Our current exhibitions will be on view until Saturday 17 August and a reminder that they are all eligible to be reviewed for the 2 Danks Street Award for Contemporary Art Criticism. Don’t forget all the Galleries are open late every Wednesday night until 7pm and our own Danks Street Diner and Luke Mangan’s tasting room next door, ‘Mojo‘, are now also open every Wednesday from 5pm! Parking’s a breeze…
▶ AL MUNRO, Patterns from an invisible world
Al Munro’s canvas works reveal visual formations created through crystallographic studies, magnifying them into detailed maps of meticulously composed concentric circles. Munro creates a sense of the infinite nature of these “patterns from an invisible world”, allowing some of her hand-drawn dots to escape the surface of the canvas and spill onto the surrounding wall. Further extending this visualisation and continuing her use of fibre, Munro presents an installation of vibrant crocheted ‘targets’ that are essentially zooming into her canvas works, enlarging the small multi-coloured circles.
▶ TANMAYA BINGHAM, Pigs and their friends
Tanamaya Bingham’s recent works are diverse in their materials, presentation and sensibility, providing a stimulating and engaging exhibition. Bingham’s series of six tiny ‘Pet’ works not only display her astounding ability to scrupulously render lifelike depictions in coloured-pencil, but also reveal endearing relationships. Her ‘Almost Animal’ series, drawn in graphite, feature the heads of familiar animals possessing an attribute that is not quite right, encouraging curious double takes. Also in this exhibition are new works incorporating collage, exuding a mix of the whimsical and the macabre.
▶ MARGUERITE DERRICOURT, Travelling Light
This exhibition, focusing on the life, nature and mannerisms of moths, emanates a sense of flutter and flight. Holding the centre of the room is Derricourt’s substantial sculpture, ‘Ghost Moth I’ – a claustrophobic cluster of activity in Corten steel. Moulded from Japanese paper, the artist has created a series delicate and textural pieces in white, grey and blue hues, which seemingly have just alighted gently onto the wall’s surface. Appearing to launch themselves from the walls, the ‘Shadowlands’ series visually defy their weighty material.
What is your earliest memory of making art?
I think I was three or four years old and I covered a glass jar with squares of coloured paper and glitter and gave it to my parents for Christmas. They used it as a biscuit jar for years. It was pretty horrific but at the time I thought it was the most beautiful thing I had ever seen. I demonstrated my love of sparkly things from an early age!
Do you listen to music when you are creating works? If so, what is on high rotation?
I don’t really listen to music when I’m making art, I prefer to listen to audiobooks, podcasts or Radio National. But my absolute favourite thing to listen to is a cricket test match – summer in the studio is my favourite time!
When preparing for your last exhibition, did you create works around a theme or did the links between the works reveal themselves later on?
The works all explore the patterns which underpin worldy matter – the complex lattices and grids which provide structure at a molecular level. With these works I imagines I was a scientist searching for patterns which would be revealed by the process of drawing.
Describe the space in which you create your works (studio, lounge room etc):
I have a studio which is really a place to store things and most of my work is done at the kitchen table or in the lounge room.
Do you have a favourite piece or favourite pieces? If so, which piece/s and why?
My favourite piece is always the last thing I have made. I am always interested in pushing my ideas further so my head is usually one step ahead of my art making.
What has been, for you, a defining moment in your career as an artist?
As a recent graduate I was fortunate to be awarded the Australia Council’s London Studio Residency – this was a great experience and gave me the confidence to believe I could carve out a career as an artist.
What did you eat for breakfast?
Oats, chopped up apple, almonds and cinnamon with soy milk and a cup of tea. Yum.
▶ AL MUNRO
“I use drawing-based media to examine processes of scientific representations of the natural world. The work in this exhibition stems from research in crystallography; the study and mapping of atom arrangements within a solid.”
▶ TANMAYA BINGHAM
“My artwork’s role, whether drawing, painting, sculpture or installation, is to confound and give a different and often macabre perspective on a world that is rapidly becoming homogenised.”
▶ MARGUERITE DERRICOURT
“This exhibition is a variation on the theme of nature, migration, flight and the changes that come about during this process.”
A reminder that all the 2 Danks Street Galleries are open every Wednesday until 7pm and that the new exhibitions are eligible to be reviewed for the 2 Danks Street Award for Contemporary Art Criticism. For further details and to download an application form, visit the 2 Danks Street website here.
Register your email address to be the first notified about new work and to receive exhibition previews. Sign up for the individual list for each artist to keep from missing out on new additions to the stockroom!
“Future Farming continues my investigations into the patterns and codes used to represent and ‘map’ the natural world. It also draws on an interest in the relationship between prints – both traditional and digital – and scientific thought. The works reference the historical role prints have held in circulating and controlling information about the natural world. The works also refer to contemporary projects in mapping nature such as genetic profiling and Dolly the sheep. By using techniques such as conventional collage, I draw attention to nature as a construct that is open to change, manipulation or reinterpretation.”
Left: Al Munro, ‘Future Fruit 10’ 2007, digital prints on found maps, cut and collaged, 35 x 28cm
Right: Al Munro, ‘Sugar Diffraction’ 2012, pencil and pigment marker on paper, 35 x 35cm
“I am interesting in using drawing-based media to examine processes of inscription and translation in relation to scientific representations of the natural world. The work in this exhibition stems from research in crystallographic image collections in Australia and the UK. Crystallography is the field of science which studies and maps the arrangement of atoms within a solid. My attraction to crystallographic diagrams has been due to their translation of the natural world into the visual and mathematical language of geometry and pattern; the endlessly repeating grids of complex symmetries which map the molecular structure of all organic and inorganic matter hold an endless fascination for me. The drawings in the series Patterns from the invisible world take a number of complex crystallographic grids as their starting point. By using the intersections of the grid lines as a template I map a random series of points in space to create new maps of an undiscovered invisible world.”
Only one more week to feast your eyes on our current exhibition Art + Food: Beyond the Still Life before it closes on Saturday 20 October. This exhibition, curated by Megan Fizell, features a range of works made from materials as diverse as communion wafers, eggshells, salt and chocolate.
The salt sculptures of Ken + Julia Yonetani consider the way food production affects the environment of the Murray River basin, the origin of the salt used to construct the work. Likewise, Maz Dixon’s paintings and collages feature ‘The Big Things in Australia’ highlighting the influence of the food industry on tourism by depicting some of the giant ‘sculptures’ which litter the Australian landscape. The beauty of Robyn Stacey’s larger than life photograph and the ethereal internally lit eggshell installation of Sue Saxon + Jane Becker is offset by works that leave the viewer feeling somewhat more uncomfortable. Claire Anna Watson’s film ‘Sortie’ begins with a pair of tweezers plucking pips one at a time from a ripe strawberry. The film progresses to a dissection of the fruit that echoes the look and feel of a gory surgical scene. Sarah Field’s quaint tea set includes human hair and fur which recalls the surrealist Méret Oppenheim sculpture of a fur-covered tea set, ‘Object (Le Déjeuner en fourrure)’ made in 1936.
This is also a friendly reminder that the 2 Danks Complex will be holding the next Conversations on Wednesday 17 October 2012. The topic of the discussion will be ‘Are Art Fairs Good for Collectors?’ and refreshments will be served starting at 5:30 with the discussion commencing at 6:30pm in Dominik Mersch Gallery.
Left: Al Munro, ‘Future Farm 7 (Bondi Beach)’ 2007, found maps, polymer vinyl cast figurine, 7 x 12 x 6cm
Right: Al Munro, ‘Future Fruit 22′ 2007, digital prints on found maps, cut and collaged, 25 x 20cm
After many years of working with Al Munro it is our pleasure to announce that she has now joined the our stable of represented artists. Munro has been exhibiting with Brenda May Gallery since 2005, each time presenting a body of work vastly different aesthetically from her last. Despite the visual changes in her work, there are usually themes concerning the natural world and creative manipulations of paper present in her processual-based works. In October, Munro will be a part of the Gallery’s Art + Food: Beyond the Still Life exhibition curated by Megan Fizell and in 2013, is scheduled to have a solo show that is bound to further extend her aesthetic repertoire.
Left: Al Munro, ‘Small Blue-Black Mineral Crystal’ 2010,
screen print and glitter flocking on Stonehenge paper, 112 x 76cm
Right: Al Munro, ‘Patterns that aren’t 7′ 2011, constructed dark blue and green glitter cardboard, 24 x 16 x 2cm
We are pleased to introduce a new feature on the Brenda May Gallery blog: stockroom collections. Each collection will contain an image gallery of thumbnails which individually link back to the full size image and details of each artwork. This week, our collection highlights artwork priced under $500.