Macquarie Group Emerging Artist Prize 2018 - Opening hours Tues, Wed, Thurs 11 am to 3 pm until Thursday, 13 September 2018 Instagram @macquarieart
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Macquarie Group Emerging Artist Prize 2018 Opening hours Tues, Wed, Thurs 11 am to 3 pm until Thursday, 13 September 2018 Instagram @macquarieart
New Gallery Space – walking directions Macquarie Group 1 Shelley Street Sydney 2000 (enter via Erskine Street)
1. Janis Clarke
0447755115
janiscclarke@gmail.com
Born 1983 Sydney, Australia.
Janis Clarke is an emerging artist living and working
in Sydney. He has completed a Bachelor of Fine Arts
(2015) and a Master of Fine Art (2017) at the National
Art School. Since 2015 Clarke has held three solo
exhibitions and has been a finalist in major awards
including the Doug Moran National Portrait Prize
(2016, 2015), The Mosman Art Prize (2016, 2015),
The Chippendale New World Art Prize (2015 - Winner
People’s Choice Award) and the Rick Amor Drawing
Prize (2016).
In 1981 I didn’t exist, 2018
My artistic practice centres around observation. It oil on linen
is within painted images that these observations 35.5 x 25.5cm
take form. The land continues to appear as a $770
recurring theme in my work. Depictions of the land
often represent those moments when meaning is
most fervently sought. Perhaps spurred on by the
ambitions of bygone Romantics, the land conjures
meaningful associations, (albeit as a kind of kitsch
in the 21st century). Nevertheless, for me, being in
the landscape consistently offers the same pensive
experience as it has for centuries.
In the works presented here, we see three different
expressions of the land and its psyche. In “Moving
forwards whilst looking backwards” I have portrayed
one of my old paintings of a wind turbine hanging on
the studio wall. The title plays on the idea of time, and
the viewer is presented with a nostalgic painting of Moving forwards whilst
the past which is actually about the future, a future looking backwards, 2018
with clean energy. “In 1981 I didn’t exist” depicts an oil on linen
image of a real landscape. The certainty contained 102 x 86.5cm
within that image is framed by the uncertainty of $2,200
a white void. This is interrupted with a few naive
gestural marks, alluding to the abstraction inherent
in the title. Finally, in “Prima facie” a rubber glove is
held against an image of the sky, the whole scene
being presented on a concrete wall. Prima facie looks
‘inside and out’, depicting a representation of both an
interior and an exterior and alluding to associations
between the glove and the natural world; both hands
and the land sometimes need protecting.
Prima facie, 2018
oil on linen
96.5 x 101.5cm
$2,4202. Liss Fenwick
0413 428 938
lissfenwick@gmail.com
Melbourne and Humpty Doo, NT
Liss Fenwick completed a Bachelor of Arts (Honours)
in 2012, after a Bachelor of Science (Chemistry)
in 2011, both at University of Queensland. She is
currently a PhD candidate at the School of Art, RMIT,
Melbourne. Fenwick has been a finalist in a number
of art prizes including the Churchie National Emerging
Art Prize and Josephine Ulrick and Win Schubert
Photography Prize (both 2017). She also held two
solo exhibitions in 2017 and participated in a number
of group exhibitions.
From my tropical hometown in the Northern Territory,
I regularly travel across Queensland and Western Girraween, Northern Territory, 2016
Australia exploring how northerners inhabit these pigment print on Platine fibre paper
vast territories. My practice emerges from adolescent 70 x 100cm
boredom and adventure, seeking a release from edition 1/5 + 1AP, framed
pragmatic existence on an isolated block of land. I’m $1,950
motivated to understand experiences of my youth;
memories steeped in the weather of the seasonal
monsoon, and the oddly displaced mix of cultures
that call Humpty Doo home.
More broadly, I’m interested in the inevitable failures
of the vainglorious, colonial venture to ‘settle’
dispossessed land, and the growing discourse
around decolonisation. The non-indigenous rural
north has a history of uneven impulses towards
improvement, revealing landscapes where the
colonial impetus has been lost, and contraction and
stagnation remains. The absurd impositions and
void spaces left behind in the landscape evoke a Kununurra, Western Australia, 2016
strange sense of darkness, where time is magnified pigment print on Platine fibre paper
by distance and the built environment crumbles back 75 x 110 cm
to the earth. edition 1/5 + 1AP, framed
$1,950
Old Numbala Nunga Indigenous Nursing
home, Derby, Western Australia, 2016
pigment print on Platine fibre paper
75 x 110 cm
edition 1/5 + 1AP, framed
$1,9503. Eunjoo Jang
0425 660 543
ejinglory@gmail.com
Eunjoo Jang completed a Master of Fine Arts in
2016, after a Bachelor of Fine Art (Honours), Art
& Design, University of New South Wales, Sydney
in 2013. She previously completed a Bachelor of
Education in Daejeon, Korea, in 1999.
Jang’s first solo exhibition was held at AirSpace
Project Gallery, Marrickville in 2017. She was also a
finalist in the 2018 Ravenswood Australian Women’s
Art Prize and the Chippendale World Art Residency
in 2017.
Finding myself in the beyond
As I remember my earliest dreams of adulthood Vitruvian red, 2016
in Australia, I recall a dream where I was flying scratch hologram, oil & ink on aluminium
above my surroundings and jumping between 125 x 125cm
buildings. The buildings became stepping-stones $2,500
that allowed me to travel around the world. I moved
through cities and countries as a traveller would by
aeroplane or cruise ship; I was rising and travelling
in the air on my own like a bird! In my dream (or
imagination), my mind was moved by the wonders
of these surroundings, with their different features,
in particular, the shapes of buildings and the layout
of cities. In a reflection of my dreams (imagination),
from overlooking the suburbs on Google Maps,
and because of the physical journey, it is not only
expanding my perception of the world, but also
opening endless possibilities for moving forward. It
is like travelling in a dream world where the viewer
becomes part of another dimension of the universe.
Finding myself in the beyond, 2018
In my painting, I release my emotional involvement scratch hologram, ink & oil on aluminium
from the moment by employing fragmented 94 x 94cm
geometric shapes and various colours. The circular $2,200
form of scratch hologram generates a holographic
and moving image that is invisible like hope,
thoughts and imagination.
At The Rocks, 2018
scratch hologram, oil & ink on aluminum
94 x 94xm
$2,2004. Nic Mason
0410 090 296
02 6329 4438
nicmason72@gmail.com
Nic Mason received a Graduate Certificate in Arts
(Painting), Australian National University in 2017,
after having received a Certificate III in Visual Arts,
Western Institute (Bathurst) TAFE in 2012. This
follows a Bachelor of Science, majoring in Resource
and Land Management, from Macquarie University
in 1996. In 2017 Mason was awarded a number
of grants and residencies including the Carnac
Residency in Marnay-sur-Seine, France. Mason’s
solo exhibitions include STILL at the Tablelands Artist
Cooperative Sydney in 2017 and WILD at Cowra
Regional Art Gallery in 2016. Earlier recognitions
in art prizes include being a 2018 finalist in The
Waterhouse Natural Science Art Prize, South Squirrel, 2017
Australian Museum, Adelaide and the Fleurieu oil on linen
Biennale Art Prize, South Australia. 40 x 40cm
$850
Narrative and symbolism are central to much of my
work and these three oil paintings are no exception.
It is no mistake that the stuffed Eurasian pie is not
regally placed but rather upside down and reflecting
on the table; that the squirrel’s shadow looms large
in its artificial landscape; and that the headpiece of
crow feathers flop on the wall.
In my work I am exploring painting as a symbolic
vehicle for contemplating issues of environmental
loss and hope. Here, I consider our engagement with
and impact on the natural world.
As part of my processes, I have worked with licenced
wildlife collections in Australia and France and I am
richly informed by my background in science. Once a crow, 2017
oil on linen
My current investigations are focussed on still life 30 x 30cm
experiments where I play with the objects and their $650
reflections and shadows, mark making, repetition and
considered compositional elements.
These works have been selected from a series
of work that I created whilst participating in an
international artist residency at Camac art centre,
Marnay-sur-Seine, France in 2017. This series builds
from my post graduate studies in painting at the
Australian National University in 2016 and 2017 and
the series of work I created for my solo exhibitions of
2016 and 2017.
I am interested in the possibilities of enticing
new ways of thinking through connection and
engagement with art. I am optimistic about ongoing
learning and creating work that enables meaning to Reflecting on the pie, 2017
resonate over time and place. oil on linen
40 x 40cm
$8505. Grace Kemarre Robinya
0400181945
ruth.mcmillan@tangentyere.org.au
c/- Ruth McMillan, Tangentyere Artists
Aboriginal owned & directed, Tangentyere Artists Robinya’s figurative paintings detail important
is a not-for-profit organisation, returning 100% of locations and events in her life: her childhood at
proceeds to the artists service. The Art Centre Hermannsburg Mission and surrounding Ntaria
represents urban & regional artists from 18 Alice region, or visits to Irremangkere. She also records
Springs Town Camp Communities. Strongly details of station life at Coniston and Napperby
committed to improving social justice and maintaining Stations, where she and her husband worked as
cultural heritage, the centre operates on foundation a domestic and ringer respectively, while raising
principles based on equity, ethics and the protection their family. A frequent return visitor to Laramba
of artists rights. Aboriginal Community (Alherramp) now established
on Napperby Station, Robinya also documents
Grace Robinya’s first solo exhibition, Alherramp the everyday, such as hotly contested football
– Stories from My Family’s Country, was held at and softball carnivals in which her grandsons and
Raft Artpace, Alice Springs in 2016. Robinya has granddaughters feature, playing for the winning
participated in a number of group exhibitions in Anmatyerr teams. These and other works detail life in
Broome, Alice Springs and Darwin. the remote Aboriginal communities in which Robinya
has lived throughout her life.
Robinya was born and raised in Ntaria
(Hermannsburg). Her father was a Rubuntja from In the paintings selected here, Robinya depicts station
Mt Hay (Urre), and her mother was an Ungkwanaka life – mustering cattle, collecting firewood, fishing.
from Running Water (Irremangkere). Robinya has Weekend visitors, busily watching each other, make little
fond recollections of sewing and playing sport at the day camps with awnings between trees. On hot days
Lutheran Mission of Hermannsburg, but admits she families seek reprieve in the running creek – swimming
eloped at only sixteen with her husband, and never and floating in its abundant, cool waters. “This is Twenty
looked back! She married and travelled to Coniston Mile creek, which runs north of Laramba from Coniston
Station with her husband. There she had her children, and finishes up at Lake Illawarra.”
surrounded by cousins and elders in what was then
a thriving Aboriginal camp located near the then
operating station. Her children claim Patty’s Well, on
Napperby Station, as their father’s Country.
Twenty Mile Creek, 2018 Lost Cattle at Coniston, 2018 Twenty Mile Creek, 2018
acrylic on linen acrylic on linen acrylic on linen
46 x 91cm 45.3 x 90cm 45.5 x 91cm
$1,100 $1,100 $1,1006. Rebecca Selleck
0403842170
becselleck@gmail.com
Rebecca Selleck is a Canberra based emerging I grew up in Australia with an understanding of
artist with a focus on interactive sculpture and rabbits as pests for poisoning. There’s an image
installation. She completed a Bachelor of Visual Arts burnt into my head of rabbits in plague numbers
at the ANU School of Art with First Class Honour in assembled around a watering hole, trying to quench
2015, majoring in Sculpture and Art Theory, and also their thirst after the first of many viruses was
holds a Bachelor of Communications, majoring in released in attempt to eradicate them. But, being of
Creative Writing and Literary Studies. Maltese descent, rabbits are also an important part
of my culture and history. The Maltese national meal
She is the recipient of multiple awards, including the is Fenkata: a rabbit stew. I have memories of sitting
prestigious Peter and Lena Karmel Anniversary Prize with extended family around a dark wood dining
for best graduating student at the ANU School of table with a large pot at the center. Then there is
Art and has exhibited across Australia and in Chiang also rabbit: my soft and warm living friend.
Mai, Thailand and Venice, Italy. She was a finalist
in the inaugural 2017 Ramsay Art Prize at the Art This work combines these conflicting personal
Gallery of South Australia and the 2018 Arte Laguna and cultural memories of rabbits and gives them
Prize in Venice, Italy. sculptural presence. Offering warmth and softness
to the viewer’s touch, there is simultaneously an
“Since I was a small child, I’ve been entranced by the empathic weight in form and sense of plague
inconsistent relationships humans have with other in scale. The work overlays time, place, and
animals. We can easily empathise with them on the perception to express the complexity of animal
one hand, but disengage on the other: denying them and environmental ethics, a need for human
agency and treating them as objects. I’ve formed accountability and the continuing effects of
a sculptural language that gives communicable European domination over a
presence to the moment my conflicting perceptions misinterpreted landscape.”
and their accompanying sensations clash: The push
and pull of empathy and disengagement that results
in perceptual dissonance.
I explore this through the use of three primary
devices: the skins of each animal returned basic
form, domestic objects that create a psychological
and bodily connection with the viewer, and finally
through the use of basic electronics that create
a semblance of life. These simulate breath, offer
warmth, or create disembodied movement. I use my
ongoing practice to investigate and challenge my
own perceptions within a culture of conflicting truths.
While my focus is on non-human animals and animal
ethics, they have become an emotive conduit for
Fenkata/Watering Hole, 2015
exploring wider societal hypocrisies within Australia
Rabbit pelts, found objects, electrics,
around consumerism and our relationship with the
heat-conductive wiring, steel mesh, fabric,
environment. Rabbits, as pest, product and friend,
soft fill, water.
have manifold meaning to us. Originally introduced
200 x 130 x 150cm
during colonisation to make settlers feel more
$3,400
at home, they are another layer of forced
environmental change that has had enduring
and destructive consequences for the land
and its distinctive ecosystems.7. Sarah Tracton
studio@sarahtracton.com
Sarah Tracton was awarded a Bachelor of Fine Arts,
Major in Ceramics, from the National Art School in
2015. This was after having completed a Bachelor of
Communications from UTS, Sydney in 2000. Tracton
is the recipient of a number of fellowships including
most recently a 2018 Creative Fellowship form the
state Library of Victoria and an artist grant from the
Australia Council for the Arts.
Tracton’s Hearing it for Silence, an installation-based
multidisciplinary solo exhibition of new ceramic lighting
and drawings, was held at St Heliers St Gallery,
Melbourne, in July 2018. Acoustic Landscape I, 2018
porcelain light and electrical components
My practice explores the intersection between 29 x 10cm
technology and the human body; the transition from 19.5 x 12.5cm
silence towards sound with a cochlear implant. $1,800
Ceramics has been a vital form of catharsis in
channelling my creativity in response to my diminishing
hearing. My deafness is the catalyst for my creativity.
Creating lighting canvases my experience of
rehabilitating my hearing with binaural
cochlear implants.
My lighting is constructed via a niche slip on plaster
technique that results in highly individualised surfaces,
each forming its own unique markings and personality.
With varied colour stain additions, marbled chromatic
landscape panorama coloured surfaces, akin to aerial Acoustic Landscape II, 2018
landscape topography, are the result. The unique porcelain light and electrical components
translucent qualities of the pure porcelain clay body I 22 x 10cm
use delivers iridescent and luminous qualities. 29x 8cm
Light has a powerful effect on those who experience 32x 9.5cm
sensory deprivation in the form of hearing loss. With $2,100
sound has come an illuminating light.
Cyber technology has enabled me a recent freedom.
Working with vibrant pops of colour and the
translucent light of porcelain encapsulates this feeling.
Colours morph and transform as they react with new
atmospheres in the making process, via a collision of
water and heat.
Upon rehabilitating my hearing, the atmosphere
became brighter, colours and the tactility of materials
became more intense. The vibrancy and connection
to the world around me has increased.
This lighting series of works reflect my enhanced Acoustic Landscape III, 2018
colour sensory and tactile perception upon returning porcelain light and electrical components
to the world of sound. each 24 x 10cm
$2,100
(Inquire individual prices)8. Emma Wright
0419 668 959
emma@emmaewright.com
Emma Wright is an emerging photo media artist
based in Brisbane. In 2013 Emma left an established
career in investment banking to pursue her interest
in photography. She graduated from the Bachelor of
Photography program (majoring in Photographic Art
Practice) at the Queensland College of Art, Griffith
University in 2017.
Emma’s practice centres around the construction
of still and moving images, typically intended to
deconstruct social norms. Her work frequently
responds to and intervenes in public and private
spaces through performance and / or the use of
Yearning #1, 2015
found and hand-made props.
archival inkjet print on rag pearl paper
Emma was recently awarded the Milburn Art Prize for 85 x 120cm, edition 3/5
2018 and has been a finalist in several photography $1,500
and art competitions. Her first solo exhibition,
Persona non kata, was shown in Brisbane in 2016
and Sydney in 2017 as part of Head On Photo
Festival. Emma’s graduating body of work was
recognised as the best overall portfolio in her year
and she was named one of Capture magazine’s
Top 10 Emerging Student Photographers in Australia
for 2017.
In the series Yearning, Emma has referenced the
still-life genre to create images that evoke a sense
of longing – for some place or someone.
Yearning #2, 2015
archival inkjet print on rag pearl paper
85 x 120cm, edition 2/5
$1,500
Yearning #3, 2015
archival inkjet print on rag pearl paper
85 x 120cm, edition 2/5
$1,500Opening hours Tues, Wed, Thurs 11 am to 3 pm until Thursday, 13 September 2018 Instagram @macquarieart
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