UniSA Business: Yungondi Gallery
Creativity and collaboration are at the heart of innovation.
UniSA Business has partnered with Guildhouse to present works by contemporary South Australian artists to encourage reflection and inspire new ideas.
UniSA Yungondi Exhibition Series
Social 2.0 documents Jay Lord’s observations of the designed language used by social media. Saturating our surrounding digital landscapes, the use of intentionally engineered written language in social media and online is an especially unique change in how we perceive and interact with written text.
Take Nothing; Leave Nothing
Take Nothing; Leave Nothing speaks the enduring nature of Country and the fear that many Anangu have that our sacred ancestral landscape will be exploited without regard for the Songlines and Tjurkurpa that lie beneath the landscape that can be seen as opposed to the Country that can be felt.
Portraits of the Elderly
Steph Fuller is a South Australian artist working with still and moving images. Her camera-based works examine her surroundings, exposing the lesser-known vulnerabilities of creatures and objects.
A selection of works by Fran Callen, documenting personal and family relationships with domestic spaces and their impact on the natural world.
A selection of works by Donovan Christie that focus on capturing and immortalising the nostalgic urban landscape as it slowly fades.
Tremendously very very very beautiful
Brad Darkson’s work Tremendously very very very beautiful encourages a reflection on preconceived notions surrounding Aboriginal art, and in doing so highlights the diversity and complexity of Aboriginal culture and experience.
Our Great Barrier Reef
The ‘Great Barrier Reef’ series discusses the state of our oceans due to pollution and climate change. Single use plastics are a convenience item that society has become accustomed to using with only recently founded action to consider the long term environmental impacts.
The exhibition Transformer is part of the Painting Mill project, and has been presented in a number of forms since 2015. It has grown out of my interest in simple machines and how they might be considered within a visual art context.
Jess Taylor explores her fascination with fictional horror primarily through digital methods of making. Using her own image and body exclusively, Taylor’s work presents transgressive and repressed feminine experiences, reflecting womanhood as complex and contradictory.
Gentle A Path
Gentle A Path is an exhibition of photographic works exploring the humble gestures of the Ngangkiparingka Onkaparinga River. The artwork stems from observing and contemplating the quiet fluidity of the river in its passage over the land; the elements of earth and water are seamlessly balancing and equally compromising to allow for the continuous existence of the other.
Planting Plans is a selection of recent map drawings by Laura Wills. The works reference plant properties and botanical drawings, and explore food diversity and food plant relationships.
Parent Guilt Yo
In the days after her second child was born, and feeling pangs of responsibility and failing, contemporary jeweller and artist Alice Potter constructed a survey on the theme of parental guilt. The artworks in Potter’s installation were made as a direct response to quotes taken from the survey analytics asking over 100 mothers and fathers of new and older children to reflect on the theme.
Tom Borgas’ suite of sculptural sketches fuse the language of digital media with the intimacy of analogue materials and processes.
Up Over Down Out In Around
The work presented explores a level of vulnerable experimentation from Hall. In contrast to the emphasis on clean lines and shapes present in his previous works, he has delved deeper into exploring intuitive mark-making, with the indecisive lines mimicking the trajectory of an artist’s practice.
With All The Travail
Often unable to put these emotions into words, Finch uses his works as a tool to translate the complex responses we have to living. The works serve as an interpretation to the gritty complexities of the human condition, increasingly encountered in day-to-day life in an ever-connected world.
Pattern and Repetition
“I have undertaken a strategy of limiting myself to using the raw materials of artists’ canvas and paint, employing unconventional painting processes to these. My honours body of work consists of abstract paintings that emphasis materiality and process. They have been constructed by unravelling the canvas, crocheting these unravelled threads and hand stitching and weaving. These traditional skills were taught to me as a child by my mother and have become part of my visual language.” – Lucia Dohrmann.
Images (L-R): Jay Lord, Liked Your Photo, 2019. Image supplied by the artist.Creativity and collaboration are at the heart of innovation. Since 2018 UniSA Business has partnered with Guildhouse to present works by contemporary South Australian visual artists to...
Creativity and collaboration are at the heart of innovation. Since 2018 UniSA Business has partnered with Guildhouse to present works by contemporary South Australian visual artists to encourage reflection and inspire new ideas.Take Nothing; Leave Nothing Elizabeth...
Creativity and collaboration are at the heart of innovation. Since 2018 UniSA Business has partnered with Guildhouse to present works by contemporary South Australian visual artists to encourage reflection and inspire new ideas. Please note: The UniSA Business School...
Images (L-R): Tom Borgas, Image/Objects (installation view), photograph courtesy UniSA; Brad Darkson, Tremendously very very very beautiful (installation view), 2021, photograph Guildhouse; Jess Taylor, The Consumate Ruin (installation view), 2018. Image courtesy the artist; Alice Potter, installation image of exhibition Parent Guilt Yo, 2019. Photograph Guildhouse; Nathan Finch, installation image of exhibition With All The Travail, 201, photograph Guildhouse.