New in the Stockroom: Todd Fuller drawings completed during his residency at the Cite des Arts, Paris

Left: Todd Fuller, ‘The Escape (Burrow, The Sequel)’ 2011, mixed media collage on paper, 56 c 75.5cm
Right: Todd Fuller, ‘A Found Friend (Tin Man)’ 2011, mixed media collage on paper, 29.5 x 41.5cm

“Under strict self-imposed instructions, I attempt to draw every day, pushing ideas, integrating imagery and attempting to learn from the Masters that are suddenly accessible. There are days when my studio offers solace from the cultural shock of the city and I hibernate, creating a great deal more than expected. I return with several animations and a box of drawings which British Airways politely tells me is 11 kilos over my baggage allowance.”

Todd Fuller, ‘Residency at La Cité International Des Arts’, Nava Quarterly, March 2011, p.13.

Left: Todd Fuller, ‘A Soul On The Street (Tin Man)’ 2011, mixed media collage on paper, 56.5 x 75.5cm
Right: Todd Fuller, ‘Lost (Tin Man)’ 2011, mixed media collage on paper, 50 x 64.5cm

The drawings were completed during Fuller‘s residency at the Cité des Arts in Paris and composed upon a collaged background of pages from French books. The majority of works were created in conjunction with his animated films, the title in brackets referencing the specific film.

The two drawings below are from a new animated storyline by Fuller that “involves a shelf on which the man not only stores his heart but a jar of hope, box of happiness, a bottle of joy and all sorts of intangible but important ‘stuff’ for safe keeping. The man grows and so to does his heart, he finds a friend and realises that he needs that heart but he cannot get the jar open.”

Left: Todd Fuller, ‘Cross Section, Subtraction (Jar of Hearts) 2011, mixed media collage on card, 70 x 50.5cm
Right: Todd Fuller, ‘Safe Keeping (Jar of Hearts)’ 2011, mixed media collage on card, 70 x 50.5cm

A Selection of Work from Art + Humour Me – Closing Saturday 7 May

As noted in Spectrum in The Sydney Morning Herald last weekend by Louise Schwartzkoff, “Some of it is whimsical, some clever and some crude. All of it is designed to provoke a chuckle.” From the balancing dogs in shopping carts by Joanna Braithwaite (courtesy of Darren Knight Gallery, Sydney) to Mylyn Nguyen‘s hot sculpted glass monsters, the works not only share the lighter side of the arts but also include autobiographical elements. The walls have been echoing with giggles and a few visitors were spotted dancing along to the DVD ‘Dancing in my kitchen on my 29th birthday’ by Julia Burns.

Art + Humour Me continues until Saturday 7 May 2011 and will be the last chance to see this collection of work. The next exhibitions by Melinda Le Guay and Al Munro follow, starting on Tuesday 10 May.

New in the Stockroom: James Guppy ‘Poppy’

The 2005 painting ‘Red Poppy’ by James Guppy has never been publicly exhibited. Upon completion, the work entered into a private collection and is only being released for sale now, a full six years later. The 91.5cm square canvas is hung on the diagonal making it a 128.5cm square painting. The diagonal canvas was a personal challenge for Guppy as it is difficult to resolve a composition in that shape. Guppy began creating the diagonal works in the early 90’s and the diamond shape was first incorporated into his peeping box series.

James Guppy, ‘Red Poppy’ 2005, acrylic on linen, 128.5 x 128.5cm

Press: Melinda Le Guay in Das Superpaper

  ‘Wire Mesh Steel Dresses’, Megan Fizell, Das Superpaper Issue 17, February 2011, p.32-33.

“As a young girl, Melinda le Guay learned to knit, a skill that she revived to create her intricate and detailed sculptures. Using discarded copper wire, the dresses are knit into a loose mesh with other soft materials – paper, gauze, feathers – woven into the design. Le Guay does not follow a specific pattern, the initial dress was conceptualised as a corset, and that dress became the standardised design that she replicates from memory. She uses needles in varying sizes to construct her sculptures over a two-week period, with the repetitious act of knitting central to her work. Inspired by artists who have ‘used labour intensive repetition or the methodical processes of domestic skills such as knitting, sewing and repair,’ the act of knitting not only establishes a visual record of this repetitious act, the nurturing associations connected to this craft also highlight the other themes embodied in the series. The dresses are sometimes layered and create a complex mesh that is hung against a wall. The wire is not bent into uniform stitches and the loops and curls create a haphazard arrangement of shapes.”

New in the Stockroom: Emily McIntosh ‘Egg’

Following her 2010 solo exhibition, ‘Of Memory‘, Emily McIntosh has continued her scientific investigation within her artistic practice with a focused look at the egg. For McIntosh, the egg signals potential. It is one of the only single celled organisms that can grow into anything.

Each ‘Egg’ is solid formed hot glass from a furnace. McIntosh gathers the melted glass on blow pipe which she is constantly rolling to get a uniform shape. She creates the ovoid shape by manipulating the mailable glass with a wooden block. The works are composed of three individual gathers of glass with the surface carved back and hand finished with a diamond wheel for a uniform lathe surface.

Left: Emily McIntosh, ‘Egg’ 2011, solid glass, timber, 12 x 8.5 x 8.5cm

Melinda Le Guay: Artist Studio

The rows of delicate knit dress sculptures line the walls of Melinda Le Guay‘s dining room, a space that doubles as her studio. In her home shared with her family, Le Guay painstakingly creates the ethereal sculptures for her upcoming solo exhibition, ‘Conflict’ on view starting the 10th of May. Surrounded by her art, one could say that she literally lives, eats and breathes her work day in and day out.

There will be 10-12 works in the exhibition for which Le Guay has created around 20 dress forms using recycled wire and thread, some of which she has then coloured red or yellow. Each work will start with a base dress form that is then wrapped with gauze that she may have stained blue or an orange-pink with an iodine solution. Over the gauze, additional dresses will be layered creating depth and density.

In her previous exhibitions, Le Guay used paper as her medium – drawing on it, sewing it by hand or machine and by using the paper itself, gathering it in repetitive lines and designs. These earlier works alluded to foot binding, female corsetry and the like – some of the physical methods used in the control of women across the ages and among different cultures.

However in this series Le Guay employs simple, hand knitted dresses as the ideal form to describe the domestic. Furthering her investigation into the repetitiveness of ‘women’s work,’ she uses the process of knitting – often considered a nurturing activity associated with femininity – but uses wire instead of the soft material expected. Through the use of wire, she introduces a conflict between protection and exposure in the seemingly simply beautiful dresses. Le Guay uses the wire to give the dress structure and to create an armour-like garment of protection but at the same time it also displays an ethereal translucency through the gaps in the wire which may in turn expose the wearer to danger.

New in the Stockroom: Helena Leslie ‘A Dissimulation of Birds’

Helena Leslie first exhibited at Brenda May Gallery in the 2010 ‘Paperworks‘ show and we are pleased to add ‘A dissimulation of birds’ to our stockroom. The mixed media work on paper features tiny white figurine birds suspended above the surface of the paper with copper wire. The delicate shadows of the birds are carefully transcribed by Leslie with pencil, establishing the visual depth of the assemblage.

The detail (pictured left) illustrates one of the seven birds perched upon the copper wire. The work is intricate and subtle with the miniature scale inviting a close inspection by the viewer.


Right: Helena Leslie, ‘A dissimulation of birds’ (detail) 2010, pencil on paper, plastic figurines, acrylic on copper wire, 60 x 50cm