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Jordan Azcune.
Through solo and collaborative practices, Jordan Azcune explores abstraction, camp aesthetics, and the ineffable.
Raised as a Jehovah’s Witness and growing up queer, Jordan Azcune’s practice is influenced by biblical theology and filtered by personal experience. Azcune uses this knowledge as a device to reveal understandings on architecture, body, and space with layered historic, and contemporary readings. Azcune is currently investigating the ideas of spirituality, offering and memory through materials of beeswax, pigment, glass and gold as interventions that take on design and architectural features that speak to a post-Christian campiness.
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Jordan AzcuneEat Meat, 2021heat, beeswax & pigment with brass frame138.5 x 86 x 4 cm$ 9,900.00Click for more images & info.
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Jordan AzcunePre-Madonna, 2021beeswax & pigment with brass frame150 x 70 x 4 cm$ 9,500.00Click for more images & info.
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Jordan AzcuneScorpio, 2021beeswax & pigment with brass frame80.5 x 27.5 x 4 cm$ 5,500.00Click for more images & info.
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Joshua Charadia.
'Oil painting allows me to arrest a moment in time and capture a complexity of detail and form that are hidden within these images...'
Joshua Charadia is a Sydney-based artist whose work casts an aesthetic and critical eye on the complex forms of Australia’s industrial landscape. He explores the nature of perception and awareness by drawing close attention to these ubiquitous yet overlooked scenes. Working with the slow mediums of oil paint and charcoal, Charadia affords time to these images, usually seen in passing or from a distance.
Charadia received a Bachelor of Fine Arts from the National Art School, Sydney in 2017. He has presented solo exhibitions in Sydney and Katoomba, and been featured in group exhibitions throughout Australia. Charadia has been a finalist in numerous art prizes, including the Sulman Prize (2020) and Dobell Drawing Prize (2021, 2019). In 2021 he was awarded the Fisher's Ghost Art Award South West Sydney Award, in 2020 he was awarded People’s Choice at the Adelaide Perry Prize, and in 2018 won 2nd place at the Belle ArtStart Prize. His works are held in the National Art School collection and private collections around Australia.
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Joshua CharadiaPeripheral View 79, 2021oil on board100 x 100 cm
Finalist, Fishers Ghost Art Award 2021
Winner, South West Sydney Award 2021$ 8,500.00 -
Joshua CharadiaPeripheral View 45, 2019willow charcoal on Hahnemühle paper107 x 78 cm / 128 x 98.5 cm (framed)
People's Choice, Adelaide Perry Prize for Drawing 2020$ 5,500.00 -
Joshua CharadiaPeripheral View 22, 2019willow charcoal on Hahnemühle paper107 x 78 cm / 128 x 98.5 cm (framed)
Finalist, Hazelhurst Art on Paper Award 2019$ 5,500.00
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Portrait by Peter Morgan.
Casey Chen.
Emerging ceramic artist Casey Chen’s practice references historical illustrations from an eclectic mix of folklore, mythology and pop culture.
Blending childhood nostalgia with long-standing East Asian ceramic traditions, Chen applies his imagery to hand-thrown plates and vases, which are then fused with geometric patterns from traditional sources. The result is a cultural pastiche, and a dynamic conversation between traditional craft and contemporary perspective.
Chen graduated from the National Art School in December 2020 with a Bachelor of Fine Arts degree majoring in ceramics, and held his first museum exhibition at Bathurst Regional Gallery earlier this year.
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Claire Healy & Sean Cordeiro
Working as a collaborative duo since 2001, Claire Healy and Sean Cordeiro’s practice reflects a preoccupation with the dynamics of global mobility, fallout of consumer society, and contemporary notion of home.
Combining a playful sense of humour and an engagement with art historical precedents, the duo's work is characterised by the deconstruction and reinvention of prefabricated structures and objects into extraordinary sculptures and installations. Readymade materials often feature in their work, including Lego, Ikea furniture, car and aircraft parts, dinosaur bones, and reconfigured architectural structures.
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Claire Healy & Sean CordeiroMomotaro, 2020acrylic gouache paint & polyester cord on helicopter panel85 x 62 x 5 cm$ 7,700.00Click for more info.
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Claire Healy & Sean CordeiroSmorboll, 2014recontextualised Lego79 x 60.5 cm$ 9,900.00Click for more info.
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Claire Healy & Sean CordeiroOrigami Aeroplane, 2011cut and folded metal from Cessna 172 aircraft, rivetsapproximately 7 x 12 x 30 cm (each)$ 880.00 eachClick for more info.
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Neva in her studio.
Neva Hosking.
‘If my heart wasn’t in art, it would be snapped up by something botanical.’
Taking her cues from the rich visual delights of her immediate environment, Hosking’s still life works are semi-autobiographical – displaying in their subject matter and aesthetic structure cues from Hosking’s personal life. Drawn from life, the artist’s painstaking methodology explores Hosking’s own collection of plants examined in an intensely detailed methodology. Devoid of colour, focus is made on the line and form of the artist’s subjects to engage a sense of attention that enables the elevation of otherwise overlooked plants.
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Neva HoskingThe Last Garden on Loftus Crescent I, 2021-22ink on vintage graph paper, signed with four-leaf clover129 x 84 cm / 144 x 99 cm (framed)$ 9,900.00Click for more images & info.
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Neva HoskingThe Last Garden on Loftus Crescent VI, 2022ink on vintage graph paper, signed with four-leaf clover30 x 21 cm / 43 x 33 cm (framed)$ 1,750.00Click for more images & info.
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Portrait by Rhett Hammerton.
Dylan Mooney.
Mooney’s emerging art practice includes painting, printmaking, digital illustration and drawing – influenced by history, culture and family, which respond to community stories, current affairs and social media.
Mooney is a proud Yuwi, Torres Strait and South Sea Islander man from Mackay in North Queensland. Armed with a rich cultural upbringing, Mooney now translates the knowledge and stories passed down to him, through art.
Legally blind, the digital medium’s backlit display allows the artist to produce a high-impact illustrative style with bright, saturated colour that reflects his experiences with keen political energy and insight.
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Dylan MooneyQueer, Blak & Here series, 2020-21digital illustration printed on 320gsm smooth cotton paper, hand signed and inscribed118.9 x 84.1 cm | ed. of 5 + 2 AP
$3,850
84.1 x 59.4 cm | ed. of 10 + 2 AP
$1,980
A3 poster 59.4 x 42.0 cm
$50Click for info. -
Dylan MooneyIntertwined Series, 2022digital illustration hand-painted with Yuwi ochre120 x 88 cm | ed. of 5 + 2 AP
$4,950
60 x 44 cm | ed. of 10 + 2 AP
$2,750Click for info. -
Dylan MooneyBlak Superheroes series, 2021digital illustration printed on 320gsm smooth cotton paper, hand signed and inscribed118.9 x 84.1 cm | ed. of 5 + 2 AP
$3,850
84.1 x 59.4 cm | ed. of 10 + 2 AP
$1,980
A3 poster 59.4 x 42.0 cm
$50Click for info.
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Joan Ross.
Bold and experimental, Joan Ross' practice investigates the legacy of colonialism in Australia, particularly in regard to its effect on Indigenous Australians.
Since the late 1980s, Joan has exhibited across a range of mediums, from drawing, painting, photography and sculpture to installation, video, and virtual reality. Her experimental works combine colonial iconography and landscape painting with collaged elements of western commodity culture connected to land tenure and Aboriginal peoples' active presence on the land.
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Joan RossMy own piece of paradise, 2021acrylic & ink on card111.5 x 85 cm (framed)$ 9,900.00Click for more info.
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Joan RossDon't leave me, 2021hand-spun Barbie hair, acrylic & ink on card111.5 x 85 cm (framed)$ 9,900.00Click for more info.
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Joan RossYou are my rock, 2021hand-spun Barbie hair, acrylic & ink on card111.5 x 85 cm (framed)$ 9,900.00Click for more info.
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Joan RossLearning to play their games, 2021hand-painted digital print on rag paper72.5 x 104 cm / 79.5 x 111 cm (framed)$7,700 + $880 framingClick for more info.
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Joan RossHouston, we have a problem, 2021hand-painted digital print on rag paper99 x 79 cm / 111 x 91 cm (framed)$7,700 + $990 framingClick for more info.
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Joan RossWe have sung the same song for millions of years, 2021hand-painted digital print on rag paper59 x 100 cm / 69.5 x 112 cm (framed)$7,150 + $880 framingClick for more info.
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Rebecca Selleck
Rebecca Selleck is a functional design artist with a focus on interactive sculpture and installation, blending animatronics, assemblage, casting and sound.
Selleck uses her practice to reciprocally investigate and challenge her own perceptions within a culture of conflicting truths. Her work overlays time and place to express the need for human accountability and the painful complexity of animal and environmental ethics in Australia.
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Rebecca SelleckFalling Branches #11, 2021burnt eucalyptus branch, bronze, & sealants21 x 12 x 8 cm$ 490.00Click for more info.
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Rebecca SelleckFalling Branches #25, 2021burnt eucalyptus branch, bronze, & sealants81 x 26 x 7 cm$ 1,500.00Click for more info.
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Rebecca SelleckFalling Branches #20, 2021burnt eucalyptus branch, bronze, & sealants18 x 7 x 9 cm$ 380.00Click for more info.
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James Tylor.
James Tylor is a multi-disciplinary artist whose practice explores Australian environment, culture and social history through photography, video, installation, scent and food.
James’ artistic practice specialises in experimental and historical photographic processes. He uses a hybrid of analogue and digital photographic techniques to create contemporary artworks that reference Australian society and history. The processes he employs are the physical manipulation of digital photographic printing, such as the manual hand-colouring of digital prints or the application of physical interventions to the surfaces of digital prints. James also uses the historical 19th century photographic process of the Becquerel daguerreotype with the aid of modern technology to create new and contemporary daguerreotypes. Photography was historically used to document Aboriginal culture and the European colonisation of Australia. James is interested in these unique photographic processes to re-contextualise the representation of Australian society and history.
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James TylorUn-resettling (Happenings) series, 2014hand-coloured inkjet print on photo rag paper50 x 50 cm$ 3,300.00View more details
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James TylorAotearoa My Hawaiki series, 2015inkjet print on hahnemuhle paper with rip50 x 50 cm$ 3,300.00View more details
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James TylorTuralayinthi Yarta series, 2017photograph with ochre, pipeclay, & charcoal50 x 50 cm$ 3,300.00View more details
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James TylorDeheading State (5 Cents), 2015Becquerel Daguerreotype8 x 6 cm$ 1,320.00Click for more info.
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James TylorDeheading State (10 Cents), 2015Becquerel Daguerreotype8 x 6 cm$ 1,320.00Click for more info.
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James TylorDeheading State (20 cents), 2015Becquerel Daguerreotype8 x 6 cm$ 1,320.00Click for more info.
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James TylorDeheading State (50 cents), 2015Becquerel Daguerreotype8 x 6 cm$ 1,320.00Click for more info.
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James TylorDeheading State (1 Dollar) , 2015Becquerel Daguerreotype8 x 6 cm$ 1,320.00Click for more info.
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James TylorDeheading State (2 Dollar), 2015Becquerel Daguerreotype8 x 6 cm$ 1,320.00Click for more info.
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Natasha Walsh.
'My practice thrives on experimentation... I actually don’t enjoy confronting my reflection. At times the vulnerability of this can be very disheartening and unpleasant.'
Natasha Walsh's practice is informed by an understanding of the artist as an alchemist. Known for her transformation of pigments on copper surfaces, Walsh's work acutely observes delicately-painted figures that emerge from the surface. ‘From the moment that I prepare the surface, it begins to naturally oxidise. I experiment with applying different ground pigments which change colour in response to this process. These paintings visibly age as I work on them. As such, my attempt to transfix time is inherently impossible and this interests me.’
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Natasha WalshA liminal space, 2019oil on copper69 x 64 cm / 87 x 80 cm (framed)
2019 Archibald Prize FinalistP.O.A.Click for more images and info. -
Natasha WalshEternal Metamorphoses (self-portrait), 2019oil & acid on copper55 x 40 cm / 77 x 60 cm (framed)
2019 Moran Finalist$ 22,500.00Click for more images and info.
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