Vault, acrylic on linen, 163 x 183 cm, photo: AGNSW, Jenni Carter
Vault interrogates the seduction of the 19th-century Wunderkammer (cabinet of curiosities), where specimens and artefacts were displayed in European aristocratic house museums. The process of collection and display reflects a Western disconnect from nature that is under review for our 21st-century moment in which a battle rages to recognise the value of traditional knowledge and the natural world.
Symbiosis (bluebeard orchid) is a sculpture influenced by the endemic bluebeard orchid and 19th-century botanical models made by Brendel, a German company. The sculpture supports elements of 21st-century infrastructure and grows avaricious tongues. The work points to the Symbiocene, a future where man-made systems attempt to align with nature, rather than overpower it.
Closer than they appear, group show at Yavuz Gallery, Singapore features 15 celebrated artists from across Asia-Pacific. Representing a diversity of generations, approaches, and viewpoints, artists embark on this spatial journey by exploring understandings of landscape, country, and location; as well as temporally – evoking life, death, and rebirth. The infinite lines of time and space meet always at the crossroads of the here and now. We pause to look back at where we’ve been – another glance into our mirror, before resuming the journey ever forward…
Caroline Rothwell’s digital animation, Carbon Emission 2 centres on a research-based enquiry into humankind’s interaction with the natural world, with her video work informed by carbon emissions – their cause, impact, and materiality.
LoveArt is pleased to present our nano project space, Love[for]Art with the inaugural, in-iso iteration featuring Caroline Rothwell.
Located in Woollahra at the home of art advisor and collector, Amanda Love, the project aims to activate a micro-site that, particularly in light of current lockdown conditions, will explore creative practice via the micro and one-to-one, as a means of showcasing and experiencing current artistic expression which is, by necessity, innovative and ingenious.
Caroline Rothwell is launching the program with her sight specific work, Carbon Emission 5 Constructivist Rococo (2020). Caroline Rothwell’s practice centres on a research-based enquiry into humankind’s interaction with the natural world. Carbon Emission 5, conceived for Love[for]Art follows from a series of projects centred on and informed by carbon emissions – their cause, impact, and materiality.
The remaining 2020 program will feature works by artists Clare Milledge, Elizabeth Pulie and Mel O’Callaghan.
CAROLINE ROTHWELL Carbon Emission 5, Constructivist Rococo 2020 Digital animation 30 second loop Edition 1
Caroline Rothwell – the daughter of an industrial chemist – investigates the intersection of mankind and nature, time, history and science. With a practice that spans two and three dimensions, Rothwell considers our compulsion to master and dominate natural phenomena. Carbon Emission 5, Constructivist Rococo (2020) follows a series of projects centred on and informed by carbon emissions – their cause, impact, and materiality. In Carbon Emission 5, Constructivist Rococo, Rothwell’s ornate gas emission painting breathes softly in animation, evoking both the baroque cartouche and hybridised forms of flora and fauna that is so distinctive of her practice.
Use your mobile’s camera to scan the QR code, follow the prompt and turn device to landscape to view the animation and browse a selection of material curated by the artist.
Umbel is part of a striking sculpture series that draws on Rothwell’s research into botanical history, resulting in hybrid forms channeling complex histories. Ancient medicinal plant manuscripts inform this group, with images transmitted in the medieval world by copies far removed from their source, their stylised likeness often taking on anthropomorphic characteristics gesturing towards properties and uses. In the case of Umbel, named (and composed) after flower clusters whose stalks connect to the same stem, an arm reaches up from the base as an intestine-like swirl snakes down from the other side. Created by pouring hydrostone into stitched, epoxy-laminated canvas, there is a connection with the ‘Biomorph’ series, which grew out of Rothwell’s 2015 residency at the University of Cambridge’s Museum of Archaeology and Anthropology, and appeared in 2018 London solo Ex Situ at Verghis Art, curated by TarraWarra Biennial 2020 curator Nina Miall. SB Ocula
Art Gallery of New South Wales, Art After Hours, International Women’s Day, 4 March
Curator Jackie Dunn delves into the 100-year-old story of Dora Ohlfsen and the Gallery’s unfished façade and chats with contemporary artists Julie Rrap and Caroline Rothwell about their work in the recent exhibition.
The Art Gallery of New South Wales is delighted to present Dora Ohlfsen and the facade commission an exhibition that explores the story of the empty niche on the Gallery’s facade and proposals from six contemporary artists for a possible new commission.
At the start of the 20th century, Dora Ohlfsen, was one of the world’s most highly regarded sculptors and designers of medals and medallions.
In 1913, she was asked to submit designs for a frieze at the entrance of the Art Gallery of NSW. So why was it that, by 1919, her chariot race in bronze had been rejected? This exhibition unpacks the 100-year-old story, bringing together work by Ohlfsen with plans for a new commission that will finally take pride of place above the front doors of the Gallery.
The artists whose creative concepts will be on display as part of the exhibition are Karla Dickens, Deborah Kelly, Sanné Mestrom, Caroline Rothwell, Julie Rrap and Shireen Taweel.