T H E Q U A R T E R LY MAY
SPACE | 409b George S treet Water loo NSW 2017 | mayspace.com.au
SPRING 2017
VOLUME 3
NUMBER 4
BLA CK BOX PROJECTS KITCHEN-STUDIO curated by Megan Fizell 10 October to 4 November 2017 The artists in this exhibition take the space of the kitchen as the site of their performative artwork. Utilising the domestic gesture of cooking and preparing food, the artists interrogate a number of broad themes including the body, labour, and collaboration. Artists include Hana Hoogedeure & Luke O’Donnell, Hanne Nielsen & Brigit Johnsen, Ana Prvački, Nina Ross, Miku Sato, and Kawita Vatanajyankur.
Kawita Vatanajyankur (Courtesy of Alamak! Project, Tokyo and Nova Contemporary, Bangkok) The Ice Shaver 2013, HD Video - 2:46mins, edition of 3 + AP
Nina Ross Baby gestures 2016 HD video 16:9 - 4:57mins edition of 3 + AP
NINA ROSS Baby Gestures 28 November to 23 December 2017
Baby gestures is a response to holding my sleeping child and trying to remove them from my body without waking. Exploring the performative gestures undertaken to not disturb them, the video uses self portraiture performance for the camera to enact the sometimes subtle and not so subtle bodily movements. It is not until babies stop breastfeeding that they learn they are not part of their mother’s body. This video seeks to represent the separation and individual entities in this close relationship.
EXH IBIT ION C ALEND AR BACKYARDS curated by Waratah Lahy and Anne-Marie Jean 19 September to 7 October 2017 Anne-Marie Jean, Waratah Lahy, Leo Robba, Erica Seccombe, Lia Tajcnar, Jennifer Taylor, Ruth Waller. Waratah Lahy Pink Studio 1 2017 watercolour and gouache on aquabord 13 x 13cm
The idea of a big backyard has long been considered an essential element of Australian iconic culture, synonymous with the fading aspirational ideal of a quarter acre block and a modest home. Our backyards are important spaces: mostly private, they can be practical, useful and fanciful, providing a space for imagination, creativity, toys, pets, projects and failed ambitions. Despite most of us not having our very own big backyard, the spaces around us and closest to us continue to inspire. A backyard evokes an outdoor environment we engage with in our everyday lives, which we feel an intimate connection to, perhaps responsibility for - a place that shapes us and at times a place we shape. As times change, notions of what we regard as our own backyard also changes and broadens. The artists in this exhibition have observed and explored significant environments in their lives. The places from which they draw inspiration include gardens, both public and private, suburban streets, local neighborhoods and bigger and wilder spaces left mostly untrammeled by development. From representative to abstract painting, ceramics to 4K HD animation, the patterns of observing and intimately engaging with these spaces emerge through the colours, textures and images created to articulate experience and place.
Ruth Waller (Courtesy of Watters Gallery) After Spring Rain 2016, acrylic on linen, 109 x 77cm
Ashleigh Garwood Retaining Structure #1 2017 silver gelatin print edition of 3 +1 AP 100 x 120cm
Massing is an architectural term that refers to the way a building’s form, shape and size is perceived. MASSING uses this idea as a prompt to explore ways in which the landscape is perceived through shifting forms, compositions and scale. Incorporating both analog and digital photographic processes, the works investigate the intersection of the forces that change the landscape and the forces that change our perception of it. MASSING continues my exploration of constructed landscape imagery, utilising the framework of geology to reference accumulation and erosion of time and meaning within the image.
ASHLEIGH GARWOOD MASSING 10 October to 4 November 2017
OUT OF LINE curated group exhibition 7 to 25 November 2017 Most works of art start with a simple line, whether that be for a preparatory sketch or giving form to an idea. The field of drawing is therefore one brimming with possibilities, innovation, and cross-pollination. Out of Line will pay homage to the fundamental nature of drawing, whilst also aiming to see these lines jump off the page, defy expectations and merge with other fields. This group exhibition will provide a survey of how drawing-based practices comprise a variety of aesthetics, mediums and technologies. Catherine O’Donnell, Untitled (work-in-progress) 2017 charcoal and graphite on wall
CERAMIC REVISIONS II curated group exhibition
Carol Murphy With tongue 2016 ceramic, timber base 19.5 x 20 x 4cm
28 November to 23 December 2017 Pots, tiles and clay figurines have taught us fascinating details about ancient societies and Ceramics Revisions II conveys how artists interact, form narratives, voice opinions and create aesthetic compositions with this medium today. The second edition of a series that started in 2009, this show ranges from fine vessels to sculpted forms, encompassing a variety of ceramic techniques, as well as clay types - from terracotta to bone china. Regardless of the form, this final show for 2017 brings together a range of artists who are masters of their medium.
GA LL ERY NEWS CHARLIE SHEARD ▶ We are delighted to announce the representation of Charlie Sheard.
TODD FULLER TODD FULLER ▶ Purchased by Bathurst Regional Art Gallery.
▶ The Unflinching Gaze: photo media and the male figure, curated by Richard Perram OAM, Bathurst Regional Art Gallery, 13 October to 3 December 2017. Todd Fuller + Amy Hill, They’re only words (detail) 2009, film - 2:42mins
LESLIE OLIVER
Todd Fuller, Murray’s cottage after dark 2017 acrylic and charcoal on paper 57 x 76cm
▶ Acquired by Penrith Regional Gallery & The Lewers Bequest.
Leslie Oliver Instrument of Measuring Now I 1998/2016 stainless steel, copper plated steel, porcelain, wood 64 x 39.5 x 39.5cm
ASHLEIGH GARWOOD ▶ Another Green World: Landscape of the 21st Century, curated by Dr. Andrew Frost, Western Plains Cultural Centre, 26 August to 3 December. Ashleigh Garwood, Under Erasure #6 2016, C-type print on metallic paper, edition of 3 + 1AP, 127 x 152cm
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Cover: Mylyn Nguyen I wonder if pig knows where 2017, watercolour and ink on paper 20.5 x 20.5 x 3cm