Jason Sims | More or Less
Be drawn into the luminescent world of Jason Sims, as he flicks the switch with his anamorphic light works in 'More or Less'.
Working and playing with light, Sims creates structures that act as spaces for his light-based multimedia artworks to grow and take form. Rather than site-specific, these controlled works build and play with the potential of light and its many formations.
Distorting visual perception, the exhibition title, More or Less, is a sly warning to the viewer – referring specifically to the illusions at play within these works. Manipulating the structures, from different angles the objects move and change, appearing to create space beyond their physical form. From a certain position the work appears to grow and consume space through the transformation from a two-dimensional shape into a three-dimensional form.
However these anamorphic works are not to be completely deceptive, rather Sims outlines, “I am interested in creating work that serves as a vehicle to reimagine the space encountered – to deconstruct physical limitations – and facilitate a kind of meditative response allowing viewers to interpret the illusion of space created/consumed as reality.”
Be challenged by Sims works, re-evaluate the flowing shapes and how this spark to the imagination can be exercised in how we challenge and reconsider assumed truths, and the world around us. As Sims states, “I am particularly inspired to create work that challenges perceptual systems through compelling the use of one’s imagination, as it is this quality that allows us to see the world in new ways.”
These physical yet beautifully ephemeral works are on show at MARS Gallery, opening Thursday 4 August. Challenge your mind and open your eyes to these fluid and anamorphic light forms.
EXHIBITION
Jason Sims | More or Less
4 – 27 August
MARS Gallery
Courtesy the artist and MARS Gallery
The first work you encounter in Edge City is a gate, Settlement #8, 2025. Not one to pass through (not anymore), but a threshold nonetheless....
Designed to impress, the number and size of paintings—twenty-nine at nine square metres each and one even bigger—are a spectacle, lifting the exhibition from an...
Skilfully assimilating secondary sources throughout Paris in Ruins, Smee at the conclusion of Part One, “Salon of 1869,” writes that Auguste Renoir’s and Claude Monet’s...
Multidisciplinary artist Shireen Taweel looks skyward, into the night and beyond, with her exhibition the trig point. Drawing on fieldwork in 2025 at the Siding...
It was back in 2011 that Pip Wallis, senior curator at the Monash University Museum of Art (MUMA), remembers first seeing the work of Balinese...
Senior Pitjantjatjara artist, Tuppy Ngintja Goodwin, was born in 1952 near Bumbali Creek in the Northern Territory, close to the border with South Australia; daughter...
For those of us who seek out unfamiliar voices and see the potential for diverse cultures to create new meanings and memories in a postcolonial...
Show me the beauty of a body contorted by thrall. Then, show me the thrall. Shame is a vast word....
Kon Gouriotis: How did you come to be working with the Yinhawangka community? Pedram Khosronejad: My journey to working with the Yinhawangka community has...