CURRENT Exhibitions

Catherine O'Donnell, at Tweed Regional Gallery, 2020

- 'Fibro Façade', An installation by Catherine O'Donnell

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.

Visit Tweed Regional Gallery & Margaret Olley Art Centre

Images by Silversalt Photography, courtesy of the Artist and MAY SPACE Sydney

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Charlie Sheard at Wooton Gallery, Changsha

- Natural Texture on Canvas, group exhibition

25 April to 6 June 2020

Curated by Wenfeng Kang, this group exhibition brings together four artists, including represented artist Charlie Sheard.

See more regarding the exhibition here

BLACK BOX PROJECT Presents - Claire Anna Watson

- The Falling, 2020

20 May to 6 June 2020

The Falling continues Claire Anna Watson’s ongoing investigation with food as symbolic of cultural and corporeal change. Multidisciplinary in approach, her practice explores aspects of contemporary culture and its relationship to foodstuffs, as well as humanity’s relationship to nature and the impact of scientific interventions on the natural world. Ephemeral matter is the medium for manipulation and experimentation, recontextualized to invite the viewer into a state of reflection on the natural, or not so natural, world. The Falling explores what Robert Nelson describes as a ‘spectacle of process’ whereby the ‘morbidity of falling, growing and corrosion’ enact ‘the unconscious pathology in our love of spectacle’.

 

Claire Anna Watson is a Melbourne based artist working across media from ephemeral installations, photography and video-based work, through to public art. Her recent work considers the transitory nature of existence and is focused on reinterpreting science and the natural world. She holds a Master of Fine Art from Monash University and a Graduate Certificate in Public Art from RMIT University. She has presented her works nationally and internationally and has been awarded international residencies that have culminated in major public art works. 

The artist has held several solo exhibitions including at May Space, Sydney 2017; Anna Pappas Gallery, Melbourne 2016; and Gippsland Art Gallery and BLINDSIDE in 2011. Her works have been curated into numerous group exhibitions, including ReminiSCENT at May Space, Sydney 2018; Cornucopia at Shepparton Art Museum 2016; Made to Last, a NETS Victoria exhibition touring to galleries including McClelland Gallery and QUT Art Museum 2012; and FEAST: Pleasure + Hunger + Ritual at Lexington Art League, USA 2015.

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Vivienne Ferguson at UTS Art

- The Watters Gift, 2020

20 May to 17 July

Represented artist Vivienne Ferguson, and exhibited artists Evan Salmon and Hendrik Kolenberg are featured in a group exhibition at UTS Art, The Watters Gift. The exhibition, curated by Tania Creighton, celebrates the life and collection of Frank Watters.

View the exhibition here

Sybil Curtis

- When Rivers Die, 2020

20 May to 6 June 2020

'Along the western shore of Lake Kati Thanda (Lake Eyre) is a line of springs where one of the edges of the Great Artesian Basin comes to the surface and discharges freshwater. This has made it possible for people, wildlife and plants to live there. As a nation building project in the late 1800s, a railway line was built from Adelaide to Alice Springs, with steam trains dependent on this good supply of freshwater. Ironically the line suffered continuous damage mostly from flooding and the arrival of diesel locomotives saw it abandoned in the 1960s.

Early European explorers expected the inland flowing rivers would be filling a vast sea and were dismayed to find they disappeared into a network of dry channels or bitter salt lakes. It is a rare occasion that any rivers actually ‘flow’ into Lake Kati Thanda and it fills with water. I have only seen it as a glittering white surface of salt that stretched to the horizon with a shore of sand, gravel and sparse vegetation. Into this stark landscape intrude the remains and ruins of water towers and train stations as reminders of our hubris.'

- Sybil Curtis, 2019

Image: Sybil Curtis, Curdimurka, Kati Thanda 2019, oil on linen, 125 x 125cm

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Charlie Sheard

- Paintings on Paper, 2020

20 May to 6 June 2020

'Painting is the original meditation, bodily and spiritual in nature. Self expression is unimportant; the artist’s job is to allow the work of art to have its own Being. Such art is about itself, it is not about the artist, but if the work of art fails to speak for itself, it is the artist who has failed. Abstraction is the most extreme form of painting, pure and like music. “Beauty is difficult” said Yeats.'

- Charlie Sheard, 2020

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Janet Tavener Winner of the Percival Photographic Portrait Prize

- Perc Tucker Regional Gallery

22 May to 19 July 2020

Represented artist, Janet Tavener has been named the Winner of the Percival Photographic Portrait Prize 2020 (Acquisitive). As the fourth installment of the biennial prize, it is held in conjunction with the North Australian Festival of Arts to be displayed at the Perc Tucker Regional Gallery in Townsville, Queensland.

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Catherine O'Donnell in the 2020 Ravenswood Australian Women's Art Prize

- Finalist, 2020

30 May - 14 June 2020

Represented artist, Catherine O'Donnell has been selected as a finalist in the 2020 Ravenswood Australian Women's Art Prize with her work Union Street Window #3 (2020). Prize winners to be announced on the 14th June 2020.

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Vivienne Ferguson

- Illumine, 2020

10 to 27 June 2020

‘These paintings reflect the physical energy I feel is inherent to the natural world and demonstrate the importance of light in sustaining that energy. In my works it is colour which illuminates the pulse running through all living things, expressing the transformative affects of light that I see when I observe plants, rock formations or sunlight on trees.

There is a moment in the creative process where my paintings break free from my intentions and become both colour and line operating autonomously. I respond to every mark or colour and how it affects the painting in its entirety. Each work at some point develops its own energy and becomes an independent organism — existing, changing, and adapting as any plant or animal would in its natural environment.’

— Vivienne Ferguson, 2020

 

'Vivienne Ferguson cultivates her art practice from a studio in the Blue Mountains, where she relocated from Sydney a decade ago. There she works as a gardener for a small number of clients who share a love of art and an appreciation for her unique sensibility.  Over the last ten years Ferguson has presented five solo exhibitions in Sydney and Auckland, accumulating an impressive body of work consisting of a distinctive and highly personal visual language.

In the studio, Ferguson guides her hand across the canvas in gestures corresponding to her familiarity with working with the earth.  At times these marks are small and floral.  At other times, the artist’s expression is as strong and sweeping as the winds which blow hard through the mountains’ bending eucalypts.  Each mark has a descriptive purpose and produces its visual impact through the artist’s continuing immersion in the unique environment of the Blue Mountains.'

- Mark Bayly, 2020

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Peta Minnici

- Looking In; Seeing Out — Bundanon, 2020

1 to 18 July 2020

My current body of work was inspired by my month long residency at Bundanon, estate of the late artists’, Arthur and Yvonne Boyd. My proposal was to continue my exploration of perception through a series of paintings and drawings, based on its interiors and landscapes.  Arriving late in the afternoon and unable to gain access to the locked homestead, I began peering through windows and photographing all I could see, eager for inspiration.

As a result, I experienced a paradigm shift.  I inadvertently discovered that the glass allowed me to capture both the interior and the surrounding landscape in the one frame, as a play on reflections, with the mountains and trees fusing seamlessly with the architectural features of the interior. My drawings, based on window reflections, are formed intuitively over time using a technique of mark making, creating a blurring of focus and a slowing of viewing time, whilst in my paintings I aim to undo photographic representation by reducing the image into a series of shapes combined with the use of small brush strokes of tone and colour.

- Peta Minnici, 2020

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Dianna Wells

- Geomorphology, 2020

1 to 18 July 2020

Geomorphology explores the immense forces of nature that shape the ancient rock formations of the MacDonnell Ranges in Central Australia. This region is part of the traditional lands of the Arrernte people and the indelible legacy of Arrernte artist Albert Namatjira is still evident when walking through this landscape. Thousands of years of intermittent floods have carved canyons through the quartzite, creating waterholes and creeks. Alongside these grow River Red Gums that have adapted over time, taking over dry riverbeds and sending their roots deep underground to find water. 

My practice centres on immersing myself within these environments, alongside avenues of scientific, historical and cultural research. Conversations with my geologist father, Allan Wells, have given me a deep understanding of how these natural landscapes formed over thousands of years. Throughout my childhood, I accompanied my father on geological expeditions, camping for long periods in the Central Australian deserts. As an adult, I have returned a number of times, camping in riverbeds and taking photographs of the Larapinta Trail in Tjoritja (West MacDonnell National Park).

The works for Geomorphology continue my experimentation with the materiality of the photographic medium through darkroom and digital photographic printing processes. I have reflected on questions regarding endless time and the role of water in the creation of these landscapes, and used a medium-format Hasselblad camera to distil these compositions. Black-and-white film extracts the essential information and enhances the tension expressed in the rock face and the surrounding landscape, accentuating millions of years of exposure and erosion.

- Dianna Wells, 2020

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Catherine O'Donnell at Blue Mountains City Art Gallery

- Occupied, 2020

16 July to 28 September 2020

Represented artist, Catherine O'Donnell has been invited to participate in an exhibition at the Blue Mountains City Art Gallery, curated by Rilka Oakley.

Jane Grealy

- Dog Park and Other Things, 2020

22 July to 8 August 2020

‘This series of paintings and watercolours are based on both real and imagined observations of people, their dogs, and the surrounding landscape. Most days begin in the early hours of the morning at the dog park with my own companion, Zozo, as people begin to trickle in with their dogs and the scenes from which I conceive my works come to life. This series exposes the half-seen glimpses of life at the dog park — as breeding and behaviour are scrutinized, friendships endure, intense rivalries form, unrequited love lingers, new life and death occur in the life of these dogs and their owners. I am fascinated by the change in environment, from the highly urbanised inner-city suburbs of Brisbane, to a dog park hidden and framed by tall trees and softened by birdsong.

I love the dogs, the people, and the trees -  equally I think.’

- Jane Grealy

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Agnes Tyson

- Where Architecture Meets the Land, 2020

22 July to 8 August 2020

MAY SPACE is proud to present a new series of work by Agnes Tyson, Where Architecture Meets the Land.

This show examines the relationship between our built environment and the land on which it sits. These paintings depict buildings set in the natural surroundings of Australia. They portray various views from within and without built structures on the Australian bush landscape, investigating the interplay of organic forms, colours, and textures in the landscape with the geometric, angular shapes in architecture.

These paintings explore space, light, and sensation through their relationships with tone, colour, line, shape and composition. They seek to capture the kinaesthetic experience of being in the space they represent.

- Agnes Tyson, 2020

Image: Agnes Tyson, Winter Mornings at Bundanon Trust  2019, acrylic on linen, 88 x 60 cm.

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Mylyn Nguyen

- Among Leaves and Twigs

12 to 29 August, 2020

Hidden from the sharp eyes of robots and other creatures, I find solace in closets, cupboards and cardboard boxes. But if I were a bug, maybe the size of an ant or smaller, I could secure myself from enemies in amongst the leaves and twigs. I could wrap myself up in a bubble of silk and saliva; building a palatial palace under a leaf.

- Mylyn Nguyen, 2020


Image: Mylyn Nguyen, You can find me up on the highest tree 2020, charcoal, ink, pastel, paper, plastic, resin, fibre, eucalyptus leaf.

Rebecca Hastings

- Two minutes to midnight, 2020

12 - 29 August 2020

In 2019, a roiling surge of rage swept around the world.

Armed with placards and a unified voice, an army of adolescent activists skipped school, taking to the streets, stridently demanding an urgent halt to climate-change inaction. Now a new world hastens upon us. Inferno and infection, once the stuff of biblical stories and dystopian imaginings, are playing out as retribution for our environmental disdain. Meanwhile, The Doomsday Clock - a metaphorical timekeeper - continues its countdown to the apocalypse, ticking inexorably closer to midnight; the only deadline that we cannot ignore.

I am a parent, but I am also a human being complicit in our unravelling, and in the broken place that remains for my children. As they enter the abyss between child and adult, my charges are burdened not only with teenage angst, but with the aftermath of our complacency.

- Rebecca Hastings, 2020

Rebecca Hastings is the recipient of the 2020 Independent Makers and Presenters Project Grant, Arts SA.

Loribelle Spirovski

- Memory Palace, 2020

2 - 19 September

So there

ekphrastic certainty

the plastic space
where my child-mind
once made snowmen
from candle-wax

until the pink fingers––

but, no

somewhere, a monkey's paw;
concave vessel
for bar-holding,
marble-eyes
black as a
tire-wheel

and at last
there –– where
the gumamela grows
in thick thatches

fleshy petals
opening wide

opening wide

until the trunk bends
and the corner breaks
leaving only the
necessary
particles
of
dust
and
wonder

- Loribelle Spirovski, 2020

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Ruth Ju-Shih Li - Taiwan Ceramics Biennale, 2020

- Represented artist, Ruth Ju-Shih Li, Special Prize Winner 2020

9 October 2020 to 11 April 2021

Represented artist Ruth Ju-Shih Li has been selected to participate in the Taiwan Ceramic Biennale and International Competition for 2020.

Established in 2004, the Taiwan Ceramics Biennale is organised by the New Taipei City Government and hosted at the New Taipei City Yingge Ceramics Museum.

Ruth Ju-Shih Li's entry Florilegium has been selected as a Special Prize winner for the Biennale. 

View the list of winners

Nicole Welch at Art Gallery of Ballarat

- Beating about the Bush

18 October 2020 - 7 March 2021

Represented Artist Nicole Welch will be featured in a group exhibition at the Art Gallery of Ballarat.

Ruth Ju-Shih Li

- Inflorescence, 2020

2 to 19 December 2020

During a recent residency at the Yingge Ceramics Museum in Taiwan, Ruth Ju-Shih Li was struck by the ability of colour to trigger memories from her childhood living in Taiwan. By experimenting with texture, colour, composition and symbols, Li attempts to give form to these memories; transforming a fleeting reminiscence into a tangible object. The delicacy of her porcelain forms reflect the fragile and transient nature of memory, while bursts of colour interrupt the intricately sculpted white porcelain, reminiscent of an unexpected memory intruding on the everyday.

The works for Inflorscence act as both personal reminders for Li, continuing her fascination with the autobiographical, as well as triggers for the audience, seeking to conjure a vast array of emotions and experiences.

Catherine O'Donnell and Waratah Lahy at Canberra Museum + Gallery (CMAG)

HABITAT: Ways of living - A group exhibition curated by Mark Bayly

6 March to 26 June 2021

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.

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