Michael Bennett’s works present what he calls the ‘visual evidence’ of his studio-based experimentations. Taking basic forms from the world around him, he geometrically reduces them through a considered response to the immediacy of the painting process. Information is spontaneously added and subtracted, building elemental compositions that draw focus to subtle relationships between texture, shape and colour of paint and the translucency and direction of its application.
Born in 1987, Michael Bennett is a self-taught interdisciplinary artist working between painting, sculpture and installation. He divides his time between Sydney and Berlin and exhibits widely in Europe. Projects in 2016 include: The future will be different, Mini Galerie, Amsterdam; Contemporary Perception, Galleri Bernoni, Copenha- gen and a residency and solo exhibition at Lapua Cultural Centre, Finland.
Blackcurrant, 2016, mixed media on board, 113 x 103 cm
The Midnight Hour, 2016, mixed media on board, 85 x 78 cm
Alice Couttoupes is a ceramicist working primarily with porcelain. Throughout her practice the focus of her work has been informed by an exploration of notions of history, national memory, identity and processes of cultural exchange, appropriation and domination. Inspired by a fascination with the natural – particularly botanical – world, her current practice is preoccupied with the processes of colonial botany and their consequent enduring socio-political and environmental implications. The historical and cultural associations, and the traditions of the material with which she works – porcelain – so too provide her with an intellectual framework that underpins her artistic practice.
SERIES: Untitled, Epynomic Empirialisms, 2013, ink on velum, 80 x 80 cm, edition of 5
Sophie Clague is a Sydney based artist working primarily in sculpture and installation currently undertaking a Masters at Sydney College of the Arts. Solo shows include ‘Site’ (Kudos Gallery, 2012) and ‘The Unexpected Ground’ (COFA Honours Show, 2012) recent groups shows include ‘The Churchie Emerging Artist Prize’ (Griffith University Gallery, 2013) ‘Inside the Silos’ (Delmar Gallery, 2013) and ‘Launce Sequence’ (Kudos Gallery, 2013).
Smog Spectre, 2016, zinc-plated mild steel & enamel paint. 178 cm x 95 cm x 104 cm
Free-mania, 2016, zinc-plated mild steel & enamel paint 155 cm x 78 cm x 700 cm
Mint Institutional, 2016, Zinc-plated mild steel & enamel paint, 174 cm x 116 cm x 117 cm
Having exhibited both nationally and internationally, Coulter holds a Master of Contemporary Art from the Victorian College of the Arts, (2015), a Bachelor of Visual Art, (1998) and a Bachelor of Built Environment (2000) from QUT. Selected solo exhibitions include, Chrominance (2015) Anna Pappas Gallery, Melbourne, Chromo-spatial (2015) CHASM, New York, Threshold (2014) Five Walls, Melbourne, and Viscerality (2011) Kunstraum Tapir Gallery, Berlin, as well as numerous group exhibitions, including, Colour Imperative (2015) Rubicon ARI, Faux Fair (2015) c3 Artspace, No Werk (2014) Trocadero Artspace, Melbourne, Abstractions, (2013) Janet Clayton Gallery, Sydney, and The Space Between (2011), Berlin.
Coulter has created her colourful large scale, site speci c installations within a variety of contexts, including, commissions in New York, for the Windsor Hotel, Anna Pappas Gallery, Five Walls Projects, Saturday in Design, Linden New Art and at the Victorian College of the Arts.
In 2016 Coulter was the recipient of the Linden Art Prize and, the Woollahra Small Sculpture Viewer’s Choice Award, whilst also receiving the Fiona Myer Award for Excellence in 2015 from the University of Melbourne. In addition Coulter has been the recipient and nalist in a range of awards and prizes, including receiving an Australian Artists Grant (2015), the Jim Marks Postgraduate Scholarship (2014)), the Windsor Prize, (Finalist, 2014) and a nalist in the 2013 Sydney Artmonth emerging artist program. Her work is held in collections at Artesian Capital Management, Citigroup Wealth Advisors and Tower Books, as well as numerous private collections in Australia, the United Kingdom and Germany.
Born Goondiwindi, Queensland Lives and works Melbourne, Victoria
Jonathan Crowther is a contemporary still life realist painter. His work explores the everyday overlooked objects of daily life. Working at a micro level he enlarges the objects to a macro scale, abstracting scale and colout while utilising photorealist and classical painting techniques.
In 2014 Crowther completed his Masters in Contemporary Art with first class honours from the VCA. In 2015 he was awarded an Art Start Grant from the Australia Council for the Arts and went on to win the $15,000 Eutick Memorial Still Life Award judged by Sydney Morning Herald art critic John McDonald. In 2009 he was also the winner of the prestigious Churchie National Emerging Art Prize and has been a finalist for a number of other awards and competitions, including the Geelong Art Prize in 2016.
His recent body of work ‘Signs of Life’ explores the historical motif of the vase and flowers. For centuries this motif has been a central theme in still life paintings, reaching it’s peak of popularity during the Dutch Golden Age. Crowther’s large scale paintings somewhat subvert this popular schema by creating vases out of things in his own studio, from pen lids to soy sauce containers, each micro in scale. The flowers are not roses or lilies, but rather small flowers from bushes and trees he has collected from walking the streets of his local neighbourhood. The result are finely crafted paintings that bring attention to these often everyday overlooked objects and flora.
Eastern Light, 2016, acrylic on canvas, 140 x 104.5 cm
Lisa McCleary is an Irish-Australian emerging artist currently undertaking a Masters of Fine Art at Parsons School of Design, NYC after being included on the UNSW Dean's List in 2013 & 2015.
Lisa McCleary’s work examines sexting navigated through ephemeral communication technology and evaluates the act of subverting private sexual transmissions. It explores the recent development in temporal communication technology, placing focus on the application Snapchat and how it has affected cyber-sex culture. She interrogates whether altering the outlook of the viewer from intimate and isolated to one of mass consumption can affect our response to, and understanding of the image.
Elements of McCleary’s studio-based practice contrasts and complies with characteristics of the application, engaging with themes of privacy, anonymity, constructed identity, temporality and the manipulated image. She employs laborious traditional methods including collage, embroidery, tapestry and photorealist painting to render these private ephemeral communications public and permanent and to highlight the temporal nature of this online discourse.
Slide, 2016 oil on panel 60 x 40 cm
I Am, 2016 oil on panel 60 x 40 cm
Hey ; ), 2015 oil on panel 45 x 45 cm
ORLAN ERIN RALEIGH
Cinema, fantasy and illusion are central to Orlan Erin Raleigh’s painting and artistic practice. Her deftly created paintings highlight the distance between realism and the unreality of the characters we see in films. They do not ignore that gap between what we see and who we are - the paintings in fact magnify the separation.
With Raleigh’s use of selecting images from many film sources, she acts as an editor, searching for and using the perfect image with which she can construct a broader diegesis within her control. That moment of shock, or fear in a character’s eyes in Raleigh’s hands become moments of a familiar face challenging us to consider why the artist has depicted that split second rather than any other. Raleigh paints each image perfectly before she “blurs” the painting, risking each time the painting itself. Her subject matter throughout her practice has ranged from space exploration to endless pointless tasks of her own design, seminal moments in film and everything in-between. A highly skilled painter, her work is influenced by Luc Tuymans, Gerhard Richter and Vija Celmins.
Born 1982, Sydney, Raleigh completed her Bachelor of Fine Arts (Hons) at the National Art School in 2003 and Masters of Fine Art at The College of Fine Arts.
ORLAN ERIN RALEIGH
Totemic, 2016 oil on canvas 88.5 x 81cm
ORLAN ERIN RALEIGH
Music We Hear, 2016 oil on canvas 88.5 x 81cm
ORLAN ERIN RALEIGH
My Head, 2016 oil on canvas 88.5 x 81cm
Mitchell Ferrie's recent works form a series of geometric abstract sculptures in champagne white marble from Chillagoe in northern Queensland, known for its fine white translucent colour and strength.
The series title DISFORMIA is a made-up word, implying a defiance of forced form that more accurately describes the natural process of creating these pieces. In these works Ferrie describes the forming of the sculptures to be evoked and controlled by the shapes of the stone itself resulting in a complexity of the faceted works which belies the fluidity of the process of their creation and which transcend simple geometery.
In a reversal of the traditional role of authority, the carver becomes the performer, letting the stone choose its’ own shape and structure, conducting the artist to the finished work resulting in weighty and yet gravity defying sculptural abstractions which demand viewing from all sides – thus creating a light that lands on the forms and dives through the spaces, animating the layers and facets with each slight movement of the audience.
Marc Freeman is an image-maker whose work recalls the rich history of modernist abstraction. He creates compositions based on his own set of symbolic shapes, which refer to existing forms and his own internal logic. Abstract painting’s somewhat mythical and devout history becomes a fertile playground to explore its currency. Freeman’s work is simultaneously a product of abstraction’s past altruistic endeavours and a celebration of its wholly egocentric pursuit of self-expression. His work invites interpretation and deciphering, with an understand- ing that this is a pursuit fraught with difficulty and most likely with no definitive outcomes.
Marc Freeman was born in Melbourne in 1979. In 2004 he graduated with a Bachelor of Fine Art (Hons) from RMIT. In 2005 he undertook a residency at the School Of Visual Art in New York City, USA. Since then he has been included in group shows at Bus, Platform, Mailbox, Trocadero, Bright Space and at the School of Visual Art, NYC. He has been short listed in the Metro Gallery Art Prize, the Baker-Ranch Con- temporary Prize and the Williams Town Contemporary Art Prize. His work is held in numerous private and public collections, most notably ArtBank.
New York photographer David Gamble was given access to Andy Warhol’s New York apartment just after his death in 1987. Sotheby’s allowed him eight days to explore the Pop artist’s home, producing an intimate portrayal of Warhol through his property and objects.
Award-winning photographer David Gamble (b. 1953) has captured images of some of the world’s most famous people, including the Dalai Lama, Andy Warhol, and Margaret Thatcher. He is known for leaving his images uncropped and untouched, creating photographs that create a narrative of the subjects within their environments. Gamble has photographed for magazines and publications across the world, including the Independent Magazine, the Observer, People, and the New Yorker. The artist currently lives and works in New York.
Scott Gardiner graduated with a Master of Visual Arts with Honours in painting from the Auckland University of Technology. He has been a multiple finalist in the Wallace Art Awards as well as the New Zealand Painting and Printmaking and Molley Morpeth Canaday Art Awards. His work has been exhibited and held in private and corporate collections throughout New Zealand, Australia and the United States including the Sir James Wallace Arts Trust.
As a dedicated surfer, Scott Gardiner’s passion for the ocean is immediately obvious in his paintings. Surfing is an intense physical interaction with the ocean’s surface. Modernist painting is an intense mental interaction with the surface of a canvas. Gardiner’s paintings spring from an intersection of the two; a distillation of the ephemeral qualities of light and motion on water rendered in pigment where the ocean is obviously a very powerful creative space for him. They are crystal-clear vessels of alchemical metamorphosis and transcendence. They change as you look at them. You can taste the salt in their sunlight.
Gardiner weaves together two co-existing universes. Often there is a naturalistic depiction of the sea, but lest we forget we are looking at a flat surface and not through a window, his is often integrated with repetitive grid-like forms that mimic light glancing off rhythmic waves like an Art Deco stained glass depiction of the sea, or girder-like structural geometries that push him into the Op Art territory of Victor Vasarely. At other times the paintings are highly abstracted, recalling the stylised surface reflections of David Hockney’s LA swimming pools or the elaborate
Brent Hallard has recently participated in Formal Watercolor, Museum Waterland, Purmerend, Netherlands, curated by Piet Knook, Territory of Abstraction, Pentimenti Gallery, Philadelphia, curated by Christine Pfister, Doppler Shift, curated by Mary Birmingham, New Art Center, New Jersey, Hard-Edge Abstraction Richard F. Brush Art Gallery, St. Lawrence University, New York, KOBE Biennale 2011, Kobe, Japan, Sugarmountain 2, Galerie van den Berge, Goes, NL, curated by Clary Stolte, Gifting Abstraction, Soho20 Chelsea Gallery, NY, NY, curated by Mariángeles Soto-Díaz, 1st International Festival of Non-Objective Art Pont de Claix, Grenoble, France, Plane Speaking McKenzie Fine Art, NY, NY, curated by Valerie McKenzie, Informal Relations Indianapolis Museum of Contemporary Art (IMOCA), curated by Scott Grow, and Recent Movements in Non-objective Art Reuten Galerie, NL.
Recent curated events include 2014 Unbounded SF, Root Division, 2013 Dripping Color Amazement, Galerie oqbo, Berlin, 2011 A Romance of Many Dimensions, Brooklyn Artists Gym, NY, 2010 Touch + Paris, ParisCONCRET, 2009 Trans: Form | Color Meridian Gallery, San Francisco, 2009 Trans:formal Pharmaka, Los Angeles, and 2008 Bus-Dori Suitcase, Bus-Dori Project Space, Tokyo.Brent is currently co-organizing an exhibition 'Unbounded' NY for 2016, as well as two other projects for 2017. He also has the occasional conversation that can be found at Visual Discrepancies.
A Hot Mess #17, 2015 Acrylic and pigment on canvas 80 x 60 cm
A Hot Mess #12, 2015 Acrylic and pigment on canvas 80 x 60 cm
Zoe Kirkwood challenges the perception of paint as a two-dimensional art form by creating an entire visual world through painting, sculpturing, and installation art. With saturated colours and robotic yabbies on display, Kirkwood describes her upcoming exhibition at the Art Gallery of South Australia as, “colourful and eclectic”. Take those crustaceans and run wild with your imagination.
Much of the collection presents elements and processes from earlier sculptures and paintings, which ultimately allows them to become a series of transformations. By creating an intricate and ornate stage set, Kirkwood invites her viewers to witness her work shift between two and three dimensional forms and become entirely immersed within the creative process.
The Schomburgk Yabbies The Art Gallery of South Australia 2016/2017 on view until March 5 2017 Photos Grant Hancock With thanks to Guildhouse
The Myth of Progress, Ongoing Project, Photos: Dave Court & Che Chorley
The Schomburgk Yabbies 2016, Cast polyurethane, acrylic paint, mechatronic components, metal fixings, turned pine, tassel fringe, marine rope. Dimensions variable, Courtesty the artist, Photo: Grant Hancock
The Screen Set Series 2015 , Installation view, CACSA Contemporary 2015, Acrylic and oil on Canvas, MDF, Pine, Tasmanian Oak, stainless steel, metal fixings, rope, Dimensions Variable. Courtesy the Artist Photo: Che Chorley
In-The-Round, 2016, Installation View, Hugo Michell Gallery Acrylic and oil on Canvas, Euromir, MDF, Pine, Tasmanian Oak, stainless steel, metal fixings, rope, Dimensions Variable Courtesy the artist Photo: James Grose
The Bel Remix2015, Installation View, MARS Gallery, Acrylic and oil on Canvas, MDF, Pine, Tasmanian Oak, stainless steel, metal fixings, rope. Dimensions Variable, Courtesy the Artist, Photo: Zan Wimberley
Form 4 Series, 2016, detail, Euromir, MDF, Acrylic paint, metal fixings and rope, Dimensions variable, Courtesy the artist, Photo: Che Chorley
Jonathan Rosen’s works explores the personal complexity of love in his series of large collages entitled I WANT. The meticulously crafted pieces made from found objects and collections embody ‘labor of love’ and/or love as labor. Rosen carves the words ‘I Want...’ along with his innermost desires out of the canvas. What is left is a window in the canvas exposing his (often universal) conditions of love.
After developing critical and collector attention in the NYC Downtown scene on the Lower East Side, this will be both artists first exhibition in Australia. Rosen, a former Sydney-sider, proposed to Tom Smith at Art Miami Basel 2013 and both hope this show will contribute to the marriage equality conversation in Australia.
JONATHAN ROSEN I WANT LOVE ,2015 freeze dried rose petals on canvas 184 x 122 cm
I WANT TO BE FOUND , 2015 Where’s Wally on canvas, collage
184 x 122 cm
I WANT (Fantasy) 2014 romance novel covers on canvas 182 x 172 cm
Jonathan Rosen, Install photo, 2015
Tom Smith’s series titled Heavenly Bodies reveals an electric palette of colors and textures. Smith’s techniques have evolved into a craft system that mimics digital or mechanical output, yet in person, viewers will be surprised to find that the work is completely hand constructed. When viewed closely, the paintings vibrate through opposing colors. One can make out tiny, gradated daubs of paint, or vivid strips of paper. From a distance, his paintings relax into a tapestry of melting forms.
The precision and skill of Smith’s work, and the startling playful effect they have on the viewer, is extended through an uncanny intersection of exuberant colors. These colors are related to themes of the heavens; tones borrowed from sunrises and space nebulae. Whodunit (2014), for example, interweaves amorphous, dripping hot pink, with striated lego-like blue shapes and fluorescent orange swirls that are softly encased by lime green brushstrokes.
After creating works in both Brazil and Iceland, the artist’s experience of these landscapes as otherworldly inflect Smith’s new series. Like a world envisioned during the space-age, Heavenly Bodies brings the viewer closer to something impossible to reach but wonderful to imagine: a pulsating utopia of otherworldly color and texture.
PLEASE CLICK HERE FOR ARTISTS' CV
SELECTED MEDIA | ONLINE & PRINT
Broadsheet, 'Tying the Knot' Neha Kale, 23 February
The Unlimited Magazine, January 2015
The Creators Project (VICE), DJ Pangburn, 2014
Artnet, Artnet asks: Tom Smith, Lorraine Rubio, 2014
Mentored by Sydney metal sculptor Bronwyn Oliver and informed by the works of Antony Gormley and Henry Moore, Oliver Tanner takes our recognition of the human and natural form and layers it with unexpected textures, motifs and empty spaces.
A recent graduate from the National Arts School, Sydney, Oliver has developed his mastery of metalworking techniques working at Crawford’s Casting, one of Sydney’s ne art foundries. “It’s a pity that in this day and age it is increasingly hard to come by the opportuni- ty to learn to work with your hands” he says, “so much great art and design is born out of understanding and mastering one’s medium”
Tanner attempts as he states to “take material and push it to abstraction through various mediums of cast pewter, wax or welded copper” Allowing the viewer to see the object as a whole while the abstracion of form and material embues the work with ambiguity, treating meatal as a malleable, plastic form.