• Hugo Michell Gallery Open: Richard Lewer | Sally Bourke

    History of Australia’ and Sally Bourke’s ‘Tall Tales and True’.

    “Over the last few years I’ve read, researched, listened to oral histories, travelled extensively, and interviewed many people, all with the aim of immersing myself in Australia and Australian culture. Giving context to the time that I live in in Australia, I am considering its history, politics, culture, people, et cetera.” – Richard Lewer

    Representing the culmination of a period of research, Lewer’s latest body of work, ‘The History of Australia’, projects a national narrative. Throughout his career, Lewer’s visual outcomes have examined the intricacies of social narratives, and offered an immersive view of experience and community. However, ‘The History of Australia’ forms a broader chronicle, summoning the chorus to which these findings contribute. ‘The History of Australia’ provides documentation and an understanding of events that Lewer believes have shaped the Australia we live in today.

    ‘Tall Tales and True’ by Sally Bourke is a container for oral histories with unbelievable elements. The narrator seems to have been included in its’ stories. The silent glances of the characters belie the gravity of its heroes. Perhaps even at the expense of the truth. The painted protagonists of ‘Tall Tales and True’ ride the spectrum between Veritas, gossip, and the ironic solitude of the echo chamber.

    Please join us in celebrating these two incredible exhibitions and our first of 2018!

    Image: Richard Lewer, The History of Australia (detail), 2017, oil on steel, copper, brass, 720 x 141 cm

    Image: Sally Bourke, Black Sheep, 2017, oil & acrylic on archival mount board 104 x 84 cm

  • The Summation of Force – Sundance Film Festival Selection

    Congratulations to Narelle Autio, Trent Parke, Matthew Bate, and Anton Andreacchio, the team behind The Summation of Force. Officially selected for the Sundance Film Festival: Mobile VR Lineup, The Summation of Force will be exhibited in January 2018 alongside an extensive international festival program.

    In their creative collaboration, Parke and Autio turn their gaze to the possibilities of filmic narrative, and look to family and sport for subject material. In a moonlit suburban yard, two brothers battle one another in a mythic game of cricket. A study of the motion, physics and psychology of elite sport; a cosmic, dreamlike and darkly beautiful metaphor for life.

    Previous iterations of the video piece were exhibited during 2017 at the Anne & Gordon Samstag Museum of Art and in for the first time in VR (virtual reality) at the Adelaide Film Festival. 

  • Hugo Michell Gallery Open: Janet Laurence | Tarryn Gill

    Hugo Michell Gallery invites you to the opening of Janet Laurence’s ‘Phytophilia’ and Tarryn Gill’s ‘Dearly Beloved’.

    In Laurence’s latest exhibition, ‘Phytophilia’, the artist furthers her examination of medical and historical relationships within the natural world through a series of photographs.

    Exploring notions of art, science, imagination, memory, and loss, Laurence’s practice examines our physical, cultural, and conflicting relationship with the natural world, through site-specific, gallery, and museum works. Working in varying mediums, Laurence creates immersive environments that navigate the interconnections between life and world.


    ‘Dearly Beloved’ is a new installation-based work by Tarryn Gill, developed from the ‘Guardian’ series recently exhibited in the 2016 Adelaide Biennial of Australian Art. ‘Dearly Beloved’ draws heavily upon theatrical conventions, and reflects Gill’s interest in combining personal memories and family histories with imagery drawn from mythology to imagine a space between the earthly and other-worldly. Each of the sculptures in this installation is approached as either a self-portrait or a portrait of her immediate family, and suspended together from the ceiling. Each individual portrait becomes part of the larger installation – a family tree imagined as a constellation.

    Please join us in celebrating these two incredible exhibitions and our final opening of the year!

    Image: Janet Laurence, Notes from a Phytophiliac (Fever Tree & Tree of Science) (detail), 2017, Dye sublimation archival print onto Chromaluxe aluminium, 2 panels of 31 x 21.5 cm, edition of 5

    Image: Tarryn Gill, Dearly Beloved (gold sequin moon janus), 2017, Foam, sequinned fabric, thread, plastic gems & Sculpey 35 x 30 x 25 cm

  • 2017 National Self-Portrait Prize

    Congratulations to Justine Varga and Paul Yore, who have been selected as Finalist for the invite-only 2017 National Self-Portrait Prize 2017! The $50,000 acquisitive prize will be exhibited at The University of Queensland Art Museum, and the theme for this year’s prize is Look at me looking at you. 

    The title is from the song (I’m) Stranded by The Saints. Recorded in Brisbane in 1976, (I’m) Stranded quickly became an instant Australian cult hit and is now a classic. The Saints orbited around punk rock rather than being fully-fledged members. Their intelligent, bombastic, and pioneering attitude suits a more singular outlier vision rather than being part of any hip gang or fashionable style.

    Most of the artists in Look at me looking at you are also in this spirit, revelling in aspects of the hand-made, the hand-me-down, the urgent and the everyday. They come from a diverse range of backgrounds and ages, are at different points in their careers, and create a variety of touchpoints, from celebrating the banality of the everyday through to pop music, family relationships, and the nature of identity.

    The Winner will be announced at the opening of the exhibition, which runs from November 11 to February 18.

    For the full list of participating artists, click here.

    Image: Justine Varga, Lachrymal, 2017, type C photograph, 163.5 x 122 cm, ed. of 5.

    Image: Paul Yore, Sorry, 2017, from Obscene, mixed media textile, beads, sequins, buttons, marker, acrylic, enamel, shells, stuffed toys, and found objects, 201 x 227 cm irreg.

  • Hugo Michell Gallery Open: Vipoo Srivilasa

    Hugo Michell Gallery invites you to the exhibition opening of Vipoo Srivilasa’s This might be the place, on Thursday, October 26 from 6pm.

    Srivilasa is known for his clever, quirky, zoomorphic figures, which blend the artist’s playful spirit and social conscience, just as they blend pop and folk culture.

    In this unique exhibition across the entire gallery, Srivilasa will present three aspects of his practice: The Country I Miss (2012), Home (2012), and This might be the place (2017).

    The exhibitions have been developed from Srivilasa’s interest in the effect of migration on people, society and the environment, as well as exploring the definition of home, and how we individually express it.

    Please join us to celebrate this incredible exhibition on October 26!

    Image: Vipoo Srivilasa, Coat of Arms I, 2017, from This might be the place, porcelain, cobalt oxide, ceramic, white glaze, and gold lustre, 54 x 21 x 18 cm.


  • Hugo Michell Gallery Open: Vipoo Srivilasa

    Hugo Michell Gallery invites you to the exhibition opening of Vipoo Srivilasa’s ‘This might be the place’.

    Srivilasa is known for his clever, quirky, zoomorphic figures, which blend the artist’s playful spirit and social conscience, just as they blend pop and folk culture.

    In this unique exhibition across the entire gallery, Srivilasa will present three aspects of his practice: ‘The Country I Miss’ (2012), ‘Home’ (2013), and ‘This might be the place’ (2017). The exhibitions have been developed from Srivilasa’s interest in the effect of migration on people, society and the environment, as well as exploring the definition of home, and how we individually express it.

    Please join us to celebrate this incredible exhibition on October 26!

    Courtesy of Edwina Corlette Gallery and Scott Livesey Galleries.


  • Hugo Michell Gallery Open: Paul Sloan | Pepai Jangala Carroll

    Hugo Michell Gallery invites you to the opening of Paul Sloan’s If it keeps on raining the levee’s gonna break and Pepai Jangala Carroll’s Ngayulu anu ngayuku mamaku ngurakutu, on Thursday, September 14 from 6pm.

    In If it keeps on raining, the levee’s gonna break, Paul Sloan shatters the prison cells of space and time, creating new possibilities, surreal juxtapositions, and dissident commentaries. Sloan’s latest body of work exploits the inherently disruptive and non-linear potentials of collage, while cleverly traversing the realms of drawing and printmaking.

    Representing more than 3 years of extended exploration, these works play into a rich field of practice that was established in the twentieth century by heavy-hitting luminaries such as Georges Braque, Pablo Picasso, Hannah Hoch, and Richard Hamilton. In these large-scale works, Sloan creates new spaces for contemplation. He invites unexpected things, people, and events to coalesce, allowing juxtapositions and commentaries to arise that are sometimes serious, sometimes tongue-in-cheek, yet always profoundly subversive and aesthetically powerful.


    In Pepai Jangala Carroll’s new body of work, Ngayulu anu ngayuku mamaku ngurakutu, the artist has retraced his father’s story, reconnecting with his homeland. Translating as ‘I went home to my father’s country’, the exhibition summons notions of personal heritage and belonging. Carroll travelled back to his custodial country in April 2017, having left this region as a 19-year-old after his parents passed away. Pepai has spent the last 40 years living and working in Ernabella. On this recent trip he travelled with fellow Ernabella artist Derek Jungarrayi Thompson to visit sites between Kintore, Kiwirrkura, and Lake Mackay (Wilkinkarra). Concerned with passing on this new knowledge and experience, the results are profound and sensitive.

    “I’ve gone home! I’ve followed my father’s footsteps back to his country to Ilpili, Walungurru, Ininti, Kiwirrkura, Wilkinkarra and Yumari. Now I’m going to tell that tjukurpa. It’s a big one!”

    TARNANTHI: Festival of Contemporary Aboriginal & Torres Strait Islander Art

    Please join us in celebrating these two brilliant exhibitions on September 14!

    Image: Paul Sloan, Galatic Impact, 2016, from If it keeps on raining the levee’s gonna break, archival UV print on canvas, 150 x 200 cm.


    Image: Pepai Jangala Carroll, Walungurru, 2017, from Ngayulu anu ngayuku mamaku ngurakutu, acrylic on linen, 100 x 150 cm.

  • Fiona McMonagle Joins Hugo Michell Gallery as a Represented Artist

    Hugo Michell Gallery welcomes the addition of Fiona McMonagle to our represented artists!

    Fiona McMonagle completed her studies in 2000 at the Victorian College of the Arts and has since been engaged in international residencies and exhibitions nationally. Her practice has a grounding in watercolours but her understanding of the medium and form has extended to include moving image and installation. Painting the figure, McMonagle draws inspiration from her suburban upbringing, challenging and celebrating the moments we take for granted.

    McMonagle was selected as a finalist in the 2014 and 2016, Basil Sellers Art Prize, and was the winner of the invitation-only, National Self Portrait Prize in 2015. In 2010 she undertook a residency at the Australia Council for the Arts Studio in London.

    Selected exhibitions include, Magic Object, Adelaide Biennial of Australian Art, Art Gallery of South Australia (2016); Luminous: 100 years of watercolour, National Gallery of Victoria (2016); Self Conscious: Contemporary Portraiture, Monash University Museum of Art (2012); Beleura National Works on Paper and Gaze, Redland Art Gallery, Queensland (2010) amongst others.

    Her works are held in numerous public collections, including the National Gallery of Victoria, Art Gallery of New South Wales, Art Gallery of South Australia, The National Portrait Gallery, Artbank and various university and regional galleries.

    We congratulate Fiona on all her achievements and we are thrilled to be working together in the future.

    Image: Fiona McMonagle, Princess, 2017, oil on linen 101.5 x 112 cm

  • Hugo Michell Gallery Open: Narelle Autio & Trent Parke | Philjames

    Hugo Michell Gallery invites you to the opening of our SALA exhibitions; Narelle Autio & Trent Parke’s The Seventh Wave and Philjames’ The Lite Ages, on Thursday, August 3 from 6pm!

    First exhibited in 2000, The Seventh Wave is a collaborative exhibition by acclaimed photographers Narelle Autio and partner Trent Parke.

    Penetrating the sea’s surface, they got under a nation’s skin. Their pictures catch Australians’ infinite patience in waiting for the next wave; their fearlessness in diving into the tumultuous swell; their blithe spirit in that final flick of the hair.
    – Michael Fitzgerald


    In his latest body of work, The Lite Ages, Philjames continues to intervene directly on vintage reproductions of traditional paintings with playful outcomes. Philjames presents the works as genuine artefact and elevates the status of pop culture comics such as The Simpsons and Mickey Mouse to historical significance. Humorous, entertaining and executed with faithfulness, The Lite Ages reveals the artist’s imagination and mischief.

    Please join us in celebrating the launch of these two exhibitions on August 3!

    Image: Narelle Autio, Untitled # 52, 1999 – 2000, from The Seventh Wave, silver gelatin print, 24 x 36 cm, ed. of 25; type C print, 80 x 121 cm, ed. of 15.

    Image: Philjames, Stranger and Purer, 2017, from The Lite Ages, oil on vintage offset lithograph, 42 x 52 cm.

  • Justine Varga, Winner of the 2017 Olive Cotton Photography Award

    Congratulations to Justine Varga, Winner of the 2017 Olive Cotton Award! The Olive Cotton Award for photographic portraiture is a $20,000 biennial national award for excellence in photographic portraiture, dedicated to the memory of photographer Olive Cotton. Varga’s winning piece, Maternal Line, will also be acquired for the Tweed Regional Gallery collection.

    Varga creates photographic works from an intimate exchange between a strip of film and the world that comes to be inscribed on it. Employing analogue techniques, sometimes using a camera and sometimes not, her exposures capture instantaneous moments or distill lengthy durational periods. In this portrait, Varga has imprinted directly on the negative, in collaboration with her maternal grandmother.

    Award Judge Dr Shaune Lakin the Senior Curator of Photography at the National Gallery of Australia stated:

    “While Justine’s work is very contemporary, she’s also deeply interested in the history of photography. It’s a very complex photographic portrait: it made me think a lot about the act of the making a portrait – about what it means today to make a photograph of someone else, even if in the end it doesn’t reveal what they look like. But photography has never just been about appearance. It’s also been part of the way that we experience things like memory and relationships. The image – a series of scrawls made by the artist’s grandmother directly onto a piece of film – has been printed at monumental scale. It’s a very moving portrait of the artist’s relationship with and love for her grandmother.”

    Exhibition runs until October 8 at Tweed Regional Gallery.

    Full media release here.

    Olive Cotton Award

    Image: Justine Varga, Maternal Line, 2017, chromogenic hand-printed photograph, 153 cm x 125 cm framed.