Born in the province of L’Aquila, Italy, Wilma Tabacco has lived in Australia since childhood, yet her diverse art practice reflects her Italian heritage and her fascination with western European archaeology and history. Primarily an abstract painter, Wilma’s practice has expanded and contracted over the years to include elements of installation, collage and work on paper. Wilma’s qualifications include a Bachelor of Commerce (1972), a Diploma of Education (1973), a Master of Arts (1995) and a PhD (2006). She has lectured variously in painting, drawing and printmaking at the University of Melbourne, Canberra School of Arts and at RMIT as part of the international programme in Hong Kong and in Melbourne.
On International Women's Day 2021 we acknowledge the achievements of girls and women around the world. We celebrate those who dedicate their lives to sport, art, health, family, politics, business and a host of other creative, professional and selfless endeavours. We thank those who are our mothers, grandmothers, daughters, sisters, colleagues and friends....
This body of work celebrates the freedom of post lockdown with beautiful blooms discovered at Sam Michelle's favourite florists and nurseries around Melbourne. These flowers are mixed with others from Sam's garden. In lockdown one, Sam cleared out vast spaces in her garden to make room for flowers she was growing from seed. Sam has taken a particular interest in the challenge of painting detailed, intricate flowers, such as the bearded iris.
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.
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.
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.