The Last Days of Dionysus (part 1)

Alun Rhys Jones

22 October to 9 November 2013

My paintings depict the melancholy, alienation and detachment that lie behind the glossy veneer of consumerism. The images are clean and precise, while the painting style is physical, loose and expressive.

Through the use of high key, luminous colour and glossy metallics I exploit the language of fashion and advertising in order to subvert it. My painterly hand references my desire for a return of humanity and spirit to a consumerist world.

Recent work has been concerned with the power of branding and advertising within contemporary culture and its emphasis on celebrity, fame, youth and beauty.

In 2011, I graduated from the National Art School with an Honours Degree in Painting and was Highly Commended in the John Olsen Prize for Figure Drawing.

In 2012, I was a semi-finalist in the Doug Moran National Portrait Prize and a finalist in the Waverley Art Prize, Whyalla Art Prize, Northern Rivers Portrait Prize and Albany Art Prize.

This year I have already been a finalist in the Salon des Refusés, Calleen Art Award and the Toyota Emerging Artist exhibition.

Moreover since graduating I have held three solo shows and been involved in numerous group shows.

I am represented by Lethbridge Gallery, Brisbane.

... view exhibition

Subject to Flooding

Rochelle Summerfield

7 October to 1 November 2014

I collage a powerful female form to imagine radically new ways to depict the body’s sensations and movement. She is what the body can be. She is my heroine. She is a beast, often flamboyant and may have wings when she wants to soar.

A small tributary off the mighty Clarence River meanders inland to an unknown and secret place, where lit by dappled sunlight perches a painted kingfisher and a collaged female form pondering the meaning of life, art and nature.

When the floods come, the river transforms into a raging and powerful force, and now the heroine battles urban dramas as surging waters sweep through domestic structures that try to regulate her. In the midst of rising waters, my heroine is optimistic, fatalistic and always transformative.

... view exhibition

INACTIVE - Ingrid Haydon

- The Studio and other Spaces

1 to 19 October 2013

Some time ago I spent a few days painting, eating and drinking with my friend Madeleine Halliday who lived near Wisemans Ferry in a tiny fibro shack. As always we drew and painted the landscape, but I began to focus on the interior of her house through drawings and photographs. It was filled with a colourful jumble of paintings and colourful arrangements she had made with found objects. Madeleine encouraged me to work on an exhibition around this work but it just never came to fruition while she was still alive though not through lack of effort. In the last few years I have been privileged to sit in on many poetry readings organised by the poet and teacher Deb Westbury in her home. Sitting in Deb's vibrant Blue Mountains home, armed with food a good red, and a wonderful variety of poetry the interior became impossible to ignore.

I dedicate this exhibition to Madeleine Halliday.


- Leonie Robison

In many societies around the world girls and women are undervalued, their lives and wellbeing are at risk. One of the most extreme manifestations of this is female infanticide, and increasingly feticide where a fetus is aborted when, after ultrasound, it is found to be a girl. The installation, 'Missing', which consists of sculptural forms in the shape of a baby who is missing, is my response to these tragedies. She was there but is no longer.

... view exhibition

Janet Tavener - Strange Fruit, 2013

18 June to 6 July 2013

he exhibition 'Strange Fruit' is a series of photographs that explore the geopolitics of food production and distribution. In this series, exotic and heirloom varieties of fruit are transformed into ice sculptures and photographed. The ice works capture a deep poetic resonance of loss and disappearance. These photographs act as a metaphor for precariousness - caught as they melt and slip across an invisible surface - they act to remind us that shrinking polar icecaps are possible indicators of global climate change.

... view exhibition

Deep Velvety Black

- The Mystery of the Mezzotint

17 June to 12 July 2014

Mario Avati (France), Kazuhisa Honda (Japan), Katsunori Hamanishi (Japan), Graeme Peebles (Australia), Christopher Stevens (UK) and Joop Vegter (Netherlands), unveil the mystery of the mezzotint

The distinctive printmaking technique of mezzotint was invented in the mid-17th century. German soldier Ludwig von Siegen is usually cited as the first to use it in a crude form although it appears that he used a roulette tool rather than the rocker used in mezzotint proper. Prince Rupert, Count Palatine, a prominent Royalist during the English Civil War, artist and early member of the Royal Society, encountered the technique while he was in exile in Holland. Mezzotinting proved to be important in the 17th and 18th centuries in Holland, Belgium, France and Great Britain. The invention of steel plates for etching and engraving, the French Revolution and the industrial revolution succeeded in making the mezzotint underutilized and almost forgotten.

It was the re-birth of printmaking in post World War II France that brought the mezzotint back to its full glory.

Workshops specializing in printmaking like Stanley William Hayter and his Atelier 17, and L’Atelier Johnny Friedlaender created the need to look at older techniques.

In the exhibition Deep Velvety Black, the Mystery of the Mezzotint, curator Akky van Ogtrop shows that today the mezzotint is used by many printmakers throughout the world... However it is still a relatively rare medium.

17 June – 12 July
8/2 Danks Street, Waterloo

... view exhibition

Catherin Cloran

- To Float in a Strange Sky

28 May to 15 June 2013

This series of work reflects a continuing preoccupation with place and landscape. I am particularly interested in photographing those places in city environments where human culture and the natural world intersect. People are absent in these images but they are not far away. Their presence and intervention are visible. The photographs in this exhibition were shot in Beijing and Sydney.



I am also interested in experiencing difference. What is it exactly that visually differentiates one geographical place from another? In these photographs, the specific place is not obvious; it is only the details (and the titles) that indicate which country they were taken in. The closer the view, the subtler the differences are.

Using my camera I am constantly looking at and framing the closer-up, more intimate views. Perhaps it is a personal quest for beauty and solitude in the crowded city. These fragments of places hint at a larger picture and hopefully set up visual associations, memories and narratives for the viewer.

The ideas for this exhibition developed while undertaking a Redgate Residency in Beijing in April 2012. I found myself taking many photographs in parks and gardens and was drawn to do the same back here in Sydney. I printed out a hundred postcard-size pictures that resonated deeply in some way, and arranged and grouped them intuitively. They seemed to fall naturally into colour groups, especially those of yellow, blue, and grey. It also became apparent that the subject matter had became predominantly water, sky and trees. For this installation I have pared down that collection to just 12 images.

    “...a place, and its depiction, is a complicated matter - every site is acted upon
    by both nature and mankind. In photographing place, we are never
        just photographing nature. We are always photographing culture.”
            - Gerry Badger

Catherine Cloran 2013

... view exhibition

2013 - Annex - Manfred Krautschneider

INACTIVE - Suburban Reflections'

- Manfred Krautschneider

16 April to 4 May 2013

My photographs of reflections don't mirror reality, but transform it, tending toward the surreal. The 'Suburban Reflection' series began when I captured well-known modern art motifs in the subtle distortions of the streetscape reflected on imperfect window glass and awnings. In these works, I invite the viewer to see the world from a different perspective.

Flat glass (flotation process) is a 1950's invention. In the past, reflections on glass would be quite distorted. This understanding led me to hypothesise that Surrealism and Cubism may actually have been inspired by direct observation of reflections in uneven glass, and the superimpositions seen on and through glass via multiple reflections.

The new 'Series 3' presents more extensively distorted and layered reflections of the streetscape. I have found a fascinating series of contemporary images. Some elements of these images are ephemeral and the prints retain my struggle to capture the details, as the image as a whole takes over. Successfully holding the border between recognition and abstraction, these works transform suburbia into transcendent objects of contemplation, and psychologically charged premonitions. Their meaning flickers at the edge of our consciousness with unexpected energy, as if imprinted with the activity of the subconscious mind. We are surrounded by reflections in our daily lives, but usually choose to ignore them, lest they speak to us of the unacknowledged, or invite us to ponder how much lies beyond the surface of things.

Note: This series of photos were taken in South East Queensland and Melbourne in 2012, and have not been manipulated.



5 to 23 March 2013

"Our contemporary space, the technological sublime, is awash with potent meanings, actions, and reactions - one which is extremely personal and accessible, rich with iconography of word, phrase, and symbol fused seamlessly together."

"We have inherited a real-time sense of accessibility and immediacy, compiling database's of imagery and language which constantly shift and mould the montage of larger narratives. Meaning becomes subversive and interpretation is left to the recipient and in many ways is often misconstrued.

Notions of erasure and impermanence confuse and dissolve language, translating it's readability to that of form, function and pattern - a conversation embraced by the structural workings of an underlying and undulating grid work. The surface of these paintings, their slowly constructed skins by way of layering and collage technique's, marries the technological space from which their realm of dialogue is drawn and the physical act of painting as a means of interpersonal negotiation."