83 Moncur St Woollahra is a curated space for rare and exceptional works of art across multiple mediums. Focus is on the intimate and domestic, with artworks representing the abstract and spiritual.
In the window this week…
Acrylic on paper laid on board
108 x 147 cm
Copyright © - Charles Nodrum Gallery 2018
After completing three years of study at the National Gallery of Victoria's School of Painting, Roger Kemp remained aloof from the art world for a decade, troubled by the vitriolic reaction of conservative creative circles to the new concepts of abstraction and artistic experiment. His paintings from this time were smaller scale and landscape and figure based, before becoming more abstracted and symbolic, inspired by modern music and dance. In 1944 he held his first solo show at Velasquez Gallery in Melbourne - at that stage the only gallery that would exhibit modern art. An exceptionally high number of inclusions in major group shows through the 1950s established Kemp's name among the great modern Australian painters. During this time, painting in enamel on masonite, his work moved towards non-objective abstraction, whilst tying in symbolic uses of colour and composition. In 1970, at age 62 - his reputation at its height - the Kemp family moved to London. There he produced a major series of small scale pastel and ink drawings, and shared a studio with Bridget Riley and Peter Upward where he began painting on paper on a large scale, employing the 'all-over' composition he is best known for today. Kemp remained an active, productive and respected artist and teacher in Melbourne until his death in 1987, being awarded an OBE and installing four monumental tapestries of his paintings in the Great Hall of the National Gallery of Victoria, where they remain today below Leonard French's stained glass ceiling.
Christopher Heathcote, A Quest for Enlightenment: The Art of Roger Kemp, Macmillan, Melbourne, 2007
Hendrik Kohlenberg, Roger Kemp - the complete etchings, Art Gallery of NSW, 1991
Mixed media on canvas
62 x 45 cm
Copyright © - Estate of the artist 1963
Elwyn Lynn is Australia's foremost textural painter. After visiting Europe in 1958 and encountering the Spanish 'matter' painters such as Antoni Tapies at the Venice Biennale, Lynn began incorporating a wide range of mediums into his paintings to create highly expressive surfaces.
His awards include the Wynne Prize for landscape painting in 1988, an Australia Council Emeritus Award in 1994, and a Member of the Order of Australia in 1975. In 1991, the Art Gallery of New South Wales mounted a comprehensive Retrospective Exhibition of his work. “Elwyn Lynn: Metaphor and Texture”, a major study of his work, was published by Craftsman House in 2002.
42 x 67 x 56 cm
Copyright © - Russell McQuilty 2008
Russell McQuilty is well known for his ‘flight’ works, which as the name suggests capture lightness and give the impression of impending movement. McQuilty’s in depth investigation and knowledge of these elements has enabled him to create a collection of sculptures, which are both playful and sensuous.
McQuilty uses few elements in each work, which are then distinctively coated with his ‘trademark red’ painted finish; a brilliant red eye-catching enamel paint in Warratah. These smooth finished painted surfaces with clean simple flowing lines are characteristic of his work. Elements can appear to be gently resting against one another, just touching to create a temporary balance. These works reveal refined calligraphic shapes which change and twist before your eyes as you walk around the work.
Russell McQuilty has been exhibiting in solo and group exhibitions throughout Australia since 1996. In 2008 the Western Plains Cultural Centre was host to McQuilty’s Survey Show ‘Rhapsody in Red’, which celebrated his sculpture throughout the last ten years. Michael Reid has named McQuilty as part of the next generation of sculptors to watch. His works are held in private collections throughout Australia, Hong Kong, Singapore, Japan and the U.K.
"My sculpture follows the principle ‘less is more’. I am constantly working to keep it simple, Pare it down and always steer clear of any decorative element. To a certain extent I rely on intuition. I let the steel dictate. This can be scary at times but I certainly enjoy the process. Negative space also acts as an important element, where what is taken away and what is not there, is as important as what is. My working process is based upon searching for ‘rightness’, finding solutions and striving for dramatic simplicity in complete structures" Russell McQuilty
"Maquette for Architectural Project"
Mixed wood on composite base
36 x 21 x 19 cm
Copyright © - Estate of the artist 1975