Friday 10 June, 2016 to Sunday 16 July, 2017
A - Z: the alphabet in art - Works from the collection
The Withey Family Gallery
Drawn from our collection, this playful exhibition brings together
a curious combination of works inspired by the alphabet.
Selecting pieces for this exhibition presented me with the opportunity to create fun and unusual combinations of artworks from the collection for our visitors.
Play a classic game of ‘I Spy’, or create your own game using the artworks as a visual language. I invite you to interact with some wonderful pieces in what I hope is an engaging, family-orientated and entertaining exhibition.
After viewing this playful glimpse into the Gallery’s collection, you’ll really know your ABCs!
Rain Dance 2007
9.0 x 4.3 x 2.0cm
Gift of Anonymous donor through the Tweed Regional Gallery Foundation Ltd., 2008
Tweed Regional Gallery collection
Friday 17 February, 2017 to Sunday 21 May, 2017
Tumbulgum and the Countdown to Midnight at the First Supper Between Now and Forever
The Anthony Gallery
This exhibition draws from documentation gathered from If These Halls Could Talk; a multi-arts project managed by Arts Northern Rivers celebrating halls and the role they play in our communities. The Northern Rivers is a region of villages, most with a hall at the centre of its community heart. Some sit proud on hills, some tilted with age, but all are places of stories and keepers of secrets. Seven halls from across the Northern Rivers were selected to have a renowned artist collaborate with their community to create a site-specific work inspired by the unique narrative of their hall.
Opera Queensland was commissioned by Arts Northern Rivers to tell the 102-year-old tale of Tumbulgum Hall. Nestled on the banks of the Tweed River, Tumbulgum Hall has an amazing history. Built in 1914 the hall has many stories contained within its walls. In their show Tumbulgum and the Countdown to Midnight at the First Supper Between Now and Forever, the major performing arts company focused on the halls connection to the river. The hall was transformed by Opera Queensland into an other-worldly place and in collaboration with the community they created a musical journey that led audiences into the next world and onto forever.
Still from If These Halls Could Talk (detail) 2016
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)
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