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William Delafield Cook. A Survey is the first survey exhibition of this significant Australian artist in over two decades.
Since the late 1970s Delafield Cook has worked almost exclusively with the Australian landscape - remarkably, from his studio in London. His paintings are characterised by a deadpan photo realism, yet they transcend the real altogether to speak of phenomena beyond our perception. Taken as a whole, his paintings elevate our understanding and appreciation of the Australian landscape to a new level.
This timely survey unites works from over a thirty year period, to provide a compelling document on the work of one of Australia's most acclaimed and accomplished artists.
June 11 - 12 2011
Swirling white lines float above the golden yellow plains and vast skies in Philip Hunter's latest series of semi-abstract landscapes. A recurring motiff in the artists work, they shimmer with energy and almost pulse with light, like the afterburn of a sparkler.
June 9 2011
At a table laden with paint-crusted crockery, John Olsen slides his brush into a dish if curdling watercolour. The paint is as thick and creamy as the salt deposits on the surface of Lake Eyre. It bleeds at the edges when Olsen strokes his brush across a freshly painted indigo background. “Look there,” he says. “It’s alive. And there’s sort of a running figure, you see? Ill just give it some arms.”
Top dealers flocking to the influential Hong Kong art fair see it all, from young talent to genuine show- stoppers to the tasteless and over-priced, writes John McDonald.
May 28-29 2011
Earlier this month Sydney lost one of its great arts patrons, Ann Lewis, to cancer. Over the years Lewis enriched the culture, donating remarkable and extraordinarily valuable paintings, photography and sculpture to the Museum of Contemporary Art, the National Gallery of Australia and others
When Michael Johnson isn’t painting, he likes to go fishing at night, says Joyce Morgan in The Sydney Morning Herald. At night, “you have to feel what’s going on – it’s all communication by touch,” he says. Asking his students to paint blindfold gave them that same sense. Despite the shimmering bands of jewel like colour: “After a while you get a grasp on it, like the body movements of a dancer.”
Despite contrasting views of the world, two artists find common ground by putting emotion before technique, writes John McDonald.
The conundrum of how to express one’s thoughts and feelings in a way that doesn’t become illustrative or didactic lies at the heart of abstract art. Many artists consider abstraction to be a logical progression, believing that once they have crossed the lines that separates them from strictly representational art there is no turning back. This made it doubly startling last week to see Michael Johnson’s extraordinary drawing of a snow leopard completes as part of last year’s artist’s project at Taronga Park Zoo.
For several years, and with hypnotic effect, Paul Davies has painted the same house over and over again. The house is always modernist – clean lines, hard angles – but the landscape around it changes constantly: in one piece, the house sits in a swamp; in another, a primeval forest, the skies above cloudy and foreboding. It’s a jarring juxtaposition, a nightmare version of an architecture magazine.
For artist Michael Johnson, size most definitely matters..
Philip Hunter has talked about his work as ‘an invariably complex field of conceptual possibilities and material outcomes; a zone where different foci, fragments, textures, perspectives, illusory spaces, moods and views coexist.’ A conversation with the artist can be as complex as one of his paintings, and when I visited him recently at his Melbourne studio where he was preparing for a forthcoming exhibition at Sydney’s Tim Olsen Gallery we discussed, among other things, his recent trip to Europe; his new ‘tropical inland sea’ paintings; Borges; Calvino; wasp nests; dog fences; horseshoes; memory palaces; horizons and ‘a vast book with no pages’ . What follows is a slice taken from that conversation.
Love art but unsure how to start your own collection? Experts, curators and gallery directors reveal their tips on how to find what suits your taste, budget and home.
The hottest new creatives in the frame.
With its darkly poetic title, Ballads of the Dead and Dreaming, Ben Ali Ong’s latest series will not disappoint those familiar with his ominous, seductive and moody photographs. The exhibition which is being shown at Tim Olsen Gallery, as part of Art Month Sydney, chronicles Ong’s ongoing fascination with ideas of mortality, spirituality and the subconscious.
Archibald winner, Johnny Cash fan, Mudgee boy, coffee snob.
April 2011 edition
Paul Davies designs the artist page for the latest edition of GQ
The paintings in artist Sophie Cape’s first solo exhibition reflect the pain of her former career as a downhill ski racer. Sophie’s paintings have been described as “shocking in impact with their shattered bones and broken dreams”. Sophie grew up in Mosman and is the daughter of Mosman artist Ann Cape
As floods follows droughts, the art dealers are hoping a new year will bring clients rushing back through their doors. The previous 12 months were so quiet and visitation so poor that 2011 simply has to be better. This may be an optimistic view, but only an optimist would ever open a commercial gallery. The problem has not been the quality of the shows but the dogged reluctance of buyers to succumb to their acquisitive impulses. The money was there but self-denial was practices with a rigour that is rarely seen in Sydney. As usual there are many shows crying out for attention, but at the risk of making an arbitrary connection, I’ll look at three exhibitions by three young painters working in completely different styles.. Sophie Cape, at the Tim Olsen Gallery is making her debut… Cape, who is the youngest of these three artists but perhaps, the most confidant...
Cross a paintbrush with an adrenalin rush and you get artist Sophie Cape, pictured. A champion downhill skier until injuries forced a change of career, Cape describes her violent way with a brush as "a cathartic expulsion of energy". Her pyschological self portraits,
Somewhere within Sophie Cape’s violent and visceral paintings is her biography. As the dirt and paint intersect on huge pieces of paper, the results tell the story of an elite athlete distraught after injures took away her goals. Cape was a champion skier who changed careers after serious knee and muscle injuries.