Collaborative, site-specific installation by Consuelo Cavaniglia, MP Hopkins & Biljana Jančić
KNULP, Camperdown, NSW.
Documentation: Alex Gawronski
‘Green Screen’, 2019
Site-specific installation.
PVC pipe, chroma key tape and paint.
Peacock Gallery, Auburn, NSW.
‘Transplant’, 2019
Two channel video installation
Sydney College of the Arts.
Exhibition documentation: Alex Gawronski
‘Concrete (variations 1 - 5)’, 2018.
Digital print on vinyl.
Finalists Exhibition Arts NSW Visual Art Fellowship (Emerging), Artspace, Sydney
Exhibition documentation: Zan Wimberley
‘Surface Tension’, 2017
UTS Art, University of Technology Sydney.
Documentation: David Lowry and Biljana Jancic
Single video channel, splitter, two projections, chromakey tape, reinforced adhesive
‘Exit Strategies’, 2016.
CCTV camera, image splitter, 5 channel video projection. Installation view SCA Galleries.
Exhibition documentation: Ian Hobbs and Kath Fries
This installation is composed of a live feed of the ceiling in the adjacent space. The feed is then split into 4 channels which are projected primarily onto the gallery floor. The fifth channel is a field of default blue. The work is a reference to deconstructivist design. It is also a play on the potentially immanent collapse of the institution which commissioned the work.
A Beach (Beneath)’, 2016
Installation. Aluminium, copper, vinyl, two channel projection.
Primavera 2016 – Young Australian Artists, curated by Emily Cormack. Museum of Contemporary Art, Australia
‘Conduit’, 2016.
PVC pipes, acrylic, CCTV, 3 channel video.
TarraWarra Biennial 2016: Endless Circulation, TarraWarra Museum of Art, Victoria.
’The invisible circulatory systems of buildings and institutions – their air-conditioning vents, electrical cabling, their hot and cold water, and sewerage pipes – are invoked by the large PVC pipe sculptures of Sydney artist, Biljana Jancic. Since 2013, Jancic has made these sculptures in response to the specific dimensions and features of different architectural and institutional spaces. ...With each iteration of these sculptures, Jancic coats the piping in different bold, graphic colours; past works have been painted black, magenta, electric-blue and metallic gold; in so doing, she invokes the formal concerns of many twentieth-century modernists who explored the possibilities of drawing with colour, expanded here into a spatial practice. For TarraWarra Biennial 2016, Jancic has created a new pipe sculpture titled Conduit in response to the gallery and office architecture of TarraWarra Museum of Art.’
Victoria Lynn and Helen Hughes, Exhibition Curators, TarraWarra Biennial 2016: Endless Circulation, 'Centripetal Forces', exhibition catalogue excerpt.
‘Script’, 2015.
Site-specific installation.
PVC pipes, water, theatrical lighting.
Underbelly Arts Festival, Cockatoo Island.
Documentation: David Varga
John Fries Award Finalists Exhibition
UNSW Galleries
Contra, 2014
Firstdraft Gallery, Sydney.
‘Contra’ began as a deconstructive response to the rectangular, fluro lighting rig of the gallery space. The work consists of a continuous line made of sewage piping that contorts around the parameters of the imaginary volume under the rig. In contrast to the fluro tubes which emit light, the pipe structure is painted gold to reflect the light from the fluros. The contradiction of the gold painted pipe conflates associations of the visceral and abject with the transcendental. This exploration is informed by a number of historic references including the 1917 ‘God’ sculpture of Baroness Elsa von Freytag-Loringhoven, gold monochromes of Yves Klein, the excess of Baroque cathedral interiors and theatrical shamanism of Joseph Beuys.
This installation consists of trompe-l'œil video projections of gallery’s doorways.
55 Sydenham Road, Marrickville, NSW 2204.
Produced with gracious support from NAVA and Create NSW.
‘Spill’, 2013.
Aluminium tape, painter’s tape.
The Lock-Up, Newcastle.
16 August - 1 September 2013
This work was produced at the culmination of an artist residency in The Lock Up in Newcastle, which is a museum and art gallery located in a historic police lock-up. The white cube space is surrounded by sandstone holding cells. While living in the building I was fascinated by the light spills coming into the cells from the windows and I thought a lot about how this ephemera would have been a sort of metaphorical lifeline to the outside world. On the residency I also walked up the Nobby’s Head breakwater every day and was interested in the way that this structure delineated and incised the harbour while also getting continually battered by the waves. These two references formed the basis of the conceptual framework for the final work I produced.
Underbelly Arts Festival