Fallow Journal

  • Dark will be light

    We are embracing impermanence and leaving our Fortitude Valley space.

    The experience ‘within our walls’ has been most wondrous however we are curious to explore unfamiliar and limitless dimensions.

    Dark will be light

    Being guided by our intuition we welcome change and look forward to a more transient way of trading.

    Through rare appearances we will endeavor to ascend the term ‘shop’
    and to redefine what ‘retail therapy’ means to our culture.

    Connect with our new consciousness via @fallowstore

    *Our last day of trade in Fortitude Valley will be Saturday 20th January 2018.

  • Yang Shaobin | Haunting Human Forms

    Yang Shaobin

    Yang Shaobin

    Since the late 1990's Chinese artist Yang Shaobin has been creating painting, videos and art installation of disfigured and haunting
    human forms that express his inner anguish with the effects of political, social and economic pressures on an individual's life.  Yang's
    earlier monochromatic works centered around emotional unease and the anxieties that are brought on by social cataclysm.
    Yang's painting are almost grotesque in appearance. Each piece is confronting and creates a sense of consciousness in his viewer.
    His use of red is a symbol for human life, capitalist greed and cultural revolution.

    Life and Art

    Yang Shaobin was born in 1963 in Tangshan, Hebei Province. In the early 90's Yang made the move to Beijing and became a
    member of an avant-garde art group. From then on Yang became a world renown artist for his tortured depictions of human figures
    and the social consciousness they bring. Yang has been heavily exhibited around the world, notably his work was included in the
    1999 48th Venice Biennale.

  • Aotearoa My Hawaiki | James Tylor

    Aotearoa My Hawaiki | James Tylor

    Aotearoa My Hawaiki | James Tylor

    In his series 'Aotearoa My Hawaiki' James Tylor explores his Polynesian Māori roots and their concept of Hawaiki.
    For Māori people, Hawaiki is the ancestral homeland where the Māori people migrated from before settling in
    Aotearoa (New Zealand). For the New Zealand Māori people the physical place of Hawaiki is Avaiki Bui (The Cook Islands).
    Being an Australian of Māori decedent, James Tylor has always had an spiritual connection to his Aotearoa, because it is the place
    which his ancestors came before migrating to Australia. "As a Māori Australian, my Hawaiki or ancestral homeland is Aotearoa."

    Aotearoa | Land of the long white cloud

    James always held a connection to the ideological meaning of Aotearoa 'land of the long white cloud'. As a child this
    alternative meaning made Tylor imagine a place where the mountains touched the clouds. A very different landscape
    from what he was used to where he grew up in Australia, surrounded by flat land and clear blue skies. In 'Aotearoa My Hawaiki'
    James wanted to represent his childhood dreams of mountains touching skies but also his physical disconnect from the landscapes
    of New Zealand.

    Aotearoa My Hawaiki | James Tylor

    Aotearoa My Hawaiki | James Tylor

  • Topo I | Jonathan Sager

    jonathan-sager-topo-1-fallow

    Topo I | Jonathan Sager

    LA based creative technologist, Jonathan Sager's series Topo I are topographical imaging of natural surfaces and land-forms.
    Topography is the study of shapes and contours of a natural surface; such as icebergs and rocky terrain which is recorded digitally.
    In this fascinating series we are left to speculate what these forms could be. Mapped out with unsteady, sharp white lines, each image
    is endlessly intriguing.

    Body of Work

    Jonathan's expertise is vast. Merging technical and creative worlds to create his body of work. Sager is currently the senior creative
    technologist at Optimist Inc. But he is also proficient in photography, producing and creative engineering.

    jonathan-sager-topo-1-fallow

    jonathan-sager-topo-1-fallow

    Words | A.Wright

  • Latence | Ismaïl Bahri

    Ismaïl Bahri

    Latence | Ismaïl Bahri

    Ismaïl Bahri's 'Latence' series is composed of the interlacing of milk and ink on glass. In each piece, Bahri uses a brush to form a circle of milk and ink;
    it is then left to it's own devices to coagulate, evaporate and dry. During this drying process the glass plate on which the milk and ink lay is
    rotated to create a thin deposit. These images are latent as they are slow to appear. Latence is based on organic evolution, each work constitutes
    a unique step in Ismaïl's research.

    Ismaïl Bahri

    Words | A.Wright

  • LAVA | Keith Jacoby

    lava-keith-jacoby-fallow

    LAVA | Keith Jacoby

    Engulfed by utter darkness and as Jacoby describes, a "primal energy", Keith Jacoby treks to the Volcano Nation Park, Hawaii seeking the lava feilds.
    The molten lava is in constant motion, spiraling and folding into the sea. Jacoby resists the urge to flee as the soles of his shoes begin to melt
    and he is struck with the intensity of the heat emitting from the lava. The images he captured are striking.  The lava is the only source of
    light which has resulted in awe inspiring red against black.

    lava-keith-jacoby-fallow

    Words | A.Wright

  • Particles Series | Lee Griggs

    Particles | Lee Griggs

    Particles | Lee Griggs

    Lee Griggs is a 3D artist hailing from Madrid, Spain. Lee's series 'Particles' contains 100,000,000 particles that have been rendered using
    Arnold renderer. Each image is created using an in camera technique. Lee continues to explore his love affair
    with the renderer with each series he meticulously brings into being. Particles is a violent yet delicate
    collection of images that convey intricate textures and movement.

    Art meets Engineering

    Lee Griggs works for and with an advance rendering software, Arnold. Arnold is used to aid in the creation of stunning imagery,
    animation and visual effects for films, television and artist. Generative art and 3D art are making an impact on the art world.
    Artists can create new worlds never thought imaginable. This can be seen within Lee's body of work.

    Particles Lee Griggs Fallow

    Words | A.Wright

  • The Sea In The Sea | Tang Nannan

    TANG NANNAN THE SEA IN THE SEA

    The Sea in the Sea | Tang Nannan

    Tang Nannan's The Sea in the Sea first came to be when he was planning a solo exhibition in April 2013. He imagined the sea levels he drew as horizontal lines unfurling and unfolding one after another in front of him. Suddenly the boundless and awe inspiring waves crashed out towards him from every side, with a thunder of sound.This visual was the catalyst to his work The Sea in The Sea.

    Inspiration | Zhuangzi

    One year after Tang was overcome with his inner visual he read a quote by Zhuangzi, "The Great of the South China Sea called Shu, and the Great of the North Sea called Hu, and the central Great called Chaos." In that moment he was transported back to the huge waves that engulfed him in the exhibition hall. A sudden realisation came upon Nannan and he knew that he had to transform himself from an observer of the ocean and into a part of it.

    Energy

    Tang Nannan saw to seeking out a new way of thinking about his art. He abandoned his sight and used his body and mind to feel the invisible energy, chaos and serenity of the ocean. Using brush and ink in an unconventional way while still following the masters words of advice; "to seek not the appearance of things but their essence."

    Tang says "at the time of primeval chaos, I float in the vast mist, with the initial mind of me"

    TANG NANNAN THE SEA IN THE SEA

    TANG NANNAN THE SEA IN THE SEA

    TANG NANNAN THE SEA IN THE SEA

    TANG NANNAN THE SEA IN THE SEA

    Words | A.Wright

  • Europe | Danil Rusanov

    Europe | Danil Rusanov

    Danil Rusanov's Europe is a series of dark and mesmerizing images created by the Russian artist,
    Danil's medium of choice is digital art and motion graphics.
    His works use stark white light on black to draw the viewers eye to a central point.
    Rusanov transports us to another world, a world very different to the one we think we know.

    Perception

    Rusanov believes that perception is personal opinion. His images invites the audience to reflect, offering several forms of personal perception.
    He says "The image is forming an idea, using sensible and logical tools. The idea is being formed when a viewer gives the image permission to do so."

    Danil Rusanov Europe

    Danil Rusanov Europe

    Danil Rusanov Europe

  • Alana Wilson

    On the beauty of decay | Kathyrn Carter

    There’s something lovely about the brokenness. It’s as though attention has been paid to the ruining—a thoughtful and considered destruction of a something that could have been perfect. Each blemish questioning all preconceived notions of what beauty really is.

    Such is the work of Alana Wilson, a ceramicist whose intentions stray from aesthetic idealism towards anthropological exploration. Born in Canberra, Wilson spent much of her childhood in New Zealand, before moving to Sydney at seventeen to study fine art. Today, from a studio overlooking Tamarama Beach, the artist creates vessels that reference historic utilitarian forms, working to a style that she describes as raw, still, subtle, and experimental.

    I am constantly working between the balance of raw and refined, primitive and contemporary, completion and decay. Aesthetically, I think the textural qualities and physical presence are first and foremost in what I seek in my own work.

    The thought of clay often conjures images of seamless silhouettes—shapely urns, spherical bowls; cylinder vases. But Wilson’s pieces belong to a chapter of ceramics history that is yet to be written. There’s an unapologetic rawness to the work, an imperfectness that invites you to feel deeper into the present moment. In a world where flawlessness is so often perceived as the aesthetic ideal, Wilson’s process aims to highlight the innate impermanence of everything; the beauty of decay.

    In 2011, trend forecaster Lidewij Edelkoort announced the dawn of the post fossil era, stating that the period of glamorous and streamlined design for design’s sake had come to an end. Moving forward, a new generation of artists were expected to retrace their roots, refine their earth and research their history, sometimes returning to the beginning of time. Edelkoort’s forecast predicted that primitive matter and organic shapes would soon tiptoe into the zeitgeist; a reflection of man’s longing for a more meaningful and ritualistic relationship with the earth. Though Wilson admits she had not heard of this theory, she does feel a connection to the ideology at its core.

    I think this [post fossil movement] is definitely a sign of the times, and has evolved from the evidential progress within the Western World in the last 15-20 years - within technology, commerce, and sociology…I feel at the moment there are numerous aspects of society in need of and appreciating the opposing points of this growth - physicality, reality, and human connection, both current and historical.

    In a way, Wilson’s work satiates this appetite for connection. Her vessels appear deliberately decayed; their flawed finishes a subtle reminder of life’s impermanence, of our own mortality. When asked why she so often returns to this idea of delicate deterioration, Wilson admits that, more than anything, it’s about the acceptance of change.

    I think throughout my life I have learnt to accept and embrace the sense of change, which is essentially what deterioration and decay is. "He not busy being born is busy dying.” I aim to embed this value into my work…

    For Wilson, it’s about bringing awareness back to the present moment, reminding us of the importance of humanity; the tender balance between order and disorder—notions that are strongly reflected in the artist’s process. From conceptualisation to creation, Wilson’s work remains a paced and considered progression, with pieces born from her experimentations with glazes, material and form.

    My number one tools are my hands and body, the artist tells me, …beyond that I have a few favourite wooden knives, scalpels, and Japanese glazing brushes.

    Anchoring this experimental approach is clear philosophical intent; a strong resolve that is attune to Wilson’s own sense of artistic obligation. As Wilson’s career has evolved, so has her awareness of how much she contributes to our consumerist culture, and to its perpetual cycle of production.

    The world does not need more "stuff", and I often feel an obligation to counteract the world of material commerce and highlight humanity and connection to the past and present moment. It is a constant balancing act to create without promoting commercialism or idolisation of material objects.

    Consequent to this theoretical process, to view the artist’s work is to be confronted by more than just something to consume, but rather, something to consider. In a world largely intoxicated by perfection, and amid the relentless striving for material possession, Wilson invites us to take a sobering pause, to ruminate on the beauty of decay.

    Words | Kathryn Carter

    @bykathryncarter

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