Wave Drawings (orange and green)
rn
Field Drawing (Brisbane, a film)
rn
Landscape Paintings (Lake Bolac and Zagreb)
rn
rn
"These works are concerned with ‘difference’, an aspect of connectivity between things in the world that is often disconnected by notions such as ‘natural’ and ‘manufactured’. Everything in this world, both natural and manufactured, is a part of nature and interrelated. Each thing in the world is innately unique and constantly in a state of flux. The nature of nature is such that a small shift within very tight parameters can produce quite different outcomes. The less that change is allowed to occur (is repressed) the more radically change may happen when it does occur, because it will occur. The physics of such processes of change helps to explain what is going on in the world around us."
rn
rn
Wave Drawings (orange and green)
rn
"The process of making these wave drawings is about understanding the processes of waves, and the relationship of wave dynamics to objects and ideas by ‘drawing’ relationships between waves and patterns. Waves can be used as a metaphor to describe the phases and layers of geomorphology, histories, cultures, stories, politics, art, friends and ideas; how things shift and change, merge, blend and disperse."
rn
rn
Field Drawing (Brisbane, a film)
rn
"Since 1991, I have been making instruction-based artworks that enable other people to produce large geometric drawings on wall and floor surfaces. The instruction books are designed to ‘mass produce’ unique objects. Asymmetry and difference is intentionally generated through the process of production. The people who make the drawings influence the visual outcome of each particular drawing through their participation. Each drawing will be visually quite obviously unique.
rn
rn
Field Drawing #1 can be made and maintained by gardeners or park caretakers or anyone else who is interested. The lines of the drawing are made with a sports-field line-marking machine. The drawing either washes away with rain or grows out, it can be mown away or left to grow or it can be maintained like a sports-field."
rn
rn
Landscape Painting (Lake Bolac and Zagreb)
rn
"In the middle of the Victorian Volcanic Plains (South Eastern Australia) there is a vast body of water called Lake Bolac. Lake Bolac was formed around 20,000 years ago, within the tribal memory of the local Aboriginal people, through volcanic eruptions and is a place of special significance.
rn
rn
Four non-objective monochrome paintings were made on the shores of Lake Bolac, ‘en plein-air’ style. These paintings are ‘landscape paintings’, designed to collaborate with the landscape. I\’ve followed trails and paths alone and with friends through Zagreb finding places that hold some affinity with these paintings. The paintings have been placed in these landscapes and photographed, made into postcards ready to be sent elsewhere. Small ripples from Lake Bolac."
rn
rn
– Kerrie Poliness, May 2014, Zagreb
rn
rn
rn
KERRIE POLINESS was born in Melbourne in 1962 and lives in Melbourne. Her work has been commissioned for numerous projects including The Geometry of Waves, Highpoint City, Vic. (2013) and The Pipestacks, Pipemakers Park, Maribyrnong, Vic. (1999). Poliness has held numerous solo exhibitions including; The Dowse Art Museum, Wellington, NZ (2013); The Agora, La Trobe University Museum of Art, Vic. (2013); Anna Schwartz Gallery, Melbourne (2007); Dunedin Public Art Gallery, New Zealand (2006); North Melbourne Town Hall (2006); NGA, Canberra (2004); Artspace, Auckland (1998), and the Art Gallery of WA, Perth (1998).
rn
rn
She has been included in more than 130 group exhibitions since 1987 including Less is More, Museum of Modern Art at Heide, Melbourne (2012); The Basil Sellers Art Prize, The Ian Potter Museum of Art, Melbourne (2012), Ruler pencil time, Block Projects, Melbourne (2012); Art, pattern and complexity, RiAus, Adelaide (2012); Volume One, The MCA Collection, Museum of Contemporary Art, Sydney (2012); Australian contemporary drawing 2, University of Arts, London (2012); Networks, cells and silos, Monash University Museum of Art, Melbourne (2011); Multiple choice, Queensland Art Gallery/GOMA, Brisbane (2010); +/-, Monash University Museum of Art, Melbourne (2009); Shilo, Ian Potter Museum of Art, University of Melbourne (2009); The Helen Lempriere National Sculpture Award, Werribee Park, Vic. (2008); To make a work of timeless art, Museum of Contemporary Art, Sydney (2008); Australian contemporary non-objective art, Gesellschaft für Kunst und Gestaltung, Germany (2007); and Drawn, the Ian Potter Centre: NGV Australia (2006).
rn
rn
She is a PhD candidate at the Centre for Ideas, VCA, and is represented by Anna Schwartz Gallery Melbourne.
rn
rn
rn
Exhibition is supported by: Ministry of Culture of the Republic of Croatia, City of Zagreb and University of Melbourne
rn
rn
Media sponsors: Zarez, H-Alter, Kulturpunkt.hr, Vizkultura
