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

Emma Langridge

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

'I make paintings and take photographs of the urban environment.

I am interested in glitch, fracture and malfunction, particularly within regimented and meditative processes.

As John Cage said, "I welcome whatever happens next."'

‘Repeater’ installation, Five Walls, Melbourne. L-R right wall, Beacon I-IV, Tocsin, each acrylic on wood, 2019. 

Suzan Shutan

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

‘Conceptually non objective, my work explores sensory stimuli such as water, and while material driven, it also examines psychological space informed by color field, geometric abstraction, pattern movement, and shapes and colors I find in nature and our built environment. I think of color as a cornucopia of visual pleasure. It is light but also stimulates an array of emotions that shape our perceptions of an ever-changing environment.’ Suzan Shutan

Suzan Shutan received a BFA from California Institute of the Arts, Valencia, CA, and a MFA from Rutgers University Mason Gross, NJ. Her work has been shown throughout the United States, South America, Eastern & Central Europe, Australia and in 23 solo exhibits and 190 group exhibitions.

Suzan has taught at RISD, University of Massachusetts Amherst, University of Nebraska, Quinnipiac University and continues to teach Sculpture at Housatonic Community College and with low residency MFA students in programs including Lesley College at Harvard, MA. www.suzanshutan.com

Ooze Tar Paper, 2019.

Karen Schifano

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

Karen Schifano is a reductive abstract painter who lives and works in NYC. She has shown work in the USA and Internationally. Exhibitions in Australia include Sydney Non-Objective, and Suzie Idien’s Project Space in Sydney, and the Reductive Non-Objective Project at Five Walls in Melbourne. The strong abstract painting tradition in Australia has been a big influence and artistic connection over the years, both online and through the artists visiting New York. Cheers to my artist friends down under! Karen Schifano 2021.

Mortal Coil, 2021, flashe on canvas, 71 x 91 cm (28 x 36").

Rose Moxham

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 work is based in nature, specifically the mangrove, living where I do on Moreton Bay with the mudflat at my door. It is a boundless subject, my only subject, and there are myriad ways of seeing and approaching it. I have chosen to not settle on any one approach (although the one informs the other), partly because it would be untrue to both the mangrove and to how I work, and also because it gives me scope to investigate in many forms not only the physical, conceptual and emotional content of the subject, but also that of the materials I use.

At the beach, 2021, oil on wood, 12 x 20 cm.

Tracey Lamb

Ode to Marion, Problem No 03 (D), welded steel, enamel paint, Incinerator Gallery, Moonee Ponds, 2019.

Tracey Lamb is a sculptor based in Naarm / Melbourne. Her practice is informed by the aesthetics of mid-century design, encompassing, architecture and interior design. Large installations reference women whose work has been marginalised or erased from these related histories. Smaller works are abstracted fragments removed from their original design context. Lamb is a self-taught welder and constructs her work from her home studio.

Abstract architectural assemblage, The Churchie, The Institute of Modern Art, Brisbane, 2019.

She has an MFA from Monash University, 2018 and a BFA (Visual Art) Honours from the Victorian College of the Arts and qualifications in Interior Design.

Lamb has been in multiple group and solo shows and has shown work throughout Australia, also Milan and Berlin. She has also been a finalist in many awards shows and received multiple prizes for her work. Her art is held in collections within Australia and internationally.

Diva, welded steel, clear enamel coating, Curatorial & Co, Sydney, 2021.

Point of View, welded steel, Montsalvat, Eltham, 2018/19.

Lamb is represented by Curatorial & Co, Sydney.
https://www.instagram.com/tracey_d_l/
https://tracey-lamb.com

Guy de Rougemont

1935-2021
France

A chair, 1967, lacquered PVC, 110 x 50 x 50 cm.

‘De Rougemont possessed a unique ability to blur the boundaries between the fine and decorative arts ... Throughout his career, he considered himself a painter, although he was well known for his expressive furniture designs. He once stated simply that he was a painter who designed furniture and made sculptures.’ Excerpt Architectural Digest

‘De L’Ellipse a la ligne serpentine, 2019,
installation image, Diane de Polignac Gallery, Paris

Artists’ home

Guy de Rougemont

Sculpture dining table, 1971, stainless steel, perspex H. 75 x 160 cm.