Hugo Michell Gallery invites you to the opening of ‘Jan Murphy Gallery at Hugo Michell Gallery’.
A collaborative exhibition, presenting new works from six leading contemporary artists, represented by Jan Murphy Gallery, Brisbane.
Please join us in celebrating the launch of this cross-gallery exhibition!Exhibition Opening Thursday 15 April 6-8pm
Exhibition runs from: 15 April – 15 MayHugo 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.Pictured: A.J. Taylor, Pink Ash Forest, 2021, oil on board, 122 x 153 cm
Wishing you all a safe and fun-filled Easter long weekend!
Please note, Hugo Michell Gallery will be closed across the long weekend and we will respond to your requests Tuesday 6 April.
Save the date: Thursday 15 April 2021
‘Jan Murphy Gallery at Hugo Michell Gallery’
A collaborative exhibition, presenting new works from six leading contemporary artists, represented by Jan Murphy Gallery.
Pictured: Lara Merrett, Alot can happen in a day, 2021, acrylic and ink on linen, 183 x 174 cm.
Launching this Friday, featuring new work by Kate Just, The National 2021: New Australian Art is a celebration of contemporary Australian art. The final of three biennial survey exhibitions. Through ambitious new and commissioned projects, 39 artists feature across three venues, the Art Gallery of New South Wales, Carriageworks and the Museum of Contemporary Art Australia.Kate Just’s ‘Anonymous was a woman’, is an ongoing work that involves the repetitive production of hand knitted panels (16 x 16 inch) bearing the text ‘Anonymous was a woman.’ Stretched around canvas, each uniquely coloured work resembles a textile plaque. The muted tones of the work refer to a palette of jewels or minerals, natural or long buried treasures. Assembled on the wall in a grid, the works conjure a columbarium or monument to past lives or lost artworks.The work is inspired by a quotation in Virginia Woolf’s A Room of One’s Own (1928). In this feminist polemic, Woolf questions the ways women’s authorship has been judged as inferior to that of men, and systematically made invisible. Woolf says, “I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.” Over time this quote has been rephrased as “Throughout most of history, Anonymous was a woman.” Just states, “Through the making of the work, I meditate upon the immeasurable contributions that women have made to culture and society, and mourn the losses sustained by the erasure or exclusion of many of these gifts from the canon of art history.”Pictured: Kate Just, ‘Anonymous was a woman (installation detail)’ 2019-21, knitted wool, 41 x 41 cm each panel.
Hugo Michell Gallery invites you to the opening of Richard Lewer’s ‘Richard’s Disasters, a true story’ and Honor Freeman’s ‘Sunlight for a pandemic’.*Please note*
If you wish to join us for the opening of these exhibitions, RSVP to email@example.com is essential.Richard Lewer’s ‘Richard’s Disasters’ is an autobiographical body of work that recalls some of the artists most personal experiences.“I have always used storytelling in my work to reach out to or connect people, observing and mirroring the human condition. I play with the idea of what is considered private, and put that into public space.Everyone has milestones, tragedy, or significant events that have shaped them. Here, I’m using myself as a tool to shine a light onto a few of these stories. I have had so many experiences – some of them my first memories, some deeply personal and private – that are unfortunate, embarrassing, humorous, absurd, tragic, frightening, unbelievable, or plain odd. Traumatic events like these often get buried out of sight, but I think it’s important to let down your guard, to be exposed, to be vulnerable. Sharing them in the work often means that people reach out to me, as they have had similar experiences. We so very rarely get to see each other’s vulnerabilities, but we all have burdens that we carry.”—‘Sunlight for a pandemic’, by Honor Freeman continues the artist’s exploration into the poetic potential of the simple and ubiquitous bar of soap. A small yet quietly powerful object that has gathered heightened meaning during the last 12 months. Using the mimetic qualities of clay via the process of slip casting, this sunlight series interacts with ideas of liquid made solid. The porcelain casts remember the almost obsolete objects; the liquid yellow slip solidifies becoming a precise memory of a past form – a ghost.“Yellow and its many shades, is a colour I find myself especially drawn towards and I am currently embracing a yellow phase: mustard, lemon, chartreuse, citrine, straw, ochre, gold, daffodil, sunshine, canary, saffron, turmeric, honey, sulphur.Emotive and joyous, it is the colour of sunshine, enlightenment and hope, used by ancient cultures to embody and harness the divine power of the sun. Yellow is also the colour of ‘Sunlight soap’, one of the first bar soaps to be individually packaged and marketed for the masses in 1884, and still available today, “gentle on hands, and everything they wash”.”This project has been generously supported by the Arts South Australia and the Australia Council for the Arts.Please join us in celebrating the launch of these two exhibitions!Exhibition Opening Thursday 11 March 6-8pm
Exhibition runs from: 11 March – 10 AprilHugo 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.Pictured: Richard Lewer, 92 Lewis Street., oil on brass, 50 x 50 cmPictured: Honor Freeman, Obsolescence (detail), 2021, porcelain, 32 x 32 x 3 cm
Hugo Michell Gallery welcomes the addition of Bridie Gillman to our represented artists!
Informed by ideas of place, and the ways in which experiences and memories shape personal perspective of a site, Bridie Gillman expresses these observations in paint using colour and abstract gestures. This process of responding to past experiences from the context of the studio environment offers a different way of connecting to a place.
Bridie Gillman graduated from Queensland College of Art with a Bachelor of Fine Art (First Class Honours) in 2013. Her work has been exhibited in solo and group exhibitions throughout Australia and internationally, including Museum of Brisbane, Brisbane; Casula Powerhouse Arts Centre, Sydney; The Walls, Gold Coast; Blindside, Melbourne and Run Amok, George Town, Malaysia. She was previously a finalist of the Brett Whiteley Travelling Art Scholarship, 15 Artists, the MAMA National Photography Prize, and in 2019 was winner of the Moreton Bay Region Art Award. She has undertaken residencies in Kedewatan, Indonesia, in 2019 and George Town, Malaysia, in 2015, among others.
Congratulations to Bridie on all of her achievements, we’re thrilled to be working with her!
Pictured: Bridie Gillman, Disoriented, 2021, oil and enamel on linen, 187 x 207 cm
Hugo Michell Gallery invites you to our first exhibition opening of 2021! Featuring Narelle Autio’s ‘Place In Between: The Changelings’ and ‘Neon’ with work by Kate Just, Jamie O’Connell and Min Wong.*Please note*
If you wish to join us for the opening of these exhibitions, RSVP to firstname.lastname@example.org is essential.The call of the ocean has long been a focus of Narelle Autio’s work. Spending her childhood growing up in sun-soaked Australia she has had a lifetime relationship with the beach and is fascinated by the need for many of us to return to water. A primeval need connecting us to our ancient ancestors, pulling us back to where we came. The images dive into our collective memories and speak too many of their own personal experiences.
Cinematic in nature and using the play of light and colour familiar to all her work, she captures the complex relationship and drama of our love for the sea and our willingness to risk our lives to enjoy it. – Stanley Barker Books (Place In Between)—‘Neon’ featuring works by Kate Just, Jamie O’Connell and Min Wong.Please join us in celebrating the launch of these two exhibitions!Exhibition Opening Thursday 4 February 6-8pm
Exhibition runs from: 4 February – 5 MarchHugo 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.Pictured: Narelle Autio, Changeling II, from ‘Place in Between: The Changelings’, 2020, pigment print, 162 x 110 cmPictured: Kate Just, Not Okay, 2018, neon sign, 20 x 70 cm, edition of 4
Hugo Michell Gallery would like to thank you for your support throughout a challenging year. Wishing you good health, prosperity and a fun-filled summer!
Save the date: Thursday 4 February 2021
Narelle Autio – ‘The Place In Between: The Changelings’
Kate Just, Jamie O’Connell, Min Wong – ‘Neon’
GALLERY CLOSURE DATES:
CLOSED: from 18 December 2020
OPEN: 4 February – Available by appointment from 11 January 2021Pictured: Lucas Grogan, ‘WE THINK YOU SHOULD TAKE THE DAY OFF’, 2020, ink, acrylic enamel on archival mount board, 43 x 43 cm.
Congratulations to Richard Lewer who has been announced as the winner of the Paul Guest Prize!“The Paul Guest Prize is an award and exhibition held biennially that highlights contemporary drawing practice in Australia. The Prize was initiated by former Family Court Judge and Olympic rower, The Honourable Paul Guest OAM QC and encourages artists from across Australia to engage with the important medium of drawing in contemporary art practice. The Prize is a non-acquisitive cash award of $15,000.”Of the winning work Lewer states:“Drawing is the foundation of my art practice, I appreciate that it is immediate, unpretentious and uncomplicated. From a personal point of view, drawing plays a fundamental role in my wellbeing, it is where I go to escape when I need to deal with my demons, it is the best way I know to become healthy.”Finalist Exhibition: till 7 February 2021. Bendigo Art Gallery.
For more information click here.
Pictured: Richard Lewer, ‘2020’, 2020, charcoal on museum rag board, 100 x 150 cm.
We’re thrilled to see that Paul Sloan’s majestic, mirrored pigeon has become an overnight icon for South Australia! The 2.3 m tall sculpture, which was unveiled on 6 November, has been drawing record crowds to Adelaide’s Rundle Mall.
Simply titled ‘Pigeon’, the striking work sits in good company close to Bert Flugelman’s ‘Spheres’ and Lyndon Dadswell’s ‘Progress.’
‘Pigeon’ is the world’s first large-scale, permanent public artwork of the internationally omnipresent bird. It is also Paul’s first major public art work.
Commissioned in 2019 as part of the City of Adelaide’s Gawler Place Upgrade, it is one of the city’s most significant commissions in recent times.
Paul is interested in examining that which often escapes our attention. Ubiquitous, yet often overlooked the sculpture elevates the humble pigeon to the realm of awe and wonder.
For many years, Paul has studied the form and symbolism of this common bird. For him, the pigeon speaks of migration and immigration, it connects the urban realm to the natural world, suggests navigation and homing instincts, reminds us of the messages and news we bring each other, and is a unifying feature of cities across the globe.
Birds, navigation, history and the natural world are all enduring themes of exploration in Paul’s work, as are geometric abstraction and mirrored surfaces.
Through the poetry of geometry and the escapism of the spectacle, this sculpture playfully disrupts the everyday. Through its mirrored surfaces, it reflects its viewer, environment and surrounding architecture while inviting closer inspection.
The work speaks of the built world (materials, structures and sculptures), of the natural world (birds and abstracted natural, geological forms), of direction, movement and mapping. It generates intrigue, makes passers-by stop, investigate, circumnavigate and explore the artwork.
Recognised as a homing pigeon from the band on its leg, the bird’s place of residence is recorded in GPS coordinates – cementing a sense of place and patriality for everything this resilient, remarkable bird symbolises.
Despite its fledgling status, for many the sensitively considered sculpture seems like it has always been in the public realm – a masterful achievement for this artist’s first major public art commission.
Congratulations to Paul!
Pictured: Paul Sloan, Pigeon, Adelaide, Australia, 2020. Sam Roberts Photography
Edit: Gallery Open as of 24 NovemberIn line with SA government direction, our gallery spaces are now temporarily closed. As always, we are accessible online and you can contact the gallery directly to receive digital materials regarding exhibitions and available works.All orders through the Hugo Michell Gallery online shop will be processed once we are able to return to the gallery.It is important for our cultural sector that we continue to support artists and creative outcomes. We extend our support and sympathy to all impacted in our community.Look forward to seeing you in person, on the other side!Pictured: Paul Yore, HANG IN THERE, 2020, Wool needlepoint, 45 x 29 cm (irreg)