Residency

Throughout 2018 I will be undertaking a residency at the Koorie Heritage Trust

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2017

Commission

Yarra City Arts, Richmond Library

10 May – 28 Jul 2017

Aurelian – In this recent series of works, my investigations into history, museological collections and the Victorian landscape have enabled me to piece together an evolving continuum of erasure, recovery, loss and memory. After spending extensive time researching the entomology collection at Museums Victoria, studying now extinct and endangered species of butterflies and moths. I then travelled to the sites of extinction and collected soil samples which have been used to create painterly backgrounds or environments on which to photograph the butterfly specimens.

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Group Exhibition

Under the Sun: Reimagining Max Dupain’s Sunbaker

Australian Centre for Photography (ACP)

State Library of NSW, Sydney

Monash Gallery of Art, Melbourne

For this large-scale exhibition, Under the Sun: Reimagining Max Dupain’s Sunbaker, ACP has invited 15 artists to create new works in response to the iconic Sunbaker by revered Australian photographer Max Dupain.

Through a diverse range of immersive and thought-provoking works, the exhibition explores views of our culture, our identity and our nationhood. Reflecting Australia’s multi-cultural, multi-ethnic and multi-faith nature, this audacious exhibition enables a creative and often very personal exploration of the question ‘is there something new under the sun?’

The 15 artists not only interrogate the social and political implications embedded within this image but also challenge the status of this photograph in our visual culture. Pushing the boundaries of the photographic medium, their works will expose the aesthetical complexities at play in discussions around collective identity.

Examining the legacy of the past and questioning the relevance that this image might retain in the future, the project draws on a range of diverse practitioners and creative forms to consider questions of representation and cultural pluralism while also reflecting on the depiction of the idealised body, discussing gender issues, cultural and political ideas relating to immigration and colonisation, and our relationship with the land.

The exhibition features new works by Peta Clancy, Christopher Day, Destiny Deacon, Michaela Gleave, Nasim Nasr, Sara Oscar, Julie Rrap, Khaled Sabsabi, Yhonnie Scarce, Christian Thompson, Angela Tiatia, Kawita Vatanajyankur, Daniel Von Sturmer, Justene Williams and William Yang.

Exhibition Guide

Media

The Guardian

The Culture Concept

Vogue

Art Daily

Photofile

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Media

The Body is a Big Place (interview with Peta Clancy)

Interalia Magazine Online magazine dedicated to the interactions between the arts, sciences and consciousness.

The Body is a Big Place (interview with Peta Clancy)

BBC iWonder An image from ‘Visible Human Bodies’ is featured on the BBC website in an article about bacteria and the human body:

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2015-2016

Solo Exhibition

Linden Projects – Paper, Linden New Art

 

Group Exhibitions

‘Cutting Edge’ at Monash Gallery of Art

PC_1 PC_2PC_3 PC_4

Two of a Kind, Bundoora Homestead Art Centre

Finalist William and Winifred Bowness Photography Prize 2015, Monash Gallery of Art

Octoroon LUMA La Trobe University Museum of Art; VAC | Visual Art Centre, Bendigo and Ateneo Art Gallery, Ateneo de Manila University

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Press

Culture Trip, ‘The 10 Best Australian Photographers You Should Know’

Radio Interview: Art Smitten

Review on Art Blart by Dr Marcus Bunyan “The work that I thought should have won was Peta Clancy’s She carries it all like a map on her skin (2014-15). I have always liked Clancy’s work for there is so much sensitivity to subject matter embedded in her work. Clancy probes the boundaries of the photograph and the skin through punctures made using a fine silver needle to create a lace-like effect or ‘internalised landscape’ which is visible from both the emulsion and non-emulsion sides of the print. She then re-photographs the photograph and punctures the print again, the print becoming a palimpsest of punctures, of wounds, of the journey of life (with the needles link to woman’s work and the lips relation to desire). The installation of the work then emphasises the physicality of the print, Clancy “activating the materiality of the photographic medium by exploring photographs in terms of what the image content depicts as well as three-dimensional objects that exist in space and time.” Such a wonderfully tactile, sensual and conceptual work of negative/positive, presence/absence that kept drawing me back to hidden worlds.”

https://theconversation.com/the-science-and-fiction-behind-blade-runner-46459

Elsevier

Yellowtrace

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‘Visible Human Bodies′ featured on the cover of The Hastings Centre Report November-December issue 2014

Hastings report cover

 

 

 

Hastings_report

http://www.thehastingscenter.org/

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‘Horizons’ exhibition poster on the 86 Tram, Melbourne

‘Lips 2’ from the series ‘She carries it all like a map on her skin’ featured on the ‘Horizons’ exhibition poster displayed on the 86 tram in Melbourne during June and July 2014.
‘Horizons’ exhibition at Bundoora Homestead Art Centre, June 25 – August 3, 2014.
http://www.bundoorahomestead.com/exhibition/horizons/
Horizons poster on 86 Tram, June-July 2014

Horizons poster on 86 Tram, June-July 2014

Horizons poster on 86 Tram, June-July 2014

Horizons poster on 86 Tram, June-July 2014

 

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‘Horizons’

BUNDOORA HOMESTEAD ART CENTRE

HORIZONS_BH_1

‘Horizons’ – What does it mean to be a particular colour, race, sexuality or age in contemporary culture. ‘Horizons’ presents a selection of work from Victorian Indigenous artists Peta Clancy, Bindi Cole, Elizabeth Liddle, Steaphon Paton, Steven Rhall and Peter Waples-Crowe. Mixed media and photographic imagery explore the themes of identity, hybridity, gender and race. Explorations of the body, skin, family, ceremony and symbology culminate in this thought provoking exhibition.

‘Horizons’ is presented by Bundoora Homestead Art Centre and the City of Darebin in acknowledgement of NAIDOC Week July 6 – 13, 2014.

http://www.bundoorahomestead.com/

 ‘Out of Place 1’, Archival pigment print, 2014, height 79cm, width 63cm

‘Out of Place 1’, framed archival pigment print, 2014, height 79cm, width 63cm

 ‘Out of Place 2’, Framed archival pigment print, 2014, height 79cm, width 63cm

‘Out of Place 2’, framed archival pigment print, 2014, height 79cm, width 63cm

 ‘Out of Place 3’, framed archival pigment print, 2014, height 79cm, width 63cm

‘Out of Place 3’, framed archival pigment print, 2014, height 79cm, width 63cm

Study for ‘Out of Place’, archival pigment print, 2014, height 35cm, width 50cm

Study for ‘Out of Place’, archival pigment print, 2014, height 35cm, width 50cm

 

Artist Statement – ‘Out of Place’ was created during a period of research at Museum Victoria’s Entomology Department. I studied threatened Australian moth and butterfly specimens, I became acutely aware that each specimen had been displaced from the habitat where they had been originally captured alive. Visiting a number of the capture sites I realised that many of the insect species would most likely not exist at the sites due to land clearance and disturbance. ‘Out of Place’ was initially informed by these experiences along with an interest in exploring the themes of displacement, connection to place, the alteration of the Australian landscape as a consequence of colonisation, and the cultural significance of soil in Australian history. The photographs titled ‘Out of Place’ reference both landscape and constructed still life photographic traditions. They feature constructions created in my studio photographed during hour-long exposures using a torch to literally draw with light to illuminate the scenes. The subject matter is created using material, soil and plant matter, collected from the capture sites. By including the material collected from the capture sites I aim to metaphorically return the insects to their original habitats, that is back to the place from whence they came.

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Recent Acquisition

MONASH GALLERY OF ART

The unique print  ‘Lips’ from the series ‘Puncture’ has been acquired for the Monash Gallery of Art (MGA) collection

http://www.mga.org.au/collection

‘Lips’, from the series ‘Puncture’, 2014, Type-C Photograph, clear acrylic frame and bracket, screws, 58 x 82.5 x 3.5cm

‘Lips’, from the series ‘Puncture’, 2014, Type-C Photograph, clear acrylic frame and bracket, screws, 58 x 82.5 x 3.5cm

‘Lips’, from the series ‘Puncture’, 2014, Type-C Photograph, clear acrylic frame and bracket, screws, 58 x 82.5 x 3.5cm

‘Lips’, from the series ‘Puncture’, 2014, Type-C Photograph, clear acrylic frame and bracket, screws, 58 x 82.5 x 3.5cm

‘Lips’, from the series ‘Puncture’, 2014, Type-C Photograph, clear acrylic frame and bracket, screws, 58 x 82.5 x 3.5cm

‘Lips’, from the series ‘Puncture’, 2014, Type-C Photograph, clear acrylic frame and bracket, screws, 58 x 82.5 x 3.5cm

Detail, ‘Lips’, from the series ‘Puncture’, 2014, Type-C Photograph, clear acrylic frame and bracket, screws, 58 x 82.5 x 3.5cm

Detail, ‘Lips’, from the series ‘Puncture’, 2014, Type-C Photograph, clear acrylic frame and bracket, screws, 58 x 82.5 x 3.5cm

 

Artist Statement ‘A photograph is a three dimensional thing, not only a two-dimensional image. As such, photographs exist materially in the world, as chemical deposits on paper’. (J. Lecthe, Beyond the Ontology of the Image? http://eitherand.org/photographys-new-materiality/beyond-ontology-image/ accessed 1 April 2014)

‘Puncture’ explores the fragile, transformative and resilient qualities of paper. Created using a process that involves reworking photographic prints with a fine needle. Thousands of tiny pinpricks painstakingly applied through the surface of paper form beautiful embroidered patterns that are visible on both the front and the back of the print. When viewed from the emulsion / image side, light visibly bleeds through the fine holes in the paper. When viewed from the non-emulsion / white side of the print, finely detailed upraised embossed patterns, tracing the details in the photographic image on the other side, are visible. The embossing highlights the tactile and material qualities of the paper and the photograph. Instead of threatening the integrity of the paper, the patterns and markings, created through the process of piercing the paper, magically reveal the resilient, generative and transformative properties of paper.

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Slide Night #3 – at Strange Neighbour

On 28th March 2014 I presented 3 slide works at Slide Night #3 – at Strange Neighbour. Slide Night is an experimental project that showcases 3 slides each by 7 invited artists within a slide night format.

http://www.slidenights.com/slide-nights/slide-night-3/

 

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People’s Choice Award – 2013 Darebin Art Show + Artwork Acquisition for City of Darebin Art Collection

BUNDOORA HOMESTEAD ART CENTRE

Peta Clancy has been awarded the People’s Choice Award in the 2013 Darebin Art Show at the Bundoora Homestead Art Centre. Presented by the City of Darebin, the art show celebrates the creative talent of Darebin’s artistic community. In addition to this award Peta’s artwork ‘Shadowy Land 8 & 9’ (diptych) has been acquired for the City of Darebin Art Collection.

'Shadowy Land 9', From 'The Aurelian Project', 2013, Framed archival pigment print, 60 x 45cm

‘Shadowy Land 9’, From ‘The Aurelian Project’, 2013, Framed archival pigment print, 60 x 45cm

'Shadowy Land 8', From 'The Aurelian Project', 2013, Framed archival pigment print, 60 x 45cm

‘Shadowy Land 8’, From ‘The Aurelian Project’, 2013, Framed archival pigment print, 60 x 45cm

http://www.bundoorahomestead.com/whats-on/darebin-art-show/

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The Body is a Big Place

NATIONAL TAIWAN MUSEUM OF FINE ART

Peta Clancy and Helen Pynor have been invited to exhibit The Body is a Big Place at the National Taiwan Museum of Fine Art in Taichung as part of the TEA/Super-Connect. They will exhibit the 5-channel video projection and heart perfusion device.

www.ntmofa.gov.tw

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Aftermath

POWERHOUSE MUSEUM, SYDNEY

Work-in-development for new collaborative work by Peta Clancy and Helen Pynor, Aftermath, will be on exhibition as part of ISEA2013 (International Symposium of Electronic Art), Sydney. The video work will exhibited in the exhibition Synapse: A Selection at the Powerhouse Museum, Ultimo, from Saturday 8 June to Sunday 14 July 2013.

www.isea2013.org/events/synapse/

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The Body is a Big Place

GALERIJA KAPELICA, SLOVENIA

The Body is a Big Place collaborative project by Peta Clancy and Helen Pynor is being exhibited at Galerija Kapelica in Ljubljana, Slovenia, from 20-31 May 2013. The exhibition opened with a newly developed version of the pig hearts performance, realised in collaboration with Ljubljana pharmacologist Gorazd Drevensek. The performance exceeded expectations, with one of the hearts continuing to beat for 20 hours. Galerija Kapelica has been at the forefront of performance and bioart practice for 2 decades under the directorship of Jurij Krpan.

www.kapelica.org

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