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.
Mid-career survey exhibition by Marko Lulić is currently showing at LENTOS Kunstmuseum Linz, Austria. Curated by Wilfried Kuehn, ‘Futurology’ consists of large scale sculpture and architectural installation.
Since 2000, Lulić has been investigating Yugoslavian and International Modernism. He addresses the relationships of form and ideology and the relation between body and representation in different political contexts. Utopian aspects of the twentieth century are analyzed, translated and queried. Architecture and display – central themes in Lulić’s work, become the means of a restaging in the museum. The exhibition runs till September 10. Photos: maschekS.
Sydney based artist Adam Norton will be exhibiting a suite of portrait paintings in our upcoming show opening Thursday the 3rd of August. The portraits feature prominent figures from the ’60s involved in space research and UFO sightings.
Pictured is Dr Allen Hynek, 2010, acrylic on aluminium
“…in the late 1940s Hynek was hired by the US Airforce to help debunk the huge surge in reports of UFO sightings. Although initially sceptical, over the next few decades, he came to believe the scientific establishment were not taking the sightings seriously. He also devised a system of UFO classification, from a close encounter of the first kind, an apparent sighting of a UFO at a distance, through to a close encounter of the fourth kind, which is direct physical contact with an alien…”
Join us for drinks next Thursday the 3rd of August for our upcoming opening featuring 5 artists: Tim Corne (installation), Mason Mulholland (painting), Adam Norton (painting), Elizabeth Rankin (painting) and Baklang Sok (video) – 735 Bourke Street Redfern from 6-8pm – hope to see you here.
Home@735 Invitational closes on Sunday. Come along today and Sunday from 2-5pm to see ‘Hypnotised Into Being’ by Kate Mitchell showing in our video booth.
“…for this work Mitchell enlisted a hypnotist to induce her into a sub-conscious state and prompt her to respond to a selection of statements that she had earlier provided. Initially approaching the session with a degree of cynicism, the artist was later amazed that she had indeed been induced into a subliminal state. Mitchell physically enacts various prompts related to art history, critical discourse and her own practice, as if playing a game of charades in a hypnotised state…”
Pictured is a still from Hypnotised Into Being, (A Self Portrait) 2016, HD digital video 16:9, colour, no sound, Edition of 3 + 2 AP.
Kate Mitchell is represented by Anna Schwartz Gallery in Melbourne and Chalk Horse Gallery in Sydney.
Home@735 Invitational features a number of works from the Badger & Fox Collection including photography by Bill Henson, Andre Kertesz, Jacques Henri Lartigue, Brassai, Garry Winogrand, Olive Cotton, Max Dupain and painting by Brett Whiteley. A number of Sydney artists have created responses to these works.
Tom Polo’s The Most Elaborate Disguise (15), 2016, oil stick on paper responding to Jacques Henri Lartigue’s 40 Rue Cortambert, silver gelatin print taken in 1903. Tom Polo is represented by STATION, Melbourne.
A nuanced piece of writing by Stella Rosa McDonald about our current exhibition.
Brassaï: A few years ago, I was in the valley of Les Eyzies in Dordogne. I wanted to see cave art at the source. One thing surprised me: every generation, totally unaware of the ones that preceded it, nevertheless organized the cave in the same way, at a distance of thousands of years. You always find the “kitchen” in the same place.
Picasso: Nothing extraordinary about that! Man doesn’t change. He keeps his habits. Instinctively, all those people found the same corner for their kitchen. To build a city, don’t men choose the same sites? Under cities you always find other cities; other churches under churches, and other houses under houses. Races and religions may have changed, but the marketplace, the living quarters, pilgrimage sites, places of worship, have remained the same. Venus is replaced by the Virgin, but the same life goes on.[i]
I imagine Art as Brassaï’s iterative cave. I imagine Artists entering the cave and heading straight for the ‘kitchen corner’, levelling the earth and preparing the build. But the artist, in this conceit, doesn’t behave entirely like Brassaï’s common cave dweller, who remains ignorant of the home’s previous arrangements. The Artist is totally—and necessarily—aware of what came before. This knowledge is essential if they are to raise the galley again, their antecedence guides their sense. And so, they begin to arrange the kitchen once more, in the very same place, but with difference.
The idea of working ‘in response’ is not an alien task for the artist, whose arrangements form both the echo and the call. The photographer Olive Cotton (whose own 1985 photograph Pepperina Lace is re-formed here in a 2017 ceramic series by Alice Couttoupes) returned to the same subjects with heartbeat regularity in her life. The photograph Willows (1985), for example, could be the opposing view of the very same tree that is depicted in Willow Rain (1940)—and it probably was, only with 45 years in between. Cotton made careful studies of her subjects and she wrote with even greater caution around the photographs that contained them. Her notes were spare and direct and they tasked the image with the heavy lifting. There are no photographer’s notes for Pepperina Lace (1985, showing here). But from the descriptions Cotton assigned to other photographs, we can assume she might have simply noted the delicacy of the flowers and, perhaps, their equivalence to thread. Because of its small scale, Olive Cotton’s daughter Sally tells me Pepperina Lace was possibly sent out by Olive and her husband as Christmas cards for close family and friends in the 1980s. The card making was meticulous and heartfelt on the part of Cotton and her family and took around a week from print to post. Some recipients of the cards threw them away at the end of the season; others kept them carefully, and even framed them. Chance plays no small role in laying the foundations for Art’s cave.
Beneath the city lies another city, there are churches under churches and houses resting atop the foundations of other houses. The kitchen is, now, where it has always been. We return to each other with time.
[i] Brassaï̈, Jane Marie Todd, and Henry Miller. 2002. Conversations With Picasso. (Chicago: University of Chicago Press), 92