Everything consists of connection, and these connections are rarely made in a linear or predictable fashion. Ruptures, holes and distortions appear. Zigzag is continual movement, immanent in the dimensions of time and space. It is the movement of the possibilities of life itself. As movement of whole and part bodies, as movement of lightning, as movement of an ear, an eye, a paw, as movement of the forces of gravity and desire, as movement of animals in and out of territory.
–Pie Rankine, 2017
Pie Rankine studied painting at the Victorian College of the Arts, Melbourne, and went on to exhibit widely in Melbourne, Canberra and Sydney in the 1980’s. In 1988 she featured in the exhibition A New Generation at the National Gallery, Canberra, and in 1985 undertook the Australia Council Residency in Besozzo, Italy. In 2014 Rankine began making ceramic sculptures, and is a current Masters candidate at La Trobe University. Her work is in the collections of the British Museum (Department of Prints and Drawings), Queensland Gallery of Modern Art, National Gallery of Australia, National Gallery of Victoria and the John McBride Collection, Sydney.
Zigzag is Rankine’s first exhibition at Gallery 9.
Beyond the Unawkward
Keep the ingredients motiveless
Painting is sculpture
Find a state of suspension
I may as well have no idea of what to paint – it’s how
Make your own found objects
and turn them on with space and colour
Mineral vs. fake
Never allow predigested solutions – Find, Find, Find!!
Ignore professionals, art is not lawnmowing
Trust folding turnbuckle arrangements
There’s a point where abandoning the whole thing seems the best option
weirdly this is where the real picture begins. Collapse is wonderful
Drink plenty of water
Art won’t help
–David Palliser 2017
Melbourne based David Palliser has exhibited for over thirty years with solo and group exhibitions across Australia. Recent group shows include Bilder Bilder (2016) Neon Parc, Melbourne; Return (2015) Daine Singer, Melbourne, and Melbourne Now (2013) National Gallery of Victoria. In 2016 Palliser was recipient of the Victorian College of Arts residency at Phasmid Studios, Berlin. He is included in significant public and corporate collections, including the Australian National Gallery, National Gallery of Victoria, Artbank, Macquarie Bank, the John McBride and the Phillip Morris Collections.
Autumn’s Atom is Palliser’s first exhibition at Gallery 9.
Eloise Kirk explores the merging of collage and painting, sampling images of rock formations, waves and clouds. Her imagery is partially concealed by textural and reflective pools of resin. She describes these negative spaces as voids offering descent into the unfamiliar, and connects this with the mystic act of scrying or ‘peeping into the future’. Drawing connections between discarded natural imagery, Kirk tests the boundaries between the romantic and the surreal.
Kirk holds both a Bachelor and Masters of Visual of Arts from the Sydney College of the Arts. She has staged solo exhibitions in Sydney, Melbourne, Hobart and New York, and was recently curated into the Safari and Underbelly arts festivals in Sydney. She has been a finalist in the Fishers Ghost Art Prize, the John Fries Emerging Artist Award, the Macquarie Bank Emerging Artist Award and the Grace Cossington Smith Art Prize. In 2014 Kirk was awarded the Art Gallery of NSW residency at the Cité Internationale des Arts, Paris.
Third Order Island is Kirk’s third exhibition at Gallery 9.
In Belem Lett’s latest series of paintings, organic forms of strange elegance unfurl in richly coloured plumages. Mark-making is central to these works, rendered in glowing definition over white underpainting and ranging from precise repetition to bold, sweeping spontaneity.
Aviary is borne out of ongoing research into the 18th century Rococo movement, or late Baroque, a period known for its elaborate organic motifs and lavishness. Lett playfully mimics the symmetry found in baroque decoration, encouraging constellations of colour and gesture to read as flora or fauna. This mirroring also references Rorschach’s infamous ink-blots, designed to bridge the gap between the conscious and the unconscious mind. Lett’s energetic forms appear embryonic or in states of rhythmic transformation, dilating into fully fledged creatures or recoiling into abstract fields of colour and shape.
Lett is a graduate of UNSW Art and Design (formerly COFA), completing a Master of Fine Arts by research in 2013. In 2010 he was awarded the Brett Whiteley Travelling Art Scholarship and undertook a residency at the Cité Internationale des Arts, Paris. He regularly exhibits nationally and overseas and in 2016 has been a finalist in the Chippendale New World Art Prize, Sunshine Coast Art Prize and Paddington Art Prize. He work is included in the collections of Artbank, Mirvac, Raven Contemporary and 10 Group.
Lett features in the current issue of Art Collector magazine, on sale from 9 October. Aviary is his fourth exhibition at Gallery 9.
Ed Bats’ mixed-media practice makes use of commercial and industrial materials, with an interest in the cross over between the ready-made and abstraction. Often drawing upon whatever materials are at hand, his new series of paper collages were made while staying in the Lake Hayes district on the south island of New Zealand.
Based in New Zealand, Bats works across painting, collage, sculpture and installation. He has exhibited nationally and internationally, and produced murals around New Zealand, Australia and European countries inc. Germany, Austria, Spain, Czech Republic, Poland and Croatia. Bats is a three time finalist for the Wallace Art Prize (NZ) and has numerous works housed within the Wallace Collection. Upcoming projects include a solo exhibition in Hastings, New Zealand, at Parlour Projects (2017) and a temporary installation in Fort Tekapuna for the NZ onShore sculpture festival (2016).
Lake Hayes is his first exhibition at Gallery 9.
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 works. Paintings & Tapestries comprises a new series of paintings on board accompanied by ten tapestries. Often made up of more than one individual board, each painting reveals surprises and subtle reinterpretations of Tuckwell’s distinctive abstract language. Contrastive diagonals, stripes, obtuse colour juxtapositions and perspectival shifts are enhanced by the chance assembling of separate paintings into a single work.
Tuckwell has been making tapestries for over thirty years and this will be the first time they have been shown at Gallery 9. Representing an important and time consuming aspect of her practice, Tuckwell’s warm palette and simple geometries are delicately expressed in these meticulously constructed fibre works. Seven tapestries included in this show have recently returned from a tour around Australia as part of the Tamworth Textile Triennial exhibition.
Tuckwell originally studied at the Julian Ashton Art School and later graduated from the National Art School, Sydney. She has been exhibiting her work for over 30 years in Sydney, Brisbane and Melbourne and has previously shown with Tim Olsen Gallery, Utopia Gallery and Damien Minton Gallery. Tuckwell is widely represented in public, private and corporate collections, including MCA Australia, Artbank, City of Sydney, New England Regional Art Museum, Tamworth Art Gallery, Bathurst Regional Gallery and Allens Linklaters. Paintings & Tapestries is her fourth exhibition at Gallery 9.