Image: Nicola Smith,
The Apprenticeship of Duddy Kravitz, opening scene
oil on board , May 2015, approx 45 x 55 cm
Nicola Smith Picturedrome
Working from film stills and other people’s paintings, Nicola Smith makes the same pictures time and time again. This show sees a new series of paintings in oil alongside recent colour lithographs. We follow an amateur marching band in the opening scene of The Apprenticeship of Duddy Kravitz (1974) as it weaves its way through the back streets of Montreal’s Mile End; before turning once again to Baptiste in the film Les Enfants du paradis (1945) as he picks up his boutonnière, dropped to the floor of the Rouge-gorge just moments before.
Nicola Smith graduated from The National Art School, Sydney, in 2002, and in 2013 did her Honours year at the Tasmanian School of Art, Hobart. She was an artist in residence at the MacDowell Colony, USA, in 2010, and has had studio residencies at Contemporary Art Services Tasmania (CAST), and Lennox Street Studios, Sydney. She is on the board of Inflight Artist Run Initiative, Hobart. Recent group shows include I am Satan, Hell Gallery, Melbourne, and Panoply, Sawtooth ARI, Launceston.
This is her fifth show with MOP.
Image: Eric Niebuhr, "Lifted", 2014,
Oil and acrylic on canvas, 183cm x 137cm
Photographer: Alex Wisser
Not Found Eric Niebuhr
Using images from news footage that search the visual and emotional, Eric Niebuhr’s exhibition Not Found is built around events where moments surrounding mortality are depicted but not explicitly defined. While the sourced images have specific narrative purposes, the suite of paintings vary in degrees of abstraction and representation in order to create an indefinite reading with broader possible interpretations and further abstract qualities.
Born in Texas, Eric Niebuhr moved with his partner to Sydney from Los Angeles in 2011. Having shown in the US and internationally, this is Eric Niebuhr’s first exhibition of paintings in Sydney. For over twelve years, Niebuhr has worked with images that already exist in media as surrogates to inform the moods and formal situations in painting. During this period he has continued to explore pooling areas of paint next to flat or rendered areas in order to give a physical painting presence that would not have existed in the original form.
MOP Projects is assisted by the NSW Government through Arts NSW
Image: Charles Dennington, Stick Figure. 2013.
Wood, glue, gouache. 7cm high (dimensions variable).
Face like Figures, Floored
In "Face like Figures, Floored" Charles Dennington uses various materials to illustrate an abstract relationship between the self and “others”. In doing this, the artworks inevitably become imitations of the self. The installation floor becomes an analogy to where we live our lives, frame like faces reference whole figures. The intangible nature of material existence (and the perception of the individual) is mapped out in scant forms composed of networks of thin floating beams.
The resulting forms are imperfect (and at times entropic) objects, altered by the energy of the body and discarded, appealing to pathos as the means for their discovery and in turn their existence.