The Society Inc, Christmas Flea Market

For the first time I finally made it to Sibella Court’s store, ‘The Society inc’, 18 Stewart Street, Paddington, for the Christmas Flea Market, on Saturday 7th of December. Sibella Court, the well known interior stylist and creative director, is also author of her own series of books, ‘Etcetera etc: creating beautiful interiors with the things you love’, ‘The Stylist’s Guide to NYC’, ‘Nomad: bringing your travels home’ and ‘Bowerbird: creating beautiful interiors with the things you collect’ to name a few.

“Stalls will be lining Stewart St, Paddington this Saturday 7th December at 8am. Shibori, Walter G, Sally Cambell Textiles, The Hamamist and many more will be joining in the fun. Stylist props, textiles, stocking stuffers & presents galore will be on offer. The store will also be open early, and is channeling Mexicola! It is all about beautiful faded colours, felted cactus’, turquoise peacock chairs & papel picado! It  is overflowing with fun decorations, cushions, woven market baskets, pom poms, Mexican textiles & more!”

http://www.thesocietyinc.com.au

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The Society Incs own verg herb garden! Notice more are appearing around the streets of Paddington
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Great local cafe up the road, ‘Relish’, good road stop on the way to the Paddington markets.

Ken Mihara and Kevin Lincoln at Liverpool Street Gallery

A great show which unfortunately is now finished at Liverpool Street Gallery, 243a Liverpool Street, East Sydney, 16 November – 21st November, 2013. Really beautiful and sophisticated ceramics by Japanese ceramic artist, Ken Mihara, complimented by reductive emblematic still life and seascape paintings, by Kevin Lincoln. Both body of works interplay and mirror one another with a reductive poetic and subtle palette.

Ken Mihara, ‘Serenity in Clay’

http://www.liverpoolstgallery.com.au/public_panel/exhibition.php?id_EXH=142

“The aesthetic qualities of serenity and the sublime coalesce within Mihara’s work. In essence, these qualities are the scents of Japan, a culture which has traditionally searched for beauty within wabi-sabi austerity, spiritual simplicity, and the cherishing of patina. The natural landscapes of his high-fired stoneware facades were borne through multiple and extremely difficult kiln-firings, with each firing revealing a new element to a work’s clay flavour. His new forms exhibit a stark, bulb-esque minimalism. Mihara’s new works pulsate with a relaxed and assured confidence in his own. Furthermore, the new work also exhibits a far greater range of tones, from the poetically austere to vivid oranges and blues, which are a result of a revamped firing technique that he has further tweaked from the experiments of his past Kigen (Genesis) series. His deeply spiritual works poignantly strike at the heart, and his new works exhibit the artist leaning further towards minimalistic simplicity.” Yufuku Gallery, Tokyo

All multi-fired stoneware, ‘Kigen (Genesis)#3’, 23 x 14.5 x 39.5 cm, ‘Kigen (Genesis)#4’, 42 x 23.5 x 26.5 cm, ‘Kodak (pulse)#4’, 41 x 19.5 x 30.5 cm, ‘Kigen (genesis)#1’, 74.5 x 20.5 x 44 cm, ‘Kei (Mindscape)#2’, 43 x 31.5 x 41 cm, ‘Kodah (Pulse)#5’, 25 x 19.5 x 24 cm

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Kevin Lincoln, ‘Still Life and Landscapes’

http://www.liverpoolstgallery.com.au/public_panel/exhibition.php?id_EXH=143

Ghosts of still-life are held within the minimal abstracts. The sensuous curve is perhaps a detail of the edge of a bowl against a vase, or the strong horizontal line where a bottle sits on a table. But they need not be read as such, the artist instead demands that we allow the weight within each work to take hold, feel the density of each colour, each form and take the time to allow a response to develop within us. Lincoln’s paintings are not a quick fix — they are breathtakingly obtuse. Generally more textured than the meticulous surfaces of the abstract paintings, the elements in the still-life paintings have a disconcerting solidity against the indistinct glowing backgrounds on which they sit. Like a miracle, wine and fishes hover in an apparition on the canvas. The intimacy engendered, even in the most expansive of the still-life paintings, is borne from the personal references the artist places within each work. An invitation to the exhibition of an admired artist, a familiar pot from the artist’s collection, a bowl of figs or a shiny aubergine bought for lunch, these items are as much a glimpse into the artist’s life as the shadowy self-portrait reflected in a mirror.” Styles and forms – Contemporary Australian Painting, Shandong Publishing Press, China, 2004.

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‘Two Sake Bottles’, 40 x 46 cm, ‘Freycinet Peninsula’, 76.5 x 92 cm, ‘Recherche Bay Tasmania’, 86.5 x 112 cm

COFA Annual Exhibition 2013

I went to COFA Annual Exhibition 2013, Honours: Art & Media / Final Year: Design at the very nice and new gallery space, Galleries UNSW, Cnr Oxford Street and Greens Rd, Paddington.

It is always interesting to see new experimental work, what is new and happening. The use of new and incongruous materials and work that is outside the commercial gallery context. I especially enjoyed the final year design work, looking at different practices and approaches to the design industry.

http://www.cofa.unsw.edu.au

Honours Art & Media

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Louise Zhang, ‘Seductive Monsters: (De)forming The Blob’, 2103, birch wood, oil paint, enamel paint, resin, expanding foam, plaster, plastic, gap filler, silicone

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Mia Middleton, ‘Homecoming’, 2013, looped video projection, ‘Someplace’, 2013, series of inkjet prints on Ilford Rice paper, ‘At Sea’ 2013, video

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Julie Brockbank, ‘Fold’, 2013, parchment paper and artificial light, ‘Hush’, 2013, aerated concrete, artificial light

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Tamara Muzikants, ‘Twirly Tales’, 2013, synthetic fur, vintage fur, perspex, concrete, thread, wood, resin, bricks, metal. crystal, glass, rocks

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Alice Couttoupes, ‘Eponymic Emperialisms, photos, ink on velin cotton rag, and ceramics, ‘Coastal banksia’, 2013, porcelain

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View of room with several Installations

Final Year: Design

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Emily Yeung, ‘8 Storeys’. Fashion work and video dealing with the supply and demand pressures of the fashion industry. The work has been directly informed by the Rana Plaza collapse in Bangladesh.

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Louise Knyvett, ‘Blanchard Re-appropriated’. The work deals with the shift in the consumer market from excessive mass production to environmental awareness and responsibility. The concept of ‘up-cycling’, an analysis of the private practice of the London furniture designer Robert Blanchard.  Applying a life cycle assessment by measuring the environmental, economic and social value of his process.

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Samuel Kirby, ‘Red still life set’, ‘Pink flat and curve’ and ‘Green cube set’, acrylic on wood

Final Year, Bachelor Visual Arts, F Block

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Installations

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Bernadette Comenzuli,  ‘Trapped’, mixed media, ‘No man is an island’, bronze, ‘After the trees’, acrylic on perspex

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Jason Farrow, sandstone sculpture

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Jennifer Holman, ‘Stones’, digital print on silk

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Groovy plant holders at the campus quadrangle

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Installation in the quadrangle, with a good bit of student politics

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And a further bit of politics on the inside of the lift doors, F Block, COFA