Irianna Kanellopoulou

- The Green Show, 2010

23 November to 19 December

My artwork explores issues of identity and transience through a sense of play.

I use everyday images and objects, often collected on my travels, to explore emotional associations within our immediate environment and memories - real and invented. I am interested in focusing on the micro and bringing our attention to the small details which are often overlooked and ignored. This micro cosmos, at times humorous and bizarre, highlights the transformation and personification of such images as a means of making sense of our surroundings, our environment and ultimately ourselves.

Working with modules and components allows me to develop relationships between forms and in turn investigate the life of an object outside of its original intent and purpose. The work takes on deep personal symbolism as it personifies imaginary dialogues and relationships, drifting in and out of an augmented reality. Different characters and personalities are captured in a fleeting moment to reveal a network of masked identities, fragmented conversations and hidden emotions.

Irianna Kanellopoulou, 2010

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James Guppy

- New Work, 2010

23 November to 19 December

"What seest thou else in the dark backward and abysm of time?"
William Shakespeare, The Tempest (act 1, Sc 2,1.49)

I find our placid day-to-day reality untrustworthy. It is a busy anaesthetic we use to distract ourselves from anxieties about death, loneliness and our many inadequacies. The world is a dangerous place where dropping your guard can cost everything while vigilance is a boring straitjacket.

I am much more comfortable in the world of fairytales and myths. As a child living in the North of England these fantastic stories were my way of understanding the land I was growing up in. It provided a poetry and passion that prosaic history could not give. I would cycle near where the witches of Alderley congregated and I understood that the road named the "Sylvan Way" belonged to the elves. In my maturity, I often find myself returning to these fey emotional truths.

Animals were the starting point for this small collection of new paintings. I wasn't interested in domesticated creatures but in the way their untamed forebears move within our psyche. Animals weave within all our old stories, explaining our complex humanity to us.

These paintings re-enact ancient dramas that preceded ritual and myth. I am trying to locate the oldest stories from those primitive interior places where human and animal coexist. Those stories, both personal and collective, give depth and meaning to our lives.

From those deep dark spaces within... where tales begin, I offer these.

James Guppy, 2010

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Mylyn Nguyen

- Into the woods, past the giant, down the well, over the golden hay, 2010

26 October to 21 November

I want to wake up one day and find magicool beams sparkling from my finger tips; nails painted in rainbow colours.

I want to walk to work, ride the crowded train and get my everyday mocha with a bigger than huge green grass bear leaving footprints of daisies, grass and dirt.

I want every Friday to be dress up day, every second day of the month will be musical day and every fifth day will be a special day where the ants that visit my house are invited to visit my office; making everyone in their suits and heels crouch on the floor, to watch their famous silent carnival act.

I want one day to be brave enough to stand up in front of a packed out train carriage and show everyone the magicoolness that hides in the vent between the fluoro light and the window; sharing a piece for every cupped hand, shirt pocket or pant cuff.

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Jim Croke

- sculpture, 2010

26 October to 21 November

After my last exhibition there was time to pause and reflect on the level of risk and excitement that was created by the process. The ambition of the work created many logistical problems which were only solved after some real effort.

The resulting exhibition, in hindsight, was really almost one piece. It occupied a small space physically but because the pieces were few in number it felt to me like I was looking at a cohesive whole.

This show will be very different in that each work will clearly have its own identity but will obviously be linked by my approach to sculpture and sensitivity to materials, space, weight, light, form, line, shape, volume, mass etc. A lot of decision making has and is going on in order to make this work. I trust the quality is there because, as Clement Greenberg said in Homemade Esthetics, "quality in
art appears to be directly proportionate to the density or weight of decision that's gone into its making."* In regards to the density of decision making, this show is very weighty.

* Clement Greenberg, Homemade Esthetics: observations on art and taste, Oxford University Press, 1999, p.48

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Lezlie Tilley

- Patchwork Arranged According to the Laws of Chance, 2010

28 September to 24 October

This exhibition is a continuation of themes developed in a small impromptu show called Precusor held in 2009. For many years I have explored traditional women's craftwork such as weaving, knitting and patchwork, albeit often using traditionally male materials like steel strapping, timber architrave and the inner tubes of tyres.

From this intensive exploration, the square format evolved and this new body of work will again consist of several series of small square canvases, all identical in size. When installed however, they will be more like a single kaleidoscope of abstracted shapes and colours. Whilst the striped works may appear random or haphazard, there is a natural harmony and balance created by the use of just two colours, mixed with either black or white, in each of these compositions.

I am interested in creating paintings that work on a number of levels: as individual entities and as elements within a much larger framework.

Lezlie Tilley September 2010

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Patsy Payne

- Freefall, 2010

28 September to 24 October

I continue to focus my art practice on the way that technology mediates between experience and understanding and also creates the codes with which we represent ourselves and our environment. Scientific imaging technologies have allowed for visual interpretations of the interface between the visible and invisible.

In this new body of work, edges and boundaries are presented as permeable, allowing the inside out and the outside in and suggesting interconnections that exist between and across bodies of knowledge. Environmental textures and forms become the material of the body and the body has become transparent. The meaning of these works is found in the spaces within the steel structure. Shadows are created as light passes through the interlaced metal form and give as much material presence to the body as the structure itself. The interplay of positive and negative spaces metaphorically balances the dichotomies that are part of the human condition.

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Emily McIntosh

- Of Memory, 2010

31 August to 26 September

"My work revolves around ideas of memory, preservation and both the psychological and physical aspects of the human condition.

In the process of laying down memory, signals move through individual nerve cells as tiny electrical charges. These electrical charges form the basis of our memories, thoughts and feelings. They are repeated when one recalls an event, image, emotion or even a scent. As we age or sustain trauma, this procedure can fail but frequently accessed memories can last indefinitely.

Through exploring these processes of memory and the intricate and complex networks involved in allowing us to retain, make and remember memories, I have become aware of how miraculous our minds really are."

Emily McIntosh 2010

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Hadyn Wilson

- Souvenirs from the Natural World, 2010

31 August to 26 September

The works in 'Souvenirs from the Natural World' continue a thread which goes back over thirty years of practice. The natural environment and our place in it have been an enduring subject in my work since the late seventies and culminated recently in a PhD, which examined the cultural dimension of the environmental responsibilities we need to address.

This current exhibition looks at the way Western culture perceives and often commodifies nature in a way that presents it as just another item amongst others, rather than the denominator that determines how a workable future is even possible.

Each work divides itself into a dialogue between culture and nature. At this time in history, a still to be reconciled conundrum.

Hadyn Wilson 2010

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Robert Boynes

- Short Stories, 2010

3 to 29 August

My painting is strongly influenced by the conventions of cinema, which allows me to put together fragments, cuts and dissolves delivering a ?movie? in several frames. This is one of the reasons why I work with figures in motion ? to create the implication that something has come before and something will happen after the event. Each scene is a fragment of time in the action ? a privileged moment in a continuum.

Each image contains the implication of a narrative. This is conveyed by the motion of figures, the way in which they relate and the ?noise? of urban colour, surfaces and signage. However, in the end, I want the work to provide a space for contemplation. I aim for a stillness that comes from an arrested moment that is able to continually engage the viewer. My paintings do not reveal themselves quickly; ideally, they are an invitation to bring one?s own experiences to the work and influence its meaning.

Robert Boynes, 2010

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Will Coles

- New Work, 2010

3 to 29 August

I am intrigued by my own vanity as an artist and the motivation that drives me; the narcissism that makes me think I can sell my realised thoughts; the arrogance that holds me to the idea that my thoughts are valuable to the world and the self-importance that my opinions and philosophy are still relevant in this age of consumerism.

Will Coles, 2010

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Angela Macdougall

- Plight of the Individual, 2010

6 July to 1 August

Each work captures a moment in the life of an individual. A small moment or fragment of a story is made significant by the mere fact that it has been acknowledged. The action represented becomes poetic and symbolic.

The human figures are simplified, faceless and psychologically remote. Are they us or people passing through our lives? The
animal figures also propose a story that the viewer can complete.
I continue to use a variety of materials from solid cast iron and bronze to the more spontaneous corrugated iron fragments reshaped and riveted together.

Angela Macdougall, 2010

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Liz Stops

- Carbon Credits 2, 2010

6 July to 1 August

This body of work moves towards a more compatible alignment of material and conceptual content. The porcelain forms I?ve made for some years have always been underpinned by concerns for an environment at risk. As a consequence this show attempts to address my use of resources in object making.

I have changed the way that I work to ensure that there is minimal environmental impact. Most of the power used in firing is supplied by solar panels and steps have been taken to minimise waste in the studio. This journey has also taken me from making works almost exclusively in cast porcelain, through a variety of recycled media into a current obsession with charcoal, which is salvaged from winter fires. Wood for the fire is cut from old fence posts and fallen branches sourced from local farms. Fuel that would otherwise be piled in a paddock and burnt in ways that are much more polluting than my slow combustion stove. Within a wider conceptual framework, charcoal is linked to scientific investigations into biochar as a soil rejuvenator and an effective means of carbon capture. It can also refer to current political debates about carbon trading.

Liz Stops, July 2010

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- Curated group exhibition, 2010

8 June to 4 July

Green is no longer just a colour in the 21st century. This show will focus on issues such as the environment, conservation and sustainable living. It features the work of artists who use their practice to express their concerns about environmental issues such as the impact of introduced species, deforestation and genetically modified crops.

Artists will include: Lorraine Biggs, Andrew Blackwell, Graham Blondel, Tammie Castles, Gaye Chapman, Jim Croke, Sybil Curtis, Wendy Edwards, Lyndal Hargrave, Barbara Licha, Emily McIntosh and Marcus Dillon, Carol Murphy, Janis Nedela, Tanja Riese, Jimmy Rix, Brenda Runnegar, Michael Schlitz, Liz Stops, Janet Tavener, Peter Tilley, Bronwyn Tuohy, Emily Valentine and Hadyn Wilson.

Image: Lorraine Biggs, ?Biodiversity?, 2008, ink on 240gsm Arches paper - edition of five, 24.5 x 18.5cm

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Tanmaya Bingham

- Levels of Tolerance, 2010

11 May to 6 June

For this exhibition, ?Levels of Tolerance?, I have developed a series of artworks about five couples and their levels of tolerance for one another. Each colour pencil and mixed media work provides an otherworldly portrait of one of these couples along with various icons that populate their universe.

The work is based on the assumption that the level of tolerance we have for our partner is determined by how we choose to perceive them. In investigating this idea, I met with each couple and talked with them at length about the dynamic of their relationship in order to gather material to translate into a visual form.

For some, the word ?tolerance? evoked pejorative connotations; ?If I am tolerating the other person then I would not be with them?. Others were aware that tolerance plays a role in their relationship. The different reactions to this theme have had an impact on how each relationship is depicted.

Tanmaya Bingham, 2010

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Andrew Best

- New Sculpture 2010

11 May to 6 June

In my desire to capture movement I am morphing and animating the opposing forces of the mechanical and natural worlds. I continue to explore ?organic mechanics? in an ever changing technological environment. Whilst the use of mild steel referenced an industrial era in previous work, stainless steel evokes the post-industrial technological landscape of today. We are all connected.

Andrew Best, 2010

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Waratah Lahy

- Look, 2010

13 April to 9 May

My current work explores the act of looking: looking at people and the things that they look at. I am fascinated by the changes in physical demeanour, gesture and posture that occur when people look at someone or something of obvious interest to them.

I am particularly interested in moments where a physical change is wrought through the mediated gaze of the camera, especially when people let their cameras capture an experience for them and their bodies twist and contort to capture the perfect shot. These moments of change are fleeting and I, in turn, use my camera to record them.

The painted images I create from these observations retain their photographic influence whilst at the same time suggesting a clearly altered space.

Waratah Lahy, 2010

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Peter Tilley

- Something Other Than Itself, 2010

13 April to 9 May

Symbols are often ambiguous and contradictory. This idea has influenced my recent works; several symbolic meanings may be depicted as a result of different aspects being stressed in different works. As well as the obvious meaning, a symbol can represent ?something other than itself?, a material object used to represent an unseen concept.

This exhibition engages with existential issues; it addresses feelings of doubt when confronting the unknown and all of the compromises to do with the cycle of living. It?s about what it means to be in an uncertain world with thoughts, feelings, and desires as a vulnerable and sometimes fragile being. The work is ambiguous and sometimes mysterious and just as life is uncertain, so too is the predicament in these three dimensional situations. The protagonist in these works is not revealed ? they remain anonymous and could be a universal model of humanity. The simplified forms are intended to be vessels that the viewer can fill with their own meanings and memories.

Peter Tilley, 2010

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Paper Works

- Curated group exhibition, 2010

23 March to 11 April

Paper is such a pervasive material in our everyday lives. We write on it, read it, drink out of it and eat off it, yet in terms of conservation, it is considered one of the most fragile of mediums in the art world.

This exhibition is ostensibly concerned with the nature of paper itself, with works produced on paper, with paper or about paper. It will feature the work of Melinda Le Guay, Lezlie Tilley, Helen Mueller, Fiona Fenech, Nicola Moss, Nicola Dickson, Janet Parker-Smith, Debbie Hill, Helena Leslie, Tammie Castles, Ampersand Duck (Caren Florance), James Blackwell, Nicci Haynes, Wendy Edwards, Susan Buret, Janis Nedela, Thurle Wright and Melinda Capp who are all using this most common and everyday material in creative ways.

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Michael Edwards

- new paintings, 2010

23 February to 21 March

I enjoy painting ordinary objects. At first glance they appear plain, but these objects exist in a world of their own ? one that often goes unobserved. The more I look at them the more they reveal something about that world.

Objects can also stand for much more than they seem and I often use them as metaphors to comment on things like solidity and transience, or our contemporary political and social conditions. One of the themes of my work is the way that communication can be misunderstood, or used to deceive, which is why I often paint objects that are wrapped or partially concealed.

Michael Edwards, 2010

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Leslie Oliver

- new works, 2010

23 February to 21 March

Without consciously pursuing any particular themes, my work is evolving in its own way. I remain curious about the new forms that emerge when I sit amongst my materials and begin to play. To entertain myself is a force that brings about new forms but for some reason I can't shake the chairs - something that has held me for thirty years.

Leslie Oliver, 2010

As part of ART MONTH SYDNEY 2010, Leslie Oliver (Writer/Director) will present a Special Screening of 'You Can't Push The River', on Thursday 18 March at 7.30pm. This will be a rare screening in Australia of a film that was selected as a finalist in the 1993 Mannheim/Heidelberg International Film Festival in Germany.

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James Whitington

- New Works, 2010

2 to 21 February

I have approached the visual arts through the medium of printmaking which lends itself to experimentation and risky play.

My printmaking informs my painting. Both develop a nonfigurative language with a focus on my interior world. Exterior reference is apparent, but it is incidental. I don?t begin with an exterior subject, rather an anthrocentric structure developed from within. This structure provides a framework for what is spontaneous. It is what the Chinese call ?hou chou?. Translated this means ?refined clumsiness?. My work belongs to a stream of primal and calligraphic mark making that meets the objective exterior reality with its own gestural language.

James Whitington, 2010

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Jacek Wańkowski

- New Sculpture, 2010

2 to 21 February

My life-long fascination with the underwater world has led me to some wonderful places, from icy rivers in northern Scotland to the reefs around small tropical atolls in the middle of the Pacific Ocean.

The tension between the strange, fragile lifeforms that I saw there and the huge forces of flood, tide and current that surround them is the starting point for my sculpture.

In these works, I aim to reflect the structural strength and resilience of these small marine creatures by capturing their natural biological forms in steel. As a result, each piece keeps to the spirit of a hard-edged industrial object, even while describing the essentially soft, biomorphic structure of a living organism.

Jacek Wańkowski, 2010

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Sculpture 2010

- Curated group exhibition, 2010

13 to 31 January

Sculpture 2010 is presented as part of the annual sculpture series which is on exhibition in selected Sydney galleries each January.

This regular event was established at Access Contemporary Art Gallery in Redfern in 1998 and continues to be an important platform for the promotion of sculpture.

As part of this series, all the galleries at 2 Danks Street will host a gala event on Wednesday 20 January from 6-8pm ? we hope to see you there.

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