Having recently returned to her hometown of Sydney having completed residencies at the Australia Council for the Art’s Greene Street Studio (NY, USA) and the Bemis Centre for Contemporary Art (Ohio, USA), Kristensen is currently undertaking a year-long residency at Artspace where she is working towards her next solo exhibitions. The June exhibition will be Kristensen’s third with Gallery 9.
Ralph recently commented on how Leipzig, in the east of Germany, not far from Berlin is now home to an increasing number of artists from around the world, many of whom paint there due to its relative affordability and the generous, comfortable situation it provides. Ralph’s latest works, made during his residency are primarily concerned with the virtually derelict spaces many of Leipzig’s artists have colonised as property elsewhere in the western world has become so out of reach. The most noticeable aspect of this architectural environment is how old, derelict and redundant spaces can become a haven to artists, especially painters, whose practices often demand space.
This exhibition seeks to capture in part the spirit, environment and habitat of Leipzig’s post war, socialist and industrial past, as it is transformed and morphed into something new and very different. My paintings explore a place where artists – painters can thrive, create new work and a new community from the ruins of the past. This exhibition is about the places that artists colonise and transform.
(David Ralph, Leipzig, March 2014)
Ralph’s paintings reflect on how built environments, cities and dwellings shape human experiences and forge identities. They address the psychology of architectural spaces and what they can inform about the people responsible for them, and those who inhabit them. Ralph identifies as a contemporary painter whose use of enduring mediums such as oil paint and pencil drawing acknowledges newer forms of media and digital technology as a source of inspiration and its potential to create hybrid abstract/representational imagery.
What starts at the back is forced to the fore.
How close can we come to the tipping point, to the place where the mind makes a slip and finds itself in the throws of mild breakdown or unhinged mania?
Sorrow’s Breakfast is a meditation on the lived experience and the fragility of the mind’s capacity to process experience and withstand tension. It is a questioning of one’s own capacity, under the right circumstances to slip down into the cracks.
Gallery 9 is pleased to present Tonee Messiah’s sixth solo exhibition with the Gallery, Sorrow’s Breakfast, an exhibition of new oils and works on paper.
This new body of work is an emotive and intuitive response to an acknowledgment of human fragility, specifically the ‘us and them’ notions which disfavour people who have been marginalised by society. Messiah describes how a recent curiosity has lead to a deep empathy for how vastly different the realities are for those who are seemingly functional and others who have been left behind by a society that requires an extremely high coping threshold. The same empathy motivated the artist to reflect on how a human brain functions under circumstances of extreme stress and anxiety, and how fine the tipping point can be.
Sorrow’s Breakfast presents a new visual language that layers tension and equilibrium on the painted surface. Interdispersed and ever-present amongst objects of gentle comfort and homely place in the fore is an ambiguous vision of psychological dissolve. Again Messiah’s works shows a harmonious but not exclusively complimentary spectrum of colour and with unpredictable representational and abstract forms she blends background to foreground shifting focus to the opposing corners of the picture plane.
“Taylor turns the complexity of the bush, dunes and seascapes into abstract works full of colour, life and quirky detail.”
Lynne Dwyer, ‘Open Gallery’ SMH 11-12 June 2011
Is eating a No-Doz and a Valerian at the same time kind of like a monochrome?
Occupy Radical Chic
Confessions & Concessions
Like how carbon offsetting works
Run Artist Run
The best of 12/13/14
Pinot Noir, Nebbiolo, Shiraz, Cabernet blend
Italy, Ashton Hills
Recycled concepts, stolen materials
Among other things, George Egerton-Warburton’s work is about the application of irrational methodologies to better understand the awkward moral balance in nature. Egerton-Warburton often cites subjective and shared experiences where actions are incongruous with thoughts and impulses, due to the external force of cultural inheritance.
Egerton-Warburton is currently concentrating on making one video per year, shot in a single take.
Recent solo exhibitions include Steaming ties, curated by Caterina Riva, Artspace, Auckland, and Living With Living, Sutton Project Space, Melbourne. Group exhibitions include Melbourne Now, National Gallery of Victoria, Public Thinking, curated by Susan Gibb, 55 Sydenham Rd, Sydney, and The Stalactite Love Review, as part of Perth International Arts Festival, University of Western Australia.