http://brittsalt.com/publicart daily 0.75 2024-07-22 https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1472081224821-XW04LEQZ6IY9HG0E15G2/image2.JPG Public Art https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1490142416595-GHLXO1EHP01GX9RTOKQS/BS_Riverside+Quay+Level+9_2017_9.jpg Public Art https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1543757570016-YQZWOTD3Q3V4BG0BSEAM/Britt+Salt_William+Jolly+Bridge+projection+_Brisbane_1_2018.JPG Public Art - WIlliam Jolly Bridge Projection, 2018 My artwork Zig Zag was projected onto the William Jolly Bridge in Brisbane from 7- 11 November 2018 in conjunction with the End of the Line Festival, Woolloongabba. Zig Zag is constructed via a series of imperfect, analogue processes which culminate as a vibrating pattern that appears to pulse before the eyes. Initially created as an installation of vinyl lines drawn across a wall, the installation is then photographed, disassembled and intuitively placed back together as a new iteration of space. Photos courtesy of Brisbane City Council. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1471148210009-YLYVMD5X4BJ4S30TESTS/Britt+Salt+Puzzletheque+%28Adaptation+4%29+2015+Bundoora+Homestead+_2+1000pw.jpg Public Art - Bundoora Homestead Art Centre, 2015 Puzzletheque, 2012 (Adaptation V) Hand cut vinyl, hand painted pvc, steel Dimensions variable Adapted specifically for the Bundoora Homestead Art Centre, Puzzlethèque is an installation that resonates with the mechanics of stuff and creates a space where vision and movement are linked by means of the body. Using repetition and materials that have an inherent ability to create movement, this work is an ongoing spatial experiment where fundamental elements such as line, form and space intertwine. On encountering Puzzlethèque, the viewer becomes the orchestrator of these elements. They are invited to play. It is this movement and interaction that determines how the elements of the work potentially fit together as a spatial whole. Here, surface merges with structure, interiors conflate to exteriors and forms appear then disperse. Puzzlethèque creates an environment which is movable and in flux, inciting the viewer to question how the forms around them are constructed and how they will reorient their positions relative to the space. ­­ https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1511129740634-5GA6Q176IB793UR2PK1R/ARTSOURCE_BRITT-32+LR.jpg Public Art - Double the Length, Half the Distance, 2011 Commissioned by Riverstone for their display home, The Palais. Art Management: Artsource, WA. The inspiration for this dynamic artwork came from my experience living on the outskirts of Beijing city for two months. The city limits were expanding at a rapid rate, the people, architecture, houses and markets are all in a state movement, even when seemingly static. Whole streets disappear overnight. Whole buildings created over a weekend. I was interested in creating a work that could be contradictory, existing simultaneously in two opposing states; jumping between possibilities. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470873552766-JV2NVUB37HIOUF9B1PI2/Britt-Salt_Shipping-Lane__Low-6623.jpg Public Art - Diversiform, 2014 Commissioned for The Shipping Lane restaurant, North Fremantle. Art management: Artsource, WA. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1698642892223-0F9VTRU4XGQPMDXKF13C/Britt+Salt_1+The+Esplanade_2023_7.jpg Public Art - Vibrant Matter, 2023 Vibrant Matter pays homage to Derbarl Yerrigan (Swan River) and the energy that emanates from it, through pattern, light and space. Spanning the auditorium’s exterior shell, this artwork invites the viewer to move around it and explore the space, revealing overlapping patterns that shift with the viewers’ interaction. The work is materially and visually complex in its parts, yet viewed as a whole, these components blur and become a gentle undulating pulse, speaking to the vibrant nature of Derbarl Yerrigan and its perpetual flow through the landscape. Vibrant Matter creates a space where past and future reverberate in the present. Vibrant Matter’s lighting at night is inspired by the research of Dr Nicole Jones, Dr Matt Rayson and Dr Will Edge at the University of Western Australia that uses acoustic signals to detect features that are otherwise invisible or intangible, such as plumes of sediment rising from the Derbarl Yerrigan riverbed. Data from this research has been reimagined as light and movement to illuminate the artwork, visualising the unseen energy of the river. Client: Chevron Australia Project Management and Fabrication: UAP Location: 1 The Esplanade, Perth. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1564963768387-QQT37WAKZ4BLE7NOO516/UNADJUSTEDNONRAW_thumb_fe7.jpg Public Art - Transverse, 2019 MIMCO, Melbourne Central Store Transverse was commissioned by MIMCO for Craft Victoria’s Window Walk 2019 which brings together contemporary artists and local businesses in diverse collaborations. Launching MIMCO’s new collection Falling, this installation envelops the exterior of the store with a dazzle of pattern and suspended portals that allow views to the interior as shoppers pass by. I wanted to create a playful intervention that would draw people to engage with the transparent architecture of the store whilst creating an atmosphere of calm within the store itself. Transverse is part of an ongoing studio project which uses the visual language of architecture and optical play to create dynamic spatial experiences. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1552533956538-YOPHWAEXP1CMMQSUUD1T/Britt+Salt_Traverse+2019_HR_1.jpg Public Art - Traverse, 2019 Traverse developed through a series of conversations and engagement with the nature of the international terminal and in particular, the security hall. This transient space sees a constant flow of people and was identified by APAM as a high stress zone. As such, there was an opportunity to transform commuters’ experience of the security hall by integrating an artwork that would offer calmness, interaction and innovation. A surface of undulating folds are built into the wall and mirrored by a dynamic perforated pattern that makes protrusions in the artwork look like valleys and vice versa. Shifting light within the wall both accentuates and blurs the distinctions in the artwork. The colours gently changing throughout the day and night to reflect the qualities of light in the exterior environment. As passengers move through the security hall, the artwork appears to warp and change, creating optical effects and an unexpected experience of the space. Client: Asia Pacific Airports Melbourne (APAM) Location: Terminal 2, Melbourne International Airport Powder coated Aluminium and LED lighting, 14.5 x 2.4 x 0.3 m https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470953345615-E403I3XDLM80NKKGSIGW/Britt+Salt_Formless+Series+detail+2+2015_Denise+Cosgrove+Commission.jpg Public Art - Formless Series, 2015 Formless Series is a spatial experiment into how solid space becomes movable through tension, transparency and light. Panels of bold hand painted lines tessellate into the hallway corner before stretching out across the wall, their shapes and vibrating lines drawing on the linear folds of the aluminium mesh object that hovers in space close by. As the viewer interacts with the work, fragments of form appear and dissolve against the patterned wall, conflating surface and structure into one weightless linear drawing. Here, the viewer is given the sense that they are experiencing a space that is both solid and ephemeral, suggesting the complexities of the unknown. Client: Private https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1698704628051-ZKSBTTB2UK5TDTZFY63E/Concept+1.2.jpg Public Art - Dynamic Equilibrium, 2021 Tsinghua University, Beijing. Dynamic Equilibrium is a deftly balanced artwork that is activated by the viewer as they move around the building. Its manifold form visually manoeuvres a simple surface pattern into a multifaceted arrangement of shapes and flickering lines, reflecting how education connects people with profound ideas, both simple and complex. Project management and fabrication: UAP Shanghai. Image: Concept for Dynamic Equilibrium. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1698644771392-G8ZQDZFI7PM28WC3XBDT/21-02-01_BRITT_0009.jpg Public Art - Facade, 2017 This sculptural façade for 2 Riverside Quay seamlessly articulates a bold and dynamic graphic around the exterior of an existing carpark. The public are invited to activate the surrounding urban landscape as the facade appears to warp from different vantages. The inherent movement in the work considers the evolving relationship between architecture, place and its inhabitants by reflecting on the history of the Southbank site. Birrarung Marr is the name of the Yarra River in the language of the Woi Wurung and Bunurong people meaning, “River of Mists”. The ephemeral nature of Birrarung Marr can be seen in the undulating patterns of the façade; tangible, yet ever moving with the orientation of its inhabitants. This perpetual movement created by the façade forms a sense of weightlessness and transience over the carpark exterior much like a mist obscuring the surrounding environment of the river. Client: Mirvac Project Management: iAM Projects Fabrication and installation: Locker Group Location: 2 Riverside Quay, Southbank, Melbourne. Photography: Eugene Hyland https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1609989074523-O6DTB2CZ4Q1QTMXEIRFM/Britt+Salt_Ebb+and+Flow_2020_Wyndham+Park_1.jpg Public Art - Ebb and Flow, 2020 Ebb and Flow reflects the history and natural environment of Wyndham Park by engaging with the essence of the Werribee River, the backbone of this community. The river marks a traditional boundary between Kulin Nation Woiwurrung and Wathaurong tribes. As the river expands with fresh water or contracts in drought, this boundary shifts. The ephemeral nature of the river can be seen in the undulating patterns created by the artwork; a series of slender forms that rise from the earth to trace the river’s path of travel in the air. The artwork is activated as people move through the park, changing in appearance from different vantages. Creating vibrant pattern as the forms overlap and interact in space, or taper to fine vertical lines revealing spaciousness and views to the surrounding parkland. Ebb and Flow considers the evolving relationship between landscape, place and its inhabitants. Whilst always in flux, these connections are nurtured by the Werribee River. A force that will continue to flow through Wyndham Park. Client: Wyndham City Council Location: Wyndham Park, Werribee, Victoria. Project management and fabrication: UAP Photography courtesy of Lucy Beattie Hughes. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470954853762-33K8IS408VKVOCALNFY2/Sequence.jpg Public Art https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1580279648109-MAELYEG3108416EAWA15/Shanghai+Lingang+Taopu+SmartCity+FP+by+rex-16+LR.jpg Public Art - Echo-space, 2020 Taopu Smart City Headquarters, Shanghai Echo-space is a permanent art installation created for the new Taopu Smart City headquarters in Shanghai, a low carbon eco-district with a vast regenerated green space inspired by New York’s Central Park. The project brief called for a dramatic arrival statement for visitors to the building that could be appreciated from multiple angles, whilst also providing a more human scale for the large atrium volume where people can pause to meet with one another or relax. My response was to create an artwork that appears to have been born out of the architecture. Echo-space evokes a sense of transformation and wonder that can be explored from multiple vantages throughout the building. As light shifts throughout the day, moiré patterns flicker across the overlapping mesh surfaces and transparent layers conflate or expand. Culminating in the appearance that this object in space is both there and not there. As these binaries interchange, a sense of transformation comes forth to be perceived as an entity. Echo-space creates a dramatic arrival statement for visitors. It is a seemingly impossible suspended form with a continuous surface that, if travelled upon, can be followed back to the point of origin. Much like an echo bounces off its environment and returns to the listener. Taking cues from the surrounding architecture, this artwork echoes elements of transparency, line and repetition. Re-imaging them into an ephemeral entity that evokes the natural world and a sense that transformation is unending. Artwork Details Title: Echo-space, 2020 Materials: Steel coil, steel and acrylic powder coat Dimensions: 14 x 7 x 5m Project Management and Fabrication: UAP Shanghai Photography: Rex Zou. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1721613637447-O1MBVTHSNVT9B457XENK/P2267_240+Queen_Britt+Salt_231130_rs_02.jpg Public Art - Billow, 2023 Aluminium, powdercoated 5.1 (H) x 13.9 (L) x 3.5 (W) m Located at 240 Queen St, Brisbane. Commissioned by Brookfield Properties. Curated and Fabricated by UAP | Urban Art Projects “Artist Britt Salt explores perspective throughout her practice, creating intricate sculptural works that inspire curiosity through the confluence of pattern and striking geometric forms which appear to defy gravity. Inspired by the undulation and infinity of the Mobius strip, and unending surface that twists and turns indefinitely, Billow speaks to ideas around perpetual transformation and enduring momentum. Contrasting bold forms with a soft, muted palette to create an atmosphere of wonder, Billow encourages exploration and invites audiences to embrace continual curiosity.” - UAP http://brittsalt.com/exhibitions daily 1.0 2025-11-03 https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1520985511496-DJO342HPINYIELJON9GK/Britt+Salt_ATW+Residecy+2018+Detail.JPG Exhibitions - Australian Tapestry Workshop Residency 2018 From January - March 2018 I will be Artist in Residence at the Australian Tapestry Workshop. ATW is the only workshop of its kind in Australia and is one of a few in the world dedicated to the production of hand-woven tapestries, collaborating with contemporary artists, architects and designers to create highly innovative public artworks. During my residency I engaged with tapestry techniques to develop material and practice-based research around the concept of 'Impermanent Place'. I created a series of new works that sort to navigate architectural scale, transient materiality, repetition and movement. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1485906991826-VEYPDUTRVE5X3AI7RUE8/Britt+Salt+Formless+installation+detail+2015_web+res+crop.jpg Exhibitions - Paramor Prize 2017 My work Tipping Point has been selected as a finalist in the Paramor Prize: Art + Innovation 2017. The winning work will be acquired into the Powerhouse collection and receive $20,000 prize money. An exhibition of the 30 finalists will open on 18 February - 23 April 2017 at the Casula Powerhouse Art Centre, Sydney. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1552541380717-91Q1Z81FWNC5RS0J017Q/BS_Riverside+Quay+Level+9_2017_HR_9.jpg Exhibitions - From All Sides, 2016 Wall painting, 150 metres square. Following the installation of my Facade at 2 Riverside Quay, I was invited to create an accompanying artwork for the buildings’ interior. The artwork references the dynamic lines and sculptural layers featured in the exterior façade. Allowing a dialogue and continuity between the exterior and interior as staff enter and the building through this space everyday. Spanning 150 square metres, the staff are invited to activate the surrounding spaces as the artwork gently shifts from different vantages. Delineating the solid walls of the hallway and entrance points into a multilayered, ephemeral pattern. This work considers the evolving relationship between architecture, place and its inhabitants to create an environment that is active throughout the day and night. Images courtesy of Janelle Low. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1485906059636-X89DPW6W4EKS74772G97/Pattern+%2B+Show+2016+_1.JPG Exhibitions - Pattern+ 2016 Town Hall Gallery, Hawthorn 29 Oct - 18 Dec 2016 Pattern+ references the history of various iconic patterns as well as artists who are creating their own language within pattern. As a part of the exhibition I created two installations that, via different means, considered the creation of pattern using discordant or irregular elements. One of these works, Polyrhythm, was commissioned for the entrance window to the Hawthorn Arts Centre, to remain throughout 2017. Polyrhythm is a term more often associated with music. Where two or more different rhythms occur simultaneously alongside one another, to the same end. Such rhythmic conflict may be the basis of an entire piece of music, or a momentary disruption. For both my installations I appropriated polyrhythmic elements to explore material phenomena, duality and perpetual movement. Images Courtesy of the artist and Christian Capurro. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470874106534-1QHUFU9N7TA22GI0JLTW/Britt+Salt+Formless+installation+shot+2015.jpg Exhibitions - Formless 2015 C3 Contemporary Art Space, Melbourne The C3 Foyer is by nature a ‘mid-space’ between exterior and defined interior space. Formless, an immersive installation, aims to highlight this feature, employing pattern, transparency and origami processes to explore the intricacies of ‘place’ in this transitory environment. Formless, sees an undulating pattern span the foyer’s architectural surfaces. As the viewer moves through the space a series of mesh sculptures will appear and dissolve within the patterned surrounds, conflating the gallery environment into one weightless surface. Here, the viewer is given the sense that they are experiencing a space that is both solid and ephemeral. If a space hovers between these two states, how might it be defined as a ‘place’? https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470873909007-LV0CW22ASJ1W3HX36QR0/%C2%A9JL_20150714_BrittSalt_C3-18_square.jpg Exhibitions https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470895915447-AL0DG2Q2AS7NXYQ0XCCE/Britt+Salt+Formless+2014.JPG Exhibitions https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470950085473-N57CTHTO7OUHWDKGLMYW/Klein+Knot+0.02%2C+2009%2C+Aluminium+and+enamel%2C+30x34x27cm---.jpg Exhibitions - Klein Knot 2009 How might we place ourselves in an environment that is perpetually altering? Klein Knot is a series of small works which suspend themselves in space. A collective of squiggles, bulbs and crisscross folded forms, these works come together as klein knots (‘small knots’), each constructed from one single yet very chaotic line. Each work spins on its own axis in the air. Their movements increase as a viewer enters the space around them and settle when left in isolation. Mesh, threads and metal tracks construct the works. The transparency of these materials allow individual forms and shapes to dissolve into neighbouring works as they rotate, merge and tessellate in the viewers presence. In this Klein Knot environment, the viewers’ perspective and experience of the work is never repeated. Both viewer and work are displaced by their respective movements through the space. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1552869291156-L28QQ825LGRQ1IWQKFSQ/Britt%2BSalt%252C%2BMonform%2BManifold%2B0.01%252C%2B2008%252C%2Bpowdercoated%2Baluminium%2Band%2Benamel%252C%2B120%2Bx%2B100%2Bx%2B110cm.jpg Exhibitions - Monoform: Manifold 2008 Mine is a practice of balance. I explore notions of form and space through the investigation of materiality and transparency, interior and exterior, positive and negative space. I choose to work both three dimensionally making objects, and two dimensionally in drawing. It is between these two practices that my work mediates between form and space. Working across two dimensional and three dimensional media allows me to explore both illusionary space and actual space. If I am working on a two dimensional paper surface, I employ a use of line to explore the illusionary space of depth upon that plane. When I am constructing a form there is the opportunity to explore the actual space that the form inhabits. I consider the space within the form, the space surrounding the form and also the space which passes through the form. Consideration of these spaces alongside transparency can be a catalyst for the simultaneous experience of interior and exterior space, giving rise to a play between actual space and illusionary space. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470893681920-SE1CH8SBFYEX30X8Z8O7/BrittSalt_Pluriform_2013_1+High+res.jpg Exhibitions - Pluriform 2013 As shown in PATTERN, curated by Diane Soumillas Glen Eira City Council Gallery Pluriform is an installation with a multitude of shapes and appearances. As the viewer interacts with the work, these facets are revealed and dispersed. Using repetition and materials that have an inherent ability to create movement, this work is an ongoing spatial experiment where fundamental elements such as line, form and space intertwine. Pluriform stems from an interest in the viewers relationship to the spatial world they experience. As Architect Jun Aoki says, “When most people encounter architecture from within, they feel it rather than seeing it.” I am interested in this idea and how it seems to suggest a gap between what is experienced and what is perceived when encountering a physical space. Pluriform aims to occupy this gap. It may be true to say that this installation is not purely sculptural form, nor a series of fluctuating lines, not solid, nor ephemeral. Pluriform is a string of transitions in space. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470895700003-PDCJST3FN1AKDFA62WZH/Britt+Salt_Light+Transit_02_300dpi_1000pw.jpg Exhibitions - Light Transit 2014 As shown in Innovators 1 Linden Centre for Contemporary Arts, VIC. Light Transit is an immersive and interactive installation that employs industrial materials and light to explore the intricacies of form and space. Here, masses of rubber lines extend from the edges of the gallery overlapping and interlocking to reveal manifold shapes and spaces as the viewer moves through the installation. Here, the permeable surfaces of these forms are emphasised by light filtering into the space. Creating a series of equilibriums between interior and exterior, suspension and grounding, movement and stillness. Photography courtesy of David Marks. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1552886849714-FMFC9LOCUQB21AASP2VW/Britt+Salt_Traverse+2019_HR_1.jpg Exhibitions - Melbourne International Airport 2019 Traverse, 2019 Powder coated Aluminium and LED lighting, 14.5 x 2.4 x 0.3 m Traverse developed through a series of conversations and engagement with the nature of the international terminal and in particular, the security hall. This transient space sees a constant flow of people and was identified by APAM as a high stress zone. As such, there was an opportunity to transform commuters’ experience of the security hall by integrating an artwork that would offer calmness, interaction and innovation. A surface of undulating folds are built into the wall and mirrored by a dynamic perforated pattern that makes protrusions in the artwork look like valleys and vice versa. Shifting light within the wall both accentuates and blurs the distinctions in the artwork. The colours gently changing throughout the day and night to reflect the qualities of light in the exterior environment. As passengers move through the security hall, the artwork appears to warp and change, creating optical effects and an unexpected experience of the space. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1552890013394-1IA70207JFQ1YKDYBX9F/20190212_JW_2832+Photo+by_+Jeremy+Weihrauch_+Image+courtesy+of+Australian+Tapestry+Workshop.jpg Exhibitions - ATW18 2019 Australian Tapestry Workshop 7 Feb - 3 May 2019 ATW18 is an exhibition of participating Artists’ in Residence from 2018 and the artwork which culminated from their experience. During my residency at the Australian Tapestry Workshop in 2018, I explored tapestry techniques as a method for contemporary drawing and developed practice-based research around the concept of Impermanence. From this base, I created a series of new works that navigate architectural structures via repetition and transient pattern. Working intuitively to direct the process, vibrant pattern is revealed from a foundation of monochromatic lines. Each shift of direction these horizontal wefts take culminates in an optical pattern, disrupting the linear surface of the drawing. As these patterns pulse ephemerally atop the solid black and white surface, they allow an in-between space to come forth and be perceived as an entity. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470951736041-KNR14097M1I8QNLM9GAF/1.Britt+Salt%2C+Monoform+Series+2+%28No.2%29%2C+2008%2C+Aluminium%2C+110+x+60x+50+cm+.jpg Exhibitions - Monoform in Space 2008 Harrison Galleries, Sydney (2007) / Perth Galleries, WA (2008) Catalogue Essay (Excerpt): Mono-Form: (or “how I learned to enjoy puzzles”) by Ric Spencer Mono-Form is a term coined by Britt Salt to describe her art and gives us an insight into the relationship she has with her work. Mono-Form is an elusive term - Google the word and you may find blogs trying to get a grasp on it – some in Spanish which really didn’t help me. After meandering around the net for some time it occurred to me that each page I was opening was like a mono-form and the game of trying to find a definition was like building a puzzle from these mono-forms. This realisation probably gives us as good a definition as any so lets try: mono-form – a basic unit like a line or square or cube which, like a jigsaw, put together gives us an even bigger puzzle to work out. Britt Salt’s enjoyment of floating objects in space might be based on mathematics, or physics, or industrial processes, whatever it is her folding, refolding, cutting and rolling is puzzle building at its best. And like working on a puzzle, her work simultaneously encourages play and enquiry, the type of play and enquiry that comes from an obsession with construction rather than the finality of coming to any desired form. Britt’s “floating world” pieces are built in such a way as to promote possibility, not the possibility of any finality, not the possibility of completion but the open possibility that comes from beginning. Britt is no rubics cube fanatic hell bent on getting all the side’s colours together in record time. I think if she were to pick up the cube it would be to extenuate new understandings of its mechanics, the gauge of the cracks or how light refracts off it. In a recent artist statement Britt writes of her material process being somewhere in between building and weaving or more specifically of ‘building as akin to textile construction’. Again later in the statement she uses the phrase ‘the origins and relationship between architectural and textile processes as akin.’ In using these phrases subconsciously or not Britt gives us an idea of family or perhaps rather the social chemistry between individual units as they define a collective. Her work for me builds a sense of unity or strength by modulating a number of single units – or mono-forms – together in order to build incongruous strength out of fragility. Her ideas are based on spatial architecture and engineering yes but more importantly they create inclusive narratives. As for any individual within a social group, inclusiveness or the desire to belong is a basic social need. Watching a group of people manifest group dynamics can be enthralling. Spatial interactions allow for endless viewing, who is included, who doesn’t fit? Britt, as any artist is, is in the position of power in her making - in work that is a combination of textile making, spatial architecture and installation it is the inclusion of the viewer as an integral performative element that juggles all these ingredients together. But if an artist is adept at creating these inclusive tensions, then they are also capable of denying them - an artist capable of orchestrating inclusiveness is also capable of orchestrating isolation, the pivotal fulcrum in deciding this tension in Britt’s work is always the viewer and it’s a mature artist who understands and then acts on this. Beyond her understanding of spatial aesthetics is Britt’s comprehension of materials. Hers’ is an art of materialism and within this exchange, within her modules of folded material, is the simultaneous story of an unfolding individual – the artist. In being hands on with off the roll industrial material I see a person engaging in the responsibility of creating their own world out of the materials that most influence their life. This type of engaged knowing only comes through taking time to understand the make up of a material and its relationship to space, in other words its phenomenological basis. In some way Britt has managed to transcend the immediate phenomenon of the material she works with and take it to another level - this is the job of an artist, to transcend planes of immanence, and Britt does it well. Her work is a beautiful and poetic clash of the world with the artist and it goes some way toward explaining that most difficult of puzzles, the identity of the individual encapsulated in a world of lines, cubes and squares and all the other structures that go toward making up this crazy world we move through. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1552955266594-BAFL3XOSWHXPGT6S77DI/Seydisfjordur+Iceland+2018.JPG Exhibitions - Heima Residency, Iceland 2018 “Movement, combined with a constant search for difference is a sin qua non for sight.”* Like being caught out in a snow storm, a world of no contrast leaves our perception of possibility and experience drastically restricted, and as such, the potential for new understanding wanes. During my residency in Iceland I created a series of optical illusions using the visual language of architecture and tapestry processes. They invite the viewer to consider how contrasting elements relate to one another. How they interact, shift and collaborate to form vibrant systems of momentum; an amalgamation of their individual paths. ___________ When you see the world in a stark light, Either/or, This/that, You feel more sure of yourself, Less prone to doubt, But this world view can also be dangerous, It can stop you from seeing, A complicated world in all of its complexity. _ Clear cut black and white, Simplicity, A foundation of bold lines, What happens when those lines are interrupted? When the margins begin to move, Your vision blurs, And you feel unsteady on your feet, What complex and brilliant world is this? ————————— The Reading List: *Deviate: The Science of Seeing Differently by Beau Lotto Ikigai by Francesc Miralles and Hector Garcia Outliers by Malcolm Gladwell 1984 by George Orwell The Architecture of Happiness by Alian de Botton Lost Connections by Johann Hari https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1552884875209-R4965LYK7TLBNLK2ZYVG/Paramanifold+Detail+2012.jpg Exhibitions - Substation Contemporary Art Award 2012 FINALIST ParaManifold, 2012, Powder coated aluminium and enamel, 120 x 35 x 32cm ParaManifold invites the viewer to become the orchestrator of fundamental elements such as these. It is the viewer’s movement and interaction with the work that determines how these elements fit together, as surface merges with structure, interior conflates to exterior and forms appear then dissolve. ParaManifold creates an environment which is movable and in flux, inciting the viewer to question its construction and how they will reorient themselves relative to such a space. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1537834870817-VM7U0LC434G0F4KYGQ3M/Britt+Salt_Riverside+Quay+North+Facade_2016_1000pw+bw.jpg Exhibitions - Facade | 2 Riverside Quay 2017 The sculptural artwork façade for 2 Riverside Quay sees a bold and dynamic graphic span seamlessly around the site’s exisiting carpark exterior. Here, the public are invited to activate the surrounding urban landscape as the facade flickers and warps from different vantages. Creating illusions of depth, movement and light. This façade considers the evolving relationship between architecture, place and its inhabitants to create a new destination landmark for Riverside Quay that is active both day and night. This artwork reflects the history of the Southbank site by engaging with Birrarung Marr, the original title of the Yarra River given by the Woiwurung and Bunurong communities meaning “River of Mists”. The life-source, flow and ephemeral nature of the river embraced by these Indigenous communities can be seen in the undulating patterns of the façade; at once solid, yet ever moving with the orientation of its inhabitants. This perpetual movement created by the façade forms a sense of weightlessness and transience over the carpark exterior much like a mist obscuring the surrounding environment of the river. PROJECT DETAILS: LOCATION: Southbank, Melbourne ARCHITECT: Fender Katsalidis Architects CLIENT: PriceWaterhouseCooper PUBLIC ART MANAGER: iAM DEVELOPER: Mirvac FABRICATOR: Locker Group DETAILS: Perforated and powdercoated Aluminium using Pic Perf technology, 2792msq total. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1588821756867-INMU85LQG733XU7DBE5B/Britt+Salt_Middle+Distance+%28Detail%29_2019.jpg Exhibitions https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1588823997421-EWJADR9EUP8NHNGU42DN/Shanghai+Lingang+Taopu+SmartCity+FP+by+rex-16.jpg Exhibitions - Echo-space, 2020 Steel coil, steel and acrylic powder coat, 14 x 7 x 5m Taopu Smart City, Shanghai https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1580275453832-QHLMZOTI8J1EGLR0XOE1/Shanghai+Lingang+Taopu+SmartCity+FP+by+rex-16.jpg Exhibitions https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1655095468462-H3UXLKOMH2XSZODNOX75/220124_Art+On+Paper_074_Photo+Courtesy+of+Silversalt_LRG.JPG Exhibitions - The Murmuration, 2021 Hand drawn ink on paper, 29.7 x 42cm A murmuration is a phenomenon where starlings fly in swooping, intricately coordinated patterns through the sky. It is a collective behaviour where entities blur together as they move en masse. In this work, line, form and space intertwine to create a murmuration of geometry. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1609983286933-C8J8KS91WDZGIAMOEZHW/Britt+Salt_Tapestry+4+%28Detail%29_2020.jpg Exhibitions - The Middle Distance Tapestries Creating this new series has expanded my weaving skills to a large format, challenging the way I make art via a new format and forming the basis for my next body of work, The Middle Distance. ‘Staring into the middle distance’, is a blurry state of focused disengagement with one’s surroundings. A moment caught between reality and dreaming, the now and what is possibly soon to be. For me it represents a psychological state that was prevalent for me during Melbourne's Covid-19 lock-downs in 2020. Simultaneously alert and ready to act, yet overwhelmed and restricted. This sense of experiencing opposing states is reflected in the tapestries. This Project is supported by the Victorian Government through Creative Victoria. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1655095221766-PQUUGU8B087U9ERFG31G/Britt+Salt_The+only+constant+is+change+%28detail_1%29_2021_cotton+and+wool_18.8+x+19.3+cm_1_1000px.jpg Exhibitions - The Only Constant is Change, 2021 Wool and cotton, 18.8 x 19.3 cm The Only Constant is Change shifts with the viewers’ movement and interaction. It is a seemingly impossible built environment that nods to artist M.C. Escher, testing the bounds of perspective, geometry and the mechanics of seeing. Salt works intuitively to direct her process, building on interventions in the tapestry foundation which unfold in unexpected glitches and visual illusions as it develops. The viewer’s eye is bucked from point to point. Creating a charged atmosphere that is both moving and still. A duality indicative of recent times. Caught between certainty and uncertainty, action and restriction. The only constant, change. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1655094944613-REYOMUXLMAVVYXEXTNPI/Britt+Salt_Neither-nor+%28detail+1%29_+2021.jpg Exhibitions - Neither-Nor, 2020 Cotton and wool, 100 x 76 cm Salt’s practice hovers between art and architecture; an ongoing spatial experiment where line, form and space intertwine. Like much of Salt’s work, Neither-nor shifts with the viewers’ movement and interaction. It is an impossible built environment that nods to artist M.C. Escher, testing the bounds of perspective and geometry. Salt works intuitively to direct her process, building on interventions in the tapestry foundation which unfold in unexpected glitches and visual illusions as it develops. The viewer’s eye is bucked from point to point and forced to soften. Like staring into space, one becomes enveloped in a malleable yet static atmosphere. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1667361041925-9CCOA49IUU2Z4P675MIN/Britt+Salt_The+Distance_Detail+1.JPG Exhibitions https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1552884341802-YOEYD5UVMKL9DJY3FLUV/Britt+Salt%2C+Puzzletheque%2C+2012%2C+handpainted+PVC%2C+vinyl%2C+steel%2C+dimensions+variable%2C+Linden+Centre+for+Contemporary+Art-HR.JPG Exhibitions https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470959073494-BKV966J56S4AQQQGN6LT/Britt+Salt+Residency+Opening+Party+2015+1000pw.JPG Exhibitions https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470946203425-FKZZCF0R9VMX0R105P17/%27Temporal-Things%27%2C-2011.jpg Exhibitions https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1609989922633-CC5UZGEYJ37TIBK3LUVQ/Britt+Salt_Transformations+lV_+2020.jpg Exhibitions - The Transformation Drawings, 2020 All Ink on paper, 22 x 16.5cm. These times, they blur. What is soon to be and what came before leaves little room for the present. And so we drift. Always in the process of some mundane and yet significant transformation, caught between yesterday and tomorrow. A kind of shedding skin in which we find new equilibrium within ourselves and with those around us. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1569456550112-XPJDYV5VIBYXM2W7BHDW/BS_Spatial+Diffraction_2018_Detail+LR+1000px.jpg Exhibitions - Diffraction, 2018 “Britt Salt reveals that skin itself is a threshold, as are the walls of a building. Through an intuitive display of mirror disks, a pattern emerges upon the surface of the gallery. The spatial diffraction throbs and ebbs in an illusionary field, opening up a window to a space beyond. The corner becomes an architectural spell to other dimensions, passing the edge of an opaque body into waves of modulated, redistributed energy. An ocular apparition of space flickers through a front of light and dark bands – the diffracted pattern – alluding that there is more than meets the eye beyond the surface of things, yonder a shadow.” - Jake Treacy, Beyond the Veil exhibition catalogue, 2019 https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1537317911551-JQM97W9YR6AXNBQ7OALF/BS_Suspended+Space+3_2018_LR+crop.jpg Exhibitions - Artist in Residence at Arteles Creative Center, Hämeenkyrö, Finland 2 - 30 August 2018 During my time at Arteles I explored tapestry weaving techniques as a method for drawing. Working intuitively, I unearthed vibrant patterns from a foundation of monochromatic lines. Each shift of direction these horizontal wefts take culminated in an optical pattern, disrupting the linear surface of the drawing. As these patterns pulsed ephemerally atop the solid black and white surface, they allowed an in-between space to come forth and be perceived as an entity. The Reading List: Kissing Architecture by Sylvia Lavin; No Matter by Anastasia Karandinou; Parables for the Virtual by Brian Massumi; After Art by David Joselit; The Art-Architecture Complex by Hal Foster; Affect Theory by Melissa Gregg & Gregory J Seigworth; https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1470894528732-J5Q6W41FHRYD5HJ9UQNL/Britt+Salt+Parallaxis+Installed.JPG Exhibitions - Venice 2015 Parallaxis I, II and III (2012), vinyl on acrylic, 40 x 40 x 7 cm each Shown in Differences of Idenity 15 May - 15 June 2015 | Sala del Portale, Venice Britt Salt (AU), Emma Roche (IR), Joan Backes (US), Saevar Karl Olason (IS), Toos Van Holstein (NL), Tove S Hellerud (NO) Sponsored by the City of Venice. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1568855053663-98OPRZEK7W8KNDV286SM/Britt+Salt_Echo-theque_2019_+install+detail+2.jpg Exhibitions - Echo-théque 2019 My work Echo-théque is showing as part of the exhibition Plexus at Blindside, curated by Kate Vassallo. Created in response to the site, Echo-theque pushes and pulls at the seams of its architectural frame. Using pattern, form and transparency to explore the dynamics of light and its ability to orient ones experience of time and space. At moments throughout the afternoon, sunlight is reflected from Southbank high rises onto the Nicolas Building. As this light passes through the gallery’s glass windows, it is forced to slow down and change direction. Casting temporal versions of the artwork onto surrounding interior surfaces. Within the gallery, as the viewer aligns with an interior light source or uses a camera flash, the retro-reflective material within this artwork activates. Echoing light back to its point of origin and the viewer’s eye. Encouraging the viewer to pause. Perhaps even change their direction in space. Seeking to experience this phenomenon again and again within the moving parts of the installation. Details: Hand cut reflective vinyl and perspex, dimensions variable. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1668394930858-53MDCP1GBBGGLBAWEH2I/Britt+Salt_The+Middle+Distance_Install+Shot+8.jpg Exhibitions - The Middle Distance 2023 St Heliers Street Gallery, Abbotsford Convent 10 - 27 November 2022 The Middle Distance, comprises repetitive hand-drawn, woven and installation works that highlight the methodical processes of their construction and test the bounds of perception and spatial experience as they appear to shift with the viewers’ movement. Staring into the middle distance is a blurry state of focused disengagement with one’s surroundings, a malleable yet static condition caught between reality and dreaming that entices the peripheral senses. The works in this exhibition conjure a between state, visually jumping and pulsing as the viewer encounters them, inciting you to look, and look again. This active engagement between body, senses and environment is what connects us to our surroundings and shapes our perception of space. Becoming aware of what is out of focus, in the periphery of our awareness, might just reveal more about the reality of our world than what is right in front of us. READ the exhibition essay by Sophia Cai. This project is supported by the City of Yarra. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1655096404908-4OI06XG5IZ84BF9BCX7J/Britt+Salt_The+Murmuration+II_2022_Franklin+Street_LR.jpg Exhibitions - The Murmuration (II), 2021 Hand drawn ink on paper printed as poster. A murmuration is a phenomenon where starlings fly in swooping, intricately coordinated patterns through the sky. It is a collective behaviour where entities blur together as they move en masse. For this exhibition, I will create a drawn artwork where line, form and space intertwine to create a murmuration of geometry. Reflecting the hard lines of the city’s architecture and pace of movement through the Franklin Street site. This artwork was shown as part of Metro Tunnel Creative Program on Franklin Street, Melbourne. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1698733113546-7T9LYL77KHD1VRFB6FRL/Britt+Salt_Cross+Tension+2023_Detail._crop.jpg Exhibitions - VCA Artspace Cross Tension, 2023 Cotton and cardboard, 360 x 175 x 150 cm. Part of ’From Where I Stand’, Curated by Kim Donaldson, VCA Artspace. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1678593338269-MM6OTOXHOI322J34473T/Britt+Salt_Two+Water+Pipes+Reflected+onto+the+Wall+of+a+Gallery_2023_3.jpg Exhibitions - Two Water Pipes Reflected onto a Gallery Wall, 2023 Cotton warp, 450 x 590 x 290cm. As a part of From With(in), George Paton Gallery The architecture of George Paton Gallery is the foundation for this artwork, the water pipes in its ceiling are drawn into an installation using cotton warp thread. The thread, which is traditionally used in weaving, is wrapped around two selected pipes and anchored to the gallery wall in an arrangement that reflects the shape of the pipes. This often overlooked structure that supports our everyday activity is brought into the foreground of the pristine gallery wall. The use of warp thread draws a relationship between weaving processes and building construction, teasing out the unseen structures that prop up the material world we inhabit and creating a visual blurriness with them that questions whether these things that surround us are as stable as we assume. Read the exhibition catalogue written collaboratively by Izzy Baker and Mia Palmer-Verevis https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1698646905674-7K5D47E2JYCNUU0NTVCY/Britt+%26+Jacinta+VCA+Seminar_WEB-1.jpg Exhibitions - Living Grid I, 2023 Living Grid I presents a speculative architectural interior that is oriented by structural elements of the gallery. In this space, I ask what fundamental spatial elements the human body needs to exist. Walls, ceiling and floor-based timber forms trace the bounds of the interior. Central to the installation is a gridded tapestry, at least, it visually expresses a grid from one side. The vertical threads of this grid sit atop the tapestry, isolated from the woven horizontal lines. So too, the threads that trace a grid overhead in a kind of pitched roof, do not touch. Nor do the wall of threads hanging vertically from the ceiling, untethered to the ground. Only when moving the body through the space does this become apparent. The grids in this installation are not connected or complete, they only appear to be. The order is an illusion. In this speculative interior there is also speculative furniture. A form that is bench seat height sits in a corner of the room. It features curved base, rocking as the body sits. Its unstable nature challenges the body to feel where and how it is in space. Questions posed by the installation as a whole. A living grid is an architectural embodiment of the foundations of space that sustain human life. Location: VCA Artspace, University of Melbourne, Southbank Photography: Astrid Mulder https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1704939898623-VKB1OGTJLLWQECN9OK6L/Britt+Salt_Photograph+courtesy+of+the+University+of+Melbourne_1_for+web.jpg Exhibitions - Living Grid II, 2023 The Stables, VCA, The University of Melbourne. Masters of Contemporary Art Living Grid II presents a speculative architectural interior that is oriented by existing structural elements of the gallery. The original panopticon design of this room allows clear surveillance to every corner of the space from one position, the centre. Living Grid II seeks to unravel this feature, presenting a series of artworks that only become visible or fully revealed when the viewer moves, testing the thresholds of visual perception. Across tapestry, drawing, sculpture and installation my artworks methodically map connections between real and imagined architectural structures. I employ geometry, repetition and systematic processes associated with Minimalism of the 1960s. Yet rather than producing autonomous forms, I am interested in the spatial context of the works I conceive, attuning them to each site I encounter. In doing so, my works exist in an ongoing state of becoming, re-examining the structural potentialities of the built environment and how this affects spatial inhabitation. Image courtesy of University of Melbourne. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1708477869575-SW0NVUPV4QOHASDTBZKN/1_BRITT_SALT_Two+Water+Pipes+Reflected+Onto+the+wall+of+a+Gallery_2023.jpg Exhibitions https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1708475621243-53IITJD928L47VJU8H5P/Britt+Salt_Photograph+courtesy+of+the+University+of+Melbourne_1_for+web.jpg Exhibitions - Living Grid II, 2023 Installation view, VCA Grad Show 2023. Images by Simon Strong. *Click the ‘+’ in top right corner of image to enlarge https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1708473619748-79DFIZ6WQL3G9IWT191T/3_BRITT+SALT_LIVING+GRID+I_Installation+view.jpg Exhibitions - Living Grid I, 2023 Installation view, VCA Artspace. Photos by Astrid Mulder. *Click the ‘+’ in top right corner to enlarge image. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1722474737210-FPIPCYHVCTMXMGI3KX3R/Spacial+Murmuration+01.jpg Exhibitions - Spatial Murmuration 11 July - 14 October 2024 CS Gallery, Melton City Council Spatial Murmuration brings together tapestries and fine line drawings from my practice that have been made via distinct, yet equally slow and methodical processes. These works explore how we navigate and orient ourselves in changing environments, using intuitive geometry and handcrafted techniques to trace structural relationships and hidden spatial potentialities. This meditative practice reflects a constant murmur, quietly probing questions about our negotiation of space. CS Gallery is located at 193-201 Caroline Springs Blvd. Caroline Springs, Victoria. Photos by Shawn Smits. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1734213249174-SUYFPTZSBZ6CN2DGJH7M/240926-Linden+Project+Space-WEB-1.jpg Exhibitions - Linden New Arts TEXTILE (INTER)ACTION Helvi Apted, Britt Salt and Shannon Slee 26 Sept - 27 Oct 2024 Textile (Inter)action presents new artworks by Naarm/ Melbourne based artists Helvi Apted, Britt Salt, and Shannon Slee alongside a collaborative textile installation that invites the public to become part of the exhibition. These artists share an interest in the way textile techniques are passed down over time through generations, expand across cultures, and how the act of making together incites people to exchange stories and skills. In preparing for this exhibition, the artists challenged their distinct studio methodologies by working closely with one another. The result is a suite of new works that collapse the boundaries between the artists’ textile practices - stitches are repeated, forms replicated, and materials shared. The artists gathered material scraps made during this process and reassembled them as collaborative works, stretching them over repurposed timber frames that were found in the storeroom of the Handweavers and Spinners Guild and hard rubbish. Visitors are invited to join in this collective artmaking by utilising materials from the artists’ studios to create a textile collage in the centre of the gallery that will evolve throughout the exhibition. On the surrounding walls, a suite of artworks by each artist explores new techniques and territories of interest that continue to expand their individual practices. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1734305133903-IQW6MKRZQW86RBKPNW2C/20241116_JW_7242.jpg Exhibitions - Counterparts: Expanded Textile Practices | Hannah Gartside and Britt Salt Wangaratta Art Gallery 16 November 2024 - 16 February 2025 In 2023, Britt Salt, artist and final year Master of Fine Art student at the Victoria College of Arts was paired with VCA alumna, artist Hannah Gartside. So began a friendship over a cup of tea, and a conceptual interrogation of practice. While differing in their material outcomes and thematic explorations, both artists celebrate the medium of textiles and extend the practice through a play with space, movement, intimacy, curiosity and interaction with the body. Counterparts: Expanded Textile Practices features new work by both artists in conversation, alongside formative work held in the Wangaratta Art Gallery Collection and the extension of previous bodies of work. Using these earlier ideas as a foreground to later practice, large scale textile installations transform the gallery space, and trace the development of each artist’s practice, their similarities and deviations and their shared influence. Image: Britt Salt, Living Grid III (Installation view), 2024. Photo: Jeremy Weihrauch https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1725773865253-8JKR14WD4DCAN8SLTW2N/Britt-Salt-WHITE-STORY-20240812_DSC3996-edit.jpg Exhibitions - Artist in Residence W H I T E S T O R Y In 2023, I was awarded the Fiona Myer White Story Residency for my Masters of Contemporary Art graduate show at the Victorian College of the Arts. As part of the award, I was invited to work alongside pattern-makers, designers and craftspeople at Fiona Myer's Melbourne-based clothing label, White Story. I used this time to refine a series of functional sculptures and fine line drawings that employ principles of Minimalism and speak to White Story’s philosophy of pure form and simplicity. These meticulous artworks were created using methodical hand crafted processes and intuitive geometry to explore how potential can diverge from systems of order, such as a monochrome palette and repetitive lines. This residency culminated in an exhibition in the vast warehouse space above the White Story studio in Cremorne. Photo by Simon Strong. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/1762211991444-7BJHORI3PFC7HDFUQ50B/250611-Five+Walls-WEB-13.jpg Exhibitions - Britt Salt & Shannon Slee: Me and the girls don't want to be boxed Five Walls Projects Space 6 June - 5 July 2025 ‍ Me and the girls don’t want to be boxed takes its name from a song by Melbourne punk band Amyl and the Sniffers. To be “boxed” is to be concealed, categorised, or controlled by a structure. For this exhibition, Britt Salt and Shannon Slee explore frameworks that, unlike a box, have the ability to bend. Frameworks such as time, consciousness and abstraction can become warped in processes based in textile design and craft, particularly weaving. Woven textiles are simultaneously a formal construction of interconnecting vertical and horizontal threads, as well as a flexible material that yields to gravity and the surfaces they come into contact with. The pliable yet structured nature of weaving makes it the perfect conduit for exploring how frameworks that order our experience of the world, can diverge from the expected and even lead us into the unknown. Slee’s suite of new woven works push against the established boundaries of craft technologies to consider the intangible and the abstract. In the fleeting moments between being awake and sleeping, when dreams linger, consciousness softens, and impressions of simple geometric forms appear to the artist. In the morning, she sets out to replicate these shapes at her vintage floor loom. A labour-intensive weaving process where time stretches, and the abstract shapes begin to skew. Distorting from the crisp impression that first appeared behind Slee’s eyelids, they become intangible in the daylight. Salt’s minimal artworks are an expression of obsessive-compulsive frameworks the artist imposes on herself in daily life. Through the lens of weaving, she seeks ways to diverge from rigid control by creating imagined architectures and scenarios in her making process where human slippage is inevitable. Lines of ink and thread are repetitively measured on paper, intertwined as tapestry or pulled taut in space. Salt’s body begins to tire over long periods of time repeating these actions. Her focus might shift momentarily, prompting a variation in movement or a wobbly line to unexpectedly materialise. These deviations are markers of a new kind of order, beyond control. Like many textile artists, Salt and Slee mediate numerous creative fields, defying strict categorisation. Their works might hang on a wall, like a painting, intersect space like a room divider, or stretch overhead like a pitched roof. Art critic Briony Fer suggests that the ability of textiles to slide between such different orientations is a demonstration of their pliability and the many ways that art penetrates everyday life.[1] As Salt and Slee’s works in this exhibition press up against the temporal, psychological and abstract frameworks of their daily experiences, textile thinking moves with them. A malleable approach to the world that facilitates evolution beyond perceived limitations and structures, into abstract worlds of possibility. Written by Britt Salt, 2025. ________ [1] Briony Fer. “Textile Thinking” in Woven Histories; Textiles and Modern Abstraction, ed. Lynne Cooke, (Washington, Chicago, National Gallery of Art ; The University of Chicago Press, 2023), P184. http://brittsalt.com/acknowledgement-of-country daily 0.75 2023-10-25 http://brittsalt.com/news daily 0.75 2025-12-03 https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/3a4efea8-05df-4691-97fc-015b4eca4d20/Textiles+x+Art+Cover+Image%5B21%5D.png NEWS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/75a6d5ed-d997-4767-beab-e982387f03ac/BRITT_SALT_GRID+II+%28DETAIL%29+WEB.jpg NEWS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/daa48c0c-dd68-40a3-925f-fc5f03babca0/Brittsalt_AconstantstateofbecomingIIIandIV.jpg NEWS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/57aacdbed482e9a73e5b4c47/598a343b-ec80-4ab8-a081-bfb3841dd584/Britt+%26+Jacinta+VCA+Seminar_WEB-6.jpg NEWS - 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