MELBOURNE ART FAIR 2024

Daine Singer at Melbourne Art Fair 22-25 Feb 2024

ZOE CROGGON with KIRSTY BUDGE / MATT ARBUCKLE/ KATE TUCKER / GRANT NIMMO

Hybrid 23, 2024 , 14 wide x 25 tall x 11 deep , acrylic, acrylic mediums on silk, linen, cotton on canvas board, glazed midfire base, photo by Matthew Stanton

Tablet 26, 2024 , 26 tall x 20 wide x 2cm deep, acrylic, acrylic mediums, glue on linen, calico, canvas, photo by Tim Gresham

Hybrid 27, 2024 , 12 x 20 x 8cm, acrylic, acrylic mediums broken glass, wood, hemp, on Perspex, glazed stoneware base, photo by Matthew Stanton

Hybrid 26, 2024, 12 x 16 x 9cm, oil, oil stick, acrylic, acrylic mediums on hemp on canvas board, glazed earthenware base, photo by Matthew Stanton

Tablet 25, 2024, 26 x 20 x 2cm, acrylic, acrylic mediums, glue on linen, calico, canvas, photo by Tim Gresham

Hybrid 22, 2024, 29 x 16 x 11cm, acrylic, acrylic mediums on linen, canvas, calico on canvas board, glazed midfire base, photo by Matthew Stanton

Hybrid 21, 2024, 27 x 14 x 12cm, acrylic, acrylic mediums on linen, canvas, calico on found plastic lid, glazed stoneware base, photo by Matthew Stanton

Tablet 24, 2024, 26 x 20 x 2cm, acrylic, acrylic mediums, glue on linen, calico, canvas, photo by Tim Gresham

KATE TUCKER - A COMMUNITY OF PARTS BOOK LAUNCH EXHIBITION 2024

Perimeter Editions

PURCHASE HERE

Exhibition 3-17 Feb 2024, Daine Singer

Describing Kate Tucker’s works as ‘paintings’ seems almost shortsighted. The medium’s implicit relationship with a bordered, finite, two-dimensionality feels at odds with the Melbourne-based artist’s densely layered, fractured, and rearranged works.

Emphatically three-dimensional, humbly monolithic, and highly democratic in their form and materials, Tucker’s paintings – rendered via acrylic mediums, fragments of pre-printed fabrics, canvas, linen, Chux and cardboard, along with earthenware and slickly glazed ceramic support systems – are at once plinths, prints, collages, sculptures, installations, and frames. They are infinitely layered constellations, colliding and harmonising at impossibly close quarters.

Here, the act of painting is integrated into a work’s slab-like substrate, rather than onto its surface. As art historian and writer Helen Hughes frames it, the ‘main event’ of Tucker’s artwork stages a ‘tussle’ with its supposedly supporting cast; her works ‘deconstruct the hierarchical division between … painting and frame, or sculpture and plinth’. Everything is everywhere in these paintings, which Tucker composes, deconstructs, and reimagines with a kind of deft graphic literacy that points towards her former life as a designer, all the while echoing with the raw imperfections of a hands-on studio practice. While modest and domestic in scale, these works are vast in their labour and their making.

A community of parts is Tucker’s first book and points to the evolution of her practice over the last decade. Featuring texts from curators Amelia Wallin and Charlotte Cornish, alongside an expansive conversation between the artist and Helen Hughes, the book comes to life with Matthew Stanton’s striking photographic documentation and Narelle Brewer’s intuitive design language. Assuming the guise of the workbook as much as the monograph, A community of parts doesn’t so much reproduce Tucker’s works, as it nestles in amongst them, elbow to elbow, testing new combinations, arrangements, and sight lines. Everything is dialogic, generative, and unmistakably physical in this purposeful throng of works. Together, they lead us to new vantages on a painting and sculptural practice that becomes more limitless with each passing year.

256 pages, 17 x 24cm, OTA-bind softcover, Perimeter Editions (Melbourne).

Perimeter Books

Wall hybrid 2, 2024, glazed stoneware, grout, glue, string, acrylic, acrylic mediums on linen, hemp, canvas, cardboard, wood, 43 x 37 x 3 cm; 45 x 40 x 5.5 cm framed, photo by Tim Gresham

Install view, Kate Tucker - A community of parts book launch exhibition, 2024, at Daine Singer, Melbourne. Photo by Tim Gresham.

Machines can’t draw hands, 2023, acrylic, acrylic mediums, thread on calico, linen, hemp, canvas, 105 x 156 x 3 cm, photo by Tim Gresham

Install view, Kate Tucker - A community of parts book launch exhibition, 2024, at Daine Singer, Melbourne. Photo by Tim Gresham.

Wall hybrid 1, 2024, glazed stoneware, grout, glue, acrylic, acrylic mediums on linen, hemp, canvas, cardboard, wood, 40 x 36 x 3 cm; 43 x 38 x 5.5 cm framed, photo by Tim Gresham

Hybrid 19, 2024, acrylic, acrylic mediums on silk, canvas board, hessian, calico, encaustic on wood, glazed midfire, epoxy sculpt, acrylic, bronze base, 58 x 23 x 20 cm, photo by Matthew Stanton

Joining inside and outside dots, 2024, acrylic, acrylic mediums, glue, thread on linen, canvas, calico, 105 x 80 cm, photo by Tim Gresham

Install view, Kate Tucker - A community of parts book launch exhibition, 2024, at Daine Singer, Melbourne. Photo by Tim Gresham.

Hybrid 17, 2024, acrylic, acrylic mediums on linen, digitally printed cotton, on canvas board, glazed stoneware and bronze base, 70 x 31 x 20 cm, photo by Matthew Stanton

Hybrid 18, 2024, acrylic, acrylic mediums on calcio, linen, hemp, string on canvas board, wood, glazed midfire, found plastic tube, bronze base, 61 x 21 x 20 cm, photo by Matthew Stanton

Together like teeth, 2024, acrylic on linen, hemp, canvas, 51 x 41 cm; 54 x 44 x 5.5 cm framed, photo by Tim Gresham

Form 17, 2024, glazed stoneware, found plastic tube, acrylic, acrylic mediums on calico, hemp, bronze base, 48 x 20 x 20 cm, photo by Matthew Stanton

Ask me how I am, 2016, linen, calico, acrylic medium, flashe, acrylic, oil on board, 27 x 22 cm, photo by Matthew Stanton

Hybrid 24, 2024, acrylic, acrylic mediums, encaustic on calico on wood, glazed stoneware base, 34 x 24 x 12 cm, photo by Matthew Stanton

Hybrid 20, 2024, encaustic, acrylic, acrylic mediums on calico, linen, hemp, glazed stoneware , grout on wooden board, glazed stoneware base, 21 x 35 x 14 cm, photo by Matthew Stanton

Stasis, 2015, acrylic, oil on linen and digitally printed cotton on board, 60 x 55 cm framed, photo by Matthew Stanton

Hybrid 25, 2024, acrylic, acrylic mediums , encaustic on linen on canvas board, underglazed stoneware base, 30 x 23 x 15 cm, photo by Matthew Stanton

FINGERBREADTH

24 MAY - 1 JULY 2023

Kate Tucker’s solo exhibition Fingerbreadth brings together a body of ‘hybrid’ sculptures comprising plinth-like forms stacked with ceramic bases and paintings, as well as small wall-based ‘tablet’ paintings. The works are the result of a process of material experiments with clay, paint and textile forms, which aggregate and layer into formal surface and support-like arrangements.

Read the exhibition text by Kate Tucker here.

Daine Singer

83 WESTON STREET, BRUNSWICK 3065, NAARM/ MELBOURNE, AUSTRALIA

+61 (0)410 264 036

INFO@DAINESINGER.COM

Kate Tucker, FINGERBREADTH at Daine Singer, 2023. Installation photo by Tim Gresham

Numerous and varied 12, 2023 Acrylic, acrylic mediums, canvas, calico, linen, digitally printed linen, thread on canvas board, aluminium artist frame 29 x 24 x 2cm, pjoto by Tim Gresham

Numerous and varied 13, 2023 Acrylic, acrylic mediums, canvas, calico, linen on canvas board, aluminium artist frame 29 x 24 x 2cm, photo by Tim Gresham

Tablet 15, 2023 Acrylic, acrylic mediums, linen, calico, canvas, digitally printed linen on MDF 28 x 23 x 4cm, photo by Tim Gresham

Tablet 16, 2023 Acrylic, acrylic mediums, calico, canvas on MDF 28 x 23 x 4cm, photo by Tim Gresham

Tablet 17, 2023 Acrylic, acrylic mediums, hemp, calico on MDF 28 x 23 x 4cm, photo by Tim Gresham

Tablet 18, 2023 Acrylic, acrylic mediums, linen, hemp, canvas, calico, cotton, on MDF, 28 x 23 x 4cm, photo by Tim Gresham

Tablet 19, 2023 Acrylic, acrylic mediums, linen, hemp, canvas, calico, cotton, digitally printed cotton on MDF, 28 x 23 x 4cm, photo by Tim Gresham

Tablet 20, 2023 Acrylic, acrylic mediums, linen, hemp, canvas, calico, cotton, digitally printed cotton on MDF, 28 x 23 x 4cm, photo by Tim Gresham

Tablet 21, 2023 Acrylic, acrylic mediums, linen, calico, cotton, digitally printed cotton on MDF, 28 x 23 x 4cm, photo by Tim Gresham

Tablet 22, 2023 Acrylic, acrylic mediums, linen, hemp, canvas, calico on MDF, 28 x 23 x 4cm, photo by Tim Gresham

Tablet 23, 2023 Acrylic, acrylic mediums, linen, hemp, calico, on MDF, 28 x 23 x 4cm, photo by Tim Gresham

Numerous and varied 11, 2023 Glazed ceramic, grout, tile adhesive, acrylic, foam coat, polystyrene, wood, 37 x 27cm, photo by Tim Gresham

Hybrid 1, 2023, acrylic, acrylic mediums, canvas, linen, hemp, calico, digitally printed linen on board, stoneware base with underglaze, glaze, 38 x 28 x 26 cm, photo by Matthew Stanton

Hybrid 6, 2023, Acrylic, acrylic mediums, linen, canvas, calico, on canvas board, multi-fired base, pigment, glaze, 49 x 21 x 18cm, photo by Matthew Stanton

Hybrid 8, 2023, Encaustic, acrylic, acrylic mediums, calico, on board. Multi-fired base, glaze, 49 x 22 x 11cm, photo by Matthew Stanton

Hybrid 7, 2023, Acrylic, acrylic mediums, linen, cotton, calico, digitally printed linen on MDF, multi-fire base, glaze, 51 x 29 x 22cm, photo by Matthew Stanton

Hybrid 15, 2023, Acrylic, acrylic mediums, calico, thread on cardboard, earthenware base, glaze, 18.5 x 10 x 9cm, photo by Matthew Stanton

Hybrid 10, 2023, Acrylic, acrylic mediums, hemp, canvas, cotton on canvas board, multi-fired base with underglaze, glaze 34 x 16 x 12cm, photo by Matthew Stanton

Hybrid 2, 2023, Acrylic, acrylic mediums, linen, hemp, canvas, calico, on board, stoneware base with underglaze, 31 x 32 x 12cm, photo by Matthew Stanton

Hybrid 4, 2023, Acrylic, acrylic mediums, canvas, calico, digitally printed linen on canvas board, multi-fired glazed base, 40 x 16 x 14cm, photo by Matthew Stanton

Hybrid 9, 2023, Acrylic, acrylic mediums, hemp, calico, on found plastic lid, multi-fired base, glaze, 21 x 13 x 11cm, photo by Matthew Stanton

Hybrid 3, 2023, Acrylic, acrylic mediums, hemp, canvas, calico, digitally printed cotton on board, stoneware base with underglaze, 38 x 20 x 16cm, photo by Matthew Stanton

Hybrid 12, 2023, Acrylic, acrylic mediums, linen, canvas, digitally printed cotton on canvas board, midfire base with slip, underglaze, foam coat, 42 x 19 x 18cm, photo by Matthew Stanton

Hybrid 14, 2023, Acrylic, acrylic mediums, linen, canvas on epoxy modelling clay, multi-fired base with pigment, glaze, 15 x 9 x 7cm, photo by Matthew Stanton

Hybrid 16, 2023, Acrylic, acrylic mediums, calico, thread on cardboard, earthenware base, glaze, 30 x 25 x 11cm, photo by Matthew Stanton

Hybrid 13, 2023, Acrylic, acrylic mediums, hemp, calico, digitally printed cotton on cardboard, stoneware base with underglaze, 16 x 10 x 7cm, photo by Matthew Stanton

Hybrid 5, 2023, Glass, calico, acrylic, multi fired base with underglaze, glaze, 27 x 13 x 13cm, photo by Matthew Stanton

Form 16, 2023, multi-fired ceramic, underglaze, glaze, bronze, silicone, 42 x 21 x 16cm, photo by Matthew Stanton

Form 15, 2023, Midfire ceramic, glaze, adhesive, 33 x 11 x 10cm, photo by Matthew Stanton

Studio soap, edition of 2, 2015, Bronze, 6.5 x 6 x 6cm, photo by Matthew Stanton

598 parts, 2023, Hand formed midfire ceramics, underglaze, glaze, tile adhesive, grout on found metal object, wood. 56cm tall x 40cm wide, photo by Tim Gresham

Elevation 10, 2023, Hand formed midfire ceramic tiles, tile adhesive, grout, epoxy modelling clay, acrylic, found object, 71cm tall x 26cm wide, photo by Tim Gresham

Elevation 8, 2023, Hand formed stoneware and midfire ceramic tiles, tile adhesive, grout, steel 40cm tall x 61cm wide, photo by Tim Gresham

Elevation 9, 2023, Hand formed stoneware ceramic tiles, tile adhesive, grout, polystyrene foam, foam coat, acrylic, adhesive, wood, 49.5cm tall x 34.5cm wide x 36.5cm deep, photo by Tim Gresham

EXPRESSIVE POTENTIAL: STUDIES IN ABSTRACTION 2022-23

Bendigo Art Gallery Collection

Bendigo Art Gallery, 03 DEC 22 - 01 DEC 24

Abstraction is an approach to making art that favours expressive and symbolic gestures over realistic representation. Not concerned with illustrating exactly what they see, artists working in this expansive genre often seek to capture an essence of something or convey emotion.

From hard-edge to lyrical abstraction, this display from the Bendigo Art Gallery Collection spans almost a century of abstract approaches in Australian art, including works from the 1930s to the present day. Featured artists draw inspiration from everyday scenes and encounters, music and nature, spirituality and family, geometry and illusion, material exploration, and the process of artmaking itself. Together they highlight the ongoing relevance and expressive potential of abstraction in contemporary art.

Featured artists include John Aslandis, Mitty Brown, Ian Fairweather, Denise Green, Robert Hunter, Robert Jacks, Alun Leach-Jones and Richard Larter with recent acquisitions by Kirsty Budge, Helen Maudsley, Kate Tucker and Jenny Watson.

This Collection display can be found in our oldest gallery space Bolton Court built in 1867. In the late 1880s, under the supervision of the distinguished Bendigo architect WC Vahland, this building was converted from the orderly room of the Bendigo Volunteer Rifle Brigade to a permanent home for the Gallery’s collection.

Installation view of Expressive potential: studies in abstraction, Bendigo Art Gallery, 2022. Photo: Leon Schoots.

NOTIONS OF CARE 2022-23

Arini Byng, Kate Tucker, Katie West, Polly Stanton, and Snapcat, Curated by Kathryne Honey and Nina Mulhall

12th Nov 2022 - 26th Feb 2023

ARARAT GALLERY TEXTILE ART MUSEUM

Read the catalogue essay by Timmah Ball here

The exhibition ‘Notions of Care’ explores the ways in which art and nurture are interlinked. The way that art can care for both the viewer and artist. Through the works of Polly Stanton, Renae Coles & Anna Dunnill (Snapcat), Kate Tucker, Katie West, and Arini Byng, ways of caring are unfolded, cultivated, and enforced.

This exhibition is an offering to the audience to rest their bodies and their minds, to pause, and to contemplate in a calm intimate environment. ‘Notions of Care’ was incubated during the 2019 Hobiennale festival, and continues to develop as a conversation between a group of eight female-identifying artists and curators. Each artist in the exhibition approaches care in a nuanced and delicate way, referencing the human body and the natural environment.

Throughout the exhibition care is explored through soft bodily forms, bodily interrelations, and enclosed personal spaces. Embracing the coincidences of nature and its welcoming all embracing landscape. Through this use of different material and gestural propositions, the exhibition welcomes a personal and intimate reflection of care. Connected to the body and the land, each work grounds the audience to reflect upon care for themselves, others, and the environment.

Installation view, Notions of Care at Ararat TAMA, photo by Keelan O'Hehir courtesy of NETS

ARTIST SEEKING COLLECTOR 2022-23

ResArtis

17 November 2022 – 28 January 2023

A celebration of the collection of David Clouston and Michael Schwarz, including works by Mark Smith, Anne Zahalka, Michael Lindeman, Jeremy Eaton, Monica Lazzari, Pim van Nunen, Adam Lee, Virginia Leonard, Kate Tucker, Sam Martin, André Piguet, Hiromi Tango and Tristan Chant.

As the 29th year of Res Artis comes to a close we reflect on our ongoing commitment to the sustainability of the arts residency sector and the main reason for our operations: artists! A desire to create transformative experiences for artists is at the core of what Res Artis does. This same intention is reflected in the generosity of our benefactors David Clouston and Michael Schwarz—collectors who work to support artists throughout all stages of their careers. In Artist Seeking Collector, a name derived from a work of the same title by Michael Lindeman that features in the exhibition, Res Artis presents a selection of works from Michael and David’s extensive collection.

Installation view, Kate Tucker (left) and Samson Martin (right). Photo courtesy ResArtis.

Installation view, L-R: Adam Lee (cropped), Virginia Leonard, Kate Tucker, Samson Martin. Photo courtesy ResArtis.

ARCHIVE OF COLOURS / HIERARCHY OF NEEDS 2022

9 Oct - 10 Nov 2022

Cathedral Cabinet

Curated by Caspar Connolly

In my work materials and forms are layered and embedded. Materials morph, their characteristics swapped and equalised into collective ambiguity. The works sit on a spectrum between objects and painting, with the various parts engaged in a process of mutual support. I don't set out knowing what a work will look like, but move through a series of systems devised in order to be disrupted. Working across many materials and numerous works at a time, I try to prolong the open, playful middle of a process. After things are moving but before they start to resolve, there is both a threat of chaos and the potential to locate its opposite. Pulling different, at times conflicting, materials together and turning them into something solid, sound and lasting, can be seen as a metaphor for life. Always an artist, only sometimes working, I bring all of me to everything I make.

My hybrid sculpture/paintings include slab-like textile-based paintings resting on ceramic or bronze bases. The solid bases have gradually grown larger and heavier, the paintings lighter and more organic. Recently, they have rested on Elevations, steel plinths with handmade tile tops, acting as a further iteration of this structural support. Hierarchy of needs 1, 2 and 3, iteratively expand on various elements that reoccur in my work. Disentangled and rearranged, the layers are extracted from each other. A collective rather than a mass, parts given space.

In Hierarchy of needs 1, the ceramic sculpture duplicates itself into a tower-like form, resting atop a plinth with a painted hemp surface. This is contained by a solid bronze plait, which references the soft plaited fabric frames that often wrap around my paintings, now made hard and heavy. These parts are suspended by narrow steel legs, the wireframe cube which denotes the outline of the studio – the container. The works combine to form a vertical stack that has a sense of precarity. Each part leans toward the others, teetering on the edge of not being itself anymore. In Hierarchy of needs 2, the sculpture has grown a subterranean layer, and slipped through the surface of the painting.

The ceramics are formed through a collage-like process, which traverses assemblage when wet, painting greenware, glazing and further layers of paint. The paintings on hemp are sketches based on forms in the ceramics, a quick and light counterpoint to the heavily crafted bronze plaited frames. Hierarchy of needs 3 is a small painting that stands alone, liberated from any supportive function, a full circle perhaps.

Being in the business of making objects brings with it a kind of weight, never more apparent than when moving studios. I have gradually come to perceive the creative detritus as a work in itself, a record of many hours spent chasing new intangible states through physical wrangling. When everything constantly slips into something else, it becomes necessary to zoom out, archive.

In Archive of colours, I sewed together samples of a majority of the left over fabrics from nearly a decade of staining and printing cotton, linen, hemp, and used household textiles. Coinciding with a studio move, I felt compelled to summarise this part of my practice, perhaps to signify the quiet labour not just of making the various elements, but also of storing and maintaining the components of a broad mixed media practice.

Each work I make contains a kind of non-chronological mash up of everything that came before. The materials draw a tactile timeline back to that vital, questioning place in the middle of making. But as with all ‘stuff’, there is a fine line between too much and not enough. These works represent a snapshot of the main characters that populate my work now, one teetering moment in the torrent of ever evolving practice.

Installation view, photo by Lucy Foster for Cathedral Cabinet

SUNSHINE COAST ART PRIZE 2022

Major Prize Winner

Caloundra Regional Galler, 26 August to 16 October 2022

Carve time / print space, 2022, acrylic, acrylic mediums, thread on canvas, linen, hemp, digitally printed linen and cotton, 140 x 80cm, photo by Tim Gresham

WOMEN IN ABSTRACTION 2022

ANZ Level 10 Gallery Melbourne, September 2 - October 28

Featuring works by Angela Brennan, Eleanor Louise Butt, Emma Coulter, Leslie Dumbrell, Lara Merett, Judy Millar, Nuha Saad, Antonia Sellbach, Noël Skrzypczak, Wilma Tabacco, Kate Tucker and Rebecca Wallis

Curated by James Makin Art Advisory. Read the essay by Laura Kirkham

Installation view, Eleanor Louise Butt (left) and Kate Tucker in Women in Abstraction, ANZ Private Level 10 Gallery. Photo courtesy of James Makin Art Advisory.

Installation view, Kate Tucker in Women in Abstraction, ANZ Private Level 10 Gallery. Photo courtesy of James Makin Art Advisory.

Installation view, Wilma Tabacco (left) and Kate Tucker in Women in Abstraction, ANZ Private Level 10 Gallery. Photo courtesy of James Makin Art Advisory.

View to the ANZ Private Level 10 Gallery. Photo courtesy of James Makin Art Advisory.

O HORIZON 2022

Matt Arbuckle, Wona Bae and Charlie Lawler, Sean Bailey, Bronwyn Dillon, Eloise Kirk, Grant Nimmo, Kate Tucker, Alice Wormald, curated by Daine Singer

Salamanca Arts Centre

Exhibition: 11 - 25 June, 2022

The exhibition draws inspiration from the O horizon, the top layer in a vertical profile of soil. This is the top strata of earth, the biodiverse site of microorganisms and fungi, decomposing organic matter from plants and animals, leaf litter, mosses and lichens.

The O horizon has metaphoric connotations of regeneration, and the naming of this underfoot layer as a 'horizon' is richly evocative. Rather than being in the distance, a horizon can be immediately beneath your feet.

The exhibition refocuses our attention to the earth and nutrient-rich topsoils that are vital to life and our environment.

Image provided by Salamanca Arts Centre | Photo: Jesse Hunniford

Coevolve 1, 2022, canvas, hemp, linen, calico, batik, acrylic, acrylic mediums, glue on board, bronze support, 32cm wide x 22cm high x 3cm deep, photo by Matthew Stanton

Coevolve 2, 2022, canvas, digitally printed linen, calico, acrylic, acrylic mediums, glue on board, bronze support, 37 x 30 x 3cm deep, photo by Matthew Stanton

Coevolve 3, 2022, calico, canvas, thread, acrylic, acrylic mediums, glue on board, bronze support, 23 x 18 x 3cm, photo by Matthew Stanton

Coevolve 4, 2022, calico, canvas, hemp, acrylic, acrylic mediums, glue on board, bronze support, 24 x 32 x 3cm, photo by Matthew Stanton

Coevolve 5, 2023, calico, canvas, hemp, acrylic, acrylic mediums, glue on board, bronze support, 28.5 x 22 x 3cm, photo by Matthew Stanton

Len Fox Painting Prize 2022

Castlemaine Art Museum

https://castlemaineartmuseum.org.au/

12 March - 13 June 2022

Absorbing place, 2021, linen, canvas, calico, acrylic, acrylic mediums on canvas, bronze supports, 141cm x 127cm x 4cm, photo by Matthew Stanton

MELBOURNE ART FAIR 2022

Melbourne Art Fair

Exhibiting with Daine Singer alongside Kirsty Budge

Melbourne Exhibition and Convention Centre

17-20 Feb 2022

Install, Daine Singer at Melbourne Art Fair 2022, paintings on wall by Kirsty Budge, photo Tim Gresham

Install, Daine Singer at Melbourne Art Fair 2022, paintings on wall by Kirsty Budge, photo Marie Skibbe

Tier 8, 2022, 27cm wide x 40cm tall x 12cm deep, acrylic, acrylic mediums on canvas, linen on card board, glazed stoneware base, photo by Matthew Stanton

Tier 5, 2022, acrylic, acrylic mediums on linen, canvas, hemp, calico on board, glazed stoneware base, 27cm x 49cm x 18cm, photo by Matthew Stanton

Tier 13, 2022, acrylic, acrylic mediums on hemp, canvas, linen, calico, cotton jersey on board, glazed midfire base, 35 x 17 x 12 cm, photo by Matthew Stanton

Tier 11, 2022, acrylic, acrylic mediums on linen on cardboard, Glazed stoneware base, 26cm x 34cm x 12cm, photo by Matthew Stanton

Tier 12, 2022, acrylic, acrylic mediums on canvas, hemp, linen, calico on board, glazed midfire base, 21cm x 40cm x 14cm, photo by Matthew Stanton

Tier 9, 2022, acrylic, acrylic mediums, linen, hemp on board, glazed stoneware base, 30cm x 54cm x 10cm, photo by Matthew Stanton

Tier 7, 2022, acrylic, acrylic mediums on hemp, calico, linen, thread on board, glazed earthenware base, 29 x 21 x 11 cm, photo Matthew Stanton

Tier 6, 2022, acrylic, acrylic mediums on linen, hemp, canvas, on board, glazed bisque base, 37cm x 38cm x 15cm, photo by Matthew Stanton

Tier 10, 2022, acrylic, acrylic mediums on linen, hemp in cardboard, Glazed bisque base, 22cm x 28cm x 8cm, photo by Matthew Stanton

Tier 14, 2022, acrylic, acrylic mediums on linen, hemp, digitally printed linen, calico on board, stoneware base, 30cm x 32 cm x 10cm, photo by Matthew Stanton

Tier 2, 2021, hemp, linen, digitally printed linen, acrylic, acrylic mediums on board, glazed stoneware base, 40cm x 20.5 x 10cm, photo by Matthew Stanton

Elevation 1, 2022, steel, glazed stoneware, earthenware and midfire hand made tiles, tile adhesive, grout, mdf, acrylic paint, 40.5Cm x 70.5cm x 90cm, photo by Tim Gresham

Elevation 2, 2022, steel, glazed stoneware hand made tiles, tile adhesive, grout, mdf, acrylic paint, 50.5 cm x 50.5cm x 80cm , photo by Tim Gresham

Elevation 3, 2022, steel, glazed earthenware tiles, tile adhesive, grout, mdf, acrylic paint, 40.5 Cm x 40.5cm x 100cm, photo by Tim Gresham

Elevation 4, 2022, steel, glazed stoneware and earthenware hand made tiles, tile adhesive, grout, mdf, acrylic paint, 30.5 Cm x 30.5cm x 110cm, photo by Tim Gresham

Elevation 5, 2022, steel, glazed stoneware and earthenware hand made tiles, tile adhesive, grout, mdf, acrylic paint, 30.5Cm x 30.5cm x 70cm, photo by Tim gresham

ARTHUR GUY MEMORIAL PAINTING PRIZE 2022

Arthur Guy Memorial Painting Prize

Bendigo Art Gallery

20 November 2021 – 13 Feb 2022

The whole world as one lockdown bookshelf / can we make something of this, 2021, acrylic, acrylic mediums on digitally printed linen and canvas, 184 x 122cm, photo by Christo Crocker

4x4 McLelland Sculpture park & gallery 2021

10-12 DECEMBER 2021

MATT ARBUCKLE / KIRSTY BUDGE / BENJAMIN PRABOWO SEXTON / KATE TUCKER

MCCLELLAND SCULPTURE PARK+GALLERY

390 MCCLELLAND DRIVE, LANGWARRIN VIC 3910

Tier 1, 2021, calico, linen, digitally printed cotton, digitally printed linen, canvas, acrylic, acrylic mediums on board, glazed stoneware base, 53cm x 25.5cm x 11cm, photo by Matthew Stanton

Tier 3, 2021, linen, hemp, calico, acrylic, acrylic mediums on board, glazed earthenware base, 30cm x 20.5cm x 9cm, photo by Matthew Stanton

A ROOF, NOT A ROOM 2021

Solo exhibition at Daine Singer

26 May - 10 July 2021

Read the catalogue essay by Charlotte Cornish here

Kate Tucker’s works are created through a collage-like accumulative process of layering, where paintings are cut and combined, with some pieces left raw and others subjected to continuous iterative changes. Alongside large new paintings are a series of hybrid painting/ sculpture works that have complex ceramic bases holding and supporting paintings. There is an interchangeability between material characteristics of painting and sculpture, textiles and printing, and a play between what is holding and what is being held, with an emphasis on literal and metaphoric supports.

The works for this exhibition are process heavy, combining layered strips of painted and printed fabrics with painting. As part of the process Tucker created small still life watercolour paintings in her home and of her own sculptures and books sitting on bookshelves. She then photographed the watercolours and had them digitally printed on linen, which was cut up and wrapped across the painting surface, and painted over. The works are bound by their process and by an interest in domestic creativity, drawing from the lockdown period when Tucker was working within the constraints of home and looking to her immediate surroundings.

REAR 90 MOOR STREET, FITZROY 3065, MELBOURNE, AUSTRALIA

0410 264 036 INFO@DAINESINGER.COM

Install view, ‘A roof, not a room’ at Daine Singer, 2021, photo by Tim Gresham

Measured in posies, 2021, Hemp, Linen, digitally printed linen, digitally printed cotton, acrylic, acrylic mediums on board, glazed earthenware base, 34cm wide x 35cm tall x 19cm deep, photo by Matthew Stanton

Absorbing place, 2021, linen, canvas, calico, acrylic, acrylic mediums on canvas, bronze supports, 141cm wide x 127cm tall x 4cm deep, photo by Tim Gresham

No fast fixes, 2021, linen, calico, acrylic, acrylic mediums on foam core, glazed stoneware base, 24cm wide x 38cm tall x 11cm deep, photo by Matthew Stanton

A roof, not a room, 2021, calico, canvas, linen, digitally printed linen, digitally printed cotton, acrylic, acrylic mediums on canvas, bronze supports, 143cm wide x 127cm tall x 4cm deep, photo by Tim Gresham

Dream stack, chipped hollow, 2021, paper, canvas, calico, watercolour, acrylic, acrylic mediums on card board, glazed earthenware base, 46cm wide x 58cm high x 20cm deep, photo by Matthew Stanton

Inverse shadow, 2021, linen, hemp, digitally printed linen, digitally printed cotton, acrylic, acrylic mediums on foam core, glazed earthenware base, 36cm wide x 62cm tall x 30cm deep, photo by Matthew Stanton

All in the air, nothing's coming down, 2021, linen, calico, gauze, hemp, acrylic, acrylic mediums on board, glazed stoneware base, 29cm wide x 66cm tall x 17cm deep, photo by Matthew Stanton

Light on all sides, 2021, hemp, Linen, canvas, calico, acrylic, acrylic mediums, thread on cardboard, glazed stoneware base , 25cm wide x 36cm tall x 18cm deep, photo by Matthew Stanton

Gifts you can make, 2021, canvas, calico, digitally printed linen, acrylic, acrylic mediums on canvas, bronze supports, 188cm wide x 126cm tall x 4cm deep, photo by Tim Gresham

NOTIONS OF CARE 2021

Arini Byng, Kate Tucker, Katie West, Polly Stanton, and Snapcat, Curated by Kathryne Honey and Nina Mulhall

20 April - 22 May 2021

Bus Projects

Read the catalogue essay by Timmah Ball here

The exhibition ‘Notions of Care’ explores the ways in which art and nurture are interlinked. The way that art can care for both the viewer and artist. Through the works of Polly Stanton, Renae Coles & Anna Dunnill (Snapcat), Kate Tucker, Katie West, and Arini Byng, ways of caring are unfolded, cultivated, and enforced.

This exhibition is an offering to the audience to rest their bodies and their minds, to pause, and to contemplate in a calm intimate environment. ‘Notions of Care’ was incubated during the 2019 Hobiennale festival, and continues to develop as a conversation between a group of eight female-identifying artists and curators. Each artist in the exhibition approaches care in a nuanced and delicate way, referencing the human body and the natural environment.

Throughout the exhibition care is explored through soft bodily forms, bodily interrelations, and enclosed personal spaces. Embracing the coincidences of nature and its welcoming all embracing landscape. Through this use of different material and gestural propositions, the exhibition welcomes a personal and intimate reflection of care. Connected to the body and the land, each work grounds the audience to reflect upon care for themselves, others, and the environment.

Notions of Care at Bus Projects, installation view, photo by Christo Crocker

Care 2, 2021, linen, digitally printed cotton, acrylic, acrylic mediums on board, glazed stoneware and earthenware base, 26cm wide x 56 cm tall x 13cm deep, photo by Matthew Stanton

Care 1, 2021, 45cm tall x 22cm wide x 16cm deep, Calico, linen, hemp, digitally printed linen, paper, acrylic, acrylic mediums on board, glazed stoneware base, photo by Matthew Stanton

Care 4, 2021, linen, calico, acrylic, acrylic mediums on board, glazed stoneware base, 26cm wide x 42cm tall x 20cm deep, photo by Matthew Stanton

Care 5, 2021, linen, calico, acrylic, acrylic mediums on board, glazed stoneware base, 20cm wide x 33cm tall x 14cm deep, photo by Matthew Stanton

Care 3, 2021, calico, digitally printed linen, canvas, digitally printed cotton, linen, acrylic, acrylic mediums, glazed stoneware base, 31cm wide x 64cm tall x 20cm deep, photo by Matthew Stanton

ARTBANK ACQUISITION 2020

Regroup, 2020

Linen, calico, canvas, digitally printed cotton, chux, acrylic, acrylic mediums on canvas, 84 x 126cm

In the Artbank Collection

ACCOMMODATE

10 JUN – 4 JUL.2020

A group exhibition including Kate Tucker, Tia Ansell and Rachel Hope Peary

Weasel Gallery, 260 Victoria Street, Hamilton, New Zealand

contact@weaselgallery.com

Combiner, 2020, linen, calico, watercolour, acrylic, acrylic medium, paper, cardboard, earthenware base. 44cm high x 33cm wide x 10cm deep, photo by Matthew Stanton

Sit with it, 2020, watercolour, acrylic, acrylic medium, on paper and found object, support: earthenware, underglaze. 15cm tall x 15cm wide x 8cm deep, photo by Matthew Stanton

Occupied, 2020, calico, watercolour, acrylic, acrylic medium, cardboard, earthenware base. 26cm high x 30cm wide x 11cm deep, photo by Matthew Stanton

FAIR

By NADA

20 May -21 June 2020

www.thisisfair.org

Step off is a hybrid painting/ sculpture created through a collage-like process. Images from DIY craft books were loosely referenced then abstracted, cut and combined. Paint was applied to unprimed hessian and fine weave linen. Multiple applications of acrylic mediums subdue the textures of materials, resulting in a smooth, plasticised surface. Fused, organic painted layers coexist with flat colour in a materially ambiguous slab.

In Tucker's works reference images are dissected and re-contextualised, familiar materials are subjected to processes that gradually rob them of their characteristics. These processes allude to the fluidity of digital images, able to contain unlimited layers whilst remaining perpetually flat. While the materials are analogue, the iterative methodology through which they are formed has as much in common with Photoshop as painting. Ceramic bases hold and support the paintings, with the content of the paintings informed by the structure of its base.

Kate Tucker, Step off, 2020, acrylic, acrylic mediums on linen, hessian, calico, digitally printed cotton, plywood, glazed earthenware bases, 58 x 45 x 14cm, photograph: Matthew Stanton

MELBOURNE ART FAIR (VIRTUAL) 2020

MELBOURNE ART FAIR

ONLINE VIEWING ROOMS

1 - 7 JUNE 2020

www.melbourneartfair.com.au

‘Over reach’, 2020, Acrylic, acrylic medium on linen, hessian, plywood, glazed earthenware base, 40cm high x 25cm wide X 15cm deep, photo by Matthew Stanton

‘Best side’, 2020, acrylic, acrylic medium on linen, hessian, plywood, glazed stoneware base, 42 x 55 x 5 cm, photograph: Matthew Stanton

HELD 2020

Solo exhibition at Daine Singer

5th Feb - 7 Mar 2020, opening Thursday 6 Feb, 6-8pm

Open daily –23 November, 12–5pm

Rear 90 Moor St Fitzroy

Read the catalogue essay by Amelia Wallin

Installation view, HELD at Daine Singer, February 2020. Photo by Clare Rae.

Do it yourself, 2020

acrylic, acrylic medium on calico, canvas, linen, framed

171 x 170 cm, 173 x 172 cm framed

photograph: Matthew Stanton

Patch work, 2020

acrylic, acrylic medium on calico, canvas, linen, framed

170 x 130 cm, 173 x 133 cm framed

photograph: Matthew Stanton

Fuse, 2020

acrylic, acrylic medium on canvas, calico, cardboard, glazed earthenware base

64 x 39 x 15 cm

photograph: Matthew Stanton

Reverse solutions, 2020

canvas, digitally printed cotton, calico on cardboard, acrylic, acrylic medium, glazed earthenware base

66 x 36 x 16 cm

photograph: Matthew Stanton

Craft and construction, 2020

acrylic, acrylic medium on hessian, plywood, glazed earthenware base

37 x 25 x 11 cm

photograph: Matthew Stanton

Supply/resist, 2020

acrylic, acrylic medium on canvas, calico, cardboard, glazed earthenware base

44 x 47 x 15 cm

photograph: Matthew Stanton

Peaks, 2020

canvas, digitally printed cotton, found paper on cardboard, acrylic, acrylic medium, glazed earthenware base

31 x 38 x 6 cm

photograph: Matthew Stanton

Installation view, HELD at Daine Singer, February 2020. Photo by Clare Rae.

Attend, 2019

earthenware

27 x 20 cm

photograph: Matthew Stanton

Assurance, 2019

earthenware, underglaze

17 x 15 cm

photograph: Matthew Stanton

Entangled, 2019

earthenware, underglaze, glaze

30 x 23 x 14 cm

photograph: Matthew Stanton

Second think, 2020

acrylic, acrylic medium on digitally printed cotton, cardboard, glazed earthenware base

23 x 16 x 5 cm

photograph: Matthew Stanton

Passage, 2020

acrylic, acrylic medium on digitally printed cotton, cardboard, glazed earthenware base

31 x 16 x 7 cm

photograph: Matthew Stanton

Service, 2020

acrylic, acrylic medium on digitally printed cotton, cardboard, glazed earthenware base

24 x 16 x 13 cm

photograph: Matthew Stanton

Take in, 2020

acrylic, acrylic medium on digitally printed cotton, cardboard, glazed earthenware base

22 x 16 x 14 cm

photograph: Matthew Stanton

Installation view, HELD at Daine Singer, February 2020. Photo by Clare Rae.

Installation view, HELD at Daine Singer, February 2020. Photo by Clare Rae.

NOTIONS OF CARE 2019

Curated by Kathryne Honey and Nina Mulhall for Bus Projects as part of HoBiennale

With Polly Stanton and Katie West

17–23 November 2019

Cinema One, 86 Murray Street, Hobart

Documentation images courtesy of Lucy Parakhina for Bus Projects and Hobiennale

MODEL 2019

MODEL

1 Feb - 16 March 2019

AUBRY/BROQUARD, STEPHEN BENWELL, EMMA BORLAND, MICHAEL BULLOCK, TONY CLARK, EMILY HUNT, RUTH HUTCHINSON, LINDA MARRINON, ANNE-MARIE MAY, ROB McHAFFIE, ALEX PITTENDRIGH, RENEE SO, HEATHER B SWANN, KATE TUCKER, JAKE WALKER

Murray White Room

Sargood Lane, Melbourne, +613 9663 3204, email@murraywhiteroom.com

Install view, MODEL at Murray White Room

Untitled 2017 – 18, cardboard, acrylic, found images, linen,, calico, acrylic medium, oil, staples on board, earthenware base, 28 x 23 x 3 cm (painting), 11 x 32 x 19 cm (base). Photo courtesy Murray White Room.

Install view, MODEL at Murray White Room

Form 5, 2018, earthenware, glaze and underglaze, 30cm x 15cm x 15cm

MANIFOLD 2018

Daine Singer
14 November — 20 December 2018

In Manifold, Kate Tucker explores the interaction and reversal of forms and media. Tucker has created a series of ceramic sculptures, paintings, objects that integrate painting with sculpture, and ceramic tile paintings.

Her paintings combine digitally printed fabrics as well as textural and painted elements. They shift and fracture, recombining elements in a manner that subverts the expected order. Materials are manipulated so as to maintain a rawness and familiarity whilst taking on foreign characteristics. Ceramic tiles are employed on tiled tables that support ceramic sculptures, elsewhere tiles exist as paintings. Cast metal is used to frame and support works, and also mimics the forms of ceramics. Across the installation, shapes and forms within the paintings and sculptures reference each other. The works are a spectrum of possibilities within material constraints, unified through shared forms, palette and texture.

Read the catalogue essay by Sabina McKenna

Installation view, ‘Manifold’ at Daine Singer, photo by Tim Gresham

Form 11, 2018, Earthenware, glaze and underglaze, 38cm high x 16cm wide x 12cm deep, photo by Matthew Stanton

Form 4, 2018, Earthenware, 17cm high x 15cm wide x 10cm deep, photo by Matthew Stanton

Form 1, 2018, Earthenware, glaze and underglaze, 17cm high x 18cm wide x 10cm deep, photo by Matthew Stanton

Form 3, 2018, Earthenware, glaze and underglaze, 18cm high x 18cm wide x 10cm deep, photo by Matthew Stanton

Form 12, 2018, Earthenware and underglaze, 18cm high x 16xm wide x 10cm deep, photo by Matthew Stanton

Form 9, 2018, Earthenware and underglaze, 13cm high x 18cm wide x 3cm deep, photo by Matthew Stanton

Form 7, 2018, Earthenware, glaze and underglaze, 13cm high x 12cm wide x 8cm deep, photo by Matthew Stanton

Form 6, 2018, Earthenware, glaze and underglaze, 13cm high x 12cm wide x 10cm deep, photo by Matthew Stanton

Form 14, 2018, Earthenware and underglaze, 38cm high x 21cm wide x 13cm deep, photo by Matthew Stanton

Form 2, 2018, Glazed earthenware, 14cm high x 16cm wide x 15cm deep, photo by Matthew Stanton

Form 13, 2018, Earthenware, 21cm high x 22cm wide x 15cm deep, photo by Matthew Stanton

See it where it isn't, 2018, acrylic, digitally printed cotton, calico, acrylic medium on board, 124 x 94cm, photo by Matthew Stanton

Dispersion, 2018, acrylic, digitally printed cotton, calico, acrylic medium on board, 74 x 104cm, photo by Matthew Stanton

Incorporated, side 2, 2018, acrylic, digitally printed cotton, calico, acrylic medium on board, bronze support, 26 x 23 x 3cm, photo by Matthew Stanton

Incorporated, side 1, 2018, acrylic, digitally printed cotton, calico, acrylic medium on board, bronze support, 26 x 23 x 3cm, photo by Matthew Stanton

Interleaf, side 2, 2018, acrylic, digitally printed cotton, linen, calico, acrylic medium on board, bronze support, 26 x 23 x 3cm, photo by Matthew Stanton

Interleaf, side 1, 2018, acrylic, digitally printed cotton, linen, calico, acrylic medium on board, bronze support, 26 x 23 x 3cm, photo by Matthew Stanton

Terrain, side 1, 2018, acrylic, digitally printed cotton, acrylic medium on board, bronze support, 27 x 21 x 3cm, photo by Matthew Stanton

Terrain, side 2, 2018, acrylic, digitally printed cotton, acrylic medium on board, bronze support, 27 x 21 x 3cm, photo by Matthew Stanton

Clasp, side 1, 2018, acrylic, digitally printed cotton, calico, acrylic medium on board, bronze support, 27 x 21 x 3cm, photo by Matthew Stanton

Clasp, side 2, 2018, acrylic, digitally printed cotton, calico, acrylic medium on board, bronze support, 27 x 21 x 3cm, photo by Matthew Stanton

Within Facts, side 1, 2018, acrylic, calico, acrylic medium on board, bronze support, 27 x 21 x 3cm, photo by Matthew Stanton

Within Facts, side 2, 2018, acrylic, calico, acrylic medium on board, bronze support, 27 x 21 x 3cm, photo by Matthew Stanton

Tile 2, 2018, Earthenware, glaze, underglaze, oil paint, 26 x 21cm (unframed), photo by Matthew Stanton

Tile 4, 2018, Earthenware, glaze, underglaze, oil paint, 26 x 21cm (unframed), photo by Matthew Stanton

Tile 5, 2018, Earthenware, glaze, underglaze, oil paint, 26 x 21cm (unframed), photo by Matthew Stanton

Tile 1, 2018, Earthenware, glaze, underglaze, oil paint, 26 x 21cm (unframed), photo by Matthew Stanton

Tile 6, 2018, Earthenware, glaze, underglaze, oil paint, 26 x 21cm (unframed), photo by Matthew Stanton

Tile 3, 2018, Earthenware, glaze, underglaze, oil paint, 26 x 21cm (unframed), photo by Matthew Stanton

Numerous and varied 7, 2018, acrylic, digitally printed cotton, calico, acrylic medium on board, aluminium artist frame, 40 x 30 x 2cm, photo by Matthew Stanton

Numerous and varied 10, 2018, acrylic, calico, acrylic medium on board, aluminium artist frame, 40 x 30 x 2cm, photo by Matthew Stanton

Numerous and varied 8, 2018, acrylic, digitally printed cotton, calico, acrylic medium on board, aluminium artist frame, 40 x 30 x 2cm, photo by Matthew Stanton

Numerous and varied 9, 2018, acrylic, digitally printed cotton, calico, acrylic medium on board, aluminium artist frame, 40 x 30 x 2cm, photo by Matthew Stanton

Numerous and varied 6, 2018, acrylic, digitally printed cotton, calico, acrylic medium on board, aluminium artist frame, 40 x 30 x 2cm, photo by Matthew Stanton

SUPPORT STRUCTURE 2018

La Trobe Art Institute
121 View Street, Bendigo 3550

12 Nov to 22 Dec 2018

Artists:

Emma Coulter
Jake Walker
Kate Tucker
Louise Blyton
Mumu Mike Williams
Sam Martin

To acknowledge that two-dimensional pictures rendered on surfaces of canvas and board are something more than planar images. After all, materials required to produce a painting are three-dimensional liquids, cloths, timbers and powders. So it's fair to make a case that paintings are sculptural objects to some extent. They are not sculptures, but they are in some sense sculptural.

Support Structure assembles the work of artists who paint in a sculptural way. Acknowledging the physicality of paintings these artists produce artwork that blurs the boundary between media and offers ways of rethinking the nature of contemporary painting.

Support Structure, installation view, photo by Ian Hill

Support Structure installation view, L-R Jake Walker, Kate Tucker, Mumu Mike Williams, photo by Ian Hill

Numerous and Varied 2, 2018, 30 x 24 x 2cm, acrylic, acrylic mediums, oil, on canvas on board, aluminium artist frame, photo by Tim Gresham

GEELONG CONTEMPORARY ART PRIZE 2018

The 2018 Geelong contemporary art prize showcased the best of contemporary Australian painting practice. This $30,000 acquisitive award and biennial exhibition featured works by Natasha Bieniek, Seth Birchall, Amber Boardman,Andrew Browne, Jon Campbell, Nancy Constandelia,Yvette Coppersmith, Ann Debono, Troy Emery, Emily Ferretti, Patrick Francis, Nyarapayi Giles, Peter Graham, Camille Hannah, Katherine Hattam, Euan Heng, Gregory Hodge, Carissa Karamarko, Madeleine Kelly, Mason Kimber, Anna Kristensen, Darren McDonald, Laith McGregor, Fiona McMonagle,Amanda Marburg, Sam Martin, Tully Moore, Jan Murray, Louise Paramor, Sally Ross, Huseyin Sami,Andrew Taylor, Kate Tucker, Sharon West, Bradd Westmoreland and Alice Wormald.

Justin Paton, Head Curator, International Art, Art Gallery of New South Wales, and Rebecca Coates, Director, Shepparton Art Museum, joined Lisa Sullivan, Senior Curator, Geelong Gallery, in judging this year’s prize, which was awarded to Andrew Browne.

Geelong Gallery

Little Malop Street
Geelong 3220

Installation view, Geelong Contemporary Art Prize 2018, photo by Hails & Shine

n Deep (Side 1), 2018 acrylic, oil, digitally printed cotton, acrylic medium, found image, hemp, bronze support 10.8 x 8.2 x 1.2 in 27.5 x 21 x 3 cm, photo by Matthew Stanton

In Deep (Side 1), 2018 acrylic, oil, digitally printed cotton, acrylic medium, found image, hemp, bronze support 10.8 x 8.2 x 1.2 in 27.5 x 21 x 3 cm, photo by Matthew Stanton

DAINE SINGER AT SPRING 1883 2018

Daine Singer at Spring 1883

August 1-4 at The Hotel Windsor, Melbourne

Numerous and Varied 3, 2018 dimensions acrylic, acrylic mediums, oil, calico, chux on dibond, aluminium artist frame, photo by Tim Gresham

Numerous and Varied 5, 2018, acrylic, acrylic mediums, on digitally printed linen on board, aluminium artist frame, 30 x 24 x 2cm, photo by Tim Gresham

Numerous and Varied 2, 2018, 30 X 24 X 2CM, acrylic, acrylic mediums, oil, on canvas on board, aluminium artist frame, photo by Tim Gresham

Numerous and Varied 1, 2018, acrylic, acrylic mediums, oil, digitally printed cotton dibond, aluminium artist frame, 30 x 24 x 2cm, photo by Tim Gresham

Numerous and Varied 4, 2018, acrylic, acrylic mediums, calico, linen, cardboard on dibond, aluminium artist frame, 30 x 24 x 2cm, photo by Tim Gresham

SONIA DUTTON AT NADA NEW YORK 2018

NADA New York
March 8-11, 2018

Skylight Clarkson Sq
550 Washington Street
New York, NY 10014

www.newartdealers.org

To request information about the new works please contact:

Sonia Dutton: sonia@soniadutton.com

Bones, Side 1, 2018, 44cm wide x 31cm tall x 5cm deep, acrylic, calico, acrylic medium on canvas board, acrylic painted bronze support, photo by Matthew Stanton

Kate Tucker Untitled, 2018 (side 2), acrylic, digitally printed cotton, calico, linen, acrylic medium, canvas, bronze support 16.93 x 12.2 x 2.17 in, photo by Matthew Stanton

Kate Tucker Untitled, 2018 (side 1) Acrylic, digitally printed cotton, calico, linen, acrylic medium, canvas, bronze support 16.93 x 12.2 x 2.17 in, photo by Matthew Stanton

Kate Tucker Untitled, 2018 (side 2), acrylic, digitally printed cotton, calico, linen, acrylic medium, canvas, bronze support 16.93 x 12.2 x 2.17 in, photo by Matthew Stanton

Other Side, 2018 (side 1), acrylic, digitally printed cotton, calico, linen, acrylic medium, canvas, bronze support 13 x 16.54 x 2 in, photo by Matthew Stanton

Other Side, 2018 (side 2), acrylic, digitally printed cotton, calico, linen, acrylic medium, canvas, bronze support 13 x 16.54 x 2 in, photo by Matthew Stanton

DAINE SINGER AT NADA NEW YORK 2018

NADA New York
March 8-11, 2018

Skylight Clarkson Sq
550 Washington Street
New York, NY 10014

www.newartdealers.org

To request information about the new works please contact:

Daine Singer: info@dainesinger.com

Window, Side 1, 2018, acrylic, acrylic medium, calico on canvas board, bronze support 12.6 , 32 x 23 x 3 cm, [please note that this painting has two sides], photo by Matthew Stanton

Official Bodies, 2018, acrylic, acrylic medium, calico on canvas board, bronze support 12.6 x 9 x 1.2 in 32 x 23 x 3 cm, [please note that this painting has two sides], photo by Matthew Stanton

Window, 2018, acrylic, acrylic medium, calico on canvas board, bronze support 12.6 x 9 x 1.2 in 32 x 23 x 3 cm, [please note that this painting has two sides], photo by Matthew Stanton

Walk-through, 2018, acrylic, acrylic medium, calico on canvas board, bronze support 9.6 x 12.2 x 1.2 in 24.5 x 31 x 3 cm, [please note that this painting has two sides], photo by Matthew Stanton

Container, 2018, acrylic, acrylic medium, pencil, paper, calico on canvas board, bronze support 10.8 x 8.2 x 1.2 in 27.5 x 21 x 3 cm, [please note that this painting has two sides], photo by Matthew Stanton

This Path, 2018, oil, acrylic, acrylic medium, calico, linen on canvas board, bronze support 10.8 x 8.2 x 1.2 in 27.5 x 21 x 3 cm, [please note that this painting has two sides], photo by Matthew Stanton

See Me, 2018, oil, acrylic, acrylic medium, calico, linen on canvas board, bronze support 8.9 x 10.2 x 1.2 in 22.5 x 26 x 3 cm, [please note that this painting has two sides], photo by Matthew Stanton

Turn To, 2018, acrylic, acrylic medium, calico, linen, bronze support 8.9 x 10.2 x 1.2 in 22.5 x 26 x 3 cm, [please note that this painting has two sides], photo by Matthew Stanton

COLLABORATOR, MATERIALS, NGV TRIENNIAL 2017-18

Collaborator on Materials, Tom Crago's Virtual Reality experience for the NGV Triennial, 15 Dec 2017 - 15 April 2018, NGV International

All the Little Things, 2017, 120 x 180cm, Synthetic polymer paint, oil, acrylic mediums, linen, calico, thread on canvas, photo by Matthew Stanton

1717 PAINTING/NOT PAINTING 2017

1717 Painting/not painting

22 November - 17 December 2017

Click here to read the exhibition essay by Melissa Loughnan

Kevin Chin, Will Cooke, Fernando do Campo, Stefan Dunlop, Neil Haddon, Irene Hanenbergh, Brent Harris, Matthew Harris, Daniel Hollier, Belem Lett, Ollie Lucas, Tara Marynowsky, Nuha Saad, Kate Tucker, Megan Walch, Tricky Walsh, Ian Williams

Curated by George Adams

Galerie Pompom

2 / 27-39 Abercrombie St, Chippendale, Sydney

1717 Painting/not painting, installation view. Photo: Docqment

Holding Pattern 6, 2017, Linen, acrylic mediums, acrylic and oil on board, bronze support, 11cm x 14cm, photo by Matthew Stanton

Holding Pattern 8, 2017, Linen, acrylic mediums, acrylic and oil on board, bronze support, 11cm x 14cm, photo by Matthew Stanton

Holding Pattern 10, 2017, Linen, acrylic mediums, acrylic and oil on board, bronze support, 11cm x 14cm, photo by Matthew Stanton

Holding Pattern 3, 2017, Linen, acrylic mediums, acrylic and oil on board, bronze support, 11cm x 14cm, photo by Matthew Stanton

Holding Pattern 11, 2017, Linen, acrylic mediums, acrylic and oil on board, bronze support, 13cm x 12cm, photo by Matthew Stanton

YOUNG MODERNS 2017

Young Moderns
26 August – 19 November 2017
Lewers House, Penrith Regional Gallery

Young contemporary Artists continue the investigations of Modernism, including: Emma Beer, Kieran Butler, Terrence Combos, Mason Kimber, Sanne Koelemij, Nadia Odlum, Elena Papanikolakis, Helen Shelley, Kael Stasce, Kate Tucker.

Penrith Regional Gallery & The Lewers Bequest
Ph: 02 4735 1100
86 River Road, Emu Plains NSW 2750, Australia
OPEN DAILY 9am - 5pm ADMISSION FREE

Installation view, photo courtesy of Penrith Regional Gallery

A FABLED OBJECT 2017

A Fabled Object

Byron School of Art

22 September - 4 October 2017

SMALL OBJECT GROUP SHOW FEATURING LYNDA DRAPER, SUSIE DUGGIN, MARIE J ENGELSVOLD, MARIAN HOSKING, PETA KRUGER, SARAH LINDNER, KATE TUCKER, AND KAT SHAPIRO WOOD

Tablet 10, 2016, Calico, adhesive, flashe, acrylic, oil on board, 22 x 28cm, photo by Marian Hosking

CUTTINGS 2017

Bus Projects
Dates: 2 August - 26 August 2017

Click here to read the essay by Laura Couttie

When propagating from cuttings, a section of the plant is detached from the system which supports it. Stuck into new soil, we ask it to build itself a new system of support,to grow backwards.

These paintings accumulated from scraps, off cuts and failed paintings. They formed through attempts to let new things grow from studio fallout which had become invisible to me. I used materials as negative space, focusing on detaching them from their previous context rather than constructing an image.

In my recent paintings, materials borrow characteristics from one another and are gradually built up into slabs. The result is a compression of materials, where traits are swapped and shared, and the painting is located through rather than on the surface.

In Cuttings, initial layers are left close to the surface and solid bases carry the paintings. The plaited frames serve as reminders of edges, undersides and hidden views. These pictures don't float, but lean heavily into their supports as though the various acts embedded within the painting now manifest in physical weight. Materials, actions and objects are used as though interchangeable, in an attempt to coax new versions of each to grow backwards from the others.

Install view, photo courtesy Bus Projects

Cutting 1, 2017, Linen, raffia, found images, acrylic mediums, acrylic and oil on board with glazed earthenware support, 40cm h x 35cm w, photo by Matthew Stanton

Cutting 9, 2017, calico, raffia, found images, acrylic mediums, acrylic and oil on board with glazed earthenware support, 24m h x 18cm w, photo by Matthew Stanton.

Cutting 10, 2017, calico, raffia, found images, acrylic mediums, acrylic and oil on board with glazed earthenware support, 22cm h x 16cm w, photo by Matthew Stanton.

Cutting 7, 2017, calico, raffia, found images, acrylic mediums, acrylic and oil on board with glazed earthenware support, 29cm h x 21cm w, photo by Matthew Stanton.

Cutting 12, 2017, calico, raffia, found images, acrylic mediums, acrylic and oil on board with glazed earthenware support, 22cm h x 17cm w, photo by Matthew Stanton.

Cutting 13, 2017, calico, raffia, found images, acrylic mediums, acrylic and oil on board with glazed earthenware support, 18cm h x 21cm w, photo by Matthew Stanton.

Cutting 11, 2017, calico, raffia, found images, acrylic mediums, acrylic and oil on board with glazed earthenware support, 22cm h x 17cm w, photo by Matthew Stanton.

Holding Pattern 5, 2017, Linen, acrylic mediums, acrylic and oil on board, bronze support, 11cm w x 14cm h, photo by Matthew Stanton.

Holding Pattern 7, 2017, Linen, acrylic mediums, acrylic and oil on board, bronze support, 13cm w x 12cm h, photo by Matthew Stanton.

Holding Pattern 4, 2017, Linen, acrylic mediums, acrylic and oil on board, bronze support, 11cm w x 14cm h, photo by Matthew Stanton.

Holding Pattern 13, 2017, Linen, acrylic mediums, acrylic and oil on board, bronze support, 13cm w x 12cm h, photo by Matthew Stanton.

Holding Pattern 9, 2017, Linen, acrylic mediums, acrylic and oil on board, bronze support, 13cm w x 12cm h, photo by Matthew Stanton.

ARTHUR GUY MEMORIAL PAINTING PRIZE 2017

Bendigo Art Gallery

17 June - 17 September 2017

Relic/Reminder/Warning, 2017, 23 x 27cm, acrylic and oil on digitally printed cotton, found image, earthenware, calico on board, photo by Matthew Stanton

UNSTORY 2016

19 October - 13 November 2016

Galerie Pompom, 2 / 27-39 Abercrombie Street, Chippendale, Sydney

Download essay by Chloe Wolifson

Installation view, photo by Docqment

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Commonalities , 2016, acrylic, oil on linen, 71 x 61cm unframed, photo by Matthew Stanton

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Between, during, 2016, acrylic, oil on linen, 71 x 61cm unframed, photo by Matthew Stanton

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Inhabit, 2016, acrylic, oil on linen, 71 x 61cm unframed, photo by Matthew Stanton

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Paint The Future, 2015, acrylic, oil on linen and digitally printed cotton on board, 36 x 40cm unframed, photo by Matthew Stanton

Precede or Follow, 2016, acrylic oil on linen, 71 x 61cm unframed, photo by Matthew Stanton

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Unlink, 2016, oil on linen , 73 x 63cm framed, photo by Matthew Stanton

Loop Back, 2016, acrylic and oil on calico and canvas, 28 x 36cm unframed, photo by Matthew Stanton

TABLETS 2016

Daine Singer

5 October - 5 November 2016

Download essay by Amelia Winata

Kate Tucker's recent painting process has shifted towards building slab-like substrates through repetitive layering of various materials. This process emerged as a reaction to the restrictions of painting traditionally onto pre-stretched linens. Rather than working within a defined area and surface, each layer became an opportunity to change the form as well as the content of the work. The result is a series of ‘tablets’, irregularly shaped paintings that represent an accumulation of numerous material based experiments, rather than the realisation of a pre-conceived idea.

The freedom afforded by this has impacted on the way Tucker uses paint to form compositions and make marks. As paint is used to stain calico, which is then wrapped and plaited around the substrate, any painting that is done with a brush must co-habit with a different iteration of itself. Similarly, fabrics that are digitally printed with images of other works are used, sometimes images of earlier versions of the actual painting they become part of.

Tucker is interested in corrupting or shifting elements from their original source, then recombining them in a manner that subverts expected order. Simultaneously, materials are manipulated so as to maintain a rawness and familiarity whilst taking on foreign characteristics. The result is a compression of materials, where traits are swapped and shared, and the painting is located through rather than onto the surface.

The ambition to marry or equalize opposing elements points back to the conundrum of making paintings in the digital age. Tucker has been attempting to transfer some of the opportunities of digital mediums across to painting and has chosen to do this through process rather than visual cues. In these works elements may be stripped of context and casually combined, but unlike in Photoshop, the physicality of the materials means the painting grows with every layer. The ambiguity of the finished surface is difficult to translate through photography, which adds a final iteration to the loop of analogue and digital.

Installation view, photo by Clare Rae

Tablet 5, 2016, linen, calico, digitally printed cotton, adhesive, flashe, acrylic, oil on board, 22x27cm, photo by Clare Rae

Ideas for later , 2016, linen, calico, adhesive, flashe, acrylic, oil on board, 27.5 x 32.5cm, photo by Clare Rae

Tablet 13, 2016, calico, adhesive, flashe, acrylic, oil on board, 23.5 x 23.5cm, photo by Clare Rae

Installation view, photo by Clare Rae

Left: 

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Left: Other Ways, 2014-16, oil, flashe, acrylic, archival adhesive, calico, linen, board, cast aluminium, 33 x33cm including feet. Right: More of Everything, 2012-16, oil, flashe, acrylic, archival adhesive, calico, linen, board, porcelain, glazed earthenware, 27 x 37cm including feet. Photo by Clare Rae

Installation view, photo by Clare Rae

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Ideas for later , 2016, linen, calico, adhesive, flashe, acrylic, oil on board, 27.5 x 32.5cm, photo by Matthew Stanton

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Various minor kinds, 2016, linen, calico, adhesive, flashe, acrylic, oil, oil stick on board, 24 x 29cm, photo by Matthew Stanton

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Ask me how I am, 2016, linen, calico, adhesive, flashe, acrylic, oil on board, 22 x 27cm, photo by Matthew Stanton

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Tablet 3, 2016, linen, calico, adhesive, flashe, acrylic, oil, oil stick on board, 22 x 27.5cm, photo by Matthew Stanton

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Tablet 1, 2016, linen, calico, adhesive, flashe, acrylic, oil on board, 23 x 28cm, photo by Matthew Stanton

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Tablet 11, 2016, calico, adhesive, flashe, acrylic, oil on board, 24 x 24cm, photo by Matthew Stanton

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Tablet 9, 2016, calico, adhesive, flashe, acrylic, oil on board, 24 x 29.5cm, photo by Matthew Stanton

Tablet 10, 2016, calico, adhesive, flashe, acrylic, oil on board, 22 x 28cm, photo by Matthew Stanton

Tablet 12, 2016, calico, adhesive, flashe, acrylic, oil on board, 24 x 29cm, photo by Matthew Stanton

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Tablet 8, 2016, linen, calico, digitally printed cotton, adhesive, flashe, acrylic, oil, oil stick on board, 22.5 x 27cm, photo by Matthew Stanton

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Tablet 13, 2016, calico, adhesive, flashe, acrylic, oil on board, 23.5 x 23.5cm, photo by Matthew Stanton

Tablet 14, 2016, calico, adhesive, flashe, acrylic, oil on board, 22 x 28cm, photo by Matthew Stanton

Tablet 7, 2016, linen, calico, digitally printed cotton, adhesive, flashe, acrylic on board, 22.5 x 27cm, photo by Matthew Stanton

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Tablet 5, 2016, linen, calico, digitally printed cotton, adhesive, flashe, acrylic, oil on board, 22x27cm, photo by Matthew Stanton

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Tablet 4, 2016, linen, adhesive, flashe, acrylic, oil on board, 22.5 x 27.5cm, photo by Matthew Stanton

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Tablet 6, 2016, linen, calico, adhesive, flashe, acrylic, oil on board, 27 x 32.5cm, photo by Matthew Stanton

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Fall out, 2016, cotton, calico, adhesive, acrylic, on board, 30 x 30cm, photo by Matthew Stanton

Tablet 2, 2016, linen, calico, adhesive, flashe, acrylic, oil, oil stick on board, 26.5 x 21.5cm, photo by Matthew Stanton

SUBSTATION CONTEMPORARY ART PRIZE 2016

The Substation, 8 Sept - 8 Oct

Established in 2011 to encourage and recognise innovation in contemporary art practice, The SUBSTATION Contemporary Art Prize is a non–acquisitive $10,000 cash award for Australian resident artists. The show represents a major survey of the current spectrum of contemporary art practice.

Getting better not worse, 2016, linen, calico, adhesive, flashe, acrylic, oil on board, 27 x 32cm

GEELONG CONTEMPORARY ART PRIZE 2016

10 September to 13 November

Geelong Gallery

In recent works I have sought to create sculptural objects that appear resolved before I apply any paint. In Making space, synthetic polymer paint then encaustic was applied as a foundation. The material qualities of these layers, as well as their hue and the interaction between them, went on to inform the content of the painting. Seeking to reduce and simplify my compositions, I’ve been leaving a visible trail through multiple layers. Employing various different media has forced me to evaluate the importance of every mark, as each one threatens to conceal something below. Every layer speaks of a specific part of my creative process. The frame was approached as though it were another layer, introducing a further iteration of marginally shifted content. My aim is to draw the viewer beyond the surface, inviting them to ponder subtle subversions of order and shifts in material. As a counterpoint to the inherent labour in the many layers, the painted gestures are simple and thin. I view them as punctuation marks on a process where preliminary acts are valued as highly as the finished product.

Make Space, 2015, Acrylic, encaustic, pigment and oil on board, wood and acrylic Artists frame, 46 x 42cm, photo by Matthew Stanton

VERSION EDITIONS 2016

VERSION commissions artworks for exclusive limited edition release.

Kate Tucker’s works for VERSION have developed through a complex series of digital and analogue processes. Stained, cut and sewn paintings are made on canvas, which are then photographed and recombined in Photoshop, before being printed, collaged, painted on and finally printed on Platine Fibre Rag, a 100% cotton rag archival paper with a satin finish.

Kate described her process for creating Hard Mix and Divide as "cutting and composing through a process where digital and analogue are compressed into a kind of loop. And shifting things across media so they still show characteristics of all the processes but don’t belong to any of them."

The prints are available in limited editions of 20 + 2 AP's and can be acquired from www.versioneditions.com.

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Hard Mix, 2016, giclee print on Canson Platine Fibre Rag 310gsm, 77.4 X 106 cm, edition of 20 & 2AP

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Divide, 2016, giclee print on Canson Platine Fibre Rag 310gsm, 51.9 X 40 cm, edition of 20 & 2AP

THE HUNCH 2016

Ry David Bradley

Renee Cosgrave and Merryn Lloyd

Brent Harris

Nabilah Nordin

Stephen Palliser

Jahnne Pasco White

Kate Tucker

Curated by Boe Lin Bastian

Incinerator Gallery

5th August - 2nd October 2016

180 Holmes Road, Moonee Ponds

Installation view, work by Kate Tucker. Photo: Clare Rae

Installation view, work L-R: Jahnne Pascoe White, Kate Tucker, Brent Harris. Photo: Clare Rae

Installation view. Photo: Clare Rae

Installation view, work L-R: Brent Harris, Ry David Bradley, Jahnne Pascoe White. Photo: Clare Rae

Installation view, work L-R: Renne Cosgrave & Merryn Lloyd, Nabilah Nordin. Photo: Clare Rae

Installation view, work L-R: Brent Harris, David Palliser, Renee Cosgrave & Merryn Lloyd, Nabilah Nordin. Photo: Clare Rae

PAINTING REVEALED 2016

Ruby Brown, Eleanor Louise Butt, Ann Debono, Kate Tucker

Sutton Projects, 20 August- 10 September, 2016. Open Fri and Sat, 1-5pm.

Painting Revealed is an invitational exhibition featuring four emerging local painters. These artists span vastly different approaches to paint, from the lightness of raw gestural mark making, to sculpted surfaces of thick paint and wax, to the precision of representational oil painting. Across the distinctive painting processes, a fascination with what lies beneath prevails throughout – a desire to expose what preceded, to leave traces of evidence, or a key to decipher what is presented on the painted surface. Within their works each artist uniquely and deliberately accentuates what is masked or covered.

Installation view, L-R; Constancy, 2016, flashe, spray paint, acrylic and oil on calico and digitally printed linen, 41 x 52cm unframed. Turn Aside, 2016, flashe, spray paint, acrylic and oil on calico and digitally printed linen, 41 x 52cm unframed. Photo by Clare Rae.

Installation view, L-R; Ann Debono, Eleanor Butt, Kate Tucker. Photo by Clare Rae.

Installation view, L-R; Ruby Brown, Kate Tucker. Photo by Clare Rae.

Installation view, L-R; Precede or Follow, 2016, acrylic oil on linen, 71 x 61cm. The Space Around, 2016, acrylic, oil on linen, 71 x 61cm. Taken From a Whole, 2016, acrylic, oil on patchwork linen, 71 x 61cm. Roads Between, 2016, acrylic, oil on linen, 71 x 61cm. Photo by Clare Rae.

Screen Shot 2016-08-15 at 11.54.13 am-sm.jpg

CONCRETE AGENDA 2016

Belle Bassin
Olga Bennett
Emily Ferretti
Pia Murphy
Nell Pearson
Laura Skerlj
Tai Snaith
Kate Tucker
Alice Wormald

Curated by Tai Snaith

Concrete Agenda brings together nine Melbourne based artists working within the field of abstraction to question and present ideas of materiality, process and perspective. Exploring compositional play, openness and the language of form, the Artists examine ideas around authenticity, subjectivity and the psychology of taste. All share an agenda of interrogating the image at various stages of it’s development and resolution within the frame.

June 22 - July 17 2016
c3 Contemporary Artspace

Installation view, L-R: Kate Tucker, Olga Bennett, Nell Pearson, Alice Wormald, photo courtesy of c3 Contemporary Artspace

Installation view, L-R: Tai Snaith, Kate Tucker, Pia Murphy, Laura Skerlj, Emily Ferretti, photo courtesy of c3 Contemporary Artspace

Inner crowd, 2016, Acrylic, oil, oil stick on calico and linen

26 x 36cm unframed, photo courtesy of c3 Contemporary Artspace.

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Object Intended, 2016, acrylic and oil on calico and canvas

28 x 36cm unframed, photo courtesy of c3 Contemporary Artspace

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Main Features, acrylic and oil on calico, digitally printed cotton and canvas, 28 x 36cm unframed, photo courtesy of c3 Contemporary Artspace

PALM READER 2016

PALM READER

Dord Burrough
Nick Ryrie
Caleb Shea
Laura Skerlj
Kate Tucker

Opening: Wed 27th April, 6-8pm. Exhibition runs until May 21. Wed-Sun 12-5pm.

LON Gallery, 21 Easey St, Collingwood, Victoria, Australia

Installation view, Palm Reader at LONGallery

Untitled, 2016, Acrylic, oil on digitally printed cotton, 76.5 x 76.5cm unframed

Aggregate, 2015, Flashe, Acrylic, oil on board, glazed earthenware supports, 21 x 26cm

ELASTIC FIELD 2016

CURRENT

ELASTIC FIELD
Curated by Laura Skerlj
Fergus Binns
Gabriel Curtin
Michael Georgetti
Samson Martin
Viv Miller
Nick Ryrie
Antonia Sellbach
Laura Skerlj
Kate Tucker
January 29th – February 20th

Strange Neighbour presentS ‘Elastic Field’ curated by Laura Skerlj.

This exhibition presents an approach to contemporary painting where form, narrative, gesture, material and subject matter are combined using aggregational methodologies. Painting’s frame becomes a responsive and open structure—a stretchy space—where pictorial elements come together in energetic formation. Here, parameters established by a single line or grid are determined and disrupted. On other occasions, the frontier between abstraction and representation collapses. Collage meshes references to conflate high and low cues. Materials are stitched, mixed, built-up and bothered. Intuition becomes logic, labour rises up and agency evolves. In these various ways, the frame is agitated to invigorate painting from the inside out, conjuring a space that can reflect on both the dizziness of contemporary culture and the intimate experiences of making and looking.

Installation view including work by (left to right) Michael georgetti, Laura Skerlj, Viv Miller, Fergus Binns, Samson Martin, Antonia Sellbach, Kate Tucker, Grabriel Curtin, Nick Ryrie. Photo courtesy of Strange Neighbour.

Installation shot, courtesy of Strange Neighbour. Left to right: Samson Martin, Antonia Sellbach, Kate Tucker.

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Do the thing/not do the thing, 2015, acrylic, oil on linen and digitally printed cotton on board, 36 x 40cm unframed, Photo by Matthew Stanton.

Elastic Field flyer featuring work by Michael Georgetti

CUTAWAY 2016

Cutaway

Chapter House Lane

14 January - 31 January 2016, Opening 14 January, 6–8

Cutaway comprises works of a variety of mediums and techniques as a site-specific installation for Chapter House Lane’s walk-by space. Artist Kate Tucker reimagines the window as a stage for the re-enactment of her painting process.

Presented as a series of paintings and sculptures, Tucker engages with an open ended process whereby ideas inform material experiments. Tucker’s usual layering upon canvas transitions into the physical space of the gallery. For the works exhibited at Chapter House Lane, Tucker has sought to refine and expand her painting practice. In doing this, Tucker plays the amateur and dabbles and experiments with tensions present within her work.

Despite a desire to understand distinct materials, the conversation and meaning that arises between aluminium, bronze, cloth, gaffer tape and paint relies on homogeneity. What is separate will at the same time be entangled; layering and shifting abstract forms are central to the work. With an almost infinite number of variables on show, Tucker manages to use her works to coax out an articulate language that retains both her intentionality and a sense of resolution.

Text Courtesy of Chapter House Lane

Image: Get distance, 2015, Acrylic, encaustic, pigment and oil on board, wood and acrylic Artists frame, 40.5 x 45cm. Photo by Matthew Stanton

Installation view, photo by John Tucker

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Stasis, 2015, Acrylic, oil on linen and digitally printed cotton on board, 60 x 55cm framed, photo by Matthew Stanton

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Make Space, 2015, Acrylic, encaustic, pigment and oil on board, wood and acrylic Artists frame, 46 x 42cm, photo by Matthew Stanton

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Get distance, 2015, Acrylic, encaustic, pigment and oil on board, wood and acrylic Artists frame, 40.5 x 45cm, photo by Matthew Stanton

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Disarrange, 2015, batik, encaustic, oil on canvas, wood, glazed earthenware supports, 10 x 17cm, photo by Matthew Stanton

Open ends, 2015, Flashe, acrylic and oil on aluminium, glazed earthenware supports, 20.5 x 28cm, photo by Matthew Stanton

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Lay Bare, 2015, Canvas board, polyester thread, flashe, linen, glazed earthenware supports, 26 x 21cm, photo by Matthew Stanton

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Elevate, 2015, Bronze, digitally printed cotton, powder coated steel, photo by Matthew Stanton

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Cutaway, 2015, Digital print on cotton, paper, spray acrylic

48 x 32cm unframed, photo by Matthew Stanton

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Over Think, 2015, Acrylic and oil on mdf, glazed earthenware support, 10 x 17cm, photo by Matthew Stanton

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Paint The Future, 2015, Acrylic, oil on linen and digitally printed cotton on board, 36 x 40cm unframed, photo by Matthew Stanton

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Unfix, 2015, Acrylic, encaustic, pigment and oil on board, 22.5 x 27cm framed, photo by Mathew Stanton

Fasten, 2015, Digital print, flashe, acrylic and oil on board, 23 x 28cm framed, photo by Matthew Stanton

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Connect, 2015, Digital print, flashe, acrylic and oil on board

22.5 x 27.5cm framed, photo by Matthew Stanton

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Unravel, 2015, Acrylic, encaustic, pigment and oil on board

22 x 27cm framed, photo by Matthew Stanton

Gather, 2015, Digital print, flashe, acrylic and oil on board

22.5 x 27.5cm framed, photo by Matthew Stanton

Calm, 2015, Digital print, flashe, acrylic and oil on board

22.5 x 27.5cm framed, photo by Matthew Stanton

Ease, 2015, Digital print, flashe, acrylic and oil on board, 22.5 x 27cm framed, photo by Matthew Stanton

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Compose, 2015, Digital print, flashe, acrylic and oil on board, 23 x 27.5cm framed, photo by Matthew Stanton

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Act, 2015, Acrylic, oil on digitally printed cotton, 76.5 x 76.5cm unframed, photo by Matthew Stanton

Installation view, photo by John Tucker

DUTTON AT SPRING 1883

SPRING 1883 Sydney

Max Maslansky, Samuel T Adams, Daniel Noonan, Kate Tucker, Juan Fontanive

September 9 – 12, 2015

www.soniadutton.com

Pools of influence, 2015, Oil, acrylic on digitally printed cotton on perspex, 62 x 72cm, photo by Matthew Stanton

Amateurism, 2015, Digitally printed cotton canvas, thread, polymer emulsion, acrylic, oil, 30 x 30 cm framed, photo by Matthew Stanton

Beginning/end/border/cut, 2015, Digitally printed cotton canvas, linen, thread, polymer emulsion, acrylic, oil, 30 x 30 cm, photo by Matthew Stanton

Summary, 2015 Digitally printed cotton canvas, linen, thread, polymer emulsion, acrylic, oil, 30 x 30 cm framed, photo by Matthew Stanton

PERCY GRAINGER: IN THE COMPANY OF STRANGERS 2015

Percy Grainger: in the company of strangers

With John BROOKS, Dylan MARTORELL Alasdair McLUCKIE, Rebecca MONAGHAN, Darren SYLVESTER

The Gallery @ Bayside Arts & Cultural Centre, Carpenter Street, Brighton VIC, 20 June – 9 August 2015

The aspect of Grainger’s practice that fascinates me most is the ‘many-sided’ nature of his creativity. Believing his own worldview and aesthetic to be superior to all others, he reinvented everything. Rather than placing value on individual objects or works, he saw value in the connections between things and sought to bring these out. I perceive in his work a constant push and pull between pursuing free creativity and trying to gather and make sense of it all, to archive, summarise and to teach.

This series of paintings reference a number of aspects of Grainger’s oeuvre, both aesthetically and conceptually. In the Samples series, each painting has many layers, beginning with canvas or linen that has been cut, stained and reconstructed. The resulting quilt-like surface is immersed in a polymer emulsion that renders it flat and smooth, as though preserved. The paintings each stem from a different departure point and are deliberately aesthetically diverse. They are linked by the process of their making and their presentation, a sort of compendium of creative meanderings. As a group they bring to mind Grainger’s Museum panel’s, where clippings or photographs were collected and presented as one. But they also allude to rhythm and the annotation of music.

Putting it together/pulling it apart (layers of a song) deals more directly with the visual recording of music. In this work I sought to create a song-like construction using my own visual language. When working I have often pondered how a painting could possibly be as complex or complete as a successful song. This work strives to realise the way I ‘see’ music when I listen to it. In addition, it is a patchwork, stemming from the same process as the Samples series. But it is left raw and textural, suggesting a sort of mash up of Grainger’s clothing and graphic designs. It takes the form of a wall hanging, partly because I wanted to include an obvious nod to the traditional, decorative crafts that fascinated Grainger. But it also seemed like a fitting realisation of a process where the act of making is more important than the resulting object. Rather than presenting a group of perfectly finished paintings, these works are documents of a creative process without constraints.

All photo's by Matthew Stanton

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Beginning/end/border/cut, 2015, Digitally printed cotton Canvas, linen, thread, polymer emulsion, acrylic, oil, 30x30cm framed

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Illumination, 2015, Digitally printed cotton Canvas, thread, polymer emulsion, acrylic, oil, 30x30cm framed

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Summary, 2015, Digitally printed cotton Canvas, linen, thread, polymer emulsion, acrylic, oil, 30x30cm framed

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Liberation (Quilt), 2015, Canvas, thread, polymer emulsion, acrylic, oil, 30x30cm framed

Amateurism, 2015, Digitally printed cotton Canvas, thread, polymer emulsion, acrylic, oil, 30x30cm framed

Many sided life, 2015, linen, thread, polymer emulsion, acrylic, oil, 30x30cm framed

Unsound, 2015, Canvas, thread, polymer emulsion, acrylic, oil, 30x30cm framed

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Beginning/end/border, 2015, linen, thread, polymer emulsion, acrylic, oil, 30x30cm framed

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Putting it together/pulling it apart (layers of a song), 2015, Canvas, thread, Acrylic, charcoal, oil, wood, polymer clay, 100X 90cm approx

FINALIST - BAYSIDE ACQUISITIVE ART PRIZE 2015

Buildup, 2014, Paper, encaustic, oil on board, 15 x 20cm (framed)

www.baysideacquisitiveartprize.com.au

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MAN 2015

MAN

Kirsty Budge, Yvette Coppersmith, Diena Georgetti, Julia Gorman, Laura Skerlj and Kate Tucker

OPENING: Wednesday March 11th, 6-8pm EXHIBITION: 12th March - 4th April

Tristian Koenig

19 Glasshouse Rd, Collingwood

Thursday-Saturday, 12-5pm & by appointment

www.tristiankoenig.com

info@tristiankoenig.com

Install view, four work s at right by Laura Skerlj

Kate Tucker, Trap, 2015, Oil on linen, 190 x 160 cm (unframed)

CAVE PAINTING - 1, 2015

Cave Painting - 1

The Inaugural Exhibition

Caves, Suite 18, Level 6, 37 Swanston St Melbourne (the Nicholas Building)

Opening Friday the 6th of February 2015 6pm

www.cavesgallery.com

Belly, range, cave, 2014, Batik, encaustic, oil on canvas on board, 37 x 42.5cm

Indiscriminate progress, 2014, Batik, encaustic, oil on canvas on board, 37 x 42.5cm

Slip hope, 2014, watercolour, encaustic, oil on board, 10cm x15cm framed

Chocolate fascia, 2014, Watercolour, encaustic, oil on board. Framed 10cm x 15cm

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Buildup, 2014, Paper, encaustic, oil on board, 14.5 x 19.5cm

FAUX MUSEUM 2014

FAUX MUSEUM
c3 Inaugural Fundraising Event
Thursday 27th November – 14th December 2014

Curated by:
Anusha Kenny, Melissa Loughan, Kate Tucker and Ace Wagstaff

c3 has bought together a curatorial team consisting of Anusha Kenny, Melissa Loughan, Kate Tucker and Ace Wagstaff, who have developed a major exhibition to occupy the entire gallery. While raising funds is the goal of the show, the curatorial team is keen to look at fundraising as a creative concept. They are particularly interested in exploring ways in which large-scale institutions create funding opportunities through their environments and functions. To this end, the curators will create a Faux Museum within the gallery (an institution within an institution) that will replicate specific zones, allowing for a multitude of approaches.

Participating artists:
Paul Adair, Rachel Ang, Steven Asquith, Lauren Berkowitz, Fergus Binns, Kirsty Budge, Yvette Coppersmith, Sarah crowEST, Molly Dyson, Naomi Eller, Carly Fischer, Emily Floyd, Aurelia Guo, Starlie Geikie, Nina Gilbert, Minna Gilligan, Nathan Gray, Matlock Griffiths, Kate Hill, Kez Hughes, Andy Hutson, Katie Jacobs, Helen Johnson, Klara Kelvy, Annabelle and Alana Kingston (Paradise Structures), Nina Knezevic, Georgina Lee, Alanna Lorenzon, Travis MacDonald, Kym Maxwell, Rob McHaffie, William Mackinnon, Jordan Marani, Dylan Martorell, Pia Murphy, Bill Noonan, Rohani Osman, Paul Philipson, Clare Rae, Mark Rodda, Amelie Scalercio, Caleb Shea, Julian Aubrey Smith, Tai Snaith, Charlie Sofo, Dell Stewart, Adrian Stojkovic, Jelena Telecki, Peter Thomas, Kate Tucker, Meredith Turnbull, Brittany Veitch and Kent Wilson.
Exhibition project team: Jon Butt, Michelle Gordon, Jason Mildren, Sarah Barrow, Tahlia Shaw, Naomi Velaphi and Andrew Evans.

Untitled, 2014, Batik, encaustic, oil on canvas on board, 37x42.5cm, framed

Untitled, 2014, paper, encaustic, oil on board, 14.5x19.5cm framed

EMBLEM 2014

23 July - 16 August

c3 Contemporary Artspace, Abbotsford Convent, Melbourne

Tucker’s works are often based on the disruption of systems, alongside creation of chaotic states so pervasive they resemble systems. They often contain allusions to depth or three-dimensionality, in combination with a consciousness of surface. With Emblem, she creates sculptural supports where compositional elements are locked into place before painting begins. In doing this, she aims to anchor her painting process to a negotiation between the connection and separation of object and surface. The collection of forms that make up the support are disjointed enough to disrupt the continuity of surface, but remain linked nonetheless by marks that pursue connection and resolution.

Sign, 2014, 510mm wide x 350mm wide x 860mm tall, Found wood, glass, oil paint, digitally printed canvas, photo by Jeremy Dillon.

Badge, 2014, 405 x 405mm, Gouache, acrylic and oil on MDF, balsa wood, digitally printed canvas, photo by Jeremy Dillon.

Figure, 2014, 1130mm long x 400mm high x 400mm wide, Gouache and acrylic on MDF, powder coated steel, photo by Jeremy Dillon.

Untitled digital image, 2014, used as detail in Sign.

Installation view, photo by Jeremy Dillon

UNSTABLE ELEMENTS 2014

Download Phip Murray's catalogue essay here

Portrait with moving parts, 2014, Acrylic and oil on board, 33 x 28cm, framed. Photo by Jeremy Dillon

A place that holds, 2014, Oil on board, 70 x 65cm, framed. Photo by Jeremy Dillon

Impossible view, 2014, Acrylic and oil on board, 33 x 28cm, framed. Photo by Jeremy Dillon

Unstable Elements, 2014, Oil on linen, 152 x 120cm, framed. Photo by Jeremy Dillon

Connection Points, 2014, Oil on linen, 152 x 120cm, framed.Photo by Jeremy Dillon

Self SImilar #4, 2014, Oil on board, 80 x 80 x 9cm, framed. Photo by Jeremy Dillon

Removal of accuracy, 2014, Oil on linen, 82 x 102cm (dyptich), framed. Photo by Jeremy Dillon

In the done, 2014, Acrylic and oil on board, 25 cm diameter. Photo by Jeremy Dillon

Re-sensitise, 2014, Oil on linen, 108 x 195cm, framed. Photo by Jeremy Dillon

After Miller Drive, 2014, Oil on board, 65 x 70cm, framed. Photo by Jeremy Dillon

Building and Breaking, 2014, Acrylic and oil on board, 40cm diameter. Photo by Jeremy Dillon

Upheaved, 2014, Oil on board, 60 x 55cm, framed. Photo by Jeremy Dillon

Installation view, photo by Jeremy Dillon

SELF SIMILAR 2014

Rubicon ARI, 9-26 April 2014

In this body of work, Tucker highlights the role played by the outline or edge of the support in directing the outcome of a painting. To do this, she created irregular, at times unbalanced forms, which were then painted with a renewed consciousness of the image as the surface of an object. The term ‘self similar’ applies to anything where a small part of something loosely resembles the whole. When painting on a conventionally shaped surface, certain parameters have already been set. By using an irregular shaped board, the departure point is changed and the outcome is inevitably different. In these works, Tucker maps out an abstract space, using the outline of the form as the basis for an abstract language. They document a process of structuring space, then intervening with multiple random actions.

Photography by John Tucker and The Photography Department

Installation view, Photo by John Tucker

Self similar #1, 2014, Oil on board, 75 x 78 x 5cm, framed, photo by The Photography Department

Self similar #2, 2014, Oil on board, 79 x 88 x 4cm, framed, photo by The Photography Department

Self similar #3, 2014, Oil on board, 80 x 92 x 4cm, framed, photo by The Photography Department

Self similar #4, 2014, Oil on board, 80 x 80 x 9cm, framed, photo by The Photography Department

Self similar #7, Collaboration with Ryan Ward (United Measures), 2014, Acrylic and oil on board, wood, ink, 90 x 70 x 3cm, photo by The Photography Department

ART STAGE SINGAPORE 2013

Recent work, Helen Gory Galerie at Art Stage Singapore, 24-27 January 2013

Photography by Ken Cheun and John Tucker

Installation view, framed works on paper, photo by Ken Cheun

Installation view, Photo by Ken Cheun

Unstudied Immensity, 2012, Oil, acrylic on linen, 202 x 143cm

Photo by Ken Cheun

Spiritus ramble, 2012, Acrylic on board, 184 x 102mm unframed, Photo by John Tucker

Pointless topography, 2012, Acrylic on board, 110 x 110mm, round, (unframed), Photo by John Tucker

Category of sets, 2012, Acrylic on linen, 860 x 1020mm, (unframed), Photo by John Tucker

VIEWFINDER 2012

Helen Gory Galerie, 15 August-8 September 2012

Photography by Jeremy Dillon and John Tucker

Tai Snaith, Viewfinder Catalogue Essay , Aug 2012 - Download

Installation view, photo by The Photography Department

Infinite Regress, 2012, Acrylic on linen, 155 x 125cm, Photo by John Tucker

Danger Memory, 2012, Acrylic on linen, 41 x 41cm, Photo by The Photography Department

Dazzle Camo, 2012, Acrylic on linen, 105 x 87cm, Photo by The Photgraphy Department

Exuberant Dilapidation, 2012, Acrylic on linen, 105 x 87cm, Photo by The Photography Department

Melting Billow, 2012, Acrylic on linen, 105 x 87cm, Photo by The Photography Department

Unmapped, 2012, Acrylic on linen, 51 x 46cm, Photo by The Photography Department

PLATFORM PUBLIC ART SPACE 2011

Platform Public Art Space, Majorca Windows, melbourne, 3-25 June 2011

Installation view

MISSY HIGGINS ALBUM, STAGE SET, PORTRAIT 2012

Album Artwork for Missy Higgins third album The 'Ol Razzle Dazzle and stage backdrops for accompanying tour.

Portrait selected for 2012 Archibald Prize.

Missy album cover, 2012, acrylic on board, 30x30cm, photo by John Tucker

Missy Higgins 'The 'ol razzle dazzle' tour, View of stage with Backdrops

Melody (you’re the only one who saves me) – portrait of Missy Higgins, 2012, acrylic on linen, 155 x 125cm

SYMPHONIC ENCOUNTERS 2012

Symphonic Encounters

12 May - 24 Jun 2012

Artists Lauren Berkowitz, Helga Groves, Mia Salsjo, Britt Salt, Kate Tucker, Soo-Joo Yoo. Curated by Rachael Watts & Melanie Flynn.

Working primarily with ethereal or everyday materials, the six female artists in this exhibition question the idea of permanence. Employing notions of gathering, rhythm, and repetition the exhibition aims to transform the galleries, hallways, stairwells and windows and question the way we view the world around us.

Dan Rule, Review, Symphonic Encounters, Art Guide Australia, Issue July/August 2012, 12 May 2012 - Downlo ad

Installation view, photo by Dean McCoutrey

The infinite changeableness, 2012, Acrylic on linen, 105x87cm, photo by John Tucker

RECENT WORK 2011

Recent work, c3 Contemporary Art Space, Melbourne, 26 May-12 June 2011

Photography by Tim Gresham

Installation view, photo by Tim Gresham

2011, Acrylic on board, 41x41cm, photo by Tim Gresham

Feeling of sky, 2011, Acrylic on linen, 38x51cm, photo by Tim Gresham

Neon Valley, 2011, Acrylic on board, 41x41cm, photo by Tim Gresham

Embankment/Chorus, 2011, Acrylic on board, 41x41cm, photo by Tim Gresham

Paper rock, 2011, Acrylic on board, 60x90cm, photo by Tim Gresham

Shredded tent, 2011, Acrylic on board, 60x90cm, photo by Tim Gresham

EXPLODED VIEW 2011

Exploded View, Edwina Corlette Gallery, Brisbane, 17 September - 15 October 2011

Everything and nothing, 2011, Acrylic on linen, 865x1010mm, unframed

Exploded bloom, 2011, Acrylic On linen, 480x635mm, framed

Gentle crush, 2011, Acrylic On linen, 865x1010mm, unframed

Jewel stain, 2011, Acrylic On board, 440x440mm, framed

Neon mountain, 2011, Acrylic On linen, 440x440mm, framed

Quilted night sea, 2011, Acrylic On linen, 865x1010mm, unframed

Seeds and symbols, 2011, Acrylic On board, 440x440mm, framed

Fortress, 2011, Gouache On Aquarelle Arches Cotton rag paper, 190x150mm, unframed

High density

High density, 2011, Gouache On Aquarelle Arches Cotton rag paper, 190x220mm, unframed

castle, 2011, Gouache On Aquarelle Arches Cotton rag paper, 200x185mm, unframed

Rock spine, 2011, Collage From one off archival digital print on hahnemulle paper, 650x770mm, unframed

Warmth And water, 2011, Archival Digital Print (one off) on Hahnemuhle cotton rag paper, 815x1100mm, unframed

COUNTERFEIT SANCTITY 2010

Counterfeit Sanctity, Carmel Seymour and Kate Tucker, c3 Contemporary Artspace, Melbourne, May 2010

Photography by Tim Gresham

Melissa Loughnan, Catalogue Essay, Constructed Rituals, 29 Apr 2010 - Download

Installation view, 8 works on paper, photo by Tim Gresham

Installation view, photo by Tim Gresham

Necklace, 2010, Mixed media including wood, perspex, leather, paper, polymer clay, paint, string, electrical chord, photo by Tim Gresham

Necklace detail, photo by Tim Gresham

Extraction #1, 2010, gouache on paper, 45x45cm, photo by Tim Gresham

ARRAY 2009

With OK Collective, Bus Projects 2009

Installation view, photo by Tim Gresham

World #2, 2009, mixed media on paper, 140x140cm, framed, photo by Tim Gresham

MELBOURNE ART FAIR 2024

KATE TUCKER - A COMMUNITY OF PARTS BOOK LAUNCH EXHIBITION 2024

FINGERBREADTH

EXPRESSIVE POTENTIAL: STUDIES IN ABSTRACTION 2022-23

NOTIONS OF CARE 2022-23

ARTIST SEEKING COLLECTOR 2022-23

ARCHIVE OF COLOURS / HIERARCHY OF NEEDS 2022

SUNSHINE COAST ART PRIZE 2022

WOMEN IN ABSTRACTION 2022

O HORIZON 2022

Len Fox Painting Prize 2022

MELBOURNE ART FAIR 2022

ARTHUR GUY MEMORIAL PAINTING PRIZE 2022

4x4 McLelland Sculpture park & gallery 2021

A ROOF, NOT A ROOM 2021

NOTIONS OF CARE 2021

ARTBANK ACQUISITION 2020

ACCOMMODATE

FAIR

MELBOURNE ART FAIR (VIRTUAL) 2020

HELD 2020

NOTIONS OF CARE 2019

MODEL 2019

MANIFOLD 2018

SUPPORT STRUCTURE 2018

GEELONG CONTEMPORARY ART PRIZE 2018

DAINE SINGER AT SPRING 1883 2018

SONIA DUTTON AT NADA NEW YORK 2018

DAINE SINGER AT NADA NEW YORK 2018

COLLABORATOR, MATERIALS, NGV TRIENNIAL 2017-18

1717 PAINTING/NOT PAINTING 2017

YOUNG MODERNS 2017

A FABLED OBJECT 2017

CUTTINGS 2017

Bus ProjectsDates: 2 August - 26 August 2017

ARTHUR GUY MEMORIAL PAINTING PRIZE 2017

UNSTORY 2016

TABLETS 2016

Daine Singer

5 October - 5 November 2016

Download essay by Amelia Winata

SUBSTATION CONTEMPORARY ART PRIZE 2016

GEELONG CONTEMPORARY ART PRIZE 2016

VERSION EDITIONS 2016

THE HUNCH 2016

PAINTING REVEALED 2016

CONCRETE AGENDA 2016

PALM READER 2016

ELASTIC FIELD 2016

CURRENT

CUTAWAY 2016

DUTTON AT SPRING 1883

PERCY GRAINGER: IN THE COMPANY OF STRANGERS 2015

FINALIST - BAYSIDE ACQUISITIVE ART PRIZE 2015

MAN 2015

CAVE PAINTING - 1, 2015

FAUX MUSEUM 2014

EMBLEM 2014

UNSTABLE ELEMENTS 2014

SELF SIMILAR 2014

ART STAGE SINGAPORE 2013

VIEWFINDER 2012

PLATFORM PUBLIC ART SPACE 2011

MISSY HIGGINS ALBUM, STAGE SET, PORTRAIT 2012

SYMPHONIC ENCOUNTERS 2012

RECENT WORK 2011

EXPLODED VIEW 2011

COUNTERFEIT SANCTITY 2010

ARRAY 2009

Bus Projects
Dates: 2 August - 26 August 2017