The Museum of Water is a mosaic of the universe
UK artist Amy Sharrocks describes the Museum of Water as “A mosaic of the universe that cherishes voices and careful listening.”
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UK artist Amy Sharrocks describes the Museum of Water as “A mosaic of the universe that cherishes voices and careful listening.”
The works confront you in the foyer of the gallery; large, gestural paintings of a central figure, a fleshy man whose red mouth full of teeth is mirrored by the red toothy snarl of the black dog.
When Tobias Spitzer from Newcastle Art Gallery came across a large painting by Warren Knight with the “mysterious title” Do-to kal 1969 its greyish tones became the starting point for the curatorial project Grisaille: Shades of Grey from the Collection.
Darwin-based Franck Gohier’s retrospective at the Museum and Art Gallery of the Northern Territory, A Thousand Miles from Everywhere, showcases the past two decades of his practice.
In Experimenta Make Sense: International Triennial of Media Art you will find: a lightbox representing the entire universe; a dark room of floating figures; and the slowed-down breaking of a single wave, mapping the step-by-step shift as the water eventually crashes.
In Isaac Julien’s film Looking for Langston we begin at the end: a funeral. Well-dressed men and women sob, tears running down their cheeks.
Jon Campbell’s practice is characterised by an avid interest in Australian vernacular, local and national iconography, popular cultural, colloquial sayings, graphic design tropes, vivid colours and negative space.
Showing at PS Art Space, the exhibition is the second instalment of the duo’s three-part Migratory Projects, which, as the name suggests, broadly deals with the aesthetic representation and experience of migration.
Black Magic explores queer Aboriginality from a critical perspective with a playful approach.
Tupou is known for his interest in pattern and repetition and vibrant images, originally inspired by his explorations of family, culture and identity in the Pacific.
Phillip England is a former population geneticist with the CSIRO. He took up photography five years ago and most of his images are produced with a large bellows camera.
Exquisite, faintly ominous ceramic objects merging plants and insects are at the centre of Angela Valamanesh’s exhibition Everybody’s Everything: Insect/Orchid.
