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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.
Pike’s brushstrokes and layers overlap in unorthodox combinations, in defiance of the accepted canon of the landscape genre which delineates fore/mid and background. Despite, or perhaps because of this, her works are assertive and robust. With confident mark-making at the core of her practice, Pike’s works have be likened to ‘drawings with paint’, and are driven by influences from the New York School and the late-career works of artists such as Philip Guston.
The relationship of the body to space will be the key focus of Rachel Coad's upcoming exhibition. Her new series of figurative oil on linen paintings mark a return to works that are more intimate in scale, while retaining the tonal elements for which she is known.Find out more »
Fable and its translation to contemporary culture has sustained the painting practice of Junko Go for the past decade. Her new series looks at Lewis Carrol's seminal work and includes a range of paintings and accompanying 'Junko philosophies'.Find out more »