Todd Fuller - Sir John Sulman Prize Finalist 2019, Art Gallery of NSW
11 May to 8 September 2019
Congratulations to Todd Fuller who was selected as one of twentysix finalist in the 2019 Sulman Prize at the Art Gallery of NSW for his hand drawn animation, With whom I was united by every tie (Captain Moonlite)
The Archibald, Wynne and Sulman Prize on view until September 8.
Al Munro at Craft ACT Craft + Design Centre
- Pattern Translation
11 July to 31 August
A solo exhibition by Al Munro which draws from her recent body of work. The exhibition consists of five pairs of dresses sewn from digitally printed fabrics and paintings. The process by which these pairs of works were produced involved translating textile patterns into painted forms, translating and manipulating these via the conventions of repeat fabric design to create digitally printed textiles/paintings, and then translating back to traditional painted form.
Pattern Translation continues Munro's interest in translating and distorting mathematical patterns to explore relationships between textile patterning and painted abstraction and begins a new focus on the aberrations and slippages that can occur as a pattern, like a spoken message, is translated from one ‘language’ to another.
Catherine O'Donnell, finalist in the Sunshine Coast Art Prize 2019
24 July to 15 September 2019
The Sunshine Coast Art Prize 2019 is a national contemporary acquisitive award presented by Sunshine Coast Council. The award is open to any artist who is an Australian resident, working in a 2D medium. Forty finalists will be selected for exhibition at the Caloundra Regional Gallery and the winning work will be added to the Sunshine Coast Art Collection.
Charlie Sheard at Manly Art Gallery & Museum, 2019
- Absolute Abstraction - curated by Dr Michael Hedger, Director, MAG&M
26 July to 1 September
This exhibition presents the work of Charlie Sheard, one of Sydney’s most respected abstract painters who has spent the last forty years developing a language of pure abstract forms. His practice is deeply concerned with the history and development of techniques and materials, and his large paintings reflect upon his wide ranging interest in European, Chinese and Australian cultural history.
Charlie Sheard in Supreme Metaphysics Spirit presented by Wenzhou Art Museum
Epoch Art Museum, curated by Kang Wenfeng
4 August to 8 October, 2019
A curated show of International Abstractionists at Epoch Art Museum, Wenzhou, featuring Represented Artist, Charlie Sheard.
- The Interior of Home, 2019
7 August to 25 August
A well established genre for artists, ‘The Interior of Home,’ consists of paintings depicting the artist’s homes, from childhood to the present. Painted over a period of fourteen years, these works investigate memory, loss and the significance of home. Our lives fill the interior spaces of our homes with our energy - our moods, aspirations, disappointments, fears, traumas, joy, celebrations - connections with ourselves and others. They hold our possessions and provide space for us to sleep, eat, wash, rest, play, relate, interact, think, create and daydream. Every home has a feeling, a kinaesthetic sensation that fills the space and these paintings engage with the unique energy of the places they depict.
This body of work also explores the more formal concerns of space, line, shape, tone and colour. It plays with spatial relationships, flat space and pattern. The paintings invite the observer to physically enter the spaces depicted. While these interiors are specific and personal, they invite us to spaces we may have known, remembered or imagined.
- Morning, 2019
7 August to 25 August
Morning is a hand-drawn animation about the first hour of my day. Although the plot is relatively simple, I have tried to draw each gesture and object as vividly as I can. In doing so, I have tried to reclaim a part of my day that I am rarely conscious of. Stop-motion animation is well-suited to this undertaking. It is slow and repetitive, and it often involves a close examination of subtle, almost imperceptible movements.
Morning exemplifies my approach to drawing in both its domestic subject matter and in its attempt to intensify an experience of life through the close observation of fine details.
- Eggs With Soldiered Toast Buttered Well, 2019
28 August to 15 September
Eggs With Soldiered Toast Buttered Well is a series of paintings by Eliza Gosse based on the memories of Australians who grew up in modernist homes built toward the middle of the twentieth century. The series collates amusing if somewhat mundane stories that link the architectural quirks of this typology with that which occurred within its walls.
By rendering modernist architecture in gouache alongside anecdotal experiences, Gosse posits the importance of design of this era within the broader narrative of Australian domesticity. There is a risk that unless we tell and retell our collective stories of home, that they will be lost, as much of the architecture of the time has itself been erased.
- At the heart of all things, 2019
28 August to 15 September
After reading The Secret Life of Trees by British science writer, Colin Tudge, I began to look at trees in a different way. I would drive to locations around Victoria to look at particular trees and whilst being so disheartened by humanity, the drought and climate change, trees would give me a sense of ease.
Humanity is a mess, creating countless problems with the earth itself. Soil. Lakes. Air. Sea. Rivers…are all under stress. Those who care about humanity, as opposed to those concerned only with personal power and accumulated wealth, understand that global warming needs to be taken very seriously; common sense and basic biological theory, suggest that the more trees we retain and replant, the better managed water courses and soil erosion will be and even simply the temperature on the earth’s surface.
My next exhibition 'At the heart of all things' explores intricate drawings of incredible trees in their entirely and on-site sketches of trees that I have repeatedly visited over the last two years. Trees affect my practice significantly because not only are they the paper I draw on but also the wooden frames that house them. In my heart trees are the centre of all things.
Banyule Award for Work on Paper
Catherine O'Donnell, finalist in the Banyule Award 2019
28 August to 19 October 2019
'The world stands at the threshold of change: for better or worse, it's up to us.
The theme for the award this year calls on artists to submit artworks that express, explore, advocate, or address current social, cultural, political or environmental issues'.
The Banyule Award for Works on Paper is awarded biennially to an outstanding contemporary work on paper. It is open to all Australian artists. The award is an acquisitive prize, with the winning artwork entered into the Banyule Art Collection.
A world in a Looking Glass at Grafton Regional Gallery, 2019
- Featuring represented artists Waratah Lahy and Mylyn Nguyen
5 September to 30 October, 2019
The magic and mystery of the everyday is captured in this enchanting exhibition of recent small scale works by Australian Artists at Grafton Regional Gallery. Each artist draws our focus through the miniature and captures our attention to find the extraordinary and delight in the unremarkable.
Naked & Nude Art Prize Finalist 2019, Manning Regional Art Gallery
Congratulations to Nicole Welch and Todd Fuller who have been selected as finalists in the 2019 Naked & Nude Art Prize at the Manning Regional Art Gallery.
7 September to 13 October, 2019
The shortlist has been revealed for Naked & Nude Art Prize 2019 with 58 artists selected from a record number of entries from artists all over Australia.The artworks include sculpture, painting, ceramics, drawing, photography, installation and video – highlighting the diversity of approaches to the representation of the human form by contemporary artists in Australia.
Nicole Welch's two-channel video work Transformation Journey and Transformation Arrival (2018) and Todd Fuller's Ego plays the trumpet (2018) will be exhibited at the Manning Regional Art Gallery.
Sydney Contemporary 2019 - STAND G09
- Featuring Robert Boynes, Todd Fuller, James Guppy, Ruth Ju-Shih Li, Waratah Lahy, Mylyn Nguyen, Catherine O'Donnell, Charlie Sheard, Janet Taverner, Nicole Welch, Peter Tilley
12 to 15 September 2019
This year MAY SPACE will be bringing 11 of our represented artists to Sydney Contemporary with all new work created especially for the Fair - the stand will be rehung each day.
Find us at Stand G09 and please join us for a drink with all the Artists on Friday 13 September, 6-8.
- Seedless, 2019
27 November to 21 December, 2019
Seedless, looks at the threat climate change poses to the humble seed and the catastrophic cascading effect it will have on our complex food chain. In the previous work, The Last Seed, frozen fruit and vegetables floated alongside tiny seeds encased in balls of ice. In the new chapter the primary subjects are the seeds, whose ice cocoons are melting away. Now golden, to denote their preciousness, the seeds, hemmed in by air bubbles, appear suspended in gently effervescing pools, suggestive of both the petri dish and the cosmos – microbiology and the lunar surface. These connections between macro and micro worlds highlights just how precious and precarious life on earth is.
Square - Group Exhibition
- Coordinated by Lisa Jones, 2019
18 September to 14 October
Square is a group exhibition of mid-career artists working in a range of media and across genres of painting and sculpture.
Square is an improvisation in visual art that uses a set format as an aesthetic platform or starting point for each artist. Each artist improvises on four 40 x 40cm Ash panels.
Square artists are Lynne Eastaway, Richard Dunn, Catherine O’Donnell, Daniel Hollier, Pollyxenia Joannou, Lisa Jones, Stephen Little, Tom Loveday, Al Munro and Stuart Smith.
Hazelhurst Art on Paper Award 2019
- Finalists, Represented Artist Todd Fuller and Exhibited Artist Kevin McKay
21 September to 17 November 2019
Since 2001, The Hazelhurst Art on Paper Award has been a significant national biennial exhibition that aims to elevate the status of works on paper while supporting and promoting artists working with this medium.
Ruth Ju-Shih Li - Korean International Ceramics Biennale, 2019
- Featuring represented artist, Ruth Ju-Shih Li
27 September 2019
The Korean International Ceramics Biennale 2019 presents works by 302 artists, from whom two Prize winners will be selected. The exhibition is hosted by Gyeonggi-do Province, Republic of Korea and organised by the Korea Ceramic Foundation. The online exhibition will launch on 27 September 2019 and will remain online permanently.
- What is left behind, 2019
16 October to 3 November
In the Northern Rivers fires are very much a part of life here… bushfires, the canefields, the winter burnoffs.
A few years back we burnt a few big camphor laurel stumps that had been felled many years ago to make way for orchards and gardens. As we kept a watchful eye on the fire… we took photos. The flames, smoke and slow charcoaling of the wood were mesmerising.
The photographs looked like alien landscapes; strange and evocative of some other place. It was their ambiguity; the images were of burnt root balls but the scale was confusing and also suggested monumental landscapes. I began to see other worlds in them with looming mountains and far off in the distance minute trails that inhabitants might travel through.
Such strange and elusive forms became an exercise in possibilities: the charred branches were also spinal vertebrae, the ashen root balls... crustaceans and wild boars. I began to play with the other things hidden in the smoke and fire. There were mysteries, old mythologies and living things amongst the flames half glimpsed, intuited. Stories began to evolve as I painted.
The world seemed to be echoing the stories as I worked… historic heat waves, mass extinctions and migrations, predictions of chaos and doom reducing us to scrabbled existences in destroyed lands.
Each of these paintings began with the burn we did on that winter’s day. The stories that grew in them… mark the legacy we leave behind us.
James Guppy, May 2019
- Concave, 2019
16 October to 3 November
'For some time now I have been making sculptural vessels, pursuing simplicity and eternal beauty in my work. With this exhibition I am choosing to challenge the form these vessels take. With endless options available to me, I have chosen to produce concave shapes, utilising both coarse stoneware and smooth porcelain. Curved and organic lines lead across each form, where each concave could be part of an arch or a cave; an alcove or nest; a hollow or aperture, inviting viewers to reach out and touch the object.
The new forms may look simple, yet the process is quite complicated. Each form is thrown, section by section. I cut and alter the form, rejoining pieces to create the complex curves and concaves, combining the textures of both the coarse and smooth clay bodies. By limiting my colour palette to a monochromatic range of black and white, with a hint of gold or silver, the form of each ceramic is clearly allowed to speak.
This series of vessels is one of contrast. The contrasting colours, textures, and materials working together in each object embody the disparate elements of my own personality. Within the black stoneware, I see my strength, boldness and resilience, while the white porcelain is my fragility and sensitivity. I believe the duplexity in each form not only speaks to my duality in my nature but to the contrasting aspects present within every one.'
- Keiko Matsui, May 2019
- Pattern Fold
6 to 24 November
This exhibition develops my interest in the intersections of textile patterning and mathematics to explore the effects of folding and crumpling a grid pattern through painted abstraction. This work began with a residency at the Royal School of Needlework, Surrey, UK in January-February 2019 where I worked with archival materials and learnt technical skills related to blackwork embroidery. Blackwork is a style of embroidery dating back to the 1500s in which black thread is used to map grid-based patterns onto white cloth.
The work in this exhibition has used painting to explore a range of textile patterns and employed the disruption of either the pattern or the bounding form of the image via folding, pleating and/or crumpling. The exploration of textile patterning and folding through the act of painting offers a means of recording or ‘diagramming’ the disruption of the pattern in a way that offers some remove or distance. The painted/translated pattern retains something of the original textile ‘text’ but also offers the opportunity to be free of certain aspects of textile materiality - colours, textures, surfaces, spaces can be flattened out, reconsidered, or seen under a different lens.
- Al Munro, 2019
Catherine O'Donnell at Grace Cossington Smith Gallery, 2019
- Cité Spinoza, Paris - Solo Exhibition
7 November to 5 December 2019
An exhibition by Catherine O'Donnell at Grace Cossington Smith Gallery, awarded for winning the Grace Cossington Smith Acquisitive Art Award in 2018.
Ruth Ju-Shih Li at Yingge Ceramics Museum, 2019
- Florilegium, 2019
8 November to 29 December 2019
Florilegium, a Solo exhibition by Ruth Ju-Shih Li at Yingee Ceramics Museum, Taiwan.
Nicole Welch at Shoalhaven Regional Gallery, 2019-2020
- Altered States - curated group show with Tamara Dean
30 November 2019 – 8 February 2020
The exhibition will explore Australian identity and our changing relationship with our natural environment through landscape photographs which have been modified by the hand of the artist. By adjusting the expected vista, with the addition of foreign objects, figures or projections, the artists cause us to look twice at their works and question the land we inhabit and how we relate to it, now and throughout history.
- Bridget Macleod, Curator, Shoalhaven Regional Gallery, 2019
Ruth Ju-Shih Li at CC Gallery, Taiwan
- Solo Exhibition, 2020
14 January to 29 February 2020
A Solo exhibition by Ruth Ju-Shih Li at CC Gallery, Taiwan.
Hendrik Kolenberg & Evan Salmon
- Urbanscapes, 2020
29 January to 16 February 2020
Evan Salmon and Hendrik Kolenberg share an interest in making paintings of their suburban environment – streets & traffic, houses & rooftops, cranes, telegraph poles & wheelie bins, domestic and industrial settings, the working harbour, parkland & waterways. They find their subjects in the familiar everyday or commonplace, the city & suburbs as well as further afield. For Evan that includes landscape near at hand; for Hendrik, Rotterdam, his birthplace. It isn’t place that matters to them as much as the power of light to transform, intensify or surprise them.
This selection of recent paintings features subjects close to home for each of them, around Warrawong, south of Sydney and Eastwood in Sydney’s north west, each typical of modern urbanism and its unencumbered spread north, south and west of metropolitan Sydney. Painting En Plein Air has preoccupied Evan for some years now, while Hendrik constructs his paintings from drawings and studies in pen & ink, charcoal and oil on paper.
Evan and Hendrik draw together (which is how their friendship developed) and with others but painting is a private occupation for them. This is their first exhibition together.
Top: Evan Salmon, Truck depot, Port Kembla 1, 2019, oil on linen, 51.5 x 61cm
Bottom: Hendrik Kolenberg, House fronts, First Avenue, Eastwood, 2019, oil on gesso on linen on plywood, 63 x 72cm
Catherine O'Donnell, Fibro Façade
- An installation by Catherine O'Donnell for Tweed Regional Gallery, 2020
31 January to 28 June 2020
> Tweed Regional Gallery & Margaret Olley Art Centre, 31 January to 28 June 2020.
“Catherine O’Donnell’s draughtsmanship skills are some of the finest this country has even seen. Rather than create static replications of sites, she imbues her houses with a pathos and resonance which reveals her talents as a storyteller. It is this strength that draws audiences beyond the awe of her life-like drawings, evoking the shared experience of home...” - Lizzy Marshall, curator of 2168: Estate of Tomorrow
Fibro Façade is an installation comprising eleven meticulous charcoal drawings of elements from common fibro housing and an architectural tape outline connecting them. O’Donnell’s installation was commissioned by Casula Powerhouse Arts Centre and was on display there in 2018 in the solo exhibition 2168: Estate of Tomorrow.
O’Donnell leaves the screen door ajar, pulls back the curtain, opens the window and shows the uneven lines of the venetian blinds to reveal that her renderings are equally about the occupants as they are about the structures that they call home.
Images by Silversalt Photography, courtesy of the Artist and MAY SPACE Sydney
- Voyages, 2020
19 February to 8 March
My work is a voyage through rooms, selecting moments upon which to reflect as hand-carved meditations. These images depict remnants and mementos of significance, alongside objects that are ordinary or everyday. The process of selecting, carving and hand-rendering is a means of remembering, gathered and arranged as new understandings. Both the momental and the seemingly insignificant are united in a single frame. A red snuff bottle evokes recollections of conversations in a Mongolian ger beside the red matchbox for the evening's fire. A can from a wharf in Mapua, New Zealand sits alongside a sweets container from Verona, Italy. Each work exists as an unintentional relationship, as reflections of multiple places in a single captured moment, suspended as a carved and painted image in timber.
These works connect to the historic period when illuminated manuscripts were replaced by that of the printed image. Each work is a return to the notion of hand-coloured individual pieces, working in direct opposition to their potential as a replicated image in the digital age, signifying the importance of knowledge. This journey through an interior is an investigation into daily spaces, a new voyage of discovery for both the artist and the viewer.
SYDNEY PRINT 2020
A curated exhibition from members of Sydney Printmakers
1 to 26 April 2020
Sydney Printmakers is a self funded, self directed, independent organization successfully spanning nearly 60 years. Members are practicing artists and art professionals who have a specific focus on print, however continue to work across all media including digital and more experimental approaches. The group shows regularly in NSW, across Australia and overseas.
The following is an except from the intro essay for the 50th Anniversary Exhibition catalogue, by Professor Sasha Grishin AM, FAHA, The Sir William Dobell Professor of Art History Australian National University
"Sydney Printmakers is a unique phenomenon in Australian art with few parallels anywhere in the world. Although numerous exhibiting associations of printmakers have cropped up from time to time in Australia, what distinguishes Sydney Printmakers is three things. Firstly, no other exhibiting organisation of printmakers has so effectively represented the best printmakers of a city and has done this so comprehensively. Secondly, no other organisation of printmakers in Australia has managed to sustain itself independently over such a prolonged period of time without becoming a de facto filial of an institution, such as an art school. In other words, Sydney Printmakers have remained truly independent. While thirdly, no organisation of printmakers has managed to survive for fifty years without extensive periods of dormancy".
Ruth Ju-Shih Li at Kyoto Ceramics Centre, Japan
- Australian Flowers Exhibition, 2020
17 to 29 April 2020
Australian Flowers Exhibition, a group exhibition with Ruth Ju-Shih Li at the Kyoto Ceramic Centre, Japan.
Catherine O'Donnell and Waratah Lahy at Canberra Museum + Gallery (CMAG) 2020
- A group exhibition curated by Mark Bayly
1 August to 7 November 2020
Communities are formed by people and the built environments they construct and reside in. This exhibition examines imagery derived from, or alluding to, the built environment and ways of living in specific locations with particular identities. These material and social constructs take multiple forms - from high-rise, high-end apartments to prosaic suburban divisions, to locations where people have endured the collapse of their communities.
The focus of this project is how contemporary artists and designers translate their responses to the built environment. In doing so, the exhibition tells individual stories of the resilience and imagination of the human spirit.