Ellie Chalmers-Robinson

Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events
Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events Black Art Projects Turn of Events

Turn of Events

JEREMY BLINCOE
ELLIE CHALMERS-ROBINSON
JAMES GEURTS
MADELEINE PRESTON


As journalism increasingly resorts to sensationalising ’news’ as cataclysmic, or worse still apocalyptic, Turn of Events looks at where the threshold of a moment elicits change - be that a pandemic, political upheaval, climate catastrophe or otherwise - and how one receives, measures, and records this transition.

Jeremy Blincoe uses the sculptural form and photographic medium in a study of metamorphosis and infinite becomings, where it is impossible to demarcate the point at which one life ends and another begins.

Ellie Chalmers-Robinson’s paintings are simultaneously controlled and unyielding, loose and expressive, harsh and delicate. The treatment of these elements, moving between moments of lucidity and disorder, hints at the presence of a space between opposites.

Through abstraction, fieldwork, site interventions and studio research, James Geurts typically focuses on the way that cultural and natural forces intersect to shape not only landscape but perception itself. Recent projects explore the diversion of river agency, consider the impact of industry on geology, study the seismic, draw a line from the primordial to the technological, and investigate concepts of time.

Madeleine Preston’s work speaks to the cannon of ceramic history and the specificity of the material by celebrating the kiln’s ability to bend and buckle form, and equally hold moments in time and gesture.

22 April - 4 May

Opening Saturday 24 April, 3-5pm
Hours Tue - Fri 11-3pm, Sat 12-4pm

71 Balmain Street
Cremorne VIC 3121
(entry via Green Street)

Download exhibition catalogue (PDF)

Installation images: Jeremy Blincoe