Past Exhibitions

"You Imagine What You Desire", 19th Biennale of Sydney

21 March - 09 June 2014
Deborah Kelly, The Magdalenes (Praise), 2012
Deborah Kelly, The Magdalenes (Penitence) , 2011
For the 19th Biennale of Sydney: You Imagine What You Desire, Australian artist Deborah Kelly presents a new suite of 19 life-sized portraits at the Art Gallery of NSW.  Realised as and through a series of meetings and workshops, No Human Being Is Illegal (In All Our Glory) (2014) has been developed through weekly teaching and learning sessions, intensive collaborative artmaking and facilitated discussions.

The collaboration centres upon the nude photographic portraits of individuals who continue to be involved in the process. Workshop participants have and will barnacle the portraits with layers of archival and contemporary imagery specific to the subjects’ interests, attributes and vision, conveyed to the ensemble (through written, online or personal communications) by the portrait subjects themselves.

Participants have been invited through public callout to appear as subjects of the works; study and transmit technique; labour on the portraits; and donate archival imagery, envisaged primarily as obsolete reference books. The portraits, in process and complete, form a monumental company of amplified humanity with the metaphorical superpowers, cooperative skills, species empathy and historical knowledge to face the intersecting urgencies of our times.

The project is designed to render the institution permeable and productive, lively and uncertain. The process is devised to demystify artmaking, produce a creative milieu, and experiment with democracy’s applicability to collective artistic endeavour. This ambiguity of authorship, the process of exchange (of knowledge, skills, stories, trust) among the participants, the cumulative character and the open-endedness of the project itself, is proposed as an allegory for an idealised art institution and the sedimentary characteristics of its sandstone foundations.

- See more at: http://www.biennaleofsydney.com.au/19bos/artists/kelly/#sthash.kITecNvB.dpuf

Tranquility Falls, Art Month pop up exhibition

16 - 22 March 2013
Grant Stevens, Tranquility Falls, 2013
Grant Stevens, Supermassive, 2013

Grant Stevens’ work explores how we understand, construct and communicate our subjectivities and interpersonal relationships, especially how the ‘languages’ of our screen realities shape our constructions of self and disseminations of meaning.

From film, television and music videos to social-networking sites and niche advertising, our age is saturated with mediated interfaces for self-reflection, self-construction and inter-personal exchange. The pervasiveness of mediated interactions has led to a "culture of distraction" (Sherry Turkle, "Alone Together") where instant and constant ‘connections’ increasingly define our private and public lives (and indeed, the blurring of the two). For some of us, there is a contradiction: the more we connect electronically, the more we feel alone, disconnected, overwhelmed and anxious.

Perhaps as a mass coping mechanism, this "culture of distraction" has been accompanied by the unfettered rise of ironic cultural production. The new online forums of creative exchange (Youtube, Facebook, et al) are filled with parodies of popular culture, caustic monologues and self-conscious replies. Apathy reigns, and possibilities for expressions of sincerity and authenticity seem to be eroded with every Like and LOL.

How can we continue to seek and find moments of clarity, insight, affect and poetry within the haze? Perhaps it as Don DeLillo says in his first novel, "Americana", "There is substance to most clichés". Stevens deliberately appropriates and manipulates the clichés and conventions of screen-based languages to tease out the personal desires, anxieties and pathologies that emerge through our lived experiences of this contemporary condition, creating works that critique our sometimes-self-conscious and apathetic sensibilities so that we may thoughtfully engage with and understand our affective experiences.

For his Art Month exhibition with gbk, Stevens continues to engage with these ideas, questioning where we find solitude and guidance in a world seemingly bound to the mechanisms of popular culture.

gbk @ Art Stage Singapore, stand E3-03

23 - 27 January 2013
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Deepwater, 2012
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Zero, 2013
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Falluja, 2013
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Baghdad, 2013
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Tower Two, 2012
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Tower One, 2012
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Immolation, 2012
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Napalm, 2012

At Art Stage Singapore gbk will be presenting a solo exhibition by Sean Cordeiro & Claire Healy, featuring a series of tapestries depict fossil fuel explosions. The small details of each piece are taken from iconic images ingrained into our collective psyche through modern media. The labour and time intensive process

of cross-stitching these tapestries reflects their subject matter: the oil that powers our world has taken millions of years to produce and yet evaporates in explosions that last mere seconds – a power source that we will have the pleasure of exhausting in just a few generations. 

Ignition

13 - 27 October 2012
Sean Cordeiro & Claire Healy, Autoflake GBG78, 2012
Sean Cordeiro & Claire Healy, installation view
Sean Cordeiro & Claire Healy, installation view
Sean Cordeiro & Claire Healy, installation view
Sean Cordeiro & Claire Healy, Autoflake GB150, 2012
Sean Cordeiro & Claire Healy, Autoflake RP126, 2012
Sean Cordeiro & Claire Healy, installation view
Sean Cordeiro & Claire Healy, installation view
Sean Cordeiro & Claire Healy, Autoflake BN162, 2012
Sean Cordeiro & Claire Healy, installation view
Sean Cordeiro & Claire Healy, Autoflake ROYB156, 2012
Sean Cordeiro & Claire Healy, installation view
Sean Cordeiro & Claire Healy, installation view
Sean Cordeiro & Claire Healy, installation view
Sean Cordeiro & Claire Healy, Autoflake WG222, 2012
Sean Cordeiro & Claire Healy, Autoflake R54, 2012
Sean Cordeiro & Claire Healy, Autoflake YO120, 2012
Sean Cordeiro & Claire Healy, installation view
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Immolation, 2012
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Tower One, 2012
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Deepwater, 2012
Sean Cordeiro & Claire Healy, Car bomb, 2012
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Tower Two, 2012
Sean Cordeiro & Claire Healy, Tapestry of Disaster, Napalm, 2012
Sean Cordeiro & Claire Healy, installation view
Sean Cordeiro & Claire Healy, installation view

Non-Sense

12 September - 06 October 2012
Dara Gill, Non-Sense
Dara Gill, Non-Sense
Dara Gill, Non-Sense
Dara Gill, Advertising Laing's Practice, 2012
Dara Gill, Locke’s Missing Sock, 2012
Dara Gill, Sour Grapes on Russels Red, 2012
Dara Gill, Sour Grapes on Russels Red [Detail] , 2012
Dara Gill, Lamed, 2012
Dara Gill, Cadmean Camera, 2012
Dara Gill, Non-Sense
Dara Gill, Elevator close door button, 2012
Dara Gill, 41 Hours, 2012
Dara Gill, Non-Sense
In this collection of new work, Gill focusses on paradoxical and circular logic, notably its power to frustrate, confuse and paralyse. Unsurprisingly, the repetitiveness of such a conversation inevitably reduced the studio process to babble. Non-sense collects the debris as it attempts to remember what it was talking about.

Dara Gill’s practice currently revolves around the topic of anxiety and its implications on everyday life. He works with a diverse range of mediums including video, sculpture, photography, sound and installation.

The claiming of things

12 - 22 September 2012
Joan Ross, The Claiming of Things, 2012
Joan Ross, Expect to merge (The claiming of things), 2012
Joan Ross, Landscaping (The claiming of things), 2012
Joan Ross, The naming of things (The claiming of things), 2012
The claiming of things reconfigures and plays with, as its backdrop, an early Australian colonial painting by John Glover.
The work considers numerous themes simultaneously: the connection to, the disconnection from and ultimately the attempt to civilise nature; imperialism, its power relationships and racism; consumerism and throw-away culture. Global warming, fear, ownership, boundaries, surveillance, graffiti tagging, naming and claiming.
Hi-Vis fluoro, colourfully and gratingly pollutes with the fear of litigation and control over land. Colonials spray layered graffiti like cats claiming territory. Electronic roadsigns wheel in, pointing to the need to merge, though they suggest this may take time! A crane brings in cup-cakes, a tractor pushes in the detritus of high consumption lifestyles: Ming vases, mobile phones, Persian carpets, high art, a kangaroo fur pillow, and designer trash bags! A soccer game plays on a widescreen that tumbles down the hill and into the water. The world turns from pristine to colourful but out of touch, eventually to be restored by flood to its natural state. Un-peopled.

Abide With Me

04 - 08 September 2012

untitled (illuminated tree)

23 August - 08 September 2012
Jonathan Jones, untitled (illuminated tree), 2012
Jonathan Jones, untitled (illuminated tree)
This installation was originally shown earlier this year in the Adelaide Biennial of Australian Art. Jonathan was concerned with making a connection to the local, and looked at the landscape of the south- east and the region’s main artery, the Murray-Darling River system. The rivers connect both Kamilaroi and Wiradjuri in the upper catchment with Ngarrindjeri at the mouth of the river. This connection is the foundation to the region’s traditions, including linguistic commonalities where languages like Kamilaroi and Wiradjuri are set on similar syntax to that of Ngarrindjeri in the south. During the initial stages of colonisation the rivers’ connection was evident, with smallpox carried along the river ahead of any contact with white people, severely decimating the population.
 
"I am challenging western romanticism and perspective, and critiquing the grand, colonial narratives of western art that have been imposed on an Australian setting to create a new Aboriginal framework."

gbk @ Melbourne Art Fair 12

01 - 05 August 2012
Jess MacNeil, The Wall f 10085, 2010
Cameron Robbins, Vortices 1 (attractor), 2012
Cameron Robbins, Vortices 10 (interstellar vision), 2012
Cameron Robbins, Vortices 3 (diamond pulsar), 2012
Cameron Robbins, Vortices 4 (final approach), 2012
Cameron Robbins, Vortices 5 (spacetime figure), 2012

In between something I have

23 June - 28 July 2012
Jess MacNeil, installation view
Jess MacNeil, To Be Somewhere Else, 2012
Jess MacNeil, installation view
Jess MacNeil, installation view
Jess MacNeil, In between something I have, something I've lost, and something I've never had  (cold midday at Trafalgar Square in November, 2011
Jess MacNeil, Pont des Arts  3a   , 2012
Jess MacNeil, Pont des Arts  3b, 2012
Jess MacNeil, Pont des Arts  4, 2012
Jess MacNeil, Pont des Arts  6, 2012
Jess MacNeil, Pont des Arts  8b, 2012
Jess MacNeil, Pont des Arts  10a, 2012
Jess MacNeil, Pont des Arts  10b, 2012
Jess MacNeil, Pont des Arts  11b, 2012
Jess MacNeil, Angle of Incidence, 2012
Jess MacNeil’s new exhibition, In between something I have, presents large-scale, freestanding paintings alongside her new video work Angle of Incidence, and works on paper.
Each of these experimental constructions explores the point at which people - both her self and others - and environment meet. The works dwell on the geometry between our individual vantage points; the gulfs between each inhabitant’s experience, as well as the variations in one person’s own perspective over time through memory and the changing conditions of experience. They are ruminations on the physical, perceptual and psychological manifestations of place, experience, time, and change.
Intruding into the gallery space, the freestanding paintings on Perspex bring MacNeil’s ongoing preoccupation with space to the navigation of the work itself, straddling sculptural concerns whilst retaining focus on the painted surface and its support.  Inviting the viewer to move around them, the planes of the works realign as the viewer’s perspective changes. The video and the works on paper echo and reinterpret this engagement with the consequences of shifting perspective.

At Her Majesty’s Pleasure 2010

05 May - 16 June 2012
Debra Dawes, 31/5/2010 quick sketch of jail, 2011
Debra Dawes, 28/4/2010 light now, 2011
Debra Dawes, 31/5/2010 made a beanie, 2011
Debra Dawes, fingers are numb, 2011
Debra Dawes, lost letter, 2010
Debra Dawes, At Her Majesty’s Pleasure 2010
Debra Dawes, At Her Majesty’s Pleasure 2010
Debra Dawes, At Her Majesty’s Pleasure 2010

Debra Dawes "learned how to ride and render the shapes and stutters of his words till she could feel some of his experience embodied, till she possessed for herself some of the spirit she knew he still had."
Ross Gibson, 2012

 

Beginning in April 2010, Debra Dawes corresponded with a young man known to her since his birth. Over the duration of his incarceration, on remand awaiting sentence, ‘DR’ and Dawes exchanged letters weekly. The necessity to nurture fragile connections and to understand something of his experience provided a profound impetus for this pursuit.
 
The letters, received over an eighteen-month period, record experiences and charged responses to the extreme limitation of incarceration. From the letters, Dawes has with DR’s permission, created a series of works on paper. The series comprises almost 200 text pieces that record his side of their exchange from its commencement in April 2010 until September 2011.
 
The process of making the series from the letters began in July 2011. Excerpts were selected based on her subjective response to the range of experiences reported in the letters including the day-to-day monotony as well as the pervasive level of intimidation and violence endured by the inmates. The excerpts highlight various states of mind; self-reflection, raw humour, anxiety and irony. Exhibiting this work will, from his point of view, enable some understanding of what it is like to be in prison.

Exhibition continues until 16 June 2012.

Seriously, Relax

15 March - 28 April 2012
Grant Stevens, Overreach, 2012
Grant Stevens, Sonny, 2012
Grant Stevens, Auric Variations, 2012
Grant Stevens, Hankering, 2012
Grant Stevens, Phantom Buzz, 2012
Grant Stevens, Outlook, 2012
Grant Stevens, Me, the People, 2012
Grant Stevens, Control (z), 2012
Grant Stevens, Control (s), 2012
Grant Stevens, Particle Wave, 2012
Grant Stevens, Love is the Drug, 2012
Grant Stevens, Thinking Feeling, 2012
Grant Stevens, installation view
Grant Stevens, installation view
Grant Stevens, installation view
Mired in the bog of our desktops, we sometimes pine for the simple things in life.  Across video, drawing, photography and installation, Seriously, Relax presents an array of works that zigzag through the perils and pleasures of our working and private lives.

Banana Republic

04 February - 10 March 2012
Jebila Wolfe-Okongwu, Banana Sculpture XII, 2011
Jebila Wolfe-Okongwu, Banana Sculpture VII, 2011
Jebila Wolfe-Okongwu, Banana Sculpture VIII, 2011
Jebila Wolfe-Okongwu, Banana Sculpture XI, 2011
Jebila Wolfe-Okongwu, Banana Sculpture IX, 2011
Jebila Wolfe-Okongwu, Banana Sculpture XIII, 2011
Jebila Wolfe-Okongwu, Totem II, 2012
Jebila Wolfe-Okongwu, Banana Sculpture V, 2011
Jebila Wolfe-Okongwu, History Painting (after Géricault), 2011
Jebila Wolfe-Okongwu, Yellow History (after Géricault), 2012
Jebila Wolfe-Okongwu, Blue History (after Géricault), 2012

opening celebration Thursday 16 February, 5.30 – 8.30 pm

Jebila Wolfe-Okongwu’s work questions issues of identity, appropriation, iconography and cultural stereotypes.

His graphic sensibility combines 1960s Op Art with Nigerian Igbo traditions. Also inspired by music, including the songs of Stevie Wonder and Nina Simone, much of Jebila’s imagery plays with the limited Western concepts of ethnic artistic expression and what the artist himself refers to as "the imposed exotic".

Welcome to the Banana Republic.

 

Kamikaze Wasabi

12 November - 17 December 2011
Hitesh Natalwala, A view from an unfamiliar window, 2011
Hitesh Natalwala, Head shoulders knees and toe, 2011
Hitesh Natalwala, The segmented view, 2011
Hitesh Natalwala, The barborous attitude, 2011
Hitesh Natalwala, Shanks for the memories, 2011
Hitesh Natalwala, Flowering Flax, 2011
Hitesh Natalwala, Tulip Tarda, 2011
Hitesh Natalwala, Begonia Semperflorens, 2011
Hitesh Natalwala, big blue, 2011
Hitesh Natalwala, dual, 2011
Hitesh Natalwala, green thing well hung, 2011
Hitesh Natalwala, It takes all sorts, 2011
Hitesh Natalwala, satelite, 2011
Hitesh Natalwala, a rose is a rose, 2011
Hitesh Natalwala, there she blows, 2011
Hitesh Natalwala, changer 1, 2002
Hitesh Natalwala, changer 2, 2011
Hitesh Natalwala, changer 3, 2002
Hitesh Natalwala, changer 4, 2002
Hitesh Natalwala, changer 5, 2011
Hitesh Natalwala, changer 6, 2011
Hitesh Natalwala, changer 7, 2011
Hitesh Natalwala, changer 8, 2011
Hitesh Natalwala, vessels, 2004
Hitesh Natalwala, Kamikaze wasabi, 2004
Hitesh Natalwala, remnant, 2004
Hitesh Natalwala, sometimes yes sometimes no, 2004
Hitesh Natalwala, The untenable position, 2004
Hitesh Natalwala, Cobra, 2011
Hitesh Natalwala, Coyote, 2011
Hitesh Natalwala, Lynx, 2011
Hitesh Natalwala, The Falcon, 2011
Hitesh Natalwala, The Huntsman, 2011
Hitesh Natalwala, The Meercat, 2011

 opening celebration, Saturday 12 November, 3 - 5 pm

Kamikaze Wasabi is an exhibition of extraordinary variety (with works across the mediums of collage, drawing, pastel and painting). Hitesh Natalwala exposes his fascination with the intricacies and iconographies of different cultures.

Born in Africa of Indian extraction, educated in Britain and now an Australian citizen, Natalwala’s work reflects his experience of cultural migration; the vast and ongoing shift in many societies from uncomfortable confusion, hostility and violence, towards acceptance and inclusion, indeed appreciation of difference.

Polychrome

13 October - 05 November 2011
Richard Dunn, Polychrome: Peony (after Henry Fox Talbot) #1, 2011
Richard Dunn, Food + Poison (Twelve-Tone Chromatic), 2006
Richard Dunn, Polychrome: Redbank Gorge (after Albert Namatjira), 2011
Richard Dunn, Polychrome: Quarta-Tooma (after Albert Namatjira), 2011
Richard Dunn, Polychrome: Peony (after Henry Fox Talbot) #2, 2011
Richard Dunn, Polychrome: Labyrinth, 2011
Richard Dunn, Polychrome: Kashmir/Rajasthan, 2011
Richard Dunn, Polychrome, 2011
Richard Dunn, Polychrome (Blue), 2011
Richard Dunn, Polychrome #1, 2011
Richard Dunn, Polychrome #2, 2011
Richard Dunn, Polychrome #3, 2011
Richard Dunn, Polychrome #4, 2011
Richard Dunn, Polychrome #5, 2011
Richard Dunn, Polychrome #6, 2011
Richard Dunn, Polychrome - installation view
Richard Dunn, Polychrome - installation view
Richard Dunn, Polychrome - installation view
Richard Dunn, Polychrome - installation view
Richard Dunn, Polychrome - installation view
Richard Dunn, Polychrome - installation view
‘Polychrome’ is to do with colour! Coming from the abundance and essential quality of colour in India - indicated in photo and painted works made from Hyderabad - and that coming from  Albert Namatjira’s paintings of gorges in the MacDonnell Ranges, Central Australia, the six paintings are a small compendium and integration of Richard Dunn’s painting approaches and organisational methods over recent years. These paintings supplement and draw from photoworks made after a recent visit to Hyderabad, India.

Back and Forth

10 September - 08 October 2011
Daniel Templeman, Back and Forth (Shanghai) 1, 2011
Daniel Templeman, Back and Forth (Shanghai) 2 , 2011
Daniel Templeman, Back and Forth (Shanghai) 3, 2011
Daniel Templeman, Back and Forth (Shanghai) 4, 2011
Daniel Templeman, Back and Forth (Shanghai) 5, 2011
Daniel Templeman, Back and Forth (Shanghai) 6, 2011
Daniel Templeman, Over and Under 1, 2011
Daniel Templeman, Over and Under 2, 2011
Daniel Templeman, Over and Under 3, 2011
Daniel Templeman, Over and Under 4, 2011
Daniel Templeman, Over and Under 5, 2011
Daniel Templeman, Over and Under 6, 2011
Daniel Templeman, Fronts, 2011
Daniel Templeman, Sides, 2011
Daniel Templeman, Sight Lines, 2011
Daniel Templeman, Sight Lines, 2011
Daniel Templeman, Back and Forth installation view
Daniel Templeman, Back and Forth installation view
Be it a large-scale concrete sculpture or a delicate carbon-transfer drawing, a Daniel Templeman work invites us to question its construction, physicality, finish and ultimately what it reveals or conceals. This conundrum gives his work an illusive quality; it places the viewer within this dilemma. His work is as much about what it does as what it is; the artwork incites a perceptional gap, to be completed by the viewer.
Templeman developed an early appreciation of the illusory quality of veneers, laminates and polishes and saw potential parallels with Minimalism, and continues to explore the possibility of an illusory quality coexisting with a literalist approach, oscillating between hard edge reality and perceptual trickery.

Deborah Kelly Awfully Beastly

10 September - 08 October 2011
Deborah Kelly, Dream of a common language in the disintegrating circuit (with thanks to Donna Haraway) #1, 2011
Deborah Kelly, Dream of a common language in the disintegrating circuit (with thanks to Donna Haraway) #2, 2011
Deborah Kelly, Dream of a common language in the disintegrating circuit (with thanks to Donna Haraway) #3, 2011
Deborah Kelly, Dream of a common language in the disintegrating circuit (with thanks to Donna Haraway) #4, 2011
Deborah Kelly, Dream of a common language in the disintegrating circuit (with thanks to Donna Haraway) #5, 2011
Deborah Kelly, Dream of a common language in the disintegrating circuit (with thanks to Donna Haraway) #6, 2011
Deborah Kelly, Dream of a common language in the disintegrating circuit (with thanks to Donna Haraway) #7, 2011
Deborah Kelly, Dream of a common language in the disintegrating circuit (with thanks to Donna Haraway) #8, 2011
Deborah Kelly, Dream of a common language in the disintegrating circuit (with thanks to Donna Haraway) #9, 2011
Deborah Kelly, Beastliness, 2011
“I fall asleep with lurid lunar landscapes and lush alien ladies limbo dancing before my eyes. In skyscraper heels and skintight spacesuits they want to run, but stumble and fall, their heavy breasts making them teeter and then tip over, right! into! the! arms! of invading robots and swarthy horny evil scientists.

In my dreams I remember space, stars, unknowable entities echoed in the unfathomed realms, and fear of monstrous fecundity projected across human millennia from treacherous man-eating seawitch siren lairs through fearsome folktales and onto the impossible physiques of fertile future babes.

I wake trailing this thread, the sense the archetypes connect in ways we know, in old awe from before we were smooth, before we were upright. Pre-mammalian? And possibly post.”

BBQ this Sunday, BYO

12 August - 03 September 2011
Joan Ross, BBQ this Sunday (Brave New Years), 2011
Joan Ross, BBQ this Sunday (and I feel fine), 2011
Joan Ross, BBQ this Sunday (alpha centauri and omega), 2011
Joan Ross, BBQ this Sunday, BYO, 2011
Joan Ross, BBQ this Sunday (flight paths), 2011
Joan Ross, BBQ this Sunday (meet the new neighbours), 2011
Joan Ross, BBQ this Sunday (end of the world as we know it), 2011
Joan Ross, BBQ this Sunday (land grab), 2011
In the project space, Joan Ross releases fluoro yellow’s rejoinder to last year’s hi-vis orange video work, entitled BBQ this Sunday, BYO, animating Joseph Lycett’s colonial landscape paintings and cast of characters, and accompanied by seven prints.

gbk awardees: where are they now?

12 August - 03 September 2011
Lachlan Anthony, Air, 2009
Lachlan Anthony, Mono-trip, 2010
Lachlan Anthony, Grande Father Clock (mode of operation, performance documentation) #2, 2010
Lachlan Anthony, Grande Father Clock (mode of operation, performance documentation) #3, 2010
Nathan Babet, Der Holzweg, 2011
Nathan Babet, Wotan, 2011
Nathan Babet, Initia Gentis, 2011
Nathan Babet, Seven Thousand Pines, 2011
Nathan Babet, Here where dwells the god who is lord of all things, 2011
Nathan Babet, Waldsterben, 2011
Nathan Babet, Murmuring leaves, 2011
Nathan Babet, As uncivilised and brutal as beasts of prey wandering over wild untrodden deserts like cattle?, 2011
Nathan Babet, De rerum natura, 2011
Nathan Babet, nullas Germanorum populis urbes habitari, 2011
Joel Beerden, Antre #1, 2011
Joel Beerden, Antre study #2, 2011
Joel Beerden, Antre study #1, 2011
Melanie Boreham, Where are they now? getting married. (5), 2011
Melanie Boreham, Where are they now? getting married. (4), 2011
Melanie Boreham, Where are they now? getting married. (3), 2011
Melanie Boreham, Where are they now? getting married. (1), 2011
Melanie Boreham, Where are they now? getting married. (2), 2011
Tara Cook, Spam spam spam spam…Lovely Spam! Wonderful Spam!, 2011
Rosie Deacon, Kangalanga Land, 2011
Dara Gill, Untitled (Rubber Band Portraits - Simon), 2010
Dara Gill, Untitled (Self-Help Pulping), 2009 - 2010
Dara Gill, Untitled (Rubber Band Portraits - Jack), 2010
Dara Gill, Untitled (Rubber Band Portraits - Kate), 2010
Shalini Jardin, mythORlogical? #29-31 of 50   , 2010
Shalini Jardin, mythORlogical? #32-36 of 50, 2010
Shalini Jardin, mythORlogical? #37 of 50, 2010
Shalini Jardin, mythORlogical? #38-40 of 50 , 2010
Hugh Marchant, An Ode To You (Slow Down), 2011
Ben Norris, Mini Plato and Cleo Bust, 2011
Ben Norris, Sleeping Plato Bust, 2011
Ben Norris, St Mary, 2011
Ben Norris, Copulation, 2011
Ben Norris, Salvador, 2011
Ben Norris, Woman, 2011
Ben Norris, Whirling Dervish, 2011
Marilyn Schneider, Paramount, 2010
Marilyn Schneider, Level 1 Westfield, 2011
Dan Simon, Silver Saw
Ioulia Terizis, Untitled (light shadow IV), 2011
Ioulia Terizis, Untitled (light shadow IX), 2011
Ioulia Terizis, Untitled (light shadow I), 2011
Ioulia Terizis, Untitled (light shadow II), 2011
gbk awardees: where are they now?
Each year since 2008, gbk has been helping selected College of Fine Arts Honours students realise their end of year project with a cash injection. It’s time to see where they are now. This exhibition in the main gallery space presents recent work of the 13 awardees: Lachlan Anthony, Nathan Babet, Joel Beerden, Melanie Borham, Tara Cook, Rosie Deacon, Dara Gill, Shalini Jardin, Hugh Marchant, Ben Norris, Marilyn Schneider, Dan Simon and Ioulia Terizis.

gbk: group

09 June - 30 July 2011
Fiona Lowry, Untitled (Belanglo pine), 2004
Fiona Lowry, you cant stop what’s coming, 2008
Hitesh Natalwala, How about me, 2010
Hitesh Natalwala, Let’s roll, 2010

gbk @ Hong Kong Art Fair 2011

25 - 29 May 2011

gbk is participating in ART HK 2011 and will be exhibiting work by Sean Cordeiro & Claire Healy, Debra Dawes, Deborah Kelly, Fiona Lowry, Jess MacNeil, Hitesh Natalwala, Cameron Robbins and Joan Ross.

Stand number 1G05

http://www.hongkongartfair.com

LSDM- Lunar/Solar Drawing Machine

09 April - 14 May 2011
Cameron Robbins, 14:05:2010; 7pm; ECNU Shanghai; Hangzhou Return; 15:05:2010; 7pm; 24 hours, 2010
Cameron Robbins, 16:05:2010; Sunday; 5pm; ECNU Shanghai; solid rain – building up S.E; 15 hours to 8am; rain at 4am , 2010
Cameron Robbins, 08:05:2010; 5:50pm; ECNU Shanghai; showery and cool; 29 and 1/2 hours , 2010
Cameron Robbins, 05:05:2010; 9:56am; heavy rain, strong winds – light rain, easterly; 24 hours; ECNU Shanghai, 2010
Cameron Robbins, 07:05:2010; 3 hours; light rain; ECNU Shanghai, 2010
Cameron Robbins, 08:05:2010; 4pm; showers and cool; ECNU Shanghai; 2 hours, 2010
Cameron Robbins, 12:05:2010; 12 noon ECNU Shanghai; wind rising – storms coming; 13:05:2010; 8am; drizzle; 20 hours, 2010
Cameron Robbins, 05:05:2010; rain eased off, still; 7 and 1/2 hours; ECNU Shanghai, 2010
Cameron Robbins, 27:04:2010; Wok shop; still, silver sun; 14 hours; Feng Da , 2010
Cameron Robbins, 26:04:2010; 4:30pm; rain eased off; 27:04:2010; 25 and 1/2 hours, 2010
Cameron Robbins, 28:04:2010; 7am – 10:30am, cool morning; 10:30am – 5:30pm, wind rising, 2010
Cameron Robbins, 25:04:2010; 1:30pm; warm and sunny; 4pm; 2 and 1/2 hours; Shanghai, 2010
Cameron Robbins, Shanghai rooftop wind drawing machine installation
Cameron Robbins, installation view - gbk
Cameron Robbins, installation view
Cameron Robbins, installation view - gbk
Cameron Robbins, installation view - gbk

Would Cameron Robbins please make up his mind? He has been described as an artist / scientist / engineer / inventor / musician / alchemist. His special interests concern natural phenomena and the way they are documented, or, perhaps more accurately, ways they can illustrate themselves.

From invisible to visible: over the next month a newly installed solar panel on the roof of the gallery will feed RobbinsLunar/Solar Drawing Machine, transcribing the sun’s energ.

 

Drunken Clarity

03 March - 02 April 2011
Sean Cordeiro & Claire Healy, Drunken Clarity, 2011
Sean Cordeiro & Claire Healy, Drunken Clarity, 2011
Sean Cordeiro & Claire Healy, Drunken Clarity, 2011
Sean Cordeiro & Claire Healy, Drunken Clarity, 2011
Sean Cordeiro & Claire Healy, Drunken Clarity, 2011
Sean Cordeiro & Claire Healy, Drunken Clarity, 2011
Sean Cordeiro & Claire Healy, Drunken Clarity, 2011
You may well think you have missed the celebration; empty bottles litter the floor of a gallery seemingly empty of ‘art’. But Sean Cordeiro & Claire Healy are once again exhibiting their uncanny ability to deconstruct an object, then reconfigure it into something intriguing and aesthetically more pleasing.

Project Space: Blank Surface

03 March - 02 April 2011
Shay (Shagheyegh) Mazloom, Blank Surface, 2011
Shay (Shagheyegh) Mazloom, Absent Present, 2011
Shay (Shagheyegh) Mazloom, Tell your wives 1, 2010
Shay (Shagheyegh) Mazloom, Tell your wives 2, 2010
Shay (Shagheyegh) Mazloom, Tell your wives 3, 2010
Iranian artist Shay Mazloom uses her body as a screen upon which descriptors are projected like some kind of scrolling viral tattoo, or laser-like scanning device searching the body for a vulnerable crevice or opening.

First. One. Thing. Then. Another.

01 - 26 February 2011
Jess MacNeil, Slow Motion Fountain, Shonibare with Titions, 2011
Jess MacNeil, Blue Shift; Trafalgar Space Painting, 2011
Jess MacNeil, Shadow Loop: Walna Scar  , 2010
Jess MacNeil, Ghost Loop: Slip White Moss, 2010
Jess MacNeil, Clear Cool Central Park, Preceeding Dystonia  , 2010
Jess MacNeil, Windermere Calm, Soft Glow after the Mesmeris, 2010
Jess MacNeil, Trafalgar Square Loop, 2011
Jess MacNeil, Lake Land Lapse   , 2010
Jess MacNeil, Grasmere Ghost Loop, 2010
Jess MacNeil, Trafalgar Fountain Topology  , 2010
Jess MacNeil, Bosphorus; Light Bearing, 2011
Jess MacNeil, Revolution, 2011
Jess MacNeil, Hawkshead, 2011
Drawing on movement as the generative agent of their composition, the images and objects of First. One. Thing. Then. Another. trace and respond to nuanced shifts in time and space: the sliding of the gaze over the landscape, individuals transitioning through public space, the trails left by the artists own body via the motion of the camera and the gestures of the brush, and, eventually, the changing relative positions of viewer and art object within the gallery.

Employing the properties of acrylic sheet to facilitate direct access to the space ‘behind’ the image, whether painting or video projection, this space has become an active component.  The images’ supporting structures are made explicit, underscoring the materiality of the image and playing with slips between literal space, material presence, and conceptual or illusory space opened up by each work. 

Abstraction (Citizen)

17 November - 18 December 2010
Gordon Bennett, Abstraction (Alien), 2010
Gordon Bennett, Abstraction (Ethnic), 2010
Gordon Bennett, Abstraction (Suburbanite), 2010
Gordon Bennett, Abstraction (Citizenry), 2010
Gordon Bennett, Abstraction (Indigene), 2010
Gordon Bennett, Abstraction (Citizen), 2010
Gordon Bennett, Abstraction (Population), 2010
Gordon Bennett, Abstraction (Migrant), 2010
Gordon Bennett, Abstraction (Aborigine), 2010
Gordon Bennett, Abstraction (Metropolitan), 2010
Gordon Bennett, Abstraction (Burgher), 2010
Gordon Bennett, Abstraction (Colonist), 2010
Join us Wednesday, 17 November from 6 – 8 pm for the opening celebration of Abstraction (Citizen) by Gordon Bennett.

Citizenry has implications of community and belonging, but does commonplace labelling clarify or obfuscate the layerings of identity?

The exhibition continues until Saturday 18 December.

Joan Ross: Enter At Your Own Risk

14 October - 13 November 2010
Joan Ross, installation view
Joan Ross, installation view, 2010
Joan Ross, installation view
Joan Ross, installation view
Joan Ross, installation view
Joan Ross, installation view
Joan Ross, installation view
Joan Ross, installation view
Joan Ross, installation view
Joan Ross, installation view
Joan Ross, Once upon a time in Great Parrotland (small spiro), 2010
Joan Ross, Once upon a time in Great Parrotland (butterfly), 2010
Joan Ross, Once upon a time in Great Parrotland (rowboat), 2010
Joan Ross, When I grow up I want to be a forger, 2009
Joan Ross, Give a dog a bone, 2010
Joan Ross, Wrapped up like a douche, 2010
Joan Ross, The Berlengas, 2010
Joan Ross, Two heads are better than one, 2010
Joan Ross, pardon me, can I offer you a head?, 2010
Joan Ross, Barbie bush, 2010
Joan Ross, The height of rudeness (high brow), 2010
Joan Ross, Ship of fools, 2010
Joan Ross, Shaun, 2010
Joan Ross, Relax, don’t do it, 2010
Joan Ross, Pirate of the Tasman, 2010
Joan Ross, Oh, Aich and Ess, 2010
Joan Ross, Oh deer, 2010
Joan Ross, Not yetti, 2010
Joan Ross, Native blooms, 2010
Joan Ross, Love is a whirlpool, 2010
Joan Ross, Highly visible arrival, 2010
Joan Ross, Hi-fido, 2010
Joan Ross, Funerium, 2010
Joan Ross, Age of discovery, 2010
Joan Ross, Fly me to the moon, 2010
Joan Ross, Wick and Thurso, 2010
Joan Ross, For the love of life, 2010
Joan Ross, It only starts to explain how I feel about you, 2010
Joan Ross: Enter At Your Own Risk, presents an extraordinary, uncanny tableaux which entices the gaze but also offends.

Exposing a creeping colonisation of the mind and the eye, is this a history lesson or harbinger? Past,  present, or future? All three.

The exhibition continues until 13 November.

Tender Cuts

15 September - 09 October 2010
Deborah Kelly, New nature girls (we take the air)
Deborah Kelly, Hair piece #5, 2009
Deborah Kelly, Hair piece #6, 2008
Deborah Kelly, Encyclical from the right hand, 2008
Deborah Kelly, Blake's engine, 2008
Deborah Kelly, She ascends to rule by stealth, 2009
Deborah Kelly, She eyes the throne, 2009
Deborah Kelly, Milk maid, 2009
Deborah Kelly, Ostere arises, 2009
Deborah Kelly, She sings a song of air, 2009
Deborah Kelly, Prey tell, soft suitor, 2009
Deborah Kelly, She is holding it all together, 2008
Deborah Kelly, She beseeches you, 2008
Deborah Kelly, Daddy's girl (Hettie), 2008
Deborah Kelly, Breed Like Flies, 2008
Deborah Kelly, Allure of the slow raptor, 2008
Deborah Kelly, Dora's prescience, 2008
Deborah Kelly, She attends her own birth, 2009
Deborah Kelly, I come in pieces, 2009
Deborah Kelly, Brooding stranger, 2009
Deborah Kelly, Down the generations, 2008
Deborah Kelly, Scuka, 2007
Kelly’s imagery mates & mutates ideas and pictorial elements salvaged (or savaged) from our collective visual vocabulary, unsettling both the biological and cultural imaginings of the Feminine. Exuberant iconoclasm arrests the spectator. These handmade collages in the Dada tradition confront new social realities. The safety of the everyday is chopped-up and we are forced to rethink our positions through her surgical incisions on the norm.

Horizons

10 August - 11 September 2010
Grant Stevens, Do (Marty), 2010
Grant Stevens, Quiet (Jen), 2010
Grant Stevens, Smile (Liz), 2010
Grant Stevens, Tired (Carrie), 2010
Grant Stevens, Lake, 2010
Grant Stevens, Bloom, 2010
Grant Stevens, Threshold, 2010
Grant Stevens, Volume, 2010
Grant Stevens, Outcrop, 2010

In the wilderness of our modern lives, it can sometimes be difficult to get a clear view. Using a variety of media including video, photography and sculpture, Horizons presents new works that waver between substance and gesture.

 

Exhibition extended until 11 September

Complete

10 - 24 July 2010
Debra Dawes, Complete?, 2010
Debra Dawes, Complete, installation view
Debra Dawes, installation view
Debra Dawes, installation view
Debra Dawes, Got a hankering (green), 2010
Debra Dawes, Sweet surrender, 2010
Debra Dawes, Complete, installation view
Debra Dawes, Dare two, 2010
As you may already know, Debra has occupied our project space as her open studio since March; the culmination of her celebrated Double-dealing series is now Complete.

gbk @ Art HK 10

26 - 30 May 2010

Where We've Been, Where We're Going, Why.

06 May - 03 July 2010
Sean Cordeiro & Claire Healy, T+100_red&orange, 2010
Sean Cordeiro & Claire Healy, T+85_red&blue, 2010
Sean Cordeiro & Claire Healy, T+78_red&yellow, 2010
Sean Cordeiro & Claire Healy, T+64_yellow, 2010
Sean Cordeiro & Claire Healy, T+79_black, 2010
Sean Cordeiro & Claire Healy, T+85_blue, 2010
Sean Cordeiro & Claire Healy, T+10_green , 2010
Sean Cordeiro & Claire Healy, T+77_blue&white, 2010
The title of Sean & Claire’s exhibition is what was to have been the title of Christa McAuliffe’s lesson to the schoolchildren of America from the space shuttle Challenger.

I loved you yesterday

15 April - 01 May 2010
Fiona Lowry, I could tell you what I saw in you, 2010
Fiona Lowry, I loved you yesterday, 2010
Fiona Lowry, study for apart from the pulling and hauling stands what I am, 2010
Fiona Lowry, for you I have lived and for you I will die, 2009
Fiona Lowry, the truth has no patterns for me tonight, 2010
Fiona Lowry, step out of a triangle into striped light, 2010
Fiona Lowry, I’m anywhere tonight, 2010

"This is part of the paradox of her work – it is as much about formal qualities and beauty as it is about the evocation of impending doom or unease. Indeed there is a seductive weightlessness to the effervescent application of paint that belies the paintings’ thornier content…..the viewer’s vision shudders across the surface: the point of focus staggered over the painting, denying a single point of perspective and a conventional reading of foreground and background. Here, the historical specificities associated with the term landscape slide into the paradigm of place, a broad concept accommodating also nuance and imperceptibility. In the place of Lowry’s pictures narrative is subverted and the optical field oscillates, infused with a melancholy air that is often erotically charged.”

 

Natasha Bullock, Wilderness, Balnaves contemporary: painting cataolgue, Art Gallery of New South Wales

Open Studio - untitled

03 March - 03 June 2010
Debra Dawes, poetry reading 23 February: Jelle van den Berg
Debra Dawes, poetry reading 23 February: Jelle van den Berg
Debra Dawes, poetry reading 23 February: Ross Gibson
Debra Dawes, Open Studio - untitled, installation view, 3 March 2010
Debra Dawes, Open Studio - untitled, installation view, 3 March 2010
Debra Dawes, Open Studio - untitled, installation view, 3 March 2010
Debra Dawes, Open Studio - untitled, installation view, 9 March 2010
Debra Dawes, Open Studio - untitled, installation view, 10 March 2010
Debra Dawes, Open Studio - untitled, installation view, 17 March 2010
Debra Dawes, Open Studio - untitled, installation view, 17 March 2010
Debra Dawes, Open Studio - untitled, installation view, 17 March 2010
Debra Dawes, Open Studio - untitled, installation view, 23 March 2010
Debra Dawes, Open Studio - untitled, installation view, 8 April 2010
Debra Dawes, Open Studio - untitled, installation view, 7 April 2010
Debra Dawes, Open Studio - untitled, installation view, 7 April 2010
Debra Dawes, Open Studio - untitled, installation view, 7 April 2010
Debra Dawes, Open Studio - untitled, installation view, 15 May 2010
Debra Dawes, Open Studio - untitled, installation view, 15 May 2010
Debra Dawes, Open Studio - untitled, installation view, 15 May 2010
Debra Dawes, Open Studio - untitled, installation view, 15 May 2010
Debra Dawes, Open Studio - untitled, installation view, 18 May 2010
Debra Dawes, Open Studio - untitled, installation view, 3 June 2010
Debra Dawes, Open Studio - untitled, installation view, 15 June 2010
Debra Dawes’ has occupied our Project Studio for her ‘performative’ work Open Studio – untitled. Debra will be turning her normally cloistered studio practice inside out and will be working in public and interactively. Please email the gallery for more details.

revolution

02 March - 10 April 2010
Jonathan Jones, revolution installation view
Jonathan Jones, revolution installation view, 2010
Jonathan Jones, revolution installation view, 2010
Jonathan Jones, revolution installation view
Jonathan Jones, revolution installation view
Jonathan Jones, revolution installation view
Jonathan Jones, untitled (salt) 1, 2010
Jonathan Jones, untitled (salt) 2, 2010
Jonathan Jones, untitled (salt) 3, 2010
Jonathan Jones, untitled (salt) 4, 2010
Jonathan Jones, untitled (salt) 5, 2010
Jonathan Jones, untitled (salt) 6, 2010
Jonathan Jones, untitled (salt) 7, 2010
Jonathan Jones, untitled (salt) 8, 2010
Jonathan Jones, untitled (salt) 9, 2010
Jonathan Jones, untitled (salt) 10, 2010

Jonathan Jones’ exhibition revolution, introduces new fluoro works that pull traditional Koori line marking into three dimensions and graphite works that resonate with the crystalline structures of salt from as far afield as the Murray River and the beaches of Gandhi’s Gujarat.

 This installation reflects on the idea of cultural revolution within the Australian landscape by drawing on parallels found within India’s fight for independence, led by Mahatma Gandhi. Gandhi famously led the passive resistance movement and in 1930 undertook his famous Salt March from Ahmedabad to Dandi, where he protested against the British-imposed Salt Tax, “the condiment of the common man”. This foundational act of Independence was driven by salt, a base material, the same material that today is encrusting the Australian environment from years of colonial farming practices. These two moments in history are cantilevered against each other in the structure of the light sculptures to create one narrative. The dense graphite drawings are detailed surveys of salt crystals, and their structure, collected in both India, at Dandi, and in Australian, from the Murray River.

group gbk

05 - 27 February 2010

Thukral & Tagra 315, Sector 23 (opp. Bosedk mega mall).

25 November - 23 December 2009
Thukral & Tagra, Installation view
Thukral & Tagra, Installation view
Thukral & Tagra, Installation view
Thukral & Tagra, Delightfully Dreadful - 2 (project bosedk), 2009
Thukral & Tagra, Delightfully Dreadful - 4 (project bosedk), 2009
Thukral & Tagra, Dominus Aeris- Grand Mirage 1, 2009
Thukral & Tagra, Dominus Aerius elegance – 6, 2009
Thukral & Tagra, Immortalis 10 & 11, 2009
Thukral & Tagra, Pigeons, 2009
Thukral & Tagra, Artificial Chocolate Flavour - single shelf, 2009
Thukral & Tagra, Daily Dose 1, 2009
Thukral & Tagra, Daily Dose 2, 2009
Featuring in the upcoming 6th Asia Pacific Triennial of Contemporary Art at Queensland Art Gallery | Gallery of Modern Art, India’s emerging dynamic art duo Jiten Thukral & Sumir Tagra work collaboratively in a wide variety of media including painting, sculpture, installation, video, graphic and product design, websites, music and fashion.

Thukral & Tagra blur the lines between fine art and popular culture, product placement and exhibition design, artistic inspiration and media hype.

The work focuses on the dream-come-true burgeoning of consumer culture and a newly prevalent postmodern architectural style that can be found throughout India and is commonly referred to as “Punjabi Baroque.”

Vulgar and ostentatious, confused and desperately misguided, the style has been propagated by builders without the assistance of architects, reflecting the jumble of sensibilities that come together to create the new exploding middle-class of India.

T&T pump up the volume to turn these suburban homes into surrealist castles, sugar coated and floating on clouds of flowers. In paintings and sculptures, they explore this aesthetic of the proudly bastardized, the boisterous Mamma’s boys who pretend to be gangsters, the teenage farmers who dream of making it big in Bollywood.

Paksploytation

30 September - 14 November 2009
Hitesh Natalwala, Spring fresh, 2009
Hitesh Natalwala, He gave her a gentle little nudge towards it, 2009
Hitesh Natalwala, And everyone seemed to be talking at once, 2009
Hitesh Natalwala, What lies beneath # 1, 2009
Hitesh Natalwala, What lies beneath # 2, 2009
Hitesh Natalwala, What lies beneath # 3, 2009
Hitesh Natalwala, Red cannas, 2009
Hitesh Natalwala, Magnolia Grandiflora, 2009
Hitesh Natalwala, Blue columbine, 2009
Hitesh Natalwala, Brevipetala, 2009
Hitesh Natalwala, Ernst Stavro Blofeld, 2009
Hitesh Natalwala, Krona and Thena, 2009
Hitesh Natalwala, The hood, 2009
Hitesh Natalwala, Agni, 2009
Hitesh Natalwala, Akash, 2009
Hitesh Natalwala, Pani, 2009
Hitesh Natalwala, Pawan, 2009

Paksploytation explores Hitesh’s diverse histories and those of the sub-continental diaspora with abstraction and the imagery of Holly- and- Bollywood, flora and the manmade world.

Opening of the Universe (Brahmasphutasiddhanta)

04 - 26 September 2009
Richard Dunn, Installation view
Richard Dunn, Installation view
Richard Dunn, Installation view
Richard Dunn, Fibonacci Tree #1, 2009
Richard Dunn, Fibonacci Tree # 2, 2009
Richard Dunn, Fibonacci Tree # 3, 2009
Richard Dunn, By leaves we live #1, 2009
Richard Dunn, By leaves we live #2, 2009
Richard Dunn, By leaves we live #3, 2009
Richard Dunn, By leaves we live #4, 2009
Richard Dunn, By leaves we live #5, 2009

Through abstraction and figuration, the work engages with the Fibonacci sequence, which appears throughout nature - in the branching of trees, the uncurling of ferns, the arrangement of a pine cone and the spiral in shells. In the relationship of mathematics to the physical world, abstraction can provide a parallel visual experience in mediating the affects of nature.

another day in paradise

23 July - 29 August 2009

“Where we once had nature and god, we now have design and conspiracy theory.” (Boris Groys, Self Design and Aesthetic Responsilbilty, e-flux)

Prospect

23 July - 29 August 2009
Daniel Templeman, Installation view
Daniel Templeman, Installation view
Daniel Templeman, Prospect 1, 2008
Daniel Templeman, Prospect 2, 2008
Daniel Templeman, Prospect 3, 2008
Daniel Templeman, Prospect 4, 2008
Daniel Templeman, Prospect 5, 2008
Daniel Templeman, Smoking in a dark cinema 1, 2009
Daniel Templeman, Smoking in a dark cinema 2, 2009
Daniel Templeman, Flint, 2009
Daniel Templeman, Facet, 2009
Daniel Templeman, Distance, 2009
Daniel Templeman, Black Light, 2009
Daniel Templeman, Prospectors Dream 1, 2008
Daniel Templeman, Prospectors Dream 2, 2008

Gemstones and gold are materials valued highly because of their rarity and, one suspects, their sparkle! Daniel Templeman has taken basic building materials and cut, assembled, polished and coated them to create wall relief and free-standing sculptures that now capture and reflect light. This process of refinement parallels prospecting and lapidary; the viewer the new prospector.

Salon Jetpack

27 May - 18 July 2009

Fox’s flight of fancy proposes a Jetpack Salon city transport network, each neighbourhood salon providing a style of hair and a corresponding jetpack, with a hair protector helmet to maintain the ‘do (chose from Quiff, Mohawk, Bob, Ponytail or Afro) as you and your tribe traverse the cityscape conveniently powered by hydrogen peroxide.

Paint

29 April - 23 May 2009

Wobbly

19 March - 24 April 2009
Grant Stevens, The Night Tiger, 2009
Grant Stevens, Future Untold, 2009
Grant Stevens, Emotional Blanket, 2009
Grant Stevens, If Things Were Different, 2009
Grant Stevens, Well Being, 2009
Grant Stevens, It Will Be Tonight, 2009
Grant Stevens, No Bad Days, 2008
Grant Stevens, The Wandering, 2009
Grant Stevens, Of Knowing, 2009
Grant Stevens, Installation view

In our quest for peace and quiet, things sometimes get a bit unsteady. Using a variety of media including video, photography, painting and sculpture, Wobbly presents works that teeter between domestic bliss and emotional crisis.

The Floating Edge

10 February - 14 March 2009
Jess MacNeil, Syzygy - The Gulls, 2008
Jess MacNeil, London Trace (White on Pink), 2009
Jess MacNeil, Installation view
Jess MacNeil, Self Portrait as a City 2, 2009
Jess MacNeil, Installation view
Jess MacNeil, Installation view
Jess MacNeil, Installation view
Jess MacNeil, Aqueous Trace: Bondi, January   , 2009
Jess MacNeil, The Swimmers, 2009
Jess MacNeil, The Wall, 2009
Jess MacNeil, Self Portrait as a City 1, 2009
Jess MacNeil, The Floating Edge, 2009
Jess MacNeil, Installation view
Jess MacNeil, Essaouira Port 1   , 2009
Jess MacNeil, Hidden Cities, 2009
Jess MacNeil, Essaouira Port 2, 2009
Jess MacNeil, Installation view
Jess MacNeil, Current Trace (Black on Red), 2009
Jess MacNeil, London Trace (White on Blue), 2009
Jess MacNeil, Parallax Drift (Lambeth Bridge), 2009
Jess MacNeil, Parallax Float (Southwark Bridge), 2009
Jess MacNeil, Self Portrait as a City 3, 2009
Jess MacNeil, Continuous Cities, 2009
Jess MacNeil, Tower Bridge, 2009
Jess MacNeil, London Trace (White on Green), 2009
Jess MacNeil, Installation view

Situated at the point of contact between the individual and the city, this exhibition negotiates the interplay between physical and psychological space and the resonances of ephemeral experience.

Drawing on recent personal experience living in the London and travel further afield and closer to home, the work traces the movement of bodies through space, and the pliancy of space as it is traversed over time, translating these into manipulations of paint and digital video.

A cartography of disorientation emerges as the individual traverses the city; a succession of possible understandings of temporal experience, motion, place, space, the mutability of matter and the shifting perspective of the subject.

The Landing

27 November - 20 December 2008

Alwast’s practice engages the construction of ‘reality’ in both the digital and painterly worlds. His seamless stitching together of the various modes of virtual reality which won him the recent new media award is in this exhibition contrasted with his paintings, which show a fondness for what many now see as the quaint naivety of the medium, and the foibles of humanity the painted surface exudes when compared to the clinical exactitude of the virtual world.

Come a little closer

30 October - 22 November 2008
Joan Ross, Just between you and me (Hers), 2008
Joan Ross, Just between you and me (His), 2008
Joan Ross, Australian cameo pox: Australia Blight (the wife), 2008
Joan Ross, Australian cameo pox: Australia Blight (the lover), 2008
Joan Ross, Australian cameo pox: Australia Blight (the husband), 2008
Joan Ross, Oh look along my stick at our land (after Lycett), 2008
Joan Ross, George and Fanny (after Lycett), 2008
Joan Ross, WTF, 2008
Joan Ross, OMG I think I love you, 2008
Joan Ross, Northern Terrortory, 2008
Joan Ross, Heart of abstraction, 2008
Joan Ross, detail: We watch from our unmarked graves, 2007
Joan Ross, That vase was driving me crazy, 2008

Coincidental or controlling? Joan Ross’ peculiarly seductive new work co-mingles raw and refined human emotions with wild and manufactured materials.

Fur and acrylic, water and plastic, freedom and claustrophobia, attraction and repulsion in video and sculpture.

Aquasaurus

25 October - 20 December 2008

Jitish Kallat’s installation ‘Aquasaurus’, at the Sherman Contemporary Art Foundation, Sydney, is a monumental seven-metre long skeletal sculpture of a water-tanker morphing to become prehistoric creature that personifies the radical transformation of Indian city life. Resembling a prized natural-history museum piece, Aquasaurus – with its grinning mouth, menacing teeth and interior void – is both inviting and repulsive.

Blind faith

24 September - 25 October 2008
Debra Dawes, from clockwise Green 04-08
Debra Dawes, from abstract painting Green 88-08
Debra Dawes, Tip Toe, 2008
Debra Dawes, Light fantastic 08
Debra Dawes, from abstract painting Magenta 88-08
Debra Dawes, from lifting the sky 99-08
Debra Dawes, pp black 06-08, 2006-08
Debra Dawes, Night and day 08
Debra Dawes, Dare to 08
Debra Dawes, Surrender 08
Debra Dawes, Dazzle Camouflage (horizontal), 2008
Debra Dawes, to and fro 08
Debra Dawes, Dazzle Camouflage (narrow), 2008
Debra Dawes, Dazzle Camouflage (straight), 2008
Debra Dawes, Dazzle Camouflage (vertical), 2008

Blind faith releases a selection of paintings of wildly varying scale that began as studio experiments; paintings that bridge the ideas between discrete bodies of work, that pull threads from a previous painting to a future work. The exhibition reveals the various beginnings and afterthoughts of systems explored in Dawes’ practice since 1988.

Second Nature

21 August - 20 September 2008
Hayden Fowler, Second Nature vi, 2008
Hayden Fowler, Second Nature i, 2008
Hayden Fowler, Second Nature ii, 2008
Hayden Fowler, Second Nature v, 2008
Hayden Fowler, Second Nature vii, 2008
Hayden Fowler, Second Nature viii, 2008
Hayden Fowler, Second Nature iii, 2008
Hayden Fowler, Second Nature iv, 2008

untitled (the tyranny of distance)

14 August - 11 October 2008

In Jonathan Jones’ immersive installation ‘untitled (the tyranny of distance)’ at the Sherman Contemporary Art Foundation, Sydney, six free standing walls have been covered in blue tarpaulin and glow with filtered light from fluorescent tubes articulated in a continuous chevron design. The chevrons are derived from elements of traditional Koori (South Eastern Aboriginal) line work and resonate with Western minimalism.


2008 Melbourne Art Fair

30 July - 03 August 2008


I ACT AS THE TONGUE OF YOU

16 July - 16 August 2008

solo exhibition
Gallery Barry Keldoulis, Sydney
July 2008

Interiors and Coloured People

18 June - 12 July 2008

solo show, Gallery Barry Keldoulis, June 2008

Wall House

18 June - 12 July 2008

solo show, Gallery Barry Keldoulis, June 2008

Cliffhanger

21 May - 15 July 2008

solo exhibition, Gallery Barry Keldoulis, Sydney, May 2008

2008 Hong Kong Art Fair

14 - 18 May 2008

Exhibited artists:
Sean Cordeiro & Claire Healy
Debra Dawes
Hayden Fowler
Jitish Kallat
Hitesh Natalwala
Jess MacNeil

Somnium Genero

19 April - 17 May 2008

NY / LA

18 March - 12 April 2008

new works by artists resident in New York and Los Angeles:
Mark Bennett (LA)
Ivan Navarro (NY)
Vincent Ramos (LA)
Guy Richards Smit (NY)
Seher Shah (NY)
Grant Stevens (LA)
Rosha Yaghmai (LA)

Disruptive Colouration

12 February - 15 March 2008

Gallery Barry Keldoulis
inaugural exhibition at 285 Young Street, Waterloo

Education, Education

07 November - 01 December 2007

solo exhibition
Gallery Barry Keldoulis, Sydney
November 2007

you and me we're on the same team

07 November - 01 December 2007

gbk @ silvershot

24 October - 03 November 2007

Exhibited Artists:
Sean Cordeiro & Claire Healy
Richard Dunn
Fiona Lowry
Joan Ross
Daniel Templeman

trade mark

04 October - 03 November 2007
Jonathan Jones, lean-to, 2007
Jonathan Jones, trade mark - lean to , 2007
Jonathan Jones, trade mark - lean to , 2007
Jonathan Jones, trade mark - lean to
Jonathan Jones, untitled (chiselled sponges), 2007

Cross Currents: Focus on contemporary Australian art

18 September 2007 - 26 November 2010

The Thaw

30 August - 29 September 2007

Let's Talk

01 - 25 August 2007

Lubricant City

01 - 25 August 2007

Call of the Wild

04 - 28 July 2007

South Africa on Paper

04 - 28 July 2007

Exhibited Artists:
Conrad Botes
Liza Grobler
Norman O’Flynn
Johannes Phokela
Lyndi Sales
Johan Thom
Guy Tilim
Andrew Tshabangu

CITY

09 May - 02 June 2007

I'm having dreams about you

09 May - 02 June 2007

solo exhibition
Gallery Barry Keldoulis, Sydney
May 2007

Knicker Knot

11 April - 05 May 2007

Shutter

11 April - 05 May 2007

gbk @ silvershot

06 - 17 March 2007

Exhibited Artists:
Debra Dawes
Sarah Smuts-Kennedy
Grant Stevens
Paul Wrigley

Now That The Neighbours Can Dance

28 February - 31 March 2007

solo show, Gallery Barry Keldoulis, February 2007

The knitted brow

28 February - 31 March 2007

Rickshawpolis - part 3

17 January - 24 March 2007

The Devotee Exhausts the Forces of Activity

17 January - 10 February 2007

Exhibited Artists:
Mala Iqbal
Yamini Nayar
Prajakta Pallav
Seher Shah
Aditi Singh

Cover up

08 November - 02 December 2006

solo show, Gallery Barry Keldoulis, 2006

The Path of the Accident

19 October - 04 November 2006

Painting Rubbish

13 September - 07 October 2006

(extended remix) we can work it out

17 August - 09 September 2006

AS SEEN ON TV.

17 August - 09 September 2006

2006 Melbourne Art Fair

02 - 06 August 2006

Exhibited Artists:
Debra Dawes
Richard Dunn
Hayden Fowler
Chris Fox
Sean Cordeiro & Claire Healy
Bronia Iwanczak
Jonathan Jones
Deborah Kelly
Fiona Lowry
Jess MacNeil
Hitesh Natalwala
Joan Ross
Sarah Smuts-Kennedy
Grant Stevens
Daniel Templeman
Paul Wrigley

The Shape of Between

29 June - 29 July 2006

Custom Living

01 - 24 June 2006

  Gallery Barry Keldoulis, June 2006

faceless

01 - 24 June 2006

light maps

03 - 27 May 2006

one mind

03 - 27 May 2006

solo exhibition
Gallery Barry Keldoulis, Sydney
May 2006

Mani-Fold Paintings+Photography

12 - 29 April 2006

Boarded

18 January - 25 February 2006

Here's one I prepared earlier

18 January - 25 February 2006

EMPTY

04 - 26 November 2005

Handle on nowhere

04 - 26 November 2005

gbk @ Elastic residence, London

12 - 30 October 2005

Hayden Fowler
Grant Stevens

Plant

29 September - 29 October 2005

Many Fish Sacrifices

01 - 24 September 2005

gbk @ Span, Melbourne

16 - 27 August 2005

Simon Cavanough
Debra Dawes
Richard Dunn
Hayden Fowler
Chris Fox
Sean Cordeiro & Claire Healy
Bronia Iwanczak
Jonathan Jones
Fiona Lowry
Jess MacNeil
Hitesh Natalwala
Joan Ross
Sarah Smuts-Kennedy
Grant Stevens
Daniel Templeman
Paul Wrigley

I Like Ike

03 - 13 August 2005

solo exhibition
Gallery Barry Keldoulis, Sydney
August 2005

Ether

15 - 30 July 2005

Home Invasion

15 - 30 July 2005

solo show, Gallery Barry Keldoulis, July 2005

Jeez

02 - 25 June 2005

Jeez

02 - 25 June 2005

white lines

02 - 25 June 2005

International Painting on Paper

04 - 28 May 2005

Exhibited Artists:
Ross Chisholm
Debra Dawes
Dan Ford
Jitish Kallat
Jess MacNeil
Andrew McLeod
Hitesh Natalwala
Seung Yul Oh
Nusra Qureshi
Guy Richards Smit
Arjan van Helmond

34R+H 15 371L

06 - 30 April 2005

Product Placement

06 - 30 April 2005

Left behind

03 March - 02 April 2005

solo exhibition
Gallery Barry Keldoulis, Sydney
March 2005

Like pulling hair from butter

03 March - 02 April 2005

Fixed

12 - 29 January 2005

blue poles

04 - 27 November 2004
Jonathan Jones, blue poles, 2004
Jonathan Jones, blue poles, 2004
Jonathan Jones, blue poles, 2004
Jonathan Jones, untitled (white poles) 1, 2004
Jonathan Jones, untitled (white poles) 2, 2004
Jonathan Jones, untitled (white poles) 3, 2004

Clouded Signals

04 - 27 November 2004

clock wise

08 - 30 October 2004

solo show, Gallery Barry Keldoulis, 2004

2004 Melbourne Art Fair

29 September - 03 October 2004

Debra Dawes
Bronia Iwanczak
Jonathan Jones
Fiona Lowry
Jess MacNeil
Sarah Smuts-Kennedy
Grant Stevens
Paul Wrigley
David Sequeira
David Watson

Seeing Things

02 - 25 September 2004

Tarmac

11 - 28 August 2004

Ascension

14 July - 06 August 2004

Role Models

08 July - 01 August 2004

The Rate of Forgetting

16 June - 10 July 2004

A Love Story....Unfortunately

11 June - 04 July 2004

Some Want It All

27 May - 06 June 2004

solo exhibition
Gallery Barry Keldoulis, Sydney
May 2004

Biennale Group

20 May - 12 June 2004

Jonathan Jones
Jess MacNeil
Sarah Smuts-Kennedy
Paul Wrigley

Executioner's Drop

29 April - 23 May 2004

solo exhibition
Gallery Barry Keldoulis, Sydney
April 2004

it's either you or them

22 April - 15 May 2004

Terror Australis

25 March - 25 April 2004

Sir of One, Half a Dozen of the Other

28 February - 21 March 2004

The Practical Guide to Mental Hygiene

28 February - 21 March 2004

now or never

22 November - 14 December 2003

The Beetles

08 October - 16 November 2003

David Griggs
Matthew Griffin
Sharon Goodwin
Blair Trethowan

white poles

18 September - 05 October 2003

Tenuous Ground

12 August - 07 September 2003

Painting Ecstasy

17 July - 10 August 2003

The Farm Comes to Town

19 June - 10 July 2003

Peter Alwast
Shaun Weston
Martin Smith

Behold The Man

22 May - 22 June 2003

gbk’s inaugural exhibition