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PS Art Space presents,

Destabilising Walls

This event has passed.

Date & time

31st of August 2018 at 10:00am
until 4:00pm

Additional dates

  • 18th Aug 2018 10:00am
    until 2:00pm

  • 21st Aug 2018 10:00am
    until 4:00pm

  • 22nd Aug 2018 10:00am
    until 4:00pm

  • 23rd Aug 2018 10:00am
    until 4:00pm

  • 24th Aug 2018 10:00am
    until 4:00pm

  • 25th Aug 2018 10:00am
    until 2:00pm

  • 28th Aug 2018 10:00am
    until 4:00pm

  • 29th Aug 2018 10:00am
    until 4:00pm

  • 30th Aug 2018 10:00am
    until 4:00pm

  • 31st Aug 2018 10:00am
    until 4:00pm



22 Pakenham Street 
  • West End


Five mature women artists are responding to Laura Mitchell’s provocation to destabilise the idea of a wall. The collaborative exhibition emerges from discussions between Laura Mitchell, Sarah Robinson, Annette Nykiel, Gale Thackeray and Tania Ferrier concerning the notion of ‘wall’. In the last five years, the wall has become a prominent International symbol, for example Trump’s US-Mexico wall, the ruined walls of Syria and the Middle East and those that impede migration across Europe. However, the wall need not be a physical barrier as gender, age, class, cultural and social beliefs and economic circumstances are also barriers that may create walls. The goal of this exhibition is to metaphorically disrupt the notion of wall as a barrier.

In this exhibition, the wall need not be a physical place but a response to Mitchell’s provocation in a place—an art space—where art is often displayed on or against walls. The artists use their experiences with different forms of wall to individually interpret the notion using art forms including painting, printmaking, installation and digital images. Each artist brings their unique response to the architecture of PSAS. Is the wall to keep you in, lock you out, protect or exclude? Is the wall going up or coming down? Is it an illusion or an allusion? Does the wall have an aesthetic role as structure/artefact?

Mitchell uses paint media to represent visual artefacts that encourage diverse reactions and dialogue about hyperconsumerism and desire. Thackeray examines movement and impermanence through oil painting.

Thackeray purports that painting and its physical presence and the bodily connection between the painted object and the painter, remain a crucial factor in maintaining painting’s status in contemporary art discourse.

Nykiel’s making is a quiet, slow tactile engagement that asks questions of both material and place. Nykiel is interested in raising the awareness of the value and importance of relating to the materiality of non-urban spaces using obsolete fences as a metaphor.

Robinson examines the tactility of traditional etching in relation to digital media; a position that can purposefully create a visual division or contrast. Robinson anticipates projecting digital images onto a wall created from traditional etching plates as a metaphor for the blurring of boundaries between what is seen and what is disrupted through the digitisation of images.

For Ferrier, the painting process reflects a process of struggle, the notion that passive acceptance is not always an option, so many must face struggle actively, and creatively overcome the hurdles.

The wall becomes a site of collective concern. A dynamic, collaborative space to investigate the destabilising spectrums of obsolescence in an increasingly technological world, where even the materiality of the wall and its role is in transition.

Image credit:
Model-maker: Oliver Chambers
Photographer: Ian Wendell

  • Free!
    • Kids
    • Youth
    • Family
    • Adult
    • Toilets