Four artists explore ideas of form & formlessness each intervening with their separate spaces and diverse materials. Annemarie KUTER and Robyn CERRETTI create installations, which incorporate the architectural space of the galleries and invite the viewer to become part of its form. Both artists continue an exploration of distinct features that inhabit the galleries above the Napier Hotel. By accentuating the pressed metal paneling of the room, KUTER restructures the whole. Using colour and repetition of form, she allows one part of the space to speak for the whole. CERRETTI incorporates her sculptural pieces and moving images into walls and windows, blurring boundaries between inside, outside, stasis and time. Kerry STRAUSS'' work involves the transformation of form, as she take a glass object, which had been made in a specific shape and purpose, and uses heat to release the material, and allow it to take its own form. The wire frame allows the material to be captured, as it flows in its natural liquid form. Kerry BUCKLAND'S project, started in 2003, considers how to picture contemporary Western cultures’ increasing detachment and mediation of the natural world. Representing the underlying paradox of this relationship – where culture is simultaneously contained by nature yet increasingly detached from it. The iconography used references indigenous plant species. A contradictory element is formulated by the juxtaposition of geometric patterns realized in stencil, metals and acrylic placed alongside organic forms.
Surrealist writer and philosopher George Bataille’s notion of Formlessness, L’informe: the breaking down of distinctions between the inside and the outside, revealing both beauty and horror and acknowledging the value of repulsion as well as attraction.