This is Colony
This is Colony IV & V
Barry Tate is a Warrnambool, Victoria based artist, master ceramicist and beloved arts educator whose practice spans over three decades of prolific production. His work contemplates systems of belief, the propaganda art of the church, tragedy and the apocalypse. Ranging from clay, glitter and fibre optics, no material has been out of bounds in Tate’s playful investigation of fear and faith.
Tate’s new body of earthenware ceramic work This is Colony features the non-native grape as a symbol of abundance, once used in Ancient Greek art to indicate the advancement of society through cultivation and trade. Having lived and trained in Japan, Tate has infused the reverence of nature from Shinto philosophy into the works, as well as the Indigenous Australian understanding of Country. By layering the complexities of contemporary, postcolonial Australia, Tate compels us to question who enjoys the fruits of the labour in this former penal colony, and how long it will be till the ever-growing economic bubble bursts.
Tate holds a Diploma of Fine Art from Deakin University, a Post Graduate Fellowship, Fine Art – Ceramics and a Post-Graduate Diploma of Education from the University of Melbourne. He has been a finalist for the Blake Prize, and in 2018 is a finalist in the Hillview Sculpture Biennial and the Western Sydney University Sculpture Award & Exhibition. His works are held in the collections of Griffith University Brisbane, Warrnambool Art Gallery, and in private collections in Australia and Japan.
Merryn Trevethan is a Singapore based Australian artist best known for her abstracted cityscapes depicted using saturated colours and bold lines. Her work reflects the experience of living in increasingly globalised cities, constantly in a state of flux, and dominated by the digital. It maps the invisible networks that connect us, reminding us of the impact of technologies on our perception.
Trevethan works across a range of mediums from large scale wall works, public art, and spatial interventions, to painting, drawing, small sculpture and artists books. In all mediums, she exploits the interaction of colour to create a spatial ambiguity that reminds us of the turbulence and limitations of visual perception.
Trevethan holds a Masters of Fine Art from Monash University. In 2015 and 2016 she was commissioned to create murals for the Singapore offices of Facebook. She was awarded first prize for the 2015 DRIVE – Public Art Open Call at Gillman Barracks, Singapore. Public art projects include HUFF Outdoor Studio Residency at Gillman Barracks (2016), ArtTown Public Art Festival Melbourne (2016), Footscray on the Edge Melbourne (2012) and a commission to create temporary public works for Substation as part of the Big West Festival Melbourne (2011).
Recent solo exhibitions include Provable Falsehoods (2017) Fox Galleries, Melbourne; The Party’s Over (2016) Australian High Commission, Singapore & Thanks For The Downgrade… (You Should All Be Fired!) at Fehily Contemporary (2013). Trevethan’s work is held in Yale/ National University of Singapore Collection as well as numerous private collections.
The Unstable Image
Mark Dustin is a Melbourne based artist and arts educator from New Zealand whose practice questions the value and veracity of images in contemporary media saturated environments, part of his ongoing research into digital processes within the ever expanding field of contemporary printmaking. Dustin’s work is is an exploration of appropriated materials, which are borrowed from painting, printmaking, art history and design.
Using iPhones to photograph, design processes to manipulate, and outsourced commercial print production methods, he creates work that investigates the methodology of digital printmaking in an attempt to re-encode ambiguity and challenge authenticity. Pushing printing technologies beyond their protocols, Dustin merges the digital and the analogue, creating one of a kind works out of infinitely reproducible source material.
The new works on view at DENFAIR are part of Dustin’s ongoing inquiry into popular culture and media, representations of mortality, the construction of the image at the level of the pixel and exploration of established definitions of art production. Investigating the abstract image alongside the digital print is part of a wider attempt to deconstruct and examine the artifice in contemporary media environments.
Dustin is the Head of the Drawing & Printmaking Department at the Victorian College of the Arts, The University of Melbourne. He holds a PhD in Fine Arts from the Elam School of Fine Arts in Auckland. He has been a finalist in The New Zealand Painting and Printmaking Awards, Geelong Acquisitive Print Awards, and The North Shore City Art Awards.
Khi-Lee Thorpe is a Melbourne based visual artist working primarily in abstract painting and collage using bold mark making techniques. She is a descendant of the Worimi people of the Mid North Coast of NSW. Her time growing up in regional NSW, the coastal areas of her family and ancestors and in urban areas around Sydney and Melbourne all influence her work.
Thorpe makes her work sequestered in a small outdoor studio, reflecting on the city standing just on the other side of the fence. Through this practice of cognizant observation she is able to capture unexpected moments the city offers her – the space between the noise, the beauty amidst the chaos. Spontaneous marks evolve into a thoughtful, at times explosive, synchronisation of standout colours and speculative tones, in layers of paint and collage on wood.
Thorpe graduated with a Masters of Contemporary Art from the Victorian College of the Arts, Melbourne University and also holds a Masters of Media and Communication from Swinburne University of Technology. She has worked in radio as a broadcaster and has previously produced sound montages and video art.
Solo exhibitions include Spaces Between Clamour at Fox Galleries (2017) and Home at Five Walls Project Melbourne (2017). Group exhibitions include Delve at The Crypt in the Abbotsford Convent Melbourne, The Deafening Silence of these Drawings at Kings ARI Melbourne and Group Conversations; Australia’s Shame at The George Paton Gallery Melbourne (2016).
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