Sydney-based interdisciplinary artist, Connie Anthes’ exhibition, A Little Too Familiar will open at the recently launched artist run gallery and residency, Good | Grief (106 -108 Henderson Rd, Alexandria) from Friday 28 April – Sunday 30 April 2017.
The site responsive exhibition bears the fruits of a month-long residency, exploring ideas associated with getting familiar (perhaps too familiar) with a space or place, learning it like the back of your hand. Anthes will showcase a series of site-specific works, each particular to the peculiarities of the gallery space.
Anthes describes her residency at Good | Grief as: “partly making in the space, partly a kind of care taking of the space. My work is a gift to the space, some of the works will leave a residue that can only be erased over time.”
The exhibition comprises a series of interventions such as tethering a sapling to the building and re-projecting a view through a tiny peephole she found in the floor of the gallery.
Other works include a woven paper sheet reconstructed from shredded administrative documents; a single, meticulously restored green lino floor tile; and a series of ‘Good Grief’ anagrams painted onto the entrance door below the original signage in matching font.
Good | Grief is an artist run gallery and residency in a preserved three-room factory office founded in February 2017 by Will French, a Sydney-based artist and curator. Envisaged as a 12 month project with rotating monthly residencies/exhibitions, French was motivated to open the space in response to several factors, principally a desire to inject a little goodwill into the arts landscape in Sydney. Good | Grief is also French’s personal response to the recent arts defunding, closures and destabilisation.
French comments: “Good | Grief is a celebration of all the good that comes of art and also the inevitable grief it causes us to make it, show it and survive, despite it. A perfect dichotomy.”
Good Grief’s exhibition model is unique in its orientation towards the needs of the artist, over the audience. It flips the typical two-day install, three-week show model into a four-week gallery residency, with an opening and two day show.
“I hope the shows reflect the value of time in situ making, rather than minding”, French says.