Waratah Lahy at CMAG
- Martyn Jolly's Phantasmagoria
10 June to 5 September 2020
Waratah Lahy's work is featured in Canberra Museum and Gallery's exhibition Martyn Jolly's Phantasmagoria. Link to the exhibition here.
'For artist, art historian and now collector Martyn Jolly, the magic lantern shows that came to prominence in the mid nineteenth century were much more than just the antecedent of today’s PowerPoint presentation.
They were just as common, but for their nineteenth and early twentieth-century audiences they could be uncanny experiences of phantasmagoric apparitions, powerful moments of collective witnessing, virtual journeys to exotic places, intellectual revelations of new knowledge, or even prompts for communal praying and singing. His collecting began when he realised that to really understand and appreciate the ‘magic’ of these objects that they needed to be used and with fragile collections in museums out of bounds, he began his own.'
Vivienne Ferguson at SeeChange Jervis Bay Arts Festival
- Dingle + Hughes Collection Online
25 June to 30 September 2020
Represented artist, Vivienne Ferguson's work has been featured in the 2020 edition of SeeChange Jervis Bay Arts Festival, taking place this year online. Vivienne's work is part of the former MG Dingle + GB Hughes Collection, which was donated to Shoalhaven City Art Collection in 2008.
The full exhibition is viewable online here.
- 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 scrutinised, 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
- 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
Catherine O'Donnell at Blacktown Arts Centre
- Close Encounters
23 July to 21 August 2020
Blacktown Arts Centre is celebrating their re-opening to the public with the exhibition, Close Encounters. All works in this group exhibition are from the Blacktown City Art Collection. Represented artist, Catherine O'Donnell was selected by visitors to Blacktown Arts Centre to feature in this reopening exhibition.
To see more and book tickets to the exhibition click here.
- 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 a recipient of a 2020 Independent Makers and Presenters Project Grant, Arts SA.
- 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.
Catherine O'Donnell at Hazelhurst Arts Centre
- The Home, 2020
29 August to 8 November 2020
Represented artist Catherine O'Donnell is one of six artists featured in The Home, an exhibition curated by Carrie Kibbler at Hazelhurst Arts Centre.
- Memory Palace, 2020
2 - 19 September
the plastic space
where my child-mind
once made snowmen
until the pink fingers––
somewhere, a monkey's paw;
black as a
and at last
there –– where
the gumamela grows
in thick thatches
until the trunk bends
and the corner breaks
leaving only the
- Loribelle Spirovski, 2020
By a thread
- A group exhibition curated by Amy Hill and Eleanor Megna
23 September to 17 October 2020
Fibre and textile practices have long been associated with juxtaposing positions. Associations with gender and domesticity, arguments of its legitimacy as an art form, and its utilisation in aiding revolutionary change has embedded fibre art with an inherent politicisation. The power of fibre as an art making material lies in this complex history and intrinsic non-neutrality.
The artists contributing to this exhibition approach fibre practices from varied backgrounds; as painters, sculptors, drawers, or a combination of the canonical mediums. Drawing on their experiences, culture, and knowledge, these artists utilise and explore fibre to create compelling artworks.
Contributing artists: Anna Dunnill, Graziela Guardino, Aerial Morallos, Al Munro, Mylyn Nguyen, Chloe Smith (I Make Soft Food), Nina Walton, and Lisa Woolfe.
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.
Catherine O'Donnell in Basil Sellers Art Prize 2020
- Basil Sellers Exhibition Centre
10 October to 9 November 2020
Represented artist, Catherine O'Donnell has been named a Finalist in the upcoming Basil Sellers Art Prize 2020. Located in Moruya on NSW's South Coast, the winner of the major acquisitive prize will be announced on the 9 October, with the exhibition running from 10 October - 9 November 2020.
Catherine's work Repose has been selected and will be on display in the finalist exhibition in October-November.
For more information about the prize, see this link.
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.
- Untitled (pusher), 2020
21 October to 7 November 2020
MAY SPACE is proud to present a new video work and photographic series by Tania Smith for her fourth solo exhibition.
Untitled (pusher) 2019
Pusher is a short, tragicomic video work. A harried woman in a bright red dress and stilettos bounds across a stadium pushing an empty stroller. The reason for her sense of urgency is unclear. Pusher is a wry take on parenting, anxiety, navigating public space and all of these things mixed together.
Untitled (pram variations) 2020
Bend. Lug. Heave. Pull. Flick. Adjust. Stretch. Squeeze. Slither. Untitled (pram variations) is a musical score. A set of scales practised on an uncooperative instrument. A steel and canvas extension of the familial body. Poking, catching, jarring and pinching. This new series of photographic works is a playful response to the physicality of caring.
Image: Tania Smith, Untitled (pram variations) #1 2020, pigment inkjet print.
- The Shadow Speaks
21 October to 7 November 2020
My interest in the connections between the figure and the shadow it casts, once more forms the basis of this body of work. Images of the self were seen indistinctly in polished materials prior to the production of silvered mirrors. Historically, this resulted in a semantic ambiguity between ‘reflection’ and ‘shadow’ and is another element I have explored in this body of work. Some of the sculpture’s cast shadows are voids and some are material constructions, they symbolically or visually disclose withheld traits of the casting figure that may not be consciously observed. Our usual perceptive process evaluates an object by its real cast shadow and then quickly dispenses with that shadow from our perception. Conversely, these tactile, sculpted material shadows are not only visible, but their tangible presence can be noticed and scrutinised for meaning.
Most works in this exhibition are concerned with the relationship between psychological and physical perception, or the abstract and the tangible. In Jungian psychology, the shadow contains those parts of ourselves that remain suppressed, denied, or are unfavourable aspects of the personality, ‘the dark side of the self’. In Jung’s words “The shadow personifies everything that the subject refuses to acknowledge about himself [sic].” Another underlying influence in all of my works is the symbolism associated with Ancient Egyptian funerary culture. The simplicity of form and reserved stance of the figure represent one aspect of this bias, and is referenced by Ancient Egyptian artistic canons
- Peter Tilley June, 2020
Peter Tilley at Sculpture by the Sea
- Sculpture by the Sea Bondi, 2020
22 October - 8 November 2020
'Sculpture by the Sea returns to the Bondi Beach to Tamarama Beach coastal walk as the world’s largest free to the public sculpture exhibition. See the spectacular coastal walk transformed into a 2km long sculpture park over three weeks featuring 100 sculptures by artists from Australia and across the world.'
Represented artist, Peter Tilley has been invited to contribute to this year's Sculpture by the Sea event at Bondi Beach. View more information here.
11 - 28 Novemebr 2020
MAY SPACE is proud to present a suite of new bronze sculptures by Morgan Shimeld in his solo exhibition, Passage.
Image: Morgan Shimeld, Passage #6 2020, bronze, honey patina, 50 x 15 x 40cm
Catherine O'Donnell in the 2020 Ravenswood Australian Women's Art Prize
- Finalist, 2020
27 November - 12 December 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 Opening Night, Thursday 26 November 2020.
- The Shape of Things
2 to 19 December 2020
MAY SPACE is proud to present a collection of new work by represented artist, Waratah Lahy. Her exhibition, The Shape of Things, will be Waratah's ninth solo show with MAY SPACE.
'The world around us is full of interesting and surprising shapes and colours, patterns and textures. It’s easy to take the common place for granted, but the trick is to find the value in the unexpected and overlooked.
The phrase ‘the shape of things to come’ is to suggest the way things will be in the future. I’ve taken this phrase as the starting point for my current body of work: observing the way changes are taking place in my immediate surroundings and thinking about how they reflect national and global trends in the environment and society. Although these ‘shapes’ indicate change, I’m also looking at the ‘shapes’ that endure: moments of beauty, wonder and comfort essential in a fast-paced world.'
- Waratah Lahy, 2020
Image: Waratah Lahy, New Dawn 2020, watercolour and collage on found-paper based recycling, 12.5 x 12cm
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.