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R E V I O U S E X H I
B I T I O N S
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Tuesday
- Friday 11am - 6pm
Saturday 11am - 4pm
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| 2006 |
2007 |
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Level
1, 137 Flinders Lane,
Melbourne 3000
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E P T E M B E R 1 - 14 |
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The
main concepts within my artistic practice concern ideas
associated with abstraction, beauty and ornament and
landscape. My work celebrates colour and the painted
mark. I am interesetd in exploring various processes
in mark making and layering to build up rich and luscious
surfaces through the use of enamel paint. The space
created in my work allows for a looking into, through
and beyond. A place for contemplation, meditiation and
daydream.
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E P T E M B E R 15 - 29 |
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Urban
Series
This
work is a progression from my love of collage and background
in printmaking. The rich blacks, sooty greys and velvety
lines of etchings combined withtextures from the layering
of lace and material using the soft ground technique helped
me develop breathing surfaces. The paintings are not collage
but painted planes, setting up differing spatial areas.
They have a feeling of ambiguity, of old and new. |
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C T O B E R 2 - 16
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MIRJANA
VUK-NIKIC
XIAO YU BAI
ZSUZSANNA HASE
YOLANDA JUEN
MARIA PENA BRICENO
JAKOV ZAPER
LUCIANA PERIN
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With
definitions of space continuously changing and population
shifts opening new ways of connecting with one another
"Bordering :
space - time - memory presents a group exhibition highlighting
the mobile relationship and understanding of space and
place and its effect on the identity and cultural production
of the artists involved. |
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C T O B E R 17 - 31
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Admiring
a Lady
A three part
collaboration between eight very different and dynamic
women. |
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O V E M B E R 1 - 13 |
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Image-
Make Your Own 2005
marine
ply and hardwood
300.0
x 400.0 x 250.0 cm
Finalist
– McClelland Contemporary Sculpture Survey 2005
McClelland
Gallery+ Sculpture Park, Langwarrin, Victoria
Photo:
Robert Frith, Acorn Imaging, Perth, WA
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N
O V E M B E R 22 -
D E C E M B E R 6 |
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Colour
and texture characterise Garcia’s new paintings.
The work on ply is subtle - after studying the interplay
of colour and grain we can appreciate its dynamism. The
canvases are more intense, both in palette and texture.
Layers of oil, acrylic and enamel encourage us to pause
and penetrate the surface.
Title:
give the bear a summer trinket
Dimensions: 106 x 122cm
Medium: oil, enamel and acrylic on ply (framed)
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E C E M B E R 7 - 21 |
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2007
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| JANUARY
30 - FEBRUARY 13 |
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Imaginary
Places - Midsummer arts
The
three Australian artists come together to explore ideas
of place, memory and fantasy in this exhibition of recent
work. Cyrus, originally from Hong Kong, explores notions
of transition and childhood memory in relation to place
in her beautiful, yet other worldly installation of
timber and glass. Jessica gives form to the flights
of fancy young women entertain about their own fairytale
in a sweet and melancholic installation of cast sugar.
Kveta's paintings investigate the twin emotions of joy
and fear in her underwater world where pleasure and
danger are consorts.
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| FEBRUARY
22 - MARCH 10 |
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Anne
Spudvilas, Chris Marks, Eve Glenn and Sandra Drummond |
| MARCH
13 - 27 |
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Lorraine
Austin In Transit. Paintings from the series
the beasts of love and drawings from the series
cutting through the past. In these recent works
I am interested in what is false, what was there and
now is no longer there. A trace, a false reality.
Annabel Nowlan' s new work Dogma is primarily
drawing and mixed media on aluminium. I guess 'Dogma
ii' reflects my warped way of seeing. I find great salve
and pleasure in utilizing; playful, tender and mysterious
imagery that can emphasize what I believe to be the
dubious nature of dogmatic patriarchal and allegedly
puritanical ideologies.'
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| MARCH
29 - APRIL 21 |
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Artists
who sometimes use words...
Words
are all around us, in thought, conversation, literature,
music, our visual surroundings etc. It is inevitable then
that words find their way into art. Well, for these three
artists they have. The artists in this exhibition are
drawn to the mechanics of language; to word play, double
meanings, metaphors. The works in this exhibition explore
themes to do with spirituality, commonality, failure,
anxiety and longing.
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| MAY
1 - 19 |
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Uber
Politik
These paintings reflect fragments of information,
obtained from a very unreliable source (mostly the internet)
and put together in a way that doesn't quite make sense.
They are historically inaccurate. Visual Chinese Whispers.
The images are constructed from multiple theories of an
event. Like a memory, a recollection of an event that
might not actually have been experienced directly - not
a personal memory but something like a collective social
memory. Confused and interpolated. |
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21 - JUNE 6 |
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Emma
Langridge's paintings create a classic visual conundrum.
Physically, they are composed of few elements - line,
proportion, colour, support and medium - but visually
and perceptually, they resonate with incredible complexity.
Well versed in art history and theory, her inspirations
may also be found in a wider catchment area that includes
geology, mathematics, architecture and music, particularly
electronica. She is fascinated by the concepts of accretion
and layering, of sedimentary deposits that build up to
a final product which is as much an object in itself as
it is the revealed x-ray of its own history. - Andrew
Gaynor |
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U L Y 31 - A U G U S T 15 |
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What
Lies Beneath
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'What
Lies Beneath' is an exhibition by photographer Georgina
Campbell and painter Heidi Yardley. Both artists
explore similar subject matter and use the figure and
the domestic environment to explore secrecy, memory, loss
and isolation. The works have a certain moody and seductive
quality and similarities lie in the attention to light
and shadow where inky blacks serve to enhance the luminosity
of figures and objects. Both artists deliberately pair
images so there is a sequence, link or narrative which
can only be resolved through the individual viewer's interpretation.
Campbell's photograph's have a classical painterly quality
whilst Yardley's paintings reference photography and film.
In this way the works are linked through common subject
matter as well as aesthetic concerns. The exhibition aims
to promote dialogue concerning the links between contemporary
image making and historical practices.
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A
U G U S T 17 -
S E P T E M B E R 1 |
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Movement
After Dark
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The
Melbourne based F2.8 Group is presenting its second
contemporary photography exhibition titled 'Movement
After Dark'. The photographers being represented in
this show include Theo Moustakas, Andrew Maccaginni,
Denise Lees, Maria Toso and The F2.8 Group's Creative
Director, Melissa Morey. The VIP opening night is Tuesday
21st August 2007, email events@twopointeight.com.au
to request an invitation.
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E P T E M B E R 28 -
O C T O B E R 13 |
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Winner
of the FLG Award for 2007 Exhibition is
SOO-JOO YOO, Master of Visual Art, VCA. |
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C T O B E R 16 -
N O V E M B E R 2 |
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For
Alison McDonald these artworks are created as
a response to an area of land that was completely bulldozed
in order to build new houses, leaving not a single native
tree. These new occupants have since planted foreign
species, diminishing chances for the indigenous vegetation
to regrow and ensure survival of the native fauna. The
artworks are all created from nails; an icon synonymous
with building houses and imitates skeleton leaves, which
suggests all we have left.
Mary-Louise
Edwards continues her conversation with discarded
materials and found objects from everyday life, while
playing with states of dislocation between city dwellers
and a contemporary experience of land and ground.
Annabel Nowlan's practice is informed by an ongoing
interest in the land and rural history, and attempts
to create new dialogues around landscape and sense of
place. Her attention is drawn towards the evidence of
human activity in the landscape: of repetitious routines,
of unique signage and the patina of history, essentially
locating significance and notions of beauty in what
is often considered mundane.
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| N
O V E M B E R 13 - 24 |
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Greenpoint
- Brooklyn New York
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At
first glance Melbourne and Brooklyn are an unlikely pairing.
Yet both are frequently cast as the poor cousins to their
brash, ballsier relatives Sydney and New York. And both
assert their pre-eminence as havens for innovative arts
and culture.
Bernie Alibrando and Pasquale Battista are two Melbourne
natives who transplanted themselves into the foreign soil
of Greenpoint, Brooklyn and thrived. The resultant photographs
and installations reveal their unique insights into the
New York burrough. They also manage to move beyond the
particular, to present universal truths about burgeoning
cities and the alienation that dogs urban dwellers.
Both artists transport us - to Brooklyn and to a mind-state
which contracts and then expands. The journey is emotional
and, in the case of Battista's installation, physical.
This is an exhibition that compels us to travel. Greenpoint,
Brooklyn reminds us that good art conveys a universal
understanding of place and person. |
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N
O V E M B E R 30 -
D E C E M B E R 15
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Automatter
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Automatism
in drawing is simply a tool in which to assist in the
invention of new forms. With initial automatic applications
of line and wash, the evolution of a drawing has begun.
It is then, that I am aware of the presence of images
that were unknown, or at least unsuspected until the very
moment of their appearance. I think of my work as abstract
drawing and painting, with subtly hidden subjects, such
as figurative connotations. It is a play on simplicity
and discipline; a love of mistakes and awkwardness which
may or may not be deliberate. |
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