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| Familiars exhibition, gallery view. Photo by Ellen Dahl |
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Kath Fries, INSIDIOUS LULL, 2018, single channel video, audio, magnolia, clay, recycled-rag felt blanketing, mirror panels, sisal, beeswax and bronze.
Photo by Ellen Dahl
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Kath Fries, INSIDIOUS LULL, 2018, single channel video, audio, magnolia, clay,
recycled-rag felt blanketing, mirror panels, sisal, beeswax and bronze. Photo by Ellen Dahl |
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| Katy B Plummer, THE CALL, 2018, video, sculpture, textiles, water, phone and disco balls. Photo by Ellen Dahl |
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| Kath Fries, ABODE 2017-2018 and CLUSTER 2018, beeswax, light and air-dried oyster mushrooms. Photo by Ellen Dahl |
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| Kath Fries, ABODE 2017-2018 and CLUSTER 2018, beeswax, light and air-dried oyster mushrooms. Photo by Ellen Dahl |
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| Kath Fries, LIQUESCE, 2013, single channel video projected on ABODE 2017-2018, beeswax, wire and found object. Photo by Ellen Dahl |
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| Kath Fries, ABODE 2017-2018, beeswax, air-dried oyster mushrooms, wire and found object. Photo by Ellen Dahl |
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| Kath Fries, ABODE 2017-2018, (detail view) beeswax, air-dried oyster mushrooms, wire and found object. Photo by Ellen Dahl |
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| Kath Fries, CLUSTER, 2018, beeswax and air-dried oyster mushrooms. Photo by Ellen Dahl |
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| Kath Fries, CLUSTER, 2018, (detail view), beeswax and air-dried oyster mushrooms. Photo by Ellen Dahl |
Familiars
Kath Fries & Katy B Plummer
AirSpace Projects Marrickville NSW
6 - 21 October 2018
Familiars delves into close relationships with other beings, from the human to the non-human, the material and the immaterial. Katy B Plummer and Kath Fries have found a synergy in their practices that resonates between darkly strange and seductively sweet. Such conjuring and co-creating with the familiar, accidental and uncanny involves embodied processes that unfold and enfold into open-ended narratives.
Traditionally ‘familiars' were associated with witches, such beings were companions and spies who assisted with enchantments and divining knowledge. Indeed, as female artists, Plummer and Fries draw on various feminist legacies of active creative knowledge, which differ from the masculine alchemist traditions seeking perfection; rather these women nurture, seduce, heal and enchant fictional and folkloric narratives into textured and mesmeric performative scenarios of aspiration, desire, mysteries and failings.
Slippery transitions between what is familiar and unfamiliar are navigated carefully as the artists probe into interconnections between the conscious mind and imagination, the normal and paranormal. Within these muffling felt-lined walls, there is a quiet spooky dance of refracted light interplaying with call of the crow and the telephone ring. Here combinations of familiar materials become uncanny, and complex corrupted characters evolve. The works invite various entangled storylines of both nurturing and toxicity between individuals and communities, societies and environments. These enchanting open-ended conversations and tangential insinuations continue to unravel and rhyme together into metaphors of experimentation and narrative.
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