Dreams and the subconscious are themes Joel Crosswell returns to often. His drawings and sculptures reference biographical events with a dreamlike sensibility where abstract elements of the natural world filter through his images.
Lisa Sewards’s interest in parachutes stems from family lore. Her mother, who spent several childhood years in a European refugee camp, related a memory from that time of finding a silk parachute left over from the war.
ACE Open will exhibit Waqt al-tagheer, a show which ponders temporality while amplifying the voices of Eleven, a new collective of Muslim Australian artists.
Dark Imaginings: Gothic Tales of Wonder spans rare books and music, and further includes prints by Henry Fuseli, Salvator Rosa, G.B. Piranesi, Francisco Goya and Charles Méryon.
Present, curated by writer/curator Kate Britton (who is also the director of Art Month Sydney), brings together a group of unrepresented artists: Kalanjay Dhir, Caroline Garcia, Get to Work, Samuel Hodge, Claudia Nicholson, and Athena Thebus.
The genesis of the group exhibition Slide Show was a box of slides found by the artist Elly Kent in a deceased estate sale.
A fascination with distorting the grid underpins both current exhibitions at Flinders Lane Gallery: Zero Zero Zero by Richard Blackwell and Particle Fever by Dion Horstmans.
The New Alchemists are “Some of the most engaging artists working internationally in the cutting-edge fields of art and science today”
If you ask Dana Lawrie about the title of her latest show Grasp The Nettle, the artist replies, “It’s about approaching something unpleasant, but approaching in a way that’s brave. It’s about doing something as a way of accepting a certain thing, or learning more about it.”
The work of Hilarie Mais presents an uncommon combination: the geometric and abstract married – unexpectedly, successfully – with the atmospheric and the organic.
Immigration, displacement and memory are the impetus for a new series of embroideries by Adelaide-based artist Nina Frigault.
Working between 1988 and 2005, Çerkez’s practice is heavily conceptual, containing doses of minimalism and the aesthetics of late modernism.
