Barnaby Smith is a critic, poet and musician currently living on Bundjalung country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale.
“I use green in my work often as a metaphor for greener fields,” he says. “My grandparents immigrated to Australia for this very reason. To create a better life for themselves and their children.”
Nicola Moss’s collaged works represent a soulful and civic-minded inquiry into the importance of green spaces amid congested urban environments.
“In this new body of work my paintings focus on houses that were influenced by the trend of modernism that crept into the suburbs, mainly in the 1960s,” says Sweaney.
“Their works speak to their particular interests,” says Murphy, “which are indebted to the ancient traditions of a long existing culture, but that also look outside this to Western art.”
Any visitor to Nicola Hooper’s Zoonoses exhibition will be immediately confronted by a gigantic mosquito and a gigantic tick hanging by fishing line from the ceiling.
“I wanted the cities to become complicated, towering machines floating in toxic soupy skies.”
Blak Design Matters has been curated by Jefa Greenaway, a Wailwan and Kamilaroi man, who told Barnaby Smith about the mission of the exhibition and how it came to be.
A unique and unprecedented collaboration between four galleries in the Hunter region, the Hunter Red suite of exhibitions aims to celebrate the Indigenous culture, social diversity, iconoclastic spirit and creative flamboyance of this growing area of NSW.
One of the most intriguing highlights of the Next Wave Festival 2018 is actually not, strictly speaking, an artwork by one of the more than 40 creators selected to participate in the showcase of experimental art.
Everyday Shrines asks the question: what would it look like if Thai superstitions and rituals were applied to Australia’s national icons?
Barnaby Smith spoke to Cigdem Aydemir about the politics of her work, #illridewithyou, and the legacy of Tracey Moffatt.
Standing in front of Leora Sibony’s Industrial Relations at Lismore Regional Gallery it is hard not to be reminded of some of the Dada-infused German art of the 1920s.
