Current Exhibition

Group Exhibition —
Sideways (After 43 Minutes)

May 28 – Jul 30, 2020

About the Artists      

Visit soon to see works for sale.

About the Artist

Daniel Sherington

As a young Australian artist, it is easy to see drawing subservient and invalidated to that of Australian painting. My practice is a response to this relationship, exploring the boundaries and interactions of drawing and painting within the context of the validated and commoditised ‘Australian’ image.

Continuing the artistic narrative established by the post-modernists, my work engages with a  visual vocabulary to explore socially responsive ideas and concepts. My work is rooted in drawing and draughtsmanship. All works stem from this cornerstone of drawing, as it exists as an artistic truth of mine.

Through the visual manipulation of iconographic qualities and artistic precedents, the lines between drawing and painting are blurred. The preferred Australian genre highlighted through the undulations and creases of the crushed can - evoking the idea of a ‘cultural landscape’. The Brett Whiteley iconised colour, Ultramarine Blue, being used as a greater representation for what can be considered an ‘Australian Palette’. The painting itself being viewed as the embodiment of the validated idea and concept – with this being translated into the concept being explicitly stated through painted text. The idea of the drawing becoming a vehicle for this idea, and in this light existing as the ‘canvas’ the paint lies on.

About the Artist

Susan Lincoln

Susan Lincoln is an established contemporary visual artist with a rich connection to regional and rural Australia, and the women in Lincoln’s family who have shared experiences of these landscapes. It is the nostalgia, unique environment, and familial connection to these places of importance that has left a signature mark on the majority of Lincoln’s works over the last decade. Lincoln’s oeuvre exhibits the lived experience of the bonds of motherhood and family; from the memories of her mother’s crystal bracelet which would reflect light, to the heartbeat performance video enacted by Lincoln and her daughter, the works always have a root hooked in the ideologies of the feminine and plays with the idea of secular spirituality. It is these themes which inform the works in this latest exhibit. 

To be in the presence of Lincoln’s work is to understand the artist’s desire to promote an experiential or immersive experience, one which is rooted in philosophy, memory and reflection; much akin to works by contemporary French Conceptual artist Christian Boltanski. Where Boltanski used similar materials and conceptual frameworks to form a recreation of the past, Lincoln’s work ventures to ascend toward a greater understanding and ultimate reflection of the past, to clarify ideas and transform heavy philosophies into objects and experiences of beauty for the future. The incredible lightness of being invites contemplation and connectivity to a selection of works on paper, video, small and large-scale sculpture,  and invites intimacy and viewer participation with the work.

The incredible lightness of being held at Side Gallery is an explorative landing strip for a larger body of work which will tour Australia in 2019–2020. 

—  Download Susan Lincoln's CV

About the Artist

Genine Larin

Genine Larin is a Brisbane based visual artist working predominantly in performative installation.  Her practice navigates phenomenological feelings, sensations and emotions via speculative compositions that combine pattern and viscerality. Within the space of practice she examines ideas and expresses feelings without being censored or oppressed by external, patriarchal ideologies. She considers aesthetic choices, based on gut feelings of attraction and repulsion, as having ethical implications.  As a result, there is a strong feminist temperament to her work and working methods. Genine completed her Master of fine arts at Queensland University of Technology in 2015 and is a current PhD candidate. 

About the Artist

Natasha Narin

As a Bengali Australian visual artist, born in India in 1970 into a Defence force family, Natasha considers herself a peripatetic traveller and speaks Hindi and Bengali. An alumnus of the prestigious Kala Bhawan or Institute of Art at Viswa Bharati University in India, she spent five formative years developing an interdisciplinary art practice free of nationalist sentiments but closely appreciative of indigenous and marginalised traditions alongside an extensive study of Western, Far Eastern and Indian Art. Natasha moved to Australia in 1993, initially living in Melbourne where she continued her interest in printmaking at the Australian Print Workshop in Fitzroy. She also conducted research into the archives of the State Library of Victoria on women in South Asian Art, followed by a public presentation. Embracing the language and culture of her new home, and her love of books, Natasha arrived at a crossroad when discovering a richly illustrated catalogue, the only one of its kind, published by the Philadelphia Museum of Art in 2010, on the Kantha, which formed a part of her maternal heritage. Deeply moved by the works, Natasha committed herself to continue this nearly lost tradition of self- reflexive, individual, hand embroidering that turned worn sarees or clothing to quilts considered sacred wraps and heirlooms for the family. For Natasha, Kantha is a starting point, but also a  point of departure as she extends the materials and methods into a large body of interrelated works, both object and process-based, to free the Kantha from its current reductive state as a pre-designed and decorative craft item.

Natasha regularly exhibits her work as a means to introduce Kantha into our cultural landscape and to engage with the local community, often through public workshops and talks. She has held numerous solo exhibitions,  participated in public art projects and enjoys testing the portability and place-making inherent in her practice by taking her works on long journeys such as driving to Dandenong near Melbourne, or visiting New Delhi and Simla in India and more recently, Philadelphia and Chicago, creating performative presentations where Kantha in turn, anchors her.  Natasha also creates spatial Kantha drawings on architectural glass and walls to practice mark-making as a form of automatic prayer inspired by the Kobhar or sacred rooms created by women in Bihar, using basic domestic materials. She sees these interventions as continuous 2D practice where Kantha becomes a filter to observe the present, such as local plants and a method of communicating with the audience by being present in the gallery space.

Natasha is currently pursuing a PhD in practice-led research at QUT in Brisbane, supported by the Australian Postgraduate Award. She is continuing to develop new strategies, materials and forms of engagement that speak from transnational and gender perspectives while creating a contemporary continuation of the Kantha. She is also passionate about restoring agency to past- practitioners by examining original works in the first hand so that select individual works can be critically examined for their version of history as well as their rich aesthetic contribution- not just an emotional connection to a distant past. Her research is accessible through QUT E prints. Concurrently, the need to settle and to be financially independent in Australia led Natasha to a parallel career in Banking, with the ANZ Bank in Melbourne followed by Commonwealth Bank in Brisbane. Natasha considers her role in both art and in banking, as a form of service and engagement with the community. She acknowledges this learning of business and life skills has assisted her in creating a sustainable practice while also reducing some of the isolation that artmaking induces.

About the Artist

Jake Sun

About the Curator

Laura Brinin

Laura Brinin is a Brisbane-based curator of contemporary art. She received a Bachelor of Fine Arts (Visual Arts) in 2012 and continued her visual art practice overseas in 2013 in Canada with a Visual Art residency. Upon returning home, Laura has since pursued a determined curatorial practice as noted through five years’ professional practice with the Creative Industries Precinct exhibitions and public programs office, and a practice-led curatorial development internship through Queensland University of Technology. In 2014 Laura assisted in the facilitation of multiple new media exhibitions including ANtIMATION and The New Aesthetic? at The Block. 

Laura has exhibited her own work both in Australia and overseas as well as working as an independent freelance curator across Brisbane. This primarily focussed on engagement and activation of public spaces, including running bi-monthly exhibitions at The Menagerie, and public programs such as the Papergirl Brisbane project. Laura also worked with Brisbane City Council, QUT and Brisbane Street Art Festival to produce ReForm at Kelvin Grove’s ex-military base upon Gona Parade and Parer Place.