Jason Sims is a contemporary Australian artist renowned for his sculptural works that explore the potential of light and reflection to create simple illusions of space and form. Blurring the lines between reality and illusion, Sims’ captivating work defies notions of physical possibility.
Sims is interested in producing work that serves as a vehicle to re-imagine the space encountered – to deconstruct perceived physical limitations – and facilitate a kind of meditative response allowing viewers to interpret the illusion of space created as reality. He particularly enjoys working with illusion for its ability to evoke the sublime and its power to interrogate our understanding of the world around us. Playing with perception, he invites viewers to exercise their imagination and see the world in new ways.
Sims graduated with a Bachelor of Visual Arts (Honours) from the University of South Australia in 2006 and has since exhibited across Australia and internationally in Hong Kong, the Netherlands, the UK and the USA. His work is held in major public and private collections, including Artbank, the Art Gallery of Western Australian and the Gippsland Art Gallery.
In 2017, Sims completed a major public artwork in Adelaide’s CBD. In 2018, he had his first solo show in the US, and he is currently a finalist in the 2019 Nillumbik Prize for Contemporary Art on display at the Barn Gallery Montsalvat, Eltham VIC from 30 May – 21 July.
Meagan Streader’s work is reminiscent of neon and art-deco styles, using commercial off-shelf components and materials reconstructed to create unique geometric abstractions of light evocative of the window or stained-glass treatments. Contrasting the window’s original function to let light in and cast coloured patterns on interior spaces, these works actively trap the fluorescent light piercing through the frames behind the rippled glass.
Streader uses illumination to reveal the internal construction of the electronic ballasts and cabling — using texture, colour and distortion to re-orient the perception of the viewer and their relationship to the constructed elements. Through blurred of seemingly vibrating illuminated lines the works suggest an illusion of movement, with the various arrangements of linear light creating an ambigous sense of depth behind textured glass.
Meagan Streader’s work pushes the limits of light within sculpture and installation. Reflecting the Minimalist art of the Light and Space movement, Streader manipulates, reinterprets and extends upon the boundaries of constructed spaces. Through site-specific interventions, her multidimensional use of light reorientates the viewer’s relationship to the pre-existing architecture and scale of a given space. In this way, Streader’s work reveals the pervasive role of light in governing physical and social navigations of fabricated spaces.
Meagan Streader is currently based in Melbourne. She completed a BFA/Visual Arts at Queensland University of Technology, Brisbane (2010). She has exhibited both nationally and internationally including at Arts House (Melbourne, 2019), Home of the Arts (Surfers Paradise, 2019), Casula Powerhouse Arts Centre (Sydney, 2017-2018), Blindside (Melbourne, 2019), Milani Carpark (Brisbane, 2019), Nicholas Projects (Melbourne, 2017) and Metro Arts (Brisbane, 2016). She has exhibited major installation works for Dark Mofo (Hobart, 2019), Kyneton Contemporary Art Triennial (Kyneton, 2018), Soft Centre Festival (Sydney, 2017, 2018) and Amsterdam Light Festival (Netherlands). She has also participated in the Kochi AIR program (India, 2014) and NARS Foundation Residency (New York, 2016). Streader has had artwork commissioned for Moreland City Council (Melbourne), BCM (Brisbane), HASSELL Architecture (Brisbane), Gadens Lawyers (Brisbane), Gold Coast University Hospital (QLD), and Gasworks Plaza (QLD). Her work has been selected as a finalist in Churchie National Emerging Art Prize (2016) and Footscray Art Prize (2017) and featured in ABC’s The Mix, Eyeline Contemporary Art Magazine, The Creator’s Project, mondo*arc and FRAME magazines.