2023 Exhibition Program

PIN 9 Show


ANCA Artists Group Show
Oct
28
to Nov 19

ANCA Artists Group Show

Exhibition opening event 2pm Saturday 4 October 2023

Nadège Desgenétez, Ground, 2018. Blown and sculpted glass, mirrored, carved and hand sanded. Plywood base. Steel bracket. Installed dimensions 87 x 75 x 64 cm.

The 2023 ANCA Artists Group Show which runs from 28 October to 19 November is an exhibition of works by emerging, mid-career and established artists who have a studio-based practice at ANCA studios. The exhibition showcases the gamut of artistic expression, from internationally renowned practitioners to those just beginning.

Participating artists include: Nadege Desgenetez, Hannah Quinlivan, Joel Arthur, Ella Barclay, Peter Alwast, Tom Campbell, Cathy Zhang, David Greenhalgh, Tilly Davey, Ian Marr, David Liu, Helen Braund, Karen Lee, Jacquie Meng, Katrina Barter, John Hart, Zev Aviv, Evan Humphreys.

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Katrina Barter
Oct
4
to Oct 22

Katrina Barter

Memoryscapes exhibition opening event 6pm Wednesday 4 October 2023

Katrina Barter, The pinnacle, 2023, graphite and acrylic on primed cotton, 100 x 100cm.

In Memoryscapes Katrina Barter brings together a series of 1 x 1 metre abstract acrylic paintings on primed and unprimed cotton, linen and jute canvases. Inspired by abstract expressionist and conceptual lineages, including North American artists Agnes Martin and Sol Lewitt, Barter uses methodical, repetitive processes to create her works of undulating compositions of colour and light. The paintings are based on observational photographs of moments and places that the artist has taken over the last seven years.

These abstracted translations create mesmerising optical effects for the viewer, at the same time encouraging contemplation on the nature of memory as something comprising elements both real and fictional.

For Barter, the grid sits at a junction between abstraction and reality—both of the world and outside it. In some works, the grid reinforced by the negative space between painted squares, shimmers and produces optical illusions, while in other works it can be perceived as a solid and unyielding counterpoint to the fields of colour it holds. Through varied approaches to colour, scale and rhythm, Barter is interested in testing the underlying flexibility of the grid and how it can be used and understood, both as a structure within paintings and as a metaphor for the nature of human consciousness.

Katrina Barter is an artist based in Canberra, Australia. She is a Canberra business owner, current studio tenant at ANCA Dickson, and holds a Bachelor of Visual Arts majoring in Textiles from the ANU.

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Networks Australia: Artists at work
Sep
13
to Oct 1

Networks Australia: Artists at work

Exhibition opening event 6pm Wednesday 13 September 2023

When visiting a gallery or exhibition we might admire artists—and their finished work—but fail to recognise or understand the effort involved in researching, testing and creating the final piece. Networks Australia: Artists at work offers audiences a behind-the-scenes glimpse into artists’ lives and their work. In the exhibition a variety of artworks by members of Networks Australia is displayed alongside photographs of the artists at work and in their studios. The Networks artists practise in a wide-range of different media including; textiles, sculpture, photography, painting and drawing.

Networks Australia: Artists at work features 2 and 3-dimensional artworks in various media, exhibited alongside photographs of the artists by award-winning photographer, Fiona Bowring. As a member of the Networks Australia group, Fiona has captured personal, documentary-style portraits of other Networks members. Fiona’s talent at visual story-telling gives the audience an intimate view of life as an artist, and the diversity of techniques and skills involved in creating artwork for exhibition and for enjoyment.

Networks Australia is a diverse group of artists, living and practising in Australia, who have collaborated for over ten years exploring the concept of networks and networking. The group has exhibited nationally and internationally, in group and solo exhibitions. Some Networks Australia artists are professional artists, with many years of experience, while others are at the start of their artistic journey.

Participating artists: Angela Coleman, Beverly Moxon, Carol Cooke, Cheryl Jobsz, Christine Appleby, Dotti Le Sage, Fiona Bowring, Gail Nichols, Jenny Manning, Josie Cosgrove, Karyn Fearnside, Keziah Craven, Linda Eliott, Liz Perry, Monique van Nieuwland, Nancy Tingey, Ola Robertson, Pinal Maniar, Rozalie Sherwood, Sandra Obst, Steve Tomlin, Susan Hey, Valerie Kirk, Wendy Dodd, Yasmin Idriss.

Fiona Bowring, Nancy Tingey with Artichoke Seeds, 2022



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Megan Munro
Aug
23
to Sep 10

Megan Munro

Exhibition opening 6pm Wednesday 23 August 2023

Out of the Shadows is an exhibition of digital drawings, crochet sculptures and video works. The works reflect Megan Munro’s life as a queer, disabled artist and sometime performer. 

The artist’s everyday life is very quiet, slow, and removed from the outside world. Think permanent COVID lockdown. Prior to becoming chronically ill, Munro was very active in queer communities, performing as a drag king and living a full and active life. Now the artist lives very quietly and deals with the ongoing grief related to the loss of that former life.

Munro has Myalgic Encephomyelitis/Chronic Fatigue Syndrome (ME/CFS) and Fibromyalgia, an illness that is very misunderstood. As only 5% of people ever fully recover from it most people are affected for life. Munro must spend a lot of time resting and conserving energy with most energy going towards day to day activities, like showering.

One of the positives to Munro’s disability is that it has facilitated change in the artist who now notices and enjoys all the little things in life: shadows that appear on the walls of their house, growth of their garden and the comfort of pets. Occasionally Munro still performs drag/burlesque. The juxtaposition between being in the spotlight and being at home living quietly is explored in the artist’s work.

Munro’s digital drawings are bright and colourful, each with its own story, while the small crochet sculptures are self-portraits reflecting the artist’s everyday life. These contrast with digital works which are moody—and explore time, change and the concept of moving slowly.

The exhibition itself will be as accessible as possible for viewers as this is integral to the artist’s work.

Megan Munro is a queer, disabled artist who graduated from the Canberra School of Art in 1996 after studying Textiles and Sculpture. Munro has used various mediums over the years, and participated in many group exhibitions. This will be their 6th solo exhibition. 

Megan Munro, CPAP Self-Portrait, 2022, yarn, fabric, 20 x 40 x 30cm.



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PIN 9 Show
Aug
9
to Aug 19

PIN 9 Show

Opening event 6–8pm Wednesday 9 August 2023

Anna Scheen, Outside, 2019, porcelain, 5 x 2.5cm

Since ANCA’s inaugural PIN Show of 2011, the concept of reducing scale and honing in on a miniature wearable platform has appealed to many artists from a range of practices—such as sculptors, printmakers, painters, ceramicists, silversmiths, machine-makers, photographers, woodworkers and glass artists.

Following the success of the first show, ANCA held annual PIN exhibitions from 2012 to 2018. Now, after a break of five years, the ANCA Gallery is again running this hugely popular exhibition in 2023.

PIN provides a platform for contemporary artists, designers, craft practitioners and makers of all disciplines to showcase their work in an exhibition that focuses on the miniature: wearable artwork—the brooch.

PIN 9 will be exhibited at ANCA Gallery from 6pm Wednesday 9 August to 5pm Saturday 19 August.

Visitors who come to ANCA Gallery for this exhibition view it as a chance to purchase unique statement pieces that they can pin to their winter attire, as well as an opportunity to collect the work of established and emerging contemporary Australian artists at an affordable price.

Artists in this year’s PIN 9 include: Adelaide Butler, Angela Natalier, Ann McMahon, Anna Scheen, Annabel Nowlan, Brenda Runnegar, Catherine Mpofu, Damien Veal, Daria Fox, Elizabeth Curry, Fiona Meller, Fran Romano, Hands On Studio, Heather Groves, Ilka White, Ingrid Penc, Isobel Waters, Jacki Stone, Janet Angus, Jodie Cunningham, Karen Lee, Kate Gardiner, Katie Hayne, Kirra-lea Caynes, Kristie Watts, Lisa Jose, Maria Klingner, Marika Strohschnieder, Mel Young, Michele Grimston, Nicci Haynes, Nicola Knackstredt, Rachel Theodorakis, Rohana Holiday, Rozalie Sherwood, S.A Adair, Sarah Augusta Murphy, Sarah Jones, Tamsin McLure, Teegan Horat, Tracy Hopkirk, Ursula Frederick, Valerie Kirk, Virginia Sprague.

Valerie Kirk, Eucalypt Black, 2023, 5cm w x 8cm. Photo by Brenton McGeachie

PIN 9 image credit: vecteezy.com

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Olivia Gates, Solomon Gates
Jul
30
5:00 PM17:00

Olivia Gates, Solomon Gates

Exhibition opening 6pm Wednesday 12 July 2023

Olivia Gates, Solomon Gates, Discomfort and longing, 2023, glass, sterling, silver, 6 x 6.5 x 2.5cm

Coming home: with metal and glass

Working for the first time collaboratively, sister and brother artists, Olivia and Solomon Gates use this opportunity to expand upon their existing practices of glass and metal to reflect on their concerns for environmental conservation, generational connection with place, and the ongoing ramifications of their colonial lineage, all localised to their home in Kiama, Dharawal Country.

In the exhibition, viewers are invited to physically interact with works that are a continuation of Olivia’s ‘Listening Shells’ series and Solomon’s ‘Dysregulation’ pieces. Doing so, viewers are moved away from traditional notions of material fragility and preciousness towards seeing the works as valued tools that enable sensory led self-reflection. The contrasting blown glass seashells and cast silver blackberry vine shifts the viewer’s experience between smooth and spiked, listening and feeling, restriction and flow.

Olivia Gates is an emerging artist based on Ngunawal/Ngambri Country (Canberra). She studied glass at the ANU School of Art and Design and works as a practicing artist and teacher at Canberra Glassworks.

Solomon Gates is an emerging artist based in Sydney, on Gadigal and Bidjigal land. He studied in the jewellery and object workshop at ANU and is working as an apprentice jeweller in Sydney.

See Coming home: with metal and glass by Olivia and Solomon Gates at ANCA Gallery, Wednesday 12 July to Sunday 30 July 2023.

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Jenny Gibson
May
31
to Jun 18

Jenny Gibson

Brushes with the Bush by Jenny Gibson is an exhibition of oils on canvas and charcoal drawings spanning 28 years of art practice and observation.

Join us for the exhibition opening on Friday 2 June at 5.30pm. To be opened by Ruth Waller, artist and former Head of Painting ANU SOAD (2006–2018).

Gibson’s painting embodies a lifetime of bushwalking with family and friends. Whether in the Royal National Park in Sydney, where she spent many days while living in Bundeena, the Snowy Mountains where she skied in winter and walked in summer, or locally, around Canberra, her works express her encounters with the bush. Reflecting a sensorial response to the landscape around her, from more distant views to her immediate surroundings, from small grasses to her experience of moving through trees.

According to the artist, “I would like to introduce into the rectilinear geometry of our human built environment something of the irregular growth patterns of nature. I would like my paintings to remind people that there is another world out there which follows its own laws. This aim is underpinned by the recognition later in my life of the importance of plants in cycles of respiration and renewal and of the miraculous manner in which they make life possible on this planet.”

Exposed to painting as a young girl through Clewin Harcourt, a landscape painter who lived nearby in Heidelberg—Gibson developed her art practice through courses at Gymea TAFE, Sydney and later at the ANU School of Art. Her exhibitions range from group shows in Sydney and Canberra to solo exhibitions at ANCA Gallery and the Belconnen Arts Centre.

Reed Reflections (diptych), 2022, oil on canvas, 102 x 152cm each. Photograph: Andrew Sikorski



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May
10
to May 28

Kirsten Farrell

The Anything You Want Machine by Kirsten Farrell at ANCA Gallery 10–28 May 2023

Kirsten Farrell [she/her] is a queer multidisciplinary artist who trained as a painter at the ANU School of Art in Canberra and continues to live on unceded Ngunnawal and Ngambri land. Her practice encompasses conceptual, object-based installation, textile and performative modes of practice and is nonetheless grounded in painting.

Farrell’s plastic textiles propose a future where plastic is a cherished and mystical material that signifies care, wisdom and feminine power.

According to Farrell: “There is a famous scene in the 1999 Sam Mendes film American Beauty: a plastic bag caught in a little vortex of air causing it to spiral upwards, dancing like a celestial creature. It’s memorable because usually plastic is a sign of banality, dirtiness, abjection even.”

Plastic was once considered a magical material. It was conceived as a thing that could take the shape of almost anything that humans desired. Yet it has long since become ubiquitous and devalued, synonymous with inauthenticity and cheapness whereas the word in its original sense meant flexibility, possibility, malleability. We now understand that it is made from finite natural resources and it does not ever break down. Its overuse and the massive and horrifying piles of it in oceans and landfill further associate it with the current age of human-generated climate change. It has become a sign of not-caring—of not enough care being taken.

Taking influences from Japanese boro mending, Gees Bend quilt making, Arte Povera and colour field abstract painting, Farrell’s plastic textiles propose a future where plastic is instead a cherished and mystical material that signifies care, wisdom and feminine power. Using plastic encountered in daily life to make abstract compositions, in The Anything You Want Machine Farrell revises the persistent binary of textile as feminine and painting as masculine, as well as the aesthetic value of plastic via laborious craft-based processes.

Kirsten Farrell, Anthropocene boro (detail), 2022, found plastic and cotton thread, 40 x 50cm.

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Apr
19
to May 7

Shanti Shea An

The world folding in upon itself by Shanti Shea An at ANCA Gallery 19 April–7 May 2023

Shanti Shea An is an artist based in Sydney, Australia. Her practice is engaged with an investigation of images—including how images are constructed, how they are read, and the ways in which they ‘speak’ and withhold speech from us. She is currently undertaking a PhD at the ANU School of Art & Design.

In this solo exhibition of recent work, Shea An approaches questions of folding and mirroring within painting. A fold can be understood as a crease or pleat, a doubling or an overlapping; it involves enclosing something, reducing its surface area but increasing its complexity and thickness.

“Which is the reality and which the projection? It is often not possible to say, for emulation is a sort of natural twinship existing in things; it arises from a fold in being, the two sides of which stand immediately opposite to one another.” (Michel Foucault, “The Four Similitudes” in The Order of Things, 1966)

Artists such as Dorothea Rockburne, Tauba Auerbach and Simon Hantaï have employed practices of folding within their work. This often leads to unexpected forms and compositions, whilst also making visible a certain tension that persists between our understanding of surface and space within painting. Looking to the art of the seventeenth century, folds also appear in various guises, from the drama and theatricality of folded drapery in baroque art to the depiction of folded paper in illusionistic letter-rack paintings.

For Shea An, the gesture of folding is explored through the formal qualities of mirroring and doubling. In some works, a sheet of paper is folded to reveal both sides simultaneously. In others, the fold brings two figures closer together—perhaps into conflict—suggesting an impending break or rupture. Throughout these paintings, the fold becomes a way of reconfiguring an image and meditating upon the processes of painting and looking.

Shanti Shea An, Displaced pasture, 2022, oil on linen, 66 x 48 cm.

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Mar
29
to Apr 16

Harry Copas

Opening the loop by Harry Copas at ANCA Gallery 29 March–16 April 2023

Harry Copas is a Western Sydney artist, working between unceded Bidjigal, Dharug and Gadigal lands. His research-based practice spans multiple disciplines, focusing on the materiality of places and objects through the lens of personal and collective histories.

Opening the loop investigates new ways of working with materials and sites to blend research with notions of care, repair and recontextualisation. The installations emerge from the artist’s cross disciplinary interest in textiles, painting and sculpture, and utilise found materials commonly associated with the building industry—breaking away from traditional hierarchies of value. The coarse materiality of the works is met, head on, by an underlying sense of care. In their reconstruction and repair these works are asking: How can we disrupt the cycles of construction and deconstruction?  

Copas’ installations act as spatial interventions that inhibit and direct the viewer’s movement through the gallery space; mirroring the ways in which private development often encroaches on public spaces. Time, too, plays a role in the works exhibited and manifests itself in different ways. The countless hours spent behind a sewing machine document the months a piece of worthless builder’s cloth spent shredding itself in the wind. Plasterboard dust is cast into an object intended to be much stronger than its original form. Demolition rubble, from Sydney dwellings across the last century, is suspended in a conglomerate of lost histories and memories. 

Ultimately however, the works’ ephemeral nature means they exist only as disruptions, interfering with the flow of all things that we find ourselves a part of. Without such disruptions, the current material flow (aided by unsustainable practices of destruction and development) remains unchallenged. How can we close the cycle without opening the loop first?

Harry Copas, The wait of it all, 2021, granite, construction fence, dimensions variable.

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Mar
8
to Mar 26

Present tending: Kylie Banyard, Sara Lindsay, Rebecca Mayo, Ema Shin, Ilka White, Katie West

Present Tending by Rebecca Mayo, Kylie Banyard, Sara Lindsay, Ema Shin, Ilka White and Katie West at ANCA Gallery 8–26 March 2023

The six artists in Present Tending share interests in textiles, plant colour, ethics of care, stories and places. Katie West (Yindjibarndi) is based in Noongar Ballardong country, Ilka White and Kylie Banyard (Anglo-Celtic) live on Dja Dja Wurrung Country, Ema Shin (Korean, raised in Japan) and Sara Lindsay (Anglo-Celtic) live in Naarm (Melbourne) and Rebecca Mayo (Anglo-Celtic) lives in Ngunnawal/Ngambri Country. 

Present Tending brings together six artists who work with the materiality and histories of cloth and plant colour. Mayo dyed five metres of cloth for each artist with plants collected from Ngunnawal/Ngambri land. She then posted a length to each artist, with the simple instruction that they use the cloth only in ways useful to their commitments and desires in the home, studio, or elsewhere and to do so without producing unwanted labour.

Cut from the same cloth, the works in Present Tending reveal unaccounted for care-work. During the pandemic many people’s homes were co-opted by employers as people were instructed to work from home. The additional caring responsibilities attached to these new ‘worksites’ affected women and low-income earners most, and were often not accounted for by employers.

For these artists, the textile becomes an object and tool of care, a site of resistance or intermediary between the inevitable tensions and challenges of working from home. The range of approaches explored by the artists is a testament to the creative ways artists managed isolation, home-schooling and ongoing employment and financial pressures. The use of natural fibres, dyed with locally sourced plant colour, assists in connecting the artists, and their subsequent audiences, to place, labour and care.

Kylie Banyard, Touching Silver Princess with a soft pause, 2022, oil and acrylic on mistletoe dyed hemp linen and turmeric dyed canvas, diptych 120 cm x 168 cm. Photo by Tim Gresham. Courtesy of the artist and Nicholas Thompson Gallery, Melbourne. 

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Feb
22
to Mar 5

Helen Stark & Bridget Baskerville

Of Place and Time by Helen Stark & Bridget Baskerville, ANCA Gallery
22 February–5 March 2023

Of Place and Time brings together the work of Helen Stark and Bridget Baskerville through a variety of audio and visual forms. This exhibition reflects the artists’ personal and community connections to time and place, locational identity and socio-environmental relationships. 

Helen Stark is an emerging artist living in Canberra (Ngunnawal Country). Through the fluid and malleable qualities of glass her practice explores the cyclical nature of the natural world and the eternal cycle of birth, death and renewal.  

Bridget Baskerville is an emerging artist, based between Canberra (Ngunnawal Ngambri Country) and her hometown of Kandos (Dabee Wiradjuri Country). Her practice encompasses the socio-environmental issues faced by her hometown, while exploring her own personal connection to place and community. 

Helen Stark, Regeneration, 2022, kiln formed glass, 8 x 38 x 38cm. Photo by David Paterson.

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Feb
1
to Feb 19

Al Munro

Regular/irregular by Al Munro, ANCA Gallery 1–19 February 2023

 

Al Munro is Canberra-based artist whose interests span painting, print and drawing-based practices. Her art practice and research draw on diverse fields including artistic abstraction, geometry and philosophy to explore the relationships between visual art, craft and design practices. Al has exhibited widely throughout Australia and internationally, and her work is held in public and private collections. 

 

Regular/irregular is a continuation of Al Munro's investigation into pattern, form and colour. Through the inclusion of fold-like corrugations in the artwork's physical structure, Munro activates the viewer’s experience of the space and time of the painted surface.  

Irregular fold 1, 2022, acrylic on constructed boxboard panel, 27 x 27 x 5cm. Courtesy the artist.

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