un Projects is based on the unceded sovereign land and waters of the Wurundjeri and Boon Wurrung people of the Kulin Nation; we pay our respects to their Elders, past, present and emerging.
un Projects

Tag: painting

Kenzee Patterson

Exhausted Painting: Phthalo Green, Indian Yellow, Brilliant Red, Ultramarine

Kenzee Patterson is a settler-colonial descendant whose art practice combines material experimentation with historical research, autobiography and language, motivated by the imperative to confront the ecological and socio-cultural repercussions of resource extraction and material displacement.

Kenzee Patterson

Exhausted Painting: Brown Brazil, Magenta, Violet, Ultramarine, Sapphire Blue

Kenzee Patterson is a settler-colonial descendant whose art practice combines material experimentation with historical research, autobiography and language, motivated by the imperative to confront the ecological and socio-cultural repercussions of resource extraction and material displacement.

Kenzee Patterson

Exhausted Painting: Brilliant Red, Ultramarine, Phthalo Green

Kenzee Patterson is a settler-colonial descendant whose art practice combines material experimentation with historical research, autobiography and language, motivated by the imperative to confront the ecological and socio-cultural repercussions of resource extraction and material displacement.

Lucreccia Quintanilla

Night

Lucreccia Quintanilla is an artist, writer, DJ and researcher gratefully living and working on the unceded lands of the Boon Wurrung and Woiwurrung (Wurundjeri) peoples of the Kulin Nation. Her practice is both an individual and collaborative one which manifests into outcomes within galleries and also as events and performances outside of that context. Her […]

Annabel Blue

Tom Polo: exit strategy

In a time of perpetual unknowns, the idea of an exit point — someplace beyond this moment — is guiding our present. In his current exhibition exit strategy held at STATION gallery, Tom Polo explores themes of arrival and departure, and the strategy one might physically, emotionally and psychologically undertake before they are to happen. […]

Jo Pugh

Soft Trees Break The Fall: Felix Atkinson

a body of assumptions a mind coerced into trusting your prescribed narrative has me flattening concealing trying to be loud though pillowy lips and building blocks reverse my progress it is these marks from which resurrection trembles Over the course of their emerging career, Felix Atkinson’s artistic practice has worked towards resisting dominant frameworks of […]

Henry Law

Martin George: Box Of Stamps

By virtue of the grid, the given work of art is presented as a mere fragment, a tiny piece arbitrarily cropped from an infinitely larger fabric. Thus the grid operates from the work of art outward, compelling our acknowledgement of a world beyond the frame. — Rosalind Krauss, 1979. Box of Stamps, a new solo […]

Anna Dunnill

House / Work / House (hang in there)

Two poles protrude from the first-floor windows of Sarah Scout Presents. A long thin pennant flag hangs from each: HOUSE and WORK, their appliquéd letters read. The words are turned inwards to face each other like a double-page spread. Or two bodies in conversation. From outside these flags blend into the signage of Collins Street: […]

Serena Bentley

Gertrude Abercrombie

Artist: Gertrude Abercrombie Curator: Karma Gallery with Dan Nadel There was a particular passage in Roald Dahl’s The Witches that haunted me as a child. A young girl was placed under a spell by a malevolent witch and became trapped in an oil painting hanging in her home. Each day she’d appear in a different […]

Genevieve Trail

The Animal Collaborator

Apparently a dog saved Robert Nixon’s political career, transforming him from swindling politician to sympathetic family man with a single strategically-timed intervention. This was in September 1952 and Nixon had just been accused of receiving illegal campaign contributions by his running mate, the Republican nominee Dwight Eisenhower.[^1] In a nationally broadcast television appearance Nixon pleaded […]

Destiny Deacon and Virginia Fraser

Colour blinded, 2007, installation view (including Shane Pickett and Destiny Deacon), Culture Warriors at the National Gallery of Australia. Courtesy of the artists and Roslyn Oxley9 Gallery; Walkover, 2004, wool carpet, 161 x 240 cms. Courtesy the artists and Roslyn Oxley9 Gallery; Installation, 2011, carpet, mixed media figures, chairs and video (Destiny Deacon and Michael […]

Carmen Ansaldo

Pepai Jangala Carroll

In April 2017, accompanied by a small convoy of artists and arts workers, Pintupi man Pepai Jangala Carroll embarked on a unique and momentous return to country. He travelled over 800 kilometres from his home in Pukatja (Ernabella, South Australia) to the birthplace of his father, Henry Paripata Tjampitjinpa. The journey’s two major destinations of […]

Abbra Kotlarczyk

MY MOTHER’S LABOUR: Darcey Bella Arnold

**An ellipsis is a figure of return that isn’t symmetrical*** ‘“To live elliptically” is to ask a question rather than formulate an answer; a “shrug” is a rhetorical response to a non-rhetorical question of the body – an embodied letting go of future promises in favor of life in the durative present’.[^1] — Darren Byler […]

Kate Leah Rendell

An unsettled Settler response to Open Cut

Settlers Miners Same Thing – Jacky Green Although I know Aboriginal sovereignty as always present, embedded within country, I find my strongest encounters with specific sovereignties of place often occur in unexpected moments – like a bolt of remembering – chanced upon in the presence of a scar tree or a reference found deep within […]

Zara Sigglekow

Bad jibes: camp, humour, and taste in the art of Matthew Harris

Motifs in Matthew Harris’s lurid works include flowers, copulating pigs, and a gravestone inscribed with a gold sad face. Born in 1991 and raised in Wangaratta, Matthew’s artistic output to date has included video, tapestry, sculpture and painting. He works within a gay camp parlance. Artifice, riffs, cuteness, violence and comic eroticism come together in […]

Ivan Ruhle and Tom Melick

Writing for the kitchen

A painting must always contend with space and, because of this, it can also liberate and expand space. Sometimes with maximum effort and sometimes with almost no effort at all. A tile is a unit, a component of a whole. A whole is complete, subject to a parameter, an outline that demarcates where the whole […]

Sarah Goffman

Sixty-seven Women Artists (of more than two hundred who I know) 2015

watercolour on paper

Daniel Mudie Cunningham

Mental Olympics: in between breaths with Wart

A body lies hiding beneath a thick sheet of black plastic, the kind used by firemen to extinguish fire. Giving way to movement and form, the plastic becomes a percussive skin used to thrash out sound. A release of manic energy. Finding quiet in the rage. ‘I used that a lot to go into that […]

Michael Ascroft

Rapa Nui Ranelagh

Rapa Nui Ranelagh (2015), exhibited at West Space in October last year, marks a shift towards something softer and more forgiving. The work is based around a perfectly made, over-sized plinth-like table structure, which runs along the entire main wall of the large gallery, and whose seven, unevenly-spaced leg-sections are in keeping with lines drawn […]

Catherine Dale

Georgette Brown, Wendelien Bakker, Anna Rankin, Sam Norton, Virginia Overell & Holly Childs, Vital Bodies, curated by Georgina Watson, The Blue Oyster Art Project Space, 8 July – 1 August 2015

The show is also partly about vagina. Vagina is not a theme but it is a thing that turns up in Georgette Brown’s painting Painfully aware at the moment of salvation (2015). There’s a vagina and a uterus with their own moon/egg in vibrating patterns of pastels and texture—a small piece of paua (mother of […]

Aodhan Madden

Bathing in cool water: an interview with Grace Cossington Smith*

Julian Aubrey Smith

Leanne Hermosilla, Limited Visibility, Beam Contemporary, 8 June – 6 July 2013

Daniel Withers

Monochrome Exhibition, Sutton Project Space, 22 August – 14 September 2013

Nearly a century after the Russian Supremacists, the contemporary relevance of the monochrome painting is explored in a considered exhibition at Sutton Projects. David Homewood’s curatorial statement speaks of the complications with our traditional process in trying to make sense of a painting when considering the monochrome. Instead of focusing on whether we like the […]

Christopher Williams-Wynn

On the (im)possibility of anachronism in contemporary art

When investigating cultural understandings of time and space at the beginning of the twentieth century, historian Stephen Kern notes a rising contest between ideas of public (or social) time and private time in Europe.[^1] Public time is the realm of shared understandings of temporal experience, disseminated through calendars, clocks and the adoption of standard time, […]