stainless steel painted butterflies, perspex box, fishing line
H: 130 x W: 130 x D: 20 cm, Diameter: 95cm
Blackbox is a small version of the installation “The Other Side of Midnight” a circle of 300 cm diameter where the front side features over 2000 hand painted stainless steel butterflies and the other side features insects. The installation is viewed in a dark room, lit by ultraviolet light projectors. Blackbox makes the circle glow in the dark and gives to it an impression of 3 dimensions.
Zadok Ben-David is an internationally acclaimed London-based artist. Born in Yemen and raised in Israel, he studied at London’s St. Martin’s School of art, where he also taught from 1977-1982. In 1988 he was selected to exhibit as Israel’s representative at the Venice Biennale.
Bessie Davidson belongs to that extraordinary group of Australian women artists who led the way out of the backwaters of traditionalism into the adventurous colours and forms of modern art. In Adelaide she studied under Margaret Preston (then Rose McPherson). They travelled and studied together in Europe and held a joint exhibition back in Adelaide in 1907. The following year the Art Gallery of South Australia purchased Davidson’s portrait of Gladys Reynell, another outstanding South Australian artist who worked as a ceramicist. Having previously studied in Paris at the Académie de la Grande Chaumière and exhibited in the Salon de la Société des Artists Français and the Société Nationale des Beaux-Arts, in 1910 Davidson settled there. She had ‘fallen irretrievably in love with Paris, and more precisely with Montparnasse’, rapidly becoming the artistic hub. From 1912 onwards, her apartment in the Rue Boissonade became her lifelong home and studio. During World War I she worked as a nurse, bravely volunteering to care for typhoid patients. At war’s end, she was awarded La Médaille de la Reconnaissance Française.
Like Rupert Bunny, Davidson exhibited widely in Paris, achieving much success. The first Australian woman to become a member of the Société Nationale des Beaux-Arts, she was a founder member of the Salon des Tuileries, and was elected Vice-President of La Société Nationale de Femmes Artistes Modernes in 1930. In 1931 Davidson was made a Chevalier de la Légion d’Honneur for her art and her humanity, again the first Australian woman to be so honoured.
Davidson was also a founding member of the Société Nationale des Independants. In 1938 she exhibited in L’Exposition du Groupe Feminin at the Petit Palais. The year following her work was included in the Exhibition of French Art that toured Pittsburg, St. Louis, New York and Edinburgh. Davidson exhibited with the South Australian Society of Artists, the Royal Society of Artists, Edinburgh and the Royal Glasgow Institute of the Fine Arts. Again like Bunny, Davidson never gave up her Australian citizenship. In 1994 her paintings featured in the exhibition South Australian Women Artists 1890s- 1940s at the Art Gallery of South Australia, Adelaide, her birthplace. Five years later, the Australian Embassy, Paris, honoured her with the solo presentation, Bessie Davidson, une Australienne en France, 1880-1965.
metal, resin and plaster pills and watercolour on canvas
27.9 x 35.5cm
Private Collection, Australia
Science UK Limited, London
Twenty Four Hours is an artwork from Hirst’s Remedies series, which was featured in Damien Hirst: Poisons + Remedies, anexhibitionat Gagosian Gallery, London in 2010. Works in the Remediesseries hold motifs of both redemption and antidote in their topographical depictions of real-like coloured resin and plaster pills scattered on a white canvas. The execution of realism in Hirst’s work is heightened in the washes of watercolour smudged into the white canvas around some pills conveying their active and absorptive chemical qualities. Underpinning the power of pharmaceutical substances Hirst expands on an earlier series of medicine cabinets, which he did in 1989 where pharmaceutical drugs were also featured in wall-mounted cabinets.
Robert Chapman esqire, Debdnen Manor, Debden, Saffron Walden Essex, United Kingdom
Private collection, Sydney
New Grafton Gallery, London 1987
Browse and Darby Gallery, London 2015
A foundering member of the ‘London Group’ in 1914, John Nash was a British painter of still life and landscape, a wood engraver and illustrator, with a particular love for botanical works. He was the younger brother of Paul Nash and is revered for his capacity as a fine colourist and draftsman. Nash’s most famous painting, ‘Over the top’, is in the Imperial War Museum and the artist’s exquisite ‘Cornfield’ is in the collection of the Tate Gallery, London.
In 1923 Nash became a member of the ‘Modern English Watercolour Society’, worked in Dorset, Bath and Bristol in the middle 1920s and between 1924 and 1929 taught at the ‘Ruskin School of Drawing and Fine Art’, Oxford.
Australian Galleries, Melbourne (label attached verso);
Private collection, Sydney
Australian Galleries, Melbourne, 23 October 22 November 1995 (label attached verso);
Art Gallery of New South Wales, Margaret Olley Retrospective, 25 October 1996 5 January 1997, Sydney, Brisbane, Newcastle (label attached verso)
Metamorphosis: Still Life into a Landscape is from Olsen’s much loved kitchen series. The aquatic ingredients for a delicious paella float within, above and beyond the pan, loosely joined by an almost calligraphic, dancing line which plays across the gentle golden picture plain. A high horizon hints at the vastness of the Australian landscape in this joyous and gentle picture, a mature work from one of our country’s most celebrated living artists.
Brett Whiteley’s ceramics are among his rarest and most delicately lyrical works of art. Here the artist has hand-painted and glazed upon a ceramic dish fine sprigs of blossom, possibly peach or plum. The artist’s signature indigo blue sings against the minimal ceramic background and the circular, almost calligraphic composition is beautifully resolved.