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‘Paper—you can never predict what it will become in the end.’
“Paul Handley is a multi-disciplinary artist who lives and works in Melbourne. He explores and interrogates ‘big picture’ social issues that cross borders and even continents…”
“A well-known whaler and gunner on The Cheynes III (a whale chaser) lost his leg after it became entangled in a rope attached to a harpoon fired at a whale…”
What a maroon!
The tension between traditional portraits and works that sit at the limits of what most people consider a portrait is the friction that fires up the whole engine of the prize.
“This body of work takes as its starting point a small 19th century landscape painting by a little known convict artist, George Peacock, which depicts a view along Sydney Harbour.”
“Liminal reflects a fascination with time and the built environment, while querying the environmental and physiological ramifications of city living. “
“On the top floor is the astonishing ‘At Fifty, I Don’t Know the Mandate of Heaven’. Fifty identical dolls with porcelain heads intended to represent Song himself, and referencing a favourite childhood toy, are engaged in every activity imaginable: reading, cooking, eating, driving, peeing and sleeping, even lying face down in a playful reference to Song Dong’s 1996 performance, ‘Breathing, Tiananmen Square’…”
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.
Metropolis Experiment is Clement’s third recent body of work which responds to the vivid prognostications of JG Ballard’s 1962 post-apocalyptic sci-fi novel, The Drowned World.