Photo credit: Christo Crocker.
ROSE COLOURED GLASS Opening Thursday 11 August, 6-8pm Exhibition Friday 12 August until Saturday 3 September 2016 The Honeymoon Suite is pleased to announce the gallery’s opening with the inaugural group exhibition Rose coloured glass on Thursday 11 August 2016. The exhibition will feature work by eight artists: Andrew Browne, Alicia Frankovich, Brent Harris, Madeline Kidd, Alex Martinis Roe, Hannah Maskell, Caleb Shea and Masato Takasaka. Rose coloured glass considers the dynamic of artist couples. Within this framework there are varied and nuanced ways that artists collaborate: at times physically, and at other times conceptually, through mutual support and dialogue. Considering the emotional, intellectual and physical relationships and support systems held within each work, the exhibition reflects on the private meditations and labours of artistic production. The range of contrasts within the exhibition accentuates the individuality of each artists’ practice, while also evoking the shared dialogues between the works. This enables each artist to occupy the same space as individual and counterpart.
Andrew Browne will exhibit twelve works from his ongoing series pavement, 2014–2016. pavement is an evolving body of images where Browne records happenchance encounters with various urban landscapes. Some images display sentimental and humorous juxtapositions of objects in the wider world, and others are gentle, surreal and anthropomorphic. Browne works to capture the ordinariness of these encounters, honing in on discarded objects often sitting on the periphery. The images are relics of these moments and can often become studies for his painting practice.
Alicia Frankovich’s practice involves performance, performance-based videos, short films and sculpture. She puts her body, and the bodies of participants, into situations where they play out, test or examine social conventions and behaviours. For this exhibition Frankovich will presentIntensities, a new series of drawings where sequences of lines are built up and vary in the intensity of their movement. Erratic gestures overlay fluid, smooth lines in co-existence. The drawings visually translate the connection of bodily gestures with representations of variations in brain tension.
In Brent Harris’ paintings, pictorial elements appear and compositions evolve through process-based methods. Elements are built upon or worked over: for example, a smudge may develop into a figure, or be painted away. For this exhibition, Harris will present three intimately-scaled paintings from a new series where flat delineated areas of colour, intuitive mark making and figuration form tight yet fluid compositions.
Madeline Kidd’s new series of works Mirror with fruit tree and other abstract shapes #1-4, 2016, have a domestic familiarity, which is an evolving notion explored in Kidd’s work. Her practice takes cue from working as an art director for film and theatre: using techniques of set design and visual seduction to appropriate and recreate paintings, sculptures, objects and installations that are pseudo-domestic. Her works stylistically reference 1980s digital illustration and graphic designers, including Italian Memphis design.
Alex Martinis Roe’s current projects focus on feminist genealogies and seek to foster specific and productive relations between different generations, as a way of participating in the construction of feminist histories and futures. For this exhibition, Martinis Roe will include the first two pages from the Our Future Network Meeting at Gutshof Sauen Information Document. This meeting took place between twenty-two females who have previously been involved in her project To Become Two, 2014-2016, and involved filming the communication of experiments between participants. The document outlines Martinis Roe’s process of working and the labour that goes into constructing the conditions and frameworks for collective political action.
Hannah Maskell’s practice explores the varied ways in which freehand grid formation can be constructed. Her drawings are often framed within a consistent format on white paper, the uniformity in size emphasising the variability of coloured shapes and forms that Maskell creates within her picture plane. Her wall-based sculptural works extend the grid forms to three-dimensions, furthering the varied ways in which the seemingly rudimentary grid can be constructed as explorations into geometric form, shape and colour.
Caleb Shea’s stand-alone sculptures can be read through their material and formal qualities. His geometric abstraction and blunt simplicity nod to late-modernist and neo-formalist sculptural traditions, where form, line and phenomenology occupy a central position. The variety in shape and size of his works affect the way the viewer navigates the same space; some are at human height whereas others require inspecting closer to the ground, always holding a central gravity. Shea’s forms evolve over time through repetition and variation.
Having previously performed as a lead guitarist in rock bands as well as practicing as a visual artist, Masato Takasaka thinks about his studio practice in musical terms, describing his aesthetic as an iPod Shuffle: playing the greatest hits of 20th century avant-garde art, with references to constructivism, dada, pop and minimalism alongside the back catalogue of his own greatest hits. For this exhibition, Takasaka has included four works that exemplify his studies of geometric form and colour. Two paintings from his recent exhibition Garage Days Revisited are included, where the artist re-created earlier works from his last year in high school that he found in his parents’ garage.