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| Work by Will Coles, Fiona Fenech and Janet Parker-Smith installed at the Hello Dollies exhibition at Penrith Regional Gallery |
Showing posts with label FENECH. Show all posts
Showing posts with label FENECH. Show all posts
07 March 2012
▶ 'HELLO DOLLIES' INSTALLED AT PENRITH REGIONAL GALLERY
28 January 2012
▶ 'HELLO DOLLIES' AT PENRITH REGIONAL GALLERY
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| Will Coles, 'Context', 2011, resin, 9 x 32 x 27cm |
Represented artist Will Coles and exhibited artists Janet Parker-Smith and Fiona Fenech will all be featured in the upcoming show Hello Dollies at Penrith Regional Gallery. The show includes "artwork from the 1940s until today that scrutinizes the human condition via the symbolic and psychological resonance of 'the doll' - desire, hope, fear; fun, satire and critique." Hello Dollies, curated by Shirley Daborn, will be on view starting the 11th of February until the 22nd of April.
Left: Janet Parker-Smith, 'Read Into It What You Will No.2' 2011,
deconstructed book, digital prints, wire, deconstructed doll, perspex
box, 37.5 x 32 x 17cm
Right: Janet Parker-Smith, 'Read Into It What You Will' 2011,
Right: Janet Parker-Smith, 'Read Into It What You Will' 2011,
deconstructed book, digital prints, wire, deconstructed doll, perspex
box, 36 x 36 x 17cm
24 June 2011
23 June 2011
▶ LYNDAL HARGRAVE + FIONA FENECH, CLOSING 2 JULY
A timely reminder to visit the shows by LYNDAL HARGRAVE and FIONA FENECH before they close on Saturday 2 July.
Lyndal Hargrave's innovative use of the everyday melds colour and form into linear wall-mounted sculptures. The geometric constructions glow from the reflection on the wall of vivid pigment applied to the underside of the sculptures. The round symmetric forms are countered by seemingly organic, asymmetric shapes that twist and turn up the walls.
The familiar narratives of Cinderella and Beauty and the Beast are two of the traditional tales reworked by Fiona Fenech in her series of hand-stitched drawings on paper. In 'Chinois Cinderella', Fenech highlights the Chinese origins of the story via the small slippers referring to the tradition of foot binding. Similarly, in 'Miss Beaute Monstre', she uses the feet of the young girl to embody the anamorphic aspect of Beauty and the Beast.
Lyndal Hargrave's innovative use of the everyday melds colour and form into linear wall-mounted sculptures. The geometric constructions glow from the reflection on the wall of vivid pigment applied to the underside of the sculptures. The round symmetric forms are countered by seemingly organic, asymmetric shapes that twist and turn up the walls.
The familiar narratives of Cinderella and Beauty and the Beast are two of the traditional tales reworked by Fiona Fenech in her series of hand-stitched drawings on paper. In 'Chinois Cinderella', Fenech highlights the Chinese origins of the story via the small slippers referring to the tradition of foot binding. Similarly, in 'Miss Beaute Monstre', she uses the feet of the young girl to embody the anamorphic aspect of Beauty and the Beast.
09 June 2011
▶ FIONA FENECH, 'A MARVELOUS TRANSFORMATION'
Fiona Fenech's new exhibition features embellished and hand-stitched works on paper that explore the transition from childhood to adolescence and the dualism of integrating fantasy and reality. The work draws from the narratives of Seventeenth Century French Contes de Fees (fairy tales) and children’s games that have elements of magical transformation, fantasy, violence and the macabre.
According to Fenech, 'Miss Beaute Monstre' plays around the anamorphic aspect of Beauty and the Beast. She is connected to the earth and it is ambivalent as to weather she is emerging or submerging back into the flora and bugs. The work 'Chinois Cinderella' refers to the fairy tale of Cinderella which is originally a Chinese tale that the French Court ladies retold as their own. In her drawing the slippers are small to represent the Chinese bound feet and reference to slavery. 'Princess Goody Two Shoes' is based around a Princess who was given to a suitor by her wealthy father. She refused to marry him so he broke down her door in order to take her against her will. The princess had a hammer and hit him over the head to protect herself and refused to be wed against her will. The dolls in the drawing represent the passing of childhood. Fenech's 'The Virgin and The Rose' is based around the tale of Red Riding Hood but in today's time Red is aware of Stranger Danger, hence the machine gun.
The drawing 'Princess Donkey Tale' incorporates Fairytale and child’s play. In the original French tale the girl has to protect herself from the advances of her father and uses a knife to cut off the skin of a donkey and hide under the skin to escape. The donkey tail is from the game Pin the Tail on the Donkey. Adolescents also play this game as a drinking contest.
Fiona Fenech's solo exhibition 'A Marvelous Transformation' will be on view at Brenda May Gallery until Saturday 2 July 2011.
Fiona Fenech, 'Princess Donkey Tale' 2010, collage, ink, thread, glass beads and texta on BFK paper, 125 x 87.5cm
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| Far Left: 'Miss Beaute Monstre' 2011, collage, thread and ink on BFK paper, 125 x 87.5cm Left Centre: 'Chinois Cinderella' 2011, thread, glass beading and coloured pencil on BFK paper, 125 x 87.5cm Right Centre: 'Princess Goody Two Shoes' 2011, collage, thread, ink and glass beads on BFK paper, 125 x 87.5cm Far Right: 'The Virgin and The Rose' 2010, thread and ink on BFK paper, 125 x 87.5cm |
According to Fenech, 'Miss Beaute Monstre' plays around the anamorphic aspect of Beauty and the Beast. She is connected to the earth and it is ambivalent as to weather she is emerging or submerging back into the flora and bugs. The work 'Chinois Cinderella' refers to the fairy tale of Cinderella which is originally a Chinese tale that the French Court ladies retold as their own. In her drawing the slippers are small to represent the Chinese bound feet and reference to slavery. 'Princess Goody Two Shoes' is based around a Princess who was given to a suitor by her wealthy father. She refused to marry him so he broke down her door in order to take her against her will. The princess had a hammer and hit him over the head to protect herself and refused to be wed against her will. The dolls in the drawing represent the passing of childhood. Fenech's 'The Virgin and The Rose' is based around the tale of Red Riding Hood but in today's time Red is aware of Stranger Danger, hence the machine gun.
The drawing 'Princess Donkey Tale' incorporates Fairytale and child’s play. In the original French tale the girl has to protect herself from the advances of her father and uses a knife to cut off the skin of a donkey and hide under the skin to escape. The donkey tail is from the game Pin the Tail on the Donkey. Adolescents also play this game as a drinking contest.Fiona Fenech's solo exhibition 'A Marvelous Transformation' will be on view at Brenda May Gallery until Saturday 2 July 2011.
Fiona Fenech, 'Princess Donkey Tale' 2010, collage, ink, thread, glass beads and texta on BFK paper, 125 x 87.5cm
02 June 2011
▶ LYNDAL HARGRAVE + FIONA FENECH, OPENING 7 JUNE
New work by LYNDAL HARGRAVE and FIONA FENECH will be on view starting Tuesday 7 June. Please join the Artists for a drink to celebrate the launch of their solo exhibitions at the Gallery on Tuesday evening, 7 June from 6-8pm.
The imposing linear and geometric forms of Lyndal Hargrave’s wall-mounted sculptures are constructed with objects of the everyday. Repetition and familiarity with the material invites the viewer into the work to consider, investigate and reinvestigate the abstract forms.
The series of sewn and embellished drawings by Fiona Fenech explores the transition from childhood to adolescence and the dualism of integrating fantasy with reality. The work draws from the narratives of Seventeenth Century French Contes de Fees (fairy tales) and children's games that have elements of magical transformation and fantasy as well as violence and the macabre.
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| Left: Lyndal Hargrave, 'Refraction' 2011, timber, enamel, aluminum, screws, 70 x 60 x 15cm Right: Fiona Fenech, 'Princess Goody Two Shoes' 2011, BFK paper, collage, thread, ink, graphite, glass beading, 106 x 70cm |
The imposing linear and geometric forms of Lyndal Hargrave’s wall-mounted sculptures are constructed with objects of the everyday. Repetition and familiarity with the material invites the viewer into the work to consider, investigate and reinvestigate the abstract forms.
The series of sewn and embellished drawings by Fiona Fenech explores the transition from childhood to adolescence and the dualism of integrating fantasy with reality. The work draws from the narratives of Seventeenth Century French Contes de Fees (fairy tales) and children's games that have elements of magical transformation and fantasy as well as violence and the macabre.
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