KEEPSAKE

Kirrily Hammond & Sim Luttin

9 August to 22 October 2017

Keepsake was an exhibition of work by Kirrily Hammond and Sim Luttin that documented moments in time—traces captured between night and day, work and home, travelling from one place to another. As a quiet repose from our hectic lives, this exhibition explored the personal, quiet moments found in our urban environments, striving to capture small moments of sublime in the everyday.

 

In a unique combination of painting and jewellery practices, ‘Keepsake’ featured intimate oil paintings on copper by Kirrily Hammond and contemporary jewellery and photography by Sim Luttin.

 

The exhibition was supported by Bundoora Homestead, Gallerysmith and Pieces of Eight Gallery and was presented as part of the contemporary jewellery biennial Radiant Pavilion.

 

'Keepsake’ exhibition brochure by Liz Cox monoprint.com, with an essay by Dr Jessica Neath.

 

Bundoora Homestead

7 Prospect Hill Drive
Bundoora VIC 3083 (view map)
Wednesday-Friday 11 am-4 pm;

Saturday-Sunday 12-5 pm
(03) 9496 1060
www.bundoorahomestead.com

CATALOGUE

With an essay by Dr Jessica Neath

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EXHIBITION

Two-person show by Kirrily Hammond & Sim Luttin

DATE: 25 August - 22 October 2017

WHERE: Bundoora Homestead, 7 Prospect Hill Drive, Bundoora

ENTRY: Free

 

OPENING

DATE: 25 August 2017, 2-4pm

WHERE: Bundoora Homestead, 7 Prospect Hill Drive, Bundoora

ENTRY: Free

 

ARTIST TALK

DATE: 25 August 2017, 3-4pm

WHERE: Bundoora Homestead, 7 Prospect Hill Drive, Bundoora

ENTRY: Fre

ESSAY

 Kirrily Hammond & Sim Luttin

 

To read – to see, to understand – is to interpret one’s time. To write. There is no reading that is not technological. — BERNARD STIEGLER, 2009.

 

Stiegler’s concept of reading is based on the reciprocity between reader and author formed through the shared technical competency of writing. Reading comes from knowledge of how to write, and the ability to show what was understood by writing in turn. The philosopher argues that humans have always existed with and through technologies but when the speed of technological development confounds social organisation a state of disorientation ensues. In the current intensification of digital and informatic technologies, the “participative aesthetic” between creator and audience is severed because “encoding and decoding operations are delegated in(to) machines.” We receive the outputs of these technologies without memory of how they were created.

 

Do the artists included in this exhibition occlude this “participative aesthetic” by using digital technology to “encode” their content? The atmospheric qualities of Kirrily Hammond’s paintings, and the dimensions of Sim Luttin’s photographs, indicate the use of a camera phone. Both artists have sought to capture those illustrious moments of the suburban everyday by routinely taking quick snapshots. The phone becomes a mnemonic device, in the artists’ words, holding those “quiet moments… before busy takes over.” Yet both artists produce discrete, non-digital, objects from this process that defy the continuous information flows of digital life. Hammond paints detailed fragments of these images in oil pigment on small copper plates. In Luttin’s works the photographic images are both mounted in small picture frames and encased in oxidised sterling silver. The artists call these objects keepsakes. Luttin’s jewellery pieces are to be treasured, keeping the image close to the body. However, these objects are not made in memory of a special person but of a passing moment: a stopgap against the ravenous frenzy of time devouring space and itself. 

 

In these painted and photographic images, many will recognise the back laneways of Northcote, the conglomerate of electricity poles and overgrown creek tracks distinctive of Brunswick, and the miner’s cottages of Carlton. Both artists also picture places further afield, suburbs I do not know the names of, in Germany, Belgium, and the United States. These are the moments glimpsed at twilight on the way home from work, peering out the window of a moving car or train, or walking to the local park. For all the stasis of these images, the rectangular buildings and vertical power poles, there is a sense of mobility, of passing through. Hammond’s most abstract image renders the flat land seen from the car window at the edge of Melbourne in horizontal bands of blue, pink, and Payne’s grey. The sweeping brushstrokes are translucent allowing the copper to shine through, leaving a reflective surface. 

 

The works of both artists bear the marks of their creation. Due to the ubiquitous use of camera phones, many viewers will read these works in Steigler’s terms, and feel reciprocity with the artists. Perhaps this understanding will be shown with an embrace of their own quiet moments and reclamation of time. 

 

— DR JESSICA NEATH July 2017

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Right: Paintings by Kirrily Hammond 

KEEPSAKE INSTALLATION

I respectfully acknowledge the Wurundjeri people of the Kulin Nation, the traditional custodians of the land on which I create and exhibit art. I pay my respects to Elders past and present, as well as to all Aboriginal and Torres Strait Islander people in the wider Melbourne community and beyond. Indigenous sovereignty has never been ceded. I acknowledge that I work and live on country on which Members and Elders of The Wurundjeri people and their forebears have been custodians for many centuries and on which Aboriginal People have performed age-old ceremonies of celebration, initiation and renewal. I acknowledge their living culture and their unique role in the life of this region.

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