Gary has been working as a graphic designer since 2007 and has been practicing as an artist for the last 2 years.
Using his design background as a base, Gary has expanded his skills in numerous mediums aerosol, sculpture (mainly wood based) screen-printing and mixed media painting. Noticeable in recent works is the newly developed wood carving technique.
Taking influences from street art, oriental cultures and designer toys, Gary works with wood, aerosol, found objects and vinyl figures to create multi dimensional works that depict characters that we can all relate to even though they exist in their own little world.
Other interests include lomo photography, screen-printing, gocco design, furniture design, sneaker collecting and anything related to bicycles.
Gary currently lives and works in Adelaide, South Australia.
Nickas serpentarius’ (aka Danica Well-Heitmann) are contradictions within themselves. They often feature sensual woman who have an authoritarian air of ‘don’t-fuck-with-me’ power, yet are somewhat amorphous, often missing limbs and almost always with blank unseeing eyes. On the hand they represent the gaian mind, bringing her into the context of urban environ whilst also providing a commentary on feminine identity in today’s society.
Her sculptural work follows a similar theme, using a dark carnivale aesthetic mashed together with an ambiguous spirituality, the creatures within seem to reach straight out of the world of the subconscious, the world of dreams in an attempt to draw us back down with them.
What lies at the heart of it all is a commentary on the warped anthropocentric worldview of mankind today and an inner calling to reconnect with the earth and subconscious long forgotten spiritual memories of our ancestors.
Nickas has collaborated with a number of different organizations including Illuminart, extensive work with Carclew Youth Arts and The Peoples Republic of Animation as well as presenting works in the Adelaide Fringe Festival and SALA Moving Image Festivals.
Lachlan is a sculpture and installation artist based in Melbourne. He completed a BFA at the collage of fine arts in Sydney, receiving first class honors in 2008. During his studies he participated in two international multidisciplinary studios, firstly in Beijing 2005 and secondly Edinburgh 2008. These formative experiences facilitated by Richard Goodwin’s Porosity studio played an important role in developing Lachlan’s rigorous critical oeuvre. Since graduating Lachlan has maintained a prolific gallery based practice, exhibiting widely at artist run initiatives through Sydney and Melbourne. In October 2011 he will begin a three-month studio residency at Taki Kunstprojektraum in Berlin, Germany.
“In the past few years I have been fixated on understanding the connection between homogenized environments, propagated lifestyle programs and human behavior. I have looked at the phenomenology of fluorescent lighting, the impact of homogenized office design, as well as the consumption logic that governs both the mall and the franchised gym. I am interested in understanding why people choose to spend their lives the way they do, what motivates the action in their lives and how this individual idea of living collides with the hegemony of broadly marketed lifestyle formulas.”
Bron Batten is theatre-maker, choreographer, producer and performer. She has trained at tertiary institutions such as Deakin University and most recently Victorian Collage of the Arts, graduating with post diploma in Theatre Making (Animateuring).
She is the co-curator and producer of The Last Tuesday Society which, has been presented nationally and internationally at festivals such as The Edinburgh Fringe, The Melbourne International Comedy Festival, The Falls Music Festival, This Is Not Art Festival, Melbourne Fringe Festival and The Streets Of Melbourne Festival.
In 2010 Bron was awarded funding through the Ian Potter Foundation to attend international conferences in Hong Kong and Switzerland, investigating the significance of humor in art and culture.
Her devised work has been presented at the next wave festival’s keynote events The Nightclub Project and The Sports Club Project at both 2008 and 2010 festivals.
Bron was recently a performer in an international collaboration between UK performance artist Mem Morrison and North Melbourne’s Art House, resulting in a production called Ringside, a work that has been similarly staged in London, Edinburgh and Singapore.
Bron was also the choreographer for singer/songwriter Darren Hanlon’s film clip All These Things.
As twilight approaches, a festival punter will witness the climactic ignition of the sculpture, a large fulleresque steel structure by day, which erupts into activity at night. The white flame will engulf the portion of the frame making up each word, appearing in the sky like an apparition from the music gods.
The medium of fire in Let's Get Metaphysical is fitting to its conceptual statement. Seemingly immaterial, and intangible, fire has a semiotic function which inspires awe; useful as both weapon and tool, and containing elements of both danger and wonder. It has undeniable allure, giving both heat and light, and being used in ritual and worship both denominational and pagan. Fire also has the historical use as beacon and memorial, in the context of the festival it functions almost as an eternal flame, or as Olympic flame – keeping the fire burning throughout and extinguished only when the party is over.
Using Olivia Newton-John's 1981 single Physical as a placeholder, the phrase Let's Get Metaphysical exploits this reference to music history, encouraging punters to transcend the more visceral suggestions Newton-John and her writers originally intended, and explore higher mental planes and states of consciousness.
Concerned with the ultimate nature of existence, Metaphysics is very much tied into the notion of self, reaching beyond the physical world as we perceive it, and to discover the true nature of existence, its ultimate essence and the reason for being; concepts undeniably tied into much of music culture since the 1960s. Without delving headfirst into the history and concepts of the science of Metaphysics; Etymologically, applying the prefix “meta-” in his sense pertains to that which is beyond or above physical.
The combined elements of ritualism, utopia, music, dance, and drugs give festivals such as Splendour in the Grass a palpable atmosphere of spirituality, every person trying to find their own moment, the pinnacle of their festival experience to act as a conduit to a metaphysical experience. Let's Get Metaphysical seeks to expose this dormant energy, accumulate, multiply and utilise it.
Michael Candy is a young emerging kinetic artist, studying fine arts and industrial design at QUT Brisbane. His art draws away from stereotypical “Kinetic aesthetic” and approaches kinetics and mechanics in a more organic way; using shapes and patterns found in nature. His works are often interactive, involving the viewer or audience with the sculpture through movement, luminosity or sound.
“From a very young age I have always had the ambition to understand how everything worked. As I grew older I developed an obsession with robotics and animatronics, but struggled to find a realm in which I could freely create (without a commercial or industrial purpose). I later found my art and passion was opened to a whole new world of freedom and possibilities.”
Matt Cornell has had numerous engagements with Australian, European and South-East Asian industry professionals as a dancer, choreographer and/or digital composer spanning live contemporary Dance and theatre to gallery installations, film, rock concert, video clips, and street/performance art.
Matt is the 2011 NT young achiever of the year for arts, and was recently a mentoree (under Anthony Hamilton), a danceWEB scholarship recipient and a HipHop artist in residence at the National Film and Sound Archive constructing his first debut solo album.
The year ahead holds the creation or S.I.K Bboy theatre show commissioned by Darwin Festival, a UK tour with Shaun Parker and company, a residency at Campbelltown Arts Centre as well as various national and international composition and public address engagements.
Matt is currently Writing his first book and is also an enthusiast photographer.
Sabrina is a Melbourne-based puppeteer and performer. She has a bachelor or acting from Theatre Nepean (2006) and a post-Graduate Diploma from the VCA (2008). Her puppetry credits include The Falling Room and The Flying Room (terrapin Puppet Theatre TAS, 2009), The Devil You Know (Phantom Limb Company, La MaMa E.T.C, NYC, 2009-2010), Puppet Play List (Sinking Ship Productions, NYC, 2010) The Fortune Teller (Phantom Limb Company NYC, 2010) and Tangled Web (polyglot Puppet Theatre, VIC, 2011).
She was also co-director of Sweet Meat, a puppet theatre company whose debut show Fin was performed at the Melbourne Fringe Festival (2010) and the Adelaide Fringe Festival (2011).
Benjamin Forster’s practice explores drawing, bring together digital and biotechnologies, installation and print to trace the boundaries of logic, economy and the role of the artist in art making. He received bachelor of visual arts with first class honors from the Australian National University, and was an artist in residency at Canberra Contemporary Art Space in 2009. In 2010 he relocated to Perth to complete simultaneous residency at the Perth Institute of Contemporary Art (PICA) and SymbolicA. Winner of the 2010 Fremantle Arts Centre Print Award Non-Acquisitive Prize, he is currently an artist in residence at the Fremantle Arts Centre. His drawing machine project was exhibited in hatched 09: The National Graduate Exhibition at PICA, as well as International Symposium on Computational Aesthetic 09 in Victoria, Canada.
Forster is also one of the founding members of last man to die, an interdisciplinary arts collective based in Canberra. Last Man To Die devised several works, ranging from installations to theatrical performances that have been exhibited nationally. Their recent work “Last Man to Die was performed at the street theatre (ACT), Blue room Theatre (WA) and was include as part of under the radar at the Brisbane Festival 2010.
Josh Howard is an emerging contemporary artist that specifies in site-specific interactive installation work. His work focuses on providing spaces and situations in which performances are made. He works with many materials-from mud bricks to cardboard-but in his approach he takes the notion of mediums literally and considers the production of sensations of connection to be his “real” work. His approach is playful, but he aims to be evocative. He has exhibited in Perth, Lismore, Brisbane, Woodford and Amsterdam. He is currently undertaking his Honors year of study at the Queensland Collage of the Arts. He intends to pursue his PhD after he completes his honors degree and is planning a return trip to exhibit again in Europe in 2012.
A celebrated sculptor and installation artist, Bennet Miller received international attention for his Dachshund U.N project. He regularly creates awe-inspiring installations, notably the Golf War series (2003-2007) that retold Iraq war narratives through 9 playable mini golf courses. As a contributor to IASKA’s Spaced Program, he will work with Greyhounds in Bakers Hill to develop another work for 2011.
Dan Nunan is a landscape architect who recently started a practice called Pollen Studio that specializes in public domain design and public art consultancy.
Dan is interested in developing artworks that broaden people’s understanding of public domain by actively engaging people’s minds and bodies.
He recently coordinated a Live Art project called The Urban pollinators at the 2010 Melbourne Fringe Festival. The Urban Pollinators was a series of site installations developed by RMIT students that challenged the way we think about the future open spaces of our ever-densifying cities. The installation was accessed by a system of navigation that turned the project into a city scale game of urban orienteering.
Dan has also worked on large-scale public domain projects that included public art as a major component. These include Artplay Playground, Birrarung Marr for the City of Melbourne and Frankston Foreshore Park and Pier.
Dan has an enthusiasm for contemporary design, which has seen him teach at RMIT and Melbourne Universities and has had articles published in Australian landscape architecture journals.
Having a dual practise as a Painter/Installation Artist and Scenic Painter Clare Thackway creates immersive worlds that incorporate the physical presence of the viewer/participator’s body and the painted body. Her interests lie in using and transgressing the vocabulary associated with tradition of figurative painting with a consideration of the body within a contemporary social context. On the one hand, questioning the social structures in which we live, and on the other challenging the nature and place of painting itself with in contemporary culture. Concentrating on the "figure in space" she plays on the reality of a painting as an object and the psychological value of the body represented.
Drawing from psychological observations and disconnected memories her paintings resonate something unnerving and romantic. Fusing highly detailed realism with a poetic anthropological approach to narratives and atmospheres that arise in the complexity of human relationships.
Clare studied in Canberra, Sydney and Glasgow and currently lives in Berlin. Winner of the 2009 Marten Bequest Scholarship, she has exhibited both nationally and internationally. Clare painted the sets for Opera Australia for several years and now works as a freelance Scenic Painter, Artistic Director, and Stylist in TV, film, theatre and events.
Beth Sometimes raced a postcard to Alice Springs where she is now based as an artist, performer, interpreter, arts worker and roller-skater. Originally from New Zealand, the beauty and chaos of the central Australian desert appealed to middle-class fantasies of being a new age cowgirl type superhero. Unpacking that has been quite a journey.
Beth worked closely for eight year with the Pitjantjatjara community in arts centers and then with social change and arts company BighART both performing, facilitating workshops and producing a wide range of activities. Recent projects in clued rock cabaret comedy The Unbearable Whiteness of Being by The OK SLUTS ‘Trapped in a Postcard’ at Wide Open Space Festival and publishing ‘From Sometimes love Beth’ a compendium of postcards and challenges.
Beth is entering into an active research phase moving towards the potential manifestation of a large-art work that may resemble a theme park and involve multiple artists. She is passionate about exploring the relationship between art and reinvention. She is interested in ideas over particular mediums and enjoys projects that involve engaging collaborators with a range of skills.
Katherine Beckett is a Sydney based Aboriginal Actor/Film/Theatre Maker.
She was a participant of 2009 Kickstart, Next Wave program and performed 2010 at Fitzroy Town Hall. She is a winner of the Ian Bowie Memorial Award and was short listed for the Yvonne Cohen Award for her solo work in progress “Coloured Digger’s”, which has been performed at The Dreaming Festival 2009, MCA Sydney and the Coloured Digger’s ANZAC Day march in Redfern (2008, 2009, 2010). She is captivating, powerful and beautiful to watch perform. Her solo showings have been described as Hilarious, new, fresh, gorgeous and exciting, with a unique style of storytelling.
Completing a diploma in Film/TV productions from North Sydney College, and mentored by some of the greats in the industry such as Leah Purcell, Kyas Sheriff, Kirk Page and Wesley Enoch. She has worked on a feature, music programs, teenage programs, many shorts, documentaries, Theatre, and community projects and workshops. Katherine is currently an acting tutor for Belvoir St Theatre Company.