FOUNDER, TRIBE STUDIO
Gretchen Albrecht, Fine Arts Sydney and Two Rooms
Rebecca Bauman, Starkwhite
Claire Millege, STATION
Kate Mitchell, CHALK HORSE
Fiona Pardington, Starkwhite
Caroline Rothwell, Yavuz Gallery
Caroline has been making incredible botanical-industrial sculptures and works on canvas. I am looking forward to seeing a series of new sculptures, using a fascinating construction technique where stitched fabric, with incredible botanical detail and fineness, is used as permanent formwork for poured concrete, to make wild plant-like sculptures with humanoid elements and plumbing fixtures. What’s not to love?
Gemma Smith, Sarah Cottier Gallery
At last year’s fair, Gemma’s white paintings were an absolute stand out for me. Since then, Gemma has had an incredible career survey show with UNSW Galleries and it was a real thrill to see the tangles rub shoulders with shadows, sculpture and earlier geometric work. I’m looking forward to seeing what she’s been up to.
Gretchen Albrecht, Prime The Sun has Risen, 2019, acrylic & oil on canvas, 122.5 x 250 cm. Courtesy the artist and Two Rooms gallery, Auckland.
Rebecca Bauman, Automated Colourfield Variation, 2012, 28 Flip-clocks, paper, 9.6 x 14.0 cm. Courtesy the artist and Starkwhite, Auckland.
Clare Milledge, Cosmic Downloads: Institutional Agility, 2019, oil on tempered glass with steel frames and bronze microbat close-readers, 74.0 x 0.4 cm. Courtesy the artist and STATION, gallery, Melbourne.
Kate Mitchell, The Flowers Formed A Bouquet to celebrate the tricky task of finding a person you can sit on, 2019, Copic Ink transferred to archival watercolour paper, 42 × 29.7 cm. Courtesy the artist and CHALK HORSE, Sydney.
Fiona Pardington, Lycaeides Melissa wing scales, 2, 2016, From the series Nabokov’s Blues: The Charmed Circle. Courtesy the artist and Starkwhite, Auckland.
Caroline Rothwell, Inflorescence, 2019, hydrostone, aluminium, canvas, epoxy glass, PVC, stainless steel, 80 x 36 x 30cm. Courtesy the artist and Yavuz Gallery, Sydney | Singapore.
Gemma Smith, Darkening (Reverse Shadow), 2019, Acrylic on board, 137 × 117 cm. Courtesy the artist and Sarah Cottier Gallery, Sydney.