Showing posts with label Owen Leong. Show all posts
Showing posts with label Owen Leong. Show all posts

Wednesday, August 12, 2015

Artereal Gallery X Sydney Contemporary 2015

Image: Anna Carey, Hi Sky, 2014, digital print, edition of 7, 80 x 120cm

Artereal Gallery is thrilled to announce its involvement in Australasia’s international art fair, Sydney Contemporary 15, taking place 10-13 September at Carriageworks. Marking its continuing involvement in the Fair since its 2013 inception, this year, Artereal Gallery will present a dynamic group exhibition featuring artworks by Liam Benson, Anna Carey, Shoufay Derz, Stevie Fieldsend, Sam Holt, Owen Leong, Jess MacNeil, Gian Manik and Louise Zhang. 

The exhibition will include a diverse cross section of artistic practices, crossing both two and three-dimensional, and disciplines as varied as photography, mixed media, painting, sculpture and installation. 

Outside of its stand, Artereal Gallery is also thrilled to see a number of exhibiting artists invited to participate in both Performance Contemporary and Video Contemporary

Liam Benson has been invited to perform at the Opening Night as part of Performance Contemporary, a new exhibition sector for 2015 and curated by artists and creative enablers, Emma Price and Connie Anthes. Performance Contemporary places a dynamic and diverse program of performance art within the Fair and the Redfern Precinct. 

Meanwhile, Anna Carey, Liam Benson and Shoufay Derz have been invited to present their moving-image artworks as part of Video Contemporary, which showcases an exciting and diverse selection of video works by artists at the forefront of their field. Video Contemporary is curated by the Australian Centre for the Moving Image (ACMI) and presented by Samsung

Housed at Carriageworks, Sydney’s striking contemporary arts precinct, the Fair presents over 90 galleries from 13 countries, offering visitors access to cutting-edge art from some of the world’s most respected artists as well as the opportunity to discover the next generation of emerging talent.

Sydney Contemporary boasts five days of public programs, appealing to the experienced, the novice, the discerning art enthusiast and those simply curious about buying and living with art. Programming includes guided tours, educational workshops, kids activities, guest speakers and an extensive VIP Program.

Having attracted over 28,000 collectors, industry professionals and the art-loving public to the inaugural edition in 2013, Sydney Contemporary 2015 is set to be one of the most celebrated events on Australia’s cultural calendar.

Saturday, August 8, 2015

Owen Leong acquired for the Willoughby Collection...



Owen Leong_Jac_2010_Pigment print on archival cotton paper_Edition of 5_70 x 70cm



Owen Leong_Ray_2010_Pigment print on archival cotton paper_Edition of 5_70 x 70cm


Congratulations to Owen Leong whose photographic works Jac and Ray were recently acquired for the Willoughby Collection.

Both works come from Leong's 2010 Birthmark series, a body of photographic portraits depicting Asian-Australian shapeshifters whose faces shimmer with the markings of native Australian moth wings. The liminal beings in these portraits appear to slide between male and female, human and animal, real and unreal. Like an indelible tattoo, these patterns emerge from within and erupt on the surface of the hybrid body. These birthmarks burn brightly on some and smoulder with darkness on others, colouring the skin with striking patterns of native Australian moths wings.

Leong’s work sets out to challenge the idea that identity is fixed or stable. The point of origin for much of his work is European culture’s simultaneous fascination with and fear of Asian identity and sexuality. In developing his Birthmark series, Leong researched native Australian moths in the collection of Museum of Victoria’s entomology department. He documented wings and bodies of selected specimen moths using macro photography. Professional makeup artists created wounds, cuts and scars to sitters on the Asian and Asian-Australian models – selected for their androgyny, beauty, or unique features – which Leong photographed and then digitally painted native Australian moth wings. 

As Leong has written of these photographs: “I like to create a sense of alien beauty, that is at once familiar and foreign. In doing so, I hope to destabilise the viewer’s perception of the body depicted in the work, cause slippages in meaning, and create space for new identities to come into being.” 

Wednesday, May 27, 2015

SHOUFAY DERZ, HYUN-HEE LEE & OWEN LEONG \\ selected as finalists of Hazelhurst Art On Paper Award

Shoufay Derz, Cameron's Quarry, 2013, pigment print on cotton paper, 120 x 120cm

Artereal Gallery congratulates artists Shoufay Derz, Hyun-Hee Lee and Owen Leong who have been announced finalists in the Hazelhurst Art On Paper Award, which recognises outstanding art by artists working on, with or about paper.  They join a host of other artists, selected from over 1500 entries by more than 750 artists. 

Artworks by Shoufay Derz, Hyun-Hee Lee and Owen Leong will appear alongside other finalists in the exhibition, which will will present a diverse range of paper media and industry techniques, including drawing, printmaking, photography, sculpture, paper cuts and video.  The exhibition will appear in both the Regional and Community Gallery between 30 May and 26 July 2015. 

Shoufay Derz has been selected for her artwork entitled 'Cameron's Quarry' from 2013. The work was originally shown in 'Phantom Limb' at UTS Gallery and accompanied the installation 'Without'. The Wombeyan marble used in 'Without' was sourced from this now disused quarry around the Wombeyan caves. 

Hyun-Hee Lee has been selected for her artwork entitled 'White Tears', which was also recently shown at UNSW Art & Design's AD Space Gallery. 

Hyun-Hee Lee, 'White Tears', 2014

Owen Leong was selected for his artwork, entitled 'Aura' from 2014. 'Aura' visualises the human circulatory system as an external shadow. This work is inspired by A.J. Defehrt’s 18th century engraving of the blood circulatory system, which has been cut from the soft black leather pelt of an animal. The act of hand cutting leather traces the passage of blood as it circles the body. The webbed veins of the circulatory system are then draped over my body like a second skin. A surgical stainless steel device holds his mouth open, which symbolically silences while opening up the body as a passive receptacle. This device suggests medicalisation of the body, hierarchies of classification and power. Aura attempts to make visible the transmission of social, cultural and political forces across the body. 


Owen Leong, 'Aura', 2014
With prizes totalling $26 000, the biennial award sees artists compete for the $15 000 major award, the $5000 Emerging Artist Award, the $5000 Friends of Hazelhurst Local Artist Award and the $1000 People's Choice Award. 

Thursday, April 16, 2015

OWEN LEONG // 24 hours in the life of an artist

Owen Leong recently spoke with Arts NSW about his current residency at Swatch Art Peace Hotel. Here, he chronicles a day in his life as he undertakes his residency in Shanghai. Read here, or in full below. 

6:30am I like to wake early in the morning. I get much more out of my day that way. The Swatch Art Peace Hotel is one of the best artist residencies I’ve done for its location, facilities and services. It’s located on The Bund overlooking the Huangpu River in the heart of Shanghai, China.

6:45am First thing each morning, I have a large cup of coffee in bed. My window overlooks East Nanjing Road and the Huangpu River. I check the air quality for the day on my phone, look for any urgent messages and speak with my amazing husband, who’s holding the fort in Australia.

7:15am I grab my bag and head out into the as the city wakes and people head to work. I catch the local bus to the gym, where I like to keep fit. The discipline of weight training and the focus of running both give me a sense of clarity and keep my mind sharp.

9:30am I walk back past the office workers lining up for breakfast at the morning street food vendors, or I catch the bus back to the residency. The hotel provides breakfast in the communal kitchen, where the artists gather each morning. It is a great space to share important information with other artists about individual experiences of the city and the residency itself.

The energy is one of constant flow, renewal and creativity.

10:30am After breakfast, I check and respond to emails. I also write a list to plan what I want to achieve for the day. I check if there are any exhibition openings that day, and factor that into my planning. I also spend time working on proposals, applications, paperwork, media and publicity. I find it’s important to balance my creative work with the administrative side of being an artist.

11:30am Make another coffee and then head downstairs to my workshop, where I do most of my studio work, which includes research, planning and sourcing materials. At the moment I’m researching the body, the city, and maps as systems and structures. I’m also researching Chinese medicine and acupuncture, developing prototypes for sculptures and photographic artworks. At the end of my residency I will be leaving a ‘trace’ of my experience, an artwork that becomes part of the Swatch Art Peace Hotel Collection.

1:30pm Lunch is a healthy green salad. After lunch, I make another coffee and return to more work in the studio. A consistent and continuous routine helps me stay focused. Sometimes, after lunch I have meetings with professional contacts in Shanghai to discuss projects, presentations and opportunities for collaboration.

3:30pm After a few hours at the studio, I might grab a quick snack of shenjianbao or jiaozi from Yang’s Fry Dumpling. Their delicious dumplings with pork and prawn are filled with a hot scalding soup inside. If there’s time, I might visit an exhibition. The Shanghai Biennale at the Powerstation of Art was a recent highlight, as was the solo exhibition of Xu Wenkai (also known as aaajio) at the cutting edge Leo Xu Projects, a boutique gallery in the French Concession – one of my favourite districts in Shanghai with interesting shops, cafes and galleries.

5pm In the evenings Shanghai really comes to life. At the end of the week there is a huge range of art openings, talks and music events. I go with a group of Swatch artists to several openings each week. It’s a great way to discover new parts of Shanghai and explore what’s happening in the local contemporary arts scene. We’ve seen some incredible exhibitions, museums and galleries from the independent scene through to major institutions. The M50 Art District on Moganshan Road is a dense complex filled with galleries and art spaces. Also, the recent VIP opening of the Xu Zhen major solo exhibition at Long Museum West Bund was one of the best examples of cutting edge contemporary Chinese art that I’ve ever seen.

7pm Hopping across the city to see one, two or sometimes even three exhibition openings, meeting local artists and curators, really works up an appetite! For me, art and food is a perfect match. Shanghai has an amazing wealth of food to choose from and we often stop to sample some of the amazing street food vendors selling charcoal barbecued cuttlefish or smelly chòu dòufu, sample chewy handmade noodles, spicy hotpot, or a steaming bowl of silky húntun. In Shanghai there’s something to suit everyone’s taste.

8pm Evenings are a productive time of day. For me, it’s an important moment to reflect on the day, to make notes about exhibitions or artworks I’ve seen, and to sketch new ideas for my future work. I enjoy this focused and uninterrupted time to play with new materials, test ideas and concepts, and to physically make the art. There is a natural rhythm to the working life of artists at the residency. Most of us work late in our studios, well past midnight, before shutting our workshops and heading to bed. On some nights, if there’s an event late in the evening, we might go out as a group.

11pm As a group of artists we sometimes attend an art or music event at The Powerstation, see one of the resident musicians Monokino, who performed at the Rockbund Art Museum, or support Selladoor, the resident Swiss rap/hip-hop artists, when they played at Logo Bar in the French Concession. We then catch a taxi back to the residency, where it’s time for bed, ready to start a brand new day in Shanghai the next morning.

Wednesday, April 1, 2015

OWEN LEONG wins the Josephine Ulrick and Win Schubert Photography Award

Image: Owen Leong, Mudra, 2014, pigment print on archival paper

Artereal Gallery congratulates OWEN LEONG on winning the 2015 Josephine Ulrick and Win Schubert Photography Award. The prestigious $20,000 acquisitive award was announced last night at the Gold Coast City Gallery and was awarded to Leong for his work Mudra.

A photographic self portrait, Mudra depicts the artist holding plaster casts of his own hands in the form of mudras. In the artist's right hand he holds the karana mudra, a powerful gesture for dispelling negative energy, while in his left he holds the gyan mudra, a symbol for opening oneself to knowledge. The doubling of hands, both real and cast, suggest grasping at a symbolic and spiritual language as a form of healing. Cloaked in black, out of the artist's hooded jacket erupts black prismatic mineral that forms a mirror-mask protecting the wearer and reflecting the world back onto itself. Manganite has the healing power to let go of attachment and control, and to recognise that you are only responsible for your own actions and not for the actions of others. 

The Josephine Ulrick and Win Schubert Photography Award is one of Australia's most important annual surveys of contemporary Australian photographic practice and is presented annually by the Gold Coast City Gallery. This year's award was judged by Natalie King, Curator, Writer and Senior Research Fellow at the Victorian College of the Arts, University of Melbourne with Owen Leong's work being selected as the winner from amongst 58 finalists. Previous winners of this award in recent years include Shaun Gladwell (2014), Liam Benson and Justine Varga (2013), Eugenia Raskopoulos (2012) and Darren Sylvester (2011).

The Josephine Ulrick and Win Schubert Photography Award can be seen at the Gold Coast Arts Centre until 31 May 2015. 

To see a catalogue of available works by Owen Leong please click here.

Tuesday, March 17, 2015

OWEN LEONG // MADE IN CHINA, AUSTRALIA at Queen Victoria Museum and Art Gallery

 
Image: Owen Leong, AUTOevacuation, 2005, digital video, 4:3, colour, silent, 4:29 minutes. 

Artereal Gallery Artist, Owen Leong, has artwork included in the touring exhibition MADE IN CHINA, AUSTRALIA, a two-year touring exhibition which is now on show at the Queen Victoria Museum and Art Gallery (QVMAG) in Launceston until 17 May 2015.

QVMAG marks the last stop of the two-year touring exhibition, which has traveled to 10 different venues across Australia.

Curated by Greg Leong, the exhibition questions how the work of Chinese Australian artists is affected by the particular Chinese Australian heritage and experiences they have had. Some of the artists in the exhibition were born here, others travelled here in the past and some are recent arrivals. The curator is interested in the subtle differences that arise in the artists’ work due to their particular relationship with the two cultures.

Made In China, Australia investigates contemporary art practices across a range of mediums and disciplines, genders and generations.

THE DETAILS: 
Made in China, Australia 
Gallery 4, Queen Victoria Museum and Art Gallery, Royal Park, Launceston A Salamanca Arts Centre Exhibition toured by Contemporary Art Tasmania.

Friday, March 13, 2015

OWEN LEONG // selected as a finalist in the Josephine Ulrick & Win Schubert Photography Award 2015




Image: Owen Leong, Mudra, 2014, archival pigment print on cotton paper, 120 x 120 cm, edition of 5 + 2 AP
Artereal Gallery artist Owen Leong has been selected as a finalist in one of the most important annual surveys of contemporary Australian photographic practice, the Josephine Ulrick & Win Schubert Photography Award 2015.
The artist has been selected for his artwork, entitled 'Mudra', which formed part of the artist's exhibition Bloodmilk which took place at Artereal Gallery in December 2014. 
Owen Leong explains his intention behind 'Mudra': A mudra is a symbolic or ritual gesture in Hinduism and Buddhism. In Sanskrit, the word mudra means seal, and is a spiritual gesture made with the hands and fingers. In this self-portrait I hold my own hands cast in the forms of mudras. In my right hand I hold the karana mudra, a powerful gesture for dispelling negative energy, while in my left I hold the gyan mudra, for opening oneself to knowledge. The doubling of hands, both real and cast, suggest grasping at a symbolic and spiritual language as a form of healing. Cloaked in black, out of my hooded jacket erupts black prismatic mineral that forms a mirror-mask protecting the wearer and reflecting the world back onto itself. Manganite has the healing power to let go of attachment and control, and to recognise that you are only responsible for your own actions and not for the actions of others.
The Josephine Ulrick & Win Schubert Photography Award exhibition takes place 28 March - 31 May 2015 at Gold Coast City Gallery and has been judged by Natalie King, (Curator, Writer and Senior Research Fellow, Victorian College of the Arts, University of Melbourne).

Tuesday, February 24, 2015

OWEN LEONG // to complete artist residency at Swatch Art Peace Hotel, Shanghai



Image: Owen Leong, Aura, 2014

From Singapore and Sydney and now to Shanghai: it's been a busy year already for artist Owen Leong. This March, the artist will travel to Shanghai to complete the Swatch Art Peace Hotel's distinguished Artist Residency program, which he will undertake over a period of three months.

As part of the unique nature of the residency, the artist will live and work in studios located on the hotel premises for the duration of his stay.

Those accepted into the program practice across a broad range of artistic disciplines, with the selection process aiming to integrate artists in a spirit of openness and curiosity about creativity in its diverse forms and contexts.

At present, the members of the Artist Selection Committee are: Nayla Hayek, Chair of the Board of Directors, Swatch Group; Nick Hayek, CEO, Swatch Group; Esther Grether, Board Member, Swatch Group; George Clooney, Actor; François-Henri Pinault, Chairman and CEO, Kering; Mikhail Kusnirovich, Russian Entrepreneur and Chairman of the Strategic Development Committee of the Department Store GUM; Sir Francis Yeoh, Chairman of YTL Group.

At the end of the program, the residency requests that an artists leaves a 'trace' of their presence and time in the hotel as part of the residency, which usually takes shape via an artwork that becomes part of the Swatch Art Peace Hotel Collection.

In support of the artist's residency, Owen Leong was the successful recipient of both the Ian Potter Cultural Trust Grant and an Arts NSW Grant.

Friday, February 6, 2015

OWEN LEONG // a finalist in the PARAMOR PRIZE: ART + INNOVATION 2015

Owen Leong, Aura, 2014, archival pigment print on cotton paper, 120 x 90cm

The multidisciplinary artist Owen Leong has been selected as a finalist in PARAMOR PRIZE: ART + INNOVATION 2015, a prize that champions new ways of seeing, experiencing and interpreting the world around us.

Leong is one of forty artists / art collectives shortlisted for the prize by a panel of guest judges; with his work forming part of a curated exhibition, on show at Casula Powerhouse Art Centre until 15 March 2015.
The Liverpool City Council vision for the future is to be the city of the great South West - a region of opportunity, prosperity and diversity. Innovation is a guiding principle of Liverpool City Council and the PARAMOR PRIZE: ART + INNOVATION provides an opportunity to develop new solutions and creative explorations of the new challenges and opportunities in the rapidly growing South West Sydney region.

FINALISTS
Marian Abboud
Tim Andrew
Clark Beaumont
Damien Butler
Penelope Cain
Carla Cescon
Simon Alexander Cook and Geoff Sellman
Gary Deirmendjian
James Dodd
Jacquelene Drinkall
Kath Fries
Sarah Goffman
Tim Gregory
Freya Jobbins
Yvette Hamilton
Joanne Handley
Ash Keating
Karena Keys
Rosalind Lemoh
Owen Leong
Leon Lester
Liana Lewis
Lorraine Maggs
Megan McPherson
Louise Paramor
Katy B Plummer
The Polka Dot Sisters (Sally Atkins and Kate Stewart)
Diego Ramirez
Merri Randell
Erica Seccombe
Paul Snell
Susannah Strati
Ioulia Terizi
Mimi Tong
Frank Trimarchi
Undrawing the Line (Zanny Begg)
Carla and Lisa Wherby
Julie Williams
Gabriella Szablewska & Brent Wilson
Jason Wing

Saturday, December 20, 2014

ARTEREAL GALLERY SUMMER BREAK...



Nathan Beard_Untitled_2013


Today is the final day for our current exhibitions by Owen Leong and Emily Sandrussi! 

Artereal Gallery will be closed from today until Wednesday 4 February 2015 when we will reopen with two new exhibitions by Gary Smith and Nathan Beard. 

Wishing all our supporters a very Merry Christmas and a Happy New Year. We look forward to seeing you all in the gallery again in 2015!

Tuesday, December 16, 2014

OWEN LEONG / VIDEO INTERVIEW



Owen Leong discusses the making of his recent body of work Bloodmilk
With thanks to Veronica Habib for creating this video


Photography, video, sculpture and installation are vehicles for Owen Leong’s unsettling yet seductive ‘story portraits’ that blur the boundaries between his real and performed selves. His body is a participatory force, co-opted as image and object; an expressive medium for his politically and culturally freighted images and themes of cultural disembodiment and constructions of power and is a persuasive platform for the making and un-making of social meanings and values.

The Bloodmilk series of confronting yet poignant photographs captures self and family images as half-length portraits that explore the complexities and power of human connection, and the anxieties of belonging and not belonging.

Owen Leong, an artist, growing up Asian in Australia, enters into psycho/physical narratives of identity and displacement between cultures.

A sexual and fetishistic undertone pervades his works and is a potent metaphor for the tension and politics of gender and cultural power plays.

A vocabulary of materials: rubber hoods and masks to disguise; metal surgical restraints to discipline and control; and modeled body organs, hearts, limbs and veins fashioned from crystal, wax and leather that are hand-held, external and exposed, are charged symbols of dominance and submission.

Infinite Love, a videoed performance, depicts an intimate close-up of the artist with an oral surgical device keeping his mouth forcibly open. White liquid drips into and over his gaping mouth from a sculpted human heart cast from frozen milk. The sequence closes in a miasma of white glutinous fluid filling the screen. Leong’s positioning of an Asian-Australian body subsumed by what he terms a ‘hegemonic Whiteness” is a visceral, haunting observation on “the shifting narratives of identity, race, and power in contemporary Australia”. Leong’s Infinite Love has been selected as a finalist in the prestigious APB Foundation Signature Art Prize 2014 to be exhibited at the Singapore Art Museum.

Blood and milk, signaling family, lineage, and the corporeal are coupled for the exhibition title. Along with honey, wax and ‘embalmed’ plant forms that stand in for the body, these substances are metaphor for survival, preservation and the life force, a pervasive concept in Leong’s works. Bloodmilk is significant for the gesture towards healing carried within these materials, and the artist’s engagement with Chinese medicine, philosophy and systems of knowledge imbedded in his Asian heritage. Leong’s body is a site for the artist’s enactment of a consciousness of race, sexuality and culture and for a wider genre of the human condition.

Owen Leong has exhibited widely in Australia and internationally. He has held solo exhibitions at Grantpirrie Gallery, Sydney; Sherman Galleries, Sydney; Anna Pappas Gallery, Melbourne; and Ryan Renshaw, Brisbane. His work has been included in major international group exhibitions at the Liverpool Biennial Independents, Liverpool; National Museum of Poznan, Poland; Zendai Museum of Modern Art, Shanghai; and Today Art Museum, Beijing.

Recent exhibitions include Tidal Skin, Nellie Castan Gallery, Melbourne (2012); Infiltrator, dianne tanzer gallery + projects, Melbourne (2012); and Infiltrator, Grantpirrie Gallery, Sydney (2011). Group exhibitions include Fables of Change, Krasnodar Institute of Contemporary Art, Russia (2014);Phantom Limb, UTS Gallery, Sydney (2013); Make Up: painted faces in contemporary photography, Monash Gallery of Art, Melbourne (2013); and Magic Spaces, Today Art Museum, Beijing (2011).

Important national photography prizes include his recent selection as a finalist in both the Josephine Ulrick and Win Schubert Photography Award and Bowness Photography Prize, and a three-time finalist in the Helen Lemprière Traveling Art Scholarship. Owen Leong has been the recipient of several awards and grants from the Australia Council for the Arts, Ian Potter Cultural Trust, Art Gallery of NSW and Asialink. He has held residencies at Artspace, Sydney; Chinese Arts Centre, Manchester; Cité Internationale des Arts, Paris; and Tokyo Wonder Site, Japan. Owen Leong will take up a Swatch Art Peace Hotel Residency in Shanghai, China in 2015. 

Owen Leong is also a current finalist in the Blake Prize which can be seen at UNSW Gallery until 31 January 2015.


Wednesday, December 10, 2014

HAYDEN FOWLER, OWEN LEONG AND EMILY SANDRUSSI SHORTLISTED FOR THE BLAKE PRIZE


Image: Owen Leong, Cutting (diptych), 2014, archival pigment on cotton paper, 100 x 143cm, edition of 2

Congratulations to Hayden Fowler, Owen Leong and Emily Sandrussi - all of whom are finalists in this year's distinguished Blake Prize and were selected from over 1000 entries.

Now in its 63rd year, the prestigious award is handed out annually by The Blake Society with the aim of challenging artists to investigate ideas and issues surrounding spiritual thought and religion in contemporary art and literature. Open to all faiths, artistic styles and media, the prize seeks to unearth the multitude of ways in which notions of faith can be explored in contemporary conversations.

Hayden Fowler's interdisciplinary practice reflects on the consequences of the increasing separation between humanity and nature at a time when it is becoming more and more difficult to define what is natural. He has been shortlisted for his mesmerising video artwork, New World Order

Owen Leong has been shortlisted for his artwork, Cutting (diptych), which depicts the artist's mother and father holding an orchid cactus entombed in wax. Also known as 'Queen of the Night', this plant can take up to a year to produce a flower that only blooms for a single night. Planted by his parents in the home where he was born, it has been nurtured and regrown from cutting to cutting and used by the artist's grandmother to make a healing soup.

In her suite of artworks, Domino Theory, Emily Sandrussi has been inspired by old photographs taken by her stepfather during the Vietnam War, which she has scanned and deliberately altered via digital corruption. Domino Theory is a poignant contemporary 'momento mori' which is both deeply personal as well as universal.

Image: Emily Sandrussi, Untitled, 2013, from the series Domino Theory, pigment inkjet print, 100 x 100cm 
  
Bloodmilk and Domino Theory can be seen at Artereal Gallery until 20 December.

The Blake Finalist Exhibition is presented at UNSW Galleries from Friday 12 December - Saturday 31 January 2015.

Saturday, December 6, 2014

OWEN LEONG exhibits installation in 'Mind The Gap' at Casula Powerhouse


Image: Owen Leong, Self Portrait as Mountain, 2014, 152 x 240 x 120 cm, wood, foam, paint, pink light, rose quartz, white salt, black glitter, mirror, model scenery, model train, electronics.

Owen Leong, whose exhibition 'Bloodmilk' is currently on display at Artereal Gallery, has created a stunning installation for the group exhibition Mind the Gap at Casula Powerhouse, on show until 25 January 2015.

Entitled Self Portrait as Mountain, Owen Leong continues his exploration of the corporeal as a physical site of exchange through this installation, which visualises an internal landscape of the body through which the motion of a crystal is a journey towards healing.

As one of Casula Powerhouse Arts Centre's most ambitious projects, five contemporary artists have been invited to work with Casula’s local model train group. The artists and the model train club have collaborated to build artworks that model trains will travel through. Model train layouts usually aim to replicate in intricate detail natural landscape and architecture as realistically as possible.

The artists taking part have each coincidentally proposed fantastical worlds that are far removed from traditional model train scenery including an internal landscape of the body, a speculative future Utopia, a Baroque inspired dreamscape, a ghost train and a love train. This project merges two disparate communities and their creative worlds. One of the very few parameters for this project is that a working model train will travel through the work, allowing artists and railfans to share ideas and skills with spectacular and innovative results.

Artists: Sarah crowEST, Emily Hunt, David Lawrey and Jaki Middleton, Owen Leong, Clare Thackway and Gregory Hodge
Image: Owen Leong, Self Portrait as Mountain, 2014, 152 x 240 x 120 cm, wood, foam, paint, pink light, rose quartz, white salt, black glitter, mirror, model scenery, model train, electronics.

Wednesday, November 19, 2014

SECOND ANNUAL ARTEREAL GALLERY MENTORSHIP AWARD ANNOUNCED

Barbara Dowse, Artereal Gallery Curator; Professor Colin Rhodes, Sydney College of the Arts Dean; 
Amelia Tracey, Artereal Gallery Mentorship Award recipient; and Rhianna Walcott, Artereal Gallery Manager
 pose for a photo at the opening of the 2014 Undergraduate Degree Show


Artereal Gallery this week announced Amelia Tracey as the recipient of the second Artereal Gallery Mentorship Award. The Sydney College of the Arts (SCA) Honours student received the Award in recognition of her outstanding new media work entitled Top of the Charts – a series of five images that represents every song charted on the UK’s NME from 1960 – 2009.

Continuing its commitment to supporting young Australian visual arts talent, the Artereal Gallery Mentorship Award is presented annually to one Honours student from SCA, the University of Sydney’s School of Contemporary Art. The award secures for the recipient one-year of professional mentoring from the Artereal team, including access to invaluable industry resources and expertise, culminating in a solo exhibition. As the second recipient of the award, Amelia Tracey joins artist Emily Sandrussi, who, as the inaugural recipient of the Award, will celebrate the opening of her solo exhibition at Artereal on 3 December 2014.


Amelia Tracey_The 00s_2014


SCA Dean, Professor Colin Rhodes, commented: “Artereal Gallery’s mentorship programme provides an invaluable experience for one of our students to preview what it’s like to work with a commercial gallery – an experience that will help them to gain exposure as an artist, but also provide a new set of tools that will assist in the transition from study to their career”.

Artereal Gallery’s Director and Owner, Luisa Catanzaro, commented: “Amelia Tracey was selected for the conceptual and experimental nature of her work, combined with a unique aesthetic vision. We are thrilled to offer her this mentoring opportunity with the Artereal team throughout 2015 and look forward to helping her get ready for the next step in her career”.

Amelia Tracey’s photographic series, Top of the Charts, is informed by the artist’s interest in the expanded field of photography and its shift from its chemical roots into a medium underpinned by digital technology. By viewing the photograph as data, Tracey explores the impact of technology on art and ways of presenting information to create a visual representation of the last fifty years of popular music. The outcome of which is a series of data provided as visual, non-linguistic language.

Created by meticulously running every album or single cover through a program that samples the dominant saturated colour, Tracey uses this colour to digitally paint the image; the length of each block dictated by the number of days the song remained on the charts.

Domino Theory, a solo exhibition by the inaugural recipient of the Artereal Gallery Mentorship Award, Emily Sandrussi, opens Wednesday 3 December 2014 at 6PM in conjunction with a solo exhibition from the esteemed artist and SCA Alumni, Owen Leong.


Thursday, September 11, 2014

OWEN LEONG / ARTIST INTERVIEW ON NAVA ART WIRES


Owen Leong_image credit & courtesy of Amadeo Marquez-Perez and NAVA Art Wires


From 3 - 20 December 2014, Artereal Gallery will be presenting a solo exhibition by Owen Leong.

Exploring the body as a physical site of exchange for social, cultural and political forces, Leong's exhibition will showcase old and new work from his wide oeuvre spanning over ten years and disciplines; including video, photography, and sculpture.

Owen Leong was recently interviewed by Julie Lien, from the National Association for the Visual Arts (NAVA), discussing his career path and experiences in the art community.

_______________________________________________________


JULIE LIEN: What is crucial in maintaining your arts practice?

OWEN LEONG: It’s important to prioritise your art. Make the time and space for your art practice, while balancing all of life’s other responsibilities. I find this is a constant challenge and I’m always learning how to best manage my time and resources to stay organised. The best thing is that it gets easier with practice.

Don’t underestimate the administration that’s involved with being an artist. Writing proposals, grant applications, project management, tax, marketing, sourcing materials, getting quotes from suppliers, record keeping… all of this sometimes before I even step foot in the studio!

Professional practice is an important skill to acquire. Stay informed of the arts industry and best practice. Know the value of your intellectual property, art, and skills. Recognise that the skills you’ve acquired as an artist have a value and ensure others respect the value of your experience, knowledge and expertise.
_______________________________________________________


To read the full interview, click here to visit the NAVA website.

Thursday, August 28, 2014

OWEN LEONG HAS BEEN SHORTLISTED AS A FINALIST IN THE THIRD ASIA PACIFIC BREWERIES FOUNDATION ART PRIZE


Owen Leong_Infinite Love_2011_HD video_duration 6:18 minutes_edition of 5 + 1 AP


We are beyond thrilled for Owen Leong, who was this week announced as the only Australian to be shortlisted as one of 15 finalists of the AsiaPacific Breweries (APB) Foundation Signature Art Prize 2014 for his work Infinite Love

This December, Owen will present a solo exhibition of his work at Artereal Gallery, taking place 3-20 December 2014.

As the only Australian artist to be shortlisted, Leong’s work was selected from 105 nominated artworks from 24 countries and territories. Now in it’s third instalment, the prize seeks to recognize the most outstanding contemporary artwork from both emerging and established artists from the Asia Pacific.

“I am thrilled to be selected as a finalist for the Asia Pacific Breweries Foundation Signature Art Prize 2014, and to be in the company of some of my favourite artists from the Asia-Pacific region is a huge honour,” said Leong.

Leong’s work, Infinite Love, is a performance work that explores the body as a physical site for social, cultural and political forces in relation to the artist’s Asian Australian identity.

His exhibition at Artereal Gallery this December will showcase old and new work from the artist’s wide oeuvre spanning over ten years and disciplines that include video, photography and sculpture, exploring the body as a physical site of exchange for social, cultural and political forces.

A statement from the prize’s jury panel stated, “The finalist works stood out for their strength of concept and execution and despite stemming from such diverse contexts, histories and cultural backgrounds, cleverly explored similar issues of identity, immigration, urban expansion, depletion of natural resources, fading of old values, cultural diversity and more.”
Owen Leong’s exhibition at Artereal Gallery will open Wednesday 3 December at 6:00pm and will be on display until Saturday 20 December 2014.

Friday, July 18, 2014

2014 BOWNESS PRIZE FINALISTS


Owen LEONG_Cutting (mother)_2014_pigment ink-jet print on cotton paper_100.0 x 71.5 cm





Emily Sandrussi_Untitled_2013_pigment ink-jet print on cotton paper_100x100cm




Shoufay Derz_Ashes upon the moon #2 _2014_pigment ink-jet print_67.0 x 82.0 cm


Congratulations to Shoufay Derz, Owen Leong and Emily Sandrussi, all of whom are finalists in the 2014 William and Winifred Bowness Photography Prize.

Established in 2006 to promote excellence in photography, the annual non-acquisitive William and Winifred Bowness Photography Prize is an initiative of the MGA Foundation. The Bowness Photography Prize has quickly become Australia's most coveted photography prize. It is also one of the country's most open prizes for photography. In the past, finalists have included established and emerging photographers, art and commercial photographers. All film-based and digital work from amateurs and professionals is accepted. There are no thematic restrictions.

In 2014, photographers will be competing for $25 000 first prize and $1 000 People's Choice Award.
This year, 48 photographers have been short-listed for the prize, covering the full gamut that is contemporary photography Australia. The exhibition of finalists opens at MGA on Thursday 4 September. That night, the winner of the $25 000 prize will be announced at a special cocktail party at MGA.

The jury for the 2014 Bowness Prize comprises Melbourne-based artist Siri Hayes, the Director of the National Portrait Gallery of Australia Angus Trumble, and Shaune Lakin, MGA Gallery Director.