FRONT GALLERY
GONE BUSH
by Robert Stemp
CATALOGUE
I am attracted to wild and remote places.
They have a presence all their own.
Being in them frees me from the day to day, as l allow myself to sink into their immensity. Of late I have been working with the more domestic environment around the Merri Creek, exploring its more subdued qualities. My paintings are intended to be an echo of what l feel when l’m in the landscape. I am seeking to bring together the combination of colour, form, texture and light that best expresses the sense l have of each place. Along the way I have been guided by my unseen companions, Fred Williams, Paul Gaugin, Henri Matisse.
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BACK GALLERY
YOUR NOSTALGIA IS MATERIAL FOR CLOWNS
by Jonathon Harris
CATALOGUE
During an artist residency at Punctum Inc, Jonathon Harris investigated the history of the pink triangle as a symbol of Queer repression and Queer pride. He documented his physical reactions as a series of photographs involving specially created performance objects/installations. Each focusing on: liberation, orientation or reclamation.
Using the persona of the Bouffon, Jonathon used his own physicality and that of the objects to determine a series of pratfalls, stumbles and actions that place the object and its historical references against the performer, and vice versa.
The resulting works are not just documentation but a testament to Queer history.
Jonathon, a trained live and installation artist has collaborated with a diverse range of artists and performers internationally. His works have been showcased at venues such as: The Institute of Contemporary Arts, London, MyArt, Ukraine, and the Berry Campbell Gallery, New York.
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SIDE & UPSTAIRS GALLERIES
THE TOWER
by Howard Kimber
CATALOGUE
The Tower is a series of oil paintings inspired by diving towers at public swimming pools and the part they play in an Australian life. The images show grace, fear, uncertainty and courage, all parts of the viewer’s own journey.
The towers themselves represent the contradictions in mankind’s eternal quest for the heavens as divers climb upwards, only to leap and return to the water from which their ancestors crawled. The structures’ brutalist forms are harsh against the divers’ organic lines, yet the concrete’s warm tones reference sun-touched skin, contrasting with the boundless blue of the sky above or pool below.
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