MARCH EXHIBITIONS

EXHIBITION DATES 6 – 29 MARCH
OPENING 6 MARCH 5:30PM

Join the artists to celebrate the launch of four exhibitions:

[CENSURATIVA] – Crystian Cruz
EPHEMERAL COMPOSITIONS – Kathryn Jeanes
COMMUNE WITH NATURE – Mary Graham
UNKNOWN LANDS – Suzi Zglinicki.



[CENSURATIVA] | CRYSTIAN CRUZ

MARCH Crystian

What are the consequences of censorship on activities that involve creative work? Songs, soap operas, newspapers, books and magazines are among the censored artefacts examined in Cruz’s practice-based PhD research. This exhibition presents a visual journey through creative attempts to circumvent censorship during the Brazilian dictatorship (1964-1985). Put your creativity to the test through an interactive typographic experiment that emulates the experience of encountering censorial activities and censored material.

Crystian Cruz, [Censurativa] 2020, digital collage.


EPHEMERAL COMPOSITIONS | KATHRYN JEANES

MARCH Kathryn

This exhibition from Jeanes unites research into a dark colonial period when young girls were incarcerated, with abstract themes derived from reparative art.

Jeanes explores and communicates materiality through the use of decommissioned hospital sheeting – used for the assembly of strait jackets, paper torn from books and cotton thread used to bind.

Kathryn Jeanes, Ephemeral Compositions 2017, photographic print, 45 x 45 cm


COMMUNE WITH NATURE | MARY GRAHAM

MARCH Mary

Commune with Nature explores the respect for nature granted by the appreciation of flora through artistic practice, particularly the process of natural dyeing.

Focussing on the colours and textures of the bark and fallen leaves of gum trees, Graham’s work contributes to a contemporary revival of natural dyeing methods and presents an ode to the inherent beauty of nature.

Mary Graham, Mad About You 2020 botanical print on cotton dyed with Madder, 147 x 99 cm


UNKNOWN LANDS | SUZI ZGLINICKI

MARCH Susan

The quality of light, the beauty of the natural world and the use of landscape tap into our primal connection to the earth. This is demonstrated by our ability to be submerged in its isolation and loneliness, with the seemingly contradictory belief that we are in control over it and that its beauty is therefore for our pleasure alone. In our relationship to landscape there is an ebb and flow between knowledge and uncertainty, between complacence and fear. These works echo the transient nature of the landscape and act as a tribute to the transient lives of the women who have, throughout history, painted it.

Suzi Zglinicki, Unknown Lands 2 2016, ink on canvas, 27 x 29 cm

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