Heath Newman’s most recent series – When I was out walking explores the metaphysical realms of the mind. Weaving together found objects, mythological characters, plants and iconographic imagery – each work looks to create a mental map of the artist’s subconscious. The structure of the series has been created with a concise understanding of bonsai principle. By using this structure Newman seeks to allow the works to evolve in their own unique way. The sun is a focal piece of these works, evolving from Newman’s recent exhibitions The Sun Comes at Dawn and Nightshade in the Sun which both explored mythological and geological effects of the sun. Newman uses the metaphor of walking as a symbol of internal exploration. Asking the viewer to take a walk inside his seemingly chaotic mind-scape to a world where nature and myth weave themselves into poetic landscapes – colours bleed and grow into geometric structures reminiscent of the inner workings of the universe.

 

Request a Pre Sale Catalogue.

Schedule a time to view Heath Newman’s collection within the Melbourne gallery.

 

 

 

 

In a recent voyage to the terrain of his childhood, Lucena, Brazil – Eduardo Santos traveled through temporal and geographical distance to a land of isolation and memory.

Earlier photographic work by Eduardo Santos fused colour into movement. However, in the works inspired by Lucena, the artist draws on a mineral realm, bleached by the sun. In this new series, works that were once bolstered by the magnetic gravity and velocity of the earth’s horizon seem to now float and ascend. In starkly minimal compositions, the patterns of fishing nets intersect with the trails left by the tug of the tide. Minute traces expand into vast topographies. The intricate stands for the monumental.

Ethereal and sensitive to every tiny remnant and texture, these photographs are inspired by reverence for an obscure and secluded coastal landscape. A homage to both the motherland and the mother. Here, on pearlescent beaches, the pale reach of the sky fuses with the sand and the ocean meets in an ellipse. In this unknown place, the horizon has the power to fold in upon itself, inverting the waves into the clouds. And on the skin of the sand, humans and creatures leave their trails – raking delicate pathways on the sand.

Schedule a time to view Eduardo Santos’ collection.

Browse Eduardo Santos’ online catalogue.

Congratulations to Danielle Creenaune for her work Quadern de Pedra 05 that was selected in this year’s Summer Exhibition at the Royal Academy in London.

Run without interruption since 1769, the Summer Exhibition is the world’s largest open submission art show and brings together art in all mediums – prints and paintings, film, photography, sculpture, architectural works and more – by leading artists, Royal Academicians and household names as well as new and emerging talent.

This year, acclaimed British painter Jock McFadyen RA takes the mantle from Grayson Perry to coordinate the 251st Summer Exhibition. Over 1,500 works are on display, most of them for the first time. Highlights include an animal-themed ‘menagerie’ in the Central Hall, with works by artists including Polly Morgan, Charles Avery, Banksy and Mat Collishaw. Artist sisters Jane and Louise Wilson RA have curated two galleries, one of which showcases work exploring light and time. Further artists exhibiting include Jeremy Deller, Marcus Harvey and Tracey Emin RA, and Honorary Academicians Anselm Kiefer, James Turrell and Wim Wenders. Outside the galleries, international artist Thomas Houseago has taken over the RA’s courtyard with a group of large-scale sculptural works, and the exhibition spills out into nearby Bond Street with a colorful installation of flags featuring work by Michael Craig-Martin RA.

Quadern de Pedra by Danielle Creenaune is a series created over the duration of 2018 – 2019. A Quadern in Catalan is a booklet and Pedra means stone. Thus translating to a booklet of stone. This series presents landscapes as pages in stone; each page exists as a poem of our human experience with nature, history and geology.

The technique is chine collé and stone lithography. Chine collé is a technique whereby the image is printed onto a thin Japanese paper and pasted to a heavier backing paper. In stone lithography, the image is drawn onto a piece of Bavarian limestone. Lithography is based on the principle that the drawn image is grease-loving and the limestone is stone is water-loving, hence they repel each other. The drawing is created directly onto the stone, processed and then when printing, the stone is kept damp. The drawn areas accept ink while the humid non-image areas repel it. The image is printed by hand and run through a manual Lithography printing press. The delicate wash effects are called ‘reticulation’ and this is created by the lithographic drawing ink called tusche. It contains grease and when mixed with water it dries producing this effect.

‘I began working on this series before leaving Barcelona, taking visual notes from my last journeys into the Catalan Pyrenees, a pivotal place and inspiration for my work over the last 18 years. In this landscape, I feel a sense of mediation and also intense energy. As with many of my works I feel there are opposing forces at play, balancing the complex and the simple, the sensitive and the bold, intimacy and grandeur, the inside world of personal sentiments and the outside world of nature’s rawness. I hope to continue the series based on Australian landscapes and in a way chart the transition back to this familiar landscape.’  – Danielle Creenaune.

Quadern de Pedra 05 by Danielle Creenaune is currently on display in Gallery VII. Gallery VII is curated by Anne Desmet RA and explores urban-focused sustainability. Key works such as Claire Douglass’s painting The Garden of Earthly Delights (which depicts a plethora of characters from across the arts, politics, TV and sport, including President Trump, Simon Cowell and Jeff Koons’s balloon dog, who frolic recklessly with no thought of their impact on the environment) are shown alongside limited-edition prints. The environmental theme is also seen in Emily Allchurch’s monstrous illuminated Babel Britain (After Verhaecht) and Ade Adesina’s climate-change-induced tornado that unexpectedly drops airborne sharks onto cities past and present.

 

 

The Summer Exhibition runs from 10 June – 12 August 2019 – Royal Academy of Arts, Burlington House, Piccadilly, London, W1J 0BD.

Browse Danielle Creenaune’s online catalogue.

Regardless of how you view the value of art – there’s no doubt that art adds emotion and meaning to a space and this must certainly be a worthwhile investment.

This year there has been a positive change to tax deductions on art purchases for small and medium sized businesses.

 

Instant Asset write off threshold: 7:30pm (AEDT) 02 / 04 / 2019 to 30 / 06 / 2020.

Applicable to each artwork valued up to $30,000.

 

Artist - Eduardo Santos - 010WL -Otomys Art Online

010 WL – Eduardo Santos – Browse Online.

 

This is the perfect time to consider purchasing fine works of art for your reception, boardroom or home office. Each artwork must be installed in your workspace before the end of June 30th 2019.

As a service based art gallery we oversee procurement through to installation. We would be happy to meet you in the gallery or work via email or phone to guide you through our stockroom selection to suit your workspace, budget or deadline.

View the wide selection of art online and if you don’t see what you’re looking for, contact us so we can refer to works in the stockroom which are not online.  Contact us for assistance on your immediate art purchases.

For further tax advice, contact your tax advisor or read further: Australian Tax Office. 

 

 

Lindsay Blamey – Trees of Mona – Browse Online.

 

Otomys Contemporary 

567 – 569 Victoria Street Abbotsford, Melbourne, Victoria, Australia

Monday – Wednesday    By Appointment 10 – 5 pm

Thursday – Friday     10 – 5 pm

info@otomys.com

Art Consultants

New South Wales | Sarah Richardson

sarah@otomys.com

Queensland | Jessica Leighton

jessica@otomys.com

 

Trevor Mein – saturdaythreetwentyfour2011 – Browse Online.

Otomys Contemporary artist, Ian Rayer Smith, explores the interplay of light through gestural and expressive strokes; figurative forms are abstracted with emotion and presence. For Ian Rayer Smith, the ritual of painting presents itself as a form of meditative self – expression. Such a deep connection with his practice contributes to the great sense of energy that is felt before his work.

We were fortunate enough to recently visit Ian Rayer Smith in his Manchester studio. Located in the industrial, canal area of Manchester, the studio space exudes colour and life. Paintings, sculptures, inks on paper and sketches share a layered conversation with one another. Step inside this dynamic studio space via the below gallery!

Anna van der Ploeg is a contemporary artist based in Cape Town, South Africa. Her interdisciplinary practice is comprised of printmaking, painting and sculpture. The success of two solo shows in Cape Town and artist in residence programs in France, India and Japan have been formative to her process based practice and furthered her appreciation for different methods in print. Van der Ploeg is interested in exploring proximity to discomfort and what we choose to reveal of ourselves. Using diverse materials – paper, wood, ink, metal, rust, wax – she approaches these questions from multiple angles. Van der Ploeg’s parallel role as a beekeeper permeates her visual language; the rich, ritualistic performance allows her to embody this veiled figure and mine it’s metaphors.

 

Request a Pre Sale Catalogue.

Schedule a time to view Anna van der Ploeg’s collection within the Melbourne gallery.

 

Artist - Anna Van Der Ploeg - Put Your Hands Together For The Busiest Person IN The World - Otomys Art Online

You have spent significant time between France, India and Japan – How have each of these countries informed your practice? 

The residency in Japan was also a training in Mokuhanga watercolour woodblock printmaking. This appealed to me for combining two things I love: print and wood. Since then I have included the blocks themselves into my practice. Woodblocks are a willful, anachronistic affectation in a world that has largely dispensed with ancient forms of print; the ubiquity of digital printers has made them obsolete. The use of colour and appreciation for subtlety in Japan had some influence on me. And then just being in a place of such paradox and confusing contradictions was incredibly stimulating. In India I worked in very simple media – ink on paper – and in a very hermetic setting. I think it opened a more personal dialogue in my work than I’d made myself available to previously. My days were glaringly punctuated by meals, and it lead to thinking about mealtime more generally, and how it is spent and shared. France fine tuned my lithography skills, affirming that this inaccessible medium is as unique as I suspected.

Artist - Anna Van Der Ploeg - Opposites Attack - Otomys Art Online

Having traveled extensively, you continue to return to Cape Town. What makes this city the place that you call home?

What indeed? This goddamn relentless wind blew me away with the NikNaks packets and then sucked me and my little green passport back. A friend moved to Joburg and said ‘you know, everyone in Cape Town goes on about the mountain and the sea, but, you know, I never used them!’ However, I’m here on the mountain and I miss it when I’m gone. Returning made me realise that I am, for better and worse, a Cape Town girl, a cliché I am content with. How this estranged city identifies with the rest of the country is something more complicated. The political climate, emerging voices and thoughts contain some sort of urgency. It is a space that I can’t idealise or always understand, and so it draws me in.

Artist - Anna Van Der Ploeg - How Is It To Get What You Wanted For So Long - Otomys Art Online

The titles of your paintings really speak to us. In an era where ‘Untitled’ is commonly used to reference an artwork, how do you determine the titles of your work? And how important do you find the relationship between the title and the work itself?

Reading and writing is a central part of my process. I start with writing down thoughts, links, worded illustrations, or notes from something I’m reading.  I can’t help a little cheesy wordplay, taking an opening to associate one thing to another with combining their words. It seems like a lost opportunity not to. I like the notion of the role of art to address the unspeakable, but that that work still has a title. To different extents, titles are footnotes, guides, or steal the show completely. Titles are important. In one account in Svetlana Alexievich’s Chernobyl prayer, someone says: ‘we think language, but language also thinks us’. I admire people who manage to tailor language to their own needs, to use it in a way that is entirely their own.

Artist - Anna Van Der Ploeg - Do I Look Ok? - Otomys Art Online

You have a parallel role as a beekeeper. Can you share some insight into your time shared with this extraordinary species? 

Beekeeping is such a rich practice. I took it up after two things happened synchronously. Firstly, I was walking in a hiking group and we were attacked by a swarm of bees. One man was stung more than 30 times. Everyone was stung, except me!

Then I read J.M. Coetzee’s The Lives of Animals (1999), in which an observer figure, removed from being human or animal, is alluded to. This text explores the sympathies between all species.

After that it seemed obvious that I need to keep bees! The hierarchies in the beehive and a hive’s ties to the keeper are a synecdoche for our own social structures, allowing me to probe the experience of our proximity to one another, the discomfort we sometimes find there, and what we then choose to reveal about ourselves. Beekeeping became quasi-performative, allowing me to step into anonymity, out of the hyper-visibility of being white and female in post-Apartheid South Africa. This distance provided space to interrogate the pre-accepted cast of the play in which I am an actor  – space in the shifting self-perception of young adulthood, and in making art that represents others.

I wanted to understand the relationship of a figure of power to a micro-organism; of myself to this world within a box, but it turned out I only cracked open the lid. The practice of beekeeping proved to be dense with symbolism located in diverse histories and mythologies. It is physical thinking, methodical and responsive engagement, away from the studio and making art. My fear, clumsiness, laziness has been felt in the way the bees react to me. For all the control, it is also totally unpredictable.

Artist - Anna Van Der Ploeg - The Distance between a You and an I - Otomys Art Online

After the success of your last solo show Growing To Another Sun at Smith Studio, Cape Town. What have you been working on and towards?

I’ve spent a lot of time working on applications for Master of Fine Arts programs abroad; going through the motions of interviews and funding applications. Much of the application process requires reflection on your previous work. It took longer than I expected, but the time made room for research, learning and really thinking about where I want to be in the next couple of years, how I want my work to grow and what I want to communicate.

Join us this coming week as we open Undercurrents by Sophia Szilagyi. This retrospective collection presents a rare opportunity to view an extensive body of work not exhibited for some time. Presented alongside major new works in Sophia’s signature style of evocative and painterly archival pigment prints, this is an exhibition not to be missed. Megan Dicks sat down with Sophia Szilagyi ahead of the opening.

It’s been six years that Otomys Contemporary has represented you and I can’t tell you how honoured we are to have you in our stable. The first time I saw your artwork so many years ago, I actually saw it upside down on a printing table and I’ll never forget that moment – I was immediately entranced! Before we go on to explore that alchemy that exists with your art tell me a bit about you. Do you love to cook, to garden, to listen or play to music? 

Thank you for having me! I am 46, my husband and I have a 13 year old and we live in the northern suburbs. I grew up in a creative family, it felt right to study the visual arts and become an artist. I call myself a printmaker, as that was my formal education and is my source of reference in terms of art making. After finishing my honours degree, I worked as an intaglio printer. Despite what some people may think, I am not a photographer and my work is not photography, although I do use snapshots in gathering source material for my images. I love to be in the garden. Any garden really. I am not so keen on vegetable gardening, I am more drawn to the forms of foliage and flowers. There is something very special and grounding about planting and nurturing your own plants and creating your own space. I enjoy cooking and eating!  Cooking is a little like being in the garden – your senses are at work – touch, sight, and smell.  It takes concentration, love and care. As with gardening, it focuses on the mind, and I enjoy that. Oh, and I should add, I am a coffee snob! I adore my coffee and take great care in making and perfecting it. Being outdoors, socialising and exercising in some way on a regular basis is important to me. Walking, swimming and tai chi are all a part of maintaining a healthy mental and physical balance. When I walk, I look and think.. And I really enjoy a good afternoon nap!

It seems to me that you create space in your life for contemplation – And one of the ways you invest in this is by steering clear of social media. So, you may not appreciate it, but from my perspective, there’s a wonderful freedom in your approach – I admire this about you. Sometimes I’m concerned that the world is going crazy. Whilst instant digital communication offers great inspiration and connection – It also saturates, represses and deceives. Whilst you could be wildly promoting yourself and all the parts to your day to build a sunny and glossy Instagram profile, you choose not to. Why? 

To put it most simply Megan, I don’t use Instagram because it takes up too much of my time and, being prone to anxiety, too much of my emotional space. For some people Instagram is perfect, it is just not a good match for my personality. I would rather spend my time doing something which I find more supportive.  

If you could invite any two people to your upcoming exhibition, who would that be? 

I would invite British artist David Hockney. This may seem an unusual choice, given the difference in our art styles, but when I saw the most recent exhibition of David Hockney’s work at the NGV, I was enthralled.  By incorporating Ipad drawings, large scale paintings and split screen video pieces, his use of scale was magnificent. Some of his pieces were so large they had to be printed in panels, and to see a whole work, you had to turn your head left, right, up and down. Hockney’s work is all encompassing, just as it is when you are in a landscape. Aside from this majestic scale, I truly admire that as a traditional painter he has completely embraced new technology and thus supporting a new art language. In my art I hope not to imitate what I see but rather to capture the emotions I feel; my mood in the space, the vastness, the cold, how open or claustrophobic it feels. The possibilities of expressing one’s emotional experiences in nature by using traditional and new technology is of interest to me.

So, if you were to choose one work from Undercurrents to gift David Hockney, which one would that be and why?

I would gift David Hockney an edition of my Evening Waves at 1200 x 4500mm. This large work has been created from reams of photographs I took of the back beach of Sorrento late one afternoon.  Evening Waves records my emotional response to this site; to the time and space and how it felt to swim in that powerful and unpredictable ocean. A single photo could not do that for me.

Evening Waves is an astounding work Sophia, we are yet to have a client who is not transported by the strength and beauty of this work!  You have one more person to invite – who would that be?

Although he is no longer with us, I would also love to invite Dutch painter, Johannes Vermeer. His subject matter, lighting and colour has always captivated me. Once again though, what interests me most is Vermeer’s use of space. Not the physical space but the psychological space. His images are intimate; when I look at them, I feel as if I am witnessing something private and personal, where the subject is unaware of my presence. There is a strength in the simplicity of the potentially mundane actions he painted – a letter being read, milk being poured or purely a conversation being had. The beautiful Girl With A Pearl Earring, where she is looking directly at you, it feels as if she has heard me sneaking behind her and has spun around to see who is there. I do not know what is going on her mind, but something has or is about to happen. Paradoxically, although the subjects are quiet and intimate, as an audience we share the knowledge of how it feels to be in your own private space. I love that something so personal can be understood on a communal human level. And that is what speaks to me so clearly in his work. One of my pieces which I am exhibiting in Undercurrents is heavily influenced by Vermeer and that is Girl At The Piano. I happened to see my daughter through the doors sitting playing the piano with our dog in the room, both were completely unaware of my presence and too involved in what they were doing to care. It was such a beautiful moment and after I took the photograph I crept off, not wanting to disturb their space. This is the work I would gift Johannes Vermeer.

With 14 large works and 15 small works to be exhibited in Undercurrents –  Is there one or two that are more meaningful to you? 

Each of my works takes me back to reflect on a particular time and how I was feeling then. In this way, like a diary, they are all important to me. However, some are louder than others. Breaking, Wave and Grounded were all worked on at a particular time that was emotionally challenging for me to express.

I worked long and hard on these three and when they were finished, I felt enormous satisfaction and relief. Calling although depicting the Australian landscape, was channeled by my love of the English moors in The Secret Garden, Jane Eyre and Wuthering Heights. I can’t help it, sometimes when I’m in certain landscapes, that’s where my mind goes!

Scrub is my most recent work which evolved through many stages and forms. Originally it was a foreground detail of a seascape on the Great Ocean Road. As I worked on all the images, the foreground detail instinctively became the whole subject matter. Scrub explores more closely the textural and sensory elements of the landscape, in a way which is new in my work. 

It is always such a delight talking to you Sophia, you show strength and beauty in the way you navigate life and it is palpable in your work.  We understand you are not a photographer or are you a painter – you are a digital printmaker, which in some ways is a hybrid of the two and your talent and skill in this medium has enabled you to create a profound study of the emotions of our Australian landscape and some of the people who inhabit it.

Congratulations – we wish much success with Undercurrents. 

Thank you, Megan and Hannah for helping me put together this exhibition. I look forward to sharing it with everyone. Best wishes, Sophia.

 

Opening Thursday 2nd May 2019, 6 – 8pm to Wednesday 22nd May 2019
567 – 569 Victoria Street, Abbotsford VIC 3067
RSVP gallery@otomys.com

Heath Newman / Otomys Contemporary / The Dot Project

 

Otomys Contemporary has partnered with The Dot Project to bring forward a new body of work by Australian artist, Heath Newman. Since first exhibiting with Otomys Contemporary in Melbourne in 2018, Newman has quickly developed a strong identity and practice as one of Australia’s loved, emerging artists, known for his quintessential use of painterly “automatic writing” and symbolism.

The Sun Comes at Dawn, Newman’s first international exhibition, explores the world of duality and the nature of the soul. Light and dark take roles in common archetypes from ancient myths to the circadian rhythm of life, the sun befalls night only to be awoken again in the morning, and so, the balance of life is restored. This concept is prevalent throughout the worlds ancient fables, stories and proverbs.

Abstracting these concepts, Newman looks to create a subtext to the fables, a renewed dialogue between this world, and others, peeling back the veil to the world of ideas and journeying to a realm of reverie. Combining fragments of still life, myths of the world, strokes, scrawls and colour fields, Heath describes his work as a mental map; both of his subconscious and of the greater, deeper collective consciousness. These ideas and the exploration of colour in Heath’s new series of paintings and works on paper drives an exploration of texture, tone, perception and depth; the arise of colour in the human eye and brain, the appreciation and discrimination of harmony and the confusion and intrigue of visual perception.

Otomys Contemporary thanks partnering gallery, The Dot Project, for working collaboratively on Newman’s new solo exhibition. The Sun Comes At Dawn will be available to view by appointment through The Dot Project.

 

Opening May 7th at The Dot Project, Holland Park, London.

Catalogue request nikki@otomys.com.

Otomys Contemporary announces Solo Exhibition by Australian artist Sophia Szilagyi. Undercurrents by Sophia Szilagyi is an exhibition based on the idea of looking back on the old and towards the new. Szilagyi is a contemporary artist combining printmaking with a digital medium and this exhibition will show new works with a selection of images curated from a 15 year period of the artist’s career.

The themes and undercurrents threading through Szilagyi’s extensive body of work present a vibrant and ethereal reading of nature. Crashing waves and building skies are infused with depth and mystery through Szilagyi’s willingness to depart from the literal, and venture into deeper senses of memory and the primal emotional undercurrents conjured by the forces of nature. The sheer beauty and spaciousness of the landscape, and the wild mysteries of the human condition are layered within these spectacularly beautiful and dream-like images.

This retrospective collection presents a rare opportunity to view an extensive body of work not exhibited for some time. Presented alongside major new works in Szilagyi’s signature style of evocative and painterly archival pigment prints, this is a show not to be missed.

Opening Thursday 2nd May 2019, 6 – 8pm to Wednesday 22nd May 2019
567 – 569 Victoria Street, Abbotsford VIC 3067
RSVP gallery@otomys.com

 

Otomys Contemporary announces participation at Draw Art Fair London. Draw Art Fair London will be the first fair in the United Kingdom dedicated to modern and contemporary drawing. It aims to present all facets of drawing as a fundamental practice and to create a platform where rare works by modern masters and recent works from the 21st century will stand side by side. This event is an unrivaled opportunity for visitors to discover the new, and to rediscover established artists. Draw Art Fair London will present sixty galleries, who have been invited to curate individual exhibitions of artists’ drawings, or groups of drawings, in a museum-style context. It will take place over three floors at the Saatchi Gallery. In the heart of Chelsea, Saatchi Gallery is a landmark building, formerly the Duke of York’s Headquarters; in central London near Sloane Square on King’s Road.

Georges Dorignac @drawartfairlondon

Exhibitors may juxtapose drawings with related paintings, sculptures, photos or videos, in a ratio of approximately 70% to 30%, using drawing as the core concept and placing it at the heart of a broader perspective on artistic creation and production. As a result, there will be rare and exciting opportunities for visitors to see drawings alongside related works, some possibly on view together for the first time since they left the artist’s studio.

Tadao Ando @drawartfairlondon

Otomys Contemporary will be showcasing a curated collection of new works by Zarah Cassim and Caroline Denervaud. South African artist, Zarah Cassim is concerned with the notion of perception. Creating dreamlike, dense and abstract landscapes, Cassim believes that reality exists in multiple layers. She uses her medium to affect the viewer’s encounter with spatial illusion. Cassim’s pieces will engage in dialogue with works on paper by French artist, Caroline Denervaud. Trained in contemporary dance and movement analysis, Denervaud has been exploring how movement can convey intrinsic emotions. Through her mark making and gestural stroke, her work presents a research of balance and imbalance.

Opening on Thursday 16th until Sunday 19th May, Otomys Contemporary can be found at stand G6.5. Please contact nikki@otomys.com for a full list of works available and tickets to the fair. Should you not be available to make it to Draw Art Fair, please contact studio@otomys.com to schedule a time to view the work of Caroline Denervaud and Zarah Cassim in the Melbourne or Tetbury gallery.

Caroline Denervaud, Paris Studio @ideih

Browse Caroline Denervaud’s Online Gallery

 

Zarah Cassim, Cape Town Studio @zarahcassim

Browse Zarah Cassim’s Online Gallery