Vipoo Srivilasa Feature in Hi Fructose

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Vipoo Srivilasa ‘Trust Me! II’ 2014, porcelain, 43 x 20 x 14 cm.

Deianira Tolema explores the concepts behind Vipoo’s practice in ‘Vipoo Srivilasa’s Playful Kingdom of Ceramic Figurines’ for Hi Fructose: The New Contemporary Magazine. She writes,

Srivilasa’s work also explores the commonalities between Thai and Australian culture and Eastern and Western culture, where he uses blue and white as a reference to the export of blue and white porcelain from China to Europe. While being fully aware of his heritage, Srivilasa has been mixing up echoes from the past with traces of the present in a carefully arranged juxtaposition of old and new ways of thinking.”

Read the full article here.

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Vipoo Srivilasa ‘Patience Flower XXII’ in the Crafts Council Collection, London

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Vipoo Srivilasa ‘Patience Flower XXII’ 2014, hand built and cast super white reduced porcelain, 22 x 18 x 10 cm. Crafts Council Collection, London.

 

 

 

 

 

 

 

 

 

 

 

Vipoo Srivilasa’s  has been chosen by Rebecca Hill, Exhibitions and Collections Co-ordinator at Gallery Oldham, as her favourite piece in the Crafts Council Collection, London.

I really love the fact that this piece is technically excellent, yet doesn’t seem to take itself too seriously.” Rebecca Hill, January 2016.

Read the full article here.

Craig Waddell for the John Glover Art Prize

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Craig Waddell ‘The Darkness that Lies Within (Cape Grim)’ 2016, oil on linen.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Congratulations to Craig Waddell who is a finalist in this years John Glover Art Prize with ‘The Darkness That Lies Within (Cape Grim)’.  The Glover is an award for a landscape painting of Tasmania, defining landscape painting in its broadest sense.

The prize aims to stimulate conversations about the meaning and possibilities expressed by artists interpretation of Tasmanian landscape. The winning artist receives an acquisitive $40,000 prize.

For Craig ‘The Darkness That Lies Within’ is part of an ongoing body of work exploring landscapes that draw reference to sites of historical significance. He writes,

“Within my work I try to place myself in areas both physically and spiritually that ask questions around identity, isolation and mortality. It is in this compromising state that I am drawn to start responding to the natural world…

Cape Grim in Tasmania is a site that I have returned to many times. The dark beauty that surrounds this area has both a disturbing and magnetic energy to it. Reading about the history to this area and drawing from this area has been the platform for the emotive response within my painting…”

The winner is announced at the Official Opening Friday 11 March, 2016. The exhibition is open to the public 12 – 15 March and 19 – 20 March. For more information, click here.

To view Craig’s available works, click here.

Glenn Barkley featured in The Art Life

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Glenn Barkley, Like a Cactus Tree – for JM, 2016. Earthenware 53 x 35 x 34cm. Courtesy the artist and Utopia Art Sydney © the artist

 

 

 

 

 

 

 

 

 

 

 

 

 

Renowned curator turned artist, Glenn Barkley, will feature in ‘Return to Beauty’ a group show curated by Vipoo Srivilasa at Edwina Corlette Gallery,  29 March – 19 April 2016. The exhibition will also feature new works by Kris Coad, Ramesh Mario Nithiyendran, Amy Kennedy, Alana Wilson, Julie Pennington, Alice Accouttoupes and Helen Fuller.

Read more about Glenn Barkley’s transition from curator to artist in an interview with Sharne Wolff, Six and a half Questions: Glenn Barkley, on The Art Life blog.

Q. Although you’ve been a curator and writer for many years, you’ve burst onto the scene as an artist in the last couple of years. Has it been a fun ride?

Glenn Barkley: Fun but busy.

I have been overwhelmed and humbled by the response to my work – I’m glad I started making again! I studied to be a painter so always felt a bit fraudulent being a curator without an art history or arts administration degree or some such.

I think being an exhibiting artist is making me a better curator.

Please join Edwina Corlette Gallery for the ‘Return to Beauty’ Opening on Thursday, 7 April 6 – 8pm. All welcome.

 

 

 

Lyndal Hargrave DAILY IMPRINT Interview

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Lyndal Hargrave is featured on the DAILY IMPRINT: Interviews on Creative Living. Interviewed by Natalie Walton, Lyndal talks about her inspirations and passions. Read the full article here. 

“I’m drawn to patterns that shape our universe – the hexagons of a beehive, the fractals of a fern, the prisms of minerals,” she says. “I’m moving away from hard edge geometry to a more organic, lighter approach.” Lyndal Hargrave, 2016.

Lyndal’s exhibition ‘New Geometricks’ is current to 27 February, 2016. View her available works here.

Vipoo Srivilasa 2016 Fleurieu Art Prize Finalist

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Vipoo Srivilasa, Collective Reef 2015, mixed media.

Srivilasa’s sculpture ‘Collective Reef’ has been shortlisted for the $65,000 Fleurieu Art Prize for Landscape at the Anne & Gordon Samstag Museum of Art in Adelaide. The Fleurieu Art Prize focuses on landscape as a means of expressing the power of connection to place. This years judging panel includes Nigel Hurst, Director of Saatchi Gallery London; Suhanya Raffel, Deputy Director and Director of Collections AGNSW and Erica Green, Director of Samstag Museum of Art. The winner will be announced at opening night on 3 June. The Exhibition is current 3 June – 29 July, 2016.

Vipoo will present a new body of work at Edwina Corlette Gallery 16 November – 3 December, 2016. To view Vipoo’s available works, click here.

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Detail, Vipoo Srivilasa, Collective Reef 2015, mixed media.

 

Abbey McCulloch New Works

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Abbey McCulloch, The Removalist, 2016, oil on canvas, 55 x 45 cm

Abbey McCulloch’s current practice has been transforming over the summer, from small ink on paper studies to large oil on canvas works. Abbey writes,

“We seem to let more of our hidden selves bubble to the surface as we age but perhaps it is just the prickly self-consciousness of youth that dissolves away. I think that at times we all struggle with honest versions of ourselves. Perhaps that is the best part about getting older, the guard lowers, our Dobermans settle.

With this idea that we can be too careful for own good, the images explore the impossible and yet wonderful abandon in letting aspects of our hidden selves surface. Allowing the consequences to fall around us, even if for a moment.”

Abbey McCulloch and Tara Marynowsky will show new works together at Edwina Corlette Gallery, 14 June – 9 July, 2016. To view Abbey’s available works, click here.

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Abbey McCulloch, My Golden Rule, 2016, oil on canvas, 55 x 45 cm