Luminous Earth includes new watercolour paintings, lithographs and drawings remembering my experience exploring the depths of the Grand Canyon last year.
Rafting, hiking and camping, the mighty Colorado River cut my path between the majestic, seemingly insurmountable, canyon walls that constantly framed my field of vision and, for a time, defined my world. It is a singular feeling to be inside the narrow arm of a canyon network, yet know that the network stretches outward beyond belief. Similarly, it is possible to stare at a wall of rock, excited by its visually dynamic form and structure while overcome by the history of movement scrawled across its surface.
A quest to find order amongst chaotic collections, drawings and objects inspired Saara March and Michelle Day to create and construct Taxonomic Infestation. This collaboration has resulted in the classification and presentation of their not-so-scientific musings and articles. An array technical drawings and bric-a-brac Taxonomic Infestation sparks curiosity and rewards inquisitive snooping.
Up and down, round and round – these are the patterns and movements of our daily urban existence and the focus of Swings and Roundabouts, Long’s sculptural works feature an intriguing engagement with grids and patterns. In contrast Huf employs flickering light and shadow in order to investigate the domestic sphere. Their works combine to pursue the elusive moments that constitute our increasingly urbanised and domesticated lives.
In exploring the world of childhood crafts there is an absolute abundance of materials, textures and a riot of colour to be found. Plaster, string, wool, confetti, crepe paper, glitter, drippy paint brushes, shredded paper and other incidental items are all brought together. Together these are what Lefebvre playfully calls “The tools of imagination explorers”. In Papier-Mache it soon becomes apparent that to Lefebvre, the art making process is of equal or greater importance than the finished product.
Having long been obsessed with the sea, Jeffery's work is not figurative; rather, it expresses itself through the texture of the overlapping paint along with the depth and breadth of colour, mimicking the expanse of the sea. In the catalogue essay, Yolande Norris describes Jeffery's works as “catching the light and swallowing the dark, Jeffery’s paintings are as reflective as water and as hard to hold”.
The experience of being awash in a sea of colour vivid, chaotic and dynamic is not to be missed. Jeffery expertly charts the waters of emotion and expression in this accomplished and mature show. Come set sail with us; be inundated by a sea of colour, texture and emotion.
THE INKSMITHS - ZOYA GODORJA-PRIECKAERTS, CLARE JACKSON, SACHA JEFFREY AND CHRIS SUTEVSKI
From the time that we are young we are encouraged to draw, to depict the people, places and experiences that we encounter or imagine. Through drawing, we have the ability to express new ideas and create our own realities. In Ordinary Problems four artists have joined forces as The Inksmiths exploring the complexities of drawing. Each of the artists is seeking to utilize their drawings to question the fundamental creation and discovery of new thought.
Chris Sutevski 99 Problems, detail ,2012, digital print on Hahnemühle, 17 x 12 cm each
Lorrimer's work is abstract minimalism at its best, exploring the possibilities of form and highlighting the beauty of his raw materials. Sheets of steel are transformed into elegant three dimensional structures that play with the viewer's perception of space, volume and movement, elements that are integral to all of Lorrimer's work. The pieces in this series play with perception by giving the illusion of weight. The visual weight of these works is more than their actual weight, as each unit of work is hollow and only gives the illusion of solid bars of steel. The volume remains the same as it would if the pieces were solid; it is the viewer's perception of the space displaced that is the illusion.
Excerpt from essay by Vanessa Wright
In the past few years, Daniel Edwards has made tapestries and weavings that explore notions of masculinity and family heritage, popular culture and tradition. Empire draws inspiration from a quilt in the Victoria and Albert Museum collection, titled ‘Military Quilt’, probably made by Private Francis Brayley around 1863-77.
Natalie Mather uses simple materials to phenomenal effect. Her paintings possess a galactic meets geometric aesthetic, gleaned from science fiction films, spacecraft, architecture and geological formations. This aesthetic is a clever metaphor for Mather’s very real journey into (pictorial) space and the painting process. An important part of the construction of each painting is a battle between preciousness and abjection, the finished and the unfinished.
Beer’s recent paintings are dark and deliciously heavy, but these qualities are complemented and enriched by sensual subtleties of tone and texture; layering and detail; chaos and order. Through these formal tensions, the viewer can’t help but be drawn into the all-important construction process vital to Beer’s work: a practice that explores all that painting encompasses, paint’s properties as a substance and different ways of mixing and layering paint and colours. Beer’s paintings question the place of abstract painting in contemporary art, and contribute much to this ongoing dialogue.