• Paul Yore’s ‘IT’S ALL WRONG BUT IT’S ALRIGHT’, Dark Mofo 2019, Tasmania

    Paul Yore’s ‘IT’S ALL WRONG BUT IT’S ALRIGHT’ installation on display at Black Temple Gallery during Dark Mofo 2019, a technicolour chapel in which to worship Dolly Parton, Justin Bieber and other icons of love, sex and excess.

    Images courtesy of Dark Mofo, Hobart, Tasmania.

  • Hugo Michell Gallery Open: Amy Joy Watson | Grant Parke

    Hugo Michell Gallery invites you to the opening of Amy Joy Watson’s ‘Super Natural Geologies’ and Grant Parke’s ‘Every Person on the B10 Bus’ on Thursday August 1, 6- 8pm.
    In ‘Super Natural Geologies’, Amy Joy Watson’s shimmering embroideries and rainbow wire hills reimagine utopic landscapes, moving beyond the natural world as we know it. The geometric quality of these threaded surfaces references the artist’s earlier sculptural works, with spatial planes and strata described by directional lines of thread. During a trip to Arkaroola, Watson was struck by how ancient the landscape was – commonly thought to hold the earliest examples of life on earth. Having grown up believing that the earth was only 6,000 years old, and created in 6 days by a supernatural act of God, Watson investigates this fantastical idea and how it is contradicted by Yura Muda (Adnyamathanha Dreaming), geology and the notion of ‘deep time’. She responds by lovingly and laboriously weaving and stitching – a nod to the possible billion years it took for this landscape to evolve.
    ‘Every Person on the B10 Bus’ by Grant Parke presents a selection of drawings and animation from a 3 year project anonymously documenting people on their daily commute.
    “I first started these drawings sometime in 2015. I’d moved to Adelaide not long before and was spending a lot of time on public transport, more specifically the B10 bus. I wanted to make use of this time for something constructive. It was never supposed to be anything more than practice and didn’t look likely to be anything more given the rocky nature of bus travel. I chose drawing for two reasons. One, I didn’t know anyone in Adelaide and was desperate to feel some connection with people and two, I’d become scared of drawing. The first reason has been a theme throughout many years of work and the drive for even making it in the first place, trying to find something human in humans. Something beyond the surface. That is why all my subjects were observed without their knowledge. I was looking for an unguarded moment that revealed something of their nature.”
    Please join us in celebrating the launch of these two SALA Festival exhibitions!
    Hugo Michell Gallery acknowledges the Kaurna people as the traditional custodians of the Adelaide region, and that their cultural and heritage beliefs are still as important to the living Kaurna people today.

    Image: Amy Joy Watson, Arkaroola 4, 2018, metallic thread and watercolour on paper, 103 x 154 cm

    Image: Grant Parke, Passenger 106, 2019, pen on paper, 14.8 x 21 cm

  • Ildiko Kovacs’ ‘The DNA of Colour’ at ANU Drill Hall Gallery

    Ildiko Kovacs’ ‘The DNA of Colour’ is now showing at ANU Drill Hall Gallery, Canberra. The exhibition displays a decade of Kovacs’ roller paintings, linking the looped, spiral lines with the double helix structure of genetic material.

    “In thinking about Kovacs’ abstract paintings I was struck by the resemblance of her spiralling lines to the coils of DNA … Her rippling forms seem to twist into a vortex or follow an unravelling double helix pattern. The DNA code is a metaphor for the way these paintings unfold and move with colour, sparked by an excavation of inner feelings and intuition…”

    Sioux Garside, curator for Orange Regional Gallery and the Drill Hall Gallery

    ‘The DNA of Colour’ is on show until August 11.

    Installation images, ANU Drill Hall Gallery, Canberra. Images courtesy of Rob Little.

  • Janet Laurence’s ‘The Palm at the End of the Mind’ at The Johnston Collection

    Janet Laurence explores the Johnston Collection within the context of her own practice – saving, collecting and preserving the natural environment, as written in the Sydney Morning Herald,

    Laurence wants her site-specific art installation – the latest instalment in the museum’s “house of ideas” series, opening this Monday – to reflect how gardening “was a big thing in William Johnston’s life and in his mind”. “He had a garden here and another elsewhere. A garden becomes very important to a person. You create it and it grows with your help and, while I was in this house, I thought about that.”

    Read the full article online.

    Exhibition runs July 8 – Sept 17 at the Johnston Collection, East Melbourne.

    Installation images at The Johnston Collection. Photo credit Luts Photography and The Johnston Collection.
  • James Dodd FINALIST in Sunshine Coast Art Prize

    Congratulations to James Dodd who has been announced as a FINALIST in the Sunshine Coast Art Prize! Presented by Sunshine Coast Council, the award is open to any artist who is an Australian resident, working in a 2D medium. The recipient of the $25,000 Art Prize will have their work acquired by Sunshine Coast Art Collection.

    Finalist exhibition opens July 25 at Caloundra Regional Gallery, with the winner announced August 29.

    To read full details, click here.

    Image: James Dodd, Mill Painting (Orange and Purple), 2018, acrylic on canvas, 96 x 96 cm
  • Hugo Michell Gallery Open: Sally Bourke| Narelle Autio

    Hugo Michell Gallery invites you to the opening of Sally Bourke’s ‘The Quick Brown Fox’ and Narelle Autio’s ‘around a golden sun’.

    Sally Bourke is a Newcastle-based artist with a firm footing in painting. An obsessive maker, Bourke has a rigorous approach to her day-to-day studio practice. These habitual processes are evident in her paintings, which often depict an image archive reconciling experiences from the past. Though abstract, Bourke’s paintings are curiously recognisable, a celebration of personal encounter and memory.

    Of ‘The Quick Brown Fox’, Bourke states: “Travelling in remote areas as a child taught me to look carefully. The places I went felt isolating and, at times, dangerous. I used to tag along on hunting trips with my dad in order to be closer to him. Experiences in the Australian bush had a profound effect on my visual language and mark-making. The landscape in Western NSW is brutal and beautiful, soaked in deep human cultures that are precariously perched on top, at times not understanding the depth of what they are in.

    I wanted to be in my dad’s company, but I knew the deal: It meant being captive to the environment, while simultaneously up against death. It’s one of the places that keeps drawing me back, to blind faith, and the human condition – the dark bargain of intimacy.

    The portraits are different versions of the same protagonist. The huntress and her counterparts, a domestic interior, a room of one’s own.”

    Narelle Autio’s vibrant and award-winning images of Australian outback and coastal life have won her impressive national and international acclaim and captured the hearts and imaginations of viewers. One beauty of Autio’s work is its ability to speak to so many people about their own experience of being coastal dwellers. Another is the play of colour and light in the photographs, giving them a magic and painterly quality that transcends the usual depictions of the beach. Autio’s images give back to the coastline the complexity, drama, and beauty that are eroded by postcards and clichés.

    “I love those hot, windless summer evenings. There is a quiet stillness to the world that seems magnified by the mirrored surface of the sea. The last fingers of sun loiter over the beach, reaching out hanging on to the day.

    Warmed by the inferno that was the day, the water is busy. A melting pot of humanity. Families and dog walkers, sun worshippers, teenagers and lovers come to sit and play in this big beautiful pond of water that hugs Adelaide’s coast. The ocean is calm and embracing, restoring us but perhaps it is an illusion. Maybe the magic hour is hiding a truth.

    There is an old story I’ve heard, a myth probably… a frog in a pot of cold water. If you turn the temperature up slowly it won’t feel it. The frog will not try and save itself. Sitting quietly, comfortably. Slowly boiling itself to death. The change in temperature so gradual it won’t realise till it is too late.”

    Please join us in celebrating the launch of these two incredible exhibitions!

    Hugo Michell Gallery acknowledges the Kaurna people as the traditional custodians of the Adelaide region, and that their cultural and heritage beliefs are still as important to the living Kaurna people today.

    Image: Sally Bourke, The Stand, 2019, oil and acrylic on canvas, 183 x 153 cm

    Image: Narelle Autio, Beyond, 2019, from ‘around a golden sun’, pigment print, 80 x 80 cm, edition of 6

  • Fiona McMonagle WINNER of the ‘Local Art Prize’ in Bayside Acquisitive Art Prize

    Congratulations to Fiona McMonagle who has been announced as the WINNER of the $3,000 Local Art Prize in the Bayside Acquisitive Art Prize for her painting Toast with jam.

    Fiona has strong ties to Bayside having spent her formative years as an artist living in Brighton East. Curator, Joanna Bosse said Toast with jam was imbued with a heavy nostalgia akin to a forgotten family photograph.

    “McMonagle’s painterly treatment of the figure is delicate and nuanced and she manages to capture the self-satisfaction of the quiet pleasure of eating toast with jam,”

    Joanna Bosse

    The 2019 art prize was judged by Jane Devery, Curator, Contemporary Art, National Gallery of Victoria, Anthony Fitzpatrick, Curator, TarraWarra Museum of Art and Joanna Bosse, Curator, Bayside Gallery.

    Finalist exhibition at Bayside Gallery will run 24 May–21 July, 2019

    Read more here.

    Image: Fiona McMonagle, Toast with jam, 2018, oil on linen, 77 x 72.5 cm

  • Fiona McMonagle FINALIST in Bayside Acquisitive Art Prize

    Congratulations to Fiona McMonagle who has been announced as a FINALIST in the Bayside Acquisitive Art Prize!

    Established in 2015, the Bayside Acquisitive Art Prize is a celebration of contemporary Australian painting. The finalist exhibition brings together a broad range of artists, both established and lesser known, whose varied approaches to the painted medium conveys the breadth and diversity of painting in Australia today.

    The annual prize valued at $15,000, is an important opportunity for Bayside City Council to add exceptional works of art to its collection and to promote art and artists as a valuable part of the Bayside community. The three categories of the prize are judged by a panel of industry experts.

    2019 BAAP judging panel is Jane Devery, Curator, Contemporary Art, National Gallery of Victoria, Anthony Fitzpatrick Curator, TarraWarra Museum of Art, and Joanna Bosse Curator, Bayside Gallery.

    Finalist exhibition at Bayside Gallery will run 24 May–21 July, with the winner announced on 23 May.

    Image: Fiona McMonagle, Toast with jam, 2018, oil on linen, 77 x 72.5 cm

  • Elvis Richardson and Tim Sterling FINALISTS in Nillumbik Prize for Contemporary Art

    Congratulations to Elvis Richardson and Tim Sterling who have been announced as FINALISTS in the Nillumbik Prize for Contemporary Art! Presented by the Nillumbik Shire Council this biannual acquisitive art prize is open to emerging and established artists working in any medium across Australia.

    The recipient of the $20,000 Open Prize and the $10,000 Local Prize will be announced at the opening of the finalist exhibition on 30 May. The judges for the prize are Godwin Bradbeer Artist, Charlotte Day Director, Monash University Museum of Art and Danny Lacy Senior Curator, Mornington Peninsula Regional Gallery.

    Exhibition launches May 30 at Barn Gallery Montsalvat.

    Image: Tim Sterling, Page 15 (detail), 2012, archival marker on paper, 164 x 224 cm
    Image: Elvis Richardson, Settlement, 2018, modified found wrought iron gate & concrete bricks, 180 x 110 cm
  • Sera Waters in May issue of the Adelaide Review

    Sera Waters is featured in the May issue of the Adelaide Review in the lead up to her exhibition at Hugo Michell Gallery, ‘Dazzleland’.

    Dazzleland is Waters’ first major exhibition of completely new work since she finished her PhD last year and it is marked by a more experimental approach with the inclusion of textile techniques, including colonial knots and cross-stitch. The exhibition is the next iteration of Domestic Acts, exhibited at ACE Open in 2017, where Waters delved into her family history in order to interrogate the ongoing legacies of colonial homemaking. Dazzleland, which plays on Adelaide’s history with a cheeky reference to the Myer Centre’s infamous amusement attraction of the early 1990s, mostly refers to the Australian mineral booms, which attracted many migrants over many generations, including the artist’s ancestors.

    “We have family history in copper mining with family members also heading over to the gold rush,” Waters says. “At the time it was a dazzling new place and I’m interested in the after effects of what it means to take all the resources out without due care.”

    Read the full article online.

    Image: Sera Waters, (H)armless, 2019, found woollen needlework, wool, cotton, stuffing, pine scent, 100 cm diameter