WILLIAM WRIGHT: VISIONS THROUGH DISBELIEF
4 TH - 19TH APRIL 2016
Hilarie Mais Finalist in The University of Queensland National Artist's Self-Portrait Prize 2015
14 November 2015 – 13 March 2016
Self portraits tend to record a moment, less than a second in the case of photography, but only marginally longer in traditional art media. Yet the idea of ‘becoming’ might be useful in considering self portraiture. Movement and change, reflected in the individual as development and aging, is difficult to summarise visually. For many artists, looking to the future is appealing, but is leavened by the recognition that this moment – the present – is forever lost. The idea of existing somewhere between entropy and transcendence is at the heart of the 2015 National Artists’ Self-Portrait Prize. The $50,000 invitation-only, acquisitive prize is held by The University of Queensland every two years. The winning work is selected by an independent judge of national stature.
Curator: Michael Desmond
Judge: Jason Smith, Curatorial Manager of Australian Art, Queensland Art Gallery | Gallery of Modern Art
Khadim Ali • Jacquie Bradley • Jon Cattapan • Bindi Cole • Michael Cook • Janet Dawson • eX de Medici • Julia deVille • Emily Hunt • Fiona Foley • Julie Gough • Guan Wei • Marie Hagerty • Nicholas Harding • Anna Hoyle • Lindy Lee • James Lieutenant • Hilarie Mais • Fiona McMonagle • Dan Moynihan • John Nixon • Patricia Piccinini • Andrew Sayers • Tanya Schultz • Pamela See • Tyza Stewart • Christian Thompson • Kensuke Todo • Philip Wolfhagen • Judith Wright
the university of sydney 9th - 27th november 2015
John Beard Finalist in the Archibald Prize 2015
William Wright was one of my closest friends. Bill sadly died last October.
Bill had a richly stimulating career. He was a distinguished educator, art administrator and a curator. Bill was charming, curious, engaging, and good with difficulty. By that I mean he thrived on challenges and being challenged.
But most of all Bill would like to be remembered as an artist - a superb colourist. Instead of painting him in my customary monochrome manner, in association with my series of artists portraits, I have introduced the three primaries- yellow / red/ blue, the essential elements for mixing every colour. I have honoured hum with an artist' tricolour flag, demonstrating an act or painting with a robust gesture layered across a delicate fracture of his image/ Perhaps a little ' difficult' to perceive on first encounter. Bill sits behind the tricolour silently, almost a fugitive … an 'otherwordly' image of engagement and insightfulness.
maria fernanda cardoso
WHILE I LIVE I WILL GROW
GREEN SQUARE PUBLIC ART PROGRAM
The Green Square Town Centre will have a role as the heart of an evolving inner-city region.
The City is responsible for several major projects in and around the town centre and the integration of artworks is a priority for the area to ensure that it is an engaging and vibrant place for the local and new Green Square residents, workers and visitors.
The Green Square Public Art Strategy, by Curatorial Advisor Amanda Sharrad, is a program of permanent and temporary art projects that aims to connect with the community, and address the historical, cultural and ecological elements of the site.
Bottle Trees are natural life forms that have internalised the critical challenge of water scarcity and turned it into a beautiful solution.
– Maria Fernanda Cardoso, 2014
Maria Fernanda Cardoso’s public art installation consists of narrowleaf bottle trees (Brachychiton rupestris) of different ages together with native edible succulents planted among sandstone garden beds. The sandstone blocks will be sandblasted with text providing the date of birth of each tree, horticultural information and recipes for the roots. When read from above, the blocks spell out the text While I Live I Will Grow.
The artwork connects strongly with the site. The South Sydney Hospital has always had strong connections with the local community as a service and a place to gather. Bottle trees double their girth each year, so the artwork also recalls the history of the hospital as a place of births and healing in the local community.
The site is now being redeveloped as a community hub for creative learning. The artist studios, creative workshop spaces and community events will facilitate interpersonal connection and inner development. The artist believes this re-connection with one’s self to be very important in our hectic and demanding lives.
The bottle trees signify and re-contextualise the history of water and water management strategies, so important to the Green Square urban renewal project. Green Square’s once gushing stream and wetlands were drained for industry, resulting in periods of water shortage followed by recent flooding. This drought and deluge is representative of Australia’s historical relationship with water. The innate ability of the bottle tree to store water in its trunk through periods of drought aligns with the City’s efforts to syphon, store, treat and recycle storm-water in nearby tanks.
The installation will present a strong entry marker to the site and a narrative that connects with the community as a growing and living organism. It will also provide a place for respite, play and education about the species, and a natural habitat within the surrounding built environment.
While I Live I Will Grow is about the growth of Green Square as a community, the personal growth of individuals, families and children in the area.
Bottle trees fascinate me because of their sculptural quality, their character and charm. Their visible growth can also become a visual analogy to the expected growth and maturity of the Green Square community.
The stone text will not only create a favourable environment for the bottle trees to mature, but aims to become a motto for the community, for our potential personal growth as we, as humans, age. This bottle tree community will celebrate their ageing together with humans and other species in a shared environment.
MARINKA BOZZEC FINALIST IN THE HAZELHURST ART ON PAPER AWARD 2015
COEN YOUNG winner of 2015 Redlands konica minolta art prize, EMERGING ARTIST
CONGRATULATIONS TO ALL OUR PARTICIPANTS.
MARIA FERNANDA CARDOSO
MARIA FERNANDA CARDOSO HAS RECENTLY BEEN AWARDED THE AUSTRALIA COUNCIL CREATIVE AUSTRALIA FELLOWSHIP
CARDOSO with the support of the Australia Council and with the assistance of peacock spider specialists: Jurgen Otto (DAFF Australia), Madeline Girard (UC Berkeley), and Anne Wignall (MQ University), Editor Gary Warner (CDP Media) and Cinematographer Marcus Eckermann (MQ University), will be undertaking a body of research into the Maratus jumping spiders. Cardoso will film the spiders mating dance revealing the incredible flamboyance and talent displayed by these spiders, confirming the presence of artistic expression in the smallest of creatures.
It has been said that the forces of evolution through sexual selection and natural selection might account for the origin of all the arts and of our sense of beauty. I agree. The need to seduce and enchant, to mesmerize and to attract is not a humanonly skill. Nor is it learnt. It has evolved over millennia, and sexual reproduction is greatly responsible for everything that is complex, extravagant and stunningly beautiful in nature; that includes song, dance and visual display.
Maria Fernanda Cardoso may have moved on from snail penises, but the world of insect sex isn’t out of her sights yet. As one of six recipients of the Australia Council’s established artist fellowships, Columbian-born Cardoso can continue her work on the cusp of art and science with a new video project on Australia’s smallest spider species, the Maratus. “I think spiders are artists themselves. They know how to dance, they know how to sing, they know how to make visual display, all while mating” said Cardoso…
- Bhakthi Puvanenthiran Deputy Arts Editor, The Age "Maria Fernanda Cardoso wins Australia Council grant to video insect sex"