Amalie Roberts

Exhibition 1: Story of the Moving Image

The Story of the Moving Image, a permanent exhibition at ACMI, never fails to captivate me with its vibrant, engaging, and immersive presentation. The exhibition explores the evolution of media and animation over time, featuring elements like stop-motion animation, video games, movies, and technology. One of my favorite aspects is the circular cardboard devices equipped with technology that lets you track and save the works and displays you find most interesting. The exhibition's use of neon lights creates a futuristic aesthetic that enhances its appeal. A standout piece is the interactive display 'Catacombs of Solaris Revisited 2021,' a neon, pixelated puzzle video game that uses optical illusions to obscure pathways. This game consistently evokes an emotional response; every time I turned down a hallway that turned out to be an illusion, I found myself laughing instead of getting frustrated. The hallucinatory, abstract aesthetics of this game inspire me to challenge myself to surprise and engage viewers with my future works, pushing the boundaries of their expectations.

Exhibition 2: Nina Sanadze

Nina Sanadze’s exhibition was held in a professionally constructed, tall-roofed multi-room section of the Ian Potter gallery. The exhibition featured public statues, structures, and monuments as metaphors for societal transformation, utilizing materials such as marble and concrete. The gallery space focused on ashy, earthy hues with low lighting, and black and brown walls that created a sense of intimacy and detachment from the rest of the gallery. In contrast, the statues were brightly illuminated, and the exhibition signage was all white. The statues were arranged throughout the space, compelling viewers to weave between them rather than simply stand and look. This immersive environment felt engaging and dynamic. The piece that resonated with me the most was ‘Head Under the Bed 2023,’ a marble statue head of Russian Emperor Alexander II laying on the ground next to the frame of a bed. This work was displayed in an isolated section with no light beyond a singular spotlight, creating a powerful focal point on the head. I admired the use of focal point in this piece and the undivided attention it demanded. In my own work, I seek to experiment with similar intentions, creating focal points that draw viewers in and evoke a strong emotional response.

Exhibition 3: Aluminium

The exhibition was held in a small, dimly lit area with a concrete floor, where some of the displayed works emitted their own light. Information about the artwork was provided in a brochure available at the entrance, with each piece numbered to correspond with the guide. The use of translucent red panels to divide the space added a sense of warmth. Each artwork responded to the prompt ‘Aluminium,’ resulting in a diverse range of interpretations. Despite not having a typical “gallery quality” setup, I appreciated the presentation. The cozy space allowed visitors to get close to the works, creating an immersive experience. The piece that stood out to me the most was ‘FORM V (Cabinet) 2024’ by Annie Paxton (bottom left photo). Paxton’s practice largely interrogates time and process, as can be seen in the almost weathered appearance of the cabinet. It demonstrates the effort put towards creating the work- a meaning I would like to imbue my own work with in the future.

Exhibition 4: Ann Ryan- The Long Neck Beauty: The Glorious Series

Ann Ryan’s exhibition was held in the Flinders Lane Gallery, within a small, three-walled area with white walls that did not reach the ceiling. The mixed media works, featuring fabric and thread, were equally spaced and illuminated with overhead lights. The cohesive arrangement complemented the similar aesthetics of all the artworks, making it clear they were part of a series rather than individual pieces. However, the exhibition information displayed on sheets of A4 paper off to the side somewhat disrupted the viewing experience. The works explored the beauty of a backhanded compliment Ryan had received growing up—that she had a long neck. The piece that caught my eye the most was ‘Home, Glorious Abundance II 2024,’ notable for its use of brighter, lighter colors than the rest of the exhibition. From Ryan’s work, I am inspired to incorporate more vibrancy and pattern into my practice, showcasing the beauty of aspects of life that may be devalued or considered unusual or different.

Exhibition 5: Museum of Crypto Art

The website features light, pastel backgrounds with darker text, creating an inviting atmosphere. Users are welcomed by a colourful GIF, and as they scroll, artworks pop up with details over a light brown-red background. This interactive design, with random pop-ups and art appearing as you scroll, is fun and engaging. Hovering over pieces in the permanent collection makes images pop up, though some content is unavailable, which can be frustrating. The collection consists of high-quality photographs and videos. A standout piece is "Clionate" by Winteagle, showing 3D sculpted figures that evoke curiosity and a sense of personhood, prompting questions about their story and possible robotic nature. "Clionate" resonates with my practice, inspiring me to explore personhood in simple forms. Minted on October 23, 2020, it lacks detailed artist information, adding to its mystery. Overall, the gallery's colours and interactive design are appealing, despite some difficult useability.

Exhibition 6: Hilma af Klint- The Secret Paintings

The online interactive gallery exhibition lets users explore the space as if they are there in person. While some angles can distort the images a bit, it's generally easy to use. there is the additional option to view the exhibition from a map perspective, and a VR perspective. The exhibition space is bright, with white walls, a light wooden floor, and some grey display elements. This neutral background makes the vibrant colors of the artworks pop. The artworks, created with graphite, ink, watercolor, and crayon, delve into Klint’s exploration of abstract color and shape. I found her notebooks, titled Book XXX: Notes 1934, to be the most interesting part. They offer a peek into her thought process beyond the finished pieces, showing the effort and careful planning that went into her work. This inspires me to spend more time planning and refining my own artwork before committing to a final piece, highlighting the importance of preparation in the creative process.