PETER DAVERINGTON

CHASM Gallery in Brooklyn will feature a solo exhibition by PETER DAVERINGTON titled Lacuna. Including sculpture and painting, Lacuna references the process of the artist removing pieces of the artwork, effecting in exposed raw canvas and the foam substrate under the plaster of the sculptures. As a result, the artworks denote loss and decay with use of techniques applied in art history.

Lacuna is on display 13 March – 5 April 2015.

Peter Daverington, Jonathan (installation detail with painting in background), 2014, styrofoam, epoxy clay, wire mesh, gold leaf, plaster, resin, glass eye, enamel, pigments, 76 x 40.5 x 30.5 cm 

PETER DAVERINGTON

Peter Daverington, Learn from the Classics, 2015, oil on canvas, 198 x 152 cm

PETER DAVERINGTON is participating in The (un)Scene Art Show in NYC. Daverington makes reference to various styles and techniques throughout art history in his new painting Learn from the Classics.

Learn From the Classics belongs to a new body of work that seeks a way forward in painting by looking back through the history of western art from the Ancient Greeks to Modernism. Through a process of assimilation and juxtaposition of different styles, periods and techniques I aim to create a hybrid of representational painting. This particular work was inspired by Roman fresco wall paintings where the Lacuna (missing parts or gaps) becomes an integral part of the composition. The underlying image, which has been sanded down and distressed, is a reference to the work of Eugene Delacroix, Bacchus and Ariadne, 1862.

The (un)Scene Art Show is on from March 4 – 8, part of Armory Arts Week.

More information

MURRAY FREDERICKS

Image: Murray Fredericks, Icesheet #2338, 2013, digital pigment print, 50 x 140 cm.   

National Geographic has featured a fantastic write up on MURRAY FREDERICKS' Greenland project (2010-13). The article, 'What Does Nothing Look Like?', provides a fascinating insight into Fredericks' practice which has taken the artist to some of the world's most remote and challenging terrain. Read the full article here.

GUAN WEI

The Sydney Morning Herald featured an article on GUAN WEI, in time for Chinese New Year.  The article celebrates Guan Wei’s trans-cultural living between China and Australia and how he depicts the cultures in his art through his distinctive stylistic qualities and elements of wit, knowledge and humour.

Read the article here

MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso, Museum of Copulatory Organs.

MARIA FERNANDA CARDOSO took part in a residency in Chocó Base, in the pacific coast of Colombia from December 2013 to January 2014. Cardoso’s experiences with water during the residency lead to the contribution of a chapter in a publication by Más Arte Más Acción, exploring ‘water’. While reflecting on the theme of water, Cardoso presented her work The Museum of Copulatory Organs. Communities of Chocó selected the theme of water for the topic of focus due to the increased contamination of rivers, affecting the indigenous communities and the region’s biodiversity.

The book launch is on 26 February at the Museo de Arte at the National University of Colombia, Bogota campus and on 11 March at the University of Antioquia, Medellín.
 

MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso

MARIA FERNANDA CARDOSO is taking part in a public commission at Green Square in Sydney – one of the largest urban redevelopments in Australia. The commission features native garden beds filled with bottle trees, built out of sandstone blocks that double as benches, arranged to spell out the words, ‘while I live I will grow’, situated at the South Sydney Hospital site.

ANNE ZAHALKA

Anne Zahalka, Summer – Another Australian Feature 1982, printed 1986, Type C print, edition of 20.

ANNE ZAHALKA’s artworks are in a group exhibition ‘A time and a place: Landscapes from the Griffith University Art Collection’. This group show brings together a collection of contemporary and historical artworks of the Griffith University Art Collection that reflect the many themes of landscape and the influence it has on Australian and Aboriginal artists. 

The exhibition is on display from 20 February – 18 April 2015 at Griffith University Art Gallery, Queensland.

ANNE SCOTT WILSON

Image: Anne Scott Wilson, video still from video in 'Transductions #18' at ACMI.

ANNE SCOTT WILSON is involved in a three-part exploration presented by Deakin University and ACMI. Transductions reflects the ways in which philosophy and futurism take part within contemporary art and curation. Transduction #18 is a pop-up exhibition located at the Tech_Bar at ACMI and brings together 18 artists, including a video work by ANNE SCOTT WILSON. This feature reflects the notions of energy within a space and the experience of combining artists, artworks or concepts simultaneously. Anne Scott Wilson describes her video work:

'Taking heavily pixelated material from youtube of the iconic Grand pas de Deux from the Nutcracker Suite, I have created a pastiche that is faithful to choreography within its musical structure.  Footage is from 13 different interpretations performed between the 1950's and 2000's.  The idea considers how the web, now an archive of material not previously accessible, constitutes a new way of seeing or reading antiquated art forms.'

Transductions is showing at ACMI Studio 1, Tech_Bar @ Beer Deluxe.

MIND SHADOWS

3 February - 7 March 2015

Pat Brassington, Mind Game, 2013, pigment print, 60 x 46 cm

Pat Brassington | Justine Khamara | Janet Laurence | Robert Owen | Julie Rrap | Anne Scott Wilson | John Young

Curated by Laura Lantieri

Bringing together seven artists from the eminent ARC ONE stable, Mind Shadows is a curated exhibition exploring themes of human consciousness. From our waking hours, to the enigma of dreams, and the deep sleep that houses our subconscious, Mind Shadows examines the ways in which these states can inform and infiltrate creative enquiry. Whether through process, subject or aesthetic, the works presented engage with consciousness through notions of memory, automatism, reality and hyperreality, and conveying the internal and the unknown.

Featuring new and key works by Pat Brassington, Justine Khamara, Janet Laurence, Robert Owen, Julie Rrap, Anne Scott Wilson and John Young, the exhibition spans photo media, sculpture, painting and video, and draws upon the somatic and the cognitive in proposing the body as the seat of consciousness as well as the mind.

For Mind Shadows, these artists inhabit liminal spaces; their works often alluding to the periphery – or shadows – of awareness and open to fluid interpretation and perceptual doubt.

JULIE RRAP

Julie Rrap, 2009, Castaway (video still), DVD 5 minutes, edition of 5.

JULIE RRAP’S video work Castaway is part of a group exhibition at the Australian Centre for Photography (ACP), Sydney. Titled Dear Sylvia, the exhibition is curated by ACP Curator Claire Monneraye.

The exhibition is an elusive response to the deepest concerns intensely depicted by Sylvia Plath. The female photomedia artists in Dear Sylvia explore some of the many ways of representing the female body, whether they show their own body, recreate those of others or document the political or social realities of bodies that suffer and fight.

Alongside Rrap, artists include Alma Haser, Dina Litovsky, Polly Penrose, Dana Popa, Michelle Sank, Flore-Aël Surun, Jessica Tremp and Marlous Van der Sloot.

The exhibition runs from 31 January - 22 March 2015.