Address: Lightbox

Uncertain times are ahead.

Are we dangerously close to a cosmic shift in our way of life?

Are you ready for The Visit?

In this installation The Visit is taking place.

The Who, What, Where and When isn’t determined. We, as boxed humans filled to the brim of humanness thoughts, information, fears, desires, random useless emotions, some useful ones too, we stand and watch The Visit unfold.

We don’t know what to do, do we engage with and follow our new visitors, or do we stand back fearfully thinking they might be an enemy and here to do harm?

Taking inspiration from my employment as a gallery attendant, I observe visitors in many different stances, I closely watch their behavior – observing the observer.

Often I have seen visitors outside of their comfort zone, either being in the gallery in the first place, an alien space for some, or being confronted with ideas, visuals or sounds that disrupt their norm. I help expand their minds.

Would you dare go if you were invited to explore the unknown?

Ceramics and mosaics by Donna Ritchie.

Wire words written by Chris Hall.

Copper wire twisted by Donna and Chris.

Wire word text placed in the Lightbox Gallery reads as follows:

Nobody looks in the shadows

they assume that nothing is there

But look close into the shallows of dark

and something is shining, blinking, aware

Presented by Henrietta Manning

An installation of paintings and text exploring the meaning, connections and value that can be placed on an object. Shoes.  From ancient superstition, fantasy and Cinderella, shoe fetishism and fashion, shoes mean many things to many people. Shoes hold memories, reflecting back moments in time of our footprints on earth.

References to shoes and feet permeate our language. To ‘’start off on the right foot’’ has come to mean to make a good start at something, but go back further and you will discover it was considered unlucky to put on your left shoe first. The phenomenon of shoes hidden in fireplaces, walls, under floors and in roof spaces is documented, if not fully explained. A practice thought to ward off evil or possibly to ensure fertility and happiness. The oldest shoe was found in Winchester Cathedral dating to 1308 and many are in private homes. These superstitions were brought to Australia by immigrants and the artist has worked from shoes loaned to her and even found under her properties historic apple packing shed.

A shoe can be practical, or an expression of stature, an extension of personality and individuality. A well-worn shoe carries the imprint of its owner. From your first to your last shoe, they can connect you to memories of places, times and people. The shoes of the deceased can be highly emotive and difficult to part with. ‘Cynthia I’ was painted in memory of the artists mother in the expectation she would then be able to let go of her mother’s shoes, she still has them!

It is both fascinating and horrifying the obsession and money spent on shoes, from Imelda Marcos’s personal collection, brand trainers, to collectors of the shoes of the famous or the excess of the 2018 Passion Diamond Shoes (USD 17 million made from diamonds and gold). Paintings from life of those hidden dark dusty mysterious shoes found secreted in and under buildings will contrast with the bright and shiny footwear abandoned in opportunity shops with which some have tortured their feet. When considering the ramifications of our footprint/lifestyle on the planet it would be pertinent to consider the waste generated by the fashion industry.

What do shoes mean to you?

Presented by Tasmanian Ceramics Association

A snapshot of ceramicist the late John Watson (d.2017), revealing his distinctive architectural style of handbuilt and  slipcast sculptural forms, often raku fired.

The Tasmanian Ceramics Association’s concurrent exhibition in Off Centre’s Microgallery  (featuring John’s forms) is to establish a legacy fund in John’s name.

John Watson was a builder in various guises for much of his adult life, only taking up ceramics in his 60’s.

A fair amount of mudbrick building led him to clay. A two-year Ceramics Diploma course in Canberra (2000/2001) and – on his return to Tasmania – a part-time job as the ceramics technician for TAFE & Adult Education.

As John honed his slip-casting and hand-building skills, he developed a unique style and began selling a range of work through the artists’ cooperative, Off Centre.

John’s keen interest in ceramics manifested itself in many volunteer roles. He was a much valued and committed member of the TCA, serving as President for a time and the driving force behind many activities – especially his popular raku workshops.

John’s strong architectural forms revealed his keen sense of design, winning him many awards at TCA exhibitions, and a dedicated fan base.

John was a much loved and well-respected teacher and colleague who gave his knowledge and time generously. John’s sudden passing in 2017 was a huge blow to the ceramic’s community.

The LIGHTBOX exhibition is a tribute to John, showcasing a collection of his work, photographs of him in the studio, at workshops, and his creations.

Following John’s death, the TCA committee decided to create a legacy fund to commemorate John’s significant contribution to Tasmanian ceramics. A programme of workshops was developed whereby students and colleagues who’d worked alongside John were given the opportunity to work with casts of his iconic forms. Several new and vibrant sculptures emerged – prompted by his architectural forms. Participants were encouraged think differently and experiment with unfamiliar materials and techniques. John’s touch is present in each of the art works created. Amazing echoes reverberate through the exhibits as familiar elements are reimagined and made new.

Creations from these workshops are presently on show in Off Centre’s Microgallery, in two parts – October 6th-19th and the 20th October until November 2nd.

Thanks to all the artists who have generously donated their time and artworks. The proceeds of sales will go towards funding future projects in John Watson’s name.

Presented by Stitching and Beyond Inc

A wonderful display of colourful and creative birds created by members of Stitching and Beyond to herald the coming of our Biennial Out of Hand exhibition.

Every two years Stitching and Beyond hold an exhibition to showcase the wonderful work of its member textile artists. Stitching and Beyond is a diverse group of textile artists exploring innovative approaches to textiles, fibre and mixed media arts. The Out of Hand exhibition is inclusive and open to all Stitching and Beyond members, whether they be professional or amateur artists.

Leading up to the Out of Hand exhibition, Stitching and Beyond create a themed display for the LightBox to help promote the exhibition. In 2023 the theme is Birds. This theme came about because many of our members were creating such beautiful birds and we decided that they needed to be displayed. The birds and nests on display are created from a variety of techniques and materials. Many are made from recycled fabric and other materials.

Step into the mesmerizing world of Tasmania’s Colonial and Federation period, where art, history, and symbolism intertwine to shed light on the aspirations, and interactions of individuals during a transformative era of exoticism, identity quest, and societal change..

Delve into the emotions and aspirations of Tasmania’s residents during this transformative era, where  the allure of the unknown opportunity were intertwined with the quest for a distinct Australian identity. Through a fusion of art, history, and symbolism, this exhibit sheds light on the complex lives and interactions of individuals during a time of great change.

Dominating the space is a sketch of an 11 metre tall Palm tree (Canary Date Palm Phoenix Canariensis), standing as a symbol of the allure and mystique associated with the faraway colonies. These non-native Palm trees, thriving amidst Georgian and Federation buildings, evoke a sense of foreign aesthetics that captivated the imaginations of European observers. Planted over a century ago, likely from seeds sourced from the Botanical Gardens, they now embody the visions of those who meticulously tended to them. At the base of the Palm tree, a collage reminiscent of 19th-century wallpaper depicts exotic motifs that were popular during that period.

An architectural marvel featured in this exhibition is the Trinity Chapel building in Brisbane street Hobart, which witnessed multiple transformations—from army and convict barracks to a prison and court. This structure exemplifies the aspirations of many to create an ordered and refined life in Tasmania, even amidst the chaotic and occasionally violent circumstances. Nestled amidst the breathtaking natural beauty and Georgian elegance, Trinity Chapel becomes a poignant symbol of the pursuit of a better future.

Beyond the realm of history and architecture, the exhibition hints at themes of choice, personal relationships, growth, and identity. It acknowledges the role of tourism in shaping Tasmanian society, where early settlers embarked on leisurely trips up the Derwent River to New Norfolk, basking in the scenic vistas and embracing a sense of relaxation. The closure of Port Arthur in 1877 propelled it into a popular tourist destination, solidifying the long-standing connection between tourism and places of suffering. This fascination with dark tourism, prevalent in Europe until the late 1800s, persists today, with ghost and prison tours captivating audiences worldwide.

Tourism allows for contemplation of the built and natural environment, fostering a deeper understanding of the past and shaping individual and collective identities. It becomes a lens through which social structures and hierarchies are observed and evaluated. Drawing inspiration from the grand European tours, originally undertaken by idle aristocrats but later embraced by the middle and upper lower classes, tourists partake in customs and acquire “relics” that define their experiences. These judgments manifest through clothing choices, accents, manners, and the depth of engagement with the surroundings.

The exhibition also explores the phenomenon of artefact and memento collection, an enduring tradition in tourism that continues to resonate worldwide. However, this practice has led to the depletion of natural resources, such as shells on beaches and historic convict bricks, and the influx of low-quality imported products, diminishing the significance of genuine artefacts. Amidst this discussion, a group of ambiguous figures symbolises the complexities of human interaction and affections, inviting viewers to reflect upon the intricate dynamics at play.

The term ‘black swan’ meaning an unlikely or impossible occurrence is used here

As part of this experience, the exhibit  offers a little Trinity Chapel paper model, following the tradition of tasteful tourist mementos, these provide an opportunity for reflection on one’s journey and make perfect gifts for those who were unable to attend the exhibition but wish to capture its essence. Available for renowned French Loire Valley castles and major European cathedrals, these educational and portable keepsakes offer a tangible memory of a visit to Hobart Town.  

References:

“Tourists” by Lucy Lethbridge

“Hobart Town” by Peter Bolger

“Van Diemen’s Land” by James Boyce

Materials: Cartridge paper, watercolour, transparent film, LED lighting 

Model kit available at Miss Bond Salamanca and National Trust Penitentiary Chapel Site Campbell. Street Hobart $22

plural noun: Interstice; a space that intervenes between things; especially one between closely spaced things.

Everything breathes in of itself. We separate for our minds. The space around things is connected as much as the things themselves.

When learning new skills. Everything was separate, needing its own time, place, and category. It needed to stay within these categories, or chaos would quickly follow.

Now, it all needs to merge. The Artist, Florist, Model, Mother. In spite of the possible chaos and the definite unknown. Because the comfortable categories are no longer necessary. I can no longer play different roles. I just need to be whole.

“It’s always 5 o’clock somewhere…”

A tiny soiree of elegant new works inspired by the glamour and fun of Happy Hour. Inspired by Tasmanian native flora, this custom set of handmade cocktail picks ornately reference the delicate and fragile nature of the plants they are inspired by in Emily’s signature botanical style.     

They are functional objects, perfectly suited to the most fabulous of occasions. A beautifully decadent garnish for your glass – after all “it’s always 5 o’clock somewhere”.

Emily is a multi-award winning Tasmanian studio Jeweller & SAC resident artist.

A window into the influence of the natural world on our urban experience through light and our perception of time. 

The installation, In Passing by SAC Resident Artist Christian Little, thematically explores time and our collective perception of the natural environment as ‘other’ in the urban landscape through a site-specific investigation of Salamanca. Utilising photographic imagery based within a systematic process of recording spaces throughout Salamanca repeatedly across months, documenting the natural change of weather, bloom, and decay.

Born from time in studio observing light cascade through the window from the courtyard outside. This installation draws attention to those unintentional moments spent in passing, encouraging an awareness of the ambient presence of the environment in our lives. Constructed using translucent acrylic sheets and paper, the materials and composition echo the original window experience of the artist. This collaboration with natural light changes the viewer’s perception of the installation throughout time of day and climate. Whilst the ephemeral quality of the semi-translucent photographs benefits from multiple viewings from different perspectives and an acute observation of nature’s aesthetic influence. Ultimately, ‘In Passing’ encourages a more intentional relationship with the surrounding processes of nature in the urban environment.

A graphic art installation featuring The Tree of Life with geometrical patterns, floral motifs, and Arabic Calligraphy by visual artist Halima Bhatti.

The Arabesque art coupled with geometrical patterns, motifs and Arabic Calligraphy made on The Tree of Life symbol, which is used by many cultures. This Turkish floral version captures vibrant colours often used in architecture in the Ottoman era.

The work is a manifestation of cultural Islamic art that artist has deep connections with, which focuses on the spiritual representation of objects and beings, made with the Tree of life symbol, which is a metaphor for the interconnectedness of all beings.

“Only by recognizing our roots, we can flourish in life, with wisdom, power and prosperity” – Halima Bhatti