Adam Norton: exhibition 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


Paul Snell at Aurora Place 1 Jun – 17 Jul 2015

An extension of his recent exhibition Sectant at Gallery 9 in May, the Gallery is pleased to present the recent works at Aurora Place at 88 Phillip Street, Sydney, where they will be on show until 17 July 2015.

View the ONLINE CATALOGUE of available works.

Paul Snell graduated from The Tasmanian School of Art in 1989 and later completed Honours there in 1995 also being admitted to the Deans Roll of Excellence. In 2010 he travelled and researched in London and New York and in 2011 was awarded his Master of Creative Arts from the University of Tasmania. Snell has taught art for the past 20 years and maintaining his own practice throughout, he has exhibited widely in solo and group exhibitions in Tasmania, Victoria, NSW, Queensland and in New York. Most recently he has staged solo shows with Colville Gallery (Launcestron), Jan Manton (Brisbane), Edmund Pearce (Melbourne) and at Gallery 9 (Sydney). His work is held in numerous private and public collections including Artbank and was a recent finalist in the Josephine Ulrick and Win Schubert Photography Award and winner of the Moreton Bay Region Art Award in 2015.

Simon Blau at Aurora Place 1 Jun – 17 Jul 2015

Gallery 9 is currently presenting a selection of recent works by Simon Blau in the foyer of Aurora Place in the Sydney CBD. The works on exhibition were created by the artist between 2006 and 2012 and are representative of the significant developments towards a hard-edge, glossy yet hand-made aesthetic which occurred during this time.

Simon 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 Allens Collection, Sydney and The Baillieu Myer Collection of Contemporary Art, Melbourne.

View the INFO SHEET accompanying this exhibition online.

ENQUIRE about works in this exhibition.

John Aslanidis: exhibition 1 – 25 Jul 2015

Sonic Network no. 14

Gallery 9 is excited to announce a forthcoming solo exhibition of new work by Melbourne-based artist John Aslanidis. The exhibition will present the Sonic Network no. 14 the latest in the series and the largest work Aslanidis has made to date (305 x 488 cm). Sonic Network no. 14 was recently included in a major exhibition, Colour Music curated by Anthony Oates for the Drill Hall Gallery, Canberra (August – September 2014) and will be shown at Gallery 9 alongside a new generative sound piece by Berlin-based sound artist Brian May. A new series of Sonic paintings will also be included in the exhibition.

Click on the image to view Sonic Network no. 14 2014 on VIMEO.

In the creation of Aslanidis’ Sonic Network series, the artist uses sets of mathematical (algorithmic) intervals to structure the paintings’ compositions. These are relative to a symmetrical grid on each of the four or eight panels which make up the whole. Aslanidis’ unique process involves the creation of layers which interpret his vision of sound similar to moiré patterns (wave-like fabric). Where they intersect he is demonstration of the multiple sine waves’ interactions via audio interference.

Aslanidis has collaborated with Brian May in recent years on a number of exhibitions: Sonic Network no. 8 at Melbourne arts centre The Substation (Nov, 2012), Sonic Network no. 9 at dr Julius–ap in Berlin (Oct 2011), at White Box in New York City (Mar 2012) and also at Kunsthalle Beacon (NY, USA). Also in the USA in 2012, Aslanidis participated in an exhibition Emergence and Structure touring Pennsylvania and Florida. In 2012, he also completed a large scale painting commissioned by the Arts Centre Melbourne, Sonic Network no. 11 (2012) for Hamer Hall.


Originally from Sydney, currently living and working in Melbourne, John Aslanidis has shown since the 1990s in both cities and with Gallery 9 since 2006. Aslanidis has also regularly shown in New York since 2002 previously with Tobey Fine Arts and currently with Ethan Cohen Fine Arts as well as dr. Julius–ap and Galerie Kai Hilgemann in Berlin. He is a former recipient of the Australia Council’s New Work Grant and The Pollack-Krasner Foundation Grant and in 2011, Aslanidis undertook a five month residency in New York at the prestigious Location One. Following this his work was exhibited in New York in Sounds Good at Location One and Sound and Vision at McKenzie Art. His work is represented in the collection of Artbank and numerous private and corporate collections in Australian and overseas.

Hayden Fowler: exhibition 3 – 27 Jun 2015

Your Death

Hayden Fowler’s Your Death is a new photographic series documenting an ongoing performance project in which the artist submits his own body in a poignant remembrance of New Zealand’s catastrophic bird extinctions. Over three sessions during Sydney’s Art Month in March this year, in an aestheticized street-front window, Fowler’s torso was tattooed with an image of the South Island Kōkako – last sighted in 1967 and officially declared extinct in 2004. In June 2014 the project was undertaken in Berlin, where the extinct Whēkau or Laughing Owl was tattooed in flight across his chest, commemorating the 100th anniversary of its disappearance. Each event was choreographed over three sessions, irreversibly transforming Fowler’s skin into a conjunction of living bodies.

Your Death continues a project the artist began in Auckland in 2007, where images of the lost Huia were etched onto his back in a high street shop window. His imagery has been pieced together from nineteenth century watercolours, fragmented descriptions, early black and white photographs and taxidermy specimens. For Fowler, these representations symbolise the pervasive and tangible absences in the landscape. Hunting, museum collection, the introduction of mammals and the industrial destruction of vast areas of ancient forests resulted in New Zealand losing half of all its terrestrial bird species. Many of those remaining exist as a type of living dead in tiny, isolated colonies on remote offshore islands. The remnant mainland forests are all but silent.


As with any wearing of mourning, Fowler’s is an acknowledgement of absence and loss. The destruction of entire species and whole ecosystems however, is an event of such significance that the mourning can never be fully completed, the empty spaces never filled.  In submitting himself to be tattooed, Fowler sacrifices his own body in a ritual of both repentance and resurrection. The white, geodesic set-construction in which the tattooing takes place, prophesies a sterile future as increasing numbers of species follow the Huia, Whēkau and Kōkako into oblivion, but also hope, as these birds somehow find a way back through the cracks of human cultural history and time.

Watch the documentation of this performance on VIMEO.








This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.




Hayden Fowler (b. 1973) originates from Te Awamutu, New Zealand and currently lives and works in Sydney. He holds a Master of Fine Arts from UNSW Art & Design (formerly COFA, UNSW) in Sydney, as well as an earlier degree in Biology.

Fowler’s methodology involves the creation of elaborate set constructions in which he choreographs human and animal subjects, producing hyper-real video, photographic, installation and performance work from within these fictional spaces. His work explores the unsettled human – nature relationship in the emerging Anthropocene, drawing on the historical developments that have influenced this engagement including Romanticism, Industrialisation and Science Fiction.

Fowler has exhibited broadly in Australia and internationally and his work is held in a number of public and private collections. He is a previous recipient of the Samstag International Visual Arts Scholarship for which he undertook a year of study abroad at the Universitat der Kunst in Berlin, Germany. He lectures in the sculpture, performance and installation studio at UNSW Art & Design.

Matthew Hopkins: exhibition 3 – 27 Jun 2015

Word Work

Gallery 9 is pleased to present this exciting exhibition of two new bodies of work by Matthew Hopkins:


Trevor’s Trance is a mixed media installation based on a script, written by Hopkins, which occurs in a number of ‘acts’. Each ‘act’ describes certain works in the installation through the fragmented internal monologues of a character, Trevor, detailing his feelings of morphing into monochromatic objects and paintings.

Written by Matthew Hopkins, a TEXT accompanying the installation in the Gallery, also titled Trevor’s Trance can be viewed online HERE.

Word Work presents a body of wood relief style abstract paintings that employ material scraps such as wood off-cuts, chewed gum, and bits of painting rags, to echo the material scraps of normative speech; non-linguistic sound, nonsense, breathing, and fluid by-products of the throat and mouth.

Matthew Hopkins (b. 1978, Sydney) is a Melbourne-based artist whose work examines the relationship between visual art and sound. Working with painting, objects, video and text, Hopkins explores how sound, particularly abstracted vocalisations, might be considered grotesque, absurd and liminal in nature, and how experiences of these sounds can be rendered visually.

Hopkins completed his Master of Fine Arts at Sydney College of the Arts (USyd) in 2013, during which time he undertook a semester at Sint-Lucas Beeldende Kunst Gent (Belgium) as a recipient of the Fauvette Loureiro Memorial Artists Exchange Scholarship. In 2014 Hopkins presented a live sound performance as part of the Liquid Architecture Festival, Sydney, was a finalist in the Substation Contemporary Art Prize, Melbourne, and the Fauvette Loureiro Memorial Artists Travel Scholarship at Sydney College of the Arts. In 2013 Hopkins, along with artists Emily Hunt and Vicki Papageorgopoulos, was awarded the Innovate/Curate grant through Tin Sheds Gallery (University of Sydney) to produce their collaborative exhibition ‘Two Dollar Pareidolia’, and in 2012 was featured in the ‘Volume One: MCA Collection’ exhibition, MCA, Sydney. Hopkins has been a finalist in the 2008 Helen Lempriere Travelling Art Scholarship (now NSW Visual Arts Fellowship (Emerging)) and has been awarded numerous grants from the Australia Council for the Arts. Hopkins work is held in the collections of the Museum of Contemporary Art Sydney, Artbank, and numerous private collections.