Sky Light Mind
Brendan Huntley’s new body of work, Sky Light Mind, is strongly influenced by, as Huntley puts it “the natural light and crazy vibrant colours of the West Coast” he experienced while based in San Francisco on a residency in 2017.
“I see these works as a meditational expedition,” he says. “A journey, a trek… with paint, clay, glaze, glass, collage, and whatever other materials get sucked into the creative vortex.”
Image: Brendan Huntley Untitled (Fade Away and Radiate) 2017/2018, oil on linen, 99.5 cm x 147 cm.
A series of new works in crystal, copper and brass wire in woven wire morphic forms.
Image: Untitled A, copper and crystal vase, 55 x 32 x 32 cm
The Bottom Feeders
The Biggest Bottom Feeder 2018
oil on linen
265 x 202 cm
The Landspace: [all the debils are here]
Danie Mellor presents his first solo exhibition at Tolarno Galleries.
In this new sequence of works, Mellor reimagines the landscape as the landspace, and in doing so opens up a new way of seeing history, ownership and possession of country.
“Reimagining the world as a landspace suggests we are in an enveloping environment, a world that has its past, present and future – its dreaming and landstory – unfolding as prescient and concurrent phenomena,” Mellor says.
Download the media release.
Beneath towering palms 2018
Diasec mounted chromogenic print on metallic photographic paper
Edition of 3 + 2AP
Tolarno Galleries presents Elizabeth Willing’s solo exhibition, Strawberry Thief, at this year’s Melbourne Art Fair. The exhibition will include a wallpaper print, a series of collage prints, hand-carved wooden sculptures and Anxiolytic. This is a bottled and branded spirit and glasses that will form part of a cocktail performance in collaboration with Melbourne mixologist, Cennon Hanson.
Image: Strawberry Thief (after William Morris), 2017. Wallpaper print, dimensions variable.
Elizabeth Willing’s Strawberry Thief project, presented at Melbourne Art Fair 2–5 August 2018, has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Invisible Stories: Meditations on Port Essington
In his first solo exhibition since 2012, Benjamin Armstrong will present a series of linocut prints relating to Mark McKenna’s 2016 book From the Edge: Australia’s Lost Histories.
Read an interview with Benjamin Armstrong in Imprint Magazine Winter 2018 edition.
Image: Embedded, 2018. Linocut, dye, ink, coloured pigment, iridescent pigment. Image size 76.5 x 57 cm, frame size 89 x 69 cm. Edition of 8. All works are hand printed with a baron on Arches BFK Rives.
For his sixth exhibition at Tolarno Galleries, Melbourne-based Andrew Browne presents new paintings and related charcoal drawings that extend his decades long interest in a landscape of phenomena – yet one alienated from the picturesque.
Tolarno Galleries presents a collection of new Bill Henson photographic works.
“Plenty of artists conjure with images from the history of art, but none has been so ambitious in their attempt to marry the immediate, over-brimming present with the haunted past. And the fact remains that no other living Australian artist has produced as many images so full of tenderness, silence and longing” – Sebastian Smee, The Monthly April 2017
Buddens finds Rosemary Laing returning to Shoalhaven, New South Wales, the landscape of the iconic series groundspeed (2001).
As Laing notes: “The arrival of people, throughout history, shifts what happens in land, challenging those who have left their elsewhere, and disrupting the continuum of their destination place. A disruption causes a reconfiguration. It elaborates both the beforehand and the afterward.”
Download the full Buddens essay text written by Judy Annear.
Notes on Chaos
Trump tweets, North Korean missile launches, global terrorism, vengeful weather, disruptive economies and Middle East instability: it feels like the rug has been pulled from under us. How do we respond to a world upside down, a place of crumbling sureties? Ben Quilty’s new work expresses the uneasiness of a society anxious about the future through the lens of personal experience – Michael Desmond, 2018