and on the eyes
black sleep of night
Curated by Sarah Brasier with Beth Caird, Brahmony McCrossin, Jemi Gale, Katie Foster, Michael Kennedy, Rosie O'Brien, Robyn Doherty, Sarah Brasier
Gallery 1 & 2
Opening 02.10.0.19 6-8pm
Artist Talks 24.10.19 6-7pm
“and on the eyes, black sleep of night” brings together artists who have experienced the death of a parent. Each of the artists explore their shared incidents of loss in a variety of ways. Themes of childhood are common amongst Brahmony McCrossin, Michael Kennedy, Jemi Gale and Sarah Brasier. They utilise imagery that appeals to a childlike sensibility; toing and froing between melancholy and playfulness, their works explore the complexity of life and death. For Beth Caird, her work has a focus on grief processes and life-after-death experiences, self-made myths and the truth buried under fabrications. Katie Foster’s text work and drawings capture the feeling of fear that you might never recover from such grief. In Robyn Doherty’s zine “The wonderful colours reminds me of the memories I had of Dad” she memorialises her father in a sincere and sanguine nature. Rosie O’Brien’s records the still and simple beauty of flowers before they wither and die, reminding us that life is ephemeral. Artworks presented in the exhibition intermingle new work with historic and personal artefacts, across the disciplines of painting, video and installation. Together the artists present a series of thoughtful offerings that pay homage to their departed loved ones.
Sarah Brasier (b. 1990, Ballarat, Australia) is an emerging artist and curator who in invested in working towards creating accessible spaces for emerging artists to show free of charge. In 2016 she founded the Winter1706 art fair, which presented a series of exhibitions by emerging artists across a suite of vacated apartments on St Kilda Rd in Melbourne. This was followed by two more shows in the ‘Winter’ exhibition series: WNTR Echo Location ; 170 Russell Car Park, Melbourne, Australia (2016) and WNTR x Gertrude; Became; Becoming; Becomes ; Gertrude Contemporary, Studio 12 (2017). She is interested in friendship as a creative motivator and aims to build a supportive community of people in the art world.
In her own artistic practice Brasier paints anthropomorphised versions of her fears and anxieties. Each painting might be viewed as a still frame from a life-long feminist revenge tale, punctuated by moments of despair, happiness and simple pleasures. Brasier’s work employs an exaggerated and faux naïve form of representation to convey her intensely personal views of the world. These psychodramatic scenes incorporate astute observations, absurdist thoughts and draw on personal histories. She employs bright colours and humour to offset the work’s often dark origins.
The artists would like to acknowledge the traditional owners of the country where we work, the Wurundjeri and neighbours Boonwurrung people, and their continuing connection to land, sea and community. We pay our respects to their Elders both past and present.
Rosie O’Brien, not titled x 9, 2017 - 2019, (wall) gouache and pencil, dimensions variable and Jemi gale, yellow was my mums favourite colour, 2019, (floor) acrylic paint, ink, spray paint, silk + wood, 60 x 50 x 50 cm (image credit Guy Grabowsky)
Sarah Brasier, Apple Pie Seppaku, 2019, Acrylic on board, 46 x 61 cm (image credit Guy Grabowsky)
Beth Caird, What should I do now, with my hands?, 2018, HD Video (02-28).
Brahmony McCrossin, Into my arms, thanks Nick, 2019, Inkjet print on archival paper, 85 x 123 cm.