front gallery - installation view


blue rinse

front gallery - installatioin view



installation - front gallery 

 Tales from
 Elsewhere

 

 Sept 1 - 30, 2017 

 Richard Reddaway

 

 



installation - back gallery 
 

 Slopes

 
 Sept 1 - 30, 2017

 Saskia Leek

 

 
 
 
 

Tales from Elsewhere

September 1 - 30, 2017

 
 
installation view - front gallery
 
 
installation view - front gallery
 
 
installation view - front gallery
 
Reddaway’s work follows up his show Some Assembly Required from 3 years ago. Cast in resin over cardboard boxes, then rather lushly painted, these Tales from Elsewhere are more mask-like than before. Small, Smaller, Smallest is delightfully Day of the Dead; whilst Icy is really just wild. Equipment 1 and Equipment 2 bring a certain levity to proceedings. As in much of this work, the potential for sound is offered (via speakers and cables) but not realized. For these are masks presented on the wall, or arm-like limbs and mitts placed on the floor.
 
Small, Smaller, Smallest
 
 
Equipment 1
     Equipment 2
 
This gesture towards the functional is taken a step further in a suite of small photographs hung in found frames in the gallery office. Each image, with the name of the work below, shows the sculpture being worn. Variously posed, the figures in these photographs experience Richard’s work in a different way again. For not the first time in his career, Reddaway adds resonance and substance to his sculpture with his considered use of photography.
JS
 
bouy
     a soldiers arms      equipment 1      equipment 2
 
aging
     small,smaller, smallest      mitts      rain monkey
 
 
 
 

Selected works

Please hover over image to see title...

 

Icy (lights on)
       Icy (lights off)

 

Squid
          Rain Monkey

 

Aging (after Maria Lassnig)

 
 
Bo(u)y Hat
      Mitts
 
 
 

Details of works


Wall works

Equipment 1 and Equipment 2
enamel paint on epoxy resin, fibreglass, & audio components
1000 x 900 x 180mm and 1000 x 600 x 520mm    $7200 each

Aging (after Maria Lassnig)

enamel paint on epoxy resin, fibreglass, & audio components
1000 x 1600 x 500mm    $12,000     

Icy
enamel paint on epoxy resin, fibreglass, & electrical components
1000 x 750 x 450mm    $7200   

Squid and Rain Monkey
enamel paint on epoxy resin, fibreglass, & found objects
800 x 520 x 500mm and 900 x 500 x 350mm    $7200 each

Small, Smaller, Smallest
enamel paint on epoxy resin, fibreglass, & electrical components
700 x 1250 x 300mm    $12,000

digital colour photographs, framed
image size 120 x 80mm     $350 each
 

Floor works

Mitts
enamel paint on epoxy resin, fibreglass, & electrical components
length 450mm       

Bo(u)y Ha
t
enamel paint on epoxy resin, & fibreglass
height 1100mm    

a Soldier’s Arms
enamel paint on epoxy resin, fibreglass, & audio components
length 1900mm

the three floor works are available as a group   $15,000

 
All works are from 2017
Prices include GST

 

Slopes

September 1 - 30, 2017

 
 
installation view - back gallery
 
Saskia Leek’s Slopes comprises seven new works that continue her exploration of the architecture of painting, colour and brushstroke. Colour is a compound thing for Leek: a careful combination of flat tone against fluoro, of pure dense fields alongside those with transparent histories beneath, and layered yellows, oranges and blues that sing quietly or quite loudly beside one another.
 
Brushstroke can be important, as it is in Slopes#2 where brushed dry and wet there is movement in opposing directions which gives the painting its endearing and gentle charisma.
 
The architecture of painting, its structure and composition, is worked by Leek in a more traditional manner in Slopes#6 and Slopes#7. She has long been fascinated by devices of framing. Here she hops onto the frame in both works, paints frames within frames inside their compositions, and joins them with enigmatic diagonals that enhance the eerie but hauntingly beautiful landscape aspects shared by both paintings. Slopes#6 and Slopes#7 are classical Leek – absolutely!
JS
 

Selected works

Please hover over image to see title...

 

Slopes#6
       Slopes#7
 
 
Slopes#5
       Slopes#4
 
 
Slopes#1
       Slopes#2
 
 
Slopes#3
 
 
 

Details of works
 
Slopes #1 - Slopes #7
oil on board    590 x 470mm    $6000 each

All works are from 2017
Prices include GST

 

My hand is a season

 


I see through me

Oct 31 - Nov 26, 2017

 
 
installation view - front gallery
 
 
installation view - front gallery
 
 
installation view - front gallery
 
 
installation view - front gallery
 
 
installation view - back gallery
 
Tjalling de Vries is ambitious for painting – ambitious for the range and scale of mark-making he might bring to bear across a canvas, and ambitious too, that painting and sound might come together. Here, intermittent industrial noise played quietly from stretcher bars behind three of the paintings co-habits with postmodern mark-making, and they seem to rub along.
But it is the act of painting that is pre-eminent. One of the pleasures of this show is that de Vries reminds us just how broadly based an activity mark-making can be. Yet the dictates of composition, the measured needs of each painting, still determine the range of technique or the technical virtuosity on show. For de Vries, painting is this delicate dance.
Agitation Sticker has a ground of slate blue pulled by squeegee through old silkscreens; a light lozenge of transparency with masked, brushed edge of yellow angled across its middle; a controlled sinuous line meandering throughout; and a casually sprayed grid of red dots on top. Seems like plenty on a canvas spanning 2200 x 1900mm. But everything is in place in the shallow space of this picture plane. The effect is restrained, open and elegant.
The title work I see through me is similar in pitch, though even more playful. The painting’s ground is angle sprayed. Like most of the works in this show, it has been made off the stretcher and then re-stretched. This sprayed ground gives the painting a folded topographical look, a high viewpoint as if we were scoping something both intimate and grand. White paint has been sponged on top right, masking tape replicated lower left (an old de Vries leitmotif), and two black lines pitch-perfect in calligraphic weight converse with one another in between. Then finally, there is the sausage-like balloon. Its form feels cut out or in to the painting, yet it casts a shadow. Guess that’s why the painting is called I see through me.
Stolen Folder has a beautiful simplicity. Its major angular feature pushes from the bottom of the painting upwards off the floor (all these works lean from the floor to the wall), but that presence is met with white paint pulled and allowed to dribble back to the floor. Sounds insignificant. But upon this lovely tawny linen it looks soft and smashing. There are two creamy edges, an ochre ground and two small, brushed idiosyncratic bars that also enable this painting. Still, its confidence is never overstated.
This exhibition is seven works strong. It is also graceful, poised and mighty arresting.
JS
 
 
I see through me
       Sickeling
 
 
 

Selected works

 
 

Agitation Sticker
Agitation Sticker

 

Peak in the clouds
Peak in the clouds

 

Stolen Folder
Stolen Folder

 

Masked Intruder
Masked Intruder

 

Shakey Practice
Shakey Practice

 

 
List of works


I see through me
mixed media on canvas       1300 x 1050mm       $4500

Sickeling
mixed media on canvas       1300 x 1050mm       $4500

Agitation Sticker
mixed media on linen         2200 x 1900mm        $10,000

Peak in the clouds
mixed media on linen         2200 x 1900mm        $10,000

Stolen Folder
mixed media on linen         2200 x 1900mm        $10,000

Masked Intruder
mixed media on linen         2200 x 1900mm        $10,000

Shakey Practice
mixed media on linen         2200 x 1900mm        $10,000


All works are from 2017
Prices include GST 

 
 

Subcategories

2018 - category description

2017 - category description