Copy
Last chance to see Melinda Le Guay - installation & sculpture; 'In Tandem' - collaborations & conversations; 'Landscape' - group show; 'Scanlines Remix' - video (final screening - part 3 of 3).
View this email in your browser
This Saturday (May 3) is going to be a busy one for the 2 Danks Street Complex, so keep in mind that free 1.5hr public PARKING is available in Danks Street at both Aldi and Coles

Material Matters showcases a plethora of techniques Melinda Le Guay utilises within her practice, including knitting, binding, knotting, shredding, ordering, containing, reconstructing and hand-colouring. Le Guay explores opacity and translucence in her 'Dark Matter' series, accentuates form through shadow with her work 'Fall', draws attention to texture with a number of works in blue that display an experimentation with Japanese shibori techniques and applies a conservational lens with the inclusion of collected seeds, vessels containing various matter and installations of related items. 'Natural Order', a stand-out work within this eclectic exhibition, sees paper-thin autumn leaves, embellished with copper-coloured thread, vertically encased in horizontal perspex containers. The work draws attention to the strong, vivid colour and delicate corrugated texture of this painstakingly collected and ordered organic material.
Melinda Le Guay, Material Matters, Brenda May Gallery, installation view, 2014
Melinda Le Guay
'Natural Order' 2014
Nyssa sylvatica leaves, cotton thread, perspex cases
diptych, 226.5 x 15 x 8cm variable
$6,400
Melinda Le Guay
'Dark Matter I' 2014
deconstructed black organza
12.5 x 15 x 17cm
$900
"In Tandem greets viewers with bold colour, whimsical narratives and engaging, layered scenes. Occupying one corner are Al Munro's multicoloured structures finished in bold neon hues and glittery stripes, which are constructed with inspiration from Waratah Lahy's paintings. Independently, Lahy offers intimate canvases of distorted views, painted in rich colours and with geometrical forms that pay homage to Munro's use of crystallographic shapes..."
In Tandem, curated by Olivia Welch, Brenda May Gallery, installation view, 2014
"...Captivating audiences with their dual micro/macro effect, Todd Fuller's bot-bellied, ceramic boys and bears embellished with Mylyn Nguyen's delightful figures and miniature worlds display an emerging, yet incredibly simpatico, artistic relationship.  In their 'Double Vision' series, Melinda Le Guay has used erasure where Leslie Oliver has employed colour and form. Le Guay buffed the charcoal background that Oliver filled in and layered with chicken wire, and after Oliver created a field of shape and colour, Le Guay removed tone and visibility, shrouding the piece with hand-knitted thread."  - Olivia Welch, Curator.
Todd Fuller + Mylyn Nguyen
'The forest seemed lighter than boy remembered: The boy seemed taller than the forest remembered but I always knew (but refrained from saying ‘I told you so')' [detail] 2014, pigment + ink on earthenware, 
watercolour on paper,  coir peat,  fibre,  twig,
37 x 17 x 23cm
$3,800

Melinda Le Guay + Leslie Oliver
'Double Vision II' 2014
cotten paper,  charcoal,  galvanised wire - framed
50 x 66 x 1cm (paper size)
$2,800
Landscape is an intimate exhibition that looks at contemporary interpretations of natural and constructed environments. Featuring the entrancing photographic landscapes of Nicole Welch, Peter Tilley's contemplative sculptures, Anne Penman Sweet's alluring miniatures and Melinda Le Guay's linework, alongside these works are Mark Stewart's aerial patchwork canvases, which break detailed scenes into square segments, adjusting the tone of each to create a pixelation of the terrain, and Robert Boynes' immense cityscape 'Black Rain' that captures the electricity and vibrance of an urban environment.
Anne Penman Sweet, 'Micro/Macro' series, Brenda May Gallery, Landscape installation view, 2014
 
Robert Boynes
'Black Rain' 1995
acrylic on canvas
220 x 163 cm
$24,000
Mark Stewart
'Until that Morning' 2011
oil on canvas
100 x 75cm
$4,500
This final instalment of dLux Media Art's Scanlines Remix, curated by Sarah Vandepeer, is centred on the theme "landscape". Paul Winkler's 'Bondi' has the visual effect of a moving multiple exposure. As the images overlap, fade and collide, the roaring crash of waves creates a sense of calm. Placed in juxtaposition to Winkler's film is Laresa Kosloff's 'Swell', where an absence of sound creates a chaotic atmosphere via visuals of bobbing bodies, excitedly jumping in waves. The use of super 8 film gives this video an aesthetic sense of the past. Neil Jenkins' 'Horizons' is a work in constant flux, as the streaming landscape appears as vast fields of moving colour.
Jess Olivieri & Hayley Forward with the Sydney Chamber Choir
'Harlequins V's Visitors' 2012
HD video - 7:10mins, edition of 5
$2,000
Paul Winkler
'Bondi' 1979
16mm film - 14:21mins
NFS
Jess Olivieri & Hayley Forward's 'Harlequins V's Visitors' features the Sydney Chamber Choir seated at the Campbelltown Show Ground. Rather than shouting one-liners or belting out team songs like the usual punters, they are seated in an orderly fashion, singing perfectly harmonised vocal exercises. Finally, Sam Smith offers a journey in the form of a montage with 'Into the Void'. Searching New York Galleries for the hue of Yves Klein Blue, the film ends with a mimetic ode. Referencing Yves Klein's famous jump, the film's colour completely desaturates as the protagonist leaps from a window - a visual recognition that this film is delving into art history.
Brenda May Gallery
2 Danks Street
Waterloo NSW 2017

T: 02 9318 1122
info@brendamaygallery.com.au

Open: Tues to Fri 11-6, Sat 10-6




unsubscribe from this list    update subscription preferences