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.
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.
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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.
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.
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Gallery 9 is delighted to present a solo exhibition of recent paintings and sculptures by Sydney-based artist Marc Etherington.
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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
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.
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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.”
The Mountain Without The Words
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Gallery 9 is pleased to present an exciting exhibition by Sydney-based multidisciplinary artist Peter Nelson. The new body of work presented in The Mountain Without The Words comprises drawing, painting, 3D printed sculpture and video animation. All works are interrelated and stem from an individual painting through a process best described by the artist:
This exhibition began with a small painting of a mountain, made in a temporary studio whilst on residency in Chongqing. I packed-up that studio and took the small painting to a new workplace in Sydney. To connect these two experiences and continue the imaginary landscape, I began to intricately translate the painting into a three dimensional virtual environment that I could explore. The video and the 3D printed sculpture were made from a digital model of the ink painting. My ongoing interest in landscape painting and computer games has directed me towards a gap between the analogue and the digital — a small zone of irrationality where cultural, historical and personal narratives seem to share an absurdity, brought about via the dismantling of their means of communication. The various equivalents to rock, time and immensity — dry ink, celadon ceramic and layered pixels — seem as absurd as the reverse side of the sculpture. The formal transitions of this exhibition seek to hold open this, to gap allow narratives to expand from within the mountain.
Peter Nelson, Sydney, July 2014
Peter Nelson is a graduate of the College of Fine Arts, UNSW with a BFA (Hons. Class 1) and MFA (research), and is also a former recipient of The University Medal. Since art school, he has undertaken residencies in Sydney, Paris, Taipei, Beijing and Chongqing. He has contributed work to many curated and group exhibitions and had solo shows in commercial, regional and artist run galleries across Sydney as well as in Taiwan and China.
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Simon Blau’s ninth solo exhibition with Gallery 9, Hobbyism presents two related but distinct series of paintings. In one room the artists reveals an echo to previous bodies of works’ hard edge aesthetic, though softened with tonal fields of colour. Solid in form but lighter and paler than his work with enamel, these forms are arranged with inviting perspective and alluring colour. In the other, again with fewer triangular and quadrilateral forms Blau has continued to break away from the formal rigour applied to his geometric paintings and sculptural objects. Unpredictable twists and turns driven by the artist’s intuition form fluid abstract lines of colour. Mandala like, some of the forms turn in on themselves while others spiral out to connect with each other, forming networks which bring constituent abstract elements together as a compositional whole.
Blau lives and works in Sydney. He has been exhibiting since the 1980s and his work is held in numerous public collections including The National Gallery of Australia, The National Gallery of Victoria, Wollongong City Gallery and Artbank as well as corporate and private collections including The Baillieu Myer Collection of Contemporary Art, Melbourne.
Gallery 9 welcomes back Sydney-based artist Belem Lett for his second solo show, Island Fever.
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As with Lett’s previous work, visualisations of virtual spaces and cartographic illustrations merge, and are rendered as abstract forms, shimmering and floating on layered grounds. Departing, for now, from the GPS maps of his personal urban meanderings as seen in Far From Nowhere (2013), Lett has looked to the maps of this island nation and their historical and contemporary geographic recordings to investigate new abstract forms with his distinctive brushwork.
Dr Martin Woods, curator of maps at the National Library of Australia searched far and wide to uncover unique and previously unseen maps of the Australian coastline for Mapping Our World: Terra Incognita to Australia (2013/14). The exhibition presented a plethora of discoveries from Indigenous Australian star mapping recorded on barks, to ancient Roman imaginings of an unknown continent and more familiar French and British charts from the colonial age. Inspired by a similarly diverse range of maps stretching from early Dutch exploration until now, Lett’s new works reference compositional elements of traditional map making. Their abstract forms reflect on the imperfect, undefined historically shifting nature of coastlines. The colours that mark out these forms harness layers of repetition and distortion to symbolise delineated, imagined representations of Australia as an island. In Lett’s words, Island Fever plays on “the notion of the island itself [being] stretched, twisted and distorted” to break from its familiar symbolic form, open to new interpretation.
Belem Lett graduated with a BFA (Hons. Class 1) in 2008 and completed an MFA by research at the College of Fine Arts (COFA), UNSW in 2013. In 2010 he was awarded the Brett Whiteley Travelling Art Scholarship and has been the recipient of the COFA, UNSW Travel Grant to undertake a residency at the Cite Internationale des Arts in Paris during which he also staged a solo show. Lett’s recent exhibitions include solo shows at Firstdraft and MOP projects in Sydney, and group exhibitions at Sawtooth ARI in Launceston, The Digital Art Centre in Taipei, Taiwan, Rear View in Melbourne, Wellington St Projects, Campbelltown Regional Gallery, Delmar Gallery, Gallery 9 and the Papermill in Sydney. Lett is also a Founding Member and Director at Wellington St Projects, Sydney.
Black is the constant element in All things being equal, Suzie Idiens’s new exhibition of wall-mounted works at Gallery 9. Yet in her hands black is not only a colour but a substance, and a variable one at that. Each painted finish – high-gloss, matt or textured – is applied to its designated form through a painstaking process in which the hand disguises its own trace, leaving a seamless object that may appear to have been industrially fabricated for consistency, but is deliberately tactile, carefully individuated and receptive to the observer’s contemplation.
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