Substratum

Curated by Lewellyn Riley-Haynes

12 January 2022 - 30 January 2022

Free Admission

Bungalow 5, Thea Anamara Perkins

Bungalow 5, Thea Anamara Perkins

‘Substratum’ examines contemporary practices of working in layers, where systems of representation remerge by peeling back impressions left from places, people, events and memories. Locating itself between foundational marks and their ‘final’ renderings, the group show sheds light on underlying structural forces at play. Here, impressions are drawn from their subjects, and in the markings left behind.

Curated by Lewellyn Riley-Haynes an emerging curator and art writer, living and working on Gadigal land. She is interested in the point of meeting between the spectator and art. Riley-Haynes has recently graduated with an Honours Class 1 in Art Theory from UNSW.

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Kristone Capistrano is a Philippine-born emerging artist based in Sydney. Known for his large-scale portrait drawings, his practice rises out of an incarnational tradition of Filipino figurative art; imaging the human face as a mysterious site of transcendence. He has been awarded multiple prizes nationally, including the Black Swan Prize for Portraiture, the Royal South Australian Portrait Biennale, and both Local Artist and People’s Choice awards for the Blacktown Art Prize.

Based on Whadjuk Nyungar Country, Anna Louise Richardson investigates rural Australian identity and associated mythologies. Working primarily in charcoal and graphite, her practice reveals ideas of intergenerational exchange, parenthood and identity based on her experiences of living and working on a multi-generation beef cattle farm in Western Australia. The driving themes of her practice are the complex relationships between humans and the natural world. Recent solo exhibitions include When night falls (Maitland Regional Art Gallery 2020) and We should be more afraid of the sun than the moon (Galerie pompom 2020). She was a finalist in the 2020 Ramsay Art Prize (Art Gallery of South Australia) and has been a practising artist since graduating with a BA from Curtin University in 2013. Alongside her art practice Anna also contracts as an independent curator working with Australian art institutions, festivals and organisations.

Mungo Howard: “My practice revolves around wandering; collecting fragments and using my camera to sample compositions within the everyday environment. I frequently employ mediated processes such as printing and casting, and I welcome the inescapable interference of chance variation within these systems of creation. The resulting works exist ambiguously as faux relics which refer to both the formal language of abstraction and to the legacy of the readymade through their found painterly compositions”.

Thea Anamara Perkins is an Arrernte and Kalkadoon woman with an emerging full-time artistic practice. She grew up, and is still based in Sydney and has family ties to the Redfern community. She is currently a resident artist at Carriagework’s Clothing Store studio, is a Firstdraft Director and is an active member of SEED.

Illawarra artist Christopher Zanko was a finalist in the 2020 Brett Whiteley prize and, significantly, the 2019 Wynne Prize. In 2020 he was part of a commissioning exhibition organised by Hazelhurst Arts Centre, “The Home”, that celebrated art deco residential design in Australia. Past communities, settings, and homes have always faced change driven by powerful exogenous forces: social, economic, political, technological, environmental and aesthetic.  Adaptation to these demands has led to removal, replacement, renovation, and a preoccupation with new fads and fashions, some for good some for bad. The original fades or disappears as do individual and collective memories.  By contrast, Zanko has directed his gaze to look back at the original in our communities, to capture and record the settings and dwellings of mid-twentieth century suburban homes. Those homes with humble, noble bones and those with greater possibilities. Christopher celebrates these through the duality of printmaking and painting. He locates his subjects, their settings, and world through wood-carved expression suffused with the play of colour and shade reminding the viewer of the past.

Chelsea Lehmann has exhibited extensively in Australia for the past two decades, and has been the recipient of several awards, grants, and local and international residencies. Her most recent exhibitions include Counter Histories (Praxis ARTSPACE, 2021), Corporealities (Home@735 Gallery, 2020), June (MARS Gallery, Melbourne, 2019), and The Articulate Surface (UNSW Galleries, Sydney, 2018). She is a Lecturer in Drawing at the National Art School and completed a PhD at UNSW Art & Design in 2019.

Listen to Chelsea Lehmann in Conversation with Sebastian Goldspink.

Emily Ebbs’ process based practice evokes the emotional residue of childhood trauma through the staining of unprimed canvas or drop sheet with an acrylic wash. The stain, penetrates right through the canvas, connects it, stains show signs of something marked or discoloured that is difficult to remove where she finds it is closely linked with the idea of trauma, the leftover emotional stain of trauma where it be physical, emotional or societal. It is the staining of canvas or drop sheet, the tearing up of unfinished or unwanted works, collaging of fabrics and mark making that are impulsive and improvised that make up her process. Her pastel colour palette allows the finished piece to have an airy and meditative mood as a way of showing the other side of trauma by psychologically working through past events.

Elizabeth Creixell is an emerging artist based in Sydney, Australia. Creixell’s work investigates place and mapping the movement of the landscape through contemporary printmaking. She creates bold impressions of Australian rural, suburban and domestic sites whilst on transit. The linocuts and collages are highly abstract works that are evocative of place. Through this combined processes, she intends to create a sense of landscape rather than a cohesive image. Creixell was born in Homestead FL, USA in 1997 and moved to Sydney, Australia in 2004. She is currently completing her Master of Fine Art at the National Art School. She has sincecontinued exhibiting throughout Sydney and greater NSW. She is a semi finalist for the Tony White Memorial Art Prize (2020), was a finalist for the Lloyd Reese Memorial Youth Art Award (2019) and was the recipient of the Sydney Olympic Park Residency Award (2018).

Daniel Press is a multidisciplinary artist and researcher, currently undertaking a PhD at UNSW Art & Design. While primarily a sculptor, his textile and painting-based practice uncovers how Australian sheep shearing mythology is conceived and maintained over time. In 2020, Press was awarded the Australian Government Research Training Program (RTP) Scholarship. He has exhibited at AD Space, Contact Sheet, Down/Under Space, Fringe HQ, Gaffa, Gallery Lane Cove + Creative Space, and UNSW Galleries.

Exhibition gallery

Woollahra Gallery at Redleaf acknowledges that we are on the land of the Gadigal and Birrabirragal people, the traditional custodians of the land. We pay our respects to Elders past, present and emerging.

Woollahra Gallery at Redleaf is proudly owned and operated by Woollahra Municipal Council