Figments: Teresa Byrne

September 5th -  September 28, 2020

‘One evening, when I was a teenager, I remember feeling scared while watching Alfred Hitchcock’s film The Birds. The next day, I was out horse riding and noticed crows and seagulls everywhere. This experience left a deep impression, and since then, birds and horses have been an enduring theme in my work.’ - Teresa Byrne

Figments explores avian and equine themes through the lens of Byrne’s imagination. Living on horse studs most of her life, all things equine have been an inspiration and a constant subject for commissioned works. Now Byrne resides on a hill with a flock of chickens and avian visitors to ignite her artistic practice.

Impressively realistic animal portraits contain playful sentiments such as Hair today, Gone Tomorrow? which depicts two chickens with feathers quaffed. Each bird’s pupil holds an image of an infamous international politician.

In her imagination, birds are taking over by hybridisation and other furtive means. Perhaps we are going the way of their prehistoric ancestors?

Image: Teresa Byrne, Hair Today, Gone Tomorrow, 2019, mixed media on Birch Panel, 36 x 60 cm, Max Watters Collection.

Found Narrative: Untethered Fibre Artists

8 September - 23 October,  2020

Narrative is one of the most powerful tools for perceiving the human condition. Narrative lost and found, Michael Mason, This Land Press, 2010
The highly-anticipated fifth exhibition of untethered fibre artists inc. is Found Narrative, ‘finding the inner voice in fibre as a metaphor for the
unsaid’. In a delightful twist on past years, curator Jacqueline Schultze has challenged each artist to respond to a work from a previous year, while creating new works that interpret the theme.

Jess Forster’s work Dark Mud Heart explores the impact of the drought on rural Australian landscapes and communities. The felt vessels are representative of the anxieties surrounding rainfall. Each contains an equivalent amount of foraged earth pigment, which is then diluted
depending on the month the vessel represents. Thus, the vessels portray the effect of the months with higher rainfall become dyed - diluted with a lighter tone. The segments with the lower rainfall months become darker, muddy hearts, or in fact simply contain ‘dust’.

Found Narrative presents 40 works that are a curious blend of the critical, the sentimental and the visually striking. The artists have delved into personal storylines, revealing in a rich resource of material, both tangible and intangible.

Image: Jess Forster, Dark Mud Heart 2019, oil on hardboard, 87.5 x 77.5cm

Two Artists Two Journeys: John Galloway and Naomi Norris

8 September - 23 October,  2020

Naomi Norris and John Galloway charm and delight in joint exhibition Two Artists Two Journeys. The pair traverse motifs of the natural landscape and home comforts, finding beauty in the mundane while recording their growth as artists. The exhibition comes in a multitude of mediums. Including a series of prints, delicate Nerikomi ceramics, oil and acrylic paintings among others.

Image: Naomi Norris, Oh Olley 2018, gouache on paper, 32 x 24cm.

The Space Between: The Art of Meditation

8 September - 23 October,  2020

Visiting an art gallery is often likened to attending church, places for peaceful reflection and inspiration stemming from something beyond the physical. The Space Between: The Art of Meditation invites visitors to reflect and find a place to belong among art. The art selection consists of large abstract or interpretive works which the audience is presented to find their own personal meaning. The experience of the exhibition is meant to use art as healing. Abstract and expressionist artist Wassily Kandinsky said ‘art preserves the soul from coarseness like the tuning of a musical instrument’.

James Clifford’s work Picture of the Ocean Over the Tasman was painted at the end of his life in a marbling technique that mostly consisted of household enamel. Richard Larter stated ‘What was truly remarkable was that if you truly looked at the paintwork, there was no sign of any brushwork. It was as if the paint had been magically placed on the canvas. Yet, how splendidly had that paint been placed; one could discern white top waves breaking, sanded beaches, clifffaces, whole headlands with rolling hills beyond and turbulent water, not just breakers’.

ImageJames Clifford, Picture of the Ocean Over the Tasman 1984, enamel on canvas, 137.5 x 185cm, Max Watters Collection.