Fibre artist, Catriona Pollard’s fifth solo exhibition Falling Into Longing opens its doors this week at the Sydney Road Gallery, Seaforth. This thoughtful and captivating show will feature Pollard's hallmark sculptural basketry and assemblage works. The artist plays upon the theme of longing - examining through her work the myriad ways desires can influence and shape our lives, linking external organic form with inward feelings and states of mind. The show will run from Thursday 20 June to Sunday 14 July.
OPENING EVENT Saturday 22 June 1PM - 4PM Sydney Road Gallery, 561-563 Sydney Road, Seaforth
124cm x 105cm x 20cm Water vine, charcoal - $2,000
Catriona Pollard, Depths of Joy
120cm x 85cm x 15cm, Wonga vine, Charcoal, Gold leaf - $2,000
“I didn’t start exploring my artistic nature until much later in life, and when I started to uncover this hidden creativity, I realised that I had a deep and profound longing to completely fall into it – to surrender to it.” writes Catriona Pollard, “I’m exploring this visually through the works in this exhibition, and asking the question, what would happen if we acted on our longings?” The artist uses the process of exploring nature to inspire her, and the work offers glimpses of shape shifting natural forms - from unassuming branches, leaves and seedpods into shapes that celebrate the abundance of nature. Through reinterpreting the natural world, Pollard's work highlights the deep connection with the natural world that is available to us all. Her sculptures suggest to us that we should both see ourselves as part of the fabric of nature and nature as part of the fabric ourselves. “My work transforms the inherent beauty of nature into moments that encourage reflection and connection. Nature plays an important part of helping us become fully aware of who we are. It inspires expansion and reignites an ancient connection."
Catriona Pollard, Where Love Meets the Stars
124cm x 105cm x 20cm, Wonga vine, Charcoal, Copper - $2,000
Catriona Pollard has exhibited extensively in selected and group exhibitions and has been shortlisted in art awards including Emerging Artist of the Year Craft NSW, Ravenswood Women’s Art Prize, Northern Beaches Art Prize, North Sydney Art Prize, Warringah Art Prize, and Mosman Art Gallery.
By popular demand, Sydney Road Gallery is excited to re-launch our monthly $50 Lightening Auction. Every month one of our talented artists will make available an original sketch. To be in the running to snatch it all you need is to be a current Subscriber to the SRG Mailing List and to be following the SRG (@sydneyroadgallery) on Instagram (so tell your friends). To win, you need to be the first to respond 'SOLD' when the work gets posted to Instagram. We'll follow up with an announcement on Instagram first to get the ball rolling. GOOD LUCK!
THAT ONE TIME IN JUNE
Jessica Watts, Into the Blue 100cm x 100cm Acrylic, paper on canvas - $4,200
To mark the occasion, and to compliment Catriona Pollards' extraordinary body of woven sculptural works, the Sydney Road Gallery collective of artists has pulled no punches in our June-July group show That One Time in June. We'll let these works speak for themselves. Both exhibitions will open simultaneously at the SRG this Thursday 20 June, 10am-4pm. If you would like to know more about what's on show then get in touch with us via email - firstname.lastname@example.org or call us on (02) 9949 9457 during work hours - or 0444 595 580 at any time.
Fiona Chandler, Blooming Wonderful
120cm x 120cm Acrylic, Watercolour on canvas - $2,995
Jaimee Paul, Before You Slept 70cm x 90cm - $1,600
ART HISTORY CORNER
Bauhaus designer, Marcel Breuer designed the iconic B33 chair from a single length of chrome-plated tubular steel with steel-thread for the seat and backing. It was cheap and easy to manufacture and wholly functional. Not a single aspect of the design was redundant; nothing ‘wasted’ on frivolous features – and for this the design was celebrated. But the presumption that a piece of furniture, a building or anything can express (let alone should aspire to express) through its form - nothing but the essential physical requirements of maintaining functionality and structure, is a presumption that is problematic at best, and at worst dictatorial.
Breuer’s B33 has come to exemplify an aesthetic ideology which emerged in the 1920’s under the prerogative: ‘form follows function’. International Modernism or the International Style, under which name this style has since developed, is characterised in design and architecture by unadorned lines, open interiors and the use of industrial materials – glass, steel and reinforced concrete. It is a style that argues for “faith to materials”; the idea that new material developments in industrial production should be embraced honestly and celebrated, not disguised or embellished. Le Corbusier, Swiss-born architect, designer and artist was a pioneer of what would later become the International Style. His Domino House (1914-15) inspired a major shift in architectural theory – despite never being built. The design consisted of nothing but three concrete slabs, supporting columns, and stairs to connect connect it all together vertically. While “less is more” according to the modernist architect Miel Van Der Rohe in the Manifesto of International Modernism - “less is a bore” according to the post-modernist architecture firm VENTURI. Despite its continued and significant aesthetic impact, the eventual failure of International Modernism to assert itself as the global style was inevitable. Many modernist designers and artists beleived they could bring an end to cultural difference by actively suppressing and eliminating the underlying sentimentality and compulsion to express freely that gave rise to art, design and human cultural to start with. Though sleep, the absurdity of the International style was its denial of difference, subjectivity and individualism. Both B33 and Domino House offer a sterile vision of humanity purged of complexity.
As individuals we don’t gauge the measure of a thing solely by quantifying its effectiveness. Modernists like Breuer overlooked emotionality as something irrational and wasteful; something primitive or childlike. A phase to grow out of. Perhaps then, to make an obvious line in the sand of history, if B33 is the embodiment of the aesthetic principles of International Modernism, dictating to us, as it does, the sterile terms of our interaction with it – then we can get a good idea about the reactionary values of post-modern art and design from a commonplace example and expression of post-modern philosophy: the bean bag - a post-modern celebration of difference, subjectivity and individualism. Tom Retter.
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Sundays 9 - 12 pm and by appointment.