Turkey Beach exhibition opening at CCAS Manuka Gallery | CCAS Social Pages post 22 November 2013:



Click on the following link to view an article by Nigel Featherstone for Art Monthly Australia on the What Still Remains and BLACKSMITH project: Art Monthly Australia August 2012 article.


"BLACKSMITH. What Still Remains: Ginninderra Blacksmith's Workshop. It was a nervous taxi driver who delivered CCAS director David Broker to the launch of a film by Janice Kuczkowski and Joseph Falsone produced for the ACT Heritage Festival with funding from ACT Heritage Unit. Apparently a blacksmith's work shop somewhere on the Barton Highway is not an address, and a map … is not enough information. (GPS freak out!) But thanks to excellent old fashioned signage on the side of the road we made it … along with hordes of others from Canberra and surrounding districts. Jan and Joseph know how to pull a crowd ! This is one of the inspired projects from the ACT Heritage Unit where artists get to work with communities to produce work that essentially focuses creative attention on significant places in the ACT. Jan's film in which several local people read Joseph's brilliant poetic texts based on the history of the blacksmith's shop emphasises the human connection to the site with stunningly sharp focus. Silvery images of the area are interspersed with readings of disarming honesty and that alone holds the audiences attention. Jan will be giving a talk at Canberra Museum and Gallery on Friday 18 May."

David Broker, Director CCAS.  Posted 29 April 2012 on CCAS Social Pages. http://canberracontemporaryartspace.wordpress.com/


"Janice Kuzkowski's videos and photographs could be seen as 'extreme portraiture', exposing the instinctive responses of individuals pushed to their extremes. The artist employs mild forms of torture including pressurised air and electric shocks to generate intuitive and primal facial expressions in her subjects. The strength of the works lies both in this unique process as well as the stark visual quality and ambiguity of the final portraits. Some of the most shocking and enigmatic media images of recent history have been 'torture portraits' of a far more sinister kind, so it is timely to pose the question - What part of ourselves are expressed in the extremes of human venerability?"

Lionel Bawden 2008. Art Sydney Off The Wall exhibition catalogue  


"Janice Kuczkowski makes beautifully layered videos that explore limitations, physical and imagined, as well as the limitations of her chosen medium."

Alison Kubler 2008. http://www.artoffthewall.com.au      


"If a picture tells a thousand words, how many words does a video tell us? The latest video portraiture work of Harries National Digital Art Award Special Commendation recipient, Janice Kuczkowski aims to find out. Experimentation in Limits of Tolerance #5 exposes and documents real emotion by provoking intuitive and instinctual responses on the faces of a number of individuals. Unmasked, the candid face provides insight into representations of self that are unfettered by multiple layers of expectation and artifice. Limits of Tolerance #5 is the latest edition to a series of video works that continue Kuczkowski's hybrid practice; laying somewhere between the immersing quality of video and the 'truth' of photography. Like a practical demonstration of the concepts in Roland Barthes' Camera Lucida, Kuczkowski rips apart our usual experience of portraiture; stripping away the studium (or socio-cultural reading), leaving us to re-discover the punctum (empathetic feeling that establishes a direct relationship with the subject matter) that is hollowed out by media saturation of the portrait image. Kuczkowski exposes what's going on in the minds of her subjects by making us privy to what's written all over their faces."

Elliott Bledsoe 2007 Posted on http://art-wanker.blogspot.com      


"Sneezing was once thought to involve an individual's heart stopping and their soul escaping through their mouth and nostrils. Working from this myth, Janice Kuczkowski attempts to capture the soul of her subjects in Experimentation in the Limits of Tolerance #5, a series of digital video portraits. Against a black backdrop, Kuczkowski's subjects are split from the upper torso diagonally, horizontally or vertically; the remaining half is then mirrored on the other side of the screen. Each of the five subjects are filmed as they attempt to sneeze. In anticipation of the oncoming sneeze, their bodies convulse and their eyelids pull shut; before they are able to execute a sneeze, however, their movements are replayed at varying speeds and the sequence is ruptured by jump-cuts. Frames cut between moments of the subject's bodies preparing for the expulsion of breath and the changing of the angle at which the screen is split. In these physically demanding moments, Kuczkowski presents us with the possibility - perhaps never to be realised - of capturing the true subject. In doing so, Kuczkowski echoes concerns expressed by artists such as Bill Viola - with whom Kuczkowski shares formal similarities - and Francis Bacon. As the sneeze momentarily takes hold of the subject, they lose their self-consciousness before the camera, analogous to the loss of the heartbeat in the myth of the sneeze. No longer self-conscious, the subjects of Kuczkowski's portraits appear to drop their veneer, letting their unmediated self (soul) escape temporarily. Kuczkowski's subjects, like Bacon's, are presented in their fervent and visceral form. What Kuczkowski envisions, however, is the movement which takes place between Bacon's violent lines. Kuczkowski's careful editing draws the viewer's attention to the barely visible movements of the subject's flesh clinging to their bones in tense anticipation. Not only a contemplation of the possibility of portraiture, Kuczkowski's Experimentation in the Limits of Tolerance #5 references its own medium. Moving image feeds the viewer's anticipation of the next frame, akin to the way in which Kuczkowski's individual tries to anticipate when their oncoming sneeze will finally arrive. Just as the finial event of sneezing brings relief after the build up, so does the last frame of a film. In Experimentation in the Limits of Tolerance #5, however, the subjects never reach this moment of full release. Moreover, the viewer watching the video's subjects is also left without reprieve since the images play before them on loop."

Ellie Buttrose 2007 Young Brisbane Artists Exhibition 2007 @ Metro Arts Extract from exhibition catalogue