Artist Lisa Roet’s work challenges the viewer to consider their relationship to the non human animal; the animals around us, distant from us in zoos, in the ever shrinking wilderness, or within us, their very tissue and valves now used in surgery. We share the planet with animals and man share their bodies with the animal. Lisa Roet’s career has been spent interrogating this barrier, in highly public displays of her work.
As one of more than 25 artists whose work will feature in the upcoming RMIT Gallery exhibition Revelations: Works from the RMIT Collection (23 May to 12 July), Lisa speaks to Evelyn Tsitas about the revelations of her own practice in The Melbourne Review.
Here are some more images from the unveiling of her large scale work at RMIT’s Bundoora campus.
Lisa Roet (centre) with RMIT Gallery exhibition coordinator Helen Rayment (right)
Lisa Roet (right) with RMIT Gallery Director and Chair, RMIT Collection Advisory Committee Suzanne Davies
Lisa Roet says: “I see such an affinity with other primates and feel our connection as a biological whole, so it makes it easy to use the image of the ape as a metaphor or representative of what’s going on in the world around us. I like the way the image of the ape divides the viewer and confronts them with seeing aspects of themselves they may never have contemplated.”
Can sound be sculpture? Hear it in Bill Fontana‘s beautiful Kiribilli Wharf room at RMIT Gallery when the new exhibition Revelations: Sculpture from The RMIT Art Collection is opened tonight by Ken Scarlett OAM at 6pm on 22 May 2014. Ken Scarlett‘s publication Australian Sculptors was the first to present a complete survey of sculpture in Australia.
The sound sculpture room was designed to complement the Fontana work by curator Jon Buckingham. He says “we have presented Kiribilli Wharf here with a lighting component designed to de-emphasize the conventional ‘white cube’ of the gallery space, and to create a truly immersive experience. “
In his catalogue essay, Jon Buckingham writes;
That innovation is such an integral part of contemporary sculptural practice suggests that it isn’t simply a deliberate recycling of form. Krauss’ expanded field is a reformulation of what can be considered sculpture – a broadening of the term in line with an increasingly diverse approach to practice, but still within a closely defined set of parameters. This properly allows for the inclusion of works like Bill Fontana’s Kirribilli Wharf and Reko Rennie’s I wear my own crown, which use sound and light respectively to express form. Artist Gareth Jones finds this problematic: in jettisoning the concept of sculpture as object, sculpture risks losing the identity that defines it. Though one can respect this line of reasoning, it seems overly reductive. Fontana and Rennie’s works are just further examples of truth-to-materials, addressing the subject of sound with sound, light with light. This is not to suggest that these works are simply formal experiments; both works are profoundly concerned with establishing a sense of place, and in Rennie’s case, a sense of identity as well.
Bill Fontana (b. 1947)
Kirribilli Wharf, 1976
8 channel sound installation
duration 27 min 53 sec (looped)
Purchased through the RMIT Art Fund, 2012
Sound Art Collection
RMIT University Art Collection SA.2013.3