The evidence of a mark can be read as a record of ones presence. In this recent body of work Isobel has investigated how her mark making, which includes carving, drawing and imprinting, has recorded her physical presence and also her absence. Isobel has used both traditional and non-traditional mark making techniques to create this body of work that ultimately stands as evidence of a moment in time from which each of the works were made.
Image: Imprint, 2016, Polymer resin; 10.8 x 15 cm, image courtesy of the artist
Colour, line and light are recurring themes in the work of Kirsten Farrell, Waratah Lahy and Al Munro. The investigation of these themes is fundamental to our practices.
They each explore notions of colour, line and light in different ways and use those differences as the starting point for the cross over of new ideas and ways of working. The artists' inspirations are diverse: colour theories & systems, everyday life, scientific codes, formulas and data. Although the three interpret their subject matter in varying ways, their work shares a love of colour and the use of unusual and interesting materials.
Image: Courtesy of Waratah Lahy
The drawings explore the relationship between the memory based architectural linear language, and the visual spatial flow created by investigating density, mark, space and immersion. Each work uses different ways to break up the drawn density and create a connection with the negative space.
Individuals’ humble actions to organise nature can give rise to a sense of familiarity, security, and ultimately connection to the land that they inhabit. The Foundations of Place displays a series of still life paintings by Hayley Lander that feature pruned branches from local gardens. This recent body of work explores the interdependence of self and place.
“Place is security space is freedom; we are attached to the one and long for the other.”
—Yi-Fu Tuan, Space and Place
Image: Origin, 2016, Oil on board, 60 x 80 cm. Image courtesy of the artist.
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.