Louise Gresswell

6th international biennale of non objective art

Que des femmes/Only women
Melbourne virtual satellite
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November

Investigating her own subjectivity and its relationship to vulnerability and protection, Gresswell explores the materiality of paint. Textural paintings form sensory narratives as the painted boards are broken and reformed.

The debris of the studio is utilised as holes are patched and cracks are filled with whatever is at hand, string, canvas, hessian and cardboard. There is an act of defiance in the cutting and an implied comfort within the suturing.

Gresswell is a Melbourne Based artist. After studying a BA (hons) in Textile Design at Chelsea College of Art, London, Gresswell went on to complete her Master of Fine Art studies, with Distinction, from RMIT, Melbourne (2017).

Untitled (dark grey), 2020, oil on board, 35 x 27cm.

Marlene Sarroff

6th international biennale of non objective art
Que des femmes/Only women
Melbourne virtual satellite
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November

Marlene Sarroff is a Sydney based artist. With a Bachelor of Art Theory from the University of New South Wales Art and Design 1991 - 94 (previously COFA) and Master of Art 2006/7 Sydney College of Art, University of Sydney Her practice extends across several disciplines including 3D Sculpture, wall works, photography, assemblage, painting, and an experimental installation practice. Exhibiting continuously over the past 25 years, with over 20 solo exhibitions and numerous group exhibitions, both in Australia and Internationally.

marlene-sarroff.com

Experimentation is the essential element that drives the work. Using a minimal and reductive aesthetic, abstract ideas merge equally with the materials found from urban industrial environments. Taken out of their original context, and deprived of their original status, the working process is a journey of unpredictability, intuition and impulsive play. The works are reintroduced in a new context. Materials are discovered more than sourced and corrugated cardboard, bubble wrap, rubber, elastic, tape, foam board are some of the materials repurposed. The material dictates the action performed to bring the work into being. Folding, wrapping, winding, stacking, assemblage are some of the processes employed. A key element in the process is to be guided by the persuasiveness of the material and by freeing the “things” by dissociation, estranging them, removing them from their context.

A Constellation (Abstracted) 2021, 19 stretched canvases, assemblage, approx 110 x 80 cms (size variable).

Danielle Lescot

6th international biennale of non objective art
Que des femmes/Only women
Melbourne virtual satellite
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November

Danielle Lescot in the studio with her work 'Hélicoïdale'

Danielle Lescot lives and works in Paris, France.

In her studio, she practices ceramic as well as painting and drawing. Her work currently brings together the constructed and the ceramic transformation of enamel , and evolves into installations of construction games, alignments, rhythmic sequences.

Recent installation referencing a personal alphabet, black stoneware, each 40 x 5 cm approx. 

 

Wilma Tabacco

6th international biennale of non objective art
Que des femmes/Only women
Melbourne virtual satellite
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November

Small Excavations

'Thought bubbles, vague ideas floating on the edges of consciousness – unreachable
through forced thinking or writing – often form themselves when one lets the
materials be guided by an unthinking hand.

These small works form part of a series made in 2015 exhibited in my solo exhibition
Cycladic at Langford120. They materialised through my not fussing about ‘what to
do next’. Of course, the starting point is always a vague idea around a broad topic
and the intention is always to use whatever motifs eventuate as preparatory works that
will, hopefully, inform larger paintings.

I don’t usually exhibit these precursor works but in this instance they appeared
independent from but linked to what flowed from them so rather than destroy them –
which is what I normally do – I decided to show them along with their genealogical
counterparts.' Wilma Tabacco, August 2021

Small Excavation (selected works), 2015, acrylic on canvas panel, 15.2 x 30.3 cm each.

Bogumila Strojna

6th international biennale of non objective art

Que des femmes/Only women
Melbourne virtual satellite
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November

The cubic form (cube, square, rectangle) constitutes a constraint of my work, which is at the same time its formal framework, constantly transgressed, to invest the space, which is the real subject of my creations.

I introduce nevertheless a new element of transformation, which is the act of folding. Thus the flat forms become three-dimensional.

Folding has been used throughout the history of art from antiquity to the present day. Initially used in the representation of the body, but also in the representation of space, currently present in architecture, sculpture, painting as such.

I use it in a minimal way, to initiate the movement and thus the volume, and to introduce the reverse of the right side, and the infinity of the action of unfolding.

 

 

Irene Barberis

6th international biennale of non objective art
Que des femmes/Only women
Melbourne virtual satellite
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November

Irene Barberis @ Sol LeWitt Chester Studio, USA, 2019. The series of works here are a direct response to the thirteen music tapes that the late Sol LeWitt left in his studio and were played again by me as I responded to his space in tandem with our long friendship. The Series titled: #Compositions, #Composer and #Intervals explore in this context the relationship of colour, music, location, movement and mapping through both the lens of a visual artist and the somatic responses of a classically trained dancer. The exhibition Choreographing Colour 2021, becomes part of a lineage of exhibitions and works investigating ‘Reading the Space’, which commenced through The Global Centre for Drawing and its international projects in 2001. (Acknowledgements: the LeWitt family, LeWitt Collection, Mahler/LeWitt Studios, Stephen McLaughlan Gallery. Photography: Mark Ashkenasy.)

Composition Series: Dancers on a Plane, St Matthew's Passion 2, Voluns & Bach, Sol LeWitt tapes,
Sol LeWitt Studio, May 2019, Italian tempera, Sol LeWitt pencil, on acid-free Fabriano Paper.  

Anna Caione

6th international biennale of non objective art
Que des femmes/Only women
Melbourne virtual satellite
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November

My art attempts to interpret my personal approach to abstraction, acquired from the innate complexities and layers inherited from my Italian heritage. The work hinges on the philosophical and poetic associations of the single-coloured artwork termed the ‘Monochrome’- a recent occurrence of twentieth-century art. My use of colour sometimes combined with form attempts to reveal a range of interpretative possibilities. I am attracted to the notion of nothingness or the void and how some hues may behold, a moment of silence, quiet, an ending or death. The textural hand manipulation and layering of the surface expose the raw materials used to uncover the surface palimpsest and the artwork’s subconscious narrative, through which the exposure of the artwork’s skeletal structures and layers are revealed.

Anna Caione is currently undertaking a PhD in Fine Arts and holds a Master of Arts by Research Monash University, Bachelor of Education in Visual Arts from Melbourne University and completed a Diploma of Fine Arts, Accademia Albertina, Turin, Italy. Anna has participated in numerous solo and group exhibitions her work is held in corporate and private collections in Australia, Italy and Ireland.

Strato #24, 2020, fabric and mixed media on canvas, 100 x 100 cm.

Connie Goldman

6th international biennale of non objective art
Que des femmes/Only women
Melbourne virtual satellite
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November

Connie Goldman’s work mirrors the rhythm, structure, space, and relationships in music, architecture, language, and science. She utilizes essential means to describe the most basic of natural phenomena, the contradictory forces of stasis and flux.

Goldman was born in El Paso, TX. She has resided in the San Francisco Bay Area for many years. She holds an MFA in painting and drawing from the San Francisco Art Institute and a BA in psychology from the University of Texas at Austin. Ms. Goldman has exhibited internationally, and has work in public and private collections including the Laguna Beach Art Museum and the El Paso Museum of Art. Goldman taught at San Francisco State University, San Francisco Art Institute, California College of the Arts, and at Santa Rosa Junior College for the better part of two decades.

Goldman maintains a studio in Petaluma, CA.. Her website is www.conniegoldman.com.

Suzie Idiens

6th international biennale of non objective art
Que des femmes/Only women
Melbourne virtual satellite
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November

Suzie Idiens is interested in the subjective nature of perception and the paradox that arises when viewing reductive abstract art - the effects are self-referential and rational while simultaneously evoking a visceral experience. By methodically questioning the effects of adjusting geometric form, repeatedly manipulating its shape or frontal plane, and restricting the use of applied colour, she asks how the sum of these actions will impact the viewer's experience.

Untitled #2, 2017, MDF, polyurethane, 60 x 54 x 5cm.

Suzan Buret

6th international biennale of non objective art
Que des femmes/Only women
Melbourne virtual satellite
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November

Stolen Geometry

'On a clear autumn day, I walk along a cypress-lined ridge into a garden filled with a riotous discord of roses, marigolds, dahlias and zinnias. Sunlight glints on the water jets of rows of fountains. I walk on paths patterned with inlaid stones and continue on to find myself inside the richly tessellated surfaces of the Nasrid Palace. These walls within the red fortress, El Alhambra, in Granada, Spain are covered with the geometric pattern.

My works are informed by stolen geometry from these gardens of love that I continue to visit in my dreams.' Susan Buret, July 2021