On view until Thursday 9 June

We are pleased to present you with the exhibition catalogues for Pleated Logic by AL MUNRO, Resonance by BENJAMIN STORCH, plus Untitled (domestic gestures) by TANIA SMITH in Black Box Projects.

> Click here to view the lookbook for AL MUNRO
> Click here to view the lookbook for BENJAMIN STORCH
> Click here to view the lookbook for TANIA SMITH


** To ensure you are able to view the digital catalogues, please check that your browser and flash player are updated regularly.



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Al Munro Interview

Although Al Munro’s oeuvre is bursting with colour, flocked with glitter, full of texture and composed of patterns, a scientific basis that is layered beneath these vibrant surfaces informs and inspires her practice.  Munro is based in Canberra at the Australian National University where she has recently undergone an interdisciplinary art/maths fellowship with the Department of Applied Maths, and completed a Phd that involved looking at the capabilities of textiles to describe scientific codes and mathematical data. It seems that Munro is able to explore complex theories, ideas and systems through textiles, often resulting in work that condenses her findings into geometric maps and dynamic forms. An appreciation of historical, cultural and contemporary textiles is also evident throughout Munro’s practice, which often adopts paint on canvas or board to interpret these ideas. The artist recently completed three residencies in Asia where she conducted research into traditional practices, whilst also curating the exhibition …a piece of string…, as to showcase interdisciplinary contemporary textiles. Pleated Logic is Munro’s newest body of work, which pulls together a lot of the investigations and aesthetic notions from her recent experiences…

1) You have completed two residencies in Chiang Mai in Thailand recently that you have credited as informing Pleated Logic. What particular findings or experiences from these international immersions were the inspiration?
My residencies at Chiang Mai University Faculty of Fine Art in 2014 and 2015 gave me the opportunity to spend extended time in the studio developing new works as well as working into existing bodies of work. The colours of the contemporary textiles produced by the Hmong and Karen ‘hill tribe’ people are a constant interested to me – brightly coloured and even fluoro synthetic yarns woven and embroidered into traditional patterns appeal to my sense of colour. On the trip to Chiang Mai in January 2015 I also became interested in the pleated fabric lengths produced for the contemporary versions of traditional Karen garments. These highly coloured and tightly pleated striped fabric lengths have led to this new body of work that looks at pleating as a way to distort pattern.

2) Last year you also completed a residency in Japan. What did this experience involve?
In Japan I explored the relationships between the scientific imaging of crystallographic symmetry groups and traditional Japanese geometric repeat patterns. I undertook research at museums in Tokyo and Kyoto, including the Paper Museum, Edo Textile Museum and the Nishijin Textile Centre, where I studied samples of geometric patterning on paper and textiles. These patterns are also found in the 17 main ‘wallpaper’ groups of crystallography, the field of science that studies the geometry and structure of atoms within most matter. The residency extended my long term practice of using textile and drawing-based media to explore the way that the natural world is inscribed as a code, pattern or formula within scientific images.

3) What would you consider the biggest or one of the biggest break-through moments in your PhD art-making or research?
I think this would have to be the realisation of the complex spatial possibilities of textile-based media. Not only do textiles describe the fundamental Euclidean spatial concepts of point, line and plane – indeed the term line in geometry is derived from the latin ‘linea’ for linen or thread – but textiles also allow us to realise and explore more complex forms of space such as those of non-Euclidean geometries. The capacity for textile forms to stretch, flex, fold and curve means that both their artistic and mathematical potential is huge.

4) Who would you consider some of your primary artistic influences?
Oh gosh now there’s a question…
Louse Bourgeois’ fabric works are a constant joy.
Marcel Duchamp’s various string works for the way he made work that was both experiment and finished artwork, and for its interrogation of the spatial possibilities of thread. His work ‘Three Standard Stoppages’ provided a light bulb moment for me in relation to textiles and space.
And many many more…

On view from Saturday 14 May to Thursday 9 June 2016

Afternoon drinks with the Artists, Saturday 14 May, 3-5pm

> AL MUNRO, Pleated Logic
The paintings in the exhibition, Pleated Logic, continue my interest in exploring the way textile forms, such a pattern and structure, allow us to reconsider the spaces of abstract painting. This exhibition draws on ideas developed on recent residencies in northern Thailand, and my interest in the heavily pleated Hmong textiles found in the region.

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Inspired by imagery of dynamical systems in nature and science, my work has been revolving around fluid, orbital loops for a good number of years. The exhibition will feature some new works in alabaster alongside works in copper and stainless steel.

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> TANIA SMITH, Untitled (domestic gestures)
The videos that comprise the Untitled (domestic gestures) series show absurd moments of escape. Like the slapstick of Buster Keaton, a woman is trapped in a loop of pleasure and anxiety. The videos are an archive of absurd gestures – repetitious, futile, joyous and mischievous.

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More exhibitions currently on view


Screen Shot 2016-04-29 at 3.28.18 pmMouthfeel
Northern Centre for Contemporary Art
Darwin, Until 7 May 2016

Mouthfeel, curated by our Gallery Manager Megan Fizell, is a selection of video artworks that focus on the ingestion of edible and non-edible substances.

< Pictured: Martynka Wawrzyniak (courtesy of Envoy Enterprises, New York City), ‘Chocolate’ 2010


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NORTH Contemporary Art Space
Until 7 May 2016

Curated by Abdullah M.I. Syed, The ‘F’ Show brings together fifteen female artists who have worked with him over the last decade. Catherine O’Donnell has a selection of works in this exhibition.

> Pictured: Catherine O’Donnell’s small gouache and graphite drawings of everyday objects on gum leaves.


A Dirty Business
Newcastle Art Gallery
Until 15 May 2016

A show exploring Peter Tilley, Andy Devine and Andrew Styan’s collaborative and solo practices.

Screen Shot 2016-04-29 at 3.33.44 pm< Andy Devine + Peter Tilley, ‘Response No. 20’ 2015






Screen Shot 2016-04-29 at 3.36.37 pmJust Draw
Newcastle Art Gallery
Until 1 May 2016

Curators Todd Fuller and Lisa Woolfe have brought together artworks in a variety of mediums that reveal the multifaceted nature of contemporary drawing practices, including works by Catherine O’Donnell, Todd Fuller and Flatline (Todd Fuller + Carl Sciberras).

< Pictured: Flatline, ‘imprint’ 2014, cast crayons.


Black HarvestScreen Shot 2016-04-29 at 3.42.04 pm
Muswellbrook Regional Arts Centre
Until 5 June 2016

Peter Tilley’s touring collaborative exhibition with Andy Devine is currently on view at Muswellbrook Regional Arts Centre. Black Harvest includes both individual and joint artworks by Devine and Tilley, with reference to the Hunter Valley Region.

> Pictured: Peter Tilley + Andy Devine, ‘Response #17’ 2014



Screen Shot 2016-04-29 at 3.47.09 pmWait, Weep & Be Worthy: Women, The Home Front & War
Hawkesbury Regional Gallery
Until 22 May 2016

This exhibition brings the perspectives of contemporary artists to the role of women fighting on ‘the home front’ in World War I. Catherine O’Donnell has three major works in this exhibition.

< Pictured: Catherine O’Donnell, ‘Sisters of the Australian Voluntary Hospital’ 2014




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Australian Art
Orange Regional Gallery
Until 3 July 2016

This show explores the diverse ways in which the dog has been presented in Australian art from colonial times until the present, revealing much about our deep bond with the animal. James Guppy’s work ‘Cerberus’ is one of 70 important works that have been selected for this exhibition.

> Pictured: James Guppy, ‘Cerberus’ 1991


New in the Stockroom

Melinda Le Guay

A framed work from Melinda Le Guay‘s Conflict series is now available at the Gallery. This dress was made by the artist laboriously knitting layers of enamelled copper wire and then embellishing the garment with found objects and items of adornment.

Le Guay comments on this series saying: “My research and work has become increasingly concerned with nurturing, healing and protecting the fragile and vulnerable… [It] hinges on the physical and psychological susceptibility of the young female… Still immersed in materiality, my work is not generated by conscious thought but is experiential and process driven…” – 2011

> Sign up to Melinda Le Guay’s email list here

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< Melinda Le Guay, ‘Covert’ 2011/2016
enamelled copper wire, thread, gauze, bone, brass brooch, pin, feather, paper, beads. 72 x 21 x 10cm. Frame size: 89.5 x 43cm – $4,200



Peter Tilley

Interested in the associated meanings of symbols such as the standing man, empty chair, suitcase, vessel, cloud and lone tree, Peter Tilley is able to convey messages using a simplicity of form. His newest work utilises the symbols of the vessel and the cloud, whilst also exploring texture through his use of mixed timbers in both raw and finished states, along with bronze and gold leaf.

> Sign up to Peter Tilley’s email list here

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Nicole Welch and Ashleigh Garwood Finalists in MAMA Art Foundation National Photography Prize 2016

Founded in 1983, the MAMA Art Foundation National Photography Prize is a biennial acquisitive award and exhibition showcasing the best in contemporary Australian photography. We are delighted to announce that works by both Nicole Welch and Ashleigh Garwood are finalists in this prize.

The exhibition that showcases the finalists will be on view from Saturday 21 May to Sunday 7 August 2016 at MAMA in Albury.

> Sign up to Nicole Welch’s email list here
> Email us to enquire about Ashleigh Garwood here

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James Guppy Finalist in Bayside Acquisitive Art Prize

The Bayside Acquisitive Art Prize is an annual award held by The Gallery at Bayside Arts and Cultural Centre in Victoria. James Guppy‘s major painting ‘Negotiated Settlement‘, depicting billowing clouds and brawling businessmen from his 2015 exhibition In Flagrante Delicto, has been selected as a finalist.

> Sign up to James Guppy’s email list here
> View In Flagrante Delicto here

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James Guppy, ‘Negotiated Settlement’ 2015
acrylic on polycotton, timber frame
120 x 82cm

Catherine O’Donnell Fairfield City Museum and Gallery

21 May – 13 August 2016

Catherine O’Donnell‘s solo exhibition Drawn in Fairfield will soon be on view at Fairfield City Museum and Gallery. The drawings in this exhibition are on a smaller scale to many of O’Donnell’s previous works and represent the architecture of the Fairfield area. An opening event will take place on Saturday 21 May at 2pm.

Also, save the date for O’Donnell’s first solo exhibition as a Represented Artist, later this year at Brenda May Gallery, 1-27 October.

Sign up to Catherine O’Donnell’s email list here.

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On view from Saturday 16 April to Thursday 14 May 2016

Afternoon drinks with the Artists, Saturday 16 April, 3-5pm


This is the fourth exhibition in our ‘Introducing series’. This time showcasing the work of four artists who are new to the Gallery. In this edition, we present the small, delicately etched clayboard works by Michèle Heibel, the woven paper, wall-mounted sculptures by Bettina Hill, the layered, laser-cut and watercolour compositions by Louise Morgan, and Belinda Winkler’s finely balanced monochrome bronze and stoneware vessels.

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DUMBSH*T VIDEO ART, curated by Stefan Popescu

This is an exhibition of contemporary experimental screen-works that explore new approaches and styles in an era dominated by online video, convergent media and hypercapitalism. The artists exhibited are established screen arts practitioners who are responding specifically to that brief. As the exhibition name suggests, the works are both playful and profound, challenging established notions of low and high screen culture. The works exhibited explore datamoshing, vaporwave, darkwave, witch house, glitch aesthetic, performance and new materiality.

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Glen Clarke and Sue Healey on view until Thursday 14 April

We are pleased to present you with the exhibition catalogues for Into the Piguenit Redux by GLEN CLARKE and On View by SUE HEALEY. The exhibitions will be on view until Thursday 14 April.

▶ Click here to view the lookbook for Glen Clarke
▶ Click here to view the lookbook for Sue Healey



** To ensure you are able to view the digital catalogues, please check that your browser and flash player are updated regularly.



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