展开全文

Exhibition View

The Bite Mark of a Butterfly, 2019

screen-print and acrylic on calico, poly-fibre, stainless steel, leather, hardware, tulle, fluorescent lights, screen-print on lamé mounted on aluminium and wood

dimensions variable

Telephone Booth, 2019

repurposed cane and leather, fabrics, poly-fibre, hardware

223 x 180 x 132 cm

Bed, 2019

repurposed cane and leather, poly-fibre, stainless hardware

162 x 140 x 50 cm

Recliner, 2019

repurposed cane and leather, fabric, poly-fibre, light fixtures, stainless hardware

130 x 84 x 180 cm

Chess-table, 2019

repurposed cane and leather, screen-print on canvas, stainless hardware

179 x 97 x 52 cm

Chair and Ottoman, 2019

repurposed cane, screen-print on canvas, foam, wood

92 x 114 x 86 cm; 34 x 85 x 51 cm

Dressing room, 2019

repurposed cane, light fixtures, fake flowers

220 x 185 x 77 cm

Bar, 2019

repurposed cane, fabric, wood, poly-fibre, stainless hardware, leather

132 x 140 x 35 cm

Bat, 2019

repurposed cane, leather, wood, stainless hardware

120 x 128 x 27 cm

Fireplace, 2019

repurposed cane and leather, poly-fibre

42 x 125 x 95 cm

Snake, 2019

repurposed cane, wood, tule, found mannequin hands, hardware

117 x 60 x 110 cm

Dracula Suit, 2019

screen-print on cotton, lamé

artist size

Spider, 2019

screen-print on cotton, fabric, poly-fibre and found ceramic hands

79.5 x 79.5 x 10 cm

Voltron II (Studs), 2019

repurposed leather jackets, hardware, thread

175 x 140 x 23 cm

Voltron I (Black), 2019

repurposed leather jackets, hardware, thread

195 x 204 x 20 cm

Voltron III (Brown), 2019

repurposed leather jackets, hardware, thread

165 x 155 x 30 cm

Baby I, 2019

repurposed leather, foam, artist’s belts

55 x 40 x 11 cm

Baby II, 2019

repurposed leather, foam, wood

85 x 58 x 18 cm

If There Be Thorns, 2019

screen-print on canvas, fabric, poly-fibre, air-dry clay

110 x 35 cm

Infinite Jest, 2019

screen-print on canvas, fabric, poly-fibre, air-dry clay

100 x 20 cm

Staying Ok, 2019

screen-print on canvas, fabric, poly-fibre, air-dry clay

80 x 25 cm

Birds, 2019

screen-print on lamé mounted on aluminium and wood

80 x 80cm; 80 x 80cm; 80 x 40cm

Edition of 2

Cats, 2019

screen-print on lamé mounted on aluminium and wood

80 x 80cm; 80 x 40cm; 80 x 80cm

贝拉·洛戈西 (Bela Lugosi)死后，他们把他葬在他的吸血鬼服装里。

1931年，这一角色首次出现在银幕上，这个披着的斗篷和链子就一直跟着他，现在随着他一起沉入地下，并永远将他视为他所扮演的神话。

有时，贝拉会在电影拍摄结束后继续扮演角色-仅在自己的更衣室里思考贝拉，德古拉的生活…

吸血鬼所经历的生存绝望是冷酷而深刻的。

一本关于“自然的秘密符号和象征”的书会告诉你所有关于决心、信念和动力的象征意义。他们的身体绝望地撞击着午夜的墙壁，试图找到一个闪光，一个火焰，一个答案，一个出口——只有在混凝土地板和铺着地毯的角落里才能找到。

…

—— Sarah Contos, 2019

Daughter Universe

Exhibition Dates: 18 May – 17 June 2017

Exhibition View

20th Century Sunrise (Gloria #3), 2017

screen print on canvas and metallic fabric, aluminium

103 x 86 x 23 cm

Eclipsing Hollywood (Gloria #2), 2017

screen print on canvas and metallic fabric, aluminium

105 x 90 x 20 cm

Before Transcending Moonlight (Gloria #1), 2017

screen print on canvas and metallic fabric, aluminium

105 x 103 x 29 cm

Fragonard, 2017

metallic fabric, aluminium, wood

125 x 86 x 21 cm

The Magician, 2017

steel, metallic fabric, aluminum, epoxy, poly-fil, thread, found mannequin hands

211 x 190 x 105 cm

Rosebush, 2017

steel, pressed roses, metallic fabric, epoxy, poly-fil, copper, thread

240 x 30 x 30 cm

Saturn’s Finger, 2017

steel, metallic fabric, epoxy, poly-fil, thread

155 x 84 x 77 cm

Cocktails and Dreams, 2017

metallic fabric, aluminium, epoxy, poly-fil, thread, hard-wares

228 x 100 x 25 cm

Bragging Recliner trap, 2017

steel, aluminium, metallic fabric, epoxy, poly-fil, thread, plastic chain, hard-wares

410 x 160 x 124 cm

‘一切都在不断变化，我们的思想，我们的梦想，我们的行动，我们的一生……当我们行走时，所有事物都与我们一起分裂成无数虹彩碎片。”

—— Henry Miller, Black Spring (1936)

Total Control

Exhibition Dates: 1 October – 24 October 2015

Exhibition View

Vertical Australian Garden Quilt, 2015

Repurposed quilt, fabric, poly-fil, faux flowers, garden ties and thread

290.5 x 279 x 28 cm

Joyride (Quilt for an Escort Panel Van), 2015

Screen print on linen, acrylic spray paint, various fabrics, poly-fil, found dice, gloves and thread

175 x 174 x 10 cm

Cat, 2015

Collaged screen print on linen, chain, Fimo, nickel plated oyster shells, faux pearls and thread

86.7 x 74.3 x 6 cm

Indigo A-Go-Go, 2015

screen print on linen, glazed earthenware, acrylic spray paint, oil paint, poly-fil and thread

105 x 94.5 x 10 cm

Luxury Constraints, 2015

Collaged screen print on linen, chains, copper, PVC and thread

100 x 100 x 6 cm

Strawberry Milk With Vodka, 2015

Screen print on linen, neon, transformer, leather, hardwares, chain, steel, artist’s jumper, wool and thread

172.4 x 100.3 x 8 cm

Staring at the Bottom of a Teacup, 2015

Collaged screen print on linen, various fabrics, poly-fil, PVC and thread

159 x 143 x 4 cm

1985, 2015

Collaged screen print on linen, Fimo, beads, found ceramic shoes, acrylic spray paint, calico and thread

198 x 200.3 x 4 cm

Total Control, 2015

Screen print on linen, various fabrics, poly-fil, PVC, acrylic spray paint and thread

173 x 275 x 5 cm

Night Light, 2015

Glazed earthenware, light globe and fixtures, rubber, PVC, wood, hardwares, felt, poly-fil and thread

137 x 80 x 25 cm

A Modern Flower ‘Arrangement’, 2015

Glazed earthenware, PVC, poly-fil, wood, found wooden cocks, found glove, faux flowers, steel and thread

159 x 93 x 28 cm

Lemon Squeeze, 2015

Glazed earthenware, light globe and fixtures, wood, wire, steel, Bronte beach sand, various fabrics, screen print on linen, upholstery tacks, plastic chain, lighter, plastic fan, found sequinned gloves, ceramic beads, tinsel wig and thread

137 x 46 x 41 cm

You’re Home Beautiful, Darling, 2015

Glazed earthenware, light globe and fixtures, nickel plated oyster shells, chain, Fimo, faux pearls, faux flowers, faux fruit, candle, mannequin’s hand, nail varnish, tinsel wigs, found wooden cocks, wood, air-dry clay, glass, poly-fil, fabric and thread

137 x 46 x 41 cm

Enter Sandman, 2015

Plaster, glazed earthenware, repurposed plinth, wire, foam, Bronte beach sand, Ben Cousins book, oil paint, acrylic spray paint, various fabrics, screen print on linen, upholstery tacks, faux beads and thread

290 x 130 x 100 cm

Just You and Me Dancing, 2015

Glazed Earthenware, light globes and fixtures, vinyl, poly-fil, faux pearls, found ceramic boot and thread

76 x 94 x 27 cm

Falling Through Water, Like Teeth Through Licorice, 2015

Glazed earthenware, chrome-plated pillow, leather, vinyl, chain, wood, hardwares and thread

266 x 62 x 25 cm

Hanging for Morris, 2015

Rubber, steel, metal and plastic chain and hardwares

280 x 80 x 7 cm

莎拉·康托斯（Sarah Contos）通过戏剧和幻想来表达自己，从她从小熟悉的70 / 80年代的美学中汲取灵感，但给了它二十一世纪的，理想的，自己动手去做的转变。就像一个试图成为成年人的孩子，精心打扮，用各种材料来伪装，她做出了她认为自己想要但无法拥有的东西——我们的消费主义两难处境——尝试但未能成为一名举办晚宴的家庭女神，装饰，家具和态度都恰到好处。她想成为这样的人，但天生不是。她的模特是一位烫发、撅着小嘴的美人，从20世纪70年代的《澳大利亚邮政》(Australasian Post)杂志上剪下并粘贴下来(她命名为“芭芭拉”)，她喜欢拼贴、瓷砖和插花，但喜欢抽烟、喝鸡尾酒、睡个懒觉，偏爱拉梅 (面料) (Lamé)和皮革制品。莎拉·康托斯（Sarah Contos）像导演一样精心编排她的家庭戏剧的各个部分，在她的幻想世界中设计对象和材料扮演各种角色，但是艺术创作的过程却难以控制。正如标题所暗示的那样，尽管橡胶、链子和身体形状会让人联想到性虐待，但它们在操场上的吸引力不亚于在卧室里。就像一个孩子试图表现出作为一个女人的意义一样，她的创造物——灯、枕头、被子、房间分隔物、喷泉——都是不稳定的、怪异的，并从全面控制的欲望中激发创造性的释放。

—— Linda Michael

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