by Simon Termine
His work is encouraging us to examine the developmental quality of the mundane objects abundant within our generation, something which we cannot alienate ourselves from since it has become so definitive.
by Phil Anderson
“Expressing a perspective with an integral voice that was engaging with a positive influence was important for me.”
by Alice Pelot
Sarah Carlson’s large-scale paintings at Graven Feather, encourages us through personal mythologies to re-imagine and re-visit our wild roots.
by Alice Pelot
Pien’s engaging installation is not a devastating, vulnerability-inducing ride, but it is an effective metaphor, and an experience with a resonating narrative drawing attention to political crisis.
by Ella Gorevalov
The message they send is simple: we’re all living in this less-than-perfect city, but we love it for all of it’s flaws. I feel that way. Don’t you?
March 24, 2016 / 6:30 – 9:30 pm
by Phil Anderson & Meghan O’Callaghan
With these artists, their art, I only expect further success for the dynamic collective at Propeller.
by David Saric
Hutchinson’s work moves beyond easy categorization to embody an essence of painting, one that looks beyond customary art-historical practices to something less definable, and immediately beautiful.
by Emily Lawrence
Baleful may evoke heavy themes, but the idea that inanimate objects can live, die, and experience reincarnation (or in this case, get repurposed into works of art) is a thoughtful and optimistic concept.
by Alice Pelot
Everingham’s practice is a successfully productive paradox in which he is both a storyteller and an abstract painter.
by Simon Termine
Dean effectively assembles industrial and mundane objects to depict convincingly fantastical settings and crafty transitions, blurring the distinction between the realistic and the imaginary.
by Rhiann Moore
Bodyworks is a yearly event at the Sculptors Society as the artists are called on to explore contemporary representations of the human form. Each artist’s unique voice was present from realism to abstraction
by Alice Pelot
Gertler implies classical material and vaguely oppressive iconography to construct symbols of power, and Scaglia refers to ancient symbols to provide a metaphor for a disastrous historical event.
