Category: Artworks

Soft Science

Tracey Clement, 'What goes around...,' acrylic yarn and petrie dishes, 2018.

Tracey Clement, ‘What goes around…,’ acrylic yarn and petrie dishes, 2018.

Please save the date for my upcoming solo show, Soft Science, opening 12 December.

In Soft Science, cold, rational laboratory glass meets warm, fuzzy knitting in an elaborate faux experiment designed to prove (if it proves anything at all) that the universe is ultimately un-knowable.

WATCH me making What goes around...

Soft Science
Sheffer Gallery
38 Lander Street
Darlington
12 – 22 December 2018
Opening: Wednesday 12 Dec, 6-8pm

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Winner: 65th Blake Prize Established Artist Residency

Tracey Clement, 'Metropolis Experiment,' 2017-2018, rusty steel, lab glass, salt, cotton. Installed at Casula Powerhouse for the 65th Blake Prize, 2018.

Tracey Clement, ‘Metropolis Experiment,’ 2017-2018, rusty steel, lab glass, salt, cotton. Installed at Casula Powerhouse for the 65th Blake Prize, 2018.

Thanks to Metropolis Experiment I’ve won the 65th Blake Prize Established Artist Residency!

This prize includes a 4 week residency and a solo show at the Casula Powerhouse!

Dates TBC, watch this space.

65th Blake Prize
Casula Powerhouse Arts Centre
until 1 July, 2018

equium tumulus sali multiplex

Tracey Clement, "equium tumulus sali multiplex," 2018, salt, cotton, mild steel, multiple locations throughout the gallery, dimensions variable, max height 180 cm.

Tracey Clement, “equium tumulus sali multiplex,” 2018, salt, cotton, mild steel, multiple locations throughout the gallery, dimensions variable, max height 180 cm.

The third and final iteration of this work (formerly Post-Premonitionism 2) has be re-titled equium tumulus sali multiplex. (See the first iteration here, and the second here.)

The ruined city is gone and the white cones of salt now spread throughout the gallery like satelite cities in an inorganic termite colony.

The dodgy Latin of the title equium tumulus sali multiplex is a nod to the naming conventions of science, one of the many strategies we use to attempt to tame and control the natural world.

The work is on show in:

New Contemporaries
SCA Galleries
3 May – 2 June
Opening Night: Wednesday 2 May, 6-8pm

Tracey Clement, "equium tumulus sali multiplex," 2018, salt, cotton, mild steel, multiple locations throughout the gallery, dimensions variable, max height 180 cm.

Tracey Clement, “equium tumulus sali multiplex,” 2018, salt, cotton, mild steel, multiple locations throughout the gallery, dimensions variable, max height 180 cm.

 

Soft Science: City

Tracey Clement, 'Soft Science City I,' 2018, laboratory glass and knitted acrylic, dimensions variable, max height 50cm.

Tracey Clement, ‘Soft Science City I,’ 2018, laboratory glass and knitted acrylic, dimensions variable, max height 50cm.

The first work in my Soft Science series, Soft Science: City, debuted in the group show Couplings in April 2018.

Curators Helen Hyatt-Johnston and Brad Buckley selected 30 artists (who are also couples) to exhibit together, including me and my partner Peter Burgess.

Read the Couplings e-catalogue here

Couplings 
Dominik Mersch Gallery
11 April – 12 May 2018
Opening: Tuesday 10 April, 6–8pm

 

PhD show: Mapping The Drowned World

Tracey Clement, ‘Mapping The Drowned World’ installed at SCA, 21-23 September 2017.

All three bodies of work which I made for my PhD (Post-Premonitionism 2, Metropolis Experiment, and my Drowned World Maps) came together in my show Mapping The Drowned World, for 3 days only. Both the sculptures and the maps were made in response to JG Ballard’s 1962 novel, The Drowned World.  You can watch me de-install the show in the video below.

Watch Tracey Clement de-install ‘Mapping The Drowned World.’ 3.5 years work, 6 day install, 7 hour de-install: compressed into 1.5 minutes!

 

Tracey Clement, ‘Mapping The Drowned World’ installed at SCA, 21-23 September 2017.

Tracey Clement, ‘Mapping The Drowned World’ installed at SCA, 21-23 September 2017.

Drowned World: Loximuthal Projection

Tracey Clement, ‘Drowned World: Loximuthal Projection,’ 2017, pencil and rust on paper, 800 x 1210.

This the fifth (and final) map I’ve made as part of my Mapping The Drowned World project, inspired by JG Ballard’s novel The Drowned World.

You can find all of my Drowned World maps here.

In this map the conventional view of the planet is inverted. After all, there is no right way up in space.

18.3 hours of drawing, January – September 2017.

Watch Tracey Clement creating Drowned World Loximuthal Projection here.

 

Metropolis Experiment

Tracey Clement, ‘Metropolis Experiment,’ 2016-17, rusty steel, salt, laboratory glass, cotton, dimensions variable (max height 200cm). Photo T. Clement.

Metropolis Experiment, 2-17 June 2017 at AirSpace Projects, Marrickville.

Metropolis Experiment is part architectural model, part mad science: the whole city is a laboratory. But instead of shiny stainless and gleaming glassware in sterile white surrounds, we are presented with rusty tripods and salt crystals that creep up and over everything, corroding as they go. In Metropolis Experiment something has gone horribly wrong: it’s a ruined model city, a metaphor.

Metropolis Experiment is my third recent body of work which responds to the vivid prognostications of JG Ballard’s 1962 post-apocalyptic sci-fi novel, The Drowned World. View the first here and the second here.

What links these works is the image of the ruined city, an image Ballard conjured so evocatively in The Drowned World.

Tracey Clement, 'Metropolis Experiment,' 2016-17, rusty steel, salt, laboratory glass, cotton, dimensions variable (max height 200cm). Photo T. Clement.

Tracey Clement, ‘Metropolis Experiment,’ 2016-17, rusty steel, salt, laboratory glass, cotton, dimensions variable (max height 200cm). Photo T. Clement.

Thanks to its scale, Metropolis Experiment draws on the conceptual qualities of architectural models (as well as ruins) in order to make a point. As theorists are fond of pointing out, all ruins simultaneously embody both the present and the past.

Meanwhile, architectural models are inherently aspirational. They embody potential, physically manifested, but not quite realised. They represent the future. As a ruined model city (a combination of both) my artwork adds a third temporal stream: the future already devastated.

Metropolis Experiment is a premonition, a warning.

Metropolis Experiment II

Tracey Clement, ‘Metropolis Experiment II,’ 2016, laboratory glass, salt, rust, dimensions variable (max height 100cm).

Metropolis Experiment II is actually part of a larger work, Metropolis Experiment, which will be shown at AirSpace Projects 2-17 June 2017.

This sculpture is the unholy love child of an architectural model and a chemistry trial gone horribly wrong: it’s a ruined model city, a metaphor.

Metropolis Experiment is part of my third recent body of work in my Mapping The Drowned World project which responds to the vivid prognostications of JG Ballard’s 1962 post-apocalyptic sci-fi novel, The Drowned World.

It is also my third model city. The previous two are: Post-Premonitionism 2 and Plastic City.

 

Drowned World: Buckminster Fuller Projection

This the fourth map I’ve made as part of my Mapping The Drowned World project, inspired by JG Ballard’s novel The Drowned World.

Maps are always staking a claim or making a point. Far from being an endeavour of pure science, they are political and cultural tools. They frequently represent power and the domination of both people and places.

Maps are artefacts deeply embedded in the cultures that make them and the conditions of their time. And my Drowned World maps are no exception.

In my Drowned World series of drawings I transpose a predicted ocean level rise of 70 meters on to maps of the world. These artworks picture planetary geography re-shaped in a way that echoes Ballard’s science fictional vision of The Drowned World, but they are also grounded in the real.

This map took approx 25 hours of drawing, August – December 2016

The time-consuming nature of these works is a deliberate strategy which points to our complicity in creating our current climate crisis.

This catastrophe did not just happen: it took centuries of dedicated labour, ruthless exploitation of the natural environment, manic consumerism, and blatant disregard for the consequences of our actions to reach this moment in time.

The Buckminster Fuller projection was created in 1943.

WATCH Tracey Clement create Drowned World: Buckminster Fuller Projection.

Post-Premonitionism 2

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Tracey Clement, Post-Premonitionism 2, 2014-15, salt, rusty steel, cotton, dimensions variable, max height 1.8m.

Post-Premonistionism 2 is a sequel. It is my second sculptural response to JG Ballard’s novel The Drowned World. This work was installed during the group exhibition I coordinated, Mapping The Drowned World.

READ the ‘Mapping The Drowned World’ catalogue on ISSUU.

Thanks to its scale, Post-Premonitionism 2 draws on the conceptual qualities of architectural models, as well as ruins, in order to make a point. Architectural models are inherently aspirational. They embody potential, physically manifested, but not quite realised. They represent the future, while ruins ellicit a temporal slippage between the past and the present. But as a model city, my artwork adds a third temporal stream: the future already devastated.

Model cities are conventionally displayed so that the viewer takes a ‘god’s eye view’ like a triumphant ruler surveying his domain. In my work, the ruined city is positioned at eye height, precariously balanced on salty peaks of vaguely anthropomorphic volume, emphasising our complicity in creating this ruined future. Like Ballard’s novel, my ruined city is a warning.

Mapping The Drowned World installation

 

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Tracey Clement with Post-Premonitionism 2 in Mapping The Drowned World, October 2015.

Installation shots from Mapping The Drowned World. Six artists responded to JG Ballard’s novel, The Drowned World

Exhibiting artists: Roy Ananda, Jon Cattapan, Tracey Clement, Kate Mitchell, Janet Tavener and Gosia Wlodarczak

Mapping The Drowned World
Coordinated by Tracey Clement
8-31 October 2015
SCA Galleries
READ the ‘Mapping The Drowned World’ catalogue on ISSUU.

Drowned World: Eckert Projection

Drowned World: Bonne Projection

Drowned World: Petermann Star Projection

Post-Premonitionism 2 installation video