Phaptawan Suwannakudt: Turtles, a Fish, and Ghosts…

July 5th to July 27th 2002

Turtles, a Fish, and Ghosts... is a solo exhibition featuring works by artist Phaptawan Suwannakudt.

Artist’s Statement:

I have worked on mural projects in temples and other public spaces during the fifteen years before I moved to Australia in 1996.  My works had largely been involved with Buddhist themes such as the Life of the Buddha or the Narratives of Buddha’s Previous Lives.  Now I live and work in Australia, my works have changed accordingly.  They involve more of my own experience and personal life.

The work is the exhibition Turtles, a Fish and Ghosts… are from 1999-2002.  They include earlier work about the lives of the Buddha in which I chose to work on a six-panel screen instead of on the wall.

The other works are later and reflect my experience in Australia.  The four sets of triptychs, Earth, Wind, Water, and Fire depict my reaction to Australian scenes through the interpretation of Thai pictorial elements.  The division of subject matter in these works is as if we are looking out through the window from the inside of a temple.  This view comes from my habit of looking out at things when I had to work mural paintings around the door and window space on the temple wall.

Another group of works from the same period reflects on my life in the past, recorded as a memory flash-back.  One pair of paintings is about my brother’s ordination which took place not long before moving to Australia.  The other pair records my experience at nine years of age when I was mesmerized by a grand Buddhist ceremony in a Thai temple, with monks chanting for days and nights over rows of hundreds and thousands of newly cast Buddha statues.

The exhibition Turtles, a Fish and Ghosts… shows the transition of my work when moving into another country, as well as sees the possibility of using skill in narrative painting for a new and different way of looking.


Acknowledgements

This project has been assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

Thanks also go to Sherman Galleries, Roslyn Oxley Gallery, Robert Lindsay Gallery, Span Galleries and Gallery 4A.

Phaptawan Suwannakudt is represented by Span Galleries, Melbourne.

Jews of Shanghai: Horst Eisfelder

8 February – 9 March 2002

Jews of Shanghai was an exhibition of photographs by Horst Eisfelder, charting his experience as a refugee in Shanghai after the Second World War. Jews are not commonly associated with China, yet by the mid-1930s, a flourishing Jewish community had emerged in the port city of Shanghai, and by 1942 the Jewish community had numbered over 18,000. Horst Eisfelder was thirteen years old when he arrived in Shanghai in 1938 with his family as Jewish refugees from Germany. The young Eisfelder took the photographs in this exhibition over a nine-year period. Now based in Melbourne, Eisfelder’s experience if diaspora and migration and its candid documentation adds to our understanding of Australia’s diverse social history.

This exhibition was part of the Sydney Jewish Museum‘s Crossroads: Shanghai and the Jews of China project.

MY CHINATOWN: SITES OF SIGNIFICANCE

8 February – 9 March 2002.

My Chinatown: Sites of Significance is an exhibition that explores the experience of the Chinese in Australia from a historical and contemporary perspective. Photographs, objects and memorabilia from private family collections, which date from the 1880s to the present day record sites such as suburban Chinese restaurants and cafes, temples, market gardens and trade stores. Sites of Significance also features the work of five contemporary artists: Tom Dion, Lindy Lee, Laurens Tan, Paula Wong and William Yang, whose art practices explore different aspects and levels of identification with their Chinese-Australian identity. Sites of Significance brings together contemporary art and historical material to illustrate an important interface between cultural history and contemporary innovation, highlighting a dynamic living history of Chinese communities in Australia.

My Chinatown: Sites of Significance is sponsored by the City of Sydney Chinese New Year Festival.

Chris Doyle: The Space of a Kiss

2 – 24 August, 2002

Chris Doyle: The Space of a Kiss is an official event of Sydney Asia Pacific Film Festival and presents a series of photo-collages at Gallery 4a [4A Centre for Contemporary Asian Art].


Christopher Doyle (b. 1952) is an Australian-Hong Kong cinematographer who has worked on high profile films such as Rabbit-Proof Fence and extensively in Hong Kong with director Wong KariWai on Chungking ExpressFallen Angels and In The Mood for Love. He has won awards at Cannes Film Festival, Venice Film Festival, an AFI Award for cinematography, four Golden Horse awards and six Hong Kong Film Awards.

4A Annual Open Members Exhibition

18-21 December 2002

4A Annual Open Members Exhibition.

Featuring artists: George and Ron Adams, Min-Woo Bang, Lucy Barker, Bronwen Bassett, Damian Brinley, Scott Campbell, Simon Champ, Chris and Simon Chapman, Hong Chen, Kent Chuang, Sally Clarke, Sandra Cross, Simon Cuthbert, Dacchi Dang, Nguyen Dao Hoang, Julia Davis, Adam Dorahy, Noella Eun-Ju Oh, Dong Wang Fan, Ruth Anne Fernon, Juliet Fowler Smith, Trevor Fry, Clinton Garofano, Liu Hao-Ou, Brad Hammond, Virginia Hilyard, Anna Ho, Matt Hoggett, Yew-Sun Hu, Tao Hu, Maylei Hunt, Jenny Ihn, Yawen Jang, Edward Johnson, Nelia Justo, Fiona Kemp, Gail Kenning, Hsiu-Li Kuo, John Lee, Lindy Lee, Owen Leong, Helena Leslie, Victoria Lobregat, Lan Lu, Hongyu May Luo, Garrie Maguire, Sophie Maxwell, Wilde McAlliser, Hu Ming, Vanila Netto, K Ng, Narelle Olmo-Murillo, Monte Packham, Hilary Hollock, Debra Porch, Hal Pratt, Dick Quan, Debra Reich, Marlene Sarroff, Sandy Saxon, Aaron Seeto, Josephine Seyfried, Kijeong Song, Bev Southcott, Astrid Spielman, Laura Stekovic, Ka Lydia Sun, Laurens Tan, Tricia Tang, Adrianne Tasker, Felix Terry, My Le Thi, Bic Tieu, Dr. Kai-Kai Toh, Michael Van Langenberg, Lachlan Warner, Nathan Waters, David Wills, Christina Wilmot, Gang Zhao, Ana Young, Haimeng Zhao, Shigemi, Glen Clarke, Wang Xu, Hayden Fowler.

Huê

25 October – 16 November, 2002
Curator: Aaron Seeto
Artists: Glen Clarke, Bonita Ely, Gail Joy Kenning, Sud Pedley and Boyd

Huê is a group exhibition bringing together the work of five installation artists Glen Clarke, Bonita Ely, Gail Joy Kenning, Sue Pedley & Boyd and their recent experiences of Vietnam.

In December 1998 these artists participated in the 2nd International Sculpture Symposium in Vietnam. The experiences working in a foreign culture in sometimes cyclonic conditions, engaging with other international artists and using new materials have had a profound affect on these artists’ practices. This exhibition reflects upon the artists’ separate yet integrated experiences in Vietnam from an Australian perspective. The artists have a range of professional and artistic experience, and have exhibited in Australia and overseas in such galleries as Sherman Galleries, Hargrave and Artspace in Sydney, and Oldknows Gallery and the Royal Collage of Art in Britain.

Renee So: Simple Pleasures

25 October – 16 November, 2002

Simple Pleasures is an exhibition of knitted sculptures by emerging Melbourne-based artist Renee So. So began knitting as a hobby in 1996 and has engaged in it professionally ever since. Simple Pleasures continues her exploration of knitting as an artistic medium and visual language.

In this exhibition, So incorporates various hand and machine knitting techniques to create a body of all-knitted sculptural works. The knitted sculptures offer the viewer tactile and emotive pleasures by referencing the sentimental and reassuring evocations of knitting. The sculptures are accessible and playful objects that transform the gallery into a retreat from the complexities that an urban lifestyle can entail.


Renee So is currently a 200 Gertrude Street studio artist and has exhibited at 200 Gertrude Street, the Centre for Contemporary Photography, Melbourne, the Institute of Modern Art, Brisbane as well as a number of artist-run initiatives in Melbourne.

Shen Jiawei: Zai-jian Revolution

27 September – 17 October 2002

Zai-jian Revolution is Shen Jaiwei’s first major solo exhibition since arriving in Australia in 1989. The title of the exhibition, in Mandarin means “Goodbye Revolution” but also “to see you again”. The exhibition features eight major works including Standing Guard for the Great Motherland (1974) and Tasting Snow on the Wanda Mountains (1972) painted at the height of the Cultural Revolution.

Standing Guard for the Great Motherland (1974) is perhaps the most famous painting of Shen Jiawei’s during this period that survives. After approval  by Jiang Quing, Mao Tse-Tung’s wife and the main cultural policy maker within the Revolution, and after slight modification to the portraits to confirm to party policy, this painting was reproduced in the millions and distributed throughout China.


Shen Jiawei is largely a self-taught artist who, like the other youth of his generation was sent to Northern China as labourers and border guards physically working for and protecting a cause. In Northern Manchuria in the 1970’s within a corps of other Army artists, Shen worked the land and developed artistic skills within the structure of the People’s Liberation Army. It was during this time that paintings such as Tasting Snow and Standing Guard for Our Great Motherland were painted.

His works are in significant international collections including the China Art Gallery and Museum of the Chinese Revolution, both in Beijing. His work is little known outside of China, though he was included in China: 5000 years at the Guggenheim Museum, New York and in Bilbao.

Born in Shanghai in 1948, he migrated to Australia in January 1989 and now lives in Sydney. In Australia Shen has established a reputation for accomplished realistic portraits that have featured in the Archibald Prize at the Art Gallery of NSW, Doug Moran Portrait Prize, and Mary McKillop Art prize. Most recently his work featured in the Federation 1901-2001 exhibition at the National Gallery of Australia, Canberra.

Vivien Sung: Five-Fold Happiness

4 October – 19 October 2002

Gallery 4A is delighted to announce the opening of Vivien Sung’s art exhibition and book launch Five-fold Happiness. The offical launch of the Five Fold Happiness book and exhibition will take place at 6PM Friday 4 October – 19 October 2002.

The exhibition and book explore symbols, words and imagery related to the elements of five-fold happiness. Sung views the fulfilment of these concepts – luck, prosperity, longevity, happiness and wealth – as a means to enrichen oneself and to find humour and delight in the physical world.


Vivien Sung is a first-generation Australian author born and raised in Sydney with parents from Shanghai. Sung graduated from the University of Technology, Sydney with a degree in visual communication and has studied Mandarin at Beijing Normal University. A frequent traveller to China, Sung has designed books and magazines for Chronicle Books, San Francisco; Rizzoli, New York City; Random House, Australia; Fairfax Publications, Australia; and Conde Nest, Australia. Five-Fold Happiness is Sung’s first book.

Denorah Paauwe: Tuesday’s Child, Juliet Fowler-Smith: Make Yourself at Home & Clinton Garofano: Motorhead

SYDNEY. 30 AUGUST – 21 SEPTEMBER 2002.

Gallery 4A is pleased to present three new exhibitions of photography and site-specific installation by Deborah Paauwe, Juliet Fowler-Smith and Clinton Garofano.

Tuesday’s Child is Deborah Paauwe‘s first solo exhibition in Sydney. The exhibition depicts young girls and women with qualities of beauty, sensuality and lusciousness, but highlighting a sense of imperfection and ambiguity. Paauwe uses fashion and ambiguity to comment on notions of the development of identity, in particular the complexity of interpersonal relationship.

Make Yourself At Home is a site-specific installation by Juliet Fowler-Smith that responds to the formal architectural qualities of Gallery 4A to explore its historical, social and cultural position. It is a richly layered installation that uses materials such as bees wax, brightly coloured wrapping paper and chairs to examine how we respond to and experience place.

Motorhead by Clinton Garofano is a series of new photographs that brings speed obsessed, streetcar culture within the confines of the Gallery. Garofano’s photographs of leopard skin-clad car interiors and skull encrusted gear sticks focus on imagining the extremes of existence and mortality to explore contemporary identities.


Deborah Paauwe was born in the USA, and is now based in Adelaide, and is of Dutch and Chinese heritage. In 1999, Deborah Paauwe was a finalist for the Moet & Chandon Fellowship; she has been included in group exhibitions at the Centre for Contemporary Photography, Melbourne, Contemporary Art Centre of South Australia, and the Art Gallery of South Australia. In 2001 she was the only Australian representative at Fotonoviembre photographic biennial, Centro de Fotografia, Tenerife, Canary Islands, Spain,

Juliet Fowler-Smith is a Sydney-based artist whose installation practice includes artworks created both within galleries and the outdoors in Australia, at Mangrove Mountain, NSW. More recently in 200 she was invited to be a participant at the International Environment Art Symposoum at the Taejong Lake and Royal Tomb Park, Ara Gaya, South Korea.

Clinton Garofano is a Sydney based artist who has exhibited extensively throughout Sydney and Melbourne. He has exhibited at the Art Gallery of New South Wales, Orange Regional Gallery, Artspace Sydney as well as Yuill/Crowley Gallery, Sydney, Karyn Lovegrove Gallery, Melbourne and internationally in New York and Japan.

Dialogue – Multi Polar

5 – 27 July 2002
Curator: Zhao Shulin

Dialogue – Multi Polar is an exhibition of video art and video documentation of underground performance art from China.

This video project is curated by Zhao Shulin and features some of China’s most exciting experimental artists using the medium of video to explore aspects of a changing identity, economy and the effects of globalisation occurring in China.

Bronia Iwanczak: Exit/Salida, George Poonkhin Khut: Chinoiseries (Lost in Translation) & Richard Butler-Bowdon: Nine Contemporary Australians

7 – 29 June 2002

Gallery 4a is delighted to present three exhibitions that explore culture, identity and ethnicity through sound, installation, photography and portraiture.

Exit/Salida is an exhibition by Bronia Iwanczak that incorporates photography and sculptural installation to explore identity in its various forms. Iwanczak is concerned with the formation and embodiment of identity, its organic source in land and place, and the relationships between individual and collective identity.

Chinoiseries (Lost in Translation) is a sound installation by George Poonkhin Khut that explores cultural authenticity, ethnicity and ambiguity between Anglo-Australian and Chinese-Malaysian cultures. Khut creates a sound installation where he takes recordings of spoken Mandarin, splices these sounds and rearranges them into a jumbled sonic collage. Through this, he humorously questions his own identity as a Chinese man who cannot speak Chinese.

Nine Contemporary Australians by Richard Butler-Bowdon is an exhibition of portraits that deal with cultural exchange and Asian identity in contemporary Australian urban life. He depicts individuals from a variety of cultural backgrounds such as Samoa, Japan and Vietnam who represent the complexity of Asian-Australian identities in Australia.


Bronia Iwanczak is a Sydney-based artist who has been exhibiting since 1988 both overseas and throughout Australia, including the Contemporary Art Centre in Adelaide and Ian Potter Gallery in Melbourne.

George Poonkhin Khut has been working since 1987 in a variety of media including sound, video, design, installation and performance. He has exhibited widely in Australia including the Adelaide Fringe Festival, the Tasmanian Museum and Art Gallery and Art Space in Sydney.

Richard Butler-Bowdon is a painter and installation artist who has been exhibiting since 1993 in a number of solo and group exhibitions including Nexus Multicultural Gallery-Lion Arts Centre Adelaide South Australia, Spencer Street Gallery in West Melbourne and BUS Gallery in Melbourne.

Michael Thomson: Untitled, Cherine Fahd + Eloise de Hautecloclque: Musing & Debra Reich: Desiderata

26 April – 1 June 2002

Gallery 4A is pleased to present three exhibitions exploring ideas of seduction and desire through photography and fashion.

In Untitled, Michael Thomson assembles fur and fake fur coats into forms that allude to the feminine form. Essentially these fur assemblages are a formalist project that deals with texture, colour and shape, but also invite multiple readings through the luxury of the fur coats and the kitsch through their synthetic counterparts.

Musing by Eloise de Hautecloclque and Cherine Fahd explores ideas of collaboration and the body through photography and fashion. Using found garments, de Hauteclocque creates sensual sculptural objects, often stitched together by poetic texts describing both desire and absence. Fahd’s photographs of her muse, also reveals the body by trying to conceal it. In these small intimate photographs de Hautecloclque appears, documenting performance like moments within domestic spaces.

Desiderata is an exhibition by Debra Reich, a young and emerging artists based in Sydney. Reich’s work explores notions of beneath and above ground as a poetic parallel to physical and emotional states. In this work, Reich has photographed and digitally manipulated seedpods and other organic forms to a point of abstraction. Reich speaks of the seed and seed pod within these digitally constructed landscapes as carrying a symbolic richness and playing an integral role in communicating the irony of a constructed landscape which holds no life.


Michael Thomson is an artist based in regional NSW (Bathurst). His most recent project was the Canberra Contemporary Art Space earlier this year.

Eloise de Hauteclocque combines clothing and photography within her artistic practice. She has exhibited as part of Mercedes Australian Fashion Week, at Rubyayre Gallery, Sydney as well as at the Powerhouse Museum in Sydney.

Cherine Fahd is an artist based in Sydney who has exhibited at Artspace Sydney, Gold Coast City Gallery and Casula Powerhouse. She is represented by Gitte Weise Gallery, Sydney.

Debra Reich is a recent graduate of the National Art School. She was recently included in Momento Flori  at the Australian Centre for Photography. This will be her first solo exhibition.


Exhibition Documentation

 

eloise_de_hauteclocque_2002_install_1

Eloise de Hauteclocque, Kiss Me (Kiss me here, and here and here…), 2002, cotton lace dress, silk thread, exhibition view Asia-Australia Arts Centre [4A Centre for Contemporary Asian Art].

untitled_musing_and_disiderata_install_1

Cherine Fahd and Eloise de Hauteclocque, Musing exhibition view, 2002, Asia-Australia Arts Centre [4A Centre for Contemporary Asian Art]

untitled_musing_and_disiderata_install_9

Cherine Fahd and Eloise de Hauteclocque, Musing exhibition view, 2002, Asia-Australia Arts Centre [4A Centre for Contemporary Asian Art]

Mandy Ridley: In Celebration, Adam Doray: Untitled (Another Study Between Focal Tension and All Things Pleasant) & Angharad Rixon: Anchaini an Ghra (Requests of Love)

15 March – 20 April 2002

Gallery 4A is pleased to present three exhibitions by emerging artists from Sydney and Queensland which explore ideas of decoration, memory and domesticity.

In Celebration by Mandy Ridley replicates the celebratory papercraft and objects found in the Chinatowns of Brisbane and Sydney. Utilising these decorative found tourist objects, Ridley, recreates these objects at a greater scale and with a greater intensity of colours. As a non-Asian woman, Ridley’s richly crafted objects attempt to understand the complex layers of our multicultural society through an exploration of appropriation and cultural authenticity.

Untitled (another study between focal tension and all things pleasant), explores the ideas of domesticity, beauty and desire. Adam Dorahy presents a single large wall painting, based upon a floral motif, delicately painted using slightly reflective white and house paints. These paintings appear and disappear into the white walls of the gallery as the viewer moves around the gallery.

Anchaini an ghra (requests of love) is an exhibition by Angharad Rixon, a young artist based in Sydney who creates incredibly beautiful objects through a structural and conceptual exploration of lace. “Lace,” Rixon says, “is about holes. I am fascinated by the spaces between things…the breath between words, rests within music and the space that remains when something is gone.” Rixon uses this traditional craft practice to create networks of spaces, these small fragments of lace are then soaked in slip porcelain, which are later fired, to reveal a network of empty holes.


Mandy Ridley lives and works in Brisbane and has had exhibitions at various artist run spaces in Queensland including Soapbox, Smith + Stonely and Palace Gallery, she has also exhibited at the Institute of Modern Art, Brisbane and Toowoomba Regional Art Gallery.

Adam Dorahy is a recent graduate of the University of Western Sydney. Dorahy has exhibited at Artspace, Sydney, Kudos Gallery, Sydney as well as at the University of Western Sydney.

Angharad Rixon is a recent graduate from the University of Wollongong, she has exhibited in exhibitions at The Long Gallery, Wollongong; Kudos Gallery, Paddington, in 2000 she was included in the National Graduate Exhibition at the Perth Institute of Contemporary.