With family being central to her fine art practice, Lori Pensini develops work which portrays strength of character, resilience and fortitude. Over many years, she has created a unique and distinctive 'language of flowers' which aligns the characteristics of local native botanicals with the virtues of her subjects. This new works includes a large series of portraits of men and women, boys and girls from her family, along with a number of panoramic landscape paintings.
A new body of work which explores our addiction to heightened emotions and ever greater experiences. These new Kolbusz works purposefully play with an unquiet which lies just beneath the surface. Kolbusz wants us to unpack the desires and feelings we subconsciously seek which satisfy the universal need for love and acceptance.
Contemplating the surface and it's depths, Sue Lovegrove's new series is a meditation on the fleeting nature of life in water – the constantly shifting light patterns, the melancholy darkness and the movement of wind across the surface. In these delicate and detailed mixed media compositions, Lovegrove reflects and ponders the dark, enigmatic, and at times abstract worlds of wetlands, swamps and the tannin-stained creeks of Tasmania.
In a return to a most poignant medium to convey his experience, Stolen Unknown is Clinton Naina's latest collection of works. Clinton blends found objects and materials which hold cultural significance and personal importance with White King bleach to record stories of stolen culture, family, country and language.
In Friend’s works these have been variously described as windows; as auditory membranes; as acknowledgements of architecture; as responses to literature and to life itself. These fluid expanses of muted muteness invite interpretations of liminality. The equivocal nature of their forms insinuates processes of becoming as well as those of dissolution. - Pat Hoffle AM, November 2020
Susanne Kerr's exhibition, Human Traces comprises quiet allegories that mimic life, just as theatre speaks to the human experience. The works present culture and the natural environment in scenes abundant with birds, flowers, ribbons and women to explore social connections – spoken and unspoken – that bind people together, and the double-edged sword of how human survival and the depletion of the earth’s resources are interwoven.
DUE TO LOCKDOWN, THIS EXHIBITION IS NOW ONLY VIEWABLE ONLINE
In 2020, the Coronavirus pandemic offered us one of life’s greatest encounters with darkness. All of our certainties were thrown into question; fear and darkness lurked in the back of our minds.
Dealing with darkness as a subject matter is a timely proposition.
In this time like no other, Gallerysmith has brought together a curated selection of artists' experiences of 2020 with this online exhibition 2020 (REAR) VISION. This exhibition draws artists from both within and beyond Gallerysmith and aims to provide a snapshot, as a social history record of a most unusual and challenging time. It contains work which is reflective, responsive, reactive and importantly, honest.
When observations become form draws upon what ABC international affairs journalist Stan Grant refers to as the three founding realities that comprise Australia: First Nation People, the British tradition, and the richness of migration. A fourth thread evolved during the course of the exhibition, the Australian landscape.
Throughout European history, literature, music and theatre, the black swan has been attributed with dark symbolism, having a sinister and seductive association with evil. In this her first solo exhibition at Gallerysmith, Fernandez repositions the swan, and other emblematic flora and fauna representative of Western Australian identity, as trenchant symbols, to explore dark undertones of the state's brutal history.
After bushfires which ravaged large parts of Victoria and New South Wales in 2019/20, Fiona Hiscock considers the fauna impacted by these catastrophic events through loss of habitat. Her large scale ceramic vessels provide the canvas upon which she paints a range of native bird species and plants from coastal Victoria, from far east Gippsland to the Otway forest.
Photographed on the Isle of Skye using a converted full spectrum camera and an infrared filter, Kate Ballis reinstates Scotland’s mythological fairies as a statuesque powerful goddesses. The series considers the myth of Cailleach who created the mountains with fire and carved them with ice, and depicts this with blood like feminine forms.