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Ben Aitken
June 27 - July 16

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‘They asked me for a title and I couldn’t think of anything because everything is all over the place so i guess this is the most honest title but now its like an elongated titles as Dale Frank might do’
Exhibition 

Artist Benjamin Aitken’s work is a roiling, roaming documentation of his experiences as a survivor of childhood abuse and trauma, of drug addiction and incarceration, and the path towards reclaiming his identity beyond stereotypes or dogma. They are the marks and manifestations of someone dredging for truth and meaning in a well of chaos, tipping the bucket towards us as it returns to and from the void. Exhibited and collected both locally and internationally, Aitken’s impressive and technically brilliant creations are possessed with narratives that are brutal, caustic, amusing, redemptive and often incidental.

Exploring grief, love and heartbreak with a sardonic and cathartic sense of honesty, Aitken looks back with a sense of possession and acceptance, ahead with a glint knowledge. Yet he still holds space for those approaching his work to come prepared to truly look and see, to involve themselves in earnest in the creation, destruction and replication of realities.

In his own words, “Take from this what you will... I choose not to look too closely, rather I feel all of this work is just an archiving... It’s organised chaos, but things do make sense. Sort of like how my life has unfolded.”

Working across a wide range of mediums, including assemblage, painting, drawing, photography and video, Aitken’s work has always emerged from instinctual expression, a frenetic and connected approach to storytelling and making that is at its heart an act of truth telling and retrieval. Wry and razor edged, these tessellations of a life made up of multitudes, are ultimately testimonies of existence and its frictions, grotesque and glorious.

Photography by;
Annika Kafcaloudis
Mark

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Tom Fereday  
May 22 - Jun 09, 2024

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‘AVER’ 
as part of MDW 2024
Exhibition 

For Sydney based industrial designer Tom Fereday, considering and highlighting the genesis of the design process and embracing the raw origins of materiality, is an essential part of his much awarded practice. It is an opportunity to celebrate the innovations, as well as the products, objects and elevated experiences that good, lasting design can produce. For his show Aver (from the Latin ‘ad’ - to and ‘versus’ - true), showing at Oigåll Projects for Melbourne Design Week, Fereday draws back the curtain for an honest display of material inquiries, experimentations and applications. Displaying early explorations with recycled glass, raw and recycled Aluminium juxtaposed with finished furniture, and art objects presented as functional pieces, Fereday reaffirms the concept of design as something to be felt and experienced rather than just viewed.

The show acts as an incubator for new thoughts and approaches, inviting audiences to interact with design in both a tangible and audible way, with Fereday exhibiting a series of engineered audio sculptures and high performance sound pieces, alongside a combination of new works and early editions from his eponymous studio. This considered dialogue between established and emerging design is core to Fereday’s ethos, accentuating the importance of exploration as well as the impact and true value of longevity, quality and craftsmanship.

Design is often experienced in a way that is final and fully-formed, packaged and presented as a finished glittering object or a complete concept, as if eagerly evading traces of its origin or whispers of earlier development. A destination rather than a journey. It will often deliberately hinge on specificity and the allure of ‘ultra exclusivity’, making a molehill out of a mountain and leaving in its wake a tide of discarded material and off-cuts destined for industrial graveyards. It is a strict performance, all gritting teeth behind a painted-on smile, frantic eyes hoping nobody will look further than the facade lest the illusion of effortlessness falters.

Photography by;
Annika Kafcaloudis
Mark