Ron Gorchov and Otis Jones

To 27/02/2021
Fondation CAB
32-34 Rue Borrens
1050 Brussels

‘In the 1960s, at the height of minimalism, Ron Gorchov and Otis Jones hijacked the total purification of the object to inject the canvas with a newfound vitality...

The exhibition retraces the related journeys of two artists who have marked the turn of the 21st century with ever-evolving artistic practices that are striking in their consistency as they are in their porosity...

Gorchov and Jones radically opposed the concept of “perfection” in art that reigned at the time, and didn’t hesitate to render the creative process visible and tangible in works that assimilate accident and chance...’ excerpt CAB website

Ron Gorchov and Otis Jones, Fondation CAB

Ron Gorchov

Otis Jones

Of Colour and Light

 Women Abstract Artists' Biennial 2020 (Victorian Artists - Australia)

16 December 2020 - February 2021
West End Art Space

Opening: 19 January 2021, with guest speaker Leah Justin from the Justin Art House Museum.

Participating artists:
Samara Adamson-Pinczewski, Nicole Allen, Irene Barberis, Liliana Barbieri, Carol Batchelor, Sue Beyer, Louise Blyton, Liz Bodey, Lynne Boyd, Fleur Brett, Terri Brooks, Elly Buckley, Victoria Cattoni, Veronica Caven Aldous, Magda Cebokli, Dawn Csutoros, Madeleine Joy Dawes, Lesley Dumbrell, Agneta Ekholm, Roz Esplin, Jennifer Goodman, Mandy Gunn, Anni Hagberg, Fiona Halse, Anne Hastie, Kate Hendry, Polly Hollyoak, Andrea Hughes, Shelley Jardine, Wendy Kelly, Suzi Leahy Raleigh, Stephania Leigh, Helen McInnis, Suzanne Moss, Cathy Muhling, Fran O’Neill, Jacklyn Peters, Caroline Phillips, Linda Pickering, Julia Powels, Jenny Reddin, Anna Rowbury, Melinda Schawel, Antonia Sellbach, Jacqueline Stojanović, Wilma Tabacco, Leah Teschendorff, Kerrie Warren, Susan Watson Knight, Lorri Whiting

'This is the third abstract biennial Anna Prifti curates to provide a platform to women abstract artists from the state of Victoria. This initiative started in 2016 with the aim to showcase and advocate that women artists have been an integral part of the Abstract movement.

This year the biennial coincides with the opening of the new permanent space for West End Art Space at 112 Adderley Street West Melbourne.

There will be a variety of artworks on show, with women artists working in a diverse range of contemporary art practices, with emerging, established and well-recognised careers.

In this show abstraction in an array of styles – lyrical, expressive, intuitive, hard-edged, reductive and minimalist – become unified by an ongoing conversation on colour and light.'

Jackie Saccoccio

 Vale Jackie Saccoccio, American abstract artist, 1963-2020 

Jackie Saccoccio

“The process,” Saccoccio once told Artadia of one painting based on Shakespeare’s The Tempest, “accentuates the alchemical play that occurs between the mediums of the individual colors, and, I hope, reflects the conceptual nature of the paintings, sweeping through vertiginous vacuums and implosions and the explosive nature of a tempest.” Excerpt ARTnews, Dec 5

Portrait (Peripheral), 2018, oil and mica on linen,144.8 x 114.3 cm.

Swarm, 2019, oil and mica on linen, 269.2 x 200.7 cm.

Painting images Van Diren Waxter website:

Kate Briscoe

Harvesting Raindrops
To November 7
Art Atrium

Limestone Rockface – Geikie Gorge #4,mixed media on canvas, 101 x 101 cm.

‘As an artist I have always viewed landscapes in terms of structure, form and textures, from a geological perspective.’ Kate Briscoe 

Installation images

Michael Cusack

All of days
To November 7
Olsen Annex

‘Every word is like an unnecessary stain on silence and nothingness’ – Samuel Beckett

Urbino, 2020, enamel on masonite, 36 x 30 cm.

Quiet Time, 2020, enamel on masonite, 36 x 30 cm.

I Can't Make You Love Me, 2020, enamel on masonite, 36 x 30 cm.

Ampere, 2020, enamel on masonite, 51.5 x 44.5 cm.

‘...As a devotee of literary figure and fellow countryman Samuel Beckett, the Irish-born Cusack’s erasure action embodies Beckett’s frequent mandate of ‘less is more’. Reborn from this new energy, the paintings become framed with irregular edges, remodelled by hollows and marks and radically altered through the humble economy of artistic means’ excerpt Sharne Wolff

Black or White

International group exhibition
September - October
Cross Gallery

Selected images via Cross Gallery: 

Installation image by John Learmonth

Installation image by John Learmonth

 Marlene Sarroff

Ulla Pedersen

Michael Cusack

Rose Moxham

Danica Firulovic

Bryce Aston

Kirsten Schroder

Fukuko Harris

Dani Marti

To September 6
Dominik Mersch Gallery 

Blanket, 2004-2020, venetian blind cords and powder coated steel and aluminium base, 144 x 115 x 23 cm (Gallery website)

‘Dani Marti’s new works speak of the ‘between’ that exists in minimalist art, within both the fine, stream-like drawings of Agnes Martin and the solid presence of Donald Judd. Marti’s use of ropes, reflectors and beads stretches the very physical act of weaving across multiple surfaces.’ Excerpt gallery website.

Between, 2020, polyester and polypropylene rope on polished aluminium frame, 65 x 65 x 11 cm x 4 

Dani Marti artist talk Domink Mersch Gallery

Eleanor Louise Butt

Porthmeor Studio 5 paintings
To September 6
Nicholas Thompson Gallery

Yellow blocked out sketch on brown ground, 2019, oil on cotton 127 x 100 cm.


Installation image (Eleanor Louise Butt).

‘Butt’s very specific technique, in which she loads her brush with paint and drags it across the surface of the canvas, charges her paintings with tension - a kind of push and pull between transparency and opacity.’ Excerpt, exhibition essay by Amelia Winata

Artist Profile Magazine

Samara Adamson-Pinczewski

Sinuous Spheres
29 August - 10 October
Charles Nodrum Gallery

Around the Corner 6, 2020. Acrylic, iridescent acrylic and fluorescent acrylic with UV Topcoat
on ABS resin (SLA), 42 x 75 x 40 cm, from two angles.

Ron Gorchov


Pierrot, 1979, oil on linen canvas, 152 × 152 cm (Artsy)

‘Since 1967, Gorchov created canvases that are curved in such a way that they arc away from the wall, jutting toward the viewer in a manner that lends them a sculptural quality. Sometimes, the paintings appeared in monumental stacks, running up tall walls. Works of the kind have accrued a cult following in New York, where Gorchov was long based, with curator Robert Storr among his most vocal proponents.’ Artnews website 

Ron Gorchov

I was fortunate to see Gorchov’s work at Frieze Art Fair, London, 2015. It didn’t disappoint. I particularly love his singular focus over a lifetime leading to completely original work. 

Installation image, Cheim and Read

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