Copyrighted image must credit Mick Richards on all uses.

Onespace Gallery Internship

Are you a recent graduate seeking industry experience in the visual arts?

We are seeking a motivated, enthusiastic and reliable creative to join our team and assist with our exhibition program, operations and events held at Onespace Gallery.

During this internship you will be involved in assisting the Directors and Gallery Officer of Onespace Gallery with day to day operations of the gallery program:

  • You will experience and further your knowledge of the procedures and protocols involved in overseeing the gallery space
  • You will advance your knowledge about artists, exhibits and methods involved in coordinating an exhibition each month
  • You will be encouraged to interact with artists and visitors, answer questions and field sales inquiries
  • You will gain more experience in preparing invoices, purchase orders and the coordination of events

Attributes & Skills:         

The following creative and management skills would be preferable when applying for this internship:

  • Can demonstrate a minimum level of experience working in a visual art environment such as an Art Administration, Gallery or related.
  • Be enthusiastic, reliable and effective, self-motivated, punctual and enjoy working in a team environment
  • Possess and demonstrate a positive attitude and an ability to deal with a wide range of people

Please note, this position is casual and days/hours are very flexible around existing work schedules.

To apply for this internship, please send a cover letter and a current curriculum vitae to alicia@onespacegallery.com.au

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ONExchange | Nicola Moss and Diana Warnes In Conversation

Greenspace is the inaugural exhibition for Onespace by artist Nicola Moss. Moss brings her City and Nature project to the gallery, examining a changing ecology – a place where town planning, heritage and personal aesthetic, mixes with maintenance regimes and sense of well-being. Greenspace explores the inner-city Brisbane suburbs of postcode 4101 – South Brisbane, West End and Highgate Hill.

Moss’ art practice explores the value of a healthy environment to communities and individuals, with a particular focus on the sense of well-being contact with plants can provide in our everyday lives.


“I take paper with me when I go – it’s an opportunity to actually get impressions of the place… It looked like there was quite a lot of greenspace in 4101 – a lot of it is private gardens combined with street trees, it’s this collective greenspace. It requires participation and I think we all add to that greenspace.” – Nicola Moss, ONExchange Conversation

Diana Warnes hosted a ONExchange conversation with Nicola Moss on Saturday February 2 where they discussed her exhibition, processes and observations travelling through 4101 during the making of this spectacular body of work. Listen to the full discussion below:

 

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Photos: Funky Munky
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SpatialCo introduces themselves to Brisbane

SpatialCo is a creative practice operating in two parts – as service provider and as researcher – exploring the application of emerging technologies. Their team is made up of architects, designers, visualisers and technicians who work collaboratively on all projects.


The process of laser scanning captures measurable spatial data to create a three-dimensional point cloud, while also recording colour panoramic images. In this exhibition they interrogate the collected data to produce a series of 2D images that explore the qualitative aspects of the skate arena at a point of transition. Their spatial investigations, using 3D laser scanning technology, documents concrete structural elements as well as the seemingly banal dust, peeling paint and discarded objects. The images created for this exhibition demonstrate the capacity of the technology to move beyond the measurable to reveal intangible aspects embedded within the fabric of this iconic Brisbane building.


Listen to Leonie Matthews introduce SpatialCo and how they came to be.
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Photos: Funky Munky

 

 

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ONExchange | Elisa Jane Carmichael and Sally Butler In Conversation

“Words, images and sculptures overlap as lines of verse become titles of artworks and share a ‘time travel’ conversation between artist, ancestors, and country. We, the viewers, are embraced by the exchange. Art that is so deeply invested in sharing and connecting is infectiously inclusive.”
– Sally Butler (University of Queensland), catalogue essay, 2018


On Friday, November 9 Onespace Gallery launched Elisa Jane Carmichael’s second solo exhibition, Will we swim together tomorrow through the Saltwater waves?

Will we swim together tomorrow through the Saltwater waves?
coincides with her inclusion in APT9 at QAGOMA and honours the natural elements of Quandamooka country which have formed the environment for thousands of years. Through paintings and woven mediums, Elisa Jane Carmichael reflects on visual ancestral experiences of Quandamooka Bujong Djara (Mother Earth) to share the beauty, power, and importance of Minjerribah yesterday, today and tomorrow, ngayigany, ngayiganya, ngayigawa (seen, seeing, will see).

Catalogue essay author, Sally Butler (University of Queensland) assisted in hosting a ONExchange conversation with Elisa Jane Carmichael to discuss her exhibition, new body of work and the beautiful poem that tied it all together. If you missed the conversation, listen to the audio here:

 

To read view the works, read the poem and find out more about her work click here.

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Photos: Funky Munky

 

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EOI – Onespace Pop Up: BNE Art + Design

Onespace Pop Up: BNE Art + Design

 8 – 22 December 2018

Pop Up events allow artisans with small businesses or brands to showcase their work in a unique environment outside of traditional retail or market style set up. Selected artists are presented with the opportunity to interact directly with their customers – the more personal format allows for further conversations about their craft, processes and inspirations.

We believe in encouraging the purchase of genuine, hand made products where the artisan has been involved from beginning to end – an investment piece, a form of artistic appreciation and the opportunity to own a ‘one of a kind’ object.


EXPRESSION OF INTEREST

Onespace Gallery is seeking Expressions of Interest for the involvement in our final show for 2018, Onespace Pop Up: BNE Art + Design, a ‘pop up’ style exhibition that allows artists and designers to present their work and brands within a gallery context. Artists are encouraged to be present in the space to both interact with visitors to the gallery and are also invited to work in the space if their practice permits.

Alternatively, artists may also apply as a group. This may present in the form of a collaboration or a space in the gallery will simply to showcase multiple artists as a collective.

If you are interested in applying for this opportunity, please submit the following information to info@onespacegallery.com.au

  • A brief bio and CV for yourself (plus anyone else you plan to exhibit with)
  • Images and details (including price and materiality) of works you wish to present

If you have any queries, please do not hesitate to contact Alicia Hollier at Onespace Gallery

T: 3846 0642

E: info@onespacegallery.com.au

For more information about how to apply, click here.

 

Works in on flyer: Georgina Hooper (left) and Kylie Bickle (right)

Jay Younger and Amy Carkeek
Exhibtion Opening
Onespace Gallery
3 August 2018

ONExchange | Jay Younger, Amy Carkeek and David Broker In Conversation

Onespace was pleased to recently open double exhibition, Jay Younger’s Demagogues and Megalomaniacs and Amy Carkeek’s Welcome to the Dreamhouse. These two exhibitions, presenting vastly different work, both come together under the roof of Onespace Gallery to comment on the way we look at the world within the current political climate. Opening night occurred on Friday 3 August, 2018 but prior to the opening night celebrations both artists were joined by journalist and Director of Canberra Contemporary Artspace, David Broker. David spoke of his personal association with Jay and Amy and discussed their process, drives and underlying key themes of these new works.

Listen to the full discussion here:

 

Jay Younger’s recent work employs a photographic process using smoke and mirrors, a concept based on the magician’s practice of distracting an audience with reflections and a burst of smoke. Demagogues and Megalomaniacs introduces appropriated news images of high-profile and ‘notorious’ politicians, both here and abroad, to reveal their deceptive agendas.

Welcome to the Dreamhouse conveys a nostalgic world where children play happily. As if unaware of the menacing and imminent darkness that has found them—or possibly only too aware—the small figures continue about their doings, masked and armed, yet seemingly unaffected. Through the modification of these discarded childhood, and mass produced domestic objects, the ceramic figurines take on a replacement narrative and a new veneer. By masking their past surface, the figurines now reveal their hollow façade.

 

Jay Younger and Amy Carkeek Exhibtion Opening Onespace Gallery 3 August 2018

Photo: Emma Wright

 

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Nicola Moss at HOTA

Nicola Moss is an Australian artist based on the Gold Coast. Her works explore the value of healthy environment to communities and individuals, with a focus on the sense of well-being, contact with green space, can provide in our everyday lives. Recently represented by Onespace Gallery, Moss presents her first solo exhibition in her home town, Breathing in Trees, at the Gold Coast’s Home of the Arts (HOTA) from October 20 until November 25, 2018.

During residency at Youkobo Art Space Tokyo in 2017, Moss researched the green spaces of Tokyo’s densely populated metropolis. Plants observed in the ground – street trees, parks, home gardens – are heavily pruned and structured almost like architecture. In contrast, local streets revealed personalised pot plant collections, gathered on doorsteps and hanging from window grills. Moss explains: “To my eye these organic accumulations of green appear ‘wild’, yet contained without roots in the ground. The expression of individuality and freedom in these mini environments, cobbled from containers of previous use and recycled materials, intrigued me.”

Breathing in Trees presents a contrast between Suginami City and the Gold Coast – similar populations but vastly different geographical sizes. This exhibition presented Moss with the opportunity to explore the influence of green spaces in generating social cohesion and liveability of built environments.

Nicolal Moss_Tokyo wild - Tree in hand_2018_Photo Carl Warner

Image: Nicola Moss | Tokyo wild – Tree in Hand, 2018, Assorted papers, synthetic polymer paint, collagraph and relief prints, charcoal frottage, oil crayon, ink, ochre, watercolour and matt varnish on stretched linen. 150 x 200cm. Photo: Carl Warner – Courtesy of the artist and Onespace Gallery.
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Onespace Onsite Project #3 – Debbie Taylor (Worley) & Di Hall

Onespace was pleased to host QCA Contemporary Australian Indigenous Art Honours students, Di Hall and Debbie Taylor (Worley) throughout July 2018 for their Onsite Project #OO3. The project acted as a platform for practitioner and community engagement, as well as an opportunity to investigate installation in the space. A closing event was hosted on Friday 27 July, 2018 where both artists presented a full installation of their works throughout both gallery spaces. Both artists discussed their works, their Onsite Project experience and the impact it has had on their practice.

Listen to the full chat below:

 

The works created onsite were as follows:

DEBBIE TAYLOR (WORLEY)

Before Gavrinis #I  #II  #III
Mixed medium on raw canvas

Based on petroglyph (ROCK CARVING) design from the Gavrinis Orthostats in France, aged at approximately   6,000BCE. These carved megalithic rocks formed a long narrow corridor to an underground women’s ceremonial space. It formed a temple where the divine feminine was worshipped. The interesting thing about this design is that it is eerily similar to the motifs used by Central desert Indigenous women in their depictions of women’s business. Therefore, we have this connection between 8000-year-old European art and contemporary Papunya art which is based on a 60,000-year-old tradition, with the same motif!

Maid, Mother, Crone
White, red and dark raku, glaze

Prior to the sexualisation of the Goddess, she was represented in each of these archetypes.
The Maid: white to represent life and death (understood to be the same, as death is just a transition to a new life)
The Mother: red to represent the time of fertility (her blood time)
The Crone: black, to represent wisdom, particularly that of the powers to be harnessed from the earth. The sacred bird (the holder of wisdom) emerged as this piece was being constructed.

DI HALL

Replacement
This is a three-part installation discussing the government policy of rationing under “the protection of Aboriginals act 1852”. Rationing was the replacement of Aboriginal people’s natural food resources with distributions of flour, tea, sugar and blankets by the early colonisers.

Sugar Coated
This work functions as a metaphor  for sugar coating government policies which were said to protect Aboriginal people but were actually just a form of government control. The toffee dampers suspended from the ceiling are sweet and alluring but have an insidious nature. The toffee dampers drip onto the flour dampers which was a staple food made out of the flour rations.

1 pound 2- 1/2 ounce
1 pound of flour, 2 ounces of sugar and half an ounce of tea was the daily amount of rations that was distributed weekly. These rations also became a source of payment for labour by Aboriginal people.

 Fullmoon
Distribution of the rations was on the full moon. Blankets were distributed once a year on the Queen’s Birthday. The blankets were away for the ‘Police of Aborigines’ to keep track of any unruly Aboriginals on the colonial frontier, they were also used as a form of reward and punishment. Many Aboriginals were brutally punished for losing their blankets.

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Photo: Andrew Willis