PJ Hickman

PJ Hickman
Register
10.02.21 – 27.02.21
Five Walls
Melbourne
http://fivewalls.com.au/ 


 
Post Pandemic, acrylic and polyurethane on canvas, 92 x 92 cm, via Five Walls


'REGISTER is a witty articulation of a Minimalist aesthetic combined with a formalist conceptual approach to painting offering a wry take on the art market and contemporary issues. These include iconic artworks, the pandemic, track and trace technology and online shopping, while at the same time extending arguments surrounding objective and non-objective painting. The work explores ‘painting’ through the history and conventions of painting, appropriation of the art world generally, and the context and function of the gallery itself.' Excerpt Five Walls website.

Also on:

Troy Ramaekers ‘Blue Notes’

Chas Manning ‘Finery’


Ryllton Viney

The Sorrow of Black, the Silence of White, 1970-2020
The Poimena Gallery
Button St
Launceston, Tasmania
To March 4











Installation images Poimena Gallery

Collections
Queen Victoria Museum and Art Gallery, Tasmania
Artbank Collection, Sydney
Tasmanian College of Advanced Education (now University of Tasmania)
Burnie Regional Gallery
Devonport Regional Gallery
Melbourne College of Advanced Education (now University of Melbourne)
Hobart Technical College Collection
Wesley College Cato Collection, Melbourne
'The Examiner' Collection, Launceston
'The Mercury' Collection, Hobart
The Launceston Grammar School Collection
The Little Gallery Society Collection, Devonport
State College of Victoria (now Deakin University)
Lowick House Print Workshop Collection, United Kingdom
Private Collections - Australia, United Kingdom, United States of America and New Zealand



Ron Gorchov and Otis Jones

To 27/02/2021
Fondation CAB
32-34 Rue Borrens
1050 Brussels
Belgium
https://fondationcab.com/special/ron-gorchov-otis-jones



‘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.

https://westendartspace.com.au/exhibitions_details/of-colour-and-light-biennial-2020-dec-feb/




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: https://www.vandorenwaxter.com/


Kate Briscoe

Harvesting Raindrops
To November 7
Art Atrium
Sydney 

https://artatrium.com.au/
http://www.katebriscoe.com.au/

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
Bundaberg
https://www.cross-gallery1.com/


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

Between
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
Melbourne 
https://www.nicholasthompsongallery.com.au/



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

1930-2020 


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





Image: ; 

John Nixon

1949-2020 


‘John Nixon is Australia’s most influential conceptual artist, exhibiting nationally and internationally since the mid-1970s. Nixon attended the National Gallery of Victoria Art School in Melbourne (1969-1970), establishing a reputation for his minimalist abstract paintings from the early 1970s.’ Ocula
 website


Untitled (Red and White Cross), 2014, Enamel and wood on canvas, 25 × 25 cm (Image Artsy)


As an art student I chose John Nixon to interview for Art Theory. I’ll always remember the length of time he spoke to me at little notice about all things including how his work related to both Russian Constructivism and Australian culture. At the time he was sitting his solo exhibition (artist run space) in Hardware Lane, Melbourne, 1980s.



Steven Harvey

Under Beckett's Bridge
30 July - 22 August 2020
Liverpool Street Gallery

Sydney
https://www.liverpoolstgallery.com.au/



Dusk Painting no. 2, 2020, acrylic on compressed cement 180 x 144.5 cm (diptych)



Installation image



Shadow and Light Forms - Unrendered Room no.1, 2020, acrylic on compressed cement, 29 x 39 cm.


Images Liverpool Street Gallery 

Elisabeth Bodey


Spectral : songs for a new age
To June 13
Five Walls

http://fivewalls.com.au/



Elisabeth Bodey, MKH, 2020, acrylic on linen on board, 70 x 60 cm.

'My paintings continue what has been my focus for the last ten years: representations of the convergence of different aspects shared between music and painting: synchronous relations such as harmony and dissonance, markings of time and space, sound and silence, chromatic values etc. Though obviously very different physical forms, they communicate via form, structure, materiality and conceptual aspects.

My process is one of interweaving, exploring or wandering between these different levels in space. There is for me an endlessness, an openness to this investigative process through both aesthetic and conceptual means but as the one who is in the more material realm, it is an on ongoing process of re-presencing what is heard and what is felt.' Elisabeth Bodey.



Elisabeth Bodey, Devotion, 2020, acrylic on linen on board, 70 x 60 cm.


Elisabeth Bodey, Vespers, 2020, acrylic on linen on board, 70 x 60 cm.


Elisabeth Bodey, installation image (Vespers 1 and 2).
  
Elisabeth Bodey, opening night.

Also on show:

Ariana Luca
A Glimpse of a Process


‘A Glimpse of a Process’ is a series of works on paper that explore the process of constructing an abstract composition. Through these works I explore how a drawing can reflect and capture an artist’s movements, gestures, decisions and ideas within the surface of the paper ... As they progress, the drawings record each moment in the history of their own making. Each work captures my continually evolving practice of creating endless iterations of abstract shapes and patterns.' Ariana Luca.


Ariana Luca, Unfold, Stretch and Rearrange, Watecolour, gouache and graphite on paper.

Sebastian Ingram
I Have Never Seen a Blackhole

‘I Have Never Seen A Black Hole’ explores the idea that thousands of images being used to try and reconstruct a ‘whole’, in a singular moment, seems to diffuse the referent object rather than suspend it in time and space. Through the diffusion of a myriad of representations, the work aims to question our relationship between the sensory experience of representations and their referent objects' Sebastian Ingram.



Sebastian Ingram, Untitled (diffuse 001), 2020,
materials including fabricated Steel, acrylic and laser print, dimensions variable.

In the stockroom: 

Andrew Leslie, Loop, acrylic on aluminium, 120 x 120 cm.


Chris Packer, Parthenope, manipulated fabric, 70 x 50 cm (approx).

Individual artist's text; Five Walls website.