RECENT Exhibitions

30 Years | 30 Artists | 30 Works

- anniversary exhibition, 2015

24 November to 19 December

This year marks the 30th year of Brenda Mayís career as a Gallery Director, from Access Contemporary Art Gallery in Balmain, Forest Lodge, and Redfern to Brenda May Gallery here at Danks Street. In 2015 we are looking through our archives to create a retrospective exhibition featuring one work to represent each year and a publication looking back over the last three decades. Featuring the voices of Gallery staff, clients, and art world peers, this comprehensive exhibition and publication will be a celebration of the many artistsí careers both galleries have fostered.

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Waratah Lahy

- Not far from the truth, 2015

27 October to 21 November

My current work explores ideas of truth and distortion of memory. My images are derived from photographic documentation of events that are both personal yet ubiquitous. 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. The resulting painted images are not replicas of the photos; each is distorted and exaggerated in order to enhance a specific mood, feeling or interpretation of the scene. The differing scale of the paintings also addresses interpretation of memory - is a small painting more personal and private, is a large painting something to be shared? With this body of work I am asking: what is the truth? Is my memory the truth, or is the act of recreating a truth in itself?

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Nina Ross, 'Language and the body'

- Black Box Projects, 2015

27 October to 21 November

"Language and the body" is the premier screening of two recent works, 'Untitled # (pregnancy)' and 'Untitled #1 (origins of turn taking)'. Using self-portraiture performance video, these two HD videos draw on my experiences using and sharing language during pregnancy and with my newborn child.

'Untitled #1 (pregnancy)' responds to my experiences of strangers guessing the gender of my unborn child from the appearance of my large pregnant belly. I reenact an old wives tale I found via an online forum for pregnant women, which reveals the gender of their baby. This ritual portrays the bizarre, unscientific and (possibly) funny nature of the strangerís comments.

'Untitled #1 (origins of turn taking)' seeks to investigate the influence of language at the beginning of an infants life. Specifically, how humans learn to communicate in conversation 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 my son together with linguist David Crystal's ideas on the origins of turn taking in conversation.†

Together these two works illustrate†the development of my practice to investigate personal experiences of language on the body.

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Peter Tilley

- Second Self, 2015

27 October to 21 November

The shadow is one of the many visual elements within the tableau of everyday icons that populate my artworks. Its context has usually indicated an unseen presence beyond the frame of the work or signified an aspect of that which is casting the shadow. As a result of these earlier works, I have now become preoccupied with the shadow and its possibilities within a 3D format. The shadow as an expressive material object will be the point of difference and focus in developing my body of work for this exhibition. In some cases becoming the dominant 3D form, shadows will give insight into the figures' characters and provide linkages between the visual, the psychological and their manifestations.

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Mylyn Nguyen

- Once Upon a Time, 2015

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?

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Love. Lament. Loss.

- Black Box Projects, 2015

29 September to 24 October

ĎLove. Lament. Loss.í brings together the work of three 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 lovesí lived and lovesí lost. Todd Fullerís 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.

Oliverís empathetic documentary-style approach is contrasted with the mesmerising time-lapse technique employed by Welch. Fullerís 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.

Videos by Todd Fuller, Leslie Oliver, and Nicole Welch.

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