IMANTS TILLERS

IMANTS TILLERS has been interviewed for an article in Art Guide about the upcoming exhibition Fred Williams in the You Yangs at the Geelong Gallery. In the article, TILLERS discusses the influence of Williams in his work and Australian landscape painting.

You can read the full article here.

Imants Tillers, At the Beggining, 2013, acrylic, gouache on 54 canvas boards, 229 x 213 cm

Imants Tillers, At the Beggining, 2013, acrylic, gouache on 54 canvas boards, 229 x 213 cm

IMANTS TILLERS

Imants Tillers, Breakfast Epiphany (with 9 panels by Michael Nelson Jagamara), 2014, synthetic polymer paint, gouache on 54 canvas boards, 228.6 x 213.4 cm

Imants Tillers, Breakfast Epiphany (with 9 panels by Michael Nelson Jagamara), 2014, synthetic polymer paint, gouache on 54 canvas boards, 228.6 x 213.4 cm

IMANTS TILLERS will be opening next week the exhibition Meeting Place - Michael Nelson Jagamara & Imants Tillers at the Parliament House in Canberra. The show will include collaborative and individual works from the 1980's until present. 

The collaboration between TILLERS and Jagamara began in 2001, sending canvas boards backwards and forwards between their studios in Papunya NT and Cooma NSW to create significant large scale works.

The exhibition will be open from 17 August - 12 November.

For more information, click here.

 

TRACY SARROFF

Tracy Sarroff, Light Buoys, 2017, Install view, Photo: John Gollings

Tracy Sarroff, Light Buoys, 2017, Install view, Photo: John Gollings

TRACY SARROFF's latest public commission was officially opened by Martin Foley, MP, Victorian Minister for the Creative Industries on 1st August 2017.

Located in Melbourne's Docklands, Light Buoys is an ambitious site specific and interactive light-based sculptural artwork.

The work, commissioned by Mirvac for Development Victoria and the City of Melbourne rises six metres at its highest point and approximately 50 metres along the length of the moat. Consisting of 16 buoyant crystalline shards made from cloudy acrylic of varying heights, each shard incorporates LEDs housed within the stainless-steel buoys to illuminate the acrylic with colourful glows activated by passing pedestrians on the lower promenade via ultrasonic sensors; resembling a life form recognising or responding to another life form.

In the press:

Urban Melbourne

Property Observer

NIKE SAVVAS

NIKE SAVVAS will be discussing her installation-based practice at the Anne & Gordon Samstag Museum, 55 North Terrace, Adelaide, on Tuesday 8 August, 1.30-2.30pm. 

More information > 

Nike Savvas, 2016 (detail), installation view, Anne & Gordon Samstag Museum of Art. Photograph by Sam Noonan.

Nike Savvas, 2016 (detail), installation view, Anne & Gordon Samstag Museum of Art. Photograph by Sam Noonan.

CATHERINE WOO

Catherine Woo, Glimmer (Detail), 2017, mixed media on aluminium, 120 x 120 cm

Catherine Woo, Glimmer (Detail), 2017, mixed media on aluminium, 120 x 120 cm

A master of the surface and abstraction, Catherine Woo’s striking new body of work is the product of an instinctive and powerful alliance with the natural forces that surround us.

For her third solo exhibition at ARC ONE Gallery, Woo continues to explore the mutable boundaries and energies in our relationship with the environment. In these latest works, she employs the concept of the mirage to explore a particular effect of light, at once shimmering and illusory, that dances between real and apparent movement.

Through the application of reflective materials, Woo probes the shifting territory
between what is real (light) and what is manifested in our mind’s eye, effectively highlighting the fluid nature of perception. Drawing on raw materials and natural techniques, the rippled surfaces of her paintings not only evoke the natural world – undulations of water, formations of earth, glistening sand – but are also shaped by it:

“Using a collaborative approach with natural processes and materials – interactions of water, vibration and evaporation giving agency to matter - I am seeking to use process rather than representation to describe this ephemeral quality of light moving in waves; at once trying to capture something in material form whilst acknowledging its essentially elusive quality.” - Catherine Woo, 2017

Woo’s innovative approach to painting is imbued in these remarkable works. Layered and textured, shimmering and ethereal, they simultaneously speak to themes of beauty, nature, and geography, while resisting representation in the pursuit of more philosophical concerns. As with the mirage, they deftly balance between what we know and what we believe we see.

PAT BRASSINGTON

Congratulations to PAT BRASSINGTON who has been awarded the inaugural $50,000 Don Macfarlane Prize.

Established and named in honour of respected Melbourne businessman, Donald (Don) Macfarlane, the Prize is a new $50,000 award given annually to a senior Australian artist in recognition of their unwavering, agenda-setting arts practice, ongoing cultural contribution and leadership, and commitment to mentorship.

Decided unanimously by an Advisory Committee that includes senior members of Australia’s visual arts community, the Macfarlane Prize recognizes Brassington’s groundbreaking, enduring career, which spans four decades. 

Pat Brassington's next exhibition at ARC ONE Gallery will be in 2018.

ANNE ZAHALKA

CONGRATULATIONS to ANNE ZAHALKA! Her work, The Papapetrou Family, was highly commended by Judge and NGA Senior Curator, Dr Shaune Lakin, in the 2017 Olive Cotton Award, and was Winner of the Director’s Choice Award.

Anne’s theatrical and highly constructed portrait of celebrated photographer Polixeni Papapetrou, The Age art critic Robert Nelson, their children Solomon and Olympia and their rescue greyhounds Lexi and Mille, has been acquired for the Tweed Regional Gallery's Permanent Collection.

The exhibition is on view until Sunday 8 October 2017 at Tweed Regional Art Gallery. 

More information > 

Anne Zahalka, The Papapetrou Family, 2017, dye sublimation on chromalux metal, 80 x 80 cm.

Anne Zahalka, The Papapetrou Family, 2017, dye sublimation on chromalux metal, 80 x 80 cm.

GUAN WEI

Guan Wei, Reflection #10, 2016, acrylic on canvas, 127 x 159 cm.

Guan Wei, Reflection #10, 2016, acrylic on canvas, 127 x 159 cm.

Congratulations to GUAN WEI, who has been selected as a Finalist in the Wynne Prize 2017, with his painting, Reflection #10. The Wynne Prize is awarded annually for 'the best landscape painting of Australian scenery in oils or watercolours or for the best example of figure sculpture by Australian artists’.

"Reflection #10 is inspired by the images of 17th and 18th-century ceramics and textiles related to explorations, discovering new land and utopia. Like a mirror, these works superimpose, reflect and mix the history and reality, culture and society of the country in which I find myself, together with my personal imagination and my home country’s history through time. Beyond the narrative of history, Reflection #10 discusses the sensitive, fragile, yet deep and serene psychological world of humans: where we are from, where we are going."

Guan Wei, 2017

The Archibald, Wynne and Sulman Prizes exhibition will be on view from 29 July - 22 October 2017 at the Art Gallery of NSW. The Winners will be announced on 28 July at 12pm.

More information >

GUAN WEI

Congratulations to GUAN WEI, who received a Highly Commended Award in the inaugural Hadley's Art Prize 2017. The exhibition is now on view at Hadley's Orient Hotel in Hobart, Tasmania, until 25 August 2017. 

More information >

Read the Art Guide article here >

Guan Wei, Reflection No.5, acrylic on canvas, 127 x 104cm.

Guan Wei, Reflection No.5, acrylic on canvas, 127 x 104cm.

DANI MARTI

DANI MARTI's solo exhibition, I AM, has been listed as one of the ten things to see, hear and do this weekend by The Age Newspaper

Read about it here

Dani Marti, Pointless (Salmon), 2017, customised corner cube reflectors, glass beads on aluminium frame, 90 x 90 x 28cm. 

Dani Marti, Pointless (Salmon), 2017, customised corner cube reflectors, glass beads on aluminium frame, 90 x 90 x 28cm. 

PAT BRASSINGTON

Pat Brassington, Drink Me, 1997, Inkjet print, 100 x 80cm. 

Pat Brassington, Drink Me, 1997, Inkjet print, 100 x 80cm. 

Excellent review of PAT BRASSINGTON's solo exhibition, The Body Electric, in the latest issue of the British Journal of Photography. Daniel Boetker-Smith writes:
"...Brassington's frequently childlike approach to the construction of images...are not acutely scientific or perfect but give the viewer the feeling of happening upon a cabinet of curios and obscure specimens."

The Body Electric opens at the Art Gallery of New South Wales on Saturday 19 August 2017. 

Read the full review here

PAT BRASSINGTON

PAT BRASSINGTON is exhibiting works in the group exhibition, Contemporising the Modern: Photography from the 20th and 21st Century at the Muswellbrook Regional Arts Centre, NSW. 

The exhibition showcases photographic works collected by Russell Mills and donated to the Murray Art Museum Albury, MAMA in 2015. The collection explores the development of Australian photography and its coming of age in a period when photographers were investigating and pushing the boundaries of the acceptance of photography as a pure art form. 

Opening Friday 7 July, and continuing until Sunday 27 August 2017. 

Find out more here

More in the press here

Pat Brassington, The Permissions #4, 2013, pigment print, 21 x 18cm. 

Pat Brassington, The Permissions #4, 2013, pigment print, 21 x 18cm. 

Pat Brassington, The Permissions #6, 2013, pigment print, 21 x 18cm. 

Pat Brassington, The Permissions #6, 2013, pigment print, 21 x 18cm. 

JANET LAURENCE

JANET LAURENCE is currently in a group exhibition titled Moving Plants, at Rønnebæks Holm, Denmark. Curated by Line Thorsen, Moving Plants is an exhibition that centres on plants as a focal point for making local and global connections between aesthetic engagements with ecological issues and practices of concern.

Laurence's work is on view along with Watanabe Koichi, Yukiki Iwatani, Yeung Lin On, Camilla Berner, Wai Yi-Lai, Åsa Sonjasdotter, and Karin Lorentzen.

Exhibition dates: 1 July to 24 September 2017.

For more information, click here.

JULIE RRAP

Image: Julie Rrap, Vital Statistics, 1997, fibreglass, rubber, synthetic polymer paint, chromed metal, cibachrome photographs. 

Image: Julie Rrap, Vital Statistics, 1997, fibreglass, rubber, synthetic polymer paint, chromed metal, cibachrome photographs. 

JULIE RRAP has work in the exhibition Every Brilliant Eye: Australian Art of the 1990s at the National Gallery of Victoria.

Curated by Jane Devery and Pip Wallis, Every Brilliant Eye explores a decade in Australian art, drawn from the NGV Collection.

The exhibition continues until 1 October 2017. 

Find out more here

TRACY SARROFF

We are excited to announce that TRACY SARROFF's commissioned public art work Light Buoys is only a few weeks away from unveiling. 

Located at Riverside Moat, 100 Lorimer St the installation comprises 16 buoyant crystalline shards that vary in size and resemble the wallaby grasses that grew in the area before the city’s development.

The Minister for Creative Industries and local MP, Martin Foley, will officially launch the work on Tuesday 1 August 1, 6–8pm.

Read an article on the work here

Image: the artist, Tracy Sarroff, with her installation Light Buoys, Docklands. 

Image: the artist, Tracy Sarroff, with her installation Light Buoys, Docklands. 

JANET LAURENCE

Images: Janet Laurence, Inside the Flower (installation view), 2017; photos: Leslie Ranzoni, Michael Geßner. 

Images: Janet Laurence, Inside the Flower (installation view), 2017; photos: Leslie Ranzoni, Michael Geßner. 

JANET LAURENCE's experiential medicinal garden, Inside the Flower, is currently on view at the International Garden Exposition (IGA) Berlin. The experiential contemporary medicinal garden immerses visitors into the historical, spiritual and mythological relationship with psychotropic plants. 

The installation is on view until 15 October 2017.

Press coverage for Inside the Flower can be found here: 

ArchitectureAU 

ArchDaily

ARQA

Inhabitat 

Archello 

AASA

DIVISARE

DArA

90 + 10 Magazine

 

JANET LAURENCE

JANET LAURENCE is part of a forthcoming exhibition, WARNING SHOT, at TOPOGRAPHIE DE L’ART, Paris, from 4 - 27 July 2017. Curated by Barbara Polla, the exhibition includes artists Amy Balkin, Ursula Biemann, Janet Biggs, Shaun Gladwell, Janet Laurence, Joanna Malinowska & Gianluigi Maria Masucci and centres on the theme of beauty and ecology.

Janet Laurence will also participate in a conference and conversation with Nathalie Blanc and Paul Ardenne on Friday 7 July at 6pm, titled 'Alert and care to our environment: the place of art'. 

More information (in French) can be found here.

 

Janet Laurence, Deep Breathing: Resuscitation for the Reef, installation view

Janet Laurence, Deep Breathing: Resuscitation for the Reef, installation view

MARIA FERNANDA CARDOSO

MARIA FERNANDA CARDOSO has written an insightful article on the integration of art and science in scientific modelling. The article, Making sense of artful science: the art of model making in the natural sciences, accompanies her work in the exhibition A Working Model of the World.

Currently showing at UNSW Galleries, the exhibition explores the practical, philosophical and symbolic work that models do for us, and asks how we use models to contemplate, experiment, invent and teach.

Read the article here

 

Maria Fernanda Cardoso, Pollen is Male 2, 2014, nylon, glue, desert sand, 6.1 x 5.8 x 5.6cm. 

Maria Fernanda Cardoso, Pollen is Male 2, 2014, nylon, glue, desert sand, 6.1 x 5.8 x 5.6cm. 

IMANTS TILLERS

IMANTS TILLERS has published an article, Metafisica Australe, in the latest issue of Art + Australia. 

To read the article visit the publication's website here.