IZABELA PLUTA
support material: 10 images of past work/exhibitions indicative of new work
+61 413 259 330
email@izabelapluta.net
www.izabelapluta.net
@izabelapluta__studio
Inside-Out Succah
In collaboration with Other Architects
Sculpture by the Sea, Bondi
29 October - November 10, 2019
240 x 580 x 580 cm
timber, dye-sublimation print on fabric, native flora
Unset Typologies
CitiPower Substation, Melbourne
2013-2018
Unset Typologies, commissioned by the City of Melbourne Public Art Program, is a photomural banner by Izabela Pluta which wraps the east and south facing facades of CitiPower Substation, 620-640 Little Bourke Street.
The artwork explores how the nature of photomural wallpaper enables observers to imagine the existence of a past and glimpse the possibility of a future. The images depict a transitional space of exposed fittings, ceiling panels, vents, and lights suspended as a result of the building’s transformation. The artwork invites us to contemplate the relentless renewal of the CBD over time, and more specifically the CitiPower Substation itself an industrial landmark framed by large-scale excavation and new development.
photo documentation: Carla Gottgen
Habitat
Centre for Contemporary Photography
City of Yarra Billboard
February 1 - September 30, 2014
The OUT THERE Billboard Art Program is a Yarra Council initiative in partnership with 7-Eleven.
Ascending air, unfolding motion, 2022
Latex-based ink-jet prints mounted on aluminium and repurposed timber easels
Joiner: Geordie Malone.
Photo: Ben Adams
Ascending air, unfolding motion was created through the commissioning support of The Lock-Up, Newcastle, Australia as part of Radical Slowness, curated by Anna May Kirk and Tai Mitsuji.
Ascending air, unfolding motion (2022) pierces through the ceiling of the Lock-Up’s exercise yard. Pluta reassembles old art school easels into armature, which extend from the converted police station’s weathered floor out into the open skies beyond. Clinging to these sculptural forms are images made from up-scaled, cyanotype-based source material of clouds mounted on aluminium. The cyanotype imagery is a reference to a photograph the artist’s father took through the aeroplane window, on the day her family emigrated from Poland to Australia in 1987. Reaching back across time, the artwork uses the Cloud Study: A Pictorial Guide (1960) to determine the weather and cloud patterns at this moment of departure. Here, memory feels alive, and assumes an almost active dimension. Clouds float by, in the air above The Lock-Up, yet also remain forever suspended in Pluta’s work below. Pluta’s sculptures connect tendrils of distinct moments in time, collapsing the past and the present into one another.
download catalogue
review in The Saturday Paper
Izabela Pluta
Counter forces 2021
Pigment prints on Eco Solvent Cotton Rag paper, repurposed timber easels, studio backdrop paper, bronze
Artist assistant: Savanna Hopkinson, Joiner: Geordie Malone
Commissioned by Bundanon Trust for the inaugural exhibition, From impulse to action, at Bundanon Art Museum
Pluta’s work, Counter forces, is a portrait of the transition of Bundanon from landscape to museum at the Riversdale property. To develop this work, the artist visited Bundanon multiple times throughout the museum’s construction. On her first visit, she documented the limits of the worksite, where excavation processes met the Shoalhaven River and the hill within which the museum is now situated. She also prepared a series of clay pressings, physical negatives of the rocks that were machined and cut away to make the outer wall of the building. On subsequent visits, these fragmentary images were projected back onto the site and documented yet again.
Pluta's final work is an alternately draped and propped installation reaching more than six metres up the museum’s rear structural wall. The printed surface that makes up its sail-like body is anchored by sculptural components including bronze hands, clay pressings and long struts fabricated from repurposed timber painting easels. These objects allude to traditional taxonomies of museological display by carefully re-staging and mixing artworks with artefacts to operate in-between the hierarchies of systems of ordering. These visual strategies also give form to the cycle of positive and negative that underpins the photographic process. Through this combination of materials, Counter forces documents not only the museum as a completed entity but maps the many iterations of its development, reflecting the instances of disorder and order generated by the excavation. Operating against the logic of a single photographic representation, Pluta’s portrait shows us many readings of how the museum has come into being, and the ripple effect of its insertion into the natural landscape.
text extract from the exhibition catalogue.
This work was commissioned by Bundanon for the exhibition From impulse to action at Bundanon Art Museum.
Curated by Sophie O’Brien with Bob-Lin Bastian
This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body
Feature Wall within the Residential Sales Centre at The One, 300 George Street, Brisbane
Commissioned by LoveArt and Shayher Group
10 x 3.6 meters
dye-sublimation UV inks on fabric
Izabela Pluta
Apparent Distance (detail) 2019
dye-sublimation prints on fabric and photographic prints on aluminium
340 x 850 cm, 340 x 2059 cm (overall installation)
Commissioned by the Art Gallery of NSW for The National 2019: new Australian art
Photo: AGNSW, Diana Panuccio
Izabela Pluta
Apparent Distance (detail) 2019
dye-sublimation prints on fabric and photographic prints on aluminium
340 x 850 cm, 340 x 2059 cm (overall installation)
Commissioned by the Art Gallery of NSW for The National 2019: new Australian art
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