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
< 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
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.
Our Untitled Show features artworks that differ in style, medium, inspiration and affect. The only unifying quality is that they do not allow audiences to rely on a title for further instruction, and instead are open to interpretation.
Al Munro, ‘Untitled 2’ 2015
acrylic paint on plywood, 43 x 31cm
‘Untitled’ would appear to be the most common name attributed to a work of art. Despite the word denoting nothingness, the power of the untitled work is that it has the ability to express the opposite. Artists usually name works to convey something further about the piece to an audience, whether that is a feeling, a description, or a nod to its inspiration. An untitled work, on the other hand, asks the audience to think and question a little more in order to uncover meaning.
The works in this exhibition will differ in style, medium, inspiration and affect. The only unifying quality will be that the works do not allow audiences to rely on a title for further instruction and will instead be entirely open to interpretation.
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.
Waratah Lahy, Melinda Le Guay, Al Munro and Mylyn Nguyen have been curated into the group exhibition Kitchenalia at Goulburn Regional Art Gallery. The show, on view from 28 August until the 11 October, features artists who use kitchen-related materials and subject matter within their practice. Included in the exhibition are the delicately painted glasses by Waratah Lahy, an assemblage of patty-pans by Melinda Le Guay, Al Munro’s crochet bottles and Mylyn Nguyen’s tiny tableaux contained within spoons and vessels.
TL: Mylyn Nguyen, ‘And then she said…’ 2013, spoon, twigs, pebbles, fibre, w/c on paper, 9.5 x 16 x 4.5cm
TR: Al Munro, ‘Homage to the Everyday’ 2013-2014, crochet textile, installation view
BL Melinda Le Guay, ‘Ruffle 1’ 2007, paper on board – framed, 48.5 x 72cm
BR: Waratah Lahy, ‘Van and Sign’ 2007, oil on glass – 2 pieces, 14.5 x 13.5 x 10cm