What’s in the Stockroom?

To celebrate 10 years since we started our ‘What’s in the Stockroom?’ newsletter, each week we wander through one of the region’s premiere stockrooms to find out what treasures lay inside.

Artereal Gallery

This week we visit Sydney’s Artereal Gallery, with Gallery founder and owner Luisa Catanzaro. Pictured with artworks by Patrizia Biondi, Jess MacNeil, Stevie Fieldsend and Lionel Bawden.

Patrizia Biondi, Carton 3 of 3 – Marx & Engels, 2019. Cardboard and paint, 200 x 110 x 21cm.

“Patrizia Biondi’s works first caught our attention in 2018 when she won the Artereal Gallery Mentorship Award,” says Catanzaro.

“I love the way she works with colour and form and the fact that her use of recycled materials is driven by an interest in the intersection between consumerism and environmental concerns.”

Jess MacNeil, Disruption Continuum (video still), 2013-2017. 16mm film transferred to digital file, Edition of 3 (digital file), 6 minutes (looped).

“I’ve always had a penchant for Jess MacNeil’s video works and Disruption Continuum is a particular favourite. I love the way this piece melds Jess MacNeil’s painting and video practice together, with paint applied directly on to the 16mm film.”

Owen Leong, Forest of Stones (entropy), 2019. Concrete, marble dust, rose quartz, 43 x 15 x 34cm.

“I’ve always found Owen Leong’s works very meditative. This particular series was defined by a wonderful melding and use of concrete and rose quartz. It is a work which feels at once timeless and contemporary.”

Lionel Bawden, Tender vortex of connection, 2019. White staedtler pencils, epoxy, incralac, metal, 55.5 x 56.5 x 5cm.

“Lionel Bawden is well known for his tactile, beautiful manifestations of his chosen medium – a humble staedler pencil. I love this work for its elegance and its innovative use of materials.”

Anna Carey, Lost in Paradise, 2019. Digital print, edition of 10 + 2AP, 84 x 125cm.

“Anna Carey was commissioned to create this particular work last year by SoHo House in Los Angeles. It’s amazing the way that she creates works which defy categorisation,” says Catanzaro.

“Visitors to the gallery are always trying to work out if it is a painting or a photograph when in actuality it is a photograph of a handmade architectural model. Anna’s work is so playful and joyful and this work always brings a smile to my face.”

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