2009 Brenda May Gallery EXHIBITIONS

Represented Artists

- New Work, 2009

15 to 20 December

Jonathan Leahey

- Soft, 2009

17 November to 13 December

In various stages of decay, their innards on display, the teddy bears congregate to contemplate their essence. They sit in a circle around the swarf. It?s the stuff that defines them. It fills them and gives them shape; it?s what?s inside them.

These abandoned toys are no longer the cuddly talismans of childhood. Generic cuteness has been replaced by individual character as they have been molded and shaped by life?s slings and arrows. No longer new, some are damaged and unravelling, they are missing eyes and limbs, their stuffing is falling out.

The bears surround an object that is an external representation of their very being. What is on the outside, and what is on the inside, is the same stuff. You just can?t see it until the armour is pierced and the cracks appear.

Jonathan Leahey, 2009

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Daniela Turrin

- score-cut-crease-fold, 2009

17 November to 13 December

"Listen to me?, I whisper conspiratorially to my young son as he carefully folds the paper in half and then in quarters, - stop now".

"Stop what mum"?

I pause. "Growing up. Stop growing up".

"I can't do that mum".

"Too true", I softly sigh to myself.

Nothing is what it seems, is it?

Daniela Turrin, 2009

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Carol Murphy

- Interspace, 2009

20 October to 15 November

This exhibition will explore the connectivity between forms: examining negative spaces, inner spaces and the spaces created by the removal of matter.

I am interested in portraying points of connectivity and dependence as suggested by the work ?Mother and Child II? (see Ceramic Revisions). The man / child's arms are reaching into the mother / woman's breast cavities clinging to her - the child or the lover?s embrace.

The exploration of inner space is an attempt to illustrate an emotional element within the work; one of reaching in and through the forms. The appearance of the work is still stylised with a restrained use of colour (white and grey tones prevail) but with a more recognisable figurative element.

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Helen Mueller

- navigating the unknown, 2009

20 October to 15 November

For quite some time now, I have been captivated by water. It is my muse and hunting ground for inspiration. I am a kayaker and love to glide silently across a liquid sea. My gaze has wandered over time, from the surface to the deep, from what I know to what I don?t. Here below it is always mysterious and never predictable: sometimes it brings piercing clarity, other times murky darkness. It is always unknown.

Water has become a metaphor for my personal unknown. It carries with it traces of what I might have known and things I have forgotten. My journey across water is a journey in search of an inward sea.

Helen Mueller, Oct 2009

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The Flower Show

- a curated group exhibition of all things botanical, 2009

22 September to 18 October

Image: Irene Grishin-Selzer, "Can't Tell the Birds from the Blossoms", 2008, quartz porcelain, glaze, decals, 18.5 x 16 x 25cm

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Melinda Le Guay

- Take Care, 2009

25 August to 20 September

My current work is a visceral response to compulsively collected materials - discarded, unloved and in a state of flux or demise. Through the process of gathering and ordering, repair and reappraisal, my work attempts to articulate transition and transformation.

In this show I create unlikely juxtapositions between raw materials and the objects that they have been transformed into. Copper wire, for example, is lovingly transformed into a delicately knitted dress that is at once protective and dangerous.

Melinda Le Guay, August 2009

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Marc Standing

- Terra Australis Incognita (the unknown land of the south), 2009

25 August to 20 September

"Terra Australis Incognita" is a continuation of ideas that were first developed in a body of work produced in 2006 called ?Waking Dreams: An Australian Portrait?.

In this recent work I have begun to explore issues concerning identity within an historically colonial context. This has come about through my interest in exploring different connotations of ?colonialism? from an African perspective, where I was born, as compared to the Australian experience.

The concept of ?terra australis? was based firmly within a colonial epistemology. To this day this continues to have an impact upon contemporary notions of Australian cultural identity.

Marc Standing, August 2009

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Jim Croke

- New Work, 2009

28 July to 23 August

The process of making art is cloaked in mystery. In 1926 Wallas identified four steps in the creative process: ?The investigation and information gathering period, the incubation period when the creator does a lot of work at the subconscious level, the illumination period when the solution becomes clear, and the verification period where the solution is evaluated, elaborated and improved.?* This struck me as an accurate description of how I work.

Information gathering is happening all the time - when art is such an important part of your life you are always incubating ideas. The development of a sculpture itself, until a solution becomes clear, can take months or even years and some works are never resolved and have to be abandoned. Sometimes the most difficult (and rewarding) part is evaluating your own completed piece. To evaluate the work the artist has to perform a most difficult balancing act. You have to be severely self critical, sensitive and self aware, objective but in the end confident enough to back your own judgment. This is a high risk process, as is a life in art, but all art must contain risk because that is where the excitement is.

Jim Croke, July 2009

*Wallas cited in S. Woolfe, The Mystery of the Cleaning Lady, (University of Western Australia Press, 2007) p.49

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Sybil Curtis

- Interface, 2009

28 July to 23 August

The interface between two different elements has more energy and excitement than being within one of the elements. So it is when two colours or textures meet or a curve intersects with a straight line. So it is where land meets water: one solid and stable the other constantly shifting and elusive.

Sybil Curtis, July 2009.

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Ceramic Revisions

- a curated group exhibition in association with the Ceramics Triennale, 2009

30 June to 26 July

This exhibition has been scheduled to coincide with the 12th National Ceramics Conference to be held in Sydney in July 2009. As a parallel exhibition to the Ceramics Triennale 09 we have selected artists from around Australia who continue to push the boundaries of a seemingly limitless medium.

Image: William Lungas, ?Arca-Type?, 2007, black stained porcelain, ceramic tiles, 480 x 240cm

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Carla Priivald

- New Painting, 2009

30 June to 26 July

Last year I travelled to USA and Europe and produced a series of photographs that has influenced new paintings. Most of the photographs were taken in Stockholm, northern Sweden and Cape Cod, USA, around dusk, when the sun had just fallen below the horizon.

The majority of the paintings depict Angermanalven, the longest river in the north of Sweden that travels from the alpine regions bordering Norway, to the Baltic Sea in the east. Here, the photographs were taken during the summer, when the light fades around midnight, creating a heavy contrast of tone and casting shadows of pine forests that surround the rivers edge.

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Hadyn Wilson

- Stories from the Archive, 2009

2 to 28 June

This exhibition is one of a series which relates to my continuing interest in mainly extinct or threatened species of plants. I use ?fictional narratives? as a vehicle for presenting the sometimes very abstract concepts of deep time and our ability to imagine this.

Hadyn Wilson
May 2009

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Patsy Payne

- Chimera, 2009

2 to 28 June

Technology mediates between experience and understanding, and also creates the codes with which we represent both our environment and ourselves. Medical imaging technologies "non-invasively" open windows into secret depths of the body and brain, allowing visual interpretations of the interface between the visible and invisible, providing a connection between the external and internal dimensions of being.

I developed these "anatomies" out of systems from a range of sources including Diderot?s 19th Century encyclopaedia, Vesalius, the Congdon anatomy collection at Siriraj Hospital In Bangkok and the Comparative Anatomy Museum in Paris. The anatomies were hand drawn, then scanned and processed to create vector files. The digital files were then laser cut in steel at a factory in Bangkok during my residency at Silpakorn University at the end of 2008.
Architectural features such as gates, screens and security meshes are ubiquitous in Bangkok and include many traditional and contemporary design elements. These forms inspired me to create a suite of body screens, utilising the technology available.

I selected steel because it reacts so quickly to the humid tropical climate in Bangkok, it rusts, and the steel forms can be used as matrices to create rust prints on Thai Sa paper. The ?Inside Out? series explores the shifting spaces between reality and illusion that are opened up historically by anatomical investigation and in a contemporary context by scientific and medical imaging technologies. Edges and boundaries become permeable, allowing the inside out and the outside in.

Patsy Payne
April 2009

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Joel Bliss

- World After, 2009

5 to 31 May

I have attempted to create an apocalyptic vision of potential future environmental neglect. My materials are raw and rough - representative of the harsh reality of a degraded Australian environment. Imposing in scale, my sculptures create a feeling of an impending threat.

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Mylyn Nguyen

- The amazing magicool journey of bear and me and the friends we met along the way, 2009

5 to 31 May

I have always wanted an imaginary friend. When I turned 22 I imagined that I had an imaginary friend when I was 6 years old. When I turned 23 I started to draw pictures of what he would look like: black with beady eyes. At 24 he turned into a greenish monster and morphed into glass every time we played hide and seek. At 25 I decided that I didn?t need him anymore. I was all grown up and was embarrassed about the bear figurine I made for my desk at work, meant to keep me company in my little windowless office. I packed him away when I was 25 and became too busy for playing.

When I turned 26, I blew out the candles and wished for my alien mother ship, my black beady eyed friend and a giant bear. I now ride the train to work with a glass friend in my pocket, a bear in my bag and a conversation with the little dust bunny in the crack of the window seal, populated by three little villages and a bug. I still get embarrassed. But I do it anyway...

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Introducing II...

Michael Edwards, Amanda Schulz, Clare Toms, 2009

7 April to 3 May

This is the second exhibition in our Introducing... series. It is a small group show designed to provide artists who are new to the gallery with a chance to create a more substantial body of work.

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Lezlie Tilley

- Precursor, 2009

7 April to 3 May

This show is a chance to preview the current work of Lezlie Tilley.

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Leslie Oliver

- Narrative, Objects and Surfaces, 2009

10 March to 5 April

As a filmmaker I work with teams of people on written scripts that are then worked into storyboards (visual ideas that inform the shots of actors captured with cameras). This material is then re-worked again in the editing room. At every stage of the process we are trying to build ?characters? that stand, live, are credible, engaging and reveal fundamental human qualities. A story is about revealing a character.

As a sculptor I am thinking more and more in the same way, though my characters are seemingly static, they need to have a narrative to generate a sense of life and engage the viewer. A sculptor works alone so the processes appear less apparent however they remain the same; a sketch or thought (a script); collecting and capturing material/s (shoot); assembling them (edit); seeking a narrative, a struggle, a test of character, a story. I want the viewer to connect emotionally with my sculptures and then discover the other ideas within them.

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Will Coles

- New Sculpture, 2009

10 March to 5 April

I use traditional sculptural techniques, such as modelling and casting, to manipulate found objects. Within this traditional framework I explore contemporary issues. I examine the fact that within contemporary society, all products, forms of entertainment and culture seem polluted by the cult of disposability ? a lack of content and short shelf life. Similarly I despise the political and corporate appropriation of national identity; the hiding behind heroes and out of date patriotism.

Ultimately, the final work is a combination of two elements: either a word and an object (I love the possibility of a single word as poetry) or the fusion of two disparate objects. The works are then cast in materials more suited to mass production such as concrete and plastics.

Despite reports to the contrary, I believe that art can make a difference and with this in mind I set out to make sculpture that is confronting and provocative so as to create debate.

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Al Munro

- Bird Show, 2009

10 February to 7 March

My work investigates the patterns and codes used to represent and ?map? the natural world. It also draws on an interest in the relationship between prints - both traditional and digital - and scientific thought. I am particularly interested in how we construct our ideas and understanding of the natural world - how we understand ?nature? in the 21st Century.

The works refer to the historical role printed materials have held in circulating and controlling information about the natural world, but also to contemporary projects in ?printing? nature such as genetic profiling and ?Dolly? the sheep.

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Peter Tilley

- Midway Along the Path of Life, 2009

10 February to 7 March

In this body of work, which includes small bronzes and larger cast iron sculptures, the figure embarks upon a journey that could be interpreted as a voyage through time rather than space.

The androgynous figure lingers and is reluctant to let go, yearning for a past just gone, apprehensive of an uncertain future. Seemingly ordinary journeys take on symbolic values in the search for meaning in life.

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Sculpture 2009

- Animal Farm, 2009

14 January to 7 February

An Orwellian homage or a fun romp through the farmyard.

In Orwell?s novel, animals are used allegorically to demonstrate how society can be manipulated and exploited by those in positions of power. His mastery is found in his ability to create such an entertaining menagerie through which to illustrate this serious story. This exhibition aims to achieve the same social commentary via a group of entertaining and enticing sculptural objects.

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409b George Street Waterloo NSW Australia 2017 
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Open: Tuesday to Saturday 10am-5pm (Closed: Sun/Mon, Public Holidays, Easter long weekend and late Dec to early Feb)


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