Exhibitions

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CURRENT

UPCOMING LAUNCHAT_SALON Inaugural Exhibition
29 February - 24 March 2012
Nine unrepresented emerging and mid-career are featured in the AT_SALON exhibition program, new to Anita Traverso Gallery in Albert Street, Richmond. This inaugural exhibition features hand-picked artists practicing over a variety of media including ceramics, textiles, drawing, painting and photography.
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Before the Storm
1 February - 25 February
Gallery artists featuring work on the subject of the sublime, quiet and contemplative.
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PAST

EBONY ADDINSALL

White Lines
This body of work reflects my fascination of human connection, our interactions with our immediate space and the people we share it with.
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TANMAYA BINGHAM

Amalgamation
I create haunting hybrid humans in my series Amalgamation, where the concept of age is lost to integrated physical forms that are neither past, present, nor future rather they are an encapsulation of them all. Through colour pencil and mixed media on board, I execute these complex layered beings that are simultaneously one human form and many, amplifying how finite and irrelevant age is especially when at every age we are always the amalgamation of them all.
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Sanctuary
The concept of Sanctuary is articulated in three primary ways. First, the viewers of these works are intended to feel that the installation, with its pillared artworks, is a sanctuary in itself. Secondly and thirdly, the subject matter of the individual structures are both a sanctuary as well as an illumination of the symbolic process one goes through to find sanctuary and inner peace.
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JOHN BODIN

Rite of Passage
The open road has long captured our imagination and desire to search for perceived freedom. The winding ‘black snake’ road serves as a conduit for our endless pursuit to be somewhere else other than where we are. The On the Road series attempts to expose the, at times, uncomfortably dark relationship between contentment and escapism. John Bodin, 2011
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Urban Edge
Urban Edge continues on from the 2006 Urban Abstraction exhibition at ATG by introducing contrasting elements and structure from the natural world alongside stark semi-abstracted urban scapes. Whilst we may at first perceive these as opposing forces, I contend that the integration is more harmonious than we think.
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Antithesis: Urban + Landscape Photographic Abstractions
This is the beginning of a series of images commenting on sharply contrasting oppositions juxtaposed in a balanced or paralleled phase. My interest in philosophy has taught me that within this equilibrium lies the recognition that every judgement carries with it divisive self-imposed limitations. Antithesis is an attempt to address the prejudice of jaded perception by re-writing a new vision, confirming that harmony and true beauty can exist even when viewed from an opposite point of view.
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JENNY BOLIS

Dark Flowers
All of these flowers are indigenous to parts of Australia, where the flowers are often unobserved in their specific habitats. These 'dark flowers' hover in a space that is temporal, unnatural yet filled with life. [excerpt from 'Dark Flowers' by Megg Minos]
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Interior Music
Sometimes silence can be loud indeed. In this exquisite and intimate [exhibition] Jenny Bolis creates a series of enticing narratives that will draw the viewer into her world. It is a place of contemplation and pause, a place that suggests the moment before sound, before dance and perhaps moments before unforeseen drama and hints of foreboding. - Ashley Crawford, 2010
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The Psychology of Trees
This book of photographs is wrapped with an image of eucalyptus trees, animated by the last traces of daylight and shadow. A strange flatness between its foreground and background gives the effect of squinting into a View-Master, with its overarching sense of filmic nostalgia.
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The Empty Sea
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SUSAN BURET

More Stolen Geometry From The Gardens Of Love
Maps are often very beautiful. A combination of the cartographer’s art and military conquest reveals a pattern of fragments put together to create a whole much like a mosaic or a quilt. The result provides an indication of not only where one might go but also where one is not welcome.
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Stolen Geometry from the Gardens of Love
Inspired by the patterns in oriental carpets, screens, textiles, mosaics and gardens, the works in this exhibition are an examination of inclusion and exclusion, the use of pattern for mapping and delineating ownership either by drawing a border or applying personal decoration to signify that the space is one’s own.
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Portraits of the Unknown
The works look at two often opposing ideas of domestic security - the ideas of home, the safe haven we make unique with furnishings and patterns we apply to walls and floors and, the idea of national domestic security where our borders are protected by the rigorous enforcement of rules governing conditions of entry.
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NICOLA CHATHAM

It was a strangely happy day
During a visit to the Tate gallery in London a few years ago, I stumbled across a room of William Turner’s paintings unlike any I’d seen before. Thin, mostly translucent, washes of yellows, pinks, blues and browns formed landscapes the painter was famous for. Only these works were different. They looked like under-paintings. There was hardly a wisp of detail; instead, the luminous washes of colour bordered on abstraction, precursors to Rothko.
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Cohuna Diaries
Photography, writing, video and oil painting have been used to investigate ideas relating to landscape, travel and intimacy in this new series. The small oil paintings are based on photographs I took while traveling in Australia and New Zealand and their lengthy titles are extracts from my personal journal. These provide a glimpse into my private, interior world of neurotic musings, day-to-day trivia and observations.
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Today, We Don't Have Plans
In these latest works I’ve wiped, built up, subtracted, omitted, smeared and blurred the paintings – creating my own interpretations of the photos. While doing this, I’ve been thinking about how my style swings from abstraction to realism. Regardless of whether I’m working from internal or external sources, the paintings end up being my personal interpretations of nature and the landscape.
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Natural Instincts
The natural world is what continues to inspire me. Patterns in the bark of a tree, fine tapestries of veins left in dried-up leaves, reflections of clouds as a storm rolls across the ocean and coloured sands in the desert become filtered inscriptions on my canvases.
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MARTIN CORBIN

Architecture of an Idea
Complex histories are embodied in these old wooden chairs. Fashions of the day are revealed in style and colours, everyday family activity preserved in scratches, holes and dents, while an iron burn or sawn seat corner tell of their inherent usefulness and of all too familiar accidents. Structural failures indicate deficiencies of manufacturing while careful repairs speak of an ap- preciation of the value of the object, as well as the skills and resources of the repairer.
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GABRIELLE COURTENAY

Colliding Worlds
In her exhibition Colliding Worlds, Gabrielle Courtenay stage-manages a sensitive balance between sensuality, intellect and emotion. She draws the viewer in close to her shaped canvases, some round and arranged in clusters, as if to inveigle us on a treasure hunt.
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Edge
Standing alone on the edge of a line of hills facing a sunken desert basin, buffeted by harsh winds, I questioned the power of abstraction to address the environmental issues of our time. This series of work, questions our place and context within an ancient environment.
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Chasing Tumbleweed
Standing alone on the edge of a line of hills facing a sunken desert basin, buffeted by harsh winds, I questioned the power of abstraction to address the environmental issues of our time. This series of work, questions our place and context within an ancient environment.
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MICHAEL COYNE

Five Ringed Circus
Kodak commissioned photographer, Michael Coyne, a member of the prestigious Black Star photo agency, to be their representative at the Sydney Olympic Games. Michael’s considerable photographic skills are not that of the traditional sports photographer AND, because there were fifteen hundred of those people already present, he very thoughtfully and carefully contemplated an alter- native approach.
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HENDRIK FORSTER

Domus
A house is a building or structure lived in by people. It generally has walls and a roof to shelter its enclosed space from precipitation, wind, heat, cold, and other elements. The social unit that lives in a house is known as a household. Most commonly, a household is a family.
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Found + Fabricated
The sculptures in this exhibition combine the interaction of simple geometry and the female form. The forms are minimal, abstracted and reduced to their essence containing a stillness, balance and harmony. The centre of gravity is contained within the form, expressing introspection and quiet, which is emphasised by the natural richness of rust and patina in the surface texture and colour.
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KERRYN FORSTER

Found + Fabricated
In the exhibition Found + Fabricated Kerryn Forster has produced a collection of interior sculptures. Trained as a gold and silversmith with a second major in sculpture the works are assembled with the care accorded to precious materials and the attention to detail that a practicing gold and silversmith develops over a twenty year span.
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Found + Fabricated II
The work created for this exhibition follows a period of change. Change of environment over an extended period of travel largely through rural Australia and the relocation of home and studio. The travel provided the opportunity to collect new material in found objects and experiences. With the physical changes behind and the new studio a joy to work in, my process of making objects builds on my previous work, hence the title ‘Found and Fabricated II.
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STEFAN GEVERS

Forgotten Places
There is something about abandoned places that is very intriguing. A place that was once a centerpiece in a few people's lives, is now all but forgotten.
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Natural Order
In “Natural Order” I sculpt and paint natural elements to reveal order in a wide and overlooked landscape. My inspiration stems from the “temporary nature of man made materials” and the overpowering force of nature itself.
Each piece emphasizes the power of natural form and the permanent predicament of the man-made. In my new series, I reinforce this theme by using natural elements as building materials to create works of man- made order.
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HOLLY GRACE

Gaze
Gaze is a kaleidoscope of glass visions that draws on traces of thought & segments of information- a photo album of inspirations. These glass landscapes are obtained by means of travel; a trip of stories, works, sensitivities, concepts, positions & contradictions.
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Landschap
The word landscape and also landscape painting originates from the Dutch word landschap. It was in the 16th Century that the word became associated with a genre of painting that described a vista or view of nature. In Landschap my aim is to investigate views of the landscape by using personal photographic images that are sandcarved and etched into blown glass forms.
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LYNDAL HARGRAVE

Hunted and Collected
Reminiscent of architectural and organic structures, Hargrave’s sculptural work centres around the tradition of ‘found object‘ using utilitarian or manufactured items to create artworks that transform the ordinary and everyday into what the artist describes as “invented systems that pulse with rhythm and beauty.”
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All the Little Pieces
In All the Little Pieces my fascination with patterns of construction from micro to macro and natural to man-made continues. My work explores the gap between order and chaos and helps me to understand the meaning of balance.
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KATE HENDRY

Metronomic Balance
This body of work is largely developed from my contemplation on time: how it shapes and defines our lives from the moment to moment, day to day, right through to time and space relationships and how irrespective of who we are we are all linked to a sort of continuum.
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Light of Line
The wire sculptures are largely process-based works. The works were originally inspired by the play of light on water that you enjoy in the quietness of underwater swimming. The loose grid structures are a representation of light when refracted through moving water. The translation from such fluid beginnings into steel is in some ways problematic, however the material enables depth in the works, allowing me to work in relief as well as ‘in the round’.
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ADAM LAERKESEN

Silence and Noise
Nature has always informed my work, its imagination offers endless possibilities. The bush seeps into my dreams where the collision and marriage of opposites take place and there, visions manifest as starting points for my work. This unexpected combination asks the viewer to experience and think in new and divergent ways allowing for the possibility of the unconscious to manifest in my work, whilst giving space for poetic possibilities and the unfurling of the mysterious. The familiar and the unfamiliar, mystery and the sense of other continue to pique my imagination.
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Animist Exodus
Animist Exodus showcases an eclectic mix of evocative sculptural works that inspire the imaginative and unfamiliar. Richly flocked branches sway in a non-existent breeze, a cheeky crowned monkey proudly sits on a human skull, whilst nothing is expected – equally, nothing comes as a surprise.
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LI-FENG LO

To Nature
In my ceramics practice, I create forms that are inorganic, yet I am drawn to nature.

Away from my country, Taiwan, for many years of study, the land seems familiar yet also strangely unfamiliar to me.
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ANNABEL NOWLAN

Unfinished Maps
The intrinsic and identifiable characteristic of my art practice stems from a long connection to land; the land of my family farm and of the Wiradjuri people, at Bimbi in south western NSW.
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The Weight of History
As with previous exhibitions, ‘The Weight of History’ presents new dialogues about the land and its inhabitants, informed by personal anecdote and familiarity. This particular body of work has coincided with selling of the family farm, held in the family for five generations.
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Bugger - All
‘Bugger’ is one of those words that can be very inappropriate when used in certain situations; a word of suspect origins, referring to even more suspect behaviour.
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PAMELA RATAJ

The Morphology of Forgetting
The Morphology of Forgetting explores the organic shifts in human condition, memory and grief. Rataj uses 2D and 3D works to tangibly express intangible emotions associated with loss and the inherent desire to connect with our past.
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Greenwich Mean Time
Contemplative new works by Pamela Rataj explore the concepts of time, identity, fragility and permanence in four distinct series.
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EWEN ROSS

Territory 2005-2010
'Territory 2005-2010' surveys the work and career of ATG artist EWEN ROSS at the Horsham Regional Art Gallery.
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Warrina Portraits
In these works the artist’s hand is the model for a series of shimmering, chimera-like patterned imprints, echoes, reflections, templates and coursing sequences of code – allowing us to measure one life against many generations, the transitory against the eternal, our intimate landscape against the widest horizons.
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Red Gum Country
In his third exhibition with ANITA TRAVERSO GALLERY Ewen Ross’ lyrical works expose an artist whose commitment to his subject matter imbues his work with undeniable poignancy.
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The Green Pick
This current body of work carries the generic title of the green pick. It references new growth and visually symbolizes the changing seasons. I started this series in late autumn and although the Wimmera landscape is suffering serious drought the notion of the green pick is folklore in this country. Sometimes called the first pick by local farmers this transformation of the land- scape is manifestly reliant on rainfall.
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Such is Dry Land
My work is primarily a response to the Wimmera landscape. This is the country I grew up in and its where I live today. My simple aim is to manifest the changing nature of this landscape in my work.
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MICHELANGELO RUSSO

Silence
Silence is sound’s afterlife.
Silence is sound’s soul.
Silence belongs to the sound that generated it.
Sound belongs to the silence that surrounds it.
The audible part of sound is physical – the vibration of matter.
Silence is emotional. We feel it.
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Petals + Thorns
shining diamonds - silver graphite
fossilized perfumes - black lilies
liquid scars - flora drawings
squid ink - deep oceans
queen bee - dark honey ...
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Wax
Spring… flowers… bees… WAX
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JANITA RYAN

There Ain't No Such Thing as a Sanity Clause
‘Twas the night before Christmas 2006 and I was scouring Borders for presents. My father had passed away ten days earlier. On the remainders table were these ornamental reindeer. They had a bewildered look on their tiny, flocked faces as if to say, “How did it all come to this?” The weather had been hot and filthy and the smell of smoldering bushfires filtered through the air-conditioning, enough to make any critter that belonged in a snow dappled forest jittery.
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TIM SKINNER

Field Explorations
The meaning of ‘landscape’ and the landscapes around us continue to evolve in response to our understanding of and interaction with them. The American academic, John Brinckerhoff Jackson, observed that the first English meaning of landscape did not mean the view of it, but rather the picture of it - the artist’s interpretation.
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Field 3
The meaning of ‘landscape’ like any other word in our language is evolving over time. The American academic John Brinckerhoff Jackson observed that the first English meaning of landscape did not mean the view of it, but rather the picture of it – the artist’s interpretation.
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WINSOME SPILLER

Lost Topography
I am interested in the built and natural environment, history, natural forces and processes of change. The works in “Lost Topography” have come out of my preoccupation with knowing more about the places I inhabit and move around in, and thinking about how to represent these places visually.
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Unseenery
What informs my art practice? Perhaps it’s living in an urban culture where a century of city building destroyed much of the previous landscape, where the built form is obviously ephemeral. Perhaps it’s having moved away and returned, and realising that every place is many places at different times and only one of them is now. Perhaps it’s about wanting to reinforce some strands to the thread of local stories which can so easily fray and break.
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BARRY THOMPSON

Peristereonas
Barry Thompson explores the mysteries of Cycladic culture with Peristereonas his second solo exhibition with ATG.
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The White Work
My fascination with Cycladic civilization [3300BC-2000 BC], ignited by my first travels to Greece in the 70s, has remained with me to this day, and become a major reference for my new body of work. The process of ‘crafting’, with slow, deliberate, accumulated efforts, using basic materials like wire, plaster, and paint, is for me as much the building of a personal narrative as it is a commentary on the precariousness and discrepancies of contemporary life.
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ONERVA UTRIAINEN

My New Horizons
Commonly, the horizon is where the sky meets the sea. It ’s as far as your eyes can carry you. But a horizon is more than a physical phenomenon – it’s a state of mind. It’s where your imagi- nation begins. Beyond the horizon, there is always something more. Throughout history, we’ve been fascinated by what lies beyond the horizon.
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INGRID WIMBURY

Falling Sideways
Falling Sideways is a delicate and sensuous collection of soft documents; map-like in form with a tentative energy. The spidery hand-stitched lines and oozing bleed of plant dyes are embedded in silk and float in layers. Wimbury intuitively creates internal journeys – metaphysical maps – fine-tuning and honing the senses through the introspective process involved in producing works of this nature.
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