31 May 2013

2 Tasman shows: Zac Langdon-Pole (NZ) & Yasmin Smith (AU)

Exhibitions on either side of the Tasman open/ed this week by two young artists working in ceramic and painting respectively. Both Yasmin Smith and Zac Langdon-Pole extend what their chosen media might mean, and the parameters allowed by the classifications they have chosen to work within. For Yasmin, the often large-scale, tough and rugged-looking forms her artworks take, along with their subtle mimicry of 'reality', betray their incredible fragility, materially speaking. Whereas Zac's work exists on a trajectory of expanded painting, without the artist necessarily needing to employ a brush. Instead, found, worn or faded fabrics are stretched, or even amateur paintings reversed and restretched anew to reveal the mysterious underside of otherwise non-event applications of paint.


In Sydney, Yasmin Smith's solo show 'Stone Skin' opens at The Commercial tonight, Friday 31 May 2013, from 18:00. The show runs through Sunday 23 June 2013 and is a must-visit if you're in town - or a must-browse if you're not (via The Commercial's online gallery)!

The press release goes:

'Smith works in ceramic, producing figurative sculptures and monumentally-scaled installations. She imitates the industrial, often weathered or corroded objects around her in fired terracotta and other earthenware giving particular attention to glazes and patinas as a representational palette. Her work has a deceptively robust physical presence relative to its actual fragility. Stone Skin, Smith’s first solo exhibition in a commercial gallery, comprises a number of ceramic assemblages that occupy a space between still life, architecture and landscape.'


In Auckland, Zac Langdon-Pole's third solo show at Michael Lett, 'Pale Ideas', opened on Wednesday 29 May 2013 and continues through Saturday 3 August 2013. Another must-visit or -browse (here) show.

The press release goes:

'Occupying the smaller room at the back of the gallery, Langdon-Pole will present an evolving show of new work. The exhibition will include a range of paintings, some re-stretched inside out, some not. Curtains that bear the residue and sunburn of many years hanging in front of windows and doorways have also been stretched flat, creating concrete, tautological images of compressed time. Curious arrangements of leaves may be also found around the gallery floors. While at first glance these may appear just like leaves blown into the gallery, certain clusters are in fact mimicked in the exact arrangement elsewhere within the building.'


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