Sonic Network no. 14
more information and images coming soon…
more information and images coming soon…
Hayden Fowler’s Your Death is a new photographic series documenting an ongoing performance project in which the artist submits his own body in a poignant remembrance of New Zealand’s catastrophic bird extinctions. Over three sessions during Sydney’s Art Month in March this year, in an aestheticized street-front window, Fowler’s torso was tattooed with an image of the South Island Kōkako – last sighted in 1967 and officially declared extinct in 2004. In June 2014 the project was undertaken in Berlin, where the extinct Whēkau or Laughing Owl was tattooed in flight across his chest, commemorating the 100th anniversary of its disappearance. Each event was choreographed over three sessions, irreversibly transforming Fowler’s skin into a conjunction of living bodies.
Your Death continues a project the artist began in Auckland in 2007, where images of the lost Huia were etched onto his back in a high street shop window. His imagery has been pieced together from nineteenth century watercolours, fragmented descriptions, early black and white photographs and taxidermy specimens. For Fowler, these representations symbolise the pervasive and tangible absences in the landscape. Hunting, museum collection, the introduction of mammals and the industrial destruction of vast areas of ancient forests resulted in New Zealand losing half of all its terrestrial bird species. Many of those remaining exist as a type of living dead in tiny, isolated colonies on remote offshore islands. The remnant mainland forests are all but silent.
As with any wearing of mourning, Fowler’s is an acknowledgement of absence and loss. The destruction of entire species and whole ecosystems however, is an event of such significance that the mourning can never be fully completed, the empty spaces never filled. In submitting himself to be tattooed, Fowler sacrifices his own body in a ritual of both repentance and resurrection. The white, geodesic set-construction in which the tattooing takes place, prophesies a sterile future as increasing numbers of species follow the Huia, Whēkau and Kōkako into oblivion, but also hope, as these birds somehow find a way back through the cracks of human cultural history and time.
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Hayden Fowler (b. 1973) originates from Te Awamutu, New Zealand and currently lives and works in Sydney. He holds a Master of Fine Arts from UNSW Art & Design (formerly COFA, UNSW) in Sydney, as well as an earlier degree in Biology.
Fowler’s methodology involves the creation of elaborate set constructions in which he choreographs human and animal subjects, producing hyper-real video, photographic, installation and performance work from within these fictional spaces. His work explores the unsettled human – nature relationship in the emerging Anthropocene, drawing on the historical developments that have influenced this engagement including Romanticism, Industrialisation and Science Fiction.
Fowler has exhibited broadly in Australia and internationally and his work is held in a number of public and private collections. He is a previous recipient of the Samstag International Visual Arts Scholarship for which he undertook a year of study abroad at the Universitat der Kunst in Berlin, Germany. He lectures in the sculpture, performance and installation studio at UNSW Art & Design.
Gallery 9 is pleased to present this exciting exhibition of two new bodies of work by Matthew Hopkins:
Trevor’s Trance is a mixed media installation based on a script, written by Hopkins, which occurs in a number of ‘acts’. Each ‘act’ describes certain works in the installation through the fragmented internal monologues of a character, Trevor, detailing his feelings of morphing into monochromatic objects and paintings.
Word Work presents a body of wood relief style abstract paintings that employ material scraps such as wood off-cuts, chewed gum, and bits of painting rags, to echo the material scraps of normative speech; non-linguistic sound, nonsense, breathing, and fluid by-products of the throat and mouth.
Matthew Hopkins (b. 1978, Sydney) is a Melbourne-based artist whose work examines the relationship between visual art and sound. Working with painting, objects, video and text, Hopkins explores how sound, particularly abstracted vocalisations, might be considered grotesque, absurd and liminal in nature, and how experiences of these sounds can be rendered visually.
Hopkins completed his Master of Fine Arts at Sydney College of the Arts (USyd) in 2013, during which time he undertook a semester at Sint-Lucas Beeldende Kunst Gent (Belgium) as a recipient of the Fauvette Loureiro Memorial Artists Exchange Scholarship. In 2014 Hopkins presented a live sound performance as part of the Liquid Architecture Festival, Sydney, was a finalist in the Substation Contemporary Art Prize, Melbourne, and the Fauvette Loureiro Memorial Artists Travel Scholarship at Sydney College of the Arts. In 2013 Hopkins, along with artists Emily Hunt and Vicki Papageorgopoulos, was awarded the Innovate/Curate grant through Tin Sheds Gallery (University of Sydney) to produce their collaborative exhibition ‘Two Dollar Pareidolia’, and in 2012 was featured in the ‘Volume One: MCA Collection’ exhibition, MCA, Sydney. Hopkins has been a finalist in the 2008 Helen Lempriere Travelling Art Scholarship (now NSW Visual Arts Fellowship (Emerging)) and has been awarded numerous grants from the Australia Council for the Arts. Hopkins work is held in the collections of the Museum of Contemporary Art Sydney, Artbank, and numerous private collections.
Gallery 9 is excited to announce Sectant an exhibition of Paul Snell’s most recent works.
For Snell, “The pause, the gap and the omission are increasingly significant in our saturated image driven society.” Through his work, Snell expresses his desire to replace this sense of saturation with selective sensitisation.
In theme with his recent direction, for Sectant Snell has continued to explore the transformative possibilities for photographic modes of production through the manipulation and exploitation of data to invent new visual forms. His distinctive non-representational forms are photomedia embedded, minimal and abstract. Like unique pieces of code, these forms are sequenced, repeated and paired by the artist specifically to colour relationships he has investigated. The forms are also rhythmic, overlapping and reversing to deliver a unique sensory experience of each work as physical object. Not to be confused with representations of certain realities, in Snell’s own words, these works are their own realities.
View the EXHIBITION CATALOGUE online.
Paul Snell graduated from The Tasmanian School of Art in 1989 and later completed Honours there in 1995 also being admitted to the Deans Roll of Excellence. In 2010 he travelled and researched in London and New York and in 2011 was awarded his Master of Creative Arts from the University of Tasmania. Snell has taught art for the past 20 years and maintaining his own practice throughout, he has exhibited widely solo and group exhibitions in Tasmania, Victoria, NSW, Queensland and in New York. Most recently he has staged solo shows with Colville Gallery, Jan Manton, Edmund Pearce and at 146 Artspace. His work is held in numerous private and public collections including Artbank and is a current finalist in the Josephine Ulrick and Win Schubert Photography Award.
Gallery 9 is pleased to present a new body of work by Peter Alwast in his solo exhibition 1, 2, 3.
View the PREVIEW CATALOGUE online.
In 1972 Gerhard Richter declared that he was making ‘photography’ by other means, confounding the relationship between painting and photography. While much work has focused on the interplay of painting and photography, Peter Alwast’s exhibition continues his interests in the possibilities of painting by interrogating its relationship to digital media and drawing. At the heart of Alwast’s recent works are ideas related to translation and the interface between virtual tendencies in the material practice of painting and painterly conventions in media practices.
Translation is not only a formal device for Alwast but becomes a vehicle for a range of personal and political meanings related to immigration, social fragmentation and the desire for origin and presence. All works in the exhibition are identified by the artist as either painting or drawing and resist simple catergorisation of how painting might be defined; line and saturated colour shift into deep pictorial space, while dematerialised images land onto exposed linen surfaces.
Peter Alwast’s work is held in public collections in Australia and the United States. Alwast’s practice employs a range of media including video, computer graphics, painting and drawing. In 1999, Alwast was awarded a Samstag International Visual Arts Scholarship and since completing his Masters in Fine Art degree from the Parsons School of Design, New School University, New York in 2001. Between 2001 and 2003 Peter worked as an assistant to Richard Tuttle and Julie Mehretu in New York City. In 2008 he was the inaugural recipient of The New Media Art Award, hosted by The Gallery of Modern Art in Brisbane, Australia. In 2010 Alwast’s video animation work ‘Everything’ received an honourable mention in Update III, at the Liedts Meesen foundation in Ghent, Belgium. In 2011 he created a solo exhibition Future Perfect at the Institute of Modern Art, Brisbane and his work was seen in the group exhibition Experimenta Utopia Now travelling to MONA, Tasmania as well as Selectively Revealed at the Aram Art Gallery, Seoul, South Korea. In 2013 Alwast undertook a residency and solo exhibition at Videotage in Hong Kong. Recent exhibitions include: Art Stage Singapore, Always Forever Now – Timelessness and The Currency of New Media Art, Das Weisse Hause, Vienna, Austria and A Time and A Place: Landscapes from The Griffith University Art Collection, 2015. Peter is a lecturer in Painting at The School of Art, Australian National University, Canberra.
Gallery 9 is pleased to present series of recent works by Melbourne artists Tony Lloyd and David Ralph to continue our series of offsite shows at Aurora Place.
Tony Lloyd (b. 1970 Melbourne, lives and works in Melbourne, Australia)
Discussing the work of Tony Lloyd, art critic for The Guardian Australia Andrew Frost refers to the subtlety of the work’s narrative and it’s power to draw the viewer in. Frost describes how Lloyd’s paintings “evoke that sense of disassociation where the outside world, the one just beyond the windscreen, begins to take on the quality of a movie.” (‘Art Collector’, Issue 70, Oct-Dec 2014 p 87).
Tony Lloyd graduated from RMIT with a Master of Fine Art (research) in 2000 after previously completing undergraduate studies there. He has since shown widely in Australia and internationally in Hong Kong, Beijing, London and Amsterdam. Lloyd has staged more than twenty solo shows and in 2009 Gippsland Art Gallery presented Lost Highways, a major survey of Lloyd’s work from the previous decade.
Lloyd received the 2014 Sulman Prize (AGNSW) Highly Commended Award and was the winner of the 2012 John Leslie Art Award. His work is represented in the collections of the State Library of Victoria, Gippsland Art Gallery, RMIT Gallery, Artbank, Macquarie Group, BHP Billiton, the City of Boroondara and the City of Whitehorse. A major feature on Lloyd was included in Issue 29 of Artist Profile magazine in November 2014.
View the ONLINE CATALOGUE of available works by Tony Lloyd.
David Ralph (b. 1963 Warrnambool, Victoria, lives and works in Leipzig, Germany)
David Ralph is a contemporary artist whose subjects reflect on how built environments, cities and dwellings shape human experiences and forge identities. His paintings address the psychology of architectural spaces and what they can inform about the people responsible for them, and those who inhabit them. Recent bodies of work have specifically exampled a reconnection with the natural world, what the artist describes as the ‘architecture of escape,’ that is escaping the urban environment by way of mobile homes, caravans, cabins and ‘green’ dwellings. 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.
Ralph holds a Master of Fine Arts from the Victorian College of the Arts (University of Melbourne) and an MA (Fine Art) from the Chelsea College of Art and Design in London. Since the early 2000s, Ralph has exhibited solo exhibitions in Melbourne and Sydney and featured in curated, prize and group exhibitions around Australia as well as in New York, London and Paris. He is the former recipient of The Anne and Gordon Samstag International Visual Arts Scholarship and is represented in numerous notable collections including the National Gallery of Victoria, Artbank, BHP Billiton, the RACV and the Gold Coast City Art Gallery.
In 2013, Ralph became the recipient of the Australia Council, Visual Arts Board – Skills and Arts Development Grant to undertake a residency at the LIA Leipzig International Art Programme. He is now based in Leipzig where he lives and works.
View the ONLINE CATALOGUE of available works by David Ralph.
Gallery 9 is pleased to launch the next in a series of artist books by Alexander Jackson Wyatt.
The publication, which is the culmination of Jackson Wyatt’s collaboration with Back Bone Books, comprising Claudia de la Torre (editor) and Maxime Gambus (graphic designer) is a limited edition of 100 books, complete with a poster and photographic print.
Titled Mode Intersit Express, the book is a collection of the artist’s photographs as compiled and edited by the trio, who first met in Berlin in the Summer of 2014. Their subjects relate to travel and its obligatory pit stops, mainly in Europe and also in Asia.
While each image may be taken amidst well-explored routes of travel, they are not records of place but intricate observations of what the artist terms as ‘islands’. Again, not physical islands, but metaphorical ones which result when individuals or small groups travel and incorporate their own small worlds, separated from their surroundings, as islands appear disconnected from main lands.
Jackson Wyatt explains how Mode Intersit Express explores psychogeographic islands by highlighting the way spaces are occupied and how time is filled between both the visible and invisible boundaries that form political and cultural borders:
‘Killing time’ is the most common activity shared between individuals traveling long distances. It creates an experience of introversion due to a break down of personal space, cultural and language barriers, all of which isolate each other from one another. These geographic and cultural frontiers create islands within islands. And as time is accelerated through such mobility infrastructures as planes, buses and trains – the interior self is slowed down and accessed far deeper. Imbedded social behaviours take over individual will and ‘designated public space’ creates distinct perimeters. And inside, the relation to the self within this new place is abandoned for a heightened perception. AJW, April 2015
In Jackson Wyatt’s Mode Intersit Express, a mundane roadside petrol station is an oasis and those sharing a particular ticket number for a flight, bus or train are privileged members, knowingly or otherwise of temporary island communities. While their time together is transitory, for its duration, the glass of windows is a closed border through which filtered light and air-conditioning vents are the only points of entry.
image: Spaces enfold in unto itself as we are released into other worlds speedy exits Bangkok 2014 Digital Photograph Dimensions Variable
Mode Intersit Express
date of publication: 2015
publisher: Back Bone Books
dimensions: 15 x 20 cm
number of pages: 84
photographic inserts and foldout posters
Light and edge doesn’t seem to be much to work with, and yet, these are the basic ingredients with which we construct our complex visual world. Issues of changing luminosity, the visual function of edge, the movement between light and dark and the structure of space have been the subject matter of over a decade of my explorations as a painter.
Magda Cebokli, February 2015
View the EXHIBITION CATALOGUE online.
Within this analysis of visual experience, Magda Cebokli works with small differences, simplified form, repetition and a restricted palette. Reduction to the essential remains an aim. For Cebokli, points of ambiguity are of interest: how the hard edge becomes the soft boundary, the straight line a curved space, the square becomes lost to the circle. In some works the exploration of luminosity and space is paired with the examination of the relationship between structure and uncertainty – the co-existence of order and chance that governs the universe we live in.
Issues of abstraction in art and its relationship to abstraction in other disciplines, the development and testing of ideas over a series, how a visual text is built up, these are additional subtexts that inform Cebokli’s work. This exhibition, The Lie of Light, further extends the artist’s interest in geometric, abstract painting and how it works as a tool to extend our understanding of what and how we see.
Born in Slovenia, Magda Cebokli has lived in Australia since childhood. Prior to becoming an artist, she worked as a psychologist in both the research and clinical fields. Her interest in inner process and in the way meaning is constructed connects this past career with her current artistic practice.
From 1988 to 1994 Cebokli lived in New York and Hong Kong where she started her art studies at the State University of New York, later the Hong Kong Arts Centre. Since returning to Australia she completed a BA (Hons.) in Fine Arts and in 2001, a Master of Arts by research in painting at RMIT in Victoria. She was awarded the inaugural Siemens Art Prize in 2000 and has been shortlisted for a number of other prizes since, including runner up award for the newly established MCollection Prize in 2014.
Working full time from her studio in Brunswick, Melbourne, Cebokli exhibits regularly and extensively in both solo and group exhibitions. Recent solo exhibitions include, Light Lines (2014) at Langford 120 and Drawn Out (2013) at Counihan Gallery, both in Melbourne and Corner Suite at Factory 49 (2012) in Sydney.
Gallery 9 is pleased to present a new exciting series of large scale charcoal and pastel drawings by Simon Kennedy.
Titled surrealism, this new body of works reflects Simon Kennedy’s shift in focus to Surrealist photography from the 1920s and 30s, particularly his perception of its dark, frenzied aesthetic and the ways it can be translated into the medium of drawing. As with Kennedy’s previous bodies of work, the imagery is sourced from historical photography specific to a period in time and his reproduction of the imagery is his attempt to gain further insight and understanding to what the photographer or artist set out to capture. Kennedy alikens his process to how art historians and writers examine and deconstruct an image using a specific language, whereas Kennedy employs lines and tonal layers. For Kennedy, his drawings are an attempt to connect viewers with a rendition or translation, decoded from the original photograph.
Rather than being merely an artistic endeavour, of reproducing an image from the past, my practice is seeking to personally understand what lies behind the image that was created in a time before I was born. In the process of drawing from a photograph, based on a historical image, the surface layers are peeled away forming a structure that describes presence and absence as well as the relationship between history and death. Simon Kennedy, April 2015
From his own assessment of what compels him to draw from historical photographs, Kennedy admits that technically, his use of charcoal preferences the black and white imagery but he believes there is a more substantial rationale. He initially views the photographs as inaccessible, alien encounters with history but slowly as the source material is transcribed with charcoal onto paper, as layers build and are then stripped away to form a skin-like surface, the subjects reemerge as Kennedy’s own. The completed works are the result of his meticulous investigation into the imagery. As his understanding of their subjects and compositions are assimilated in the process they become the impetus for the completion of the work. He is always conscious that the original image is historical and not of his making but believes his works come to exist as separate entities from the originals. Kennedy views his process as more than admiration and celebration of the original photograph but a unique incorporation of their imagery in a new time and place.
Simon Kennedy is a BFA graduate from the Otago Polytechnic School of Art in Dunedin. Before relocating to Sydney, he staged several solo exhibitions with Marshall Seifert Gallery in Dunedin and has won the Waiheke Art Prize in 2005. His work has featured in numerous group exhibitions in Sydney, Melbourne and New Zealand and has been collected by the New Zealand Parliament Collection, the Tasmanian Museum and Art Gallery and Artbank.
Simon Kennedy From Dora Maar photograph ‘Portrait d’Ubu’ 1936 2015 charcoal, pastel and ink on paper 153 x 105 cm photography: Kern Hendricks
ENQUIRE about the exhibition online.
View the EXHIBITION CATALOGUE online.