Lee Kyo Jun

Universal space
solo exhibition at GALLERYDATE

Busan, South Korea
The exhibition will be on view until April 05 2018

Lee Kyo Jun, Gallery Date

Lee Kyo Jun, Gallery Date

Lee Kyo Jun, Gallery Date

Robert Hirschmann

‘Same Same’
King Street Gallery, Sydney

March 27 to April 21

 

Boilerwood Track, 2018, gesso and oil on linen, 183 x 213 cm. 

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Found Acorn

Found acorn

My grandmother

I picked up this acorn fallen from the same tree as I did out with my grandmother 50 years ago. She said ‘if you carry an acorn in your purse you will never run out of money’. My grandmother grew up during the suffragette movement. I grew up during the women’s liberation movement. Not once in my childhood in my home or at a school did I feel inferior or that I could not do anything I wanted. It took greater society to impose those feelings on me particularly in the last 15 years. Thank goodness there is another upsurge. #suffragette #womensliberationmovement #metoo

Hannah Quinlivan

IMPULSES, RESTRAINTS, TONES: NEW COMPOSITIONS BY HANNAH QUINLIVAN
1 March - 20 April
JanKossen Contemporary
529 W 20th St, 7th Floor, Chelsea, New York

Hannah Quinlivan at JanKossen Contemporary

Congratulations to Australian artist Hannah Quinlivan on her first solo exhibition in New York.

‘The well-known “Spatial Drawings” walk the line between sculptural weaving and graphic mark making and explores concepts of temporal reality and memory.’ Excerpt from gallery site text.

Hannah is also working at the gallery making a site specific spacial salt drawing.

Hannah Quinlivan website: http://hannahquinlivan.com.au/art/

Jennifer Joseph

New in the stockroom
Niagara Galleries
Melbourne
Until March 3

Table no. 11, 2016, acrylic and gesso on jute, 80 x 69 cm. 

Untitled, 2005-06, acrylic on canvas, 107 x 76.5 cm.

Install shot of work by Jennifer Joseph.

Currently on view at Niagara Galleries in Melbourne is a solo exhibition by Rubaba Haider 'A Story of thread and thrum' and on the first level 'New to the stockroom' featuring work by Jennifer Joseph, Angela Brennan and Gunter Christmann. It is the work of Jennifer Joseph which I specifically came to see as her paintings are not frequently on display in Melbourne.

It’s possible to look at a work of art and receive an experience without knowing the artist’s intent. It happens with archaeological items whose meaning and maker are unknown. The work transcends its origin. Questioning and wonder are brought into play while appreciating the works' physical values. I wonder why insistence is commonly placed on knowing the complete impetus of a contemporary artist, particularly one following on from modernism when most modernist abstractionists referenced pre-Renaissance art (for reasons of expression beyond figuration).

Joseph's work is experiential. The artist herself states the process is as important to her as the outcome. This is not to diminish the work rather to explain that work comes from the act of painting. It is not preconceived. Her work has a 'deep' aesthetic. Joseph paints at night preferring the quiet and still meditational ambiance; 'the nocturne'. The work is often somber in colouring. There is nothing superfluous. One can enter the work knowing there is no 'glam bag', it's a trusted place. In this world now, individual aesthetic expression seems enough.

Erin Lawlor

Hiraeth
February 22 - March 31
Fox Jensen Gallery
Sydney

Erin Lawlor

Erin Lawlor

Erin Lawlor

Hiraeth, 180 x 130 cm.

Fox Jenson Gallery in Sydney is mounting 'Hiraeth', the first solo exhibition of English painter, Erin Lawlor. It's rare for an Australian gallery to show the work of a contemporary living international painter. For many years Lawlor lived in Paris before returning more recently to base herself in London. Erin's growth in stature as a painter is tied to the development of her work. Large swirls of alla prima paint in Northern European colours and tones amount to the visual content and context of the work. 'Process' underlies her painting (each seems a journey) however the compositions are carefully configured. The illusionistic depth of field leads the viewer on a physical journey as marks can be followed as if tangible or concrete. When drawing with 'sparklers' in the night sky the trace line becomes real for moments. In Lawlor's case her gestural trajectory is frozen like a bud in amber. 

'Erin works exclusively in oil on pre-stretched canvas that she lays on the floor. Working horizontally came about gradually, as she began to work with larger brushes and more liquid paint. She lets the first few layers of a new work dry, forming a base upon which to work “alla prima” (wet-on-wet), painting over and over and with what has gone before.

“In later layers, I work back through the colours with thick-bristled brushes, so the initial tones are sometimes visible and have their importance,” says Erin. “I aspire to a coherence – so often beautiful moments that occur during the process end up being sacrificed in favour of the whole. Just as line and form need to come together so do matter and subject, however inexplicit that subject may be. It’s a constant tightrope walk!” ' Camilia Wagstaff, Erin Lawlor : Pure Drama, In Out Design Blog.

Jo Katsiaris

Wastelands
'Art works created solely from the discarded'

Oblivion II, 2017, found timber, acrylic, oil paint and rain water.
Installation shot Art Gallery on Darling, Sydney.

Oblivion, 2017, found timber, acrylic, oil and rain water, 80 x 60 x 7 cm.
Installation shot Art Gallery on Darling, Sydney.

Sacked, 2017, found jute coffee bags, paint, rust, rain water, plastic, paper, 310 x 225 x 225 cm.
Installation shot Bondi Pavilion Gallery, Sydney.

Jo Katsiaris held two recent exhibitions titled 'Wastelands' firstly at the Bondi Pavilion Gallery and ending last week at Art Gallery on Darling in Sydney.

Katsiaris' materials are salvaged from the streets of Sydney; the kerb and council cleanups. In doing this she is working in a long tradition of artists using found objects including Rosalie Gascoigne. However she is also stating 'rain' and 'rust' as a media along with paint as natural weathering processes are integrally incorporated into the work. She sites Arte Povera, Post-Minimalism and Reductive Art as references but by incorporating traces of natural phenomena upon made materials she is also referencing Land and Environmental Art. 

This methodology appears a fairly recent development, but her two pieces entitled 'Oblivion' speak not only of waste, recycling and finite resources but by their blank white state save for the ravages of time seem to also be suggestive of a possible future state when resources are scarce.

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.