Rone’s most exhibition ‘Lumen’ was held in October at Level 1, 109 Little Collins Street, Melbourne. The show included eleven large-scale portraits inside and outside of the gallery and a twelve metre high mural on the building’s adjoining ventilation tower. The space itself – an abandoned office building slated for demolition – was been transformed into a black (and blank) canvas.
Tricky Walsh’s exhibition ‘star-stuff’ is currently on show at MARS Gallery in Windsor.
Tricky has recently exhibited at Gertrude Contemporary and MONA, and her first solo exhibition was purchased in its entirety by Artbank.
Tricky says of her work-
I can, with all certainty tell you that about eighteen months ago I started developing ideas for this show. I knew that I wanted to make works which examined the electromagnetic spectrum in a few different ways, and I knew that I wanted to do this because for the last number of years I have been playing around with a seemingly disparate grouping of ideas and technologies which are loosely collated into that subject matter. This exhibition star-stuff is about waves: Waves and frequencies, light and sound, communication in its many and varied forms.
I think that as artists we are always searching for the reasons why, that or otherwise stating a because. I’m one of the first kind. Things interest me, and the more interesting they are the more hooked I am. I stumbled across British composer Daphne Oram and her wondrous machine after being given an old oscilloscope from a friend. I’d just finished an electrical course and apart from graphing electrical signals I wondered what else I could do with it. A few tangents later and I was looking at the most beautiful and ad hoc arrangement of homebrewed construction I’d ever seen. Everything that was used in that arrangement of technology was there to fulfill a function, and had little apparent aesthetic selectivity. You can sense the needfulness in the object for things to function just so.
James Drinkwater’s exhibition ‘The Boy Cried STORM!’ is currently on show at NKN Gallery in Cremorne.
James Drinkwater is a Newcastle based artist whose practice traverses across painting, sculpture, assemblage and collage. Drinkwater makes work about place, intimacy and memory, he uses abstraction, colour and mark making as a vehicle in which to translate these concerns.
Drinkwater’s work is held in major public and private collections both nationally and internationally including the Macquarie Bank Art Collection, Allens Law firm, the Newcastle Art Gallery and private collections in New York, Singapore, Germany and the UK. James Drinkwater is represented by NKN Gallery, Melbourne.
John Olsen, arguably Australia’s greatest living artist, held an exhibition of new watercolours and oils at Metro Gallery in July this year.
In a special sense Olsen paints poetic metaphors what he calls ‘extended metaphors’ but really only the kind that co-exists with sensual experiences within life itself- at least in terms of the ways we can see our world. Emotions are another sphere again and although Olsen concedes that no doubt his emotional life exists somewhere in his work it is definitely not a starting point when he paints. ‘Emotions’ he notes are just ‘too confusing’. ‘I don’t’ he says ‘enter into that kind of confusion’. Van Gogh’s dramatic observations he suggests are dominated by the psyche, not so much from a mental disorder by from a psyche ‘racked by anxiety’. Olsen believes it is his original affinity with Oriental art that inspires him- that ‘ying and yang’ of the landscape. This excludes an interest in representing the violence of nature, which we discussed in relation to the current Turner exhibition showing at the National Gallery in which there is a room dedicated to the Sublime. Turner’s painting ‘the Avalanche’ becomes a subject of discussion and Olsen simply says that that he is not as dramatic as Turner but rather he is ‘more ambivalent about the landscape in an oriental manner’.