Press: James Guppy, Robert Boynes & Al Munro in Habitus

James Guppy, Robert Boynes and Al Munro are featured in the current issue of habitus magazine. The article focuses on the juxtaposition of classic design and contemporary art.

The works by James Guppy and Robert Boynes are pictured in the ‘Botanical and human’ section of the article, whilst Al Munro’s work is on the ‘Geometric and abstract’ page.

Reproduced in: habitus, Issue 13 2011, pp. 40-42


Top: James Guppy, ‘The Struggle’,acrylic on linen. 137 x 91cm
Centre: Robert Boynes, ‘Next Exit’, acrylic on canvas, timber – diptych, 120 x 164cm 
Bottom: Al Munro, ‘Small Blue-Black Mineral Crystal’, screen print and glitter flocking on Stonehenge paper- unique (framed), 112 x 76cm

New in the Stockroom: Helena Leslie Shadow Series ‘A Stroll’ & ‘Resting Deer’

Helena Leslie, ‘Resting Deer’ (detail) 2011, acrylic on plywood, plastic figurine,  40 x 30 x 4cm

From a distance Helena Leslie’s latest additions to her Shadow Series appear to be a splatter of paint upon a wooden board, alluring viewers in for a closer look. Once examined up close, a small figurine is discovered to be at the centre of the seemingly amorphous shape. It is realised that the splatter is in fact shadows created by the figurine, painted at multiple angles. ‘A Stroll,’ features a woman taking a step. This action appears frozen in time, however time is still moving around her, creating long white shadows as moments pass by. In contrast, ‘Resting Deer’ features a figurine portraying a calm instance. It is enlivened and animated by the deep fuschia hue the work has been painted in. Both works illustrate a sense of time using a technique reminiscent of sundial shadows in effect and also successfully display the power of the miniature.

Helena Leslie, ‘A Stroll’ 2011, acrylic on plywood, plastic figurine,  40 x 30 x 4.5cm

‘Body Language’, Opening 27 September

Through gestures, posture and facial expression we communicate without words to the world around us.

Body language is universal, as it crosses cultures and languages and does not belong to any conventional code of communication. We tend to express ourselves subconsciously, giving insight into unspoken emotions, thoughts, ideas and truths. Tattoos are an example of a distinct type of illustrative body language. Traditionally used as decoration for spiritual purposes, the body becomes a marked canvas conveying a vast array of meanings to the viewer without a sound.

Opening drinks with the artists will be Wednesday evening September 28th from 6-8pm. In addition, we will be holding a special afternoon performance of ‘In silence and movement you can show the reflection of people’ by Sylvia Schwenk on Saturday the 15th of October at 1pm.

Patsy Payne, ‘Waterfall’ 2011, laser cut Corten steel, edition of 3, 200 x 60 x 0.3cm

Artists include Alex Austin, Julie Bartholomew, Tanmaya Bingham, Robert Boynes, Penelope Cain, Graeme Chambers, Will Coles, Doble & Strong (courtesy of Block Projects, Melbourne), Aniseh Fakhri, Todd Fuller, Irianna Kanellopoulou, Melinda Le Guay, Julian Meagher (courtesy of Chalk Horse Gallery, Sydney), Katy Mutton, Indigo O’Rourke (courtesy of Lindberg Galleries, Melbourne), Patsy Payne, Josh Raymond, Kate Scardifield, Sylvia Schwenk (courtesy Artereal Gallery, Sydney), Marc Standing, Claire Steele, Leyla Stevens, Liz Stops, Peter Tilley.

Lyndal Hargrave Public Art Commission

Lyndal Hargrave has been awarded a public art commission for the Gassworks development in Brisbane. She proposed organic hexagonal sculptures to extend throughout ‘the spine’ of the development. Reminiscent of the geometric wall-mounted constructions comprised of objects of the everyday Hargrave exhibited with the Gallery earlier this year, the artist’s submission effectively employs angular forms and patterns. Hargrave investigated light in her exhibition with the Gallery as her sculptures optomised the white surface of the walls, reflecting a coloured haze. In the commission the artist once again explores light, reflecting on the way daylight and artificial light will create shadows, forming an ever-changing artwork with movement and energy. The commission is inspired by the structure of the Gassworks, whilst also alluding to the colour of gass flames and referencing the history of the site. Hargrave explains, “My sculptures are complex and diverse and invite continued investigation and contemplation.”

Peter Tilley + Janet Parker-Smith, Closing 24 September

A timely reminder to visit the shows by PETER TILLEY and JANET PARKER-SMITH before they close on Saturday 24 September.

Peter Tilley’s current show embodies the clean aesthetic established by the artist throughout his expansive career. The warm tones of the reclaimed timbers, which have once again resurfaced in the work, are mirrored in the oxidised metals of the outdoor sculptures he is know so well for.

The colourful assemblages by Janet Parker-Smith feature deconstructed books and dolls as well as original printmedia. The works are playful and beautifully made, producing creatures that make the familiar unfamiliar and the know unknowable.

New in the Stockroom: Jim Croke ‘All Sorts’ & ‘Out of Sorts’

Left: Jim Croke, ‘All Sorts’ 2011, steel, 11 x 13 x 12cm 

Right: Jim Croke, ‘Out of Sorts’ 2010, steel, 8 x 14 x 14cm 

All Sorts’ and ‘Out of Sorts’ display Jim Croke’s ability to create lively sculptures out of heavy materials. When viewed from above, there is an illusionary endless depth to both works, as the blocks are piled on top of each other with little breathing space. Once given a side-view, the cubes seem to bubble above their bases, adding lightness to these dense, compact pieces. Conjuring thoughts of liquorice cubes in its title, ‘All Sorts’ displays a balancing act, as the solid chunks appear to be on the brink of toppling over. Reminiscent of sugar lumps, the blocks in ‘Out of Sorts’ are only just contained by their cubed base. Both sculptures are similar in nature and feel to Croke’s 2009 work ‘Looking at a River but Thinking of the Sea,’ in that they share the same sense of activity and tension. Where the larger work consumes the viewer in it’s jumbled and chaotic appearance, ‘All Sorts’ and ‘Out of Sorts’ are more like compact worlds about to explode.