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Until the Kingdom Comes, by Simen Johan Got new work you’d like to share? Send images and description of your work to thearlife at hot mail dot com. Images should no larger than 350k each
From John Kelly… It could be an advertisement for some super blue detergent, but the Baie des Anges on the Côte d’Azur is not chemically enhanced. The sea really is the colour of the cloudless sky. I feel summer bliss
“. . . these canisters hold the cremated remains of patients from an American psychiatric hospital. Oddly reminiscent of bullet casings, the canisters are literal gravesites. Reacting with their ash inhabitants, the canisters are now blooming with secondary minerals, articulating
Richard Malloy’s head is covered in clay. You can see his teeth behind the moist skein, an image disturbingly reminiscent of Buffalo Bill in Silence of The Lambs. Malloy’s work – on show at Gallery 9 until the end of
Eden plays with the creation and destruction of natural elements by technology. The images are created using antiquated scanning technology which can only capture the image in multiple successive attempts. The central image of the Eden flowers remain constant, whilst
Snow White does not want to grow addresses anorexia and investigates the pathological relationship between Snow White and her jealous mother. We follow Snow White’s struggle with her own burgeoning sexuality in her quest for eternal childhood; trapped in a
Andrew Curtis, Katie, 2008. Type C colour print, 83cm x 115cm. Andrew Curtis, Alice, 2008. Type C colour print, 115cm x 85 cm. Andrew Curtis, Sarah, 2008. Type C colour print, 83 x 115 cm. “Too chicken shit to make
Photos based on children’s drawings. Fishki.net Billboard Liberation Front John Beinart’s Crustaceous Toddlerpede.
Over the last few years John A Douglas has been exhibiting his ongoing Screen Test series in various artist run galleries. His latest work is now on show in the ambitious exhibition Screen Test [Americana/Australiana] – Fragments and Stills at
From Bonny Dot Cassidy… There are are exhibitions that come along only once in a curator’s career; and I imagine a survey of Fiona Hall’s work to be one of those — the chance to interact with a living, local