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.

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.