Posts Tagged ‘exhibitions’

yesterday we went for a drive out to the edge of the city to Purple Noon Gallery at Freemans Reach
to see Irene & Ellen’s beautiful and inspiring exhibition
you can see more details in situ over on instagram
with a special thank you to Irene for driving down to meet us
& to Robyn for making such a beautiful gallery space!

Zhao Zhao Constellations 2017
300 x 980 cm
300 x 140 cm x 7 panels
silk, embroidery
“Having seen images of bullet holes after the June 1989 events, Zhao Zhao purchased a gun – illegal in China – and fired it into sheets of glass. Mesmerized by the beauty of the patterns, he began to paint them. Later in collaboration with his mother, Zhao made these works in the form of silk embroideries. From afar, Constellations can convince the viewers that what they see is splintered shards of glass. The puncture holes recall a moment of impact and destruction, but as radiating lines are laboriously transformed by silken threads, we are reminded that moments of rapid violence have effects that extend far beyond the core.”
detail of the embroidered silk
such powerful work
Liang Shaoji
Heavy Clouds 2014
silk, cocoons, wood
Liang Shaoji works with silkworms or, more specifically their lifecycle. By manipulating sound, light and temperature, he is able to alter the paths by which they spin, producing mysterious forms bound in silken filaments. To create the Heavy Clouds series, Liang used 20,000 silkworms to veil ancient pieces of wood from the Tang Dynasty, themselves engraved with the marks of time and history. The fine, white gauze becomes shroud-like: protecting, healing, mourning a ravaged environment.
Liang’s works accomplish two feats: ‘making wood appear as light as a cloud and a cloud appear as heavy as wood’.”
here’s the link to see more of this brilliant & confronting exhibition at the White Rabbit Gallery

the Nirin Sydney Biennale at Cockatoo Island has reopened this week!
Ibrahim Mahama’s fabulous transformation of the Turbine Room with his No friend but the mountains 2012-20
the scale of this work is astounding, that’s Old Man Crow halfway down the hall
our friend Cathy taking a video
every bag is stitched into the whole like a giant patchwork
woven into place
holding memory
these bags looked like they were encrusted with sea shells
detail not sure if they are shells or metal tags
Latai Taumoepeau The Last Resort 2020
“Surrounded by a wall of sacks filled with empty glass bottles. They are stitching up the sea. Wearing brick sandals on their feet and armed with an ‘ike (Tongan mallet) exclusively used to beat mulberry bark into large ceremonial cloth called ngatu or tapa. They smash and crush the glass into the present future. Empty torn sacks adorn their necks as a lei or sisi, usually a garland of fresh tropical flowers and leaves worn as a body adornment in formal Pacific Island presentations, also used to welcome guests and keep their necks cool. They are stitching up sea at/as the last resort.”
the sound of breaking glass
Manuel Ocampo
“The paintings of Manuel Ocampo are not stories, nor do the webs of images and symbols that he weaves together point to a specific thing. Rather, the meaning implied by the signs and visual vocabularies employed by the artist is accumulative, presented to audiences in a way that remains deliberately opaque. The artist says this method of presentation is emblematic of the way he works, from a position of uncertainty that ensures his paintings remain open to a spectrum of interpretations. Within this, Ocampo and his work are able to retain a degree of autonomy, away from any pre-conceived assumptions and desires of those who look at his work within arenas of contemporary art.”
Here’s links to lots more photos & videos on
Nirin Sydney Biennale website


we caught the train to the Wollongong Art Gallery to hear Jenny Orchard give her floor talk
Jenny’s magical Juju Jack and friends
Jenny plays with collagecreating interesting hybrids and connections
Jenny spoke passionately of connection, empathy, imagination, genetic modification & quantum entanglement
A wonderful storyteller with a wry sense of humour as Julie Ewington describes in her catalogue essay, Jenny is  “a fabulist with a philosophical bent who happens to find working in ceramics congenial to her purposes.”
here’s the links to Jenny’s website
and instagram page

We have lived here in our beautiful old lady of a house for 11 years, the Hoya is celebrating with Fiona & Barry’s Imagine Peace weathergrams and Bronwyn Berman’s beautifully beaded and bound river stone
with so many flowers happening this year!
and we have privacy from the upstairs bedroom window at last!
love how Madeleine set up Holding the Moon at the Collectors Choice show at Artsite
moonsong sold to a museum curator & conservator of textiles and paper from Western Australia,
last year she bought Once in a Blue Moon & the chicken & the egg in 2017
hoping there will be photos of the opening to post soon & thanks to everyone who came along
but the sad news is my beautiful sister in law Debbie had a stroke just as she and my brother Mike were getting ready to go to my Mom’s for Thanksgiving dinner on Thursday, she is in ICU, x fingers she will make a full recovery!

the silly season is upon us !
opening Sunday December 1st from 3-5
preview Saturday November 30th
gallery hours Wednesday to Sunday 11-5 til December 15th
these are my offerings
Holding the Moon Mo 19
moonsong Mo19
see you there!

The Untethered Fibre Artists : Found Narrative exhibition opened last night
Pam de Groot
First You Must Burn
90 x 80 x 40 cm – variable
Merino wool wire, cotton thread
Felting, machine embroidery
“When the nest becomes too small a bird is ready to spread its wings and fly” Matshona Dhliyawo
Jane Bodnaruk
A Process of Vignettes
2.0 x 1.8 x 0.22 m variable
Second-hand shirts, fabric, embroidery threads, embroidery hoops, polyester film
Hand stitch
“In 2016 I sketched my handmade rope from Rope Journey once every week for 37 weeks primarily in pencil on paper. I added fabric and stitch to these sketches toward the end of the journey.
In 2019 I have focused on fabric and stitch as a process of creative discovery. I wanted to discover if the process of working straight into fabric with needle and thread could be effective as an alternative and/or accompanying tool of process for me in finding the narrative.”
Jane Bodnaruk
Unpacked (detail)
130 x 85 x 40 cm
Vintage embroidered tablecloth, vintage embroidery, muslin, fabric, embroidery threads
Hand stitch
‘There are two sides to every story’
Denise Lithgow
Amphora & Amphoriskoi
3 Amphora – 110 x 40 x 27cm, 92 x 42 x 27cm, 83 x 33 20 cm
3 Amphorsikoi – 77 x 37 x 20 cm, 76 x 36 20 cm, 72 x 36 x 20 cm
Merino and crossbred wool, yarn, silk, wire, polyfil, matt varnish
Felting, eco-dyed with Australian flora – Eucalyptus nicholii and Grevillea Moonlight
Carolyn Cabena
Under the Canopy
170 x 110 cm
Cotton, hessian, naphtol and fibre reactive dyes, wax
Silkscreen printing, hand stitch
Under the Canopy detail of Monstera leaves
Cathie Griffith
137 x 97 cm
Recycled fabric, tulle, acrylic paint, thread, beads
Painting, stitch
Conversations detail
Kirry Toose
The Curious Minds Anthology
Lost & Found
175 x 100 x 100 cm
Flyscreen, boning, latex, rubber matting, silk, cotton
Silkscreen printing, applique, hand and machine stitch
‘Every artwork takes on its own narrative, finding itself and then becoming illusive in its intent. This wearable creation is the journey of being ‘lost and found’-that clarity of a concept at midnight, losing the intent at the light of dawn.
A lifetime of chasing memories which fade in and out of time and place.’
fabulous details
Kirry Toose
The Curious Minds Anthology
The Other Side – the mechanics of observation
175 x 100 x 100 cm
Flyscreen, boning, metal, silk, cotton
Silkscreen printing, applique, hand and machine stitch
Referenced within the work is a collection of narratives exploring the juncture between facades, metaphors and structure. The form is bound to both the body aesthetic and functionality of the wearable.
The translucent yet strong surface cloth represents the intangible memories of a voyager. Its sometimes to reconcile that time of day – the mechanics of observing the in between – the light and shadows caught out of the corner of one’s eye and in the fleeting glimpses and silhoueittes of past recollections.
The Other Side detail
love those big hooks and eyes!
there is so much more to see so get along if you are anywhere near Sydney
there are lots more photos on Facebook & Instagram

Sculpture by the Sea 2019

Posted: October 28, 2019 by Mo Crow in It's Crow Time
Tags: , , ,

Never Alone Throne Wayne Z Hudson
steel, powder coat
390 x 140 x 190 cm
was the first piece to catch my eye
Silence # 1.2 Pimpisa Tinpalit
wooden doors, rope
180 x 600 x 600 cm
I feel it is my duty as an artist to find harmony between the moments of absence
In the Grey of Daybreak
Koichi Ishino
stainless steel, granite
230 x 200 x 200 cm
Ouroboros Charlie Trivers
carved laminated eco ply, eucalypt offcuts
350 x 100 x 100 cm
‘Ouroboros’ is an ancient infinity symbol of constant rebirth and renewal. This sculpture is carved and constructed out of timber, responsibly sourced and recycled. Metaphorically the sculpture materially is carbon stored and given a new cycle of life.
Ouroboros detail
2030 Sam Hopkins
580 x 430 x 353 cm
A sight that will soon be all too familiar; a looming skeleton of this once great life giver, now destroyed by the lives it had supported. By 2030 the threat of climate change to ecosystems and the bioclimatic limit of trees will be irreversible.
Capture and Store
Stephen King
siver top stringy bark, blue gum
500 x 300 x 300 cm
A hurricane raged through my district and tore down a million trees. Trees have been taking carbon out of the atmosphere and storing it away since life began. Any significant tree loss counts. “Capture and Store” is a memorial.
Eclipse Lucy Barker
salvaged electrical cables, steel, nickel, cement, hebel block
215 x 125 x 125 cm
One body moves into the shadow of another – E-waste is painstakingly reassembled, designed to spin on its own axis and meet the sky.
Transience Cave Urban
400 x 800 x 1600 cm
love how these large woven domes nestle in the landscape so lightly & sustainably, they give me hopeSculpture by the Sea

River on the Brink at the SH Ervin Gallery
Menindee Fish Kill by Melissa Williams-Brown in collaboration with Bonita Ely
Badger Bates – Barka The forgotten river and the desecration of the Menindee Lakes 2011 linocut print 60 x 45cm
we saw this deeply moving exhibition yesterday, it was put together in 4 months in response to the fish kill in the Murray Darling earlier this year
the online catalogue is suberb
Elizabeth Farrelly wrote this passionate response last weekend
How many more fish will die before we start looking after our beautiful broken world?

Linde Ivimey Arno 2009
steel armature, acrylic resin, dyed cotton, natural and cast chicken & fish bones, 24ct gold and ruby
48 x 53 x 35 cm

Gould Creative Spring 1883
Louise Saxton Frida (after Kahlo 1946) 2017-18
reclaimed needlework, glass beads, lace-pins, beading-pins, satin ribbon, nylon tulle, on archival mount board
147 x 101.5 cm
Gould Creative Spring 1883
Louise Saxton Lover’s Eye (after Vermeer c.1665) 2018-19
reclaimed needlework, lace-pins, beading pins, cotton-velvet, nylon tulle, on archival mount-board
90 x 120 cm
Gould Creative Spring 1883
Louise Saxton Pearl (after Vermeer c.1665) 2017-18
reclaimed needlework, lace-pins, beading pins, cotton-velvet, nylon tulle, on archival mount-board
90 x 120 cm

Gould Creative Spring 1883
Ian  Cheesman installation
calf skins, cast bronze arrows
The Vivian Spring 1883
Matilda Davis never ending sabbath of turmoil and true love 2019
oil on canvas, trim.decoration
50 x 40.6cm
Neon Parc Spring 1883
Lore Langredies Survived #1 wall object 2019
cut roedeer hide, MDE
Funaki Spring 1883
26 galleries presented their selected artists in the rooms of the swanky Establishment Hotel for Spring 1883
the lighting wasn’t great and the works were difficult to appreciate in the small rooms but in this 21st C world galleries are trying to make the art viewing experience more interactive, for me & Old Man Crow it felt a bit too gimmicky
the best moment was meeting Louise Saxton in real life, I have admired her meticulous work for years online