This group exhibition features a selection of abstract and figurative works by mid-career and senior Australian and British artists. The works range from recent past decades to the present day.
Internationally-acclaimed Denise Green’s large analytical-abstraction explores the relationship between the applied blue arcs and the deft, dark smudges that try to anchor them to the raw canvas, which supplies a Modernist backdrop to the staged event.
Two canvases by Gareth Sansom showcase his ability to create unique other worlds, combining personalised mythology with exceptional paint handling. In ‘Art Meets God’, the larger of the two works, the inscrutable figure of God, wearing a beret, supervises the proceedings, against an azure sky.
In Allan Mitelman’s large canvas from 1978, chance and semi-accident play a major role in its manufacture. The painterly energy travels over thin veils of pale paint, outwards towards to the edges, where it is contained by the random marks along the borders and bounced back to begin its journey over again.
British painter Arthur Lanyon’s small work combines stream-of-consciousness mark-making with an innate understanding of composition and placement. Combinations of various personalised glyphs emerge from the richly painted surface, suggesting embedded semi-narratives which take form in the viewer’s imagination.
In Michael Staniak’s work, paint of bubble-gum pink hue has been layered, creating a satisfying visual tension between its delicate blush and the textured surface over which it has been sprayed.
Moya McKenna presents a combination of figuration and abstraction to provide an intriguing mystery as to the painted woman’s relationship to the clutter of objects placed before her on a shelf or table.
Veteran British painter Tony Bevan presents a fractured and scored head – part of his ongoing investigation into the numerous ways the human head can be reinvented in art.
Pat Brassington’s digitally manipulated photographs extend her investigations into surreal body images. The two works in the exhibition suggest a parallel realm to reality, where the erotic and the foreboding intermingle. The images are at once familiar and unsettling.
Brook Andrew’s elegant work features the mirror image of a man, fixed in an indeterminant space, forever destined to contemplate his naked self, like a frozen Narcissus.
Jon Campbell’s large, retro-style painting features a stylised image of Roy Orbison, performing in an imaginary tv studio, surrounded by rapturous fans.
Amanda Marburg’s painting is the result of her preferred method of working, which entails her modelling figures and objects in Plasticine and setting them before constructed backdrops. She then takes photographs of the tableaux, from which she makes her otherworldly paintings.