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.
A large series of hand painted shields coupled with photographs, paintings and installation will feature in this expansive exhibition which explores Bridgeman's Papua New Guinean heritage.
The shield has always been associated with conflict, used in times of battle as personal armour and as potent symbol of power to attackers. In PNG culture, battles between tribes are a common means of dealing with disputes and maintaining social order. Here, the shield plays an important role in displaying status and power.
The Long Wait for the Angel is Jennifer Goodman's 8th solo exhibition in her career and her third with Gallerysmith. Her work explores the complexities of colour and the subtleties of abstraction, resulting in a range of delicate, large scale oil on linen compositions. This exhibition is accompanied by an illustrated catalogue with an essay by writer and curator, Chloe Wolifon.
Sam Michelle is a Melbourne painter whose intimate paintings make a strong impact. Her new series, The Cloth Collection, is inspired by the gathering of flowers, ceramics and her growing collection of textiles.
Sam Michelle is among a younger generation of artists whose works engage both emerging and established collectors.
Memento is an exhibition of paintings inspired by my recent experiences living for a year in Belgium, soaking up Flemish art, the landscape and the northern light. Some of the paintings are based European urban environments, connecting directly to other works that depict my suburban environment here in Melbourne.
In a return to the themes which dominated Coad’s 2014 series, Restoration is an ambitious series of portraits which endeavours to describe an unguarded moment in human interaction. Her figures engage with a series of situations which are not apparent to the viewer in a bid to examine the role of the spectator. She says, “We all find ourselves in conversations where, in a moment, we are observing rather that participating. I seek to recreate the dynamics in the observed moment.”
Lynda Draper's work explores psychological scenarios often representing a journey within the dualities of life and death, reality and fantasy, past and present. She is interested in the relationship between the mind and material world and the related phenomenon of the metaphysical. Her work for The Other comprises a series of 'tiaras' and other abstracted forms, expanding the expressive freedom of her hand-built ceramics practice.