Desire. Longing. Craving. Lasciviousness.
Lust for flesh. Lust for power. Lust for money. Lust for life. Lust for food. Lust for freedom. Lust for art.
Lust is that powerful emotion hidden deep within your heart. It can propel you in many directions positive or negative. Are you willing to surrender to your cravings? Are you willing to bare your soul and achieve that secret longing?
Artists throughout the ages have embraced this emotion to produce extraordinary works. This exhibition takes raw passion into a contemporary context, highlighting our diverse lustful inclinations.
Surrender to your unbridled desires.
Artists include Crispin Akerman (courtesy of Greenhill Galleries, WA), Julie Bartholomew, Bernice Davies, Leah Emery (courtesy of Heiser Gallery, Brisbane), Todd Fuller, Dan Gladden, James Guppy, Klaus Gutowski (courtesy of Peter Walker Fine Art, Adelaide), Garth Knight (courtesy of Iain Dawson Gallery, Sydney), Daniel Linnet, Julian Meagher (courtesy of Chalk Horse Gallery, Sydney), Sarah O’Sullivan, Morgan Shimeld, Jane Siddall (courtesy of Orexart, Auckland) and Terry Stringer (courtesy of Robin Gibson Gallery, Sydney).
|Garth Knight (Represented by Iain Dawson Gallery, Sydney), ‘Change, Metamorphosis, Transformation IX (Anne)’
2006, digital type c print – edition of 10, unframed, 100 x 125cm
Brenda May Gallery is pleased to announce that Lyndal Hargrave‘s sculpture ‘Juno (Queen of the Gods)‘ from her current exhibition ‘Constructs of Love and Logic‘ has been acquired by Artbank for their collection.
Established in 1980, Artbank purchases contemporary Australian art in order to support and promote emerging artists. The program was initiated by the Australian Government and is now part of the Office of the Arts with over 10,000 artworks in the collection. To gain revenues to maintain and expand the collection, Artbank rents works to businesses and individuals across the country.
Lyndal Hargrave, ‘Juno (Queen of the Gods)’ 2011, timber, enamel, 180 x 160 x 25cm
Simple, sculptural and stunning pieces are Linda van Niekerk’s forte. The ‘Silk Dew Drops’ display her ability to create beautifully incomplex designs that appeal to and complement many. This particular design was the overall winner of the Tasmanian Design Awards in 2010. van Niekerk explains in the Design Centre newsletter, “As a jewellery designer, my focus has been on the creation of pieces pared back to simple and, I hope, elegant form…” The ‘Silk Dew Drops’ are the embodiment of her vision.
Each ‘Silk Dew Drop’ is made using fully recycled sterling silver and 100% silk cord. There are two different sizes available in a wide selection of colours. There is a sterling silver slide that joins the silk cord at the back that can be moved along the cord to adjust the length. This feature makes the pieces very versatile as they can be worn with almost any neckline.
With an exhibition on the horizon and her work featuring in publications such as Country Style and Design Quarterly, be sure to watch this space for more innovative and structurally interesting designs from van Niekerk.
A timely reminder to visit the shows by LYNDAL HARGRAVE and FIONA FENECH before they close on Saturday 2 July.
Lyndal Hargrave’s innovative use of the everyday melds colour and form into linear wall-mounted sculptures. The geometric constructions glow from the reflection on the wall of vivid pigment applied to the underside of the sculptures. The round symmetric forms are countered by seemingly organic, asymmetric shapes that twist and turn up the walls.
The familiar narratives of Cinderella and Beauty and the Beast are two of the traditional tales reworked by Fiona Fenech in her series of hand-stitched drawings on paper. In ‘Chinois Cinderella‘, Fenech highlights the Chinese origins of the story via the small slippers referring to the tradition of foot binding. Similarly, in ‘Miss Beaute Monstre‘, she uses the feet of the young girl to embody the anamorphic aspect of Beauty and the Beast.
|Left: Lezlie Tilley ‘Cad Yellow/Cobalt Blue’ 2010, acrylic on canvas – 16 pieces, 30.5 x 30.5cm each
Right: Lezlie Tilley, ‘Day by Day’ 2003, mixed media on cedar on board, 122 x 162cm
From her linear canvases to the meticulous mix media works with stones and shells, the arrangement of objects according to chance is an integral part of Lezlie Tilley‘s art. The compositions of fragmented shapes and objects are perfectly balanced with the organic objects reduced to their geometric forms.
In her linear patchwork series, from which ‘Cad Yellow/Cobalt Blue’ hails, two pigments are selected – as referenced in the title – and variations of the hue are achieved by adding only white or black to the paint. The small canvases are then randomly arranged to form an abstracted patchwork quilt.
|Left: Lezlie Tilley, ‘Bushfire Twigs’ 2002, twigs, mixed media on board, 59.5 x 59.5xm
Right: Lezlie Tilley, ’325 Tiny shells arranged according to the law of chance’, shells, pebbles and pencil on paper, 10 x 10cm
The natural objects found in Tilley‘s work are exemplified by the above pieces. ‘Bushfire Twigs’ was produced through the labour-intensive process of setting twigs in plaster and then sanding the surface down until it is smooth, ultimately revealing the interior of the small bits of wood. The organic form is reduced to a single plane and set within the shape of a square, a configuration that is repeated within her work. Likewise ‘325 Tiny shells arranged according to the law of chance‘ was completed though a methodical process of randomly selecting and adhering tiny shells to the center of each small square on hand drawn, gridded paper. According to Tilley, the series represents an order she is able to impose on the natural world.
|Claire Steele, ‘here’ 2010,
acrylic on canvas, 120 x 120cm
- a curated group exhibition
27 September to 22 October
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 truth. Tattoos are an example of a distinct type of decorative 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.
We will be accepting artist proposals for the ‘Body Language’ exhibition until Friday July 22nd. Submissions should be posted directly to the Gallery and should include a CD of recent work, an up to date C/V and a one page written proposal outlining which exhibition you are submitting for and the nature of the work you are proposing.
Click the image above to read Todd Fuller’s interview on the Centerhouse Community Art website.
Congratulations are in order for Fuller who has been selected as a finalist in CologneOFF VII, the international videoart festival.
Melissa and Vanessa, the masterminds behind Parliament of Two**, may not be on the way to world domination as their name alludes, but the Gallery is delighted to present their jewellery range ‘Open Book.’ This collection is inspired by old book illustrations and uses old typography techniques to create works of curiosity, nostalgia and humour.
|Left: Parliament of Two**, ‘the man: training wheels’ 2011, plastic, 750mm metal chain and findings, $40
Centre: Parliament of Two**, ‘the heart: be still my…’ 2011, plastic, metal brooch backs, $35
Right: Parliament of Two**, ‘the snail: pass the salt’ 2011, plastic, metal brooch backs, $35
The three sections of the range include Zoological Science, Technology and Medical Series, which are all black and white images available in brooches and necklaces that feature quirky designs with just as quirky titles. “the snail: pass the salt,” “the man: training wheels” and “the heart: be still my…” are just three imaginative, charming and clever examples that prove why a parliament of two is better than a parliament of one!