We’re beginning our journey into the modern world by opening our second art gallery in Australia… despite the pandemic! In Sydney ‘location is everything’ and in time we found our ‘everything’ at 537 Elizabeth Street in Surry Hills. Designed by Woods Bagot,  537 Elizabeth achieves maximum internal space on a slim inner-city footprint; offering Otomys Contemporary instant appeal.

The building demonstrates the power of modern urban renewal and sets the precedent for design excellence on a city block undergoing significant transformation. The unity between the building’s board-marked concrete architecture and its timber clad interior design defines the seven-storey development. Ensuring a steadfast relationship with its urban context, the project forwardly considers how we live, utilize the space around us and desire connection to city life. Boldly tactile, the development uses unique materials at various scales to create human connection.

Whilst we manage the unexpected stillness in the city, we are thankful that Otomys Contemporary Sydney is operating somewhat as a ‘fishbowl gallery.

‘The glass walls couldn’t be more perfect, viewers have stopped by in their own time to enjoy the contemporary group exhibition from the street and there is no real need to go inside – although I’m readily open by appointment.’ Says Sarah Richardson, Otomys Contemporary NSW art consultant, with a smile. ‘It really is a whole new landscape and we’re fortunate to be able to move with the tide.

To mark our opening at 537 Elizabeth, we are launching Susan Watson Knight’s astounding new collection – Lit from Within. Her abstract patterns emanate a positive visual energy and the scale, colour and detail in this work is striking to experience.

Lit from Within will launch online next week – register for a pre sale catalogue here. Susan Watson Knight’s Untitled #11 and Untitled #10 from Lit from Within below.

Otomys Contemporary Sydney is open until mid May so contact Sarah here for a gallery appointment, alternatively you can request the Otomys Contemporary Sydney Gallery Catalogue here. Sarah is available to chat through art, framing, payment options, delivery and installation.

Otomys Contemporary Sydney 

537 Elizabeth Street, Surry Hills NSW 2010.

Otomys Contemporary is open by appointment only.

Catalogue request / schedule an appointment via sarah@otomys.com.

 

Otomys Contemporary Sydney photographed by Trevor Mein.

Our current exhibition, AUSTRALIA Living Land has been a terrific success and we would like to thank all those who have supported the exhibition both remotely and within the Melbourne gallery.

Special mention to exhibition co curator Felicity Rulikowski of @safariliving, exhibiting artists Meg Walters, Harriet Goodall and Zak Tilley, Kate Stokes and Haslett Grounds of Coco Flip (Sequence Bench), Chris Connell of Chris Connell Design (Horizon Glass Vase) and Rick Eckersley of Eckersley Garden Architecture!

Until further notice, our Melbourne and Sydney gallery will be open by appointment only, due to the escalating situation regarding the COVID-19 outbreak.

The health and wellbeing of our gallery visitors, artists, team and communities is of utmost importance thus we are taking precautionary measures to ensure our gallery spaces are a safe and hygienic place to meet. To schedule a small or private viewing – please do not hesitate to contact us here.

As always, we available to meet online! To receive an exhibition catalogue, further information on an artist / artwork or take a virtual gallery tour – please do not hesitate to contact us here.

Stay aware and take good care!

Megan Dicks and Hannah Abbott
Otomys Contemporary Gallery Directors

AUSTRALIA Living Land expresses the temper of the Australian landscape. Three emerging Australian artists –  Zak Tilley, Harriet Goodall and Meg Walters explore Australia’s wrath and serenity, which, at this moment, seems raw and fragile yet holds a deep and resounding beauty. This poignant and timely exhibition launches in the aftermath of Australia’s devastating summer; its pertinence today impossible to have predicted when the theme was conceived eight months ago. Our intention was originally to celebrate Australia’s rich rural beauty through works by three artists living in small communities. With the noise around digitalisation, globalisation and our appetite for international travel, we felt that we may be losing sight of the natural beauty and simplicity of rural Australia.

However, a few months after consolidating our concept for the exhibition, Australia fell into a horrendous summer of extreme, debilitating weather. This heightened our connection to the fragility of the Australian landscape and its distinctive wildlife. Our thinking and emotional conversation around climate change grew more intense and it certainly seems fitting now, more than ever before, to express the character of the Australian landscape and celebrate its natural beauty. The exhibition has been co curated with Felicity Rulikowski whose understanding of the materiality of the works as well as the nature of their art practices has influenced the exhibition installation.

Zak Tilley is a Northern Territory based artist concerned with how one relates and identifies with the natural environment, in particular Australian native flora, fauna and landscapes. Growing up in Western Sydney and graduating from The College of Fine Arts, UNSW in 2014 with a Bachelor of Fine Arts, Zak majored in Drawing and Painting but mostly produced mixed media paintings, dyed and embroidered textiles, sculptures and ceramics. With a background in education, and social services, Zak is currently completing his Master of Teaching (Secondary) whilst working in youth development and engagement in Alice Springs. Working in the Social and Community Services and facilitating creative workshops for youth and community development heavily influences Zak’s practice and creative philosophies.

“My work is a critical analysis and personal investigation of my relationship with the Australian landscape. Central Australia has made a huge philosophical impact on my practice. It has made me question my intent and sensitivity when painting. My works have become more critical of my relationship with the landscape, as a way to navigate the guilt of appreciation of a land – a land whose history of neglect, abuse and removal from its traditional owners and custodians, is intertwined with my settler heritage. The works I have painted for this exhibition depict my various encounters with the Australian landscape this summer, from thick smoke haze and pyro cumulonimbus storms on the South Coast, to dust storms and flooding of the rivers in Central Australia. My depiction of recent climate events is limited in my works due to sensitivity of communities, and my own processing.” – Zak Tilley.

After a creative childhood spent on a wheat farm in rural Australia, Harriet Goodall completed a Bachelor of Arts degree. She has since trained extensively in varied craft techniques – becoming known as an innovator in the makers movement. Harriet’s works exquisitely exploit the nature of the Australian landscape and its harsh and unpredictable character. Bringing life back to discarded items, Harriet searches for rich colour in abandoned or decayed places. She bends, twists and weaves her selected natural materials to produce organic, imperfect, robust yet seemingly fragile pieces. Recent works were created by merging hinge joint fence wire – reclaimed from a scorched fire ground near Harriet’s home while her husband protected their property and animals from the looming Morton fire on the NSW South Coast – with linen thread, seagrass and beeswax. This piece is like a tribal relic; a skeleton of something left behind in a post-disaster world. The subtle graduation of black-browns and lack of colour are apparent in many burnt landscapes; the welding lines a representation of topography.

“I think to really know life in the Australian bush you have to equally recognise its ever present death and decay. I just collect remnants and tenderly stitch them back to life with natural fibres, lines and colours that re-imagine nature’s own. I feel like my practice is an exploration of the dichotomy of belonging and displacement I feel in so many ways; a kick-back against our environmental recklessness and celebration of the radical beauty at our disposal. It’s a time of make or break!” – Harriet Goodall.

Originally hailing from the sub-tropical island of Bermuda, Meg Walters pursued a degree with Chelsea College of the Arts, London, before venturing to sunnier pastures. Her love of the ocean and the outdoors took her to Australia, where she ultimately left behind one of the worlds’ smallest islands in favour of its largest. It was at Newcastle University that she completed a Bachelor of Art and Design, specialising in Botanical Illustration. Meg is currently entering her third year of studies at Byron School of Art. There is languid movement in her world, a seamless flow in an unconstructed, almost spiritual landscape. A sense of nostalgia is evident in some of Meg’s work, possibly a yearning for a more dreamlike space. Her recent works offer a place of sanctuary, a respite after a gruelling Australian summer.

“My body of work for Australia Living Land is filled with a very real sense of urgency for me. The inspiration comes from spending six days in some of Australia’s most inaccessible, remote and inhospitable landscape. Hiking in Tasmania’s isolated South-West, I felt the impending influence of the inescapable elements. There was no reprieve from the natural forces which included blizzard, 120km winds, hail, sleet, torrential rain and scorching sun. The aliveness of this land captivated me; the original custodians’ resilience to live symbiotically with this such unforgiving conditions is astounding. The harshness of the land took me to new places mentally, emotionally, physically and spiritually. It’s difficult to explain the isolation, the exposure and chaos of my time in Tasmania, but hopefully my paintings speak for me on this point.” – Meg Walters.

AUSTRALIA Living Land

567 – 569 Victoria Street, Abbotsford VIC 3067.

Opening Saturday 14th March (10 am – 3 pm) through to Thursday 16th April 2020.

Otomys Contemporary is open by appointment only.

Catalogue request / schedule an appointment via info@otomys.com.

Opening Saturday 16th November until Friday 20th December 2019

11 Church Street, Tetbury GL8 8JG UK

RSVP essential nikki@otomys.com

Our Winter Salon in Tetbury celebrates the work of five international artists whose distinctive style and talent is recognised globally.

Rodrigo Branco has gained a reputation throughout Brazil for the eclectic  and colourful compositions of his murals.  As a child, Branco suffered from a vision impairment which resulted in an altered perception of the world around him.  Rodrigo’s condition allowed him to see the world with more contrast, more colour, more complex borders  and mixed forms.  The strong influence of his childhood has informed his practice.

South African artist, Michael Taylor’s work can be described as ironic and self reflexive. He draws together themes and narratives that inform his everyday thinking.  Predominantly imaginary in nature, his work explores notions around masculinity, selfhood and personal mythology.  Humour and ridicule feature constantly which he uses to attract and disarm the viewer.

In contrast to the vibrant representations by Branco and Taylor, Greg Wood’s melancholic and atmospheric landscapes are without habitation and evoke a sensation of loss, longing and transcendence.  Similarly, Zarah Cassim’s abstract landscapes create ungraspable, dreamlike landscapes which question our perception of reality.

Dutch artist, Simone Boon’s abstract photography further explores how life evolves over time and is concerned with these notions from a female perspective.

We are delighted to showcase this dynamic collection of works in the UK.

You’re invited to the opening on Saturday 26th October, 10 am – 2 pm
567 – 569 Victoria Street, Abbotsford VIC 3067
RSVP and / or catalogue request – info@otomys.com

Exhibition closes on Friday 8th November, 5 pm

Trevor Mein’s cloud archive has expanded with the addition of a new series of work titled stratosphere. The stratosphere wraps around the earth’s surface above the troposphere, extending to 50 kilometres above the planet and containing the ozone layer.

This new body of work continues to capture the extremes in weather and is part of Trevor Mein’s ever-expanding Cloud Atlas. Mein’s Cloud Atlas contains a broad collection of every imaginable cloud and sky, capturing both the understated and the spectacular. The Atlas, so named in the 16th century, describes a collection of maps pertaining to the physical features of land, but in this instance the diagrammatic presents the fleeting and the ephemeral as distinct from terra firma.

In this upcoming exhibition, Mein’s palette shifts from light blue, white and a myriad of greys. Prussian blue, violet, saffron, pale pink and coal black enter the picture plane. The tonal shifts in some compositions allude to a seascape, as one becomes anchored by the suggestion of the horizon. Through the less abstracted works the viewer is transported back to the celestial sphere.

In ancient Greek Mythology the deity Atlas was made responsible for bearing the weight of the heavens on his shoulders, retribution for leading the Titans into battle. The cloudscapes in stratosphere capture both the ephemeral and delicate beauty that exists on Earth thus prompting the viewer to consider more seriously the tenuous balance and long-term future of our planet.

Words by Susan Watson Knight, 2019.

 

Pre sale catalogue released on Thursday 24th October – request to receive a copy here.

Opening Thursday 5th September from 6 pm until Friday 4th October 2019

567 – 569 Victoria Street, Abbotsford VIC 3067

RSVP essential gallery@otomys.com

SPRING SALON celebrates the rich and diverse talent of fourteen emerging and mid – career artists working across a variety of mediums, genres and scale.

This is the first Australian exhibition for six international artists – Caroline Denervaud, David Matthew King, Gilles Bourget, Karin Haas, Simone Boon and Zarah Cassim.

Otomys Contemporary is equally honoured to showcase new work by well received and regarded artists – Danielle Creenaune, Eduardo Santos, Greg Penn, Heath Newman, Jenny Lundgren, Lindsay Blamey, Morgan Shimeld and Nick Coulson. This a unique opportunity to experience great depth of artistic practice within one exhibition.

 

Caroline Denervaud – Paris, FR

Danielle Creenaune – New South Wales, AU and Barcelona, ESP

David Matthew King – Los Angeles and New York, USA

Eduardo Santos – Sydney, AU and Lucena, BR

Gilles Bourget – Paris, FR

Greg Penn – Melbourne, AU

Heath Newman – Northern New South Wales, AU

Jenny Lundgren – Örnsköldsvik, SW and Vienna, AT

Karin Haas – Los Angeles and New York, USA

Lindsay Blamey – Melbourne, AU

Morgan Shimeld – New South Wales, AU

Nick Coulson – Queensland, AU

Simone Boon – Amsterdam, NL and Hong Kong, CHN

Zarah Cassim – Cape Town, SA and Paris, FR

 

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.

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

 

 

The weather was warm and the sun was shining bright on Saturday 30th March as we opened our Spring Show in the Tetbury gallery. UK director, Nikki Finch, curated a group exhibit that brought both colour, light and several new artists into the gallery space.

Like a shining beacon, the charming gallery window was illuminated by the work of newly appointed Otomys Contemporary UK artist, Marise Maas. The Dutch-born, Melbourne based artist plays with making what is usually seen as the unimportant, important. The precarious worlds which she creates within her oil paintings address narratives of the self through whimsical and childlike symbols. Her work “Homesick Horse” evokes a sense of nostalgia; like taking a peek back into the pages of your favourite children’s book from when you were younger. Her work welcomed our guests into the gallery over the evening and will do so for the duration of the Spring show.

As Otomys Contemporary welcomed new artists to the space; we also saw the return of artists such as Celia Gullett. Sitting confidently above an assortment of ceramic works, Celia’s two geometric oils on panel sat in conversation with one another. Although not necessary to be coupled together, the paintings pair perfectly through their similarities in form, but still manage to contrast one another through colour.

In addition, Otomys Contemporary welcomed the experimental photographic practice of recently appointed artist Simone Boon. Her work, concerned with human identity from a female perspective, presenting a philosophy of becoming. Boon’s embodies a flurry of crystallized movement and captures an ambiguity of form in motion.

The Otomys Contemporary Tetbury Spring Show will be on view for the forthcoming month as we welcome the eventual change in season and elongated twilight hours.

11 Church Street, Tetbury GL8 8JG UK

Wednesday – Saturday: Open 10 – 4 pm

Nikki Finch  nikki@otomys.com  +44 (0) 7484 751 157