Brian Robinson, The Parade of Nations (Charting our place in the universe), 2018, Athlete's Parade Track, digital print on vinyl, Carrara Stadium. Photo: Courtesy of the artist and CREATIVEMOVE.

Brian Robinson, The Parade of Nations – Charting our place in the universe

Onespace Gallery and CREATIVEMOVE are immensely proud to work with the amazing Brian Robinson and the Jack Morton Worldwide team on the artwork design for the Parade Track for the Opening Ceremony of the XXI Commonwealth Games.

As Brian Robinson explains, Charting our place in the universe, is a large chart full of marine life and tales from the seven seas, tells an epic narrative that was developed for the 2018 Commonwealth Games on the Gold Coast. The narrative encompasses the entire universe, both fact and fantasy, and starts with the creation of the pale blue sphere we call earth.

Our story begins in the islands of the Torres Strait. Like the astronomers of antiquity, the Islanders also looked towards the heavens for advice, only to be confronted with stars in the thousands that shone down upon them out of the blackness of the night sky — the blackness that is space. The stars appeared to be scattered haphazardly about in every direction and therefore appeared to be somewhat confusing, but after star-gazing for a while, their eyes could soon make sense of their apparent chaos.

Brian Robinson, The Parade of Nations (Charting our place in the universe), 2018, Athlete's Parade Track, digital print on vinyl, Carrara Stadium. Photo: Courtesy of the artist and CREATIVEMOVE.

Brian Robinson, The Parade of Nations (Charting our place in the universe), 2018, Athlete’s Parade Track, digital print on vinyl, Carrara Stadium. Photo: Courtesy of the artist and CREATIVEMOVE.

These same stars that mark out the heavens are also navigational and environmental markers. Just as importantly, they are a source of artistic inspiration for visual, written and oral material culture for both indigenous and non-indigenous people and have been since the dawn of humankind. Through their connection to the land, the sea, and the sky, the Islanders of Torres Strait have been able to predict major social and seasonal changes to their environment, which is an essential part of the education of young children through storytelling. These lessons are interwoven through spiritual beliefs, songs, dances and stories.

It was our distant ancestors, both black and white, who, seeing much the same skies as we do today, named most of the constellations and identified them with the heroic, the beautiful, the fantastic and the monstrous characters that feature in epic myths and legends. These legends have been handed down through the generations — legends like the Great Bear, Ursa Major, a prominent star cluster in the northern hemisphere and known to Torres Strait Islanders also as Baidam, the shark, the bringer of the monsoons that provide the regeneration of food crops and plants.

Navigation is another concept touched upon as you traverse the track, as humankind sets out to discover and explore new lands, territories and the unknown with supplies for barter and trade such as cowrie shells, which functioned as money in times gone by and were also used as ornaments and charms the world over. Ancient stick charts, sextons, compasses, compass points and a multitude of sea life all find their place hidden among traditional designs from the Torres Strait known as minaral, the incessant patterning that ripples and swirls about, engulfing the negative space and often running off the edge of the artwork. It seems to go on forever, filling all the spaces of the world.

This patterning represents the environment — the seas, the stars and the cloud forms — and the spirit connection called kaidaral, the spirit that creates ripple patterns on the surface of the water. This effect also emphasises the importance of an orderly system representing the complete world, full of wisdom and mythology, where all its parts and motifs are contained, having their time, space, and place.

Charting our place in the universe has been approached using a broad intellectual brush and a complementary palette that references Oceanic design reminiscent of the contemporary Pacific. Innovations in form propel the work deep into the territory of contemporary art, as old and new motifs and mark-making transform the lived experience into a series of compelling graphical iconographies. Emboldened by a hybrid conception of the world, the work is layered with historical narrative that is intertwined with personal history and humour, where iconic and popular sources from global culture are co-opted into the spirit world of the Islander imagination.

The way to the future is through a conception of routes — rather than borders — charting the physical, psychological and magical geographies of contemporary culture, identity and place. What is common, or universal, to all cultures and times is the essential human need for heroes, for sagas and the desire to hear or tell a captivating story, better yet with a toe in the water.

Brian would like to respectfully acknowledge the Traditional Custodians of the Gold Coast region, the Yugambeh people, and the Traditional Custodians of other participating cities of Brisbane, Cairns and Townsville. Brian would also like to thank his wife Tanya and their children Amber, Raidon and Leonardo; Jack Morton Worldwide; Master Printmaker Theo Tremblay and Rebis Press High Scan.

Brian Robinson carving the track design lino block. Photo: Hamish Rutherford for Jack Morton Worldwide.

Brian Robinson carving the track design lino block. Photo: Hamish Rutherford for Jack Morton Worldwide.

Brian Robinson
Proteus, the oceanic alchemist, 2018
Linocut (unframed), 93cm x 62cm, edition of 15. Photo Michael Marzik.

Media Release – Brian Robinson, Elixir – blended cosmologies

Onespace is very excited to present our latest exhibition by nationally acclaimed artist Brian Robinson. Elixir – blended cosmologies comprises a selection of recent linocuts, and etchings, in addition to a major work – a four-metre wall sculpture, Containment of the seven seas. Elixir – blended cosmologies is presented in association with Mossenson Galleries (Subiaco).

Robinson is a highly celebrated Indigenous artist of his generation, and a leader in his field within his community and throughout Australia. In recent years, he has moved further afield, building a strong, international reputation.

His work is highly innovative, combining a unique blend of the organic and man-made reference material. It embraces popular culture, traditional art historical concerns, and is also informed by his Torres Strait Islander heritage and familial experience.

Robinson, says: ‘My creations are seemingly incongruous concoctions where motifs and characters are co-opted into the spirit world of the Islander imagination, which are then intertwined with historical narrative, personal history and humour.’

Onespace Gallery Director John Stafford, says: ‘Robinson’s work is best known for its multiple narratives and blended cosmologies – Zenadh Kes, the western Age of Enlightenment, the Renaissance, Marvel Comics and the Disney franchises. Each is its own filter on the world, which he handles confidently and sensitively. These filters are layered in intellectual consideration but are fully realised as an integrated planar whole.’

From diverse sources, Robinson creates one artistic lens that makes sense of a spectacular and fantastical world, or coexistence of ‘worlds’, that intermingle in both vision and messages. This is Robinson’s ‘elixir’ of life, or more specifically ‘artistic life’.

Robinson’s sculpture is also visible in the urban environment with high-profile public art projects in many Australian cities, from Perth to Port Macquarie, Brisbane, Mackay, and Cairns. In 2017, his $1 million public artwork, Citizens Gateway to the Great Barrier Reef (Ocean Guardian), was unveiled on the Cairns Esplanade where it remains on display. This popular and iconic work, co-funded by the Australian, Queensland and Cairns Regional Council Governments, was subsequently shared widely on social media, in particular on Instagram.

Robinson has been recognised on numerous occasions with awards and grants both within the arts community and in the mainstream arena. He received the national Western Australian Indigenous Art Award in 2013 ($50,000), and more recently was awarded both the Hazelhurst National Art on Paper Award in 2017 (Major Award) and the Collie Art Prize ($50,000) in 2018. In 2001, he was awarded an Arts and Culture Recognition Award from Cairns Corroboree and on several occasions has been recognised with funding from the Australia Council (1998, 2003, 2007, 2017).

Brian Robinson is represented in Australia by Onespace Gallery in Brisbane, and Mossenson Galleries in Subiaco.

Please join us for opening night drinks with the artist on Friday, 13 April 2018, 6–8 pm, when the exhibition will be officially launched by the Hon. Jackie Trad MP, Deputy Premier, Treasurer, and Minister for Aboriginal and Torres Strait Islander Partnerships.

eigh Schoenheimer
Ways of Seeing/Ways of Knowing: Construction #10, 2018
Oil on Plywood with assemblage of recycled timber and acrylic paint

Media Release – Leigh Schoenheimer, Iterate | Elaborate

Onespace Gallery is pleased to announce our second exhibition for our 2018 program – Leigh Schoenheimer’s solo exhibition Iterate | Elaborate.

Leigh Schoenheimer lives and works in Brisbane and is a former long-term art educator. Iterate I Elaborate completes a trifecta of exhibitions on her current theme of interrogating ‘representation’ – the two prior shows being held at the Redland Art Gallery and more recently the Stanthorpe Regional Art Gallery.

These connected exhibitions include both 2D paintings and 3D objects in scenarios which create a dialogue between seeing and knowing a subject – underpinning her investigation broadly into ‘perception’. An exciting twist in the final installment presented at Onespace takes her exploration to its logical conclusion – an entire, immersive room installation.

The series of paintings comprise multi-paneled ‘storyboards’ which involve a conceptual exploration of many of the styles of the 20th Century, especially the artistic endeavours of artists who re-positioned painting and sculptural practice after the invention of photography. These Constructionseries works are as seductive as they are persuasive.

Iterate | Elaborate brings together a curated selection of works produced over the last twelve to eighteen months.

“Schoenheimer’s works offer a gamut of brain responses to visual stimuli. Her adoption of many stylistic guises, often clearly borrowed from artists of the past, make dynamic and holistic viewing. While the sculpture itself is lively, often kinetic, colourful and with recognisable objects combined in innovative ways, the associated paintings simultaneously offer a figurative, abstract and conceptual understanding.” – Louise Martin-Chew, room brochure essay.

Much of Schoenheimer’s work draws on art movements and developments of the last 100 years and as she says, “Whilst I’m primarily interested in the aesthetics of each work, I’m also aiming to demonstrate the alternative logic of abstract and conceptual approaches to art-making. Each work is, in effect, a short lesson in the history of art and the nature of ‘representation’.”

Goat Girls

Zoe Porter in studio on Radio National

Earlier this month Zoe Porter sat down with Eddie Ayres to discuss her practice, latest body of work and where she draws inspiration. Zoe’s vibrant watercolours are often derived from her immersive performances that explore various in-between states of being through body transformations and animal-human hybrid forms.

Listen here: http://www.abc.net.au/radionational/programs/the-hub-on-art/the-art-hub,-weds-31st-january/9374850 

 

 

ONExchange event with Zoe Porter and Dr William Platz prior to the opening of Penumbra

ONExchange | Zoe Porter and William Platz In Conversation

On Friday 9 February Onespace Gallery hosted its second ONExchange conversation between Dr William Platz and Zoe Porter where they discussed her recent art practice, her performance work and her recent solo exhibition, Penumbra.

Listen to the full discussion below:

 

Dr William Platz and Zoe Porter. Photo: Louis Lim

Dr William Platz and Zoe Porter.
Photos: Louis Lim

Onespace Gallery. Photo: Funky Munky

Happy Holidays

On behalf of the Onespace Team – Jodie Cox, John Stafford, Jamie Mercer and Alicia Hollier – we hope that you and your family have a happy and safe festive season and we look forward to working with you again in 2018.

Gallery Dates
The Gallery will be closed from Friday 22 December 2017 from 1pm and will re-open on Wednesday, 10 January 2018.

Thank you!
The team at Onespace would like to sincerely thank our private and institutional collectors who have supported the artists and gallery this year including: University of Queensland Art Museum; Toowoomba Regional Art Gallery; Redland Art Gallery; Quandamooka Yoolooburrabee Aboriginal Corporation; and the Lady Cilento Children’s Hospital. Your support inspires both our programming and our artists.

We would also like to pay tribute to, and thank, an extensive list of artists, partners and collaborators and visitors to the gallery who have made our 2017 program possible. The Fox has been a great sponsor for the gallery this year and we sincerely thank Scott and his team for their support. We strengthened our presence in post code 4101 through our productive collaborations with The West End Magazine (thanks Danielle and your team!) and of course our CREATIVEMOVE public art commissions in Fish Lane with Aria Property Group.

Collaborators
Much of what we do throughout the year relies upon the high-quality support of our collaborators who we value enormously and this year we thank: Benjamin Werner; Louise Martin-Chew; Simon Brigden; Evie Franzidis; Mick Richards; Louis Lim; Funky Munky; Brisbane Digital Images; Canopy Art Centre; Matt Rees Signs; Pack & Send (South Brisbane); Tony Gooley Design; ABC Creative; Lix Creative and Ron Cox.

Farewells
We also farewell with much admiration and well-wishes, team members Craig Flood and Simon Brigden, both of whom are pursuing exciting new career paths.


2017 Highlights

Exhibition Highlights
Our first year of programming gave us the opportunity to pivot between curated group exhibitions and individual artist shows to present the work of some 40 professional artists. It was a pleasure to present solo shows by: Elisa Jane (Leecee) Carmichael; Renata Buziak; Georgina Hooper; and Samuel Tupou; while supporting group and two-person shows by Hillary Green and Friends, Benjamin Werner and Elysha Rei; Kylie Bickle, Jennifer Marchant and Matthew Tobin; Michael Boiyool Anning and Daniel O’Shane; and Afterimage Editions – 2017 Collection.

Art Fairs & Events
2017 took us off-shore for the first time. We were honoured in June to partner with Stephane Jacob, Arts d’Australie; Suzanne O’Connell Gallery – Australian Indigenous Art; Pormpuraaw Art and Culture Centre; and UAP (Brisbane and New York) to present Brian Robinson’s Ocean Guardian at the United Nations Headquarters in New York to coincide with The Ocean Conference. This exhibition, Australia Defending the Ocean then toured to the Kluge-Ruhe Aboriginal Art Collection, University of Virginia (Charlottesville, USA).

In July, we attended the Cairns Indigenous Art Fair (CIAF) for the first time. It was a significant commitment to establish our profile in both the North and the broader Indigenous art scene in Australia and of course we chose acclaimed Cairns, and nationally-recognised artist, Brian Robinson, to do so. Brian presented both his limited-edition Ocean Guardian sculpture fabricated by UAP and related lino-prints. Ocean Guardian was a favourite with many CIAF visitors this year.


Onespace Gallery Turns 1 & Afterimage Editions
To celebrate the first year of Onespace, we launched a new platform to present and celebrate the artists we work with. The inaugural 2017 Collection of digital fine art prints, reflects a broad range of imagery and concerns and includes artists such as Fintan Magee, Elisa Jane (‘Leecee’) Carmichael, Sebastian Moody, Brian Robinson, Jackie Ryan, and many other great artists.

Available Works
We are excited to share the launch of our new Available Works page on the Onespace Gallery that will enable you to browse through all of your favourite artist’s work on offer from multiple exhibitions.

Merchandise
It’s not too late to pick up an affordable Christmas gift from Onespace Gallery for $150 and under. Unique gifts on offer include popular tea towels and t-shirts by Samuel Tupou; elegant leather bracelets and cuffs by artist/designer Kylie Bickle, delicate sun-dyed silks by Renata Buziak and thought-evoking multiples by Sebastian Moody.

2018 Line-up
Our line-up for 2018 continues an emphasis on early mid-career and mid-career artists both from Brisbane and further afield. 2018 is shaping up to be an exciting year with new bodies of work from Zoe Porter, Benjamin Werner, Kim Demuth & Henri Van Noordenburg, Sarah Rayner, Sebastian Di Mauro, Brian Robinson, Jay Younger, and Elisa Jane Carmichael. Our group shows will also introduce new artists to the Gallery who will show with us for the first time.

We look forward to seeing you in 2018!

 


Image Attributions (top to bottom)

  1. Onespace Gallery exterior. Photo: Funky Munky
  2. Craig Flood, Jamie Mercer, Alicia Hollier, Jodie Cox and John Stafford. Photo: Mick Richards
  3. Hon. Annastacia Palaszczuk MP, Queensland Premier and Brian Robinson, Onespace Gallery, CIAF 2017. Photo: Kerry Trapnell. Courtesy Cairns Indigenous Art Fair.
  4. Jodie Cox and John Stafford. Photo: Funky Munky
Daniel O'Shane, Deger (Dugong), 2014, vinylcut print
Photo: Mick Richards

Media Release – From a Northern Canopy

On Friday, 25 August, Onespace Gallery, in collaboration with Canopy Art Centre (Canopy), Cairns, will launch the exhibition From a Northern Canopy, featuring work by artists Michael Boiyool Anning (Yidinji) and Daniel O’Shane (Kuku Yalanji, Miriam Mer, and Kulkagal). The exhibition celebrates these two exceptional Indigenous artists from Tropical North Queensland who were stand-out exhibitors with Canopy at this year’s Cairns Indigenous Art Fair (CIAF 2017).

From a Northern Canopy represents an exciting point of alignment between two artists at opposite ends of the professional spectrum, with one established and one emerging, who each utilise distinctly different artmaking processes.

This exhibition represents Anning’s first significant exhibition in Brisbane since 2009, a welcome return by this well-respected artist. His works are held in the collections of QAGOMA, Queensland Museum, and Cairns Regional Gallery among others. From a Northern Canopy is the first time O’Shane’s large, award-winning vinyl-cut prints have been shown in Brisbane. Among his achievements are being highly commended at the prestigious 2014 Telstra Aboriginal and Torres Strait Islander Art Award (purchased for their collection); receiving a special commendation at the 2014 Fremantle Print Award; being a finalist in the 2015 Telstra Art Award; being awarded the Grand Prize at the 2015 Silk Cut Award; and winning the 2016 Mornington Peninsula Regional Gallery National Works on Paper Award.

Both artists were outstanding presences at Canopy during CIAF 2017: O’Shane was the recipient of the Fair’s People’s Choice Award, while Anning made a strong return to the art world spotlight after a five-year hiatus.

Anning and O’Shane investigate similar themes of country, ancestral narratives, and the continuation of culture through their works. However, they accomplish these thematic goals through divergent artmaking practices—Anning through carved and bold ochre-painted shields and fire-makers and O’Shane through large and very detailed vinylcut prints.

Anning was one of the first Queensland Indigenous artists in recent years to revive the tradition of making two traditional rainforest artefacts: the Big-run (shields) that were once used as weapons by his people and the Nalan Gugal (firemakers) that were used to create precious flame in the wet tropics. O’Shane, on the other hand, represents an exciting new energy in the tropical north Queensland art world, as he is developing his own innovative minarr/warr (traditional patterning of the Torres Strait).

In the exhibition, the blocks and lines of geometric ochre colour in Anning’s work are met by the intricate black-and-white lines of O’Shane’s prints, though the latter sometimes includes fine fields of colour in his work. Both artists utilise repetition to create works predicated on absorbing figurative and abstract forms.

From a Northern Canopy also represents an exciting point of initial collaboration between Canopy Art Centre in Cairns, and Onespace Gallery in Brisbane. Canopy represents O’Shane, and was the site of Anning’s CIAF 2017 exhibition.

Canopy is a focal point of Indigenous and non-Indigenous art from Tropical North Queensland, and is dedicated to showcasing the varied works of local artistic practitioners. Administered by Master Printmaker Theo Tremblay and Paloma Ramos, Canopy fulfils a variety of educational and presentation roles. It is also home to Editions Tremblay Print Workshop, which provides a space for expert education on various printmaking techniques.

Please join us for opening night drinks on Friday, 25 August, from 6–8pm.

view exhibition

Brian Robinson, Ocean Guardian, 2017. Photo-Luis Lim_5

Brian Robinson’s Ocean Guardian glides into New York

 

Australia: Defending the Ocean
United Nations Headquarters, New York City, USA
5 – 30 June 2017

Cairns Indigenous Art Fair 2017
Cairns, Australia
14 – 16 July 2017

Australia: Defending the Ocean
Kluge-Ruhe Aboriginal Art Collection, University of Virginia, Charlottesville, USA
17 July 2017 – 10 January 2018


Onespace Gallery is delighted to announce that following on from the very successful exhibition, Australia: Defending the Oceans at the Heart of Aboriginal & Torres Strait Islander Art, at the Oceanographic Museum of Monaco in 2016, Brian Robinson’s Ocean Guardian and latest ocean-themed linocut prints will feature alongside Pormpuraaw ghost-net sculptures at the United Nations (UN) Headquarters in New York from 5 – 30 June 2017.

The UN exhibition, titled Australia: Defending the Ocean, is managed by Stéphane Jacob, director of Arts d’Australie • Stéphane Jacob, Paris, France and the project’s Senior Curator, in co-ordination with Suzanne O’Connell of the Suzanne O’Connell Gallery in Brisbane. It is supported by the Ministry for the Arts, Department of Foreign Affairs & Trade (DFAT) and Brian Robinson’s participation is specifically supported by the Australia Council for the Arts. DFAT is holding an official launch function for Australia: Defending the Ocean at the UN Headquarters on 8 June 2017.

Ocean Guardian features Robinson’s hand-carved designs on the stingray’s back called “minaral” that he states are, “the distinctive graphic traditional patterning of the Torres Strait” that “loosely conforms to a combination of rhythmic attributes full of liveliness and shimmering movement”. The sculpture was fabricated in cast aluminium by Urban Art Projects (Australia) in Brisbane and its presentation in New York has been assisted by UAP’s highly enthusiastic New York team.

Brian Robinson, Ocean Guardian. Photo: Louis Lim

Brian Robinson, Ocean Guardian (detail), 2017. Photo: Louis Lim. Courtesy Onespace Gallery & the UAP Collection.

Through his editioned sculpture, Robinson “relays the creation story of the Great Barrier Reef Gunya and the Sacred Fish as told by Gimuy Walabura Yidinji elder Gudju Gudju (Seith) Fourmile in the recent documentary David Attenborough’s Great Barrier Reef“. The story of the stingray connects with Robinson’s Aboriginal heritage as well because this animal is one of his family’s Indigenous totems from the white sand dunes of Shelburne Bay, Eastern Cape York Peninsula (the Wuthathi people). Robinson acknowledges the local mythic importance of this graceful creature in the work.

The exhibition will remain at the United Nations Headquarters until the end of June when the artworks will then travel to the University of Virginia, where it will be exhibited through the sponsorship of the Kluge-Ruhe Aboriginal Art Collection from 17  July 2017 to 10 January 2018.

Parallel to this Virginia showing, Onespace Gallery is also presenting Robinson’ Ocean Guardian for the Gallery’s first ever participation in the Cairns Indigenous Art Fair  in mid-July (14-16 July 2017), where we will be including two related new linocut prints – Reef Guardian 1 and Feeding the family pets alongside Charms to defeat the kracken (2015), an existing work on this topic. The concept for Robinson’s Reef Guardian 1 evokes the cultural interests that inform the northern part of Australia by developing the narrative of the totemic green sea turtle. In drawing together a human guardian figure and a sea turtle, this image promotes the spirit world as a guardian of the reef and the world of the sea.

In recent weeks, Robinson has won the Major Award ($15,000) in the Hazelhurst Art on Paper Award and has had his artwork included in the 3rd National Indigenous Art Triennial (Defying Empire) at the National Gallery of Australia. Shortly after returning home to Cairns from Canberra, Brian flew to New York City, where Ocean Guardian and the three prints were waiting to be part of an exhibition that coincides with The Ocean Conference (5-9 June 2017) held at the United Nations Headquarters.

It has been a very exciting year for Brian Robinson to date and we are sure that we will have further updates before 2017 is out!

Special thanks to: Arts d’Australie • Stéphane Jacob; Suzanne O’Connell Gallery; UAP Australia and UAP New York; Pormpuraaw Art and Culture Centre: Kluge-Ruhe Aboriginal Art Collection team in Virginia and the Cairns Indigenous Art Fair team; Ministry for the Arts, Department of Foreign Affairs & Trade; and the Australia Council for the Arts.

Brian Robinson, Ocean Guardian, 2017. Photo: Louis Lim