Home is pleased to announce that we will be showing a work by the late and great Sydney Ball in our ‘Colour & Form’ show in March 2018.
Painter, printmaker and sculptor Sydney Ball (1933-2017) was a pioneer of post-painterly abstraction in Australia. Born in Adelaide, Ball worked as a draughtsman before taking up art studies in the late 1950’s. His early influences were challenged when in 1963 he moved to New York and encountered the work of abstract expressionists including Mark Rothko, Willem de Kooning, Jackson Pollock and Robert Motherwell.
Through the influence of these artists, Ball developed his own sophisticated language of colour-based abstraction. This was first presented in Ball’s ‘Cantos’ series, works that were initially exhibited after his return to Australia in 1965. With their bold structured forms of unmodulating colour and precise surfaces, the ‘Cantos’ signaled the domination of colour expression and formed a new direction in abstract painting in Australia, culminating in ‘The Field’ exhibition at the NGV in 1968.
Home@735 Gallery will be exhibiting Sydney Ball’s Canto IX, 2003, screenprint in our “Colour & Form’ show in March 2018. This work – from a suite of screenprints – revisits Ball’s ongoing series of ‘Cantos’ paintings, drawings and prints, which he first developed in the mid-1960’s while living and working in New York between 1963 and 1967.
The title Cantos is drawn from a cycle of poems by Ezra Pound.
“For me, the holy trinity of colour painting is colour, space and light.” Sydney Ball, 2012.
Home@735 Gallery is pleased to announce that Melbourne artist Sean Meilak will be exhibiting in our ‘Colour & Form’ show during Art Month – opening in March 2018.
“… Sean is interested in the psychology of space and his work references the architecture of ancient Rome, film set design as well as modern and postmodern art and design movements. He is particularly influenced by Surrealism, Italian furniture design and the theatrical environments created by filmmakers such as Michelangelo Antonioni and Reiner Werner Fassbinder…”
Home@735 Gallery director madeleine Preston was awarded a special commendation at the 2017 Woollahra Small Sculpture Prize. Pictured below are Madeleine (left), Sergio Hernandez who won the Plinth Prize and Sanné Mestrom who was the winner of the 2017 Woollahra Small Sculpture Prize.
Home@735 director Madeleine Preston is a finalist in the 2017 Woollahra Small Sculpture Prize. The exhibition will be opened this coming Friday the 13th of October at the Woollahra Municipal Council, 536 New South Head Road Double Bay. Pictured is Smoker Series – after Guston, 2017, ceramic and felt, dimensions variable photo by docqment
“…my new work uses Philip Guston’s later paintings, and specifically his pallette to create forms and groupings about the trouble we find ourselves in when we allow populism to succeed. The period Guston created his Nixon series in and the Watergate crisis resonates with todays political climate and the workings of the current US administration. Using media traditionally associated with the domestic – textiles and ceramics – the commentary is not literal or loud. Instead the work acts as an interloper between the internal domestic world and the external one of world politics…”
Many thanks to arts writer Chloe Wolifson for her piece on our current exhibition.
In its final exhibition for this year, Home@735 Gallery brings together seven artists whose diverse practices explore natural, human-made and psychological landscapes, with aesthetic threads providing surprising connections through the house.
An example of Leo Coyte’s portrait-like paintings hovers at the bottom of the stairs, and its siblings appear throughout the gallery. The series, called ‘Bumhead’, feature cartoon-like eyes, a teardrop nose, bumhole-mouth and rounded cheeks rendered in a tonally muted palette. These closely-cropped visages, chubbily pressing out from the frame, are slightly sinister yet humorous and seem almost inescapable, as they peer out at every turn.
The paintings hanging in the living room are the work of Tonee Messiah. These intuitively-formed abstract works comprise defined and translucent layers that draw the eye around and into the composition, suggesting but defying attempts to identify internal or external space – an echo of the dual identity of the gallery itself. Messiah’s works on paper also incorporate geometric forms into playful and dynamic compositions.
Grace Kingston’s soft sculptures sit invitingly on surfaces through the house, serving as a reminder of the domestic nature of this environment and a counterpoint to the pieces on the walls. They depict mossy or lichen-covered rocks photographed at the Sydney coast, and the resulting images have been printed onto fabric before being transformed into organically-shaped cushions. Kingston has added embroidered elements which confound the perception of texture and depth of these works, and the sensory experience is completed with a squeeze of the pillow which emits ambient sounds recorded at the same site.
Irene Hanenbergh’s 10 x 10 centimetre canvases each contain an impressionistic scene from nature. Some of these vignettes are made darkly atmospheric and others light-filled via Hanenbergh’s evocative daubs, and their display in groups of two or three invites the viewer to imagine a Romantic narrative as they move between these miniatures.
Mirra Whale depicts finches in small-scale paintings befitting their subject. Their forms are lifeless and contained, and their stillness is further emphasised in the shadows that they cast against a plain ground. A larger painting by Whale ‘M5 Owl’ presents what the title suggests is a victim of roadkill, in a classical still life composition atop a block. The moody greys of the scene complement the brown and white feathers of the owl which the artist has rendered with soft brushstrokes.
Mechelle Bounpraseuth’s ceramics conjure both humour and sadness, recalling iconic quotidian moments of the artist’s youth that will echo for many viewers. In this group of sculptures, food icons like mi goreng, Babybel cheese, garlic bread and jelly cups lie half-consumed and discarded, yet memorialised, in between chewed gum and cigarette butts.
Alex Karaconji’s stop-motion animation, presented in the booth under the stairs, employs a timeless sketch style to take the audience on a journey, as its title ‘The Flaneur’ would suggest, around the streets. Sydneysiders will quickly spot familiar landmarks, both high- and low-brow, as well as a first-person perspective of the protagonist reading over a coffee. It is an apt reflection of the buzzing city streets just outside the door of Home@735 Gallery, increasingly coming alive in the warming Spring weather.
Home@735 Gallery is pleased to announce we will be exhibiting a suite of paintings by Tonee Messiah in our last show for 2017 opening on Wednesday September the 20th from 6-8pm.
Tonee Messiah builds her painted surfaces with various hard and soft forms that overlap and intersect in an archaeological drift. The effect is one of movement and agitation, closure and expansion, drawing the viewer towards the inner sub-structure of the painting. Eschewing fixed references, Messiah explores complex psychological experiences the cannot be easily defined. She considers painting like another form of thinking, and as her surfaces build, so does her response to the world around her.
Messiah was born in Israel in 1983 and moved back and forth between Australia and Israel several times during her childhood before settling in Sydney where she still lives and works. She graduated from Sydney College of the Arts with Honours in 2004. Messiah is represented in the collections of Monash University Museum of Art, Artbank, Allens Linklaters, Barker College and Campbelltown Hospital.
Pictured is Data Compatibility, 2017, oil on canvas.
Tonnee Messiah is represented by Gallery 9, Sydney.
I recently purchased this print of a Sidney Nolan painting from the second Burke & Wills series created in 1961-62.
“I doubt that I will ever forget my emotions when first flying over Central Australia and realizing how much we painters and poets owe to our predecessors the explorers, with their frail bodies and superb will-power.” – Sidney Nolan 1967
The ill-fated expedition of the Irish explorers Burke and Wills, who set out from Melbourne for the Gulf of Carpentaria in 1860, first interested Sidney Nolan during the late 1940’s. What continued to fascinate Nolan about Burke and Wills was their resilience in the face of adversity; their experience highlighted a fragile grip on reality. Nolan’s personal experiences of the land were closely linked to the development of mythology in his work.
Pictured is Sidney Nolan (1917-1992), Burke in the River: from Burke & Wills series, c.1961, Lithograph A/P.
Home@735 Gallery is pleased to announce that Melbourne artist Irene Hanenbergh will be exhibiting a suite of painting in our last show for 2017 opening on Wednesday the 20th of September.
Irene Hanenbergh deals with concerns of disciplined immaterial sensibilities within (marginalized) Romantic, Visionary and Fantastic art practices. She uses various media including drawing, painting, sculpture and printmaking.
Hanenbergh completed a Master of Fine Arts by Research at the Victorian College of the Arts (The University of Melbourne) in 2010. She holds as well a BFA (Hons) in Painting and Sculpture from The Academy of Fine Arts Minerva (1988, The Netherlands), a BFA (Hons) in Printmaking, from The Athens School of Fine Arts (1995, Greece) followed by 2 year Postgraduate Research at the same academy. Additionally she completed a Post Graduate Program at The Royal College of Art (1992, London). Intermittently over the last 25 years, she has spent considerable time on artist residencies & for the purpose of exhibitions, in various locations across Europe, Asia (Japan and Thailand) and the USA (NYC).
She has held solo exhibitions in Australia and internationally; amongst other Libertine, Celestine, at Neon Parc, House of Dandelion & Lohr (outperformance) at Hugo Michel Gallery, Adelaide; Argyle Dreaming (1863), a Black art project in Sydney; Dada-Roman (4711), at Caves in Melbourne and a collaborative exhibition Zilverster with Sharon Goodwin at Sarah Scout Presents in Melbourne. Other recent solo shows have included Long Live Jezebelusa (The overseer & the divide) and Lace Monitor (Victoria Everglades) at Ryan Renshaw in Brisbane; Periwinkle Flower for the Beggar and Laudanum & De Breeder at Neon Parc in Melbourne.
Over the last few years Irene has contributed to a number of notable group projects/exhibitions such as Lubok 11, a collaboration between Lubok Verlag (Leipzig) and PrintRoom (Rotterdam) presented at Museum Boymans Beuningen in Rotterdam; Like Mike (Neon Parc), Sedition (Bus Projects), The Parlour # 2 in Brooklyn, New York and previously in shows such as Athens Pride, The Breeder Gallery , Athens; New Psychedelia, QU Museum, Queensland; Show You My World, Gitte Weise Gallery, Berlin, amongst other.
Hanenbergh’s work is held in public and private collections in the Asia-Pacific (Australia, Japan, New Zealand), Europe and the United States; including The National Gallery of Victoria (NGV), QU Museum (QLD), The Museum of Old and New Art (Tasmania), Mornington Peninsula Regional Gallery (Victoria), Artbank Australia (NSW), ABSOLUT European Collection (Stockholm, Sweden), Centre for Contemporary Art (The Netherlands), Collection ASKT (Athens, Greece) and Rabobank (The Netherlands). Irene was twice named as one of ‘Australia’s 50 Most Collectible Artists’ by Australian Art Collector.
Home@735 Gallery is pleased to announce that artist Leo Coyte will be exhibiting a suite of paintings in our September show.
“…his practice draws on the painterly potential of formal incongruity, merging realistic renderings of semi-figurative objects and bodies with bursts of colour and abstraction. Coyte imparts a sense of celebratory irreverence through his art making process by mining bits and pieces of the various painting traditions that interest him. The images that arise out of the push-and-pull of this process read as absurd open-ended narratives, giving rise to a collection of protagonists derived from a subconscious assemblage of fictions and memories…”
Pictured is Bumbhead #5, 2016, oil and acrylic on linen. Leo Coyte is represented by Nicholas Thompson Gallery.
Home@735 director Madeleine Preston has new sculptural works opening at Maunsell Wickes Gallery next Tuesday the 15th. Come along for drinks from 6-8pm at 19 Glenmore Road Paddington.
“…my new work uses Philip Guston’s later paintings, and specifically his pallette to create forms and groupings about the trouble we find ourselves in when we allow populism to succeed. The period Guston created his Nixon series in and the Watergate crisis has resonances with today’s political climate and with the workings of the current US administration. Using media traditionally associated with the domestic – textiles and ceramics – the commentary is not literal or loud. Instead the work acts as an interloper between the internal domestic world and the external one of world politics…”
Also showing works by Gerry Wedd, Bern Emmerichs, Jane McKenzie, Valerie Restrict & The Bankstown Koori Elders Group.
Many thanks to Vanessa Berry for her excellent piece on our current exhibition.
The air feels charged when a storm is imminent, the electric sense that rain is on its way. I’d been watching the gathering storm in the sky as I made my way to the gallery, and entered the hallway with my thoughts still up there in the electrified clouds. It was the right frame of mind to encounter Adam Norton’s Visionaries. The deft, detailed black and white portraits are of scientists, scholars and writers who pursued unexplained phenomena and guided our thinking beyond the terrestrial world. Their work and ideas are more familiar than their faces: Dr John Mack, the controversial Harvard psychiatry professor who studied alien abductees; astronomer Dr Jill Tarter whose search for extra-terrestrial life inspired Jodi Foster’s character in Contact; and the prolific, paranoid, sci-fi writer Philip K. Dick, whose novels are dystopian parables for contemporary culture.
Individual encounters with the immensity of the universe take an intimate form in Tim Corne’s series of redrafted ambrotypes. A form of wet-plate photography popular in the mid-nineteenth century, ambrotypes were displayed in cases which opened like lockets to reveal the framed image inside. Corne carefully gathered a collection of damaged ambrotypes from antique stores as the basis for these works. Now the cases contain the ambrotype images reconfigured: galaxies and constellations formed by working into the chemical reactivation of the emulsion. The dynamism of the chemical process remains in the blotched, stippled surfaces so in their reworked state they seem animate. If you were to snap one of the cases shut, it would be like closing the curtains on a night sky: the constellations inside continuing their slow, astronomical movement.
I have followed the trail of visionaries upstairs to the top of the gallery and they have led me to galaxies. Now I follow another trail back downstairs, one this one beginning with the soft, smudged figures of Mason Mulholland’s Gridiron Girls. The figures are piled together at the centre of the image, shoulder pads like wings, frozen in a split second of motion. The sport is one of force, but here the moment is softened and the figures seem to meld together.
This tension between the gentle and the powerful continues in the main room of the gallery, with Elizabeth Rankin’s set of six large drawings. They are inverted faces composed of layered charcoal and wax, their expressions ones of inscrutable peace. Their somnolence is a contrast to the busy room, where people are gathered chatting, full of vitality; the faces feel like the room’s silent guardians. It’s not immediately apparent to me that these are faces of the dead, but when I realise this I feel a rush of tenderness towards them. Elizabeth described to me how she builds the image from an initial charcoal drawing, then layers of wax and oil, caressing the page as she works on it. This process explains, perhaps, their moody empathy.
The faces of the two women in Baklang Sok’s video work The Absence are obscured by their long hair which falls forward to hang down in a smooth slick of shiny black. The women lean into each other, embracing, holding the pose and trying to remain as still as possible. But there is always movement, even if slight. In tiny motions their hair shivers, their bodies shuffle. This, like the exposed faces of Rankin’s portraits, is from the soft and quiet realm of human feeling, the realm of contemplation. And perhaps this is what unites all the works in this month’s exhibition at Home, a sense of contemplation, and what portraits, in their many forms, reflect back onto our engagement with the universe, and with each other.