Nyapanyapa Yunupiŋu’s practice defies easy categorisation. The Yolŋu artist is known primarily for her bark paintings but she has also made ghostly fields of larrakitj, drawn on acetate, worked in multimedia, recycled materials and sculpted animals from beach hibiscus. Continue reading “Nyapanyapa Yunupiŋu”
Ali McCann’s photographs explore light, colour, space and form. Much of the tension comes from the way she contrasts solid objects with reminders of the ever-shifting nature of pedagogy, fashion, knowledge and memory. Continue reading “Ali McCann”
Patrizia Biondi works with discarded cardboard but, as she says, “it’s treated as if it was a precious material”. She labours over every piece—cutting, sanding, gluing and cleaning, often multiple times over. “I treat every little piece of cardboard with dignity.” Continue reading “Patrizia Biondi”
In the group exhibition Hi Vis, fashion is used to arrest attention and focus it onto complex political ideas. This show at Casula Powerhouse Arts Centre presents a mix of video artworks alongside wearable sculpture, outfits worn by performance artists, and fresh fashion from Western Sydney. Continue reading “Hi Vis”
Atong Atem’s commanding works examine the power dynamics embedded in photography, the role of the photographer, and postcolonial and diaspora narratives.
In photographic portraiture, “there will always be some kind of imbalance, even with collaboration,” she says. “I’m interested in how we can challenge the way that power has historically been wielded.”
Full story in the print edition of Art Guide, January-February 2020. Cover artwork is Atong Atem’s Self Portrait in Blue, 2018.
Renee So began working with ceramics around the time she moved from Melbourne to London in the mid 2000s. “I was doing lots of research into European trade in the 1700s,” she says. “European trade with China and porcelain were a big catalyst for that and the subsequent ceramics industry in Europe, so I became interested in that material. It had this Chinese identity and provenance…It was sort of the first thing about China was desirable to Europe.”
Full story in issue 91 of Art Collector. Portrait pic by Richard Eaton.
“Most of the work I do starts with drawing,” says Tom Blake about his wide-ranging practice. These drawings are then fragmented and redrawn, and the new compositions incorporated into cyanotypes, hand-etched desilvered mirrors, mobiles and installations. […] “The repetition is key for me. Continue reading “Tom Blake”