MAY SPACE

CURRENT Exhibitions

Robert Boynes at ANU Drill Hall Gallery, Canberra

- Modern Times, 2017

22 June to 13 August

Robert Boynes's images correspond to the classic definition of modernity given by Baudelaire, who said that modern images fused the eternal with the transitory.

The luminous expanses of white canvas breathing through grainy residues of black, red and yellow in Boynes's paintings symbolise the constancy of time and space in relation to the mortal dust of individual existence.

Derived from contemporary photographs which evoke alienation, cosmopolitism, displacement and the speeding-up of events in both private and public spheres, the reduction of all to floating grains and scattered molecules creates a sober, essentially tragic vision of contemporary existence.

The fifteen year period covered by this survey, curated by Terence Maloon, is the remarkable culmination of a career which began in Adelaide in the 1960s, and makes a resume of of Boynes's lifelong preoccupations.

Robert Boynes was the head of the Painting Workshop at the ANU School of Art between 1978 and 2006. The School of Art is celebrating its fortieth year in 2017.

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Robert Boynes

- Five Decades, 2017

11 July to 29 July

Robert Boynes's art practice has seen an active five decades with physical moves across national and international boarders, transformations in thematic content and shifts in overall aesthetic. Five Decades will travel from his 1960s and 1970s neo-pop pieces that reflect his time in London and a fascination with the trendy capitalist culture and swinging ’60s; via his thick, painterly canvases portraying massive desolate, drowning cities that were created in Australia, but inspired by Los Angeles; to his multi-layered screen print/painting interventions of topographical cities and crowds in the 1990s and intimate contemplations of city life, social commentary, surveillance and human existence in the later years. This exhibition will explore Boynes's conceptual and visual evolution throughout these decades through a curated selection of paintings chosen from his studio. Work by Boynes is held in every major art collection across Australia and this show will feature companion pieces, forerunners and alternate versions to these acquisitions as well as work that has never previously been exhibited in Australia. Five Decades coincides with Modern Times, an in-depth survey show of Boynes's work from 2000 onward from 22 June to 13 August at ANU Drill Hall Gallery in Canberra.

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Daniel O'Toole, 'Interruption'

- Black Box Projects, 2017

11 July to 29 July

This video featuring James Watkins was made using milk and ink to experiment with kinetic distortion and figuration.

Using real world environmental elements and the unmoving human face to confront the viewer and draw focus to the tension between, a static state and the force of life events that interrupt our calm.

Even in a still state, the figure is moving subtly and these nuances seem to become pronounced in contrast to the inclusion of the flowing liquid.

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Mylyn Nguyen

- One day I will live in a forest, 2017

1 to 19 August

One day I will live in a forest
with goats, rabbits, a dog and a river.
I will have fish come visit me every spring and winter, and in autumn and summer, we would be off to journey islands and valleys, mountains and skies.
I will learn how to talk to dragons and listen to flowers, bears, mosquitoes and moss.
I will invite every adventure to my home in the forest with my goats, rabbits, a dog and a river, and tea would be served.

Claire Anna Watson, 'Neoplasm'

- Black Box Projects, 2017

1 to 19 August

Claire Anna Watson explores ephemeral matter as a vehicle for discussing our relationship with humanity and the environment. In "Neoplasm", associations are linked between clinical procedures and the food we eat. In a surreal and visceral fashion, we are led to consider the slippage between plastic and natural realities and the extent to which humans have control over the environment. Watson reflects on how natural elements can become distorted and synthesised, creating new hybrid forms. We are asked to consider what humanity's role might be in the ongoing customisation and distortion of the natural world and whether humans are unwittingly cultivating a world engulfed in mutations.

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Mylyn Nguyen at Customs House Sydney

- Something Else is Alive, 2017

17 August 2017 to 22 February 2018

Urbanised and sprawling, Sydney is deeply urbane yet paradoxically wild. A secret city of animals, both seen and unseen, exists amongst us. We are coupled and tethered to the animal world in a symbiotic relationship that stretches from the present into the past.

Birds sweep through our skies and pick at our waste, cats rule social media networks, dogs are preened and prepped, and rats scurry endlessly within close proximity. Animals are depicted through deeply symbolic decoration, from public art to architectural motifs. Yet this relationship is often overlooked.

Something Else is Alive: Sydney and the Animal Instinct approaches the idea of the animal in the city in various ways from the humorous to the downright creepy, from the symbolically sacred to the secular.

The exhibition will feature objects drawn from the City of Sydney collection and archives alongside artworks by four Sydney-based artists: Mechelle Bounpraseuth, Blak Douglas, Mylyn Nguyen and Garry Trinh.

Nicole Welch

- Wildēornes Land, 2017

22 August to 16 September

Nicole Welch's Wildēorness Land is an ambitious, monumental cinematic exhibition combining installation, photography and moving image that investigates the Blue Mountains wilderness from a historical, cultural and ecological viewpoint.

The exhibition draws upon archival records that illuminate early European romantic notions of Australian wilderness juxtaposed with contemporary ideas and concerns that reflect the inherent loss and uncertainty we now face for our natural environment.

Welch's artistic process involves traversing through areas of bushland, where she locates historically and environmentally significant landscapes to create compositions using large-scale projectors, generators, spotlights and research-inspired objects. Installations are enacted and recorded in situ, resulting in a truly incongruous image that records in real time both past and present ideologies. She spent several weeks at BigCi artist residency near the Wollemi National Park where she researched and created works for this exhibition.

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Ashleigh Garwood at Western Plains Cultural Centre

- Another Green World: Landscape in the 21st Century, curated by Dr Andrew Frost, 2017

26 August to 3 December

A growing number of recent academic and philosophical writing has concerned itself with the notion of the anthropocene, the proclamation of a new geological period brought about by humankind's effect on the planet, from the effects of global warming to ocean pollution to the industrialisation of developing nations. Another Green World is an exhibition that surveys the concept of an art of the landscape in the contemporary era, encompassing painting, video, installation, sculpture, photography, conceptual practices and performance, by a selection of female contemporary artists both emerging and established. The exhibited works will encompass an historical consciousness of the landscape genre both from Western and Indigenous traditions as well as being open speculation about the future of the biosphere itself. Another Green World is curated by Andrew Frost.

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Sydney Contemporary

- Carriageworks (Booth A14), 2017

7 to 10 September

The Gallery will be presenting a new site-specific drawing installation by Catherine O'Donnell and a selection of video artworks in the third edition of Sydney Contemporary, Australasia's international contemporary art fair.

Backyards

- curated by Waratah Lahy and Anne-Marie Jean, 2017

19 September to 8 October

Anne-Marie Jean, Waratah Lahy, Leo Robba, Erica Seccombe, Lia Tajcnar, Susan Taylor, Ruth Waller.

The idea of a big backyard has long been considered an essential element of Australian iconic culture, synonymous with the fading aspirational ideal of a quarter acre block and a modest home. Our backyards are important spaces: mostly private, they can be practical, useful and fanciful, providing a space for imagination, creativity, toys, pets, projects and failed ambitions.

Despite most of us not having our very own big backyard, the spaces around us and closest to us continue to inspire. A backyard evokes an outdoor environment we engage with in our everyday lives, which we feel an intimate connection to, perhaps responsibility for, a place that shapes us and at times a place we shape.

As times change, notions of what we regard as our own backyard also changes and broadens. The artists in this exhibition have observed and explored significant environments in their lives. The places from which they draw inspiration include gardens, both public and private, suburban streets, local neighborhoods and bigger and wilder spaces left mostly untrammeled by development. From representative to abstract painting, ceramics to 4D animation, the patterns of observing and intimately engaging with these spaces emerge through the colours, textures and images created to articulate experience and place.

Kitchen-Studio, curated by Megan Fizell

- Black Box Projects, 2017

10 October to 4 November

The artists of this exhibition take the space of the kitchen as the site of their performative artwork. Utilising the domestic gesture of cooking and preparing food, the artists interrogate a number of broad themes including body image, communication, labour, and the environment.

Artists include Hana Hoogedeure & Luke O’Donnell, Hanne Nielsen & Brigit Johnsen, Ana Prvački, Nina Ross, Miku Sato, and Kawita Vatanajyankur.

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Ashleigh Garwood

- MASSING, 2017

10 October to 4 November

Massing is an architectural term that refers to the way a building’s form, shape and size is perceived. MASSING uses this idea as a prompt to explore ways in which the landscape is perceived through shifting forms, compositions and scale. Incorporating both analog and digital photographic processes, the works investigate the intersection of the forces that change the landscape and the forces that change our perception of it.
MASSING continues my exploration of constructed landscape imagery, utilising the framework of geology to reference accumulation and erosion of time and meaning within the image.

Out of Line

- group exhibition, 2017

7 to 25 November

Most works of art start with a simple line, whether that be for a preparatory sketch or giving form to an idea. The field of drawing is therefore one brimming with possibilities, innovation, and cross-pollination. "Out of Line" will pay homage to the fundamental nature of drawing, whilst also aiming to see these lines jump off the page, defy expectations and merge with other fields. This group exhibition will provide a survey of how drawing-based practices comprise a variety of aesthetics, mediums and technologies.

Ceramic Revisions II

- group exhibition, 2017

28 November to 23 December

Pots, tiles and clay figurines have taught us fascinating details about ancient societies and "Ceramics Revisions II" conveys how artists interact, form narratives, voice opinions and create aesthetic compositions with this medium today. The second edition of a series that started in 2009, this show ranges from fine vessels to sculpted forms, encompassing a variety of ceramic techniques, as well as clay types - from terracotta to bone china.

This final show for 2017 brings together a range of artists who push the boundaries of ceramics.

Nina Ross, 'Baby Gestures'

- Black Box Projects, 2017

28 November to 23 December

Baby gestures is a response to holding my sleeping child and trying to remove them from my body without waking. Exploring the performative gestures undertaken to not disturb them, the video uses self portraiture performance for the camera to enact the sometimes subtle and not so subtle bodily movements.

It is not until babies stop breastfeeding that they learn they are not part of their mothers body. This video seeks to represent the separation and individual entities in this close relationship.

On-site

- curated group exhibition, 2018

6 to 24 February

Simple lines and forms constantly surround us. We house ourselves in geometrical shapes, work in towering blocks and marvel over inventive configurations of contours and boundaries. "On-site" brings together a group of artists with differing aesthetics that have chosen the built environment as the subject of their work. Interpreting urban landscapes, enlivening industrial sites and representing domestic structures, the artworks in this exhibition will reveal the unnoticed elements, hidden moments and engaging angles of our everyday surroundings.

MAY SPACE

(Formerly Brenda May Gallery)
409b George Street Waterloo NSW Australia 2017 t: (0)2 9318 1122   e: info@mayspace.com.au
Hours: Tue to Sat 10-5 (Closed Sun/Mon, Public Holidays, Easter long weekend and mid December to late January)

PROPOSALS

We are accepting proposals from professional artists from Australia and NZ for exhibitions and group shows ... learn more

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