Dord Burrough and Tara Marynowsky

 

A big thank you to Concrete Playground for their write-up of Tara Marynowsky’s ‘Tide is High’ and Dord Burrough’s ‘Ghost Emotions’. Both exhibitions are currently showing at the Gallery until 9 May.

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Craig Waddell in the Studio

Sensual and tactile, Craig Waddell’s work celebrates both the sublime and the imperfect. Laying down paint, wet into wet, observing while intuitive colour and gesture build and change, he destroys, renews and resurrects images from everyday life.

A close attunement to the natural world began during childhood on his family farm. Whether painting a rooster as a riff on contemporary portraiture, or a protea as an evocation of love, he is confident journeying through colour choices, compositional risks, scraping back and starting fresh, ultimately building several layers of paint to finish the work. The results, he says, are the product of his fundamental interest in paint – through his immersion in the “field of activity” that is the canvas. Waddell’s earthy, emotional honesty provides a refreshing take on masculine use of paint without fear of beauty.

Hear what Craig Waddell has to say about his practice:

DAILY IMPRINT interviews Abbey McCulloch

DAILY IMPRINT writes: ‘Becoming a finalist in the Archibald Prize – on three occasions – had a big impact on the art career of Queensland-based artist Abbey McCulloch. “I really had no idea how much that sort of exposure meant, especially the first time it happened,” she says. Her paintings included portraits of actresses Naomi Watts and Toni Collette. But even early exposure of magazines such as Vogue Australiaand Harper’s Bazaar played their role, certainly in terms of feeling she was on the right path. “It sounds like quite a superficial triumph, but just the fact that I could be pulling up at a petrol station or somewhere and show my dad my image in an iconic fashion magazine – well it felt like a big deal,” Abbey says. There are a long list of accolades for her work, including Art Collector naming her as one of Australia’s “50 Most Collectable Artists” in 2009, 2010 and 2011. While she was born in New Zealand, Abbey has spent most of her life in Australia and lives in Burleigh Heads on the Gold Coast. She has a Masters in Visual Arts from the Queensland College of Art and is exhibiting at the Edwina Corlette Gallery in Brisbane until April 18. “I have just always loved communicating through images for as long as I can remember,” Abbey says. “Drawing was just something that I had to do, in a compulsive and almost therapeutic sense.”’

For the interview with Abbey McCulloch, follow this link.
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Vipoo Srivilasa visits the U.S.

Congratulations Vipoo Srivilasa who recently visited the U.S. to be a part of the Roundtable Discussion for the National Council on Education for the Ceramic Arts (NCECA) on March 26, 2015.

‘”Pass the Peas: Food, Objects and the Making of Community”, will expand on themes explored in our 2015 keynote lecture. Namita Gupta Wiggers will moderate this lively discussion with Aruna D’Souza, Julia Galloway, Frederick Opie and Vipoo Srivilasa. As writers, artists, curators and historians these individuals all deal with the complex ways that we understand place and memory through objects, food and community engagement.’

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Cultural Flanerie reviews ‘The Shallows’

A big thank you to Carrie McCarthy for her deeply thoughtful review of Abbey McCulloch’s ‘The Shallows’, showing at the Gallery until 18 April.

McCarthy writes: ‘Swimming in deep water unnerves me. I discovered this about a million years ago when I was a lifesaver on the Gold Coast. Being scared of what’s below you in the darkness is not ideal in that line of work, though it did tend to manifest itself in rather fast swim times just so I could get back into water shallow enough to see through. On the long training swims, way out past the break, I used to chant a little poem by ee cummings to myself to keep my mind calm and focused

“for whatever we lose (a you or a me), it’s always ourselves we find in the sea”

I hadn’t thought about that for years, until the other night standing in front of Abbey McCulloch’s new show The Shallows at Edwina Corlette Gallery. It was odd the way it came back to me – repeating the line over and over again until the rhythm of the words blocked out the fear; the feeling of being sucked downwards into the depths even though you know you’re still afloat; how strong my arms and back would feel surfing in on a wave; how good for my spirit it was at the end of it all. Once I was back on land I mean.’

Follow this link for McCarthy’s full article.

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