May 30-July 1, 2017
Poppies - Stillness in Movement (diptych), 2017
Charcoal on Paper
150 x 106 cm
Its Only 4 Degrees, 2016
Mixed Media on 650g Watercolour paper
76 x 55 cm
Julia Unveiled, 2017
Ink, copic and poska pens on paper
Image 60 x 45 cm Framed 82 x 66.5 cm
Julia in a Landscape, 2017
Mixed Media on Paper
45 x 60 cm
Mixed Media on Mount Board
Image 28 x 28 cm Framed 46 x 46 cm
Kimberly Landscape, 2017
Mixed Media on paper
36 x 26 cm
Red Dancing Devil In Love, 2017
Ink, acrylics, posca pens on paper
Image 58 x 41 cm Framed 80 x 63 cm
Scarred Tree, Mc Carrs Creek, 2017
Oil on Linen
100 x 122 cm
Scar Tree 1
111 x 78 cm image size, 130 x 99 cm framed size
Oil on board
45 x 36 cm
Remanoir III, 2016
Glass, cable ties and stainless steel split rings
34 x 18 cm
Oil on Board
40 x 67cm
Anemone Incursions Kiss Kiss: Florence, 2013
Altered chairs, textiles, wire
Anemone Incursion Florence: Kiss Kiss
17 x 19 x 17 cm
I Am Tao, Bronze
I Am You, 2016
90 x 72 x 11 mm
80 x 52 x 7 mm
Moon House, 2016
7 x 17 x 11 cm
Dimensional door, 2016
70 x 70 x 15 mm
Harley Oliver: Artist Statement & Bio
Though best known for his career in television, Harley’s first love was painting. His Great, Great, Great Grandfather was well-known English portrait artist Samuel Massey, who married the sister of his friend and fellow painter JN Rhodes. His Grandfather who, along with Harley inherited the middle name of Rhodes as all first-born sons in his family have done, was also a painter. So it’s hardly surprising that when Harley picked up a brush at the age of eight, he felt a special affinity for the art form.
In the late 1960s Harley went to Wimbledon Art School in London, painting English landscapes in an era of abstract minimalism. Post art school, Harley’s career was in television as an editor at the BBC, then producer and director, making documentaries for National Geographic and the Discovery Channel as well as programs for TV channels in Australia and New Zealand. In between projects he continued to paint, but only recently decided to dedicate the majority of his time to being an artist.
Denis Clarke: Artist Statement & Bio
Painting for me is a bodily thing. It involves the relationship between one’s self and making contact with the tactile. Why tactile? Because I am touching materials and feeling out my experience of looking at a subject such as landscapes, people and buildings.
Drawing is the whole key. Not drawing for its own sake but drawing to explore ideas for connecting with the world. Finish is irrelevant. These drawings serve the purpose of the painting and illuminate my imagination to the possibilities of new compositions. I am interested in the physicality and directness of drawing which often finds its way into my works on paper as well as my paintings.
My interest is what I would call 'creating a process of informed experiment'. I allow myself to risk and play with media while aligning my senses with the observed. It is the otherness or feel of a subject which provides the impetus to experiment and find new solutions with mark.
For me, working before a subject is deeply complex and a chance to explore visual language. The test is to find graphic statements and abstractions which truthfully parallel perceptions and travel towards a resolved image. Previously Unseen explores my reactions and connection with the urban which has been an important aspect of my painting for many years. It is a reference to my wish to try and see the world anew.
Denis Clarke works across painting and drawing, exploring the relationship between himself, the bodily and the tactile. Interested in creating a process of informed experiment, his paintings extend conversations of subject, texture and paint fluidity that suspend perception and reality. His work layer playful exchanges between drawing and painting processes, finding new solutions with mark-making to explore the subject. Contextualised within the European neo-expressionist movement, Clarke’s colourful gestural works deconstruct improvisation, inviting new and playful languages of representation.
Clarke completed post-graduate study at St Martins School of Art, London, and received the NSW Travelling Art Scholarship as well as Moya Dyring residency at the Cite International des Arts in Paris.
Based in Sydney, he has spent periods working and studying in London and Switzerland, teaching at the Camden School of Art and the Hampstead School of Art, exhibiting at Gillian Jason Gallery, Boundary Gallery and James Colman Gallery, Knightsbridge, as well as creating set designs and costumes for the experimental Opera Factory, in Zurich and London.
Clarke returned to Australia in 1998.
He has held 17 solo exhibitions since 1975 and has collaborated with several premier arts organisations such as Opera Factory in London and Switzerland, Warwickshire Arts Festival in the UK, and most recently as the artist in residence at Wollombi Valley Arts Council. From 1999 - 2010 Denis was a sessional lecturer at the National Art School and tutor from 2011 ongoing. He also instructs master classes at Charles Sturt University, the University of Southern Queensland, the Mitchell School of Art and the McGregor School.
Clarke has exhibited in numerous Art Fairs including ‘Line Art, Ghent’, The Brussels Art Fair, The 20th Century British Art Fair, Royal College of Art, and The Islington Art Fair. His work is included in private and public collections including: the Art Gallery of New South Wales, the Fitzwilliam College Cambridge and Lloyds of London.
Clarke has been represented by Stanley Street Gallery since 2014.
Denis Clarke: CV July, 2022 Download
Please note, this is an abridged version of Denis Clarke's CV. To view the full CV (including pre. 2000), please contact the gallery.
Awards and achievements
Residencies & Workshops
Art Gallery of New South Wales, Sydney; Blackfriars Drawing Trust; The Fitzwilliam College Student Committee, Cambridge University, Cambridge, UK; General Accident Life, Headquarters, York, UK
Reviews and publicity
Waddell, Heather, London Australia Magazine, December 1979, review of NSW House London exhibition ‘Artists of Fame and Promise’ with special mention.
Boys, Larry, Australian Women’s Weekly, 9 January 1980, colour reproduction of painting to accompany short review of ‘Artists of Fame and Promise’ at NSW House London.
Borlase, Nancy, Sydney Morning Herald, 20 June 1981, review of solo exhibition of mainly London work at The Holdsworth Gallery, Sydney.
Miles, Brenda, The Daily Telegraph, 6 June 1981, ‘Painting a message’, reproduction of two drawings and article on the artist for solo exhibition at Holdsworth Gallery, Sydney.
McIntyre, Arthur, Art and Australia, Spring Issue 1982, Exhibitions of Note in 1981, special mention.
Phillpotts, Beatrice, Arts Review, London, May 1983, review of solo exhibition, NSW House Gallery, London, May-June 1983.
Bührer, E, Schaffhauser Nachrichten, 30 July 1984, ‘Die Welt als Bild und Bewegung’, review of solo exhibition at the Mini Gallery, Schaffhausen, 28 July - 25 August, 1984.
Atelier in der Mini-Galerie, ‘Brutalität und Idylle’, SchaffhauserAZ, 30 July 1984, review of solo exhibition at the Mini Gallery, Schaffhausen, 28 July - 25 August, 1984.
Waddell, Heather, ‘Lettre de Londres’, Vie des Arts, Montreal, Winter Issue 1984/5, review of solo show at NSW House Gallery, May-June 1983.
Waddell, Heather, New Art International, Winter 1986, review of solo exhibition at DM Gallery, Dover St, London, 5 - 30 September, 1986.
Elwes, Luke, ‘Australian Art Now and Then’, Galleries, April 1988, vol 5 No 11, review of ‘Australia Observed’, shared exhibition at Boundary Gallery, April-May 1988.
Russell Taylor, John, The Times, April 19, 1988, ‘Advance Australia fair and be recognised’, review of ‘Australia Observed’, shared exhibition at Boundary Gallery, April-May 1988.
‘Mother Earth encountered’, Hampstead and Highgate Express, April 29, 1988, review and reproduction of drawing from ‘Australia Observed’, shared exhibition at Boundary Gallery, April-May 1988.
Lucie-Smith, Edward, British Artists of the 20th Century, 1989, biographical details listed.
‘Summer in all its colours’, Hampstead and Highgate Express, August 17, 1990, review of group exhibition at Boundary Gallery, London with special mention.
Lovatt, Estelle, ‘The streets of London’, Southern Cross Magazine, December 13, 19995, review of solo exhibition at James Colman Fine Art, 21 Nov - 21 Dec 1995.
Art95, ‘London Contemporary Art Fair’, Catalogue, January 1995, reproduction of ‘Still Life, Studio Corner’, 1994.
Art96, ‘London Contemporary Art Fair’, Catalogue, January 1996, reproduction of ‘Soho Siren’.
‘Denis Clarke: New Work’, catalogue of exhibition at James Colman Fine Art, 30 October - 22 November 1997.
What’s On in London, 1997, reproduction of Man on a Park Bench and caption outlining exhibition at James Colman Fine Art, 30 October - 22 November.
Waddell, Heather, London Art and Artists Guide, 1997, ‘Interview with Denis Clarke’, reproductions of paintings.
Waddell, Heather, The London Art World 1979-99, 2000, photograph of artist in studio and paintings.
The Week, 25 March 2000, ‘Where to buy’, review of exhibition at James Colman Fine Art, April 2000.
‘Powerful urban images’, Collector, Wentworth Courier, May 16 2001, reproduction of painting and review exhibition at Polly Courtin Gallery, May 2001.
Gotting, Peter, Sydney Morning Herald, May 1 2001, ‘Spotlight’, reproduction and listing of exhibition at Polly Courtin Gallery, May 2001.
Kidd, Courtney, Sydney Morning Herald, May 2001, ‘Critics pick’ listings.
Sydney Morning Herald, 2002, ‘Spotlight’, reproduction, review and listing of exhibition at Harris Courtin Gallery, October 2002.
Sydney Morning Herald, 2004, ‘Spotlight’, reproduction, review and listing of exhibition at Harris Courtin Gallery, March 2004.
‘Walking the Line’, National Art School Academic Staff, Exhibition of Drawing catalogue, 2005.
'Tradition and Transformation', Taiwan-Australia Watercolour Exhibition Catalogue, 2012.
Andjana Pachkova: Artist Statement & Bio
Andjana Pachkova is captivated by the never-ending dance of nature and the human; passionate and loving to be sure, yet also violent and at times exploitative. Her painting practice is firmly grounded in the intuitive, responding to the invisible and the ephemeral, to landscapes both travelled and felt. Her process follows the flow of substance, finding a place for herself that is liquid, fluid and moving very quickly. Interested in the infinite and treacherous possibility of water and surface, her painting practice explores the mutual interaction of the human and the landscape, how they move to shape and touch each other.
Born in Ukraine, Andjana Pachkova comes from a traditional Russian art tutoring background. Following the political movement Perestroika, she moved to Moscow and took classes at Stroganov Academy of Industrial and Applied Arts.
In 1997 Pachkova won the prestigious Davis Fellowship and subsequently moved to the United States. Alongside her academic studies, Andjana developed a drawing and painting practice informed by a passion for human relationships to landscape, in particular exploring the subtle changes in human psyche that occur when a person moves through a series of places.
Grounded in the intuitive, Andjana’s paintings team with passion, submerging the viewer in an active experience of movement and self- actualisation. Responding to both invisible and ephemeral connection, to topographies both travelled and felt, her practice explores the mutual interaction of human within the landscape, how they move to shape and touch each other. Recently interested in the infinite and treacherous possibility of oceanscapes, her works and painting process have taken on the turbulence of substance, of flowing paint and swirling water, to find a place for herself on canvas that is fluid and structured.
Pachkova has studied with notable artists such as Idris Murphy, Jo Bertini, Brandt Lewis, Denis Clarke and Tony Tozer. Upon her move to Australia in 2013, she began to exhibit her work in Sydney and since 2017 has been represented by Stanley Street Gallery in New South Wales and Mercury Gallery in Moscow.
Andjana's works are held in private collections across the United States, including Harvard Law faculty in Cambridge, Massachusetts, Russia, Australia, New Zealand, Iceland, Finland, Israel and Lebanon.
Andjana Pachkova: CV February, 2023 Download
Awards and achievements
Andjana’s works are held in private collections across the United States, including by a Harvard Law faculty in Cambridge, Massachusetts, Russia, all over Australia, Iceland, Finland, Israel and Lebanon, as well as New Zealand and displayed in corporate offices in Sydney CBD.
Reviews and publicity
Several of Andjana’s paintings appeared in season two of the TV show “Secret City” on Foxtel and Nextflix in 2019 (with Oscars nominee for Best Supporting Actress Jackie Weever).
Several of Andjana’s works from the solo show 'Die Sehnsucht' appeared in the TV show “Between Two Worlds” in 2020.
Andjana’s work from 'Die Sehnsucht' also appeared in the 2022 Marvel film “Thor: Love and Thunder”.
Music Album Cover Commissions:
Reza Naeemi “Fernweh”, June 2020
Clay Hodges “Dancing with the Devil”, April, 2019
Reza Naeemi: Castle in the Sky, July 1, 2018
The Best Pessimist: Drawing the Endless Shore, DRAMA November 2017
MUUI: Seminal relased on MicroCastle, February 2017
Paranoid Dancer/Patrik Carrera: Vacant, January 2017
Paranoid Dancer/Patrik Carrera: Type 7-9, December 2016
Paranoid Dancer/Patrik Carrera Whim, December 2016
Paranoid Dancer: Reset November 2016
Directorships and Community Involvement:
In 2017 Andjana Pachkova was elected to the Board of Director of Workshop Art Center in Willoughby, Sydney area, Andjana served as the Chairwoman on the Programming Committee of the board until January 2019.
Elizabeth Kelly: Artist Statement & Bio
My work in glass over the last 20 years has focussed on industrial handling processes of pressing and centrifuging to design works repeated in production incorporating a specific (largely transparent) colour range. During the last decade I have focussed on the composition of elements to construct larger objects, moving from utilitarian objects to a sculptural emphasis that still incorporates industrial methods of production but strongly draws from theoretical research for inspiration. This approach is informed by my work across other platforms prior to bringing this intent into my materially specific work.
I have always enjoyed changing scale; micro to macro cosmic observation has a way of changing perspective, and tailors to the aptness of purpose, and sets challenges in resolution of any work.
In these intricate iterations of cast, assembled and cold finished works my point of departure is the examination the origins of abiogenetic life and elemental organic geometry as inspiration. The theory of abiogenesis examines how the natural process of life has arisen from non-living matter, such as simple organic compounds. Furthermore I am examining chirality or the asymmetry of chemical structures in the triggering of growth sequences, elemental in the understanding of what trips this potential ‘life’ switch. Mindful of these chemical processes, my work has a strong serendipitous affinity with marine invertebrates, realised through compositions of rhythmic sequences
Elizabeth Kelly is an artist who has a committed to exploring colour and form through glass. Her current focus, explores the built environment and patterns in engineering. Underlying this subject is a fascination with the social and historic values imbued in architectural structures and the link to scale and perception.
Throughout her career, Kelly has worked collaboratively with architects, designers and sculptors on specific projects, and has continued a vigorous exhibition engagement.
Elizabeth initially trained as a glass blower before broadening into sculpture and applied design. She gained a Bachelor of Visual Arts from Australian National University, Canberra, and a Master of Visual Arts degree from Sydney College of the Arts, the University of Sydney.
Elizabeth Kelly established Studio Tangerine in 2003 from a need for a dedicated studio to research and develop small scale industrial processes of coloured glass applied to architecture, art and design.
Previous to Studio Tangerine, Kelly lectured at Sydney College of the Arts taking up the prestigious position of Head of Studio, and also lectured at JamFactory Contemporary Craft and Design Centre in Adelaide, South Australia. She has travelled extensively working in studio glass and has completed a Fellowship at the Creative Glass Centre of America, an Artist in Residency at the Seto International Ceramic and Glass centre in Japan. She was awarded the Capital Arts Patrons Organisation Fellowship in Canberra and most recently a Churchill Fellowship.
Elizabeth Kelly: CV January, 2020 Download
**Please note that this is a revised version of Elizabeth Kelly's CV. To view Kelly's full CV, please contact the gallery.
Awards and achievements
Residencies & Workshops
Legislative Assembly of the ACT, Canberra, ACT
Lommel City Hall Collection, Belgium
National Gallery of Australia, Canberra, ACT
Australian Parliament House, Canberra, ACT
Seto City At Museum, Japan
Wagga Wagga City Art Gallery, NSW
American Museum of Glass, New Jersey, USA
Artbank, Sydney, NSW
ANU Collection, Canberra, ACT
Oscar Martín de Burgos: Artist Statement & Bio
Volume allows us to caress, to feel, to travel to each degree of a spherical perspective, in which we can experience the four dimensions. Time is also present, generative or degenerative evolution is part of the work itself. The fifth dimension waits beating inside us....
Oscar Martín De Burgos is a Spanish sculptor and mystic who through his practice, seeks to unify past, present and future expressions of spirituality. Taking as a starting point prehistoric symbolic manifestations, he delves with psychic empathy into the cultures of our ancestors. Using different materials; namely bronze, brass, aluminum, polymers and ceramic, Burgos engages the viewer in an accessible memory that escapes from the correlative line of time and human history.
De Burgos studied Sculpture and Environmental Design at School of Art and Design as well as Urban, Environmental and Landscape Design in Alicante (Spain).
Along his professional career De Burgos has received different grants and awards in Spain and France in recognition of his work. His pieces of art are in public and private collections all over the world and he has also been commissioned by institutions and private companies for large scale public art works. These include the: Cid Campeador at A-1 highway, Ministry of Public Works, Spain Government, Neolito at HUBU (University Hospital of Burgos). Seed, a high relief mural at San Francisco Monastry from x. XIII, Cáritas Foundation of Spain.
In additon, De Burgos is the author of many representative sculptures as corporative art for international business groups and public institutions, such as: Grupo Antolín Ciudad de Burgos Awards, FAE de Oro Business Awards, and the official 3D image of the XVII Congress of the International Union of Prehistoric and Protohistoric Sciences.
Oscar Martín de Burgos: CV January, 2020 Download
Sculpture and Environmental Design at School of Art and Design of Alicante (Spain).
Urban, Environmental and Landscape Design. Alicante (Spain).
Awards and achievements
Grant Crea 012. CaixaBank. Spain.
Grant Crea 010. Caja de Burgos. Spain.
XXVII Vittel Art Fair. Silver Medal in Sculpture. France.
Grant Excellent Young Values 07. Caja de Burgos. Spain.
Grant Encuentra 05. Fundacioìn Norte. Uncastillo. Zaragoza. Mention of the Jury. Spain.
Young Art Award 04. C.14. Council of Alicante. Spain.
XV Exhibition Artists from Alicante. Artwork purchase. Council of Alicante. Spain.
Young Art Award 98. C-14. Council of Alicante. Spain.
Margarita Sampson: Artist Statement & Bio
Human life to me has always been part of a rich and interconnected world, rising and falling, living and dying, interdependent: the mouth of a flower is also my mouth, the surface of a prickly pear is like testicles and soft anemone forms are like our own soft tissues. Healthy and unhealthy; reaching maturity and falling away. In my work, allusions to multiple forms are drawn but not cemented. For me, the power of the work comes from a rich soup of inferences which the viewer provides from their own experience. I say, “is this not unlike...” and you say “yes, but also...”.' The works bring up questions, invites narrative and suggests possible futures with any number of outcomes.
Margarita Sampson was raised on Norfolk Island, and the varied sea life made an indelible impression on her as a small child. As an adult, her sculpture and jewellery work draws upon this rich visual vocabulary. All works are meticulously hand-made by the artist, comprising of hand and machine sewn textiles. In Sampson's Infectious Desires series, the found furniture is sawn and altered, re-carved and gilded, before being overlaid with textile 'landscapes'.
Born in Nowra, NSW (1970), Margarita Sampson grew up on Norfolk Island, attending COFA in Sydney with a BA & M.Art in painting (1990, 92). She began textile sculptural work in response to the first Sculpture Sea (1997) & a photograph of her initial work ‘Urchins’ went become one of the defining images of the exhibition in its early days. Her following work “Fish Curtain’ received the People’s Choice in 1998. Her textile work is often inspired by her childhood summers spent moving between aquatic & terrestrial realms on Norfolk, and embraces hybrid soft forms that transition between human, animal, vegetative and mineral states.
After some 15 years away from Australia, Sampson returned in 2011 and won the Object section of the Waterhouse Art Prize in 2012 with her work ‘Anenome Incursions: Zsa-Zsa', and subsequent works been finalists in the Wynne prize, the Blake Prize, twelve Sculpture by the Seas Exhibitions and most recently won the Hillview Indoor Sculpture Award 2018. Her solo show ‘Infectious Desires’ at Stanley Street Gallery in 2015 received international press coverage and critical acclaim.
Sampson’s work often takes a domestic object and imagines a paradigm of excessive growth, where the soft parts grow and overtake the host, a reflection on current environmental unbalances and possible ecosystem collapse. The work is also very personal, as the objects contain lush openings, curvaceous forms, are provocative and often feminist; meditating on the artist’s aging body within society and spiritually reflecting the artist’s Buddhist practice. She currently lives in a meditation retreat centre.
Sampson works with commercially available textiles and found objects for her interior works, but also draws on her jewellery practice for work utilising enamel and copper, and wood and steel for large outdoor works.
Margarita Sampson: CV January, 2020 Download
Awards and achievements
Tamworth Regional Gallery
University of New South Wales, Australia
Tjibaou Centre, New Caledonia
Royal Blind Society, Australia
Reviews and publicity
June 2013, Alphabeto di Marea, Design People, Architecture Digest Italy, http://adtoday.it/alfabeto-di-mare/
June 2012, Waterhouse Prize winners, ABC News
November 2011, Rocky Start for Unveiling of Mysterious Sea Creatures, Sydney Morning Herald
Sebastian Smee, February 2000, Sexy Sculpture? Swell!, review, SMH Metro
October 1998, Sculptures in the Sand, Sydney Morning Herald