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Skin

August 27 - September 21, 2019

 
 
front gallery - installation view
 
 
front gallery - installation view
 
 
front gallery - installation view
 
 
front gallery - installation view
 
 
front gallery - installation view
 
 
front gallery - installation view
 
 
Kristin Stephenson (Hollis’s) new exhibition is titled simply, Skin. We know the range of mark-making in her drawing has long been compelling. Charcoal is variously rubbed, scrubbed and stabbed to describe the form of things, or the skin of things one might say. But here in the big work, The Potter (C.L.), the skin of the drawing, a surface that very much betrays the rhythms of its making, is more important than any likeness to the subject (Cheryl Lucas) herself.
 
The Potter (C.L.)
 
So does Stephenson actually get us under the skin of things? Very probably. We see local critic Andrew Paul Wood giving of himself in ways never revealed before – a process of undressing if you like, of getting beneath the skin of things, involving both artist and sitter over several weeks early this year. The give and take in this nuanced process is revealed in an unexpectedly tender and prone back view presented here in APW #1.
 
 
APW #1
 
 
Potsdamer PlatzOtherwise, the drawings range in scale and in age from the very recent to several from years past. Woolly (Third), 26 & 27 June 2007 comes from a long and fine line of maniacal sheep. The small framed ballpoint on paper Potsdamer Platz, 2009 has a concentrated sinuous energy to it, that is both very vital and wonderfully old-school in feel.
 
The coloured painted elements in the show feel more contemporary. There is a variable but soft, strawberry pink ground in R.H. (as J.B.) that adds lustre and presence to the powerful line in the work. Pussy’s brushstrokes cleverly suggest both agitation and something more voyeuristic, whilst in Dream, Dream Baby, orange at the top and along both edges conjures poise and unease simultaneously, in a painting that is somehow both elegant and desperately human at the same time.
JS
 
 
Dream, Dream Baby
       R.H. (as J.B.) 
 
 

Selected works

Please hover over image to see title...

 

APW #5

 

Woolly (Third)

 

Pussy

 

T.S.Drawing #1
     T.S.Drawing #2      T.S.Drawing #3


T.S.Drawing #5
    T.S.Drawing #4      C.L. 

 

 

List of works

The Potter, 2019       charcoal, acrylic & pencil on paper       1400 x 2855mm       $9000

R.H. (as J.B.), 2018/19       charcoal, oil, acrylic & pencil on paper      1890 x 1030mm      $6000

APW #5, 2019       charcoal on paper       1910 x 1410mm       $5200

APW #1, 2019       charcoal on paper       750 x 1410mm       $4000

Woolly (Third), 26 & 27 June 2007       charcoal on paper       1530 x 1090 fr       $8000

Dream, Dream Baby, 2019     oil, acrylic, charcoal & pencil on canvas     1520 x 760mm     $7500

Pussy, 2018       oil and acrylic on canvas       910 x 600mm       $5000

Potsdamer Platz, 2009       ball-point on paper       215 x 145mm fr       $2000

C.L., 2019        watervolour and ink on paper       310 x 240mm fr       $1500

T.S. Drawings #1 - 5, 2007       mixed media on paper       250 x 180mm       $750 ea

Prices include GST

 

 

 

the edge of the alphabet

August 27 - September 21, 2019

Martin Poppelwell
 
 
back gallery - installation view
 
 
back gallery - installation view
 
 
Martin Poppelwell has presented just two grid paintings in the back gallery: the 2000mm square study for an ancient artifact, and opposite, the smaller 1200mm square study for dapple. They have a softness about their palette – matt black against the sized ochre canvas – but there is drama in their contrasting scale. The big painting offers the grid as a restless myriad of comparatively fine lines. They stop and they start. They sometimes fold back on themselves and don’t even meet, which is unruly to say the least. This is the grid as maverick – wilful, playful and deliberately quixotic – all held together dutifully by a line around the painting’s outside edge.

Martin’s exhibition is called the edge of the alphabet, after an early Janet Frame novel. There are two very short passages from the novel, from pp22 and 224, nailed up within the show. One references “the edge of the alphabet where words crumble…”, where communication falters, but where others (or other modes including the visual perhaps?) may find speech. Poppelwell’s interest is in the diagrammatic, in language, in form that may lack legibility to some, but for others is robust enough a scaffold for all sorts of ideas.
 
back gallery - installation view

Herein lies the richness of Poppelwell’s grids. Porous and decrepit even, they still bristle with pattern and life. Study for dapple surges and swells – its dark, viscous oil paint confidently untethered in parts, yet utterly, utterly right. In fiction, Dapple was a pesky quadruped. In painting this is an experience deeply satisfying.
JS
 

 

study for an ancient artifact
study for an ancient artifact

 

study for an ancient artifact - detail
study for an ancient artifact (detail)

 

study for dapple
study for dapple

 

Details of works

study for an ancient artifact, 2019       acrylic on canvas       2000 x 2000mm       $26,000

study for dapple, 2019       oil on canvas       1200 x 1200mm       $12,000

Prices include GST

 

 


 

Martin Poppelwell and study for dapple
Martin Poppelwell and study for dapple (Photo: Megan Poppelwell)