Sydney Contemporary, Australasia’s international art fair, returns in 2019 with the country’s largest and most diverse gathering of local and international galleries.
Hugo Michell Gallery are thrilled to return to Sydney Contemporary, presenting new works from represented artists; Lucas Grogan, Fiona McMonalge, Trent Parke, Julia Robinson, Justine Varga and a selection of works by Sally Bourke, Ildiko Kovacs, Sera Waters and Amy Joy Watson.
We’re honoured to present in conjunction with Buku-Larrnggay Mulka, the final work by esteemed artist, the late Nawurapu Wunuŋmurr.
Register your interest to receive additional information regarding this presentation by emailing, firstname.lastname@example.org
Pictured: Nawurapu Wunuŋmurra, Larrakitij (installation view)
Congratulations to James Dodd who has been selected as a finalist in the Tatiara Art prize 2019 for his work ‘Mill Painting (Running Rocks)’. The $10,000 prize held at the Walkway Gallery in Bordertown aims to “discover new talents, invigorate artistic passions and support local artists from across the Tatiara.” The winner will be announced on the opening September 20 and runs until November 1.
Pictured: James Dodd, ‘Mill Painting (Running Rocks)’, 2019, acrylic on canvas, 140 x 100 cm
Hugo Michell Gallery invites you to the opening of ‘Figure & Ground’, a group exhibition of contemporary photography showing work from Gerwyn Davis, Claire Lambe, Fabian Muir, Polixeni Papapetrou and Dr. Christian Thompson AO, and the opening of Claudia Nicholson’s ‘Go Gently’ on Thursday 29 August 6-8pm.
‘Figure & Ground’ presents a selection of photography that positions the figure as a disruptive agent between lens and ground, allowing contemporary issues to enter the frame. Identity, displacement, gender and class unsettle the image, while a play between image/photograph and reality/theatricality reinforce the dynamic quality of contemporary photography as a curious surface – mirrored or transparent.
Claudia Nicholson’s ‘Go Gently’ reconfigures colonial depictions of first contact in the Americas, embedding the work with folklore and personal histories in a bid to disrupt colonial narratives. Nicholson began assembling this body of work during a residency on Dharawal land (Campbelltown). These works honour several significant bodies of water including Minerva Pools, a traditional Dharawal site for women and children, and Lake Siecha in Colombia, a sacred site for the Muisca people which has been repeatedly drained in search for gold. In these landscapes, where bodies of water leak into each other, to conflate time, myth and ecologies – Nicholson gestures to a shared persistence between these sites in the face of ongoing colonisation. ‘Go Gently’ draws on the NSW landscape and magic realism to create a slippage between two worlds.
Please join us in celebrating the launch of these two exhibitions!
Exhibitions run until the 21 September 2019.
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.
Pictured: Gerwyn Davis, Okinawa II, 2018, archival inkjet print, 120 x 93 cm, edition of 8 + 1AP
Pictured: Claudia Nicholson, I felt the rumour of the river and you/ Coutra ngara the bada yuru I, 2018, watercolour, ink, diamantes, pearl pigment on paper, 58 x 76 cm
Congratulations to Djambawa Murawili AM for being awarded the the prestigious 2019 Telstra National Aboriginal & Torres Strait Islander Art Award! We are excited to be exhibiting the work of Djambawa Marawili AM as part of our TARNANTHI Festival exhibition, ‘Mittji – The Group’. “This masterwork by a senior Yolŋu man manifests tremendous spirit, power and energy. The scale is remarkable, and Djambawa Marawili’s virtuosic use of natural materials and intricate and complex brushwork, honed over decades of dedicated practice, created dynamic flows and movement across the immense bark. the personal narrative within the work articulates his leading role in sharing Yolŋu philosophy with the world.” – Judges’ comments.
We also extend our congratulations to Malaluba Gumana, Winner of the Wandjuk Marika Memorial 3D Award and Nongirrna Marawili, Winner of the Telstra Bark Painting Award; who will also be exhibiting with us during TARNANTHI Festival.
Pictured: Djambawa Marawili AM winner of the 2019 Telstra Art Award in front of his work ‘Journey to America’.
Pictured: Malaluba Gumana, Winner of the 2019 Wandjuk Marika Memorial 3D Award pictured in front of her work ‘Rainbows in the Lilies’.
Pictured: Nongirrna Marawili, Winner of the 2019 Telstra Bark Painting Award, pictured in front of her work ‘Lightning Strikes’.
Congratulations to Justine Varga who has been selected as a finalist in the Bowness Photography Prize 2019, presented by Monash Gallery of Art, for her work ‘Overlay’.
“The Bowness Photography Prize has become an important survey of contemporary photographic practice and one of the most prestigious prizes in the country, providing Australian artists with the opportunity to exhibit at one of Australia’s leading public galleries. Since 2017 the prize has been acquisitive and the $30,000 cash prize awarded to the winner ensures that it continues to provide a significant boost to an artist’s career.”
Exhibition runs from October 5 to November 17, with the winner announced October 10.
Pictured: Justine Varga, Overlay, 2016-18, from Areola, chromogenic photograph, 125 x 110cm, edition of 5
James Dodd is exhibiting a selection of recent paintings from his ‘Painting Mill Project’ in ‘Motion’ at the Hahndorf Academy as part of SALA Festival. Dodd will also be exhibiting a number of contraptions that encompass multiple roles: sculpture, tool and performance prop.
“James Dodd has a practice that meanders across a range of different outcomes. He has a curiosity for machines, tinkering, backyard adaptation and the way in which these things might be incorporated into a visual arts practice. “
‘Motion’ is showing at the Hahndorf Academy until Sunday September 15.
James Dodd will also be running a kids workshop on ‘Making Machines that Make Art’ on Saturday 17 August, where participants will be able to develop, make and take home their own art machine.
See Hahndorf Academy website for full details.
Pictured: James Dodd, ‘Mill Painting (Candy Crash)’ detail, 2019, acrylic on canvas
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 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.
Pictured: Amy Joy Watson, Arkaroola 4, 2018, metallic thread and watercolour on paper, 103 x 154 cm
Pictured: Grant Parke, Passenger 106, 2019, pen on paper, 14.8 x 21 cm
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.
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.”
Exhibition runs July 8 – Sept 17 at the Johnston Collection, East Melbourne.