9-12 SEPTEMBER 2021 | CARRIAGEWORKS

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AMANDA LOVE SHARES HER FAIR HIGHLIGHTS

COLLECTOR AND ART CONSULTANT LOVEART

Tony Cragg, Gow Langsford Gallery

Martin CreedFine Arts Sydney
I have said before that Martin is a strange but ultimately fascinating artist. His process is quite algorithmic and strategic, with self-imposed limitations hat produce unpredictable results. This is a simple (but unabashedly chaotic) pencil drawing, likely a maquette of a greater work. He is an artist of paradoxes but one I continue to recommend.

Simon DennyFine Arts Sydney
Coming off the back of his solo at MONA (coinciding with Dark Mofo this past June, an absolute riot), Simon has been very busy wow-ing the masses. This print edition of a smashed TV (anarchic in its own right) is made of the same honeycomb material that features in all of the large MONA sculptures. You know I don’t usually advise on editions, but I do believe that Simon is a strong voice for his generation of contemporaries and worth investing in.

Yona Lee, Fine Arts Sydney
Yona is a fresh faced Korean-born NZ based artist that gives tangible, three dimensional life to the transient ephemeral nature of life on the move (do you remember her site specific work from AGNSW last year?). Drawing inspiration from cities and infrastructure that “organise” masses of moving bodies, her sculptures travel in the liminal zone between public and private. Her artistry extends to classical music as a professional cellist – an influence that sometimes presents itself in the fluctuations and evolutions of lines and forms reminiscent of slurs, repetitions, beats and tempo shifts. After her work for AGNSW, West space (Melbourne) and a slew of international museums, as well as her recent inclusion in the 15th Lyon Biennale, it is clear that her career is off to a banging start. These works are well priced and functionality adds a point of interest.

Kate NewbyFine Arts Sydney
Kate’s practice is rooted in the ephemeral imperceptible and site specific. Her artworks manifest in gestures of material to heighten awareness of relationships between bodies, sites and objects. Even though she often works with materials that have the potential to be very robust (ceramic, stone, brick, glass), most of her works are imbued with delicacy and fragility and subtlety. She exhibited with the 2018 Sydney Biennale at AGNSW, Artspace (Sydney), Gertrude Contemporary (Melbourne) Institut d’art contemporain (France, ACCA (Melbourne) and the SculptureCentre (NY), to name a few.

Sterling Ruby, Filter Fine Art

David Shrigley, Filter Fine Art, Sydney

Image credits:
Amanda Love, in front of work by Katerina Fritsch
Tony Cragg, Marie Curie, 2016, Stainless steel, 80 × 35 × 32 cm. Courtesy the artist and Gow Langsford Gallery, Auckland.
Martin Creed, Work no. 3367 WHEN PLEASE HOW HOW HOW, 2018. Courtesy the artist and Fine Art, Sydney.
Simon Denny, Cardboard screen sensor replica, 2019, UV printed on honeycomb cardboard, 55.5 x 94.5 x 3.5cm. Courtesy the artist and Fine Art, Sydney.
Yona Lee, Lamp in Transit, 2019, object stainless steel, 56 x 180 x 40 cm. Courtesy the artist and Fine Art, Sydney.
Kate Newby, Yes in my toes, 2016, High fired Stone ware and glaze. Courtesy the artist and Fine Art, Sydney.
Sterling Ruby, ECLPSE (RGB), 2015, Collage / paint on cardboard salvaged from the artist’s studio floor with aluminium sub-frame., 161 × 252 cm. Courtesy the artist and Filter Fine Art, Sydney.
David Shrigley, Untitled , 2019, Screenprint on 300gsm BFK Rives paper, 76 × 56 cm. Courtesy the artist and Filter Fine Art, Sydney.

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