Home is pleased to announce we will be exhibiting work by David Rosetzky in our ‘Melbourne Comes to Sydney’ show during Art Month.
David Rosetzky is a Melbourne-based artist working across the media of photography, video and installation. Rosetzky’s black and white photographs and double exposures often allude to different psychological and emotional states, identity and selfhood. He is known for the elegance and aesthetic rigour of his art, which often draws upon the visual languages of contemporary advertising and cinema. Rosetzky has participated in solo and group exhibitions in Australia and internationally including Performing Drawing, National Gallery of Australia, Canberra, 2019; Versus Rodin: Bodies across space and time, Art Gallery of South Australia, Adelaide, 2017; How to Feel at the Australian Centre for Contemporary Art, 2011; True Self: David Rosetzky: Selected Works, Centre for Contemporary Photography, Melbourne, 2013; The Third ICP Triennial of Photography and Video, International Centre for Photography, New York, 2009; Viewpoints & Viewing Points: Asian Art Biennial, National Taiwan Museum of Fine Arts, 2009.
His digital video portrait of Cate Blanchett was commissioned to coincide with the opening of the new National Portrait Gallery, building in Canberra in 2008, and this year he was commissioned by the Portrait Gallery to create a photographic work of Jessica Mauboy for 20/20: Celebrating twenty years with twenty new portrait commissions.
Pictured is Milo, 2017, Gelatin silver print
“…when making this series of images, I was interested in the unforeseen alignments and compositions that were created through a process of chance. I used the technique of double-exposure – an analogue photographic process that superimposes two images together by running the same roll of film through a camera and exposing it twice – thus creating a third, combined or composite image. This process is of particular interest to me – working with ideas relating to the self, memory and identity – as it helps me to create images that are ambiguous, fragmented and in a state of transition, rather than fixed or essential…”
David Rosetzky appears courtesy of Sutton Gallery, Melbourne.
Home is thrilled to be exhibiting work by Zilverster in our ‘Melbourne Comes to Sydney’ show during Art Month.
Zilverster (Goodwin & Hanenbergh) is an ongoing collaborative project between Sharon Goodwin and Irene Hanenbergh, Melbourne-based artists who have garnered strong individual reputations for their imaginative, elaborate and meticulously rendered expanded drawing and painting practices. What began in 2010 as a problem-solving exercise – with one artist offering problematic, unfinished works to the other for advice on resolution – has evolved into a rich shared practice that continues to extend the discursive as well as process potentialities of each artist. While there are many shared interests and concerns between the two artists – (art) history, fantasy, cult iconography, alchemy, supernatural phenomena to name a few – each operates from a distinct temporal and imaginative framework: Goodwin’s contributions are embedded in a medieval, Gothic context while Hanenbergh’s derive from a European Romantic sensibility. Zilverster’s practice continues to develop out from an original series of beautiful, fantastical drawings that remain compelling in their strangeness.
Pictured is an installation shot (detail) of their exhibition Patrino-patrino staged at Sarah Scout Presents in 2018. The exhibition comprised a suite of twenty-one new intricate drawings, a number with carved and engraved custom frames and glass, together with a series of glass objects and furniture.
The starting point for the exhibition is The Table of Moresnet, an iconic work Zilverster created in 2016, and which first extended the duo’s collaborative drawing practice into the spatial/sculptural realm.
The Table of Moresnet is named for a small slice of European history – and failed utopia – the land of Neutral Moresnet. Until WWI, the tiny country existed, tucked away in the hills between The Netherlands, Belgium, and Germany. The small neutral country had been under threat among major European powers until a group of residents came up with an ambitious counteroffensive: they formed Neutral Moresnet into the first Esperanto state and named it Amikejo (‘city of friendship’). A self-declared neutral state, Moresnet/Amikejo was a place where refugees were welcomed and where conscription was abolished. It also had exceptionally low taxes. However, on June 28, 1919, the Treaty of Versailles settled the dispute that had created the neutral territory a century earlier by awarding Neutral Moresnet, along with Prussian Moresnet and the German municipalities of Eupen and Malmedy, to Belgium, thus permanently ending its status. Today, a small museum (Göhltal Museum) is all that is left of this unique episode in European history, as well as 50 of the 60 border markers that mark the former borders. The Table of Moresnet serves as a memorial for this utopian idea, as well as a diary of its own making. In addition to particular historical moments and excerpts of Esperanto text, the table comprises snippets of conversation between the artists, a record of visitors to the studio and numerous pop-cultural references.
As a functional object, it both highlights and repurposes its own historical context and as a conceptual art work, it brings the past and present into focus, as well as playfully disturbing the traditional distinctions between high and low art forms.
Zilverster appears courtesy of Sarah Scout Presents, Melbourne.
Home is pleased to announce we will be exhibiting painting by Melbourne-based artist Nicholas Ives in our ‘Melbourne Comes to Sydney’ show during Art Month.
Nicholas explores within his work realms of the Absurd and the Carnivalesque through a primarily figurative form. His works flow across the borders of portraiture into abstract qualities, encouraging unexpected outcomes and collisions – encounters of the material surface and the imaginings of unknown painterly worlds.
“My works are human-scaled, at times intimate, explorative and personal, with heavy importance on the material and felt aspects the painting process. Time allows the pieces to change and fluctuate. There’s a rapture and absurdity to making these paintings, revealing an ebb and flow of studio process that making drives the work itself. I liken my practice to something that is elusive, adaptive and evolving; operating within the fluid nature of paint…”
Pictured is If you’re lonely eat a sandwich, 2014, oil on linen.
Nicholas Ives appears courtesy of Blackart Projects, Melbourne.
Home is thrilled to be exhibiting painting by Melbourne artist Ebony Truscott in our ‘Melbourne Comes to Sydney’ show opening on Thursday the 7th of March during Art Month.
“…I paint and draw objects from direct observation and can’t shake the fact that my message and medium are utterly merged. My primary material, oil paint, has a character at once heavy and luminious – it’s made, for the most part, by rock, mineral and metal. It is in constant flux, never being fully dry only further polymerized. Linen too, is never truly at rest and expands and contracts according to temperature and humidity. I like that still life, a genre concerned with the merciless passing of time, about stillness and mortality should be associated with such quietly restless materials. I’m curious about how light strikes, is absorbed and scattered by what are usually variants on basic geometric solids; cones, spheres, bricks, cylinders, for instance. And I wonder about how to suggest non-visual phenomena too – like weight, sound, or density. All this, I feel an almost forensic pull of inquiry towards. Yet there is something that emerges from the labour of this research, that looks grim, melancholy. I’m not sure about this, it’s a type of expression I suppose. I intend to depict coolly and truthfully but a looming sense of something sad and ambivalent turns up too…”
Pictured is Bowl brick and paper cone, 2017, oil on linen.
Home is thrilled to be exhibiting work by Kirsty Budge in our ‘Melbourne Comes to Sydney’ show opening in March. Our Art Month exhibition will feature a stellar line-up of Melbourne artists.
“…Kirsty Budge’s work vacillates between abstraction and figuration. Her psychologically charged paintings are populated with humour, humans, hopes and horrors. The works connect personal experiences, thought patterns, observations and environments through intuitive processes. Real and imagined forms are combined on the same picture plane and, through the process of mark-making, each is given equal value in the space of the painting. The structure of each painting emerges through a lengthy process of excavation and application by the artist, resulting in an image that is both a response to and a construction of a personal narrative…”
In 2018, Budge undertook a residency at the Cité Internationale des Arts, Paris, as recipient of an Art Gallery of New South Wales Studio Scholarship and exhibited in NADA New York.
Pictured is Thank you very much for your kind donation, now give me 20 bucks or I’ll punch your face in, 2017, oil on canvas.
Home will be exhibiting a suite of works by Melbourne artist Louise Gresswell in our April/May exhibition in 2019.
Louise graduated from RMIT in 2017 with a MFA and a BA Textile Design from Chelsea College of Art, London. She has had recent exhibitions at Rubicon and Tristian Koenig in Melbourne and was a finalist in this year’s The Churchie National Emerging Art Prize.
“…central to Gresswell’s work is the materiality of paint and surface as she investigates deeply personal histories and transfers that which is felt from hand to surface. The action of manipulating oil paint, the building up and covering of layers over time becomes a metaphor for the past. Sensory narratives are created through textured and rich surfaces with evidence of touch…the use of cutting, reassembling and suturing evokes vulnerability but also signifies a metaphor for defiance. Through subverting the tradition of painting and embracing imperfection, the paintings speak about wholeness and fragmentation, creating ‘fractured icons’…”
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