Author Archives: Brenda May Gallery

Robert Boynes exhibiting at Art Stage Singapore 2015

Next year will mark Brenda May Gallery’s third year of exhibiting at Art Sage Singapore, again joining a select group of Australian galleries in this international platform. We are proud to announce that in 2015 senior artist Robert Boynes will represent the Gallery with his vibrant multi-panel installation ‘Long Take – Slow Dissolve‘.

Across fifteen panels, ‘Long Take – Slow Dissolve’ encapsulates the aesthetic and energy of a contemporary, urban environment. Though the artist uses layers of iconography that are site-specific, such as the National Gallery of Victoria’s ‘water-wall’ and a veil of hanging ping-pong balls installed at the end of a tiny alley in Melbourne, Robert Boynes’ work evokes the overall energy of the big city, imaging no particular place and therefore lending itself to reflect any modern metropolis. Fractured imagery of crowds, references to the chaotic noise of communication, glowing fluorescent lights and junctions of human interaction are composed in a linear narrative – colours and shapes radiating from the canvases throughout the strip. The heat and activity of many of the panels in ‘Long Take – Slow Dissolve’ are grounded and juxtaposed with moments of strong colour and texture, though a definite emphasis on the human form in relation to urban spaces is always evident. Though each canvas is compiled of multiple layers, they exist as fleeting moments; peripheral glimpses of a familiar city-scape.


Robert Boynes in ‘Pop to Popism’ at Art Gallery of NSW

Pop to Popism, Art Gallery of New South Wales, 1 November 2014 to 1 March 2015

Boynes_playboy_club_newsRobert Boynes, ‘Playboy club news’ 1974
synthetic polymer paint on canvas, 152 x 152 cm
In the collection of the Art Gallery of New South Wales

Head Curator of Australian Art at the Art Gallery of New South Wales, Wayne Tunnicliffe, brings to Sydney incredible works by local and international artists who either pioneered, contributed to or notably engaged with the Pop Art movement.

“Spanning three decades from the mid 1950s to the 1980s, the exhibition traces the origins of pop art, its heady high period and its enduring legacy both in Australia and abroad. One of our most ambitious exhibitions ever, it will consume an entire Gallery floor and feature over 200 works…” – Art Gallery of New South Wales, The movement that changed art forever. Full text available here.

New in the Stockroom: Melinda Le Guay + Lezlie Tilley

We have a few new pieces in our stockroom by two of our Represented Artists. ‘Warp 6‘ is from a series by Melinda Le Guay that is strongly based in process and repetition. The work embellishes, manipulates and deconstructs the surface of fragile and translucent paper.

In the new paintings ‘Licorace allsorts‘ and ‘Harlequin‘, Lezlie Tilley returns to her earlier considerations of the geometric patternation in quilting. Both practices speak strongly to traditional woman’s work and handicrafts; Le Guay’s through the use of hand-stitiching and Tilley’s through her visual aesthetic.


Flatline exhibiting in 16th Asian Art Biennale

The video work ‘A Dance for Paul Klee’, by FLATLINE (Todd Fuller + Carl Sciberras) has been selected for inclusion in the 16th edition of the Asian Art Biennale. The biennale will be held from the 1 to 31 December 2014 in Dhaka, Bangladesh.

The film will also be screening at Grafton Regional Gallery as part of the Jacaranda Acquisitive Drawing Award from 17 October to 7 December 2014.


Peter Tilley joins Sculpture by the Sea Decade Club

peter_tilley Brenda May, Peter Tilley and partner Lynda at the Sculpture by the Sea Decade Club dinner at Buon Riccordo Ristorante

Peter Tilley has been inducted into the Decade Club at Sculpture by the Sea. The Decade Club was created to honour artists who have exhibited in Sculpture by the Sea for 10 years or more.

Peter will again have a new work at Sculpture by the Sea, Bondi, from the 23 October to 9 November.

Nicole Welch – Residency at Haefligers Cottage, Hill End


Haefligers Cottage at Hill End

During the month of September Nicole Welch was the Haefligers Cottage Resident at Hill End in regional New South Wales. Throughout the residency, Welch created site-specific media installations, producing incredible photographic works from these live projections.

Welch’s oeuvre consists of stunning images of picturesque landscapes that have a loaded symbol implanted into each painstakingly-composed scene. She does not resort to using Photoshop and instead takes props, generators, spotlights and projectors to her chosen location, where she camps out, waiting for the perfect light, before capturing these alluring disruptions illuminated within captivating terrain.

Nicole Welch on site in Hill End

Nicole Welch on site in Hill End

As Welch explains, “…‘Apparitions #6 – Projection ‘Le Kangaroo me charge, 1869′‘ captures a media installation composed during a Hill End Artist’s Residency in 2014. The projected image, punctuating the landscape of Wallaby Rocks, is an illustration extracted from the French book Australie : voyage autour de monde by De Beauvoir, published 1869. An early equivalent of a Lonely Planet guide for the 1860s, it represented a surge in interest in the ‘New World’ of Australia. A heroic image of conquest, ‘Le Kangaroo me charge’ projected onto the escarpment of Wallaby Rocks fixes time, encapsulating the past and present, both simultaneously active and representative of the layers of historical strata embedded in the landscape.

“This work is the first of a series of photographic and video works that reinterpret images borrowed from early European journals on Australia. In my practice I look to historical records of knowledge that reveal the ideologies embraced during the settlement of Australia. The era of the Enlightenment arrived with the dawn of science and these two forces, along with Christianity, had a central role to play in how the land, its people, fauna and flora were understood, presented and claimed. By throwing projections onto the terrain I illuminate representations of Australia from the past by bringing them into the present, creating a hybrid landscape that reveals the mechanisms that inform our present-day relationship to country.”

‘Apparitions #6 – Projection ‘Le Kangaroo me charge, 1869” will be on view in our charity exhibition Elephant in the Room, on view from 4 to 29 November. This show will raise funds for the Animal Welfare League, on view from 4 to 29 November.

Nicole Welch, 'Apparitions #6 - Projection 'Le Kangaroo me charge, 1869'' 2014, pigment ink, face-mounted, 80 x 80cm, edition of 6. ['Le Kangaroo me charge' engraving from Australie : voyage autour de monde / par le Comte de Beauvoir 1869]

Nicole Welch, ‘Apparitions #6 – Projection ‘Le Kangaroo me charge, 1869” 2014, pigment ink, face-mounted, 80 x 80cm, edition of 6. ['Le Kangaroo me charge' engraving from Australie : voyage autour de monde / par le Comte de Beauvoir 1869]

Brenda May Annex: Rochelle Summerfield

I recently moved to the Clarence Valley for love and found the mighty Clarence River. It’s been quite an adventure of discovery with my new relationship and a rural life that includes historical floods, fire and wildlife. ‘Subject to flooding’ takes inspiration from this environment.

I collage a powerful female form to imagine radically new ways to depict the body’s sensations and movement. She is what the body can be. She is my heroine. She is a beast, often flamboyant and may have wings when she wants to soar.

A small tributary off the mighty Clarence River meanders inland to an unknown and secret place, where lit by dappled sunlight perches a painted kingfisher and a collaged female form pondering the meaning of life, art and nature.

When the floods come, the river transforms into a raging and powerful force, and now the heroine battles urban dramas as surging waters sweep through domestic structures that try to regulate her. In the midst of rising waters, my heroine is optimistic, fatalistic and always transformative


October 2014 Exhibitions

▶ AL MUNRO, Systems of the Infinite
“Systems of the Infinite continues my interest in pattern systems and their relationship to the natural world. I draw on both traditional Japanese patterning and scientific visualisations to explore the mapping and cataloguing of nature.”


▶ TANMAYA BINGHAM, English Tea Party…gone wrong
“English Tea Party…gone wrong is an installation that typifies an ongoing epidemic plaguing Great Britain; TEA, the most sought after narcotic on the British market, and the drug of choice in the United Kingdom since the 18th century.”


▶ DANIEL CONNELL, Night Light in Black Box Projects
“The project captures the ability of indicator and stand-by lights to signify and recall space. Standby lights can be abstracted into navigation points in order for an individual to recognise familiar spaces when nothing else can be seen.”



New in the Stockroom Peter Tilley sculptures + Kevin McKay paintings

We have two new assemblages by Peter Tilley available in our stockroom from the ‘Above + Below’ series, which consider the downside of the coal and mining industry in Newcastle. Within the assemblages, Tilley used old foundry patterns alongside graphite electrodes out of the BHP steelworks located in Newcastle. Prior to the closure of the factory in 1999, artists were given access to the site for artistic inspiration.

Having received the Basil & Muriel Hooper Scholarship from the AGNSW in 2006, the Sydney City of Villages Art Prize in 2009, the William Fletcher Foundation’s Scholarship to The British School at Rome in 2011, the Kogarah Emerging Artist Prize in 2012 and the Waverley Oil Painting Prize in 2013, we are delighted to have a selection of Kevin McKay‘s applauded renderings of suburban landscapes, created both in his studio and plein air, available at the Gallery.


Deakin University Contemporary Small Sculpture Prize, 2014 International Art Competition, Kennedy Prize, and Jacaranda Acquisitive Drawing Prize Finalists

We are pleased to announce that a number of our artists have been selected as finalists in forthcoming prizes.

Finalists in the Deakin University Contemporary Small Sculpture prize. Their works (pictured below) will be on view at Deakin University from the 30 October to 13 December 2014.

Tanmaya Bingham’s drawing ‘Smirk’ will be exhibited as a finalist for the competition at the 2014 International Art Festival. The piece will be on view from the 8 to 11 October 2014 in Chelsea, NYC. Bingham will be exhibiting her new body of work English Tea Party…gone wrong starting 7 October. To receive a preview of the work please sign up here.

Apparitions #3‘ from Nicole Welch’s recent solo exhibition has been selected as a finalist in the inaugural Kennedy Prize. An edition of this work was also acquired by Artbank earlier this year.

Flatline is a finalist in the Jacaranda Acquisitive Drawing Award at Grafton Regional Gallery with the video work ‘A Dance for Paul Klee‘, to be screened from the 17 October to 7 December 2014.