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
The series Junction is fundamentally about portraiture. The subjects stem from direct observations within common places. These unscripted engagements are key to the sincerity of the work; forming a dialogue between observer and the observed.
The exhibition features intimate drawings, lithographs and screenprints. The use of printmaking allows the artist to respond to the original impulse of drawing, making it denser, more convoluted and complex in thought.
Drawing on the multi-disciplinary skills of the artists, John Hart, Saara March and Sui Jackson this collaborative (and immersive) installation transforms the gallery into a pseudo-Victorian drawing room, peopled with glass flora, fantastic fauna and views of impossible landscapes.
The exhibition title is a quotation from the popular 1980’s television series, Monkey Magic. Just as Monkey Magic operates on multiple planes - entertaining and comical whilst dealing with some of Buddhism’s most important philosophical concerns –the title references our shared (pop) cultural interests and the light-hearted nature of our collaborations whilst simultaneously hinting at the more serious underpinning to our practices; an interest in the transformative power of cogitation and imagination - central to the Monkey saga.
Claire Lenehan and Alycia Moffat explore intrusion and anxiety in their upcoming exhibition Unmentionables. Utilising different modes of drawing, the artwork in Unmentionables represents different aspects of female body experience. Alycia Moffat uses clothing to convey emotional and physical tension. In her series of drawings, Moffat studies underwear, cutting away the fabric and warping the remaining structures. She is interested in the delicate material qualities of paper, distorting the picture plane with duct tape. In deforming and recreating intimate garments, Moffat observes the anxieties that accompany sexuality and bodily condition. Claire Lenehan aims to give a greater, more empowered voice to women who have experienced gendered violence in all its forms. Her body of work was manifested whilst noticing frequent casual dismissals of inappropriate attitudes towards women. Lenehan uses feminine art forms to create portraits; these confront the implications of such behaviour with the emotional reality for the victims.
Riley Beaumont explores the x, y and z of a, b and c by counting backwards through the alphabet beginning with the number 8. As trees on the highway take the exit lane, a series of paintings, drawings, and sculptures were developed.
Investigating the sound of a plane flying over a curved surface within a pictorial plane, the works use a combination of assemblages and paint on canvas to further explore the inconsistencies between subject and representation, figure and ground, seventy words and five.
Image: P.E.G., 2015