50fifty:2020 Northern Gallery2020-09-02T10:35:59+00:00

Cathy Blanchflower, ~~, 2011

oil on linen, 152 x 152cm.
Donated by Cathy Blanchflower, 2019

The extraordinary abstract paintings by Cathy Blanchflower resonate with colour and vibrate with layers of patterning. She draws on a rich heritage of art history, from the sinuous curls and luscious colours and patterning of William Morris and the art and craft movement, Islamic tiling, through to the hard edge and op-art of the 1960s. When viewed from afar her paintings appear mathematically and almost computer generated perfection, but closer inspection rewards the viewer with their very painterly surface of brush strokes, small smudges and splatters. The hand of the artist is very evident.

Painting, for me, has always attempted to translate the experiences of existing in the world into a visual language. It is a means of placing things into a natural order to define a certain type of space, which is at the core of each work. The process of layering patterns or fields of colour enables me to find an ‘in-between space’ created by the reaction of each layer to the other. This space is intangible and unpredictable, only emerging when the layers are in harmony with each other – Cathy Blanchflower

Cathy Blanchflower was born in 1971 in the UK, and migrated to Australia in 1972. She has been exhibiting nationally since the early 1990s when she graduated from Curtin University. Her paintings can be found in numerous important collections, including the Art Gallery of Western Australia, Artbank, National Gallery of Australia, University of Western Australia, Wesfarmers, University of Sydney, Murdoch University, and many others.

http://www.turnergalleries.com.au/artists/cathy_blanchflower.php

Julie Dowling,

Ochre Studies, at the funeral No 1, 2002

Ochre Studies, at the funeral No 2, 2002

acrylic and red ochre on canvas, 20 x 30.5cm.
Donated through the Australian Government’s Cultural Gifts Program by Stephen Swift and Jo Lagerberg, 2018

Julie Dowling’s work draws on the traditions of oral history. She has taken on the role of collating and documenting family and community history in portraiture. Dowling’s work is unusual in that it consists of portraits of family and community members, painted from life and imagined via the conduit of stories handed down through the generations. The artist’s reclamation of maternal ancestors and siting of self within her work has personal and communal connections with her country. Working in a social realist style, Dowling draws on diverse art traditions including European portraiture and Christian icons, mural painting and Badimaya First Nation iconography. Dowling works like an ethnographer, recording the deep-seated injustices in the Indigenous community. Her pictorial works have a strong political edge, however, she speaks as a de-colonised subject and subverts the traditional power relations between the observer and the observed, the coloniser and the de-colonised.

Julie Dowling was born in Subiaco, Western Australia. She grew up in both semi-rural and urban areas in a large Badimaya extended family. She was awarded a Diploma of Fine Art at Claremont School of Art in 1989, a Bachelor of Fine Arts at Curtin University in 1992, an Associate Diploma in Visual Arts Management at Perth Metropolitan TAFE in 1995 and Honorary Doctorate in Literature (Honoris Causa) from Murdoch University 2002. Since her first solo exhibition at Fremantle Arts Centre in 1995, Dowling has earned a substantial national and international reputation as an artist of extraordinary vision. Her work has been exhibited extensively in Australia and internationally, notably at Art Fair Cologne in 1997, Beyond the Pale: Contemporary Indigenous Art, 2000 Adelaide Biennial of Australian Art, and the RAKA AWARD: Places that name us, ‘Strange Fruit’ a retrospective of 15 years at The Potter Museum of Art, Melbourne, 2003. Recent solo exhibitions Babanyu (Friends for Life), Art Gallery of Western Australia 2018 and Malga Gurlbarl (Hard Secret): Slavery of First Nation people in Australia, exhibited in Berlin and Cologne with Michael Reid in 2018, and currently touring with Art on the Move.

Language group: Badimaya

Active: Western Australia

https://www.juliedowling.net/

Col Jordan, Tribute I, 1987

acrylic on canvas, 169.5 x 169cm.
Donated through the Australian Government’s Cultural Gifts Program by Helen and Ben Korman, 2018

As I reflect on [the] partnership of colour and geometry in my work, I conclude that two factors explain its persistence in my sensibility as an artist. The first—and by far the more important—is the sheer delight I derive from the versatility of what some mistakenly believe to be an unyielding and rigorous combination of visual elements. For me, colour and geometric form can be light and optimistic or darkly passionate, depending on the skill of the artist. Because of this, there are endless possibilities to be explored. At the same time, the visual ambiguities created by the interaction of geometric forms are a constant enticement to try and solve unsolvable, and therefore delightful, puzzles. So the senses and the mind are engaged in a single enterprise. The second factor is less easy to explain. Over time, I have come to understand that, despite the differences perceivable in the work of artists working in this genre, this partnership of colour and geometric form can transcend the idiosyncratic and achieve a kind of analogy with the numinous that has nothing to do with religion. I do not dwell on this effect because to do so leads too easily to pretentiousness. Nevertheless, it is there in the background and is a constant support and incentive as I work.[i] – Col Jordan

In the 1960s Col Jordan was one of a small group of young artists who introduced hard edge optical painting to Australia. In 1968 his work featured in the NGV exhibition, The Field which is regarded as a landmark exhibition in Australian – a radical showcase of 74 abstract and conceptual, colour field, geometric and hard edge artworks. Born in Sydney in 1935, he was educated at Balmain Teachers College and the University of Sydney. Since 1966 Jordan has had thirty solo exhibitions in Sydney, Melbourne and Canberra including retrospective exhibitions at the Bathurst City Art Gallery and the Lewers Bequest Gallery, and has won a number of awards including the Flotta Lauro Traveling Art Scholarship. His work is represented in major public and corporate collections including those of BHP, IBM, the Commonwealth Bank, the University of New South Wales, The University of Sydney, the University of Wollongong, the Art Gallery of New South Wales, the National Gallery of Victoria and the National Gallery of Australia.

http://www.artofcoljordan.com.au

http://mossensongalleries.com.au/artist/col-jordan/

[i] Retrieved 23/07/2020 from: https://geoform.net/artists/col-jordan/

Lindy Lee, Equanimity (no more struggles in the ocean of ‘yes’ and ‘no’) from the series The Immeasurables, 2017

mirror polished stainless steel and LED lights.
Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2020

If there is an underlying sense of Lee reaching for the stars, it is given tangible form in four sculptures that occupied the darkened upper-level gallery space. These enclosed forms are of polished, stainless steel illuminated by LED lighting from within, their lit apertures suggesting celestial formations. Titled The Immeasurables, each piece references an emotion—love, compassion, joy and equanimity.[i] – Michael Young

Lindy Lee is an Australian artist (born Brisbane 1954). Lee’s practice explores her Chinese ancestry through Taoism and Ch’an (Zen) Buddhism – philosophies that see humanity and nature as inextricably linked. Symbolic gestures and processes that call on the element of chance are often used to produce a galaxy of images that embody the intimate connections between human existence and the cosmos. Lee’s works are intentionally slow to impart their secrets. Rather than singular visual statements, they are thoughtful objects where meaning emerges from sustained meditation.

With a practice spanning over three decades, Lee has a well-established reputation in Australia, and widespread international recognition, exhibiting in Canada, China, Hong Kong, Japan, Malaysia, New Zealand and Singapore. In the 1980s Lee studied at The Chelsea School of Art, London, UK and Sydney College of the Arts, Australia. In 2001 she received her PhD in Fine Art from the University of New South Wales. Lee was also a senior lecturer at Sydney College of the Arts for over 20 years. Lee’s important public works include Life of Stars at the Art Gallery of South Australia; The Garden of Cloud and Stone in Sydney’s Chinatown; Life of Stars: Tenderness of Rain, at the Zheng Zhou Cultural Centre, China; and she has significant projects currently under development throughout Asia and New York City.

https://www.lindylee.net/

https://www.sullivanstrumpf.com/artists/lindy-lee/bio

https://suttongallery.com.au/artists/lindy-lee/

[i] Retrieved 27/03/2020 from: http://artasiapacific.com/Magazine/WebExclusives/TheSeamlessTomb

Clyde McGill, Requiem Songs, 2019

etching, monoprint, letterpress (hand stamped), and gold leaf on 270 gsm Velin Arches paper, edition AP, 225 x 315cm.
Donated by Clyde McGill, 2020

This print installation, Requiem Songs, is a music score for a set of songs to celebrate, mourn, and remember those in my life who have died. This uses drawn notation such as the red lines, gold leaf and etched marks to show the composition rather than conventional music symbols. These can be followed and interpreted by the singers, the chants, the conductor. There are a number of overlapping pieces of sound here as our lives are layered, joined and move away. – Clyde McGill, 2020

Clyde McGill is a multidisciplinary visual artist working across a range of media including print, drawing, sound, performance, painting and photography. His interests include place, politics and belonging. McGill has been awarded a Fulbright Scholarship, the Libris National Artist Book Award, and a State Library of Queensland Siganto Foundation Creative Fellowship and has been a Commissioned Artist for the Print Council of Australia. McGill exhibits nationally and internationally and his art is held in the National Gallery of Australia, the British Library and other significant collections.

Mawukura Jimmy Nerrimah, Kumpujarti, 2004

acrylic on canvas, 120 x 90.5cm.
Donated through the Australian Government’s Cultural Gifts Program by Alan R.Dodge AM, 2018

This country called Kumpujarti (living waterhole) my father’s country. We don’t drink form the main jila, there it is a dangerous place. In the Ngarrangkami, a man was swallowed here in this place. The snake swallowed him when he tried to drink the water. We drink water to the side from a smaller waterhole. I was only a little boy when my family travelled across this place, there is a lot of jili (sandhill) and pirnti (claypan that fill up after the rain). –Mawukura Jimmy Nerrimah

Mawukura Jimmy Nerrimah (c1929 – 2013) was a Walmajarri man. He was born in a jiwari (small billabong) and his country surrounds Wayampajarti jila (permanent waterhole) in the north western area of the Great Sandy Desert. Nerrimah grew up in the Great Sandy Desert at a time when traditional life was nomadic and days were spent hunting, socialising and undertaking important ceremonies to nurture the relationship with his land. He moved between the main jilas (waterholes) in his country. The importance of these jilas remained a dominant theme of Nerrimah’s paintings throughout his career. His works have the signature characteristics of the great desert artists located between West Kimberley and Alice Springs, with their fine optical lines and concentric circles. He painted with only two or three colours applied over a single background colour. With this somewhat singular palette however, he managed to produce almost electrifying paintings that are full of movement and echo the illusion of heat, drought and fires, centered by waterholes. Many of the circles also reflect ceremonial dancing and song lines.

Nerrimah’s works are held in the National Gallery of Australia, the National Gallery of Victoria and the Art Gallery of Western Australia. His works are held in the collections of Sir James and Lady Cruthers, Artbank, The Wesfarmers Collection, Levy Kaplan Collection (Seattle) USA, Thomas Vroom Collection (Amsterdam), and private collections in Germany, UK and Australia.

Language group: Walmajarri

Active: Western Australia

http://www.mangkaja.com/content/mawukura-jimmy-nerrrimah

http://desertriversea.com.au/artists/30

Lisa Reihana, Banks Transit of Venus, Mourning, Stars, Sex Trade, 2017

Diasec® print on Canson Archival Rag, edition 6/9, 76 x 162cm.
Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2018

Banks Transit of Venus, Mourning, Stars, Sex Trade, 2017, is taken from Reihana’s cinematic work, in Pursuit of Venus (infected), 2015–17, which is a filmic reimagining of the French Neoclassical 20-panel scenic wallpaper Les Sauvages de la Mer Pacifique. Created in 1804–05 and popularised as ‘Captain Cook’s Voyages’, this panoramic wallpaper, designed by Jean-Gabriel Charvet and produced by entrepreneur Joseph Dufour, mirrored a widespread fascination with the Pacific voyages of discovery undertaken by Cook and others, including de Bougainville and La Pérouse. The wallpaper’s exotic themes referenced popular illustrations of the time derived from original voyage drawings. Compelled to redress historical inaccuracies and cultural misrepresentation in Dufour’s wallpaper, Reihana employs twenty-first century imaging technologies to digitally animate the imagery.  In an act of cultural reclamation, the artist re-casts this original European fabrication to suggest a more complex story, seen through the eyes of the First Nations people of the Pacific.

Of Māori (Ngā Puhi, Ngāti Hine, Ngāi Tu) and British descent, Lisa Reihana is at the forefront of experimentation and has helped forge the development of time-based and media art in Aotearoa New Zealand. Influenced by indigenous filmmaking, her technically ambitious and poetically nuanced work disrupts gender, time, power and representational norms.  Reihana’s work spans film, sound, photography, spatial design, live-action, costume and sculptural form.

Reihana’s work has featured in significant museums and major exhibition projects around the world, including the Venice Biennale, 2017 where she represented New Zealand with her landmark exhibition Emissaries, later touring to the John Curtin Gallery for the Perth Festival, 2018. Reihana was made a Member of the New Zealand Order of Merit, 2018 and in 2017 was awarded a Distinguished Alumni from Auckland University.  In 2015 she received the Te Tohu Toi Ke Te Waka Toi Maori Arts Innovation Award from Creative New Zealand and became an Arts Laureate from New Zealand Arts Foundation in 2014. Lisa Reihana lives and works in Auckland, Aotearoa New Zealand.

https://www.lisareihana.com/

http://www.inpursuitofvenus.com/

https://gallerysallydancuthbert.com/artists/75-lisa-reihana/overview/

Brian Robinson, Bedhan Lag: land of the Kalwalagal, 2019

linocut, edition 4/10, 98.5 x 187.5cm.
Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2020

Bedhan Lag: land of the Kalwalagal, makes reference to the small island in the north of Australia – Bedhan Lag (also known as Possession Island). In 1770, British navigator Lieutenant James Cook took possession of the land under the name New South Wales by erecting the English flag. The linocut references the past and the present through the traditional motifs of the Kaurareg people, pop culture references, map and many more. According to the artist, ‘The Kaurareg people of the Kaiwalagal nation have maintained links with Bedhan Lag through traditional lore and customs since Bipotaim, the time before. They have continued to live on or close to their traditional country, despite forced removal to Moa Island in 1922, and make use of the land and sea resources, according to their traditional customs and knowledge’.[i]

Brian Robinson was born on Waiben (Thursday Island) and is now based in Cairns. He is a multi-skilled contemporary artist, whose practice includes painting, printmaking, sculpture and design. The graphic style in his practice combines his Torres Strait Islander heritage with a strong passion for experimentation, both in theoretical approach and medium, as well as crossing the boundaries between reality and fantasy. The results combine styles as diverse as graffiti art through to intricate relief carvings and construction sculpture echoing images of Torres Strait cultural motifs, objects and activity.

Robinson’s work has featured in many exhibitions nationally and overseas, including in Berlin, Noumea, Washington DC and New York City. Robinson’s work is held in major collections including National Gallery of Australia; National Gallery of Victoria; National Museum of Australia; the Queensland Art Gallery/Gallery of Modern Art; Tjibaou Cultural Centre, Noumea, New Caledonia; the Australian National Maritime Museum; and the Kluge-Ruhe Aboriginal Art Collection, Virginia, USA where his exhibition Tithuyil (Moving with the Rhythm of the Stars) opened in early February, 2020.

Language group: Kala Lagaw Ya and Wuthathi

Active: Queensland

http://mossensongalleries.com.au/artist/brian-robinson/

[i] Retrieved 8/1/2020 from: https://www.geelonggallery.org.au/cms_uploads/docs/mr_2019-geelong-acquisitive-print-awards.pdf

Mike Singe,
Twenty Twenty Vision: Australia, 2016

Twenty Twenty Vision: South Africa, 2016

Twenty Twenty Vision: Denmark, 2016

impure carbon (soot), plywood, 42 x 42cm.
Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2017

Twenty Twenty Vision: Australia, 2016

Twenty Twenty Vision: South Africa, 2016

Twenty Twenty Vision: Denmark, 2016

The Twenty Twenty Vision series of drawings is an alternative approach to visualising the commitment of individual nations to reducing carbon emissions. The drawings are made via a process which facetiously parodies the casual usage of the terms carbon capture and carbon reduction, particularly in relation to government policy. Step one in the drawing process is to capture the carbon emitted from a burning candle making the drawing surface completely black with soot (impure carbon). Step two, carbon reduction, is achieved by removing soot from the drawing surface to create botanical representations of selected national trees. The surface area of carbon removal is dependent on the nation’s 2020 carbon reduction target. For example the image of Australia’s Golden Wattle (Acacia pycnantha) takes up only 5% of the total surface area of the drawing, matching Australia’s commitment of a 5% reduction on 2000 levels. Beyond a mere pastiche of climate change related processes these drawings question, through the use of national symbols, notions of national identity and its relationship to a country’s commitment to a sustainable existence.

Mike Singe studied at Curtin University, graduating in 1990, and went on to receive a Master of Fine Art in 2011 from the University of Tasmania. He now lives and works in Hobart. His postgraduate research focused on shifting human behaviour and cultural systems in response to the climate change debate and these issues continue to inform his practice. His artworks can be found in a number of private and public collections including; the Art Gallery of Western Australia, Kerry Stokes, Murdoch University, Bankwest, Holmes a Court, Royal Perth Hospital, City of Joondalup, King Edward Memorial Hospital and several private collections.

https://mikesinge.net.au/

http://www.turnergalleries.com.au/exhibitions/17_singe.php

Ian Strange, RUN from the series ISLAND, 2015

archival digital print, documentation of site-specific intervention, AP from an edition of 10 + 2 AP, 99 x 133cm.
Donated through the Australian Government’s Cultural Gifts Program by Ian Strange, 2020

The complexity of Ian Strange’s ISLAND lies in the balance it strikes between the socio-political realities that dictate who owns a home and who cannot, as well as the psychological experience of memory, longing and loss that we all carry with us through our lives from one home to the next.[i] – Sreshta Rit Premnath

The ISLAND series document large-scale interventions with foreclosed homes in Ohio’s rust-belt region. Through photography, sculpture, research, found artefacts and drawings, ISLAND reflects on the home through the metaphor of the desert island, a place of personal sovereignty but simultaneously entrapment. ISLAND interplays the monumental with the intimate and intangible. Exploring the icon of the home as a deeply vulnerable object and personal vessel for memory, identity and aspiration.

Ian Strange (born 1983) is an Australian multi-disciplinary artist based between Perth and New York. His work investigates space, architecture and the home, alongside broader themes of disenfranchisement within the built environment. He is best known for his ‘Suburban Intervention’ projects and exhibitions. Using the suburban home as a canvas, Strange’s work incorporates large-scale projects, film, photography, site-specific installation, sculptural installations, drawing, painting and on-going research projects.

Strange has created projects in the USA (SUBURBAN, 2011-13), post-earthquake Christchurch, New Zealand (FINAL ACT, 2013), Western Australia and Victoria, Australia (SHADOW, 2015) (OPEN HOME, 2017), Katowice, Poland (ZŁOTY, 2016) and throughout Ohio’s rust-belt region, USA (ISLAND 2015-18). Resulting in exhibitions at the National Gallery of Victoria, the Canterbury Museum, FORM, RMIT, Standard Practice NYC, Cockatoo Island’s Turbine Hall, Fremantle Arts Centre, Moore Contemporary and as a part of the 2014 Adelaide Biennial of Australian Art at the Art Gallery of South Australia with LANDED (2014) a commissioned sculptural installation on the forecourt of the gallery.

https://ianstrange.com/

[i] Retrieved 14/05/2020 from: https://ianstrange.com/works/island-2015-17/about/

John Teschendorff, Series III Scar, 2005

oil, enamel, acrylic, and wax on canvas, 180 x 160cm.
Donated through the Australian Government’s Cultural Gifts Program by Marcel Seeman Teschendorff, 2018

Series III Scar was made as a part of History of Ideas series (1997 – 2017) examines aspects of border conflict, war, religious bigotry, democratic process and guilt . . . even terror, torture and death are interrogated beneath deceptively seductive abstracted surfaces. Largely informed by increasingly fundamentalist political & religious tensions that exist between east & west, the simple pictorial devices employed are allusive rather than illustrative, with the concealing abstracted surfaces exploiting the dense materiality of layered paint & wax.[i]

John Teschendorff was born in 1942, Melbourne, and moved to Perth in 1985. Teschendorff studied at the Caulfield Institute of Technology (Monash University), the Royal Melbourne Institute of Technology and the Royal College of Art London. Teschendoff has had numerous solo and group exhibitions across Australia and internationally. His artworks are held in public collections including Royal College of Art London, Powerhouse Museum Sydney, National Gallery of Australia, National Gallery of Victoria, University of Tasmania Art Collection, Art Gallery of Western Australia, Janet Holmes a Court Collection and Murdoch University Art Collection.

[i] Retrieved 24/07/2020from: http://www.galeriedusseldorf.com.au/GDArtists/Teschendorff/JTExh2012/JT_ExhGD2012Cat.pdf

Peg Leg Tjampitjinpa, Tingari, 2005

acrylic on linen, 183 x 121cm.
Donated through the Australian Government’s Cultural Gifts Program by Helen and Ben Korman, 2018

Peg Leg Tjampitjinpa was born c1920 in the Kiwirrkurra area of the Gibson Desert in Western Australia and passed away in late 2006. He earned his nickname when an infected spear-wound from a tribal fight resulted, after four months of suffering and being carried by his father-in-law, in the loss of his leg from the knee down. He walked with the help of a long pole, which he used to propel himself forward in large strides. He and his family lived a traditional lifestyle in the region surrounding Wilkinkarra and had no contact with western civilisation until 1957 when his family group encountered a Northern Territory Welfare branch control at which time they were relocated to a settlement in Papunya in Central Australia.

In 1996, during a visit to his lifelong friend Pinta Pinta Tjapanangka in Kintore, he started painting works reminiscent of the first Papunya Tula artists, focusing on Tingari designs in a limited pallette of reds, blacks and whites. Soon after, owing to his poor eyesight and following the death of Pinta Pinta, Peg Leg entered a hiatus until an eye operation in the late 1990s restored his sight and he could resume painting.

In 2000 Tjampitjinpa was included in the landmark exhibition at the Art Gallery of New South Wales, Papunya Tula – Genius and Genesis. He is represented in major public and private collections throughout Australia and overseas.

Language group: Pintupi

Active: Papunya, Northern Territory

https://www.cooeeart.com.au/marketplace/artists/profile/TjampitjinpaPegle/

Walala Tjapaltjarri, Tingari Cycle, 2000

acrylic on Belgian linen, 184 x 214cm.
Donated through the Australian Government’s Cultural Gifts Program by Helen and Ben Korman, 2018

In late 1984, Walala Tjapaltjarri (born c1960) and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as ‘The Lost Tribe’, he and his family created international headlines. Until that day in 1984, Tjapaltjarri and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive as their ancestors had for thousands of years.

Tjapaltjarri was introduced to painting in 1997 by his brother, Warlimpirrnga, and both brothers went on to earn international acclaim for their artwork. Tjapaltjarri’s first paintings were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artefacts. However, his style evolved, and he began abstracting the classical Pintupi designs, creating a strongly gestural and highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings represent both a physical and spiritual map, and established Tjapaltjarri as a discerning draughtsman for his ancient country.[i]

Walala Tjapaltjarri paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist’s many dreaming sites – they include Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, among others. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert.  Tjapaltjarri has gained worldwide recognition, participating in several national and international solo and group exhibitions. His paintings are represented in private and public collections in Australia, Europe and the USA.

Language group: Pintupi

Active: Kintore, Northern Territory

https://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm

https://japingkaaboriginalart.com/collections/walala-tjapaltjarri/

[i] Retrieved 24/07/2020 from: https://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm

Turner Galleries, Art Angels Inc.

Robert Hague, Natives opposing Captain Cook’s landing, 2016

lithograph from photoplate on sommerset cotton rag paper, edition 42/60, 35 x 31cm

Migrating to Australia in 1985, Robert Hague (born 1967, Rotorua, NZ), works from his studio in Newport, Melbourne, Victoria. Throughout his work, Hague revels in ambiguity, conveying simultaneously elements of the heavy and light, the fixed and fluid, the brutal and gentle, the abstract and figurative and the stern and amusing. He works across numerous media, and from the very large to the delicate. In Hague’s most recent body of prints, he takes on a succession of iconic Australian artworks referencing colonial to modern imagery. Each is reconfigured, transported into a contemporary reading and rendered in exquisite detail using an old world stone lithographic process. Natives opposing Captain Cook’s landing refers to a an early engraving of the same name that depicts first contact between Captain James Cook and crew with the Gweagal people at Kurnell, New South Wales in 1770. [i]

Hague has exhibited widely and is represented in major public collections such as the National Gallery of Australia and the National Gallery of Victoria. In 2019 his work was the subject of a retrospective at the Casula Powerhouse (Sydney). Recent exhibitions include Common Ground at NGV International, New Prints at IPC New York, The Megalo International Print Prize (Canberra), Porcelaine at Turner Galleries (Perth), the Blake Prize(awarded the Blake Residency), CRUSH at Fehily Contemporary, the Wynne Prize at AGNSW and Inaugural at Nicholas Projects.

https://www.roberthague.com/

http://www.turnergalleries.com.au/exhibitions/16_hague.php

[i] https://en.wikipedia.org/wiki/Kurnell,_New_South_Wales

Turner Galleries, Art Angels Inc.

Anne Zahalka, Museum of Natural History, Guildford 2017, 2017

archival ink on paper, edition 5/60, 53.4 x 36.8cm

Anne Zahalka is one of Australia’s most respected photographic artists. Throughout her career she has consistently and consciously explored the conventions of documentary photography and its claims to represent the truth. Zahalka collates her imagery from tourist brochures and personal photographs taken on her travels and continues her research into the peculiar notion that, as she describes, “tourists experience the natural world as a spectacle, as if nature is a performing thing that we can visit like an attraction.”  By sensitively inserting artificial elements that could not naturally co-exist, Zahalka prompts the viewer to question and reconsider what we see.[i] During her residency at Turner Galleries in 2017, the artist exhibited her Wild Life series. The images depict dioramas from the American Natural History Museum in New York taken over a number of years. The residency inspired the artist to delve further into the history of the diorama looking specifically at what remains of museum dioramas in Australia.

Zahalka has held more than 40 solo exhibitions and been curated into over 140 group exhibitions including Leisureland at the Australian Embassy in Washington, 2007; Three Australian Photographers: Bill Henson, Tracey Moffatt and Anne Zahalka, GEM/Fotomuseum, Den Haag, The Netherlands, 2007; Supernatural Artificial at the Chulalangkorn Art Centre, Bangkok, Thailand, 2005 and the Metropolitan Museum of Photography, Tokyo, 2004 and Photographica Australis exhibited at the Sala del Canal de Isabel II in Madrid, Spain and travelled Asia, 2003.  Zahalka is represented in major national and international collections including National Gallery of Australia; Art Gallery of New South Wales; National Portrait Gallery; Australian Bicentennial Collection; National Art Gallery, Wellington, New Zealand; Parliament House Collection; National Gallery of Victoria; Sir Elton John Collection; Deutsche Bank Collection; International Polaroid Collection, USA; Visart, New York; and numerous other regional galleries, universities and private collections in Australia and overseas. She has been the recipient of numerous awards and commissions, winning the Macarthur Cook Art Prize, 2008, the National Photographic Prize, 2007 and the Leopold Godowsky Photography Award in Boston, 2005. She was a finalist in the 2017 Olive Cotton Award for photographic portraiture and was awarded the Director’s Choice, an acquisitive prize.

https://zahalkaworld.com.au/

http://www.turnergalleries.com.au/exhibitions/17_zahalka.php

https://arcone.com.au/anne-zahalka-artist-profile

[i] Retrieved 24/0/2020 from https://arcone.com.au/anne-zahalka-artist-profile

Turner Galleries, Art Angels Inc.

Marian Drew, Bower bird with swamp hen, 2009

ultrachrome inks on hanemuhle paper, edition 55/60, 20 x 27.5cm

Marian Drew’s disquieting photographic images emphasise the fragility of the Australian environment. Bower bird with swamp hen forms part of a body of work created between 2003 to 2009 that features dead Australian fauna and domestic fabrics. Inspired by the conventions of 18th century still life painting. The shock of the limp and lifeless creatures is lessened by the sensuous draped cloths, seductive colours and dramatic lighting. These unsettling and beautiful photographs remind us of the fragility of life and the impact humans have on our environment.

In the spring of 2003 I flew back to Brisbane after studying in Germany. The number of dead animals on the road in Australia was such a shock to me after being in Europe. In all the historic still-life painting that I saw in Germany I found what I thought would be the perfect visual response to the road kill. My photographs are as much a response to my own environment as they are to my experiences of a different culture

[Marian Drew, Art World, June-July 2008]

The juxtaposition of native Australian birds with European still life painting references the colonisation of Australia, and the fact that the many of these bird species are threatened with extinction, through land clearing. Other dualities are referred to: natural and artificial, contemporary and historic, life and death, and light and dark. Finally, the photograph references art history and the impact that 18th century still life painting continues to have on contemporary depictions of domestic life.

Drew graduated from the Canberra School of Art in 1984 and followed this with a year of post graduate study in Germany and travels around Europe. Since 1986 she has lectured in senior positions at the Queensland College of Art, Griffith University where she is currently the Convenor of Photography Programmes. She has held 27 solo exhibitions around Australia, and her photographs can be found in many important collections, including the Getty Museum in the USA, National Gallery of Australia, Queensland Art Gallery, Art Gallery of South Australia and Artbank.  She has exhibited in international group exhibitions in New York, London, Berlin and Taiwan. A major monograph on her work was published by the Queensland Centre for Photography in 2006.

http://www.turnergalleries.com.au/exhibitions/09_drew.php

https://michaelreid.com.au

http://www.andrew-baker.com

Turner Galleries, Art Angels Inc.

Darren Siwes, Mother in law 1944, 2004

cibachrome print, edition 50/50, 51.5 x 55cm

Siwes is a master of the uncanny. Lit by a haunting metaphysical light, his dark night images of deserted zones are exemplars of the unhomely . . . As if time-travellers from another era, the ghost like figures in Siwes’s photographs appear before us like messengers we cannot hear . . . However Siwes does not photograph the ghosts of relatives, but the shadowy after-life of history or more accurately, of Siwes’s own historical consciousness. Acutely aware of his Aboriginal/Dutch descent and the global migrations and histories it implies, he is burdened by a corrosive (rather than affirmative) history; and this melancholy fate sets the mood of his artworks. The influence of Darren Siwes’ art continues to hinge around conflicting cultural hierarchies and class delineations in the context of place and identity. Siwes sees his work residing somewhere between truth and  hypothetical, between reality and the imaginary and describes his work as ‘Hypothetical Realism’ where life in the real and life in the ‘what if’ can be intertwined. Within this context Siwes embellishes the truth by blurring the boundaries between opposing poles, to distort truth from untruths and to stir the comfortable in with the uncomfortable[i] – Ian McLean

Darren Siwes has become well known for his nocturnal images of ethereal figures standing in recognisable locations around Adelaide, the UK and Perth. These ghostly figures, are created using a method of time-lapse photography. The resulting eerily lit photographs are loaded with meaning, often referencing issues of identity – personal, historical and cultural. Siwes’ blurred figures represent the endurance and losses of the Aboriginal people and their culture throughout the colonisation of Australia. Darren has a strong interest in history, politics, philosophy and the cultural dynamics, including class inequities, which are prevalent in a particular place and time.

Based in Adelaide, Siwes has a Bachelor of Visual Arts (Honours) from the University of South Australia (1996). In 2002 he was awarded the Anne and Gordon Samstag International Visual Arts Scholarship and he went on to obtain a Masters of Fine Art from the Chelsea School of Art in London, UK. His work is held in many public collections including the Art Gallery of South Australia, the Art Gallery of Western Australia, the National Gallery of Australia and the Queensland Art Gallery & Gallery of Modern Art.

Language group: Ngalkban

Active: South Australia

http://gagprojects.com/index.php/artists/darren-siwes/

[i] Retrieved 24/07/2020 from: http://gagprojects.com/index.php/artists/darren-siwes/just-is-2004/

 Turner Galleries, Art Angels Inc.

Joan Ross, You can’t just take everything, 2014

hand painted pigment print on cotton rag paper, edition 56/60, 35.4 x 40cm

All artworks donated by the artist and Turner Galleries Art Angels Incorporated, 2020

Scottish born artist Joan Ross grapples with Australia’s colonial legacy through her established practice spanning drawing, painting, installation, photography, sculpture, video and virtual reality. In her works, European settlers and emblems of colonial society stake their claim across the Australian landscape. Joan’s emblematic use of high-vis colour yellow across these colonial narratives has become a broadly recognisable visual anchor for her work, recalling unnatural incursions in the landscape, synonymous with mining and visual pollution of unchecked development.

In 1985 Ross graduated with a Bachelor of Visual Arts from City Art Institute UNSQ, and in 2012 completed a Masters of Fine Arts from the College of Fine Arts UNSW. Joan Ross was the winner of the 2017 Sulman Prize, Art Gallery of New South Wales, and was a finalist again in 2018 and 2019. In 2018 Joan Ross won the Mordant Family Virtual Reality Commission – the most important commission in the country in this new medium. In 2020, Ross was commissioned by the Art Gallery of New South Wales to produce a major new work to adorn the new Sydney Modern extension whilst under construction. Ross has been the recipient of numerous awards, grants and prizes, including the winner of the inaugural 2017 Ravenswood Australian Women’s Art Prize, Sydney.

Ross has exhibited extensively over the last three decades, cementing her position as one of Australia’s leading contemporary Artists. In 2016 and 2017 her work was included in Today Tomorrow Yesterday and Recent Acquisitions at the Museum of Contemporary Art Australia, Tracks and Traces: Contemporary Australian Art at The Negev Museum of Art in Israel, as well as exhibitions at the National Gallery of Australia, University of Queensland Art Museum and numerous other state and national institutions. Ross is represented in the collections of the National Gallery of Australia; Parliament House; Museum of Contemporary Art, Sydney, Art Gallery of New South Wales; and the City of Sydney as well as strong representation throughout multiple regional galleries and museums.

https://joanross.com.au/

https://michaelreid.com.au/

https://www.bettgallery.com.au/

http://www.turnergalleries.com.au/exhibitions/14_ross.php

Tony Windberg, Terra Nullius 2, Cape Chatham, 2018

engraved pegboard, rust effect and sealant on MDF, 43.5 x 127 x 1.5cm.
Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2018

The contrast of the crude axe versus the sophisticated sextant was instrumental in deeming a continent uninhabited.  My reinterpretations of published English depictions of a ‘vacant’ Australian coastline seen by Matthew Flinders echo the original copperplate engraving process.  However, the plate is now utilitarian pegboard and it is power tools over crude hand tools. The blank island shapes, akin to missing tools from their toolshed pegboard homes, reveal the impending imposition of alignment and control. – Tony Windberg

Tony Windberg is an Australian artist who is passionate about making landscape art.  For three decades, his artistic curiosity has driven his exploration of materials and techniques. His illusionistic artworks question the nature of realism and how we see the world. Engraving is a new technique that Windberg has explored since his time spent in Karratha on the remote coast of North Western Australia where he was exposed to the ancient petroglyphs of the Burrup Peninsula. In developing his own techniques he is also referencing European engraving styles and pertinently, given the subject of human impact on the landscape and disappearing vegetation, the art of the woodcut.

His first solo exhibition was in 1989, and was wall to wall trees; oil paintings, drawings and pastels that honed in unsentimentally on the bits that, for him, expressed the scarred and burnt nature of the Australian landscape. Beauty was in the texture, subdued colours and the raw detail. With these life-like depictions of trees began a fascination with illusion: like magic, paint could be transformed into ‘bark’. And so too, ‘paint’ could be made from the very landscape itself.

Tony Windberg lives and works in the South West region of Western Australia. Born in Melbourne, Victoria, Australia in 1966, he graduated from Curtin University in 1986 with a Bachelor of Fine Arts. He has won numerous art awards, including the City of Perth Art Award in both 1999 and 2001. He has held several solo exhibitions and has been selected to exhibit in significant state and national group exhibitions, including the Fleurieu Biennale Art Prize, the Jacaranda Acquisitive Drawing Award, the Heysen Prize for Australian Landscape and The Waterhouse Natural History Art Prize. He is represented widely in public, corporate and private art collections.

https://www.tonywindberg.com/

https://artcollectivewa.com.au/artists/tony-windberg/