MAY SPACE

2013 Brenda May Gallery EXHIBITIONS

Christmas Show

- $1,000 and under, 2013

3 to 21 December

Continuing the tradition of the ever popular Access and Brenda May Gallery 'Birthday Show', the Gallery presents a special 'Christmas Show' to celebrate the end of another year. Included in the exhibition will be works from our represented and supported artists, made especially for the occasion.

As in previous years, the show will be unavailable for previews and will open at 6pm sharp on Tuesday, December 3 with, of course, all the works for sale at $1,000 and under. We hope you can join us for a drink and a bite to eat at what will surely be an exciting exhibition.

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The OnGOING GaGa SaGa

- curated by Akky van Ogtrop, 2013

12 to 30 November

With this exhibition, curator Akky van Ogtrop continues her GaGa exhibition series, this time with the focus on Fluxus, Pop and beyond. It is Pop, with a twist - an exhibition of multiples, artists' books, zines and other printed matter that turns art into a fingertip sensation.

Constructing a creative philosophy that was anti-bourgeoise, anti-aesthetics, anti-authorship, anti-institution and above all anti-art, George Maciunas urged Fluxus to be a living art that was relational, functional and approachable for all demographics. Fluxus became an "intermedia" movement that spread internationally - adopted and adapted with its growth. The movement, which still continues, played an important role in the opening up of definitions of what art can be.

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Robert Boynes

- Concrete Music, 2013

12 to 30 November

A field of dots found on a wall in Fremantle became the trigger for a series of works that in some way reflected the sounds, codes & cultural bonds common in our urban environments. All of these observations are fleeting; seen out of the corner of our eyes & ears. As the titles of some pieces suggest these images are seen in a 'Daze', at a 'Terminus', or on a 'Causeway'. These anonymous shadows respond to ambient 'Crowd Noise' & generate a form of 'Concrete Music', that is ever present in our city spaces.

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Lezlie Tilley

- Simple Beauty, 2013

12 to 30 November

The endless repetition of these gridded patterns, based on the honeycomb, can grow large enough to engulf the universe. They can be simple or complex, formal or informal, be stretched or squashed, distorted in endless ways, be flat or warped and can develop from a 2D plane into a 3D form. These possibilities provide endless ways to form and re-form the simple grid of down and across.

The graphics become an instrument for processing and connecting all kinds of information from technological, social, biological, philosophical, personal, geometric, mathematical and scientific networks.

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Will Coles

- Death Wish, 2013

22 October to 9 November

We are all kings and queens of this disposable plastic empire.

Consumerism is the core of everything we know; denial is everything we live by. Concepts of democracy and freedom are now meaningless, as the products bought own those who make the decisions. We are buying the rope to hang ourselves with, beautifully packaged and slickly marketed.

When triviality rules, when your possessions own you, when you aspire to subjugation to a brand, you have reached the end of your usefulness as an individual, a society and a civilisation.

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Art + Science

- curated group exhibition, 2013

1 to 19 October

The faculties of art and science are inextricably connected. Images are used to illustrate experiments and discoveries, and scientific ideas have influenced artistic movements, such as Impressionism and the Renaissance. Photography?s original scientific categorisation is another example of this relationship involving inspiration, cross-pollination and the rethinking of disciplinary boundaries.

'Art + Science' aims to explore and examine these multifaceted connections. Artists include Sally Blake, Tammie Castles, Sybil Curtis, Melinda Le Guay, Angela McHarrie, Emily McIntosh, Al Munro, Anne Penman Sweet and Lezlie Tilley.

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Sugar, Sugar

- curated by Megan Fizell, 2013

1 to 19 October

This exhibition will feature contemporary art made exclusively with sugar by ten female artists. By embodying the ephemeral nature of the substance, many of the installations will only last for the duration of the exhibition.

As a species, we are predisposed to seek out sugar to supplement our diet. "Sweet tooth" and "sugar rush" are colloquial phrases used to describe our bodies' cravings for and reaction to the substance. Our inclination to seek out the sweet stuff speaks to the pervasiveness of sugar in the visual arts.

Artists include Matina Bourmas, Irianna Kanellopoulou, Judith Klausner, Stephanie Jones, Claire McArdle, Shelley Miller, Mylyn Nguyen, Janet Tavener, Claire Anna Watson and Elizabeth Willing.

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The collaborative work of Robert Doble & Simon Strong

- Flesh & Blood, 2013

10 to 28 September

Robert Doble and Simon Strong's third collaborative exhibition, and first in Sydney, marks a return to their fascination with the science of modifying and manipulating the human body.

Their new works will depict imagined morphological changes and cross-species hybridizations, as well as continuing a visual aesthetic which renders the internal to the surface and magnifies cellular detail.

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Joel Bliss

- Hard Metal, 2013

20 August to 7 September

I am investigating techniques of traditional hand-worked metal fabrication sparked by an interest in early 20th century car manufacturing - a process which relied on skilled metal workers. With this new body of steel works I have endeavoured to use hand tools, making way for a more intimate relationship with the material. I think of steel as a substance that can be transformed from a hard, rigid medium into a softer, more malleable and flexible material.

As a performance piece on the opening night of the exhibition, I will relate my sculpture back to the cars from the early 20th century by assembling a complete working 1928 Model A Ford in the Gallery space.

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Irianna Kanellopoulou

- Wild Things Roam, 2013

20 August to 7 September

In my work, narratives explore issues of identity and (dis)placement through a transformation of images and found objects outside of their initial intent and purpose.

The featured protagonists unveil a macrocosmos of masked identities, fragmented conversations and fleeting moments. Deliberately shifting relationships between human and animal qualities, the figure becomes a cultural object that projects a narrative of a ?new and improved? reality; a super reality.

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Todd Fuller

- There's no place like Rome, 2013

20 August to 7 September

Awarded the 2013 William Fletcher Travelling Fellowship's residency to the highly regarded British School at Rome, Todd Fuller has immersed himself in Roman art and culture, producing a body of work that expands his oeuvre into unconventional terrain.

He drafts a Pope as the protagonist of these new works, an unlikely muse for a contemporary artist. Investigating themes of power, expectation and burden, Fuller looks beyond the spiritual role of this influential figure via the animation of a compassionate, overwhelmed and lonesome man, not the higher power of typical representations. In these new hand-drawn films, Fuller confronts his colour blindness by extending his palette beyond black, white and grey.

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Al Munro

- Patterns from an invisible world, 2013

30 July to 17 August

I use drawing-based media to examine processes of scientific representations of the natural world. The work in this exhibition stems from research in crystallography; the study and mapping of atom arrangements within a solid. It is fascinating how crystallographic diagrams form endlessly repeating grids of complex symmetries that translate the natural world into the visual and mathematical language of geometry and pattern.

The drawings in the series Patterns from an invisible world take a number of complex crystallographic grids as their starting point. By using the intersections of the grid lines as a template, I map a random series of points in space to create new maps of an undiscovered invisible world.

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Marguerite Derricourt

- Travelling Light, 2013

30 July to 17 August

My initial investigation into the life of moths started with the journey taken by the Bogong moth from Queensland to the caves of the Snowy Mountains in New South Wales and the mountains of Victoria. The annual migration of these creatures is long and arduous, and often they are blown off course and end up clustering on the lighted windows of city buildings.

This exhibition is a variation on the theme of nature, migration, flight and the changes that come about during this process.

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Tanmaya Bingham

- Pigs and their friends, 2013

30 July to 17 August

I used to think I could demystify, unravel and reveal our dynamics and patterns as humans. The further I go down the creative path the more I realize this is a pointless quest because it is void of mystery. Although we often fear the unknown and unpredictable we overtly or covertly desire its magic.

My artwork's role, whether drawing, painting, sculpture or installation, is to confound and give a different and often macabre perspective on a world that is rapidly becoming homogenized. My motive is to highlight and exaggerate imperfections and unique qualities that individualize us rather then conforming to societal glorification of perfection and beauty.

This creates a platform for the viewer to be in a didactic exchange with himself or herself in order to re-evaluate their perceptions.

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Mighty Small

- co-curated by Olivia Welch, 2013

9 to 27 July

Artwork on an immense scale often enthrals and consumes, whereas smaller works captivate on a much more intimate level, drawing the viewer in for closer inspection. This exhibition will not simply be concerned with works that are little, but works that defy the very notion of small meaning less or denoting an absence. It will present work that is compact, but is in every way just as powerful, notable and spectacular.

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Arun Sharma

- (de)composition: lovers, 2013

9 to 27 July

The artwork in this exhibition deals with the cyclical pattern of nature. Between birth and death there is the complex life we live. Being aware of our mortality we seek connections and form relationships. Intimacy leads to new life, which becomes the remnants of ourselves.

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Janet Parker-Smith

- Little Wonders, 2013

18 June to 6 July

This new series of collages and objects deal with ways of seeing. Using humour, they explore displacement and aim to provoke enquiry into how one receives, perceives and imagines physical "otherness".

The work explores nature's boundless capacity for reinvention and rejuvenation, as well as the necessity for these processes as a means of survival. Referencing nature and alchemy, the work discusses the effects of progression and existence on nature and our environment.

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Amanda Stuart

- Lines of Desire, 2013

18 June to 6 July

My art practice explores the crackling tensions that arise when natural and cultural heritage collide. Using my experience as a park ranger, my work strives to convey the complexities that characterize human interactions with outsider species, focusing on species that are perceived as repugnant, dangerous or vermin.

In March 2013, I completed a PhD in Visual Arts at the ANU School of Art Sculpture Workshop, where my sculptural practice researched the tense relationship between wild dogs, dingoes and humans in southeastern Australia. My current practice develops the powerful themes that emerged from this project.

Amanda Stuart would like to gratefully acknowledge Nick Stranks, foundry manager from ANU Sculpture workshop for his assistance with the bronze sculptures.

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Benjamin Storch

- Slowly Turning, 2013

28 May to 15 June

The sculptures I create often embody mathematical principles related to dynamics and topology, as this provides a means of visualising their complexity via CAD. Gravity makes it difficult to use softer mediums, so there is an interesting tension between the ethereal, fluid intention and the often tedious manipulation of rigid metal. In a way, the manual process has become part of the intention and leaves a tangible trace of the tensile forces at work.

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Helena Leslie

- again, 2013

28 May to 15 June

My practice conflates drawing and painting with the act of remembering and hence, my works operate as records and traces of that which has been discarded and forgotten. Drawing heavily on my interest in the historical subject matter of discarded family photographs and ephemera, my most recent paintings seek to tether the fragile existence of their subjects to a tangible place not unlike Antoine de Saint-Exupéry's asteroids. As I unite my subjects with small offerings of humble ground: quilted landscapes, small planets, bright stars; I seek to reposition these narratives as contemporary portraits of the universal human condition.

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James Guppy

- MUDWORKS, 2013

7 to 25 May

A few years ago my practice went through an important change as, rather than referencing the images of others, I began working from my own photographs. Friends became models and accepted various physical indignities to indulge my story-making impulses. Rich and unexpected things came out of these sessions with the photographs becoming an important part of my work process.

This process matured with the involvement of my wife, Trude. I wanted to dress the models in liminal garments suggesting archaic themes, she responded by making a bonnet of twigs, a corset of cow ribs, a crown of bark, and on fully grasping my intentions she added so much more.

I now see the photographs as works in their own right as, although technically different, thematically they are a continuation of my visual obsessions.

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Waratah Lahy

- Hidden, 2013

7 to 25 May

I am attracted to hidden things: not just things that are well hidden, but things that are more subtly obscured, disguised in plain sight. I like to glean from my everyday observations, taking time to notice the details that prove themselves to be humorous, sly, tricksy and uplifting. I am taking time to paint moments and places that deserve more than a cursory glance, more than passing attention.

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Nicole Welch

- Illumination, 2013

7 to 25 May

The Illumination works began when I was an artist-in- residence at Hill End in 2010. The archetypal Australian landscape that I encountered was overwhelmingly felt, along with the colonial histories imbued within. My ancestry is strongly connected to this region, dating to pre-1850 when my ancestors arrived to secure pastoral leases on 'uncharted' land. These personal family histories, the broader history of the region and the European idealism projected upon this landscape became the focus of this new work.

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Paper Works II

- curated group exhibition, 2013

16 April to 4 May

Paper is such a commonplace and pervasive material. We write on it, read it, drink out of it and eat off it, yet in terms of conservation it is considered one of the most fragile of mediums in the art world.

This exhibition is ostensibly concerned with the nature of paper itself; featuring works produced with paper or about paper. Artists include Sally Blake, Chris Bold, Tammie Castles, Bianca Chang, Robin Clare, Tracey Clement, Jan Davis (courtesy grahame galleries + editions), Fiona Edmeades, Todd Fuller, Nicci Haynes, Kaori Kato (courtesy Utopia Art Sydney), Hyun Hee Lee (courtesy Artereal Gallery), Melinda Le Guay, Trudy Moore, Helen Mueller, Al Munro, Mylyn Nguyen, Janet Parker-Smith, Sandra Pitkin, Jenny Pollak, Rochelle Summerfield, Kylie Stillman (courtesy Utopia Art Sydney) and Kayo Yokoyama.

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Fiona Fenech

- Utterances of the Everyday, 2013

26 March to 13 April

A sense of identity is grounded in our individual experiences that makes our own storytelling unique and also familiar. The cautionary tales that pervade everyday life are often ritualised into the cultural use of domestic objects, helping to construct collective and personal identities. Throughout this exhibition, the act of subverting such familiar ideas and items to reveal a sense of threat or violence is explored as a way of transforming and appropriating the familiar into fantasy, making visible the myths we live by.

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Dianne Longley

- Keeper of Imagined Landscapes and Sweet Monsters, 2013

26 March to 13 April

Fantastic worlds and mystical dreamscapes enact the absurdity of human existence in my porcelain works, encaustic panels and prints. The works in this exhibition combine primordial plant forms such as yuccas, agaves and cacti, with fanciful figures and imagined landscapes. Magicians signal a quest, fantastic creatures interact and medieval monsters are guardians of future possibilities.

Inhabiting these small works are creatures from the Renaissance historia animalium of Conrad Gesner, humorous figures from 16th century French humanist and artist François Rabelais, contemporary Japanese "kawaii", pop-imagination figures and toys and grotesque historical imagery. This cast of creatures and plants is combined to create various peculiar and curious scenarios. My characters live in a world where nothing is certain.

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Senden Blackwood

- kaiu, 2013

5 to 23 March

I feel like everything I want to say is written in the lines and planes of each piece. The repetitive physical process of carving translates my decisions and ideas into a subtle language, inherent in the finished form.

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Helen Mueller

- Forest requiem, 2013

5 to 23 March

I found a stand of melaleuca clinging to the rocks along a wild stretch of beach on the north coast of NSW; branches twisted and deformed by an unforgiving wind; desiccated and brittle for want of water. Dead now, these trees bear witness to a life - like many other lives - on the edge, and a struggle to survive in less than ideal circumstances.

This melaleuca forest formed the starting point for the woodblock prints in this exhibition. In the working process I discovered that struggle can result in rich complexity, in elegance and grace.

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Josh Raymond

- #atwar, 2013

12 February to 2 March

By the mid naughties a prevailing coyness and conservatism begin to settle amongst photographic images (re)presenting the male nude.

#atwar sifts and presents personal wars, cultural wars, militarised wars and the history wars to map a collusion of ideas where men are firmly at the centre.

Josh Raymond, 2013

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Kelly-Ann Lees

- Infitialis tractus, 2013

12 February to 2 March

This work is part of my continued exploration of geometric forms and the interplay between positive and negative space. I am also playing with the appearance of weightlessness, whilst continuing to use dense, industrial materials.

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Judy Watson

grahame galleries + editions presents Judy Watson's 'experimental beds' at Brenda May Gallery

12 February to 2 March

This body of work looks at Thomas Jefferson's black/ white relationships with his slaves and reflects upon my Aboriginal family's history on pastoral properties in Queensland and the Northern Territory.

I have used Jefferson's architectural drawings of the University of Virginia as the bones of the work onto which I have floated images from my research and artist residency at the UVa. There are images of gourds growing in the gardens of Monticello, shards and objects from the archaeological finds around the slave cabins on Mulberry Row, woven hair details from the back of a head of a contemporary African American woman, silhouettes of Lindsey T. H. Jackson, now Brisbane based but whose family are from Virginia, and Richard Bell, contemporary Australian artist / activist, elk antlers from Monticello collected on the Lewis and Clarke expedition to find the North West Passage, nails that resemble those made in the Nailery at Monticello, and relate to the story of James Hubbard, who had worked there from the age of 11 years and who attempted to run away on a number of occasions. Thin hair - like lines interconnect the shapes and memory of liaisons between white men and black women, the free and the enslaved, the DNA and the experimental beds where strange plants were collected and grown to see if they would flourish and regenerate.

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Sculpture 2013

- curated group exhibition

23 January to 9 February

This popular annual event was established by Brenda May at Access Gallery in 1998 and continues to be an important platform for the promotion of sculpture.

This year features the work of Senden Blackwood, Joel Bliss, Walter Brecely, Will Coles, Jim Croke, Marguerite Derricourt, Todd Fuller, Lyndal Hargrave, Kelly-Ann Lees, Barbara Licha, William Maguire, Angela McHarrie, Emily McIntosh, Brendan Murphy, Mylyn Nguyen, Leslie Oliver, Sandra Pitkin, Arun Sharma, Benjamin Storch, Greer Taylor, Peter Tilley, Eli Turier, Jacek Wańkowski, Ken + Julie Yonetani (courtesy of Artereal Gallery, NSW).

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Art Stage Singapore

- Marina Bay Sands Exhibition and Convention Centre, 2013

24 to 27 January

Brenda May Gallery exhibited at Art Stage Singapore 2013, Asia?s premier international art fair. As well as increasing a local focus, the Fair aims to further nurture a platform for Australian Art to speak to the global market that it attracts. With over 100 galleries exhibiting, 12 of them Australian, Art Stage Singapore states that it will best reflect the contemporary Australasian art market.

In light of Singapore?s reputation as a bridge between the East and West, the Gallery will be presenting three represented artists that confront and negotiate cultural boundaries. Waratah Lahy?s work speaks to the fair?s Australian focus, communicating a fusion of the iconic and the ironic with work that is unequivocally Australian. The work of Mylyn Nguyen has a universal appeal, encouraging those who live in the fast modern world to slow down and simply observe, as her miniature imaginative worlds captivate and intrigue. Street-sculptor Will Coles will challenge Singapore?s under-celebrated street-art scene with a desire to dilute negative stigmas attached to this method of display and communication.

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MAY SPACE

409b George Street Waterloo NSW Australia 2017 
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(02) 9318 1122   e: info@mayspace.com.au

Open: Tuesday to Saturday 10am-5pm (Closed Sun/Mon, Public Holidays, Easter long weekend and mid December to late January)

PROPOSALS

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