September 27, 2014
Vipoo Srivilasa awarded the 2014 Gold Coast International Ceramics Prize
Congratulations to Vipoo Srivilasa who was announced the winner of the 2014 Gold Coast International Ceramics Award. Vipoo’s thoughtful porcelain work Battle of Old and New Power was selected from 48 entries from several countries including Japan, Argentina and Isreal. Judge Dr Patsy Hely from the Australian National University School of Art described Vipoo’s work as having ‘resonance not just with one country’s internal battles but with the pulls and pushes of global relations and power struggles more broadly. In this way, it is a work in which the contemporary world is writ large.’ Srivilasa’s work was described as ‘at once beautiful and unsettling’ and reflects the contemporary world by ‘speak[ing] loudly of this moment in time.’
Image: Battle of New and Old Power (2012), porcelain
March 30, 2014
ARCHER DAVIES FINALIST IN THE CHURCHIE NATIONAL EMERGING ART PRIZE
Established in 1987 The Churchie National Emerging Art Prize is a highly regarded emerging art prize dedicated to innovation and excellence across contemporary, traditional and new media genres. The annual non-acquisitive prize is an initiative of Anglican Church Grammar School (Churchie), in partnership with Griffith University Art Gallery since 2010. The overall winner is awarded a $15,000 prize sponsored by Brand+Slater Architects and two highly commended works are awarded $1,000 each. Hundreds of entries are attracted from all over Australia with a select few being chosen to exhibit at Griffith University Art Gallery, South Bank. The exhibition offers an inspiring glimpse into the future of Australian contemporary art.
Artwork details:
Ocean 2014
oil on canvas
50 x 66 cm
May 22, 2010
RHYS LEE: AN ESSAY BY DR ASHLEY CRAWFORD
Dr Ashley Crawford - a freelance cultural critic based in Melbourne - has written a glowing essay on the progression of Rhys Lee's art practice.
Lee’s passport is stamped with a variety of exotic locales; he has been to Anger, he has stopped over in Love, he has traversed the landscape of Fear and, jet-lagged, he has experienced the Delirium of insomnia.
Like all adventurous travellers, Lee is a voyeur of the unknown. As this book opens we see him astride in alien locales, sheltering in a snow-capped tent in Scandinavia, peering over a swimming pool in a sweltering Havana. And there, early in his travels, are the first tentative sketches, faces – whether faces in the street or self-portraits is nary an issue; in many ways all of Lee’s work are self-portrayal. In 1999, the eyes stare out, Klimt-like, a mixture of defiance and trepidation. That same year, Lee discovers his trademark harshly-cropped skull in Haircut (1999). By 2000 the die is cast in a more assured self-portrait complete with sketchbook, a portrait of the artist as a young man.
IMAGE:
courtesy NBB Gallery, Berlin