Exhibiting for the first time at Sydney Contemporary 2019 we spoke to Fine Arts, Sydney Gallery Director Ryan Moore about their upcoming exhibition.
The gallery is located in Sydney, as indicated in its name, can you elaborate on its location and why you chose to open here?
The gallery opened in 2017 in premises on the top floor of a 19th century heritage terrace on Bayswater Road, at the Kings Cross end of Potts Point. The area is one of my favourite parts of Sydney, and almost certainly amongst the most storied. The gallery itself is discreetly located and modestly scaled, and we were attracted to the character and human-scaled proportions of the spaces.
What are some career highlights, or exhibition highlights in the gallery?
The exhibition program has brought a number of artists and their work to Australia either for the first time or for the first time in a generation, as well as presenting the work of artists who are part of the story of contemporary art in Australia but whose work might not have been as accessible to audiences and collectors here as it deserves. It’s a real pleasure to present artists’ work that we believe in, and it is always a high moment when others share in that too.
What was your first exhibition? And why?
The gallery’s first exhibition was a work by Martin Creed: ‘Work No. 2821’, for which half the air in the space of the gallery was filled in bright yellow balloons. I think this body of work is one of the best art ideas of our time, and the experience of being in it is almost indescribably physical and life-affirming.
Who are you bringing to Sydney Contemporary and why?
This will be the gallery’s first participation at Sydney Contemporary. We’d like to introduce the gallery to the fair through the program, by presenting new works by many of the artists who have been part of our gallery’s exhibitions over the past two years – we’ll be bringing works here to Sydney from Europe, America, and across Australasia.
Yngve Holen, Double validation of Vigipirate for transparency and explosion-resistance, 2017, Car paint, plastic, steel, 77.5 x 114 x 37 cm. Courtesy the artist and Fin Arts, Sydney.
Michael Stevenson, The Interviewers Chair, 2017, Herman Miller ‘Aeron’ chair chassis, plastic manhole cover, mesh fabric, 131 x 76 x 64 cm. Courtesy the artist and Fine Arts, Sydney.