Review: Hatched National Graduate Show 2019 ·
Perth Institute of Contemporary Arts ·
Review by Jenny Scott ·
The 2019 edition of “Hatched National Graduate Show” is more of a minimalist affair than previous years.
Hosted by Perth Institute of Contemporary Arts (PICA), “Hatched” is an annual survey of works by selected artists who have recently graduated from tertiary institutions nationwide. This year’s exhibition features 18 artists (including three from WA), scaled back from the 30 graduates chosen for the 2018 show. As a result the PICA galleries feel more spacious, encouraging visitors to pay sustained attention to the works on display, and allowing links to be drawn between art from across the country – with shared concerns including mass consumption in global capitalism, sustainability and the natural environment, and explorations of cultural traditions and gender identity.
Many of the works in the ground floor galleries have been created with a sense of human scale in mind – such as Jonathan Kim’s finely balanced assemblages which sit directly (and vulnerably) on the floor, or Ómra Caoimhe’s intricate knitted structures hung from knotted wool. The deeply personal woven domes of Kim Ah Sam have been suspended at head height, as if waiting for someone to duck under and feel the rim of feathers around their neck.
On the back wall is a brightly lit satin cape by Dennis Golding, who has decorated the fabric with hand-sewn symbols of personal and cultural significance. Stunning footage of other richly coloured capes can be found in Golding’s two-channel video Empowering Identity (2018). Fluttering in the breeze, these lush garments conjure the power, strength and symbolic nationhood of the superhero, presenting a powerful representation of contemporary Aboriginal cultural identity.
In the adjacent room is Anita Cummins’ feelings (2019), a radiant carpet of crushed Cheezels which is a sight (and smell) to behold. Close inspection shows hand prints in the neatly-packed surface of the powdered snack food, revealing the intimate labour performed by the artist during its installation. The winner of the prestigious 2019 Schenberg Art Fellowship, Cummins is concerned with mental illness and emotional processing, and this all-too-relatable work evokes feelings of excess, compulsion and short-term gratification.
Upstairs, the installations of Yvette James make the gallery space seem a little unstable, encouraging a heightened sense of bodily awareness and a feeling of potential disaster. An uncovered hole in the floor exposes an oil pool of indeterminate volume, while honey seems to leak from the bottom of a wall, and a heavy chunk of basalt rock hangs tenuously above. Evocative yet stylishly minimalist, these works pair nicely with the subtleties of Louis Grant’s nearby pastel blocks, which are seemingly solid forms that bear the bubbles and imperfections of kiln formed glass.
Across the room, Annette An-Jen Liu’s Reconsidering Time in the Ritual of the Joss Paper (2018) produces interesting tensions between the archival and the ephemeral, documenting the ceremonial tradition of burning joss paper. Liu has arranged display cases containing piles of ash alongside screens blaring an overlapping cacophony of news reports, signalling to the complexities of performing cultural heritage practices during the age of mass media.
As a whole, “Hatched 2019” offers a compelling and vital cross section of current contemporary art produced by emerging practitioners, in which the works of each artist bear witness to their considered academic enquiry and commitment to their developing practice.
Pictured top: ‘Empowering Identity’ (2018) by Dennis Golding. Photo: Matt Schild, Ok Media.