Trashed is a group exhibition at NOIR darkroom Gallery in Coburg, running from 20th September til October the 8th. Opening night is Friday 22nd of September.
The show is a multidisciplinary exploration of the theme “trashed”, Ruby’s work “Shit Fingers” discusses her view of process vs. product in her art practice.
Shit Fingers, 2017
Digital Print on 340gsm vinyl from 35mm negative.
90 x 51 cm
There’s a lot of focus on the archival quality of art but i feel like this point of view focuses on product rather than process. I sometimes feel this restricts my practice. The theme of the trashed show has let me investigate this ideology. Exploring disposability as a metaphor for advancing process, I set up a photo shoot using materials i found around my friend’s house. After developing the film I then digitally scanned the negative complete with dust and hairs. It was then printed onto vinyl giving the work a new texture and the stigma of now being a plastic object. Each part of the process changes the original idea which continues on a journey, including the way the work is displayed in the gallery space.
Products are disposable ideas are perpetual.
Ruby has a piece in Fernartz Lid it! exhibition opening 3 pm – 6 pm Sunday 20th August 2017.
Lid it! is an open entry group exhibition. Artworks to be created on recycled lids. It pays homage to the past while exploring the future. Lid it! reflects Melbourne’s famous ‘9 by 5′ exhibition held at Tom Roberts’s Studio in Melbourne, August 1889; many of the works were painted on recycled cigar lids.
Emma “Ruby” Armstrong-Porter
Portrait of The Barwon Club, 2017
Resin, aerosol and enamel paint on plastic lid
This portrait depicts the Barwon Club (a pub in Geelong) using motifs of “criminal tattoos” to tell the story of a typical night.
The narrative involves the barflies, the predatory characters looking for “love”, the booze, the brawls, the hangovers and the restrictive grasp of alcohol over the hotels patrons. The resin creates a boundary, like a window between the viewer and the subject, invoking a voyeuristic point of view.
“A woman does not have to be modest in order to be respected” – Anon
NOIR darkroom’s Autumn Group show had a great response on opening night, with an eclectic group of artists coming together to show a diverse range of art and interpretations of the theme “Autumn”.
Many people interacted with “Saftey in Numbers”, Ruby’s mixed media work.
Autumn runs until June 4th 2017.
Above: 35mm photograph of Dare Tekin interacting with “Saftey in Numbers”. Photo by the artist.
Emma will have a work in NOIR darkroom’s Autumn show, opening 19th May.
Emma Ruby Armstrong-Porter
Safety in Numbers, 2017
Mixed media (sequins, poly-cotton thread, felt, imitation pearl earrings, gold coloured fringing, liquid nails, found hat)
You can touch and
explore this artwork but
please show respect
This piece is a reminder that despite how a woman chooses to look, all deserve respect and mutual consent.
The following excerpt is from a transcript of a 2005 conversation between TV host Billy Bush and now President Elect of the United States Donald Trump. They speak of “beautiful women”:
Trump: “I just start kissing them. It’s like a magnet. Just kiss. I don’t even wait. And when you’re a star they let you do it. You can do anything.”
Bush: “Whatever you want.”
Trump: “Grab them by the pussy. You can do anything”
In response to Trump’s comments, this piece explores the idea of “beautiful women” in terms of American beauty pageants and beauty queens. The choice of synthetic fabrics and even the industrial glue used to adhere the spangled parts into a “crown” are a reference to the kinds of artificial beauty in these competitions. Some contestants use spray adhesive to stop their swimsuits riding up during competitions and wd-40 to stop their evening gowns sticking to the skin on their bums.
I believe this kind of over the top beauty obstructs diversity and inhibits positive societal change for women.
Despite a woman’s choice when it comes to clothing or their ideology of beauty, every woman deserves respect and the right to consent.
Off The Kerb is proud to reach its milestone of 10 years in the arts in Victoria by hosting a large scale charitable group exhibition entitled ‘Youth’.
Emma’s piece “Visual Biography of a Melbourne Teenager” (2016) will be one of the works exhibited in the group show, opening Friday 21 April 2017, 6-9pm.
Exhibition runs 14 – 27 April 2017 at Off The Kerb Gallery 66B Johnston Street Collingwood.
Off The Kerb will be donating the gallery commission of 25% to Red Dust
For the last two weeks Jessika K of NOIR Darkroom and Emma have had a stall at the amazing Blender Lane Artists Market, an outdoor event held on Wednesdays from 5-10 pm, located in one of Melbourne’s most diverse and vibrant street art covered lane ways.
The stall consists of hand tie dyed and printed T-shirts (using a lino printing method), zines and a large selection of analogue cameras, film and darkroom accessories. The aim is to encourage the use of film cameras to create art and photographs; “painting with light”.
Emma will be there for the final Blender market on the 25th of January, probably carving a lino plate, so come have a chat to her about art, lomo photography and life. There is also performing arts and live music acts to soak up. Enjoy the chilled atmosphere and take the opportunity to view the open studios of the resident artists or see whats on exhibit at the Darkhorse Experiment Gallery.
Also head over to https://www.facebook.com/blendermarket/ to bid on one of Emma and Jess’s t-shirt collaborations in the Silent Auction. All proceeds go towards the Lort Smith Animal Hospital in North Melbourne.
“Killing on the Spree”, 2015, 2 Layer Lino Print on cotton rag, 37.3cmx37.5cm (framed)
The Brunswick Street Gallery 40×40 Open Call Art Prize opens tonight, a group show with over 940 art works over 3 floors. Artworks have a maximum size 40x40x40cm inc frame with a brief for artists to use any medium they choose.
Emma’s entry “Killing on the Spree” is a reflection of time she spent in Berlin in 2014. A translation of a drawing she created there, an image of a dead white swan, nestled in a pile of late autumn leaves on the banks of the spree river, opposite the abandoned “Spreepark“. Its underlying narrative, read anticlockwise from the top left, is a story of decay and rebirth, the ruby being a symbol of the vibrance of the spirit of things past.
Her work is on display until late January (note: BSG is closed over the Christmas period).