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HANNAH QUINLIVAN
Portfolio
2015 - 2011
37 Ocean Street
Woollahra, Sydney, NSW 2025
(02) 9328 0922
mcontemp.com
Still Motion
Flinders Lane Gallery, Melbourne, Australia
March 201 5
Still Motion
ARTIST STATEM ENT
Time is unfixed, flowing fickle, fluctuating. Temporal
asymmetries cleave and splinter. Frozen, dripping, gushing,
moments drift and rush. Turgidities turn turbulent, echoing
the glacial groans and moans of collapsing time. Unevenly
distributed duration unhinges the conditions of the everyday.
Not just fast forward but also slow motion, time is out of
joint, stretched thin like a membrane and compressed like
wrinkled skin. Stress fractures and crumple zones contour
the unnatural course of life, marking crisis and contradiction.
Rhythmic dilation and compound acceleration, these are
the conditions of still motion.
Still Motion
CATALOGUE ESSAY
Hannah Quinlivan’s work is varied in its form and materials of construction,
yet consistently employs infinitely twisting and turning lines as a conduit of
expression. There is a sense of abundance within Quinlivan’s creative approach
that is reflected in these un-ending lines, lines that fill up enormous expanses
of canvas in her painted and drawn two dimensional works, or that consume
volumes of space in her sculptural pieces that have also been described as spatial
drawings. In this latest series of work she explores notions surrounding temporal
reality and memory, mining these unseen realms through a rhythmic and organic
visual language.
With each aluminum or steel thread of wire that the artist bends upon itself and
weaves into others, Quinlivan allows her intricate craft to direct the expression of
certain themes. The energy of creation required by this process driven technique
is communicated to the viewer upon encountering each piece, as the numerous
delicately wrought connections seems to resonate with a vibrational hum.
Quinlivan’s lines of steel or drawn threads become bearers of ideas that transcend
their materiality. Linear threads and their haptic manipulation have for millennia
been symbolically connected to notions of time. The Moirai of ancient Greek
mythology, also known at the Fates, were three goddesses who through the act of
spinning thread with distaff and spindle, controlled the life of every person from
birth to death, when their thread was abruptly cut. Similar female deities exist in
Roman, Norse and Slavic mythologies, where thread is consistently wielded as
a manifestation of destiny. As such, a simple strand and the way it is stretched,
allotted and truncated, became an ancient way of comprehending the movement
of a human life through time.
Yet as suggested by the title of this exhibition, Still Motion, Quinlivan conceives of
time not in terms of a straight progression, but rather as a fractured experience
that speeds up or slows down from one moment to the next, depending on a
myriad of internal factors which alter our perception of it. As an area of enquiry the
concept of time traverses psychological, scientific, mythological and philosophical
realms. Quinlivan makes her own artistic contribution to this field of understanding,
expressing the ambiguous, shifting, circular (rather than direct) nature of time
through line-work that conveys such dynamic states.
A sense of interconnection is another critical notion that underpins Quinlivan’s
practice. Not only is this apparent through the myriad of intersecting and conversing
visual elements of the work, but in the fact that the artist allows each piece in a
series to inform the next. This occurs as she traces the shadow lines cast by her
three-dimensional spatial drawings, which subsequently form the basis of future
works. Thus each piece contains the echoes of its predecessors, woven together
into an overarching web. This generative interconnection, and the aesthetic
elaborations that permeate her practice form an elegant expression of the nature
of memory itself – specifically the meandering, non-static pathways of the human
psyche that carry the continual resurgence, and modification of memories.
While charting this complex internal topography, Quinlivan evokes both an
ephemeral delicacy and mineral toughness that belies the immediate sense of
fragility present within her work. Excavating the intangible, Quinlivan’s works
oscillate between tranquility and flux, existing in a paradoxical state aptly described
as still motion.
Marguerite Brown
MAArtCur
Still Motion
Still Motion
Still Motion
Imperfect Translations
M Contemporary, Sydney, Australia
November 2014
Imperfect Translations
ARTIST STATEM ENT
Memory moves and has a rhythm all of its own. Even in
the stillness, the pulse of rhythm is ever present, a murmur
of breath in the darkness. Recurrence and motion are
entangled in a dialectical dance, always unfolding, always
becoming. A motive force and vestigial trace, recollection
and remembrance look not just back but forward, tracing
and retracing a path between the present and the past. This
temporal oscillation describes a mode of motion, reprising
that which is never the same. Memory rushes forth toward
a destination that is always out of reach, not in motion
but motion itself. Repetition, return and difference, these
are the elements that comprise the transient rhythm of
recollection, imperfect translations of the infinite.
I m p e r f e c t Tra n s l a t i o n s
I m p e r f e c t Tra n s l a t i o n s
I m p e r f e c t Tra n s l a t i o n s
I m p e r f e c t Tra n s l a t i o n s
I m p e r f e c t Tra n s l a t i o n s
I m p e r f e c t Tra n s l a t i o n s
I m p e r f e c t Tra n s l a t i o n s
I m p e r f e c t Tra n s l a t i o n s
Drawing Breath
Shire of East Pilbara, Newman.
S e p t e m b e r 2014
Drawing Breath
CATALOGUE ESSAY
‘Drawing Breath’ is the anchor to Hannah Quinlivan’s enquiry into the metaphysical
presence of memory and rhythm in the Western Australian landscape. The lashes
of ruddy amber, blonde and lilac pigment that streak the 3.5 billion year old rock
face of the East Pilbara region’s Marble Bar strata inspired the artist to deepen her
investigation into the rhythms of nature, past and present.
Though omnipotent, such rhythms require us to ‘tune in’ and her sculpture, also
described as a spatial drawing, creates a point of entry as the process, product
and life span of the piece are imbued with symbolism.
Quirks of the natural world are often explained using the dialectic of empiricism
and the ineffable. We seek to understand things by hypothesis and outcomes;
ironically these approaches rely on imagination. By putting things behind us, or by
embracing a generative process science and art are constantly evolving.
Quinlivan composed drawings, rubbings and mixed media compositions before
‘Drawing Breath’ was frozen in form. The layered process is a metaphor for the
structure of nature but also shows her aesthetic and relationship with materiality.
The notion that you can find the micro within the macro is intriguing when
considering the Australian landscape, it is vast and yet its accent is particular. We
can view the plains sky high. Earth mounds become wisps and undergrowth a
succession of dots on the landscape. Conversely by taking a rubbing of a rock we
have another natural vantage point, track marks that refract the macro landscape.
Her practice and this sculpture summon visual cues so that we can doubly
appreciate our intuition and the lens empiricism presents. Quinlivan’s work
‘Drawing Breath’ is in part a response to the site she has entered.
Like the starchy nest of a bowerbird, Quinlivan’s large sculptures are designed
to entice the viewer. The cluster of three sculptures burst upwards from the
ground with a movement that is stoned in steel. The negative space created by its
positioning is womb-like, and one is reminded of Fiona Hall’s ‘Fern Garden’ (1998)
installed at the National Gallery of Australia that used the placement of plants to
suggest life cycles and regeneration. Though made with an unmoving material
the kinetic suggestion in the lines Quinlivan has summoned make us think of the
molecular geometry that unites the universe, be it in sound waves, our crawling
veins or the natural asymmetry of spinifex. When you are picturing something that
people cannot see there must be magic in the making.
The layout of the works follows the confluence of the Coongan River and its
tributary creek. As a spatial drawing it invites you to walk through it, the succession
of lines mirroring the path to walk the riverbank. The magnetism of her piece is in
the company of creek beds lined with iron-ore, jasper, jade, amethyst and honey
coloured citrines under a beating sun, the same heat that will bend her steel. It is
a place of extremes.
To draw is to solicit but it also describes documentation and freedom. Drawing
is an act of creation that, dually, gives root to the elemental forces we notice but
cannot articulate and sets them up as objects to view. As such the artist gives
form to the echoes and traces that make rhythms visible in our environment,
pointing to them as something special and perhaps adding to their file in the
drawer of universal comprehension.
The first form of life on earth, single-celled photosynthesising cyanobacteria,
produced oxygen, which bonded with the iron atoms that were then abundant
in the ocean, creating red iron-oxide particles, which settled to the ocean floor.
Geologic durations of oxygen abundance and scarcity are marked in the bands
of red and black strata, the rhythmites at Marble Bar. Geologists call this periodic
process of original photosynthesis the ‘breath of the earth’. It is these respiratory
vestiges that Quinlivan traces in her work.
The, vibration, or ‘back and forth’ that must exist to create resonance reminds
Quinlivan of the importance of memory. She has said that “memory moves and
has a rhythm all of its own. Recurrence and motion are entangled in a dialectical
dance of folding and unfolding.” Memory is shaped by time, as is the weathered
earth or the growth of a young body and we find ways to record these changes,
from mapping to scarification and modification. In understanding the metanarrative, of planet or of people, we look to mark making. Lines intersect the shared
visual language in topography, calligraphy, textiles and earth art. A gesture has the
paradoxical beauty of being instructive and distracting, with no sure beginning or
end and representing both a passage and a boundary.
In the early 1960s Russell Drysdale walked upon Marble Bar with a line of sight
to Gallery Hill. He said that “viewed from a distance in the distortion of the heated
air, they look like desiccated pyramids…The natural forces of wind and weather
over an infinite period of time have carved curious and bizarre forms”. Drysdale
reasons that Indigenous rock engravings in the Marble Bar reflect the sense of
eternity, “of life, beyond life”. Australian artists celebrate the landscape in a way that
underscores its elemental extremes, dwarfing majesty and inexplicable spirituality.
It is no coincidence that constant iteration and substriking has a visual signature,
that of the line. Crowning the horizon line with organic dapples and shapes, Fred
Williams used non-representational depictions of nature to communicate the
essence of landscape. Williams, who visited the Pilbara in 1977, later remarked on
a trip to New York that ‘I will never paint anywhere but in Australia because I know
Australia … I must be inside looking out, not outside looking in’.
Although much landscape art might shoot for a linear perspective, Quinlivan
follows leads to an atmospheric framing of the Pilbara, and thoughtfully, the affect
is through the careful plotting of contour lines. ‘Drawing Breath’ is an abstraction
sprung forth from natural geometries.
Though titled ‘Drawing Breath’ the work is also drawn in air, a spatial drawing
that is site specific. It is made from hand forged and welded mild steel, iron ore,
an abundant material in the region and the reddish constituent of the strata at
Marble Bar Pool. Quinlivan chose to leave the steel untreated; slowly it will rust
and return in years outstretched to iron oxide. And so, like a parable drawn in the
sand this piece arose out of the materials from place, and will eventually return
to it. Contradictions in material and concept, like the to and fro bounce of rhythm,
create a constant dialogue for the audience to engage with.
Quinlivan is a graduate of the School of Art, The Australian National University,
2013. She has a history working in regional WA and NT developing community
arts. ‘Drawing Breath’ was produced during the first of four annual six- to eightweek residencies awarded by the Shire of East Pilbara in Western Australia. The
Art at the Heart prize afforded her exclusive access to a workspace. Studies and
the other works that parallel the final piece were exhibited at the Newman Visitor
Centre in September 2014 with the sculpture unveiled on site. The impetus was
to respond to the landscape in an innovative and compelling way.
The unfixed condition of time is present in this work. The ancient setting has
recently seen 120 years separate the peaks of mining gold and now iron ore.
As for the sculpture it is set in material, yet moving in form and shaped with the
asymmetry of ancient organic matter that of course finds new life everyday,
changing state with the whisper of the wind, as it draws breath.
- Chloe Mandryk
D ra w i n g B re a t h
D ra w i n g B re a t h
Transience
Kunstraum Tapir, Berlin.
July 2014
Tra n s c i e n c e
Tra n s c i e n c e
Tra n s c i e n c e
Tra n s c i e n c e
Tra n s c i e n c e
Tra n s c i e n c e
Tra n s c i e n c e
Tra n s c i e n c e
R e s u rf a c i n g
Flinders Lane Gallery, Melbourne, Australia
June 2014
Resurfacing
ARTIST STATEM ENT
There is motion beneath the surface. Things flow
underground. Shades of experience and moments
of constitution accrete like sediment, embodied
like layers of skin pulsing with blood. Subterranean
tides of memory course unseen between existence
and inexistence, emerging from the rifts and the
crevasses of the mind, pouring forth from the
gashes that rupture the meniscus of the everyday.
It is this psycho-stratigraphy that I excavate in my
practice. Through making, I trace the contours and
apertures of memory, footnotes and fieldnotes in a
visual archaeology.
Resurfacing
CATALOGUE ESSAY
A seemingly free arrangement of lines have been let loose to meander at will,
forming twisting pathways of chaotic interconnection. Loops fold in on themselves
and pale lines sit beside their dark twins. Between these lines, within the negative
spaces, the echoing shadows of continual layers merge into oblivion.
There is a sense of deep recurrence at work within the surface and texture
of Hannah Quinlivan’s images. Seen together in one exhibition they create an
intriguing sense of transformational deja vu. Grounding her practice within the
expanded parameters of what the artist refers to as spatial drawing – moving
between sculptural weaving and graphic mark making – affords a flexible and
adaptive means of working. Here line, trace and shadow become implicated in
an act of contingent liberation. No longer requiring the fixed surety of a plinth
or canvas support, they become at once both intangible and solid. Twisted
wire structures inform the production of shadow drawings which in turn form
the basis for further sculptures. Each element has the capacity to be endlessly
translated. Endowed with a dual quality of formal austerity and material tactility, this
transitive methodology becomes the artist’s means to investigate the processes
of remembering.
Negotiating the fragmentary, elusive and mutable nature of memory through a
system of serial repetition, her works oscillate between material, form and gesture
to suggest a kind of ongoing, fraught memory loop. Somewhat akin to the quality
of a maze or knitted cloth, disjuncture, connection and entanglement serve to
amplify crucial ideas of memory’s limitlessness, spontaneity and tangential
qualities. The continuous, threadlike trajectory of each line becomes interwoven in
much the same way as that of a feeling of memory. Each lived experience, once
internalized, travels imperceptibly through an individual’s consciousness, mediating
and influencing future events. A similar durational influence has been allowed to
unfold within these sinuous forms.
The sequential strategy of Quinlivan’s making allows an infinite range of possibilities
to spring from seemingly slight adjustments. Through the materials themselves,
depending on their transparency, weight or texture, ideas of permanence and
temporality emerge, offering not only suggestions of that which is in existence,
but also creating opportunities for some form of reassessment, destabilisation
or erasure. The plurality of such a position confirms the precariousness and
subjectivity of the phenomena of recollection and forgetting.
Within the avalanching layers of each spatial drawing, within the bending, curving,
folding, and incising of surfaces, a continual state of reassessment is at work locating the warps and distortions intrinsic to memory. Interested in representing
the dynamic aspects of cognition itself rather than any literal representations of
place or moment, Quinlivan is activating a system by which to trace a pathway
from past to present.
- Phe Luxford
R e s u r fa c i n g
R e s u r fa c i n g
R e s u r fa c i n g
R e s u r fa c i n g
Penumbra
Studio Kura, Itoshima, Japan.
November 2014
Penumbra
ARTIST STAT EM ENT
Light always seems brightest in the darkness.
Penumbra is an artwork about darkness, light and their
unstable relationship. Like the fleeting transitions between
shadow and light, such as those that occur when the
sun’s rays pierce through the clouds on a stormy day,
hope can flare and flicker in dark times, even if only
for a moment. Half way between joy and despair, the
penumbra is the uneasy zone of uncertainty in which
our minds and hearts so often dwell.
I have chosen to make this work as a spatial drawing
so that the viewer can be immersed within it. By letting
lines loose from the plane, they can attend to their
audience and draw them in, enveloping them within the
drawing, surrounding them with line and light. This work
is designed to act as a mirror, catching and reflecting
the movement of the viewers who pass through it. While
my previous spatial drawings have been constructed
from wire in order to cast shadows, in this work I have
used tape to capture the light and thereby materialise
the insubstantial.
This artwork has taken two weeks to prepare and will
change every day for one week to come. In this building,
which was once a storehouse for grain, I have captured
and stored a moment of light, drawn it out in space and
time and effected a transition that usually takes place in
an instant over the course of days.
Penumbra
Penumbra
Penumbra
Penumbra
Penumbra
Penumbra
Riparian
Australian High Commission, Singapore.
November 2013 - January 2014
Riparian
ARTIST STAT EM ENT
Like rivers, memories flow. They are unsettled and
mutable, transient and unstable, always en route to another
destination, never fixed nor certain of themselves. Yet
memories are inescapably connected to the real; they
“take root in the concrete, in spaces, gestures, images
and objects” and materialise themselves in things. Pierre
Nora speaks of the importance of places where “memory
crystallizes and secretes itself,” which he terms sites of
memory. Via memory, the symbolic becomes palpable
and geographic, like the banks of a river, strewn with the
detritus of a passing flood.
Artworks are thus the detritus of the mind, flotsam
and jetsam on a stream of consciousness. They are
the embodiment of transient memories and mental
conceptions, making something real and lasting from
the fleeting and endlessly pliable. Through making,
memories take root and plant themselves in the real,
bursting forth in the riparian zone between the mental
and the material.
Hannah Quinlivan was artist-in-residence at INSTINC in
September and October 2013 and has produced this
body of work during that time.
R iparian
R iparian
R iparian
R iparian
R iparian
R iparian
R iparian
Something Missing
Flinders Lane Gallery, Melbourne, Australia
September 2013
Something Missing
ARTI ST STAT EM ENT
According to Hannah Arendt, art objects are
unique. Their “durability is of a higher order than
that which all things need in order to exist at
all; [they] can attain permanence throughout the
ages.” I draw on this notion to make something
present and lasting from memory, which by its
nature is absent and fleeting.
It is the fragile and ephemeral nature of memory,
its defiantly constant mental presence despite its
unremitting physical absence that I am trying to
come to terms with through my making. I embed
my memories into objects, solidifying that which
always slides out of view, elusive like smoke.
S o m e t h i n g M is s i n g
S o m e t h i n g M is s i n g
S o m e t h i n g M is s i n g
Material Translations
M1 6 a r t s p a c e , G r i f f i t h , A C T , A u s t r a l i a
February 2013
Material Translations
CATALOGUE ESSAY EXCERPT
From the corner of M16’s doorway we are lured and
caught in the web of this spell-binding show.
Hannah Quinlivan’s sculptural piece Unravelling greets us
at the entrance, beckons to us with a curling tendril. Both
creature and web, Unravelling is a complex field of paper
ribbons; a tangled network, a mass, a mess, but does it
seek to draw us inside, or is it trying to get out? This piece,
as with many of the other works in Material Translations,
is performative, animated in a way that extends beyond
the inanimate object, escaping its own confinement, and
challenging the limits of physical space and materiality.
Quinlivan’s second sculptural piece Enfolding also reaches
out to the viewer with long, delicate steel fingers. They
are like giant hands, but are they closing or opening. Are
they fence or gateway? Do they gesture to us or to each
other? These sculptures both capture movement and
encourage it.
M a t e r i a l Tr a n s l a t i o n s
M a t e r i a l Tr a n s l a t i o n s
M a t e r i a l Tr a n s l a t i o n s
M a t e r i a l Tr a n s l a t i o n s
Drawn In
The Front Gallery, Lyneham, ACT, Australia
September 2012
Drawn In
A RTIST STAT EM ENT
“Poetry is an echo, asking a shadow to dance.”
- Carl Sandburg.
All drawings use lines, but not all drawings are
about lines. These drawings are about line and
its abundant potential. Using shadows and steel,
I let lines loose from the prison of the frame and
send them tumbling onto the wall and dancing
out into space.
My lines do not sit passive upon the page,
waiting for an audience to approach. They have
a presence that cannot be ignored, a physicality
that cannot be denied. They attend to their
viewers and draw them in, enveloping them
within the drawing, surrounding them with line.
D ra wn I n
D ra wn I n
D ra wn I n
D ra wn I n
D ra wn I n
BVA Graduation Show
The Australian National University, Canberra, Australia
November 2011
BVA Graduation Show
ARTIST STAT EM ENT
Representing Memory
Memory is central to our understanding the world. As John
Locke writes, it is “necessary in next degree to perception.”
Yet curiously, memories are elusive and insubstantial,
difficult to pin down. If memory is “the storehouse of
our ideas” it is “a storehouse whose stores are nothing
stored nowhere.” Memory has an agency of its own.
While they may be recalled through a conscious effort
on the part of the rememberer, memories often return
unbidden, “roused and tumbled out of their dark cells into
open daylight, by turbulent and tempestuous passions.”
These memories may be welcome or unwelcome, but it
is sometimes beyond the ability of the will to banish them.
Despite their immaterial nature, memories are very much
connected to the real and substantial; they “take root in
the concrete, in spaces, gestures, images and objects.”
The resurfacing of memory is often triggered by a familiar
sight, smell or action. Perhaps most famously, Proust began
Swann’s Way with an involuntary memory, triggered by
a cake dipped into a cup of tea. Other memories become
attached to places. Pierre Nora speaks of the importance
of places where “memory crystallizes and secretes itself,”
which he terms sites of memory.
In my honours research, I explore one such site of memory
visually. I do not, however, seek to depict the landscape
of the site itself, or events that occurred there. Instead, I
research the process of remembering itself, using a case
study of one particular memory that holds overriding
significance for me.
B VA G r a d u a t i o n S h o w
B VA G r a d u a t i o n S h o w
B VA G r a d u a t i o n S h o w
H A N N A H Q U I N L I VA N
CURRICULUM VITAE
EDUCATION
Bachelor of Visual Arts (honours), 2013
Australian National University, Canberra, ACT
Dux, with first class honours
AWARDS AND SCHOLARSHIPS
2014
ACT Arts Fund, Grant to establish Canberra Graduate Mentorship Programme. September 2014.
Shire of East Pilbara Artist Residency Award. March 2014.
JUMP, Australia Council of the Arts. February 2014.
2013
Art Start, Australia Council of the Arts. November 2013.
The Cox Prize, Sculpture on the Edge. March 2013.
Don Moffat & Cecilia Ng encouragement award for an individual sculptor, Sculpture on the Edge. March 2013.
People’s Choice Award, Sculpture on the Edge. March 2013.
2011
Peter & Lena Karmel Award for the highest honours grade at the ANU School of Art. December 2011.
Megalo Print Studio and Gallery Residency Award. December 2011.
The Front Gallery Exhibition Award. December 2011.
The Canberra Grammar School Exhibition Award. December 2011.
Australian National University Honours Scholarship. February 2011.
2010
Jan Brown Drawing Prize. September 2010.
SOLO EXHIBITIONS
2015
Still Motion, Flinders Lane Gallery, Melbourne. March 2015.
2014
Imperfect Translations, M Contemporary, Sydney. November 2014.
Drawing Breath, Shire of East Pilbara, Newman. September 2014.
Transience, Kunstraum Tapir, Berlin. July 2014.
Resurfacing, Flinders Lane Gallery, Melbourne. June 2014.
2013
Penumbra, Studio Kura, Itoshima, Japan. November 2013.
Riparian, Australian High Commission, Singapore. November 2013 – January 2014
Something Missing, Flinders Lane Gallery, Melbourne, VIC. September 2013.
2012
Drawn In, The Front Gallery, Lyneham, ACT. September 2012.
GROUP EXHIBITIONS
2016
Just Draw, Newcastle Art Gallery, Newcastle, Vic. March-May 2016
2015
Australian Print Triennial, The Art Vault, Mildura, Vic. October 2015.
Field Trip Project, National Institute of Education Art Gallery, Singapore, August 2015
- then touring Philippines and Indonesia
Calleen Art Award, Cowra Regional Art Gallery, Cowra, NSW, May 2015.
Hong Kong Art Central, Harbourfront, Hong Kong. March 2015.
Sculpture on the Edge, Bermagui, NSW. March 2015.
2014
M16 Drawing Prize, M16 Artspace, Griffith, ACT. December 2014.
CAPO 31, Canberra Museum and Gallery, Canberra, ACT, October 2014.
25th Anniversary Exhibition, Flinders Lane Gallery, Melbourne, VIC, September 2014.
Silk Cut Art Award, Caulfield, VIC, September 2014.
Melbourne Art Fair, Melbourne. August 2014.
Total View, Kunstraum Tapir, Berlin. July 2014.
The Alice Prize, Alice Springs, NT. May 2014.
Swan Hill Print & Drawing Acquisitive Awards 2014, Swan Hill, VIC. May 2014.
Sculpture on the Edge, Bermagui, NSW. February 2014.
Annual lithograph show. Megalo, Canberra, ACT. February 2014.
2013
M16 Drawing Prize, M16 Artspace, Griffith, ACT. December 2013.
Geelong Acquisitive Print Awards, Geelong Gallery, Geelong, VIC, September 2013.
Silk Cut Art Award, Caulfield, VIC, September 2013.
Real It Up, Kunstraum Tapir, Berlin, Germany, September 2013.
Sculpture, Flinders Lane Gallery, Melbourne, VIC, July 2013.
Calleen Art Award, Cowra Regional Art Gallery, Cowra, NSW, May 2013.
CPM National Print Awards, Tweed River Art Gallery, Murwillumbah, NSW, April 2013.
Art Not Apart, NewActon Precinct, Canberra, ACT. March 2013, October 2012.
Sculpture on the Edge, Bermagui, NSW. February 2013.
Material Translations, M16 artspace, Griffith, ACT. February 2013.
2012
M16 Drawing Prize, M16 Artspace, Griffith, ACT. December 2012.
Corinbank music and arts festival, Brindabella Mountains, ACT. November 2012.
Wilson Visual Art Awards, Trinity College, Lismore, NSW. August 2012.
True grit, Megalo, Canberra, ACT. May 2012.
Fine Lines, Gallery of ANU School of Art, Canberra, ACT. March 2012.
2011 and earlier
Monomania, The Front Gallery, Canberra, ACT. April 2010.
School of Art Drawing Prize Exhibition, Australian National University, Canberra, ACT. 2011, 2010, 2009, 2008 & 2007.
Tuggeranong Rotary Youth Arts Award, Tuggeranong Arts Centre, Canberra, ACT. 2008, 2003 & 2002.
ARTIST-IN-RESIDENCE
2014
Shire of East Pilbara, Newman, Western Australia. August-September 2014.
Takt Kunstprojektraum, Berlin, Germany. July 2014.
2013
Studio Kura, Itoshima, Japan. November 2013.
INSTINC Soho, Singapore. September – October 2013.
Takt Kunstprojektraum, Berlin, Germany. August 2013.
2012
ANU School of Art Sculpture Workshop, Canberra, ACT. July-September 2012.
Megalo Print Studio and Gallery, Canberra, ACT. April-July 2012.
COLLECTIONS
National Gallery of Australia (group acquisition of artists’ books), The Australian High Commission (Singapore),
Shire of East PIlbara (permanent public collection), Philip Cox Collection, Deakin University, The Australian National
University, KPMG Art Collection, New Acton Arts Precinct, Megalo Print Studio + Gallery, Ormond College
Collection, various private collections.
VOLUNTARY SERVICE
Founder of the Canberra Graduate Mentorship Programme, Canberra. 2014.
Contemporary is a gallery space that aims to create
a cross cultural conversation through showing and
supporting emerging and established artists from
around the world. We aim to foster a strong appreciation
in Australian audiences for a new generation of foreign and domestic artists
and to expose both novice and established collectors to these works.
By curating interactive exhibitions .M Contemporary aims to serve as a
platform that introduces all mediums of art ranging from traditional to
digital video art, interactive and immersive installations, showcasing the
skill, creativity and concepts of artists within these mediums from around
the world. .M Contemporary has a strong focus on supporting these artists
ongoing presence through regular exhibitions, complemented by industry
expert panel discussions, artist talks, social events and more.
Recognising the need for broader participation and exposure to art,
.M Contemporary is also opening up itself to schools, universities and other
parties as a platform for education where an appreciation for global and
local contemporary art is inspired and nourished.
37 Ocean Street
Woollahra, Sydney, NSW 2025
(02) 9328 0922
mcontemp.com