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Past Exhibition

Found in Translation

Gosia Wlodarczak

In 2013, between 10.30 am and 5 pm daily for 17 days, Gosia Wlodarczak was enclosed in a specially designed sensory limitation cube in RMIT (Royal Melbourne Institute of Technology) Gallery, drawing without any exposure to the outside world –literally ‘drawing’ what she could see in the space around her. The project, entitled A Room Without A View, used the language of drawing to investigate what she describes as “an ongoing search for the reassurance, for the ‘material proof’ of my existence”.

This new exhibition, Found In Translation, features the walls and ceiling of this room deconstructed in the North Gallery of TarraWarra Museum of Art. The artist also created an ‘interpretation drawing’ employing an abstract alphabet derived from 26 small details taken from the A Room Without A View performance whereby each represents (respectively) the 26 letters of the alphabet. This drawing visually translates or encodes on the gallery wall a poem from Ian Fairweather’s The Drunken Buddha (1965), which is itself a translation of a well-known Chinese tale. In addition, Wlodarczak will perform a drawing on the iconic large window in the North gallery framing the landscape of Long Gully.

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Past Exhibition

Found in Translation

29 November 2014 - 15 March 2015

Curated by: Victoria Lynn

Gosia Wlodarczak

In 2013, between 10.30 am and 5 pm daily for 17 days, Gosia Wlodarczak was enclosed in a specially designed sensory limitation cube in RMIT (Royal Melbourne Institute of Technology) Gallery, drawing without any exposure to the outside world –literally ‘drawing’ what she could see in the space around her. The project, entitled A Room Without A View, used the language of drawing to investigate what she describes as “an ongoing search for the reassurance, for the ‘material proof’ of my existence”.

This new exhibition, Found In Translation, features the walls and ceiling of this room deconstructed in the North Gallery of TarraWarra Museum of Art. The artist also created an ‘interpretation drawing’ employing an abstract alphabet derived from 26 small details taken from the A Room Without A View performance whereby each represents (respectively) the 26 letters of the alphabet. This drawing visually translates or encodes on the gallery wall a poem from Ian Fairweather’s The Drunken Buddha (1965), which is itself a translation of a well-known Chinese tale. In addition, Wlodarczak will perform a drawing on the iconic large window in the North gallery framing the landscape of Long Gully.