Julie Harris: The Strip Suite
19 August – 8 October 2017
For this exhibition Julie Harris combines recent abstract paintings and sculptural pieces all referencing the same motif: the strip or ribbon. Harris has intuitively incorporated this linear element in ever increasing ways over the last three years, layering it onto a more organic ground. The motif signifies her immediate environment in its most basic form – whether vertical or horizontal the strips describe features such as: her studio louvre window, musical scores, birdsong, garden elements and the weather. This motif also references Harris’ process of stripping back any recognisable imagery or formalist structure from the canvas and allowing the paint residue to create the final work.
Harris is influenced by the Japanese aesthetic concept of Wabi-sabi which looks at the beauty of imperfection and impermanence especially with regard to the natural world. With this in mind she paints intuitively allowing her physical surrounds to flavour the work: she is directly influenced by the seasons, her studio, the music she chooses and sounds from outside. Harris has a long history of non-intentional painting, she allows the substance of the work to reveal itself without a predetermined outcome in mind. The colours and texture of the paint find their own form, in this way her paintings are a collaboration with the natural environment.
A Blue Mountains City Art Gallery exhibition curated by Rilka Oakley
JULIE HARRIS TSS #4 (Blue Pentaptych) (detail) 2016-2017, acrylic on polyester, 80 x 900 cm. Photo by Asia Upward.
Leahlani Johnson: However late it may seem
However late it may seem
19 August – 8 October
Leahlani Johnson’s However late it may seem is an exhibition of new, site specific installation work that combines ceramics, painting, plant material and moving image to investigate the paradoxical nature of time.
Johnson juxtaposes various mediums within her installations to reveal the opposing durational qualities of stillness, temporality and flux. She explores different forms of timekeeping, with the ceramic elements revealing gestures of everyday objects within a static form; the moving images convey a sense of compressed time; and the plant works, created through a labour intensive process, will change with time and alter colour, shape and texture. The combination of these diverse mediums allow time to be re-imagined from a linear formation into a more malleable substance.
LEAHLANI JOHNSON Petal work 2015, paper daisy petals, dimensions variable. Image Zan Wimberley