Safe as Houses. (as part of MUCH MUCH MORE) scaffolding tower, 8 x 64L oil drums, black shrink wrap packaging, glitter, rope lighting. 2009
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- 2002 ravens greatest hits
- 2002 vend-o-friend
- 2002 WISH YOU WHERE HERE
- 2003 IM IN LOVE WITH EVERYONE AND EVERYONE IS IN LOVE WITH ME
- 2003 you will wish you never said that to me
- 2004 i love you more than you love me forever
- 2004 STOLEN WISHES
- 2004 yesterday
- 2004 your best friend
- 2005 HAPPY BIRTHDAY
- 2006 DOOOM ISLAND
- 2006 EMPTY ORCHESTRA
- 2006 LOST DOG
- 2006 TEEN SPIRIT
- 2006 Your life is GRAND video project
- 2007 ALL TOGETHER NOW
- 2007 DENSITY OF DARKNESS
- 2007 looker
- 2008 PROTEST CELEBRATION SALE
- 2008 everybody cares and everyone is fine
- 2008 how to hack a modern world
- 2008 LAST DAYS SALE SALE SALE MUST END SOON
- 2008 PROGRESS IN AN AGE OF DECADENCE
- 2008 when they come we will be ready
- 2009 bastard saint of meritocracy
- 2009 Everything is Everyone’s
- 2009 INTERNATIONAL MAKE-OVERS and OTHER CATASTROPHES
- 2009 ©ARING IS THE NEW $ARCASM
- moved to facebook
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Simon Pericich completed his Gertrude Contemporary Art Spaces residency, Melbourne, Australia in 2008. He completed a Master of Visual Art at the Victoria College of the Arts in 2006, a Masters in Sculpture at Slade School of Fine Art, London in 2004 and a Bachelor of Fine Arts at Curtin University, Perth in 2001. Simon was a recipient of the Anne and Gordon Samstag International Visual Arts Scholarship in 2003 and has received various other funding and residencies.. He has had work featured in a number group exhibitions and has staged several solo projects.Pericich has been profilled twice in Australian Art Collector and on the television program ABC Arts. He is also currently curator for RMIT University’s First Site Gallery. He has been shortlisted alot for such things as the Melbourne laneways projects and SOYA....
Simon Pericich’s hysterical, dark brand of makeshift art production is concerned with the terrifying awareness that humanity and its current actions may be irrationally selfish and detrimental. Traversing large-scale installation, video and image his dystopias are often nihilistically humorous, acting like an epitaph or harbinger for a future that seems out of the control of its population. Sometimes stemming from the autobiographical, sometimes detached trend consumer, Pericich’s observant and prolific practice forms transitory bonds between audience members that acts as an invitation or platform to participate.
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