Friday 3 March, 2017 to Sunday 16 April, 2017
Objects of Desire: Contemporary Clay
The Temporary Exhibitions Gallery
This is an exhibition about material transforming from a lump of dirt into a myriad of forms. Clay is an expressive material, from the belly of a bowl to the gestural marks of an abstract sculpture, there is something seductive about clay: it calls out for human touch. The making of an artwork in the studio is a very private performance. Pushing blocks of clay around, altering and moving over the surface of form, the physical rhythm of making is a large part of a ceramic artist’s life. Clay is heavy; being able to manipulate it requires strength and ingenuity to solve technical problems that arise between the material and the human body.
This exhibition highlights 10 Queensland artists working with clay, from the raw woodfired works of Ray Cavill to the delicate porcelain of Anne Mossman. These objects are highlighted and linked by the ephemeral eco installation of artist Tijn Meulendjiks, his airy, gravity defying installation a physical embodiment of the idea of desire. Tijn’s installations and Shannon Garson’s exhibition design draw the viewer into the mysterious, tactile, colourful world of Objects of Desire.
Artists: Mollie Bosworth, Andrew Bryant, Ray Cavill, Janet Fieldhouse, Chizuko Jones, Clairy Laurence, Tijn Meulendijks, Pru Morrison, Anne Mossman, Jenny Mulcahy and Megan Puls.
Mangrove series #1-10 2016
Scarva stoneware clay
group 24 × 38 × 135cm (maximum measurements)
Friday 3 March, 2017 to Sunday 18 June, 2017
The Boyd Gallery
An Ararat Regional Art Gallery and NETS Victoria touring exhibition, curated by Dr Belinda von Mergensen
Slipstitch presents an Australian perspective on the contemporary uptake of embroidery by a new generation of artists.
In recent years contemporary artists in Australia have embraced embroidery for its capacity for poignant and reflective narrative. The re-emergence of embroidery is part of a broader questioning of the hierarchy of materials that has gained momentum since the 1990s. Embroidered objects have often been read literally and relegated within a domestic framework. These new contemporary works break down preconceptions by exploring what embroidery can become once it transcends the regularity of pattern and decoration. Historically, embroidery like the Bayeux Tapestry, was used as a tool for personal or political narratives. Slipstitch aims to introduce a contemporary audience to the capacity of embroidery for drawing and communication in this mode.
The exhibition features recent work from Mae Finlayson, David Green, Lucas Grogan, Alice Kettle, Tim Moore, Silke Raetze, Demelza Sherwood, Matt Siwerski, Jane Theau, Sera Waters, Elyse Watkins and Ilka White.
Swimming Boy 2013
machine embroidery, sewing thread and wire
Stitch: free machine embroidery, straight lockstitch
38 × 50cm (variable)
Friday 3 March, 2017 to Sunday 16 April, 2017
the continuity of life - The art of Maki Horanai
The Macnaughton Focus Gallery
The paintings of Maki Horanai display a unique and imaginative combination of artistic sensibilities, transporting the viewer into a fantastic world of dreams. Horanai’s work defies any single label, yet has its own immediately recognisable style, often touching or quirky, but always evocative.
Thoughts while standing in front of one of Maki’s paintings:
I have stopped myself for a moment to connect with the world that you have created and shared with me. So you enter into the circle of my life. You breathe, you live, you paint; I breathe, I live, I become part of your universe. My body moves closer and my eyes slowly focus in amazement on the details of the smallest parts and then I step back slowly to see larger sections and finally look at the centre and unfocus to see the whole. Only in this way am I able to see that, like in a Japanese temple garden, your spaces around and between are as meaningful as what fills them.
I thank you for giving me this chance to see myself through your work.
Hillel Weintraub, September 2016
floating above the world 2015
synthetic polymer paint on canvas
90 × 120cm
Private collection of Maite Kervella
Wednesday 8 March, 2017 to Sunday 4 June, 2017
The Peter and Judy Budd Foyer
Throughout the history of art photography, the concrete form has been used to symbolise pervasive and dominant social forces. Concrete through photography has become a symbol of Modernist design, the metropolis, urban growth, industrialisation and of the designed utopia.
My work seeks to re-present the concrete form in a way that challenges the established symbolism. Rather than a clean and inert concrete structure, Concrete 2 depicts a concrete bridge that is marked and stained by time and place. The beam structure is overcome by marine growth and algae. The circular pillar reflects the greens and purples of the surrounding vegetation. The concrete form is depicted as immersed in and effected by its environment. While the clean concrete form suggests the dominance of the designed over the natural, the stained and marked concrete form suggests an inevitable intertwining of the intended and the experienced. The works reflect a gradual shift away from the regimentation of Modern societies and towards a less homogenised and more interactive contemporary awareness.
Damien O’Mara, September 2016
Pile Cap 2 (detail) 2016
Inkjet print on aluminium composite panel
300 × 100cm
Friday 17 March, 2017 to Sunday 30 July, 2017
The Friends Gallery
During 2016 Sydney-based artist Guy Maestri spent time in the Gallery’s Nancy Fairfax Artist in Residency Studio. The aim of the residency was to commence the development of a body of work for a solo exhibition in the Friends Gallery in March 2017.
The artist said, “I originally intended to observe and respond to the local landscape and fauna as the focus of my residency at the Gallery. However, as I settled into the studio and absorbed myself into the residency, I realised what a privilege it was to have such intimate access to Margaret Olley’s world via the exhibition of Olley’s work and the re-creation of her Duxford Street home studio.
Studying Margaret’s paintings, reading her thoughts about art and life and having access to the actual objects that she painted from (her own things) made me realise what a masterful painter she was. It made me fall in love with painting again, for the pure joy of it. To spend time looking at, and painting from life, the objects I know so well from Margaret’s paintings, and to know that Margaret herself had spent time quietly rendering those same objects was again, a privilege. It unexpectedly redirected my focus for my residency, to something more intimate and more about personal objects, and of course, about the love of painting.”
Guy Maestri is represented by Jan Murphy Gallery, Brisbane.
Guy Maestri in the Nancy Fairfax Artist in Residence Studio
Friday 21 April, 2017 to Sunday 18 June, 2017
Drawn to Print: David Fairbairn
The Temporary Exhibitions Gallery
Renowned portraitist David Fairbairn is well known for his large mixed media drawings. Although this aspect of his practice continues, in recent years he has worked almost exclusively on large scale etchings.
David Fairbairn said, “It is important to me that my etchings compliment and extend my previous explorations in drawing. With these new prints, drawing directly from the sitter onto the copper etching plate is an important aspect of my process. The length of time spent with a person and the stopping and starting of a work as a series develops, are factors that contribute to the final outcome. I am interested in the unexpected transformative qualities of the line that is etched by immersion in ferric chloride. The quality of the corrosive line is different to a drawn line on paper using charcoal or pastel. Now working predominantly in black and white, I am able to reinforce the underlying formal and abstract structures in the depiction of the sitter, whilst still emphasising the emotional and psychological content of the work.”
Drawn to Print: David Fairbairn showcases drawings produced from 2010–2016, and etchings of the same sitters created during the period 2015–2017.
David Fairbairn is represented by Stella Downer Fine Art, Sydney and Port Jackson Press Print Gallery, Melbourne.
J.L. No.4 2015
copper etching and drypoint on Hahnemuhle paper
36 × 30cm
Friday 21 April, 2017 to Sunday 18 June, 2017
Slow light… Celestial
The Macnaughton Focus Gallery
The Slow Light… Celestial series was inspired by my road trip in April this year starting in the Red Centre, Uluru on 2 April 2016. The previous day, artist Bruce Munro had finalised the installation of his epic work Field of Light (2016) using 50,000 solar-powered LED lights. He had been enchanted a decade ago by the fields of wild flowers he’d seen at Uluru and was motivated to recreate a vision in light. Under the night sky, one experienced the glowing majesty of a celestial floral tribute to the Milky Way, mirrored in a colourful cosmos. The enormity of the work and the power of light as a poetic device was compelling.
The motifs for the Slow Light… Celestial series are traces from that experience and my own imaginings of celestial light and cosmic forms. I employ techniques in which reflection and refraction of light create a glow of colour. As one’s view point changes, light becomes a more palpable force.
Colleen DaRosa, September 2016
synthetic polymer paint on etching paper
81 × 115 × 5.5cm
Friday 12 May, 2017 to Sunday 10 September, 2017
Portraits: Margaret Olley
The Margaret Olley Art Centre
“Because I have a face like a pudding and it’s easy to draw.”
This was Margaret Olley’s humorous response, when asked by friend and biographer Christine France, why, in her opinion, she was such a popular portrait subject for fellow artists.
Margaret Olley remains the most painted face in Australian art history. As a fledgling artist at the age of 25, Olley sat for friend and fellow artist William Dobell. His portrait Margaret Olley 1948 won the Archibald Prize, hurtling a shy Olley into a media frenzy. More than six decades later, Olley was again the subject of an Archibald Prize winning portrait by Ben Quilty, Margaret Olley 2011.
Olley’s remarkable artistic career is bookended by these iconic portraits.
This outstanding exhibition of portraits of Olley by her artist friends, and self-portraits, is an exploration of Olley’s extraordinary life, spirited character and her enduring friendships with some of the most significant figures in Australian art. Portraits: Margaret Olley includes work by Margaret Olley, William Dobell, Russell Drysdale, Ian Fairweather, Judy Cassab, Jeffrey Smart, Ben Quilty, Nicholas Harding and more.
Never before assembled, Portraits brings together important works via loans from private and public collections including the Art Gallery of New South Wales, the National Gallery of Australia, Queensland Gallery I Gallery of Modern Art, Macquarie University Art Gallery, Maitland Regional Gallery and the Tweed Regional Gallery & Margaret Olley Art Centre.
The exhibition will be complemented by an engaging schedule of activities and events. For details visit the Gallery website in 2017.
William Dobell (Australia; England, b.1899, d.1970)
Margaret Olley 1948
oil on hardboard, 114.3 × 85.7cm
Art Gallery of New South Wales, purchased 1949
© William Dobell/Licensed by Viscopy, 2016
Friday 26 May, 2017 to Sunday 19 November, 2017
The Anthony Gallery
Surrender explores the distinctive figurative and landscape work of Joshua Yeldham, one of Australia’s most original and creative contemporary visual artists.
Drawing from a reverential love of nature and deep spiritual affiliation with the land, Yeldham creates intricately rendered works that oscillate between narrative and myth, imagination and real experience. Working across painting, photography, drawing and sculpture, the artist has developed a singular aesthetic that often conflates these various mediums, such as his characteristic oil paintings with sculptural assemblages on board or his pierced and carved photographs.
This exhibition provides just a glimpse into Yeldham’s creative inspiration and spiritual journey through the Australian landscape, particularly in the Pittwater and the Hawkesbury River regions the artist has known since childhood.
Joshua Yeldham has been invited to participate in the Nancy Fairfax Artist in Residence program. Visitors can look forward to viewing an exhibition of the outcomes of this residency from Friday 4 August 2017.
Joshua Yeldham is represented by Arthouse Gallery, Sydney.
Self portrait: Morning Bay 2013
instrument, cane, shells and oil on carved board
200 × 244cm
Friday 30 June, 2017 to Sunday 17 September, 2017
David Hockney: Words and Pictures
The Temporary Exhibitions and Boyd Galleries
The Tweed Regional Gallery is proud to present an international exhibition to our visitors. With the generous financial assistance of the Tweed Regional Gallery Foundation Ltd, this landmark presentation is a first for the Gallery. Drawn from the British Council Collection, the exhibition presents four major suites of artists’ prints produced by David Hockney from 1961–1977. United by their reference to historical works of literature and art, these prints were produced during the first two decades of Hockney’s career when he established his international reputation as a Pop artist.
In A Rake’s Progress, Hockney transposed the moral tale of a squandered life based on William Hogarth’s late 18th Century series of the same name onto his own semi-autobiographical tales of a summer spent in New York. Hockney’s admiration for the poetry of C.P. Cavafy, the Greek poet of Alexandria, inspired him to illustrate 14 of Cavafy’s poems, capturing the sensuality of the original poetry with intimate drawings of his friends in London. His attraction to the simple, direct style of writing in the tales collected by the Brothers Grimm influenced one of Hockley’s most ambitious printmaking projects, a series of 80 etchings illustrating six titles. The original suite The Blue Guitar, 1977 was based on the poem The Man with the Blue Guitar by the American poet Wallace Stevens, who had in his time been inspired by Picasso. The series of 20 colour etchings, with their vast array of imagery and styles, are a homage to the Spanish master.
Tweed Regional Gallery is proud to present this exhibition in partnership with the Blue Mountains Cultural Centre in Katoomba. The exhibition will premiere at Tweed before travelling on to Katoomba in October 2017.
This inspiring display will be a ticketed exhibition. Individual and family tickets may be purchased at the Gallery on the day of your visit. School and bus groups must arrange and pay for their visit in advance by email to: email@example.com. The Gallery has made every effort to keep ticket prices affordable for all community members:
$10 - adult
$7 - Gallery Friend or Foundation member
$8 - concession or child aged 5-17 years
$26 - family (2 adults + up to 3 children)
Free - children under 5 years
$8 per person - bus group booking
$6 per person - school/education group booking
This international exhibition is enhanced by a collection of original artworks by Hockney kindly loaned to the Tweed Regional Gallery by the artist’s brother John Hockney, a resident of Australia. The Gallery is thrilled to present these works, which include colourful portraits of the artist’s mother and a self-portrait, alongside the British Council Collection.
The Start of the Spending Spree and the Door Opening for a Blonde from A Rake’s Progress 1961–1963
Edition of 50, 45.5 × 58.4cm
© David Hockney