2020 EXHIBITION CALENDAR
Arthouse Gallery is delighted to announce our dynamic exhibition program for 2020. This coming year features solo shows by newly–represented, emerging artists as well as new works from our celebrated and diverse stable of Australian contemporary practitioners.
We really look forward to welcoming you to the gallery this year.
IAN GREIG Because the wind is high, oil on canvas, 112 x 112 cm (framed)
28 January – 8 February
Our first exhibition for the year, 'Summer 2020', will feature an inspiring selection of of multi-disciplinary work.
The whole world in a room, acrylic on canvas, 125 x 156 cm (framed)
The Artist's Table
13 – 29 February
Kiata Mason’s debut show with the gallery, 'The Artist's Table', revolves around collections of objects in the domestic home environment, depicting the compositions created for still-life paintings and highlighting the haphazard nature of a working space. Based on objects from her own family home, the works speak strongly of the emotional pull that can be experienced in a room full of the remnants of a long, shared life.
Goddess (ed. of 8), archival inkjet print on cotton rag paper, 103 x 153 cm (framed)
13 – 29 February
Kate Ballis is a Melbourne-based fine art photographer creating unique, colour-drenched images using infrared technology. Seeing the unseen through this technological lens Ballis finds a foreign otherworldly quality in familiar landscapes and scenes.
Private myths, dreams and dreaming, mixed media on paper, 165 x 128 cm (framed)
The Landscape of Language
6 – 28 March
Mapping the world through her home, the Melbourne artist chisels links between self and other by presenting landscapes, objects, people and histories of profound personal resonance.
The thematic cornerstone of this exhibition is the history of Lieutenant William Dawes, the Officer of Engineers and Artillery on the First Fleet who was the first European to make extensive written records of an Indigenous Australian language. Patyegarang, a young Indigenous woman, befriended Lieutenant Dawes and each taught the other their languages. Dawes became a European authority on the language of the Eora people living around Sydney Cove. For Hattam, this is a fascinating reversal of colonial convention: the expectation that First Peoples should abandon their culture and learn English.
Through the recurring gridded trope of the window, Hattam acknowledges her spectatorship and subjectivity – signposting her distance from, yet fascination with, history. ‘The view from the window is fictional’, reflects the artist, ‘I’m looking back from a position of now – reflecting on and empathising with history rather than pretending to be there’. Peering through this same graphic portal, audience and artist are onlookers alike. This exhibition will coinside with Art Month Sydney and will feature a panel discussion for a variety of cultural figures exploring the themes of the show.
JO DAVENPORT Bagnell’s Lagoon, oil on board, 90 x 90 cm
1 – 25 April
Our group landscape show celebrates the Australian environment and the artists who paint it. Curated from our stable of artists this annual exhibition has become a favourite of collectors and gallery patrons.
Dorrough's studio. Photograph by Jenni Carter.
1 – 16 May
The practice of Sydney-based artist Kate Dorrough sustains a conversation between paint and clay, launching an inquiry into the interplay and tension between the gestural mark and the hand built ceramic form. The artist's recent work explores the Hawkesbury landscape as metaphor, with its inland river systems a vital source of survival and bestowal of fertility. Dorrough considers the cyclical nature of renewal and destruction that defines the land, her painterly gestural marks evoking totemic symbols of this enduring landscape.
Crossroad, acrylic on polycotton, 43 x 53 cm (framed)
1 – 16 May
The tightly-choreographed paintings of Robyn Sweaney respond to the philosophical and ontological currency of the built environment. The artist’s preoccupation with the Australian architectural vernacular – particularly from the post war period – is rooted in an enduring fascination with the physiognomy of cultural identity. In this exhibition Sweaney re-examines her time spent on the Mornington Peninsula as part of a 2019 artist residency. Domestic dwellings divulge more than their mere exteriors, functioning as physical incarnations of the aesthetic, ideological and social structures influencing human behaviour.
Another list, oil on linen, 62 x 62 cm
GROUP SHOW CURATED BY KATHERINE HATTAM
Remember These Names
22 May – 20 June
In response to the growing movement towards equal power, equal respect, equal opportunity, and equal recognition for women artists, Arthouse Gallery has invited Katherine Hattam to curate a group showcase honouring the women who have been instrumental in shaping Australian culture and whose stories have too often been hidden from view. Bringing together Australian artists from different communities and cultures, this exhibition proposes another history, upending the uneven playing field of modern and contemporary Australian art in which women artists continue to be overlooked in preference for their male counterparts.
MICHAYE BOULTER Return to solitude, oil on linen, 124 x 154 cm (framed)
MELBOURNE ART FAIR
Michaye Boulter & Jon Eiseman
18 – 21 June
As we approach the 250th anniversary of Cook's first voyage to Australia, both Michaye Boulter and Jon Eiseman contemplate the environmental and cultural timbres of the post-colonial landscape. Avoiding overt political didacticism, their shared thematic focus on the voyage opens up subtle dialogues about our nation’s shadowy past to consider what our journey forward, into unchartered waters, might look like. The Melbourne Art Fair will take place at the Melbourne Convention and Exhibition Centre in June.
JON EISEMAN Stories from the Southern Ocean, unique bronze, 18 x 42 x 17.5 cm
A book of longing, oil on canvas, 153 x 183 cm
2 – 18 July
Australian artist Fabrizio Biviano has a preoccupation with the past and notions of spent time, both his own and others. Drawing inspiration from the traditions of Dutch still life painting, graphic design and personal experiences, he uses the objects of daily life to produce self-referential work that seeks to examine his personal investments of time, loss and consumption.
Emerge, oil on linen, 138 x 153 cm
31 July – 15 August
The works featured in Clifford How's debut show with Arthouse Gallery meditate on the rugged identity and harsh weather systems of the Tasmanian landscape. The artist gives significance to form through a palette knife, modelling this primal terrain with a known intimacy. From deep ancient tarns nestled in dolerite basins to exposed plateau sedgeland, How’s paintings are suspended in time capturing the unseen and fleeting qualities of place. Through the multitude of topographies tacitly evoked, the works conjure and clarify the emotion of experiencing these remote destinations.
10 – 13 September
Drawing from a deep spiritual affiliation with the land and a reverential love of nature, Joshua Yeldham’s art practice forms a complex interplay between narrative and myth, imagination and experience. In a major solo showcase at Sydney Contemporary, Yeldham will debut a new collection of carved photographs and paintings on board. The sixth edition of Sydney Contemporary will take place at Carriageworks, Sydney’s striking multi-disciplinary arts precinct, in September.
Bel canto, oil on board, 54.5 x 59.5 (framed)
15 September – 3 October
Drawing from the traditions of Vanitas and Flemish still life painting, Dean Home’s virtuosic compositions celebrate the metaphysical power of objects. Entering the worlds that Home creates is like stumbling into an enigmatic narrative bursting with sensuality and exoticism. In this exhibition Home has drawn from recent travels through Italy and a fruitful visit to a peony farm in Victoria. Pushing the viewer into an almost cinematic close-up with each artfully arranged collection of objects, Home’s hyper-realistic and expressionistic works provoke a palpable meditation on beauty, mortality and truth and carry with them a cultural currency that transcends time and speaks of a shared humanity.
Burning heart I, oil on linen, 92 x 92 cm
10 – 31 October
Danelle Bergstrom creates wildly evocative landscapes that pictorialise the artist’s lived experiences, personifying the land as a vessel for emotion. Meditative and transformative, her paintings invoke a broad emotional and psychological exploration of environment, functioning as revised narratives – tangible footprints along well-trodden roads winding through the artist’s memory. This exhibition features paintings inspired by her recent return to Hill End, Australia after an extensive artist residency in Åland, Finland.
Blue waterhole – Nashua, acrylic, charcoal and ink on hand carved linen paper, 201 x 201 cm
6 – 21 November
Through his highly symbolic visual vernacular, the artist takes us on an inward odyssey exploring the threads that weave cultural ideologies, philosophies and religions across East and West. This major exhibition will feature paintings, kinetic and musical sculptures, carved works on paper and photography. His distinctive visual language fuses the physical elements of the landscape with the metaphysical modalities of history and mythology.
Reclusive, oil on hand beaten steel, 42 x 54 cm
27 November – 19 December
Having spent her life on the sea, Tasmanian artist Michaye Boulter explores the reciprocity between landscapes and the human psyche. Devoid of human imprint, Boulter’s virginal vistas engage with the traditions of colonial painting to question the idea(l) of discovery, presenting spectral visions of a pre-colonial landscape that push us to consider the urgency of environmental conservation. Pulsing through each beguiling seascape is the distant horizon, like a void of receding recollection or emerging consciousness, conjuring a rare unfolding moment of synergy between us and the land.