3 + One – a group exhibition at JamFactory Seppeltsfield Gallery
22 November 2014 - 15 February 2015
The collaboration with Andrew Bartlett was a welcomed opportunity to explore a different function for my glass panels – off the wall and into a piece of furniture.
I use imagery to record moments. They are . The artworks in 3 + Oneinvites the audience to take notice and acknowledge simple day-to-day moments.They are a celebration the ordinary.
The imagery in this collection of artwork is taken from various walks I have done, noticing in particular the beauty of tress.
Place & Time exhibition
Solo exhibition at Craft Gallery, Melbourne
September 4 – 18 October 2014
For this solo exhibition I used imagery to record and detail moments. They are simple day-to-day observations. Place & Time invited the audience to take notice and acknowledge these moments.
The subjects and objects depicted in this exhibition come from the realm of the everyday - they are not surprising or confronting. There is a comfortable familiarity about them.
Place & Time is a celebration and exploration of the ordinary but notable moments and memories of contemporary daily life.
2:58 pm, 24/03/13, Adelaide, South Australia, Australia
11:02 am, 27/05/07, L’vov, Ukraine
11:32 am, 16/05/14, Black Diamond, Alberta, Canada
6:49 pm, 02/06/07, Kiev, Ukraine
3:43 pm, 21/11/08, Babinda, Queensland, Australia
Solo exhibition at Murray Bridge Gallery, SA 2013
Canberra Glassworks Gallery, Canberra, ACT 2014
An exhibition where glass and photography or drawing are combined to create graphic wall installations that are reflect on the ordinary moments of everyday life.
This work is not only about the spaces in which we live our lives but also the places and memories within our lives that take on greater importance, but that can often times can be taken from granted.
This exhibition allows us to break the spell of the rapid glance and to make us notice and acknowledge as least for a time, the everyday spaces and places of our own lives.
The Little Things exhibition
Solo exhibition at Wheatsheaf Hotel, Thebarton SA,
2011 SALA Festival Exhibition
This exhibition was a series of investigations into silhouette and place. Each piece is made up of two glass panels, and the image spans across both. The artworks are of an intimate scale, and depict imagery from my everyday adventures.
Machine in the Garden exhibition
Solo exhibition at Craft Gallery, Canberra, ACT
April 1 – May 7, 2011
‘This exhibition displays my continuing development and explorations into the progress of technology and its relationship with nature. The exhibition is an exploration of the world around me and of the values that I struggle to keep in balance in my own life.
When I started thinking about ‘Machine in the Garden’ my first thoughts were limited to the garden or veggie patch, and the machines that are used to assist and manipulate nature to grow and harvest food and bounty from the natural world. Upon further thinking I now see ‘Machine in the Garden’ as a statement about people and our relationship with the planet as a whole. The machines are you and me; they are the cars, roads, buildings, planes, boats, diggers, trucks, concrete, sky-rises - all the man made and unnatural things that we have created in this world. The garden is the natural world itself; rivers, oceans, land, trees, plants, animals, insects, fruits and vegetables. The part that I am interested in is where 'the Machine' meets 'the Garden' - where and how they interact.
Small is Beautiful exhibition
Solo exhibition at JamFactory Contemporary Craft and Design, Adelaide SA
Writing that accompanied the exhibition by Fulvia Mantelli
small is beautiful
In an era when, for the first time in history, cities are more populated than rural regions and human generated waste is at an all-time high, Christine Cholewa wonders where we are being led by the “pre-packaged, pre-fabricated lifestyle, disconnected from nature” 1 of modern life in manmade spaces. Cholewa’s first solo exhibition takes its title from E.F. Shummacher’s Small is Beautiful – economics as if people mattered. First published in 1973, it summoned a major attitudinal shift – which the developed world’s super powers are only now beginning to acknowledge as being vital to the future of the earth and humankind – and called a cease to treating natural resources as income rather than capital which if squandered “threatens life itself” 2. While cities can facilitate a positive quality and ease of living, how do we define ourselves in the context of startling statistics of global warming and lifestyle trends? “Not everyone can own a car” 3.
Canadian born and raised, Christine is one of a modest count of South Australian ‘glassies’ whose studio practise dis-concerns itself with forms of function and their embellishment; instead approaching glass as the vehicle to embellish a notion. The work is more about concept than object or medium. A quiet activist, not an ear(th)-bashing preacher, her art-making continues to be informed by observations of dominant behavioural patterns towards the environment, and whispers encouragements to notice the smaller details of our relationship with the natural and fabricated worlds. Previously, she has embodied rain and puddles in glass installations, and subverted the function of glass (food) bowls with embedded images of garbage. This current body of work highlights our paradoxical pursuit of the appeal that lies in the hazardous, and uses the reflective nature of glass to engender a reflective approach to the pace and impact of contemporary life.
Driven by environmental issues, Cholewa uses the ‘found’ surfaces of car rear-vision mirrors. As domestically familiar objects, our interaction with them as artworks is immediate. They invoke a looking back on prevailing environmentally unfriendly ‘economic’ decisions, placing them in our immediate line of retrospective sight and always in the corner of our eye. Engraved snapshots of sweeping power lines, in grid formation, reference our connectedness: physically across country vastness to city labyrinths; and metaphorically in our actions globally (including excessive power consumption). A sandblasted panoramic narrative, travelling through open landscape then high-density metropolis, traces our impact on the earth and implies an uncertain future. A stack of mirrors crammed with traffic jams signal the impossibility of our swelling consumerist thirst. A series of layered glass panels sandwiching patterns of Stoby poles and streetlights, place us at a moving window watching the world go by. Whether passengers/pacifists or drivers/activists, the present is our doing and the future depends on us – perhaps most importantly to notice and act on the small things that collectively have the greatest impact.
During her 2007 three month residency in Farnham, UK 4, Cholewa focused on combining image with glass, not as decoration but to explore the relationships between object, material and image. The result was a visual diary of distilled daily glimpses of her time overseas. Instead of words on paper – which are inevitably folded away – its pages are ninety unique blown glass cups – items we physically grasp to drink (replenish) from daily. A new cup accompanied her every day to capture a random moment sketched in glass enamel pencil (later fired on permanently). While they carry personal stories through which the artist pondered her own effects on the earth, they are also widely recognisable by virtue of the kinship between collective and personal experiences. Similarly, her glass brooches bearing snippets from the background of our everyday are portable reminders to take another look at our association with the ordinary things around us.
Agreeing with Schummacher’s assertion that “from bigness comes impersonality, insensitivity...small is free, efficient, creative, enjoyable, enduring”, Cholewa offers intimate works that draw acute attention to familiar yet often overlooked details. She advocates a slowing down to contemplate – upon say, the humble domestic electrical outlet, or maze of city power lines, what they do, why and how. This thwarts the all too common selective blindness that we apply to potentially perilous habits of economic and industrial evolution; in favour of the hope and powerfulness of small actions by many individuals in remedying our ailing global condition.
Fulvia Mantelli 2008
1. email from CC to FM 12.04.08
2. E.F. Schummacher Small is Beautiful – economics as if people mattered, reprint Harper & Row 1989, p. 17; originally published Blond and Briggs 1973
3. from an unknown BBC radio program about world population, Feb or March 2008
4. residency at University College of Creative Arts; A HAT International Research Fellowship for the Contemporary Crafts, managed by A Fine Line and major sponsor by Arts Council England in Partnership with various schools
Group exhibition at JamFactory Contemporary Craft and Design, Adelaide SA
For this exhibition I questioned “how do you balance things when change happens?" The question is objectified as floating vessels, poised and precarious but resolute. The hanging objects reflect a favourite organic shape of humble gourds – their tenacity to grow in contour to their immediate space, they also conceivably imply the hourglass – the contemplation of change with the passing of time.
Group exhibtion, at Artspace, Adelaide Festival Theatre, Adelaide
I was invited to be a part of a group exhibition along with 3 other artists. We were all working with glass in various forms. The idea was that we were bending the material to our ideas.
I created two installations for this exhibition, one a collection of hot cast glass puddles, and the other a collection of glass canes rain lines.
Group exhibition Biennial at JamFactory Gallery, Adelaide SA
For the final associates exhibition I made a collection of 20 bowls with a flocked drawing on them. Here is what I wrote about them.
Walking through the early morning city, before the streets have been cleaned, I started to notice garbage. It’s amazing how dirty this place gets, but it’s mostly invisible by 9am.
I don’t think that garbage is beautiful, but it is interesting.
When I started to photograph the garbage I got the feeling that I was making people uncomfortable. I was drawing attention to something that people usually filter out.
The black and white images are somehow iconic: they are apt experiment for contemporary urban decoration.
Engraving the bowls and then flocking the images has stripped the function from these objects, making them unsuitable for guacamole.
RUST SALT TAR
Made in collaboration with Deb Jones as CHEB art and design
RUST, SALT, TAR, SMOKE and KNOT, the first five exhibitions in a series that has brought together a group of contemporary artists to produce works based on simple elemental themes. The exhibitions have taken place at the Black Diamond Gallery in Port Adelaide, the first two as part of the 2009 and 2011 Port Festivals and the most recent being part of the 2013, 2014 and 2015 Adelaide Fringe Festivals.