Exhibitions
This collection of selected exhibitions, beginning with the most recent, traces the development of Spear’s work over a number of years. It reveals the way her work has evolved over time, and the various relationships that have emerged between concept, media and process during the making of these works.
Sky Lab: from where you stand — Curated by Felicity Spear
Stephen McLaughlan Gallery, Melbourne 2011
Sky Lab: from where you stand experiments with models and concepts within the culture of sky-situated knowledge.
Sky Lab — Curated by Felicity Spear
Stephen McLaughlan Gallery, Melbourne 2009/10
Sky Lab was developed to locate considerations in art practice of sky-situated knowledge.
Beyond Visibility: Light and Dust
Monash Gallery of Art, Melbourne 2009
University of Technology Sydney Gallery 2009
The work of two artists and an astro-photographer come together to raise awareness of the diverse ways in which ideas about Space and the Universe can be understood.
Shared Sky
The Ian Potter Centre: NGV Australia at Federation Square
13 March–2 August 2009
A celebration of the International Year of Astronomy.
Out There — in light of remote possibilities
Monash University Faculty Gallery, Melbourne 2007
Speculative mappings revealing phenomena beyond the visible, ‘out there’ in the night sky.
A range of media, digital prints, paintings, a sound work, a video and an artist’s book.
Which Way Is Up?
Fermynwoods Contemporary Art Gallery, United Kingdom 2006
University of Hertfordshire Art and Design Gallery, United Kingdom 2007
The subjective territory of mapping and maps discovered through both historical and contemporary cartography, art and science.
Night Journeys
Stephen McLaughlan Gallery, Melbourne 2004
The art and science of the journey. Fundamental to way-finding is our reliance on the processes of navigation and mapping to determine location, movement and communication.
Traversing Space
Stephen McLaughlan Gallery, Melbourne 2002
The navigational model of the sextant, the mapping of space using optical instruments, aerial views and a local landmark, the You Yangs Hills.
Fenestration
Stephen McLaughlan Gallery, Melbourne 2000
The window structures of both Melbourne’s Nicholas Building and the Gallery situated within, utilizing the photographic process of pin-hole photography.
Illuminating Evidence
The Geelong Gallery, Victoria 2000
Is everything as it seems? Uncovering the more obscure life of the museum using x-ray, pin-hole photography, painting, light, peep-holes and mirrors, engaging the viewer in a process of contemplation, discovery and reconstruction.
Hyphen
West Space, Melbourne 1999
The optics of the camera obscura referenced through the use of pin-hole photographs, and fragments of mechanically reproduced art-historical images.
Concealment
Temple Studio, Melbourne 1999
Truth lies beneath the surface in the realm of the hidden.
A group exhibition curated by Tyra Hutchens.
Sounding
St. Stephen’s Church, Richmond, Melbourne 1998
Minimal paintings, low lying boxes, attenuated pillars and leaning serial forms, overlaid with photographic references, flashes of light and veils of shadow.
Lodged
Temple Studio, Melbourne 1998
Photography could be regarded as an aide-memoire, reconstructing the past through process and image in order to talk about other permutations of time and space.
Punctum
Stephen McLaughlan Gallery, Melbourne 1998
Paintings, references to photography and digital reproduction technologies, industrially fabricated objects, minimal, serialized, fragmented, abstracted, reflective, distorted.
Paris par chance
Cité des Arts Studio, Paris 1997
Mapping the environs of the Cité des Arts with pin-hole photographs.
Fold
Stephen Mc Laughlan Gallery, Melbourne 1996
Paintings that revisit aspects of Dutch visual culture in the 17th century.
Re-inscription
Linden Gallery, St. Kilda Arts Centre, Melbourne 1995
Quince, Cabbage, Melon and Cucumber (c. 1602), the Spanish painter Juan Sanchez Cotan’s iconic painting, disappearing through the photocopier into another space.