Barbara Licha : Gap - sculptures and paintings

 As an adjunct to her retrospective at the Polish Club, Ashfield, Barbara is holding a 1 week show of her works at the studio gallery, UPSpace Gallery.

Barbara is also opening up her studio for visitors on 23rd of March 2 PM.

Barbara Licha PARALLELS

Anthony Cahill & Kevin Low : Paradise

PROJECT GALLERY 90

25 June - 8 July

Link to the Catalogue

90 Oxford Street Paddington

info@projectgallery90.com

Geoff Levitus : 8 - 15 February

Adam Laerkesen | Tim Kyle | Ann Snell

 

SHEFFER GALLERY

20 - 30 March 2019

Opening night 23rd March 4-6 pm 

Jan Fieldsend : Bronze Age

Jan Fieldsend. 2018.

   

AIRspace Projects Inc., Gallery 1

2nd November - 17th November

 

  Opening Night 

  Friday, 2nd November 6 pm

 

10 Junction Street Marrickville NSW 2204

Anie Nheu : Constellation in the Cranny

 

Anie Nheu. The Imaginary. 2018. Tempera paint on shaped paper clay, digitally drawn lines.

 

AIRspace Projects Inc., The Cranny

2nd November - 17th November

 

Opening Night 

Friday, 2nd November 6 pm

 

 

10 Junction Street, Marrickville NSW 2204

 

Geoff Levitus : Semi-Finalist of Doug Moran National Portrait Prize 2017

Geoff Levitus. 863 bits of me, oil, acrylic, canvas on board, 183 x 78.5 cm

Congratulations to UP Studios member, Geoff Levitus, for being selected for the semi-final of 2017 Doug Moran National Portrait Prize. 200 were chosen out of 1100 entries.

Finalists will be announced on 11th October, Winner will be revealed on 18th of October at Juniper Hall, Paddington.

Read the media release to get full details on this event, feedback from the judges, and full listing of the semi-finalists.

Anthony Cahill, Pollyxenia Joannou : Red Herring 2 : Construct

Anthony Cahill (left)  Pollyxenia Joannou (right)

1-16 September

AirSpace Projects
10 Junction Street
Marrickville

Artists' Talk 16 September - 3 pm

Apologies for the late post.  Anthony and Pollyxenia have been showing at AirSpace Projects in their 2nd 2 persons show.  Exhibition has been running since 1st of September.  This is the last week for this show. Catch them at artists' talk. They will discuss their thoughts in putting this show together.  Other artists exhibiting concurrently will also be giving their talk.

Tonee Messiah : A New Famine

Tonee Messiah, our newest studio member, is having her MFA graduation show at 

 

Gallery9

9 Darley Street
Darlinghurst NSW 2010

 

30 AUG – 23 SEPT 2017
OPENING WEDNESDAY 30 AUGUST, 6–8PM


A New Famine is an exploration into the ways individualised knowledge is acquired and developed in the digital age. The culmination of a Masters research project into intuition and its function in the creative process, this body of work extends the exploration into the role intuition plays in the contemporary lived experience.

 

 

'As technology pervades the everyday workings of our lives, self-reliance and autonomous thought are becoming corrupted and mistrusted. We outsource our decisions on what to eat, when to sleep, who to love, what to like and what to think. A New Famine visualises a reality in limbo between who we are and how we have come to resolve this. It reflects on the state of a society that has been trained to favour connectedness over autonomy and mistrust intuitive knowing for obtained information.'

 

– Tonee Messiah

Tonee Messiah (b. 1983) graduated from Sydney College of the Arts with Honours in 2004. Messiah is represented in the collections of Artbank, Monash University Museum of Art, Allens Linklaters, Barker College and Campbelltown Hospital. A New Famine is her ninth solo exhibition at Gallery 9.

Request Preview Catalogue

Anthony Cahill and Adam Laerkesen : the Absurdist Project

Anthony Cahill and Pollyxenia Joannou : Red Herring

RED HERRING
AirSpace Project gallery 1
Exhibition dates 2nd September - 17 September 2016
Artists' Talks on 17 September 3-5 pm

Anthony and Polly have been friends and colleagues.  In Red Herring, the two have come together for the first time to have an exhibition on the theme of 'shadow'.  The works are done in their individual spaces and the 'collaboration' comes towards the end, at the exhibition space when the hanging took place. The process and result are as surprising to them as they are for the viewers.  Their distinct visual styles have communicated to one another effortlessly.

Anie Nheu : Forms on Edge

Anie Nheu. Double edged, 2016. Mixed media on paper board.

 


Exhibition Opens

5 August 6-8 pm

EXHIBITION CONTINUES TO 20th of August

AirSpace Projects

10 Junctions Street Marrickville
NSW 2204 

Geoff Levitus : A Foreigner's Glimpse

May18 No3 mixed media on paper 40x30cm

Opening Thursday 14th July 6-8 pm



Stanley Street Gallery
1/52-54 Stanley Street
Darlinghurst, NSW 2010


Exhibition Dates 13th July - 6th August 2016



A FOREIGNER’S GLIMPSE: GEOFF LEVITUS
For Geoff Levitus this exhibition is a culmination of his travels and research over the past eleven years. Living for different periods in Europe and Asia he revitalized his art practice by opening himself up to much older cultures and histories than that of his colonized Australian home. As an outsider he brought fresh eyes and his considerable artistic skills to record his experiences and first impressions, though his own maturity and sensitivity prompted him to peel back the layers and search for the obscured political and social streams running beneath the surface of these different societies.


In these works on paper and large paintings Geoff Levitus brings into play, imagery from Italy, France, Vietnam, South Korea, Japan and India. Borrowing something of beauty such as the iconic flower of each country and placing it in an Asian influenced white-charged space, he enters a different realm of picture making. The Buddhist notion of letting things take their course, dovetails with the flowing paint methods and guided accidents that Levitus employs to make both his watercolours and large enamel paintings.

His mixed media works on paper combine flora, newspaper reportage, finely drawn birdcages, boats, and calligraphy all linked with ribbons of coloured wash. These are then translated into larger scale works on canvas. Using poured enamel paint in lieu of watercolour he expands the scale and impact of his recent work. Floating over aerosol acrylic painted backgrounds with vibrant gloss enamel colour, he creates flowers from each country’s iconic bloom, using a marbling technique.

The juxtaposition of poetics and politics comes to the fore in the way Levitus seduces the viewer with delicious, pinks, intense greens, oranges and reds, symbolic iconography, folk art and the tactility of his paintings. He then undercuts that with subtle reminders of conflicts and injustices present and past, slipping into the frame the imagery of soldiers putting down rebellions from the colonial past.

Levitus has often used objects as symbols of loss and peril. He recalls in an interview that his beautiful and often pictured Moroccan birdcage was found in a market in France. In this finely crafted birdcage he found resonances with colonized North Africa and reportage that Vietnamese rebels were carried in cages under French rule in the early 20^th century. He also includes visual references to refugees and boats travelling across open seas from Syria and elsewhere in his most recent paintings.

His residencies in Vietnam and visits to South Korea and Japan also influenced the sensibility and techniques in his work. The adoption of the Asian use of white space representing time passing and space re-imagined, is an important element in these works. As a potent area, holding spatial and perspectival nuances, these white expanses connect the disparate elements within the work.

Decorative techniques are unabashedly utilized in Vietnam, Korea and Japan in the traditional pursuit of beauty derived from nature. Levitus’s use of polyurethane base that allows the dispersal of coloured enamels is likened to the shine of laquerwork in decorative Japanese art and craft.

Overall these works can be seen as a humanitarian stream of consciousness whereby Levitus poses the view that: we are all human beings but the conditions that form us are so subject to the circumstances and the political mileu of each country. We all have a history that is universal and we should take more responsibility for each other. In other words, we are all victims of circumstance and political histories. We are descended from settlers, convicts, survivors or refugees at some point in the past so why can’t we be more understanding of the travails of the current movement of people out of war zones and poverty?

Levitus is a serious artist and emphasizes: This work is not a travelogue but expresses how I relate to the world. The politics are unavoidable but often suppressed in many cultures that are trying to absorb democratic processes. In passing Geoff mentions the aftermath of the Fukishima disaster as another example of people being displaced through no fault of their own but becoming refugees in their own country.

He relates to an artistic tradition where artists have often gone on journeys to disrupt their normal way of doing things, to respectfully engage with different cultures and thus bring new interpretations of what they see and understand from this exposure, even though one can only be a foreigner who is allowed glimpses of the other.

Therese Kenyon
Artist/Curator
Click here to view an online preview by Artist Profile

 

ARTIST STATEMENT

"Working often in Asia and Europe over the last 11 years, I scratched the surfaces to discover the cultural effects of interconnecting histories. I discovered contemporary life on the streets juxtaposed with the traditional life of temples and pagodas, the beauty of visual representations of these daily contradictions, but also the horror of wars and uprisings largely unknown to the West.

Spending large amounts of time living in Vietnam, as well as South Korea, Japan, India, Laos, Cambodia and China, surfaces peeled slightly away, each layer revealing bits of astonishing beauty and horrific ugliness. The West is now struggling with the tide of refugees that are partly a result of its own economic and political colonialism.
Asia’s rocky path from colonial histories to 21^st century economic prosperity exposes the huge cultural divides and unfamiliarity with democratic ideas that are common in many of these countries. It becomes obvious that we are good at forgetting and burying history, especially that the history of refugees is a universal one repeated through the ages which implicates us all. My work is an effort to confront this reality."

Therese Kenyon : Post Graduate Exhibition at Australian National University

Infrastructure Undone by Nature 3,  Ink and gouache on mulberry paper laid on cotton canvas.  40 x 60 cm.

WATER AND CULTURE : Visualising dissolution and control, exploring water as matter and medium

School of Art Main Gallery
105 Childers Street Acton

Opening  3 March 2016  6 pm

Exhibition Dates  4-10 March





Entry taken from the ANU website :


Therese Kenyon | Painting | Doctor of Philosophy
The idea of water – all-pervading and essential, fearsome yet controllable – has driven
my studio-based research. What are the meanings of water in the contemporary world?
How could I explore this motif using water as imagery, matter and medium referencing
the painting traditions of Asia and the West?
 
This research explores in visual form the idea that water is analogous to the flow of
cultures around the globe. The resulting paintings evolved from a sense of loss and
precariousness counterbalanced by an appreciation of the deep symbolism of water’s
necessity to life on earth. Focusing on Asian landscape painting traditions, crossfertilised
with Modernist Western abstraction, I elaborate on the cultural connectivity
between East and West through various artists’ work. In the integration of imagery and
process, my work reflects on water and fluidity as metaphors for cultural
connectedness and it is contextualised by tracing these confluences across history and
societies. In this sense, Water and Culture offers a new channel for speculative
thought on the subject of water and art.

Therese Kenyon is a Sydney based artist and curator. She completed her BAVA and
MFA at the College of Fine Arts, UNSW. She has lectured in Drawing and Printmaking
at the University of Newcastle undergraduate program, the University of Sydney Art
Workshops, and the National Art School short courses program. She is a member of
the Ultimo Project artists collective. Her recent research has included artist in
residences in Beijing and field trips to museums in China, the USA and the
Netherlands, to document disastrous water events.

Adrian Baiada & Eytan Messiah : the Choko

One of our latest artist in resident, Adrian Baiada, is exhibiting the paintings done during his sojourn at UP Studios.

Anthony Cahill : That Other Place

To be opened by Mr. Nick Vickers, Alumni Co-Ordinator UNSW Art & Design, Independent Art Curator

Venue: Pine Street Creative Art Centre
           64 Pine Street Chippendale 2008

Bad Seed: Tonee Messiah

Gutless Tooth 2014 ink, gouache and pencil on cotton rag 38 x 28.5 cm

  Exhibition opens at  Gallery9 18th February 6pm
Exhibition continues to  14th of March   Online catalogue for the Exhibition

Nicole Ellis : ARTIFACT

Old Linen (red). 2012.

Cotton, linen, acrylic paint, backed and mounted on cotton, 99.4 x 73.5 cm

Opening Drinks

Wednesday 11 July 6-8pm

exhibition dates

10 July - 12 August 201

James Dorahy Project Space

Please contact the gallery if you would like images of other works available

111 Macleay Street

Pott Point