Lynne Eastaway: Out of the Fold, 4–28 May 2016

Lynne Eastaway presents a new series of works on paper that has evolved out of an extended process of painting, folding, tracing and collaging. An interest in the ritual of flag folding led Eastaway to experiment with folding her own canvas paintings into soft sculptures. These sculptural shapes were then mapped out on the floor, traced and converted into paintings on paper. Eastaway collages some of these paintings to form larger pieces, showing the fragile seams between the paper; the outcome resembles both a painting and a flag of patched together fabric, and suggestively returns the work to its original starting point. Eastaway employs an instinctive relationship in the making of an object, allowing for an open and circular material process that arrives at unthought of compositions.

Folding became a way out and a way in to solving the dilemma of ‘where to now?’. It followed my predilection for constructed, deconstructed and restructured compositions. Pushing towards real space and sculptural forms has extended my practice of installing a range of works in conversation with one another.
– Lynne Eastaway

Lynne Eastaway studied at The National Art School before completing her Master of Fine Art (Research) at UNSW. Having first exhibited with Sydney’s historically renowned Gallery A, Eastaway has held solo exhibitions across Australia since 1978. She has recently shown in group exhibitions in America and Europe and at Sydney Non Objective and Factory 49, Sydney. Out of the Fold is her second solo exhibition with Gallery 9. Eastaway is included in private and corporate collections as well as the Curtain University and Wollongong University collections, Artbank and the National Gallery of Victoria.


More images coming soon

Stuart Watters: Flatland, 4–28 May 2016

In this latest group of paintings, Stuart Watters invents a new cast of forms that drift across the canvas like the debris from a vast cataclysm. Architectural structures highlighted with incendiary flashes of red and yellow hover over smoky grey grounds. Dark lines travel across the surfaces of the works like radar tracks, breaking off into biomorphic shapes and strange glyphs. These linear projections create a foreground tension against the agitated underpainting, holding the pictorial drama together. Slyly referencing contemporary warfare, environmental vandalism and the cultural ‘flattening’ wrought by globalisation, Flatland is an imaginative response to the complex and fractured state of the world as Watters sees it. This will be his second solo exhibition with Gallery 9.

Stuart Watters holds a Master of Fine Arts from the College of Fine Arts, UNSW and currently lectures in painting and drawing at the Australian Catholic University, Sydney. Since the 1980s he has held solo shows with well known Sydney Galleries including Hogarth, Crawford, Kaliman and Boutwell Draper and has been a finalist in major prizes including the Redlands Westpac Contemporary Art Prize, The Fishers’ Ghost, The Salon des Refusés and Dobell Prize. His work is included in the collections of Artbank, the Sir William Dobell Art Foundation and the UNSW Art Collection as well as corporate and private collections overseas.


Denise Green: After the Saar, 6–30 April 2016

Gallery 9 is pleased to present a solo show by New York based Australian artist Denise Green, her first exhibition at the gallery. Green’s vibrant paintings are characterised by the interaction of colour, gesture and form on a minimal plane. Her distinctive fan-shaped motifs drift across areas of richly pigmented negative space, interspersed with clusters of calligraphic lines. Inviting contemplation for their simplicity and spaciousness, Green has described her paintings as ‘vessels’ that hold ineffable states of emotion.

An interest in translating subjective experience has led to a recent series of collages, presented here alongside her paintings. Green breaks up photographs of specific locations by collaging-in vertical strips of abstract drawing. The objective photograph is both challenged and enhanced by the integration of Green’s ambiguous drawn line. In these works Green presents a phenomenological experience of reality that entwines internal consciousness with the observable view.

Born in Melbourne, Denise Green moved to New York City in 1969 after studying at the École des Beaux Arts, Paris. Further studies under Mark Rothko and Robert Motherwell grounded her approach to painting in the modernist tradition. In 1978, she was curated into two groundbreaking exhibitions, Young American Artists (Solomon R Guggenheim Museum) and New Image Painting (Whitney Museum of American Art), which launched her career in America. Green has been the subject of nine museum retrospectives in the past twenty years, including shows at MoMA PS1 in New York (1999), the Art Gallery of New South Wales (2001) and the Museum Kurhaus Kleve in Germany (2006). Her work is in the collections of the Museum of Modern Art and the Solomon R Guggenheim Museum, New York; the Corcoran Gallery of Art, Washington DC; the Museum of Contemporary Art, Chicago; the Albertina, Vienna; the Museum of Contemporary Art Australia, Sydney; the Art Gallery of New South Wales, Sydney; the UQ Art Museum, Brisbane; the Heide Museum of Modern Art, Melbourne; and the National Gallery of Australia, Canberra. In 2007 she was awarded the Order of Australia.

‘Marking Light and Colour: Denise Green’ by Ingrid Perez
‘Saar (and Subjectivity)’ by Roland Mönig