This rad ‘check’ painting series by London textile designer and artist Sadie Williams caught our eye today – soo many clever colours together in one place. Prints and originals are available to purchase.
Berlin artist Zora Kreuzer uses neon colours, fluorescent lights and public space to create site-specific installations.
During a 10 month residency in Fremantle the unique light of Western Australia became the focal point of her work and research. Zora still collaborates with the Freo based Australian Centre for Concrete Art, and lives and works in Berlin.
Ready to see what’s up that staircase now..
These lovely ‘collages in found books’ by Netherlands artist Louis Reith prove that it’s ok to see things in black and white sometimes.
The weirdest of times call for comfort in music, art and architecture. These brutalist masterpieces seem fitting right now #covid19
*Brutalism, also known as Brutalist architecture, is a style that emerged in the 1950s and grew out of the early-20th century modernist movement. Brutalist buildings are characterised by their massive, monolithic and ‘blocky’ appearance with a rigid geometric style and large-scale use of poured concrete.
Exploring the ideas around our buildings being urban monoliths, Tom uses sound and light to explore the sounds and feelings of the building through a serious of varied mediums.
The exhibition includes performances by the Undercurrent Choir which Consists of 31 voices, in an ode to the building and its architecture. You can find details here on how you can experience your state gallery as part of MONOLITH SCORES.
The exhibition runs the whole of Autumn until June 1st.
American landscapes evoke nostalgia in most, even if you’ve never been, maybe we’ve all just watched enough movies? Southern Californian artist Ariel Lee captures these places and spaces with her colourful modern brushstrokes. Ok – ready for that roadtrip now!
Still creating art at 80 years of age, Nola Farman ‘s career has spanned 60 years and made a major contribution to the Australian art scene.
Hailing from Perth she now resides near the beaches of Sydney.
A fundraiser is happening for the creation of a monograph which will showcase Nola’s lifetime of work.
We received a letter from Dr Permangelo E. Regularis outlining their excitement for the project:
I’m very excited about Nola Farman’s new project and I hope you will be too! For many years I have been encouraging (indeed urging) her to produce a monograph of her work. At last my patience is rewarded and she is doing just that.
Although I am giving her all the support I can (from my rather remote location in Portugal) she still needs funds to produce what will be a beautiful illustrated tome covering her life’s work.
Nola is afraid that everyone in West Australia will have forgotten her by now. But I say how could they?
Nola has been talking with some wonderful writers and a book designer who have agreed to contribute. In her usual generous way she has offered to pay each one them at a good rate.
Once again she feels it is not her place or at least it is awkward for her to ask for donations. Even though she has launched a campaign with the Australian Cultural Fund and any donation over $2 will give a donor a tax refund, she still finds it difficult to approach people.
Of course that is not a problem for me, I am very experienced and enjoy this sort of thing. I think Nola would too if only she could bring herself to do it.
So on her behalf, I invite (if not urge) each and every one of you to make a donation via https://australianculturalfund.org.au/projects/elusive-practise-nola-farman
I remain her devoted agent and mentor, and as with all of us, I live in hope.
Dr Permangelo E. Regularis
We snuck in bright and early before the crowds this morning to check out Revealed at the Fremantle Art Centre. Indigenous artists have travelled from distant corners of the state to sell their creations for one day only. Freo local Tyrown Waigana from Crawlin Crocodile was among the artists making their talent accessible to the public.
How could western painting ever be compared with Aboriginal rock art – aren’t they just too different?
Tomorrow March 7 at AH Bracks Library + Creative Space in Melville, Emeritus Professor Richard Read will be discussing just that.
The talk begins with some of the disastrous consequences that arise from the framing habits of Europeans when they first encountered the glories of Aboriginal art.
You can buy the very reasonably priced tickets ($5) right here. Morning tea is also provided (yum!).