Adam Laerkesen | Tim Kyle | Ann Snell

 

SHEFFER GALLERY

20 - 30 March 2019

Opening night 23rd March 4-6 pm 

Anie Nheu: On Paper

Anie Nheu. 2017. Absence. Mixed media on paper board.

Opens Thursday 06.10 at 6 pm

Exhibition continues to 28.10

 

Factory49

49 Shepherd Street, Marrickville 

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.

Anthony Cahill and Adam Laerkesen : the Absurdist Project

Wayne Hutchins : On Closer Inspection

 

Exhibition Opening 24th August, 6 - 8 pm

 

Exhibition continues to 4th September 2016

 

ARO GALLERY

51a William Street

Darlinghurst NSW 2010

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.

Jan Fieldsend

Massed Arrangements  


AirSpace Projects 
Gallery2
10 Junction Street Marrickville 
Sydney

Opens
Friday 6 November 6-8pm
exhibition continues to 21st November 
 

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.

Geoff Levitus showing in Korea

Geoff Levitus has been overseas for over a year.  Recently, he participated an exhibition in Barim, an open art district in Gwangju, Korea.

Geoff works across several media including video, installation, painting, sculpture, and work on paper, interested in cross-cultural connections, identity, sense of place, the effects of displacement and dislocation and those things that point to a common humanity from the sublime to the ridiculous.

In this exhibition, Geoff presents ‘Boat.’ The boat - a metaphor for escape, freedom, a path to a new safe life, a casting off of old bonds, but also for the fragility of life considering the risks that a frail vessel and its passengers can suffer at the mercy of the sea, the elements, pirates, and even unsympathetic governments. So it speaks of refugees, of desperation, of a search for a new home and a new life, the real risk of death in the effort to find safety and security, and also the possibility that death can find us at any time for no good reason, making life itself a boat-ride.'

View the work on YouTube 
https://www.youtube.com/watch?v=KgDWw0HDqeY

Geoff is now on a 1 month residency in Hoi An, Vietnam.

Therese Kenyon in 'Paper Works III' at Brenda May Gallery

Brenda May Gallery

2 Danks Street

Waterloo NSW 2017


T: 02 9318 1122

info@brendamaygallery.com.au

Open: Tues to Fri 11-6, Sat 10-6

'Runoff' acrylic gouache on paper 3m x 90cm

 

'Our Designs on Water: Using water as both image and matter I aim to create a dialogue between the concepts of fluidity and solidity. I explore the interplay between control and dissolution as a way towards abstraction as a meditative and poetic practice. Through material thinking and the diffused lens of overlapping Asian and Western painting practices, I utilise the artists’ materials and technologies from both cultures to bring new understandings of abstraction and the poetic through a body of wall installations, predominantly works on paper, supported by digital media.'  

Therese Kenyon

 Go to this link for the catalogue

Paper Works III
exhibition lookbook

We are pleased to present you with the exhibition catalogue for Paper Works III,  on view at the Gallery until Saturday 2 May.

The third edition of Paper Works III again features artists working with paper as a material in innovative ways; from the origami-like folding, present in the work of Glen Clarke, Liz Shreeve, and Lisa Giles to the incredibly delicate and intricate hand cut paper from Louise Morgan, Nicola Moss, and Mylyn Nguyen. Helen Mueller's 'earthen wear', melds printmaking with molded vessels, Bettina Hill's 'The Shape of Paper, arcs and lines', features strips of paper woven into a bulbous form, and Elizabeth Willing uses processed cheese to sculpt a single sheet of paper through natural processes of decomposition.

▶ Click here to view the lookbook for Paper Works III
▶ Click here to view The Quarterly, volume 1, number 2.

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

Sue Pedley : Sound Lines

Opening  Thursday 28th August 6-8pm
Articulate Project Space Upstairs
497 Parramatta Rd, Leichhardt Sydney 


Also at Articulate project space is Helen Grace Out of Sight


Exhibition Dates August 28 to September 14
Gallery Opens on Friday, Saturday, Sunday 11-5

 
Sound Lines is a series of drawings made during a textile field trip in Gujurat, India (February 2014) and at a Land Art Project in Fall, Norway (July 2014).

The chinagraph drawings and rubbings were made on a tour of textile factories, workshops and museums in Gujurat. They were made “on the run”, in buses, museums, artisan studios and ancient mosques, temples and traditional step wells. There are line drawings of colourful and intricate embroideries from Ahmedabad’s Calico Museum and others from the Rabari embroidery workshop at Kala Raksha; the rubbings were made at Gandhi ’s ashram, in markets and woodblock workshops.

The drawings were made in Norway as research for a site specific work titled ‘Birch Bridge’. The materials for the work–birch wood, hemp, brooms and pans–were found in situ, except for a woollen fleece bought from Tasmania (my birth place) specifically for the project. Carbon paper was used to copy each drawing and rubbing, the carbon copy becoming in turn the foundation for a new work. A number were made in response to sound works by composers in the project; other artists collaborated in drawing.

Each collection of drawings was made in a particular location, over a three week period in the company of artists and designers. Gathered together, exhibited side by side, they are a diary of images, conversations, history, fast impressions…grounds for a deeper understanding of a new place and the complex layers of history that go to make up each site’s identity.

Land Art Project Participants: Boyd, Alison Clouston, Caroline Ho-Bich-Tuyen Dang, Kaisu Koivist, Egil Martin Kurdol, Kjell Samkopf

More information on Sue Pedley's works: www.suepedley.com.au

PlayBox : a Work in Progress

Jan Fieldsend and Anie Nheu are collaborating on a joint exhibition at AirSpace Projects.  

The journey has been a metaphor of  making sense through objects, relating, displacing, assembling and distilling differences.

Exhibition opens on 1st of August.

Working images:

Installation View

Jan Fieldsend. Untitled, 2014.

 

Anie Nheu. Crepuscule 2014, oil on plywood

Barbara Licha. Chaos and Order -Urbanised. Maitland Regional Art Gallery

Wayne Hutchins : Natural Selections

Sue Pedley : Harvest

Harvest 18 (diptych) 2012, oil on wood, 55 x 104 cm 

9 October - 4 November 2012

Opening drinks SATURDAY 13 October 3pm-5pm

James Dorahy Project Space

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

111 Macleay Street Potts Point

Kate T Deacock : Strange Fruit

_{Untitled Composition} 

_{Mixed media on canvas, 30 x 50 cm (variable) on glass shelf}

Opening on Wednesday 25 July, 2012

Exhibition dates Thursday 26 July - Saturday 4 August

                             1 – 6pm

at Factory 49 - Office Project Space

49 Shepherd Street 

Marrickville 2204

Kate T Deacock's works are simple compositions that emerge from visual, visceral & tactile contemplations on space, texture and material. Found objects, materials, household items are often utilized and more occasionally digital and electronic media. Process driven, the work tends to be mutable and changing - often reworked, discarded, found again, destroyed and recreated anew.

Through this process, Deacock comes to points of experiencing and choosing to pursue the discomforting psychological spaces in between certainty and uncertainty, knowing and not knowing, continuity and discontinuity, presence and absence, permanence and impermanence etc.  

The aim is for the work to take on an ambiguous nature in that perhaps it is hard to know whether it is 'finished' or 'unfinished'. Are these works, objects complete....or even deliberate...?  The invitation is for the viewer to experience some sense of ambiguity and uncertainty about the work. Also for it to be nevertheless engaging enough to stimulate the imagination or senses to wonder about its possible history or potential future. 

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