4 February to 4 March 2017
Sarah Scout Presents is delighted to present its first series of exhibitions for 2017 – solo projects by Kate Daw, Greg Creek and Nadine Christensen.
Occupying the office and galleries 1 and 2, Afterwards reprises and reconfigures the major new suite of paintings and textile installation that Kate Daw conceived for Telling Tales: Excursions in Narrative Form at the MCA, Sydney last year. Daw’s practice explores issues of authorship, narrative and creative process, and continually moves between the spheres of domesticity and the workplace, the everyday and the imagined. Her work engages personal memory, nostalgic recollection and feminised cultural experience and she spans these subjective and emotional registers through a range of media including painting, sculpture and text. Daw’s new suite of paintings depict subjective themes including 1970s fabric patterning, perfume packaging and novel covers, among others. Recently, Daw has incorporated silk-screened wallpaper as a backdrop for her paintings and for Telling Tales she created a new wallpaper featuring the image of a cherry blossom in evening shades of black and purple, now re-conceived as a semi-permanent installation in the gallery office. The work alludes to L’heure bleu (the blue hour) that suspended moment between daylight and darkness; a period of heightened emotion and interior turmoil that continues to engage Daw’s interest. Regarded as a whole, the work expresses and preserves a unique female voice, synchronising the personal, the political and the popular.
Presented in gallery 3, Greg Creek’s Amendments comprises an ongoing series of large-scale watercolour works on paper made up of numerous concentric coloured rings. From each ring paint drips and spills, ‘amending’ those rings it traverses as it gravitates down the paper’s surface – colour drips and spills from the edge of the page, staining the balsa wood tray beneath. Creek’s drawings take an extended period to complete and, as the rings gradually accrue and colour harmonies develop, time and change accumulate. The materiality of the drawing and sense of performance is heightened by the play of gravity and drip trails; there is both a pure optical beauty and a strong material presence in these works. Part object, part process and part exercise in repetition, the works might also be read metaphorically: the titles, First Amendment, Second Amendment and so on suggest a political reference to the subtle alteration or decay of an ideal. In their serial formulation, titling and temporality Creek’s Amendments indicate an interest in minimalist and other 60s and 70s process driven drawing practices. For the series he revisits and expands upon the target motif used in previous drawing projects.
Nadine Christensen is featured in the gallery salon; the first of a new series of projects that will bring new and recent work of a single artist into focus in this space. Christensen’s practice encompasses painting, installation and drawing and has comprised an ongoing investigation into natural phenomena. She draws on diverse sources including design and illustration, architecture, new and arcane technologies, science fiction, animation, fabulations and curiosities to engage the changing possibilities and conditions of light and perception. Christensen’s work also explores the desire to map and understand our environment as well as the role of narrative and story telling in the unfolding of information throughout contemporary culture. Her large montage style paintings combine Christensen’s highly recognisable gradational and flat colouring, 3D rendering and trompe l’oeil effects with the imagery itself veering from representational and identifiable elements toward pure abstraction. These are presented alongside sculptural elements and smaller works that sample from and excerpt small moments in the larger paintings.