In her recent drawings, Jemima Parker has been methodically and meditatively exploring patterns and textures that she finds in her everyday surroundings; signs of age and disrepair such as weathered paint, aged concrete and rust. For Mostly Unobserved she has made a series of these drawings in the format of scaled-up microscope slides, zooming in on these patinated textures. They are presented in a suite of ten, vertically spanning the high gallery wall, rather like Donald Judd’s Stack (1967). Like Judd, Parker presents something very ordinary as something extraordinary and valuable, but Parker also presents us with two transformations- that of the urban material itself as it weathers and cracks; and that of the drawing, which translates the texture into one made up of thousands of dots of wavering density, suggesting the activity of the molecules, particles and even organisms that these textures are made up of.
Jemima Parker Urban Surface Studies, drawing, copic marker on stonehenge paper, each 75 x 25 cm Photo by Brenton McGeachie
Tim Phillips’ works are every bit as seductive and beautiful as ‘Old Master’ Still Life paintings, but then you start to see that there's much more to them and they are in fact very personal self-portraits. Instead of precious objects or flowers, Phillips paints things which are readily accessible to him: cheap jars and paper bags, bundles of sticks from outside his studio. The colours he throws into the mix, largely in the background, speak of distinct personal taste- saccharin pastel pinks or bold cadmium yellow. Phillips also introduces jarringly fantastic imagery from his own imagination and found images. Rainbows - not an object, but an ephemeral phenomenon of light- arc unrealistically across the horizontal surface depicted in the still life, and images of porn stars and penises appear as if through random port-holes within the surface behind the still life objects. Phillips celebrates Still Life painting and makes it his own, whilst also challenging its history. In his work, Still Life is no longer a record of high status, and it cheekily reveals glimpses of things which are not seen in the group of objects and the surfaces underneath and behind.
Shellaine Godbold presents a series of paintings and objects based on her recent residency in Thailand and travel throughout China and Japan. Abstract oil paintings on perspex are a stripped back reference to the spirit houses found throughout Thailand while floating acrylic clouds are engraved with traditional motifs found in Chinese and Japanese art.
Shellaine Godbold The outside, always looking in, 2014, oil on canvas
This year my attention has, unexpectedly, been focused on gasmasks and guns. As a peaceful, slightly wimpy pacifist who has never been in a fight, I’m not sure why I find the overload of violent imagery in the media and online so fascinating. I tried to change topics, but after several abortive attempts at making happy paintings, I decided to stop questioning my instincts and just draw. This mixed-media installation is the result.
Sacha Pola blends bold imagery and colour with a vernacular colour palette in a series of quirky and expressive paintings that reflect on stereotypes of the Australian lifestyle. Amongst these satirical Aussie moments, Pola includes some serious sunbathing and the common activity of shark-showering.
Australian Idle fuses Pola’s passion of traditional art making practice with moments of reflection to create works that inspire, provoke and intrigue.
Sacha Pola A little to the left, 2014, acrylic on board, 90 x 120 cm
The Maneki Neko or Beckoning Cat is a Japanese phenomenon that has spread its paws around the world. Michele England explores this object’s folklore tradition and its transition into a contemporary consumer product, in her first solo exhibition Not Waving.
England presents an eclectic exhibition using a diverse range of mediums combining both found objects and mass produced items. The outcome is an exhibition of two and three dimensional works looking at beckoning in contemporary society. Not Waving promises to be a bright and playful exhibition exploring this cultural phenomenon through paintings and objects.
Michele England Lucky 8, 2014, watercolour, gouache, gold pigment on paper 39 x 58 cm
This exhibition presents the culmination of a year long residency with CCAS spent trawling through public archives. Loughhead’s exhibition Populate or Perish! is a visual ‘survey’ of the Bonegilla Migrant Reception and Training Centre, active in Albury-Wodonga from 1947 - 70.
Anja Loughhead uses newspaper clippings and found photographs to reveal a sinister undercurrent in Australia's migration history. With a dry sense of humour Loughhead’s body of work is a never ending sneer at the way in which Australia continues to record and transmit its history through publication.
The Census , 2015, augmented books, dimensions variable
The Anatomy of Life is a body of work, inspired by my father’s sudden and surprising triple bypass heart surgery. It is composed of traditional portraits of my father, but also anatomical works. I have always been interested in anatomy and felt this was the avenue to let me explore this interest. There is an educational aspect to the works – as in medical illustration, but in a more gothic/romantic style. My aim was to combine the emotion and psychological pull of a realistic portrait with anatomical depictions of the heart, veins and other organs.
Angela Parragi Life, or death, oil on linen, 24 x 30 "
Proving My Existence is Aaron Garlick’s first solo exhibition. Exploring ideas of transition through the physical application of time, Garlick draws inspirations from classroom desks and the marks left behind by students. The viewer is encouraged to sit and investigate a series of desks contemplating their own existence with insight into the existence of others through evidence left behind in their marks. He is a recent recipient of the Design Institute of Australia encouragement award and CCAS studio resident.
Aaron Garlick I exist2014, MDF thermochromatic pigment, marker pen, pencil, acrylic paint, dimensions variable
Exploring relationships between the domestic hen and society, Janet Angus has observed the importance of permaculture and sustainable living in this new painting exhibition, Fowl Play. Angus hopes to translate a better understanding of our feathered friends through her paintings to ultimately appreciate nature and its importance in our future
Janet Angus Coincide, 2013, oil on board 38.3 x 49.9 cm