Fear and its apprehension are powerful and destructive – People are rarely capable of understanding ideas, but they can easily understand stories. Relatability offers weight and stability to build a foundation and following.
Restless Sieidi is a new project that references traditional Sami shaman rituals, ties to the land, biophilia and a helpless need for answers. This project has grown from recent participation in the La Wayaka Current Arctic residency in 2017 on Sørøya Island, Norway.
Imitating the arctic landscape Restless Sieidi is the rebirth of shaman tradition. Pulling at the strings of biophilia, this exhibition looks back at the landscape for answers of peace.
Kathigitis is a sculpture and installation artist based in Adelaide, South Australia. Focussed on themes of false realities and the abstract span of consciousness, she presents the fragility of the mind and the anxiety of consequence.
*A sieidi is a spiritual focal point within traditional Sami shamanistic culture. Thought to be a gateway to the spiritual world, these rock formations scattered throughout the land played as sites of worship and sacrifice. Set in high prominent places, a sieidi is thought to hold power over all animals, people, and objects. These found or made formations give hope, power and anxiety – a job to upkeep; a constant reminder of the fragility of our foothold in this world.
This exhibition was partially funded by The Helpmann Academy.
The spiral is a means of establishing order. Constructing a space that can be entered and yet there is no clear line between inside and outside. The spiral is a space that closes and opens at the same time, a space that progressively reveals itself. A circle acts in the same manor, as having an active route, with no beginning nor end. Chaos and traumas are merciless and can bleed into the human condition.
Those Who Kissed the Grey Skies stands as an abstract map of consciousness. Hanging as a silent witness to the installation that is Internals.
Fear and its apprehension are powerful and destructive. Through multiple medias, Internals presents portraits of (the dissipation of) consciousness and the abstract span of realities.
Internals: wire & foam rubber, dimensions variable, 2016.
Those Who Kissed the Grey Skies: MDF & acrylic paint, 1500mm diameter, 2016
Fontanelle Gallery, 2016
Photos by Jessica Clark
Olivia Kathigitis is partnering with SLOW Fashion Festival for the second year (2017 & 2018) to portray how fashion can be made mindfully, ethically and stand within the reality of the contemporary climate.
SLOW Fashion Festival, styled by Vogue Australia’s Sustainability Editor-at-Large Clare Press, is the work of Adelaide designers/creatives Anny Duff (Good Studios), Natalie Ivanov (Re-Swim Club) and Emily Sheahan (vintage & clothing exchange advocate), leading chef Simon Bryant and Wicks Estate for a day of change.
20th October, 2018 - Adelaide Fashion Festival Runway, Torrens Parade Grounds
The SLOW Fashion program includes, with focus on:
Sustainable – a curated runway of Australian brands that have an ethos of sustainability, long life and conscious craftsmanship. Designs will feature sustainably sourced fabrics and employ ethical practices through production. Brands include KitX, Bianca Spender, Nobody, Good Studios, Kalaurie, A. BCH, Autark, Home Job, Re-Swim Club and From Found.
Honouring – vintage has an important story to tell with its inherent nod to reuse and celebration of the past. To truly stand the test of time, in both fabrication and style, is the ultimate model of sustainability. Suppliers include The Commons and Claire Inc and stock will be cleaned by Karl Chehade Dry Cleaners.
Waste – question the norm of rejection and waste in the fashion sector and see the industry’s dead stock find new life on the runway.
Tickets are available here.
Black and white, 35mm SLR
Produced through the Elizabeth Day, Bruny Island residency off the coast of Tasmania, 2015
Death is an unattainable container - we cannot know what it is to die - we are restricted to the act of mourning.
These salt lake photographs present death as a body of water contained by the salt crust of the lake - the crust of life. Once pierced the pool is opened and you cannot return. The crust is submerged and there is only death. This elaborates on the theory that you cannot know death until you are engulfed by it - you cannot reference it until you experience it, a paradox.
What if I Fall Asleep?: digital print on cotton rag, 100 x 100cm, 2014
Liverpool St Gallery
photos by artist
The hand is contact, expression and relation. We hold hands in condolence, we reminisce someones touch and we hold the artefacts those have left behind. Dissipation is comprosed of large structures of plaster broken apart to reveal the grasping ‘others’. Desperately attempting to hold onto that which is lost. Opposing landscapes signify the relationship the living project into death
Dissipation : plaster, clay & pine, dimensions variable, 2014
Liverpool St Gallery
photos by artist
Ones grasp of reality is only as they see it; reality is internal. Heaven and Hell are both within, it is how we interpret them that they alter us.
Offerings is the imagined state. A reality caught between two elements: Utopia and Dystopia. Life and death.
Referencing the Ancient Greek ritual of the offering placed with the dead, to buy their journey across the River Styx. A token, given from the living to the dead, to cross into a new reality.
Offerings: epoxy resin, MDF & debris, 2012
Photos by Mark Kimber
Ustopia presents an alternate experience - heightening senses in attempt to decipher the truth from reality by depicting the 'in between' state. Within our lives we often fail to absorb things that are strange and unfamiliar, sticking to our learned understanding of what exists and belongs. Ustopia, as a collaborative exhibition with South Australian artist Kate Power, offers the perceptions of an 'in between' state, and questions the limits of our experiences.
Chair : bamboo, fabric, resin & wood stain, 200 x 90 x 90 cm, 2013
Polycephaly : paraffin wax & debris, 16 x 9 x 10cm, 2013
Collaborative exhibition with Kate Power, 2013
Photos courtesy of gallery
Focusing upon the failed preservation of memories and the eroding quality of the mind, Figure reinterprets the classical form of Apollo within an ineffable portrait of the ephemeral state in fragile wax.
Figure: paraffin wax & debris, 35cm x 20cm x 12cm, 2012
Photos by Mark Kimber