- Anthea Polson Art Blog on Belynda Henry at the Brisbane Home Show…
- Anthea Polson Art Blog on One of Erin’s lovely ladies featured in NYC’s Lonny magazine…
- Anthea Polson Art Blog on Congratulations Robyn Sweaney…
- Anthea Polson Art Blog on Congratulations Kaye Forster…
- Anthea Polson Art Blog on Congratulations Christian Morrow…
This just in from some ‘random’ in Cable Beach… Anybody know anyone holidaying there?
Our thanks to John Walsh who opened the show. John is Director of the Gold Coast City Art Gallery.
Brigid Ryan Embodying Landscape
Nikky Morgan-Smith Shaping Water
April 20 to May 11, 2013
Join us for drinks with Brigid & Nikky from 6pm on Saturday, April 20.
Click here to RSVP for the Opening Night.
Brigid Ryan Embodying Landscape
Part landscape, part figuration, Brigid Ryan’s paintings bring together a multiplicity of things seen, felt and remembered. There is a feeling for the interconnectedness of all things and a sense of humanity as we enter her experiential response to place. Brigid describes her works as a kind of anthropomorphism of landscape. “There are many parallels between interactions in the natural world and relationships in human existence,” she offers. “By exploring the shapes, colours, patterns and textures of the land in conjunction with my domestic surrounds, I seek to give form to personal states of mind.”
A recent visit to an Aboriginal community in Central Australia was the initial catalyst for much of Brigid’s new works. “I was overwhelmingly inspired by the landscape and the Aboriginal women’s sense of spirituality that was linked to the land,” she says. Correspondingly, Brigid’s subjects also contain an immersive, animistic quality. Life is never static. Her paintings invite the viewer into preserves that are cumulative and continually evolving.
The works render the female form in a tenuous tying to alternately wide primordial landscapes and intimate but circumscribing domestic spaces. Soft, vulnerable flesh contrasts with the weathered rock of ages and striped fragments that signify her lounge room furnishings. Sometimes there is a sense of alienation and inner searching, at others, a sense of wholeness or integration. “What I hope becomes evident to the viewer is the solitude of the figures struggling against dissolution in the silence of the painted interior or exterior landscape,” muses Brigid.
The bird is a recurring motif in Brigid’s latest body of work. “Many native birds reflect in colour and markings their local environments,” she explains. “They symbolise for me the duality of forces and the delicate balance between fragility and adaptability, vulnerability and resilience.” In the painting The Turning Babbler Inside, a fitfully dreaming figure encounters the Babbler bird, that long-tailed, sociable creature whose untidy dome-like nest is assembled from a collection of thick twigs. The bird and the dreamer are separated by an arc of rhythmic blue lines suggestive of a body of water and representing a transitional state of cleansing.
Nikky Morgan-Smith Shaping Water
The art of Nikky Morgan-Smith might well be thought of as embodying Klee’s notion of unleashing the wanderings of the subconscious through gestural freedom. In her works drawing and painting unite to express a host of often fantastic, metamorphic imagery set amidst vapory bathrooms.. “The bathroom is a private, revitalising space, the domestic base for monotony to turn into adventure,” says Nikky. “A place of reverie behind a closed door. “
The bathtub has been a recurring motif in art history. Jacques Louis David, Pierre Bonnard and John Olsen each variously employed it, but for Nikky, “it is a vessel to hold a fantasy.” Her antique bathtub with legs like those of some fabled, clawed animal is the receptacle in which narrative unfolds. In many world creation myths water is the primordial fluid from which all life emerges. A mysterious substance symbolising cleansing and renewal, water also has associations with the intuitive and the feminine, as well as the creative processes. “I like the idea of water as an agency for transformation and shape-shifting,” Nikky confides. “The exotic animals appearing out of the steam are representations of things washed or changed. Always, they represent facets of human character, human emotions.”
Augmenting this idea of potentiality, Nikky’s new body of work has a nighttime cadence, as evidenced in the deeper blue of her palette and titles of the paintings. Night signifies a period of restorative rest and the realm of dreaming. It is a fallow period before new growth. The painting Heavy Water has a sad-eyed elephant seated heavily in a dissolving bathtub, its rainbow hues fading. It is as if the animal is adrift on a seemingly endless vastness in a none too sturdy vessel. No horizon or other point of reference can be discerned, just interminable blue, dripping, sliding water. Its curl-tipped trunk is raised, perhaps in salutation or scenting for signs of liberation, maybe just bailing water? The work’s title conjoins ecological and introspective concerns with a wry dash of humour.
In the painting Midnight Safari, water steaming from the showerhead surrounds a zebra like a dense, sultry mist. Head turned towards viewer and stripes rising from its body like a crest of chunky feathers, the animal seems well content despite our intrusion. From layers of overpainting traces of times past surface, or submerge, through the enveloping deep-night wall. A real plughole in the corner signifies the portal of release and the draining away of dross.
One of Erin Flannery’s lovely ladies featured in NYC’sLonny magazine! Check out their fabulous April issue here.
Huge cross-continental hugs to the lovely Lonny girls! xoxo
Martin was invited to have his paintings featured as part of the event On World Autism Awareness Day, April 2, 2013, when Autism Queensland and supporters turned the Queen Street Mall in Brisbane blue to raise awareness about people living with Autism.
Selected as an Exhibiting Finalist in the Salon des Refusés. S.H.Ervin National Trust Gallery
with her work The Smell of Rain Watercolour and gouache on paper 76 x 115 cm
Selected as an Exhibiting Finalist in the Salon des Refusés. S.H.Ervin National Trust Gallery with his work Water Mains oil on canvas 150 x 170 cm.
Selected as an Exhibiting Finalist in the Salon des Refusés. S.H.Ervin National Trust Gallery with his work No maintenance, Black Plastic Backyard in Brisbane.
“Recently the house next door was sold. The new owner is young and a nice enough fellow but with an aversion to gardens… Full Story Here.
Selected as a Finalist in 2013 Wynne Prize by Art Gallery NSW.
My painting The trees is part of an evolving series of paintings that began in 2012 in which my work has seen a swing from abstracted, geometric-style landscapes towards more of a representation of the… Full Details Here.