home  |   exhibition program  |  archive  |  services  |  proposal guidelines  |  floorplan  | contact us

Exhibition Dates 20 March -6 April 2013

Opening night drinks Wednesday 20 March 6-8pm

Gallery 1

KATE WALLACE

Moving Still

The series of works in Kate Wallace's Moving Still snatch moments in time from the restless circulation of city life. Using imagery familiar to every commuter, Moving Still adopts the train carriage as a device to frame fragments of everyday narrative. In Wallace's hands, the public space of the train carriage - which is both moving and still - becomes a metaphor for the way we occupy the urban landscape, the way we 'live, meet, move and communicate.'

Wallace's small paintings have a hazy, dreamlike quality. They capture anonymous commuters in moments of quiet introspection. As the artist and her subjects share a moment in transit, Wallace's intense observation draws out the strange intimacy of public space.

Gallery 2

JUNE CHEN

Look into me

June Chen's latest body of work is an investigation of the self-portrait. Using a series of glossy, studio photographs of her own face as a starting point, the artist enacts a process of defacement. Making precise, almost surgical, cuts directly into the photographic surface, Chen's method is as delicate as it is violent.

Chen's incisions serve to reveal the manipulation which is inherent in the photographic process - even more so in an age when it is the standard practice of photographers to digitally 'improve' their subject's appearance in a professional studio portrait.

Gallery 3

TROY ARGYROS

You have been loved

In his exhibition You Have Been Loved, Troy Argyros turns his attention to the tokens and treasures in which nostalgia and memory are contained. The small and highly particular items that Argyros depicts hold the imprint of experience. A particular smell, the texture of a certain fabric, a scrap of wallpaper from your childhood bedroom: these are all sensory prompts that provoke a rush of memory.

Diligently rendering evocative fragments in oil paint, Argyros applies the weight of this most traditional art form to the representation of the partial, the fleeting and the intensely personal. Just as memory resonates most powerfully in the details of the scene remembered, it is Argyros's painstaking attention to detail in the depiction of these objects that endows them with significance.