Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Nape, 2018
becquerel daguerreotype, acrylic and mild steel
13 x 10.7 x 1.5cm, support dimensions variable.
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Cataract, Museum of Old and New Art, 2017-18
pigment on glass, acrylic and mild steel, support
dimensions variable, 13 x 10 x 1.5cm.
Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Marble, Ansaldo Teatro alla Scala, 2017-18
Hand printed chromogenic print on aluminium and mild steel, 149 x 97.5cm.
Photograph by Aaron Christopher Rees
Cataract, 2018 acrylic, fresnel spot and adhesive
170 x 110 x 27.5cm.
Photograph by Aaron Christopher Rees
Cataract, 2018 acrylic, fresnel spot and adhesive
170 x 110 x 27.5cm.
Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Echo: beneath the cataract lies a stain
Cataract, 2018, acrylic, fresnel spot and adhesive
Documentation: Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Oxidise, Head of Goddess predicted to be Aphrodite, |
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Echo: beneath the cataract lies a stain, 2018, was constructed as a site specific response to the stain on the floor of the Sutton Gallery Project Space, a residue of the space’s previous function as a print workshop. The installation creates a constellation from a series of chance encounters, photographed by Williams between 2017-2018, to create an exhibition that references the myth of Echo and Narcissus from the perspective of Echo’s voice.
The exhibition considers the distortion and subsequent transformation that occurs when motifs are repeated, in this case the mark or stain. Conflation between language, the photographic process and its history, are expressed in two representations of the double meaning of the word cataract. This exhibition, which changed vastly based on the time it was visited, due to the position of the natural window light entering the space, used the architecture as a frame to the outside world at the same time as a space to speak about; blindness, the body as a repository for imagery, longing and scarring as a marker of actions past.
Echo: beneath the cataract lies a stain
Sutton Gallery, Project Space, Melbourne
Echo: beneath the cataract lies a stain, 2018,
Installation view. Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view. Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view. Photograph by Aaron Christopher Rees
Nape, 2018
becquerel daguerreotype, acrylic and mild steel
13 x 10.7 x 1.5cm, support dimensions variable.
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Cataract, Museum of Old and New Art, 2017-18
pigment on glass, acrylic and mild steel, support
dimensions variable, 13 x 10 x 1.5cm.
Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Marble, Ansaldo Teatro alla Scala, 2017-18
Hand printed chromogenic print on aluminium and mild steel, 149 x 97.5cm.
Photograph by Aaron Christopher Rees
Cataract, 2018 acrylic, fresnel spot and adhesive
170 x 110 x 27.5cm.
Photograph by Aaron Christopher Rees
Cataract, 2018 acrylic, fresnel spot and adhesive
170 x 110 x 27.5cm.
Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Echo: beneath the cataract lies a stain
Cataract, 2018, acrylic, fresnel spot and adhesive
Documentation: Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Oxidise, Head of Goddess predicted to be Aphrodite, |
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Photograph by Aaron Christopher Rees
Echo: beneath the cataract lies a stain, 2018,
Installation view.
Echo: beneath the cataract lies a stain, 2018, was constructed as a site specific response to the stain on the floor of the Sutton Gallery Project Space, a residue of the space’s previous function as a print workshop. The installation creates a constellation from a series of chance encounters, photographed by Williams between 2017-2018, to create an exhibition that references the myth of Echo and Narcissus from the perspective of Echo’s voice.
The exhibition considers the distortion and subsequent transformation that occurs when motifs are repeated, in this case the mark or stain. Conflation between language, the photographic process and its history, are expressed in two representations of the double meaning of the word cataract. This exhibition, which changed vastly based on the time it was visited, due to the position of the natural window light entering the space, used the architecture as a frame to the outside world at the same time as a space to speak about; blindness, the body as a repository for imagery, longing and scarring as a marker of actions past.