Catalogue essay for the exhibition, Mes Prédatrices by Marie Peter-Toltz Slag Contemporary, Brooklyn, New York, 28 April – 28 May 2017 Marie Peter-Toltz, Melody Nocturne (2017) oil on canvas, 80 x 30 inches Marie Peter-Toltz’s new paintings are unashamedly fervent in their pursuit of the ambiguities inherent in female archetypes. I
Image: Stella Chen, Mossko (2017), Sphagnum moss, glue, gold leaf, 190cm x 170cm Image: Stacks Projects,Installation view of exhibition by Stella Chen ‘Living with the Past’, including artwork (at back) Mossko (2017), Sphagnum moss, glue, gold leaf, 190cm x 170cm On the work of Stella Chen, in response to her exhibition:
Nicola Samorì, Shrine, 2012, oil on linen, 200 x 300 cm Linda Nochlin’s book, The Body in Pieces: The Fragment as a metaphor for Modernity (1994) traced developments as they have been expressed in representations of the human figure fragmented, mutilated and fetishised, by looking at work produced by artists
Extract from draft chapter: The First Source: ‘Aura’ in the Age of Advanced Imaging Technologies What then is the aura? A strange tissue of time and space: the unique apparition of a distance, however near it may be. To follow with the eye—while resting on a summer afternoon—a mountain range
PhD: the self-anointing animal In the non-human animal world, self-anointing (smearing bodily secretions and/or parts of the bodies of other animals or plants over themselves) assists the animal in different ways, from aiding communication to repelling parasites (even making the animal poisonous) or providing camouflage. A practice based PhD is
Chelsea Lehmann, Fey (2016) oil on linen, 72 x 56cm Upcoming exhibition at Strange Neighbour Gallery (Fitzroy, Melbourne). exhibition details here EFFACE: ERASE (A MARK) FROM A SURFACE. MAKE ONESELF APPEAR INSIGNIFICANT OR INCONSPICUOUS. In Efface, Luke Thurgate and Chelsea Lehmann present new paintings as well as a collaborative wall work in
“Every well-established language is the embodiment of a ghost that never ceases to push out the shape from within even when its image seems to be complete. I reconstruct the outcomes of the trials that have characterised these different seasons and I shake them while their bodies are still soft.
