The Egg & Dart presents recent works by three abstract painters. Adrian Baiada and Mignon Steele join invited Melbourne artist Elyss McCleary for Otherworldly. Their works variously summon vivid densities and atmospherics through gesture and overlay. Each artist uses the brush to build marks, synthesise layers then knock back and resurrect depth. Surprising colour associations emerge, unfurling landscape spaces where the transcendental exists within the everyday.
The Egg & Dart presents an exhibition with a restricted palette featuring works in drawing, painting, photography, glass and ceramics. An exhibition catalogue will be released Wednesday 3 July.
Exhibition catalogue will be released Wednesday 3 July.
Opening Night 5 July, 6-8pm
Driving back from Melbourne, Mignon Steele wrote the word VOLITION on the steering wheel of her car. It remains there, scrawled in white pencil, a complex definition encompassing free will and action. For a painter like Steele, each mark laid down is a prompt for the next. An initial decision propels others in her work. Gestures are employed in the moment to push or pull at a thing that’s not quite right. New forms can be risky – the ruination of what was in the hope of what might be. And her colour is so surprising, a chromatic challenge, as it modulates across variations in surface and hue.
Exhibition Catalogue available Read more…
We are proud to introduce a group exhibition with E&D family and friends:
Lynda Draper, Ebony Eden, Julia Flanagan, Anita Holloway, Rob Howe, India Mark, Mish Meijers, Montana Miller, Hal Pratt, Nick Santoro, Henry Jock Walker, Leonie Watson, Christopher Zanko
Opening night 3rd May, 6-8pm.
Click here for exhibition catalogue
Adrian Baiada paints outside, on top of the Illawarra Escarpment or a red gum forest near Otford. It’s not a fixed view – each work pulls landscape qualities into it as a capture established in a bush amphitheatre. In this way he lets the setting get in sync with the picture. Then he brings the canvasses into a confined studio for further work. From there and into the exhibition space, associations, repetitions and reworkings generate over time.
The new paintings on board are a deliberate departure from Bethel’s recent seed assemblages although her materials remain fundamental: beeswax prepared in sunlight with watercolour rubbed over the wax; blue biro pen scrawls that bring a more deliberate mark of the hand. Lee Bethel has been a finalist in numerous prizes including the Sulman and the Hazelhurst Art of Paper Prize. This exhibition marks a move to painting but the sensibility that remains essentially Bethel: a restrained palette with contemplative and material-rich surfaces.
Impractical Activity locates that mid-point between intention and incidental action. Gabrielle Adamik builds armatures in opaque ceramic on which her coloured glass linework is draped and gently adjusted before hardening. Aaron Fell‑Fracasso makes tools to execute painted marks. His dynamic compositions involve colour blocking, pattern generation and direct gesture. His work for Impractical Activity inhabits a warm greyscale, but in the context of Adamik’s crystalline colour, this tonal approach holds its own.
Click for more…
Opening: Friday 8 February, 6-8pm
View Catalogue here…
Frank Nowlan’s latest suite of paintings takes a broad look at the subject of sport. This is significant. In 1964, injured while playing rugby league, Nowlan began privately painting images of football. He was then encouraged to continue painting by an art teacher and kept this secret from his team mates. He later set painting aside to pursue history teaching. Having retired from that vocation, Nowlan’s current approach to sport is wilfully diverse. He chooses subjects of interest and sets up painting challenges – how to capture the mass of a crowd looking over a velodrome or how to alter perspective to reveal more of the ground where the action takes place. Then the paintings start to populate: Bradman as the backyard cricketer, a boxer known as The Torpedo. Australia’s first rugby side. The crowd is also a character, a mass of repeated gestural marks circuiting whatever ring or field the play is taking place in. Some works are in response to historical prompts – an early photograph of Tolstoy playing tennis or a story of monkeys riding atop greyhounds in the 1930s. Other figures are anonymous and everyday, players in a local game or two women playing football. The overall Nowlan style is evident across the current collection but it is an added pleasure to see him exploring repetition and variation within a specific arena. This thematic play between figures and the sporting ground allows for Nowlan’s distinctive painting style to assert itself in new ways.
VIEW EXHIBITION CATALOGUE HERE
Christopher Zanko will have an exclusive online exhibition for one week only!
4th - 11th September 2018
Online catalogue and purchases will be available from 10am Wednesday 4th September by calling us on 02 4268 4885 or email firstname.lastname@example.org
Nick Santoro is in assemblage mode in these paintings, where events, people, found images and vernacular architecture are pulled into his world. It is a way of reining in the transitory and the social. He brings together an uneasy alliance of characters to filter and process an accretion of imagery and happening. There are strange illusions of depth perception, where a couple of Gucci art stars with octopus arms and tiny hands reach for martinis on a precariously positioned trolley. A red balloon hovers in an unknowable space behind them. Deeper still lies the cosmos through an arched window. There are also the gaps between people and things awkwardly cohabiting: Vogue editor Anna Wintour and an old Quake4 gaming poster; the moon emoji grinning in proximity to two moustachioed men in argyle sweaters. 3MOT1ON1 explores a more progressive fragmentation of the relationship between painting and frame. This breakdown is further achieved through work appearing on the back of clothing and with sculptures like Kerry personifying the paintings. This is Nick Santoro’s second solo exhibition at The Egg & Dart.
Henry Jock Walker will call on the materials, community and environment of surf culture to occupy the gallery during July. Taking advantage of The Egg & Dart’s street frontage, Re-Entry Ding Repairs merges the art gallery with surf shop symbolism. Each breaks down the other, the language of surfing pushing at the codes of gallery speak. A chronological grid of Walker’s wet suit paintings will mass on a gallery wall through the month. Each daily painting is the outcome of a ritual dawn shred and yogi so as Jock says, check the Ding Repairs daily sched.
VIEW EXHIBITION CATALOGUE HERE
Aaron Fell-Fracasso, whose paintings have reached wall-scale monumentality, operates with a mix of deliberation and chance. In the show Methods, he has loaded colour along studio-made implements, dragging across the painting to build a language of marks. An idiosyncratic shape might repeat and be referenced at a different scale elsewhere. Fell-Fracasso’s earlier collage strategies are employed here but with more performative risk as they are enacted directly onto the painting. Methods presents a battle between completion and the open possibilities of non-objective painting. There is a vitality here suggestive of painting as an endless project. Each work renders a collection of moves momentarily paused that might then turn, fold and enmesh again into the painting field. It’s this uncertainty and dynamism that keeps the work rich and open-ended.
Opening night Friday 8th June, 6-8pm.
Shelter is one of those core needs along with air, food, water and clothing. But the house seeks to fulfil other functions: security, belonging, esteem and self-actualisation. In The Castle, three artists from different generations explore divergent ideas of home. Frank Nowlan uses it as a base for vernacular observation and deadpan characterisation. Rob Howe places the house within the streetscape, painting the overlap between light, cast shadow and gestural geometries. Christopher Zanko pares back and records housing types as markers of urban change. The Castle is an opportunity to view three significantly different painters initiating a conversation around ideas of home.
Madeleine Peters (b. 1990) paints the landscape in geological time. She is intrigued by the area inland near Warrnambool on Victoria’s south-west coast. Phases of volcanic activity have formed crater lakes there called maar. Peters understands landscape as constantly changing, not static. A local would recognise the terrain, but each image is generated through an in-motion collection of visions recollected, sketched and layered. This is quite different to the approach of the plein air artist who might pitch an easel on the land like a flag to claim the view. Peters’ painting is more an experiential record, a document from walking the ground.
Human Geography is a group exhibition featuring artists Adrian Baiada, Anna May Henry and Clare Thackway.
Artworks will be available for purchase and viewing online and in the gallery Thursday 15th March.
VIEW EXHIBITION CATALOGUE HERE
Currently showing works from our stockroom. Including early India Mark watercolours, Leonie Watson, Lee Bethel, Clare Thackway, Ash Frost, Frank Nowlan, Nick Santoro, Paul Ryan, Rob Howe and many more from our Xmas Show. Our current opening hours are Wed - Sat 11am til 6pm and for early February we will have reduced hours while we take a little break - Friday & Saturday's only 10am til 4pm (Feb 2nd, 3rd, 9th & 10th). We are also closed Friday Jan 26th.
This will be the fifth incarnation of the popular show that rounds out the year. Up to 30 invited artists are given a format and material constraints. Within the frame a diversity of approaches and visions emerges.
The Egg & Dart Xmas Show will open at 6pm Friday 8th December. We will not be offering pre sales or internet sales for this show. First in, first served! Purchased works will be available for collection from 20th during opening hours, 11am til 6pm, Wednesday through Saturday.
Umbra is the darkest part of a shadow, specifically the area of the earth or moon experiencing the total phase of an eclipse. In his paintings of suburban homes, the umbra Christopher Zanko employs is dragged like a sundial across the surface, an abstraction that pierces the formal character and messes with the legibility of the image. By carving and chiseling line and pattern, Zanko nods to the production qualities of the print – the play with negative and positive space and the dynamic between thick line and planar shapes. The printmaking quality suggests the multiple, much as the buildings selected are houses of a type, reproduced with variation across suburbs.
The drafted line, textured mark and dramatic shadow are synthesised into a language that suggests the architectural rendering of the mid-century modern. However Zanko is observing these buildings decades later with his work noting the layers of redesign that have occurred over time – a new ramp or driveway, the historical plantings that buffer the hard edges of these structures.
An initial drafted drawing is made on the MDF surface. Then there is the introduction of tools that carve into this surface, responding to the textured veneers of these homes. This literal carving out of the structure brings qualities of process work and time to Zanko's subjects. He has selected these buildings for their formal qualities and their persistent presence. They are sculptural entities in the landscape, vulnerable to changing circumstance and to future augmentation or demolition. To carve is to set an image down with a level of density that ensures permanence, whether the existing structure remains or is destroyed.
By reproducing these buildings as paintings, Zanko converts them from their function to an architectural representation. The form of these houses historically communicated the cultural taste and wealth of the resident. The shadows cast across their facades suggest an encroachment of unconscious forces that interrupt this social communication. In Against Architecture, writer Denis Hollier states that "architecture is society's authorized superego" (1). Zanko understands this, presenting his response to these signs in an extension of the pop tradition that both celebrates the formal vocabulary of modernism and digs into the psychology of it. By introducing the shadow across these pop images, an unconscious opposite emerges, suggesting psychological states which are hidden from view and literally behind drawn curtains.
Zanko graduated with a Bachelor of Creative Arts, Wollongong University with Distinction in Painting (BCA). He was a finalist in the Lloyd Rees Memorial Youth Art Award and winner of the Gongcrete Art Prize. He has shown in numerous group exhibitions including at Hazelhurst Regional Gallery and Project Contemporary Art Space, Wollongong. This is his first solo show at The Egg & Dart.
(1) Denis Hollier, Against Architecture, trans. Betsy Wing (Cambridge: MIT Press, 1989), pp.22–23.
Bethel’s work draws on a love of paper, cutting and manipulating paper in a manner that utilizes shadow and reflection to create complex patterns and peripheral lightscapes. Her practise of applying watercolour to the back of the paper creates an ever changing intensity of shadow and colour through cast reflection. At times she treats the surface of the paper with encaustic covering and disguising the paper and allowing the gestural mark of the brush on the textured wax facade.