ARTWORKS



Remnants: 12 Photographs by Annette Willis

Abandoned spaces, places and objects are central to my photography. I am drawn to the obsolete and discarded and am fascinated by the dichotomy between the original function and aesthetics of old structures and what remains, in its abandoned beauty. Among other things, this fascination has resulted in a long exploration of the discordant application of 19th Century British building techniques in the Australian landscape. I am not documenting but rather interpreting built spaces within the landscape.

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8 Collages by Sofie Ramos

In addition to small collage works, some of which are presented here, Sofie Ramos creates colourful and chaotic sculptural painting installations that conflate the art and its space and blur the distinction between the three-dimensional arrangement of objects in a space and the two-dimensional composition of a painting.

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Divergent Culture, Historical Influence: 11 Works by Abdul-Rahman Abdullah

My name is Abdul-Rahman Abdullah. I am a West Australian artist working primarily in sculpture and installation. My practice draws on the storytelling capacity of animal archetypes, familial space and the subjective nature of memory to explore and define personal experiences of cultural identity.

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The Beneficent Radicalism of Prue Stent

Oyster Prue Stent’s photography appropriates common icons of beauty and desirability into unknown and uncomfortable settings. Often bordering on the gleefully pornographic, Stent’s most provocative work takes aim at the aesthetics of heteronormative sexuality. In her Pink series we see …

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Nine Works by Deedee Cheriel

My work explores narratives that recognise the urgency and conflict in our continuing attempts to connect to the world. With influences derived from such opposites as East Indian temple imagery, punk rock, and her US Pacific Northwest natural environment, her …

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Four Paintings by Matt Arbuckle

Matt Arbuckle’s work explores a dialog between the construction and deconstruction of a painting. The narrative is one of space and perspective, where planes and illusion of depth are the topic for discourse, rather than direct representation. The viewer is therefore denied obvious footholds for interpretation, encouraging the experience to be dictated by an individual’s visual sensation and perception. The foundation of these paintings is the concept of accessibility for all. The blatant and at times aggressive marks encourage the experience of these paintings to not be over conceptualised, but rather a celebration of painting for paintings sake.

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Alters; Aspects from La Trobe Track, Karekare (after Anita Heiss)

In terms of the image I’ve produced for ‘I don’t hate you, but …’ I thought a lot about the poem’s call for the reader to be self-reflective, to observe, and in particular to preach. The stylised pōhutukawa symbolises Māori …

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Te Aro 17 & 19 (after David Beach)

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Certain Trace Elements Remain (after Marty Hiatt)

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‘Oki fa’a kama Samoa moni lou ulu / Cut your hair like a true Samoan boy’ and ‘White Sunday’

Siliga David Setoga | Oki fa’a kama Samoa moni lou ulu / Cut your hair like a true Samoan boy | 2015 Photograph: Setoga Setoga II | Barber: Maligi Junior Evile

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Drowning in Viscera (d) (after Marty Hiatt)

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Pembroke and Charm of a Bivalve Chanteys (after Duncan Hose)

Pembroke and Charm of a Bivalve Chanteys (after Duncan Hose)

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