process in progress

Imperial leather(installation)2020

Screenprint on recycled fabrics, hand quilting, found objects, personal objects and artist(s)

Imperial Leather is an investigation into self psycho analysis, exploring masculinity, self doubt and class.

‘Some Kind of Wonderful’ 2020

Screenprint, rice paper and charcoal ink.

21cm x 8cm

Explores the demands of artistic production and accountability. The receipt being a one of a kind print acknowledges the payment of goods, and in this instance documents the items needed to make a new work. It is both valuable and valueless, marking the hidden concerns of participating in these economies.

This receipt is available to keep or eat.

Edition of 10, priced as the total cash amount printed on the receipt.

For the full experience view video here

Rents due.. But we’ve got the flu!

This project is a comment on the current(Covid 19 Pandemic, 2020) social and economic situation in Melbourne, Australia.

Rents due.. But we’ve got the flu!

50x72cm

Five layer screen print on 290gsm Fabriano paper, signed edition of 5. 2020

View the video here, made in collaboration with Mock Duck Productions

Article of interest

Available for purchase here.

Higher Visions is an immersive installation project, imbedded in the work are handmade and decorated single components (individual works), bound together to form walls of structures and totems. The components that make up the walls are paintings, rugs, work vests and work pants, joined together like patchwork.

The content of this patchwork is taken directly from my day to day interactions with the city of Melbourne. The content within these elements are those that speak to me directly, that I cannot visually escape from, that continuously bombard my vision.  

Higher Visions. Testing Grounds, Melbourne, 2017. Dimensions Variable.

P.I.TS was invited to be a part of the Fresh Blood: Redback Graphix and its Aftermath, exhibition at Casula Powerhouse in 2018.

From 1979 to 1994 Redback Graphix was an icon of political expression in Australia. This screen-print collective served as a design agency for grass-roots political causes and its vibrant posters were plastered in public spaces throughout Sydney, Wollongong and Newcastle. Today, these posters provide a unique insight into social issues of the 1970s and 80s and provide an inspiring model of political engagement for visual artists, designers and activists.

Redback Graphix advocated for issues of importance to all Australians, but especially those whose voices were marginalised. They drew attention to economic inequality and support for Australians struggling with housing and the social welfare system. They advocated for fairness in the workplace, promoted union membership and focused on issues affecting migrant workers employed at BHP steelworks in Wollongong. They addressed issues affecting Indigenous Australians, promoting communication networks such as outback radio and Aboriginal art collectives.

This retrospective of political graphics poses the question - are political posters still relevant in the age of social media? Alongside the classic Redback Graphix posters are contemporary artists working through the print medium advocating political agendas proving that the humble poster is still a relevant artform.

Curated by Stuart Bailey & Wendy Murray

Text taken from Casula Powerhouse website.

Above and Below,  

Japan Foundation Gallery, Sydney

2-28 May 2016

In 2016, Sarah Murphy and Matthew Feder, worked under the Printing Installation Travel Society banner and Exhibited with painter Dennis McCart. To bring the bold, edgy and colourful elements from Japan to their collaborative exhibition Above and Below.

In this collaborative exhibition, the artists draw inspiration from everyday objects and

experiences encountered in Japan’s cityscape to create striking artworks; from hyper-realistic paintings of vibrant manhole covers and bold prints playing on Japan’s centuries-old paste-up culture, through to neon infused ukiyo-e genre hacks on silkscreen print.

Above and Below disrupts the daily rinse-and-repeat with vivid, offbeat, and at times confusing, artworks.

Margarett Cortez

Trace Elements

Polymer Gallery, Taipei, Taiwan

17Feb – 11 March 2016

Trace elements is an exploration of colour and light in a modern city.

Travel and the concept of journeying is intrinsic to the Painting Installation Travel Society’s work drawing creativity from local arts and crafts practise and indigenous heritage.

Sarah looks at Filipino Jeepney’s and the idea of journeying. Paying particular attention to the brief moments these mobile self-made shrines flick light and colour as they journey onwards, invading the chaos and banality of the city. Working with plastic and enamel to explore; moments in time, movement, the marked journey of pilgrimage and the banal in everyday.

Matt traces the city’s often overlooked patterns and compositions, from work wear to electricity pylons, combining select elements of sprawling Taipei city, to produce inner city landscapes with the use of colour and light. Working with print, painting and installation to explore; religious beliefs, the marked journey of pilgrimage, repetition and everyday life in the city streets.

All photography by P.I.T.S.

Intrinsic Shrines

China Heights Gallery, Sydney

29-31 May 2015

A tumultuous clash of home grown doctrines and ritualistic process, DIY altars to internal deities, and a commemoration of time.

Traverse Intrinsic Shrines, paintings and installation by the P.I.T.S. A journey marked by brush, tattoo machine and experiential stories.

Photography by Luke Shirlaw

100 views of the famous Rooty Hill

Screen print on found cardboard, Installation, 2016

100 views of the famous Rooty Hill (Mural)

Screenprint direct on timber wall, 2016

Matt Feder

100 views of the famous Rooty Hill is a text-based landscape that explores the working class suburb of Rooty Hill in greater western Sydney.