Musica Callada. Silent Music. Quiet Music. Secret Music. Shy Music. Circumspect Music.
Music Without Sound
“La Musica Callada, la Soledad Sonora”
“Silent Music, Resonant Solitude”
San Juan de la Cruz
With the passage of time, some things move dramatically and others hardly alter. It takes us a while, but sooner or later, after a few decades, we come to understand that nothing lasts forever. Time is something that everyone thinks they understand, but in reality, it’s remarkably ambiguous and elusive.
Dadang Christanto's works are overtly political and deeply human, unafraid of the inconvenient truth. His compassionate and unwavering devotion to honouring the victims of crimes against humanity is evident in this newest body of work. Contact the gallery to receive an e-catalogue for Dadang Christanto.
The still life paintings of Isobel Clement present a liminal space where time and space fold into, over and around, one another. Shift presents a survey of paintings that journal the subtle developments in Isobel Clement’s practice over the past eight years. Throughout this period an evolution of her rendering technique is evident, yet the same collection of unassuming domestic tableware has remained constant, weathering the flux of perception and existence.
In this new exhibition, Naina returns to his signature medium bleach, which he uses to sear photogram-esque silhouettes onto surfaces. Bleach being an apt metaphor for colonisation, which he has used in this exhibition in combination with luscious green textiles and paper, alongside his classic black textiles. In this new series, the bold and rich hues of the rainforest reflect Country, the land which is being systematically destroyed by ‘His Colony’.
Pleban explores the uncertainty of our altered relationship with the natural world and in dream-like depictions, examines the imaginative interplay between light and dark, night and day, and our desire to discover new ways of sensing, learning and being. The images are other-worldly but grounded in behaviours, gestures and relationships that enable connection.
I often wonder whether having been born in the high peaks of the Central Apennine mountains in Italy, where to look down onto troughs and distant valleys – and in winter even clouds – influences my understanding of space in ways that even I can’t comprehend. Many of my paintings look like aerial views, something to fly over rather than view from solid ground. This has the effect of drawing a viewer closer to the work and then propelling them away, backwards to safer ground.
"‘Riverbend’ is initially a specific location but then becomes a launching point to create an imagined and remembered sense of place. This is an immersive landscape, one to experience temporally, to move through at leisure. The landscape exists as a vehicle for reflection in both senses of the word...
"The complex, sharply angled forms created by the metallic foils in Wilma Tabacco’s work leave a residue of fragments, rough edged, light as feathers. Like the clouds of ash, softer than snow, which arise from volcanic activity these disiecta membra appear to have drifted down on to the surfaces of the Dreamscapes, where they are gripped and held..." Excerpt from 2013 essay by Sophia Errey.
Dena Kahan’s Wunderkammer exhibition revisits archival sources that have informed her work since 2008 – nineteenth century botanical and zoological models made from glass or papier-mâché. When Kahan was unable to travel during the worst of the COVID-19 pandemic, she journeyed back through her own records of prior research trips ......
excerpt from catalogue essay by Saskia Beudel
As the invited artist to undertake the 2021 Parliament House Artist Residency in collaboration with School of Arts & Humanities at Edith Cowan University, I have created a series of photographic works acknowledging and celebrating the revolutionary Edith Cowan on the centenary of becoming the first woman to be elected to an Australian parliament.
“My ceramic objects depict a range of location specific species including Banksia Serrata which grows along the eastern Victorian coastline and Snow Gum found in high country along with bird species found throughout Victoria. I spend as much time as I can in the natural world. I walk, camp and observe particular trees of interest to me, and the birds and insects that live within the confines of a particular species.
A tulpa is an imagined being brought to life - as simulacra they are made rather than born. The faces of RAGGEDY MAN are not quite human, rather they are products of imagination. Though strange and even monstrous they offer the comfort and familiarity of the rag doll. Fabric is stained with pigments bound with soy, patched and layered in a collage-like process, then stitched and quilted by hand and machine. Thread binds the works together, filling mouths and eyes as though revealing inner structure or masking something secret. Like time-worn puppets or masks they mutely await animation.
The Cloth We Share is Gosia Wlodarczak's debut solo exhibition at Gallerysmith. Wlodarczak’s drawing performances, usually developed over a number of days, see her making hundreds of thousands of marks on architectural surfaces and objects within a space; walls and ceilings (shadow drawings), windows (frost drawings) and furniture (dustcovers)
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.