Peter Tilley, Touring Exhibition with Andy Devine

- Black Harvest

1 November 2014 to September 2016

» Moree Plains Gallery - 1 November to 23 November 2014
» Cessnock Regional Art Gallery - 8 January to 1 February 2015
» The Glasshouse Port Macquarie - 13 February to 22 March 2015
» Muswellbrook Regional Arts Centre - 23 April to 5 June 2015
» Manly Art Gallery and Museum - 1 July to 4 September 2016

“The collaborative 3D collages and sculptural pieces, assembled from paintings, printing plates and objects either found or made, embrace the idea that the works remain open to a multiplicity of meanings and interpretations. Duality of meaning is an aspect that we have consistently pursued and consciously incorporated in our work. There is an apparent simplicity to the objects and images yet they are richly symbolic and capable of multiple or contradictory interpretations. This is an area of primary importance to us both. The symbolism can be read as a metaphor for humankind’s disregard for the natural world. There is also an undercurrent of the lived experience both of us have weathered before settling in Newcastle.” - Peter Tilley

Before becoming a touring exhibition, this show was first exhibited at Cooks Hill Galleries, Newcastle and The Hunters Premier Art Gallery - 6 June to 1 July 2013

Nicole Welch

- Eastern Interiors: explorations from Bathurst to Albury, 2015

1 to 26 September

Through the placement of specific historical objects into the landscape and by throwing projections onto the terrain, I aim to illuminate representations of Australia from the past by bringing them into the present. The resulting works are hybridised landscapes that reveal the multiple historical paradigms informing our present-day relationship to country.

In the Bicentennial year of the settlement of Bathurst and the subsequent opening of the eastern interior of Australia to exploration, I will follow the early pathways journeyed, stopping at significant locations to enact installations in the landscape. The region as a whole is richly represented in Australian historical collections, from explorers’ journals, to drawings, prints and paintings. The English explorer Thomas Mitchell depicted these regions in his journals of discovery titled, ‘Three expeditions into the interior of Eastern Australia, 1835’ from which the title of the project is borrowed. An antique mirror and descriptive text taken from journals will reflect and emerge from the terrain, resulting in truly incongruous images that record in real time both past and present ideologies.

... view exhibition

James Guppy

- In Flagrante Delicto, 2015

1 to 26 September

Forty years ago I gained an honours degree in economics. While I turned away from that discipline long ago, I can’t help but watch the business of the world through that particular lens. I must say I’m not impressed. Now with the posturing, asset stripping, hostile takeovers, the whole culture of contemporary capitalism is very different. We look to our leaders for models of ethical behaviour. Our expectations are low, yet we are still disappointed, hence the subject matter that pulled me into these paintings.

I am first and foremost an artist and as such my principle desire is to create engaging artworks. The visual aesthetic here is not contemporary, nor modern. I want a tension between the ideas and those pre-modernist notions of beauty. I hope it makes the actions of these men even more reprehensible.

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Nicole Welch, 'Eastern Interiors'

- Black Box Projects, 2015

1 to 26 September

An antique mirror, a symbol of history and perception, reflects the sky as it transitions from day to night in the video work ‘East West’. Referencing the enduring navigational function of the sky, this video alludes to the way Nicole Welch creates her work, traversing through bushland to find, punctuate and capture striking locations. It also pays homage to the early colonial explorations of New South Wales that Welch references throughout the series ‘Eastern Interiors: explorations from Bathurst to Albury’.

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James Guppy @ Sydney Contemporary

- Carriageworks, 2015

10-13 September

The Gallery will be presenting a small selection of new paintings by James Guppy in this, the second edition of Sydney Contemporary, Australia's newest international art fair. See you at Carriageworks from 10-13 September 2015.

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?

Love. Lament. Loss.

- Black Box Projects, 2015

29 September to 24 October

‘Love. Lament. Loss.’ 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 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.

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

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Untitled Show

- curated group exhibition, 2015

29 September to 24 October

'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. Therefore, an encouragement and validation of a plethora of impressions and responses is formed.

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.

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?

Nina Ross, 'Untitled #1'

- Black Box Projects, 2015

27 October to 21 November

'Untitled #1' is a HD video 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. This exhibition at Brenda May Gallery is the premier screening of this new work in Sydney.

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 of investigation 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.

30 Years | 30 Artists | 30 Works

- anniversary exhibition, 2015

24 November to 19 December

This year marks the 30th year of Brenda May’s career as a Gallery Director, from Access Contemporary Art Gallery in Balmain, Forrest 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 artists’ careers both galleries have fostered.

Sculpture 2016: Bronze

- curated group exhibition, 2016

27 January to 18 February

Art history abounds with examples of sculptors employing bronze; from scarce, but insightful, Ancient Greek vessels, to the large-scale modernist sculptures of Auguste Rodin, Umberto Boccioni and Alberto Giacometti. Throughout the ages, this alloy has been embraced for its versatility, strength and ability to be cast into both voluminous and intricate forms.

Brenda May Gallery's next edition of the annual Sculpture show will pay homage to this important material. Although the curated selection within Sculpture 2016: Bronze will be unified by medium, this exhibition aims to portray the differing ways contemporary artists manipulate bronze within their sculptural practices.

Grayson Cooke, 'AgX'

- Black Box Projects, 2016

27 January to 18 February

AgX is an art-science project about material memory; it features time-lapse photography of photographic negatives being chemically destroyed.

The symbol "AgX" represents the silver halides, the light-sensitive compounds that constitute the celluloid image. The silver halides are the ground of the historical image, but they are also the ground of personal and collective memory. AgX shows us images transcending their memory-status as they reduce to their material form.

Lorraine Guddemi

- Raspirical Things, 2016

20 February to 17 March

"Using the language of the magical and talismanic, Raspirical Things are a collection of sculptural forms that explore the ephemeral nature of female desirability. As beauty must inevitably succumb to age, society's perception of female worth becomes an ever diminishing currency that often renders women invisible. Harnessing the fragility and bone like quality of porcelain, these forms express this poignant loss of beauty and celebrate the ensuing liberation from the conformities of male desire."
- Lorraine Guddemi

C.Moore Hardy

- Sydney, Sex & Subculture (historical, hysterical, & happy recollections of the queer community), 2016

20 February to 17 March

I have always wanted to leave a legacy that enhances another generation's understanding of the Sydney Queer Community. Over the last thirty-five years, I have worked extensively as a freelance commercial photographer and voluntarily in cultural development positions for Lesbian and Gay community groups. I attempted to create images that engaged in an erotic dialogue reconstructing a visual narrative, and have followed the battles, rallies, sorrow, resilience and diversity of the queer community. This exhibition will explore my archival and documentary-style photography, endeavouring to celebrate all things queer.

Todd Fuller, 'Insubstantial Love Stores'

- Black Box Projects, 2016

20 February to 17 March

"Insubstantial Love Stories" explores themes of homosexual love and rights. This series is centred on the 'unite project', a participatory survey of views towards marriage equality that sees members of the public confronted and comforted by two men engaged in a passionate pash.

This work extends my collaboration with Amy Hill (2008), which investigated the consequences of language on a young queer community, as well as more recent work that has subtly raised sexual-political issues.

Glen Clarke

- Into the Piguenit Redux, 2016

19 March to 14 April

Sue Healey, 'On View'

- Black Box Projects, 2016

19 March to 14 April

Concerned with the act of seeing and being seen, On View presents video and live portraits of Australian dance artists. The work dissects the body with an analytical intimacy as it explores the dimensions of portraiture and how we view each other. It exposes diverse ways of thinking through the body.

Special performances will occur at times throughout the exhibition period.

Op Art

- curated group exhibition, 2016

11 June to 7 July

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.