Image: Michael Moran, ‘BUST’ (detail), 2009, ink on paper, courtesy the artist.

GALLERY 1

Busts and Bust Drawings
Michael Moran

This exhibition presents a series of small busts, each made of glue. For each bust there is a corresponding drawing, done in the style of an 18th Century silhouette.

Michael Moran is an artist who works across drawing, photography, sculpture and performance. He has exhibited widely nationally and internationally.

Image: Samuel Hodge, Ryan trying out Ben, 2009, C-Type print, 30 x 45"
Edition of #1 (including negative).

GALLERY WALL

Oh My God! What Have I Done?
Samuel Hodge

“Hodge’s photos seem to come into being on a different clock, a schedule both at odds with his day-to-day life and firmly embedded within it. The camera, often, isn’t even there. It’s not in his bag, nor is it slung over his shoulder. Recently, on a spontaneous combustion trip to Melbourne, a few of us, his friends, noticed the camera at his feet one afternoon. I didn’t see it again. That’s partly why the photographs he takes are so compelling. Often, they’re very casual, a snapshot of twilight outside a window, and then another snapshot of twilight outside the same window, and another and another. Within the context of the rest of his work, one wonders if there’s another man in the apartment behind Samuel – his feet sticking out of a blanket perhaps, or a girl making tea or petting a small dog. The photos drift in and out of each frame, a rambling life caught up in a moment of stability.” – Kate Jinx

Samuel Hodge is a Sydney based artist working with analogue. He has exhibited at several artist run spaces such as Firstdraft and Chalkhorse. To date he has published 3 monographs of his work. These are distributed internationally. He has also had work published in several national and international publications.

Image: Marisa Purcell, portrait of the seeping through, a painting in 108 parts, 2010,
Acrylic and oil on ply and linen, Dimensions: 8 metres overall.


GALLERY 2

Portrait of the Seeping Through
A painting in 108 parts
Marisa Purcell

How do you perceive a world without a centre, without a bottom or a top?

Bodies, objects, figures relate to each other through momentum, inertia and magnetism.
They are displaced. There is no certainty, no gravity.

Trees fly.

Memories inhabit the same space as objects that seem real. Dreams become bodies that live in rooms and sit in chairs.

Nothing is static.

Systems are formed by everything attracting and repelling with everything… pushing and pulling into a representation that is constantly forming. This world is never created, it is permanently in creation. There is no past, time is in motion, everything in this space is in motion.

This relativity cannot be captured or represented; perception itself is in motion, is relative.

Painting this perception puts into question the premise of the painting. Where does the painting begin, what is its end. And perceptions – like the paintings – are numerous and relative, collecting and uniting – through the presence of the viewer – into a universe.

Marisa Purcell completed a Masters of Visual Arts at Sydney College of the arts in 2008. Her dissertation, ‘Ancestral Spaces: Time, Memory and the Liminal experience of Painting’ was published by VDM in 2008. She has been the recipient of numerous grants, including a studio residency in Zurich and a 6 month residency at the Cite Internationale des Arts in Paris, and most recently an Australia Council for the Arts New Work grant to travel to Europe and Turkey to research spatiality and temporality in pre-renaissance and eastern painting. Marisa has exhibited in Australia, Zurich, Paris, Hong Kong and appears in numerous collections.