7 October, 2008
At first glance this exhibition looks like a row of upside-down fine glass vestibules, black, with the occasional flash of colour, in a stark white room characteristic of the Brenda May Gallery.
In fact, it is this very minimalism that allows you to really focus on these objects of distinct beauty and fluidity of form. Inside each glass an individual story is revealed, one which captures the imagination and allows the viewer an intensely private engagement where, subtly, the artist encourages you to run with your own interpretation.
Sydney Morning Herald (Metro), p.21
26 October, 2008
The surrealist painter celebrates the beauty of women of all ages and shapes in his solo exhibition Fay. Naked women wrangle with fairies and their own demons across his hyper-real canvases. In The Fairy of Sharp Edges, a sassy woman sports kitchen knives instead of wings.
Brenda May Gallery
2 Danks Street, Waterloo, 9318 1122.
Tues-Sat, until October 4.
Issue #5, October / November 2008, p.192
Left: Waratah Lahy,
Stockroom: Our selection of available works from galleries around Australia and New Zealand.
The Byron Shire Echo
September 2, 2008
Left: Detail from The Fairy of Sharp Edges, acrylic on linen, by local artist James Guppy.
'These works are about women, aging and power,' says James. 'The fairy element is also a tribute to my mother who gave me fairies as a child. She maintained she had seen one, so as a loyal son I will not say that I do not believe in fairies. I certainly believed in my mother. She was a testament to a mature woman's power.'
Sydney Morning Herald (Spectrum), p.18
26-27 July, 2008
Boynes nails his canvases to the floor before he runs the silk screen over them, rubs them back with a scrubbing brush and gets the screen back out again. It's a process that can result in up to 30 layers n each of these featured work, which portray seemingly generic urban scenes (but are actually London, Sydney, Canberra et al) of an an everyman commuter moving through his everyman city. Unlike Boynes's earlier work, it is the commuter he's interested in here. Along with rain sweeping through thoroughfares, he captures them as the forever shifting and changing lifeblood of a city.
Capital: Culture, Art, Society, pp.52-57
Issue #35, July-August 2008
Left: Images: Elizabeth Hawkes
When I visited him recently at his Macquarie home and studio where he has lived since 1982, he was rushing to finish work for Beaver Galleries' exhibition at the Melbourne Art Fair and for a solo show at Brenda May Gallery in Waterloo from July 15 to August 9 as part of the Biennale of Sydney's "Parallel Program."
Canberra Times (Panorama), p.22
12 July, 2008
Left: Images: Richard Briggs
When Robert Boynes retired as head of the Painting Workshop at the Australian National University School of Art in 2006, he decided he needed a larger home studio. Freed from the demands of teaching and administration, Boynes whose work is featured in major Australian and international galleries was now able to concentrate full-time on his own art. He wanted a studio with a higher ceiling, column-free space and plenty of blank walls.He approached Canberra architect Dennis Formiatti to design and build the structure....more
Sydney Morning Herald (Metro)
11 July, 2008, p.25
More than 20 artists wrestle with the inevitability of death in this show. Highlights include works by Jonathan Leahey, James Guppy and Nick Stranks (Bronze Classic, left). Brenda May Gallery, 2 Danks Street, Waterloo, 9318 1122.
18 June 2008
Left: Chinese Cinema, 2008, acrylic on canvas, 120 x 120cm
Robert Boynes works through a series of oppositions within his practice, both in terms of his subject matter and his creative process. He simultaneously draws attention to the outside and the inside, public and private, static and animated, the unique and the repeatable. In his new show at Brenda May Gallery in July, Boynes reflects on the nature of our urban existence by presenting his audience with snapshots of the often-mundane aspects of our lives: walking through the city, waiting for a train, pausing on the street....more
20 May 2008
J Lynn Fraser, BA(d) MES
Left: Melinda Le Guay,
In Western society, with its emphasis on physical perfection, those who are ill or have "wounded" bodies become "the Other" - separated from society both physically, in institutions, and socially. This may well be more for society's comfort than the individual's given that, for the public, disease and intensive medical procedures are connected with taboo subjects, such as pain, blood, fragility and mortality....more
Who Let The Dogs Out - Hazelhurst Regional Gallery and Lake Macquarie City Art Gallery - Angela Macdougall
17 May 2008
Curated by Merryn Gates
Left: Angela Macdougall 'Hi' 2007 painted sheet iron/timber base 145 x 70 x 30 cm
A long story in short bites
Who let the dogs out features a collection of entrancing works by over 60 artists from around Australia. Paintings, sculptures, ceramics, glass, video and works on paper, represent the dog in a diverse number of manifestations: at rest, at play, or at work. The exhibition's themes reflect the many different roles the dog takes on in the world of humans, and how important they are in our lives. Through the eyes of the artist we can ponder the origins of the dog, and its spiritual presence for Indigenous Australians....more
Time Out Sydney
Issue 25: April 30-May 6, 2008, pp.36-37
Left: photo: Daniel Boud
The standard recipe for urban gentrification works something like this. First, locate a suitable patch of industrial wasteland where the police sirens wail and broken glass litters the streets. Next, whip up some artistic buzz by opening a gallery to give the area a bit of bohemian cachet and cultural oomph. Sprinkle liberally with organic cafes and boutiques. Then simply pop in the oven and wait for the property prices to rocket.