News

Bridie Gillman's work as featured in Casula Powerhouse's 'Looking Here, Looking North'Exhibition has been reviewed in Art Asia Pacific Magazine.

SOO-MIN SHIM writes:

'At the Casula Powerhouse Arts Centre in Sydney, a video portrays the interior of a restaurant, its walls decorated with Australian-flag bunting, and kitsch Australiana tea towels and posters, positioning us inside an ostensibly Australian establishment. It is revealed in subsequent shots of the staff, clientele, and the beach outside, however, that this is in fact a tourist spot in Bali. Bridie Gillman’s video work Bali State of Mind (2017–18) ruminates on the unequal power dynamic between Australia and Indonesia, the latter being economically reliant on tourism and subject to the objectifying tourist gaze that comes with over one million Australians visiting annually.

Still image from BRIDIE GILLMAN’s Bali State of Mind, 2017–18, two-channel video installation: 17 min 40 sec.

Gillman is one of seven artists included in the exhibition “Looking Here Looking North” by members of Woven, a collective with “continuing personal connections to Indonesia.” While Gillman’s work is subtly political, the exhibition holistically was striking in its ability to reach beyond essentialist identity politics, reconfiguring what it means to be part of the Indonesian diaspora by speaking to universal themes of memory, place and belonging.

“Looking Here Looking North” is on view at the Casula Powerhouse Arts Centre, Sydney, until March 17, 2019

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Toby Orton from Plain Magazine features Eliza Gosse's work. He writes:

Delving into social issues of national identity and immigration, artist Eliza Gosse focuses on the post-war houses built for European migrants in her home country of Australia in the 50s, 60s and 70s. In her striking oil paintings, Gosse’s style combines clean, color blocked geometric forms that call to mind the utopian ideals of suburban planning with a ‘nostalgic
inflection’. The ‘Suburban Modernism’ that she has created is a response to her interests in design history, the initial impact of inexpensive post-war architecture on communities and the way that the design’s influence and meaning is viewed over time. In her paintings of the Australian (and to a lesser extent, American) suburbs she celebrates an era of design that mocks the unflattering stereotype of bland suburbia and celebrates the unabashed invention of the time.

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John McDonald highlights Clara Adolphs practice in the Good Weekend Magazine:

'Clara Adolphs is not the first artist to be fascinated by the old photographs one finds in flea markets and junk shops. These faded snapshots, intended to immortalise loved ones and special events, have become mysteries, as we cannot identify people and places. Nevertheless it's easy to recall similar holidays and family outings, and enjoy a sense of familiarity.

It's in the nature of snapshots to concentrate on moments of leisure, and this is reflected in paintings such as Sunbather, where a woman relaxes in a deck chair, or Daylight Hours (pictured), in which three figures lie stretched out on the grass.'

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looking here looking north is an exhibition by Woven, a collective of artists who each have continuing personal connections to Indonesia. Themes of identity, memory and cross-cultural experience are explored through performance, painting, installation, photography, video and sculpture.

Featuring work by: Kartika Suharto-Martin, Ida Lawrence, Mashara Wachjudy, Bridie Gillman, Sofiyah Ruqayah, Alfira O’Sullivan and Leyla Stevens.

looking here looking north is presented alongside an exhibition by artist Frances Larder and an exhibition of video works by Jumaadi as part of a suite of exhibitions showcasing perspectives on Indonesia.

CASULA POWERHOUSE ARTS CENTRE 12 JANUARY - 17 MARCH 2019

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In celebration of the Brisbane International Tennis Tournament, John Aslanidis’ Sonic no. 61 will be projected onto the William Jolly Bridge from Wednesday 2nd January to Sunday 6th January 2019.

John combines colour and pattern in precise relationships heightening the awareness of the phenomenon of perception. Looking at Aslanidis work becomes intensely physical as the composition bounces and the viewer’s gaze rebounds, reminiscent of the process when engaging with the intensity of tennis, as a player or viewer.

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The Ideal Home presents a history of the 20th century Australian home told through household objects, furniture and design classics from the MAAS Collection.

For much of the 20th century Australia enjoyed one of the highest rates of home ownership in the world. This situation emerged following the landmark ‘Harvester Judgement’ of 1907, which enshrined a ‘living wage’, and enabled ordinary workers to purchase a home and support a family.

Post war affluence, technology, mass manufacturing and the ready availability of goods, created both a consumer base and desire. In this setting, suburbs grew and homes became our castles. Australians enthusiastically adopted international trends in architecture, interior furnishings and design. Labour saving devices liberated us from domestic drudgery and increased the time available for leisure. Indoors and outdoors Australians aspired to a lifestyle centred upon the comfort, style, amenity and function of the home.

The Ideal Home presents a history of the 20th century Australian home told through household objects, furniture and design classics from the MAAS Collection. See more of The Ideal Home including modernist design and artworks at MAAS Powerhouse, Ultimo.

The Ideal Home is a partnership between the Museum of Applied Arts and Sciences and Penrith Regional Gallery & The Lewers Bequest.

The exhibition suite features works across the site from the following Australian artists:

• Cope Street Collective: Mathew Cooper and Colin Kinchela
• Karla Dickens
• Victoria Garcia
• Richard Goodwin
• Blake Griffiths
• eX de Medici
• Catherine O’Donnell
• Eliza Gosse

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Obsession: Devil in the detail examines our fascination with the meticulous and micro, the real and the hyperreal and brings together a range of historical and contemporary works under three broad themes of still life, portraiture and landscape. Featuring artworks that seduce us with the power of their realism and intricate detail, the devil in the detail becomes the ideas and concepts that exist beneath the surface.

Featuring work by local and international artists including Natasha Bieniek, Chris Bond, Erin Coates, Audrey Flack, Juan Ford, James Gleeson, Sam Jinks, Jess Johnson, Anna Kristensen, eX de Medici, Tully Moore, Callum Morton, Jan Nelson, Sandra Selig, Vipoo Srivilasa, Ricky Swallow, teamLab, Eugene von Guerard and more.

30 November 2018 - 17 February 2019

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Australian artist Aaron Kinnane on being inspired by nature

by SOPHIE TEDMANSON 8 SEPT 2017

The Australian painter chats to Vogue.

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Vipoo Srivilasa has been commissioned to design seven large sculptures for ICONSIAM, a mixed-use development on the banks of the Chao Phraya River in Bangkok Thailand, opening on 9 November 2018.

ICONSIAM is the ultimate shopping destination. The all-in-one complex, located on 750,000 square metres of the land on the banks of Chao Phraya River is a wonder to behold for those passionate about retail and development. It is divided into three main sections: the main ICONSIAM, the glamorous riverside ICONLUXE, and street facing side Siam Takashimaya.

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Sally Anderson's work ‘Guy’s Painting of Wollumbin on my Wollumbin’ 2018, acrylic on linen, 140 x 122cm has been acquired by Tweed Regional Gallery. In 2017 Sally was an artist in residence at the Nancy Fairfax Artist Residency through the Tweed Regional Gallery and throughout her life, has had strong connections to the region.

TWEED REGIONAL GALLERY