Doors and Filters II 2013

Sebastian Befumo: Doors and Filters II, doors, acrylic paint, pen, pencil, photography and film. Dimensions: (left) 7000 x 2100 x 2000mm (right) 6000mm x 4000 x 2300mm. June 2013. Spectrum Project Space, Perth WA. Image: Eva Fernandez

Sebastian Befumo: Doors and Filters II, doors, acrylic paint, pen, pencil, photography and film. Dimensions: ~ 7000mm x 2100 x 2000mm. June 2013. Spectrum Project Space, Perth WA. Image: Eva Fernandez

Sebastian Befumo: Doors and Filters II, door and acrylic paint. Dimensions: 2100mm x 800 x 40mm. June 2013. Spectrum Project Space, Perth WA. Image: Eva Fernandez

Sebastian Befumo: Doors and Filters II, doors, acrylic paint, pen, pencil, photography and film. Dimensions: 7000 x 2100 x 2000mm. June 2013. Spectrum Project Space, Perth WA. Image: Eva Fernandez

This is an excerpt from a video work of mine, which was shown at Spectrum Project Space. The video was a time lapse showing the demolition process of a Perth home and ran for 5 minutes and 53 seconds

This was an article advertising mine and Rohan's upcoming exhibition, Doors and Filter II. The article was published for the CIRCUIT, which is the comprehensive visual arts listing for Contemporary Western Australian Galleries. It is a free magazine published by Imagelab, and is widely available and read by artists, curators, collectors and art lovers

visit: circuitonline.com.au 

This work was shown at Spectrum Project Space, located at Edith Cowan University's Mount Lawley campus,  in June 2013, which involved myself and another artist, Rohan Sibon. My works were the second of a series of exhibitions that re-used hollow-core doors, which are salvaged from demolition sites, in order to engage people in a discussion about our environment, space and art. For this exhibition I utilised film, photography, three-dimensional form and elements of painting and drawing. Essentially – the work looked at how base, industrial materials of the home can communicate something about who we are individually and socially. As objects, these doors are not only a metaphor for something intimate, but are also an example of how our economic social structure ignores the value of re-using these overseen, industrial materials.