2019
7th - 24th November
Gallery One: Brian Cheung - Where are we now?
Opening Nov 7th from 6pm.
Where Are We Now? is a response and commentary on the relationship between man and nature in an age of fear and uncertainty, as interpreted through a personal lens.
This new body of work represents a consolidation of past experiences as a means of understanding my own motivations, anxieties, and impulses as an artist. In a time when the concept of unspoiled nature is becoming an increasingly precious commodity, Where Are We Now? asks the open-ended question of where we are going, and at what cost.
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The Canning Room: Marion Abraham - The End, And I Saw Its Beginning Too
Opening Nov 7th from 6pm.
lush / history / cranked up / orchid / fall / action / damask / chain / violence / lost / shadow / treeline / burning bush / rot / earthly / delight / detail / chorale / birth / garden / wilde / trouble / tacki / water / crazy found / damage / told.
In quiet moments, I think about history. If I keep thinking, it starts to feel alive and I forget my time. Sometimes I can almost smell the old world, when it is rank and heavy, but also when it is soft and beautiful. Push my brain harder, fall deeper, I see into the future too. Out of my place, and beyond my day.
The End, And I Saw Its Beginning Too is a series of twelve small oil painted works on canvas, embedded with a surface of copper leaf.
28th November - 15 December
Gallery One: Ralph Bristow - The Cycle on Circle
Opening Nov 28th from 6pm.
In The Cycle On Circle Ralph Bristow shares a bright, sensual and wildly transporting vision, in which dimensions are subverted, spontaneity trumps tradition and colours enter into delightfully unexpected associations. A loose dancing application of paint opens boldly layered depths, and while emergent forms suggest the urgency of energy unleashed, an aggressive expressivity is deployed toward the apprehension of finely perceived and newly minted mythologies.
The Canning Room: Jordan Wood - Twofold
Opening Nov 28th from 6pm.
Twofold considers a series of dualities; the performed and private self, fragility and permanence, the familiar and the obtuse. A wall of ceramic masks and an exhausted theatre curtain, the props for a performance perhaps past, maybe yet to be played. Janus is at the threshold, looking inwards, looking out.