Tuesday, November 3, 2020

The Splendid Anomaly: a work in progress. 2018 -

The Splendid Anomaly is a solo performance and a response to a world in crises. In conversation with a select group of experts Ahmarnya will use live storytelling, drawing, animation and sound to consider the ways adversity might function as an anomaly that is conducive to the growth of who we are and how we live. Through an investigation into the brilliant and innovative ways that humans, animals and plant species adapt and evolve in response to change and 'perceived' limitations, Ahmarnya aims to disprove that it has been a case of 'the survival of the fittest' but rather 'the survival of the most creative and adaptable'. It might just be that at the heart of our evolution, if not our very survival, lies a most powerful and imperfect muse - the splendid anomaly. 
To date, The Splendid Anomaly has been developed and researched as part of Arts House's Culture Lab (Melbourne) in 2018; Battersea Arts Centre Residency (United Kingdom) in 2019; the University of Sussex's Visiting Artist Program (United Kingdom) in 2019 and Culture Lab in early 2021. The first season of the work will be presented as part of Arts House's 2022 program. 

(note: click on images to enlarge)

Monday, November 2, 2020

The Commissions: a work in progress. 2016 -

Twelve commissioned artworks, a series of significant exits and entrances, each responding to a specific moment in both personal and global time.                                                               

(note: click on images to enlarge)


Thursday 21st April 2016. Moreland Road. Coburg.
Mixed Media on wood relief panels. 
H 70cm x W 90cm
Photo: Devika Chauhan Bilimoria

    #TWO - #TWELVE  -  coming soon 

Friday, October 28, 2016

RUMPUS. 2012 - 2016

Photo: Justin Batchelor

It’s 1989. George Bush is President of the U.S.A. Hundreds are killed in Tiananmen Square. The Cold War is ending. The Berlin wall is falling. At the bottom of the world a child is sent to detention. The child begins a series of messages, an SOS, to its future self. 

Twenty seven years later the child's messages are found. RUMPUS is the long awaited reply.

RUMPUS is a contemporary performance by Ahmarnya Price. Through a combination of installation, animation, live storytelling, soundscape, lip syncing and bad dance moves audiences are taken on a wild but charismatic tour through the wormholes of time and space. Together, using the structure of the book 'Where The Wild Things Are' by Maurice Sendak and gathering content from extracts of Ahmarnya's 1989/1990 teenage diary, we examine parallels between the local school yard and the global political arena in order to begin asking how the experience of play turned violent can so easily be created and ultimately 'WHO is going to say STOP!'?  

In March 2016 RUMPUS debuted it's first season to sold out audiences at Footscray Community Arts Centre as part of The Festival Of Live Art (FOLA).


RUMPUS ANIMATION (FUNDRAISER) : https://vimeo.com/153184298

Following Photo's by Nicole Cleary

(note: click on images to enlarge)

Saturday, October 30, 2010

Exhibition - The World At Large. Gilligan Grant Gallery

(note: click on images to enlarge)

January. The World At Large
mixed media on canvas
H 87cm x W 112cm

February. The Fear
mixed media on canvas
H 87cm x W 112cm
March. Beautiful Way
mixed media on canvas
H 87cm x W 112cm

April. Headache
mixed media on canvas
H 87cm x W 112cm

May. Trouble In Mind
mixed media on canvas
H 87cm x W 112cm

June. The Lady Don't Mind
mixed media on canvas
H 87cm x W 112cm
July. Grace Kelly Blues
mixed media on canvas
H 87cm x W 112cm

August. Bang On
mixed media on canvas
H 87cm x W 112cm

September. Save Me
mixed media on canvas
H 87cm x W 112cm

October. Asleep And Dreaming
mixed media on canvas
H 87cm x W 112cm

November. Come Into My Sleep
mixed media on canvas
H 87cm x W 112cm
December. Beginning To See The Light
mixed media on canvas
H 87cm x W 112cm

Essay By Aden Rolfe.Any two objects placed in an appropriate space develop a connection. They influence each other, talk amongst themselves, tell a story. ‘The World At Large’ explores the relationship between image and narrative, between the personal and the general, the real and the fictional. The twelve diptychs – corresponding to the twelve months of a year – depict a variety of characters and creatures alongside everyday objects and abstract elements. Taking their cues from world events, song lyrics and the artist’s life, the works are fragmentary and suggestive, leaving the viewer to unravel the oblique meanings that might be found there.

For ‘The World At Large’ Price has created a series of strange and humorous scenes that place the representational alongside the conceptual. Faces, animals and shapes are made strong and dark against flat beige backgrounds. Figures are out-of-proportion and in distorted perspectives. Each panel is rendered by pencil, oilstick, paint and collage, and is essentially a drawing on a canvas. The result is a fragmented world that seems to extend beyond the frame: a realm of select objects, a textured limbo. In the negative space the elements breathe. They develop relationships both tacit and overt, provoking questions and advancing the plot.

The energy in Price’s work is created by juxtaposition: from individual elements interacting within the frame; from each panel speaking to its pair; and from the works talking across the sequence. The eye is drawn around the canvas to follow the entangled hair of its subjects, the moth emerging from a character’s stomach, the apocalyptic gaze of a magpie. By the lines connecting various parts of a work a story starts to unfold, but it’s a story that’s neither fixed nor explained. Instead it expands as the images recur elsewhere, popping up in different works where they relate to different characters and different objects. The narrative is open-ended and conversational, part of an incomplete whole.

‘The World At Large’ playfully interprets the human condition, measuring the months while rendering chaos into tight images - making sense and non-sense from the flow of daily information. It reconfigures the public and the personal into a world at once meaningful and absurd, unreal and yet strikingly familiar. It’s a world that asks you to follow the lines and join the dots, to read your own story into the sequence. A world where meaning is made in collaboration with the viewer, and the interplay of narrative and image invites your interpretation to round out the tale.

Tuesday, June 30, 2009

Exhibition - Just Me and Yoko Ono 2008. Per Square Meter. Gallery.

(note: click on images to enlarge)

Just Me and Yoko Ono
(Self Portrait on John Lennons body
with Yoko Ono)

New York City
John Lennon and the Plastic Ono Band
with Elephants Memory
plus Invisible Strings
Siren and Henry
Henry Lee
Nick Cave
with PJ Harvey
Siren and The Baby
Didn't Leave Nobody But The Baby
Emma Lou Harris, Alison Krauss
and Gillian Walsh

Siren and The Werewolf
The Werewolf Song
Cat Power

Black Girl;
with Eartha Kit as Cat Woman

I Want to Be Evil
Eartha Kit
Yellow Girl;
with Tokyo Joe as Bryan Ferry

Tokyo Joe
Bryan Ferry
Brown Girl; with Mick Jagger
as English Breakfast Tea

Brown Sugar
The Rollingstones
Pink Girl;
with Jean-Jacques Burnel
as Seagull

The Stranglers
Blue Boy
Lonely Blue Boy
Conway Twitty

White Boy
Folsom Prison Blues
Johnny Cash
Green Boy
EVIL (Is Going On)
Howlin' Wolf and Willie Dixon
Red Boy; with Kate Bush as Cathy
Laurence Olivier as Heathcliff song:
Wuthering Heights.
Kate Bush

The End
(Self Portrait with Yoko Ono as Siren)
Here We Go.
Jon Brion
yoko pinada