TRACY SARROFF

Tracy Sarroff,  Rhizopoda Radiaria , 2008, perspex with light component, 54 x 44 x 44 cm.

Tracy Sarroff, Rhizopoda Radiaria, 2008, perspex with light component, 54 x 44 x 44 cm.

TRACY SARROFF is included in Let There Be Light currently showing at the Justin Art House Museum. The exhibition features a range of immersive works that reflect upon the powerful force that light plays on the human psyche.


The exhibition continues until 12 June 2019.

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LYDIA WEGNER

Lydia Wegner,  Orange Push , 2019, archival inkjet print, steel frame, 120 x 80 cm.

Lydia Wegner, Orange Push, 2019, archival inkjet print, steel frame, 120 x 80 cm.

Lydia Wegner’s third solo exhibition at ARC ONE Gallery, Shifting Light, articulates a curiosity of illusion and light, shadow and form, and the unexpected dissolve of reality. An opening reception will be held on Thursday 14 March, 6-8pm.

Featuring a suite of twelve new works, Shifting Light continues Lydia Wegner’s ongoing exploration of staged photography and visual abstraction. Conjured from analogue processes that manipulate form, colour, and shape, these works stretch our perception to the limit as fixed space and familiar objects are transformed into illusionary abstraction.

Wegner’s works emerge from the tabletop of her studio as the artist carefully layers and balances found objects, coloured and transparent papers, and other visual materials to form ephemeral assemblages. White lights and coloured lighting gels cast sharp lines, bold colour, soft haze, and shadow while mirrors reflect and refract causing a distortion of scale, perspective, and space. These precarious constructions and chance moments are then photographed by Wegner and resolved as inkjet prints. For Wegner, “There’s a kind of magic which happens when I use the camera. You get an image that you may not be able to see by the eye.”

Lydia Wegner,  Purple Split , 2019, archival inkjet print, steel frame, 120 x 80 cm.

Lydia Wegner, Purple Split, 2019, archival inkjet print, steel frame, 120 x 80 cm.

In these works, the viewer is confronted by a flattening of space, a colliding of weightless geometric forms, blocks of vibrant colour, shadows, sheens, and textures born from their material construction but now released from it. Recalling the history of formalism, particularly the Bauhaus geometry of László Moholy-Nagy (1895 – 1946), and the conceptual photography of Barbara Kaston (b. 1936), these sculptural studies dissolve reality into pure abstraction.

Lydia Wegner graduated with a Bachelor of Fine Arts, Honours, from the Victorian College of the Arts in 2011. Recent solo exhibitions include Swing, ARC ONE Gallery, 2017; Silver Shadow, Bus Projects, 2016; Assemble Colour, ARC ONE Gallery, 2014; and Folded Colour, Centre for Contemporary Photography, 2013. Group exhibitions include: Robin Boyd, a Portrait of an Australian House, Monash Gallery of Art, 2019 (forthcoming); Still Life Pt. II, Verge Gallery, 2019; Perceptual Abstraction, The Honeymoon Suite, 2017; In the White Square, ARC ONE Gallery, 2016; Is/Is Not, Westspace, 2016; Genteel Notions, LON Gallery, 2016; Melbourne Now, National Gallery of Victoria, 2013- 14; Das Boot, Next Wave, 2014; Fundraiser Exhibition, Centre of Contemporary Photography, 2013; Low Relief, Seventh Gallery, 2012; FotoFreo (Fremantle Festival of Photography), FutureGen12, Fremantle, 2012; and Art of the Ordinary, ARC ONE Gallery, 2011. She was a Finalist in the 2016 & 2015 Josephine Ulrick & Win Schubert Photography Award, and was a Finalist in the 2015 churchie national emerging art prize. In 2010, she was a Finalist in the Wallara Travelling Scholarship Prize, Margaret Lawrence Gallery, Victorian College of the Arts, and in 2013 she was a Finalist in the Keith and Elizabeth Murdoch Scholarship Prize. Wegner was also awarded a Hill End Artist Residency through Bathurst Regional Art Gallery in 2013. Her work is held in the collections of the National Gallery of Victoria, Artbank, and PwC Collection.

MURRAY FREDERICKS

Murray Fredericks,  Mirror 16 , 2017, digital pigment print on cotton rag, edition of 7,120 x 155 cm.

Murray Fredericks, Mirror 16, 2017, digital pigment print on cotton rag, edition of 7,120 x 155 cm.

MURRAY FREDERICKS is on the judging panel for Australasia’s Top Emerging Photographers 2019. . Australasia’s Top Emerging Photographers recognises, encourages, and promotes talented photographers in the early stages of their careers. Winners and runners up will be showcased in the May/June issue of Capture Magazine. 

JANET LAURENCE

Laurence_Janet_inhotim.jpg

Alongside the exhibition Janet Laurence: After Nature, there is a series of public programs, including: Talking Trees a collaboration with Sydney University where philosophers, poets and scientists bring aspects of trees to a public audience; and Janet Laurence's interactive (Desire) Elixir Lab' a performative installation which was recently shown at the Inhotim Institute, Brazil.

Desire (Elixir Lab) is a unique sensory experience that involves the tasting of medicinal plants in the form of liquid elixirs. Facilitated by a botanist performer, participants gain insight into the cultural and biochemical connections between the body and plants.

PAT BRASSINGTON | JACKY REDGATE

PAT BRASSINGTON and JACKY REDGATE are included in the important exhibition Defining Place/Space: Contemporary Photography from Australia at the Museum of Photographic Arts in San Diego, opening tomorrow. The exhibition reflects upon the current state of contemporary photography in Australia through the work of thirteen artists. . The exhibition is open from 6 March – 22 September.

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Review here >

Defining Place/Space: Contemporary Photography from Australia, installation view, Museum of Photographic Arts, San Diego, 2019. Courtesy of the Museum of Photographic Arts, San Diego.

Defining Place/Space: Contemporary Photography from Australia, installation view, Museum of Photographic Arts, San Diego, 2019. Courtesy of the Museum of Photographic Arts, San Diego.

JANET LAURENCE

Janet Laurence   in her Sydney studio. Photograph: Jacqui Manning. Courtesy the Museum of Contemporary Art, Sydney.

Janet Laurence in her Sydney studio. Photograph: Jacqui Manning. Courtesy the Museum of Contemporary Art, Sydney.

JANET LAURENCE is renowned as one of Australia’s leading contemporary artists. Her ground-breaking practice responds to the cry of the natural world and addresses our relationship to nature. Laurence creates visually immersive environments forcing us to reflect on the mutability of nature, science, memory and loss. Through her extraordinary work, Janet Laurence offers us a deeply experiential and cultural relationship to the environment. 

From March 1 - June 10, 2019, the MCA will present Janet Laurence: After Nature, a major survey exhibition of Janet Laurence's oeuvre. Curated by Rachel Kent, the exhibition will encompass three decades of Laurence’s unsurpassed practice, including key chapters such as Vanishing, Forensic Sublime, Birdsong, Deep Breathing and Cellular Gardens alongside Theatre of Trees, a new work that addresses our cultural, political and biological relationship to trees. 

Janet Laurence: After Nature will explore the critical issues facing the environment and the natural world: the epoch of the Anthropocene. For Laurence, “the ecological crisis demands us to shift our focus from a human-centred perspective to a broader multi-species, environmental approach”. Within the recognised threat to so much of our world, this exhibition explores what it might mean to heal, albeit metaphorically, the natural environment, fusing this with a sense of communal loss and search for connection with powerful life-forces. 

As Laurence explains, “I create elemental and fugitive spaces that express ephemerality through a language of veiling, transparency and translucency to form enmeshed environments, slowed spaces that express porosity and fluidity and a fusion with the environment. There are no boundaries but membranes.”

Alongside the exhibition, there will be a series of public programs, including: Talking Trees, a collaboration with Sydney University where philosophers, poets and scientists bring aspects of trees to a public audience; and Janet Laurence's interactive The Elixir Lab, a performative installation which was recently shown at the Inhotim Institute, Brazil.

Janet Laurence is a Sydney-based artist who exhibits nationally and internationally. Her work is included in museum, university, corporate and private collections as well as within architectural and landscaped public places. Key collections include: NGA, Canberra; AGNSW, Sydney; NGV, Melbourne; QAG, Brisbane; AGSA, Adelaide; Artbank Australia; Macquarie Bank Collection; and Kunstwerk Summlung Klein, Germany.
 
Recent significant projects include: Listen, to the Sound of Plants, Australian Tapestry Workshop, Melbourne (2017); The Pleasure of Love, October Salon, Belgrade (2016); Deep Breathing: Resuscitation for the Reef, for the Paris Climate Change Conference (2015) and the Paris International Contemporary Art Fair (2015), followed by the installation Deep Breathing at the Australian Museum, Sydney (2016); Tarkine for a World in Need of Wilderness, Macquarie Bank Foyer, London (2011); In Your Verdant View, Hyde Park Building, Sydney (2010); Waterveil, CH2 Building for Melbourne City Council; Memory of Lived Spaces, Changi T3 Airport Terminal, Singapore; Elixir, permanent installation for Echigo-Tsumari Art Triennial, Japan (all 2006); The Australian War Memorial (in collaboration with TZG Architects), Hyde Park, London (2003); In the Shadow, Sydney 2000 Olympic Park, Homebush Bay (2000); Veil of trees, Sydney Sculpture Walk (with Jisuk Han); 49 Veils, award-winning windows for the Central Synagogue, Sydney (with Jisuk Han, 1999); The Edge of the Trees (with Fiona Foley), Museum of Sydney (1994); and The Tomb of the Unknown Soldier, Australian War Memorial, Canberra (with TZG Architects, 1993).
 
Laurence has been a recipient of Rockefeller, Churchill and Australia Council fellowships; recipient of the Alumni Award for Arts, UNSW; and is currently visiting fellow at the NSW University Art and Design; Australian representative for the COP21/FIAC, Artists 4 Paris Climate 2015 exhibition; visiting fellow of the 2016/2017 Hanse-Wissenschaftskolleg (HWK) foundation fellowship; and artist in residence at the Australian Museum.
 
Her work, The matter of the masters, was recently shown at AGNSW in association with the Rembrandt and Dutch Masters exhibition. 

 

PAT BRASSINGTON | JULIE RRAP | HONEY LONG & PRUE STENT

Pat Brassington,  The Wedding Guest , 2005, pigment print, 84 x 62 cm.

Pat Brassington, The Wedding Guest, 2005, pigment print, 84 x 62 cm.

PAT BRASSINGTON, JULIE RRAP and HONEY LONG & PRUE STENT are included in In Her Words at Horsham Regional Art Gallery, opening this weekend. .

In Her Words focuses on women behind and in front of the camera. Women who are in control of their own story; whether they are speaking their own truth or re-enacting the accounts of others. The exhibition aims to get to the core of the female experience, rights and challenges. The exhibition continues until 19 May.

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ANNE ZAHALKA

Anne Zahalka,  The Cleaner (Marianne Redpath/performance artist)  from the series  Resemblance,  1987, cibachrome photograph, 80 x 80 cm.

Anne Zahalka, The Cleaner (Marianne Redpath/performance artist) from the series Resemblance, 1987, cibachrome photograph, 80 x 80 cm.

ANNE ZAHALKA will be discussing her influential Resemblance series and its companion series Details at the Monash Gallery of Art this Sunday 3 March at 2pm.

This series draws on the aesthetic conventions of seventeen century Dutch genre painting, utalising the formal elements of their compositions, while reinvesting them with references to contemporary life.

The works are included in 'Robyn Stacey: as still as life' which closes this weekend. The exhibition explores still life photography, placing the genre and Robyn Stacey’s work into context.

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CYRUS TANG

Cyrus Tang,  Children’s Encyclopaedia Vol. 6,  2016, cremated book ashes, book cover acrylic case, 29 x 21 x 21 cm.

Cyrus Tang, Children’s Encyclopaedia Vol. 6, 2016, cremated book ashes, book cover acrylic case, 29 x 21 x 21 cm.

CYRUS TANG is currently featured in Art Money’s Stockroom favourites, curated by Jason Phu.

Phu says of Tang’s practice: "I love Cyrus' work, especially her cremated book series. it's the sort of work that makes you slow down and actually create a connection. It is nostalgic and speaks of loss and remembrance but without all the cliches. a beautiful work."

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PAT BRASSINGTON

Pat Brassington,  Heart's Blood , 2017, pigment print, 90 x 65 cm.

Pat Brassington, Heart's Blood, 2017, pigment print, 90 x 65 cm.

PAT BRASSINGTON'S latest body of work, Nonetheless, is currently on show at Latrobe Regional Gallery. An opening reception will be held tomorrow evening, Friday 22 February, 6pm - 8pm. The exhibition continues until 7 April.

Informed by feminism, psychoanalysis and contemporary critical theory, Brassington has developed a unique oeuvre of enigmatic and visually intriguing photomontages constructed from seamlessly joined found and taken images. Suffused with suggestions of fear, repulsion, desire, sex, and memory, but with few clues to decode their narrative contexts, these images exist in an ambiguous space that triggers unexpected associations.

Nonetheless was shown at ARC ONE Gallery in July last year.

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JACKY REDGATE

Jacky Redgate,  STRAIGHTCUT #26 , 2005-06, c type photograph, 96 x 118 cm.

Jacky Redgate, STRAIGHTCUT #26, 2005-06, c type photograph, 96 x 118 cm.

A selection of JACKY REDGATE'S STRAIGHTCUT and Light Throw (Mirrors) works are featured in REMIX: RECENT ACQUISITIONS at Latrobe Regional Gallery. The exhibition continues until 28 April.

The exhibition presents a diverse and distinct selection of artworks, acquired by the LRG over the last two years.

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HONEY LONG & PRUE STENT

Honey Long & Prue Stent,  Self Portrait , 2018, archival pigment print, 72 x 108 cm.

Honey Long & Prue Stent, Self Portrait, 2018, archival pigment print, 72 x 108 cm.

HONEY LONG & PRUE STENT are featured in the March/April edition of Vogue Living Australia, on sale now.
In the profile, the artists describe their decade-long collaborative practice: 'we want to connect with the landscape that we're drawn to, using materials as a medium between the body and landscape - it creates a bridge...there is this idea that nature is passive; that it's seperate from us, we are trying to engage with landscape in a way that is inquisitive, trying to dissolve distinction.'

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LYDIA WEGNER

Lydia Wegner,  Purple Split , 2018, Archival Inkjet print.

Lydia Wegner, Purple Split, 2018, Archival Inkjet print.

LYDIA WEGNER is featured in Still Life Pt. II, an exhibition curated by Adam Stone at Verge Gallery.
Still Life Pt. II investigates the historically significant genre of still life through a contemporary lens. The exhibition brings together an otherwise disparate group of artists working from ‘life’ or ‘fiction’ to meditate on the notion of what a still life is in our current times.

The exhibition runs from 28 Feb - 6 April.

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MARIA FERNANDA CARDOSO

Image: Maria Fernanda Cardoso,  Sheep (Red)  (detail), 2002, dyed sheep skins, dimensions variable.

Image: Maria Fernanda Cardoso, Sheep (Red) (detail), 2002, dyed sheep skins, dimensions variable.

MARIA FERNANDA CARDOSO is featured in Materiales en expansión, opening today. Curated by María Teresa Guerrero, the exhibition celebrates 30 years of the Espacio Alterno Gallery at the University of Los Andes, Bogotá, Colombia.

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ROSE FARRELL & GEORGE PARKIN

ROSE FARRELL & GEORGE PARKIN'S 'Annunciation' from the series 'Repentance' is currently on view at National Gallery of Australia.

The artists said of the series: "We are questioning the archetypes/icons history puts before us; taking up the mythology of history, created through representations, which tend to naturalize myth as realism.

An unheralded nexus occurs within the space between past and present, as we examine the inexplicable tensions of Ideals over Time. Our art-historical tableaux attempt to encapsulate the traditional image; re-presenting to the twentieth century, dislocated enigmas. The cipher is presented as fact."

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Rose Farrell & George Parkin,   The Annunciation  from the series  Repentance , 1988, chromogenic photograph, 164 x 127 cm.

Rose Farrell & George Parkin, The Annunciation from the series Repentance, 1988, chromogenic photograph, 164 x 127 cm.

HONEY LONG & PRUE STENT

Honey Long & Prue Stent, ‘Sub-Soil’, 2018, Installation view Incinerator Gallery, 180 Holmes Rd, Aberfeldie. Photograph by Amy Prcevich.

Honey Long & Prue Stent, ‘Sub-Soil’, 2018, Installation view Incinerator Gallery, 180 Holmes Rd, Aberfeldie. Photograph by Amy Prcevich.

HONEY LONG & PRUE STENT are currently exhibiting their work as part of The Billboard Project in Niddrie.

The Billboard Project, Niddrie is a series of large format photographic billboards that create unexpected public galleries in and around the Keilor Road Shops in Niddrie. The locations can be discovered around Wallace Mall, and they connect to the billboard in the front garden of the Incinerator Gallery.

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CYRUS TANG

Opening today is CYRUS TANG's first solo exhibition at Ten Cubed.

Ten Cubed began collecting Cyrus Tang in 2016 with the acquisition of the Children's Encyclopaedia series and has continued to collect her photographic and sculptural works throughout 2017 and 2018.

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Cyrus Tang,  4505.00s , 2016, archival giclee print, 100 x 100cm.

Cyrus Tang, 4505.00s, 2016, archival giclee print, 100 x 100cm.

JACKY REDGATE

Image: Jacky Redgate,  Light Throw (Mirrors) Fold - Yellow and White,  2018, chromogenic photograph handprinted, 185 x 127 cm.

Image: Jacky Redgate, Light Throw (Mirrors) Fold - Yellow and White, 2018, chromogenic photograph handprinted, 185 x 127 cm.

ARC ONE Gallery is delighted to present Light Throw (Mirrors) Fold /Unfold, a new exhibition by one of Australia’s most significant contemporary artists, Jacky Redgate.

For more than two decades Jacky Redgate has worked with mirrors and objects in her studio, exploring abstraction, light, space and reflection with remarkable photographic and sculptural outcomes. Perceptual systems such as linear perspective and Cartesian geometry and optics, which structures two-dimensional space into a simulation of the three-dimensional world, are a frequent motif in Redgate’s work.

In this exhibition Redgate extends her acclaimed and ongoing studio photographic series, Light Throw (Mirrors) commencing in 2009, with fresh experiments and revelations. Whereas the irony of her earlier Light Throw (Mirrors) works (2009­ ­–) was that there are no mirrors in the photograph – we only see their projected light and objects floating on surfaces – commencing in 2013 the artist elaborates the studio set-up by physically folding the prop that she rebounds light onto, later placing mirrors on its folding surface. Then in Unfold 2016, Redgate attempted to escape the visual vortex of her screen, breaking the symmetry of the fold and discarding the mirrors.  In this new series Redgate returns to the fold and mirrors, systematically rotating different primary coloured panels that mix colour across either side of the fold, as well as recycling the mirrors that rebound light from a battery of multiple flashes. The viewer is confronted by a flattening of space and a shimmering optical effect from the material construction.   

Jacky Redgate,  Light Throw (Mirrors) Fold - Blue and Black,  2017, chromogenic photograph handprinted, 185 x 127 cm.

Jacky Redgate, Light Throw (Mirrors) Fold - Blue and Black, 2017, chromogenic photograph handprinted, 185 x 127 cm.

In all of Redgate’s iterations of her mirror works dating back to STRAIGHTCUT (2001–) she uses the 4 x 5-inch camera in a fixed position and she regularly describes herself as an ‘absent/presence’ in the work. Curator, Robert Leonard has recently observed that her mirror works ­ – “... deranges the reciprocity between seer (photographer/viewer) and seen.  Despite all those mirrors, neither photographer nor camera are visible. Standing in Redgate’s place, we might feel that the image isn’t returning our gaze, but that it looks past us, looks awry. She/we aren’t the projected centre of the world’. [1]

 

Jacky Redgate is regarded as one of Australia’s leading contemporary artists, with a practice extending four decades. Redgate’s career began in the context of late 1970s feminism, minimalism and conceptual art. She is known for her photographic and sculptural work using systems and logic. Working across photographic and object-based practices, Redgate has exhibited extensively within Australia and internationally since the end of the 1970s. Recent selected solo exhibitions include: WORK-TO-RULE (NEGATIVE), Kronenberg Wright Gallery, Sydney, 2018, Jacky Redgate Light Throw (Mirrors) #1-10, 2018, Latrobe Regional Gallery; Jacky Redgate: Mirrors, University Art Gallery, the University of Sydney (2015); Jacky Redgate: the Logic of Vision, Art Gallery of New South Wales, Sydney (2012); Visions From Her Bed, Institute of Modern Art, Brisbane (2008); Jacky Redgate: Life of the System 1980–2005, Museum of Contemporary Art Australia, Sydney (2005–06); and Jacky Redgate: Survey 1980–2003, Contemporary Art Centre of South Australia, Adelaide (2004). She is a recipient of the 1st prize, Bowness Photography Prize, Monash Gallery of Art, Melbourne (2011). Her work is included in major national collections and survey exhibitions including two Australian Perspecta exhibitions, three Biennales of Sydney, the Clemenger Art Award at the National Gallery of Victoria (2006), and the Heide Museum of Modern Art’s Cubism & Australian Art (2009).

[1] Robert Leonard in Ann Stephen and Robert Leonard, Jacky Redgate: Mirrors, University of Sydney, Power Publications, p.83. This 2016 publication is an important new monograph which focuses on Redgate’s eminent work with mirrors in recent decades co-published by Power Publications with the University Art Gallery, The University of Sydney, in partnership with the University of Wollongong.

 

 

JULIE RRAP

Image: Julie Rrap,  Puberty  from the series  Persona and Shadow , 1984, cibachrome print, edition of 9, 194 x 105 cm.

Image: Julie Rrap, Puberty from the series Persona and Shadow, 1984, cibachrome print, edition of 9, 194 x 105 cm.

JULIE RRAP’S Puberty from the series Persona and Shadow is included in Bodies of art: Human form from the national collection at The National Gallery of Australia.

The exhibition considers the human figure as one of the most enduring subjects of art. By exploring contrasting figures together in one space, this display reflects both the significance of the human body as a subject for art and reveals its range of uses over time.

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NIKE SAVVAS

Image: Nike Savvas,  The Oarsman , 2018.

Image: Nike Savvas, The Oarsman, 2018.

NIKE SAVVAS' striking The Oarsman, 2018, is included in the Mustafa Hulusi Posters project, Hoxton Square, London.

The work incorporates the image of a Perpetual Motion balancing toy – a small stainless steel rowboat that is set adrift in a big blue beyond. As a mesmerising ocular device intended for relaxation it swings and bobs under its own trapped momentum and energy.
As a broader metaphor for life, the oarsman speaks to a zone of perpetual transition, of comings and goings, of ups and downs, of changed directions and arrivals and departures. It speaks of ebbs and flows, of temporal states and the passage of time. While the term ‘row your boat’ may infer taking charge of the course for one’s own life, it also acknowledges the struggles that are to be endured in striving to overcome our limits.

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