Holding Patterns

SYDNEY

4A HAYMARKET

PART 1 KIEN SITU: 9 JULY – 2 AUGUST 2020
PART 2 CROSSING THREADS®: 6 – 30 AUGUST 2020
PART 3 SHIREEN TAWEEL: 3 – 25 SEPTEMBER 2020
PART 4 SOFIYAH RUQAYAH: 1 – 23 OCTOBER 2020

In a period of uncertainty and stasis, artists have demonstrated the capacity of human creativity through artistic innovation, lateral thought, and inspired action. In our current period of changes and shifts, 4A is pleased to invite you to engage with Holding Patterns, a series of four solo exhibitions on view from July to October. These exhibitions highlight and support the works of Sydney-based artists Kien Situ, Crossing Threads®, Shireen Taweel and Sofiyah Ruqayah, utilising our ground-floor gallery space and windows out onto Haymarket’s streets.

Referring to the aeronautical manoeuvre of an airplane forced to delay its landing procedure to avoid potential disaster, a holding pattern suggests divergence from an established routine and the suspension of normalcy. Crucially, it is an action of adaptability: a pilot executing specific turns whilst accounting for wind speed and direction to establish its course. The pattern achieves seemingly limitless flight, looping until given permission to commence its landing operations, once again returning to earth and reality. It is in this moment of suspension that we find ourselves undertaking our own rituals of contemplation, addressing our own pathways forward in a time of stillness.

For the exhibiting artists COVID-19 has been an unexpected intervention, a force majeure. Forced out of their routines, artists have now been given opportunities to reflect on what it means to be creatively-engaged during a time of crisis. Contemplating artistic practice with the arts industry shut down, Holding Patterns demonstrates the resilience and ingenuity of artists during this time.. Some have taken time to rest and recharge, quietly laying projects to rest to make way for new ideas, while others have pivoted to hone their craft. 

Through textiles, sculptures, metallurgy, drawing and painting, the artists of Holding Patterns deftly navigate cultural histories, identities, object permanence and transmutation through process-based practice. As the first exhibiting artist, Kien Situ creates architecturally-informed sculptures of domestic and sacred objects and furniture rendered with obscurity in form, function and material. The complex ‘interknot’ technique of Crossing Threads® embraces compositional tension and release in the contrasting tones and textures of their lyrical, abstracted pieces. Shireen Taweel modernises the traditional art of copper-smithing to create pieces that blur the line between jewellery and sculpture, opening dialogues of shared histories and relationships between communities of fluid identities. Sofiyah Ruqayah’s indeterminate forms draw upon mutations of human and non-human realities, generating connections between tangible bodies and aetheric dreams and spirit worlds informed by cultural myths of embodiment.

Fusing together their own creative impulses within traditional methods, these artists make mass departures from ‘normal’ culturally-concerned art making. It is within these strays from tradition and the ‘expected’ that new cultural dialogues can begin to emerge, representing the hybridity of Asian-Australian contemporary art practice. By merging traditional Asian techniques and labour-intensive processes, Holding Patterns relishes in craftsmanship and provides opportunities to glimpse the artists’ material worlds of contemplation and stillness, offering momentary suspension from our own holding patterns.


Artist Biographies:

Crossing Threads® is the collaborative work of Australian-born sisters of Filipino heritage Lauren Hernandez (b. 1988, Sydney) and Kass Hernandez (b. 1989, Sydney). These self-taught tapestry artists first explored the practice of weaving in early 2015 by attending a beginner’s workshop. Known for their large-scale and highly textural handwoven pieces, the Hernandez sisters seek to emulate the natural forms found in nature. Their carefully curated fibre selections include Australian Merino wool, plant-based fibres, up-cycled/dead-stock fabrics and other foraged items that aren’t traditionally used in fibre art. Their practice has led them to develop their recognisable ‘interknot’ technique, made up of intertwining hand-knotted chains of varying texture and thickness which graduate to a relief. The artists continually draw spiritual inspiration from their surrounding landscapes and personal experiences and are materialised through their abstract designs.

Sofiyah Ruqayah (b. 1992, Sydney) is a Sydney-based artist working across drawing, installation, collage and painting to explore the strange territories between human and nonhuman realities. She is interested in themes of mutation, dream and spirit worlds. Drawing upon imagined and felt connections between various bodies, presences and memories, as well familial and cultural myths of embodiment, Sofiyah’s practice invites us to speculate on our nonhuman origins and intertwined fates. In 2020, Sofiyah is undertaking a 12-month studio residency at Parramatta Artists’ Studios, and will present her first solo exhibition at Firstdraft Gallery (Woolloomooloo) in September. She has exhibited both locally and internationally, including group exhibitions at Lubov Gallery (New York), Peacock Gallery (Sydney) and at Casula Powerhouse Arts Centre (Sydney) with Woven Kolektif, a collective of emerging Australian artists with personal ties to Indonesia.

Kien Situ (b. 1990, Sydney) is a sculpture and installation artist meditating on memory, cultural amnesia and identity in relation to the aesthetics of constructed objects and environments. Drawing upon familiar spatial, formal, textural, tectonic and material experience of his East Asian upbringing, Kien utilises and dissects his Eurocentric architectural education to create objects which reinterpret formative aesthetic and sensory experiences obfuscated by a diasporic childhood. His works are a physical melding of this experience, casting industrial gypsum cement with the regional, “artistic” material of Chinese Mò ink, a material central to the artist’s practice as part of the investigation into the symbiotic relationship between geography, place and identity.

Shireen Taweel (b. 1990, Bankstown, lives and works in Sydney, Australia) is a multimedia installation artist whose work broaches issues of the construction of cultural heritage, knowledge and identity through language and the constantly shifting public space of the social, political and religious axiom. Her artistic practice draws from the personal experiences of being Lebanese Australian living between cultures, and how the physical spaces within her community reflect a complex cultural landscape of transformation expressed through hybridity and plurality. The project development of Shireen’s works are often site-specific, weaving local narratives and research with a focus on experimentation in material and sound through site. Shireen’s constant acquisition of traditional coppersmith artisan skills is a research vessel for community focused conceptual development, and through a progressive application of the collected artisan techniques and a manipulation of the traditional acts of making that leads to possibilities of cross-cultural discourse opening dialogues of shared histories and fluid community identities. 

TOURING: Eugenia Lim: The Ambassador

GOULBURN, NSW

GOULBURN REGIONAL ART GALLERY

10 JUL – 15 AUG 2020

Eugenia Lim is an Australian artist of Chinese–Singaporean descent who works across video, performance and installation. In her work, Lim transforms herself into invented fictional personas who traverse through time and cultures to explore how national identities and stereotypes cut, divide and bond our globalised world.

This 4A Centre for Contemporary Asian Art and Museums & Galleries of NSW (M&G NSW) initiated touring project presents Lim’s most recent body of work, The Ambassador seriesIn this three-part project, Lim takes on a Mao-like persona who sits halfway between truth and fantasy –  dressed in a gold lamé suit and matching bowl haircut. Throughout each of her works, the Ambassador takes on new roles in uncovering the Australian-Asian narrative – drilling down into racial politics, the social costs of manufacturing and the role of architecture in shaping society.

Visitors have commented:

“Wonderful revelation”

“Absurd and profound”

“What an incredible exhibition”

Anne & Gordon Samstag Museum of Art, SA

Part 1: Yellow Peril (2015)

Yellow Peril contemplates the fraught stories from the first wave of Chinese migrants seeking to make their fortunes in the Australian gold rush. The 17-minute featurette transports Lim’s Ambassador to the Sovereign Hill theme park, an open air museum that reimagines 1850’s Ballarat, Victoria. Mixing in with a cast of modern-day visitors and historical theme-park actors, Eugenia’s lone Ambassador silently wanders throughout the site from dawn to dusk. She partakes in gold mining, inspects machinery and eventually strikes gold and ‘wins big’. However, throughout the process, Lim’s Ambassador seems twice removed – silent, isolated and ambiguous – appearing as a literal and cultural relic from another time and place.

Exhibited alongside is the sculptural gold nugget featured in the video work and two photographs printed on gold emergency blankets – one picturing the artist’s hopeful parents shortly after their arrival in Australia in front of Ron Robertson-Swann’s public sculpture Vault (1980)or better known in Melbourne as ‘yellow peril’.

These poetic elements draw careful attention to the local and personal experiences for many first-generation Chinese migrants, including Lim’s own parents, and the social costs of seeking fortune in a faraway land.

Part 2: The People’s Currency (2017)

When almost everything is now ‘Made in China’, how are we, as consumers, implicated in the poor labour conditions of the production line? – Eugenia Lim

Borrowing its name from the renminbi (China’s Currency), The People’s Currency turns the gallery into ‘Renminconn’, a closed-loop ‘special economic zone’. Within this zone Lim dressed as the Chairman Mao-like, gold-suited Ambassador, stands over her factory of counterfeit money-printing and ceramic imitation electronic consumer goods. As the Ambassador, Lim invites the public to enter into ‘short-term employment’ as shift workers on her factory floor, completing a menial yet meditative task. Based on her satisfaction with the completed product, she will remunerate the ‘employee’ with her counterfeit notes printed on site – The People’s Currency.

In Lim’s project, this collision of mass-production, menial work and counterfeit currency become strategies to evaluate the two-fold impacts of global capitalism – on those who seek their fortunes in the factories of China or ‘the workshop of the world’, and the global consumers of these ubiquitous and aspirational products.

Part 3: The Australian Ugliness (2018)

Lim’s latest project surveys the role of architecture in marking a society and shaping national identity. The work has been titled after the bestselling book by Robin Boyd, arguably one of Australia’s most prominent architects and Modernists. Boyd’s The Australian Ugliness denounces the conservative, kitsch and decorative tastes of post-war 1950s Australia, warning against parochialism and insularity. Lim will build upon these ideas, transporting them into 21st century Australia.

This multi-channel video work, will see the Ambassador lead a wide-ranging tour of iconic public and private spaces in Australian cities. The work will insert a female and Asian identity on screen and into the built environment of our cities – spaces still dominated by macho-white taste. Throughout her journey, The Ambassador will interrogate the tensions between globalism and localism, natural and the cultural and the importance of understanding Boyd’s featurism today in the Asian century.

Curated by Mikala Tai, Director, 4A Centre for Contemporary Asian Art, The Ambassador is travelling to eight galleries and art centres across Australia between 2019 and 2021 through Museums & Galleries of NSW.

A 4A Centre for Contemporary Asian Art and Museums & Galleries of NSW touring exhibition. This project is assisted by the Australian Government’s Visions of Australia program

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I am a heart beating in the world: Diaspora Pavilion 2, Sydney

POSTPONED 

 

With international travel limitations affecting our ability to deliver our planned program, 4A and International Curators Forum have decided to postpone the exhibition I am a heart beating in the world: Diaspora Pavilion 2, Sydney, scheduled to open to the public on Thursday 16 April. With a desire to realise the exhibition at a time when our creative team can work together in Sydney and audiences can engage with the artworks and our planned public programs, the Diaspora Pavilion 2, Sydney project will be delayedOur 2020 4A Curators Intensive to be held  in line with the revised Diaspora Pavilion exhibition.

 

I am a heart beating in the world: Diaspora Pavilion 2, Sydney‘s original exhibition dates of April – June 2020 were revised to ensure the health and wellbeing of our staff, creatives, audiences and wider community during the COVID-19 outbreak.


SYDNEY

4A HAYMARKET

Exhibition artists: Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie Xa and Daniela Yohannes.

I am a heart beating in the world is the first of a series of peripatetic international events that culminate in the second edition of International Curators Forum’s (ICF) Diaspora Pavilion being planned to take place during the Venice Biennale 2021. 4A Centre for Contemporary Asian Art is collaborating with ICF to present this unfolding series that will interrogate and complicate the term diaspora. As the first project of the series, I am a heart beating in the world presents the navigations, imaginings and lived experiences of diasporic subjectivities through the works of six artists based in Australia, the UK and Caribbean: Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie Xa, Daniela Yohannes.

Understanding diaspora as a distinct sometimes provisional experience nuanced economically, historically and regionally I am a heart beating in the world is as much an exhibition as it is a research project, underpinned by fieldwork and reviews of how artists, curators, theorists and institutions engage with diaspora as a topic. 4A’s biannual 4A Curators Intensive will be held alongside the exhibition in April bringing together early-career Australian curators alongside a UK based early career curator for a week-long professional development program. The intensive will be facilitated through workshops, lectures, site visits and discussions.

Artist Biographies:

Abdul-Rahman Abdullah (b. Port Kembla, Australia 1977 lives and works in Perth, Australia) is a sculpture whose practice explores the different ways that memory can inhabit and emerge from familial spaces. Drawing on the narrative capacity of animal archetypes, crafted objects and the human presence, Abdullah aims to articulate physical dialogues between the natural world, politics and the agency of culture. Recent exhibitions include The National, Museum of Contemporary Art, Sydney, Australia (2019), Dark Horizons, Pataka Art + Museum, Wellington, Aotearoa New Zealand (2017) and Magic ObjectAdelaide Biennale of Australian Art, Adelaide, Australia (2016).

Kashif Nadim Chaudry (b. Nottingham, United Kingdom 1976 lives and works in Nottingham, United Kingdom) is informed by his family heritage in tailoring which has influenced and focused his practice around the importance of materiality and craftsmanship. His work is characterised by the working, shaping and moulding of physical objects through the use of elaborate textile-based techniques to create monumental installations from fabric and found objects. Negotiating his identity as a British born gay man of Pakistani Muslim heritage much of Chaudry’s work questions how people choose to position themselves in the world. In relation, it is increasingly the sculptural and three-dimensional possibilities within his work that address the idea of positioning power, the sacred and the ceremonial. Recent exhibitions include Swags & Tails as part of the Asia Triennial, Manchester, UK (2014) and The Three Graces, Turner Contemporary, Margate, UK (2016).

Lindy Lee (b. Brisbane, Australia 1954 lives and works in Byron Bay, Australia) has an expansive practice that explores her Chinese ancestry through Taoism and Ch’an (Zen) Buddhism – philosophies that see humanity and nature as inextricably linked. Symbolic gestures and processes that call on the element of chance are often used to produce a galaxy of images that embody the intimate connections between human existence and the cosmos. Rather than singular visual statements, they are thoughtful objects where meaning emerges from sustained meditation. Recent exhibitions include the solo Lindy Lee: The Dark of Absolute Freedom, The University of Queensland Art Museum, Brisbane, Australia (2014), and group exhibitions Divided Worlds: Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, Australia (2018) and Marking Time, Museum of Contemporary Art, Sydney, Australia (2012).

Leyla Stevens (b. Cooroy, Australia 1982 lives and works between Bali, Indonesia and Sydney, Australia) is an Australian-Balinese artist and researcher who works predominately within moving image and photography. Her practice is informed by ongoing concerns around gesture, ritual, spatial encounters, transculturation and counter histories. Working within modes of representation that shift between the documentary and speculative fictions, her work deals with a notion of counter archives and alternative genealogies. Recent exhibitions include her solo presentations Their Sea is Always Hungry, UTS Gallery, Sydney, Australia (2019) and Of Love and Decomposition, Firstdraft, Sydney, Australia (2016) and group exhibitions Breathing Room (collaboration with Woven Kolektif), Cement Fondue, Sydney, Australia (2019), BEAUT 19, Brisbane & Elsewhere Art UnTriennial, Brisbane, Australia (2018) and the John Fries Award, UNSW Galleries, Sydney, Australia (2018).

Daniela Yohannes (b.1982 lives and works in Guadeloupe, in the French Carribean) is a British-Eritrean/Ethiopian artist who, since training, as an illustrator has meandered through several disciplines before becoming an artist. Since moving to the Caribbean two years ago, her surroundings have found their way into her creations. She describes her inspiration as that of the invisible; the forces and concepts that drive and surround us: unseen but constantly at work on our bodies and minds. Her paintings and recent moving image works are witness to the expression of nature; explorations of the intimate experiences that are shared only with the elements: earth, air, water, and space. She confronts themes of the unconscious, race, identity and ancestry, the ethereal nature of the cosmos and plurality of the individual – interrogating the nature of belonging and what constitutes that feeling of ‘home’ and the impact and consequences of alienation. Recent solo exhibitions include; The Fall: A Woman’s descent into the Unconscious, Addis Fine Art Project Space London, UK, (2019), Beyond Voudou, The Pikture Gallery Bangkok, Thailand (2010) and group exhibitions Influence Project, Real Music Rebels East Wing Takeover, Somerset House London, UK, (2018) and House of Wahala Project Texas, USA (2017).

Zadie Xa (b. Vancouver, Canada 1983 lives and works in London, United Kingdom) explores the overlapping and conflation of cultures that inform self-conceptualisation identities and notion of self through performance, video, painting and textiles. Her layered textile works are sites for exploring contemporary identity construction and performance through cultural sampling, informed by her own experience within the Asian diaspora. Xa’s intricate, hand sewn wearable and performable garments stitch together a range of personally relevant imagery sourced from music, digital space, fashion, and art history. Xa has developed a system of personalised semiotics that propose entirely new images and objects, creating a personal visual language for articulating nuanced Asian identity narratives, which are frequently situated within fantastical or supernatural realms. Recent solo exhibitions include Meetings on Art performance program for the Venice Biennale open week (2019), Child of Magohalmi and the Echos of Creation, Yarat Contemporary Art Space, Baku, Azerbaijan (2019) and Soju Sipping on a Sojourn to Saturn, Galeria Agustina Ferreyra, Mexico (2018).

I am a heart beating in the world: Diaspora Pavilion 2, Sydney is presented in partnership with International Curators Forum and with support from Outset. This project has been supported by The British Council.
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For us sinners

POSTPONED

SYDNEY

4A HAYMARKET 

Exhibition artist: Marikit Santiago

The garden of Eden, as told by the Book of Genesis in the Bible, is home to the Tree of Knowledge of good and evil that is guarded by a serpent. The craftiest of God’s creations, the serpent persuades Eve to disobey her creator and eat the forbidden fruit, sharing a piece with Adam. This rebellion is discovered by God, who banishes the pair from paradise, sending humankind into the realm of worldly experience, including death, suffering, the inclination to sin, the loss of sanctifying grace and guilty conscious. From herein, the children of Adam and Eve are punished with this hereditary condition, known as ‘original sin’.

Historically understood within Catholicism as a story of temptation and sin brought on by the weakness of woman and the suppleness of the snake, Sydney based painter, Marikit Santiago reframes and complicates this history in a series of commissioned paintings. Combining the narrative power of Catholicism and the western art canon with her lived Australian-Filipino experience, For us sinners explores ‘original sin’ by freeing the story from its gendered taint of weakness and guilt. In a series of emotionally charged works that question the themes of utopia and dystopia, control and transgression, duty and autonomy, sex and sexual difference, paradise and exile, Santiago’s first institutional solo exhibition offers nuanced parables fit for the current moment.

Artist Biography:

Marikit Santiago (b. 1985, Melbourne. Lives and works in Western Sydney, Australia).  Marikit Santiago’s sculptural and painting practice co-opt references, imagery and symbolism from her Australian-Fillipino ancestry, Catholicism and the Western Art Cannon to interrogate the contradictory sensations, values and ideas that exist at her plural identities. Her recent exhibitions include Bayanihan Philippine Art Project (2017) at Art Gallery New South Wales, Blacktown Arts Centre, Campbelltown Arts Centre, Mosman Art Gallery and Peacock Gallery; New Sacred (2018) at Mosman Art Gallery; I LOVE YOU MELISSA (2018), The Lock Up; Mahal (2018), Firstdraft and Everyday Madonna (2019), Casula Powerhouse Arts Centre. Santiago has been selected as a finalist for the Art Gallery of NSW’s Archibald Prize in 2016, received the Sam Whiteley Commendation Award in the 2018 Churchie Emerging Art Prize, Institute of Modern Art and is a 2019 finalist of the Sulman Prize, Art Gallery of New South Wales. In 2018, she was shortlisted for Create NSW’s Visual Arts Emerging Fellowship. Santiago also holds a Bachelor of Medical Science (2007), a Bachelor of Fine Art (Honours Class I) in 2011 and a Master of Fine Art in 2017 from the University of New South Wales. During this time, she was awarded a Dean’s Award for her undergraduate degree and the Australian Postgraduate Award for her Masters degree. Her work features in private and public collections in Australia.

Drawn by stones

POSTPONED 

SYDNEY

4A HAYMARKET

Exhibition artists: Dean Cross

Drawn by stones brings together artists who utilise the ceramic medium to interrogate contested histories, stolen land, Indigenous sovereignty, and concepts of national identity. Exhibiting artists from Australia, Hong Kong and Taiwan investigate the creation of a sense of ‘nationhood’ and ownership through ceramics and demonstrate how the ceramic form can both memorialise and tell alternative histories.

The exhibition is grounded by the 2020 installation of Monuments, Dean Cross’ site-responsive work – an ongoing project since 2016, intended for exhibition every two years. Cross’ Monuments challenges colonial concepts of ceramics, memorialising and memory, with handfuls of white ochre – handfuls of Ngunnawal/ Ngambri Country – gathered by the artist’s father on their property with permission from local elder and custodian of the land Aunty Matilda House – building a grid that spreads across the gallery floors.

Taking its title from Marvin Bell’s 1984 poem Drawn by Stones, by Earth, by Things That Have Been in the Fire, this exhibition recognises that the foundations of ceramic practice lie in the earth – and through the work of exhibiting artists, aims to expand the relevance of ceramic histories, dialogues and interrogations of land, place, sovereignty and ownership across Asia and Australia.

Artist Biographies:

Dean Cross was born and raised on Ngunnawal/Ngambri Country and is of Worimi descent. He is a trans-disciplinary artist primarily working across installation, sculpture and photography. His career began in contemporary dance, performing and choreographing nationally and internationally for over a decade with Australia’s leading dance companies. Following that Dean re-trained as a visual artist, gaining his Bachelor’s degree from Sydney College of the Arts, and his First Class Honours from the ANU School of Art and Design.

Dean has shown his work extensively across Australia. This includes the Indigenous Ceramic Prize at the Shepparton Art Musuem, curated by Anna Briers and Belinda Briggs (2018), Tarnanthi at the Art Gallery of South Australia, curated by Nici Cumpston (2017), RUNS DEEP a solo show at Alaska Projects, Sydney (2018), The Churchie Emerging Art Prize (2016), The Redlands Konica Minolta Art Prize (2015), and the Macquarie Group Emerging Art Prize (2015) where his work was awarded the Highly Commended prize by artist Joan Ross. In 2018 Dean has also exhibited at the Australian Centre for Photography, Sydney, as a part of the NEXTWAVE Festival Melbourne, with curator Amelia Winata, and at Artbank, Sydney in Talia Smith’s In a World of Wounds. Also, Dean has been a year-long Artist in Residence at the Canberra Contemporary Art Space (CCAS). Dean was also selected to be a part of the 4A Beijing Studio Residency Program in Beijing, China.

TOURING: Dark Fantasy

DARWIN, NT

NORTHERN CENTRE FOR CONTEMPORARY ART (NCCA)

9 OCT – 21 NOV 

Exhibition artists: Andy Ewing, Gerald Leung and Louise Zhang

Dark Fantasy plays with the narrative tropes, visual aesthetics and ideologies explored within the umbrella genre of fantasy as a method of navigating the potential crisis of identity. The works of Andy Ewing, Gerald Leung and Louise Zhang are uneasily fantastical, simultaneously drawing upon science fiction, wayang aesthetics, cyberpunk and body horror and personal experiences to construct imaginary scenes of unhinged otherness.

Artist Biographies:

Andy Ewing has worked as an artist, curator, and arts project manager over the past two decades. He undertook formal studies in visual art in Sydney during the late 1980s/early 1990s and soon after held his first solo exhibition in Sydney. Chronic Manageable Conditions represents his first solo exhibition in a public art gallery and a concerted return to his practice after a long hiatus. His curatorial achievements include Monster Pop!, Museum and Art Gallery of the NT, 2015/15 (co-curated with Fiona Carter), and Territorial, NCCA/Canberra Contemporary Art Space, 2007 (co-curated with David Broker). In 2015 Andy was judged overall winner of NCCA’s Members’ show (Milestone) as well as NCCAs Peer Review show.

Gerald Leung (b. Hong Kong SAR, lives and works in Sydney, Australia) is an illustrator and artist based in Sydney Australia. He is best known for his character driven illustration series, “Brutal Brackmetal,” where he tirelessly creates/recruits members for his ever expanding fictional gang.

Born in Hong Kong but raised in Australia, Gerald grew up with a steady diet of comic books, video games and cartoons from both the east and the west. Through these influences he became fascinated by the concept of man-made universes. Imagined worlds not bound by reality or physics, no rules and infinite possibilities. Places that could be so vast and complex but yet only existing in the creator’s mind. Through traditional illustration methods and his love of ink & graphite, Gerald aims to share with the audience an insight to his inner universe.

Gerald has exhibited consistently since 2011 with selected exhibitions including Within the Garden of Earthly Delights (2019), Outre Gallery, Melbourne; SFW (2016), Kong Art Space, Hong Kong; and Arcadia (2015), aMBUSH Gallery, Sydney.

Louise Zhang (b. Sydney, Australia 1991) is a Chinese-Australian artist, whose multidisciplinary practice spans painting, sculpture and installation. Her work negates the space between the attractive and repulsive. With an interest in horror cinema, particularly body horror, Zhang investigates the idea of the visceral as medium, method and symbol in negotiating horror as art form.

Louise Zhang completed a Bachelor of Fine Arts with Honours (First Class) at the College of Fine Arts, University of New South Wales in 2013, before recently completing a Masters of Fine Arts by research at UNSW Art + Design in 2016. Since 2012, Louise Zhang has been invited to exhibit as part of curated exhibitions including: Closing the Distance (2017), Bundoora Homestead Art Centre; Ereignis (2016), Cessnock Regional Gallery, Cessnock; From Old Ground (2015), Bathurst Regional Art Gallery; Work, rest, PLAY! (2015), Hawkesbury Regional Gallery; Right Here, Right Now (2015), Penrith Regional Art Gallery; Biggie Smalls (2015), Casula Powerhouse and Chinese Whispers (2014), Goulburn Regional Art Gallery. Louise has also collaborated on projects with institutions such as the Museum of Contemporary Art Australia (who invited her to curate MCA Art Bar in January 2017) and 4A Centre for Contemporary Asian Art (who commissioned Louise to create a work as part of their 2017 Chinese New Year program).

Dark Fantasy was originally exhibited at 4A Centre for Contemporary Asian Art in 2019.

Dark Fantasy is presented in 2020 by 4A Centre for Contemporary Asian Art, Sydney in partnership with Northern Centre for Contemporary Art, Darwin.

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