Sunday


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The Blake Education Kit —
Featuring the Highly commended artist Shoufay! 
The kit discusses the three chosen themes of the 61st Blake Prize, being Spirituality and Religion, Nature, and Smoke and Threads.

 
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VIEW IMAGES

 

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 ANNOUNCEMENT

Shoufay's work work Depart without return received a high commendation in the prestigious 61st Blake Prize 2012.

The exhibition is held at The National Trust S.H Ervin Gallery until December 16.


 
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See Shoufay's work in the The Fishers Ghost Award 2012 until the 27th of November at Campbelltown Arts Centre.
This exhibition is a showcase of local and national artists both emerging and established. 

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An interview about Derz's art practice is featured in the new edition of Peril Magazine — "Spirit Worlds".

Click here to read the interview by Owen Leong.

 





ANNOUNCEMENT

Shoufay Derz is shortlisted for the 2012 Blake Prize! The Blake Prize Society has announced the 53 successful finalists for the annual Award, carefully selected from 1126 entries.
Winners of each category will be announced on Thursday 8 November



Sign up to Shoufay's Email Newsletter HERE

 

We are excited to see Shoufay's work nominated for The 37th Alice Prize 2012!


'Time and silence for meaning' Rosemary Crumlin, Gesher Vol. 4 No.2, pp. 27-29








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Shoufay's work will be included in a touring exhibition titled, 'Light Sensitive Material: Works from the Verghis Collection' in 2012 and 2013. 

'Light Sensitive Material: Works from the Verghis Collection' is a curated selection of works that all either directly reference light or explore the concept of light in alternate forms and processes. 


'Light Sensitive Material: Works from the Verghis Collection' will tour to the following galleries in 2012 and 2013:

Moree Plains Gallery 26 March 2012 - 6 May 2012
Goulburn Regional Art Gallery 24 May 2012 - 1 July 2012
Hawkesbury Regional Gallery 13 July 2012 - 26 August 2012
The Glasshouse Regional Gallery 29 November 2012 - 20 January 2013
Tamworth Regional Gallery 1 February 2013 - 10 March 2013
Grafton Regional Gallery 27 March 2013 - 12 May 2013
Shoalhaven City Arts Centre 27 May 2013 - 14 July 2013


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Light Sensitive Material: Works from the Verghis Collection is curated by Richard Perram (Director, Bathurst Regional Art Gallery) in association with Lisa Corsi (Collection Manager, Verghis Collection). The exhibition was first exhibited at Bathurst Regional Gallery and is now touring through Museums and Galleries NSW.

Read more about the 'amazing lineup of artists' on the artlife



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Shoufay's work is currently represented in the the biannual national Photographic Award

23rd Muswellbrook Photographic Award

03 March - 22 April 2012
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Please see images of the upcoming show at Delmar G
allery
http://www.artwhatson.com.au/delmargallery/shelf-life-2011


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OFFICIAL OPENING of the 49TH FESTIVAL OF FISHER’S GHOST ART AWARD



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Monday


The Blake Prize Art Draw features works by Blake Prize Alumni. The 60th Blake Prize Art Draw will raise funds for the 2011 Blake Prize and a school education kit.

Limited tickets are available to purchase for the draw - all ticket holders will receive an artwork.

Check out this link to view the work donated by Shoufay Derz and other artists:
http://www.blakeprize.com.au/works/curtain-linking-back

Thursday


The Board of 4A invites you and your guests
to the 4A Members' Party to celebrate the 4A Annual Members' exhibition


Wander

2010
20mm acrylic, duratran, lights
All rights Shoufay Derz




Wednesday

SHELF LIFE – DELMAR GALLERY’

CURATOR: CATHERINE BENZ


Saturday

My current and ongoing project Depart without Return is a personal reflection on death and the meaning of emptiness; it is both a lament on the transience of life and a celebration of its mystery.

I’m interested in how the artist depicts the invisible—the latent within the actual—just as the writer uses words to express the ineffable. From this seeming contradiction arises the premise of this work: an exploration of how humans conceive of the Divine through language, the body & landscape.

The combination of silk and the colour indigo is intrinsically linked to my theme. The properties and processes that form the Indigo dye make it a unique signifier of mystery and transformation.

Thursday

Delmar Gallery
An Insight

Curator: Catherine Benz. Collected over the past 30 years primarily from exhibitions held at the Delmar Gallery, the Trinity Grammar School Art Collection includes works by Australian artists such as Lloyd Rees, Judy Cassab, Desiderius Orban, Lyndon Dadswell, Earle Backen and Guy Warren.

Exhibition Dates: 4th July - 1st August 2010
Gallery Hours: 12.00 - 5.00pm Wednesday - Sunday

Monday

The Spirit Within: Australian Contemporary Art

Parliament of World Religions, Melbourne Convention Centre
4-9 December 2009.




This important exhibition brings together key Australian works which explore the inner life of the artists, their deepest concerns and their search for meaning. Its fifteen works bring together some of the traditions of multifaith Australia. For inspiration, they turn to a variety of traditions and sacred writings, including Aboriginal, Buddhism, Christianity, Hinduism and Judaism.

Represented:

Aboriginal elders Ginger Riley Munduwalawala, Eubena Nampitjin and Michael Riley as well as Arthur Boyd, Marianne Baillieu, Shoufay Derz, Phillip George, Fatima Killeen, Euan Macleod, Victor Majzner, James Powditch, Louise Rippert, Claudia Terstappen and Kim Hoa Tram.

Tuesday

Don't miss Shoufay Derz's work in

LIGHT SENSITIVE MATERIAL: WORKS FROM THE VERGHIS COLLECTION


at Bathurst Regional Art Gallery

until 15 November
A Bathurst Regional Art Gallery Exhibition in conjunction with Rachel Verghis and ARTCELL.

Saturday

A hint of the current piece that I am currently working on...
Key words: Silk / Desert / Indigo /Journey / Time / Weaving / Song / Madness / Separation / Union




A crucial factor to the production of my most recent creative explorations has been the process of direct experience and intuitive engagement with the landscape. My current work, a video narrative and installation, investigates the experience of vast empty desert terrain and the affect on the psyche.

Sunday

NEWS: Sleep/Walk was awarded the "Judge's Special Mention" at the Churchie National Art Prize.

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Two of my images have been preselected for the 2008 Churchie National Art Prize.
Sleep/Walk and Depart without Return

The churchie Opening night
7.00pm, Friday 30 May 2008 @ Morris Hall,
Churchie, Oaklands Pde, East Brisbane
For more info check out the website:
http://www.churchieemergingart.com/

Monday



Australian Lomography Exhibition:
LOMOGRAPIX
OPENS THURSDAY 9TH Aug 6-8pm
Aug 9-28

Blender Gallery
16 Elizabeth Street
Paddington NSW 2010
www.blender.com.au
For further information on the exhibition visit www.lomography.com.au

To vote for the most outstanding Lomographic Image and send a lucky Lomographer to London to represent Australia at the LOMOGRAPHY WORLD CONGRESS either visit Blender Gallery or vote online www.redbubble.com

Saturday







Entanglement
Shoufay Derz and Owen Leong
Installation View, Westspace, Melbourne









Video Still, 2-channel video & sound installation

Special thanks to Craig Ross for his sound composition and Katrina a.k.a Blondie for her Make-up expertise. And also many thanks to all the generous individuals who helped us through murky mangrove waters and mosquito infested trails.

Wednesday

Blood Lines....

As with many of my works, due to the darkness this is an image that is best viewed in the flesh.


110 x 65 cm, Fuji flex photo paper, mocha box frame
NEWS: Aside from her solo practice Shoufay Derz is also currently working together with fellow Sydney based artist Owen Leong on a new exhibition project. Entanglement will be a new collaborative video-installation informed by Garcia Lorca’s notion of duende as a dark creative force. Blending dark fantasy, parallel worlds, and remote means of communication, Entanglement creates a shadow realm in which two individuals converge to engage in a deadly game. This exhibition plays upon the idea that with any relationship, there exists an implicit separation. Entanglement is an exercise in transcending one’s own perimeters, where the ultimate aim is to form a link with an other. Entanglement will be held in at Westspace, Melbourne.


In May/June 2007 Shoufay will "Artist In Residence" at Trinity Grammar School, Sydney.
You are warmly invited to the opening of my exhibition at Delmar Gallery on Wednesday 30 May 2007, 6-8pm.

Opening: Wednesday 30 May 2007, 6-8pm
Exhibition: 31st May – 9th June 2007
Gallery Hours: 1 2.00 – 7.00pm everyday for the entire festival

Venue: Delmar Gallery
Address: 144 Victoria Street Ashfield NSW 2131
Telephone: 02 9581 6070
www.trinity.nsw.edu.au


Transportation Love Song: Inseparable (part 1)
Video still
Video still
Video still
Video still
digital video; colour; silent; presented with English or Chinese subtitles.
original duration 14:44 minute loop
Installation shot: commissioned for Half Dozen festival, China town public art project, Asia-Australia Arts Centre, Sydney, January 2006
Digital Video, 14-foot boat of “carvel” timber construction*, photographic prints, salt
variable dimensions; duration 14:44 minute loop

*Originally a recreational vessel. It is over 100 years old, and was hauled from a riverbed in the Royal National Park, where it had been decomposing for decades.




Installation Shot: Trinity Grammar Arts Festival 07

Exhibition Essay:

Half Dozen presents…

YEAR OF THE DOG: Chinatown Public Art Project

Curated by Jasper Knight and David Teh
at 4A Gallery, Hay St, Sydney
6 – 21 January, 2006

Shoufay Derz
(with Divij Darbar, Peter Majarian, Xotchitl Quintanar and Matthew Venables)

Break-up, 2006; digital video installation

For most of us, going overseas actually means traversing the skies; but still today, many less fortunate people venture, literally, across the seas, in search of safety, peace and opportunity. But there is nothing reckless about these actions – the risks they and their families face are clear enough, but they are deemed acceptable risks, so great is the peril they leave behind, so urgent their need for relief.

In the Tampa incident and ‘Children Overboard’ affair, the Australian public bore witness – if only just – to two such desperate attempts for asylum. Instead of interpreting them as cries for help, our government chose to present them as brazen assaults on our national sovereignty. In the mirror of the media, the Australian public was subjected to the sad spectacle of a nation fleeing the world it inhabits – legislating itself out of existence – turning outlying islands into extraterritorial non-space where human rights are heaped in the too-hard basket. Our government’s role in the ‘Children Overboard’ affair stands as its grossest act of rhetorical indecency and moral recklessness. For many of us, this cowardice has been neither forgiven nor forgotten.

The boat is therefore a powerful symbol for contemporary Australia – a bridge between cultures, but a precarious bridge. The boat is more than a life raft, more than just a way of moving people and their belongings. Like all transport, it is also an information technology. From the first colonisation of our continent tens of thousands of years ago – which began its transformation into a culturally diverse land – boats have brought new ways of thinking, speaking and living, different technologies of being. The vessel is also a channel, a political vector.

For Shoufay Derz, the boat is an ambivalent metaphor, symbolising on one hand the feeling of transit, of being between places (for the boat is not a place) – and on the other, the impossibility of communication between two cultures. The artist herself is an Australian of German and Taiwanese heritage, and the imagery for this installation is drawn from several places: Tsing Tao in eastern China, coastal New South Wales and Tasmania. While these locations may be integrated seamlessly as landscape (or seascape), the mediation introduces its own disconnections, some impossible differences.

In Derz’s Break-up, an imperfect, imagined dialogue is recomposed from multiple video sources. Like speech itself, ‘new media’ also describes a set of languages (code), and the gaps between them can be just as profound as those between different cultures. These slippages necessitate and inform the editing. At times, the two channels converge and, briefly, comprehension seems possible. But not for long. Is it possible ever to be adequately understood? Or does understanding consist precisely in this experience of misunderstanding?
In The Infinite Conversation, Maurice Blanchot noted the necessity of this failure: “To speak to someone is to accept not introducing him into the system of things or of beings to be known; it is to recognise him as unknown and to receive him as foreign without obliging him to break with his difference.”

In our climate of repressed inter-cultural tension, Break-up explores the limits, possibilities and impossibilities of conversation. In a boat at sea, two figures must converse; but as day becomes night, they appear to inhabit different worlds, different times. Just as their conversation is full of holes, so too is the boat – it is far from sea-worthy; it is, perhaps like all communication, destined to fail.

Inseparable, 2006
Digital video installation; salt, timber boat*

* This 14-foot boat, of “carvel” timber construction, was originally a recreational vessel. It is over 100 years old, and was hauled from a riverbed in the Royal National Park, where it had been decomposing for decades.

Half Dozen is a non-profit, artist-run initiative dedicated to commissioning, promoting and exhibiting the work of emerging visual artists. For more info, please visit: www.halfdozen.org

Year of the Dog was commissioned by Half Dozen, in conjunction with The Asia-Australia Arts Centre (4A Gallery) and the NSW Government Architect’s Office. Half Dozen receives support from the Artist Run Initiatives program of the Australia Council for the Arts. Night screening (street view)

Opening night





















RADII HEART
A series of both Still Photographs and Video (193 minutes, 2-channel, silent). The video toured nationally as part of the Blake Prize for Religious Art Touring exhibition 2002, and was exhibited again in 2004 at Sherman galleries, Sydney.

The installation is two video screens, each 193 minutes in duration. Each screen displays a circle of 360 candles. In Radii Heart (inside out) a candle is lit every 30 seconds, beginning from the center and spiraling toward the periphery until all 360 have been lit. In Radii heart (outside in) candles are lit, starting from the outside perimeter, then inwards towards the centre. The entire process takes 193 minutes. The lights flicker and some die off over the period of three hours, creating an impermanent and evolving quality of light.

The photographs ( 80 x 80 cm, photographs face mounted acrylic) were first featured in the exhibition One of at Sherman galleries 2003. An image is published in the Sherman galleries publication TWENTY:SHERMAN GALLERIES 1986 - 2006.

You can view this work in the forthcoming touring exhibition: Light Sensitive, works for from the Verghis collection. This exhibition was first shown at Bathurst Regional gallery featured works from prominent contempoary artists whose use of light is intergral to their work. Curated by Richard Perram.

Examples from the Photographic series shown here:




Radii Heart 340/360
80 x 80 cm
Lamda print, face mounted on acrylic
ed 5, 2004

Radii Heart 357/360
80 x 80 cm
Lamda print, face mounted on acrylic
ed 5, 2004

Radii Heart 344/360
80 x 80 cm
Lamda print, face mounted on acrylic
edition of 5, 2004

Radii Heart 360/360
80 x 80 cm
Lamda print, face mounted on acrylic
edition of 1, 2004

The following images are Still frames from the accompanying video.






















ON LINKING BACK

Installation shot: dreamboat

Installation shot: Linking back
Asia-Australia Arts centre,2004


Linking Back
150 x 53 cm (x 3)
Lamda print, face mounted on acrylic
2003 Blake Prize for Religious Art Award

Curtain
62 x 100 cm




LOVE CAPSULE/TERMINIAL LOVES



Installation view
2-channel digital video, love capsule, colour, 44 minute loop
Love capsule: Terminal Loves prompts a sceptical and questioning dialogue concerning the language of love. The work invites the viewer to enter the intimate boat / capsule to be confronted with a two channel audiovisual loop of strangers looking at them while repeating the words "I-love-you".

Mirror Us
Lamda print, face mounted on acrylic
53 x 120 cm



All images  and original Shoufay derz.
Please kindly email for permission to use images
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