THE IN-BETWEEN
- GUS EAGLETON
- FINTAN MAGEE
- MATT LOCKWOOD
- DAVID DON
- CARL STEFFAN
MUSIC SPECIAL GUEST DESMOND CHEESE
26th April 6pm – 9pm
26th, 27th, 28th noon-5pm
Upstairs & Downstairs
Glass Workshops for Kids
Joanna Bone & Aaron Micallef, Glass Artists at The Shed present: Glass Workshops for Kids.
Create your own design and have it sandblasted onto a handmade tumbler or tea-light holder that we’ve handcrafted from recycled glass. Fantastic Mother’s Day gift!!
Hot Glass Demonstrations
Watch us demonstrate the hot glass processes we use to transform discarded bottles into beautiful glassware.
Date: Saturday 20th April
Time: Workshops (30 min): 10am – 3pm. Hot glass demonstrations: 11am & 1pm
Where: THE SHED, 257 Macarthur Ave, Eagle Farm (opposite Gateway Airport Parking)
Cost: Gold coin donation for workshop
Contact: 0412 591 459 / aaron.micallef@optusnet.com.au
Suitable for ages 7+. Shoes are essential (preferably enclosed). Parents/guardians must stay onsite during workshop.
Unearthly
Sarah Cave Ceramics exhibition “Unearthly”.
Level 1, Jugglers Art Space March 22 – April 2. Opening March 22 from 6pm
Vinegar Tits
A group exhibition by Deanne Muir, Toby Gooley and Jess Thompson.
Opening night Friday 22nd February. 6 – 9pm
Gallery open 22nd – 24th February 2013. 12 noon – 5pm
ARTIST STATEMENTS
“My works depict an amalgam of flesh, bone and organs or as one would describe, ‘A psychedelic whirlpool inside a biological skin.’ Born by the sea and raised in an esky floating between my fathers’ dive boats, is the richest of memories that inspires the creativity responsible for my ambiguous, fluid and visceral works.” Jess Thompson
“My work stems from a place of connection, from impassioned moments and experiences but as I grow I feel that both connection and disconnection are equally amplified. One area I am exploring in this exhibition is the disconnection from materials that we use, there lifespan, production and disposal. I am exhibiting at Jugglers because it has a great atmosphere and a lot of local support for artists like ourselves.”
Deanne Peta Muir
“A former science student who lives in a crazy house presents to you a series of humourous works posing open-ended questions.
I am exhibiting at jugglers because I love the down-to-earth vibe and supporting artist-run initiatives.” Toby Gooley
Public Art Installations
Jugglers Art Space has been contracted by Brisbane City Council to work local communities and other service organisations to develop and produce up to 10 Public Art Installations [Murals] around Brisbane. The first, in conjunction with Picabeen Community Centre, will commence on February 27. Jugglers mentoring model for its Emerging Artists Development Program [EADP] will be used in art design workshops. Recognised mural and public art installation artists will oversee the projects.
Impractical Enthusiasm
By Conor Timothy O’Shea
Opening event – Feb 1 from 6pm
Feb 2, 3 12 – 5 pm.
For further information 3252 2552
Jugglers Art Space is pleased to present Conor Timothy O’Shea’s Impractical Enthusiasm. Conor is Brisbane based artist and works as an artist in residence at Jugglers “Shed” studio in Eagle Farm. He is currently studying a BFA at Queensland University of Technology. His most recent works featured at the Judith Wright Centre with In House ARI at the BARI Festival.
Working with painting, installation, sculpture, video and performance, Conor’s practice deals with a broad range of themes, processes and materials. While Conor’s sculptural installations physically address the viewers body and engage three-dimensional space, his paintings seem unconvinced that they warrant being shackled by the bonds of gravity and their rectangular limitations. The abstract works formally address the surface limitations with structural and considered geometric shapes and are then delivered into chaos with energetic gestural marks.
The formal qualities of painting are integral to the aesthetic experience; however the “meaning” of Conor’s abstraction comes from painting processes. Each work begins with a single layer of spray paint; the materials nature imperfectly covers the surface. These imperfections inform a number of gestural marks that map out the incidental patterns created by the spray paint. The abstracts are painted through an ongoing process of incidental and considered marks until it reaches a “moment of truth”, where the combination of marks becomes equitable. Creating tension between materials form a dominant theme underpinning Conor’s practice. He feels that these physical and material relationships create a situation that objectifies the human condition and is symbolic of the storytelling paradigm that pervades human understanding of the universe. Whether we create our own narratives or consume the prescribed rhetoric, they’re all stories, and all stories are works of fiction. Although the story might be rooted in facts, a player selects which to present and which to disregard.