Art thoughts

Angel Alonso

Angel Alonso, 1923-1994. Spanish/French
Solo exhibition, Art Paris 2019

Selected works from the artist.

White Tear on Red Background, mixed media on board, 57 x 47.5 cm.

Untitled, 1988, mixed technique on wood, 96 x 48 cm.

Untitled, 1994, Mixed media on wood panel, 24 × 36 cm.

Link, mixed media on cardboard, 24.5 x 20 cm.

Marlene Sarroff

365 Days: You get what you choose

To April 23
BSA Project Space
Mullumbimby NSW

An installation of 365 works created over 365 days.

Installation at Byron School of art

From 'You get what you choose', Byron School of Art.

‘The result is a culmination of a disciplined daily practice of making an artwork everyday, incorporating a multi-media process, combining Social Media, Technology and Art. Instagram is an important component in the creation of the project, the works were posted daily. Each day is different and presents a spontaneous creation pertaining to the day of the artist.

The work is made from a diverse range of found things. It is an investigation of the ordinary from the perspective of the found - be it the rejected, the disposable, the overlooked that becomes an intrinsic part of the creative process and through the method of Assemblage the work is created.’ Excerpt artist statement Marlene Sarroff 2019.

Raymond Carter

An Imaginary Constellation
03.04.18 – 20.04.18
Five Walls Projects

1/119 Hopkins St., Footscray

Installation detail: ‘An Imaginary Constellation’installed at Five Walls. Medium: tape on MDF board.

‘An Imaginary Constellation describes the illusion of a connection between groups of separate objects. Constellations were the creation of schematic patterns by linking stars of varying sizes, colours and brightness. Constellations appear to travel across the sky according to the movement of our planetary circuit and their location was seasonally specific...

In my multi-panel installation, I have made an Imaginary Constellation exploring interactions between the coloured highlights and the repeated alternating vertical and horizontal background pattern. The radiating coloured lines combine to form diagonal grid-like array apparently randomly scattered across the field. Based on pattern and chance relationships the constellation can be viewed as a positive or negative schema.’ Excerpt Raymond Carter, 2019

Louise Blyton, Ted Larsen

Louise Blyton

‘All the birds are singing’

Ted Larsen

‘Future Living in Yesterday’s Tomorrow’

Joshua Liner Gallery

To May 4

New York

Louise Blyton, Volcanic Sigh, 2018, Pigment on linen, 20 x 18 x 18 inches.

Opening shot by artist Suzan Shutan.

Ted Larsen, Horse Fly, 2019, Salvage steel, plywood, silicone, vulcanized rubber, 11 x 8 x 6 1/8 inches.

David Serisier

‘Big Gold Monochrome’
20 March - 9 April 2019
Liverpool Street Gallery
Sydney

Gold painting 1, 2018, oil and wax on linen, 200.5 x 200.5 cm

‘Continuing his exploration of colour, Serisier’s latest exhibition is very much about painting. Using a palette of golds, silvers, black and pink, the metal rich paints deliver an effect that is both concrete and ephemeral, object and void. The large format remains at heart of any Serisier exhibition, as the title attests, with fields of colour broken as the layers of paint are built to create a shifting surface of light and texture. Returning to his earlier heavily textured approach, a series of smaller works rich with thick layers of dense colour are invested with inscribed staccato gestural marks.’ Liverpool Gallery website

Pink square painting, 2019, oil, wax and acrylic on linen, 30.5 x 30.5 cm

in situ image, Liverpool Street Gallery FB.

Matisse and Diebenkorn

‘Matisse/Diebenkorn’
2016-7
Museum of Baltimore

SFMOMA San Fransisco

Installation view of “Matisse/Diebenkorn”, 2016–17, L-R, Diebenkorn, 1972, Ocean Park #5,
Matisse, 1914,View of Notre Dame at the Baltimore Museum

Featuring 100 works by the two artists this exhibition explored the inspiration Richard Diebenkorn found in the paintings of Henri Matisse. Consideration of Matisse’s use of colour and subject matter are evident in Diebenkorn’s earlier work while the lineal and saturated field of Mattise’s abstraction ‘View of Notre Dame’ 1914 influenced Diebenkorn’s most celebrated ‘Ocean Park’ series.

Diebenkorn, 1969, Ocean Park #24

Matisse, 1914, View of Notre Dame

Acknowledging influence

Tapies and Le Corbusier

I stumbled upon this tapestry designed by Le Corbusier. I immediately thought of Antoni Tapies. I studied Tapies extensively and have read a lot of his text. All the pictorial elements that Tapies utilised seem present in the Le Corbusier. These include the open field and scale, reference to the human figure, loose and open line work and surprising layers or blocks of colour to create innovative compositions. I consider both among my favorite artists so it is interesting to discover this connection.

Le Corbusier, Les Mains, 1951, tapestry in situ

Tapies, Les quatre cròniques, 1990.

Le Corbusier, Les Mains, 1951, tapestry.

Tapies, Les quatre cròniques, 1990.

All artists are influenced by others. Richard Diebenkorn based his Ocean Park series on a work by Henri Mattise, View of Notre Dame, 1914.

Shades of Grey 2019

curated by Charles Justin (JAHM)
Artists: Louise Blyton, Caroline Collom, Matthew Engert,

Andrew Gutteridge, PJ Hickman, Max Lawrence-White,

Aaron Martin, Suzanne Moss, Yuria Okamura, Hayley Scilini, Beverley Southcott
Tacit Art Galleries
Melbourne
To March 10

Aaron Martin install photo

Andrew Gutteridge

Hayley Scilini install photo

PJ Hickman install photo

Louise Blyton install photo

Max Lawrence-White install photo

‘Justin chose to focus on artists who are part of the JAHM collection, many of whom are early career artists and whose practices explore the themes of abstraction.’ Tacit website.

Justin Art House Museum https://www.jahm.com.au/