Annette Bukovinsky Front Wall
Moonlit Mountains and the Urban Fringe (Diptych), 2021
SOLD
Active Ingredients, 2022
Clouded Judgement, 2022
AVAILABLE
Limbs, 2022
Limb No.10, 2022
AVAILABLE
Limb No.6, 2022
AVAILABLE
Limb No.7, 2022
AVAILABLE
Limb No.8, 2022
AVAILABLE
Limb No.9, 2022
AVAILABLE
Annette Bukovinsky Installation side wall
Moonlit Mountain No. 1, 2022
AVAILABLE
Moonlit Mountain No.2, 2022
AVAILABLE
Protection, 2022
AVAILABLE
Annette Bukovinsky Installation Protection
Recompense, 2022
AVAILABLE
Addendum, 2022
AVAILABLE
Enlightenment, 2022
AVAILABLE
Field of Vision No.1, 2021
AVAILABLE
Field of Vision No.2, 2022
AVAILABLE
Field of Vision No.3, 2022
AVAILABLE
Industrial Markets, 2022
AVAILABLE
Annette Bukovinsky Installation side wall Large gallery
Annette Bukovinsky Front Wall
Moonlit Mountains and the Urban Fringe (Diptych), 2021
Mixed media on canvas
183 x 121 cm
SOLD
Active Ingredients, 2022
Fired clay and readymade objects, 28 units
12.5 x 4.7 x 2.5 cm each
Clouded Judgement, 2022
Fired clay and readymade object
70 x 30 x 7 cm
AVAILABLE $650
Limbs, 2022
Fired clay, charred timber and cotton
Dimensions variable
Limb No.10, 2022
Fired clay and charred timber
46 x 9 x 8 cm
AVAILABLE $950
Limb No.6, 2022
Fired clay and charred timber
47 x 9 x 6 cm
AVAILABLE $950
Limb No.7, 2022
Fired clay and charred timber
75 x 7 x 6 cm
AVAILABLE $950
Limb No.8, 2022
Fired clay and charred timber
88 x 10 x 8 cm
AVAILABLE $950
Limb No.9, 2022
Fired clay and charred timber
63 x 7 x 6 cm
AVAILABLE $950
Annette Bukovinsky Installation side wall
Moonlit Mountain No. 1, 2022
Fired clay
24 x 16 x 11 cm
AVAILABLE $450
Moonlit Mountain No.2, 2022
Fired clay
36 x 17 x 13 cm
AVAILABLE $550
Protection, 2022
Charcoal on readymade object
28 x 22 x 18 cm
AVAILABLE $750
Annette Bukovinsky Installation Protection
Recompense, 2022
Fired clay, cardboard and plastic
31 x 21 x 20 cm
AVAILABLE $750
Addendum, 2022
Charcoal and acrylic on paper
76 x 57 cm paper size, 103 x 78.5 x 5.5 cm framed size
AVAILABLE $1,750
Enlightenment, 2022
Charcoal and acrylic on paper
76 x 57 cm paper size, 101 x 82 x 5.5 cm framed size
AVAILABLE $1,750
Field of Vision No.1, 2021
Fired clay and bamboo box
23 x 35 x 9 cm
AVAILABLE $950
Field of Vision No.2, 2022
Fired clay and bamboo box
22 x 39 x 10 cm
AVAILABLE $950
Field of Vision No.3, 2022
Fired clay and bamboo box
22 x 40 x 10 cm
AVAILABLE $950
Industrial Markets, 2022
Fired clay, boundary peg, paper and tape
50 x 6 x 6 cm
AVAILABLE $450
Annette Bukovinsky Installation side wall Large gallery
Moonlit Mountain No.2, 2022, Fired clay, 36 x 17 x 13 cm, Photo COTA
Annette Bukovinsky’s latest exhibition ‘Colloquy’ reflects upon the widening range of environmental fluctuations in our world. The Latin word colloquy means to speak and encompasses the most serious discussions or high-level and intense conversations. Rather than simply oral conversations, Bukovinsky uses the gallery space as an opportunity to create a visual language as a device for encouraging dialogue.
For Bukovinsky, the planet is conversing with us in an impassioned and vehement voice through intense floods, drought, fires, heat waves, or the accelerating loss of biodiversity and speak to the intensity of our climate crisis. With this new body of work, she asks how can we begin to understand the intricacy and complexity of this crisis and how as an artist, can she explore complacency as well as comprehend an undeniable complicity?
Moonlit Mountains and the Urban Fringe (Diptych), 2021, Mixed media on canvas, 183 x 121 cm, Photo COTA
Colloquy presents a plurality of ceramic and mixed media works that explore philosophical questions regarding socio-cultural relationships with the natural world. Utilising found objects and symbols is one way Bukovinsky asks deeper questions about our current ecological crisis. In Clouded Judgement, the minimal fluorescent construction strap holding the ornate ashen ceramic presents a sombre moment of tension. Industrial Markets and Limbs similarly pair disparate materials to create metaphors such as the boundary peg speaking to land rezoning and the charred timber resonating with the bushfires. In many of Bukovinsky’s works, clay is the intervention through which she expands or condenses the meaning of readymade or industrial objects.
The body of work presented in Colloquy is contemplative and sombre in mood. They are a series of visual thoughts that look to prompt questions and conversation regarding our place within ecological instability and they underscore the urgent need to listen to the environmental changes that are happening around us. The exhibition is an invitation for colloquy: between artist and audience, and between the natural world and the culture of contemporary consumption.
Annette Bukovinsky works across clay, painting and drawing mediums to reflect upon human relationships with the natural world. Responding to the metaphysical implications of Cartesian dualisms, she considers the gross ecological disjuncture’s between living things found within Western capitalist contexts. As a finalist in numerous art prizes since 2014, Bukovinsky’s work has been exhibited in both commercial and regional galleries and has been acquired for several private collections.
Bukovinsky has been represented by Stanley Street Gallery since 2020.
Words by Claire de Carteret
Annette Ellingsen: Artist Statement & Bio
My practice largely centres on considering the complexities of our human relationship with the natural world. I am interested in searching for new ecological philosophies that address the challenges threatening the vitality of our planet and these examinations often result in the production of two and three dimensional artworks in a variety of mediums.
Many of my two-dimensional works are led by a process that encourages the mediums to reveal a form and direction. The mediums drip, bleed and blend with others in their proximity. I follow their gestures with more considered and decisive marks creating numerous planar surfaces and pictorial depth. This way of working allows me to become more of a collaborator in the creation of the work and invites a curiosity regarding our relationship to other components within the world.
My three-dimensional works typically employ the use of clay. It is a material that is known paradoxically for its strength and fragility and attests to many states of flux. Given these attributes reflect my ecological observations, I believe clay has many relatable characteristics that can potentially expand the dialogue regarding the health of our natural environments. By utilising traditional hand-building techniques of coiling, pinching and moulding I’m able to have a direct and protracted engagement with the clay enabling a more considered articulation of my thoughts and emotions.
Both my two and three dimensional works reveal my interest in using non-conventional surface applications such as timber stains and oils, bitumen paint and shoe polish. This feeds my desire to explore the nexus between tradition and innovation and extends the link between structure, surface and concept.
Annette Bukovinsky is an artist based in Sydney, Australia. Her practice explores the intricacies of humanity’s relationship with nature with the aim of searching for a new ecological philosophy that can address the challenges threatening the vitality of our planet.
As a finalist in numerous art prizes since 2014, Bukovinsky’s work has been exhibited in both commercial and regional galleries and has been acquired for several private collections. Upon completion of her Master of Fine Art at the National Art School Sydney in 2019, Bukovinsky has been invited to show with Stanley Street Gallery as part of their Introducing exhibition in 2020.
Annette Ellingsen: CV September, 2022 Download
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e-Catalogue | Annette Bukovinsky - Colloquy