Four exhibitions have just opened at Gaffa, collecting four different surveys of the world. Erica Molesworth's Pinpoint is a study in mapping, water-divining and what changes when you see land as something to be used. Two hazy white prints of satellite photography are overlaid with so much deliberate noise that you need to stand halfway across the room to see them properly, which works well. The rest of her exhibition includes photos of rusty, brown outback landscapes, and a dam laid sideways in its frame with its slipway dribbling out water like a waterfall.
Sanaz Hoseinabadi's Platonic Divide exhibition collects her wonderful, white 3-D sculptures made from 2-D cardboard — their shapes are the abstract made solid. Uncollapsed fragments from Flatland, accreted lens flares, errant sound waves and white arabesques.
Jess Calley wonders if Facebook is just yet another way to hide away the inner self. Her Status Update satirises the social side of the site, including photographs of her 'like' stickers stuck on real-world real graffiti, shops and galleried art around Melbourne and San Francisco. The other drawings and collages are sat against real Facebook status updates, with an almost cubist bottle of VB for This Essay is Killing Me and a disembodied Mac keyboard for Happiness.
Gaffa's Lauren Hill isn't that Lauren Hill, but the title of Everything is Horrible plays on her namesake. The show plays a collection of unmanipulated and retouched images off against each other, never making clear which is which. Some digital changes are obvious, like the cryptically titled Couch/Tree, but others are harder to pick apart. This is part of the point of her collection, which includes images like the lopsided Six Feet High and Rising and vengeful Untitled cake nestled on a tray of sandwiches.
Gaffa is closed Sundays. Image from Pinpoint by Erica Molesworth.