What a treat... going behind the exhibition to see the works in the Gallery Stockroom! It's the place where you can see coveted available works, limited edition works, works on hold for institutions and works that the Gallery Director can't bear to part with!
When I first started working with Galleries, I remember one Director explaining to me that she always bought the last work left in a series or exhibition, which although not purchased in the exhibition was usually the work she most enjoyed. These works often became the most sought- after and valuable works by these artists!
While you are sitting at home in lockdown, enjoy a wander round our Stockroom. We will update this exhibition each week to present all our talented artists, so keep browsing...
Deborah Kelly's Eve...
Presenting three works by Deborah Kelly, part of her ongoing exploration of New Eves (2018-).
As Deborah so beautifully writes -
These works explore contemporary uses of historical imagery, evocation of space, and technical experimentation with collage in combination with inks, pure pigments and watercolours.
New Eves (2018-) recasts the despised figure of the first woman as ancient hope for female learning, as a counterclaim to the malevolent mythologies underpinning Catholic misogyny.
Damning revelations of clergical abuse provide context for this extended meditation on the character of the ‘first sinner’ and her ongoing resonances through human history. She is the original female;
the disobedient woman; the emasculating witch; the threat to clericalauthority; she through whom man fell: all these women are valorised here in faithful revision of masculinist orthodoxy.
As a biblical character, Eve is alone in a world full of men. Her longing for knowledge is the first and worst sin, the fall of our species whose shame is punished still.
Using images excised from discarded books of western art history, this work suggests insurgent female solidarities, women’s defiance of religious oppression; and repudiation of the virgin/whore binary
informing the deathgrip of patriarchy.
These works have a delicate and gentle, yet fiercely strong presence. They provide an essential understanding of Deborah Kelly's work.
Please enjoy them
Fairest of them all from New Eves, 2018
307 x 405
Collage, Japanese metallic and Sennelier honey-based watercolours, pure pigments,
inks on Garza cotton paper
Witchwill from New Eves, 2018
350 x 350
Collage, Japanese metallic and Sennelier honey-based watercolours, walnut ink
on Moulin de Larroque handmade cotton paper
Eve x Eve (Shazzam) from New Eves, 2018
250 x 360mm
Collage, Japanese metallic and Sennelier honey-based watercolours, ink
on handmade cotton paper
Coady, MorphHeadcase series
As our Pop Artist for the 21st Century, Coady explores two important characters in her work, Morph and Dave. Dave is the archetypal Aussie bloke, whereas Morph is full of contemporary anxiety.
Morph is a character dressed entirely in silver lurex, full of angst with the human condition. Through Morph, Coady examines the same self-perpetuating machinery which urges us toward increased levels of consumption whilst also promising us solutions – pills and other medication, the endless exploration of our own psyche, or products that might enhance the pleasure that our bodies are able to offer us and others. Morph exemplifies our anxieties with the pulse of contemporary culture, our addictions and our habits of consumption, whilst questioning our conceptions of self, mind and body and our surrounding reality.
Contemplate the playful, yet ever contemporary... Morph
Stupa City by Louise Paramor...
In our Stockroom, Stupa City (2011-)...
Stupa City was devloped in four sets of works, which will be presented in an online exhibition. From a sneak peek in our Stockroom, we present the glass paintings from this body of work.
As Louise explains...
The starting point is a group of figurative paper collages assembled from the residual coloured paper off-cuts of an earlier work Letters, Lies & Alibis (2004). The shapes of these characters have been increased in scale to form the second set of works, painted onto glass, creating a different sensibility again, where geometric abstraction meets cubist funk.
A delicate balance with incredible skill by Louise
Kate Rohde's Phantasmagorical Sculpture
Growing up in a minimalist, Japanese-inspired home, Kate has always been curiously drawn to a sort of counterpoint aesthetic of lurid colour and intricacy, influenced by mesmerising baroque and rococo design.
As Kate explains, 'These vessels form part of a collection I titled 'Ornament Crimes’ in cheeky reference to the Adolf Loos Bauhaus' essay ‘Ornament as Crime’, that was written at the advent of the modernist era and rallied against excessive decoration, believing it had a degenerative effect on society'. With their ornate detailing, and brave colours, Kate's vessels certainly command attention, and balance delicately between fine art and functional design. 'I’ve always loved really crazy, excessive detailing in art and design, which in some ways has always seemed at odds with what we now consider good taste' she says.
Kate's vessels are inspired by her ongoing interest in natural history illustration, together with baroque and rococo decorative arts. After creating simple drawings outlining the basic design for each piece, Kate models each one in intricate detail in clay - this is where much of the design is resolved. Once the clay model is completed, she makes a silicone mould, and casts each piece in resin. 'Some of these pieces are pretty complex shapes and working out how to make the moulds can be quite challenging' she says. 'You need to find a way of extracting the cast easily from the mould, while trying to put the seam lines in places which can be easily sanded and polished'.
Monika Behrens and Dutch Still Life painting
Monika Behrens researches the rich and complex history of painting, and through her incredible works, presents us with her contemporary influence and interpretation.
As Monika explains with careful contemplation and consideration,
These paintings are contemporary adaptations of traditional 17th Century Dutch Still Life both visually and conceptually. The works focus conceptually on borders and diplomatic relationships between countries. This is expressed through compositional devices that couple components in order to imply these physical tensions – pushing, pulling, leaning, piercing, binding and shadowing.
By depicting familiar inanimate objects within the works, I intend for the viewer to observe their personal surroundings with a heightened sense of imagination, questioning the familiar and re-assess their preconceptions about the current nature of our world. These works explore relationships between anxiety, control, power and inequality.
Motifs from history, popular culture and childhood are employed to invest the paintings with humour and irony that intend to seduce the viewer into considering the paintings deeper socio-political significance.
We invite you to be seduced by these beautiful paintings.