Tag Archives: #australian Artists

War,War; rumour of a war

BEN QUILTY

Australian Artist, Ben Quilty explores the depth of death, particularly murder, and the brutal assault of hastening it’s arrival. He is on tour through the desolate heartland of emptiness, an intrepid explorer, however climbing Everest is not his goal, his road leads into the deepest darkest terrains of the human experience.

“I am interested in humans”

Quilty was engaged as a War Artist for Afghanistan. The experience brought him face to face with Australians that are endlessly jeopardising their own mortality and live within a violence that has been raging for 18 years. Many have lost their lives and limbs, whist Post Traumatic Stress Disorder has gorged trenches, within the soldiers minds.

The Gallery visitor that has just had a glass of wine over lunch is taken into a war torn Earth, of shores littered with abandoned life-jackets from a fleeing population, naked soldiers shivering with PTSD and picnic spots that robbed Aboriginals of their life, dignity and history.

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The crisis of war washes up on the Grecian shores, as refugees flee their homeland to find safety abroad. The refugees have left all of their belongings and donned  lifejackets to cross, freezing sea’s in the black of the night. The reality of the Syrian crisis has not infiltrated the ‘connected world’ and the lack of response, drew the artist in. He intends to make the public aware of the trauma these young children are experiencing, by publishing a book of artwork by young Syrian victims.

                                     “My work is about how to live in this world”

In his homeland, Quigley explores landscapes of the Australian Genocide against its Aboriginal population. In his Rorschach landscapes of Fairy Bower and Amata, the artist documents a howling dark presence in place of a tribal home where children would have ran happily through the trees and bathed in the waterfall and its streams.

Quilty explores humans wrecking havoc on other humans, because they can, or are obliged to, within the social framework of the current systems. Environment’s may appear inviting and innocent but Quigley examines that which is lurking beneath. There is an anger in Quiltys work, he is hurting and you must too.

Quilty is a proficient landscape and figurative artist that can morph into a nightmarish surrealism. Quilty is battling a demon much larger and more connected than he. He wants justice, the paintings are the evidence and the gallery space is the court room. Quilty has managed to captured the attention of the art public with his profound statements in thickly plastered paint.

Like Van Gogh, he uses sculptural paint and his tortured metamorphosis are in keeping with Brett Whitely and Francis Bacon.

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Quilty’s has witnessed war and it has taken its toll on him, as an artist and a human he has walked amongst the disenfranchised and documents their experience. Where journalists have dropped off , the social issues, like leaves, Quilty has become Australias fourth estate, placing the news, no longer in the paper, but on the walls. Quilty challenges us to look into our own backyard.

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by April Forward

Ramsay Art Prize finalists

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SA BIKE TOURS

 

FullSizeRender-60Art is language and in many countries pictures are a part of dialogue. The inviting interiors of Cue, De Souza, Hughes and Selleck examine the priorities of pretext and invite interactive, participation. The exhibition moves away from traditional painting and allows a multi-media vioce.

Let’s meet the ART

GEORGINA CUE

The Living room, sets an exotic stage for a classical diva in what appears like an ancient setting. The bold artwork seems to have a Cubist influence with an early Century  twist. Both powerful and beautiful, the photographic work ,an inkjet on rag-paper, is a central work in the exhibition.

REBECCA SELLECK

Lapin Plague, 2016

This is an engaging installation, on many levels, firstly it invites you into it. It is a homely domestic scene with what appears to be, occupied by small rabbits. On closer examination the (heated) rabbit skins have no heads, therefore they are not alive. ‘Outside of the cage’, it would appear that the rabbits and humans are enjoying a shared space and when you touch the skins they are robust and warm, but they are not.

KEG DE SOUZA

We built this city

This impressive structure is made from salvaged tents and plaid laundry bags. Within the interior is a communal area with milk crates to sit on and books on the history of the Tent Embassy in Canberra. Coming off the main ‘room’ are an array of small tent rooms. It is the perfect Festival space, providing your guests have house manners, better than a Tipi because there are rooms, however a tad flammable.

The concept of tribe and tent and engaging in the environment as opposed to destroying it, is an old age concept, in Western Culture according to the old testament, the Christian/ Jewish God lived in a tent.

The added beauty whist in the tent is listening to the haunting sound of traditional Fado singers, from the outside film by Jacobus Capon that examines memories of a home gone. The Australian factor is that we came as refugees, yet our memories resonate. Are we adapting or are we all in a state of diaspora.

 JACOBUS CAPONE

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Forgiving night for day.

Multiple films projected  onto the Art Gallery wall are of lone characters watching the dawn above the rooftops of Lisbon, Portugal. Capone examines the state of nostalgia. It is an absorbing work, visually engaging as the sound-scape floods the skies above the sleeping town.

NATALYA HUGHES

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All of Your Women and Some of Mine, 2016

An interior space with a strong Mattise influence, using decorative abstract contrasts in colour and pattern, appearing like a digital construct..

TONY ALBERT

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Exotica (Mid Century Modern)

Albert’s political comment on the state of our country as an ashtray, is in dire contrast of the pristine land that was taken from its previous owners.

‘Albert has developed a universal language that seeks to rewrite historical mistruths and injustice.’

SARAH CONTOS

FullSizeRender-66The Long Kiss Goodbye

‘The winning work of art is titled Sarah Contos Presents: The Long Kiss Goodbye and brings together personal remnants of Contos’ practice from the last four years’. Contos was awarded $100,000 for this mixed medium collaged ‘quilt’.

 

April Forward

 

 

 

 

 

escapegoat.com.au

Includes kangaroos, koalas, bike hire, pick ups from Adelaide and a stack more.

 

 

Contrasts

Rapid urban development cast’s new shadows on the streets of old St Kilda, yet shreds of its artistic culture remain.

106 Barkley Street has been Tamar Dolev’s studio for 8 years, she uses ‘found’ objects to create. Each surface and shape is carefully considered before being morphed into the voice of the quietly spoken Artist.

The works are bursting with wild vitality, shes uses colour like an electric force, there is a vibrant sense of movement and emotion similar to that of Aboriginal Artist HU Wedge.

 

Dolev also enjoys the effects of shadows.

“Whatever wall it goes on, the piece changes. if it’s a blue or black wall, it adds and evolves by the shadows it makes.”

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Self Portrait 2015

Self Portrait 2015 is full of holes, it is a chameleon blending into its environment. It is partly her and partly the surroundings, that dictate its nature.

 

 

‘Billy’s Adventure’ 2015, is a long narrow work that invites the eye to travel through the composition as a narrative. The concept of an art piece outside the ‘eye of a camera’ explores our natural visage, a technique familiar to Chinese scrolls.

Dolev’s journeys are captured in her haunting silent photography of the place outside.

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Both of her parents are Architects and her fascination with buildings seeps into her art. She is currently pre-occupied with her sculptures of dwellings made from bay-side spillage.

 

Artists Studio Gallery / 106 Barkly St, St Kilda; next to Mirka Mora lane.

Opening Event Aug 6 3-5pm

 Aug 13, 14 and 20th