Having spent her childhood in New Zealand surrounded by the country’s breathtaking landscape Hananiah sought to capture the raw and sublime experience of witnessing vast horizons at play with natural light and shadow. Now based in Australia, the overwhelming beauty of nature and our relationship to its bewildering force inspires Hananiah’s work.
Each work of Hananiah’s can be viewed as a travel journal in visual form and a collection of musings on the sublime. Her landscapes seek to document her journeys as an emotional response to the poetry and energy around her. Her subjects include central desert plains, the cloud enshrouded Snowy Mountains of New South Wales, the deserted mountain ranges and sheer drops to lakes of the south of New Zealand, and the wild deserted beauty of northern New Zealand.
It is Hananiah’s technique, however, that has drawn so much attention. Exuberant brush strokes and marbled skies uniquely capture light, shadow and shape across immense spaces. The purity of colour in her works also purveys a sense of mysticism bordering on the spiritual.
Carla’s exhibition of new paintings ‘Traversing, Undaunted’, shows in the Gallery from 3 – 21 March, 2015. Hear what Carla has to say about her practice here:
Tara Marynowsky’s painterly interventions on vintage postcards and subtly rendered watercolours explore the raw power of the feminine. She knows that nostalgia for a perfectly contained female energy exists alongside the historical transformation of women’s self-identity, and she looks to bring poetic truth to light. Her process-oriented sensibility balances emotive intensity with delicate line, form and colour, and imbues the fragile figures of men and women, animals, ghostly apparitions and masked players inhabiting her work with an otherworldly honesty – connecting a strangely familiar past with an unsettling present.
Provocative and direct, confronting and comforting, Marynowsky’s ability to enter the viewer into an intimate relationship with the fragility and beauty of curiosity, play and subverted politesse forces dialogue with the tropes we use to define ourselves. In her work, cultural stereotypes, mythical archetypes and unspoken longings meet up with the subconscious currents that influence our daily lives.
Hear what Tara has to say about her practice here:
Julian Meagher’s softly-hued still lifes proffer meditation on stillness, beauty and desire. Deftly assembled objects painted in luscious, layered glazes tease the viewer with immediate gratification, signaling – as the tradition of nature morte has always promised – a location for one’s selfhood through connection to ‘things’ and their ownership or symbolic meaning. Yet Meagher ups the genre’s ante and casts subtle clues toward unexpected paths, speaking to Australia’s often avoided, unquestioned histories of masculine toughness, vulnerability, drinking culture and sexuality. In his paintings, aged longneck drink bottles are vessels emptied, upended, transparent and inscribed with mottoes like ‘Pick-Me-Up’, ‘Bitter Ale’ and ‘Imperial Pint’. Native flora, lovingly reproduced, mostly flower or have gone to seed, illustrating differing cycles of sexual development.
Meagher also paints portraits of well-known football players, here using glazes to dramatize a precarious fragility in each man’s isolated facial expression. With some subject’s eyes uplifted to emphasize a prayerful supplication, in contrast to the usual ‘tough guy’, in-your-face attitude we expect from our athletes, these Aussies don’t sit comfortably within the norms of celebrity status.
Having originally trained as a medical doctor, Meagher studied Florentine Renaissance colour glazing technique in Italy. His work captures both a love of the sublime physicality of Giorgio Morandi and the deeply considered aesthetic of Japanese design and culture. Only a heartbeat away from the discomfiting, the artist’s luminous, ethereal technique is uniquely personal.
Hear what Julian has to say about his practice here:
In an article from Daily Life, Carla Hananiah and Amber Wallis were named two of seven young artists to invest in now.
Amber approaches her painting practice with a huge energy and a quiet ambition, two factors which are important in determining how far an artist will go in their career. Her physical landscapes begin with ‘hitting the canvas all out’ and result in a colour palette and composition that’s eternally engaging.
Carla’s technique has drawn great attention. Exuberant brush strokes and marbled skies uniquely capture light, shadow and shape across immense spaces. The purity of colour in her works also purveys a sense of mysticism bordering on the spiritual.
The work of New Zealand born artist Abbey McCulloch features in this month’s issue of Harper’s Bazaar. McCulloch says she looks to create a “reflexive mirroring process” using her own image as a prop to lay bare contrivances necessary for emotional survival in our overly self-conscious culture. Abbey’s upcoming solo exhibition shows at the Gallery from 24 March – 18 April, 2015.
Freelance arts writer Louise Martin-Chew covers Marisa Purcell’s 2015 solo exhibition Unbounded in a preview article for Art Guide Australia. Louise writes:
“In Unbounded, Marisa Purcell explores the natural, the sacred and the spirit through a series of abstract paintings. At turns poignant, moving and arresting in their capture of space, time and memory, they direct the viewer to an ephemeral moment just below the conscious.”
Marisa’s exhibition of new paintings shows at the gallery until 28 February. Marisa employs her depth of experience with oil, acrylic, watercolour, and drawing media to conjure an internal landscape at symbiotic play with notions of micro and macro cosmologies. She says, “the most beautiful thing occurs when discord is integral to the resolution of a painting: there must be something at stake, or you haven’t pushed your own sense of what you’re capable of doing”.
Marisa Purcell speaks openly about her practice leading up to her solo exhibition at Edwina Corlette Gallery:
“Getting my first studio was a significant thing for me – and since then I have taken a path of showing my work very regularly – in both artist-run spaces and commercial spaces in Australia and overseas. Moving overseas and undertaking residencies allowed me to explore European art and see painting from an international viewpoint.”