Jealous Paintings is concerned with the location of
the subject in abstract painting. It meditates on the act of painting as
translation, and the implied promise that a real subject exists at one
end of this translative chain. It is an attempt to activate deferral and
absence as painterly properties that
can be applied to a surface: to obliterate marks as the very result of
making them. The works in Jealous Paintings are rather in denial that
they are present at all, instead perpetually referring to a subject that
exists nowhere.
![](http://web.archive.org./web/20141012131903im_/http://3.bp.blogspot.com/-NKQmbRrxl48/VBKk1zLKHvI/AAAAAAAAASk/MUVwKmSAw3k/s1600/cut%2Bpaper%2Bflowers.jpg)
Dionisia Salas is
interested in the relationship of making a painting and the transmission
of ideas, through gestures, texture, colour, patterning and layering in
contrast with a visual, emotional response to the work.
For
her work at Platform she has filled the Vitrine with second hand
clothing, sourced from her personal wardrobe, the street and op shops.
Sandwiched between the glass and the clothing are her images. The space
becomes an extension of the picture plane as she moves between what is
real, what is abstraction and what is fiction, an act of looking,
experience and memory.
Oliver Hull’s works
take the form of various reconfigurations of fictional and real
referents such as scientific materials, quantifiable data, fictional
characters and everyday objects to create situations where the viewer is
prompted to speculate on that which can only be imagined or simulated.
Hull is currently making work about landscapes that can only be
experienced through representation, such as outer space and the deep
ocean.