“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.
Currently glistening in the Gallery are constructed brooches by Al Munro. The artist herself was proudly sporting one at her Drinks with the Artist, celebrating her exhibition ‘Crystallography’ earlier this year, and it caught the eyes of many.
‘Crystallography‘ featured a collection of sparkling crystallographic diagrams inspired by the scientific field of the same name. Along one wall were coruscating wall-mounted sculptures, reminiscent of mountain peaks. Some incorporated matt sections, fluorescent colours and metallic patches. Her jewellery collection is an extension of her sculptures, providing wondrous handcrafted glister.
Munro’s ‘Pattern’s that aren’t’ pins are small organic clusters of geometric points of various sizes, colours and luminous effects that are supported by a strong pin. As the medium is cardboard, they are very lightweight, making them practical for thick as well as thin materials. These gorgeous shimmering pieces are a wonderful way to add a bit of sparkle to any wardrobe.
Adjectives ranging from delicate to spiky have been used by the press to describe the dresses in Melinda Le Guay’s current sculpture exhibition. The various embellishments including fishhooks, thorns and sharp pins, pierce the bodices of the wire garments and the titles of the works highlight the underlying threatening nature of the series.
We are pleased to announce that four of Al Munro’s works from the ‘Mineral Crystal’ series have been acquired by Artbank for their collection. The ‘Mineral Crystal’ series features screen prints of the knit wire sculptures Munro creates to represent the arrangement of atoms within a solid. Each print is a unique work and each design is flocked with a different coloured glitter. Munro melds the fields of art and science and creates a sparkly representation of the mathematical coding of crystals.
Al Munro, ‘Brown Mineral Crystal’, ‘Long Black Mineral Crystal II’, ‘Dark Green Mineral Crystal’, ‘Large Grey Mineral Crystal’ 2010, screen print and glitter flocking on Stonehenge paper – unique (framed) 112 x 76cm
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.
Brenda May Gallery is pleased to announce that four of Al Munro‘s unique screen prints from her ‘Mineral Crystal‘ series have been acquired by Artbank for their collection. Munro‘s current exhibition considers the science of crystallography which studies the arrangement of atoms within a solid. Artbank previously purchased work for their collection from Munro‘s Future Farming show.
New work by MELINDA LE GUAY and AL MUNRO will be on view starting Tuesday 10 May 2011. Please join the artists for a drink to celebrate the launch of their solo exhibition at the Gallery on Saturday 14 May from 4-6pm.
Andrew Taylor featured Le Guay‘s upcoming exhibition of etherial, knitted wire dresses in a half page article in Art & Culture in The Sun-Herald, published on the 24th of April. Le Guay says the dress “suggests an inner world of discord and struggle for perfection whilst maintaining an outward appearance of grace and beauty.”
Left: Melinda Le Guay, ‘Battle Dress’ 2011, enamelled copper wire, synthetic thread, feathers, fish hooks, glass beads, 80 x 37 x 9cm Right: Al Munro, ‘Purple Mineral Crystal’ 2010, screenprint + glitter on Stonehenge paper, 113 x 76cm
Crystallography is the field of science which studies the arrangement of atoms within a solid. According to Munro, “My work takes as its starting point a number of crystallographic diagrams which function as descriptions of the natural world in terms of mathematical code, but which, like any code or language, can be spoken and written in unintended ways.”
The Gallery is also pleased to announce the long awaited return of Sam Robinson‘s wonderful decal porcelain bowls, cups and illuminators. We look forward to welcoming you to the Gallery to view the new exhibitions as well as the new additions to our stockroom.