Published in Art Collector, Issue 89, July-September 2019
Teelah George is no stranger to repetition. Her embroideries are shimmering fields of colour, built up stitch by stitch over many long hours. Despite the time taken to make them, they often feel like drawings, with the stitches forming drifts of tiny lines across the linen. Continue reading “Alternating currents”
Published in Art Collector, Issue 88, April-June 2019
Kenny Pittock often lights on objects that are kitsch in the sense that they are valueless or disregarded, but he draws out unexpected lateral associations that give them new meaning. Continue reading “Word play”
Published in Vault, Issue 26, May-July 2019
Thrilled to write Vault’s cover story on Nina Chanel Abney.
“Confounding viewers’ expectations is one of the great strengths of Nina’s work,” says Marshall Price from the Nasher Museum of Art. Continue reading “Eyes to the front”
I had the chance to travel to Shepparton for the opening of Raquel Ormella’s major touring survey exhibition, and got to spend time with the artist for an Ocula Conversation.
When I was editing Art Collector magazine, the January issue always meant crazy times. So many stories and pic requests and photo shoots and balls in the air.
This year, as a freelancer, I have to say I loved working on the special summer issue and it was an absolute pleasure to contribute pieces on Kushana Bush, Monica Rohan, Yhonnie Scarce, Deb Mansfield and Noel McKenna.
And, of course, I love the Patricia Piccinini cover! I can’t wait to get Brisbane to see Curious Affection.
How does that old Joseph Heller quote go? Just because you’re paranoid doesn’t mean they aren’t after you. Ben Rak, the printmaker behind Aura: Repetition, Reproduction and the Mark of the Artist at the Manly Art Gallery & Museum, does seem a little touchy. Why else would you take on all the things that have traditionally dogged printmaking as a medium?
Full exhibition review over on Art Guide.
Excerpt of a story published in Art Collector, Jan-Mar 2015
Tomislav Nikolic insists his work doesn’t reproduce well. For him, painting is a three-dimensional object and photography only flattens it. For his last exhibition at Jensen’s Sydney gallery, he applied multiple layers of transparent colour washes to paper. “By applying dozens or even hundreds of coats of paint it builds up a density and a body of colour. When you’re looking at what looks to be one solid colour, you’re actually not looking at the surface, you’re looking through hundreds of layers of paint,” he explains. Only by looking at a work in the flesh can you get the experience of “how that colour and that pigment and that medium behaves,” he says.
Continue reading “Tomislav Nikolic”