CURRENT Exhibitions

Catherine O'Donnell at Casula Powerhouse Arts Centre

- 2168; Estate of Tomorrow, 2018

28 July to 16 September

2168: Estate of Tomorrow is a twenty metre commissioned work by renowned Western Sydney artist Catherine O'Donnell. Inspired by her childhood home within Green Valley, O'Donnell faithfully brings a classic 1960s suburban street scene into Casula Powerhouse's Upper Turbine Gallery.

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Waratah Lahy at School of Art & Design Gallery ANU

- Painting Amongst Other Things, 2018

10 August to 12 September

This multi-venue exhibition and symposium project addresses the idea of painting in its expanded form by considering artworks which broaden and critique the classical definition of painting. From paintings that move beyond the picture plane to embrace physical space as installation; to works that employ novel technical, mechanical, or digital methods of production to reappraise authenticity; to artists who utilise materials and motifs which are intended to destabilise the aesthetic canon - the works in this exhibition are provocative in their approach and ambition.

The School of Art & Design Gallery will present an exhibition that probes definitions of painting, featuring works by alumni and staff members who have been associated with the Painting Workshop at the ANU School of Art & Design. The exhibition is a celebration of experimental, exploratory and restless approaches to what painting can be. Works in the exhibition push into material, social and conceptual space but always return back to painting in new and unexpected configurations.

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Todd Fuller and Catherine O'Donnell at National Art School

- National Art – Part One, 2018

14 August to 27 October

Tyler Payne, Womanhours

- Black Box Projects, 2018

15 August to 1 September

Advertising’s ‘Glossy Magazine Girl’ – plucked, waxed, purged and shrunk to perfection – has intervened on women’s relationships to their bodies. Though women’s bodies that have passed through these cosmetic rituals are abundant in advertising, they are not witnessed labouring to produce this effect. What is seen instead is a singular and controlled perspective, a magical product naturalized by the advertisement’s frame. The advertising lens has become a powerful tool for bodily control. Womanhours turns the power of the lens against itself: the labours of plucking, waxing, purging and shrinking, usually hidden from view, are presented for all to see. These works reveal the intractable, comic ‘failures’ in the face of the demands placed on the everyday performance of female gender. The choice of self-portraiture is informed by Louis Wacquant’s ‘carnal sociology’, where the researcher embodies themselves as the research object, experiencing a social world from within, rather than observing it from the outside. Womanhours’ personal engagement also aims to establish solidarity with other women compelled to endure these rituals.

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Bridget Dolan

- Reach, 2018

15 August to 1 September

I want to make work that communicates the complicated nature of human relationship. What civility means in contemporary life and how we reach each other across cultural and ideological divides. I draw on my experience in the performing arts as a dancer and theatre maker to paint work that holds tension between brave vulnerability, tenderness and fear.

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Sybil Curtis

- Travelling South, 2018

15 August to 1 September

In summer 2016, I journeyed to Antarctica on the ship "Spirit of Enderby". This series of paintings is based on man-made structures around the Ross Sea, one of the few places where it is possible to land on the Antarctic. It was the starting point for many historical expeditions including those led by Scott and Shackleton and some original huts and their contents have been conserved. Today it is also the site of research bases belonging to a number of different countries.

One feels transient and insignificant by the sheer scale and hostility of the place. Visually it is stunning and the snow is like a canvas onto which the weather projects different moods. Changes in weather are rapid. When the sun shines, the atmosphere is so clear that the colours are intense and everything is flattened as in Japanese wood blocks. But as the cloud races in everything darkens, greys and becomes threatening.

The images are based on historic buildings and those from America's McMurdo Station and New Zealand's Scott Base. Looming over the landscape is the active volcano Mt Erebus and it is incorporated into works much as Japanese artists use Mt Fuji.

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Peter Tilley at Maitland Regional Art Gallery

- Concerning Peace, 2018

25 August to 25 November

The exhibition was conceived by artists/curators Eric and Robyn Werkhoven in response to the present hostile world events.Twenty seven professional visual artists have been invited to express, interpret and explore their belief for world peace. The exhibition will include all genres of the visual arts – painting, drawing, sculpture, printmaking, photography, ceramics, Video installation.

We all want a peaceful world, is it possible?
Is humanity spiralling into insanity?

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Charlie Sheard

- DIGONOS, 2018

5 to 22 September

Dionysos, ancient Greek God of nature, ecstacy and transformation, is DIGONOS, the “twice-born”. In his Canto XLVIII, the poet Ezra Pound relates the transformative powers of Dionysos to Dante’s journey in The Divine Comedy. Pound uses the ancient Greek word Δίγονος [DIGONOS] to denote a transformation that will only manifest out of being lost in the forest for three years. I have worked on this group of paintings for the last three years.

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MAY SPACE Video Program at Sydney Contemporary

- Carriageworks (Booth F01), 2018

13 to 16 September

Alongside our presentation of new paintings by Charlie Sheard, we will be presenting new video artworks by our represented artists, Todd Fuller, Mylyn Nguyen, Nicole Welch, plus Claire Anna Watson at Sydney Contemporary. This video suite will be concurrently screening in Black Box Projects.

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Sydney Contemporary

- Carriageworks, 2018

13 to 16 September

The Gallery will be presenting Charlie Sheard's new body of work in the fourth edition of Sydney Contemporary, Australasia's international contemporary art fair.

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Kevin McKay

- OVERPASS: Paintings from the urban commute, 2018

26 September to 20 October

My work responds to features that serve as orientating landmarks in my journeys across the city. These are typically bridges, overpasses and imposing manmade structures which, despite their utilitarian function and as signifiers of modernity, also provide primal geometries that rise as icons of human endeavour. Concrete and steel beams frame a space beneath, whilst raising a passage to the sky above, with surfaces and forms that make evident the invisible qualities of light and space in a vision of classical stillness that interrupts the commuting ennui, and in a flash is gone. This series spans an eight-year period and returns to motifs that inspired my interest in urban landscape painting.

2018 - Claire Anna Watson

Claire Anna Watson, Fractured Splendour

- Black Box Projects, 2018

26 September to 20 October

Claire Anna Watson explores the uncanny and the absurd in her recent videos. Staging interventions on common fruits and vegetables, she transforms the inherent life-giving properties of foodstuffs into humorous and psychological reveries. For the artist, the inspiration and splendour of ephemeral matter is perpetual and constant. At its core, this work considers the nature of life and the value of knowing that which sustains us.

Julie Brooke

- A Skewed Hypotenuse, 2018

26 September to 20 October

I'm fascinated by how abstract shapes and contrasting colours can create illusory optical effects. In this series of new paintings I use skewed grids and repeating geometric forms to explore how carefully orchestrated colour combinations can conjure fugitive colours and shifting illusions of three-dimensional space. These abstract acrylic paintings encourage the viewer to discover the tipping point at which illusions of colour and space appear and disappear.

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Nicole Welch at Glasshouse Regional Gallery

- Silence & Solitude: select works from Eastern Interiors, 2018

12 October to 2 December

Al Munro

- Disturbing the grid, 2018

24 October to 10 November

Drawing on my interest I the intersections of textile patterning and mathematics, this exhibition focusses on the systems and logic of woven textiles and how these might relate to painted abstraction. The ubiquitous grid of Modernism existed as the form and structure of woven textiles long before it was claimed by art, architecture and science. This work explores the relationship of simple weave structures - warp and weft - and patterns - ginghams, plaids, checks - to abstraction, and to locate an ongoing relevance for textile histories and practices to be seen as part of the expanded field of painting.

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Leslie Oliver

- Things from Other Places, 2018

24 October to 10 November

These 'things' are resolutely abstract. I’m trying to make things that wouldn't otherwise exist. I want a reaction to arise from rhythms, structures, space and form. Necessarily, they are engineered constructions that obey rules of matter. Most of my time by far, goes into the construction process, aiming to fulfill the instinctive gesture that comes to me. I hope to bring life to 'stuff'. I like to think people will notice what keeps 'the thing' balanced, upright, while at the same time recognising some of materials from other uses and lost histories, but most importantly feeling some physical empathy with the inferred gestures. In other words... I'm an abstract expressionist at heart.

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Nicole Welch at Artstate Bathurst

- Mementos, 2018

1 to 4 November

Mementos is a series of photographs of sceneries packaged as a set of small keepsakes, reminiscent of souvenirs. The miniature scenes captured reveal the unseen landscapes of the Central West New South Wales. The localities documented are lessor known natural environments of the region, the places passing tourists may be unaware of, the concealed treasures.
Photographed using infrared cameras and technology with minimal post production, the light and colour spectrum captured and revealed is undetectable and unseen by the human eye, resulting in an unnatural hyperreal landscapes.
The artist acknowledges and gives thanks to the Wiradjuri, the traditional custodians of the land of the Central West of New South Wales and pays her respects to Elders both past and present.

Catherine O'Donnell

- Urban Abstraction, 2018

14 November to 1 December

Urban abstraction is, in part, the result of a three month residency spent in Paris after being awarded the 2017 Terrence and Lynette Fern Cité Internationale des Arts Residency Fellowship thanks to the Power Institute, USYD. During the residency, I visited a number of housing estates across Paris built in the middle of the 20th century.

In my drawings, I aim highlight the building’s function as homes, as well as their modernist forms and lines, in order to reveal their origins as simultaneously altruistic, beautiful, impractical, and cold. An exercise in idealistic social engineering, and now a cultural signifier of lower socioeconomic communities, these estates are ultimately often deemed to be an urban planning disaster. Ironically, while these estates may be problematic on many social levels, the modernist aesthetic of what is now commonplace housing, embodies abstract geometric qualities that relate intimately to so called 'high art' concerns of modernist and minimalist abstraction.

Alexander Boynes

- As Above, So Below, 2018

14 November to 1 December

"As Above, So Below" reflects on the loss of the Australian landscape in the drive to extract what is beneath it by the fossil fuel industry; land that before anything else is held in the custody of Traditional Indigenous owners.

This melding of landscape and industry speaks of our failure to invest in a renewable future, as coal, oil and gas extraction dominate the power industry without consequence. Meanwhile standing in a rapidly changing environment, the figure represents both the catalyst and the casualty of these actions. 

Todd Fuller

- Convicts and Queens: a passionate history of Australia, 2018

5 to 22 December

"My dying wish is to be buried beside my beloved James Nesbitt, the man with whom I was united by every tie which could bind human friendship, we were one in hopes, in heart and soul and this unity lasted until he died in my arms"

-Andrew George Scott, aka Captain Moonlight, 20 January, 1880

On the 6th of December 2017, as debate raged in the house of representatives regarding Same Sex Marriage in Australia, independent member for Kennedy Bob Katter suggested that the gay community and its advocates have "oh maybe, sixty years on their side" while he claimed to have "three and a half million years of genetic programming" on his side. His argument, went on to discuss aids, safe schools, gay hate crimes and his best selling book but it failed to acknowledge the rich and often concealed contribution of LGBTIQA+ individuals have played in the grand Australian narrative. Convicts and Queens reimagines a selection of Queer Australian stories, both historical and contemporary, to explore how notions of masculinity in Australia may not be innate, enduring or eternal.

Carol Murphy

- Colour my world, 2018

5 to 22 December

A mixed media exhibition featuring a range of disciplines including ceramics, painting, drawing, collage, and digital manipulation

A celebration of my life up until now.

Colour my world is a flashback of music, life, death, love, loss colour, darkness and sadness.

Still Life

- curated group exhibition, 2019

6 to 23 February

"STILL LIFE" will consider the still life genre, an artistic linchpin since the 16th Century. The tradition includes meaningfully arranged symbols of material wealth, transience and mortality, as well as stylised compositions of crockery, peeled citrus and cooked dishes that appear abandoned mid-meal. From this sumptuous beginning, the genre has evolved, allowing the definition of what constitutes a still life artwork to diversify and expand.

The lush bouquets, glistening silver vessels, ripe fruit and lifeless game animals became more humble as Realism, Impressionism and then Cubism watched artistic subjects and techniques change. The genre took on a three dimensional form through Dada, and as shopping carts began to fill with more packaged produce in the 1950s and 1960s, many Pop Artists let consumer goods take centre stage. Today this genre has a place across all mediums and incorporates global still life traditions. "STILL LIFE" will present a considered selection of works that reflect the still life genre from both classical and contemporary perspectives.