Roslyn Oxley9 Gallery and Art Month are delighted to present artist, Caroline Rothwell, recipient of the 2016 Loti Smorgon Sculpture Terrace Commission in conversation with Blair French, Director of Curatorial & Digital at the Museum of Contemporary Art.
Saturday, 16 March 2019, 11am – Noon
Sculpture Terrace, Museum of Contemporary Art Australia
Caroline Rothwell investigates how ideas and beliefs have shaped our contemporary world. Her work explores systems of human interaction relating to time, nature, history and science. This interest has led into research around the colonisation of climate and representations of the future.
Rothwell’s commission for the Loti Smorgon Sculpture Terrace – ‘Composer’ – extends this particular interest in both the causes and impacts of climate change through scale and materials new to the artist’s practice. Poetic and whimsical, ‘Composer’ is a 6-metre high, kinetic sculpture that explores current issues around energy consumption. The work acts as a wind turbine where the air flowing over the Sculpture Terrace is harnessed to create light. The sculpture is powered by a pinwheel – an up-scaled version of a child’s toy, usually propelled by their breath, or by the wind. Attached to the mast of the sculpture is a windswept female figure, operating as a weather vane.
This event is free, however space is limited. Booking
Telescoping 1 + 2, ink, copper on Belgium linen, 200 x 155cm
Solo show on view until 14th October
Saturday 22nd September at 3pm, please join curator Nina Miall and Caroline Rothwell at Ex Situ, currently on view at VerghisArt, 32 St George St, London W1
In Ex Situ, artist Caroline Rothwell assembles an imaginary botanical archive. Taking the form of wall-mounted and freestanding sculptures, Rothwell’s archive draws on the materials and instruments of 19th-century botany, mediated by the technological revolution of the 20th century, to offer a visual register of humanity’s impact on the natural world today.
Ex Situ exhibition catalogue features texts: Ex Situ In Situ by Nina Miall, curator and Plant Matters by Dr Nicholas Thomas, Director, Museum of Archaeology and Anthropology, University of Cambridge
Retort 2 + 3, 2017, bronze, laboratory glassware, water, Britannia metal; sculpture in two parts, 217 x 84 x 84 cm Tasmanian Landscape (Urpflanze), 2017, Bushfire charcoal, vehicle emission, acrylic binder medium, canvas, copper, wood, marine ply, Dimensions: 180 x 120 x 5cm
Make Known: The Exquisite Order of Infinite Variation features the work of artists and designers who engage with invisible or imperceptible phenomena such as atmospheric conditions, patterns of occupation and inhabitation, ground stability and fluctuations of ground water, movement, energy flows, fluid dynamics and biological systems. The search and discovery of an emergent order in this phenomenon presents a unique insight into ways of apprehending and shaping the world.
Artists: Julie Louise Bacon, Rina Bernabei and Kelly Freeman, Tricia Flanagan and Raune Frankjaer, Fake Industries Architectural Agonism, Tina Fox, David Haines and Joyce Hinterding, Danièle Hromek, Anthony McInneny and Beatriz Maturana Cossio, Ainslie Murray, Perdita Phillips, Caroline Rothwell, Katrina Simon and Simon Twose, Kurt Sorensen and Grant Stevens.
Curator: Eva Rodriguez Riestra, Until 8 September, UNSW Galleries Image: Silversalt Photograhy
#rothwellofficeplants, ink on linen, hydrostone, canvas, thread, metal leaf
118.5 x 118.5 cm
#rothwellofficeplants, is one of 12 finalists in the MAMA Art Foundation National Photographic Prize, Australia’s oldest photography prize, alongside: Amanda Williams, Ioulia Terizis, Izabela Pluta, James Farley, James Tylor, Kieran Butler, Lynne Roberts-Goodwin, Tim Silver, Todd McMillan, Tully Arnot, Val Wens
#rothwellofficeplants is a series built on an Instagram call out for photos of global office plants, contextualised within their interior spaces. The images posted back from international networks show familiar plant specimens, generally from the dense canopies of the tropical ‘south’ but now global go-to indoor plants. Images of nature posted as colonised, tamed, generic and contained.
Figure with plant, hydrostone, steel, canvas, paint, plant, 225 x 135 x 45 cm
Figure with plant is a finalist in the Wynne Prize
- Figure with plant borrows from and subverts the classical rendition of the female body. Form is inverted. Line and shape reference the structure of text on the page. The body is headless but the head is present, growing plant-like from the ground.
Cartouche, 2018, copper, ink, acrylic paint on primed belgium linen, 200 x 193cm
(Cartouche, on left, shown here with Isabel and Alfredo Aquilizan, ‘Devices’, on right)
Attendants (after Schongauer), 2012, Britannia metal, hardware, plywood
Art Gallery of New South Wales Collection, Photo: Felicity Jenkins, AGNSW
Attendants (after Shongauer) will be showing alongside The Lady and the Unicorn tapestry series c1500. On loan from Musée de Cluny, Musée national du Moyen Âge, Paris
Until 24 June 2018 https://www.artgallery.nsw.gov.au/media-office/unicorn/