Artistspeak program 2009
Artistspeak is a weekly series of talks by emerging and
established artists, designers and craftspeople
sponsored by the School of Art, Architecture and Design. Students and staff at the
University of South Australia and members of the public
are welcome to attend. The program includes local, national and
international speakers and is also available
via
RSS feed
or web video
March-July
Tuesdays 12-1pm
Allan Scott
Auditorium, Level 2-16, Hawke Building
City West campus
August-November
Fridays 1-2pm
HH Building, Room 4-08,
City West campus
- Program information
- Download an artist's talk
- Artistspeak 2008 and 2007
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Program information
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| Study period 2, 2009 (March-July) | Study period 5, 2009 (August-November) |
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Download an artist's talk
Select an image to view in a larger screen.
Ardi Gunawan
| Ardi Gunawan works primarily in
sculpture and installation. His practice focuses on the material
encounter with the processes of art production within collaborative
situations. Recent of these projects include: 'Time Racing', BUS
Gallery, Melbourne, 2009; 'actions, weed displacement, clearing', with
Susan Jacobs, West Brunswick Sculpture Trienniale, Melbourne, 2009;
'Reconfiguring still: proposals for the super light', Gertrude
Contemporary Art Spaces, Melbourne, 2008; 'THROW' with Bianca Hester,
Meat Market, Melbourne, 2008; and 'Substructure' with Imogen Beynon,
Catherine Connoly, Remie Cibis, Candice Cranmer, Peter Fifer, Tamsin
Green, John Gilmore, Sally Tape at Conical, Melbourne, 2007. Born 1983
in Indonesia, Ardi Gunawan is currently completing a MFA by research in
sculpture at Monash University and undertaking a studio residency at
Gertrude Contemporary Art Spaces in Melbourne. Ardi Gunawan is in
Adelaide to participate in the final phase of 'gone in no time gone in
no time' at the
Australian
Experimental Art Foundation from 27 Oct-7 Nov, during which time he
will occupy the exhibition space and engage in creative action,
transforming the exhibition space as a site for 'making' rather than
'containing'. Gertrude contemporary art spaces RealTime Arts Magazine (Aug-Sep 2007) |
Ardi Gunawan, Untitled construction, 2007, photo courtesy Tamsin Green |
Domenico de Clario
| Domenico de Clario has held more
than 150 solo exhibitions of paintings, drawings, prints, installations
and sound performances, and has been invited to exhibit in more than 140
group shows presented worldwide and in major Australian cities.
Considered one of Australia's
'most enduring artists'
he has received numerous international residencies and grants from the
Australia Council, including the Australia Council Fellowship. Domenico
de Clario is represented in all major public and private collections in
Australia, the MOMA in New York, and in many private collections
worldwide. At the forefront of contemporary arts practice
- nationally and internationally
- for over three decades Domenico de Clario
has been active in the arts as artist, academic, curator, writer and
critic. He has served on various national boards and has initiated
educational programs, and new exhibition spaces. Since 1976 Domenico has
curated many innovative exhibitions and projects in various galleries
and institutions. He has also instigated influential artist-in-residence
programs, convened and organised international
conferences along with associated performances, exhibitions and
publications. Domenico de Clario is currently the Artistic Director of
the Australian Experimental Art Foundation. New Director appointment - media release (PDF file) More about the image: Collaborative performance with grand piano, ten television monitors, ten unsynchronised dvd players, neon lights, 40 minutes. Exh.: performed on 22 August as part of the exhibition Odradek, also including Elaine Miles & Eugene Ughetti, Michael Graeve, Solver (John Nixon & Marco Fusinato), Domenico de Clario & Eugene Carchesio, Lily Hibberd, and Eiichi Tosaki & Steve Adam, 15-31 August. |
casa amarilla the first part of a serial collaborative work by Domenico de Clario and Tom Nicholson 2007 |
Jim Everett
| Jim Everett will talk about
Aboriginal art, culture and activism in Australia over the last twenty
years. Jim Everett is from the plangermairreenner nation of the Cape
Portland group of nations in northeast Tasmania. Jim has been an
advocate for Aboriginal rights for more than 40 years and has a long
history working in government and Aboriginal Affairs agencies, and has
travelled Australia visiting many remote Aboriginal communities. Jim is
a writer and his works include plays, political papers and short
stories, Jim has been published in 10 major anthologies, worked on
television documentaries, educational videos and theatre productions. As
well as participating in
Chance Encounters which was held in the SASA Gallery recently, Jim
is currently visiting Adelaide to participate in a
2-day
master class entitled 'Law and Land', a collaboration between the SASA
Gallery and the David Unaipon College of Indigenous Education and
Research (DUCIER), University of South Australia. View work from the exhibition 'meenamatta lena narla puellakanny :
Meenamatta Water Country Discussion', a writing and painting
collaboration between Jonathan Kimberley & pura-lia meenamatta (Jim
Everett) at
Bett
Gallery Hobart More about the image: Old men listen in a world where respect for water is life's nectar and disrespect will bring slow dying in an ever-death as life will die yet life killed before time renews the lifecycle once again with all-clear water. |
Jonathan Kimberley & pura-lia meenamatta (Jim Everett) old men listening: lalubegana waii 2006, synthetic polymer, charcoal & text on linen 182x182cm (four panels, stretcher sizes) |
Nicholas Selenitsch
| Nick Selenitsch is currently
participating in an on-site residency at the Australian Experimental Art
Foundation (previously Experimental Art Foundation) entitled 'gone in no
time gone in no time' curated by Domenico de Clario, until Saturday
10 October. Each afternoon between 2-5pm the
artist will be available in the gallery to discuss his project with
interested visitors. Using a number of
art-making strategies - the 3-dimensional, the interactive, the
collaborative and the spontaneous - Nick
Selenitsch's
art practice is directed by a seemingly paradoxical moment: Meaningful meaninglessness is the most evocative way to describe a situation that I am continually drawn towards. It is one of many junctures that I embrace to present an awkward familiarity of opposites. These are points where the serious meets the playful; where the frivolous meets the profound and where the irrational meets the rational. Western Abstraction - as an historical site for finding profound meaning amongst nonsense - can be seen as the central figure in this artistic game-play. It is a game that represents and critiques the goal-oriented exercises accompanying artworks, and by implication, the search to find meaning in our lives. (Artist statement, 2006) Nick Selenitsch received a Bachelor of Fine Art (Painting) from the VCA in 2001, completing an Honours year in 2003. Recent solo exhibitions include Not flying, jumping, Sutton Gallery Project Space, Melbourne 2008; Building Up A Head of Steam, Joint Hassles, Melbourne 2008; Stuck, Studio 12 Gertrude Contemporary Art Spaces 2007; and Hung out to dry, Ocular Lab, Melbourne 2006. Recent Group exhibitions and projects include Victory over the Sun, Utopian Slumps, Melbourne 2009; Saison Increase, as part of Axis Bold as Love video reel, CAPC Musee d'Art Contemporain, Bordeaux 2008; Y2K Melbourne Biennial, tcb, Melbourne 2008 and 21st Century Modern - 2006 Adelaide Biennial of Australian Art, as part of Slave, Art Gallery of South Australia, Adelaide 2006. Nick was a studio artist at Gertrude Contemporary Art Spaces from 2006-8 and recently received the Qantas Foundation Encouragement of Australian Contemporary Art Award 2009. Nick is represented in Australia by Sutton Gallery, Melbourne. He was born in Melbourne in 1979. He currently lives and works in Melbourne, Australia. Sutton Gallery artist profile and Gertrude Studio Artist Paint it back (The Age July 16, 2006) and Ocular Lab Inc press release Y2K Gallery blog and Joint Hassles blog |
Going round in circles, Blank CDRs, Posca pigment pen, wood, paint and glue, 6 x 12 x 12 cm each approx, 2007 |
Hayati Mokhtar
| Hayati Mokhtar was born in 1969
in Kuantan, Malaysia and currently lives in Kuala Lumpur. In 1998
Mokhtar received her BFA (Hons) Chelsea College of Art, and in 1999
earned her Masters at Goldsmiths' College,
University of London. She has exhibited widely in Malaysia and
internationally including: Antara Merdeka, National Art Gallery, Kuala
Lumpur 2007; Out of the Mould: The Age of Reason, Galeri Petronas, Kuala
Lumpur and Malmö Art Museum, Sweden 2007-8; Zones of Contact: Biennale
of Sydney, 2006; 15 TRACKS: Contemporary Southeast Asian Art, Singapore
Art Museum, touring to Tama Art University Museum, Tokyo,
and Fukuoka
Asian Art Museum, Fukuoka in 2003; and 36 Ideas from Asia: Contemporary
Southeast Asian Art, Singapore Art Museum, travelling to Museum Küppersmühle Sammlung Grothe, Duisburg, Germany, Helikon Kastélymúzeum
KHT, Hungary, Rupertinum Museum der Moderne, Salzburg, Austria and
National Museum of Abruzzo, L'Aquila, Italy.
Hayati Mokhtar's work can be seen in the exhibition 'homeland (heimat)' opening at the CACSA on Friday 18 September, 6-8pm. Hayati Mokhtar's two channel video projection Penawar [presented at the CACSA] records the clearing-out and closing-up of a landmark house in Penang, Malaysia called 'Penawar'. Built in 1930 for a wealthy businessman, the house served as a family home for successive generations, until the death of the original owner's second wife. Judged unsympathetically, its relevance and nostalgic pull may be limited to those who knew the place or come from similarly elite backgrounds, but in a wider historical context the importance of its public legacy is clear. Cinemas, shop houses, government quarters - grounding points of social history - are quickly being erased by homogeneous redevelopment projects that are aimed at increasing prosperity, but inadvertently threaten Malaysia's sense of cultural place and heritage. |
Penawar 13 |
Julia Robinson
| For some years my work has played
on a tension between that which is considered beautiful and that which
is considered repulsive. Much of my work employs the so-called feminine
arts such as sewing, embroidery and porcelain painting to convey brutal
and repellent content. Earlier work took its cues from the more grisly
side of classic, well known fairy tales in which little girls are
swallowed whole, heels and toes are sliced off to accommodate dainty
slippers and werewolves kill and cook people. More recently my interest
has focused on Hell and its infamous leader: he who is sometimes called
Lucifer. In the epic poem Inferno by Dante Alighieri, repulsive
but poetic torments are articulated in the language of the genteel arts.
Using a simple inversion of the architecture of Dante's
Hell, 'Infernal Cake'
resembles a many tiered wedding cake and becomes a solid sculptural
analogue of the grandness of his vision. In general I plunder a wide
range of sources for inspiration. This has included passages from the
Bible, films such as Benjamin Christensen's
Häxan: Witchcraft through the ages, myths and stories, literature such
as Milton's Paradise Lost, songs and
poems satanic in nature, sayings and quotations (such as
'Speak of the devil')
case studies of exorcisms and medieval etchings and engravings.
Collating, colliding and distilling this kind of information forms the
basis of my practice. In doing so, I become a sculptural storyteller
weaving my own narratives. (Julia Robinson
2009) See more of Robinson's work at the Uber Gallery |
Untitled 2008, flywire, fibreglass, felt, fabric, flocking, fixings, resin, scalpel, dimensions variable |
Paul Hoban
| 'It is a
practice led journey. It generates diverse research - but what kind of practice can it be? This is my desire - to be the witness...for the work to make itself. Strategies are devised to thwart a self conscious outcome. There is no totally anticipated result - presumption is the enemy. They do what they like... They tell me what to do, where to look, and how to proceed. It's a symbiotic relationship - the work wants to be fed and I need to be surprised.' (Paul Hoban 2009) Paul Hoban's exhibition Paintskin Survey is currently on show at the Contemporary Art Centre of South Australia (CACSA) until 6 September. This exhibition, a partner presentation of the 2009 South Australian Living Artists Festival, is the first survey exhibition of Paul Hoban's art practice, exploring in particular the development of his unique paintskin method from 1992 to 2007. By painting directly onto large sheets of opaque plastic and then peeling off the multiple layers as a single large dried skin of paint, Hoban has sought to negate the modernist rhetoric of purity and historical conclusion. Hoban's practice has routinely incorporated broad references to the origins of art and language and the neurological aspects of visual perception-prehistoric cave painting across Europe, South America and Australia; African tribal chants and divination rituals; folk art; graffiti; entoptic phenomena; entheogens and their 'spiritual' effect on the mind and body; as well as literature from all parts of the globe. |
Nuts 2009 |
53rd Venice Biennale through the eyes of Brigid Noone
|
Couldn't make it to Venice this year? Well here is your chance to hear a
first hand account of the wonders and works that form the
53rd Venice
Biennale! The Venice Biennale is the oldest, and remains the most
important, visual arts biennial event. Every two years Venice becomes
the world stage and the Biennale the leading showcase for contemporary
art. There are some 90 artists in the main exhibition Making Worlds.
Participating countries amount to the record number of 77, with
exhibitions in their own pavilions, and a further 44 collateral events
from international institutes and organisations are exhibited in various
places across the city of Venice.
Australia's
official representation for the Venice Biennale 2009 includes artist
Shaun Gladwell who presents his work MADDESTMAXIMVS at the Australian
Pavilion in the Giardini. Sydney-based Felicity Fenner is the curator of
a group exhibition of early career artists. The exhibition Once
Removed presents artists Vernon Ah Kee, Ken Yonetani, and Claire
Healy and Sean Cordeiro through a series of installations unified by
themes of displacement, Indigenous and environmental issues. Brigid Noone, artist, curator and founding member of Felt Space, spent several weeks at the 53rd Venice Biennale as part of a professional development initiative established by the Australia Council for the Arts. She discusses her experience of the Biennale with a focus on highlights from the exhibitions. |
Ukrainian Pavilion, Steppes of dreamers(Exhibition view), curated by Wladimir Klitschko. Artists: Illya Chichkan (Ukrain), Mihara Yasuhiro and Ogata Kinichi (Japan). Photo by Florian Denzin |
David Archer
| David Archer
was born in Victoria, Australia. At an early age he moved with his
family to Adelaide, South Australia. His mechanical interests probably
stem from his father, who worked as a mechanical engineer and also
happened to be a part-time inventor! Archer spent some of his youth on a
farm in the Adelaide Hills and was often rewarded by trips to the local
refuse tip where he would collect all forms of discarded gadgetry and
machinery, which he would then take home, disassemble and analyse.
Archer moved from his metal trade as a
boilermaker/welder
to pursue his art interests as a ceramicist, completing his
Ceramic Design degree with
UniSA
in 1987. These studies gave him insight into conceptual design and
experience in the manufacture of domestic ware and ceramic sculpture.
David Archer currently works in the School of Art, Architecture
and Design
as a technical officer (Ceramic and Glass). In 2003, he was awarded a
residency at the Gunnery Studios in Sydney. His work continues to
approach social issues though humour, but always with the human element
to the fore.
David's
exhibition 'dark light' is showing at
Adelaide
Central Gallery until 29 August. David Archer's website |
The Belly Dance 2006, hand cranked mechanism with sound, made from wood, clay, metal, plaster and fabric, 700 x 300 x 300mm |
David Reekie
| Internationally renowned UK glass
artist David Reekie is recognised for his satirical, humorous and poetic
works in cast glass and is a leading figure in the contemporary glass
movement. 'My work is influenced by our reaction and adaptation to the
society that surrounds us. We live in a world that grows more complex
and difficult to comprehend. It has tensions and temptations that pull
us in different directions. This creates characters and situations that
provide a constant source of material from which I take my ideas.'
Reekie is in to Adelaide to run
master-classes at the South Australian School of Art glass workshop,
with assistance from the Helpmann Academy for the Visual & Performing
Arts. The hands-on workshop demonstrated Reekie's
own specialised techniques and approaches to making cast glass works and
mold-making. Participants had the ability to explore and make their own
work during the workshop using Bullseye casting glass which has been
provided through the generous sponsorship of Bullseye glass. Of
particular focus was
Reekie's
approach to casting with colour through the application of ceramic
oxides. David Reekie's website GlassAustralia showcasing David's work (PDF file, 3.3mb) |
Sitting on the fence 1, January 2003, 78 x 64 x 34cm |
Nici Cumpston
| Nici Cumpston's photographic
practice is primarily concerned with issues surrounding her identity and
her relationship to the environment. She is of Aboriginal, Afghan,
English and Irish descent and draws strength from her ancestry when
creating her artworks. Currently a trainee curator of Indigenous
Australian Art at the Art Gallery of SA, she previously worked as a
lecturer at the SA School of Art. She has been invited to participate in
many prestigious awards and exhibitions including the 17th, 18th, 20th,
21st , 24th and 25th National Aboriginal and Torres Strait Islander Art
Awards held annually in Darwin. In 2005 she was commissioned by the
Commonwealth Law Court in Adelaide to create a signature artwork for
their new building. In 2006 she was a finalist in the Inaugural Xstrata
Coal Emerging Indigenous Art Award held at the Queensland Art Gallery.
In 2007 she won the People's Choice Award for the River Murray Art
Prize. Her work is held in many public and private galleries both
nationally and internationally. Nici Cumpston Attesting (FLASH) Gallerysmith Nici's talk (mp4 file) |
Ringbarked 2008, archival print on canvas, hand-coloured with pencil and watercolour 75 x 205 cm, courtesy the artist and Gallerysmith, Melbourne |
Luna Ryan
|
In the work of Luna Ryan, personal and general stories are transformed
into composite glass tableaux. The tableaux often feature abstracted
figures, and at times are combined with vessels. More recently Ryan has
been combining found objects and glass, and has most recently started to
recycle television screens. Ryan will talk about the project Mamana
Mamanta (gradual friendship), an exhibition of glass sculptures made in
collaboration with Tiwi artist Jock Puautjimi, currently touring
Australia through Visions Australia. Its the story of a gradual
friendship born from artistic and cross-cultural collaboration. Craft ACT site Luna's talk (mp4 file) |
Jock Puautjimi, Pukumani Poles, kiln cast crystal, cast with Luna Ryan, 2006-7. Image Luna Ryan |
Stephen Bird
| Born in Stoke-on-Trent UK in
1964, Stephen Bird spent much of his childhood playing amongst the
broken moulds discarded by the Allied Insulators factory close to his
home. Like many born and raised in the Potteries, Bird grew up regarding
ceramics as an industry that had once supported whole communities and
families, not just as the branch of the heritage or culture industries
that it has since become. His work connects with a whole range of
pottery traditions, and his imagery and non-specific folk style synthesise all the passions, emotions and simple truths that are
conjured up by these associations. His work draws on the ideals of 'Folk
Art', and evokes the nostalgia characteristic of industrially made
commemorative ceramics. Stephen Bird is a visiting artist within the
Ceramics Department of the South Australian School of Art, and his work
can be seen in the exhibition 'Figuration' on show at the JamFactory
until 21 June. Stephen Bird's website JamFactory Stephen's talk (coming soon) |
 Paint tin, E/W, 2009, 39/27/25 |
Tis Milner-Nichols
| A cultural exchange in a foreign
culture can shift the very lens of perception to alter one's outlook of
the world. In mid 2008 Tis Milner-Nichols travelled to Thailand to
interact with the community cultural development foundation 'Makhampom',
and to undertake a mentorship with traditional Sri Lankan puppeteer
Nalin Gamvary (funded by The Australia Council for the Arts and Country
Arts SA). The multitude of impressions and inspiration from the
residency are the foundation to examine 'Art as a condensed view of
culture'; exploring the notion of art as a snap shot of customs and
values. Focusing on form and texture Milner-Nichols selects materials for their inherent qualities. The resultant sculptural language develops a narrative to explore the gap between encounter and interpretation. The Devil Dancer series is inspired by the marionette of a traditional Singhalese 'Demon Dancer'. At the pinnacle of the ritual performance the demon is exorcised and banished to restore equanimity and wellbeing of an individual or a place. In Sri Lanka, until very recent times, performances by costumed demon dancers and its replication with hand carved marionettes occurred regularly through out the regions. The demise of these ancient traditions is imminent with the rapid growth of consumer culture. Conundrum - a riddle, question, problem, enigma, infact any puzzling question. Tis Milner-Nichols' exhibition Articulation (Shadows) is on show at Nexus Multicultural Arts Centre in Adelaide's West End until 5 June. Tis's talk (mp4 file) |
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Siamak Fallah
| Adelaide artist Siamak Fallah was
born in Firouzy (a small village near Shiraz), Iran, and arrived in
Australia as a refugee (via Pakistan) in 1985. In 1998 Fallah graduated
from the South Australian School of Art (now the School
of Art, Architecture and Design) with a Bachelor of Visual Arts,
majoring in Painting. He has previously exhibited at Greenaway Art
Gallery, Nexus Multicultural Arts Centre, Artspace, Sydney and last year
at the University of Adelaide. Fallah's exhibition Az Zaban-Emodari:
Labaik Lagaik No. 1 From the Mother Tongue: Here am I Here am I...
is showing at the
Contemporary Art
Centre of South Australia until 24 May. Artist statement:
'I have been considering and exploring different spaces of being
throughout my work. Experimenting with the language of art, with
materials, methods and always drawing from sacred texts to convey a
sense of (desire and attraction to) poverty and nothingness. A state of
bliss devoid of meaning, reason or love. Persian literature describes
this state as Fana, meaning annihilation. In this space meaning
disappears, being vanishes and all that exists is the Universal Will.' (Siamak
Fallah 2008) Siamak's talk (mp4 file) |
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Andy P
| 'My practice tends to be based on
large process projects, things which generate some momentum in the
material itself, often taking a stance on a cultural and/or a political
area or genre. The work critiques an attitude inherent in the form
itself. "MiTZie" is a cultural product, a parody of "modern pop",
creating a ledger of song, digital product and video clip material. In
this project I act as cultural director as well as having all the
tactile pleasure of being the performer, song writer, album cover and
T-shirt designer. Often I like
that
my art is like an election
campaign.' Information about the project Music download site Fan page: Facebook | MiTZie Music merchandising Andy P's talk (mp4 file) |
|
Brenda L Croft
| Brenda L Croft was born in Perth,
and now lives in Adelaide. She is a member of the Gurindji/Mutpurra
nations from Kalkaringi/Daguragu community in the Northern Territory,
and is a lecturer at the David Unaipon College of Indigenous Education
and Research and the School of Art, Architecture and Design, Division of
Education, Arts and Social Sciences at UniSA. Before that she was senior
curator of Aboriginal and Torres Strait Islander Art at the National
Gallery of Australia, from 2002 to 2009, and curated the inaugural
National Indigenous Art Triennial, Culture Warriors, which
tours to Washington USA in 2009. A practising artist since 1985, her
works are held in public and private collections in Australia and
overseas. Brenda has been involved in the arts and cultural industry for
over two decades as an arts administrator, curator, writer, lecturer and
consultant. Stills Gallery webpage Brenda talks about her work (audio and transcript, National Gallery of Australia) Brenda's talk (mp4 file) |
Man about town, from the series Man about town, giclee print on hahnemueler paper, 2003 Irrisistible/irresistible, from the series 'fever (you give me)', 2000, ilfachrome on fujiflexL Croft |
Michael Yuen
| Michael Yuen's work encompasses a
plurality of media. He is known for a body of works making use of light,
sound and performance. Over the past years Michael has divided his time
equally between Australia and China, and in both environments his works
have investigated the nature of cities and public space through events
and interventions. His work is often temporary and situated outside
engaging directly with the city and is frequently associated with
interdisciplinary, public space and media practices. Michael has worked with the Australian Centre for the Moving Image (Melbourne) jointly with the Hayward Gallery (London), Adelaide Festival of Arts, SSamzie Space (Seoul), Yuanfen New Media Art (Beijing), Zendai Museum of Modern Art (Shanghai), JamFactory (Adelaide), received a Ruby Litchfield and AsiaLink award and was the artistic director of Project 3 (2006 Adelaide Festival of Arts). He has served on the Inter-Arts panel for the Australia Council of the Arts (2006-7). Michael divides his time between his native Adelaide and Beijing. Michael is in Adelaide for the exhibition K2-02 at the SASA Gallery. K2-02 is part of an ongoing collaboration with theorist-architect Stephen Loo (School of Architecture and Design, UTAS). Michael's website Michael's talk (mp4 file) |
 Follow 2007, Michael Yuen, photo documentation of Follow in Seoul, (SSamzie Space) photo courtesy of Rania HO and CPU:798 |
Heri Dono
| Indonesian artist eri Dono is in
Adelaide to fuse the traditional artform of Wayang Kulit shadow puppetry
with contemporary social ideas through painting, theatre, dance and
music as part of the Adelaide Fringe Community Arts Program - Perms
and rollers - Crimpin' on the fringes - presented by Hepatitis C
Council of SA Inc. In 2007 artist Heri Dono undertook a seven-week residency in Adelaide hosted by the South Australian School of Art (now the School of Art, Architecture and Design). During his residency Dono conducted workshops, master classes and seminars culminating in a major solo exhibition The Dream Republic in the SASA Gallery. Beware of artists bearing bamboo (The Student May 2007) Heri's talk (mp4 file) |
The broken angles (detail), 2006. Image courtesy of the artist |
Stieg Persson
| Stieg Persson's work conceptually
floats in a liminal state, acknowledging the long history of painting
whilst being aware of the medium's inner conflicts and contradictions.
The works embrace the formal values of high modernism whilst actively
destabilizing its principles through the use of figurative and
decorative elements. Stieg Persson has been exhibiting since 1983. He
has had over 25 solo exhibitions, most recently Old Europe at
Anna Schwartz Gallery Sydney. Persson has been included in numerous
major surveys of Australian art including The Australian Bicentennial
Perspecta and the recent TarraWarra Biennial Parallel
Lives: Australian Painting Today 2006. His work is held in all
major Australian public collections. In 2003 he won the inaugural Arthur
Guy Memorial Painting Prize, Bendigo Art Gallery.
CV (PDF file, 116kb) Stieg's Anna Schwartz Gallery profile Stieg's talk (mp4 file) |
Sarbanes-Oxley, 2008 oil on linen 122 x 112cm, courtesy the artist and Anna Schwartz Gallery |