News – Exhibitions, Stockroom + Art Film Night (3 July)

New in the Stockroom – Robert Boynes diptych

ebaf7d14-98a8-45ce-aa3a-c1baab20a8c0Robert Boynes’ multilayered paintings have always drawn inspiration from contemporary street culture, more recently incorporating skateboarders, hooded figures and graffiti among textured backgrounds that contain text, water, signage and lights. Capturing a sense of motion and flux, each canvas stands alone as an illusive moment in time or is configured with others to create storyboards of several filmic ‘frames’.

View more paintings in our digital stockroom.

Robert Boynes, ‘Zurich – The Movie’ 2014
acrylic on canvas – diptych, 120 x 110cm, $11,500


Flatline performing at Queensland University of Technology

On Tuesday 22 July at 6:15pm, Flatline will be performing ‘Drawn Duet: True Gesture’ at The Block at QUT Creative Industries Precinct.

‘Drawn Duet: True Gesture’ invites drawing and dance to participate in an unlikely duet. Starting from a space akin to a life drawing class, a drawer commences his interrogation of the body. The body is at first a study, but as the body shifts and begins to move, the line is blurred and the body and mark exchange a rhythmic dialogue. The dancer and drawer impact and dissect each other, generating surprising results as old and new technologies collide.

‘Drawn Duet: True Gesture’ is performed by Sydney duo Flatline, visual artist Todd Fuller and choreographer Carl Sciberras. Flatline creates work that is a hybrid interaction between the mediums of Art and Dance.

Visit their website for further details.

Please note: Flatline and Represented Artist Todd Fuller will be exhibiting at Brenda May Gallery from Tuesday 9 September until Saturday 4 October and will present a spectacular ‘one night only’ performance during the opening.


Black Box Projects Presents
‘Lament’ by Nicole Welch

fef8e916-9871-4247-a789-bfaa90f14a00We will be screening Nicole Welch’s meditative time-lapse film ‘Lament‘ in Black Box Projects beginning 15 July until 9 August. The film is part of the popular Illumination series, exhibited at Brenda May Gallery in 2013.

Nicole Welch, ‘Lament’ 2012
time-lapse video – 5:20mins, edition of 6


2 Danks Street Art Film Night

The Galleries of 2 Danks Street and Mandy Chang present
Orson Welles: F for Fake


Tuesday July 15: 2 Danks Street Waterloo

6pm for drinks, light refreshments and a wander around our galleries
7pm for film viewing (film duration 1hr 35 minutes)

$20 payable in cash on the night

RSVP by Thursday 10 July to or call 9318 1122
between 11am and 6pm Tuesday to Saturday (or leave a message if after hours)

Please join us for the second of 2 Danks Street’s Art Film Nights. Once again Mandy Chang, the ABC’s Commissioning Editor for the Arts, introduces one of the great art film classics, the 1973 directorial finale of Orson Welles, F for Fake. Popcorn provided…

Interview with Jeff Hinch

What is your most recent acquisition?
An Amanda Stuart mummified dog – which guards the entrance to my apartment. jeff_install2

How often do you re-hang your collection? What sparks the need to shake things up?
I try and have a seasonal re-hang. Therefore, at least twice a year I will organise a huge re-hang to coincide with the changing of the seasons. Re-hanging forces you to view an old favourite from a different angle, or room. And you are always constantly surprised as to how much you had been missing.

Are there any themes or ideas that reoccur throughout your collection?
There are a few stable ideas that seem to interplay with my collecting so far. One of the primary ideas is a simple but very firm connection to my subconscious and how it reacts to a certain subject matter. One of the most recent themes to surface, was my immediate response to art as anti-art or everyday objects with a subtle twist or sometimes not so subtle, that is, where art assumes it’s place within our lives in the most innocent or disguised ways, almost as a tease to see if you are paying attention. From as innocently as a tea cup and saucer with hand made chocolates made of human hair, I like the idea of it being allowed to become subversive, to disguise itself and to play tricks.

You seem not to be afraid of challenging subject matter, what type of imagery do you enjoy living with?
Anything that’s tough, would probably be the most direct answer. For me art and all imagery has to have a sense of self. It has to have enough substance to be able to challenge, make uncomfortable and question our opinions on sometimes quite touchy subjects. And at other times just have the presence to exist as what it is, a beautiful image. I do see a clear direction coming into my work now that is very reflective of my current thoughts on human interaction and how it has lost that personal touch, I am finding myself drawn to imagery of unconnected people, almost mad like which I am finding rather exciting. Perhaps that’s just maybe an internalisation, but I find most human interaction puerile, information has lost its relevance, and with the meteoric rise and impact of social media,we have lost truly how to connect with people, more often when you observe a conversation, it’s just a group of people waiting patiently, sometimes not even managing that, waiting to say their piece, whether it has relevance to the discourse or not.

jeff_install1We all have “the one that got away”, is there a particular artwork that you would snap up if you had the chance again?
There have been a few that I have missed out on by usually indecision, but one piece that I would definitely purchase if it came up for sale would be ‘pretty in pink’, a down syndrome child in pink jumpsuit. An amazing portrait, a tough subject, and yet she is so abundantly happy. A perfect combination.

Throughout your years of collecting, have you seen your “style” change, alter or evolve?
My taste, style and therefore art pieces have evolved over my time of collecting for sure. I am still drawn to the quirkier, darker, tougher pieces as I always will be, but as mentioned previously, there are always times of calm either in your personal life or psyche, and it’s those moments, when you suddenly realise that you managed to successfully stop thinking, that I often find myself staring at one of my more tranquil pieces. As I believe my collection and the process of ‘pulling’ it together so to speak, represents a very subconscious dialogue with myself, and for anybody that buys or collects art, I am not surprised to see the collection or media change. Each piece has managed to evoke or resonate at a particular time on a particular day when unbeknownst to me I was feeling either relatively forgiving or unforgiving of myself, my surroundings or the people I found in life at the time.

Interview with Gordon Elliott

What is your most recent acquisition?

The most recent purchase was from the trip I have just taken. I took a group for an Art Tour of Paris and London – both are wonderful cities and guiding people to the galleries was great.

On this trip I did purchase a Norbert Bisky work, which is a watercolour and pencil on paper. I had been following this artist for a number of years and finally decided to get a work for the collection.

Generally, the collection is mainly Australian and New Zealand artists as I feel our artists are world class even if they don’t get the deserved recognition for their work. I also like to meet the artists I collect if possible, so I can understand their work even better and get some idea into the processes they use to create their art.

How often do you re-hang your collection? What sparks the need to shake things up?

This is a difficult question in that the works move around the home quite often. The need for re-hanging comes about with the purchase of a new work. We have three different coloured walls in the house and some art works better on a different coloured background.

When a new work comes into the house I take it from room to room and see how it reacts with the colours in the room and the other works it will hang with. If all works then that is where it has decided to live.

If a large work is purchased then that normally means a major re-hang and that is a major job. The best thing I have ever done was to install the gallery hanging system with the tracks and wires into many of the rooms and hallways in the house. By using this system the re-hang becomes an easier option rather than drilling lots of holes in the walls.


Are there any themes or ideas that reoccur throughout your collection?

Yes… The collection loosely has “figure in a landscape” as the main concept. Most of the works we have are figurative, however the figure can be a small part of the work or dominate the work. The landscape can be also quite explicit or implied. There are no hard and fast rules about what I buy, as long as it captures my feelings when I see it.

You seem not to be afraid of challenging subject matter, what type of imagery do you enjoy living with?

This has not always been the case. When I first started collecting I, like most people, went for very safe works. In fact the first works I purchased were two small boats on the harbor. I still have them but they are not high profile works in my collection. With a keener eye and more research into art and artists I have developed the collection. The benefit of viewing more and more art is that you soon find that your are willing to take more risks and what you once thought you may not be able to have at home, now feels very welcoming and friendly. There are also a few works in the collection that are way out of left field and people think “What ???” but they have their own attraction to me for their own reasons.


We all have “the one that got away”, is there a particular artwork that you would snap up if you had the chance again?

How long do we have … there are many works that I would have loved to add to the collection but the budget would not allow. There is a specific work that is held in a regional gallery by James Gleeson that I love and would add it to the collection in a heartbeat but I feel it will never come on the market.

I do have a wish to add a William Dobell work to the collection at some time but I have not been in the position to buy the right one – either it has not come up or the price is out of my budget. There was a small work titled ‘Maitland’ that I would have loved but at the stage it was available I did not have the funds, but it would be one I would like to have if it became available.

Throughout your years of collecting, have you seen your “style” change, alter or evolve?

Definitely. When I first started collecting art I played it very safe with well-constructed but very conservative compositions. There were beautifully painted but were not challenging in many ways.

As I developed my eye for works they then became more interesting in lots of ways and wider in scope and appeal. The figure became a focal point for most of the artworks and then a dog started to appear in the collection. This was even highlighted when I commissioned a work by Euan Macleod and asked him if he could have a dog included in the scene. I knew he had painted dogs in works prior so felt that this was a way to bring these themes together in out work.

Another change in the collection is that sculptural works are taking on greater importance as well as a diversity of mediums. When I first started I was basically an “oil/acrylic on canvas” man but now there are quite a number of bronze, ceramic, glass, mixed media and also digital artworks in the collection.
I feel that the collection will always be evolving as new works are added and as I grow in my art journey and am exposed to new and exciting works by talented artists.

June 2014 exhibitions

Please join us for drinks with the Artists, Collectors and Curators
5:30pm to 7:30pm Wednesday 18 June

On view at Brenda May Gallery from Tuesday, and as seen in the current edition of Australia’s Art Collector magazine, Sydney Collectors Jeff Hinch and Gordon Elliott will be presenting a small excerpt from the many artworks that fill their lives and homes. Alongside a few pieces that will be for sale, the selected works will showcase the variety, depth and aesthetic of their respective collections, with both Hinch and Elliott providing a personal insight into how and why they find joy in collecting art.

Screen Shot 2014-06-19 at 2.31.51 PM


Todd Fuller Showreel

Black Box Projects is showcasing a selection of emotive hand-drawn animations by represented artist Todd Fuller.

Left: Todd Fuller, ‘Summer’s End’ 2010
hand drawn film – 5:09 mins, 7/10



unnamed2 Danks Street Art Film Night

The Galleries of 2 Danks St, in association with Mandy Chang, invite you to join us on Tuesday 15 July for an enjoyable evening of art and film at 2 Danks Street Waterloo.
6pm for drinks, light refreshments and a wander around our galleries. 7pm for film viewing (film duration 1hr 35 minutes)

$20 payable in cash on the night

RSVP by Thursday 10 July
or call (02) 9318 1122
between 11am and 6pm Tuesday to Saturday
(or leave a message after hours)

Please join us for the second of 2 Danks Street’s Art Film Nights. Once again Mandy Chang, the ABC’s Commissioning Editor for the Arts, introduces one of the great art film classics, the 1973 directorial finale of Orson Welles, F for Fake.

Look forward to seeing you…

News – Acquisitions, Exhibitions + Invitations (3 June)

Lake Macquarie City Art Gallery Purchase – Lezlie Tilley ‘Pages from an a-less novel’

We are delighted to announce that Lezlie Tilley’s work, ‘Preface‘, has been acquired by Lake Macquarie City Art Gallery for their permanent collection.

This work belongs to a series that began in 2012. The angular and abstracted forms were created by connecting the ‘a’s’ on a page selected from a novel. Due to the ongoing nature of the concept of the a-less novel, further works may be commissioned in a wide range of materials including timber, metal and ply.

Lezlie Tilley, ‘Preface’ 2012, laser cut acrylic,120 x 60cm (Lake Macquarie City Art Gallery Collection)


Artbank + Bathurst Regional Art Gallery Acquire Nicole Welch Works

We are delighted to report that Nicole Welch’s recent exhibition Apparitions has seen her work enter three important Australian collections.

Artbank purchased ‘Apparitions #3′, a major Australian corporate collection acquired ‘Apparitions #4′ and Bathurst Regional Art Gallery purchased two works from this series, ‘Apparitions #1′ and ‘Tondo #3′.

Each work is in an edition of 6, with two size and price options available, so although a favourite work from Apparitions may have been snapped up by these major collectors, a limited number may still be available.


Al Munro’s ‘Molecular Measures’ selected by
Penrith Regional Gallery for Colour and Light, until August 24

A selection of Al Munro’s ‘Molecular Measures’ series are currently on view at Penrith Regional Art Gallery in their new exhibition Colour and Light, which adopts a scientific lens.

As Munro explains, “These works are the result of a number of discussions with Waratah Lahy about the areas in which our interests connect… My works began with a number of drawings, but soon moved into a constructed form using balsa wood to allow me to explore ideas of structure and construction… The works reference diagrams, but replace the conventional black and white line work with brightly coloured, glittering stripes, reinvesting the forms with some of the variety and vividness present in natural specimens.” – Al Munro, 2014



2 Danks Street Art Film Night

Interview: Leslie Oliver

What is your earliest memory of making art?
I did a large pencil drawing of a house with smoke out the chimney and a man walking down a path leading from the front door towards the viewer. I did this on the inside of the door of a new home-made lowboy that my dad had made for me. It was gloss white and inside the doors were a beautiful soft matt sky blue – irresistible to a 4 year old. I was very proud but Mum and Dad displayed mixed feelings.

One day in kindergarten I clearly remember we were given a segmented five pointed star to colour-in. Most students did this in a flash with quick rough scribbles. I was trying to fill in the segments with rich even engaging colour combinations, very careful to stay within the lines. I was devastated when the teacher called “time’s up”. It was clear we were not expected to do this task properly. It was a throw-away activity. Making things well was not the aim.

The next life changing event was getting a set of encyclopedias, Science, Peoples and Places, Art and Architecture. In particular I discovered the paintings of Vincent Van Gogh. On a rainy Saturday I asked my mum to buy me some paints (an extravagance at the time) she did (to my surprise and delight) and I painted a copy of Van Gogh’s wriggling “Wheat Field with Cypresses”. I fell in love with this man and his crazy painted truths. I was 10 and Mum still has it.


When preparing for your last exhibition, did you create works around a theme or did the links between the works reveal themselves later on?
For my show Love Stories I had a clear theme for the sculptures I made. I explored relationship between forms, colours, found objects and their uses to play with the idea of the dependency in couples. When placed in the proximity or context of another form (person) a different kind of identity is defined. In past shows I have always made thematic connections between works, inviting the viewer to see connections however in this show it was fore-fronted.

Describe the space in which you create your works (studio, lounge room etc):
I rent a workshop/studio space approximately 5m x 7m in a building full of artist spaces at 1+2 Studios, Darling St in Rozelle. I have a range of power tools including a band saw, large disc and belt sander, gas and mig welders, a wood lathe (my dad made for me) and many hand tools. I have three large hardwood benches made from old stairs salvaged from the Boronia St Gallery I helped build for Brenda in 1993. It is full of salvaged materials an I like it tidy. Hot when hot cold when cold. I usually listen to ABC Radio National. Most sculpture is ‘grind’ work. A small simple idea can take days of sweat to achieve.

Do you have a favourite piece or favourite pieces? If so, which piece/s and why?
I do not have particularly strong favourites. I like to come across forgotten pieces in peoples collections and see that they have a life beyond me. I enjoy seeing them through other peoples eyes. Thought it is hard to get lucid feedback I sense peoples interest (or lack of). Occasionally I regret letting a piece out of the studio because it is not properly alive. I want to take those pieces home and give them more love. If I have rescued a weak sculpture I have warmer feelings toward it.


What has been, for you, a defining moment in your career as an artist?
The first defining moment was being in the Foundation Sculpture class of Brian O’Dwyer at Alexander Mackie CAE. Brian’s elegant charm, passion for sculpture and “cruel” love for his students drove me to win his admiration. His very demanding but focused exercises were the very challenge I needed at the time in my life. Another defining moment was to be asked to be a technical assistant to Bob Klippel . Being asked was a great honour and privilege however the experience of being in his studio and seeing his delicate works and seeing Bob’s belief in art was transforming. Until this time I had no idea that cold metal forms could be so emotionally charged. Abstract constructions of exquisite beauty.

What did you eat for breakfast?
A blueberry muffin and a strong white coffee. The cake varies, usually with fruit but the coffee is constant. I prefer to have this after being up and awake for an hour or two. If I’m in the studio (far too rarely) this is the time when I sit and contemplate my next move.

Brenda May Annex: James Horan

honran_install1“For an unfamiliar view of Ireland my series “Irish horse” documents horse culture in the inner city where Adidas and Nike clad teenagers, with 2014Logo_DATE_WEBSITE_Largeno formal equestrian training, ride horses through the streets and keep their animals in homemade stables or on green areas in council housing estates. As well as Irish youth, the horse fairs “are also important places for travellers, indigenous Irish gypsies, to trade and socialize”.

This exhibition is part of the Head On Photo Festival.


May 2014 exhibitions

Please join us for drinks with the Artists
Wednesday 21 May 5:30-7:30pm

▶ LESLIE OLIVER, Walking Sticks – Crooks, Staves and Scepters
“As a person ultimately drawn to making sculpture, I have always enjoyed a direct connection to simple physical objects. As a boy I … went on many walks and hiking camps and would find myself a special stick to carry and befriend. Around a campfire I would decorate it with burn marks made with hot wire … All these things play a part in the my personal pleasure of making ‘walking sticks’.”

▶ HELEN MUELLER, ships in the night
“Humble pods pass us by unnoticed, to deliver their cargo of life. They are like ships in the night. Once spent, they vanish, their beauty and importance unacknowledged. In making this work, I wanted to halt their disappearance, pay them close attention, and celebrate their wonder.”


headon2014blackboxHead On Photo Festival
Prizes for Multimedia

13 May to 7 June 2014

Join us tonight for the launch from 6-8pm!
Expect the unexpected in our Black Box Project space, exhibiting the finalists for the Head on Photo Festival, Fine Art and Documentary Multimedia Prize.

Head On is Australia’s largest photography festival celebrating excellence in all genres from photo-artists from across the globe and provides a major platform for discovering new talent, re- discovering established artists and exploring new technologies and ideas.