We are pleased to present you with the exhibition catalogues for Second Self by PETER TILLEY and Not far from the truth by WARATAH LAHY. Both exhibitions will be on view until Saturday 21 November with the opening on Saturday 31 October from 3-5pm.
“‘Untitled #1′ and ‘Untitled #1 (origins of turn taking)’ are HD videos drawing on the artist’s experiences using and sharing language during pregnancy and with her newborn child. Using self-portraiture performance video, this work seeks to investigate the influence of language at the beginning of an infants life and how one learns how to communicate through interactions with others before any words are spoken. Particular influence in this process and to the work itself includes researching and experiencing the origins of turn-taking in language with her own son.”
– Nina Ross, 2015
Afternoon drinks with the Artists, Saturday 31 October, 3-5pm
▶ WARATAH LAHY, Not far from the truth
“My current work explores ideas of truth and distortion of memory. I focus on imagery which suggests a narrative, such as the open door, the empty room and the mirror, as well as looking for pattern, colour and repetition.”
– Download Artist CV
– View Artist Page
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.
Artists include Tanmaya Bingham, Robert Boynes, Jim Croke, Sybil Curtis, Todd Fuller, James Guppy, Waratah Lahy, Melinda Le Guay, Al Munro, Carol Murphy, Mylyn Nguyen, Catherine O’Donnell, Leslie Oliver, Lezlie Tilley, and Peter Tilley.
We are pleased to present you with the exhibition catalogue for Once Upon a Time by Mylyn Nguyen. The intricate artworks in this exhibition utilise hidden clock mechanisms to create birds that fly, plants that grow and snails that scoot along every minute. Come and watch the grass grow!
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▶ Click here to view the catalogue for Mylyn Nguyen.
On view 29 September to 24 October 2015
‘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.
On view 29 September to 24 October
“Once upon a time I broke every watch I was given only to find I could not work out how they worked. Music boxes were dismantled and the music making part pulled apart. The death of each ladybird in my Mylyn made jar garden brought me no closer to knowing why ladybirds didn’t like me. I thought if I stared at my nose, my eyebrows and the shower hose, I would figure them out eventually. I unstitched dolls clothes, unwrapped bindi seeds and stripped toy cars to their wheels and discovered more why. Why a cloud? How do birds fly? How do kites? How does the moon know when to just appear? How does water come from a shower hose?”
– Mylyn Nguyen
‘Frightful Tremendous Pass #3‘ and the film ‘East West‘ from Nicole Welch’s current exhibition Eastern Interiors: explorations from Bathurst to Albury have been acquired by Bathurst Regional Art Gallery for their permanent collection. The entire suite will be travelling to Murray Art Museum Albury for an exhibition from the 12 November to 13 December 2015 and then to Bathurst Regional Art Gallery for a final showing from 1 July to 14 August 2016.
Black Box Projects
On view 29 September to 24 October 2015
Love. Lament. Loss. brings together the work of three Represented Artists who have explored these states in their complexity and intensity. Leslie Oliver asks students to recount a time they fell in love, offering stories of loves’ lived and loves’ lost. Todd Fuller’s films explore the strength required to release a burden or a joy, and Nicole Welch stimulates deliberation through a use of loaded symbols, conceptually considering the effect of imperialistic ideology on the Australian landscape.
Oliver’s empathetic documentary-style approach is contrasted with the mesmerising time-lapse technique employed by Welch. Fuller’s hand-drawn animations offer a further divergent style of moving image artwork, conveying the varied ways in which the medium of video is being used by artists to create thoughtful and captivating narratives.