▶ MELINDA LE GUAY + HELEN MUELLER IN 'PAPER NOW' AT INCINERATOR ART SPACE

Next week the curated group exhibition Paper Now will open at Incinerator Art Space in Willoughby. Our represented artist Melinda Le Guay and exhibited artist Helen Mueller both have work included in the show. From the exhibition website:

"Paper Now comprises thirty works by eleven Australian artists who share a common approach to their current practice through the use of paper as the primary medium. Paper is part of our everyday experience - we use it at home, at work, in our leisure time. It is functional, ephemeral and transient. Rarely does it extend into the realm of the aesthetic. In this exhibition artists Sally Aplin, Bronwyn Berman, Marguerite Derricourt, Melinda Le Guay, Brigiat Maltese, Nerine Martini, Helen Mueller, Maryann Mussared, Jenny Pollak, Liz Shreeve and TianLi Zu employ concepts and techniques from a range of artistic and cultural traditions to transform our experience of paper. They cut, fold, stitch, etch, stamp, trace, draw and paint on and with paper highlighting the sensuality and fragility of this extraordinarily versatile substance."

Paper Now runs from the 28th of January until the 4th of March.

▶ PRESS: FIONA FENECH IN METRO ART

▶ 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.

▶ FOCUS ON: LEZLIE TILLEY

Left: Lezlie Tilley 'Cad Yellow/Cobalt Blue' 2010, acrylic on canvas - 16 pieces, 30.5 x 30.5cm each
Right: Lezlie Tilley, 'Day by Day' 2003, mixed media on cedar on board, 122 x 162cm

From her linear canvases to the meticulous mix media works with stones and shells, the arrangement of objects according to chance is an integral part of Lezlie Tilley's art. The compositions of fragmented shapes and objects are perfectly balanced with the organic objects reduced to their geometric forms.

In her linear patchwork series, from which 'Cad Yellow/Cobalt Blue' hails, two pigments are selected - as referenced in the title - and variations of the hue are achieved by adding only white or black to the paint. The small canvases are then randomly arranged to form an abstracted patchwork quilt.

Left: Lezlie Tilley, 'Bushfire Twigs' 2002, twigs, mixed media on board, 59.5 x 59.5xm
Right: Lezlie Tilley, '325 Tiny shells arranged according to the law of chance', shells, pebbles and pencil on paper, 10 x 10cm

The natural objects found in Tilley's work are exemplified by the above pieces. 'Bushfire Twigs' was produced through the labour-intensive process of setting twigs in plaster and then sanding the surface down until it is smooth, ultimately revealing the interior of the small bits of wood. The organic form is reduced to a single plane and set within the shape of a square, a configuration that is repeated within her work. Likewise '325 Tiny shells arranged according to the law of chance' was completed though a methodical process of randomly selecting and adhering tiny shells to the center of each small square on hand drawn, gridded paper. According to Tilley, the series represents an order she is able to impose on the natural world.

▶ 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.

 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

▶ 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.

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.

▶ MELINDA LE GUAY AND AL MUNRO, CLOSING 4 JUNE

A reminder to visit the shows by Melinda Le Guay and Al Munro before they close on Saturday 4 June.

Adjectives ranging from delicate to spiky have been used by the press to describe the dresses in Melinda Le Guay's current sculpture exhibition. The various embellishments including fishhooks, thorns and sharp pins, pierce the bodices of the wire garments and the titles of the works highlight the underlying threatening nature of the series.

We are pleased to announce that four of Al Munro's works from the 'Mineral Crystal' series have been acquired by Artbank for their collection. The 'Mineral Crystal' series features screen prints of the knit wire sculptures Munro creates to represent the arrangement of atoms within a solid. Each print is a unique work and each design is flocked with a different coloured glitter. Munro melds the fields of art and science and creates a sparkly representation of the mathematical coding of crystals.

▶ AL MUNRO: PURCHASED BY ARTBANK

Al Munro, 'Brown Mineral Crystal', 'Long Black Mineral Crystal II', 'Dark Green Mineral Crystal', 'Large Grey Mineral Crystal' 2010,
screen print and glitter flocking on Stonehenge paper - unique (framed) 112 x 76cm

Established in 1980, Artbank purchases contemporary Australian art in order to support and promote emerging artists. The program was initiated by the Australian Government and is now part of the Office of the Arts with over 10,000 artworks in the collection. To gain revenues to maintain and expand the collection, Artbank rents works to businesses and individuals across the country.

Brenda May Gallery is pleased to announce that four of Al Munro's unique screen prints from her 'Mineral Crystal' series have been acquired by Artbank for their collection. Munro's current exhibition considers the science of crystallography which studies the arrangement of atoms within a solid. Artbank previously purchased work for their collection from Munro's Future Farming show.

▶ MELINDA LE GUAY + AL MUNRO, OPENING 14 MAY

New work by MELINDA LE GUAY and AL MUNRO will be on view starting Tuesday 10 May 2011. Please join the artists for a drink to celebrate the launch of their solo exhibition at the Gallery on Saturday 14 May from 4-6pm.

Andrew Taylor featured Le Guay's upcoming exhibition of etherial, knitted wire dresses in a half page article in Art & Culture in The Sun-Herald, published on the 24th of April. Le Guay says the dress "suggests an inner world of discord and struggle for perfection whilst maintaining an outward appearance of grace and beauty."

Left: Melinda Le Guay,  'Battle Dress' 2011, enamelled copper wire, synthetic thread, feathers, fish hooks, glass beads, 80 x 37 x 9cm
Right: Al Munro, 'Purple Mineral Crystal’ 2010, screenprint + glitter on Stonehenge paper, 113 x 76cm

Crystallography is the field of science which studies the arrangement of atoms within a solid. According to Munro, "My work takes as its starting point a number of crystallographic diagrams which function as descriptions of the natural world in terms of mathematical code, but which, like any code or language, can be spoken and written in unintended ways."

The Gallery is also pleased to announce the long awaited return of Sam Robinson's wonderful decal porcelain bowls, cups and illuminators. We look forward to welcoming you to the Gallery to view the new exhibitions as well as the new additions to our stockroom.

▶ NEW IN THE STOCKROOM: TODD FULLER DRAWINGS COMPLETED DURING HIS CITE DES ARTS RESIDENCY

Left: Todd Fuller, 'The Escape (Burrow, The Sequel)' 2011, mixed media collage on paper, 56 c 75.5cm
Right: Todd Fuller, 'A Found Friend (Tin Man)' 2011, mixed media collage on paper, 29.5 x 41.5cm

"Under strict self-imposed instructions, I attempt to draw every day, pushing ideas, integrating imagery and attempting to learn from the Masters that are suddenly accessible. There are days when my studio offers solace from the cultural shock of the city and I hibernate, creating a great deal more than expected. I return with several animations and a box of drawings which British Airways politely tells me is 11 kilos over my baggage allowance."

-Todd Fuller, 'Residency at La Cité International Des Arts', Nava Quarterly, March 2011, p.13.

Left: Todd Fuller, 'A Soul On The Street (Tin Man)' 2011, mixed media collage on paper, 56.5 x 75.5cm
Right: Todd Fuller, 'Lost (Tin Man)' 2011, mixed media collage on paper, 50 x 64.5cm

The drawings were completed during Fuller's residency at the Cité des Arts in Paris and composed upon a collaged background of pages from French books. The majority of works were created in conjunction with his animated films, the title in brackets referencing the specific film.

The two drawings below are from a new animated storyline by Fuller that "involves a shelf on which the man not only stores his heart but a jar of hope, box of happiness, a bottle of joy and all sorts of intangible but important 'stuff' for safe keeping. The man grows and so to does his heart, he finds a friend and realises that he needs that heart but he cannot get the jar open."

Left: Todd Fuller, 'Cross Section, Subtraction (Jar of Hearts) 2011, mixed media collage on card, 70 x 50.5cm
Right: Todd Fuller, 'Safe Keeping (Jar of Hearts)' 2011, mixed media collage on card, 70 x 50.5cm

▶ BRENDA MAY GALLERY HOLIDAY HOURS

Todd Fuller, 'Untitled' 2011, mixed media collage on paper, 56.5 x 75.5cm

The 2 Danks Street Gallery Complex will be closed for the Easter/Anzac Day Long Weekend. 

The Gallery will reopen with normal operating hours starting Wednesday 27 April.

▶ NEW IN THE STOCKROOM: HELENA LESLIE 'A DISSIMULATION OF BIRDS'

Helena Leslie first exhibited at Brenda May Gallery in the 2010 'Paperworks' show and we are pleased to add 'A dissimulation of birds' to our stockroom. The mixed media work on paper features tiny white figurine birds suspended above the surface of the paper with copper wire. The delicate shadows of the birds are carefully transcribed by Leslie with pencil, establishing the visual depth of the assemblage.

The detail (pictured left) illustrates one of the seven birds perched upon the copper wire. The work is intricate and subtle with the miniature scale inviting a close inspection by the viewer.


........................................................................................

Right: Helena Leslie, 'A dissimulation of birds' (detail) 2010, pencil on paper, plastic figurines, acrylic on copper wire, 60 x 50cm

▶ AL MUNRO: FEATURE ARTIST ON ARTWHATSON

Al Munro was the Featured Artist in artwhatson's email newsletter (click to view). Her upcoming exhibition 'Crystallography' will be on view at the Gallery starting 10 May.

▶ NEW IN THE STOCKROOM: LEZLIE TILLEY, 'ARRANGED ACCORDING TO THE LAWS OF CHANCE'

Left: Lezlie Tilley, '325 Tiny shells arranged according to the law of chance', shells, pebbles and pencil on paper, 10 x 10cm
Right: Lezlie Tilley, '324 Tiny pebbles arranged according to the law of chance', pebbles and blue pencil on paper, 10 x 10cm

Congratulations to Lezlie Tilley whose work, '2,242 Tiny pebbles arranged according to the laws of chance' was purchased by the Newcastle Region Art Gallery for their collection. The three new additions in the Gallery stockroom by Tilley also hail from the same body of work. Randomly selecting tiny, found shells, coral and pebbles and working from left to right, she adheres them to the center of each small square in the hand drawn, gridded paper. This methodical process is central to the work and according to Tilley, the series represents an order she is able to impose on the natural world.

▶ TANMAYA BINGHAM: WINNER IN MIXED MEDIA WORKS AT 'WIDE OPEN 2'

Congratulations to Tanmaya Bingham whose work, 'Royal Kebab 1' (pictured left) won the mixed media category of the 'Wide Open 2' show at the Brooklyn Waterfront Artists Coalition in NYC. The exhibition, whose jury included Nat Trotman the Associate Curator of Contemporary Art at the Solomon R. Guggenheim Museum, received close to sixteen hundred entries from which only ten percent were accepted. 'Wide Open 2' is on view until 27 March 2011 at the Brooklyn Waterfront Artists Coalition.

Bingham's work is concerned with her own "psychological, sociological and genealogical patterns".  Her narrative work is personal and "investigate the mechanics of human dynamics and the neurological processes that create patterns in our daily lives of which we are often not aware."

Left: Tanmaya Bingham, 'Royal Kebab 1' 2010,
colour pencil + mixed media on board, 38.5 x 38.5cm