SPRING 1883 – 2021 Edition Satellite Fair

SPRING 1883
2021 Edition – Satellite Fair

The seventh edition of SPRING1883 due to take place at The Hotel Windsor has been impacted by the current event restrictions.

A number of participating galleries will now showcase their fair ‘booths’ at satellite spaces across Melbourne including Jacob Hoerner Galleries. The fair can also be viewed online on Artsy from 4–29. August, 2021.

Now taking place at Jacob Hoerner Galleries & Various Spring 1883 Participant Galleries – For further information and a list of all galleries visit www.spring1883.com

Jacob Hoerner Galleries
Spring 1883 Program

VIP Private View
6-8pm Wednesday August 4 2021
(Rsvp Essential)

Vernissage – Open Invite
6-8pm Thursday August 5 2021
(Rsvp Pref.)

REBECCA AGNEW
HANNAH GOLDSTEIN
ALEX HAMILTON
SEAN HOGAN
JOHN LENNOX
DAVID PALLISER
ANDREW SIBLEY

Spring1883 is a young and exciting alternative art fair that presents the best of contemporary art practice from Australia and New Zealand. The seventh edition will see participating galleries present compelling work in physical spaces and online throughout August.

Satellite Spaces
4-29. August

Online Spring1883 x Artsy
4–29. August

Spring1883’s exclusive partnership with Artsy—the leading online marketplace for discovering and collecting art—allows collectors to enquire about and buy art directly from participating galleries.

Jacob Hoerner Galleries – Artsy Link here
www.artsy.net/show/jacob-hoerner-galleries-jacob-hoerner-galleries-at-spring1883-2021

For further information and a list of all participating galleries visit www.spring1883.com

For all Inquiries in relation to the Jacob Hoerner Galleries presentation be in contact via this link

To Request an Online Catalogue for Jacob Hoerner Galleries at Spring 1883 – Email info@jacobhoernergalleries.com

Jacob Hoerner Galleries
1 Sutton Place
Carlton Melbourne 3053
Naarm Australia

Open
12-5pm Wed-Sat
(& by Appointment)

www.jacobhoernergalleries.com
info@jacobhoernergalleries.com
+61 (0) 412 243 818

www.spring1883.com

 

Subjects in Orbit

Catalogue Essay by Saskia Beudel

When we meet in David Palliser’s studio above a shop on Brunswick Street, he refers to his working methods as a ‘mad chess game’, a series of calibrations and recalibrations between figuration and abstraction, ‘line versus mass’ and ‘drawing versus painting’. Add to this colour, flatness, the illusion of depth, and a range of textures and viscosity in the paint. A day’s work, he says, might be scrubbed out to retain a few small remnants.

‘It’s a torturous process of getting the mechanics of the picture right so that no one thing dominates,’ he says. ‘The drawn sections come very early. The most agonising thing is getting the colour to work, trying to make all the parts animated so that they “sing” or have a “bite” or an emotional punch that you can’t quite put your finger on.’

Painting is, for Palliser, unequivocally process driven, propelled by discovery of ‘anomalies’ and solutions through the creative act rather than by preconceived outcomes. The same holds for his hopes for the viewer. ‘The paintings are about the experience of looking rather than looking at something,’ he says.

‘Are they purely formal exercises?’ I ask. There’s no hint, say, of socially engaged art (Mierle Laderman Ukeles’ landmark Manifesto for Maintenance Art of 1969 springs to mind). Neither do they, as Peter Westwood puts it, ‘merely address some chic criteria’. Palliser is unapologetic in his self-confessedly obsessive focus on the ‘canvas world’ and its technical, tactile, retinal and aesthetic demands. Ironically, he invites an anarchic element into his work, to ‘screw things up’ to see what happens, and yet all this occurs via the most traditional of materials in art historical terms: oil paint on linen.

‘The paintings contain things that are on the verge of becoming something,’ he replies. ‘There is a figurative force trying to animate these things.’ This seems a powerful, apt description. He elaborates further: ‘Spatial play becomes a figurative force that animates chance inventions and shapes discovered on the canvas.’

‘How does your abstraction differ from mid-twentieth-century abstraction,’ I ask, ‘From the work of Willem De Kooning for example, with his concern for mark, gesture and the materiality of paint?’

‘Some of the language is there,’ Palliser says, ‘but I create my own concoction, it’s scrambled in my own way. I bring a different kind of spatial complexity and ambiguity to abstraction. The rhythm is different and I work on a much more intimate scale.’ He doesn’t aim for the ‘heroic’ scale adopted by many abstract expressionists.

He finds lineage in early twentieth-century European painting (Gorky, Miro, Picabia) and for many years has been interested in post-war German art, which had to grapple with the difficult question of art-making in the wake of catastrophe. ‘From the post-war period onwards, German artists seem to have been painting a dilemma. I find that so invigorating. Their visual language is more used to mixing things up, abstraction and figuration can coexist. There’s also a great understanding of the ways in which paint and mark can play out on the canvas and act as a generator of content.’

During a second conversation, Palliser refers to his work as ‘very thin sculptures’ almost like bas reliefs. He means this literally – layers ranging from spare, airy washes and dripping fluid to dense, opaque pigment – and in terms of the spatial illusions the paintings perform. As I write I bring up several of his new works on my screen and they sit for days, in among other files, with their quirky, opaque titles Arrow in Japan (2021), Truce (2021), Falling Complexions (2021), The Them (2021). Spaces between blocked-in colour afford glimpses ‘inward’ as if through apertures to underpainting, in places overlaid with playful, puzzling linework. A shape begins then becomes other, hinting at some unnameable object; a twist of lime-green sits against flat orange; something resembling delicate brickwork begins then terminates.

‘In a way, these are disassembled paintings,’ says Palliser, ‘reassembled through the viewing.’ As I continue looking, over days, just what might be reassembled remains an open question. And this may be precisely the point: to hold open the question of what is this we’re looking at? And what kind of experience of looking and encountering does the work generate?

His work defies genre and interpretation. On one hand, they are ‘just pictures’ he says in a half-joking, self-effacing moment. On the other, everything is staked in the act of painting, and the improvisations that occur. He speaks of the elevation of ‘slight moments and slight shapes’ generated by that improvisation into ‘something more sculptural.’

‘It’s a great time to be painting now,’ he says as we finish talking, ‘In terms of evolution of painting, it seems there’s nothing but to find your own voice and to work forward with that.’

Saskia Beudel
July 2021

REFERENCES
Peter Westwood, ‘The brain hand thing’, Imagine: The Creativity Shaping Our Culture, Heide Museum of Art, 2006

Farbräume

In her latest series Farbräume, German born Artist Petra Kleinherne continues her exploration of colour, process and abstraction. Expressive and bold Kleinherne’s landscapes are an alluring interplay of mark, shape and luxurious colour.

Location
1 Sutton Place
Carlton Melbourne 3053
Naarm Australia

For further information please contact Jacob Hoerner Galleries
E – info@jacobhoernergalleries.com
Ph – 0412 243818

Wurrung of the Birrarung

“The Merri Creek, also known as the ‘Merri Merri’ Creek, means ‘very rocky’ in Woi wurrung, the original language of this Country. The river we now call the Yarra is known traditionally as ‘Birrarung’, ‘river of mists and shadows’. Wurundjeriwillam and Wurundjeri Woi were the original occupants of what are now the northern and North Eastern suburbs of Melbourne. Their name comes from the Aboriginal word Wurrun meaning ‘white gum tree’.”

Throughout her artistic career Emma Stuart has painted the places she has chosen to live and immerse herself in. Following an extended period of time based in Europe Stuart returned to Australia in 2014 with a renewed affinity and desire to reconnect to the unique landscape of this part of the World, without hesitation she left behind the major City centres of Melbourne and Berlin and moved to the remoteness of Mparntwe (Alice Springs) in the Northern Territory. During the next 5 years Stuart’s focus became Arrernte Country and the unique environment of Australia’s Red Centre creating sublime series of works of the Tjoritja (West MacDonnell Ranges) and the landscape of that area.

Returning to Melbourne in late 2019, Stuart has been residing in Melbourne’s Northern suburbs studying the Merri creek and Birrarung lands, its rivers and its Wurrung (Trees). The areas we know today as Moreland and Yarra were for tens of thousands of years, a sparsely wooded forest with native grasslands that was governed by the Wurundjeri Woi wurrung people. With this new series to be exhibited outdoors on the banks of one of the rivers that inspired this new selection of works, the Wurrung of the Birrarung exhibition is a set to be a special presentation as well as a chance to find the same curiosity and connection that Stuart’s work explored in Central Australia in an urban enclave of beautiful Australian bush within our metropolis, half hiding and half inviting us to see it with the wonder imbued in Stuart’s painting.

Sydney Contemporary 2020

Sydney Contemporary 2020


Sydney Contemporary

Presents…2020

Sydney Contemporary is excited to launch a unique new initiative that encourages us to buy a new Art work in this iconic year and support Australasian artists. Not your regular online Viewing Room, ‘Sydney Contemporary presents 2020’ is an experiential platform that takes you on an Art buying adventure from the comfort of your own home! Explore, discover and buy.”

For further information visit
www.sydneycontemporarypresents.com.au/

ENTER VIEWING ROOM HERE


Jacob Hoerner Galleries’

Artists include

Petra Kleinherne
Brigita Lastauskaite
Darren McDonald
Katya Petetskaya
Mike Portley

To discuss any of the Artists or request a SC Presents Exhibition Catalogue info@jacobhoernergalleries.com / +61 (0) 412 243 818

 

 

Below the Surface

Viewing Room – ENTER here

To ‘Enter’ and then ‘Navigate’ around the Viewing Room exhibitions please follow the instructions and prompts within the virtual spaces. A few key features that are important to know about include: Expanding to ‘Full Screen’ for a better experience; Clicking on any work from across the space to zoom in from a distance; Clicking on ‘Take a Tour’ which allows for navigated ‘tour’ to guide you through the exhibition; as well as Clicking on the ‘Information’ icon when viewing a single work up close to see the medium, dimensions and price of works.

For any further information, questions or guidance please email/call/text info@jacobhoernergalleries.com / +61 (0) 412 243 818

I built a road which had no purpose

Viewing Room – ENTER here

To ‘Enter’ and then ‘Navigate’ around the Viewing Room exhibitions please follow the instructions and prompts within the virtual spaces. A few key features that are important to know about include: Expanding to ‘Full Screen’ for a better experience; Clicking on any work from across the space to zoom in from a distance; Clicking on ‘Take a Tour’ which allows for navigated ‘tour’ to guide you through the exhibition; as well as Clicking on the ‘Information’ icon when viewing a single work up close to see the medium, dimensions and price of works.

For any further information, questions or guidance please email/call/text info@jacobhoernergalleries.com / +61 (0) 412 243 818

Re-View : 2010 – 2018

Viewing Room – ENTER here

To ‘Enter’ and then ‘Navigate’ around the Viewing Room exhibitions please follow the instructions and prompts within the virtual spaces. A few key features that are important to know about include: Expanding to ‘Full Screen’ for a better experience; Clicking on any work from across the space to zoom in from a distance; Clicking on ‘Take a Tour’ which allows for navigated ‘tour’ to guide you through the exhibition; as well as Clicking on the ‘Information’ icon when viewing a single work up close to see the medium, dimensions and price of works.

For any further information, questions or guidance please email/call/text info@jacobhoernergalleries.com / +61 (0) 412 243 818