Burying Time, 2013, installation view

Mira Gojak, Prop for instabilities 3, 2012, wire, steel rod, steel strapping, copper tubing, wax, wood, dimensions variable, approx. 210 x 200 x 110 cm

Mira Gojak, Prop for instabilities 1, 2012, wire, steel rod, copper tubing, wax, clear polycarbon sheet, approx. 220 x 150 x 150 cm

Mira Gojak, Prop for instabilities 2  2012, wire, steel rod, copper tubing, aluminum strapping, wood, masking tape, approx. 250 x 130 x 100 cm

Burying Time, 2013, installation view

Emma White, Postcard (after Margaret Preston), 2013, paper

Emma White, Postcard (after Margaret Preston), 2013, polymer clay, framed diptych, each 34.5 x 25.5 x 5 cm

Emma White, Panel  2013, polymer clay, wire, framed, 21.5 x 21.5 x 5 cm

Emma White, Pins, 2013, polymer clay, 1 x 8.5 x 10 cm

Emma White, Hand coloured prints  2013, archival ink on archival paper, acrylic paint, polymer clay, wire, framed diptych, each 21.5 x 21.5 x 5 cm

Caroline Rothwell, Corroboree Frog / Toyota Prado Kakadu, 2012, exhaust emission on paper, framed, 30 x 21 x 4 cm

Caroline Rothwell, Dinosaur Ant / Toyota Camry V6 Conqueror, 2012, exhaust emission on paper, framed, 30 x 21 x 4 cm

Caroline Rothwell, Sydney Hawk Dragonfly / Mazda 323 Protégé, 2012, exhaust emission on paper, framed, 30 x 21 x 4 cm

Caroline Rothwell, Slip 1, 2000, porcelain casts, clay, enamel paint, 19 x 24 x 13 cm

Caroline Rothwell, Slip 2, 2000, porcelain casts, clay, enamel paint, 12.5 x 37 x 14 cm

Emma White commented ‘my practice is where I bury time.’ 

Burying Time explores the meditative, experimental, time rich and process-based practice of Mira Gojak, Caroline Rothwell and Emma White. 

Mira Gojak’s sculptures create space rather than mass. The mobile, kinetic forms and floor-based sculptures inhabit and punctuate space, transforming materials – wire, wax or mass-produced plastic chairs – into a reductive visual vocabulary. 

Caroline Rothwell's drawings of endangered animals are made from the black carbon residue collected from exhaust pipes. The works employ elements of scientific representation with abstracted forms, rendered from the by-product of our fossil fuelled economy.

Emma White's sculptures and photo-assemblages playfully undermine the constraints of the still life. Using a postcard of a Margaret Preston print as a point of departure, she draws out ideas about reproduction and seriality.

Burying Time considers the practice of drawing in the expanded field as a point of departure.

Artist biographies

Mira Gojak (b. 1963, Adelaide) lives and works in Melbourne. Gojak completed a Bachelor of Arts at the Victorian College of the Arts in 1992 following on from a Bachelor of Science majoring in Zoology and Psychology at the University of Adelaide. Her solo exhibitions include: Transfer Stations, Murray White Room, Melb (2011); Mira Gojak, presented by MUMA, Switchback Gallery, Gippsland (2010); Another Ground, Murray White Room, Melb (2009); Too Near, Too Far, MUMA, Melbourne Art Fair (2006); Time and Time Again, CLUBS Project Inc, Melb, (2005); Stranded, Canberra Contemporary Art Space (2004); Wax me to the vapour and dusk, sometimes, Gertrude Contemporary Art Spaces, Melb  (2002). Group exhibitions include: 101 Contemporary Australian Artists, National Gallery of Victoria, Melb (2012); Some Recent Australian Drawing, Heide Museum of Modern Art, Melb (2011); the inaugural MUMA Caulfield exhibition Change, MUMA, Melb (2010); NEW05, Australian Centre for Contemporary Art, Melb (2005). In 2005 Gojak was awarded the inaugural Maddock’s Art Prize. Her work is held in the collections of the National Gallery of Victoria, Art Gallery of South Australia, Artbank and Monash University Collection.

Caroline Rothwell(b. 1967, Hull, UK). Rothwell works across sculpture, installation and drawing. Her solo exhibitions include 10 degrees east, Grantpirrie, Sydney (2011); Transmutationism, Tolarno Galleries, Melbourne (2009); Dispersed, The Economist Plaza, London presented by Contemporary Art Society, London; Slamina, Maddox Arts, London; Exotopos, Grantpirrie, Sydney (2008); Blowback, Artspace, Sydney (2007); The Law of Unintended Consequences, Grantpirrie, Sydney (2005); New Worlds, Grantpirrie, Sydney (2005); Into the Woods,Sue Crockford Gallery, Auckland (2003/4); Elsewhere,Djanogly Art Gallery, Lakeside Arts Centre, Nottingham (2002); Orchis 4, Dunedin Public Art Gallery, Dunedin (1999). Group exhibitions include: No Place to Hide, Macquarie University Gallery, Sydney (2011); The LoveArt Collection, Casula Powerhouse, Liverpool, NSW (2011); McClelland Sculpture Survey, McClelland Sculpture Park, Victoria (2010); Darwin’s Bastards, Verge Gallery, University of Sydney (2009); Wonderland Artspace, Auckland (2003); Scape Art + Industry Biennial Christchurch (2002); Changing Spaces - Sculpture Now,Wellington International Arts Festival (2002). Rothwell is represented by Tolarno Galleries, Melbourne.

Emma White(b.1976, Canberra) lives and works in Sydney, Australia. White has exhibited widely across Australia, her solo exhibitions include While you wait, Locksmith Project Space, Sydney (2010); Blank Media, MOP Projects, Sydney (2009); Instructions for a still life (snowclone), Canberra Contemporary Art Space (2007); and Paper Trail, Phatspace, Sydney (2005). Group exhibitions include Primavera 2010: Exhibition by young Australian artists, Museum of Contemporary Art, Sydney and touring nationally (2010­–11); Time and Space: Art and Artist Run Spaces in Australia since 1970, Hazelhurst Regional Gallery and Arts Centre, Sutherland, NSW (2010); Seamless: Object and Image, National Art School Gallery (2009); Helen Lempriere Traveling Art Scholarship (finalist), Artspace, Sydney (2007) and Projector, Gallery Four, Dublin, Ireland and Fremantle Arts Centre, WA (2007). She is held in a number of private and public collections including the Museum of Contemporary Art, Sydney, Artbank and the National Library of Australia, Canberra.