The Last Days of Dionysus (part 1)
Alun Rhys Jones
22 October to 9 November 2013
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.
Subject to Flooding
7 October to 1 November 2014
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.
INACTIVE - Ingrid Haydon
- The Studio and other Spaces
1 to 19 October 2013
I dedicate this exhibition to Madeleine Halliday.
- Leonie Robison
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.
Deep Velvety Black
- The Mystery of the Mezzotint
17 June to 12 July 2014
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
- 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
INACTIVE - Suburban Reflections'
- Manfred Krautschneider
16 April to 4 May 2013
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.
INACTIVE - X.O
5 to 23 March 2013
"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."