3D

for commissions see https://stusha.com

alcove

Located 34.8320°N 67.8267°E, the two Buddhas of Bamiyan were c.570 CE and c.618 CE statues in the Bamiyan Valley of Afghanistan – the time when the Hephthalites ruled the region. On 2 March 2001, the Taliban began destruction of the statues that lasted several weeks. The alcove remains.

Located 22.6175°S 117.1577°E the 46,000+ year old Juukan Gorge rock shelters were permanently destroyed on 24 May 2020 as part of mine expansion of Brockman 4. In 2014, the site was classified as ‘cleared’ for mining and removed from relevant risk registers, with ministerial consent under Western Australian legislation. Prior to its destruction, the site had been excavated in 2014 with the remains/artefacts stored at Rio Tinto Dampier office, in north-west Western Australia. The value of iron ore accessed from the area following the blast was AUD $135 million [2021].

The notion of alcove, recess, staging and protection [harbour] is pondered where the overarching [philosophical] structure becomes the fount of a work. A work does not go in, it comes out of that structure.

figure

objects

artworks cabinet

retasked/adapted/adopted furniture 2020

2d

painting is dead – long live painting

drawing is dead – long live drawing

star see survey

Star study is a diagram to read the night sky in 3d [spatially] using the southern cross [crux] constellation.

The Southern Cross is an asterism formed by the brightest stars in the constellation Crux.
It is the most familiar star pattern in the far southern night sky. The asterism carries cultural meaning and significance in many countries in the southern hemisphere. In Ptolemy’s time [circa 100 – 165 CE], Crux was part of the constellation Centaurus. It was visible to the Ancient Greeks, but by 400 CE, the Earth’s axial precession lowered the Southern Cross below the horizon for most of Europe – making it unseen north of about latitude 26 degrees north.

Composed of five stars it is the smallest constellation in the sky. The stars are:
Gacrux (Gamma Crucis)
Imai (Delta Crucis)
Ginan (Epsilon Crucis)
Acrux (Alpha Crucis)
Mimosa (Beta Crucis)

The Southern Cross has a key role in navigation because it contains two first magnitude stars [Acrux and Mimosa] and Acrux with Gacrux point in the direction of the southern celestial pole. Acrux is the 13th brightest star in the sky and is a double star [binary star], that orbits each other and appear as one. Mimosa is the 20th and Gacrux the 25th brightest star in the sky. Generally the sequence of star brightness is clockwise from Acrux, however, the star see survey project records the perceived brightness sequence, since it is expected to vary.

Perception is complex. The star see survey project is an activity to see the night sky in three dimensions using the southern cross constellation as a proto test of the theory and to refine the tools [the diagram and the telling of the story]. The invitees are tasked to place themselves in a dark environment [zero or low level of light pollution], taking the narrative provided and recording the results. The shift from seeing the night sky as a dome of stars on one plane [graphically] to perceiving/imagining the stars in three dimensions [spatially] is a reformation.

alcove

Located 34.8320°N 67.8267°E, the two Buddhas of Bamiyan were c.570 CE and c.618 CE statues in the Bamiyan Valley of Afghanistan – the time when the Hephthalites ruled the region. On 2 March 2001, the Taliban began destruction of the statues that lasted several weeks. The alcove remains.

Located 22.6175°S 117.1577°E the 46,000+ year old Juukan Gorge rock shelters were permanently destroyed on 24 May 2020 as part of mine expansion of Brockman 4. In 2014, the site was classified as ‘cleared’ for mining and removed from relevant risk registers, with ministerial consent under Western Australian legislation. Prior to its destruction, the site had been excavated in 2014 with the remains/artefacts stored at Rio Tinto Dampier office, in north-west Western Australia. The value of iron ore accessed from the area following the blast was AUD $135 million [2021].

The notion of alcove, recess, staging and protection [harbour] is pondered where the overarching [philosophical] structure becomes the fount of a work. A work does not go in, it comes out of that structure.

airmaker

cell study

encaustic on canvas: reflection upon the first forms of cellular life that required self-assembled membranes – prior to LUCA

dog [otto] drinking stars

gestalt series, indigo dye on paper

LUCA series, indigo dye on paper

encaustic

pigment and wax

bad imaging

acrylic, gesso, pigment and oil on glass

artwork area 920mm h 608mm w
gallery frame black 1140mm h 820mm w

1990 – work in progress
series of 12 heads, 5 complete, 1 destroyed in flooding event and 1 in forklift mishap.

oil and acrylic/gesso on glass [head 6 contains salt]
artwork area 920mm h 608mm w
gallery frame 1140mm h 820mm w

ephemera halo drawings at 39 studio. Foamed concrete dust, broom/brush, rake and vacuum

“…see the Southern Cross? It is not flat, like on the flag. See the brightest star – at the foot of the cross? and then the two less bright – the top and left stars and then a lighter star – and then the palest. Now pull the brightest star closer towards you and the paler stars further away to make it 3d. If you can do that, then do it to the whole night sky. It is being under hung lights. Once you see it you cannot go back to seeing the stars as a painted dome over your head”

an explanation to thomas [11],

exhibition

precursor

Gallery Central [NMTafe, october – november 2024]. Precursor evolved from an 2023 exhibition expression of interest to be a collaboration between soula vouyoucalos-veyradier, alice cummins and andrew stumpfel. It includes the work of andre lipscombe, peter bowles, shiloh perry. Precursor was a fast exhibition devised for the student body that staged objects/artefacts from an arts practice at the newcastle street collective. It gave view to what commissioned work and an on going arts practice looks like.

The exhibition investigated the commonwealth of factors in and around practice and the precursor environment around artforms/process and application/product/event/performance.

Images: soula vouyoucalos-veyradier

performance/interaction  

A series of interactions over six sessions by alice cummins. Documented on 13 november 2024.

Alice Cummins is an Australian dance artist with a 40 year history of contemporary performance making. Her approach generates a radical philosophy and practice that informs her work as a performance maker and educator influencing artists across diverse disciplines of dance, theatre, writing, sound, visual art, sculpture and film making. In the precursor exhibition record document, andrew stumpfel wrote:

‘The demonstration of ineffable in such a succinct way was a shock. The elements included the building of a mental space [where the viewer is present to high level concentration] and where there is an investigation of the human scale: that gap that matches that arm span, that space is that foot width. But. To reverse engineer the episodes and to use words only gets you so far.’ 

Gregory Pryor wrote a response to a previous Alice Cummins piece [Subterranean Knowledge: terra, Holmes à Court Gallery, Perth, January 19 2024]:

‘I couldn’t help feeling that this performance was also a gesture of gratitude by a performer thankful for having spent a long lifetime of movement on the earth. By repositioning themselves underground, they could detect which of these movements linger, or even lodge under the surface, to one day find union with other enduring movements of people across the earth.’
 

pangea flora

series on reimagined pangea flora. Encaustic with jarrah charcoal, ash, glass ground and calcium carbonate 1222mm x 777mm late 2024

These works were prompted by a study period with the Western Australian Herbarium, specifically the field trip to secure a type for the herbarium. [Typus: south-east of Dardanup, Western Australia [precise locality withheld for conservation purposes], 29 November 2007, J.A. Wege, K.R. Thiele & A.J. Stumpfel. Published in Nuytsia Western Australia’s Journal of Systematic Botany ISSN 0085–4417 2008]. The quality of western australian flora is described as being a biological hot spot and having an unusual level of extravagance that trends against things evolving to be efficient in energy and materials [cellulose].

Beyond forms and flora construction and the reverse engineering of western australian flora by reimagining, the artist is entertained with surmising the interrelationships and the pairing of signal and receipt. We understand flora having intracellular relationships [for transfer of nutrition] and the artworks points to the other interrelationships that include chemical and [surprisingly] sound. The forms in the artworks and the grouping [that include the artworks as a pair/set] are drawn as ‘objects and their field’ and the calling between. The artist approach considers a playful narrative where ‘if a tree falls in a forest does it make a sound?’ The time of pangea had no people and the criteria of a signal being paired with receipt [heard by human ears] is not met. However, it does not rule out existence of signals and entertaining their scope and ferocity. The artist is currently happy to ponder upon the signal and receipt loop. 

series on reimagined pangea flora. Painted on glass [hinterglasmalerei] mixed media 920mm x 610mm 2020-2023

pangea flora study 920mm x 610mm 2020-2023

faux glass: egg

egg objects inspired by the work of Robert Sapolsky, an American neuroendocrinology researcher and author. In particular his Stanford University lectures and book: Behave. The biology of humans at our best and worst (Penguin Press, May 2017) ISBN 1-5942-0507-8. Also inspired by the work of real glass makers Peter Bowles and Anne Clifton.

‘A hen is an egg’s way of making another egg’ Samuel Butler (1835-1902)

‘Wow, the things you young people can do with computers…’ Robert M Sapolky (email to andrew stumpfel 29 February 2024)

sofu teshigahara object

vessels

newcastle street collective

Somewhere on Newcastle Street is the studio space. It is run as a collective. Being in it, it is not easily described to convey the characteristics of the work method in the space or the workings of the cohort of people that make up the collective. I suspect that when it is gone, only then will someone be able to give an account for how it worked, and how vivid and vital it was.

esperance doll

esperance dolls are a series of sock dolls in response to the lead contamination in esperance, western australia 2005 – 2007. The dolls include port workers and bird collectors.