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.
Belinda Fox's exhibition (developed during the height of a global health pandemic) explores the fragility of a fragment(ed) world. Her works responds to this time of uncertainty with delicate images of profound beauty.
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.
For his debut exhibition at Gallerysmith, Waldemar Kolbusz brings together an exhilarating new body of paintings inspired by both his recent travels and experiences closer to home.
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.
In his second solo exhibition at Gallerysmith (his 20th career exhibition), Tim Allen presents a series of works derived from his recent Queensland residency courtesy of the Australian Wildlife Conservancy.
Isobel Clement's works are quiet meditations on tone and form, looking at simple still life compositions with a focus on the space between objects, the fall of shadow and the play of light on surface.
This solo exhibition highlights recent examples of Isobel Clement's studio practice.
With a practice firmly grounded in geometric abstraction, Italian-born artist Wilma Tabacco presents Fosse, an exhibition of paintings and collage works. Titled Fosse, this exhibition...
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.
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 Carroll's seminal work and includes a range of paintings and accompanying 'Junko philosophies'.
Lynda Draper was awarded the $50,000 Sidney Myer Fund Australian Ceramic Award on June 21, 2019.
“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.
The Peony Portrait Collection will be Sam Michelle's second solo exhibition at Gallerysmith. A VIP preview will take place on Saturday, April 6th in Melbourne. Places can be booked by emailing jess@gallerysmith.com.au. Those who sign up will be notified of the event details this week.
In his first exhibition since joining Gallerysmith in 2018, Clinton Nain reveals a new series of paintings exploring the impact of power structures imposed since colonisation.
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.
Using William Strutt's epic Black Thursday as a starting point, Martin King has developed a new series of artworks and art objects which explore the somewhat mythical aspects of land, flora and fauna.
This online exhibition by Sam Michelle takes the J. Paul Getty Collection in LA as a starting point. Inspired by the gardens which surround the museum and objects within, Sam Michelle has developed a fresh body of work using seasonal fruit and flora in a range of compositions.
ARTIST STATEMENT This body of works is as much an exploration of our colonial culture as it is my own identity. It is a tale of resilience, of the pride and prejudices against social and political injustices of early Australia…
Lori Pensini explores her heritage and that of her family in her solo exhibition, Bloom. This body of work contains four large scale paintings which examine familial relationships and the personal and cultural connections which exist in pastoral Australia.
Using museum collections as subject matter for still life painting, Dena Kahan plays with ambiguities of scale, space and reflection to undermine the clear containment of the museum case...
Ian Friend’s work reflects a rich engagement with jazz and classical music, poetry and architecture. Blue Silence pays homage to poets and artists, composers and musicians including those as diverse as Elena Kats-Chernin, Edward Elgar, Sol Gabetta and Piet Mondrian.
Belinda Fox's exhibition, Pedestal, considers the notion that ideas which can be held as a beacon of hope can sometimes be flawed. It explores the imperfection which lies in the seemingly perfect. These works focus on this idea of a ‘fall from grace’ or the dismay that follows our naivety...
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 ...
ARCHIVE unapologetically documents incidents which occurred in 1965-66 during Indonesia’s anti-communist purges. It is an extension of 2015 series titled Genocide which marked 50 years since the Indonesian atrocities began.
Using traditional techniques of Persian miniature illustration, Sue Lovegrove's new works are intimate works which chart quiet observations of moments in time. Each pairing of 8x4cm paintings present like pages in an open book that might rest in the palm of one’s hands.
An infinite video loop of disappearing flora is central to this photo-media exhibition. Catherine Nelson once again captures our imagination with dramatic imagery and haunting inferences in this unique and captivating exhibition.