‘Deluge Rotations’ isa
new body of work by Simon Finn. The works include, drawing, animation and
sculpture and are
a continued exploration into the variable syntheses between artist, environment
and technology. Finn utilises the
spatial and temporal capabilities of virtual representations as subject matter that
comes into being somewhere between experimental verification and poetic
The presented artwork’s
motif is an observation tower emitting a simulated liquid force from its core. The
observation tower is intended to have dual symbolism: the first being that of
power, oppression and its structural fragility, and secondly that of our
ability to witness future natural events through vision and data interpretation.
The violent toxic vortex flow being discharged from the center is emblematic of
an internal and social deluge of indoctrination.
The range of static
imagery generated through computation is staged and then re-imagined with the
hand, using traditional drawing processes, and advanced machinery. This process
allows Finn to observe an otherwise
unattainable rupturing of time and facilitate a faceted network of production.
NOW16 is a group exhibition featuring new works by:
Abdul Abdullah, Penny Byrne, Simon Finn, Camille Hannah, Gregor Kregar, Sonia Payes, Kate Shaw, Chloe Vallance and Darren Wardle
In a special panel discussion moderated by Toby Fehily (Art Guide
Australia Editor and Freelance Arts Writer), Frances Lindsay (Director
of Australian Art at Mossgreen), Paul Sumner (CEO of Mossgreen) and Lisa
Fehily (Director of Fehily Contemporary) will uncover the vision behind
Mossgreen, including Fehily Contemporary's move to Armadale and the
evolution of buying and selling Australian art in this country.
Speakers: Toby Fehily, Paul Sumner, Lisa Fehily and Frances Lindsay.
Saturday 5 March 2016, 3pm to 5pm
Exhibition dates: 2 to 24 March 2016
Opening celebration and panel discussion: Saturday 5 March 3pm to 5pm
Location: Fehily Contemporary
935 High Street, Armadale VIC 3143
is a large observation tower constructed from materials that once
formed the houses of 36 now displaced families. The displacement is due
to the local Government (Bandung, West Java) approval of the demolition
of resident homes for a redevelopment project. I have worked in
collaboration with the affected community to construct a symbol of
power, oppression and its structural fragility. To be sure, the Tower
will eventually fall.
Constructed with the support of Gallery Soemadja, Bandung Institue of Technology and the Baur Project.
It takes more than 140 characters to write a novel
17 October 2015 - 21 November 2015
Venue: Arts Project Australia Gallery
Opening: 17 October 2015, from 3-5pm
Steady State Expiration (2015) charcoal on paper 120 x 70 cm
This exhibition explores the use of digital technologies and the
photographic image in the creation of paintings, drawings and ceramic
objects. It posits that artists who use technology as the basis of their
art making are extending the experience of the “digital eye” so as to
reclaim an analogue familiarity. It will present works by artists who
create directly from digitally-mediated and photographic images, arguing
that the physical act of painting, drawing and object making, and the
presence of the artist’s hand brings us closer to the physical world
which we inhabit.
Curated by Dr Vincent Alessi, Senior Lecturer, Creative Arts, La Trobe University.
'INSPACE' Space surrounds us; we are in space, as space is in us. Space is private and public, it is emotional and psychological,
and it can be transformed, stimulated and activated, or neutralized and
void. Space is subjective; it is social, cultural, and psychological.
judging conducted by:
Linda Michael - Deputy Director and Senior Curator at Heide Museum of Modern Art
Dr. Isobel Crombie - Assistant Director, Curatorial and Collection Management at NGV
Greg Creek - Artist, Senior Lecturer and MFA Program Coordinator at RMIT
Can you tell us
about the process of creating your charcoal drawings? (e.g. using digital
modelling to create prototypes…)
No problem, my latest body of work began as a
simulation of a non-existent surveillance structure. The structure is loosely
based on a variety of observation towers (Panopticon’s, fire lookout’s and
tsunami observation towers) that were in a position of possible destruction. I
began by visualising this devastated structure using a variety of 3D
software’s, usually reserved for special effects for Films or other forms of
Interactive entertainment. From here I have rendered the digital images from
the screen using my hand, charcoal and paper.
artists might start with a pen and paper sketch and then translate this onto
the screen, you tend to do things the other way round. Why do you choose this
I really like to idea of subversion, and in the case
of my art practice I have enjoyed subverting the role of computer graphics to
act as an initial sketch, or a place for conjuring, rather than a place
reserved for refined final product. Translating these images into charcoal
drawing allows me intimate contact and control over the final output and revel
in the inadequacies of the human touch. In short it’s a kind of ‘Stone age
approach in a meeting with technological innovation’.
How do you use
3D printing and other technologies?
I use the
technologies primarily as tool for realising my ideas. I have been using these
technologies for nearly twenty years now, so they are ingrained in my creative
You’re also a
deep sea diver. Does this hobby have any influence on your art practice?
I do think that our experiences ultimately affect who
we are and what we make, and as an artist mine have inadvertently affected me
without a doubt. I do spend a ridiculous amount of time in the ocean, surfing,
diving, and generally farting around. This obsession has taken me to Mexico,
Indonesia, Hawaii, Fiji, Philippines, California and a huge amount of the
Australian coast. This addiction is a muse, especially its abundant force above
and feeling of gravity below.
special effects, do they come into play in your work?
The special effect technologies allow me to collapse,
smash, break, and rupture at a fraction of the cost. Computer Graphics allows
so many wonderful freedoms for me to play, not unlike building a sand castle
and stomping it – which we all know is the best part. I am going back to
Indonesia in a few months to build the observation tower ‘life size’ on the
coastline where the tsunamis have made themselves known.
you about scenes of destruction?
I find the
duality in interpreting ‘destruction’ quietly amusing. What I mean by this is;
on one hand it could be seen as metaphor for the ending of an old system, and
in the other hand, an example of the exciting possibilities of new beginnings.
Is your view on
technology ultimately optimistic or pessimistic?
I am leaning toward the pessimistic side, in relation to
the long-term consequences of technology on culture, especially in terms of
media control, politics and the rampant narcissism in social media. I am
optimistic however, that with a controlled and measured investment, technology can
continue to be a servant to us, so long as we heed the advice of the many great
science fiction writers and avoid the machine rising above us.
Dr Andi Horvarth (University of Melbourne), Dr
Cameron Rose (Monash University) and SYNTHETICA artist Simon Finn for a
discussion on the impact and interplay of art and technology on our
lives and the world around us and its possible trajectory.
'Conceal' and 'Reveal' (charcoal drawings - 200 X 100cm, 2013) have been acquired by the La Trobe University Museum of Art. The La Trobe University Art Collection
is considered a major public art collection, comprising post
war and contemporary Australian art works. The collection covers most
media and periods of Australian art.
I have been selected as a finalist for the 2014 Paul Guest Drawing prize.
The Paul Guest Prize is a non-acquisitive cash prize of $12,000 which is
held every two years, highlighting contemporary drawing practice in
Australia. The Prize was initiated by former Family Court Judge, the Honourable Paul Guest QC and encourages artists from
across Australia to engage with the important medium of drawing and to
create challenging and unique art works.
I have been awarded the 2014 Stuart Black travelling scholarship. The scholarship is awarded to enable a graduate
from the Victorian College of the Arts (school of art), who specialises in drawing, to undertake travel
I am particularly interested in further
exploring the slippage between representations and experience of
environments, from virtual to the tangible, especially in representing the
I wish to investigate the possibility of working
with communities on the Indonesian archipelago to respond to issues surrounding
rising sea levels and its effects and causation.