16.04 - 15.05.10
painthing (as one):
akira akira · micky allan · clarice beckett · eugene carchesio · maria cruz · joseph de lutiis · ludwik dutkiewicz · wladyslaw dutkiewicz · diena georgetti · matthys gerber · romi graham · anton hart · sam howie · aldo iacobelli · lindy lee · nick mourtzakis · elizabeth newman · brigid noone · ian north · rosslynd piggott · gregory pryor · yhonnie scarce · sam schoenbaum · vivienne shark le witt · helen smith · john spiteri · adriane strampp · peter tyndall · paul uhlmann · anne scott wilson · judith wright
Artists have been invited to respond to seven considerations regarding the compelling nature of painting. The title refers to the whole of this exhibition as constituting a discreet body of ‘painting’, one that might inclusively construct, amongst other things, a local constellation. This constellation might then be referred to as ‘painting’, and be located within a local universe called ‘art’; in time this constellation might become known, but probably only to its very particular inhabitants, as the ‘painthing constellation’.
Painting. Painting, pain thing: painthing. Maybe this has happened to you too; you’re driving along a suburban street or you’re reading the label on the back of a tin of crushed tomatoes somewhere in a dim corner of a supermarket and suddenly a word, actually any word but this time it’s this word, gets caught on the sieve-like structure that divides your perception of ordinary action from an extraordinary something. Immediately the word as-it-is jumps out at you and you see it in its entire absurdity, its un-meaning, its limp body superimposed on the frenetic buzziness of the universal attraction and repulsion going on all around you. Then you begin to examine it, prod it for signs of its former life. Nothing. Something very surprising suddenly happens; its body becomes slowly absorbed into the phrenesis of action and reaction, memory and meaning, membrane and pulsing core. It continues to offer itself to this whole until the shape you once knew emerges elsewhere as another; different, but somehow the same. And then you try and understand (what else can you do, you’re stuck in a long check-out queue) how this word-—this painful thing actually—can simultaneously be both itself and other. You look around; people are still in the queue, shelves still stacked, fluoros still buzzing, cars still silently gliding by outside, tired smiles still being offered. And then you realize that almost everything (you think almost because somehow you feel it cannot be quite this absolute) is both itself and some other thing; inalienably itself, yet distantly other. Is a constellation like that? Are the celestial bodies and dust particles that form it simply an infinite collection of collections of otherness, each component offering a kaleidoscopic fragment of the whole, yet each simultaneously desiring both breathless proximity and vast expansive space in which to, utterly and defiantly, be that one thing it feels itself to be? And, what of breathless proximity? Ah, that, the as one-ness thing. I can’t speak of that. It’s not in my nature, I resolutely surmise, as I get to the check-out just in time.
domenico de clario, AEAF director
… (b.1981 Kobe, Japan) constructs sculptural installations by incorporating a wide range of materials and processes. In recent years his work has been exhibited at Gertrude Contemporary Art Spaces, Linden Centre for Contemporary Art, Melbourne, and Contemporary Art Centre of South Australia among others. Phases of his ongoing project All that is solid melts into air have been shown at Canberra Contemporary Art Space in 2008 and Utopian Slumps in 2009.
Micky Allan's practice includes painting, drawing, engraved glass, photography and installation. Her works are held by Australian National Gallery, most state galleries and many regional, corporate and private collections.
For me the process of painting is one in which order and disorder are continually touching and changing each other. Words I think of are: beauty, dialogue, challenge, rest: dialogue with incessantly changing possibilities, challenge in stepping into a void then having to choose, beauty in riding a wave when it does come, the feeling of rest when something ‘just right’ has miraculously appeared. Relentlessly ploughing through uncertainty and fear to catch the feeling of flow. Swimming in the ‘inner weather’ of deep sea and far space. Dragging something previously unknown out of this sea as a fragment of understanding of the world I hope to share.
This exhibition is the first time the painting has been moved from the place on the wall of Hazel’s flat where it has hung since November 1971 when she bought the work. Hazel’s eclectic collection of paintings illuminated her life and in contemplating them she found richness and meaning. Perhaps the ethereal and somewhat melancholy Clarice Beckett painting reflects Hazel’s belief in the ‘spirit of nature’, a conviction that in her late nineties she proclaimed even more fiercely in face of the pervasive environmental devastation of these times.
I am my mother’s daughter and the current custodian of the painting.
Christine McKenzie 4 March 2010
painting takes time
time takes painting
Eugene Carchesio is represented by Milani Gallery, Brisbane
Born in Manila, Philippines, Maria Cruz lives in Berlin. She studied Fine Arts in the Philippines, Australia and Germany. From the mid 80’s she has exhibited nationally and internationally. Her most recent solo exhibitions were a survey of work in 2008 titled Oo at Ateneo Art Gallery, Manila then in 2009 Oo at University of Technology, Sydney. She has been a recipient of various residencies and awards including Portia Geach Memorial Prize for Portraiture (1999) and Australia Council grants including New York PS1 International Studio Program (2000-2001). Her works are represented in both local and international private and institutional collections. Maria Cruz is represented by Kaliman Gallery in Sydney and Galeria Duemila in the Philippines.
… was born in Italy in 1953 and migrated to Australia in 1957. De Lutiis has had ten solo exhibitions and participated in more than 35 group exhibitions in major Australian cities and regional centres since 1975. De Lutiis is represented in many public and private collections in Australia including those of: the National Gallery of Victoria, Burnie Art Gallery Tasmania, Darwin Museum and Art Gallery, University of Western Australia, Artbank and the University of Melbourne.
These images are part of a series of works that, among other concerns, came out of my study of Buddhist philosophy and Sacred Geometry within the Western Alchemical tradition. My working process is basically intuitive. What interests me is the transformation of subjective experience into pictorial form – one that utilizes both representational and abstract modes that allow for more ambiguous expression.
… migrated to Australia in 1949, and settled in Adelaide. He held his first Australian exhibition with his older brother, Wladyslaw, in 1951. In 1953 he was awarded the Cornell Prize at the Contemporary Art Society of South Australia, and won it again in 1954. Ludwik quickly became a key figure in the modern movement in South Australia. He lectured for several years at the School of Art and was Vice-President or committee member of CASSA c.1954-62. Ludwik joined the staff of the Adelaide Botanic Gardens in 1953 and became the state’s first official botanic illustrator, a position he held for 30 years. Ludwik painted in oils and later acrylics, and experimented with photography and film. Transfiguration (1965) received an AFI award and was acquired by the Museum of Modern Art (MOMA) in New York. The work here typifies his mature painting in oils.
… was born in Stara Sol, Poland, and migrated to Australia in 1949. He was set down in Perth, and spent the first months of his stay in Northam, mixing with local Aborigines, before joining his younger brother, Ludwik, in Adelaide. Wladyslaw had first-hand experience of modernism in pre-war Poland and Paris, as a scholarship student in 1937, and in 1945 he visited Gabrielle Münter at Murnau to see her collection of Kandinsky’s early experiments in improvised abstraction. While there, he painted some impressions of Kandinsky’s work with Münter’s watercolours. In his earliest work in Adelaide he drew on what he had seen in Murnau and his contact with Aboriginal art in WA. He produced several major abstracts, some up to three metres wide and two metres high, including For Stravinsky (1954), an energetic, colorful response to music. Adelaide had seen nothing like it before.
World War II Polish migrant brothers Wladyslaw & Ludwik Dutkiewicz held their first Australian exhibition together in Feb 1951. Pioneers in the use of abstraction in Australian painting, the brothers were essential contributors to modernism in Adelaide and Australia. – Adam Dutkiewicz curator of Brothers in Arts, Nexus, Adelaide 2009.
b.1956 Delft, Holland. Solo exhibitions since 2002 include: Sarah Cottier Gallery, Sydney; Block Projects, Melbourne; Hugo Michel Gallery, Adelaide; Artspace, Sydney; MOP, Sydney; Annandale Galleries, Sydney; SoFA Gallery, Christchurch; Gow Langsford, Sydney. Group shows include Turrbal-Jagera, the University of Queensland Art Projects; Beijing International Biennale, China National Museum of Fine Arts, Beijing; Orifice, Australian Centre for Contemporary Art, Melbourne; It's a Beautiful Day: New Painting in Australia 2, Ian Potter Centre, NGV, Melbourne; and the Art Gallery of New South Wales, Sydney.
Last year a DVD compilation of Madonna music videos came out. Before that, my housemate and I used to watch The Immaculate Collection on VHS while drinking before going out. We’d spend the whole time talking only about Madonna, or about the videos. Almost every time a new video starts I say, ‘I wish I had that outfit!’ Sometimes we have invited people over to watch with us, but we always ended up irritated, because our guests inevitably wanted to have conversations about other things.
Once my friend, Josie, posted a picture of a young, punky Madonna on my facebook page and said, ‘This is how I see you.’ It was one of the best compliments I’ve ever received. I hate seeing her with manicured eyebrows in the nineties. For some reason I like seeing blonde pop stars beaten up. And being a blonde pop star beaten up.
Diena Georgetti was the subject of a major survey exhibition Diena Georgetti – The Humanity of Abstract Painting, 1988-2008 at Monash University Museum of Art, Melbourne and Institute of Modern Art, Brisbane in 2008. Her work is exhibited in the 2010 Adelaide Biennial, Before and After Science, Art Gallery South Australia; included in the TarraWarra Biennial 2008, Victoria, Australia; the touring exhibition The World in Painting, Heide Museum of Modern Art, Victoria (2008); 21st Century Modern 2006 Adelaide Biennial, Art Gallery South Australia; Australian Perspecta 1995, Art Gallery of New South Wales; and The Boundary Rider, 9th Biennale of Sydney, Art Gallery of New South Wales. Georgetti’s work is in the collections of the National Gallery of Australia, Canberra, the Monash University Collection, Melbourne, Heide Museum of Modern Art, Victoria, the National Gallery of Victoria, Melbourne, and the Queensland Art Gallery, Brisbane. The In Residence was an exhibition of eight paintings by Diena Georgetti held with Darren Knight Gallery at silvershot, Melbourne in July 2008.
Hart’s work is held in key public collections such as the Art Gallery of South Australia, Art Bank in Sydney, the Royal Melbourne Institute and the Adelaide Festival Centre.
The meaning of the work lies less in the image, and much more in the blur of things/everything. The photo imaging is actually a simple physical and relative process, & the image is recycled from an earlier work. On one hand, I have affection for the everyday & I am appreciative of conceptualism, minimalism and post-minimalism for their clarity, but equally, I am drawn to expressionism and the shadowy, the uncontrollable and the indistinct. These are ‘spaces’ that form in between the desire for order and the real snarl of stuff.
From underage drinking whilst in high school to the nowadays of esky’s and deck chairs; we collected bottle caps in our pockets of nights out as souvenirs then filled them in a jar when we got home. Back then I used to stay at Marky’s house a lot; he had this backroom with a pool table and fridge that we could all pile into with drinks in arms. He had this Piccadilly water container that we all started putting our caps in as we watched it grow between flicking them around the room. We all went though some amazing times together and we had an open arms type of respect for one another. Marky passed away last year through his own choice; I guess I just wished he’d talked to me about it first.
“It sure is a funny old place, this one…”
“You’re not wrong there…”
Selected solo exhibitions: 2009, De vez en cuando uno habla con la luna, Galeria Tomas March; 2008, Overnight the country had become nameless, Museum Sala Robayera, Spain; 2007, From time to time one talks to the moon, Australian Experimental Art Foundation; Aldo Iacobelli, Galeria Manuel Ojeda, Las Palmas De Gran Canaria, Spain; 2006, Aldo Iacobelli, BMG ART, South Australia. Selected group exhibitions include: in 2008, The Swiss house, RMIT Project Space, Melbourne; UNEASY: Recent South Australian Art, Samstag Museum of Art, South Australia; in 2006, Parallel lives: Australian Painting Today, TarraWarra Museum; nEUclear reaction, Centro de Arte Caja de Burgos, CBA, Spain; Surface, given the face, South Australian School of Art Gallery. His work is represented in many collections including those of: the National Gallery Australia, Art Gallery of South Australia, South Australian Museum, City of Hamilton Gallery, Museo de Bellas Artes de Avala, Spain, Museo de Bellas Artes de Santander, Spain, Artbank Australia, Phillip Morris Collection Australia. Aldo Iacobelli lives in Adelaide, Australia, and Valencia, Spain. He is represented by Galeria Tomas March, Valencia Spain.
Almost all of my life I’ve been preoccupied with the nature of self in the world. For me it has to do with being a divided self – Chinese and Australian, mostly feeling neither ‘this’ nor ’that’ but both. I’ve used various kinds of family and cultural imagery to explore this. My Zen Buddhist practice provides a frame of reference and spiritual discipline for this exploration.
Lately I’ve become interested in images of the Chinese dragon and of fire, which is the embodiment of cosmic and elemental forces at play – forces beyond the realm of human intervention and yet completely material to human existence. The fire of the dragon is the ‘Treasure of Infinite Potentiality’ – it is also the fire of being. In these latest works I am using fire to invoke something direct and elemental about our existence. We are accustomed to thinking of ourselves as outside the laws of nature because to a certain degree we can control her laws to our advantage but in reality we can never step outside. The laws are fabric to what we are.
Lindy Lee is represented by Roslyn Oxley Gallery, Sydney.
… is a practising artist and lecturer. His initial studies in art – while traditionally based in painting, drawing and sculpture – also included intensive explorations in the emerging international avant-garde practices of site specific, environmental and ephemeral sculpture, and performance, installation and conceptual works. He completed a Diploma of Fine Art in 1972 at the Preston Institute of Technology and a Master of Fine Art at the Victorian College of the Arts in 2005. His research project ‘Cubism: a Study and Interpretation’ culminated in 2004 in an exhibition titled The Analytical Portrait. Nick Mourtzakis’ work references the extended scope of representational art, from prehistoric art to the art of the present, and seeks to engage the phenomenon of representation at the level of its abstract formulation and synthesis. In 2000 and 2006 Nick Mourtzakis was awarded the William Dobell Prize for Drawing at the Art Gallery of New South Wales. Nick Mourtzakis currently lectures in Drawing at Monash University and is represented by the John Buckley Gallery, Melbourne.
… is an artist and psychoanalyst. She has been making art since the 1980s, and lives and works in Melbourne. Elizabeth Newman is represented by Neon Parc, Melbourne.
… graduated from the South Australian School of Art with honors in 1998, majoring in painting. After being awarded the Ruth Tuck Scholarship she moved to Rotterdam in the Netherlands for a residency at Stichting Kunst & Complex. Living between Rotterdam and Adelaide her painting practice has developed through exhibiting locally and internationally. Brigid is one of the co-founding members of FELTspace, an artist run initiative, and is also working with the Format collective and Renew Adelaide. Brigid is in the completion stages of a masters by research looking at vulnerability and generosity in contemporary figurative painting. Her latest work, let me draw love stories, experiments with sound and performance.
… is a widely exhibited artist working with photography and painting, particularly exploring considerations of place, identity and ‘the imperial eye’. He is also a much published writer. Studio series include Canberra Suite 1980-81, three Pseudo Panorama series 1985-88, Adelaide Suite 2008-2009 and Sail Away 2001. He has undertaken commissions for large photo-based works for the Queen Elizabeth Hospital, Adelaide, the Art Gallery of South Australia and the Philosophy Department, University of Melbourne. Ian North is represented by Greenaway Art Gallery, Adelaide.
The two works in painthing are from the ongoing Sail Away series begun in the wake of the September 11 terror attacks. The pictures broadly concern an unstable triangle of relationships between the seductions of empire, human folly and nature. Stylistically the paintings reference picturesque and romantic conventions, yet set out to manifest formal and pictorial shifts, which both resist these tropes and deny their interpretation as pastiche.
Recent Solo Exhibitions include: in 2009 Extract: in 3 parts, Ballarat Fine Art Gallery, Victoria; New Paintings, Milani Gallery, Brisbane; New Drawings, Gallery 360º, Tokyo, Japan. In 2008 Extract: in 3 parts, The Helen Macpherson Smith Commission, Australian Centre for Contemporary Art, Melbourne; Circling ether–new paintings, Sutton Gallery, Melbourne. In 2006 Storm 2, Tracing Sky and Island, A.R.T (Artist Residency Tokyo) Tokyo / Ebisu Space, Japan. Upcoming and recent group shows include: 2010 The Beauty of Distance: Songs of Survival in a Precarious Age, 17th Biennale of Sydney; 2009 Soft Sculpture, NGA Canberra; in 2008 In Praise of Blandness, Monash Faculty Gallery; and in 2007 Cross Current: Focus on Contemporary Australian Art, MCA, Sydney. Rosslynd Piggot is represented by Sutton Gallery
… has been a visual artist for 30 years. From a background in painting, Pryor’s practice has evolved into many different areas, including drawing, video, performance and object-based work. Travel has played an important role in his work and after many years travelling through Europe and Asia in 2003 he moved from Melbourne to Perth and began to explore the visual language of the country he was born in. His most recent projects are Overland to Underwood, an exhibition of paintings shown at Lister Gallery in Perth – based on field trips to the salt lake country south east of Kalgoorlie in Western Australia – and Miracle of the Legs, a sculptural on-site work commissioned by Stour Valley Arts in Kings Wood, Kent in the UK. Gregory Pryor is represented by Lister Gallery, Perth.
Solo exhibitions include in 2010 Ectopia, Dianne Tanzer Gallery + projects, Melbourne and, Forget Me ‘Not’, Tandanya National Aboriginal Cultural Institute, Adelaide in 2006. Group exhibitions and projects include: in 2009 gone in no time, (gone in no time), the Australian Experimental Art Foundation, Adelaide; Making Tracks, Tandanya, Adelaide; Glashart, Fort Vuren, Gorinchem, The Netherlands; in 2008 Entanglement, Manningham Gallery, Melbourne; Uneasy: Recent South Australian Art, Samstag Museum of Art, Adelaide; The Haunted and the Bad, Linden Centre for Contemporary Art, Melbourne; in 2007 Xstrata Coal Emerging Indigenous Art Award, Gallery of Modern Art, Brisbane; Our Metro Mob, Tandanya National Aboriginal Cultural Institute, Adelaide; Thereforever, Port Adelaide Festival. In 2008 Yhonnie Scarce was the South Australian recipient of the Qantas Foundation Encouragement for Australian Contemporary Art Award, and in 2006 was a finalist in the 23rd Telstra National Aboriginal and Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin. Yhonnie Scarce is represented by Dianne Tanzer Gallery, Melbourne.
Born in Europe in 1947. Arrived in Australia 1951. Art-educated in Melbourne. First Solo Exhibition: Pinacotheca Gallery, Melbourne 1975; Central Street Gallery, Sydney, 1975; Experimental Art Foundation, Adelaide 1976. Continued exhibiting regularly: Australia, Europe, U.S.A. Sam Schoenbaum is represented by Charles Nodrum gallery, Melbourne.
in sept/oct 2009 i was an artist-in-residence guest in the Emily Harvey Foundation studio in Venice, Italy. i brought with me paper i'd bought when in Warsaw earlier in the same year. the paper was folded and stuffed into a suitcase. in Venice it was opened up and the folds had formed divisions which gave structure to the form. i also brought canvas from Melbourne and brushes from Berlin – local acrylic paint was bought in Venice. the lagoon was less inhabited towards dusk and in this hour i would vaporetto towards the supermarket at one end, and the lido – for a stroll – at the other end. time spent looking at reflections sculpted the subconscious. In Melbourne, back at the ranch where i sleep and paint, i noticed that the water and reflections appeared as subject matter. my subject matter appears always after painting. horizontals interrupted by verticals looked at from a certain distance depending on the optics of one's vision, suggested boats on water or a passage through waterways. so the question arises – why is it that we never see what we're looking at while we're in the presence of it? how is it that an image is formed by managing to displace itself?
Born Sale, Victoria 1956; lives Daylesford, Victoria. Selected solo exhibitions: 2008 Comedies & Proverbs, Ian Potter Museum of Art, University of Melbourne; 2007 Misc, Roslyn Oxley9 Gallery, Sydney; 2003 Disorientalism, Anna Schwartz Gallery, Melbourne. Selected Group Exhibitions: 2004 Penetralia: Art & Psychoanalysis RMIT Gallery Melbourne; 2003 Unpacked II, Museum of Contemporary Art, Sydney; 2002 It’s a Beautiful Day, Art Gallery of NSW, Sydney; 1978 Artists’ Books/Bookworks, Experimental Art Foundation, Adelaide.
2002-10 Australian Centre for Concrete Art (AC4CA). Solo exhibitions include: 2009 Artspace Hebel 121 Gallery, Basel, Switzerland, with Jeremy Kirwan Ward; Wallworks, Art Gallery of Western Australia, with Jeremy Kirwan Ward; Goddard de Fiddes Gallery, West Perth; in 2007 Soft Edge, Hard Edge, Goddard de Fiddes Gallery, West Perth; Making Space MOP Gallery Redfern, Sydney, with Jeremy Kirwan-Ward. Selected group exhibitions: 2008 Non Objektiv Gesellschaft fur Kunst und Gestaltung, Bonn Germany; Group Show, Goddard de Fiddes Gallery, West Perth; in 2007 Pink, Perth Institute of Contemporary Arts; and 2006 Take Off, Hegel 121 Gallery, Basel, Switzerland.
b. 1967. Sydney. Selected individual exhibitions: 2009 Paint a Rumour, Sarah Cottier Gallery, Sydney; 2007 Taster of Tastes, Sarah Cottier Gallery, Sydney; 2006 New Paintings, Michael Lett, Auckland; 2004 New Paintings, Kaliman Gallery, Sydney. Selected group exhibitions: 2008 Rimbaud/Rambo, Neon Parc Gallery, Melbourne; Artist Swap (with Maria Amidu), Parramatta Artists Studios, Sydney; Art4, Channel 4, London. New Moon, Sarah Cottier Gallery, Sydney; 2007 Persona Non Grata – One in the Other, London; ‘Select: A Night with Mark Titchner’, Tate Britain, London (screening). Awards/Prizes include New Work Grant, Australia Council for the Arts in 2008 and Anne & Gordon Samstag International Visual Arts Scholarship in 2001
Born in Wisconsin, USA 1960; education UK and a permanent resident of Australia since 1983. MFA (By Research), Monash University. Solo exhibitions include: in 2010 King St Gallery, Sydney; Greenhill Galleries, Perth; and in 2009 Eva Breuer Art Dealer, Sydney. Group exhibitions include: in 2010 the Sulman Prize, Art Gallery NSW; ACGA @ Fed Square Melbourne; in 2009 Some Recent Painting: The Director’s Cut, John Buckley Gallery, Melbourne; Salon de Refuse, National Trust S.H. Ervin Gallery, Sydney.
My current work returns to earlier interests and imagery, pared down to core elements both in subject and colour. It examines the subtleties and nuances of memory and experience, and the presence of absence. The work explores the space between these points, through poetic imagery and surface materiality. It is as much about what is left out as what is said. Current influences range from philosophy, Gaston Bachelard’s The Poetics of Space, and the poetry and photography of Patti Smith. For me, the horse along with other animals and the landscape, have become ‘carrier’ images in order to convey meaning. This new work explores the intangible and evocative, illusions and allusions, and that which communicates before it is understood. It is about journeys, histories and making connections, both on a personal, and on a broader level.
Only in the last few weeks did I settle on the pain-tHing piece, reworking, as I’m sure you recognise, the cover of a recent survey of ‘paint-ing’. Then, in the last few days, changed the background from the raw canvas (Art) field to the ‘fierceness’, as a friend has just described it, of the samsaric red on black. (That will give a side-chuckle and some joy to Dom methinks, a fellow Bombers barracker, who some years back suggested to me these were the colours of redemption: a fine view.) As I regard it, it’s a diagram of the binary set upon the H that transforms the inert material PAINT and it’s application PAINTING into a character of the Samsaric realm. The binary split [self-other] is the very nature, the very cause of suffering, of PAIN-THING TODAY, of Samsara Red.
The canvases are near completion and I’m very pleased with them. The PAIN-THING TODAY work goes far beyond a cleverish twist on the painting anthology book cover. It feels like an important (to me) embrace of matters of suffering. Buddha’s first teaching, The 4 Noble Truths, all about suffering, is a truth here.
I received an old English postcard today that I bought online. It had been beautifully described by the seller as ‘a man consumed by happiness’. In response to it, I’ve been searching out similar images by Francis Bacon. Both show squirming human figure and a cube or rectangle. The one bursts with happiness, the other with suffering. And the answer is... [A selection from emails sent by the artist].
Peter Tyndall is represented by Anna Schwartz Gallery.
… is an artist working in painting, drawing and print-making who has exhibited extensively both in Australia and overseas. He studied Visual Art at the Canberra School of Art and undertook postgraduate studies in West Germany and Holland. He has been the recipient of several international scholarships including the German DAAD Scholarship, a Samstag International Scholarship and a four-month study grant from the Australia Council to further investigate fresco and installation painting in Florence, Italy. His work is held in collections at the National Gallery of Australia, the National Gallery of Victoria, the Art Gallery of NSW, the Australian National Library, the QLD and NSW State Libraries, the City of Bunbury, the City of Fremantle, Edith Cowan University, Australian National University, Bank West, Westfarmers, Art Bank and the Amcor Paper Awards Collection. Uhlmann lectures in the School of Communications and Arts, Edith Cowan University, Perth and is represented by Gallery East, Perth.
A bird darts by my head as I take a distracted walk, tracing the lines of a goat trail, one foot over the other. For an indescribable moment I become that bird. The cloud overhead breaks up into small rivers of white. It spreads slowly, high up overhead, like a membrane or a ghost.
… studied painting as a mature-age student after a career in dance. Her practice is informed by theatre, cinema and live performance and is realized between disciplines—photography, video, painting, sound installation and performance. Her work has been shown at the Rotterdam International Film Festival, The Athens Film Festival, The Media Arts Asia Pacific Biennale in Singapore, Australian Centre for Photography, Centre for Photography in Melbourne, at the International Urban Screens Festival in Melbourne and is held in the Art Bank of Australia, Australian Video Art Archive, Australian Centre for the Moving Image and private collections. She is represented by Arc1 Gallery in Melbourne. Her film In Your Own Time was selected for Internet Movie Database (IMDb). She has been awarded Australia Council for the Arts residencies at Banff, Canada and Liverpool, UK, Nuoro Film Festival Workshop Residency, Italy, and Can Serrat Artists and Writer’s residency in Barcelona. She holds a PhD from Monash University Faculty of Art and Design.
2010 Love, Loss and Intimacy, NGV (International), National Gallery of Victoria; 2009 Judith Wright – Conversations, Govett Brewster Art Gallery, New Plymouth, New Zealand; 2008 Judith Wright – Conversations, Drill Hall Gallery, Australian National University, Canberra; 2007 Judith Wright: Breath and Other Considerations, Artspace, Mackay; 2006-08 Queensland Live (touring exhibition), Queensland Art Gallery. In 2010 the artist was awarded the Australia Council Fellowship. Judith Wright is represented by GRANTPIRRIE gallery Sydney, Jan Manton Art Brisbane and Sophie Gannon Gallery, Melbourne.
My work engages primarily with issues of vulnerability. It is an attempt to mark the threshold of experience and yet to acknowledge the complexity of that position. The moves between video, painting and installation allow a close scrutiny of a subjective moment to be distilled and abstracted. The stripping away of details is not intended to obscure content but to avail the work to the perception of the viewer.