Brenda May Annex EXHIBITIONS

The Water Came Rushing In

- Therese Kenyon

12 August to 6 September 2014

Whilst visiting the Grand Canal Museum of China in Hangzhou in 2011, I came across a reproduction detail of a larger painting depicting oxen-drawn carts, laden with goods, half underwater, surrounded by men piggybacking women through the flood-waters to higher ground.

This little painting probably documented the flooding of the Yellow River. It consisted of line drawing filled in with colour washes and was probably painted around the 17th century, or even earlier.

It seemed a timeless or even contemporary image to my eye, as we had just witnessed the Brisbane floods in Australia and in Japan the 2010 earthquake followed by a tsunami. Similar images of people lifting and piggybacking other more fragile individuals were photographed in 1953 during the storm surge in the Netherlands – and during Hurricane Sandy in New York in 2012.

It is an intimate image – children, older people, the incapacitated, pets and precious goods, all hanging on for dear life. It is compassionate and humanitarian, and speaks of precariousness, rescue and the common good. I wanted to use it in my work to emphasise the universal and historical human struggle to control water.

Therese Kenyon

Presented by Akky van Ogtrop at Het Papier

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A Piece of Cake

- A cake inspired homage to vintage French cinema

15 July to 9 August 2014

PERFORMANCE: Saturday 19 July 2014, 1:30pm
Matina Bourmas, 'What my brother needs is an objective' 2014, royal icing (applied to the window) royal icing (applied to the walls and windows)

In 'What my brother needs is an objective', Matina Bourmas recreates the PLASTAC logo that recurs through the film Mon Oncle (Jacques Tati, 1958) hand piping royal icing directly onto the gallery surface. Through the use of repetition and employing traditional processes, Bourmas gives a playful nod to Tati?s character Mr. Hulot and his observations into the nonsensical constructed paradigm of the 1950?s ?ultra modern? world.

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Irish Horse

- James Horan

This exhibition is part of the Head On Photo Festival.

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25 March to 17 April 2014

The central figures of De Stijl—Theo van Doesburg, Gerrit Rietveld and Piet Mondrian strove for a universal form that would correspond to their spiritual vision. Neo-Plasticism (meaning “a new plastic art”) was the term adopted by Mondrian to describe the qualities that De Stijl artists endeavored to achieve in their work.

The Bauhaus movement founded by Walter Gropius, captured the attention of many respected artists, designers and architects such as Le Corbusier, Eileen Gray, Mies Van der Rohe, Marcel Breuer and Erich Buchholz.

Music was also a source of inspiration in terms of spatial and rhythmic patterns and the idea behind jazz, counterpoint and improvisation linked with art and design. Artists such as Cesar Domela, Erich Buchholz, Josef Albers, Aurelie Nemours and contemporary Australian and European artists such as Helen Eager, Frank Badur, Ko Aarts, Alex Selenitsch among others all share an interest in reducing forms to fundamental elements and eschewing subject matter to concentrate on pure forms, the grid, primary colours and spatial relationships.

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The Last Days of Dionysus (part 1)

Alun Rhys Jones

22 October to 9 November 2013

My paintings depict the melancholy, alienation and detachment that lie behind the glossy veneer of consumerism. The images are clean and precise, while the painting style is physical, loose and expressive.

Through the use of high key, luminous colour and glossy metallics I exploit the language of fashion and advertising in order to subvert it. My painterly hand references my desire for a return of humanity and spirit to a consumerist world.

Recent work has been concerned with the power of branding and advertising within contemporary culture and its emphasis on celebrity, fame, youth and beauty.

In 2011, I graduated from the National Art School with an Honours Degree in Painting and was Highly Commended in the John Olsen Prize for Figure Drawing.

In 2012, I was a semi-finalist in the Doug Moran National Portrait Prize and a finalist in the Waverley Art Prize, Whyalla Art Prize, Northern Rivers Portrait Prize and Albany Art Prize.

This year I have already been a finalist in the Salon des Refusés, Calleen Art Award and the Toyota Emerging Artist exhibition.

Moreover since graduating I have held three solo shows and been involved in numerous group shows.

I am represented by Lethbridge Gallery, Brisbane.

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Subject to Flooding

Rochelle Summerfield

7 October to 1 November 2014

I collage a powerful female form to imagine radically new ways to depict the body’s sensations and movement. She is what the body can be. She is my heroine. She is a beast, often flamboyant and may have wings when she wants to soar.

A small tributary off the mighty Clarence River meanders inland to an unknown and secret place, where lit by dappled sunlight perches a painted kingfisher and a collaged female form pondering the meaning of life, art and nature.

When the floods come, the river transforms into a raging and powerful force, and now the heroine battles urban dramas as surging waters sweep through domestic structures that try to regulate her. In the midst of rising waters, my heroine is optimistic, fatalistic and always transformative.

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- Leonie Robison

In many societies around the world girls and women are undervalued, their lives and wellbeing are at risk. One of the most extreme manifestations of this is female infanticide, and increasingly feticide where a fetus is aborted when, after ultrasound, it is found to be a girl. The installation, 'Missing', which consists of sculptural forms in the shape of a baby who is missing, is my response to these tragedies. She was there but is no longer.

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Strange Fruit

- Janet Tavener

18 June to 6 July 2013

he exhibition 'Strange Fruit' is a series of photographs that explore the geopolitics of food production and distribution. In this series, exotic and heirloom varieties of fruit are transformed into ice sculptures and photographed. The ice works capture a deep poetic resonance of loss and disappearance. These photographs act as a metaphor for precariousness - caught as they melt and slip across an invisible surface - they act to remind us that shrinking polar icecaps are possible indicators of global climate change.

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Deep Velvety Black

- The Mystery of the Mezzotint

17 June to 12 July 2014

Mario Avati (France), Kazuhisa Honda (Japan), Katsunori Hamanishi (Japan), Graeme Peebles (Australia), Christopher Stevens (UK) and Joop Vegter (Netherlands), unveil the mystery of the mezzotint

The distinctive printmaking technique of mezzotint was invented in the mid-17th century. German soldier Ludwig von Siegen is usually cited as the first to use it in a crude form although it appears that he used a roulette tool rather than the rocker used in mezzotint proper. Prince Rupert, Count Palatine, a prominent Royalist during the English Civil War, artist and early member of the Royal Society, encountered the technique while he was in exile in Holland. Mezzotinting proved to be important in the 17th and 18th centuries in Holland, Belgium, France and Great Britain. The invention of steel plates for etching and engraving, the French Revolution and the industrial revolution succeeded in making the mezzotint underutilized and almost forgotten.

It was the re-birth of printmaking in post World War II France that brought the mezzotint back to its full glory.

Workshops specializing in printmaking like Stanley William Hayter and his Atelier 17, and L’Atelier Johnny Friedlaender created the need to look at older techniques.

In the exhibition Deep Velvety Black, the Mystery of the Mezzotint, curator Akky van Ogtrop shows that today the mezzotint is used by many printmakers throughout the world... However it is still a relatively rare medium.

17 June – 12 July
8/2 Danks Street, Waterloo

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Catherin Cloran

- To Float in a Strange Sky

28 May to 15 June 2013

This series of work reflects a continuing preoccupation with place and landscape. I am particularly interested in photographing those places in city environments where human culture and the natural world intersect. People are absent in these images but they are not far away. Their presence and intervention are visible. The photographs in this exhibition were shot in Beijing and Sydney.

I am also interested in experiencing difference. What is it exactly that visually differentiates one geographical place from another? In these photographs, the specific place is not obvious; it is only the details (and the titles) that indicate which country they were taken in. The closer the view, the subtler the differences are.

Using my camera I am constantly looking at and framing the closer-up, more intimate views. Perhaps it is a personal quest for beauty and solitude in the crowded city. These fragments of places hint at a larger picture and hopefully set up visual associations, memories and narratives for the viewer.

The ideas for this exhibition developed while undertaking a Redgate Residency in Beijing in April 2012. I found myself taking many photographs in parks and gardens and was drawn to do the same back here in Sydney. I printed out a hundred postcard-size pictures that resonated deeply in some way, and arranged and grouped them intuitively. They seemed to fall naturally into colour groups, especially those of yellow, blue, and grey. It also became apparent that the subject matter had became predominantly water, sky and trees. For this installation I have pared down that collection to just 12 images.

    “...a place, and its depiction, is a complicated matter - every site is acted upon
    by both nature and mankind. In photographing place, we are never
        just photographing nature. We are always photographing culture.”
            - Gerry Badger

Catherine Cloran 2013

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409b George Street Waterloo NSW Australia 2017 
(02) 9318 1122   e:

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


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