NON PROFIT PROJECTS
Tachikawa International Arts Festival from the Oceana region

Mark Edgoose Sculptural works
CIRCLE PIECES
My practice has been formulated on the idea of creating pieces which are about containment and which essentially have to engage the user. Only when this condition of participation between user and object takes place will the objects speak of what they are.

Materials such as titanium and nylon are inextricably linked to my aesthetic and conceptual concerns. The elementary shapes arranged (or stacked) together suggest, and invite movement, and articulate scale. Plain, waxed, mute, surfaces give the works a translucent delicacy, and convey a sense of containment and volume. The user is invited to touch and contribute to the object’s performance, rather than remaining merely a viewer. Overtime, as the objects are used, (or played with), marks of manufacture and use will inform and demystify the objects, locating them in place, time and personal context.
This is what gives objects their meaning.


Julie Irving
Julie Irving studied at the national Gallery School of Victoria and Victorian College of the Arts to postgraduate level in painting. She also received a Masters in Architecture at RMIT looking at the impact of digital technologies on pictorial space.

The pictures are about delays in recognition, relational adjacencies, concealment and what is not there. The work tries to occupy the space between the two dimensional, three dimensional and the photographic.


Trinh Vu
Melbourne based Trinh Vu uses a variety of medium in her work including painting, printing and digital media. She has exhibited extensively throughout Australia, is represented in both public and private collections and has been awarded numerous prizes and grants over the last decade including project grants from Arts Tasmania and South Australian Department for the Arts.

Trinh Vu completed a Masters of Fine Art at Victorian College of the Arts, University of Melbourne in 1998. She is currently lecturing at Monash University in Multimedia design. Tachikawa International Arts Festival marks her second exhibition in Japan.


Paul Murray
Information to come...


Magdalena Moreno
Magdalena Moreno is a trained and practicing artist of Chilean background. She has developed her art practice in Asutralia since 1991. The dually of cultures is inherent in her art work. She explores notions of placement/displacement identity and memory.

Since graduating from the VCA in 1996, she has furthered her educational in the area of museology and ethnology. She received the 1999 Murdoch Fellowship that enabled her to pursue research in France, Denmark and Brazil to investigate contemporary representations of non-Western cultures in Western context. She is currently employed as gallery coordinator at the VCA Gallery and is developing a large project around collective memory with the assistance of the Chilean and Australian Arts Council.

Her artwork is of ephemeral nature and in some cases site-specific, she continues to call herself a printmaker.


Jill Sorenson
Jill Sorenson's paintings are minimal, abstract investigations of elementary symbolic shapes. The central theme of her work is the question of who we are in the world. Particularly how those who live in postcolonial western cultures place themselves in the order of things. Through her paintings she explores the significance of the symbol in the human psyche.


Dawn Csutoros
Through the process of hand layering pastel and pure pigment on to paper, Dawn Csutoros gives sensuality to the surface of her artworks. A surface which simultaneously materialises and dissolves. A surface which challenges the viewer to enter a space that is both other and yet somehow familiar.


Neil Malone (new image available October)
Neil Malone's recent works consist of paintings overlaid by several transparent sheets sanded with cloud like forms which effectively obscure the paining. The works intentionally shift the question of what is actual to the observer. There is also a sense of irony in the style of the works. Does the "calculated" placing of the cloud sheets alert us to the calculated thought that blinds us to the real world of experience or is it that that our own interpretation of the world is always through the"fog" of uncertainty.
By Ivan Rosman