Formless to Form. January 30 - March 31

A digital revolution is underway and it is impacting the way artists are making and displaying their work. Cutting edge contemporary artists from around the world are embracing new digital technologies, processes and philosophies in their work and as a gallery, we are embracing a new way of thinking about displaying and selling the artists work. Art has become ubiquitous thanks to the internet and new printing technologies have reduced the cost of creating high quality digital artworks, allowing for the artists work to be disseminated all over the world. Art is activated by the viewer and our belief is the more people that view the work the better. Formless to Form is an exhibition that explores the artistic renaissance that has been spawned by the digital revolution. FORMLESS refers to the digital component of their work and FORM to the manifestation of their artwork in a physical creation. Exhibiting in the exhibition will be: trachyon

NEW PRINTS - Series by Matt Sheridan

Together with CHASING TAIL we have released a new series of prints by the sensational Matt Sheridan. In the Gallery we are featuring CHASING TAIL - one of Matt's moving artworks. The piece is an animated composite of physical & digital painting that revolutionizes the traditional medium by making it four dimensional. A painting of the 21st Century!

Here is a little insight into Matt Sheridan's innovative process and the story behind the latest series of prints.

Each of the paper paintings that we have released in print was created to generate sequentialized marks to be scanned and composited into video paintings-in-motion. Together they create a moving painting, and as stand alone pieces they are sensational - even better is a cluster!

[caption id="attachment_13095" align="alignleft" width="233"]Modular Painting VIII, 2013. Limited Edition Print by Matt Sheridan Modular Painting VIII, 2013. Limited Edition Print by Matt Sheridan[/caption] [caption id="attachment_13079" align="alignleft" width="227"]Modular Painting V, 2013. Limited Edition Print by Matt Sheridan Modular Painting V, 2013. Limited Edition Print by Matt Sheridan[/caption] [caption id="attachment_13075" align="alignleft" width="221"]Modular Painting II, 2013. Limited Edition Print by Matt Sheridan Modular Painting II, 2013. Limited Edition Print by Matt Sheridan[/caption]

Still Systemic Sequence 003 are acrylic on gessoed paper (12 sheets/ set, each mounted to black Sintra floats separated 6" horizontally and 3" vertically), set = 42" x 54" (107 x 137 cm) / each sheet = 9" x 12" (23 x 30.5 cm), 2012. Each print has been released in an edition of 200.

http://www.msheridanstudio.com/

Matt Sheridan is currently in residence in Japan and participating in Paradise Air.

What's Happening @ TWFA in December

VIEW HOTEL PROJECTION TWFINEART has collaborated with artist Elise Lee and VIEW HOTEL to bring Brisbane into the cultural limelight.  The state of the art project will transform the exterior of the Brisbane Riverview Hotel, facing Kingsford Smith Drive, for the nights of Friday 5th December and Saturday 6th December 2014, into a beacon of dynamic light, illuminating the facade with a moving artwork that would capture the attention of any person driving or walking by the hotel.  Lee’s work is a derivative of Pop Art and draws inspiration from artists like Takashi Murakami to create bright, oscillating, stylized shapes that dance across surfaces, emerging and disappearing in explosions of color and form. ELISE-PROMO
CHASING TAIL: The TWFINEART Gallery will feature the moving paintings of US artist Matt Sheridan in an exhibition titled CHASING TAIL. Sheridan's artwork will be projected through the gallery and complimented by a range of limited edition prints and stills from the animation. CHASING-TAIL-GENERAL-INVITE

ALCHEMY - Interview with Chris Trueman

Chris Trueman's paintings excite me! There is a wonderful quote by Joan Miro about the artistic freedom that would ultimately arise from the extensive visual vocabulary established throughout modernist history. Miro predicted that the isolated genres of painting that existed throughout modernism would eventually be manipulated and fused together. The artist would become a true alchemist, free to mix styles and invent something totally new all over again.

If there is one artist who epitomizes the fruition of this freedom it is Chris Trueman. His work hybridizes styles and genres of painting to create works that push the medium into new territories. Abstract painting is becoming fresh again and it's artists like Chris Trueman who are reinventing the wheel.

This month opening October 23 we will be exhibiting a series of Chris' paintings in an exhibition titled  A L C H  E M Y. We sat down with Chris and had a chat about the work and his responses are as eloquent and intriguing as the paintings themselves.

TWFA: There seems to be a real respect for the physical surface of the canvas in your paintings. In many cases the canvas is left exposed in the finished piece, your marks collaborating with the raw surface and working with it rather than imposing themselves entirely upon it. I am very drawn to that element of your work and I’m curious as to your thoughts on the ‘surface’ when it comes to making a painting?

bigsingleCT: In the AUG series, (which "Big Single" and DD are a part of) there was a focus on how the painting functions as an image and how it functions as an object. Big Single is a good example because the image that is created in the painting is a big stroke floating in an ambient atmosphere of color, as though you had zoomed in on an area of a much larger painting. But the big stroke isn't made out of smaller strokes, it IS the big stroke visually and physically. So I have narrowed the gap between what the stroke actually is and what it is representing. In this way making Big Single was quite a risky painting, because I wasn't building the stroke out of smaller strokes, I had one shot at it I put down a gallon or so of paint and went for it. As I moved forward In my series I discovered that I could maintain that connection to the materiality by leaving areas of exposed raw canvas. The weave and texture of the canvas itself provides a connection to the materiality of the object while other parts of the painting create illusions of space and depth. The paintings never function completely as an object nor as an illusion, they vacillate between the two.

TWFA: Your paintings could be described as visually complex, yet there is still breathing room for the viewer within the complexity. Do you feel a conscious battle going on when you are making the painting to avoid overworking the surface?

Chris Trueman

CT: I subscribe to the notion that each painting has its own identity, some come together seemingly effortlessly, some evolve into complex multi-layered dense compositions. Each painting presents a puzzle or problem that has to be resolved on its own terms. Sometimes I end up with paintings that don't fit into the linear sequentiality of series based work. In this case the piece circles back to ideas that are still kicking around in my head or takes a tangent of something that has been percolating in the background somewhere. In these cases rather than force it into conforming to the series I let the painting be what it is and move onto the next.

TWFA: Different periods and modernist styles from within art history get fused together in your paintings to create fresh new hybrids. I know from reading about your work that this dialogue with art history is a big part of the content of your paintings. Who have been your biggest inspirations throughout art history?

CT: The dialogue about art history in my work is about how when these previously isolated practices and philosophies are fused a third entity emerges. In an analogy its like how mixing the gene pool creates a a stronger population whereas too small of a gene pool has been known to create problems over time. Philosophies have to evolve and take into consideration new developments and address the internal problems that have been exposed. Part of the evolution is to break down the barriers that separate these diverse philosophies and take parts from each to build a more resilient more flexible, more fluid, more encompassing philosophy. How that translates to the formal dialogue in my work comes down to whether or not there is more generative potential through fusing styles than there was by leaving them isolated or even in juxtaposition.

Some of my favorite practitioners that I draw from are the abstract expressionist painters Joan Mitchell, Phillip Guston, Mark Rothko, hard edged painters Karl Benjamin,  Frederick Hammersley. Op artists Bridget Riley, Victor Vasarely.

[caption id="attachment_11920" align="alignleft" width="286"]Frederick Hammersley Frederick Hammersley[/caption]

TWFA: The line work in your paintings has evolved to be more dynamic and not as rigid in your newer paintings, which in turn creates an undulating, wave like quality to the later work. The paintings hum as a result and I’m reminded of the paintings of Charles Burchfield, particularly his interest in visually describing sound. Is that something that you are interested in or how would you describe the use of line in your work?

CT: I'm not as interested in describing sound as much as mapping space and creating a space that appears to operate in 3d at the same time as layers of semitransparent screens. Screen space like you would see on your computer or phone where layers of flat information are stacked. How we prioritize and read those spaces is interesting to me.

TWFA: There has been quite an evolution from the paintings done before to now. Obviously the earlier work is informing the later and I’m curious as to where you feel the work is heading now?

I tend to see my work moving forward as a herd not so much as a one-to-one but I have recently introduced dot patterns which are actually the negative space between two sets of parallel lines. In this way more of the underlying layer is exposed but the dots keep you from being able to focus on it. I like the idea of a painting that is evasive of being viewed.

DATE: OCTOBER 9, 2014.

-  T H E   E N D  -

RESORT & TWFINEART

TWFineArt is pleased to be collaborating with James St on their cultural project RESORT! We will be launching the Chris Trueman exhibition - Alchemy in the Gallery on the 23rd of October and featuring art on the street by Melbourne based artist Briony Barr on the 24th.

BB2 2

RESORT is coming…

From October 23 to 25, James Street will transform into an urban vacation, hosting presentations and parties from sunrise to sunset.

Easton Pearson will be launching their Cruise ’14 Collection Show, and the street will come alive with a showcase of contemporary Queensland art-works curated by the IMA.

On Friday October 24, all of your favourite James Street retailers will be staying up past their bedtime during RESORT After Dark. The street will transform into a balmy party under the stars where you can enjoy pop-up shops, in-store exclusives, designer meet and greets, as well as exciting music and art experiences.  It’s going to be one hell of a street party!

Stay tuned for the official program with events including discussions with international tastemakers, exciting in-store collaborations and events from the precincts most creative and innovative residents across fashion, design, art and global trends.

Mark it in your calendars ladies and gents, because RESORT is sure to become an essential fixture on the cultural calendar. We look forward to checking you in at RESORT.

We will be lounging pool side with our RESORT partners: Audi Centre Brisbane, MAC Cosmetics, Bank of Queensland, Institute of Modern Art, Brisbane Airport Corporation and Stylecraft.