Kudos acknowledges and pays respect to the Gadigal and Bidjigal people of the Eora nation. They are the traditional custodians of the land Kudos Online operates on. We create, design, share, and exchange our work and knowledge on this important meeting place. We pay our respects to elders past and present and extend that respect to any First Nations people who visit Kudos Online. This is and always will be Aboriginal land.
| Sydney Jarrett is a sculptor working on Gadigal land. His practice explores
the semiotics & structures of regulatory bodies and systems of control, to
speak to worlds beyond regulated systems - to loopholes, alternates, and possibilities. He is materially engaged in practices of loitering and gestures
of refusal. His practice has recently focused on abstraction as code,
refusing confession and identification. He is interested in exploring the
architectural requirements of queer or safe 'spaces' - how these structures
simply regulate, exclused, and limit access. He intends to continue
exploring sculpture and working with sourced construction materials, to develop form in resistance of compromise - creating possibilities from
impossibilities. @stonepony9 |
| Rats die with tails entwined
Sydney Jarrett, Rats die with tails entwined, 2024. Steel, paint, concrete. Dimensions variable. Rats die with tails entwined is a two-part sculptural work that engages with road signage as a system of control. The sculptures occupy the aesthetics of highway road signs, and from within this structural and visual context, project their own image. The work is speaking to my interest in navigating systems, finding loopholes, codes, backstreets, and alternates. They are made from found materials, sourced at unmonitored construction sites. The legal ambiguity in my process reflects the ways in which living requires criminal activity, with life being so crushed by power (Irene Stilt, The Tricking Hour). The work is about compliance and control. How we police each other, and ourselves, and the ethical dilemma of survival in late-stage capitalism. The two sculptures sit on either ends of the exhibition space, exercising command and direction between each other. The imagery, however, refrains from a clear order. It offers non-direction, a suggestion, or a reflection. The work asks; what truths might exist in the freedoms of ambiguity? And, how can we navigate the routes for which there are no directions? |