Madé Spencer-Castle

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  1. ‘I’m alright (Novial Gold)’, Neon, 2012. 80x20cm. As installed at Bus Projects as part of BON VOYAGE with Alice Mathieu & Craig Burgess. ‘I’m alright (Novial Gold)’, Neon, 2012. 80x20cm. As installed at Bus Projects as part of BON VOYAGE with Alice Mathieu & Craig Burgess.
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    ‘I’m alright (Novial Gold)’, Neon, 2012. 80x20cm. As installed at Bus Projects as part of BON VOYAGE with Alice Mathieu & Craig Burgess.

  2. ‘I’m alright (Novial Gold)’, Neon, 2012. 80x20cm. As installed at Bus Projects as part of BON VOYAGE with Alice Mathieu & Craig Burgess. ‘I’m alright (Novial Gold)’, Neon, 2012. 80x20cm. As installed at Bus Projects as part of BON VOYAGE with Alice Mathieu & Craig Burgess.
    High Resolution

    ‘I’m alright (Novial Gold)’, Neon, 2012. 80x20cm. As installed at Bus Projects as part of BON VOYAGE with Alice Mathieu & Craig Burgess.

  3. ‘I’m alright (Novial Gold)’, Neon, 2012. 80x20cm. As installed at Bus Projects as part of BON VOYAGE with Alice Mathieu & Craig Burgess. ‘I’m alright (Novial Gold)’, Neon, 2012. 80x20cm. As installed at Bus Projects as part of BON VOYAGE with Alice Mathieu & Craig Burgess.
    High Resolution

    ‘I’m alright (Novial Gold)’, Neon, 2012. 80x20cm. As installed at Bus Projects as part of BON VOYAGE with Alice Mathieu & Craig Burgess.

  4. Bon Voyage @ Bus Projects, Melbourne.
Alice Mathieu, Craig Burgess and Madé Spencer-CastleOpening night Wednesday 22 February 2012 6-8pm22 February - 10 March 2012In ‘Bon Voyage’ Alice Mathieu, Craig Burgess and Madé Spencer-Castle use a satellite image from Google Earth as a point of departure. On this map, A has a specific location but denotes a non-place. The exhibition is an encounter with A, the salvaged remnant of this impossible round-trip. ‘Bon Voyage’ is what a postcard is to a holiday; it activates the potential of A for the audience. In engaging with place and non-place simultaneously, the image of A sets up the ambiguous relationship between the absolute and the relative, and the ideal and real. Likewise it references how utopia (incidentally, from οὐ”not” and τόπος “place”) exists in relation to failure, and how the physical and temporal nature of the exhibition inversely talks of a longing to transcend such constraints. Bon Voyage @ Bus Projects, Melbourne.
Alice Mathieu, Craig Burgess and Madé Spencer-CastleOpening night Wednesday 22 February 2012 6-8pm22 February - 10 March 2012In ‘Bon Voyage’ Alice Mathieu, Craig Burgess and Madé Spencer-Castle use a satellite image from Google Earth as a point of departure. On this map, A has a specific location but denotes a non-place. The exhibition is an encounter with A, the salvaged remnant of this impossible round-trip. ‘Bon Voyage’ is what a postcard is to a holiday; it activates the potential of A for the audience. In engaging with place and non-place simultaneously, the image of A sets up the ambiguous relationship between the absolute and the relative, and the ideal and real. Likewise it references how utopia (incidentally, from οὐ”not” and τόπος “place”) exists in relation to failure, and how the physical and temporal nature of the exhibition inversely talks of a longing to transcend such constraints.
    High Resolution

    Bon Voyage @ Bus Projects, Melbourne.

    Alice Mathieu, Craig Burgess and Madé Spencer-Castle
    Opening night Wednesday 22 February 2012 6-8pm
    22 February - 10 March 2012

    In ‘Bon Voyage’ Alice Mathieu, Craig Burgess and Madé Spencer-Castle use a satellite image from Google Earth as a point of departure. On this map, A has a specific location but denotes a non-place. The exhibition is an encounter with A, the salvaged remnant of this impossible round-trip. ‘Bon Voyage’ is what a postcard is to a holiday; it activates the potential of A for the audience. In engaging with place and non-place simultaneously, the image of A sets up the ambiguous relationship between the absolute and the relative, and the ideal and real. Likewise it references how utopia (incidentally, from οὐ”not” and τόπος “place”) exists in relation to failure, and how the physical and temporal nature of the exhibition inversely talks of a longing to transcend such constraints.

  5. ‘Writing I’m alright until I’m alright’ (Napoli Yellow) . New work currently in the vitrine outside Lenko Boutique, ground floor of the Nicholas building, Melbourne. Paper, single copic marker until it ran out. ‘Writing I’m alright until I’m alright’ (Napoli Yellow) . New work currently in the vitrine outside Lenko Boutique, ground floor of the Nicholas building, Melbourne. Paper, single copic marker until it ran out.
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    ‘Writing I’m alright until I’m alright’ (Napoli Yellow) . New work currently in the vitrine outside Lenko Boutique, ground floor of the Nicholas building, Melbourne. Paper, single copic marker until it ran out.

  6. ‘Writing I’m alright until I’m alright (Napoli Yellow)’. Paper, single copic marker. Detail of left hand segment. ‘Writing I’m alright until I’m alright (Napoli Yellow)’. Paper, single copic marker. Detail of left hand segment.
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    ‘Writing I’m alright until I’m alright (Napoli Yellow)’. Paper, single copic marker. Detail of left hand segment.

  7. ‘Writing I’m alright until I’m alright (Napoli Yellow)’. Paper, single copic marker. Detail of right hand segment. ‘Writing I’m alright until I’m alright (Napoli Yellow)’. Paper, single copic marker. Detail of right hand segment.
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    ‘Writing I’m alright until I’m alright (Napoli Yellow)’. Paper, single copic marker. Detail of right hand segment.

  8. Untitled (Plant #1) Untitled (Plant #1)
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    Untitled (Plant #1)

  9. Untitled (Plant #2) Untitled (Plant #2)
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    Untitled (Plant #2)

  10. Sunset over Auschwitz-Birkenau (From Places you’ve been before, a set of 12 postcards) Sunset over Auschwitz-Birkenau (From Places you’ve been before, a set of 12 postcards)
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    Sunset over Auschwitz-Birkenau (From Places you’ve been before, a set of 12 postcards)