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Shane Forrest: 25 years 2019
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Artist’s proceeds from sales of this exhibition will be donated to Nature Conservancy. The Nature Conservancy is a global environmental nonprofit working to create a world where people and nature can thrive. Founded at its grassroots in the United States in 1951, The Nature Conservancy has grown to become one of the most effective and wide-reaching environmental organizations in the world. Thanks to more than a million members and the dedicated efforts of our diverse staff and more than 400 scientists, we impact conservation in 72 countries across six continents. Our Priorities:- We are focusing on these key areas in order to achieve our ambitious mission.
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catalogue essay
A glimpse into 25 years of studio practice is encapsulated in Shane Forrest’s new show at Rogue Pop Up Gallery in Newtown. In this review show, past supports present and present echoes past and works become uncoupled from the actual time of production, existing in a relationship of the artists making. This is most evident if Forrest’s themes are identified and then compared. Forrest has¬¬¬ been working with ‘the street’ since the early 1980’s. The ephemeral, the discarded, the unremarkable and the evidence of entropy in our daily lives are reoccurring themes in his work. He makes 2D and 3D works informed by his local environment, both the inhabitants, as well as the landscape. He is attracted to representing, in small sculptural maquettes, the sometimes unusual and surprising shapes made by people with their accessories as they move through the environment. An interest in the Sydney obsession with real estate is a theme for both painting and small sculptural explosions.
Forrest produces his work with mainly reclaimed materials. Old palettes, worn out brushes, reclaimed paper and cardboard, failed or discarded canvases thrown out into the street. His practices are historically connected to the Nouveaux Realists (1960 -1963) and Raymond Hains’ particular “affichist” conceptual concern for engaging with the unspectacular. From a series called “Consumer Robusta”, the material choice to work on large slabs of reclaimed street posters speak of an abiding interest and concern for urban voices as heard on flyers, posters, brochures and other ephemeral notices. These poster slabs provide messages that Forrest mines like an archaeologist, uncovering forgotten snippets in the cacophony of voices. A de-gloving of the handy work of the popular and the mundane as he carves new images into the poster surfaces using a scalpel. In the series ‘Porous Suburb’, Forrest uses the voluminous, ubiquitous, letterbox clogging advertising generated to promote the Sydney obsession with real estate, as stimulus. This property transfer industry has created an intense image-making machine with its own codified, visual and verbal systems, turning bricks and mortar into inadequacy and desire. The result is that a young, vibrant, creative population, essential in their presence, are largely disassociated from ownership of hyped-up dream homes. The paintings are a metaphor for the now unattainable dream of home ownership by the very residents who make a suburb a desirable. To make each work he first completes three to four meticulously painted scenes on paper. The imagery is taken from the real estate promotions that stuff his letterbox. These scenes are then ripped and reassembled into collages that become a view of all three layers at once. The resulting layered compositions simultaneously hide and reveal, allowing a view through closed doors. Private residences peeled back, the eye and imagination travelling through ruptured facades. The property, so tantalizingly depicted in the original photographs, is now doubly unattainable. Disrupted representation of dwellings, no longer ‘perfect’, offered for sale, their layers torn, hint at all not being well as Forrest subjects these utopian visions to entropic forces. In recent sculptural works, Forrest asks questions about failures. Failure of surface, failure to protect, failure to be contained. Some masses are moth eaten, some are collapsing, seams burst, edges fray. A veneer of control soon succumbs; protective layers are ruptured. They are proposals that playfully engage with folly, time and entropy. No one is a shiny winner; no one loses either. Nervously balanced between apexes, the longer lasting mid ground is explored, after shiny and new and before derelict and useless, hovering nervously in realms of deterioration. A mid-range of battered, tatty, worn and revealed. Frozen on the threshold of explosion, are a series of sculptural paper works Forrest has titled ‘Gifts’. These ‘explosions’ are the latest direction for Forrest. They are a collision of plenty and entropy. Are the ‘Gifts’ erupting in delight or something more sinister? Torn in frustration or a voyeur’s peek into interior layers? As Forrest states about his small unassuming sculpture titled Caution, “Is this work about an intimate interest in entropic forces and the struggle to maintain order, or do I just like thinks that go bang?” Dr. J Naylor
Forrest produces his work with mainly reclaimed materials. Old palettes, worn out brushes, reclaimed paper and cardboard, failed or discarded canvases thrown out into the street. His practices are historically connected to the Nouveaux Realists (1960 -1963) and Raymond Hains’ particular “affichist” conceptual concern for engaging with the unspectacular. From a series called “Consumer Robusta”, the material choice to work on large slabs of reclaimed street posters speak of an abiding interest and concern for urban voices as heard on flyers, posters, brochures and other ephemeral notices. These poster slabs provide messages that Forrest mines like an archaeologist, uncovering forgotten snippets in the cacophony of voices. A de-gloving of the handy work of the popular and the mundane as he carves new images into the poster surfaces using a scalpel. In the series ‘Porous Suburb’, Forrest uses the voluminous, ubiquitous, letterbox clogging advertising generated to promote the Sydney obsession with real estate, as stimulus. This property transfer industry has created an intense image-making machine with its own codified, visual and verbal systems, turning bricks and mortar into inadequacy and desire. The result is that a young, vibrant, creative population, essential in their presence, are largely disassociated from ownership of hyped-up dream homes. The paintings are a metaphor for the now unattainable dream of home ownership by the very residents who make a suburb a desirable. To make each work he first completes three to four meticulously painted scenes on paper. The imagery is taken from the real estate promotions that stuff his letterbox. These scenes are then ripped and reassembled into collages that become a view of all three layers at once. The resulting layered compositions simultaneously hide and reveal, allowing a view through closed doors. Private residences peeled back, the eye and imagination travelling through ruptured facades. The property, so tantalizingly depicted in the original photographs, is now doubly unattainable. Disrupted representation of dwellings, no longer ‘perfect’, offered for sale, their layers torn, hint at all not being well as Forrest subjects these utopian visions to entropic forces. In recent sculptural works, Forrest asks questions about failures. Failure of surface, failure to protect, failure to be contained. Some masses are moth eaten, some are collapsing, seams burst, edges fray. A veneer of control soon succumbs; protective layers are ruptured. They are proposals that playfully engage with folly, time and entropy. No one is a shiny winner; no one loses either. Nervously balanced between apexes, the longer lasting mid ground is explored, after shiny and new and before derelict and useless, hovering nervously in realms of deterioration. A mid-range of battered, tatty, worn and revealed. Frozen on the threshold of explosion, are a series of sculptural paper works Forrest has titled ‘Gifts’. These ‘explosions’ are the latest direction for Forrest. They are a collision of plenty and entropy. Are the ‘Gifts’ erupting in delight or something more sinister? Torn in frustration or a voyeur’s peek into interior layers? As Forrest states about his small unassuming sculpture titled Caution, “Is this work about an intimate interest in entropic forces and the struggle to maintain order, or do I just like thinks that go bang?” Dr. J Naylor
2D WORKSPOSTER WORKS
1 Bleached 1998acrylic paint on street poster2400 x 1200
2 Joan's men 2000acrylic paint on street poster1120 x 770
3 Filter 2005street poster620 x 620
4 Nest 2007street poster320 x 320
5 Screen 2008street poster1620 x 500
6 Cleave 2008street poster960 x 740
7 Duel Dual 2008acrylic paint and collage on street posters 700 x 600
8 Hunted 2008acrylic paint and collage on street posters700 x 600
OPEN HOUSES
9 Adjoining Properties 2006acrylic paint, collage on paper720 x 600
10 In ground pool 2006acrylic paint, collage on paper720 x 600
11 Brick Veneer 2006acrylic paint, collage on paper 720 x 600
12 Renovators Delight 2006acrylic paint, collage on paper540 x 260
13 Solar heating 2006acrylic paint, collage on paper540 x 260
14 Semi- detached 2006acrylic paint, wallpaper, reclaimed cardboard100 x 90 x 50
15 Incision 2008Gouache on shopping brochures on mount-board220 x 160
16 Meat Tray Won 2008Gouache on shopping brochures on mount-board160 x 220
17 The Tenant 2008Gouache on wall paper and shopping brochures on mount-board220x 160
POROUS SUBURB
18 A Canvas to Create 2011 acrylic paint on reclaimed arches paper/ canvas500 x 600
19 Boasting Modern and Refreshing interiors 2013acrylic paint on reclaimed arches paper/ canvas1220 x 605
20 Freshly Painted Throughout 2014acrylic paint on reclaimed arches paper/canvas760 x 380
1 Bleached 1998acrylic paint on street poster2400 x 1200
2 Joan's men 2000acrylic paint on street poster1120 x 770
3 Filter 2005street poster620 x 620
4 Nest 2007street poster320 x 320
5 Screen 2008street poster1620 x 500
6 Cleave 2008street poster960 x 740
7 Duel Dual 2008acrylic paint and collage on street posters 700 x 600
8 Hunted 2008acrylic paint and collage on street posters700 x 600
OPEN HOUSES
9 Adjoining Properties 2006acrylic paint, collage on paper720 x 600
10 In ground pool 2006acrylic paint, collage on paper720 x 600
11 Brick Veneer 2006acrylic paint, collage on paper 720 x 600
12 Renovators Delight 2006acrylic paint, collage on paper540 x 260
13 Solar heating 2006acrylic paint, collage on paper540 x 260
14 Semi- detached 2006acrylic paint, wallpaper, reclaimed cardboard100 x 90 x 50
15 Incision 2008Gouache on shopping brochures on mount-board220 x 160
16 Meat Tray Won 2008Gouache on shopping brochures on mount-board160 x 220
17 The Tenant 2008Gouache on wall paper and shopping brochures on mount-board220x 160
POROUS SUBURB
18 A Canvas to Create 2011 acrylic paint on reclaimed arches paper/ canvas500 x 600
19 Boasting Modern and Refreshing interiors 2013acrylic paint on reclaimed arches paper/ canvas1220 x 605
20 Freshly Painted Throughout 2014acrylic paint on reclaimed arches paper/canvas760 x 380
opening
MEDIA RELEASE
Shane Forrest: 25 Years13 August 2019 | Art AlmanacSHANE FORREST: 25 YEARSA ROGUE REVIEW AT ROGUE POP UP GALLERY
https://www.art-almanac.com.au/https://www.art-almanac.com.au/shane-forrest-25-years/
Twenty-five years of Shane Forrest’s multidisciplinary practice is on display at Rogue Pop Up Gallery in Newtown. Forrest has been working with urban elements since the early 1980s, and creates both 2D and 3D works informed by his environment and its inhabitants. He is interested in representing Sydney’s obsession with real estate and the often-unattainable dream of home ownership, particularly in his series ‘Porous Suburb’. Pulling imagery from the real estate promotions that fill his letterbox, Forrest creates delicate painted domestic scenes and reassembles them into collages that reveal multiple layers at once. The viewer can see both the exterior and interior of these Sydney houses, their carefully managed images disrupted and re-imagined by Forrest, and the result only exacerbates their unattainability. Reclaimed slabs of street posters are his material of choice for the series ‘Consumer Robusta’, in which he works as an archeologist of paper to peel back layers of historical street art and advertising and redefine their imagery. His interest in the discarded and abandoned is a pillar of his practice, as Forrest produces his work with mainly reclaimed materials including old brushes and palettes and found canvases, paper and cardboard. The aesthetic of dilapidation and destruction is carried on in his sculptural works, with many exploring a failure to be contained or controlled within themselves, while others are the aftermath of a rupture or explosion. Forrest uses the violence of these processes to give the viewer direct access to the inner layers of meaning imbued in his works.
Rogue Pop Up Gallery21 August to 8 September, 2019Sydney
Twenty-five years of Shane Forrest’s multidisciplinary practice is on display at Rogue Pop Up Gallery in Newtown. Forrest has been working with urban elements since the early 1980s, and creates both 2D and 3D works informed by his environment and its inhabitants. He is interested in representing Sydney’s obsession with real estate and the often-unattainable dream of home ownership, particularly in his series ‘Porous Suburb’. Pulling imagery from the real estate promotions that fill his letterbox, Forrest creates delicate painted domestic scenes and reassembles them into collages that reveal multiple layers at once. The viewer can see both the exterior and interior of these Sydney houses, their carefully managed images disrupted and re-imagined by Forrest, and the result only exacerbates their unattainability. Reclaimed slabs of street posters are his material of choice for the series ‘Consumer Robusta’, in which he works as an archeologist of paper to peel back layers of historical street art and advertising and redefine their imagery. His interest in the discarded and abandoned is a pillar of his practice, as Forrest produces his work with mainly reclaimed materials including old brushes and palettes and found canvases, paper and cardboard. The aesthetic of dilapidation and destruction is carried on in his sculptural works, with many exploring a failure to be contained or controlled within themselves, while others are the aftermath of a rupture or explosion. Forrest uses the violence of these processes to give the viewer direct access to the inner layers of meaning imbued in his works.
Rogue Pop Up Gallery21 August to 8 September, 2019Sydney
3D WORKSURBAN FIGURES
21 Jigsaw 2013acrylic paint on reclaimed wood510 x 280 x 140
22 Launch 2013acrylic paint on reclaimed wood430 x 280 x 120
23 Turning 2013acrylic paint on reclaimed wood250 x 270 x 140
24 Survey 2013acrylic paint on reclaimed wood430 x 280 x 120
25 Scurry 2014acrylic paint on reclaimed wood510 x 300 x 140 EXPLOSIONS
26 Past Present 2014acrylic paint on reclaimed paper/cardboard/ wood520 x 230 x 220
27 Open House 2015real estate brochures, acrylic paint on reclaimed paper/cardboard/ wood660 x 430 x 280
28 Aldi at 4am 2016Aldi brochures, acrylic paint on reclaimed paper/cardboard/ wood720 x 400 x 400
29 Caution 2016acrylic paint on reclaimed paper/cardboard/ wood380 x 160 x 140
30 En Garde 2018acrylic paint on reclaimed cardboard /wood600 x 550 x 300
31 Defence 2018acrylic paint on reclaimed cardboard / wood510 x 400 x 180
GIFTS
32 Gift 1 2010acrylic paint on reclaimed paper/cardboard360 x 300 x 90
33 Gift 2 2010acrylic paint on reclaimed paper/cardboard330 x 230 x 90
34 Gift 3 2010acrylic paint on reclaimed paper/ cardboard400 x 280 x 70
CORRUPTIONS ( renamed CATASTROPHIES 2020)
35 Happy Landing 2018acrylic paint on reclaimed cardboard440 x 400 x 380
36 Remnant 2 2018acrylic paint on reclaimed cardboard400 x 220 x 100
37 Safe 2018acrylic paint on reclaimed cardboard230 x 210 x 160
38 Cornered 2018acrylic paint on reclaimed cardboard 340 x 250 x 170
39 More cornered 2018acrylic paint on reclaimed cardboard330 x 170 x 140
40 Silo 2019acrylic paint on reclaimed cardboard480 x 150 diameter
41 Cower Tower 2019acrylic paint on reclaimed arches paper/ cardboard700 x 600 x 500
21 Jigsaw 2013acrylic paint on reclaimed wood510 x 280 x 140
22 Launch 2013acrylic paint on reclaimed wood430 x 280 x 120
23 Turning 2013acrylic paint on reclaimed wood250 x 270 x 140
24 Survey 2013acrylic paint on reclaimed wood430 x 280 x 120
25 Scurry 2014acrylic paint on reclaimed wood510 x 300 x 140 EXPLOSIONS
26 Past Present 2014acrylic paint on reclaimed paper/cardboard/ wood520 x 230 x 220
27 Open House 2015real estate brochures, acrylic paint on reclaimed paper/cardboard/ wood660 x 430 x 280
28 Aldi at 4am 2016Aldi brochures, acrylic paint on reclaimed paper/cardboard/ wood720 x 400 x 400
29 Caution 2016acrylic paint on reclaimed paper/cardboard/ wood380 x 160 x 140
30 En Garde 2018acrylic paint on reclaimed cardboard /wood600 x 550 x 300
31 Defence 2018acrylic paint on reclaimed cardboard / wood510 x 400 x 180
GIFTS
32 Gift 1 2010acrylic paint on reclaimed paper/cardboard360 x 300 x 90
33 Gift 2 2010acrylic paint on reclaimed paper/cardboard330 x 230 x 90
34 Gift 3 2010acrylic paint on reclaimed paper/ cardboard400 x 280 x 70
CORRUPTIONS ( renamed CATASTROPHIES 2020)
35 Happy Landing 2018acrylic paint on reclaimed cardboard440 x 400 x 380
36 Remnant 2 2018acrylic paint on reclaimed cardboard400 x 220 x 100
37 Safe 2018acrylic paint on reclaimed cardboard230 x 210 x 160
38 Cornered 2018acrylic paint on reclaimed cardboard 340 x 250 x 170
39 More cornered 2018acrylic paint on reclaimed cardboard330 x 170 x 140
40 Silo 2019acrylic paint on reclaimed cardboard480 x 150 diameter
41 Cower Tower 2019acrylic paint on reclaimed arches paper/ cardboard700 x 600 x 500