Tuesday, July 14, 2015
Gallery 9 presents new work by John Aslanidis. This well travelled Sydney painter, now based in Melbourne brings with him a wealth of accumulated knowledge and refinement in this evolved body of works. Through mathematical structure and colour manipulation he has managed to visually articulate the phenomena of sound in a compelling and beautiful way.
He employs a motif that is repetitive but in no way formulaic as colour intersects with colour with deliberate control and knowledge of what each relationship will achieve. His compositions are derived from using sets of algorithmic intervals with an aesthetic outcome in mind. This process is not the end in itself but a merely a means to manifest the sonic visual poetry within his imagination as complex fluid lines and colours create a spatial interplay….receding and approaching.
The centrepiece, Sonic Network no. 14 at 305 x 488 cm is a sprawling highly resolved work that absolutely vibrates and hums. It is symbiotically enhanced by regular collaborator, sound artist Brian May to create a presence that envelopes the viewer within the room.
Sonic Network no. 14 continues until Saturday 25 July 2015
1st July - 25th July 2015
Monday, July 6, 2015
Five artist of the vivid facebook international community of non objective/minimal art showed in Galerie Olivier Nouvellet sunday 28 of june 2015, 19 rue de Seine, Paris 75006.
They all belong to the abstraction group of salon Réalités Nouvelles (next show in october 2015 in Paris). Their work play with colour and material: Munira Naqui (Us) and Marilyn Chapin Massey (from US living in Paris) paint on dibond/aluminium, using respectively wax and acrylic.
Susan Buret (Australia) and Christine Boiry (Paris) prefer wood. Danielle Lescot 's ceramics (Paris) are very often shown in the Gallery, their volume are often slightly tilted. You think you see a cube but angles are not 90 degrees. Recent series play with a hole inside the volume, its relative shape and proportion.
Their inspiration come from abstraction in its minimal expression, whatever the geographic or historic period you can find a hint of islamic art for Susan, a hint of japanese art in the black and white for Munira, something deliberately related to artists like Blinky Palermo for Marilyn, Robert Mangold for Christine’s drawing on the series on view. Marilyn’s work is related to the colour of the subway lines of the international big city in the world : Berlin and Paris for this show.
28th June 2015
Monday, June 29, 2015
The taboo subject of death, the denial of its inevitability and the normalisation of its final play in the process of our mortal existence come into examination in Death and the Biggie Small at the Casula Powerhouse Arts Centre.
With death comes grief, fear and an awareness of our own mortality but also the revelation of its shocking ordinariness. This show explores unique, at times innocent, humorous and quirky responses to the big full stop. It preaches no answers to unlock the mysteries of the eternal unknowns but offers instead a creative acknowledgement of death not as an ominous dark shadow that we banish to the deepest recesses of our consciousness but as a normal part of our lives to be to be addressed, discussed and hence undemonised .
Hayley West presents us with a child symbolically burying a body, a mother? By nonchalantly placing layers of material over her until she is covered. The video ends with the child playing with cicada carcasses floating in the water. She is equally indifferent and arbitrary about both activities. It is as if she has not learnt the fear and grief of death that comes with adulthood. Similarly themed is Araya Rasdjarmream-sook’s continual work with cadavers after the death of her mother.
Helen Shelley has created sparkly celestial abstractions which are ponderings of the uncertain mysteries of death, an attempt to overcome her fear of it. He resultant work is dazzling in execution and outcome.
Laurens Tan’s Vegas of Death installation presents poker machines/coffins, money boxes/ashes receptacles and a digital counter. Drawing clever parallels between death and gambling, even to the extent of shared terminologies between the two, the kicker is the prizes offered in the pokies display are a range of funeral caskets from combustible pine boxes to gilded caskets.
An installation of Pukamani Poles adds some sombre cultural authenticity. It is the centre of a spiritual memorial ceremony marking the transition from the living world to the spirit world.
Patrick Pound’s found photographs, including an apparent lifeless female tennis player mid court almost steals the show.
A room filled with ceramics, objects and paintings by various artists including Lyn Draper and Paul Williams make up the Biggie Small component of the exhibition. These works show unexpected random visual modern cultural bites that are often playful, irreverent and evocative.
23rd May - 5th July 2015
Saturday, June 27, 2015
The Newcastle art scene is a thriving and bustling microcosm of energy. I admit to not being able to see all that is happening out there but I try. This week I was able to see the latest exhibition at Curve Gallery by the local artist John Moroney. And I’m more than willing to say it is a fine and mostly infrequent example of the talent required to make it past the local art circuit.
Moroney not only shows work that delves deep, it is reflective, sensual and describes the subject’s soul. This achievement is a gift that allows painting to transcend from merely the decorative. He displays a talent for perspective without the painstaking and arduousness often seen in this art genre. And while he paints the recognised subject he still allows room for the brush to take possession producing free and curious manipulations with the medium.
Also to admire is the confronting grittiness of an artist with the confidence to get past the personal and produce a body of work that challenges emotion. It’s an enviable accomplishment for this young artist still studying at The National Art School in Sydney. Moroney’s achievements to date include winning the painting section of the Newcastle Emerging Art Prize (2014), being selected as semi-finalist for the Doug Moran Portrait Prize and a finalist in the Black swan Portraiture Prize in Perth.
13th June - 4th July 2015
Friday, June 19, 2015
Found myself swiftly delivered via public transport to see this show on a cold and windy day and it’s been awhile since I’d been to Danks st. Depot II Gallery seems to be the best place to prop up interstate artist’s, to give them some time out of their comfort zones and to show off and air all their hard work.
This being the very first time I’ve been up close and personal to the lovely Amy Clarke’s work, relishing in the exuberant brush strokes and delicious colour palette. Kinda caught me by surprise as have only really seen her works via Facebook, so I am greatly relieved and appreciative to be able to see this show. An especially since Amy is also our Guest Reviewer from Queensland.
‘Fleeting’ oil on linen, 1200x1200mm is one I love and perfect as a donation to the St Vincent’s Curran Foundation Healing Arts Program. It feels it has reflective qualities, urging memories to be remembered. ‘Out There’ oil on linen, 1200x1200mm is another I fell for, tracing itself across a barren but colourful landscape, I kept coming back to this one.
‘The Unknown’ oil on linen, 1200x1200mm boldly reminds me to never be scared of the unknown, holding myself firmly in place with both feet on the ground. ‘Beginnings’ oil on linen, 1050x1050mm is another of the bold kind and another I fell for, slapping me right dead smack in the face and then smothering me in it’s warm afterglow.
These works reassure us that the language of colour can be fleeting and should be allowed to grab us by the shoulders and force us into a comfortable chair to gaze upon them for eternity.
10th June – 20th June 2015