Geometric patterns, anthropomorphic characters, architectural spatial environments, and relics of the ancient world appear throughout Jess Johnson's artworks.Johnson's solo art-ventures began in drawing, but her long-term collaborative relationship with animator Simon Ward brings her drawings to life in videos and virtual reality. The animator has...
Under the artistic direction of Folakunle Oshun, the second edition of the Lagos Biennial (26 October–23 November 2019) includes works by over 40 Lagos-based and international artists, architects, and collectives. Curated by architect Tosin Oshinowo, curator and producer Oyindamola Fakeye, and assistant curator of photography at the Art Institute...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
THIS IS NO FANTASY is excited to present The Gazed, an exhibition of new photographic and video works by Petrina Hicks. This exhibition coincides with Hicks' first survey show, Bleached Gothic, at the National Gallery of Victoria. This major exhibition at the NGV reflects Hicks' status as one of Australia's most exciting artists. Her practice both challenges and reflects the now.
Hicks' sophisticated, hyper-real works are at once beautiful and disconcerting, combining heightened technical skill and elegant compositions with an unsettling ambiguity. Meticulously assembled and shot in her studio, her images exist within strangely placeless realities making them hard to pin down.
Hicks' works reflect her ongoing fascination with flawed or alternate beauty, probing narratives of female representation through art history, mythology and the media. She employs the seductive visual language of commerce and advertising to challenge and corrupt the premises of perfection they seek to promote. The images highlight the dichotomy between the surface aesthetic and their ambiguous, subversive subtext, engaging in debate about the capacity of the visual image to conjure, distract and mislead.
'Myths, symbolism, archetypes and history have always been of interest. I am fascinated by the immediacy of symbols and longevity of myths, reinterpreted through lens of history and culture over and over again since origin. Depictions of objects and symbols that relate to the past reflect on our transition through history and show us how significantly we have, or have not, changed.' (Petrina Hicks)
Hicks' shoots on film using a large format camera, as a way to preserve the film medium and the integrity of the photographic image in today's culture of digital image overload. Her carefully crafted scenes have a three dimensional quality, nudging photography closer to sculpture.
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