Ella Sutherland




QUEUE

Queue uses the typography from the spines of books in the ‘Queer’ section of university libraries as case studies to observe what is assigned queer within a Sydney institutional context. The work provides an illustration of the various ways in which the term is deployed in an academic space: both in terms of representation and omission. The project cites Ariel Goldberg’s questioning of the value of queer as label in their book The Estrangement Principal and reiterates their thinking that identity resists being reduced to easy, well-bounded categories. It also reflects on the surge of queer as currency in a cultural space, especially in that of contemporary art.


John Fries Award
UNSW Galleries 
Sydney, Australia
August 2017

Queue (2017)
Digital print on aluminium, anodised aluminium frame, vinyl
3600 x 2620 mm


Time if you are Paper (2017)
Offset lithograph on paper, framed
600 x 1000 mm (sheet)
TIME IF YOU ARE PAPER

Time if you are Paper follows the trajectory of the annual exhibition ephemera produced by The Group, an informal art association based in Christchurch, New Zealand, between 1927 and 1977. By isolating the typographic language of the archive, the work questions how graphic design might offer up alternative perspectives for understanding history via typographic language.

Redlands Konica Minolta Art Prize
National Art School Gallery
Sydney, Australia
March 2017

SLOW SEEING AND ATTENTION TO MAKE

Working with The Dowse Art Museum posters that were made between the 1970s and 1990s, Slow Seeing and Attention to Make removes the exhibition text and images but retains the specific graphic design elements. The visual language or fundamental rules of design – aspects such as line, rhythm, movement, balance, pattern and framing – are used to analyse the voice of the institution through looking at the changes in typography over time.

The Dowse Art Museum
Wellington, New Zealand
December 2016
Slow Seeing and Attention to Make (2016)
Digital Print on aluminium
841 x 1189mm (each)

Boring month start to finish, the whole month (2015)
Plan print, newspaper holder, assorted fittings
Dimensions variable
BORING MONTH START TO FINISH, THE WHOLE MONTH

Boring month start to finish, the whole month seeks to position the page as a space to work in outside of commercial endeavors; looking at how the influence of gesture and narrative in understanding ‘typical’ reading spaces such as the newspaper may include detour and occasion, rereading and exchange.

North Projects
Christchurch, New Zealand
September 2015

SPEAKING PLACES: HOW TO WORK

Speaking Places : How to Work was an exhibition developed in collaboration with Matthew Galloway to signal the launch of a larger temporary public art project, Speaking Places.

Below is an excerpt from the original press release for the show:

Focusing on the ways language may exist and collide within the context of a specific locale, Speaking Places : How to work looks at the different ways in which the by-products of the natural and constructed environment can be understood, highlighted, traced and proposed. This presentation seeks to question how graphic design might offer up alternative perspectives; continuing to draw upon historical, cultural and social precedents whilst also claiming its own identity as an autonomous form.

Ramp Gallery
Hamilton, New Zealand
April 2016
Speaking Places : How to Work (2016)
Digital print on aluminium, digital print on fabric, vinyl
Dimensions variable

The right here and the moving (2014)
Digital print on vinyl, MDF, acrylic-based paint, vinyl
Installation view
THE RIGHT HERE AND THE MOVING

The right here and the moving is a propositional diagram. Borrowing the aesthetic of economic modeling, it’s an attempt to visualise two options for the artist working in a social setting: either adopting a common language, or imposing one from outside. While as a diagram it implies linear clarity and textbook resolution, here pattern, colour and narrative are equally important. In the window space the diagram is broken down into its physical components, and operates simultaneously on multiple planes—vinyl on the glass, paint on the back wall, and smaller graphic pieces on board which occupy a middle ground, and an intimate scale in contrast to the billboard-size of the whole.

ST Paul St Gallery
Auckland, New Zealand
May 2014

DOGHAUS

Using elements of the past two years of Dog Park Art Project Space exhibition posters, Doghaus explores the notion of an unfolding graphic identity within an exhibition practice, the practical aesthetic of Bauhaus, and a personal obsession with Matisse’s mural Dance (1932–33).

Framed as a provisional conclusion to a project that sought a permanence and momentum Doghaus reveals Dog Park’s exhibition poster series as a practical, parallel action  acknowledging what perhaps began as a crafty elimination to a problem, gradually became the basis for a cohesive visual identify.

Window
Auckland, New Zealand
July 2014

Doghaus (2014)
Digital print on PVC
4000 x 2800mm

One hot line spinning through time (2014)
Digital print on card
Installation view
ONE HOT LINE SPINNING THROUGH TIME

Ella Sutherland and Dawn Angel

Fuzzyvibes
Auckland, New Zealand
December 2014

AN UNBEARDED, ATHLETIC YOUTH

Working within a well-worn stream of representation, An unbearded, athletic youth uses the visual vocabulary of ancient Greece to look at the relationship between the formal, physical and linguistic gesture. An unbearded, athletic youth negotiates the responsibility of a graphic system across contexts; appropriating, transcribing and collating to figure the relationship between communicative language and representational objects.

An unbearded, athletic youth coaxes a graphic sensibility to operate in a different register; the planned and the erratic are brought together to complement and complicate a rational system. The poetic and the incomplete invert familiar patterns, making experience of the known strange and filled with options.

Where does one begin, making our way through this riot of voices tumbling forth from our own histories, your history, history’s history. It’s a real fruit salad of surfaces out there, but how does once describe a voice whose time we cannot see? Nothing is happening, but I feel like it could have. If nothing is definite, everything is possible; what we are looking at is an alphabet of potential.

The Physics Room
Christchurch, New Zealand
November 2013
An unbearded, athletic youth (2013)
Digital print on aluminium, plan print, clay, slip, pine
Installation view

This That (2012)
Installation view
THIS THAT

Ella Sutherland and Dave Marshall

Dog Park Art Project Space
Christchurch, New Zealand
August 2012

SEEING WHICH WAY THE WIND BLOWS

Seeing which way the wind blows was a collaboration with Matthew Galloway at split/fountain, Auckland. As graphic designers working outside of the traditional client-designer relationship, we used split/fountain as a meeting place and studio: a point of entry into Auckland City. The outcome was a publication and exhibition that aimed to investigate the potential of graphic design as a tool to mark and measure a location.

split/fountain 
Auckland, New Zealand
February 2013
Seeing which way the wind blows (2013)
Digital print on fabric
Installation view

Seeing which way the wind blows (2013)
Digital print on fabric, plan print, vinyl
Installation view

SYDNEY, AUSTRALIA