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Taloi Havini: Reclaiming Space and History Latest Ocula Conversation
In Partnership with Artspace Sydney
Taloi Havini: Reclaiming Space and History By Ruth McDougall, Sydney

Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .

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Sydney Biennale Connects Here with Everywhere Ocula Report Sydney Biennale Connects Here with Everywhere By Soo-Min Shim, Sydney

'This year's Biennale of Sydney seems like a corrective,' writes Soo-Min Shim, 'prioritising autonomy in an international exhibition format that has all too often omitted or sidelined First Nations artists.'

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Hell is a Place on Earth: P·P·O·W Looks to History in Context of Covid-19 Ocula Insight Hell is a Place on Earth: P·P·O·W Looks to History in Context of Covid-19 By Stephanie Bailey, London

In the United States, parallels have been drawn between the HIV/AIDS crisis and what is unfolding with Covid-19. These connections feed into P·P·O·W's online exhibition, Hell is a Place on Earth. Heaven is a Place in Your Head .

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HomePage Artists

b. 1967, United Kingdom

Phillip Allen Biography

In many of the paintings made by Phillip Allen over the last decade, a vivid and ebullient graphic clarity contends with more convulsive painterly features. His paintings have often presented brightly coloured, interconnecting volumes or repeating, distending patterns within more mutedly toned, wide-open zones. Bordering these spaces at the upper and lower limits of the canvas, Allen's trick has been to lay down richly abundant lines of curling impasto paint: glorious blooms and bursts of multifarious colour that thickly combine to frame and deepen the visual drama at the centre of the picture. But what we see is never quite clear, never entirely 'contained'. The graphic elements often offer hinting suggestions of buildings or other tall structures—they sometimes resemble wonky or wildly implausible monuments–but the precarious, piled-up shapes also at times allude to letters or numbers, as if a kind of coded communication were being proposed. Invariably, Allen shows us something being assembled–there is recurrent piecing-together of basic elements–but the results depart thrillingly from rational organisation, towards a more dream-like, open-ended and associative way of imagining a world.

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Lately, his paintings have expanded in scale, and they have begun to present still more hazy and ambiguous arrangements. As ever, there is a concentration on accumulations of fundamental forms–often, now, the geometric shapes that provide the historical basis of painterly composition-but the surfaces are now a storm of agitated scribbles and incessant drips. Each 'composition' in these powerful works is in a state of decomposition. If as one title (from 2012) suggests, 'Delusions provide solutions' Allen's recent works also showing him taking on the painterly challenge of scrupulous 'dissolution'. Phillip Allen graduated from the Royal College of Art, London in 1992.

Recent solo exhibitions include: DEEPDRIPPINGS, Kerlin Gallery, Dublin, (2017); Milton Keynes Gallery, UK, (2006) and Phillip Allen: Recent Paintings, MoMA PS1, New York, USA, (2003). Recent group exhibitions include: CCA Andratx, Mallorca, Spain, (2012); Made in Britain: Contemporary Art from the British Council Collection 1980-2010, Heritage Museum, Hong Kong, SAR, (2011); Salon of the Vernacular, Nottingham City Gallery, Nottingham, UK, (2011); Kaleidoscopic Revolver, The Total Museum, Seoul, South Korea, (2009); Classified: Contemporary British Art from the Tate Collection, Tate Britain, London, (2009) and the British Art Show, Frieze, London, (2006).

Allen's work is represented in the collections of The Arts Council England, UK; British Council, UK and Tate Museum, UK.

Text courtesy Kerlin Gallery.

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