2002
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, Adelaide Central Gallery
Photograph by Mick Bradley
The first iteration of this portable space for highly physical acts of drawing generates gestural marks made by feel rather than sight, using three-metre-long dowel styluses, tipped with chalk.
2002
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, Adelaide Central Gallery
Photograph by Mick Bradley
The first iteration of this portable space for highly physical acts of drawing generates gestural marks made by feel rather than sight, using three-metre-long dowel styluses, tipped with chalk.
2002
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, Adelaide Central Gallery
Photograph by Mick Bradley
The first iteration of this portable space for highly physical acts of drawing generates gestural marks made by feel rather than sight, using three-metre-long dowel styluses, tipped with chalk.
2003
MDF, timber, fixings, wheels
215 x 200 x 200cm
Installation view, Contemporary Art Centre of South Australia Project Space
Photograph by Mick Bradley
Projected images of the work’s previous state are overlaid and inscribed onto the cube’s surface with a router. A procedural system dictates the varying depths to which the router bit is set, resulting in the irregular erosion at the base of the structure.
2003
MDF, timber, fixings, wheels
215 x 200 x 200cm
Installation view, Contemporary Art Centre of South Australia Project Space
Photograph by Mick Bradley
Projected images of the work’s previous state are overlaid and inscribed onto the cube’s surface with a router. A procedural system dictates the varying depths to which the router bit is set, resulting in the irregular erosion at the base of the structure.
2003
MDF, timber, fixings, wheels
215 x 200 x 200cm
Installation view, Contemporary Art Centre of South Australia Project Space
Photograph by Mick Bradley
Projected images of the work’s previous state are overlaid and inscribed onto the cube’s surface with a router. A procedural system dictates the varying depths to which the router bit is set, resulting in the irregular erosion at the base of the structure.
2003
MDF, timber, fixings, wheels
215 x 200 x 200cm
Installation view, Contemporary Art Centre of South Australia Project Space
Photograph by Mick Bradley
Projected images of the work’s previous state are overlaid and inscribed onto the cube’s surface with a router. A procedural system dictates the varying depths to which the router bit is set, resulting in the irregular erosion at the base of the structure.
2003
MDF, timber, fixings, wheels, acrylic paint, studio detritus, handwritten list
Two components, each 215 x 200 x 200cm
Installation view, Artspace, Adelaide Festival Centre
Photograph by Mick Bradley
In this iteration, the carved surfaces of the extant cube are inverted, with all apertures boarded up in the manner of an abandoned building. Unfinished works and other studio detritus are assembled into a second structure of the same dimensions as the original.
2003
MDF, timber, fixings, wheels, acrylic paint, studio detritus, handwritten list
Two components, each 215 x 200 x 200cm
Installation view, Artspace, Adelaide Festival Centre
Photograph by Mick Bradley
In this iteration, the carved surfaces of the extant cube are inverted, with all apertures boarded up in the manner of an abandoned building. Unfinished works and other studio detritus are assembled into a second structure of the same dimensions as the original.
2003
MDF, timber, fixings, wheels, acrylic paint, studio detritus, handwritten list
Two components, each 215 x 200 x 200cm
Installation view, Artspace, Adelaide Festival Centre
Photograph by Mick Bradley
In this iteration, the carved surfaces of the extant cube are inverted, with all apertures boarded up in the manner of an abandoned building. Unfinished works and other studio detritus are assembled into a second structure of the same dimensions as the original.
2003
MDF, timber, fixings, wheels, acrylic paint, studio detritus, handwritten list
Two components, each 215 x 200 x 200cm
Installation view, Artspace, Adelaide Festival Centre
Photograph by Mick Bradley
In this iteration, the carved surfaces of the extant cube are inverted, with all apertures boarded up in the manner of an abandoned building. Unfinished works and other studio detritus are assembled into a second structure of the same dimensions as the original.
2003
MDF, timber, fixings, wheels, acrylic paint, studio detritus, handwritten list
Two components, each 215 x 200 x 200cm
Installation view, Artspace, Adelaide Festival Centre
Photograph by Mick Bradley
In this iteration, the carved surfaces of the extant cube are inverted, with all apertures boarded up in the manner of an abandoned building. Unfinished works and other studio detritus are assembled into a second structure of the same dimensions as the original.
2004
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, artist’s studio, Norwood, South Australia
Photograph by Mick Bradley
The final form of Drawing Cube extrapolates on accumulated traces from previous states. The inscriptions, repairs, and annotations on its surface become a template for the additional cuts, hinges, and timber exoskeletons that characterise this phase of the work.
2004
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, artist’s studio, Norwood, South Australia
Photograph by Mick Bradley
The final form of Drawing Cube extrapolates on accumulated traces from previous states. The inscriptions, repairs, and annotations on its surface become a template for the additional cuts, hinges, and timber exoskeletons that characterise this phase of the work.
2004
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, Drill Hall Gallery, Australian National University, Canberra
The final form of Drawing Cube extrapolates on accumulated traces from previous states. The inscriptions, repairs, and annotations on its surface become a template for the additional cuts, hinges, and timber exoskeletons that characterise this phase of the work.
2004
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, Drill Hall Gallery, Australian National University, Canberra
The final form of Drawing Cube extrapolates on accumulated traces from previous states. The inscriptions, repairs, and annotations on its surface become a template for the additional cuts, hinges, and timber exoskeletons that characterise this phase of the work.
2004
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, Drill Hall Gallery, Australian National University, Canberra
The final form of Drawing Cube extrapolates on accumulated traces from previous states. The inscriptions, repairs, and annotations on its surface become a template for the additional cuts, hinges, and timber exoskeletons that characterise this phase of the work.
2004
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, Drill Hall Gallery, Australian National University, Canberra
The final form of Drawing Cube extrapolates on accumulated traces from previous states. The inscriptions, repairs, and annotations on its surface become a template for the additional cuts, hinges, and timber exoskeletons that characterise this phase of the work.
2004
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, Drill Hall Gallery, Australian National University, Canberra
The final form of Drawing Cube extrapolates on accumulated traces from previous states. The inscriptions, repairs, and annotations on its surface become a template for the additional cuts, hinges, and timber exoskeletons that characterise this phase of the work.
2004
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, Drill Hall Gallery, Australian National University, Canberra
The final form of Drawing Cube extrapolates on accumulated traces from previous states. The inscriptions, repairs, and annotations on its surface become a template for the additional cuts, hinges, and timber exoskeletons that characterise this phase of the work.
2004
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, Drill Hall Gallery, Australian National University, Canberra
The final form of Drawing Cube extrapolates on accumulated traces from previous states. The inscriptions, repairs, and annotations on its surface become a template for the additional cuts, hinges, and timber exoskeletons that characterise this phase of the work.
2004
MDF, timber, fixings, wheels, acrylic paint, chalk
Dimensions variable
Installation view, Drill Hall Gallery, Australian National University, Canberra
The final form of Drawing Cube extrapolates on accumulated traces from previous states. The inscriptions, repairs, and annotations on its surface become a template for the additional cuts, hinges, and timber exoskeletons that characterise this phase of the work.
2003
Cardboard, dowel, suitcase, fixings
300x150x250cm
Installation view, Downtown Art Space, Adelaide
Photograph by Mick Bradley
Expanding on the role that the cardboard box has as a basic unit of childhood play and construction, this work attempts to analogise a child-like flight of imagination.
2003
Cardboard, dowel, suitcase, fixings
300x150x250cm
Installation view, Downtown Art Space, Adelaide
Photograph by Mick Bradley
Expanding on the role that the cardboard box has as a basic unit of childhood play and construction, this work attempts to analogise a child-like flight of imagination.
2003
Cardboard, dowel, suitcase, fixings
300x150x250cm
Installation view, Downtown Art Space, Adelaide
Photograph by Mick Bradley
Expanding on the role that the cardboard box has as a basic unit of childhood play and construction, this work attempts to analogise a child-like flight of imagination.
Group exhibition at Downtown Art Space, Adelaide, 2003
2004
Collaboration between Roy Ananda and Julia Robinson
Dimensions variable
Cardboard, thread, fixings
Installation view, 151 Hindley Street, Adelaide
Photograph by Mick Bradley
This collaborative work conflates Robinson’s penchant for folklore and fairy tales and Ananda’s focus on materials and process. The work was subsequently shown as part of the 2004 iteration of ‘Primavera’ at the Museum of Contemporary Art, Sydney.
Julia Robinson is represented by Hugo Michell Gallery, Adelaide.
2004
Collaboration between Roy Ananda and Julia Robinson
Dimensions variable
Cardboard, thread, fixings
Installation view, 151 Hindley Street, Adelaide
Photograph by Mick Bradley
This collaborative work conflates Robinson’s penchant for folklore and fairy tales and Ananda’s focus on materials and process. The work was subsequently shown as part of the 2004 iteration of ‘Primavera’ at the Museum of Contemporary Art, Sydney.
Julia Robinson is represented by Hugo Michell Gallery, Adelaide.
2004
Collaboration between Roy Ananda and Julia Robinson
Dimensions variable
Cardboard, thread, fixings
Installation view, 151 Hindley Street, Adelaide
Photograph by Mick Bradley
This collaborative work conflates Robinson’s penchant for folklore and fairy tales and Ananda’s focus on materials and process. The work was subsequently shown as part of the 2004 iteration of ‘Primavera’ at the Museum of Contemporary Art, Sydney.
Julia Robinson is represented by Hugo Michell Gallery, Adelaide.
2004
Collaboration between Roy Ananda and Julia Robinson
Dimensions variable
Cardboard, thread, fixings
Installation view, 151 Hindley Street, Adelaide
Photograph by Mick Bradley
This collaborative work conflates Robinson’s penchant for folklore and fairy tales and Ananda’s focus on materials and process. The work was subsequently shown as part of the 2004 iteration of ‘Primavera’ at the Museum of Contemporary Art, Sydney.
Julia Robinson is represented by Hugo Michell Gallery, Adelaide.
2004
Collaboration between Roy Ananda and Julia Robinson
Dimensions variable
Cardboard, thread, fixings
Installation view, 151 Hindley Street, Adelaide
Photograph by Mick Bradley
This collaborative work conflates Robinson’s penchant for folklore and fairy tales and Ananda’s focus on materials and process. The work was subsequently shown as part of the 2004 iteration of ‘Primavera’ at the Museum of Contemporary Art, Sydney.
Julia Robinson is represented by Hugo Michell Gallery, Adelaide.
2004
Collaboration between Roy Ananda and Julia Robinson
Dimensions variable
Cardboard, thread, fixings
Installation view, 151 Hindley Street, Adelaide
Photograph by Mick Bradley
This collaborative work conflates Robinson’s penchant for folklore and fairy tales and Ananda’s focus on materials and process. The work was subsequently shown as part of the 2004 iteration of ‘Primavera’ at the Museum of Contemporary Art, Sydney.
Julia Robinson is represented by Hugo Michell Gallery, Adelaide.
2004
Collaboration between Roy Ananda and Julia Robinson
Dimensions variable
Cardboard, thread, fixings
Installation view, 151 Hindley Street, Adelaide
Photograph by Mick Bradley
This collaborative work conflates Robinson’s penchant for folklore and fairy tales and Ananda’s focus on materials and process. The work was subsequently shown as part of the 2004 iteration of ‘Primavera’ at the Museum of Contemporary Art, Sydney.
Julia Robinson is represented by Hugo Michell Gallery, Adelaide.