The stability of a fixed line or point quickly falls into a directionless arena of lines awaiting collapse. The tension within things nearing collapse and losing their distinctive form allows the presence of an unidentifiable essence.
This pairing of Factory 49's two exhibition spaces enables artist Ro Murray to speak expansively from a reductive visual vocabulary made up of dualities and the spaces between them. Returning to a signature colour palette of black and red on white, with rectilinearity reduced to horizontal and vertical placements, the distinct processes of printmaking and weaving interact unexpectedly as an anchor of human scale in site-specific installations. The creation of these transient interior spaces operate as a platform for an ephemeral architecture of protest.
The Poetics of Imminence #I at Factory 49 is the first in a series of three exhibitions by Merryn Hull that explores the moment in the viewer-artwork encounter that the viewer experiences as something that has not-yet but is about-to happen. The significance of this moment rests in its potential to insinuate social and 'political' meaning in three-dimensional works. It is by showing that transformation is possible that these assemblage sculptures evoke the experience of dislocated perceptions and different ways of seeing and understanding the contemporary world.
Ian Thomas has an obsession with circles. Incessantly drawing them in rows of three becomes an unthinking act after a while, semi-mechanised even, given that the circles are traces of vinyl records - 12", 10" and 7" - drawn at different speeds, naturally; the artist's body the arm across a (turn)table, his hand its stylus. Thomas practices art in a way that allows us to see an unbroken continuity between the natural and designed worlds, between thinking and actions: from the natural gestures of the hand, to thinking around a problem, to the spinning of the globe.
Rankin and Eddowes explore a variety of patterns in the domestic space. They address Pattern as an organisation of the visual as well as a behavioural practice in the domestic space. Their diverse work recognises the pleasures of private life but also the darkness (or danger?) that can exist therein.
This year our Annual Group Show coincides with Inner West Council Midjuburi Precinct (Marrickville Ward) Creative Trails weekend 10-5pm Saturday 3 and Sunday 4 August. The show includes works by Lana Ryles, Alan Rose, Beata Geyer, Barbara Halnan, Julien Bowman, Harry Aizenberg, Cornelis Timmer, Sepideh Farzam, Christine Boiry, Louise Blyton, Karmyn Gibson, Sarah Fitzgerald, Kathryn Blumke, Kate Mackay, Peter de Lorenzo, Elisabeth Bodey, Tania Alexander, Lila Afiourni, Elizabeth Johns, Gail Kenning, Jacky Ferrand & Catherine Gaillard-Remontet, Michelle le Dain, Anya Pesce, Beata Geyer, Pia Larsen, Ro Murray, Ebony Secombe, Stephen Wickam, Karen Benton, Reena Naidu, Lisa Sharp, Sharon Williams, Pam Aitken and Judy-Ann Moule.
Wendy Cohen and Ioulia Ourovskaia are emerging Sydney based artists, and recent graduates from the National Art School. In this joint show they focus their separate painting practices on geometric abstraction with asymmetrical shapes.
This show is a partial retrospective by twelve committee members at Factory49 since founded. Artists include Kate MacKay, Chris Packer, Michelle Le Dain, Tania Alexander, Tara Lyubicic, Ro Murray, Harry Aizenberg, Pam Aitken, Mandy Burgess and Amarie Bergman.
This show highlights experimental printmaking in various forms by Anna Russel, Rhonda Nelson, Pia Larsen, Tanya Richards, Lana Ryles, Karmyn Gibson, Kendal Heyes, Brenda Livermore, Jan Fieldsen, Anie Nhue and Pam Aitken.
Work with Factory 49 in 2019: ever considered joining or working with our management committee? This is a great opportunity to get involved with the gallery and participate in the world of non-objective art, this is a two year commitment with a free showing at the gallery each year. Let us know if you're interested at email@example.com au
A mass of metal hangs suspended above a concrete floor, the form comprised of thin horizontal stainless rod interwoven with others bent into circles, ovals and hooks. Shadows cast by the lines and shapes have been recorded on the surrounding walls in charcoal.
The Commute. Headphones on. Podcast, Radio 2 or Spotify? Play... Walk.
Surrounded by unorganised shapes, forms and colour as we go from one place to another. Different angles, different light, different scenes. We are constantly interplaying with the geometric environment we live in.
Patrizia Bondi's intricate, quasi-architectural constructions built out of salvaged cardboard arise from her interest in contemporary socio-political issues. Her work focuses on the relationship between the rapidly changing nature of social relations and the total entrenchment of global finance in daily life.