Gareth Sansom

Gareth Sansom ‘Transformer’ Ian Potter Centre, NGV



‘Looking for God in abstract art 2', 2010.



‘Gotterdamerungerdungerdumbergungerdung!’1981-82



‘Du hast keine chance, nutze sie’ 1981


Sansom’s show is rewarding. His work is brave above all and constantly questioning what can be a ‘painting’. One of the few senior Melbourne artists in the gestural field whose work successfully references and therefore sits within international practice.

NGV Triennial

NGV Triennial of contemporary art and design practice.


Pae White, USA,‘Spearmint to Peppermint’ 2013, tapestry (detail) 



Edson Chagas, Angola ‘Tippa Passe’ 2014 (detail) 



Sissel Tolaas, Norway, ‘Smell Scape’ 2017, detail of a series
(she is a chemist and has infused the work with artificial smells)


Oki Sato, Canada, emigrated to Japan, ‘Manga Chairs’ 1-50, 2015, detail, one chair.



Joris Laarman, Netherlands, Chair, 2014.


The triennial was lot of colour, mirrors, dark rooms and regional political issues. A few selected works which rather referenced and pushed the boundaries of practice.


Fontainebleau



Frederick McCubbin’s Macedon house and studio. 


Fontainebleau, December 2017.

Fontainebleau, December 2017.


Remnant kitchen garden.


McCubbin's studio?

The pioneer, 1904, oil on canvas, 225.0 x 295.7 cm. Collection NGV.


At the suggestion of a day trip to Mt Macedon with architect and heritage conservator, Louise Lakier, I decided to try and track down McCubbin’s house and octagonal studio situated at the base of the garden that I had heard about many years prior. The house today is in a total state of disrepair. It’s here McCubbbn painted The pioneer, 1904, reportedly with his wife and a local gardener and his relative among the models. It’s an iconic Australian Painting. This was the only house McCubbin purchased (1901) and is in an isolated spot on the north side of the summit.

Whilst I initially learnt of the rotunda shaped studio from an artist who knew the occupants I can’t find any online references. This building is somewhat repaired, however the roof is definitely early 20th century circa federation design and woodwork. It’s also perfectly positioned to take in the north light and views. Most photos of the house online are taken from this vantage point. There is also an old road from the house via the kitchen garden to the ‘studio’ which goes no further.

McCubbin was a founding member of the Heidelberg School and drawing master at the National Gallery Art School, School of Design.

McCubbin’s painting, On the wallaby track, 1896, was the subject of a humorous Kit Kat television advertisement in the early eighties. Watch it here: https://youtu.be/N8BQb4apMkU





Victorian College of the Arts Graduates 2017



Samuel Szwarcbord, Easy Peaces, 2017, cotton.



Phebe Parisia, 'Experiments in Materiality' 2017.



Aaron Martin, MFA research, 'The Persistence of the Gesture in Minimalism', 2017.



Chaohui Xie, Boundary lines, Hebel block x 249.



Matt Bax, 'I paint ordinary things because I find wonder in them...'.



RMIT Universtiy MFA and Honours graduates 2017


Timothy Greaves, media: acrylic paint on found material.


Lukas Orsanic, install shot, media: acrylic on canvas.


Louise Gresswell (MFA) install shot, media: oil on board.


Bridget Frawley, media: thread, stitch found material.

Rikki-Paul Bunder (MFA), Eclipse, 2017, plastic, LED torch.


Paul Eaves (MFA) TV Time, 2017.

Selected works from the RMIT School of Art graduate show, Building 2 La Trobe Street Melbourne.

Catherine Cassidy


Night Turpentine Road, mixed media on polyester, 150 x 150 cm.

Catherine Cassidy is having a good art year - she is currently showing simultaneously in Paris and Sydney. Cassidy was invited by French artist Claire Colin Collin to exhibit in a group exhibition exploring the 'intuitive' in painting at Progress Gallery. At the same time she has a solo exhibition at Art2Muse gallery, Sydney, 'Miao Miao'. Recently Catherine was a finalist in the Paddington Art Prize for landscape painting where she won the Soffala Cottage Residency Prize. A masters graduate, 2011, National Art School, Sydney, Catherine's work holds a boldness that does not conform to the well worn iconography of the Australian landscape painting. 


Damian Moss

Damian Moss
Satellite
Liverpool Street Gallery
23 November - 23 December 2017




LS2 Project Space
243a Liverpool Street East Sydney 

Celestial cartography 10.
Artist talk Saturday December 9 at 2pm.

'This body of work has developed from my interest in mark making and the mechanics of repetition. The composition of each work begins with a grid, a system which provides pictorial structure while allowing for endless variation, and satisfies my own formalist tendencies. The process is slow and instinctual, with the outcome of each work remaining open rather than predetermined.

In the end, each image shares a common structure but reveals a unique cartography, juxtaposing the intuitive process of mark making with the repetitive nature of patterns and the infinite complexities of nature and spatial relationships.' Damian Moss, 2017.

'By removing a portion of inked paper a mark is added. This addition through removal is one of the many contradictions in the work. The hundreds of tiny tears, each one different, are gestures defined by geometry... They are equally musical scores, transcriptions, a map of the sky or land, an abacus or traces of data.' Damian Moss, 2016.


Land / Line / Sea

Artlacuna Battersea London
22nd November -30th November 
http://artlacuna.org/



An Exhibition of Selected Australian/ New Zealand/United Kingdom Contemporary Artists curated by Clinton Cross (Cross Gallery QLD)
Artists included:
Kim Demuth ( Australia/Germany)
Terri Brooks (Australia)
Henri van Noordenburg ( Australia)
Deb Covell (United kingdom)
Louise Tuckwell (Australia)
Yvonne Boag (Australia/ South Korea)
Rhonda Baum (Australia)
Marlene Sarroff (Australia)
Jennifer McDuff (Australia)
Anthony Cahill (Australia)
Lorna Crane (Australia)
Phill Hopkins (United kingdom)
Clinton Cross (Australia)
Richard Elliott (United kingdom)
Rob McLeod (New Zealand)
Angela Brennan (Australia)
Eryn Mark Begley (Australia)
Jenny Gilbertson (Australia)
Diane Scott ( New Zealand)



Selected shots:

L-R: Kim Demuth, Richard Elliott


Marlene Sarroff


Richard Elliott


L-R: Richard Elliott, Yvonne Boag


Lorna Crane


L-R: Terri Brooks, Marlene Sarroff


Rhonda Baum


London Opening

Local Walk


Found marks and objects lately in Melbourne.


Borders, chimney, Prahran.


Shop wall, Prahran.


Cross the Line, Preston.


Found shoe, Preston.





I’m not down, by The Clash

'I've been beat up, I've been thrown out
But I'm not down, I'm not down
I've been shown up, but I've grown up
And I'm not down, I'm not down...'

Dirty Filthy Painting

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Dirty Filthy Painting
Byron School of Art (BSA) Project Space
112 Dalley Street, Mullumbimby

8 - 20 September
OPENING Friday 8 September 2017, 6-8PM

Curated by Michael and Meredith Cusack

FEATURING WORK BY SALLY ANDERSON, MOSTYN BRAMLEY-MOORE TERRI BROOKS,
ROBERT DUNNE (Ire), JULIE FRAGAR, MILES HALL, BRENT HALLARD,
JOSIE KIDD CROWE, FIONA LOWRY, MOYA MCKENNA,
PAUL MCNEIL, HELEN O'LEARY (Ire), DAVID QUINN (Ire), JOHN SMITH

L-R Terri Brooks, Sally Anderson, Brent Hallard


L-R Robert Dunne (Ire), Miles Hall


L-R Josie Kidd Crow, Fiona Lowry, Moya McKenna, Julie Frager, Terri Brooks, Sally Anderson


David Quinn (Ire)


Mostyn Bramley-Moore


L-R Helen O'Leary (Ire) on table and wall, John Smith