more information, images and a preview catalogue to follow shortly…
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.
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
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.
see the EXHIBITION CATALOGUE online
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.
View the EXHIBITION CATALOGUE online.
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.
Gallery 9 is excited to announce its participation in this year’s inaugural START Art Fair at the Saatchi Gallery in London in 2014. START is an invitation only international showcase for interesting young galleries exhibiting exciting artists, giving a select group of 48 galleries the opportunity to present the very best of global contemporary art.
START will be unique in that it will provide each gallery with larger scale stands (approximately 40 sqm), well lit display area in beautifully proportioned rooms with high ceilings in a museum quality environment. The Saatchi Gallery attracts 1.4 million visitors per year and is located on King’s Road in the heart of Chelsea.
For what will be Gallery 9’s largest presence at an international art fair to date, the Gallery will present a group exhibition of entirely new works by seven of the gallery’s represented artists David Ralph, Julian Hooper, Jelena Telecki, Simon Kennedy, John Aslanidis, Suzie Idiens and Tonee Messiah. The selection of Ralph, Kennedy and Telecki is an intentionally harmonious inclusion of figuration and landscape in the context of the contemporary built environment and reflections of modern art and literature. Hooper’s and Messiah’s new semi-abstract works will then bridge, with clever geometry across ambiguous landscape planes to justify a jump to intense monochromatic colour field objects by Idiens. The non-objective framework of Idiens connects to Aslanidis’ visions of soundscapes and intensely patterned circular grid formation. In something of our house style the Gallery 9 stand will be sparsely hung with an emphasis on minimal examples of work per artist.
view the PREVIEW CATALOGUE online
For the assessment of his studio component towards the completion of his Master of Fine Art (research) at COFA, UNSW, Ramesh Mario Nithiyendran presents One Hung Bitch at Kudos Gallery until Saturday 26 April 2014. 6 Napier Street Paddington NSW 2021.
Recently returned to her hometown Sydney, having completed residencies at the Australia Council for the Art’s Greene Street Studio (NY, USA) and the Bemis Centre for Contemporary Art (Omaha, USA), Anna Kristensen is currently undertaking a year-long residency at Artspace where she has completed the work for this exhibition, Render. This is 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