BELEM LETT: TUNNEL VISION 23 Sept – 17 Oct 2015

Combining abstract painting with artisan frames, Belem Lett explores the relationship between gesture, recessive space and the role of the decorative border.

Through fields of colour, elongated canvases, bulbous bodies and cut out shapes, Lett situates the abstract image within a history of baroque opulence. He humorously acknowledges our desire for painting to decorate interior space and also offer us transportation beyond it. Lett’s framing devices allude to windows and portals and establish an expectation of recessive space. Variously inflected surfaces play with this expectation – gestural brushwork, metallic pigments and expanses of colour allow planes to oscillate between flatness and depth. From explorations of abstraction and the interplay of planes and surfaces comes a necessary preoccupation with the affects of light, in all its variations. Metallic pigments and gloss surfaces alter how a painting appears; from left to right, from day to night. This chameleonic quality is extended with the subtle use of luminescent powders visible only in the absence of light. In this way each work contains a secondary, silent painting within.




VIV MILLER: INNERMOSTS 23 Sept – 17 Oct 2015

Viv Miller’s paintings and drawings are characterised by an idiosyncratic use of abstract and representational approaches. Her work draws influences from a range of Western and Asian art traditions, as well as imagery from the natural world, computer graphics and cel animation.

Innermosts presents a suite of paintings that range in size and veer from the sparsely detailed to the intricately dense. They variously complement, contrast and act as reversals of each other.  These pieces reveal a new development in Miller’s practice, emboldening their hold on patterning, colour and space.  Within the work, the cave becomes a central motif, chosen for the way in which it might invite us to view the paintings as spaces of entry or enclave, but also as sites of emptiness. As Miller explains, “the paintings test out and play with layers of depth, both physically and figuratively.



Gallery 9 is excited to present a new exhibition by Louise Tuckwell at Aurora Place.

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 an overall system of balance and harmony– drawing on the influential algebraic and geometric work of Ancient Greek mathematician, Euclid.

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 Arthur Robinson, Sydney.

View the online exhibition CATALOGUE or make an ENQUIRY


Employing humour and complex craftsmanship, the ceramic sculptures of Ramesh Mario Nithiyendran boldly address issues of ethnicity, religion, gender and sexuality. Resembling obscure objects of divinity and phallus-worship, they suggest rarefied forms borne out of a decentered and heterogeneous cultural and aesthetic landscape. In his new works for Sydney Contemporary, Nithiyendran continues to push the possibilities of his medium, presenting large and structurally intricate works that hold a variety of glazes and treatments.

Last month’s recipient of the prestigious 2015 Sidney Myer Fund Award for Ceramic Art and winner of the 2014 NSW Visual Arts Fellowship (emerging), Ramesh Mario Nithiyendran is recognized as one most exciting young artists working in the field of ceramics and sculpture in Australia today. Born in Colombo, Sri Lanka, in 1988, Nithiyendran migrated to Sydney with his family in 1989. He holds a BA (UNSW), BFA (Hons. Class 1) and a Master of Fine Arts (research) from UNSW Art & Design.

Gallery 9, Stand B04
Thursday 10 September: 11am–5pm
Friday 11 September: 11am–7pm
Saturday 12 September: 10am–6pm
Sunday 13 September: 10am–5pm

Visit the Sydney Contemporary website for tickets and more information

ENQUIRE about available works


Gallery 9 is excited to present a new work by Jake Walker at Sydney Contemporary 2015. Walker describes his work as a type of “Folk Modernism” that returns emphasis to the method and mark of the artist. For Sydney Contemporary he continues placing his paintings within handmade ceramic vessels. These sculptural containers enclose and augment the often spare but nuanced painted surfaces within. Recalling Japanese ceramics and the aesthetics of Zen, these new works invite gentle observation and a sensory engagement with the material form.

Born in New Zealand in 1971, Jake Walker has lived in both Sydney and Melbourne. He recently returned to New Zealand and currently resides in a small town outside of Wellington. Solo exhibitions of  his work have been held in New Zealand and Australia. His work is included in numerous public collections, including Artbank, The Chartwell Trust, Wallece Trust and Te Papa Tongarewa.

Gallery 9, Stand B04
Thursday 10 September: 11am–5pm
Friday 11 September: 11am–7pm
Saturday 12 September: 10am–6pm
Sunday 13 September: 10am–5pm

Visit the Sydney Contemporary website for tickets and more information

ENQUIRE about available works

SIMON BLAU: READING ROOM 26 Aug – 19 Sept 2015

Reading Room

Simon Blau turns to his library as a source of inspiration for this new body of work. He recalls the books that have stayed with him, drawing on particular moments of narrative and reimagining the experiences they offered him. Representing more than just a physical space, the Reading Room continues Blau’s exploration of the nexus between physical and immaterial experience. As he puts it: ”These works make an equation between the literal and the abstract. They recall the enjoyment to be had from looking and reading, and the transportation of the mind common to both.” 

Born in 1952, Blau lives and works in Sydney. He has held over 25 solo shows in Sydney and Melbourne. His work is included in the public collections of 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.


MARK RODDA: FLORA WITH FAUNA 26 Aug – 19 Sept 2015

Flora with Fauna

In Flora with Fauna Mark Rodda has re-populated his formerly unoccupied landscapes. Animals, people, and creatures now reside in the hills, buildings, and ruins of his enchanted worlds. As the artist explains: “I felt like I was getting lonely in the studio and I needed to paint some friends. It is not clear what these creatures are up too, not even to me. Some are just sitting and waiting for something to happen, while others are in the act of completing a cryptic task.” Drawing on Persian, Chinese and pre-modern western painting, Rodda creates landscapes that are a fantastic blend of traditions and his own imaginings.

Born in Tasmania in 1973, Rodda has held over 16 solo exhibitions in Australia and New Zealand and has shown in group exhibitions and festivals internationally and around the country. He was a finalist in the Wynne Prize at the Art Gallery of New South Wales in 2013 and in 2014 won the Glover Prize, Australia’s richest prize for landscape painting.

Read an INTERVIEW with Rodda and artist Robert McHaffie, discussing Flora with Fauna.

View the exhibition CATALOGUE or make an ENQUIRY

ADAM NORTON: NEW WORKS 29 Jul – 22 Aug 2015

New Works

As a dyslexic kid I remember learning to read from the billboards viewed out of the back seat of my parents’ car with a comic book spread over my knees. The first clues to the meaning of words were gleaned by first ‘reading’ the image and then attaching that meaning to the shape of the letters.

This interest in the relationship to the meaning of imagery possibly made me into an artist and has continued to have a profound impact on my art practice. Recent projects have included works based on signposts, book covers, film posters and film stills. Taken together they are pictorial attempts to present the essential understanding in those found images we all see around us.

These ‘New Works’ are based mainly on postcards and other found images in brochures and manuals from my collection of pictorial ephemera. All images come from the earliest days of half-tone colour mass reproduction, between the start of the sixties and the late seventies.

The works are put together from parts of images of Brutalist architecture, factories, bridges, dams, of rocket tests and space science, but make up a newer reading of strange new worlds, extra terrestrial visitations and intergalactic travel.

Initially, I scanned the images and used Photoshop to manipulate a certain strangeness into the images by simple acts of combining or cropping or flipping the images, whilst trying to retain the essential feel of the dog-eared original. These Photoshopped postcards directly resulted in the set of 12 prints, ‘12 Postcards’.

In the works on canvas, the printed sections are massively enlarged from the original postcards or images, revealing their dot matrix structure as well as any rips, tears and glitches they have picked up since they were made. Whilst the painted sections have been produced in slick, lush vinyl paint, this has created a slight visual disconnect between the different methods of production and the different elements of the work. The two aspects of the image manufactured sit together in an uneasy alliance, making up a new third image which offers clues to more esoteric meanings.

These works are an attempt to keep the viewer in that ‘snap’ or instant when the brain comprehends the image in front of their eyes. This could be described as cognitive dissonance, or pictorial ‘slipstream’ both terms borrowed from the Cyberpunk literary movement.

Adam Norton, 2015