All Lined up consists of paintings that utilise the variation of line and pattern to generate an optical event. Opposed to the flat, precise delivery of 60's Op Art, these works are more painterly, physical, gestural with a range of spatial situations. The drive of this body of work is hand of the maker being present while delivering a perceptually charged experience.
Image: They say black is every colour at once, 2015, acrylic on canvas; 165 x 140 cm
Using a variety of found and constructed material Development is an exhibition of installations and sculptures. The exhibition examines how the transformation of objects can generate contrasts between the structure and the illusions it projects through the use of alignment.
Dierdre Pearce has been re-exploring objects made using synthetic chemistry and was struck by the way that working with forms that the artist can neither touch nor see becomes a performative and imaginative experience. Pearce makes an object by performing a series of pre-defined actions and instead of direct observation, builds the object in her mind by interpreting the traces it leaves in space under pre-defined conditions. The work in the exhibition results from these reflections and is an interactive, immersive installation including drawings, objects and prints.
Please not that the opening event for the exhibition will be held at 6pm Thursday the 28th January.
Image; Hybrid 12, Dierdre Pearce, 2016, giclee print
Thoughts are like clouds. Vast, transient, impossible to hold on to. They have the power to free you, or smother you into submission. Think of your Thoughts journeys into the mind of its maker. Into turmoil and tranquillity.
Let the sky open up. Be taken by it.
Feel the tangled threads flow through you
Know which ones you know.
Know which you love.
Know that you'll let go
Think of your thoughts.
The artist would like to acknowledge Joshua Bell for the poem accompanying this exhibition.
The Virtuous Spray is an installation of paintings which mimic an altar piece through a series of shrines. Each piece is a devotion to an ultimate state, be it religious, sexual or emotional bliss. It is ambiguous whether it is pain or pleasure present in the works, whether the figures are martyrs or deities, or overwhelmed mortals. The work might make us uncomfortable, or it may be a window into a beautiful state. The space will regardless ask it's visitors to indulge in the baroque inspired excess of jewels, colours and painted figures. The gallery becomes a place of vivid contemplation of experiential life.
Image: Gourd Shrine, 2015, oil, acrylic and rhinestones on board, 42 x 30 cm
Space is no longer beyond our reach; it is a current reality. Knees brings space closer by mobilising current technology to construct a fleet of functional terraforming machines. These artist’s impressions document planets being terraformed for habitation. This world-building project is essential for ensuring humanity’s future. The earth is not the end. Join us for a first glimpse of tomorrow’s frontier.
Painting in Paris presents work by two emerging artists on exchange at the École Nationale Supérieure des Beaux-Arts in Paris. Kirrily Humphries’ small scale, finely detailed paintings and drawings respond to architectural space in Paris, examining the deterioration and destruction of space and objects over time. Yioryios’ sculptural paintings are inspired by architectural patterns from buildings in Paris, creating work that embodies an innate sense of power, dynamism and speed.
An exhibition of monotypes by Julia Thwaites, Blue Christendom is a contribution to broader discussions about the role of religion in a secular age. Exploring the materiality of faith juxtaposed with that of broader contemporary culture, this series of works looks at the male image set within the visual traditions of Christianity.
untitled, monotype and drawing, 100 x 70cm
‘The Shelter Object’ was the name given to the concrete bunker built around reactor number 4 at the Chernobyl nuclear power plant to contain the radioactive material that was released after it exploded in 1986.
Isolation and containment are pivotal to the construct of our national identity. Do the barriers which are constructed through nationalism and xenophobia protect us from something outside or do they harbour poison within?
Are aussie kids just weetbix kids?
An exhibition of paintings and ceramics by Ruby and Gwenna Green
Image: Gwenna Green, Grabs by the fish by the tail, earthenware underglaze brushwork; 35 x 35 cm