A world in a Looking Glass at Grafton Regional Gallery
- Featuring represented artists Waratah Lahy and Mylyn Nguyen, 2019
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.
Square - Group Exhibition (until 3pm Sunday Oct 13)
- Coordinated by Lisa Jones, 2019
18 September to 13 October, 2019
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.
Waratah Lahy in 'Looks like music, sounds like painting'
- Gallery of Small Things, curated by Ruth Waller and Anne Masters, 2019
29 September to 20 October, 2019
Looks like music, sounds like painting is a group exhibition featuring 23 painters. Canberra's tiniest gallery will be transformed with paintings/textiles where the CD is the object for our painters to create on, within and beyond. Ruth Waller, former Head of Painting, School of Art + Design at the Australian National University will co-curate the exhibition with Anne Masters.
BLACK BOX PROJECTS Presents - Geoffrey Weary
- 'Film Portraits - Kodak Girls', 2019
16 October to 3 November, 2019
Film Portraits - Kodak Girls is a work about past things...material things. Projected film, celluloid, the passing of time at 24 frames per second.
- What is left behind, 2019
16 October to 3 November, 2019
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, 2019
'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
Peter Tilley in the Georges River Art Prize 2019
- Hurstville Museum and Gallery
25 October 2019 - 30 January 2020
Represented artist, Peter Tilley, has been named a finalist in the Georges River Art Prize 2019 for his work 'Transient Entity' (2019) and will be exhibited at the Hurstville Museum & Gallery.
Todd Fuller at the Lyn McCrea Memorial Drawing Prize 2019
- Finalist at Noosa Regional Gallery
1 November - 1 December 2019
Represented artist, Todd Fuller, has been named a finalist in Noosa Regional Gallery's Lyn McCrea Memorial Drawing Prize 2019 with his work, 'My brother calls this place God's Country.'
- A place not like home
6 - 24 November 2019
According to Fuller, there is a special type of magic in the towns and communities outside of Australia's metropolitan centres. These places, often remote, sometimes shrinking in population, sprinkled with architectural structures of of the past and communities rich with quirk and charm, are a catalyst for unique Australian stories. These stories, and in a way these places, are a delicate balance of the bittersweet, the resilient and the bleak.
A place not like home brings together two recent hand-drawn animations by represented artist Todd Fuller which draw from regional and rural experiences as the stimulus for storytelling and considering the Australian fringe experience.
- Pattern Fold, 2019
6 to 24 November, 2019
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
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.
- nowhere to go, 2019
27 November to 21 December, 2019
Mangrove ecosystems are critical to our shorelines. They form a buffer between land and water, providing protection from erosion, filtering runoff, and are primary sea life nurseries. They are highly efficient carbon sinks. Chronic pressures on these environments from land clearing, the use of herbicides and pesticides, global warming and associated drought and severe storms are endangering them with potentially catastrophic consequences for the health of land and sea.
I spent a week working with a citizens’ science project that monitors the mangrove forests of the Daintree in far North Queensland. I had the privilege of venturing into a terrain where humans do not routinely go and to viscerally experience an environment of gritty beauty and intricate interrelationships. The work in this exhibition is my response to the mystery, majesty and fragility I was exposed to in this environment, one tragically and fatally often written off as a ‘swamp’.
- Helen Mueller, 2019
- 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.
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
- Eastern Suburbs Streetscapes, 2020
29 January - 16 February 2020
This suite of paintings explores the back streets of Sydney's Eastern Suburbs where a gritty working class history and village charm lingers despite the gloss of gentrification and the encroachment of high-rise development. Kevin enjoys finding ready-made compositions in urban environments and applies the formal concerns of compositional design with the particularity of place as he seeks a theatrical intensity in the ordinary. Stillness and transience compliment each other in his road-based paintings where architectural forms provide a fixed point in contrast with the flux of light; a momentarily parked car; or randomly placed 'street furniture' (wheelie bin, witches hat, road sign etc); or indeed the conduit of the road itself, a constant in the ever changing city.
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.
Images by Silversalt Photography, courtesy of the Artist and MAY SPACE Sydney
Sybil Curtis at Childers Art Space
- Bundaberg Regional Galleries
5 February - 29 March 2020
Sybil Curtis has been invited to exhibit a solo show with Bundaberg Regional Galleries, exhibiting at Childers Art Space in Childers, Queensland.
- Voyages, 2020
19 February to 8 March, 2020
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 selected 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.
Ruth Ju-Shih Li - Taiwan Ceramics Biennale, 2020
- Featuring represented artist, Ruth Ju-Shih Li, 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.