SUBSTRATUM
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.
Artists: Thea Anamara Perkins, Christopher Zanko, Chelsea Lehmann, Anna Louise Richardson, Mungo Howard, Emily Ebbs, Elizabeth Creixell and Kristone Capistrano.
Substratum, Woollahra Gallery Redleaf, NSW
12 - 30 January 2022
Curated by Lewellyn Riley-Haynes.
Artists: Thea Anamara Perkins, Christopher Zanko, Chelsea Lehmann, Anna Louise Richardson, Mungo Howard, Emily Ebbs, Elizabeth Creixell and Kristone Capistrano.
Substratum, Woollahra Gallery Redleaf, NSW
12 - 30 January 2022
There is no such thing as selfish grief, 2020, wooden veneers (Rosewood, Rock Maple, Sheoak, Jarrah burl, hand dyed Silky Oak) and charcoal on ply, 120cm x 116cm
Death is a universal event that changes you forever. Depicting a Macaque mother grieving for her child, the work explores the common experience of grief paralleled by the natural world. There is no such thing as selfish grief is a meditation on the artist's mother; a vet, farmer, artist and furniture maker who passed away in January 2020. Drawn in charcoal on marquetry, the work draws on techniques, veneers and tools passed down from her mother.
Death is a universal event that changes you forever. Depicting a Macaque mother grieving for her child, the work explores the common experience of grief paralleled by the natural world. There is no such thing as selfish grief is a meditation on the artist's mother; a vet, farmer, artist and furniture maker who passed away in January 2020. Drawn in charcoal on marquetry, the work draws on techniques, veneers and tools passed down from her mother.
Big Cat, 2017, charcoal, acrylic and ink on cement fibreboard, 300 x 90cm
This work is an extension of a series exploring rural mythology and storytelling, delving into the global mystery of a large feline cryptid stalking rural areas and conspiracy theories imposed on the natural environment. Big Cat is a continuation of Richardson's research into the existence of the Phantom Cat and emerges from a sense of vulnerability that arises when alone in the bush. Operating in the area between fiction and reality the project originated from her personal experience on the land as the sixth generation to live and work on a 3000 acre beef cattle farm in Western Australia. Richardson's work considers rural mythology, rendering animal archetypes as tropes of national and personal identity, revealing how our relation to place (and nature more broadly) is filtered and shaped through layers of history, storytelling and imagination.