threshold
2015/2016

ARC ONE Gallery, Melbourne

16 June – 18 July 2015

lines of force, curated by nicholas tsoutas, sydney college of the arts, rozelle

15 April – 2 May 2016

{ Zahalka’s interiors have a particularly muted sonic quality arising from terracotta vessels, clay walls and dirt floors. This beautiful earthy visual and sonic tone is supported by natural light that chases along corridors and down stairs, penetrates small hand crafted apertures gently taking shafts of daylight into subterranean living spaces.

works
overview

An installation involving projections, video, prints and vitrine with objects and artefacts from work made in Morocco

{Standing on the threshold of paths, passages, stairwells and doorways, I am held in a state of suspension and stillness, ‘of hesitation, temptation, desire, security, welcome and respect’.

from Gaston Bachelard’s The Poetics of Space.

Travelling through the vast and ancient landscape of Morocco, El Magrib – (the far west), I felt I was between two worlds, gazing at a place so geographically, historically and culturally distinct from my own. I wanted to make images that would record these differences while reflecting on the inherent photogenic tropes and clichés that come with this territory.

installation
videography

THRESHOLD
ARC ONE GALLERY, MELBOURNE

LINES
OF FORCE
2015/2016

Curated by Nicholas Tsoutas, Sydney College of the Arts, Rozelle

15 April – 2 May 2016

{Standing on the threshold of paths, passages, stairwells and doorways, I am held in a state of suspension and stillness, ‘of hesitation, temptation, desire, security, welcome and respect.

– from Gaston Bachelard’s The Poetics of Space

works
overview

An installation involving projections, video, prints and vitrine with objects and artefacts from work made in Morocco.

Travelling through the vast and ancient landscape of Morocco, El Magrib – (the far west), I felt I was between two worlds, gazing at a place so geographically, historically and culturally distinct from my own. I wanted to make images that would record these differences while reflecting on the inherent photogenic tropes and clichés that come with this territory.