Mason Kimber Future Relics

9 – 26 May 2018

Mason Kimber Ivory/slide, 2018
SOLD

Mason Kimber Ivory/slide, 2018, acrylic, resin, synthetic polymer, gypsum and glass fibre on plywood, 65 x 44.7 cm
SOLD

1 /
Mason Kimber Amber/Shadow, 2018
$3,200 incl. GST
AVAILABLE

Mason Kimber Amber/Shadow, 2018, acrylic, resin, synthetic polymer, gypsum and glass fibre on plywood, 65 x 44.7 cm, $3,200 incl. GST
AVAILABLE

2 /
Mason Kimber Particle/Sway, 2018
$3,200 incl. GST
SOLD

Mason Kimber Particle/Sway, 2018, acrylic, resin, synthetic polymer, gypsum and glass fibre on plywood, 65 x 44.7 cm, $3,200 incl. GST
SOLD

3 /
Mason Kimber Cornice/Contour (Sapphire), 2018
SOLD

Mason Kimber Cornice/Contour (Sapphire), 2018, acrylic, resin, synthetic polymer, gypsum and glass fibre on plywood, 65 x 44.7 cm
SOLD

4 /
Mason Kimber Coral/Cascade (Aqua), 2018
$3,200 incl. GST
AVAILABLE

Mason Kimber Coral/Cascade (Aqua), 2018, acrylic, resin, synthetic polymer, gypsum and glass fibre on plywood, 65 x 44.7 cm, $3,200 incl. GST
AVAILABLE

5 /
Mason Kimber Porta/Pivot, 2018
$3,200 incl. GST
SOLD

Mason Kimber Porta/Pivot, 2018, acrylic, synthetic polymer, gypsum, sand, lime plaster and glass fibre on plywood, 65 x 44.7 cm, $3,200 incl. GST
SOLD

6 /
Mason Kimber Concrete/Swing, 2018
SOLD

Mason Kimber Concrete/Swing, 2018, acrylic, resin, synthetic polymer, gypsum and glass fibre on plywood, 65 x 44.7 cm
SOLD

7 /
Mason Kimber Corner/Drift, 2018
$3,200 incl. GST
AVAILABLE

Mason Kimber Corner/Drift, 2018, acrylic, resin, synthetic polymer, gypsum, sand and glass fibre on plywood, 65 x 44.7 cm, $3,200 incl. GST
AVAILABLE

8 /
Mason Kimber Pavement/Pastel, 2018
SOLD

Mason Kimber Pavement/Pastel, 2018, acrylic, flashe, resin, synthetic polymer, gypsum, ceramics and glass fibre on plywood, 65 x 44.7 cm
SOLD

9 /
Mason Kimber Amber/Shadow, 2018
$3,200 incl. GST
AVAILABLE

Mason Kimber Amber/Shadow, 2018, acrylic, resin, synthetic polymer, gypsum and glass fibre on plywood, 65 x 44.7 cm, $3,200 incl. GST
AVAILABLE

1 /
Mason Kimber Coral/Cascade (Aqua), 2018
$3,200 incl. GST
AVAILABLE

Mason Kimber Coral/Cascade (Aqua), 2018, acrylic, resin, synthetic polymer, gypsum and glass fibre on plywood, 65 x 44.7 cm, $3,200 incl. GST
AVAILABLE

2 /
Mason Kimber Corner/Drift, 2018
$3,200 incl. GST
AVAILABLE

Mason Kimber Corner/Drift, 2018, acrylic, resin, synthetic polymer, gypsum, sand and glass fibre on plywood, 65 x 44.7 cm, $3,200 incl. GST
AVAILABLE

3 /

Even the most elastic of superbeings, time travellers, have rules to obey. This license to vanish out of rooms and bounce into new eras is restricted by a simple quantum catch: their bodies can move through space and time, but their  surrounding architecture must stay behind, in a previous timeline.

How then does one capture the memory of a place, the grasp of it? How can the fragments of a room, a pathway, a building, or a view be smuggled into new memories?

Mason Kimber is anchored by the inbetweenness of architecture and memory: places that serve as timestamps, surfaces that form sentiment, colours that trigger. Born and raised in Perth, the artist moved home several times (as children of divorce often do), before decamping to Sydney a decade ago, where the erratic city rental climate had him hopping studios every year. Kimber has since developed a painting practice that deals with the collision of experienced places — interiors and exteriors that have become sanctuaries for the artist.

For Future Relics, Kimber mines his Bondi studio environment for artifacts, creating impressions from ornamental motifs, limestone columns, bubbled windows, and pavement patterns. They are cast into moulds, along with personal effects like paint palettes, ceramic mugs, plastic particles, and fauna. He then breaks and remixes the pieces with cast archives from past studios. Assembled excavation-style on the ground, they are enshrined as islands of form and texture, through the process of pouring, marking, and setting.

What arises is a new dialect of relics. Bordered, shallow-pooled slabs that rupture, swell, and splinter like maps of a re-envisioned city or a memory puzzle that minces before with now. Presented as wall-based panels, they clasp you into gaze with their skatey gestures, boney curves, and chromatic grouping; they allude to Kimber’s surrounding architecture of historic buildings and the sea. Through his practice, Kimber has found a way, perhaps a loophole,  to  stamp time and collect a place.

 

Mariam Arcilla

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