PIERRE MUKEBA HOLY SPIRIT [ON MY KNEES IN A TRENCH]

[TRENCHES]

The Holy Spirit, and a CV. Pierre Mukeba navigates dichotomies, and he does so with immense strength. Holy Spirit [On my knees in a trench] is the result of Pierre’s continuous revisitation to the trenches that guide him. No one stays in there all their life. But painting from this place forces a pure state of intensive spiritual and artistic practice, void of vices, and confronting Lucys.

The processes used to make a body of work shapes the intensity in which we feel it. The trenches led Pierre into a sober state, faced with subconscious guidance. Given all his faith in God [in Jesus name], Pierre allowed himself to trust in new mediums and concepts. Through this process, Pierre has acted as a vessel for the historical, biblical, pop and imaginary figures and references that navigated this body of work. These figures re-portray themselves through the guidance they’ve given Pierre. Guilty pleads have been admitted to. Identities have been revisited. The process brought Pierre to a crawl and on his knees to Pray. Faith brought protection and room to play whilst creating a body of work that challenges. When blind to what is beyond the trench walls, we navigate between confusion and clarity. Hindsight unveiled understanding of why each piece was totally necessary. These are the moments when you peek out of the trench to see if the coast is clear.

The problematic; the moment you peek out is also the moment you see what you’ve been ducking all this time. The trenches also serve as protection when the villains are at play. The intensive spiritual, artistic and human practices that Pierre immerses himself in, particularly through the development of Holy Spirit [On my knees in a trench], is a rough and churning process; but it is blessed with the confinement of solitude and close ones. It is a moment void of superficial industry relations that appear only warm and caring when talking percentages. It is a moment without relationships that come with an invoice. There’s no ‘let me be a part of the conversation’. No more false ‘help’. In this space, Pierre faces only himself and his practice. A short moment distanced from exterior toxicity or the limits of said “multiculturalism” within an industry. A period of growth and playtime. Industry gossip, ugh, duck that.

Artists are the groundbreakers and path pavers for the greater human collective, their roles shouldn’t be brought down by industry salt. Breaking through trenches and training, Pierre is putting barbarian tactics behind bars. Freeing himself through exploration and play, Pierre continuously innovates his use of chosen medium. The mediums, installations and the structural compositions of the canvas’ themselves have been conceptualised to break traditional codes of painting. This creates greater depths of meaning and allows a broader experience and understanding of the works. Pierre interrogates the canvas as a flat image. Being at the intersection of multiple practices and consciousnesses, the structure of his work is multi-layered; reflecting his understanding of the world.

Expression and imagery without novelty is not art, Pierre makes art. After everything said, huh, he is still playing in the trenches. And now primed from his experiences to navigate beyond the trench, the works of Holy Spirit [On my knees in a trench] are a testament to the realisations made whilst peeking beyond the trench walls and whilst praying deep on the trench floors.

dré fuzz

Kitty Callaghan's artistic practice is deeply rooted in exploring the complexities of memory, perception, and the ever-expanding digital landscape. Through her photography and collage work, she delves into the intricacies of how we capture, interpret, and preserve moments in time.

In her latest exhibition, in collaboration with China Heights gallery and Louis Vuitton in Brisbane, Callaghan expands upon her 'Pixel Asphyxial' series, integrating fabric photographic weavings to further enhance her exploration of these themes.

Callaghan's statement reflects on the nature of memory, likening it to a flawed yet selective recorder of our experiences. She acknowledges the power of photography to immortalize certain moments, offering a sanctuary for memories to endure beyond the limitations of our own recollection. Drawing from Susan Sontag's insights in "On Photography," she highlights the capacity of photographs to encapsulate reality and preserve the past in a tangible form.

However, she also interrogates the consequences of the exponential growth of imaging technology. With the proliferation of digital media, the line between reality and representation becomes increasingly blurred. Callaghan raises questions about the value of this endless stream of imagery and its impact on our perception of the world. As we drown in a sea of data, she prompts us to consider the implications of sacrificing meaningful input for the sake of quantity.

In her artistic process, Callaghan subverts traditional notions of photography by printing, cutting, and re-weaving her images. This act of manipulation serves as a metaphor for the subjective nature of memory and the distortions inherent in the medium itself. Through her intricate compositions, she invites viewers to reflect on the shifting boundaries between the real and the fabricated in our digital age.

Overall, Callaghan's work offers a thought-provoking commentary on the complexities of modern-day existence, inviting us to contemplate the ways in which technology shapes our perception of reality and memory.

Lucy O'Doherty's artistic practice is characterized by her captivating exploration of memory, dreams, and the interplay between reality and imagination. Working primarily in painting and drawing, O'Doherty's latest exhibition, in collaboration with China Heights gallery and Louis Vuitton in Brisbane, builds upon her acclaimed 'Technicolour Haze' series while incorporating new works inspired by her environment and personal reflections.

At the heart of O'Doherty's practice are her mesmerizing motif oil pastel drawings on paper and oil paintings on canvas. Through her meticulous blending techniques, she creates landscapes and scenes that exude a dreamlike quality, inviting viewers to lose themselves in the soft contours and harmonious colour palettes. Drawing from a diverse array of inspirations, including memories, dreams, and moments of serenity in both natural and domestic settings, O'Doherty's artworks often feature period-specific architecture, deserted restaurants, tranquil pools, and the interplay of light and shadow.

'Technicolour Haze' showcases a collection of pieces that reflect O'Doherty's eclectic sources of inspiration. Whether depicting architectural marvels from her travels to places like Ischia, Sifnos, and Sydney, or conjuring surreal landscapes from faded recollections and imaginative reveries, her paintings and drawings transport viewers to ethereal realms where reality and fantasy intertwine. Using a combination of bold strokes and subtle smudges, O'Doherty masterfully captures the essence of her subjects, infusing each composition with a sense of nostalgia and cinematic allure.

Throughout her body of work, O'Doherty maintains a dialogue with recurring motifs such as deserted suburban pools, noir-inspired dining spaces, and domestic interiors, each rendered in her distinct visual language. Her art has garnered recognition both locally and internationally, with accolades including the Brett Whiteley Travelling Art Scholarship and nominations for prestigious prizes such as the Wynne Prize and the Doug Moran National Portrait Prize. Featured in various publications and exhibitions, O'Doherty continues to captivate audiences with her evocative portrayals of memory and imagination, inviting viewers to embark on a journey through her enchanting visual narratives.