Amalgam by Lauren Downton & Together by Henry Wolff
Lauren Downton
Lauren Downton is an emerging artist working in contemporary ceramics and installation, based on Kaurna land, South Australia. She combines animal, botanical, and human-made forms into ghostly hybrid assemblages that examine humanity’s relationship with the natural world. Her practice explores ideas of grafting, by altering and joining clay pieces through a generative approach of sculptural propagation. Downton uses grafting as a conceptual and methodological device to examine notions of hybridity and excess in contemporary society. Her hybrid forms are an entry point to engage audiences in considering alternate future worlds and possibilities.
Downton was selected to exhibit in the 2022 Hatched: National Graduate Exhibition, at the Perth Institute of Contemporary Art. Her work has been featured in publications such as the Journal of Australian Ceramics and Art Edit Magazine, and she has gained multiple awards from the University of South Australia including the Australian Ceramics Association Award (2023), Harry P Gill Memorial Medal Award for outstanding work in ceramics (2021) and Vacation Research Scholarship (2022). Most recently, she was presented with the Fetzer Award for Excellence and City Rural Insurance Development Award at the Helpmann Academy Graduate Exhibition (2024).
Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that. (1) – Rosi Braidotti
Amalgam by Lauren Downton considers what it means to be human—through ceramic and sculptural practice, through personal experience, and through the conditions that we collectively find ourselves in—socially, physically and psychologically. At this current juncture in time, we humans are de-centralised, multifarious and ever-becoming. Now more than ever the livelihood of the natural environments that surround us are contingent on our evolution, as we are on theirs. Downton’s practice celebrates this interconnectedness, echoing notions of material vibrancy that lead to ideas of posthuman connection, as considered by the likes of cultural theorists Rosi Braidotti and Jane Bennett.
Downton breaks down hierarchies of matter, assembling casts of found detritus—both natural, (leaves, branches and antlers) and manmade (such as discarded plastic) aside casts and forms that suggest human and animal bodies. Through combining these forms in her sculptural assemblages, she allows the various elements to be on equal playing fields. It is the dismantling of hierarchies between human matter, natural matter, and inorganic matter that makes Downton’s work, and the work of said cultural theorists, of interest and very ripe for possibilities of future world-making. In the words of Braidotti, “in the ontological gap thus opened, other species come galloping in.” (2) One is encouraged to consider what other species or other possibilities it is that Downton is creating space for.
Her practice echoes processes of grafting in horticultural contexts, where two specimens will be fused together to grow a new hybridized form. The liminal spaces that exist between life and death foreshadow the work. Possibilities for growth meet notions of dormancy, as non-living and discarded detritus is collected, and considering through the different stages of life-cycles that it has passed through. Forms that once held a function, then moved to disuse, are collected by Downton and cast to live anew. Through ceramic process and sculptural assemblage, a type of propagation or regeneration is enacted. Acts of grafting can be seen as a metaphor for processes of artmaking. Artists collect, assemble and distil—physically and conceptually. As Bennett suggests, “An actant is […] an "intervener," (3) An operator is that which, by virtue of its particular location in an assemblage and the fortuity of being in the right place at the right time, makes the difference, makes things happen, becomes the decisive force catalysing an event.” Downton reminds us that all is connected, that we are in endless stages of becoming, and that we are never far from death and rebirth.
Working between life and death; object and ghost, matter and non-matter, Downton examines our states of permanency, transition and decay through human and non-human worlds. With a deep understanding of how matter “has a life outside of us,” this is work that calls for empathy towards all elements of our world.
Josephine Mead
Josephine Mead is an artist/writer/curator working on Wurundjeri Country. She considers personal notions of support. She has exhibited widely and undertaken several international residency programs.
(1) Rosi Braidotti, The posthuman. (Massachusetts: Polity Press, 2013), 1.
(2) Rosi Braidotti, The posthuman. (Massachusetts: Polity Press, 2013), 67.
(3) Jane Bennett, Vibrant Matter: A Political Ecology of Things.
(London: Duke University Press, 2010), 25-26.
Henry Wolff
Henry Wolff (b. 1993) is a visual artist based in Tarntanya/Adelaide, Australia. Working at the intersection of performance, photography and moving image, Wolff creates works that navigate the transmission and representation of care. Their practice disrupts traditional image-making practices through abstraction, and subversion of documentary practice to trace the phenomena of lens-based and performance practice.
Wolff exhibits and performs in galleries, public spaces, and online across Australia and inter/nationally. They have undertaken mentorships with several leading Australian artists (Hoda Afshar, Amos Gebhardt, Eugenia Lim, David Rosetzky), and residency programs with institutions including Centre for Projection Art (VIC, AU). Recent career highlights include a commission by Photo Australia for PHOTO 2022, an international photographic biennial (VIC, AU), and exhibiting as the feature artist for the 2022 Gertrude Street Projection Festival (VIC, AU). In 2020 Wolff’s work ‘Sibling’ was identified as one of the top 125 works from around the world by Aesthetica Art Magazine (LDN, UK), and they performed at the Art Gallery of South Australia with Melbourne collective APHIDS for the Adelaide Biennial of Australian Art: Monster Theatres' (SA, AU).
The works displayed in the main gallery were originally presented outdoors during the PHOTO 2022 International Festival of Photography, where they were installed in Melbourne's Parliament Garden. These banners, commissioned by Photo Australia for the festival's outdoor program, were created in response to the overarching theme of Being Human.
PHOTO 2022 invited artists, photographers, curators, and academics to explore the nuances of human existence. Through this theme, participants reflected on identity, connection, and individuality, engaging with questions about what shapes our experiences and what binds us together as a community. The festival offered a rich tapestry of narratives, highlighting diverse lived experiences, First Nations cultures, queer stories, and the evolving nature of digital identities.
The festival featured an extensive array of exhibitions and artists, including contributions from international artists such as Gillian Wearing, Paul Mpagi Sepuya, Mohamed Bourouissa, Luo Yang, Poulomi Basu, Martine Gutierrez, Aziz Hazara, and Vasantha Yogananthan. PHOTO 2022 also celebrated the legacies of two photographic icons. Cindy Sherman was honoured with the festivals’ largest single artwork to date, while Helmut Newton was presented in an exhibition that surveyed his impact on the medium.
By showcasing these banners in this new context, the artist invites you to immerse yourself in the ongoing conversation around the complexities and beauties of our shared human experience.
Together was commissioned by Photo Australia for PHOTO 2022, supported by the South Australian Government through Arts South Australia, and Restart Investment to Sustain and Expand (RISE) Fund an Australian Government initiative.