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Due to our expansive terrace space, this exhibition can be viewed through the windows of the gallery over the Easter closure.
Please note: There will not be an opening event for this exhibition.
Sydney epoxy resin artist Rick Carlino has been creating large scale works which explore the fluidity and viscosity of a notoriously rebellious medium for the last decade. Drawing on his diverse creative and professional career, which has included music composition and brand design, Rick creates vivid contemporary artworks which showcase his love of colour.
Georgina Bedwell is an emerging abstract painter, living in Sydney. She has recently completed a Bachelor of Fine Art at Australia’s leading independent fine art college, the National Art School. Her artwork delves into the power of sensation, by considering the interconnectedness between the self and the natural world. She likens her practice to a form of, “inward meditation” where she transcends the physical realm of landscape and enters a state of introspection. By deepening the colour palette of the natural environment, she invites a quiet unearthliness to the forefront of her compositions, through extraction techniques of various inks.
I am an Australian born, Sydney-based artist.
Hannalie Taute (b. 1977) started her life’s journey in a small town called Fochville in Gauteng, South Africa. In 2000, she obtained a National Higher Diploma in Fine Art at PE Technicon (now the NNMU). A decade ago she started working with rubber and particularly repurposed rubber inner-tubes, and in 2012 she added embroidery to her list of preferred media.
Milminyina was born in 1960 at Wirrwawuy, near Yirrkala and Nhulunbuy on the Gove Peninsula, at the very northeastern tip of the Northern Territory. She is the daughter of Gumatj woman Rrirraliny Yunupiŋu (a daughter of famous arist and political figure Mungurrawuy Yunupiŋu), and Gunguyuma Dhamarrandji, who was brought up by the legendary Djapu leader Woŋgu Munuŋgurr. Her märi, or mother’s mother’s clan, is Rirratjiŋu, the landowners of Yirrkala, who share many sacred designs with the Djambarrpuyŋu of this area. The Djambarrpuyŋu clan which she belongs to are mainly based in the Westerly end of the Yolŋu nation near a major sacred site at Buckingham Bay. This arm of the clan use the surname Guyula. A small cluster of the clan is based around a group of sacred sites at Yirrkala. These people are known by the surname Dhammarrandji. In the ancestral everywhen the spirit people of this place and the offshore islands in the form of terns conducted ceremony around the Merri or sacred string which was cut. The short string was given to the Rirratjiŋu and the longer to the Djambarrpuyŋu. Hence the Rirratjiŋu are sedentary here and the Djambarrpuyŋu range far to the West.
Eloise Cato’s practice has embraced the plastic age and all its manufactured mannerisms in the context of the machine of the art world, how its machinations fascinate and inform. Cato works by hijacking injection blow moulding machines of mass production to manipulate polyethylene into unexpected monochromatic abstractions. Endeavouring through the guise of a natural form, a cloak of ebony charcoal, to mask the sins of the synthetic. This surface is gently painted in a highly laborious and time-intensive process that’s not evident through the counting of brushstrokes.
Michael Taylor mimics the immediate and expansive nature of the drawing process in order to develop scenes and characters in his painted work. Removed from its purely observational qualities, drawing becomes a projection of the artist’s intuition, imagination and memory. Representational and figurative elements in Taylor’s paintings create narrative frameworks that are unravelled to varying degrees through abstract marking.
In his botanical series, Joshua explores the beauty of nature through the lens of abstraction. His process involves breaking down the intricate details of an image into simple shapes and colours. At close range, the paintings appear abstract, but as you step back, the image of the subject reveals itself.
“As a child, I was fascinated by the world of my parents. My father was a brilliant jazz musician, passionate and ambitious about his craft. My mother was a successful actor in musical theatre. Often, she would be on stage while my father was in the orchestra pit. While I realised, back then, I would never have the desire to be a performer, I loved the atmosphere of the theatre, with its spot-lighting, the hidden world of backstage, and the thrill of being up in ‘the gods’ looking down on the constructed scenes. As an adult, I’m drawn to the natural world, far removed from the productions of my childhood, but those memories influence my paintings today”. – Linda Keough
8, 15 – 19 Boundary Street
Darlinghurst, Sydney
NSW, Australia
Email: gallery@mcontemp.com
