Campfire Valley (2021), oil on board, 184cm (H) x 205.5cm (W) (multiple panels)

A PLACE WE CALL HOME

COLLABORATIVE EXHIBITION @ STALA CONTEMPORARY (WEST PERTH, WA)

HARRISON SEE, AASIYA EVANS & DESMOND MAH

Aasiya Evans, Desmond Mah & Harrison See represent three culturally diverse artists working across different multidisciplinary oeuvres of print and paint reflect on complex issues of identity through a range of personal/spiritual, political and social narratives. A collaborative exhibition that explores an inter-cultural and inter-connected approach as they reflect on their experiences of life in Australia. Bringing into question cultural connectivities and divisions that reveal the importance of discourse pertinent to Perth’s divergent cultural, academic and social communities. Themes especially relevant during times of global crisis such as the COVID-19 pandemic.

 

Supported through funding from the Department of Local Government Sport and Cultural Industries (WA).

dlgsc-mono-png.png
CAMPSITE III
CAMPSITE IV
1/1

CAMPFIRE VALLEY

EXHIBITED AT ION II (IN OUR NATURE) GROUP EXHIBITION @  LOST EDEN CREATIVE (DWELLINGUP, WA)

Campfire Valley is the product of the artist’s current practice-led doctoral research that explores dialogue between contemporary hybrid Australian cultural identities. Research that has caused See to reflect upon his own hybrid identity as he exchanges perspectives and experiences with other Australian artists; specifically artists of South-East Asian heritage. The result, a contemporary Australian mythology that gathers components from an ever-shifting landscape of his own restless European ancestry. An unstable site assembled from disparate cultural spaces united within a single chaotic parable.

20210116_120413.jpg

Campfire Valley (2021), oil on board, 184cm (H) x 205.5cm (W) (multiple panels)

(IN)VULNERABLE

EXHIBITED AT FRINGE WORLD FESTIVAL (COLLABORATIVE EXHIBITION: POLOPHONY) @ GALLERY 25 (EDITH COWAN UNIVERSITY, WA)

HARRISON SEE (VISUAL ARTIST)

BRAD NISBET (VIRTUAL REALITY)

DECLAN BROOKS-CREW (CRIMINOLOGY)

This artwork represents a convergence between visual art, criminology, and media studies touching on masculinity and hero culture within paramilitary structures. Specifically with a focus on police, this interdisciplinary installation analogises the ideals symbolised by the heroic brotherhoods of European knights, experimenting with juxtapositions of expectations and realities within contemporary policing culture. Through augmented reality, a dialogue between stoic protector and vulnerable public servant reveals itself. This plays on the timeless, but problematic dynamic between protector and protected—between police officers and civilians—as one group ideally shields the other against the dangers of the world. A dynamic that absorbs its elite members into the ideals of a greater cause while relinquishing the nuances of individuality behind a symbolic uniform; individuality absorbed into the crude meta-narrative of good vs evil. An enduring narrative within European legend where valiant knights are subverted by temptation, greed or betrayal; a duality between the ideals of a group and the inherent vulnerability of the individual. A duality reflected in the imposing stature of the installation’s figures and the materials used in their construction.

ALL PHOTOGRAPHS BY MARNIE RICHARDSON 2021

(IN)VULNERABLE
(IN)VULNERABLE
(IN)VULNERABLE
(IN)VULNERABLE
(IN)VUNERABLE
(IN)VULNERABLE
(IN)VULNERABLE
(IN)VULNERABLE
1/1

EARTHFIRE VALLEY

EXHIBITED AT THE MANDORLA ART AWARD @ STALA CONTEMPORARY, WA

Earthfire Valley responds to Micah by highlighting our choice to pursue what is good when confronted with chaos. An assemblage of iconography and symbolism, this painting is an allegorical response to current global social and ecological tensions. Tensions envisioned in the ominous scenes of dissonance surrounding both sides of a valley path. Navigating this valley, a lone protagonist either resigns to the overwhelming distraction or pursues truth; a choice reflected by the changing of the central panel. This alternating central panel aims to disrupt the static qualities of the painted image, while a complex narrative rewards an extended engagement with the work.

EARTHFIRE VALLEY
EARTHFIRE VALLEY
EARTHFIRE VALLEY
EARTHFIRE VALLEY
EARTHFIRE VALLEY
EARTHFIRE VALLEY
1/1
SWEET TOOTH II
SWEET TOOTH
SWEET TOOTH III
SWEET TOOTH IV
1/1