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Figura subcinctus
Michelle Dawson
Friday 7 May 2021 to Sunday 11 July 2021
Boyd Gallery

“ Now I am ready to tell how bodies are changed Into different bodies”
Ted Hughes – Tales from Ovid, 1997

Figura Subcinctus is a continuation of Michelle’s fascination with the juncture where our civilised selves meet with our untamed, instinctual natures.

Our religions, art, myths, fairytales and fiction abound with chimaeric creatures, the likes of angels, werewolves, dryads and bunyips. Strange bird men decorate the walls of Sulawesi caves dating back 44,000 years.

Joseph Campbell suggests that these composite beings are our means of navigating our innate love-hate relationship with our animal selves from which we have evolved. Pliny speaks of the halfe wild and Ovid’s Metamorphoses presents a string of fluid interchanges between gods, humans, animals and flora. And modern medicine and science, merging human, animal and machine, puts us squarely in Mary Shelley territory.

Figura Subcinctus proffers specific hybrids, playful and tangible, as well as pieces that explore this dichotomy’s sense of mystery, collision, meeting and opposition less overtly. It contains artworks that are themselves hybrid in nature, using a range of materials and employing Michelle’s predilections for myth, fairytale, history, natural science, costumery and a pinch of kitsch to ferment a shape-shifting body of work.




Michelle Dawson
The Blooming Victorians 2020
graphite and watercolour on paper, 150 × 100cm
Courtesy the artist

 

VOID
Friday 7 May 2021 to Sunday 4 July 2021
Temporary Exhibitions Gallery

The void is a multifaceted concept, not simply of presence and absence, but a place that exists between distinct worldviews, is occupied by meaning and is imbued with personal, historical and ancestral significance. The artists presented in this exhibition do not simply define the void as denoting a lack, but rather they utilise form to represent the formless.

Void brings together contemporary Aboriginal artistic practice from across the country. Curated by Emily McDaniel, the exhibition features existing works across the mediums of drawing, painting, sculpture, ceramics, textiles, video and photography by artists including Pepai Jangala Carroll, Jonathan Jones, Mabel Juli, John Mawurndjul AM, Hayley Millar-Baker, Mick Namarari Tjapaltjarri, Rusty Peters, Doreen Reid Nakamarra, Andy Snelgar, Dr. Thancoupie Gloria Fletcher AO, Freddie Timms, James Tylor, Jennifer Wurrkidj and Josephine Wurrkidj.

An exhibition curated by Emily McDaniel, in conjunction with UTS Gallery and Bathurst Regional Art Gallery, presented nationally by Museums & Galleries of NSW. This project has been assisted by the Australian Government’s Visions of Australia program






Void, curated by Emily McDaniel, (installation view) UTS Gallery,25 September – 16 November 2018
Pictured: James Tylor, (Deleted Scenes) From an Untouched Landscape #7 Knocklofty Reserve, West Hobart, Palawa Land, 2013
Photo: Campbell Henderson
 

In Quiet
Amelia Reid
Friday 7 May 2021 to Sunday 11 July 2021
Macnaughton Focus Gallery and Kelly Wall

In lockdown the experience of home was concentrated; we were bound to it. The functions of home clarified and expanded – a sanctuary, a site of performed domesticities, a liminal space transitioning into a changed way of being in the world together.

Over weeks of consistent stillness, a perception of place deepened. A quiet that implied almost monastic contemplation and retreat, simultaneous to existential stresses – the physical reality of the virus, economic impacts, and the unknown end date for social distancing.

Busy ant lives stalled, the here and now became a pocket of time with full allowance for silence and slowness, observance and absorption. A version of life with less interaction with the external world, its structures and multi-locatedness.

The paintings created during lockdown and the open-ended phase of unknowns that follow are a documentation of time passing, within a seeming suspension. They record an internal process of external change and form the basis of a body of work exploring light and shadow, interiority and architectures.

Amelia Reid is a multi-disciplinary artist living in Murwillumbah.




Amelia Reid
March (Books, Love, Pandemonium) 2020
acrylic on canvas
Courtesy the artist

 

Treasure Island
Darren Sylvester
Friday 14 May 2021 to Sunday 31 October 2021
Anthony Gallery

Darren Sylvester’s multi-disciplinary practice involves photography, sculpture, video and pop music.

Each work is the result of a long, detailed process of research and planning, often involving a wide range of pop culture moments and artefacts, designed to investigate the language between perceived high and low culture, the nature of authenticity, desirability and mortality.

Each photograph is the result of detailed research and planning to then become a hand-built set of props in studio that are then photographed with large-format film, creating a hyper-real saturated effect that is direct and to the point, however with inherent levels of great detail and complexity.

For example, the work Stacey re-imagines a character from an unknown American science-fiction film, with the suit purchased by Sylvester at a Hollywood auction house. The only clue to the character was the name ‘Stacey’ inscribed inside, here the character and location is re-imagined and Stacey is brought back to life.

Treasure Island alludes to the Disney-fied trope of fortunes and mysteries in undiscovered spaces, a theme not dissimilar to the worlds created within Sylvester's exciting images.




Darren Sylvester
Stacey 2018
240 × 320cm, lightjet print
Courtesy the artist, Sullivan+Strumpf, Sydney and Neon Parc, Melbourne

 

A life in art - Margaret Olley
Friday 14 May 2021 to Sunday 31 October 2021
Margaret Olley Art Centre

Drawn entirely from the Tweed Regional Gallery collection, this exhibition brings together artwork from each decade of Margaret Olley’s extraordinary career.

On display in the Margaret Olley Art Centre for the first time, A life in art will include a series of monotypes Olley made in Europe during her first overseas trip in the early 1950s. They showcase her keen eye for detailed observation and her strong foundation in drawing.

From her early, lesser-known landscapes to her later, much-celebrated still lifes, this exhibition reveals the journey of her enduring career and dedication to a life in art.




Margaret Olley (1923 -2011)
Versailles gates 1952
monotype on watercolour on paper
42 x 53.5cm
Tweed Regional Gallery collection
Gift of the Tweed Regional Gallery Foundation Ltd., 2020
© Margaret Olley Art Trust

 
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