Sarah Eddowes' practice is centred around the expression of the passage of time through the versatile medium of wax. The work can be divided into the Static and the Moving; the Static capturing a moment within a process of transformation; the Moving bringing the image to life through the medium of animation. While directly depicting various processes unique to the material, the work often harkens to more universal processes of growth and change, rooted in the bodily, the geological and the cosmological. In 2008, as as part of her Bachelor of Fine Arts at COFA, Eddowes completed a university exchange at the École Nationale Supérieure des Arts Décoratifs in Paris. She has been part of group shows at Airspace, Marrickville, a finalist in the Jenny Birt award, and the Charlatan Ink Art Prize, New York as well as being the Waverley Council Artist in Residence in 2012.
Studio Sedimentary 02, 2016, wax and oil paint, 21 x 27 cm
Sarah Fitzgerald is currently completing an MFA (by research) at the National Art School. Sarah’s practice includes painting, sculpture and installations that respond to the conditions of particular sites. Her masters thesis looks at contemporary site specific art and the connections to architecture, in relation to issues of place and identity in contemporary society. Sarah worked as an architect before committing to practicing full time as an artist, and while she has made art all her life, her recent artistic practice is particularly influenced by her architectural background.
She completed a BFA with honours at NAS in 2014, where she received the following awards as an undergraduate: 2013 BFA Graduation Art History and Theory Prize, runner up and the 2013 Painting Department Residency at The Newington Armoury. She has been an AGNSW ‘Students Speaks’ public speaking competition finalist, as well as a finalist in Dank Street Galleries Award for Art Criticism in 2013.
Whilst undertaking her masters she has exhibited at Sculpture by the Sea in 2015, as well as group and solo shows at Articulate Project Space, Gallery Klei, and The Incinerator Art Space, where she was also awarded The Willoughby Visual Arts Biennial Mentoree Prize in 2015.
Arch, acrylic paint, mdf, and brick, 2015.
‘FERAL 5’, Articulate Project Space, Sydney
This work was made as part of a group show that invited artists to respond to other works in the gallery space as part of an evolving and changing exhibition that lasted for six weeks. Arch was made to contrast the heavy industrial column and beam construction in the gallery space. It was also intended to jump of the wall, bounce down the stairs and playfully reach out towards the other works of art in the space.
X, 2015, Timber plywood, LED lights, Tamarama Beach
This work, made for Sculpture by the Sea, takes a common universally recognisable sign, and locates it in a place and at a scale that is unusual. As a sign it has a multiplicity of meanings; it is a signature, a wrong answer, buried treasure, a letter of the alphabet, multiplication, the crossing of paths at an intersection, a kiss. However a cross also says “I am here” it marks a location, a landing spot on the beach and in this context it alludes to the claiming of a place.
Redrawn, 2015, acrylic wall paint, The Incinerator Art Space, Sydney,
This series of wall paintings were made in response to the iconic Incinerator building designed by Walter Burley Griffin. The work translates the architectural plans, sections and elevations of the building as well as details of the interior space, into an abstract series of wall paintings that wrapped around five of the walls of the exhibition space. The work was made as part of the group show ‘The Art of Architects’ at Incinerator Arts Space, curated by Venita Poblocki for Willoughby City Council
Peer through a curtain, trace the seam, discover the crack to view what is hidden from our familiar world. Hogan’s practice performs the everyday to reveal what we take for granted. She engages the viewer with the partial object, haptic sensibility and duration in performative experiences which are informed by feminist methodologies. A mother, grandmother, teacher and artist, her personal experiences and family are often the basis of her artmaking. Elements of art and politics entwine in her visceral and often disturbing works. Her work is represented in several private collections and has been exhibited in numerous group shows, including You Are Invited at Watters Gallery, East Sydney, 2016; Have Your Say, Articulate Gallery, Leichhardt, 2015; The St George Bank Post Graduate Exhibition, Darlinghurst, 2014. Her performances have been held as part of Georgia Saxleby’s entry, Brake, in the Blake Prize, Casula Powerhouse, 2016 as well as numerous public events within the National Art School. She received the Mansfield Ceramics Prize in 2015. Hogan is currently completing an MFA at the National Art School.
Pieta (mother and daughter), 2016, digital Print on Ilford Smooth Pear Paper, 29.5 x 42 cm.
inscribe, 14th August 2014, performance, 45 minutes. National Art School, Sydney.
Elizabeth Rankin spent her childhood in Bilpin in the Blue Mountains and has lived in Sydney and in Jersey, UK. Prior to becoming an artist she taught English literature. Her practice is drawing based and has evolved to include animation as well as mixed media collages and drawings. Rankin’s work explores darkly romantic and uncanny worlds within the genre of noir. Her work comments on Australian society and culture through the telling of tales. She is drawn to the more fallible and vulnerable side of human nature played out in the theatre of crime. Rankin’s work was exhibited at the Robin Gibson Gallery (2013) and at the Dominick Mersch Gallery (2015) in group shows. She was the recipient of The Chriissie Cotter Gallery Exhibition Award (2014) and has worked in artist run initiatives in group shows (Articulate, 2015) and solo exhibitions (The Corner Gallery, 2016). She has exhibited in the Jean Bellette Gallery, Hill End (2015) and was a finalist in the Mosman Art Prize and Gallipoli Art Prize. She was part of the NSW Art Gallery Speakers Program and in drawing symposiums for the National Art School. Her work is held at the National Art School and in private collections.
'Attack of the Gulls', 2016, video still from Somerton animation, 2 mins 11 seconds
Orange Head, 2016, charcoal, wax, oil stick, 152 x 102 cm
One of 20 large inverted heads
The Boxer Collage, 2016, acrylic on plastic 2016. Dimensions variable.
This collage is part of my MFA body of work. The installation is 3 metres by 3 metres and consists of 6 pieces overlapping as a moveable mural.
Murat is a Turkish-born Australian visual artist, who lives and works in Sydney, Australia. His practise centres on the place of portraiture within Postmodernism and while happy to explore the tradition of androgyny and gender-bending in portraiture, he will also take on questions on equality, heteronormativity, justice, fairness and love and resolve them with respect, honesty and irony - and usually with a generous sousing of good humour. Unique to his work is the tension he creates between two very distinctive styles – the gradual building up of form and shape, layer by layer in a traditional painterly style, redolent of the Old Masters is contrasted with and complemented by the deliberate and repetitive lines of patterns and shapes taken from Australian native flora and adorned with Turco-Persian ornamentation. This leads to gloriously opulent and vibrant paintings, which all in all form a riotously camp celebration of plurality. Murat graduated from the National Art School in Sydney with a BFA (Hons) degree in 2014, and is currently completing the final year of the two-year MFA (Research) Degree Program at the same institution. His work has been exhibited several times at Robin Gibson Gallery and Stacks Projects.
An (un)Suitable Boy, 2014, oil, acrylic, enamel, glitter, liner and rhinestones on canvas, 101.5cm x 198 cm
Adam & Steve, Thanks Albie! (After Albrecht Dürer), 2015, oil, acrylic, enamel, liner, rhinestones, sequins, glitter and gold leaf on canvas, diptych, each 101.5cm x 198 cm
“Z”, 2016, oil, acrylic, enamel, liner, rhinestones, sequins, glitter and gold leaf on canvas, 121.5cm x 198cm
Joe Wilson (b. Sydney, Australia) is an emerging artist that lives and practices within his local community. His work centres on painting as a disciplinary field. Wilson is a MFA by research candidate at the National Art School, Darlinghurst, Sydney. Wilson’s practice engages the presentation of art, modes of display, and the exchange of agency that is inherent to varying sites, curation, and ownership. His MFA research investigates the receivership of art through digital mediums and the consequential impact on traditional notions of original objects. The studio outcomes of this current project seek to demonstrate through critical painting that artworks are trans-substantiated by their multiple appearances online, and their multiple staging in physical sites; where in each circumstance an artwork is heterogeneously instantiated by new agencies of control and appearances. He has exhibited extensively in his locality through commercial and artist-run initiatives, with 8 solo exhibitions. He work is held in the collections of St. Vincent Hospital, and Allens Arthur Robinson. His work has been supported throughout Sydney by private collectors, and internationally in London, New York, and Los Angeles.
Interior & Exterior Landscape, 2015, acrylic paint on polyester and cardboard. Photograph: Anna Cuthill
From the Trans-aesthetic series, 'Interior & Exterior Landscape' performs a kind of disappearing by emphasising the transitive passage that highlights the mobility of paintings, and by deferring their aesthetic attributes. Repetition though reproduction is used to argue against the privilege and precision of discreet objects.
Large Painting in Six Parts, 2014, acrylic paint on canvas, 160 x 1000 cm (total). Photograph: Chris Bennett
This image has been digitally altered to include two instantiations of the painting on display, (right side) in full and aligned to read as a landscape, and (left) minus one part adjusted perpendicularly to read abstractly.
Domain, 14, timber, polyester, and acrylic paint, 340 x 500 x 340 cm. Photograph: Tawfik Elgazzar.
Domain engages with the interrelationships generated between notions of outside and inside, frame and painting, gallery and artwork. The work highlights an ‘architecture of display’ to collapse and invert the material and conceptual thresholds of painting such as surface, and frame.
Jeffrey Wood. (b. 1965, Melbourne, Victoria.) is an experimental artist whose practice is informed by quantum phenomena and a deep appreciation for the nature of technology. Painting, sculpture, installation and performance are all actively employed in his works, which are humorous, interactive and subtle. He raises questions about emerging technologies and artificial intelligence, and the effect they could have on society. Wood's own childhood growing up on a remote wheat farm in Northern Victoria, having access to machinery, tools and the freedom to experiment, permeates his practice today. He has exhibited solo work and participated in group exhibitions spanning several decades, including NSW State Parliament House in 1996. His work is part of the McDonald's Collection. In late 2001 he suffered a serious work injury and broken back which interrupted his artistic career. In 2011 He started his BFA at the National Art School where he is currently completing an MFA.
Dumb Robot, 2016, mixed media, found objects, semi autonomous painting machine. 190 x 120 x 95 cm. UNSW COFA
Brushbot, 2016, brushbox, polystyrene, timber and digital frame, 180 x 40 x 65 cm.(Holographic brain not shown in this picture)
The Gleaners, 2016, watercolour on paper, 1 of 12, 31 x 21 cm
Isobel Parker Philip
Isobel Parker Philip is a writer and curator based in Sydney and is presently Assistant Curator, Photographs at the Art Gallery of NSW. Her first solo curatorial project at AGNSW, Imprint – photography and the impressionable image, was held in the Photography Gallery from 6 February to 18 May 2016 and her most recent exhibition, New Matter – recent forms of photography, opened 10 September 2016.
Isobel has independently curated exhibitions at UTS Gallery, Firstdraft, MOP Projects, Sydney Guild, Breezeblock and the Villa Alba Museum, Melbourne. Her written work has appeared in un Magazine, Runway, Das Superpaper, Try Hard Magazine, RealTime among other publications and she has written focus essays and catalogue texts for numerous artists including Robyn Stacey, Anne Ferran, Polixeni Papapetrou, Justine Varga, Nick Dorey, Anna John, Deb Mansfield and Clare Milledge.
Against a degree of blindness Anna John, Del Lumanta, Justine Varga, curated by Isobel Parker Philip 22nd July - 16th August 2015, MOP Projects. Photo: Doqument