Artist Profile - The Artists Behind The Art

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Our warm congratulations to the winners of the Arc

Our warm congratulations to the winners of the Archibald, Wynne, and Sulman Prizes for 2022: an historic and deserved win for Blak Douglas with a portrait of Karla Dickens in the Archibald, a beautiful work by our former featured artist Nicholas Harding in the Wynne, and our former cover artists Claire Healy and Sean Cordiero in the Sulman. Well done, all!
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IMAGES: 1. Blak Douglas, Moby Dickens, 2022, synthetic polymer paint on linen, 300 x 200 cm, photographed by Mim Stirling
2. Nicholas Harding, Eora, 2022, oil on linen, 196.5 x 374.8 cm, photographed by Mim Stirling
3. Claire Healy and Sean Cordiero, 2022, Raiko and Shuten-dōji, acrylic gouache, jute and tape on helicopter shell, 159.5 x 120 cm, photographed by Mim Stirling

#art #archibaldprize #wynnepriz #sulmanprize #artistprofile

"Citing themes of interest as including 'memory, l

"Citing themes of interest as including 'memory, lineage, lore, colonialism, and sovereignty,' the insertion of storied items into differently storied landscapes produces softly ambivalent lines of association in Perry’s images. Her historical research into the locations she paints is meticulous, yet her storytelling imaginative and associative. She never paints on behalf of others.”

Melitta Perry’s “Weaving the Borderlands” looks affectionately and curiously at the New South Wales Norther Rivers, where Perry lives and paints. During the final week of the show’s run, we asked Perry about her attachment to the area, her use of source material, and her open-ended modes of storytelling. Head to the 🔗 link in bio to read the full article on our website – free and totally open access, as always.

IMAGE: An Aside (Orange-Bellied Parrots), 2022, acrylic on canvas, 50 x 40 cm, courtesy the artist and Anthea Polson Art

#art #artist #artistsupport #artistsoninstagram #painting #landscape #artistprofile

"REBIRTH IS NECESSARY is an expansive, reparative

"REBIRTH IS NECESSARY is an expansive, reparative engagement with the archive, unbound by tropes of temporal linearity, of loss and recovery, or of '(re)discovery' as a one-time event. Rather, Nkiru’s use of archival film and audio material echoes the sampling tactics of hip-hop music, but also the improvisatory, ‘elaborating’ strategies of jazz, wherein pasts, presents, and creative futures are irreducible to, yet inextricable from, one another.”

On our website tonight, we get lost in the loops of Jenn Nkiru’s REBIRTH IS NECESSARY, ahead of its exhibition at the IMA, opening later this week. Head to the 🔗 link in bio to read abut Nkiru’s celebrated, and celebratory, work.

IMAGE: REBIRTH IS NECESSARY (still), 2017, single channel video, 10 minutes 31 seconds, courtesy the artist and Institute of Modern Art, Brisbane

#art #artistsoninstagram #artoftheday #videoart #ilm #artistprofile

“'I think something that we don’t do very well

Steve Lopes Encountered is touring from SH Ervin G

"As architect Kate Baker has written, an enclosed

"As architect Kate Baker has written, an enclosed garden is both a design and an experience. Its nature as both indoor and outdoor makes it ambiguous. But as an installation? The ambiguity is recast as a tension between artifice and nature, by cleverly borrowing from this architectural vernacular within the multi-perspective, large-scale print that covers the walls. The fish, by the way, are real.”

Online tonight, Dr Brooke Boland reviews The Illawarra Pavilion at Wollongong Art Gallery, finding a hyperreal world where connections between the local area and the broader Asia Pacific are drawn out of the Gallery’s Mann-Tatlow Collection of Asian Art. Head to the 🔗 link in bio to read Boland’s acute analysis of the show, which features the work of Gary Carsley, Renjie Teoh and Louise Loh.

IMAGE: Covered Garden Walkway and Pagoda, 2022. With: MT:227 Late Qing dynasty, Xuantong period (1908 - 1912) Pair of c. 1910 rosewood Altar tables and MT:223 Qing dynasty c. 1700 - 1800’s hardwood Side table, with MT:018 possibly Northern Wei dynasty (386 - 534) Burial jar c. 300 - 400s earthenware with moulded forms and MT:027 Western Jin dynasty (265 - 317) Yue ware covered funerary urn, hun’ping spirit jar stoneware with grey green glaze, against wall-based photocopy substrate, courtesy the artists and Wollongong Art Gallery

#art #artoftheday #artistinspiration #artistsupport #artwrting #artistprofile

"I’ve known Mick Richards since 1992. Knowing Mi

"The hand is a form of technology, after all, and

"The hand is a form of technology, after all, and can be used to sense and make sense of the inchoate material we find ourselves amongst. Many of the dips and ridges in her clay forms bear the shape of fingers and palms; delighting in tactility and in the warmth of holding and being held, these works celebrate the magic of the human encounter with the natural world.”

This evening, on our website, we take a turn around the work of Amelia Lynch, whose solo show is currently on display at Arthouse Gallery. The young Central Coast artist makes works imbued with memory and with delight in the sensate experience of her surroundings. Head to the 🔗 link in bio to read more.

IMAGE: Coastal II & Yattalangai, 2022, glazed ceramic, 29.5 x 40 x 20 cm (overall), courtesy the artist and Arthouse Gallery, Sydney

#art #ceramics #ceramicist #clay #australianart #artistsupport #artistprofile

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