Amanda Marburg is “a painter, not a sculptor,” she maintains. Her works might have a starting point in film, fairy tale or riff on a moment in art history, but it’s the modest ‘sketch’ in plasticine that lends a distinctive look to her work and has her reiterating her vocational calling.
In the exhibitions Barkindji Blue Sky and Unvanished, Melbourne based Barkindji man Kent Morris uses digital photography to illustrate how Indigenous culture adapts to change.
Olga Bennett is a Moscow-born, Melbourne-based artist whose practice encompasses an array of mediums that are united by the artist’s keen enquiry into the idea of knowledge.
Tricky Walsh’s exhibition Flatland, at Devonport Regional Gallery, is a scientifically and philosophically rigorous engagement with questions regarding reality, perception and dimensionality.
Embracing the current push led by museums, galleries and public collections to highlight the work of women artists, Lisa Fehily has opened Finkelstein Gallery, an all-female commercial art space in Melbourne.
In his Venice work, We Don’t Really Need This / EMBASSY, Bell has wrapped a replica of the Australian Pavilion in chains (an institutional critique through an architectural intervention), sited it on a barge, and sailed it throughout the Venetian lagoon.
With a practice spanning four decades, Melbourne-based jeweller Susan Cohn makes both highly wearable and deeply political work.
For the new instalment of their Living Treasures series, the Australian Design Centre invited ceramicist Prue Venables to exhibit a new collection of her enigmatic, metal-augmented porcelain objects.
“I was aware that the scale of my work is relative to me. I had created a habituated practice relative to my body size and it was something I sought to extend. I wanted to create larger, more immersive scenes in painting.”
Zoe Freney spoke to Freeman about her interest in everyday objects of mourning and loss, the ability of clay to hold memories, and her use of the brittle poetry of ceramics to create vessels that hold time, space, legends and tears.
“Years later I was walking down the street and I was hit by a wave of that pungent smell that explodes out the back of the garbage truck as it compacts the trash. As aromas of dogshit and grass clippings filtered through me I felt incredibly warm and got goosebumps.”
Millar-Baker uses digital technology to carefully render place through photographic assemblage, layering details found in a landscape to create an alternative narrative.
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