Art thoughts

Mostyn Bramley-Moore

Short Stories – paintings from 1980 – 2017
Until February 24

Watters Gallery Sydney

Blue Door, 2002, oil on canvas, 46 cm x 54 cm.

Spirits, 1995, oil on canvas, 105 cm x 82 cm.

Green Curtains, 2017, oil on canvas, 87cm x 77.5cm.

I've been following Mostyn's work for decades. He is one of the 'true artists' in Australia for me, particularly when it comes to a convincing inquiry. He says; 'I’m always motivated by fascinations, stories, particular places, and so on. When I walk past my old works they talk to me about the ideas and memories in them, more than they boast about their compositions or colours...'

Mostyn Bramley-Moore has a Master of Fine Arts in painting from Pratt institute in New York and a PhD in Fine Art from RMIT. Between 1978 and 2016 he taught at art schools in Victoria, New South Wales and Queensland, was a Smithsonian Fellow, and had studio residencies in France, Great Britain, the USA and Sweden. Bramley-Moore has won several major prizes, including the Gold Coast Art Prize and the Rio Tinto Martin Hanson Memorial Art Prize. He has also been a finalist for the Wynne, Sulman and Fleurieu prizes (source Watters Gallery).

Raymond Carter

LOZENGE
Five Walls Project Space
Footscray

Lozenge Fusil, 2018, Cloth Tape on multiple MDF panels, 240 x 360 cm.

Lozenge Mascle, 2018, Cloth Tape on two MDF panels, 60 x 120 cm.

Raymond Carter at Five Walls

'From the first decade of the 20th Century, the lozenge shape has held a position within geometric abstract painting. Introduced to easel painting by the Russian Constructivists they incorporated it, alongside other elements, into their geometric arrangements. It was with the Minimalist painters of the late 1950/60’s that the rhombus leitmotif became central to the inquiry. Painters Frank Stella and Ellsworth Kelly, among others, found delight in the dynamics of the shape and applied it with great effect to determine the shape and compositions of their works...' Aaron Martin, 2018.

Through progressive development during his MFA study at the VCA, Melbourne, Raymond Carter abandoned more traditional media to construct work with humble materials including hardware store bought cloth tape and MDF boards. The tape I'm told is UV resistant and the surface is also UV protected with a final sealant. The effect is impressive, particularly Lozenge Fusil, 2018. I time-traveled back to the great Galleria Nazionale d'Arte Moderna in Rome where room upon room exists full of wonderful Arte Povera and 1960s Minimalist inspired contemporary works. Lozenge Mascle, 2018 is rewarding for its surface depth, the 'process' of layering tape adding another interesting dimension to the work. Carter initially trained as a sculptor and later worked in more traditional fine art media, particularly printmaking.

Shelley Jardine

UNDER INSTRUCTION
Five Walls Projects
Footscray

Active panels' 2018, synthetic polymer on board, dimensions variable.

Orange Panels 1, 2, & 3 2018, synthetic polymer on board, dimensions variable.

In Under Instruction, the viewer or participant is directed through the exhibition by a set of written instructions... with the purpose to investigate movement, space, the viewer, art and artist relationship in this case with the language of hard edge abstraction.

Shelley Jardine is a current PhD candidate at Deakin University.

Susan York

Susan York install shot, Del Dio & Barzune

Susan York, New and Recent Work, January 18 - March 30, Del Dio & Barzune, New York.

'The work might first strike one as Minimalist and literal, but it soon sheds those associations and becomes something else, a meditation on time, landscape, and architecture.' John Yau 'An artist's devotion to exactness', Hyperallergic.com.

I've been following York's work for some time. I think what impresses me most is her ability to convey a full and satisfying personalized art experience with seemingly minimalist means.

Louise Blyton

Louise Blyton
Butterfly Milk
57 West 57th Street
New York
January 12 - February 16

Louise Blyton, install shot 'Butterfly milk' 57 West 57th Street.

Congratulations to Louise Blyton on her first solo exhibition in New York City.

Louise's sculptural paintings are hand built. Her colour raw pigment, repeatedly pummeled to build up the unpainted linen surface.

Green House

Green House, Preston South

I spent my later childhood living next to a house like this. The owner I was told was in an asylum. One day I peered through the front window heavy lace curtains. I could see a room in disarray, the unmade bed strewn with pill bottles and multi coloured pills. The bed stayed this way for years. No one ever came.

Gareth Sansom

Gareth Sansom ‘Transformer’ Ian Potter Centre, NGV

‘Looking for God in abstract art 2', 2010.

‘Gotterdamerungerdungerdumbergungerdung!’1981-82

‘Du hast keine chance, nutze sie’ 1981

Sansom’s show is rewarding. His work is brave above all and constantly questioning what can be a ‘painting’. One of the few senior Melbourne artists in the gestural field whose work successfully references and therefore sits within international practice.

NGV Triennial

NGV Triennial of contemporary art and design practice.

Pae White, USA,‘Spearmint to Peppermint’ 2013, tapestry (detail)

Edson Chagas, Angola ‘Tippa Passe’ 2014 (detail)

Sissel Tolaas, Norway, ‘Smell Scape’ 2017, detail of a series
(she is a chemist and has infused the work with artificial smells)

Oki Sato, Canada, emigrated to Japan, ‘Manga Chairs’ 1-50, 2015, detail, one chair.

Joris Laarman, Netherlands, Chair, 2014.

The triennial was lot of colour, mirrors, dark rooms and regional political issues. A few selected works which rather referenced and pushed the boundaries of practice.

Fontainebleau

Frederick McCubbin’s Macedon house and studio.

Fontainebleau, December 2017.

Remnant kitchen garden.

McCubbin's studio?

The pioneer, 1904, oil on canvas, 225.0 x 295.7 cm. Collection NGV.

At the suggestion of a day trip to Mt Macedon with architect and heritage conservator, Louise Lakier, I decided to try and track down McCubbin’s house and octagonal studio situated at the base of the garden that I had heard about many years prior. The house today is in a total state of disrepair. It’s here McCubbbn painted The pioneer, 1904, reportedly with his wife and a local gardener and his relative among the models. It’s an iconic Australian Painting. This was the only house McCubbin purchased (1901) and is in an isolated spot on the north side of the summit.

Whilst I initially learnt of the rotunda shaped studio from an artist who knew the occupants I can’t find any online references. This building is somewhat repaired, however the roof is definitely early 20th century circa federation design and woodwork. It’s also perfectly positioned to take in the north light and views. Most photos of the house online are taken from this vantage point. There is also an old road from the house via the kitchen garden to the ‘studio’ which goes no further.

McCubbin was a founding member of the Heidelberg School and drawing master at the National Gallery Art School, School of Design.

McCubbin’s painting, On the wallaby track, 1896, was the subject of a humorous Kit Kat television advertisement in the early eighties. Watch it here: https://youtu.be/N8BQb4apMkU