Will Cooke: exhibition 15 October – 8 November 2014

Miele Magic

Miele Magic is an ongoing study into the ways sensory experiences evoked by music can trigger and enhance nostalgic memory. According to the artist it is a body of work attempting to make the abstract, less abstract.   

View the PREVIEW CATALOGUE online.

Through an auditory-evoked dialogue, this body of work attempts to prove that by exploring varied forms of – and themes within – particular music, sensory experiences can be triggered. Making these works, Cooke’s desire is to harness these triggers and illustrate them through minimalist geometric forms, with each element linking one trigger to another.

To commence the body of Cooke trawled through his personal iTunes history arriving upon hardcore punk band Black Flag. Their gritty and pivotal sounds immediately evoked nostalgia from Cooke’s adolescence. It was this sensory experience that acted as the foundation for the artwork that followed. Miele Magic uses the band’s iconic logo comprising of four vertical black rectangles as designed by Raymond Pettibon as its core. Each painting refers to an abstraction of the minimal emblem in both palette and form. Cooke has intended that the relationship between each geometric form acts as a metaphor of the sensory experience sparked by the initial nostalgic memory.

Will Cooke graduated from Sydney College of the Arts in 2011 with a Bachelor of Visual Arts (Hons). He has shown in numerous group exhibitions around Sydney and has had solo exhibitions at The Tate, Glebe (2012), China Heights Gallery, Surry Hills (2013) and Alaska Projects, Elizabeth Bay (2014). In addition to these exhibitions, Cooke has undertaken numerous private commissions, notably an installation in Above The Clouds boutique in Darlinghurst and a multi-level foyer painting for residential apartment building ‘Stella’ designed by Tzannes Associates in Zetland.

Tim Price: exhibition 15 October – 8 November 2014

Gallery 9 is pleased to welcome back Tim Price for a solo exhibition of recent paintings.

Price is an artist who comfortably oscillates between numerous painting styles. Whether he is directing historical or political narratives with realist filmic sensibilities or leading less anatomically proportioned characters through exotic fantastical landscapes with absurd gestures and actions, the audience is invited to share the artist’s thoughtful yet jovial observations of the human experience. For the most part, the viewer is given abundant real-world signifiers to relate the work but for this exhibition we are presented with an increasingly abstract pictorial language. Distinctly Price’s palette and surface, the works vary from abstract figurative to entirely expressionist in their development based on intuition.

As ever, Price’s works have been titled according to a penchant for the absurd but titles such as yeah I always felt, what I always felt set the stage for the likely conversation exchanged by the work’s subjects and carry significance in developing narrative. Others like outdone the name suggest the lively composition and heavily worked surface have simply gone beyond the expectations of the underpainting’s previous title… more suggestive than explanatory.

View the PREVIEW CATALOGUE online.

Price completed a Bachelor of Fine Arts (Hons) at the Australian National University in 2007 and is a current PhD candidate there. He has been exhibiting in Melbourne, Sydney, Canberra and Hobart since 2007 and is currently living and working in Hobart, Tasmania. Recent exhibitions by the artist have taken place at Utopian Slumps, Melbourne, Damien Minton Gallery, Sydney, and Gallery 9, Sydney.

Louise Tuckwell: exhibition 15 October – 8 November 2014

Murmur Brightly

Gallery 9 are pleased to present a solo exhibition of new work by Sydney-based artist, Louise Tuckwell.

View the PREVIEW CATALOGUE online.

The idea of limitless combinations of colour, patterns, shapes and textures, whether simple or complex, is the starting point for Louise Tuckwell’s vibrant, non-objective paintings. Sparked by an interest in geometric patterning within the everyday, Tuckwell’s work searches for a system of balance and harmony – drawing on the influential algebraic and geometric work of Ancient Greek mathematician, Euclid.  His systems of logic, opposing axioms and geometry pervade Tuckwell’s intuitive compositions.

Warmth, comfort and a subtle sense of humour too, are important elements for Tuckwell, who introduces cool greys, greens, blues and deep magenta to her typically warm palette of orange, yellow and pink.  The physical presence of colour is equal to the formal, hard-edge shapes.

Tuckwell originally studied at the Julian Ashton Art School and later graduated from the National Art School. While painting is Tuckwell’s primary practice she is also well known for her work with tapestry and is currently exhibiting as part of the 2nd Tamworth Textile Triennial which is scheduled to tour the nation. Tuckwell has been exhibiting her work for over 30 years in Sydney and Brisbane and has previously shown with Tim Olsen Gallery, Utopia Gallery and Damien Minton Gallery. She has been a finalist in the Mosman and Waverly art prizes and is widely represented in public, private and corporate collections. Tuckwell’s works are held the collections of the MCA Australia, Artbank, City of Sydney, New England Regional Art Museum, Tamworth Art Gallery, Bathurst Regional Gallery and Allens, Sydney.

 

Craig Waddell at Aurora Place 15 Sep – 25 Oct 2014

Gallery 9 proudly presents a solo exhibition of recent paintings by Sydney-based artist Craig Waddell in the foyer at Aurora Place.

Located at 88 Phillip Street, in heart of the Sydney CBD, Aurora Place comprises a residential building alongside the 41 floor office building designed by Renzo Piano for which his Building Workshop and Innovarchi Architects won the 2002 Property Council of Australia’s Rider Hunt Award for its technical and financial achievements. The building’s foyer is entered from the corner of Bent and Phillip Streets and within there is a bustling café and numerous lounges from which the exhibition may be admired.

Details about the works are available in the ONLINE CATALOGUE.

 

Kyle Jenkins: exhibition 24 Sep – 11 Oct 2014

Lynch Yourself On The Things You Love

The idea of the simultaneous may be used as a metaphor to describe Jenkins as a painter and Jenkins as musician (as lead singer/guitarist of the band Suicide Swans). Both his worlds are counterbalanced with a visual investigation, which in this show are constructed from a punk reference point, resulting in works that reflect a chaotic embrace of the interconnected. His idea of an abstract or concept-based painting practice is representational as it is based in reality, a reality of the abstract. Alternatively we could consider the so called ‘real’ of these works as the Xerox copies of the photos; however to Jenkins the photos are not real but an artificial proposition, a capturing of a subject that exists in a reality we are distanced from. He sees these collisions of fractured ideas as a way to remember everything forgotten.

VIEW THE EXHIBITION CATALOGUE ONLINE

Lynch Yourself On The Things You Love features a body of work based within painting and porcelain objects. The works are a metaphor for a DIY aesthetic based within immediacy and intent. The works reference the subculture of American hardcore and punk with geometric and organic abstraction. These ideas are collapsed to represent how intent, concept, morality and connection create a form of death culturally as you become the ‘other’. The ‘other’ that questions, the ‘other’ that protests, the ‘other’ that argues, the other that ‘subverts’, the ‘other’ that debates and finally the ‘other’ that offers the possibility for options. Nothing is ever made up of just one thing, but in a culture that is a nursing home for the rest of the world having and making a positive connection with the things you love can become a death for everything you need to express.

Kyle Jenkins holds a Bachelor of Visual Arts (Honours) and Doctor of Philosophy (PhD) from Sydney College of the Arts (USyd) and is currently a Senior Lecturer in painting and art theory and Visual Arts Coordinator at the University of Southern Queensland in Toowoomba. He is a former board member of Sydney Non-Objective and Non-Objective Toowoomba and has organised and directed numerous galleries, artist run spaces and publications since the late 1990s. Jenkins’ works have been exhibited broadly in Australia and internationally in New Zealand, Europe, USA and UK and collected by Artbank, Toowoomba Regional Art Gallery, QANTAS, the Esbjerg Museum (Denmark) and private collections in Australia, USA, Belgium, Netherlands, Denmark, New Zealand, Germany, Switzerland, England and France. He is represented by Minus Space in Brooklyn, New York.

Lynne Eastaway: exhibition 24 Sep – 11 Oct 2014

Rough Yellow

Eastaway describes how the works in Rough Yellow began a number of years ago with a considered effort for her work to find a passage into the centre of a cube-like space that also acknowledged the walls of the form which held that space together. From the initial attempt to visualise this emerged a series of drawings with convergent yet unconnected diagonal lines. While being contained within a complete form with structured edges the diagonal lines fail to find the centre and they seemingly collapse. This is further signified by the incompleteness and irregularity of the triangular forms which are central in the composition. As the drawings evolved into this series of new paintings, the artist playfully explored how the eye sympathises with the collapsing lines and allows oneself to experience an induced, artificial encounter with gravity. Acknowledging yellow to be a colour with its own rich history in art discourses, Eastaway is also acutely aware how it has the potential to be jarring to the eye. Layers of transparent yellow paint sits into lightly primed heavy Belgian linen and is visibly rough, a trademark of the artist.  Its use in this body of work is intentionally more radiant and with greater opacity than previous recent works.

Lynne Eastaway studied at The National Art School (NAS) before completing her Master of Fine Art (Research) at UNSW. She has taught at numerous art schools since 1980 including UNSW, UWS, Curtain, USQ and most notably in drawing at NAS. Having first exhibited publically with the historically renowned Gallery A, Eastaway has held a number of solo exhibitions in Sydney, Melbourne and Perth since 1978 and has recently shown in group exhibitions in Europe, USA, London and at Paris Concret, Sydney Non Objective, Factory 49 and at Gallery 9. Her work has been collected by private and corporate collections as well as the Curtain University and Wollongong University collections, Artbank and the National Gallery of Victoria.

VIEW THE EXHIBITION CATALOGUE ONLINE

 

Marc Etherington: exhibition 27 Aug – 21 Sep 2014

Gallery 9 is delighted to present a solo exhibition of recent paintings and sculptures by Sydney-based artist Marc Etherington.

view the PREVIEW CATALOGUE online

My art making practice focuses mainly on pop culture, childhood memories, my dark sense of humour and my everyday domestic life. I work mainly with acrylic paints and have started incorporating wooden sculpture into my practice. The sculptures touch on themes such as mass production and collectibles.

Marc Etherington, Sydney, July 2014

enquire online

Yvette Coppersmith: exhibition – Love and Light 27 Aug – 21 Sep 2014

Gallery 9 is pleased to present Love and Light, by Yvette Coppersmith.  This latest body of work shown recently in the artist’s hometown Melbourne, is being shown for the first time in Sydney.

view the EXHIBITION CATALOGUE online

 The basis for the paintings began with the artist being in dialogue with various former lovers, asking each to create a clay model of a reclining nude from memory of Coppersmith’s body. Through this exercise, the artist received several figurines, each one an attempt to create an object from memory and inherently touching on desire and loss formed by a male gaze.

The figurines became the models in Coppersmith’s studio where they joined other domestic paraphernalia as the subjects of still life paintings and simultaneously as a body of work that functions a self portrait. The paintings present artifacts of a reclaimed trove of transient relationships, giving visual form to intangible memory. While the sculptors had memory of the artist as their muse, in the subsequent artistic interpretation, the artist has reframed the memories for herself becoming her own muse.

Invoking ideas from Julia Kristeva’s Black Sun (1989), Coppersmith describes a process whereby “the melancholy from loss of love can be transformed creatively by giving visibility where there is a void; that art can be an object replacing the love that was lost.  In this way of thinking, the paintings are transference of love from the transient exchange to the artwork itself.”