Recently showcased in her solo exhibition
Vices & Devices, Elizabeth Armanious’
work spans themes and materiality, evident from her student days at the Design Centre, Enmore (2001-2003) through to her current undertaking of a Masters degree at the Sydney College of Arts in 2006.
The Vices & Devices displayed in the Gaffa space, in early August came alive on the opening night with each finely crafted implement and executed form, becoming animated and deliciously dramatised!
Being spot lit better facilitated the contrasts and shadow play, revealing the subtle depths in dimension, suspension and the embedded memory within the materials.
Machinations of Flesh
Undoubtedly, one of the standout pieces in the show and a result of current investigation is the LoveSick Blade. A departure from the more intimate hand-held devices of surgical (physical/psychological “wounding to heal”), optical (enlarging the telescopic/world view) or medicinal (storage/dispensing aids) orientation, the sword is a more extroverted tool- the ultimate in self-preservation and exploration.
Comprised of a gazelle’s antler, pewter and hemp, the blade itself is of a 1,000 lamination hand forged steel; a process known as Tamahagane.
LoveSick Blade and Wound Probe (ten seconds of a hear beat)
To create tamahagane, this traditional Japanese samurai steel sword technique, Elizabeth has been studying with Mike Petersen, a master swordsmith who helped impart some of his expertise over a week of “talking and living steel” at his studio in Candelo, NSW. As Elizabeth explained, the perception and precision necessary to produce quality tamahagane requires keeping vigil over the furnace and found the experience rewarding, in developing a “sensitivity to the time involved” and “to have that dialogue with the fundamental of steel is amazing!”
Armanious feels that the LoveSick Blade, along with the works, Pseudo-Medico (My Father’s Daughter) and Why a Raven is like a Writing Desk hold the future directions of pursuit.
It’s interesting to note the ‘grain’ of the steel is more pronounced when oxidised, so the choice to honour the materiality takes precedence over aesthetic choices such as polishing. “I don’t approve of polishing, it’s like denying the activity or erasing the memory”
LoveSick Blade (Tamahagane detail)
Tales from the Great Subconscious
Material memory is also evident in the work Little Black Pills, a demonstrative display of some finished graphite ‘pills’, the pill press that created them and a serving spoon. The hand-held device, which extrudes smooth, graphite capsules was a challenge to make in itself, but the process enjoyed. Aside from the created material forms are the employment of found objects, such as biological specimens and wooden shelf units which encase, protect and invite the viewer to inspect, consume and explore the intimacy of these illicit microcosms.
Enticing, seductive, elusive … but macabre? Not necessarily, though this has been
a question posed to Armanious this year regarding her work, to which she replies,
“I don’t think it is but I’m worried it could be taken that way.
I think it’s really fascinating- amazed that the body works.
‘Macabre things’ have actually helped people”
Little Black Pills (Dr. Armanious’ Little Black Pills, Pill Press, Spoon)
It is this last statement that is more revealing of her conceptual creative impetus, when we consider her early environment. As the Armanious family resided above her father’s dental practice, the “surgery was my home”. While most of us grew up with things like ‘MagnaDoodle’ magnetic boards you could draw upon then magically erase, Elizabeth had access to more articulated specialist items. Understanding the power of these ritualistic implements and the redemptive processes they underwent.
The Autoclave, a steaming machine that sterilises the steel dental tools, held special fascination as they allowed “these tools to go from one patient to another …
they can penetrate; go inside”. As she further explains, the purpose of these implements “is to open (up) this gateway” and that “past the point of pain, we can better understand ourselves”. For Armanious had learnt early, that it is through healing we can better understand ourselves - the cyclical nature of life and death, growth and decay. As well, this would’ve helped galvanise the devotion and skills necessary, to master and enact these esteemed roles and procedures. From this vantage point, we can better appreciate the finished works, not least for the dedicated duration involved, both in the skill acquisition and with each execution.
Working alone from her studio in St. Peters, established during her Enmore days, suits the motivated and disciplined Armanious, who has produced notable works from the beginning. She has been a finalist, both in 2001 (The Infraction Shackle) and 2003 (Ring for Introspection) for the TAFE NSW Arts & Design Prize. Her early engagement with saw piercing, such as The Infraction Shackle was a way of etching memory onto a metal surface. We can see the evolving narrative here, as the dialogue has become more intrinsically invested within the materiality.
The Ring for Introspection, of which was also part of the Vices & Devices exhibition
sits right at home amongst the more recent items. In fact the memory and the inquiring is ever unfurling and very much in the fullness of its continuum.
The Lithographic Woman (Tool for Dermography, Monocle)
It is this last statement that is more revealing of her conceptual creative impetus, when we consider her early environment. As the Armanious family resided above her father’s dental practice, the “surgery was my home”. While most of us grew up with things like ‘MagnaDoodle’ magnetic boards you could draw upon then magically erase, Elizabeth had access to more articulated specialist items. Understanding the power of these ritualistic implements and the redemptive processes they underwent.
The Autoclave, a steaming machine that sterilises the steel dental tools, held special fascination as they allowed “these tools to go from one patient to another …
they can penetrate; go inside”. As she further explains, the purpose of these implements “is to open (up) this gateway” and that “past the point of pain, we can better understand ourselves”. For Armanious had learnt early, that it is through healing we can better understand ourselves - the cyclical nature of life and death, growth and decay. As well, this would’ve helped galvanise the devotion and skills necessary, to master and enact these esteemed roles and procedures. From this vantage point, we can better appreciate the finished works, not least for the dedicated duration involved, both in the skill acquisition and with each execution.
Working alone from her studio in St. Peters, established during her Enmore days, suits the motivated and disciplined Armanious, who has produced notable works from the beginning. She has been a finalist, both in 2001 (The Infraction Shackle) and 2003 (Ring for Introspection) for the TAFE NSW Arts & Design Prize. Her early engagement with saw piercing, such as The Infraction Shackle was a way of etching memory onto a metal surface. We can see the evolving narrative here, as the dialogue has become more intrinsically invested within the materiality.
The Ring for Introspection, of which was also part of the Vices & Devices exhibition
sits right at home amongst the more recent items. In fact the memory and the inquiring is ever unfurling and very much in the fullness of its continuum.
The Lithographic Woman (Tool for Dermography, Monocle)
5 comments:
!!! but still, she has just begun..
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