Review | Jean-Luc Moulène and Teams, Hrafntinna (Obsidian) and Heavenly Beings: Icons of the Christian Orthodox World
This article was first published by Artlink on 24 January, 2024. Tasmanian Gothic is an enduring trope used most visibly, in recent decades, as a tourism device. It sells the troubled island back to its mainland counterpart and works on the gourmands and intrepid Patagonia-clad campers among us, often one and the same. Certainly, to…
Essay | Sundari Carmody: Turns, Protracted and Slow
This essay was first published to accompany Turns, Protracted and Slow at GAGPROJECTS, Adelaide, SA, 1 November – 1 December, 2023. Sundari looks to the sky. It is high noon. She stands between the warming sun and a meagre slip of watercolour paper clipped to a board – a primed photographic surface. Awash with a…
Essay | Michael Carney: Transhuman Nature
This essay was first published to accompany Michael Carney: Transhuman Nature at praxisARTSPACE, Bowden, SA, 20 April – 19 May 2023. What is a landscape painter without a landscape? In Transhuman Nature, Adelaide-based artist Michael Carney presents a suite of anti en plein air landscapes. His paintings, ceramic and 3D printed forms, projections and virtual…
Review | James Newitt: Haven
This article was first published by Artlink on 16 March, 2023. Entering the concrete shell of Adelaide Railway Station’s North-eastern concourse, now repurposed for the 2023 Adelaide Festival presentation of James Newitt’s Haven (2023) and Emily Wardill’s Night for Day (2020), a symmetry unfolds between art and life. These exhibitions were intended for the vaulted galleries of Samstag Museum of…
Book | Mark Valenzuela
Mark Valenzuela is an artist of two worlds. Born and raised in the Philippines, Valenzuela moved to Adelaide, South Australia, as an adult in his thirties. His ceramics and installation practice has since drawn on this duality, oscillating geographically, artistically and politically between the two countries. As a maker of many-pieced iterative installations, Valenzuela has…
Exhibition | Mineral Lines
Mineral LinesSouth Australian Museum1 July – 18 September 2022 Mineral Lines was conceived as part of a wider exhibition program, Reaching Out, initiated in 2021 by Tutti Arts. South Australian artists Jackie Saunders and Laura Wills were invited to respond to the permanent collection of the South Australian Museum. Jackie, a Ngarrindjeri and Wirangu artist, was fascinated by…
Essay | One: all that we can see
This essay was first published by Guildhouse to accompany Sundari Carmody’s public work One: all that we can see at Lot Fourteen, Adelaide, SA, in May 2022. Before Sundari Carmody was a sculptor, she was a photographer. The Adelaide-based artist spentmuch of her formal art education occupying the University of South Australia’s dark rooms, ‘drawing…
Review | Neoteric: when artists move in
This article was first published by Artlink on 4 May, 2022. The neoterikoi—the ‘new ones’—were an avant-garde movement of Latin poets who distinguished themselves from the heroic (and Homeric) epics and odysseys of previous generations. In turning away from the didacticism of their predecessors, the Neoterics were producers of vignettes, pursuers of inward-facing aesthetic goals. Their…
Exhibition | Nutritional Index
Nutritional IndexArt Gallery of South Australia18, 19, 26 February 2022 The Impressive Vibrant Fantasy Buffet: Five Essential Rules to Achieve a Rodin Torso in Under Two MonthsArt Gallery of South Australia30 July – 30 August 2022 Nutritional Index was conceived as part of a wider exhibition program, Reaching Out, initiated in 2021 by Tutti Arts. South Australian artists…
Essay | Sam Gold: Wet from a moonlight swim
This essay was first published to accompany Wet from a moonlight swim at Hugo Michell Gallery, Adelaide, SA, 3 February – 5 March 2022. Having feet is correlated with walking, but I can walk on my hands if I want to…1 Sam Gold’s fingertips trace the cliffs of Hallett Cove. Step by step, mark by…
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BELINDA HOWDEN 