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Three Decades: celebrating the Tweed Regional Gallery collection
Friday 24 August 2018 to Sunday 30 June 2019
The Withey Gallery; Peter and Judy Budd Foyer

2018 marks the Gallery’s 30th anniversary. To honour this milestone, I have curated an exhibition from the collection which celebrates its development since 1988 and surveys the four focus areas that inform acquisitions.

Like many regional galleries, the gifting of artworks is a crucial element in the development of permanent collections. The support of private donors and artists has generously afforded the Gallery the opportunity to build a collection, of which visitors can enjoy and be proud.

This exhibition includes significant works of art that acknowledge the Gallery’s reputation in the arts sector and recognise the talent of artists living and working in our region. The exhibition also embraces our enviable geography, shares artists’ ideas and raises some issues that deserve to be raised – all of which bode well for the next thirty years.

Through the collection, Three Decades celebrates the realisation of an art gallery for the Tweed and the remarkable achievements of the many people who transformed a dream into reality. The exhibition celebrates a vibrant future ahead for the Gallery and our programs, and the continued, exciting development of your collection.

Susi Muddiman OAM
Gallery Director




Kenneth Macqueen (1897-1960)
Mount Warning and the Tweed River c.1930s
watercolour on paper, 32 × 40cm
Gift of the Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc., 2017.
© Reven Macqueen

 

Maria Kontis - Nancy Fairfax Artist in Residence Studio
Friday 8 March 2019 to Sunday 14 July 2019
The Friends Gallery

Melbourne-based artist Maria Kontis spent one month working in the Gallery’s Artist-in-Residence Studio undertaking research and concept development for her solo exhibition in the Friends Gallery.

"During my residency at the Nancy Fairfax Studio I immersed myself in the history, society and culture of Murwillumbah and its surrounding communities. It was my hope to develop a material, affective and drawn response to life in the area. Initially I focused on the photographs of the community. I spent many hours looking at thousands of photographs in the Tweed Regional Museum Collection Store. But I wanted to do more than look at photographs. I wanted to draw the ‘photo-graph’ of the community across multiple planes and from multiple viewpoints. I gathered information and ideas from local newspapers and various books and newsletters published by the Tweed Regional Museum, the Tweed Shire Council and the Historical Societies of Murwillumbah, Uki and Tweed Heads, attended council meetings, met with local groups, visited exhibitions, observed ongoing life in the community, talked with people and listened to their stories. These encounters are vital to the development of my project. In a sense, they are my project."

Maria Kontis


Maria Kontis is represented by Darren Knight Gallery, Sydney.



Maria Kontis at work in her studio

 

On a walk in the poet’s garden - Dean Home
Friday 22 March 2019 to Sunday 18 August 2019
The Anthony Gallery

When I let lie the male figure and remade myself some twenty years ago, I did so by diving into the genre of still life. The appeal of colours that I had never had on my brush was enormously exciting. That exuberance and theatricality is something I have always kept as a recognisable foundation to my art. Along the journey other doorways also appeared and opened, especially with my discovery of oriental ceramics. A key piece, among several, is a particularly beautifully formed bowl I bought at auction in Melbourne from the Chinese Kangxi period, which has on it classic domestic scenes. This grabbed my imagination and, as I worked more with it, led me to make work which reads both as landscape and still life, and therefore lets all sorts of ideas and perceptions develop on the canvas. In this show of current works, I invite people to see where some of these ‘genre-overlaps’, playing against my own pictorial iconography, has led me. I feel my journey to the orient, both real and on the poet’s page, has been very rewarding and has some distance to travel yet.

Dean Home, 2018

Dean Home is represented by Arthouse Gallery, Sydney, Gallery One, Queensland and Metro Gallery, Melbourne.



Dean Home
Quiet Deep Pool 2017
115 × 185cm, oil on canvas
© The artist
Private Collection

 

Dwell - Robyn Sweaney
Friday 24 May 2019 to Sunday 21 July 2019
The Boyd Gallery

For the past 15 years my work has reflected a preoccupation with the Australian vernacular, particularly from the post-war period. By painting houses and buildings I have been able to combine an expression of place with philosophical and poetic ideas. My paintings depict elements of a cultural landscape; one that combines properties created by nature and those intentionally altered or created by people.

Residencies, travelling to new places and revisiting past landscapes have also become extremely important elements of my work. While travelling through the familiar and unfamiliar Australian rural and suburban landscape, certain elements of place resonate an unexplainable reaction within me – something ignites deep within memory. The landscape is somehow opened up by the search itself and
my response can reach beyond its visual appearance.

Collecting foliage and vases from where I have been, with the intention to paint them, has at times in my life become a compulsion and obsession. In physical terms, the urge to fill spaces with vessels and local flowers or foliage creates a feeling of life, of home, no matter where I am. In these paintings I aim to not merely represent the picturesque but use the still life as synecdochal representations of place.

Robyn Sweaney is represented by Arthouse Gallery, Sydney and Anthea Polson Art, Queensland.



Robyn Sweaney
Lie of the land 2018
70 × 100cm, acrylic on polycotton
© The artist

 

Digby Moran: Painting Place
Friday 24 May 2019 to Sunday 21 July 2019
Macnaughton Focus Gallery and Kelly Wall

Albert (Digby) Moran is one of the Northern Rivers’ most recognised artists. Born in 1948 in Ballina and raised on Cabbage Tree Island, his father was Dungutti and his mother Bundjalung. From a young age, Moran worked on making boomerangs and walking sticks and one of his earliest influences was his grandfather, Robert Moran, who was a carver and wood-burner. Prior to taking up painting in 1990 Moran worked as a seasonal harvester and spent some years as a boxer touring with a travelling boxing troupe.

Moran studied art at Ballina TAFE in 1991 and began exhibiting in 1995 when his work was selected for inclusion in the Telstra National Aboriginal and Torres Strait Islander Art Awards at the Museum and Art Gallery of the Northern Territory in Darwin. His paintings have told both the history of the local Bundjalung Aboriginal community, including life on the Mission he grew up on, and stories told to him by his mother and other local elders.

In this exhibition, Moran will present a suite of new paintings.



Digby Moran
Richmond River Mud Crab 2018
acrylic on canvas
© The artist

 

Art Deco from the National Collection: The World Turns Modern - A National Gallery of Australia Exhibition
Friday 31 May 2019 to Sunday 25 August 2019
The Temporary Exhibitions Gallery

From around the 1920s, Australian artists responded to the international movement towards modernism and Art Deco. Shaking off the austerity of World War I they created images of an abundant nation filled with strong, youthful figures, capturing the vitalism of a nation reborn. Technological advancements and urbanisation influenced the emergence of Art Deco: a new aesthetic in art, architecture, design and fashion.

Comprised entirely of works selected from the NGA collection, this exhibition provides superb examples of the diverse expressions of Art Deco.

With its bold, simplified shapes and emphasis on geometry and line, Art Deco provided the right aesthetic for the times. Buildings lost their decorative embellishments, fashion became less structured and corseted, and women were enjoying greater freedoms, such as the right to vote and to travel unchaperoned. The image of the stylish independent woman became popular in portraiture and graphic design for posters and advertisements. The art also encapsulated the excitement for many people around the potential to travel across continents and internationally.

The exhibition will be complemented by an engaging schedule of activities and events. For details visit the Gallery website in 2019.





Napier Waller
Christian Waller with Baldur, Undine and Siren at Fairy Hills 1932
oil and tempera on canvas mounted on composition board
National Gallery of Australia, Canberra
Purchased 1984

 
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