SHOTGUN 8: dark maria
SHOTGUN 8: dark maria


Eloise Kirk

Shotgun 8: dark maria

Opening: 6pm, Friday 27 September 2019

Exhibition: 28 September – 27 October 2019

Location: Contemporary Art Tasmania
Through the use of erasure, fragmentation and collage Eloise Kirk constructs a sequence of symbolic arrangements. The artist collects, divides and then reassemble images and materials, pitting the precious against the precarious. The work is explicitly elemental, offering an aesthetic response to the interval between beauty and disaster, straddling the periphery of the romantic and the surreal.

Shotgun is presented by CAT, DETACHED and Mona.


Shotgun is an awarded opportunity that supports the advancement of selected Tasmanian artist/s through a customised and intensive program of high-level industry access, production assistance and critical engagement. The project began in 2010 as the outcome of a public private collaboration between Contemporary Art Tasmania and Detached Cultural Organisation and in 2017 it grew to include the Museum of Old and New Art.

During the Shotgun 8 program Eloise Kirk worked closely with artists Sally Smart and Lucy Bleach. Kirk also spent time with: gallerist, Daine Singer; curator, Craig Judd; artist, Alex Pittendrigh; woodwork instructor, Chris Bush; and lighting and technical design, Jason James. Shotgun curatorium: Jarrod Rawlins, Michael Bugelli, Kylie Johnson and Michael Edwards. Shotgun 8 has been supported by commissioned texts by Lucy Bleach and Daine Singer.


While Kirk’s landscapes have always been constructed fantasies, dark maria brings explicitly built structures into her practice. Each of her large plaster-clad sculptures have open backs and fissures through which their empty interiors and ply construction is revealed. These sculptures are an odd hybrid of built and natural forms, with lumpy geological fronts applied to structural supports. ”

Diane Singer – catalogue essay excerpt


“The works hold a delicate, architectonic occupation of space. They are simultaneously rock/architecture/body and their presence bids the viewer to enter their space, to use their own body to move around and through, in order to navigate the terrain of the work, tentatively, instinctively, encouraging a corporeal engagement.”
Lucy Bleach – catalogue essay excerpt


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