A new series of Rosemary Laing photographs shot on location on a mountaintop in New Zealand.
Image: Title TBC from the series where to from here 2019, image size 95 x 190 cm
Dan Moynihan’s newest solo exhibition, following The Least I Could Do (2016). Moynihan also has a new mirrored brick commission Public Display of Reflection on view at Lyon Housemuseum until 21 July.
Image: Dan Moynihan Work in Progress (detail) 2006-2007, adhesive stickers and paint, dimensions variable.
Tim Maguire’s new series of prints, Dice Abstracts, premiered at Tim Maguire | Mixing Numbers: A Survey of Prints and Video 2003–2018 at Maitland Regional Art Gallery in November 2018. Drawing on imagery from his 1980s early works – simple landscape elements such as points of light on darkness, horizons, bands of light and reflection – Maguire devised the Dice Abstracts concept.
These simple elements were initially drawn in charcoal on textured paper and scanned. Using the throw of dice, the elements can be combined randomly to determine the base image, its horizontal/vertical orientation and positive/negative nature. Repeated three times – one throw for each of the three primary colours red, blue and yellow – the three coloured images are combined digitally. In total, there are 13,824 possible Dice Abstracts. In the parameters of Maguire’s project, each potential iteration can only be printed once.
Tim Maguire and Dorian Ford will collaborate on the performance To the Surface at Melbourne Recital Centre on Thursday 23 May, combining Maguire’s ambient, meditative video projections with Ford’s improvised jazz for piano.
Image: Tim Maguire AU526-551-312 2018, 112 x 112 cm paper size, archival pigment ink on paper
Peter Atkins’ new project is a series of small-scale paintings that relate to his Metro Tunnel public commission entitled RAILway for Melbourne’s City Square, installed along Swanston Street un til October 2019.
The Passengers explores our collective social, cultural and personal narratives through the abstracted, obsolete designs of suburban train tickets issued between 1920 and the late 1980s by distilling and stripping away unnecessary details, focusing instead on the beautiful abstraction underneath. What is revealed is an extremely evocative collection of abstracted forms and colours that represent a complicated and fascinating visual coded language that is particular to Melbourne.
The Passengers continue Peter’s interest in appropriating and deconstructing what he terms readymade abstraction from the real world and amplifying those almost nothing moments…
Pictured: The Passengers 2018 installation view, acrylic on board, 40 x 22 cm each
New mixed media works from Brook Andrew.
Pictured: Orange 2019, oil pastel, acrylic paint, paper, glue, plywood and pencil on board, 140 x 140 cm