On view from Saturday 6 August to Thursday 1 September 2016

Join us for drinks with Todd on Saturday afternoon, 6 August, 3-5pm

▶ TODD FULLER, Seven rules for raising your siren
After 18 months of immersive work, Todd Fuller’s latest film presents an imaginative tale that brings together two unlikely characters: a sea dugong (sirenia) and a boy. In Fuller’s trademark style, the hand drawn film was created using paint and charcoal — erasing, re-painting and drawing to conjure movement in the resulting artworks. Drawing regularly at Sydney Sealife Aquarium, Fuller observed Sydney’s dugongs, Waru and Pig, becoming acquainted with their gestures, mannerisms and movements.

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▶ DIRECTOR’S CUT, An excerpt from the private collection of Brenda May
Being the director of a contemporary gallery, Brenda May has inevitably amassed an impressive collection of artworks. Bringing the private into the public eye, Director’s Cut is an invitation to view a selection of these acquisitions, all purchased within a strict budget over the last thirty years.

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How to raise a siren…


The word ‘siren’ carries multiple meanings. It is an alarm: a loud prolonged sound signifying danger, a warning to all within earshot that something is amiss. Greek mythology depicts sirens as hybrid bird-woman creatures whose enchanting song lured unwary sailors to their deaths. At some point the lore of sirens merged with legends of Nereids or sea nymphs, giving rise to accounts of mermaids recorded in sailor’s logs for centuries. The term siren is also applied to another seemingly mythical creature that has historically been mistaken for the fabled mermaid – the dugong. A family of marine mammals belonging to the order of Sirenia, dugongs are more closely related to elephants than aquatic mammals such as dolphins or whales. Gentle beings, vulnerable to environmental change and the loss of their habitat, they are almost comical in appearance. Despite a body the shape of a large, pale jellybean with fins and the head of a cow, the dugong improbably possess a sentient grace and familiarity of expression that carries echoes of humanity.

In How to raise a siren, 2016, multi-disciplinary artist Todd Fuller gives consideration to different interpretations of the term siren, while also using the dugong as a means to explore themes of conservation, innocence, naivety, imagination and love. The hand-drawn animation, set to a soundtrack of ocean waves, opens on a monochromatic coastal landscape tinted with a palette of blues that range from inky purple through to vibrant turquoise, occasionally balanced by warm gold tones that colour the sands of Sydney’s Bondi Beach. A vintage shark alarm indicates that there may be some kind of danger present, a notion soon compounded by the appearance of ominous shapes on the horizon – dark, threatening ships that cast lawnmowers into the pristine water.

A sense of nostalgia is palpable, the sound of waves evoking memories of days spent by the sea, hunting for treasures in rock pools at low tide. A child stands on a rock holding a jar, a tiny dugong falls from the sky and is captured, rescued, taken home to be raised and nurtured. The ships return in different guises throughout the video – a menacing presence in a poster on the wall of the child’s room or as toys in the bathtub – infiltrating otherwise familiar scenes of security. A pervasive reminder of the effect we have on the marine environment, but also representative of the way the everyday reality of living can impact creativity and imagination. How to raise a siren isn’t just a narrative about environmental conservation, though the preservation of the natural world is an undeniably important theme. It is also a chronicle about the importance of safeguarding imagination in a world where reality often imposes limitations on our hopes and our dreams.

When the dugong falls from the sky, it is as a manifestation of inspiration and creativity, and a personification of the vulnerability of our aspirations. Despite the ever-present hazards and dangers of the world, the dugong is cared for and protected, swimming happily in fish bowls and bath tubs, growing and flourishing even as the child matures and becomes an adult. Eventually, outgrowing every vessel and receptacle, too large and exuberant to be limited or contained, the dugong is transported back to the ocean, and set free.

Written by Tai Spruyt, August 2016

On view from Saturday 9 July to Thursday 4 August 2016

Afternoon drinks with the Artists, Saturday 9 July, 3-5pm

Heavy Metal brings together works from three ongoing series by Sydney sculptor, Dion Horstmans. Wall mounted and freestanding, Horstmans’s multi-dimensional sculptures are crafted using precious and base metals. Heavy Metal includes works in gold, bronze, black nickel, copper, and steel.
(Text by Harriet Morgan)

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Dion Horstmans, ‘Hard freeze #18’ 2016
6mm solid round bar, electroplated gold and powder coated matte black – diptych, 140 x 200 x 12cm

This series of small oil paintings responds to the striking architecture and colours of Sydney’s famous beachside suburb, along with the accoutrements of urban living – traffic lights, parking meters, and wheelie bins. I frequently paint en plein air and for this series, turned my back to the beach to record the man-made environment that clings to its margins.

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▶ ERICA SECCOMBE, Metamorphosis
An exploration of one of the great mysteries of life through the transformation of fly larvae in an immersive stereoscopic projection. Maggots are associated with death and decay, but like caterpillars they undergo metamorphosis before emerging as exquisite insects. For this installation, I visualised and animated virtual pupa data captured through 3D Micro-CT led by forensic research at the Natural History Museum in London.

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Erica Seccombe, ‘Metamorphosis’ 2016, stereoscopic projection installation – 6:47mins

New in the stockroom

Mylyn Nguyen:

Three new framed works by Mylyn Nguyen are now available in the Gallery’s stockroom. Each work in this series places detailed paper moths either in conversation or lined up in an entomological fashion. Versions of these furry cut-out creatures have previously featured in collaborative pieces Nguyen created with Todd Fuller and more recently installed beneath the feet of attendees to the 2015 edition of Installation Contemporary at Sydney Contemporary, Carriageworks.

> Sign up to Mylyn Nguyen’s email list here
> View other available artworks



< Mylyn Nguyen, ‘Meeting’ 2016 (+ detail image)
watercolour, acrylic, flocking, fibre on paper
25 x 25 x 4.5cm (frame size) – $750

Also available are ‘Meeting Too’ ($650) and ‘Moth Parade‘ ($850)






Todd Fuller:

Currently suspended from the rafters at Brenda May Gallery is a new sculpture by Todd Fuller that sees a portly bronze figure being carried by a cluster of umbrellas.

> View currently available artworks
> Sign up to Todd Fuller’s email list here



< Todd Fuller, ‘he just leapt, closed his eyes and hoped for the best II’ 2016, bronze, steel, found objects, swivel, clip and wire – unique, 119 x 78 x 73cm variable – $6,800


Catherine O’Donnell | Mosman Art Gallery:

‘Silent Sentinel’, a large-scale, meticulously executed, charcoal drawing that appears to be simultaneously unfolding and crumbling before the viewer’s eyes, has been acquired by Mosman Art Gallery.

> View currently available artwork
> Sign up to Catherine O’Donnell’s email list here


Catherine O’Donnell, ‘Silent Sentinel’ 2013, charcoal on paper, 150 x 216cm

Todd Fuller | Maitland Regional Art Gallery:

Maitland Regional Art Gallery has acquired ‘Untitled Bunnies’, a mixed media collage that displays joy, motion and contemplation.

> View currently available artwork
> Sign up to Todd Fuller’s email list here


Todd Fuller, ‘Untitled Bunnies’ 2011, mixed media collage on paper, 51 x 110cm

Tanmaya Bingham – Out of the Woods

Goldmoss Projects, Vancouver
25 June to 20 August

Tanmaya Bingham‘s incredible drawings will be a part of a three person exhibition in Vancouver. This is a satellite show presented by Goldmoss Projects that will take place in Callister Brewing.

> Opening Event: 25 June 7 – 10pm [The artist will be present]
> View currently available work here
> Sign up to Tanmaya Bingham’s mailing list here

0cba79de-ff35-46a0-ada6-5484b5cf317e< Tanmaya Bingham, ‘Pleasure’ 2016, coloured pencil and mixed media on panel, 182 x 107cm


Peter Tilley The Gardens Sculpture Prize (Indoor)

We are delighted to announce that Peter Tilley’s sculpture ‘Navigating Life’, which was created this year, has been chosen as the second place winner of The Gardens Sculpture Prize for the indoor sculpture section.

This sculpture incorporates a combination of elements, including a solitary figure standing in a vessel, a staircase and a low hanging cloud. This last feature is also a part of another recent work ‘Nor’East’, which is currently available to view at Brenda May Gallery.

> View currently available artwork
> Sign up to Peter Tilley’s email list here



< Peter Tilley, ‘Navigating Life’ 2016

Quarterly 2.3

We are pleased to present the seventh edition of our Quarterly publication which contains the exhibition information for July – September 2016. You can view Quarterly 2.3 by clicking here.

Upcoming exhibitions include Dion Horstmans, Kevin McKay, Erica Seccombe, Todd Fuller, Polly Stanton, Ashleigh Garwood, Leslie Oliver, and the curated exhibition Director’s Cut: an excerpt from the private collection of Brenda May.


On view from Saturday 11 June to Thursday 7 July 2016

Join us for afternoon drinks with many of the Artists, on Saturday 11 June, 3-5pm

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This exhibition will cause flat lines to seemingly buckle, stationary colours to bleed and intersect, concavity to be created within even surfaces, afterimages to appear and motion to arise from stillness. Patterns will vibrate, concentric circles will quiver and depth will be deceptive. Op Art has appeared throughout many art historical movements, including Cubism, Constructivism and Dadaism. It is a genre that explores the varying illusionary optical effects that can be influenced by manipulating geometrical shapes and repeating colours. Perception differs from reality, revealing flaws within the human retina’s ability to always see things as they are. Contemporary artists continue to be fascinated by this genre, incorporating scientific and mathematical principles, formations found in nature, colour-theory, inspiration from technological advancements, as well as new media equipment, to further explore this area of ocular inquiry.

Artists include Joel Arthur, John Aslanidis (Gallery 9), Lincoln Austin (Andrew Baker Art Dealer), Lee Bethel, Marion Borgelt (Dominik Mersch Gallery), Julie Brooke, Debra Dawes, Caroline Durré, Sophia Egarchos, Justin Harvey, Jacob Leary, Al Munro, Paul Snell (Gallery 9), Greer Taylor, Lezlie Tilley, and George Tjungurrayi (Utopia Art Sydney).

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On view until Thursday 9 June

We are pleased to present you with the exhibition catalogues for Pleated Logic by AL MUNRO, Resonance by BENJAMIN STORCH, plus Untitled (domestic gestures) by TANIA SMITH in Black Box Projects.

> Click here to view the lookbook for AL MUNRO
> Click here to view the lookbook for BENJAMIN STORCH
> Click here to view the lookbook for TANIA SMITH


** To ensure you are able to view the digital catalogues, please check that your browser and flash player are updated regularly.



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