Image: Megan Walch
‘What Goes Up’…. (detail)
Acrylic, enamel, oil paint, glitter on wood panel
70 cm x 280 cm,
‘Lineage of Eccentricity Stage 2’
This is second exhibition in the series titled ‘The Lineage of Eccentricity ’ Megan Walch
'Eccentric art’ has been a recognised category of Japanese art history since the 18th Century. Japanese Art Historian Tsuji Nobuo coined the term ‘Kiso no Keifu’ (The Lineage of Eccentricity) in his 1970 book of the same name. Nobuo’s definition embraces unconventional notions of beauty in painting emphasising the grotesque, a love of nature and the use of humour in imagery.
‘The Lineage’ is a new framework for developing an Australasian vision in art; one that prioritises a pan-Pacific diaspora. The etymology of ‘eccentricity’ is rooted in the Greek for ‘off centre’ and it is at a distance from Europe and the US that globalisation’s cultural mutants result in new forms of expression.
My appropriations and mutations roll back a long history of east-west mutual plunderings that date back to the Chinoiserie decors of baroque European homes. Using the mutable medium of paint fixed as fluid I generate worlds that are made lush with Dr Seussian flora.
By placing pressure on painting’s traditions I aim to exploit the extreme plastic conditions of the medium to cross cultural as well as aesthetic boundaries of form
Megan’s work has been exhibited in the United States and Australia, including
Wilderness, curated by Wayne Tunnicliffe at the Art Gallery of New South Wales, 2014, Kindle and Swag - The Samstag Effect, curated by Ross Wolfe, University of South Australia Art Museum 2004, and Primavera 2000, Museum of Contemporary Art, Sydney.
Megan is a Samstag Scholar and an alumnus of the San Francisco Art Institute, USA and Skowhegan School of Painting and Sculpture, USA. Megan has had residencies in the Space Program, New York, 1998 in an Australia Council studio at Taipei National University for the Arts, 2002, and with Asialink at Khon Kaen University, Thailand, 2004.
She currently lives and works in Hobart, Tasmania.
Image: Lucas Grogan, Welcome Home Babe, 2015 (detail)
Needlepoint quilt, cotton and upholstery fabric 200 x 170 cm
On 17/10/2015, at 10:13 AM, harriet body wrote:
PRIVATE ISLAND Lucas Grogan
Lucas Grogan has created a needlepoint quilt, PRIVATE ISLAND, as the central piece for his new body of work that explores the central metaphor of islands. At once islands are paradises, places of sanctuary and peace, though at the same time they can also be places of isolation and detention. Today it is near impossible to exist apart of one another, the sharing of information an inherit part of our current interconnectedness. No culture, like no man, is an island unto itself. PRIVATE ISLAND acts as both a safe warm refuge and as a proactive shield-like second skin. His works acts as both a microcosm and macrocosm, the duel ability of the work to be at once an autobiographical narrative and a cultural history.
MOP Projects is assisted by the NSW Government through Arts NSW
Image: Anna Peters, Too crazy to care, 2014,
acrylic on canvas, 100cm x 100cm
Paintings and Jokes
Anna Peters is showing a new group of work at her upcoming exhibition at MOP Gallery from November 10 to 27. The work includes paintings and jokes. She prefers not to explain either. The jokes are printed on A4 photo paper and use drawing and photography. They are presented separately from the paintings, though the two have influenced each other.
Anna Peters is a Sydney based artist whose practice encompasses both paintings and jokes. Peters graduated from Sydney College of the Arts with first class honours in 2003 and has exhibited widely in Australia and overseas in solo and group shows.