Abstraction attraction
Three of Australia's classic abstract artists, Andrew Christofides, Mark Galea and Donald Laycock, feature in the latest show at Nancy Sever Gallery. Christofides has always been drawn to an aesthetic of order, simplicity and elegance. He is intrigued by geometry, which is about order, precision and clarity and which has a kind of visual efficiency in which nothing is superfluous. He introduces space through the use of frames, which create a window effect, and uses a hierarchy of scale, but also aims to introduce his own expressive presence with a more personal use of colour and a halo effect around some of the elements. Galea's work characteristically presents the viewer with optical dilemmas created through the subtle manipulation of colour relationships. He delights in the potential of the square and the capacity for colour to generate meaning. With careful and disciplined application of monochromatic paints, he creates abstract forms that quiver and vibrate, setting up a rhythm produced by contrasting harmonious and discordant colours within the composition. Laycock's work first attracted attention in a group exhibition shared with Clifton Pugh, John Howley and Lawrence Daws at the Victorian Artists' Society Galleries in 1955. His early interest in surrealist painting was succeeded by a later phase in which he sought to use his art to interpret issues relating to time and space. He is best known as the creator of the interior paintings of Hamer Hall, a huge concert hall in Melbourne. ABSTRACTION x3 featuring the three Melbourne painters is on at the Nancy Sever Gallery, Kingston until November 29.
Enigmatic exterior
B5761626572 isn't exactly the catchiest exhibition title, but it's the "enigmatic" name of the latest group exhibition at M16 Artspace and is said to be a clue to a uniting feature of the artists' practices: "The use of painting as a philosophical tool to question the nature of being and the impossibility of easy answers." The name of the exhibition sounds like it could be the atomic weight of some new and hitherto unknown cosmic substance, writer Mark Henshaw says, but it's in fact an amalgamation of the birth years of each of the five artists Christoph Preussmann, Ham Darroch, Derek O'Connor, Paul Uhlmann, and Robert Cleworth. Preussmann's moody paintings are said to be sometimes reminiscent of out of focus photographic images – leaving them open to interpretation. Darroch's paintings and sculptures reference traditional methods of making and at the same time show a playful, subtle and critically founded treatment of everyday objects. O'Connor uses the covers of World War II era Time Life books as painting surfaces to give a compelling "archival, documentary quality" to his works. Uhlmann says he is concerned with working through processes of painting, photography, printmaking, drawing and artists' books to "contemplate impermanence and the interconnectedness of all living beings". In his series From the Smoking Room Cleworth makes playful interventions on images of well-known paintings from art history.
Also opening at M16 is Interior/Exterior by emerging artist Louisa Giffard, exploring the relationship between home and the outside world. She uses an unusual variety of media including knitting, printing and painting to reflect different perspectives on the idea of home. "The home conjures many feelings. It's a place of refuge and sanctuary, our own personal territory. But at the same time, a cosy home can provoke feelings of frustration and confinement," she says. "Home ownership remains out of reach for many, causing people to have to choose between renting or commuting. In this context, the mere idea of a home becomes stressful."
And finally fellow Canberra artist Thea Katauskas is also concerned with homes, continuing to build on her vision of the city's changing suburban landscape in Red Brick: Glimpses of Perfect Suburbia. She is motivated by a desire to record the historic and exemplary buildings and gardens of Canberra; her latest works reflect a growing urge to capture glimpses of the city's vanishing streetscapes. "In the year since my project began, various inner-city houses and shopfronts have been demolished or marked for rezoning and high-density development," she says. "The original Canberra template of house and garden is being steadily replaced by space efficiency and suburban infill, resulting in some historic inner-city neighbourhoods remaining only in memory." All shows are on at M16 Artspace, Griffith from October 29 to November 15.
Tides of political change
They say a week is a long time in politics, but spare a thought for the political artists caught up by the change of prime ministers. Surya Bajracharya's latest work originally focused on elements of the Abbott government's immigration policies and questions of leadership, but the content of Oceans Apart, Oceans Between was all but lost as the tides of change swept through the Liberal party. Fortunately the concept of leadership was always central to his series of screen prints and the change ultimately provided more grist for the mill. While Bajracharya is 100 per cent a visual artist, he has many things in common with political cartoonists and humour sharpens his messages regarding mandatory detention and the protection of Australia's lifestyle.
Also opening at CCAS is work of a more personal nature from video/performance artist Liam O'Brien, who places his body on the line in each of his angst-ridden video works. Whether dropping full beer bottles around his feet or drinking whisky to the point of nausea his confronting performances test the audience's limits. The sense of humour in O'Brien's absurdist works only tends to heighten the impact of his pointless acts of defiant recklessness. Both shows are on at the Canberra Contemporary Art Space, Gorman Arts Centre, Braddon until November 11.
Diversity in clay
They may be using the same materials but the 85 works in the Canberra Potters' member show are said to exhibit unique and individual characteristics, forms, textures and colours. The 43 artists, including professional ceramicists, hobbyists and tertiary ceramics students, make their presence felt through the use of different clays and various making, decoration and firing techniques, all of which give rise to innumerable combinations of both functional and sculptural works. This year's exhibition was judged by American sculptor and current group artist-in-residence Corinne Beardsley. The premier award went to emerging artist Zoe Slee for Embowered, a work which drew its inspiration from the stick structures constructed by male bower birds. The Canberra Potters' 2015 Members' Exhibition runs until November 8 at the Watson Arts Centre.
Left hand free
If you're looking for a weekend drive, it's the last chance to see the latest exhibition at The Left Hand in Braidwood, bringing together Canberra artists Bernard Hardy and Alycia Moffat and Braidwood artists Julian Laffan and Cecile Galiazzo. All have very distinctive and strong approaches to making pictures and on show is a variety of their drawings, prints and paintings. Also showing is a selection of small prints by various artists made for a project brought together by Rona Green and shown courtesy of Julian Laffan. The exhibition is on at The Left Hand, 81 Lascelles Street, Braidwood.
