Published March 2014
Published June 2013
Published December 2012
Published September 2012
Published June 2012
Published December 2011
Published September 2011
Head of Environmental Studies at the University of Tasmania and writer Peter Hay describes the recent paintings of Sue Lovegrove made from her experience of different islands off the coast of Tasmania - Maatsuyker Island, Egg Island and most recently Tasman Island. Lovegrove began with painting clouds but has moved on to paint the shape of the wind.
Published March 2012
1 October 2011 – 1 January 2012
Curator: Iris Shu-Ping Huang
National Taiwan Museum of Fine Arts?(NTMoFA)
Media artist, techno-evangelist and digital nomad Fee Plumley responds to Mesne Design Studio's lacemaking environment 'Pricking Version 2.0' which is their answer to the question “what happens if you apply computational processes to the historical notion of craft?”.
Curator: Linda Williams RMIT Gallery, Melbourne 2 December 2011 - 28 January 2012
Powerhouse Museum Curator of Textiles Lindie Ward discusses the groundbreaking 'Love Lace' exhibition on show at the Powerhouse until April 2013. A globally sourced series of works it showcases 130 designs for openwork structures from 20 countries.
Liverpool Street Gallery 3 – 23 December 2011
American artist Janet Echelman reshapes urban airspace with monumental, fluidly moving sculpture that responds to environmental forces including wind, water, and sunlight. The artist’s ongoing series of aerial net sculptures started in 1997 when she was in India as a Fulbright Scholar and became fascinated with the beauty and movement of traditional fishing nets. In 2011 her installation 'Tsunami 1.26' hung over the Town Hall traffic intersection in Sydney as a joint initiative of the Powerhouse Museum and Art and About Sydney.
Curator: Thelma John
Gallery Central, Perth
24 October - 12 November 2011
Published 01 March 2012
Curator, scholar and guest editor Margot Osborne is interested in the current resurgence of pattern and complexity in the practices of contemporary Australian and international artists and the way they share borders and frontiers with recent developments in complexity theory in science whether deliberately or intuitively.
Osborne has also curated an associated exhibition, Art, Pattern and Complexity at the Royal Institution of Australia's Science Exchange, Adelaide, on from 16 February to 16 May 2012.