Museum of Brisbane’s artist-in-residence Michelle Eskola will engage visitors in the creation of her new work 'Quasi Things.'
In 'Quasi Things' Michelle will investigate the psychological dimensions of Brisbane City Hall, exploring the space between the surrounding environment and the limits of self. Working with abstraction, Michelle will mine the building's classical architecture, with its emphasis on symmetry and formality, for analogies in psychology. She will delve into ideas of duality such as light and shadow, structure and atmosphere, as a metaphor for representing the mind as a kind of space that also has architecture. The works will traverse notions of interior and exterior, real and unreal, surface and depth, with paint as a part of the expressiveness of that space.
Exploring abstraction with a kind of presentness, Michelle’s residency aims to reveal the private activity of painting as an embodiment of the surrounding space and its atmosphere. She is excited by the potential for interactions with Museum visitors and welcomes opportunities for chance occurrences to alter her process.
DATES Residency: August 15 - September 7, 2018
VISIT 10 am - 5 pm, Sunday - Friday
LOCATION City Hall, 64 Adelaide St, Brisbane City
The Artist-in-Residence Program is supported by Mr Tim Fairfax AC and Museum of Brisbane donors.
Liminal (2018) pigment on paper, 60 x 49 cm
Atmospheres and Stability (2017)
SPIRO GRACE ART ROOMS
Atmospheres and Stability explores the stillness and rhythms that define our everyday. A set of abstract works created through the meticulous application of pigment. An amorphous expanse of light and form, each piece appears as if, Eskola has brought the fluid and heady haze of the universe to a brief moment of clarity and focus.
Eskola’s work celebrates a slow and thoughtful engagement with material both physical and mental.
Experience exists between internal and external worlds, organised and translated through sensation. The sensation of form is always the sensation of change. When the external world is sustaining a series of shocks, what grounds it, what steadies it?
This body of work is a stripping away of distraction and a framing of light and silence. ‘Atmospheres and Stability’ explores the sky as a flat and opaque workspace to investigate the patterns and spaces that shape our everyday activities and decisions. It focuses on moments of transition, the rhythms of patterns, the (in)visibility of space, simultaneously moving and still.
DATES Oct 7 – Nov 11, 2017
OPENING Saturday Oct 7 • 5 pm - 7 pm
ARTIST TALK Saturday Nov 11 • 12 pm - 2 pm • Free
It Comes in Waves (2017) pigment on paper, 70 x 50 cm
Variation (as remembered), pigment on paper, 40 x 36 cm
Atmospheres and Stability (2017) pigment on paper, 118 x 95 cm
Scrambling and Transmission (2017) pigment on paper, 40 x 55 cm
Untitled (Between Time and Form), pigment on paper, 22 x 31 cm
Time, Beat, Transition (2017) pigment on paper, 61.5 x 61.5 cm
Untitled (Algorithms / Apparitions), pigment on paper, 30 x 25 cm
Actual/Potential Matter (2016)
SEVENTH Gallery • MELBOURNE
Screen versus pigment binary versus chance fieldwork versus now precision as deceptor,
Light and space Irwin and the Californians lines drawn between time and forms extending outward on their own search.
Suspension and refraction common threads found Rhythms of patterns Rhythms of patterns; interrupted.
Surface versus depth luminescence in focus, unstoppable, it disperses and dissipates along its own laws.
The hidden hand, the known systems, the affect of presence, the misinterpreted, lost and gained.
A rusted wash protecting our own rhythms an acknowledgment of the real: Us as physical, as objects, as machines.
Light now hovering contained and controlled but infiltrating as light does not a dense collider.
The flexibility of the concrete at its core opens the possibility of making the new old, and the old newer.
Levity versus weight reflecting the subject not strident; flowing around.
By Jade Forrester, SEVENTH Gallery Creative Writer’s Program 2016
DATES September 8 – 23, 2016
OPENING Thursday 8 September • 6 pm - 8 pm • Gallery One
One Second (2016) pigment on paper, 60 x 60 cm
Never-Was-There (2016) pigment on paper, 46 x 34 cm
Analysis of a Complex System (2016) pigment on paper, 46 x 34 cm
On a Clear Day (2016) Giclée print on acrylic, aluminium, 50 x 50 cm
Conscious Uncouplings (2016)
The Cosmic Centre, is an artistic collaboration initiated by Michelle Eskola and Danielle Clej in 2009. It seeks to find, enrich and harvest the strengths of technology and cosmic and spiritual practices through creating paintings, textiles, and video. It dwells in the undulating, and indeterminable borders between these fields.
The transcendental paintings they produce are exercises in dual pure-action, a kind of cooperative kinesthetic-meditation. This process acts like a wave, oscillating between action and reflection to reveal multiple poetic dimensions of the same image existing concurrently. In this method, time flattens and folds so that we witness the work as a concomitant future-self whose experience can affect itself in a past life. Cohle was right: time is a flat circle.
“Digital images are…modes of energy and matter that migrate and shift across different supports…shaping and affecting people, landscapes, politics and social systems… Images are now routinely transitioning beyond screens into different states of matter… to manifest materially.”
As digital network and virtual culture infiltrates our daily lives, its cultural effects and leverage are increasingly apparent. The term post-internet was first coined by artist Marisa Olson in 2008 as a means of defining artworks that are not necessarily based in new media but are influenced in some way or form by the pervasiveness of the digital. This post-internet mindset positions digitised culture as ubiquitous, a part of a breathing ecology; everyday and everywhere. Simultaneously a moment and a term, the post-internet is able to move and seep across various practices and territories of discourse.
Michelle Eskola’s exhibition Luminous Plastic embodies post-internet discourse to invite the viewer to realise its substance. It simultaneously explores the material and immaterial, with works that flicker between the physical encounter of pigment on board and digital spaces. If there is any border between online and offline worlds in contemporary times, Eskola blurs the boundaries.
DATES Sep 17 - Oct 10, 2015
OPENING Sep 17, 6 pm - 8 pm
ARTIST TALK Sat, Oct 10 • 3 pm - 4 pm • free
Weightless / Endless (2015) pigment on board, 60 x 60 cm
Conceal / Suspend (2015) pigment on board, 60 x 60 cm
Hold (2015) pigment on board, 60 x 60 cm
Sunk Suspend (2015) pigment on board, 120 x 120 cm
On Air (2014)
WOOLLOONGABBA ART GALLERY
If one task of representation is to show us how the world looks, abstraction is free to do something else, and reflecting our sense of the world, rather than what’s otherwise visible to the naked eye – whether on the part of the painter or the viewer – is key to its perpetual attraction - Bob Nickas
Michelle Eskola creates images that explore abstraction, the formation and disintegration of form within contemporary digital culture. These images are created as series of artworks that include drawings, paintings and digital prints. They are moments captured as part of a larger, continual processes of making, of layering, editing, printing, cropping and rearranging forms in paint, photoshop and prints. The artworks seep through this process to develop complex, intense visual fields. Yet this making process is not immediately noticeable to us as viewers, it reveals itself slowly on closer inspection across series of works that rhythmically repeat particular textures, colors and shapes. These fields of indefinite, shifting spaces are difficult to describe yet so pleasurable to view, they float as spatial diffusions of mood.
Pigment as pigment, paper as paper, there is no illusion here, the works are anchored in their materials, and yet they establish a presence larger than their material form. In the images flatness and dimension often co-exist, exerting a playful push and pull. They present us with voids, a presence in absence of an image, subject or object. Here presence is not used in a spiritual, divine sense but in metaphysical terms, in the sense of examining the properties and possibilities of the material.