as a beacon, albeit one under threat. Kathryn has exhibited her work in Australia and overseas. Her paintings have received prizes or been finalists in many art competitions. She has been asked to present about her paintings at various Australian and international conferences where topics such as art and war, visual politics, war preparedness, notions of witnessing and machine vision are discussed. Kathryn is currently a Hon Research Fellow in the School of Communication and Arts, University of Queensland.

-Svetlana Trefilova is a Brisbane-based artist, currently a doctoral candidate at Queensland College of Art, Griffith University. Her main research interest is in art and science collaborative practice, studying microscopic structures of native botanical species. At present she is focused at Myrtle Rust as a new and invasive fungal disease which can be fatal for many native Australian plants of Myrtaceae family, including eucalyptus, willow myrtle, turpentine, bottlebrush, paperback, tea tree and lilly pilly. She uses a microscope to study the internal systems of individual plant species, and transfers that visual information into semi-abstract art. For over a decade Svetlana experimented with a broad variety of art media and techniques, and most of her recent works are based on running watery media, video and photography. She regularly participates in art events in Australia and overseas, and has earned multiple awards.

-Pamela See (Xue Mei-Ling) was born in Brisbane to first generation Australians. She applies Chinese papercutting techniques in a variety of post-digital contexts including: installation, animation, sculpture, textiles and printmaking. Since graduating from the Queensland College of Art in 1999, she has contributed to exhibitions in Australia, China and the United States of America. This includes initiatives at The Qing Tong Museum in China, International Studios and Curatorial Program in New York and the Queensland Art Gallery. Collections to house See’s artwork include the National Gallery of Australia, the Art Gallery of South Australia, Parliament House, Swire and Chinachem. Her technique resembles Foshan papercutting which is endemic to her maternal home province of Guangdong. This style emerged during the Song Dynasty (960 – 1279 CE) and is applied to both paper and thin foils of metal. In addition to metal, her papercuts have been translated into a broad range of media including acrylic, glass and textiles. Like the forebearers of her craft, See’s compositions are a form of narrative inquiry. The allegories explore the migrant experience using depictions of flora, fauna and water.

-Lee Gang:
A former student of the Victorian College of Arts, Li Gang has received broad acclaim in his native Beijing for his assemblages cum bronze sculptures. Applying an art povera aesthetic, he favoured inexpensive cast-offs such as shoes, plastic stools and components of bicycles. Coinciding with the emergence of post-digitalism, Li’s propensity to process societal detritus evolved to include redundant technologies such as analogue television sets, improvised pinhole cameras and video artwork.
Li has exhibited extensively throughout North America, Europe and Asia. Museums and galleries to have showcased his artwork include the Okgwa Art Museum in Korea, The Frauenmuseum in Germany and the Experimental Art Foundation in Australia.