George Egerton-Warburton’s exhibition Woozy consists of two installations. In the larger gallery three sculptures have been constructed from recycled farm machinery parts and found materials. The structural component of each form is inspired by an engine hoist, subsequently rendering the objects suspended from the industrial hooks as motors. These mobiles are assembled from worn clothes, bought and stolen objects, foraged wood, bitumen, wool, and surfboard fibreglass. They are as much bouquets of gratitude as they are topologies of stress.
In contrast to his previous mobiles, which were hung from gallery ceilings, these are autonomous from the architecture, speaking to the internalisation of the institution and social conditioning. By this logic, the mobiles, which carry the same vocabulary of weight as hanging meat, are also borders, traumascapes, and representations of power. They are “intestitutions,” conjuring despair through their inevitable repurposing as motors. However, as an exercise in tone, style, and sensibility, their embrace of confusion creates space for new and wild associations.
In the smaller gallery, Point Dume Interior Siege consists of an installation of objects with typed and printed texts taped to them. Read as a whole, it resembles a concrete poem, three-dimensional diagram or infographic depicting a hackneyed portrayal of a moment and its reverberation, partly based on world terrorist events, banal everyday moments, and the mental process of interpretation. It expresses multiplicity, and the way artworks, people, ideas, and images socialise. It could be applied to something joyful or terrible, embodying the opposing forces of the bittersweet.
Woozy, Sutton Gallery, Melbourne, 2022; ‘____’, Guzzler, Melbourne, 2021; ‘,’, Heide Museum of Modern Art, Melbourne, 2019; Coma, Sutton Gallery, Melbourne, 2019; Penal Café, Shoot the Lobster, New York, 2019; Cooking the Books, Contemporary Art Tasmania, Hobart, 2018; Wincing wind-chime, repugnant fold-out breath, Sutton Gallery, Melbourne, 2017; Administration is just Oulipian poetry, Perth Institute of Contemporary Arts, 2014; Just paintings, with Helen Johnson and Hamishi Farah, Westspace, Melbourne, 2014; Steaming ties, Artspace, Auckland, 2013; Dog, Gertrude Contemporary, Melbourne, 2013; Living with living, Sutton Gallery Project Space.
The Origin of the World, NAP Contemporary, Mildura, 2022; TarraWarra Biennial 2021: Slow Moving Waters, TarraWarra Museum of Art, 2021; Full of Love & Contradiction, Asbestos, Melbourne, 2021; Love in Bright Landscapes, Perth Institute of Contemporary Art, 2021; World Dictionary, curated by Tim Woodward, Rear View, Melbourne, 2017; Untitled (A Mensa Halloween), 621 S Anderson St, Los Angeles, 2016; Mined Control, As It Stands, Los Angeles, 2016; TarraWarra Biennial 2016: Endless Circulation, TarraWarra Museum of Art, Healesville, 2016; New 15, Australian Centre for Contemporary Art, Melbourne, 2015; Recesses, Park View, Los Angeles, 2015; Plagiarist of My Unconscious Mind! Château Shatto, Los Angeles, 2015; Art as a verb, Monash University Museum of Art, Melbourne, 2014; Notes from the Field, Margaret Lawrence Gallery, Melbourne, 2014; Circulating Collections, TPP Museum, Japan, 2014; Melbourne Now, National Gallery of Victoria, Melbourne, 2013.Artist’s profile