cutendpaste opens Friday 31 October 6-8pm

Cutendpaste opens on Friday 31 October 6-8pm, and is open  11am - 5pm Friday - Sunday 1 - 16 November.

It is open other times by contacting the artists on 0433 307 680 or calling by to see if they are there working. 

Artists' talks will be held on Saturday 15 November 2-5pm, in conjunction with Emma Wise who is working on All My People at ArticulateUpstairs.

In cutendpaste, artist Kathryn Ryan asked Linden Braye, Dorit Goldman, Anna Jaaniste, Melissa Maree and Margaret Roberts to join her in developing process-related projects in Articulate project space on conjunction with the location and each other. Visitors are invited to talk with artists and see their projects change throughout the 3 weeks of the project. 

Follow progress on cutendpaste blog

Kathryn Ryan The flora and fauna of Snow White and Rose Red. Photo: Michael Myers


To me, this project isn't about making a work of process, but considering the idea that the way we make is as important as what we make. The way different artists operate—how much they forgive, what they chose to remember, how humane, or merciless, they are in their making matters. This is the case whether the shadow of their process reveals something masterful, something  pedestrian, or something that is just awful.

I cannot say where I fall, it seems to become more difficult finding that clean slate, making slips into rote memory, and that resistance begins to look a lot like characterisation. So it is important, no matter what it produces, to spend time in process, to reclaim that freedom, to forgive those beginnings without letting them all run wild to the end. 

Linden Braye Helpful Viewing Tools 2011

Dorit Goldman Artsider  (detail) 2014

Meatology (working title)

WhereDoiComeFrom.WhatMi.WhereMiGoingThere is something very empowering in the ability to say: idontknow while feeling like I have done nothing wrong. 

Looking into connecting my own dots through observing everything and everyone around. My research is a constant never ending process: itest

As myart is a very spatial case; property becomes a commodity. This is where relationships get tested: meateography gets mapped.

Meatology becomes theArt of everything: In the ancient classic Greek world, the biggest sin of them all, was cannibalism. Zeus all mighty, would rage when he saw people engaging in it. 

read more...


Melissa Maree cutendpaste 2014: makeagif

Thinking about Process Art:

Process combines the concept and feeling of the artist towards space. Arguably, this definition of process involves nearly all art practices today. However, I think process art differentiates from other practices, through the intentional and purposeful action to collaborate with space. Conventionally, the retinal approach to art creation instigated its own private language, that delved into the emotional innards of the artist, distancing dialogue with the actual space the artwork was presented. This action repressed the social/political exploration of space, promoting a romanticised notion of the artist as genius, that supported omnipotent perspective art -  closing the viewer into the beholder's grasp. Without the loss of the expressive, primal “touch” of the artist, process artists used materials that express a bodily character creating anti-illusionary work that acknowledged itself within its predetermined space. I feel retinal tendencies are still present today and close the connections between concept, expression and space that I feel is imperative to provoke thought.
As artist today I feel process art is an extension of the body positioned to critique places within space. I feel that process art can be a powerful tool to critique the power exerted over the body by societal/economic structures. My work reflects a desire for transparency, a need to see more deeply beyond image and illusions, values that I feel stem from process art. 

Margaret Roberts SNAP 2013
 I think of 'process' as a collaboration between thought and space. Thought occurs in someone's mind and it transforms into physical form when it is realised in actual space.  This happens in all art-making (and in life generally) in some form, but  'process art' is when an artist's thought is specifically designed to give agency as much to the contingencies of the  'rolling-out' process in actual space, as to that design. 

Anna Jaaniste Sandstone Heart Performance, Sydney Harbour 2011

being in the moment of connection
never achieving a perceived goal or perfection
everchanging / fluid
can be a bodily, physical process that needs to be carried out
constant interchange
being unattached to a particular outcome
giving up full control and trusting in nature’s own will

Anna Jaaniste is supported by a grant from the Ada Merz Foundation



Project dates: 7th – 26th October
Closing event: Sunday 26th October 2-4pm
Project space opening hours: Friday, Saturday, Sunday 11am – 5pm
For access at other times between 7 and 26 October contact the artists on 0414 494 559

Each artist will be working in the project space on the following dates:
Jo Law 12th-16th Oct
Michele Elliot 7-11th Oct
Sue Healey 17th - 22nd Oct
Louise Curham 24-26th Oct

Slowing Down Time is an ongoing project that aims to open up a dialogic space for artists Jo Law, Michele Elliot, Louise Curham and Sue Healey to create works together. This is their third iteration of Slowing Down Time. It builds on the previous two, the first here at Articulate project space in April and the second at the Faculty of Creative Arts Gallery, University of Wollongong in August.

above  image: slowing down time 1

Their collaboration explores the premise of slowing down time in order to create a palpable zone where the experience of time is decelerated. Responding specifically to the site, the artists invite the audience to negotiate the dimensions of the space and experience minute details and interventions, to consider fragments and residues of memories and objects. The four artists share an attentiveness to the everyday, to materiality and gestures, to domestic scenes and traces of habitation.
Each artist takes the space for five days and has a day overlapping with the next artist. The layers of work evolve over the duration of the project as a new contribution is added each week. These responses culminate in a richly textured and layered work in the final week of the exhibition.

image left : slowing down time 2

The nature of this project pivots on a dialogic and accumulative practice. As a conclusion to the project, the artists will lead a discussion about the creative process of the work and invite the audience to participate in critical dialogue about the making process and whether they have succeeded in slowing down time.

image left: slowing down time 2



Anne Graham's Shifting Sands and Falling Trees opens Friday 19 September 6-8pm

Open 11am - 5pm Friday - Sunday, 20 September - October 5

In The Niigata Land and Water Festival, 2009 I presented the work Shinohara’s House.  This house had been moved to the village of Gokahama when the village in which it was situated, Kakuminhama, sank beneath the encroaching ocean. Kakuminaha was famous for singing sand, My bronze and glass columns sang when a mixture of glass beads and sand were poured through them. This work remained in Japan but I realised that a version of this musical piece would transfer to another context.

I now live on the Cox’s River and the riverbank provides an ever-changing environment, small beaches form and reform, the roots of the trees are rounded and curved by the flow of the river, occasionally a tree falls and this creates new sand banks. Here nothing is permanent and the sound of the water provides an ongoing flowing rhythm of continues movement. My intention is to create an installation that reverberates with this sense of an organic process of change, decay and regrowth.

Shifting Sands and Falling Trees will be accompanied by an exhibition in ArticulateUpstairs of new work by Hilarie Mais, Jessica Mais Wright and Eugenia Raskopoulos from williamwrightartists.com.au. More details to come. 

Water and Land

This project  is assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.



Sunday 14 September 3-5pm:
tea and cake closing with Sue and Helen.

Artists' talks Saturday 6 September:
3pm Sue Pedley & 4pm Helen Grace 

photos: William Seeto


Helen Grace - Out of Sight: Proof

Opens Thursday August 28, 6 - 8pm
Hours open: Friday - Sunday 11am - 5pm, August 29 – September 14, 2014
Artists talk: Saturday 6 September at 3pm

The repetitions of the everyday have an unnoticeable - and even invisible – quality. What is the threshold of noticeability in a world of attention-seeking and attention deficit? How do we measure wonder in ordinary living? These experimental images made by an automatic device attached to a body-tripod register the perimeters of perception, using sensors to track daily movement and location. A psychogeographic mapping of the local, the images are made using a Narrative Clip, a wearable device that geo-tags and timecodes the images, uploading them to a server so they can be viewed on a phone or iPad. The process raises questions about the limits of privacy and the ethics of the image in its current metamorphoses. 

Day 042

Helen Grace is a filmmaker and new media producer based for several years in Hong Kong, where she set up an MA Program in Visual Culture Studies at Chinese University of Hong Kong. She recently returned to Australia after two years as Visiting Professor at National Central University, Taiwan on a (Taiwan) National Science Council Fellowship. She is the author of Culture, Aesthetics and Affect in Ubiquitous MediaThe Prosaic Image, Routledge, 2014

The device & the process:
 The exhibition consists of image sequences, arranged in 'scrolls' - a daily selection plus a caption over three months, like ‘proofs’ of daily activity - as well as maps of walking tracks and small screens of animated image sequences.
 The Narrative Clip is a Swedish-designed, Taiwanese-manufactured device that picks up on what Microsoft's SenseCam started about ten years ago. Initially, such devices were tested in clinical trials to see if they could be helpful in enhancing memory in contexts of memory impairment (dementia, amnesia etc) but I was more interested in the everyday & in the aesthetic qualities of lo-tech images. I’d been doing research on camera phone pictures, lo-tech and ubiquitous media in Hong Kong & I pre-ordered the device, after a Kickstarter campaign in 2012.
Day 059

I first became interested in 'life logging' tools when I was working with a team of architects in Hong Kong and we wanted to measure and visualise the 'rhythm' of public space in an old area of the city that we were studying, using photography & video with students. The area was in the path of major infrastructure developments (a new metro line, new expensive apartment complexes) & we wanted to register the impact of that, but we were interested in everyday life in this area - the patterns and rhythms of an enduring locality.  Even though Hong Kong is a global city with everything changing all the time, for those who live in the city, there's a fragile permanence that's been maintained painstakingly at a very grass-roots level by the residents of the older areas. There weren't yet any devices like the Narrative Clip, so we couldn't use it, but when I moved to Taiwan I continued the interest in lo-tech devices. Taiwan has two-thirds of the world market in pure-play semiconductor fabrication & it's a global leader in optronics & photonics research, producing a big market share of plastic lenses, used in most everyday devices.
The Narrative Clip is much smaller than other similar devices (such as Autographer & Parashoot). It doesn't record sound or video, & because you have no idea when it is working, nor what it’s seeing, it's completely random and very Cagean. Sometimes the sensors misfire & this produces beautiful abstract images of machine noise, which represent a kind of 'temperature' of the device.  
 This current project involves daily use of the device either for a year, or until I lose the device or until it stops working - whichever event comes first. Each day I select one image, caption it & upload it to Facebook. The exhibition is a 'work-in-progress' of this overall process.
 I started the project to observe everyday life in Australia after nearly eight years living in Asia & trying to figure out why everything has become so weird in this place I thought I knew.
Helen Grace, August 2014

Day 084



Artist's talk 2pm Saturday 16 August - all welcome.

Conversation between Wendy Howard and Margaret Roberts in The Bronze Age at Articulate project space, Saturday 9 August 2014

In the beginning the whole focus was metal, but I think if I was really thinking about metal I would be thinking about it in its liquid state because that is what is so remarkable about metal - it can be melted and re-melted and its a liquid. But I certainly would not want to do any forging pouring or casting.

What I am really interested in is having something perfectly flat so its like it doesn't exist at all, its like a mathematical abstract of some kind, like a flat plane or a straight line between two points. So what I am trying to find is the smallest gesture to make that makes it absolutely become a real thing in the world rather than stay that abstract thing.

You're as mad as me. Why do you find that interesting? I don't know if I could say why.

When I do it I try to make a really simple action and everyone can see the simple action I made. So you can perfectly see a flat thing and a simple thing being done to it, but the end result is completely not that, it's like magic, its some kind of magic.

Is the magic somehow the physical world?

Yes it's something about the physical world, and suddenly you have these things that are floating and flying and doing this and doing that, its really fascinating. And suddenly you have a real physical relationship to them as well.

The materials have their own characteristics and limitations and language. Is that how they part of the physical world?

I am curious to think how far you can go, one step leads to another, how far you can go to still have that effect without having to do very much at all, so it is more and more transparent what you have done.

You make me remember the work you had at First Draft about 1990 of a flat sheet of metal sitting on a stand.

That was a cut out oval shape sitting on a musical stand, made out of cold rolled steel which is a lot more resistant that hot rolled. It was heavier than the metal used here.

Does this work come out of that First Draft work?

It's just obvious that I am really interested in making that flat thing do something which is almost like making it fly.  In this case there is a lot of floating going on in both things, and it's interesting how similar it is to Brenda's works up on the Articulate upstairs wall—which are floating little shapes with lots of space between them

I don't know what to think about the fact that the whole idea came from archaeology but once you get into it, to have little relationship to it whatsoever.

So why did you go for the bronze age context?