Artist Index


THE MOTOR SHOW opens Friday 31st July, 6-8pm

Open 11am - 5pm Sat 1st August to Sunday 16th August

Coordinated by Linden Braye, Sue Callanan and Emma Wise

Artists: Tania Alexander, Linden Braye, Sue Callanan, Sach Catts, Janine Clark, Steven Fasan, Ursula Frederick, Justin Henderson, Noelene Lucas, Mad Mick, Brenton Alexander Smith, Anke Stäcker, David Watson, and Emma Wise.

The Sydney Motor Show isn’t on this year so come to The Motor Show 2015 instead!

The show draws inspiration from its site – a former car repair workshop located amongst the car yards of Parramatta Road – and, taking the car as its point of departure, travels through nostalgia, the materiality of the motor, the crash, and the symbolic realm of the automobile.

Works range from installation and video to performance, sound and photography. At least two actual cars will be in the show, including a vintage Cord (and knowledgeable owner).

view from Mad Mick's The Rolling Sculpture. Photo Emma Wise
David Watson ACTION #1  Victoria Road, Rozelle  2015
Anke Stäcker When Nancy Comes to Town 2015

Janine Clark 2001:524 2015 (Light, sound, shadows, windscreen, maps)

Brenton Alexander Smith Undead Appliance (2015) video, 5:33
Justin Henderson agent bland 2013

Sach Catts Experimental Reading: On the [Ropes] (2015)

Mad Mick The Rolling Sculpture 1937-2015 - photo by Sue Callanan

Emma Wise On the Road: A Recollective (Australia and Papua New Guinea) 2015

Steven Fasan SENSO TITOLO 7/2015.

Sue Callanan Recall 2015

Noelene Lucas Leaving  Leaving  9 minutes SD video  (1999/2015)

U.K. Frederick  Parkville Motor Company  (2012)  4.20 min HD video

Tania Alexander Avtomekhanik II, hand-stitched felt, installation


FLOOR WORKS - photos by Linden Braye

Loma Bridge, Julian Woods, Elizabeth Day

Lynne Eastaway

Justin Henderson, Hana Hoogedeure

Justin Henderson, Hana Hoogedeure

Loma Bridge

Loma Bridge

Elizabeth Day

Elizabeth Day, Chantal Grech, Beata Geyer

Front-back: Beata Geyer, Heidi Abraham, Nicole Ellis, Chantal Grech, Elizabeth Day, Julian Woods,
Loma bridge, Hana Hoogadeure, Lynne Eastway, Justin Henderson


Heidi Abraham, Beata Geyer, Nicole Ellis

Hana Hoogadeure, Nicole Ellis, Elizabeth Day,Chantal Grech, Beata Geyer, Linden Braye

Sarah Fitzgerald Xx (ArticulateUpstairs)

Linden Braye

Heidi Abraham, Beata geyer

Chantal Grech
front-back: Nicole Ellis, Heidi Abraham, Beata Geyer, Linden Braye


FLOOR WORKS opens Friday 10 July 6-8pm

Open Friday - Sunday 11 - 26 July, 11am - 5pm
FLOOR WORKS presents eleven Sydney and Blue Mountains based artists: Heidi Abraham, Linden Braye, Loma Bridge, Elizabeth Day, Nicole Ellis, Lynne Eastaway, Beata Geyer, Chantal Grech, Justin Henderson, Hana Hoogedeure & Julian Woods.

The floor is what separates and joins us to the earth. It is a loaded zone of connection and loss. In contemporary urban city spaces we traverse a variety of metaphorical and material floors, such as pavements and laneways, on a daily basis. The floor marks the beginning of space and the universal experience of being. The floor is also a border space and a marker of our temporality.

The artists in this exhibition are linked by their ability to consider and reconcile their work with the floor. This group of artists also share a common interest in spatial discourses. The works in this exhibition invite viewers to look closely and to re-imagine the floor as a unique spatial plane.

Curated by India Zegan

Linden Braye  Cave 2015  Faux fur, rocks, rope.
Cave is an extension of a character Skylark that is made from faux fur (toys). Skylark used to walk with a real dog called Luna. They investigated various urban landscapes where social and cultural interactions transpired. The carnivalesque material of Skylark’s fabric continues in Cave. In its present site, Cave is a shelter at the border of nature and culture, inside and outside and the real and the constructed. Visitors are welcome to enter the cave and explore.
Elizabeth Day Myco Logic 2015 Mixed media. Photo Chris Verheyden. Fungi are now recognised by scientists as the third genus. They are supposed now to be closer to fauna than to flora. Their roots are transmitters of nutrients that they break down from decaying matter. I am interested here in the roots similarity to the rhizome structure that has occurred previously in the work I have done with grass root prints that were also part of this collaborative project. People of Kandos and other artists were invited to participate in the CEMENTA 2015 production of Myco Logic by making a fungi. This work endeavoured to uncover hidden stories of Kandos and its broader cultural connections. The use of fungi suggests the potential inherent in these untold connectivities. Contributors include Claire Gordon, Louie Gordon, Loma Bridge, Kelsey Bender, Christine Treganza, Rose Ann McGreevy, Val Morgan, Ellen Riley, Kaz Knights, Neal Price, Delma Smith, Louise Norton, Tara Kulla.

Beata Geyer  TOWER Ultamarine Blue 2015. Wood, particle board, foam matting, PVC, acrylic paint

TOWER Ultramarine Blue is site-specific installation, developed to engage spatially and chromatically with architectonics of the exhibiting space, in this case floor. The installation is a part of an ongoing project that examines various intersections between conceptual as well as formal aspects of painting, such as colour and form and architecture. 
Heidi Abraham  The other Mary 2015, Pine, acrylic paint, ink, vinyl, 24 blocks, each 19x 19cm. Heidi Abraham is an interdisciplinary artist, her practice concerns itself with cross-cultural positioning and there fore cross-cultural representation in both written text and visual art, central to both her research and studio practice is the notion of text: in terms of cultural language, subjective voice and of its physical manifestation in visual art.  Her most recent works include the act of transcribing. Abraham employs materials such as type-writer ribbon and vinyl to transform transcribed text from radio interviews, email, film dialogue and an array of other sources. The text is then installed, with the intention that the words and their meaning become embedded in the space.
Nicole Ellis ‘Shhh! Tread Lightly…’ (2015) Fleece fabric, heat-transfer print on felt, shoe sole patterns, 32.5 x 13cm, 24 pairs, overall size variable, 2015. This work uses fleece fabric and hand printed felt cut into a pattern of shoe soles. The colour and layered softness of the fabric, contradicts the large size of the soles, which mark out a quiet passage of steps along the gallery floor. As a warning, a comment on the overall lack of care and harsh realities we face daily in relation to our changing world, the work provides a tactile reminder of the individual’s role in this demise. Nicole Ellis is represented by Conny Dietzschold Gallery
Chantal Grech  Where 2015 mixed media, 190.5 x 87 x 40cm. Nothing is fixed. We exist within a set of constantly shifting relationships, both in space, and in time. The body itself is always, above, below, beside… the present always dissolving into the past or the future. In this work the elements come together in a specific combination, none fixed to the other, each in relation to a floor, which sits above the ground and on which we walk, ourselves floating above it. The particular juxtaposition of parts in this moment suggests a reading that will no longer exist when the work leaves the space –the felt rolled under an arm, the lights in a box, the silk folded and stationary. . . At its heart the piece recalls a member of my Egyptian family who died recently. The letter W begins the word ‘where’, but w may equally be read as part of hieroglyph representing water.

Julian Woods Drawn 2015 Digital video, Time: 10 minutes. My recent art practice has primarily been animating mundane objects in digital video; seeing how these objects interact with space and stripping the footage back to create a hypnotic loop. Editing the footage to two tone, often the objects appear silhouetted and far removed from their original three dimensional form. In such sense, they can be mistaken for being drawn from my hand and not from recorded video footage going between reality and fiction.
Loma Bridge Vague Object No. 3    quaKe 2015  mixed media meditation. Photo: Chris Verheyden
Eutierra  – a feeling of elation, or oneness with the earth – a neologism created by philosopher Glenn Albrecht
 (along with others he feels are needed in this global warming era).  
Collision, fuzzy middles, sandblows, hotspots, subduction zones. 200 felt earthquakes per annum. Quaker. Born in the shaky aisles. Collusion. Whose fault line? Cover and hold. Something sculptural emerging; reading the earth's lips – those large igneous provinces
Hana Hoogedeure   Dog Days 2015 100cm x 80cm x 35cm. Sand, ceramics, playdough, string, cotton, marker, acrylic paint. Photo: Chris Verheyden. Hana Hoogedeure is an artist from Sydney working across Sculpture, Performance and Installation. Her work is concerned with the sculptural qualities of theatrical props and toys, and the importance of imagination and illusion in order for these artefacts to function. A strong sense of narrative underpins her work, insomuch as it is orientated around.  (Lower right: Nicole Ellis)

Justin Henderson  broadbrush 2015 video loop; duration: 10 minutes. Henderson notes: There was an occasion about five years ago when I was fervently scrubbing a patch of grimy industrial concrete. The floor, along with the walls and ceiling had by rental agreement recently become my studio. Was it the desire for a blank page, just procrastination or a warm up? A nauseating amount of compressed life to scrub out, decades of warehouse toil, an oozing black melancholic record. Setting to task with the zeal of expectation and anxiousness for what will be another layer of human sediment. At some point falling into the rhythm of the activity and watching the flow and form of the agitated liquid. Credit: Special thanks to friend and video artist Sean Bacon for his expert input in helping me make this work
Lynne Eastaway FOLDED 2014 Acrylic Gouache on heavy Belgian Linen, wooden box. Photo: Chris Verheyden

fold …                                                                                                                                                                                                                                       
·       bend (something flexible and relatively flat) over on itself so that one part of it covers itself.
·       bend or rearrange … into a more compact state.
The first of these folded works was pinned to a wall in the form of a triangle, in an effort to make a work smaller than its original size but also in response to the word homage and the ritual folding of flags. From the wall, to the floor, to its own white box, the experimental nature of the work has been both interesting and frustrating and is no closer to resolve than its earlier beginnings.  Roughly a metre square, the original flat shape is painted and then folded to form something between a flat object and a more flexible sculptural form. In this state the work can be handled into a range of possible new configurations.  Its potential is also to show wear and tear over time as it is handled, a process of giving the piece to a life of it’s own.

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