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may 23 - June 10

Down to earth

by Sonia Clerehan

Sonia Clerehan’s recent work is a quiet collection of oil paintings. Each painting is an unearthing of a childhood filled with furrowed fields and cultivated hills.  The contour, structure, colour and pattern of the land is translated from an aerial view. Although void of houses, livestock and humans each image holds an indentation of labour. The sculpting and tilling of the earth by plough and plantation has been abstracted into bold and sweeping forms.

Clerehan has captured that brief moment of dusk when farmers, families and livestock have retired and the land is left in its last momentary light before darkness. down to earth has translated this moment of quiet and contemplation into a confident body of paintings.

Clerehan has exhibited throughout Melbourne since 1978. This is her first exhibition at red gallery.

Quiet works   

by Penelope Hunt

A collection of obscure and ambiguous photographs makes up Penelope Hunt’s latest solo exhibition quiet works. Hunt has used the camera as a drawing tool and captured transient moments and gestures. The fleeting and seemingly unimportant has been translated into digital photographs.

Each image is a rescued snippet of conversation, a moment of play or a mark on the studio wall. A sense of past and present is created in the distillation of random, sometimes chaotic ideas.

Printed on glossy paper the surface reflects the viewer. The voyeur in these fleeting moments of time becomes absorbed into the image and integrated into the work.

quiet moments is just that, a serene collection of moments suspended on paper.  Hunt has exhibits regularly in Melbourne. This is her first solo show since completing her studies at RMIT last year.

Human Error and other Glitches

by Deb Taylor

These works are about things not going smoothly – the way our lives are beset by glitches, interruptions and other things out of our control. They embrace both the random and precise: lines don’t meet, spaces are mismatched. And yet despite these disjunctions, patterns seem to emerge: the repetition of shapes and lines appear code-like signifying a potential rhythm or order which is in fact random and edging towards chaos.

Patterns have had an ongoing interest for Taylor. She is intrigued with the way pattern and code is integral to digital transmission and how they surround us constantly. The optical effects created through pattern and juxtaposition of colour are also a source of interest particularly in the way an image can appear to break up, and lack clarity, until it is more closely observed.

Deb Taylor has an Australian Print Workshop Collie Print Trust Scholarship for Emerging Victoria Artists for 2006.  She has recently been awarded an artist residency, for September 2006, at the Arthur Boyd Bundanon Studios.