my World - The Waters Group

More documents

Recommendations

Info

GALLERY 101Sugar Cubes, 2006, oil on Belgian linen, 56 x 56cm.LIFE, STILL LIFEPaintingANITA MERTZLIN29 AUGUST – 16 SEPTEMBER 2006Playing with the conventions of traditional still life painting, Anita Mertzlin brings apresent-day sensibility to the genre. She paints from life - collecting objects that arefamiliar and frequently used such as flowers, fruit, vessels and clothing and arrangesthem to be pictured in her studio.Mertzlin’s works embrace an old world and contemporary elegance. Her abilityto render in paint the insubstantial qualities of light and space invites the pleasureof delicate scrutiny - vases of fresh flowers and seasonal fruit; ceramic and glass vesselsamidst formal table settings; stockings, lipstick cases and powder compacts; andunexplained elements such as feathers and thread - transport us into a contemplativeworld. Through intimate observation of surface, light and colour, the present intrudesto animate her arrangements. It is the resonances between things, rather than theobjects themselves, that come to the fore to spark memory, fantasy and curiosity.WAVETapestry & PhotographyTIM GRESHAM19 SEPTEMBER - 7 OCTOBERWaves in water, waves of light, waves of rhythmical patterns, sound and music; this is what mycurrent body of work is about. In the photographs there are images of water, skies, shimmeringlight on wet surfaces, and repetitive architectural forms. They are linked to the tapestries,which have layers of rhythmical patterns flowing through them. There are patterns inside ofpatterns, from the structure of the weave up to the overall design.There is a sense of energy in the work, but also a quietness and stillness. A moment frozenin time. With the photographs this happens instantly, but with the tapestries the act offreezing the moment takes time. This contrast is important to me and is reflected throughoutthe work: Black and white photographs as opposed to colour tapestries. The tactile, fibroussurface of the tapestries contrasts with the smooth photographs. The images in the photographsare precisely composed, whereas the tapestries are sections of abstract patterns, which couldcontinue indefinitely.Pulse, 2006, woven tapestry, 110 x 110cm.Below: Synchronic Variations II, 2006, light jet print on photographic paper, ed.5, 40 x 55cmOff the Shelf, 2006, oil on canvas,56 x 46cm.SHADES OF MEANING IVPaintingKATHLEEN MITCHELL19 SEPTEMBER - 7 OCTOBERIn the fourth exhibition in the series the artist elaborates her investigation of colour, abstractionand spatial relationships.‘The literal image is something as a painter I’ve not been comfortable with. My paintingsare a response to memory, feelings, shapes, colour and rhythms, which present themselvesunexpectedly on the canvas. I let the canvas dictate to me the mass, line and colour until aunified whole has been established.’In these works unpremeditated colours and shapes have evolved as motifs, which appearand reappear like a chromatic scale and rhythm in music. Figure – ground relationshipsdetermine the arrangement of colour fields in each work. Mitchell approaches compositionin terms of spatial relationships and correspondences through which she achieves a senseof balance and harmony.‘Like a composer with a tune playing in my head, these motifs have had to be tossedaround, elaborated on, fine tuned and put to rest. The overall body of imagery is my responseto a moment in time, but ultimately the only thing that matters is that the paintingshave a life of their own’.18 The 101 Quarterly
The place of meditation andappreciation for our tenantsZhao Bandi, Zhao Bandi and Panda, 2002, photograph, 120 x 150cm.MELBOURNE INTERNATIONAL ARTSFESTIVALZHAO BANDI & ZHOU TIEHAI10 – 28 OCTOBER 2006Contemporary Chinese artistsZhao Bandi creates highly stylised photographs of himself and histoy panda, a universal symbol of China. The text, which often appearsalong side the two, is comical and yet there is earnestness inthe tone which suggests the ‘seriousness’ of the relationship. Thechoice of the animal dates back to 1996 and is intended as a playfulparody of the illustrated calendars that are so popular in China. Theromance of such calendars is turned on its head as an attractive girlin a night-dress looks on in amazement – and perhaps disapproval– as an athletic Zhao Bandi holds the panda in his arms.Zhou Tiehai uses the face of Joe Camel, a classic symbol ofAmerican cigarette advertising, to replace the heads of westernart’s most famous Victorian and renaissance portrait paintings. Hiswork explores the significance of east-west cultural exchange byquestioning the impact of icons and by questioning the art marketitself. The fact that he doesn’t paint these images is all part of thegame Tiehai plays with the art world, which considers him one ofChina’s leading contemporary artists.Images courtesy the artists and ShangART Gallery.Supported by Australia-China Council.www.melbournefestival.com.auZhou Tiehai, Palace Woman, 2004, air brush (acrylic) on canvas,160 x 190cm.DAI MARCIAPEDI ITALIANI(From Italian Footpaths) PrintmakingCARMEL WALLACE31 OCTOBER – 18 NOVEMBERdai marciapiedi italiani is an exhibition of prints and collagescreated from surfaces and materials found on walks aroundRome, Florence and Venice. The exhibition comprises a numberof suites of work incorporating collages of billboard posters,frottages, digital prints and etchings. A selection of these worksfeatured at the Mildura Writers’ Festival in July this year.The work is an interplay between collected images andtext from various sources. The text is used generally in anabstracted, graphic manner, but this is counterpoint to a subtlerendering of detailed snippets of stories and reports fromnewspapers, magazines and other sources, such as the historicalMedici diaries from Florence. Street surfaces and outlet covers,collected through rubbings or frottage, not only providegraphic evidence of industrial histories, but also document thephysicality of walking. Meaning is often ambiguous with theseemingly random layering and juxtaposition of compositionalPetrarch (detail), 2005, collage on paper, 78 x 107cm.elements allowing for a range of interpretations. The works could also beviewed as time capsules, incorporating as they do all manner of informationabout life in these Italian cities: from Vivaldi and musical events toDante and Petrarch; from electoral information to restaurant and Vespaadvertisements.GALLERY 101Ground Level,101 Collins Street, Vic 3000Telephone: (03) 9654 6886Facsimile: (03) 9650 5357Tuesday - Friday 10am - 5pm;Saturday 12 - 4pm.gallery101@techinfo.com.auDianna Gold - DirectorThe 101 Quarterly19
Page 1 and 2: Alice in the Boat by Charles Blackm
Page 3 and 4: Prizes to WINfor the Tenants of 101
Page 5: One aspect of many of the shared st
Page 8 and 9: Dine Out… Help Outhe StreetSmart
Page 10 and 11: Prof. Michael Quinn - Ovarian Cance
Page 12 and 13: FASHIONA ngl om aniaFASHIONhe names
Page 14 and 15: The AustralianBallet Celebratesn 20
Page 16 and 17: SOCIAL PAGEn September we saw the g
Page 20: 20 The 101 Quarterly

my World - The Waters Group

Create successful ePaper yourself

Delete template?

Save as template?