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Lisa McCleary discusses her upcoming solos show at Gallery MC, eroticism, surfaces, sci-fi and insane amounts of hard work…
“With my work, I propose that floral paintings involve the mirroring of time and dimensions beyond their symbols and icons.”
Dong Yuan loves Da Vinci and Duchamp equally. In these works, we see the results of such an apparently unlikely juxtaposition: Dada’s love of the absurd and playful meets the beauty and virtuoso technique of the old master.
“I have an ongoing fascination with the outsider position, where many of us unintentionally find ourselves. For an immigrant culture such as Australia’s, there is an implicit sense of liminality that derives from not only the unknown future but also the uncertain past.”
“Sam Holt’s painting has developed an intensity and muscularity beyond the pared back gestural minimalist approach of former works. The palette has shifted from the pink, blue, green spectrum to a reduced, more neutral, not-quite monochrome range of blacks, white, grey, sand and silver.”
“Everything felt so cool and consolidated like there was some agreement amongst the art establishment of what is serious and what is not. Romantic Landscape painting was literally a no go zone, career suicide, so that appealed to me. What happened though is that I really came to love it and through some curious fate I ended up living in the Hudson Valley.”
‘I have tried to leave them all at a stage that reflects some kind of completion but I also feel as if they have no end.’
Gab Bates, ‘Developer Catcher’ (based on a traditional Voodoo ‘Devil Catcher’), W65cmxD65cmxH80cm, foraged & anointed sticks, bones, beads, coins, Inner West soil, cocain and the spittle of an angry young female artist at a council meeting. Gab Bates, ‘House Protection
The artists draw on first-hand experience in caring for a sufferer of dementia, as well as looking to engage more broadly with the impacts of this illness on society.
As renditions of hard-edged abstraction, Daniel Hollier’s works would be considered imperfect.