BRADBEER & MILOJEVIC: COLOUR vs MONO

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WHERE: James Makin Gallery, 67 Cambridge St, Collingwood VIC 3066

WHEN: 10 November – 3 December

www.jamesmakingallery.com

GODWIN BRADBEER:  Intermezzo  November 10 – December 3 2011

Stark and mysterious, Godwin Bradbeerʼs latest exhibition of drawings at James Makin Gallery continues his extraordinary investigation of the physical and metaphysical human form. After a highly successful show at James Makin Gallery in 2010, he returns with a series of over 12 new and technically impressive works in his latest show Intermezzo.

Godwin Bradbeer is a senior and highly respected artist with an extensive exhibition history. His work reflects an enduring inquiry into physical and metaphysical possibilities contained within the depiction of the human figure. In doing so he draws upon the primitive, the classical and the contemporary aesthetics of many cultures and disciplines in his large scale monochromatic works on paper. He is influenced by ancient sculpture from Asian and European Classical cultures, though seeks to create a universal imagery that defies the specifics of time and place.

Bradbeer is an acclaimed draftsman, and the recipient of many major drawing awards in Australia. He has developed an innovative drawing technique which involves burnishing his monumental chinagraph drawings with the back of a silver spoon, which has the effect of turning the chinagraph black. He than layers his imagery with pastel and pastel dust to create multidimensional surfaces, which are sometimes scratched into with the serrated blade of a saw. Along with this innovative technical approach, Bradbeer frequently reveals hidden skeletal structures in an X-ray fashion, which expresses his passion for the hidden form and reflect his enduring enquiry into the physical and metaphysical body.

Bradbeer has exhibited widely throughout Australia, including a curated major retrospective exhibition that toured public galleries nationally 2006-2008. International exhibitions include major solo exhibitions in Asia; 1999 in Hong Kong, 2004 in Seoul, Korea, and 2009 in Bangkok, Thailand. His works are represented in major public collections in Australia and overseas, including the Australian National Gallery, the National Gallery of Victoria, the Art Gallery of New South Wales, the Art Gallery of South Australia and Parliament House, Canberra amongst other regional collections.

MILAN MILOJEVIC:  Other Worlds and Curiosities,  November 10 – December 3, 2011

Milan Milojevic’s work contains a cast of mythical hybrid creatures that have existed in art and literature since antiquity, and in this solo exhibition he has created a fantastic universe filled with invented flora and fauna. His ‘other worlds’ are rendered through combining the latest digital printmaking technologies layered with etching and woodcut techniques, in an innovative combination of old and new approaches. The artist often draws on 18th-19th century engravings and woodcuts that documented flora and fauna from the New World, created as naturalists attempted to describe foreign, alien looking natural forms. This exhibition sees Milojevic continue his investigation into an imaginative universe that leaps off the sheet with electric colour and kaleidoscopic intensity.

Milojevic has wallpapered part of the gallery in works that draws on the tradition of 18th century French scenic wallpapers for inspiration. Astounding in their complexity, Milojevic brings a fictional outdoor realm to an interior setting. In other works such as the Blueprint for Utopia series, Milojevic reflects on cross- cultural clash and the process of identity formation. These concerns have been, and still are, central to his practice drawing from his experiences as a first generation Australian of German/Yugoslav descent.

Milan Milojevic is an established artist and a pioneer in the field of digital printmaking as well as traditional printmaking techniques. He is Head of Printmaking at the Tasmanian School of Art, University of Tasmania. Milojevic is the recipient of the Australia Council’s New Work Grant 2004, and the Australian Research Council Grant (Digital Printing Research) 1996, 1997 and 1998 consecutively. His work has been acquired by numerous major public collections including Artbank, National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Queensland Art Gallery, New Parliament House, amongst numerous other regional and university collections, and private collections throughout Australia and overseas.

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