Paul Snell: exhibition 6 – 30 May 2015


Gallery 9 is excited to announce Sectant an exhibition of Paul Snell’s most recent works.

For Snell, “The pause, the gap and the omission are increasingly significant in our saturated image driven society.” Through his work, Snell expresses his desire to replace this sense of saturation with selective sensitisation.

In theme with his recent direction, for Sectant Snell has continued to explore the transformative possibilities for photographic modes of production through the manipulation and exploitation of data to invent new visual forms. His distinctive non-representational forms are photomedia embedded, minimal and abstract. Like unique pieces of code, these forms are sequenced, repeated and paired by the artist specifically to colour relationships he has investigated. The forms are also rhythmic, overlapping and reversing to deliver a unique sensory experience of each work as physical object. Not to be confused with representations of certain realities, in Snell’s own words, these works are their own realities.

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 solo and group exhibitions in Tasmania, Victoria, NSW, Queensland and in New York. Most recently he has staged solo shows with Colville Gallery, Jan Manton, Edmund Pearce and at 146 Artspace. His work is held in numerous private and public collections including Artbank and is a current finalist in the Josephine Ulrick and Win Schubert Photography Award.

Peter Alwast: exhibition 6 – 30 May 2015

1, 2, 3 

Gallery 9 is pleased to present a new body of work by Peter Alwast in his solo exhibition 1, 2, 3.

View the PREVIEW CATALOGUE online.

In 1972 Gerhard Richter declared that he was making ‘photography’ by other means, confounding the relationship between painting and photography. While much work has focused on the interplay of painting and photography, Peter Alwast’s exhibition continues his interests in the possibilities of painting by interrogating its relationship to digital media and drawing. At the heart of Alwast’s recent works are ideas related to translation and the interface between virtual tendencies in the material practice of painting and painterly conventions in media practices.

Translation is not only a formal device for Alwast but becomes a vehicle for a range of personal and political meanings related to immigration, social fragmentation and the desire for origin and presence. All works in the exhibition are identified by the artist as either painting or drawing and resist simple catergorisation of how painting might be defined; line and saturated colour shift into deep pictorial space, while dematerialised images land onto exposed linen surfaces.

Peter Alwast’s work is held in public collections in Australia and the United States. Alwast’s practice employs a range of media including video, computer graphics, painting and drawing. In 1999, Alwast was awarded a Samstag International Visual Arts Scholarship and since completing his Masters in Fine Art degree from the Parsons School of Design, New School University, New York in 2001. Between 2001 and 2003 Peter worked as an assistant to Richard Tuttle and Julie Mehretu  in New York City. In 2008 he was the inaugural recipient of The New Media Art Award, hosted by The Gallery of Modern Art in Brisbane, Australia.  In 2010 Alwast’s video animation work ‘Everything’ received an honourable mention in Update III, at the Liedts Meesen foundation in Ghent, Belgium.  In 2011 he created a solo exhibition Future Perfect at the Institute of Modern Art, Brisbane and his work was seen in the group exhibition Experimenta Utopia Now travelling to MONA, Tasmania as well as Selectively Revealed at the Aram Art Gallery, Seoul, South Korea. In 2013 Alwast undertook a residency and solo exhibition at Videotage in Hong Kong. Recent exhibitions include: Art Stage Singapore, Always Forever Now – Timelessness and The Currency of New Media Art, Das Weisse Hause, Vienna, Austria and A Time and A Place: Landscapes from The Griffith University Art Collection, 2015. Peter is a lecturer in Painting at The School of Art, Australian National University, Canberra.

Tony Lloyd & David Ralph at Aurora Place 13 Apr – 22 May 2015

Gallery 9 is pleased to present series of recent works by Melbourne artists Tony Lloyd and David Ralph to continue our series of offsite shows at Aurora Place.

Tony Lloyd (b. 1970 Melbourne, lives and works in Melbourne, Australia)

Discussing the work of Tony Lloyd, art critic for The Guardian Australia Andrew Frost refers to the subtlety of the work’s narrative and it’s power to draw the viewer in. Frost describes how Lloyd’s paintings “evoke that sense of disassociation where the outside world, the one just beyond the windscreen, begins to take on the quality of a movie.” (‘Art Collector’, Issue 70, Oct-Dec 2014 p 87).

Tony Lloyd graduated from RMIT with a Master of Fine Art (research) in 2000 after previously completing undergraduate studies there. He has since shown widely in Australia and internationally in Hong Kong, Beijing, London and Amsterdam. Lloyd has staged more than twenty solo shows and in 2009 Gippsland Art Gallery presented Lost Highways, a major survey of Lloyd’s work from the previous decade.

Lloyd received the 2014 Sulman Prize (AGNSW) Highly Commended Award and was the winner of the 2012 John Leslie Art Award. His work is represented in the collections of the State Library of Victoria, Gippsland Art Gallery, RMIT Gallery, Artbank, Macquarie Group, BHP Billiton, the City of Boroondara and the City of Whitehorse. A major feature on Lloyd was included in Issue 29 of Artist Profile magazine in November 2014.

View the ONLINE CATALOGUE of available works by Tony Lloyd.


David Ralph (b. 1963 Warrnambool, Victoria, lives and works in Leipzig, Germany)

David Ralph is a contemporary artist whose subjects reflect on how built environments, cities and dwellings shape human experiences and forge identities. His paintings address the psychology of architectural spaces and what they can inform about the people responsible for them, and those who inhabit them. Recent bodies of work have specifically exampled a reconnection with the natural world, what the artist describes as the ‘architecture of escape,’ that is escaping the urban environment by way of mobile homes, caravans, cabins and ‘green’ dwellings. Ralph identifies as a contemporary painter whose use of enduring mediums such as oil paint and pencil drawing acknowledges newer forms of media and digital technology as a source of inspiration and its potential to create hybrid abstract/representational imagery.

Ralph holds a Master of Fine Arts from the Victorian College of the Arts (University of Melbourne) and an MA (Fine Art) from the Chelsea College of Art and Design in London. Since the early 2000s, Ralph has exhibited solo exhibitions in Melbourne and Sydney and featured in curated, prize and group exhibitions around Australia as well as in New York, London and Paris. He is the former recipient of The Anne and Gordon Samstag International Visual Arts Scholarship and is represented in numerous notable collections including the National Gallery of Victoria, Artbank, BHP Billiton, the RACV and the Gold Coast City Art Gallery.

In 2013, Ralph became the recipient of the Australia Council, Visual Arts Board – Skills and Arts Development Grant to undertake a residency at the LIA Leipzig International Art Programme. He is now based in Leipzig where he lives and works.

View the ONLINE CATALOGUE of available works by David Ralph.


Alexander Jackson Wyatt: artist book launch 18 Apr 2015

Mode Intersit Express

Gallery 9 is pleased to launch the next in a series of artist books by Alexander Jackson Wyatt.

The publication, which is the culmination of Jackson Wyatt’s collaboration with Back Bone Books, comprising Claudia de la Torre (editor) and Maxime Gambus (graphic designer) is a limited edition of 100 books, complete with a poster and photographic print.

Titled Mode Intersit Express, the book is a collection of the artist’s photographs as compiled and edited by the trio, who first met in Berlin in the Summer of 2014. Their subjects relate to travel and its obligatory pit stops, mainly in Europe and also in Asia.

While each image may be taken amidst well-explored routes of travel, they are not records of place but intricate observations of what the artist terms as ‘islands’. Again, not physical islands, but metaphorical ones which result when individuals or small groups travel and incorporate their own small worlds, separated from their surroundings, as islands appear disconnected from main lands.

Jackson Wyatt explains how Mode Intersit Express explores psychogeographic islands by highlighting the way spaces are occupied and how time is filled between both the visible and invisible boundaries that form political and cultural borders:

‘Killing time’ is the most common activity shared between individuals traveling long distances. It creates an experience of introversion due to a break down of personal space, cultural and language barriers, all of which isolate each other from one another. These geographic and cultural frontiers create islands within islands. And as time is accelerated through such mobility infrastructures as planes, buses and trains – the interior self is slowed down and accessed far deeper. Imbedded social behaviours take over individual will and ‘designated public space’ creates distinct perimeters. And inside, the relation to the self within this new place is abandoned for a heightened perception. AJW, April 2015

In Jackson Wyatt’s Mode Intersit Express, a mundane roadside petrol station is an oasis and those sharing a particular ticket number for a flight, bus or train are privileged members, knowingly or otherwise of temporary island communities. While their time together is transitory, for its duration, the glass of windows is a closed border through which filtered light and air-conditioning vents are the only points of entry.







image: Spaces enfold in unto itself as we are released into other worlds speedy exits Bangkok 2014 Digital Photograph Dimensions Variable

Mode Intersit Express
date of publication: 2015
publisher: Back Bone Books
dimensions: 15 x 20 cm
number of pages: 84
photographic inserts and foldout posters

Magda Cebokli: exhibition 8 Apr – 2 May 2015

The Lie of Light

Light and edge doesn’t seem to be much to work with, and yet, these are the basic ingredients with which we construct our complex visual world. Issues of changing luminosity, the visual function of edge, the movement between light and dark and the structure of space have been the subject matter of over a decade of my explorations as a painter.  

Magda Cebokli, February 2015


Within this analysis of visual experience, Magda Cebokli works with small differences, simplified form, repetition and a restricted palette. Reduction to the essential remains an aim. For Cebokli, points of ambiguity are of interest: how the hard edge becomes the soft boundary, the straight line a curved space, the square becomes lost to the circle. In some works the exploration of luminosity and space is paired with the examination of the relationship between structure and uncertainty – the co-existence of order and chance that governs the universe we live in.

Issues of abstraction in art and its relationship to abstraction in other disciplines, the development and testing of ideas over a series, how a visual text is built up, these are additional subtexts that inform Cebokli’s work. This exhibition, The Lie of Light, further extends the artist’s interest in geometric, abstract painting and how it works as a tool to extend our understanding of what and how we see.

Born in Slovenia, Magda Cebokli has lived in Australia since childhood. Prior to becoming an artist, she worked as a psychologist in both the research and clinical fields.  Her interest in inner process and in the way meaning is constructed connects this past career with her current artistic practice.

From 1988 to 1994 Cebokli lived in New York and Hong Kong where she started her art studies at the State University of New York, later the Hong Kong Arts Centre. Since returning to Australia she completed a BA (Hons.) in Fine Arts and in 2001, a Master of Arts by research in painting at RMIT in Victoria. She was awarded the inaugural Siemens Art Prize in 2000 and has been shortlisted for a number of other prizes since, including runner up award for the newly established MCollection Prize in 2014.

Working full time from her studio in Brunswick, Melbourne, Cebokli exhibits regularly and extensively in both solo and group exhibitions. Recent solo exhibitions include, Light Lines (2014) at Langford 120 and Drawn Out (2013) at Counihan Gallery, both in Melbourne and Corner Suite at Factory 49 (2012) in Sydney.


Simon Kennedy: exhibition 8 Apr – 2 May 2015


Gallery 9 is pleased to present a new exciting series of large scale charcoal and pastel drawings by Simon Kennedy.

Titled surrealism, this new body of works reflects Simon Kennedy’s shift in focus to Surrealist photography from the 1920s and 30s, particularly his perception of its dark, frenzied aesthetic and the ways it can be translated into the medium of drawing. As with Kennedy’s previous bodies of work, the imagery is sourced from historical photography specific to a period in time and his reproduction of the imagery is his attempt to gain further insight and understanding to what the photographer or artist set out to capture. Kennedy alikens his process to how art historians and writers examine and deconstruct an image using a specific language, whereas Kennedy employs lines and tonal layers. For Kennedy, his drawings are an attempt to connect viewers with a rendition or translation, decoded from the original photograph.

Rather than being merely an artistic endeavour, of reproducing an image from the past, my practice is seeking to personally understand what lies behind the image that was created in a time before I was born. In the process of drawing from a photograph, based on a historical image, the surface layers are peeled away forming a structure that describes presence and absence as well as the relationship between history and death. Simon Kennedy, April 2015

From his own assessment of what compels him to draw from historical photographs, Kennedy admits that technically, his use of charcoal preferences the black and white imagery but he believes there is a more substantial rationale. He initially views the photographs as inaccessible, alien encounters with history but slowly as the source material is transcribed with charcoal onto paper, as layers build and are then stripped away to form a skin-like surface, the subjects reemerge as Kennedy’s own. The completed works are the result of his meticulous investigation into the imagery. As his understanding of their subjects and compositions are assimilated in the process they become the impetus for the completion of the work. He is always conscious that the original image is historical and not of his making but believes his works come to exist as separate entities from the originals. Kennedy views his process as more than admiration and celebration of the original photograph but a unique incorporation of their imagery in a new time and place.

Simon Kennedy is a BFA graduate from the Otago Polytechnic School of Art in Dunedin. Before relocating to Sydney, he staged several solo exhibitions with Marshall Seifert Gallery in Dunedin and has won the Waiheke Art Prize in 2005. His work has featured in numerous group exhibitions in Sydney, Melbourne and New Zealand and has been collected by the New Zealand Parliament Collection, the Tasmanian Museum and Art Gallery and Artbank.

Simon Kennedy   From Dora Maar photograph ‘Portrait d’Ubu’ 1936 2015 charcoal, pastel and ink on paper 153 x 105 cm  photography: Kern Hendricks

ENQUIRE about the exhibition online.

Julian Hooper at Aurora Place 27 Feb – 10 Apr 2015

To continue the series of offsite shows at Aurora Place, Gallery 9 is pleased to present an exhibition of works by acclaimed Auckland-based Julian Hooper, surveying his practice from 2008 to the present.

Amongst the earlier works presented, Count and Szuz both from 2008 present elaborately detailed figures composed of a variety of eclectic forms ranging from flora to geometric abstraction. The figures in later paintings like Florence and Siena 2010 further delve into a Hooper’s eclectic inventory sourcing forms from still lives and sea creatures who strike poses reminiscent of fashion magazines. They are also recollect surrealist sensibilities and explore a sense of interior space with minimalist geometry. They are incongruous and absurd but endearing and radiate intrigue akin to the work of 16th century painter Giuseppe Arcimboldo.

Works from the two later series, Metalepsy exhibited at Gallery 9 and the Melbourne Art Fair in 2012 and Milk Island (2013) hang across the foyer nearby the café. They bear compositions that evolved entirely during the painting process. The paintings are essentially abstract but for Hooper, his abstraction is a secreted kind of figuration which opens itself up to ambiguity and interpretation. His use of abstract form acts as a relaxant on representational elements. Hooper’s imagery hints at figures, landscapes, interiors and still lives. Despite these ambiguous qualities, a tension and precision underscores each of Hooper’s paintings and reveals a subject unseen.


Born in Auckland in1966, of mixed Hungarian and Tongan heritage, Julian has exhibited extensively in New Zealand and Australia since 1990. In addition to numerous curated and group shows in Australia and New Zealand, Julian Hooper has held over 20 solo exhibitions in Sydney, Melbourne, Auckland and New York.

His work is represented in the Queensland Art Gallery | Gallery of Modern Art collection as well as major collections throughout New Zealand such as the Chartwell Collection, Auckland City Art Gallery, Museum of New Zealand Te Papa Tongarewa, Dunedin Public Art Gallery, The Wallace Collection and the University of Auckland collection.

Michael G. F. Prior: exhibition 18 Feb – 14 Mar 2015


Click the image below to watch a VIDEO recording of Discussion Model.

Gallery 9 is pleased to present a new site-specific project, Discussion Model by Michael G. F. Prior.

Prior devises strategies of fabrication, organisation and mechanisation to make temporal arrangements with sculpture. Applying aleatoric method to a physical manifold (objects, the body in space, sound generators), he initiates self-developing compositions. The key elements are sound, light and motion.

“I’m interested in the physical and mental effects that manifest through the interplay of these elements, the base emotional response. The materials I use are chosen for practical reasons – for their ability to create rhythmic shapes and sounds. I use their form as a conduit to compose movement, resonance, refraction and distortion.”

Priors’ installations are made from an organisation of interchangeable pieces that make up the whole. He believes he piece posses a pseudo personality; an individual thing that it does. When these pieces are set in motion they play off each other in various ways – sometimes by design, sometimes not. The nature of this interplay evolves over time: as the viewer switches focus, the behaviour of the mechanisms change, or both. Describing his work, Prior alludes to conversations around a dining table, characters in a play, instruments in an ensemble, or furniture in a room: “The greater narrative grows out of these elements reacting to each other”.

Born in Sydney in 1977, Prior lives and works in Melbourne. He graduated with a BA (Hons Class 1) in Media Arts in 2005 and with a BFA in 2008 from RMIT. In 2014 he exhibited at the Heide Museum of Modern Art, West Space and the Incinerator Art Gallery where he won the Art for Social Change award for work in keeping with the ideals of Marion Mahoney Griffin and Walter Burley Griffin. He has previously exhibited at Perth Institute of Contemporary Art, MONA FOMA (Hobart), the National Gallery of Victoria and the Museum of Fine Arts in Taichung, Taiwan. In 2011 Prior undertook a performance tour of the USA with Lachlan Conn as Chronox, an ongoing collaboration that includes installation, performance and published works. In 2015 Michael will exhibit at the Walker St. Gallery in Dandenong, Victoria and create a series of weather driven outdoor works for the Nepean School in Seaford, Victoria.

image: Discussion Model 2015 Timber, copper, aluminum, steel wire, steel can, microphone stand, ball chains, cymbals, ball bearings, ceramic tile, ceramic plate, paper, pavers, plastic cup, plastic bag, cardboard boxes, magnets, camera, data projector, mirror, glass, water, pump, PVC tubing, motors, laser diode, amplifier speaker, analogue voltage control (exhibition dimensions variable)

photography: Simon Hewson

Tonee Messiah: exhibition 18 Feb – 14 Mar 2015

 Bad Seed 

View the exhibition’s EXHIBITION CATALOGUE online.

From birth our primary focus is to gain control of the functions of our body; we make connections between the desire to walk and motions needed to achieve it, we long to communicate so we learn to speak. Every milestone is marked by harnessing a new function of the body. As we grow our focus shifts to the mental and emotional development of becoming an adult, and for most of us, we rest in the confidence that the physical function of our body is secure and on track. What happens when this confidence betrays us and our body begins to operate outside the realms of our control?

Bad Seed is a collection of works that address the fears and anxieties in realising the independent chaos that exists beneath the skin. As our cells age and transform the pure self-realising control we possess over the machine that carries us comes into question. These works address the alienation and terror that spreads as we come to terms with losing control of our body’s destiny.

The painting process utilised to produce this body of work brings to light our own personal process of striving for control and order. With every step and mark we are autonomously constructing our destiny; what happens when we come to realise that the vehicles we use to fulfil this have an independent natural order that can unknowingly betray us. Perhaps the process of ageing is to remind us that we are at the mercy of nature’s will.


Chaos was the law of nature; Order was the dream of man. Henry Adams


Tonee Messiah is an honours graduate of Sydney College of the Arts (2004) whom Pulizer Prize winning critic, Sebastian Smee (The Boston Globe, then The Australian), in 2007 identified as one of the nations most interesting young artists. Her work is held in the Monash University Museum of Art as well as in numerous corporate and private collections.

enquire about the exhibition here