Dec
6
to Dec 23
Filtering by: Current
Dec
6
to Dec 23
Nov
1
to Dec 2
Ian Paradine — Morphing the Idol
Ian Paradine, Shelter, 2017, Pastel, Conte & Pigment on Arches Satine, 55.5 x 45 cm
Born in London, with a multidisciplinary practice spanning across painting, drawing, photography and moving image, Paradine places an emphasis on emotion and the psyche. Challenging the traditional notions of space and time, the artist manifests figurative dream-like hybrids existing between a reality we know and understand, and somewhere completely unfamiliar.
Morphing the Idol is a narrative examination of thought, dreaming and the in-between, presented through the guise of whimsical characters born straight from the depths of Paradine’s imagination. The recurrent figures in this exhibition of works oscillate between physical and ethereal states of being, at times blending with air and landscape. These curious characters portray a deep introspection into both light and dark inner states of the human consciousness.
Educated at the Camberwell College of Arts in London, Paradine has exhibited extensively in Europe, this is his second solo exhibition since his return to Australia in 2012. He is a multidisciplinary artist employing drawing, painting, photography, filmmaking and video within his art practice.
Nov
1
to Dec 2
Amber Koroluk-Stephenson — Shadows on the Wall
Amber Koroluk-Stephenson, The Hunt, 2017, oil on linen, 40 x 50cm
Painting becomes akin to staging, and the surface of the canvas, the set, in the work of Amber Koroluk-Stephenson. This November, at Anna Pappas Gallery, the Hobart-based painter brings bodies and buildings together in an indeterminate environment, an alternate world in which geographical distinctions of place are troubled, confounded, remade and rearticulated.
Painted by Koroluk-Stephenson during her recent 2017 residency at Cite Internationale des Arts in Paris, the artist reflects on Shadows on the Wall, stating: ‘These works attempt to reconnect with the magic and romanticism of encounter and discovery, teasing out connections between man and nature within fictionalised territories to fulfil the desire to connect with nature and make visible what is out of sight.’
Since graduating from the Tasmanian School of Art with a BFA (Honours) in 2010 Amber Koroluk-Stephenson has held numerous solo and group exhibitions nationally including Bett Gallery, Hobart, MOP Projects, Sydney, Sawtooth, Launceston, Archive Space, Sydney, Contemporary Art Tasmania, Hobart, Trocadero Art Space, Melbourne and Firstdraft, Sydney.
She has has been selected for a number of Australian prizes including The Churchie National Emerging Artist Prize, Portia Geach Memorial Award, Ravenswood Art Prize, Tidal National Art Award, Redlands Art Award, Albany Art Prize, Glover Prize and Paddington Art Prize. Koroluk-Stephenson has received several grants and awards for her practice, including an Australia Council ArtStart Grant, a NAVA Australian Artists’ Grant, Arts Tasmania ArtsBridge National and International Grants and a Highly Commended Soya Visual Art Award. Koroluk-Stephenson has also received numerous studio residencies including Contemporary Art Tasmania, University of Tasmania, Arts Tasmania, Cite Internationale des Arts in Paris.
Oct
4
to Oct 28
Karyn Taylor — Implicate Order
Karyn Taylor, Field Notations (detail) 2017, Animated light, PVC, cherry gouache
Challenging the viewer to participate in an experiential encounter with the unseen world, Karyn Taylor’s work explores themes that act as an invitation to engage with concepts that bridge a trajectory between the exactness of geometric forms and the fleshy materialism of the body.
No electricity, no tubes, no wires. Taylor’s Perspex forms manipulate the refractive qualities of matter, allowing light to reverberate. A kind of internal alchemy, as if the works themselves have been lit from within.
Exhibiting at Anna Pappas Gallery this October, Implicate Order is an exhibition of works that continues and expands Taylor’s commitment to the state of matter; considering how light, materials and particles behave in aesthetic terms. On the walls of the gallery, such works see light and colour operating in a relationship whereby lines crossing the surfaces of the works glow, as if they have been lit from within.
The artist states:
‘I think about abstraction in terms of how we perceive reality, how we construct it, how we form solidity out of nothing, as well as how underlying reality (described by quantum physics) is also purely abstract – often understood only through mathematics and as a field of probabilities…’
In 2017, Taylor has exhibited her refined material structures at Personal Structures, running concurrently to the Venice Biennale in Italy, Art Athena in Athens and had a solo exhibition at Sanderson Contemporary in Auckland. Implicate Order will be Taylor’s second solo exhibition at Anna Pappas Gallery.
Oct
4
to Oct 28
Simon MacEwan — Transit
Simon MacEwan, Transit 10, 2017, Watercolour, Gouache and 23k Gold Leaf on Paper
Aug
3
to Sep 28
Alex Lyne — from line to form
Alex Lyne, voyage, 2016, plaster, wood, plastic and automotive paint, 64 x 70 x 40cm
OPENING NIGHT: Thursday August 3, 6PM - 8PM
Anna Pappas Gallery is thrilled to announce From Line to Form, an exhibition showcasing the fascinating sculptural work of Melbourne based artist Alex Lyne. From seductively abstract bronze to intricately carved wood alongside contemporary support structures, the very tradition of sculpture finds a new voice in the experiments of Alex Lyne.
Lyne’s practice exists comfortably in the collision between tradition and contemporaneity. His employment of timeless sculptural techniques is highly radicalised with contemporary injections of colour and remarkably detailed surface patterns. Lyne creates abstract and unknown forms out of bronze, wood, plaster and steel that are then treated with unconventional automotive paints and unusual plastic supports, reflecting the tradition of the ready-made. He engages in an extensive and highly physical process of casting, moulding and carving to transform his simple line drawings into exquisitely crafted three-dimensional forms. From Line to Form will exhibit his latest sculpture undertakings which have been manipulated to scale with the human form in mind.
Lyne returns his experiments to the body, describing his process as one that begins “internally and travels outward.” He finds inspiration for his work in the act of meditative line drawing, beginning by sketching out multiple forms on to the paper surface. After intuitively deciding upon which forms to realise sculpturally, he works via a process of addition, transforming his materials to varied scales and with unique hand marked detailing.
By working in this way, Lyne emphasises the ability of the artist and the human to carve into the physical world we inhabit and transform it by finding form in our true internal expression.
Alex Lyne is highly dedicated to the method of lost-wax bronze casting and has received extensive training in London with the Bronze Age Fine Art Foundry and in Melbourne with the Meridian Sculpture Foundry. Lyne further consolidated his sculptural practice by completing postgraduate studies in Art in the Public at RMIT in (2006).
Lyne’s sculptures have been included in the Lorne Sculpture Biennale, the Yering Station Sculpture Exhibition and the well-known Sculpture by the Sea, Sydney.
From Line to Form will be Lyne’s debut show with Anna Pappas Gallery.
Aug
3
to Sep 28
Jarek Wojcik — Other Side
Jarek Wojcik, Other Side 2, 2017, acrylic on linen, 60 x 50 cm
OPENING NIGHT: Thursday August 3, 6PM-8PM
Wojcik apprehends contextual, historical and geographical concerns with an acute sensitivity. From a painterly perspective, Wojck’s unmistakable fractures of vibrant blues and contrasting purples break through the masterful realism of his canvases, emphasizing the flatness of the canvas at play with the depth of painterly representation.
The collision of traditional painterly realism, evoking European Masters, colliding with Wojcik’s contemporary interventions is transformed through his attention to place.
This exhibition sees Wocjik painting between places, with traditional European sensibilities applied to the Australian landscape, producing immersive canvases from an artist inhabiting a liminal location between two poles.
