28 November - 20 December, 2023
Jan Manton Gallery is pleased to present Holdings 2023, a group exhibition of selected works celebrating the exhibiting artists of 2023. We welcome you to our gallery stockroom for viewing.
Exhibiting Artists:
Andrew Browne
Angela Brennan
Dadang Christanto
David Fenoglio
Ian Friend
Jacinta Giles
Jonathan Kopinski
Joseph Daws
Kellie O’Dempsey
Miles Hall
Natalie Lavelle
Simon Degroot
23 May - 10 June, 2023
In a world where filters are omnipresent, Jacinta Giles’ exhibition Filter asks us to reflect on the ways in which we interact with and interpret the visual world around us. In using coloured filters— both physically within the work and as the conceptual theme behind the series— Giles also explores the filtering process as a creative technique, revealing how artists select and manipulate elements to generate a distinctive visual language.
Giles’ use of photographs of the moving images that fill our screens, as the content for these artworks, reflects her ongoing interest in the relationship between screens, filters, the photographic apparatus, and our everyday lives. Ultimately, this series of photographic collages echoes our daily navigation of the digital landscape and considers how filters shape our collective perceptions of reality.
Exhibiting artist Jacinta Giles joined Alain Guillemain in the space to explore the theme of ‘Minimal and Overfull' in Filter (23 May - 10 June).
18 May - 5 June, 2022
Jan Manton Gallery is pleased to present False Continuity by Jacinta Giles on show in the gallery between 18 May to 5 June 2022. The photographic works in False Continuity are a continuation of Jacinta’s ongoing interest in questioning our understanding of our contemporary visual world, particularly our experience of the moving-image.
In seeking to expose the temporal pulse, shifting velocities, and gestures of women across different genres of cinema, False Continuity materialises the language systems used by film to mediate ideas of womanhood. Through disrupting our narrative experience of films from the genres of Hollywood Cinema, Romantic Comedy, Dystopian Science Fiction, Superhero, and Horror (Vampire), this project reveals the seductive agency of cinematic images and the coding they contain regarding ‘being a woman’.
By using the cinematic process of false continuity editing—putting two or more non-chronological images together to create a new narrative—each work in the exhibition makes visible the repetitions of movement, tonality, and form used in cinema to construct filmic femininity.
14 July - 1 August, 2021
the fragment and miniature encourage each other—evoking the singular, and rare, the fragile, the ephemeral, and the compressed as materially and poetically valuable.[1]
Fleeting is literally things in motion. Things that are defined by their capacity to affect and that can only be seen obtusely in the haptic space in the middle of things—a space that exists between the representational and the abstract. In slowing our quick jump to representational thinking the photographs in this series question our well-known picture of the world; provoking attention to those somethings (things that happen) that throw themselves together as an immanent force. Through movement, materiality, and a texturing of sensation, the artworks in Fleeting bring into sight the intensities of the ordinary via compositions of disparate scenes and transient fragments. Located between displaced perception and hesitant action, Fleeting facilitates an awareness and responsiveness to what Kathleen Stewart describes as:
matter in an unfinished world…a not yet that fringes every determinate context of normativity with a margin of something deferred or something that failed pressing to arrive, or has been lost, or is waiting in the wings, nascent perhaps.[2]
[1] Vivian Carol Sobchack, "Nostalgia for a Digital Object," in Future Cinema: The Cinematic Imaginary After Film, ed. Peter Weibel and Jeffrey Shaw (London;Cambridge, MA: MIT, 2003), 71.
[2] Stewart, "Weak Theory In An Unfinished World," 80.July 14 - 1 August, 2021
11 March - 4 April 2020
Jan Manton Gallery is pleased to present Jacinta Giles, a Brisbane-based artist whose conceptually driven photographic practice explores the complex relationship between perception, memory and temporality within contemporary culture.
In using unconventional photographic processes - which take their cues from how memory operates - the images oscillate between the movement and stillness and the seen and unseen. Through the cutting away of images from the flux of everyday visual experience, their elements are intrinsically displaced in the strange and confined space of the photograph.
In this collection of work the photograph becomes a distancing device, challenging us to an awareness of the structures of visual perception that organise memory. These works also reflect the artist’s commitment to contesting the boundaries of traditional notions of lens-based art, blurring the line between painting, photography and the filmic.
3 - 27 July 2019
Altered explores the idea that moments of recognition do not entail a direct correspondence between a subject and an object, but can occur aesthetically in moments of strange familiarity; in which neither consciousness nor the object discovers its place. These strange murmurings are an uncanny, origin-less memory that appears displaced, fragmented and incomplete. Reveries able to trigger the effect of melancholy and nostalgia.
By using photography - a medium traditionally used to fix events in time - as well as photomontage in unconventional ways, the viewer becomes witness to the disorientating fragility of remembrances and the slippery shift that exists between fiction and reality.
