Previous Exhibition

Daniel Sherington —

Sep 26 – Oct 11, 2019

About the Artist      

#FLOWERS is an ongoing online and physical exhibition, exploring the implications of art existing as cultural commodity. Drawing historical parallels between the first speculative economic bubble — Tulip Mania (1637) — and contemporary image culture, Sherington recontextualises Instagram images of flowers through a randomised image generator, over his freehand drawn artwork.

Gathering images from #flowers on Instagram, Sherington engages with the ubiquitous nature of the images which appear in the search. Sherington facilitated the creation of a random image generator which uses code to discern which image is placed over the framework of a still-life vase drawing. A collaboration of artist, machine and social framework, the result is a representational compression of time, experience, location, and memory. Refreshing every 28 seconds, Sherington alludes to the average viewing time of Gallery artwork. Each artwork is created on the refreshing of the algorithm and is not a pre-made image.

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 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.