Home is pleased to announce we will be showing work by Elvis Richardson in our ‘Melbourne Comes to Sydney’ exhibition in March 2019. The show will be our Art Month exhibition and feature works by a great group of Melbourne artists.
Pictured is one of the works from Elvis Richardson’s ‘Settlement’ series she will be exhibiting in the ‘DECADE’ exhibition – celebrating 10 years of Hugo Michell Gallery – opening on the 20th of November.
“…A voyeur of sorts, Elvis Richardson savours the intimacies of others, collecting and curating imagery from public repositories to explore emotionally and politically charged narratives….selected via For Sale search criteria results for “2-bedroom house – less than $250,000 – anywhere in Australia”, these flat, low resolution, mostly amateur images are surprisingly powerful. Posted over an 18-month period without comment, they elicited a range of responses from nostalgia for childhood familiarity, humour with a touch of moral judgement; empathy for the embedded tragedy; to tenancy enquiries and critiques of disruption and movement in late neoliberal capitalism…the images of interiors from Richardson’s series – Settlement – are both personally and socioeconomically reflective. They document the dilemma of the artist; the place of home in our national psyche; and the effect of lives in transition. Usually we settle with an economic transaction, however Richardson disrupts the intent of real estate marketing. Settlement’s deeply layered narratives offer the choice to settle for a vacant lot or resettle it for our own ends…” From the essay ‘everyone works but the vacant lot’ byMelinda Rackham
Elvis Richardson is represented in Sydney by Galerie Pompom
Many thanks to artist and writer Rebecca Gallo for her response to our ‘Materiality’ exhibition.
17 October – 18 November 2018
The first thing I notice when I look at art is almost always the materials: the stuff that things are made of. The thingness of things. I look for whether materials are made to disappear in service of an image or a narrative, or whether they tell a story through their own texture and heft, through familiar or strange configurations.
In Vibrant Matter (2003), Jane Bennett speaks of “the capacity of things … to act as quasi agents or forces with trajectories, propensities, or tendencies of their own.” Her aim is to decentre human agency with the idea that inanimate stuff might have its own agenda. In ‘Materiality’ at Home@735, materials are not entirely subservient to the artists. Rather, materials are active agents, shaping the work rather than being utterly subjugated to human will.
Attuned to the thingness of things, I cross a road of hot black asphalt and traverse the Bourke Street bike lane with its gummy white and green markings. I walk over large black pavers that would be slick and slippery in the wet, and onto Home’s front stoop. Its Victorian wrought-iron gate and old stone step are coated in glossy dark paint, masking a century of redecorations. I cross the threshold into the house, with its bright old floorboards and warm white walls.
The first work I encounter is deep-bitten copper turned green and orange and black. In Kirtika Kain’s hands the material sheds its skin: it intersects with other compounds, altering its colour and texture. It is copper, but no longer copper-coloured. But for the tell-tale traces of screenprinted text with its visible dot matrix, you’d think it had been unearthed from some mineral-rich soil. In Madeleine Preston’s Intolerable Leisure (vessel) (2018), copper is copper, beaten into a cone shape and cradled by white felt. It is a silent trumpet, its narrow end sealed to a point so it will never utter a sound. Felt insulates, silences, protects.
Hand tools – hard, utilitarian objects – are made yielding in Anita Larkin’s Softly Gently, Softly Quietly (2017). A hammer, chisel, scissors, knife and handgun are laid out: devices for work or torture on a cushioned tabletop. The ‘useful’ part of each tool (the hammer’s head, the scissor’s blades) has been replaced by its labour-intensive reproduction in grey needle-felted wool. Larkin has laboured to make versions of labour-saving devices that are functionally redundant. All these tools in warm soft wool should feel comforting – hard things made soft – but they are oddly menacing, suffocating, like muted footfalls. Something strange happens when materials are so directly at odds with the shapes they inhabit. It feels like sabotage.
In a number of works, the usual materials are replaced with strange alternatives. Alasdair McLuckie swaps paint for beads, like so many hand-threaded pixels making up an image. The support is dark wool instead of canvas, and is pinioned to the stretcher with neat hospital corners. I notice the corners of Dani Marti’s work too, where woven nylon rope gives way to a plywood frame. It rests on a table rather than hanging on a wall, asserting itself as object rather than surface. In Marti’s work, prosaic, mass-produced rope is woven with delicacy and care to create a knobbly, knotted plane. Where one might see coils of rope and think only of function, Marti sees form.
Ariella Friend’s sculptures look like pixels from a distance. They could be chunks of buildings extruded from a digital rendering, or fragments extracted from Minecraft. They resolve into irregular conglomerates of square section timber, painted with bands of bright colour. Friend’s titles combine names of native flora with digital terminology; this fits the visual perfectly. In Ken Lambert’s mesmerising video, a digital black cloud roils over and over itself on a white background. It is billowing smoke, crude oil tumbling into water, folded silk ravelling or shaved graphite curling. It is all these things and none of these things. For all the works in ‘Materiality’ whose tangible materials suggest pixels, Lambert’s digital imaging is slick: not a visible pixel in sight.
On first glance Elliot Bryce Foulkes’ Monument II (2014) and Monument V (2018) look like neat geometric abstractions. But instead of crisp, neat painted edges, the colour blocks are sewn cotton. The fabric pulls slightly at the seams, folded hems create small mounds at the joins, and there are slight lapses in registration. This shift in materiality, from paint on canvas to dyed cotton, is gentle but loaded. Along with the unusual pastel colour palette, these materials are a refusal of the masculine authority of hard-edge abstraction in favour of the domestic, the imperfect and the queer.
A glass cabinet is home to Sarah Goffman’s absurd, joyous version of the ‘good’ crystal and crockery. Loot (2018) comprises a clutch of warped, slumped and silver-painted plastic bottles and dishes. It celebrates the absurd and sensual beauty of single-use plastics, with their facets, dimples, ribbing and curves. Like many of the works in ‘Materiality’, Goffman’s Loot reframes the familiar.
Materials that are not exclusively or immediately associated with art can do strange things when allowed agency in artworks. With all their associations and implications, they create meaning, tension and complexity. They can invite or repel, comfort or disconcert us. Most of all, the way materials are used in art can heighten our awareness of the thingness of things, and the agency of objects as we encounter them in the wild.
Home is pleased to be exhibiting work by Elizabeth Pulie in our ‘Materiality’ show opening this Wednesday.
Elizabeth Pulie has been exhibiting her work since 1989. A sense of art as decoration and commodity was the focus of her ‘decorative painting project’ between 1989 and 2002, after which she conducted a relational practice, running Front Room gallery, publishing and distributing Lives of the Artists magazine, and establishing the artist’s group Sydney Ladies’ Artist’s Club. Pulie’s theoretical research, writing and presentations extend the idea of ‘the end of art’ to contemporary art discourse and practice. Her current work encompasses material forms such as painting, weaving, political banners, collage and embroidery.
Pictured is #87 (la commedia dell’arte), 2018, acrylic and linen on board, 51x41cm
Elizabeth Pulie is represented by Sarah Cottier Gallery
Home’s co-director Madeleine Preston has been awarded a fellowship at The Vermont Studio Center (VSC). The VSC is the largest International residency program in the US, hosting more than 50 visual artists and writers each month from across the country and around the world.
Over the last 30 years, VSC has grown to become the largest International artists’ and writers’ residency program in the United States. The VSC’s mission is to provide studio residencies in an inclusive, international community, honouring creative work as the communication of spirit through form.
The VSC offer 120+ fellowships per year to artists and writers of outstanding talent. A fellowship covers the full cost of a VSC residency.
Many thanks to arts writer Emma-Kate Wilson for her review of 22.08.18.
Review of 22.08.18 at Home@735 Gallery
By Emma-Kate Wilson
The artist’s body is covered in a t-shirt like material as she stretches herself between two rocks on Tasmania’s North-East coast, inviting play through a reduction in her senses. She cannot see, rather her moves are responding to touch. I reflected with my friend about this work at the opening. Was Emma Constantine trapped? Metamorphosing out of her cocoon? Perhaps a re-birthing in the Australian landscape for the British artist. Sleepy Bay (2018) entwines with the other artworks, bringing together the themes of site and identity.
Nuan Ho’s Trophy (2018) is hung at the end of a corridor creating the first sense of observation through distorted realism in the Redfern terrace home of Anthony Bautovich and Madeleine Preston. A set of blank, black eyes stares out at the viewer from within a dark, moody painting of a deer’s mounted head. This unconscious intuition of feeling watched radiates throughout the environment of the Home@735 gallery’s exhibition 22.08.18, a show that explores the interplay between structure and façade of architectural spaces with the emotional point of site.
The exploitation of intimacy from household objects is evident throughout half of the first floor with Nuan Ho’s sullen paintings contrasting Tiffany Ng’s kitschy everyday ceramics arranged as a vanity display. Ng has manipulated clay into luxury items, associated with an aspect of her Chinese heritage that she aims to dismantle. Chanel Rouge (2018), and Gucci Gucci (2018) – the names of the artworks giving away their ulterior motive; exploring obsession with designer objects within modern Chinese culture. The identifiable, mundane objects, are reduced to evidence of a shared identity.
As we move through the first level, away from the object-oriented works, we observe Ro Murray and Sean O’Brien’s representations of site, formed from their surroundings. O’Brien’s broad, dark strokes on the paper allow the viewer to bask in the emotional, rather than the physical site of the regional areas of NSW where the works were created. Bursts of colour and soft trembles of pastel contrast the heavy charcoal. The artworks act as a key to a memory, an observation. When compared to Murray’s work, the site is signified through flattened collage made of links and sketches, connecting the geometrical map style to the natural environment. Murray’s methodical artworks: Beside the Park (2018) and Floor Space Ratio (2018) a cross between the aesthetics of art and science, informed from the artist’s architectural background.
Downstairs in the central section of the gallery, Eliza Gosse’s work embodies the literal forms of architecture, and Mia Miladinovic continues this through the representation of the interiors through her un-homely intent. Geometrical paintings like The Grass Is Always Greener When You Water it (2018) from Gosse, mirror the modernist builds of Australia, personifying the architecture to reflect a suburbia identity. The colour is washed out, formed from black and white photographs, making up her own colour scheme of purples, greens and pinks. Gosse has reawakened the memory and engaged nostalgia for the viewers in her melancholic paintings. The obsessive copying of still life gives concepts of identity to places. For Miladinovic, her works: Scintillation (2018) and Light Transfer (2018) are edging towards the eerie feeling of a room abandoned. The ambiguity falls into soft lines; shapes blend into the background. The balance of light creates a sense of movement, by capturing luminosity. The works pull the audience into their aura and create a unique bubble of opportunity to absorb the colour and texture. Time and place are crucial to the paintings, what the sun is doing and the shadows of the structure around the piece.
22.08.18 transcends place and character and offers a view to observe each artists’ personal opinion of how personal identity informs space. What we see in the dialogue of identity and site is revealed through the informality of the space and personality in situ. These perspectives are played out through the composition and awkward intimacy in the directors’ home; amplifying dematerialisation of the object through paintings, collage, ceramics, video works and ready-mades.
Home’s co-director Madeleine Preston has a show opening tomorrow at the Camden Art Centre as part of the fourth London Summer Intensive at the Slade School – if you are in London, please check it out.
The participating artists are Liseth Amaya, Kate Bancroft, Takming Chuang, Savannah Galvin, Noora Geagea, Giuseppina Giordano, Vasilis Goumas, Susan Jacobs, Margot Klingender, Donghwan Ko, Eilen Itzel Mena, Momina Muhammad, Abraham Murley, Lillian Olney, Kailyn Perry and Madeleine Preston.
In the fourth London Summer Intensive, artists will have the opportunity to exhibit works and ideas developed during the residency through a preview and showcase of work in progress at Camden Arts Centre’s Artists’ Studio followed by an open studio event at the Slade Research Centre. These events enable wider audiences to see the work and meet the resident artists.
Previous residencies have brought together artists from over 20 different countries providing diverse and exciting working environments. Visiting artists and curators from past programmes have included Faisal Abdu’Allah, Caroline Achaintre, Sacha Craddock, Simon Faithful, Mark Godfrey, Dryden Goodwin, Anne Hardy, Evan Ifekoya, Chantal Joffe, Paul Johnson, Sally O’Reilly, Harold Offeh, and Phoebe Unwin. The previous programmes have also included gallery visits and introductions to spaces such South London Gallery, Gasworks, Focal Point Gallery (Southend-on-Sea) and Wysing Arts Centre (Cambridge).
Pictured is Museum of Sugar – Work in progress, 2018, Hartley’s jelly, ceramic plate, painted calico, dimensions variable
This project is support by the Copyright Agency’s Cultural Fund
Home is pleased to announce we will be exhibiting work by Melbourne artist Sarah CrowEST in our ‘Materiality’ show opening in October.
“…Sarah crowEST has a daily studio practice of painting with occasional forays into screen-printing and stitching. An ongoing project sees crowEST tending to the 100 strap-on paintings circulating around the world that she made between 2012 and 2018. crowEST incrementally builds up the surfaces of her paintings by contrasting strong, precise, rectilinear forms with accidental or indiscriminate mark-making and text. These accumulated marks dwell in the liminal space between happenstance and fate, with creative decisions in the studio perhaps serving as a metaphor for chance and destiny in life. This strategic and yet loose, approach to art making, interwoven with the vagaries of everyday life, allows crowEST to tackle doubt and sustain a constant creative flow…”
Her work is held in City of Port Phillip Art Collection, Ararat Gallery TAMA, Victoria, Art Gallery of South Australia, University of SA Art Collection, National Gallery of Victoria, Queensland Art Gallery, Okayama Prefectural Government, Japan, Stanthorpe Art Gallery, Queensland, The Powerhouse Museum, Sydney and Northern Territory Museum of Arts and Sciences.
Many thanks to arts write Naomi Riddle for her review of our current exhibition.
2018 Invitational – HOME@735 Gallery
In his seven-point manifesto, In Praise of Small (2016), David Joselit writes that ‘MoMA exhibits something like 1% of their collection at any one time.’[i] Such a figure (calculated by comparing the number of works on view with the number of objects in the collection) highlights that the purchase of artworks by museums and institutions doesn’t necessarily equate with greater accessibility. It also prompts the question as to who determines which objects from such an insurmountable archive should be on display at any given time. And the idea of collector and collection becomes even more muddied when considering the sale of art to private buyers—contemporary and traditional artworks often disappearing from view once purchased.
Through building the 2018 Invitational exhibition around chosen pieces from the private collection of Sydney consultant and art collector Kate Smith, Home@735 reverses this process. Here the works of Sidney Nolan, Tony Garifalakis, Justin Mortimer and Ricky Swallow are made visible, placed alongside responsive or likeminded pieces by emerging and established artists. There is also the additional aspect of such works being presented in a gallery that is decidedly not a white cube or an institution, but rather one that sits between the public and private—Nolan’s Landscape with Ned Kelly (1982) is hung in a living room, Garifalakis’ Untitled #14 (2014) from the ‘mob rule (family series)’ is placed above stairs, whilst Swallow’s watercolours of the Kelly Gang are positioned along a corridor. The weight and feel of these works shifts in such an in-between domestic space: you’re allowed to get up close to the brushstrokes; you can examine the precise details of Kelly’s armour.
The exhibition itself can be divided into two parts: the downstairs section responding to the Nolan and Swallow works, and upstairs more concerned with figurative portraiture. Mortimer’s painting entitled Donor VI (2014), which depicts a blue-bruised figure lying prostate on a bed, provides the thematic focus for the upper space. Many of the other works are similarly preoccupied with corporeality, where the abject is combined with a sense of gentleness and vulnerability. There is Garifalakis’ disembodied opened mouth with the too-white and too-straight teeth, the sequestered face of Nuan Ho’s Nurse (2017), and the chafed forearms of William Reinsch’s Shame Study (2017). The self-portraits of Vanessa Stockard, Natasha Walsh and Yvette Coppersmith also suggest an open-faced intimacy, whereas Sassy Park’s sculptural piece, Men’s Group (2017), includes a terracotta head on its side—a kind of decapitation of the illustrious Victorian statuette.
But it is the arrangement of the downstairs gallery which suggests an awareness that the significance of a collected artwork—particular one as iconic and recognisable as Nolan’s—is determined by its relationship to the works placed beside it. Here Jason Phu, Dennis Golding and Deborah Kelly have all produced responsive pieces that directly engage with both Nolan’s ‘master’ status in the Australian canon, and the obsession with Ned Kelly as a go-to-figure of national identity. Phu’s Lao fucking up Ned (2017) sees the bushranger’s head clamped in the jaws of Laozi’s dog, whilst Kelly repurposes Nolan’s commissioned endpapers in Junee Archival (Sausage Party Showdown) (2018), slicing and overlaying the ponderous documents of art history into ironic collage.
Indigenous artist Dennis Golding’s photographic print, Among Others (2018), depicts a small clearing ringed by eucalypts. A series of capes has been affixed to the trunks, with each cape then painted with cultural symbols that mark out territories and sites. Here the photograph becomes a haunted document of visual signs—signs that oppose the primacy of Kelly’s helmet, and expose the colonial narrative underwriting Nolan and Swallow’s series of works.
The considered positioning of the 2018 Invitational is a reminder of the value of small and independent spaces gaining access to ‘canonical’ works, and indeed the idea of the canon itself: such markers of standards (and the collections that house them) cannot be fixed or closed—they must be continually recast.
Join us for drinks on Wednesday the 25th of July at Galerie Pompom for the opening on ‘Intolerable Leisure’, the solo exhibition by Home’s co-director Madeleine Preston.
Intolerable Leisure is based upon the city of Paris as the artist remembers it. In this iteration of the city its inhabitants and their decadent patrician and migrant histories mingle in the unconscious mind. Encased in memory, the city of Paris heaves with things: patisserie windows offering impossibly sweet glazed cakes and perfect golden breads; a Ferris wheel in a park buzzing with sparrows, avenues of Chestnut trees set in perfect perspective, manicured gardens of headless queens, stone plinths, marble pillars, gilded streetlights. Museum after museum, some with water lilies and great stones, and others with human heads. Such care is taken in all of its display. Each day the arrondissements are swept by hand by some 4,500 sweepers, most of them African or Arab immigrants. The vertes, in their mint green jumpsuits, deftly sweep with twig brooms of the type once used by peasants here, albeit with the 21st century update of long stemmed plastic bristles.
Uncanny, hungry city. Nowhere else, save Las Vegas or Washington, does such a thin veneer of reality cover every thing. If the museum is not an artefact of our experience but rather an experience of artefacts, whose own particular lives as objects were severed at the moment of separation from their origins—person, family, community, society, culture, nation, world—then Paris is the museum of the West. A place where logical connections are made between disparate things. No other place has swallowed so much of the world and has held it in its mouth for so long. Existence is elsewhere.*
Excerpt from Stella Rosa McDonald’s exhibition essay The City That Swallowed the World
André Breton, Manifestoes Of Surrealism. Ann Arbor: University of Michigan Press, 1972.
Home is thrilled to be exhibiting Donor VI, 2014, oil on canvas by Justin Mortimer in our Invitational Show opening tonight. Many thanks to art consultant Kate Smith for loaning us this wonderful painting for the exhibition. Join us for drinks from 6-8pm.
“…Justin Mortimer (b.1970) is a British artist whose paintings consistently invite us to question the relationship between subject matter and content, beauty and horror, and between figuration and abstraction. While the imagery is almost exclusively pitiless, the texturing of the paint, the play between light and shade and the passages that lead from photo-realist definition to near-abstract formlessness are so sensitively handled as to make the work at least partially redemptive as well as to indicate a key philosophical dimension: the oblique relationship between evidence and interpretation…Mortimer’s paintings are not reportage or documentation, they are far too allusive and de-specified for that. Instead they represent a powerful and poetic visualisation of contemporary life, in all its grim and magical reality…” – Ben Tufnell
Justin Mortimer graduated from the Slade School of Art in 1992 and lives and works in London. He has won several prestigious awards including the EAST Award (2004), NatWest Art Prize (1996) and the BP National Portrait Award (1991). Recent solo exhibitions include Haunch of Venison, London (2012), Mihai Nicodim Gallery, Los Angeles (2011) and Master Piper, London (2010). Recent group exhibitions include How to Tell the Future from the Past, Haunch of Venison, New York (2013), Nightfall, MODEM Centre for Modern and Contemporary Arts, Debrecen, Hungary (2012), MAC Birmingham (2011) and the 2011 Prague Biennial. His work is held in private and public collections including the National Portrait Gallery, London, the National Portrait Gallery, Canada, Royal Society for the Arts, Bank of America, NatWest Bank and the Flash Art Museum of Contemporary Art in Trevi, Italy.
This text is reproduced with kind permission from Parafin Gallery London –www.parafin.co.uk
Self-Portrait, Yellow, 2016-18, oil on linen by Yvette Coppersmith will be showing at Home in our Invitational exhibition opening tomorrow night.
Yvette has been a finalist in many portrait competitions including the Doug Moran National Portrait Prize, the Portia Geach Memorial Award and the Metro 5 Art Award where she was the inaugural winner in 2003. In 2018, after being a finalist five times, she was awarded the 2018 Archibald Prize for her Self-portrait after George Lambert.
Join us for drinks from 6-8pm – 735 Bourke Street Redfern
Madeleine’s exhibition ‘Intolerable Leisure’ opens at Galerie pompom on July 25th.
“…the works in ‘Intolerable Leisure’ are are transformed from liquid to solid in the case of clay, from flat to form after exposure to heat and force in the case of copper and from wool to felt and felted material forms through rubbing, force and water.
The materials used are a manifestation of Albert Camus’ notions of the plight of the exile and refugee. Refugees and exiles transfer from one state to another as a result of pressures and circumstances beyond their control.
Although the objects in Intolerable Leisure may appear aesthetically pleasing they speak to a greater sense of isolation and displacement.