by Sunny Kim
Both artists are concerned with their respective obsessions, one of words and one of a specific horizontal form. Delving into these obsessions is an indulgent experience both for the eyes and the mind.
by Camila Jourdain
In the show What The Moon Saw by integrating the freedom of abstract gestures with a complex figurative vocabulary, Smith achieved a language of her own.
by Emese Krunák-Hajagos
These hyper-realist photographs seem so real that they become unreal. In this show West outlines a new American aesthetic through a modern mythology of disengagement.
by Simon Termine
Joan Kaufman’s work examines the relationship between man and nature, particularly the sentimentality and intimacy that could, and to an extent does, exist between us.
by Vanessa Zeoli
With Bed Island, Nadia Belerique has created an atmosphere conducive to the process of self-awareness, wherein moments of vulnerability and autonomy may be recognized.
by Alice Pelot
Project Gallery successfully allows the character of each artist to speak for itself without any generalizations about the experience of being female, while also maintaining a succinct curatorial vision.
by Alice Pelot
The multidisciplinary practice of Butler pushing the boundaries and definitions of art world models. The travelling studio/party forms a much needed community space and entertaining activity.
by David Saric
Throughout Just a Sliver of the Room, the artist challenges the widespread impression that a contemporary gallery acts as a passive repository for current art, by constructing an active domain for progressive thought.
by Meghan O’Callaghan
Our presence here in this landscape is temporary in comparison to the power and magnitude of our natural world. Our reverence is rightfully demanded and deserved in Pratt’s exhibition.
by Emily Newell
The dramatic meaning of the photographs are juxtaposed with the way of the dancers’ performance, with their peacefully and elegantly intertwining bodies.
by Alice Pelot
Ko expresses frustration with our approaching doom as it is not an external force, it is one of natural asphyxiation by pollution, one that could be stopped, but that will never be taken seriously in the face of other potential apocalypses.
by Sunny Kim
The two exhibitions exist in the gallery as a harmonious pairing – Neubauer’s minimal palette is effectively juxtaposed with the inundation of colours in Larsen’s work.
