Ever ancient, ever new - Rubicon ARI


Ever ancient, ever new

Rubicon ARI
Level 1, 309 Queensberry Street, North Melbourne
February 22 - March 11, 2017
Wednesday - Saturday, 12-5pm
Opening celebration Wednesday February 22, 6-9pm


Tentatively, I unlatch my front gate, chocking it open with a stone.
A little fearfully, I leave my front door wide, and screen door unlocked.
The table set, old wine is left to breathe, and fresh bread to cool,
for all to take, ignore, or savour.

Initially undertaken as an outdoor site-specific installation upon the ruins of the 13th century Church of the Cross (Korskirken), May 2016 in Oslo, Norway, Ever ancient, ever new explores the effects of an openness to vulnerability, and its capacity to induce harm, humility, and healing. 

So near

So near
c3 Contemporary Art Space - Project Space
Abbotsford Convent, 1 St Heliers Street, Abbotsford
August 17 - September 11
Wed-Sun 10am-5pm
Opening celebration: August 17, 6-8pm


Subtly discerning faces I have never seen in the flesh,
gently interpreting inexplicable movements of the heart. 
Delicately consoled by a longing that ever increases,
slowly reading books that never end. 

So near (always), so palpable (sometimes).
Bathed intermittently in the light of a heavenly country.


So near seeks to combine James’ research interests of sacred art and contemporary non-representative art making, in the hope of offering small moments of revelation and dissipation in small abstract icons.  He has long been fascinated by the aesthetic, historical, and spiritual depth of Byzantine iconography and mosaics, and Gothic stained glass.  Traditionally, such images act as windows for communication, the gazing back and forth between persons on opposite sides of eternity/mortality. Having simultaneously been captured by contemporary abstraction with its myriad languages, James has adopted some of the visual and spiritual elements of these forms of sacred art into the non-representative context.  This is in order to open up the possibility of an experience at first visceral, and then maybe even spiritual; where form, light and meaning are at times vivid, yet just as quickly slip away.


Thanks to Jon Butt of c3, Tony Fuery (artwork documentation) and Vivian Cooper Smith (exhibition documentation).


The two lives, 2016, acrylic on linen, 87x183cm.

A will (a heart) - Teresa, 2015, acrylic on linen, 56x56cm, NFS.

Three movements of the heart, 2016, acrylic on carved Japanese Magnolia, 30x20cm.

Unconsumed, 2016, acrylic on carved Japanese Magnolia, 30x20cm.

Beyond the fog of some sort of imagining, 2016, acrylic on carved Japanese Magnolia, 30x20cm (acquired).

Let me see the bright, bright Sun, 2016, acrylic on Japanese Magnolia, 30x20cm.

An anointing, 2016, acrylic on carved Japanese Magnolia, 30x20cm.

Stay with us, 2016, acrylic on carved Japanese Magnolia, 30x20cm (acquired).

















Ever ancient, ever new

Ever ancient, ever new
Korskirken, Minneparken, Arups gate, Oslo
Thursday 19 – Sunday 22 May, 2016


From Thursday to Sunday, mirroring the Easter Triduum, forty small paintings will be installed on the site of the former Korskirken (Church of the Holy Cross) in Minneparken (Memorial Park), in Oslo’s old town.  Korskirken was a small parish church built in either the twelfth and thirteenth century, destroyed in the post-Reformation period and covered over for agricultural use, archaeologically excavated in the 1920’s, and is now utilised as a public park.  On each of the four days the paintings will be uniquely installed within the vestiges of its walls. 

These paintings could be encountered as archaeological remnants from the Stations of the Cross that may have once hung on the walls, miraculously preserved from decay.  Conversely, they could be seen as seedlings of new icons springing from the ashes of the old, with their abstracted surfaces yet to be fully formed.  Sacred images not yet ready to guide or teach, simply to be felt.

Be them as artefacts or seedlings, the works are highly vulnerable, open to the elements and to public space.  Open to being damaged, destroyed, or stolen, in and from the vestiges of a structure that was dedicated to an instrument of supreme vulnerability, and a building which was itself razed and repurposed.  And yet, when met by a consonant disarmed nature, vulnerability can lead to most tender, unexpected, and transforming encounters.


James would like to thank the Agency of Urban Environment (Bymiljotaten) and the Cultural Heritage Management Office (Byantikvaren) of the Municipality of Oslo, the Norwegian Directorate for Cultural Heritage (Riksantikvaren), Noplace Oslo, Lucia Murnane, Tony Fuery, Karen Nikgol, Jason Havneraas, and Laureen Lansdown.

Photos: Tony Fuery, Jason Havneraas, and James Murnane








Untitled, 2016, acrylic on Japanese Magnolia, 30x20cm.

Untitled, 2015, acrylic on carved Japanese Magnolia, 20x30cm.

Untitled, 2015, acrylic on carved Japanese Magnolia, 30x20cm.

Untitled, 2016, acrylic on Japanese Magnolia, 30x20cm.

Untitled, 2016, acrylic on Japanese Magnolia, 30x20cm.

Untitled, 2016, acrylic on carved Japanese Magnolia, 30x20cm.

Untitled, 2016, acrylic on carved Japanese Magnolia, 30x20cm.









INBOUND GOODS

INBOUND GOODS
Enrique Tochez Anderson and James Murnane
30-31 January, 2016 
1 Parslow Street, Clifton Hill

INBOUND GOODS presented new works by James Murnane and Enrique Tochez Anderson in the loading bay and goods lift of an old red brick factory at 1 Parslow St, Clifton Hill.  Converging in this unique space, the artists used their painting practices to muse on environment and two distinct approaches to abstracted form. 


*Below are my works, and documentation of the exhibition as a whole*

Light touches, 2016, acrylic on linen, 46×35.5cm.

Untitled, 2015, acrylic on Japanese Magnolia, 30×20cm.

Bringing me high, 2016, acrylic on carved Japanese Magnolia, 20×30cm.

Untitled, 2015, acrylic on reverse side of linen - backlit, 76×56cm.

Small lights, 2015, acrylic on carved Japanese Magolia, 15x10cm (acquired).

Ascent/descent (a meeting), 2016, acrylic on linen, 46x31cm (acquired).

Ascent, 2016, acrylic on carved Japanese Magnolia, 30×20cm, $270 (acquired)

Mildly and contentedly confined, 2015, acrylic on linen, 56×41cm.



Enrique Tochez Anderson, Untitled (1-5), 2016, felt tip marker on paper, 34x28.5 (framed)

Enrique Tochez Anderson, Ksubi wash 99, 2016, cone 6 ceramic, 24x22x6cm (variable)
Untitled, 2016, cone 6 ceramic, 18x28x6cm (variable)








Enrique Tochez Anderson, Untitled, 2016, oil on board, 33.5x28.5cm

Enrique Tochez Anderson, Garden horns, 2016, oil on board, 45x36.5cm

Enrique Tochez Anderson, Untitled, 2016, cone 6 ceramic, 29x17x10cm (variable)