Sam Michelle's newest series of work combines native flora from here and across the Tasman, with objects from her private collection in a bid to reconcile aspects of her life in Australia with her New Zealand heritage.
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.
Simply titled Colour, Jennifer Goodman's newest body of work examines colour relationships and compositions in a bid to tease out the primary drivers of her work. This exhibition comprises large scale paintings, complemented by some smaller works on linen, exquisite tapestries and delicate works on paper.
Throughout the history of the world civilisations have used botanical symbols and images. They have woven their forms into the cultural fabric of societies, embedding self and community expression through literature and art to form an unspoken crypto logical language... floriography - the language of flowers.
“There can be no transforming of darkness into light, of apathy into movement without emotion.”1
Flock is an ambitious series of figurative paintings by Rachel Coad which revisit the warm, muted palette that dominated her early practice.
The subjects of these works are French backpackers who passed through Margaret River on their Australian travels. In exchange for board and lodging, Coad retained them as sitters in the studio, where she sketched, photographed and painted them....
The Divine Paradox draws upon elements of the Australian landscape to examine the fragility and strength of the human condition. Working both en plein air and in the studio, Charmaine Pike employs landforms as a vehicle for a dialogue on emotional states through personified rock-like formations which lean inwards and out, often precariously placed within bold compositions to create visual tension between space and form.
In 1834, English explorer and artist, Robert Dale, produced a series of drawings of Australia's south west coast that are widely regarded as the most ambitious attempt to document the Australian landscape in the 19th century. Produced as a series of etchings totaling 3m long, Dale's work depicts rolling hills in a vast panorama and is dotted with depictions of harmonious relations between English settlers and the Nyoongar.
The six paintings which are collectively titled Minang Boodjar re-examine Dale's 19th century imagery at an epic scale in an attempt to focus our attention on the troubled notion of a romanticised account of colonisation.
Tim Allen is a painter in the landscape tradition who works from a studio in the Blue Mountains in New South Wales. His painting career spans more than 20 years and he has been awarded several prestigious awards such as the Paddington Art Prize in 2017. Navigate is his first solo exhibition at Gallerysmith.
Fiona Hiscock’s oversized ceramic vessels exist within a broader concept of functionalism, as a means to examine her interest in early colonial domestic objects such as water pitchers, basins and bowls. Taking these ideas as a starting point for her practice, her works have evolved to create their own language of decorated utilitarian objects which express her interest in native flora and fauna.
Adriane Strampp’s process begins with a collection of photographs, obscure and obscured source material, a compilation of information gathered from places once visited which continue to have some pull or gravitas.
In her studio, fragments of reference material are rearranged, merged and edited to create a new ambiguous reality ...