14 Feb - 2 Mar 2019

Opening Night | Thursday 14 Feb, 6pm–8pm

CURATORS | James Carey + Bridie Lunney 



DEBUT XV | Grace Carver, Paris Fontana, Andre Franco, Lauren Gostin, Erin Hallyburton, IchikawaEdward, Yvette James.

An annual curated exhibition of works by recent graduates from Melbourne’s major art institutions. Selected from Contemporary Practice, Sculpture and Spatial Practice, Gold and Silversmithing and Interior Design.

Celebrating its fifteenth year, Debut is a BLINDSIDE PROJECT committed to fostering new talent.

writing arrangement


lines, letters, words, sentences, paragraphs

Helvetica Neue regular, 9pt, alignments and spacing – various

paper, Precision 70gsm, ink, A3, site, situation, gallery plan, sheet, page, bleed-through, variable conditions

glass, screen, pixels, resolution, aspect ratio, cathode ray tube/liquid crystal display, variable conditions 

the invitation to write something for DEBUT XV produced a writing arrangement that is situated in the composing forces of the installation. This came about through a conversation about the approach that Bridie Lunney and James Carey took as curators in inviting graduates whose practices they had worked with as tutors and who they wanted to work with in the making of DEBUT XV. The selection shows their hands as artists in the choice of works as material with which to make an installation and a selection that emphasises connections with material, spatial and temporal practices. The connection with teaching is vital as the artists’ curators’ hands are extended here to enable the movement from institution to the public realm, to debut.

we discussed the idea of this text becoming part of the installation where the materiality of writing and the spatiality and temporality of texts, ideas and reading were activated. The selection of paper stock in terms of colour and gsm became important; the printing of the text and the gallery plan as installation layout on each side of the same sheet of paper with a low gsm produced a bleed-through that makes connections between words and works, essay and exhibition. Situated in the installation, the writing’s readability depends on the overall arrangement such as the time of day, the way the sheet is held up, where it is held, the background whether a glass window, a white wall, a concrete floor, a steel sheet, in Blindside or somewhere else. While still part of DEBUT XV, the writing arrangement for the website is immersed in different temporal, spatial and material conditions. Each writing arrangement open to the composing forces of DEBUT XV.

writing about arrangements – this is the fifteenth DEBUT arrangement in the same gallery spaces of BLINDSIDE. DEBUT XV is composed of practices that have not debuted before: interior design and gold and silversmithing; together with spatial practice and sculpture. DEBUT XV invites a different way of thinking about exhibitions from an arrangement of objects in a gallery space poised as a neutral backdrop. Here there is an interest in experimenting with objects, bodies, matter, qualities, situations and sites in time; there is a sense of everything in movement and constant change; where the works intervene, rearrange and slow down forces, making connections that produce a provisional consistency.

‘… the more we study the nature of time, the more we shall comprehend that duration means invention, the creation of forms, the continual elaboration of the new’ (Henri Bergson quoted in Daniel W. Smith Essays on Deleuze 237)

DEBUT XV is an arrangement in a field of relations composed of dynamic forces. It is as though everything comes from one substance; that the exhibition is actually one installation more than a collection of individual works. The curators selected graduates whose practices are open to this way of working – inventing connections with an openness to uncertainty, chance and surprise. A process of actualization, where spatial and temporal conditions are worked with a precision that emphasises particular qualities and unique combinations. The production of this installation debuts the singularity of each practice. DEBUT XV is perhaps a final lesson Bridie and James offer their former students – that everything is continually debuting and the value (and potency) in embracing this and not retract to certainty; to resist the closure that happens through expectations and the need to know in advance. Instead to practise staying open to what might happen; to intervene and rupture habits that maintain the familiar; to experiment with making connections that actualize real experience. As an installation DEBUT XV is more an event than an exhibition; a debut; a coming into the public realm for the first time for everyone and everything – continuously.

Suzie Attiwill
RMIT Interior Design

Grace Carver’s interior and open choreographic practice centres on the importance of body and temporal relations to spaces and situations. It concentrates on using verbal and written language, objects and artefacts, to facilitate potential negotiations between bodies and spaces. This facilitates and frames events that explore interactions between spatial conditions, bodies and their environments.
Responsive actions, existing as both residues of the practice and tools for events, are analysed, altered, edited and re-arranged via the constant and continuous nature of the practice. These methods engender an attention to, and physicality of, how environments, objects and bodies are seen, activated and exchanged.

Paris Fontana is a Jewellery Artisan and Gold + Silversmith. Her works are manifest through her Jewellery label ÎMMØRTALË. As an artist Paris has a conceptual and considered approach to design. She is an aestheticist, a collector, and a creator. Her latest collection of work; Annihilation is an inquiry into the world of the obscure, an exploration of destruction and rebirth. Set within a post-apocalyptic ecosystem, Annihilation is a collection of biomorphic jewellery influenced by human cell morphology, displaced biology and hybridity through casting. The recurrent theme throughout this collection is anatomical mimicry and the contextual displacement of form. Anatomical annihilation. Inspired by the themes of Transmutation, Alchemy, Metamorphosis, Ephemerality, ÎMMØRTALË merges the past and the present to create modern heirlooms, forever pushing the limits for what a piece of jewellery can become.

Lauren Gostin is a practitioner who engages in a process-led practice, unpacking the potentials of working openly and responsively to material and temporal conditions in specific situations. Lauren’s process develops an archive of practice; it is an arrangement of produced material not intended to be finalised or fixed. Rather, the archive is in constant flux emulating our environments and acts as a continuous provocation for practice. This process-led practice explores methods that stabilise, suspend and amplify the forces emanating in specific situations.

A Melbourne based artist and graduate of Monash University, Erin Hallyburton’s expanded sculptural practice examines the potential of amorphous materials to manifest the porosity between objects, bodies and spaces. Encompassing site specific spatial interventions alongside remnants of intuitive material play, the body of the artist is imbedded in both the form and content of the work. Hallyburton has held solo and collaborative exhibitions at Intermission student gallery, Good work art space, MUMA’s education space, the VCA student Gallery and the Patterson Building and received a residency at the Museum of Innocence Mildura in 2017.

IchikawaEdward (est.2017) is a collaborative artist duo consisting of Joshua Edward and Ichikawa Lee; practicing in the mediums of sculpture, performance, installation and creative writing, the artists are conscious of demonstrating works that speak to non-hegemonic notions of the body, the body’s intimacy with space, the body’s interaction with architecture; including and more specifically the architecture of the object the body exists within or upon; questioning how our bodies rely on or subvert architectures, and what common frictions queer/othered/disabled bodies encounter today. These intentions are realised through the subversion of societal norms, stereotypes and common vernacular; as these are witnessed as the tools of erasure for those whom find themselves marginalised from dominant societal discourse.

Focused on producing an acute awareness of one’s body, Yvette James creates installations as a conduit for embodied emotion. Exploring raw materials such as sump oil, steel and magnets, James’ installations create alternate spaces fabricated through powerful simplicity. This material exploration forms the foundation of her work, using objects and spatial manipulation to psychologically destabilize the body. James’ work generates a charged present-ness, anchoring the experience of the work to the raw interaction between body and material. Concerned with a vulnerable response that precedes theoretical reduction, the concept is fulfilled by the observer. By delineating the concept in this way, her work seeks to be accessible to a wider audience.

Melbourne based installation artist and recent Monash graduate Andre Franco questions how the altered site is informed by the existing space. How the parameters of what already exists has potential to inform a suggestive, altered space by raising architectural questions about the nature of domestic and institutional space. Slippages occur between moments of stasis and movement, encouraging an ongoing perpetual motion of an action while employing elements of mimicry within the space. We are forced to acknowledge our surroundings. The consequence of alteration is questioned, asking us to pay attention to the existing space. 


ICHIKAWAEDWARD, not to hide our stench, 2018, performance, dimensions variable, 60:00min. Performers: Kirby Casilli & Daniel Ward. Photograph: Ichikawa Lee | YVETTE JAMES, Risking the Ocean Beneath Us, 2018, steel, sump oil. dimensions variable. Photograph: Dan Wimberly | ERIN HALLYBURTON, Undoing (2017), burnt toffee, dimensions variable | LAUREN GOSTIN, Process as Practice, 2018, paper & mirror, dimensions variable | PARIS FONTANA, ANNIHILATION - Inner Ear Barnacle, 2018, lost wax cast brass, 7.3 x 3.3 x 2.3cm. Model: Rachel Ciesla | GRACE CARVER, Facilitating Open Choreographies 2018, painter’s tape, exterior wall, dimensions variable| ANDRE FRANCO Momentary Slippage, 2018, steel framework, drywall, plaster, 300 x 410 x 17.8cm| Courtesy the artists.