31 MAY - 18 JUNE 2017
Solo show by Australian - Korean artist Jaedon Shin whose vividly colourful paintings draw our attention to the alienation of man in modern society. Shin paints impassive and emotionally inaccessible figures paused, or frozen in time, in liminal spaces or places of humdrum and limited transaction - in a subway, an almost deserted cafe, an empty market or playing the pokies.
His lurid, flat almost tropical settings are at odds with the anonymity, and cheerlessness of his people. Shin says "I do not hesitate to use raw colour directly from colour tubes", colours so vivid they "seem to hurt eyes" to highlight the sometimes meaningless and monotony of human life, particularly of " common people who are powerless and never truly free, living their lives patiently and stoically as a mere speck at an infinitesimal point in time within the landscape of the long course of history".
21 JUNE - 16 JULY
A survey of the past 20 years in Victorian artist Craig Barrett’s career.
' We are nothing without the land and the country we walk upon. The land we farm for food, the country in which we find quiet spiritual sustenance, or in which we dig for riches. For those who can listen, the country talks to us, it informs us, it encourages us, and it rebukes us.
Indigenous cultures worldwide do not see themselves as owning land – rather, they belong to it. Through all its stillness and excitement, fire and flood, we all belong to the land.
My modest effort in pictures is about that relationship to land and country. '
— Craig Barrett
19 JULY - 13 AUGUST 2017
UP NORTH | CLAIRE MCARDLE
ENGAGE AND EXCHANGE |BRIDGET KENNEDY
Up North is a diary through objects of the time Claire McArdle spent as a resident artist in Blonduos, Iceland. The works investigate how people influence landscape and how landscape influences people. Why do you always see sheep in threes? How do you souvenir a mountain? What is a blueberry? Her research investigates existence in a climactically harsh environment, how we keep mementos of a place and how human demand and location shape the idea of the 'blueberry'. The work uses local materials including fish skin and Icelandic wool which Claire dyed from plants in the Blonduos area.
Just help Yourself Why Don’tcha is an installation of 10,000 beeswax rings, embedded with precious metals currently mined in Australia (coal, gold, silver, tin, lead, zinc), and with an enticing gold ring at it’s centre. It invites viewers to ‘help themselves’ to elements of the installation confronting their relationship with greed, permanence, impermanence and destruction through human interaction.
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