Open 11am-5pm Fri- Sun 28 May - 13 June
Opening Saturday 29 May 2-5pm
2 May 2021
lily golightly - see a morningpale star gleams above like a brain
Open 11am - 5pm Friday - Sunday 8-24 May 2021
Closing event Saturday 22 May 2-5pm
Artist's talks Saturday 22 May 3pm
see a morningpale star gleam above like a brain
by lily golightly
I have often dreamed about taking a walk in the very late night only to meet a shy UFO with soft translucent skin, perhaps even to just see a beautiful insect. We only ever meet for a short moment, it barely happens, as is often the case when interacting with those who are so mysterious and elusive. In these paintings I have tried to create safe places that might attract these friends who I only ever see very fleetingly and who seem to shy away from the human world. These paintings are skies, but not those that we can see from the windows in our house but perhaps those that we can only see when we are looking outside of a window in a dream.
 lily gollightly Flowers, ants, UFOS, strawberry milk spilt everywhere, radio is fuzzy, acrylic paint, watercolour, oil pastel, nail polish, glitter glue, pen on canvas, 60 x 70 cm, 2020. |
@appleppear
Conditions of entry:
Please do not come if you are unwell or a contact of a COVID-19 case.
Use the hand sanitisers provided at the entrance to Articulate.
Complete your contact tracing information on entry to Articulate.
Keep 1.5 metres distance from others or wear a face mask
12 April 2021
Anke Stäcker - SERIOUSLY VAGUE - Random Discoveries
Open Fri - Sat 11am - 5pm
Opening Saturday 17 April 1-5pm
SERIOUSLY VAGUE
Random Discoveries
My work is the result of a photography and writing project about the exploration of streets in Sydney in as many suburbs as possible. My aim was to visit all kind of streets, boring or animating and see what they have to tell me. To find them, there had to be a method between randomness and order.
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| Anke Stäcker Myrtle Lane 2020 |
Urban explorers have done this before me: You can drop a pin blindly on a map or follow an algorithm as in first right, second left, third left. I decided to explore streets with female names. This was a random choice but also a nod to the flâneuse, the female street explorer. Now, after more than a year and more than a hundred names, a new aspect has emerged. Most streets in Sydney have names of women whose history is forgotten. They are named after the wives, daughters and nieces of governors, settlers, developers, business men, factory owners.
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| Anke Stäcker Watch for Mabel St 2020 |
I started this project in February 2020, going through my old street directory and picking out the female names. There are different impressions each time, architecture, new construction sites and traces of history as well as casual moments, people passing, snatches of conversations, the graffiti, discarded things, official and unofficial signs.
With the onset of COVID19 my project has also become a bit of a chronicle of these extraordinary times.
The journal is available on my website
www.ankestacker.com
11 March 2021
Judy-Ann Moule - Hairline
Open Fri - Sun 11am-5pm, 5-21 March
Open Days 20-21 March 11am-5pm
Artist talk Sunday 21 March 1.30pm
Hairline is the result of 2 weeks residency in ArticulateUpstairs.
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| Judy-Ann Moule Hairline 2021 |
The heaviness of distance - 18,263 sleeps
You can maim a garment by cutting off one sleeve…then the other.
Slicing across the shoulders, then down the side seams, you loosen its bodily form. Laying it flat, stripping it into lengths, knotting and winding it’s in a state of becoming…. of becoming something other.
Slowly, by processes of transformation and co-poïesis, clothing, skin-like echoes renewal.
Memory of touch resides only as a trace …
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| Judy-Ann Moule #1973 2021 |
10 November 2020
Jeffrey Wood's Weapons of Choice: artist's talk and last weekend
Artist talk & Closing event: Sunday 15 November 1-4pm
Open 11am-5pm Fri-Sun till 15 November.It is a great pity that Weapons of Choice is closing a week early due to events controlled by St Vincent's Hospital - see
https://www.facebook.com/jeffrey.wood1 (go to post 10 November 2020)
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| Jeffrey Wood Weapons of Choice 2020 (detail) |
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| Jeffrey Wood Weapons of Choice 2020 (detail - catfood tins) |
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| Jeffrey Wood Weapons of Choice (detail) 2020 |
Weapons of choice
Jeffrey Wood presents a new body of work, made while self isolating during the COVID-19 Pandemic. Four small sculptures of iconic military weaponry, are all made from the materials immediately available at home. Caring for two cats; Gonzo and Eddie ensure a consistent supply of Cat food tins.The material has a unique aesthetic quality, having a texture and finish similar to Brass or Gold. The pandemic has shut down the global economy and the consequences of that unprecedented but necessary halt to commerce is largely unknown and frightening. The Weapons of Choice collection is a response to the science-driven shutdown and influenced by the philosophy of Nobel laureate Amartya Sen and American artist Tom Sachs. Wood is interested in our participation in the economy through consumption. The ubiquitous act of feeding the cats is inextricably intertwined with the manufacture and proliferation of weapons. Is that the price of freedom and happiness?
Jeffrey Wood presents a new body of work, made while self isolating during the COVID-19 Pandemic. Four small sculptures of iconic military weaponry, are all made from the materials immediately available at home. Caring for two cats; Gonzo and Eddie ensure a consistent supply of Cat food tins.The material has a unique aesthetic quality, having a texture and finish similar to Brass or Gold. The pandemic has shut down the global economy and the consequences of that unprecedented but necessary halt to commerce is largely unknown and frightening. The Weapons of Choice collection is a response to the science-driven shutdown and influenced by the philosophy of Nobel laureate Amartya Sen and American artist Tom Sachs. Wood is interested in our participation in the economy through consumption. The ubiquitous act of feeding the cats is inextricably intertwined with the manufacture and proliferation of weapons. Is that the price of freedom and happiness?
This project is supported by funding from the Inner West Council
Conditions of entry to the exhibition:
As there are limited places in Articulate due to COVID, please be prepared to wait if it is full when you arrive.
Please stay at home if you’re unwell.
Stay at home if you’ve been in contact with a known or suspected COVID-19 case.
Please wear a face mask in Articulate.
Utilise hand sanitisers provided at the entrance to Articulate.
Fill in your contact tracing information on entry to Articulate.
Maintain 1.5 metres distance from other people.
As there are limited places in Articulate due to COVID, please be prepared to wait if it is full when you arrive.
Please stay at home if you’re unwell.
Stay at home if you’ve been in contact with a known or suspected COVID-19 case.
Please wear a face mask in Articulate.
Utilise hand sanitisers provided at the entrance to Articulate.
Fill in your contact tracing information on entry to Articulate.
Maintain 1.5 metres distance from other people.
31 October 2020
Jeffrey Wood's Weapons of Choice opens Saturday 7 November 1-5pm
Open Fri - Sun 11am - 5pm November 7-22, 2020,
Opening event Saturday, 7th November, 1-5 pm
Artist talk: Sunday 15 November 1-4pm
Live broadcast via Facebook or Instagram & Twitter TBA
Weapons of choice.
Jeffrey Wood presents a new body of work, made while self isolating during the COVID-19 Pandemic. Four small sculptures of iconic military weaponry, are all made from the materials immediately available at home. Caring for two cats; Gonzo and Eddie ensure a consistent supply of Cat food tins.The material has a unique aesthetic quality, having a texture and finish similar to Brass or Gold. The pandemic has shut down the global economy and the consequences of that unprecedented but necessary halt to commence is largely unknown and frightening. The Weapons of choice collection is a response to the science driven shutdown and influenced by the philosophy of Nobel laureate Amartya Sen and American artist Tom Sachs. Wood is interested in our participation in the economy through consumption. The ubiquitous act of feeding the cats is inextricably intertwined with the manufacturer and proliferation of weapons. Is that the price of freedom and happiness?
This project is supported by funding from the Inner West Council
Conditions of entry to the exhibition:
As there are limited places in Articulate due to COVID, please be prepared to wait if it is full when you arrive.
Please stay at home if you’re unwell.
Stay at home if you’ve been in contact with a known or suspected COVID-19 case.
Please wear a face mask in Articulate.
Utilise hand sanitisers provided at the entrance to Articulate.
Fill in your contact tracing information on entry to Articulate.
Stay at home if you’ve been in contact with a known or suspected COVID-19 case.
Please wear a face mask in Articulate.
Utilise hand sanitisers provided at the entrance to Articulate.
Fill in your contact tracing information on entry to Articulate.
Maintain 1.5 metres distance from other people.
3 October 2020
Kendal Heyes - Time and the Ocean II
Open 11am-5pm Fri-Sun 17 Oct - 1 November
Opening event: Sat Oct 17, 1-5pm
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 Kendal Heyes, Refugees, 1930’s 2020 (Detail), 76x56cm, Pokerwork on Saunders Watercolour paper. |
Time and the Ocean II is a continuation of my drawing installation shown at ArticulateUpstairs last year. It further develops ideas and imagery of Time and the Ocean including time as a medium of personal memories and historical events, time invested in making the drawing, ‘marking time’ through slow processes, repetition and variation, the drawing itself as a repository of time, the temporal dimension of viewing the work, time as an ocean in which things are lost and recovered, the ocean as the site of childhood experiences living on the coast and of broader historical events, its associations with ships and seafarers, explorers and refugees, pleasure and danger.
The drawings are pyrographic, made with a pokerwork machine, which involves burning the image into the paper. It is one of the bold mediums, like ink or marker pen drawing, by which a mark once made cannot be revised or undone, but it carries none of the art-historical baggage of traditional drawing mediums. The images are made with halftone dots, like close-ups of images reproduced in newspapers. Aside from the idea of the drawn image as a copy of an already mediated photographic one, it plays with the idea that you can’t always comprehend a situation when you’re too close to it.
KH 2020
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| Kendal Heyes,Swimmer 2020 (Detail), 76x56cm, Pokerwork on Saunders Watercolour paper. |
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Kendal Heyes, Ocean 2020 (Detail), 28 panels, each 76x56cm, Pokerwork on Saunders Watercolour paper. |
This project is supported by funding from the Inner West Council
Conditions of entry to the exhibition:
As there are limited places in Articulate due to COVID, please be prepared to wait if it is full when you arrive.
Please stay at home if you’re unwell.
Stay at home if you’ve been in contact with a known or suspected COVID-19 case.
Please wear a face mask in Articulate.
Utilise hand sanitisers provided at the entrance to Articulate.
Fill in your contact tracing information on entry to Articulate.
Stay at home if you’ve been in contact with a known or suspected COVID-19 case.
Please wear a face mask in Articulate.
Utilise hand sanitisers provided at the entrance to Articulate.
Fill in your contact tracing information on entry to Articulate.
Maintain 1.5 metres distance from other people.
30 August 2020
Opening Friday 4 September 6-8pm: Ro(ad)mance
Open 11am-5pm Fri - Sun
5 - 20 September
Opening event: Friday 4 September 6-8pm
RO(AD)MANCE
Recent Work
by
STEVEN FASAN
Steven Fasan RO(AD)MANCE 2019
RO(AD)MANCE is a selection of photographic images from three road trips driven in 2017, 2018 and 2019. 2017: Cape York (the tip) and the Gulf of Carpentaria. 2018: the Kimberley. 2019: the Pilbara. Each trip was over a period of two to three months.
These b/w images loosely tend toward abstracting outback landscapes rather than recording a colourful document of place and time of the land. The naming of specific places is of no importance. A visual investigation of isolation, fragility and foreboding in remote outback Australia is my concern. These b/w images attempt to visually confront encounters with the hidden, the raw and, the harsh beauty of the outback landscape.
The sculptural pieces are reminders of the perils of travel in the remote outback. Discarded motor parts along rugged, barely existent tracks, conjure thoughts of disaster, ruin and quite possibly, tragedy.
This project is supported by funding from the Inner West Council
Conditions of entry to the exhibition:
There are limited places in Articulate. You may be asked to wait a few minutes if it is full when you arrive.
Please stay at home if you’re unwell.
Stay at home if you’ve been in contact with a known or suspected COVID-19 case.
Please wear a face mask in Articulate.
Utilise hand sanitisers provided at the entrance to Articulate.
Fill in your contact tracing information on entry to Articulate.
Stay at home if you’ve been in contact with a known or suspected COVID-19 case.
Please wear a face mask in Articulate.
Utilise hand sanitisers provided at the entrance to Articulate.
Fill in your contact tracing information on entry to Articulate.
Maintain 1.5 metres distance from other people.
17 March 2020
18 January 2020
Disorderly Bodies opened last night
Open 11am-5pm Friday - Sunday 17 - 21 January
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| Top: Kirsten Drewes Disorderly Bodies ; Lower: Tamsin Salehien, Rolande Souliere FROLIC FREEZE 1 |
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| Elizabeth Rankin Disorderly Bodies 2020 |
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| Kirsten Drewes Disorderly Bodies 2020 |
22 December 2019
Disorderly Bodies opens Friday 17 January 6-8pm
Elizabeth Rankin and Kirsten Drewes
Opening event Friday January 17 6-8pm
Open 11- 5pm Friday - Sunday 17 Jan-3 Feb 2020
Kirsten Drewes and
Elizabeth Rankin collaborate in the exhibition Disorderly Bodies to explore bodily forms with empathy and
irony.
Rankin’s paintings
reverse the hierarchical male gaze. The use of domestic fabrics
in the paintings refers to traditional female materials of the home
which ought to be a place of sanctuary but can be a site of violence. Drewes’ soft sculptures are disturbing in their forms evoking humour, dismay and sympathy for her creatures. These disorderly bodies do
not conform to social expectations.
ROOMSHEET
ROOMSHEET
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| Elizabeth Rankin |
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| Kirsten Drewes |
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