Roh Singh’s exhibition, birdsong, draws upon the alluring motif of birds provides rich links to numerous metaphors, symbols and themes of death, fragility or freedom. They can be read as spiritual, totemic or as avatars. Birds also serve as national emblems and are endemic to a region and it’s identity. Hearing the song of a specific bird has the ability to trigger a memory of place akin to a unique smell reminding you of a childhood location. A bird’s song is call and response, a territorial declaration. birdsong is a suite of works exploring a collection of imagery from my two disparate cultural backgrounds.
Singh's practice has often sought to play with an intangible space of sorts – one where two opposing factors present a conundrum. Like the space between positive and negative forms, where neither and both exist simultaneously. This series of cross-cultural mash ups continues this examination of a place where neither can exist wholly.
In Defence of Optimism
Back to the Woods
This exhibition Inhabit. by Cameron Gill explores the loose documentation of place inhabited by the artist; a small cottage surrounded by tall pines, tucked behind the Wombat State Forest. In creating these works on canvas he pays homage to this area, to its darkness, it's density, openness, and it's light.
Cameron Gill is an emerging artist from Melbourne Australia, whose studio practice is currently based out of the defunct Daylesford Abattoir. Gills practice is project based, working predominantly with paint, in one style or another, depending on the nature of the project.
Personal photographs are often the starting point from which works evolve in his studio, however paintings and painters, past and present, wanderings, and chance, help move his paintings away from photography to talk more about painting itself.
Gill is interested in what it means to be an Australian painter, if that's even important, can you avoid it, would you, why, how do you paint an Australian idea, what the hell is an Australian idea, its perhaps not so important to answer these questions, but to grapple with them.
A new interest in the natural landscape has dominated his practice of late, however this shift from suburban to rural landscapes still holds at its heart a quiet celebration of the ordinary.
Bajka, [bye-ka], means fable or fairy tale in Polish.
Kasia Fabijiańska takes us back to her childhood in Poland where she spent memorable days in forests making cubby houses, in the fields (flattening a neighbour's wheat crop to make mazes), collecting feathers, flowers, berries and mushrooms. These are some of Fabijiańska’s most vivid memories that feed into this body of work.
The prints and drawings inquire into the ways one connects with nature and the land through culture, food, stories and myths during childhood. The artist reflects on the common ground between her experiences and the indigenous Australian cultural connection to Country.
The artist notes that “every time I am back on Polish soil, this connection to land floods back, despite being away for 32 years. Experiencing this country and getting close to it through nature is one way I can create new bonds, fragile like fresh connective tissue sewing together a wound. Tied to an interest in environmentalism, this exhibition is an inquiry into the mechanisms that elevate nature to a more important level on an intimate and individual basis. This connection is what fuels a drive to protect the environment and the art is part of my activism.”
PAST EXHIBITIONS . 2017
Sports is a Kyneton Contemporary Inc project.
Competition and collaboration are cultural currents that are neither at odds nor in complete partnership with each other. They are tendencies that are most clearly at play in the field of sports and find a particularly aesthetic expression in this terrain. Sports brings together the work of eight contemporary artists whose work delves into the complex character of this popular human endeavour.
Sports is a Kyneton Contemporary Inc project.
Even The Golden Ratio Can Make Me Feel Blue
This exhibition was presented by the McFarlane Fund
Jordan Grant is the inaugural recipient of the Kyneton residency of The Macfarlane Fund. A recent RMIT Fine Arts graduate, his painting practice inhabits a romantic, expressive sensibility as a form within which to explore our complex and ambiguous relationships with images and stimuli.
His recent body of work investigates apophenia (the tendency to perceive meaningful patterns within random data), as a coping mechanism to distil the torrents of information the contemporary subject encounters on a daily basis. Depictions of found patterns interrupt the gestural surface as symbols of this human rationale, and sit within abstractions of landscape as well as references to various painters of influence, in particular Caspar David Friedrich. Friedrich’s notions of the sublime are summoned as a counterpoint to the various decorative motifs, where order and pattern-cognition are eschewed and the infinitude of the natural world is all-consuming.
By apposing the ambiguous schema of the sublime and the geometric spirit of rationalism, the painting surface becomes a space for open contemplation as much as affective impetus.
In the midst of infinite births and deaths, in the midst of decay, leaves falling from trees, and waves on the sea—all the infinite chaotic events that randomly occur in the universe—the only stunning and unexpected thing is our inexhaustible craving for sense, harmony, and order.
-Franco ‘Bifo’ Berardi
This show is dedicated to Rhys Cauzzo, dear friend and author of the show’s title.
Anthropoetics of Space
This work represents the relationship between cultural landscapes and the natural ecosystem. A hybrid ecosystem simultaneously resembles a semi functional apparatus, the model of a utopian city and a biological experiment. It also conflates a number of ideas around the themes of the studio and the laboratory and in turn social and environmental politics.
Neil Malone’s artworks use process as both method and subject. These works explore the synergy existing between the ideas of disintegration and renewal .
By using pressure, reduction, replacement and repetitious mark making this exhibition explores “time taken” as a means of visual connection.
Real Life has so much Light
Real Life Has So Much Light is a collection of works made over the last two years from different locations in India.
Family and friends who sat for these works became active participants in creating the scenes depicted.
Exploring personal narratives, these works use a docu-fiction approach to create an anthology of intimate constructed moments.
Set in a hypothetical reality in which India has taken over Australia, Kwality Chai is a playful and subversive exploration of cultural imperialism in a distinctly Australian context.
Whilst exploring the post-painterly and sculptural arenas of minimalist construction, Aftermarket is a product of Basil Papoutsidis’ aesthetic fanaticism with material behaviours and the applications of custom automotive culture. Formal experiments explore the introspective quality of material deconstruction, examining object hood in space in the form of rigorous formal experiments. These experiments exist three dimensionally, yet reference the platform of the image and linkage between the format of painting and dimension of sculpture.
Mine - Yours
Robert Hague’s imagery plays on the (im)permanence of historical objects, the ambiguities of their meanings, and the cultural associations of their forms. His prints are immediately attractive but harbour contradicting layers that deepen the longer one considers them.