What starts at the back is forced to the fore.
How close can we come to the tipping point, to the place where the mind makes a slip and finds itself in the throws of mild breakdown or unhinged mania?
Sorrow’s Breakfast is a meditation on the lived experience and the fragility of the mind’s capacity to process experience and withstand tension. It is a questioning of one’s own capacity, under the right circumstances to slip down into the cracks.
Gallery 9 is pleased to present Tonee Messiah’s sixth solo exhibition with the Gallery, Sorrow’s Breakfast, an exhibition of new oils and works on paper.
VIEW THE PREVIEW CATALOGUE ONLINE
This new body of work is an emotive and intuitive response to an acknowledgment of human fragility, specifically the ‘us and them’ notions which disfavour people who have been marginalised by society. Messiah describes how a recent curiosity has lead to a deep empathy for how vastly different the realities are for those who are seemingly functional and others who have been left behind by a society that requires an extremely high coping threshold. The same empathy motivated the artist to reflect on how a human brain functions under circumstances of extreme stress and anxiety, and how fine the tipping point can be.
Sorrow’s Breakfast presents a new visual language that layers tension and equilibrium on the painted surface. Interdispersed and ever-present amongst objects of gentle comfort and homely place in the fore is an ambiguous vision of psychological dissolve. Again Messiah’s works shows a harmonious but not exclusively complimentary spectrum of colour and with unpredictable representational and abstract forms she blends background to foreground shifting focus to the opposing corners of the picture plane.
“Taylor turns the complexity of the bush, dunes and seascapes into abstract works full of colour, life and quirky detail.”
Lynne Dwyer, ‘Open Gallery’ SMH 11-12 June 2011
Is eating a No-Doz and a Valerian at the same time kind of like a monochrome?
Occupy Radical Chic
Confessions & Concessions
Like how carbon offsetting works
Run Artist Run
The best of 12/13/14
Pinot Noir, Nebbiolo, Shiraz, Cabernet blend
Italy, Ashton Hills
Recycled concepts, stolen materials
Among other things, George Egerton-Warburton’s work is about the application of irrational methodologies to better understand the awkward moral balance in nature. Egerton-Warburton often cites subjective and shared experiences where actions are incongruous with thoughts and impulses, due to the external force of cultural inheritance.
Egerton-Warburton is currently concentrating on making one video per year, shot in a single take.
Recent solo exhibitions include Steaming ties, curated by Caterina Riva, Artspace, Auckland, and Living With Living, Sutton Project Space, Melbourne. Group exhibitions include Melbourne Now, National Gallery of Victoria, Public Thinking, curated by Susan Gibb, 55 Sydenham Rd, Sydney, and The Stalactite Love Review, as part of Perth International Arts Festival, University of Western Australia.
Nithiyendran was born in Colombo, Sri Lanka in 1988 and graduated in 2011 with a Bachelor of Arts and Bachelor of Fine Arts (Hons. Class 1) from the College of Fine Arts, UNSW, Sydney. He is the recipient of an Australian Postgraduate Award and is currently a Masters by Research candidate at the College of Fine Arts. His present work is focused upon the construction of a celebratory, phallocentric discourse, particularly, through a multi-disciplinary practice that spans sculpture, painting, drawing and installation. In 2012 he was the recipient of the Freedman Foundation travelling art scholarship, in 2013 he held a solo show at Firstdraft and was a finalist in the Blake Prize at Galleries COFA. His show at Gallery 9 will present an installation of altogether new ceramics and run in conjuction with his participation in a panel discussion on art for the Sydney Mardis Gras as well as Art Month.
VIEW THE CATALOGUE ESSAY ‘In the Midst of DOG God’ by Joseph Pugliese ONLINE
VIEW THE PREVIEW CATALOGUE
exhibition: Wednesday 19 February – Saturday 8 March 2014
VIEW THE PREVIEW CATALOGUE ONLINE
“Son, we need to talk…
You know that your mother and I love you but we just need to say this;
We’ve been proud of your shows these last 20 something years, the truck burial for me, the big dick - it’s been interesting – but we’re really worried about you. Don’t you think it’s time you listened to us, your parents?
We loved it when you painted with oils – maybe something that fits in a car?
Your father will take full responsibility. We just want you to be happy.”
“I’m learning jazz guitar”
what’s practice has encompassed painting, performance, sculpture and installation and often critiques the role of art and the artist in contemporary society. His work draws on his own life, popular culture, art, music, politics and religion and often provokes controversy as well as humour. He is a graduate of the National Art School, Sydney, and holds a Master of Arts from the University of Western Sydney. His recent solo shows have been held at the National Art School (major survery), Campbelltown Art Centre, Wollongong Art Gallery, Gallery 9 and Block Projects, Melbourne. In 2012 he was featured in the 18th Biennale of Sydney satellite exhibition, Transmission at the Campbelltown Arts Centre. His large gold leaf works hung at the centre of Contemporary Painting staged by Gallery 9 at fortyfivedownstairs in Melbourne in May 2013.