What’s in the Stockroom?

“Tia Ansell is an incredible young artist, who at only 25 is becoming well known and loved for her intricately patterned hand made weaving-paintings. These works reference the grids and geometries in our urban landscapes. What sets her apart from her peers is that her work not only has a profound sensitivity and understanding of materiality, but each work is equally informed by a conceptual coding system. Tia translates the gridation and light patterns of her surroundings into weaves produced on her shuttle loom that take months to complete. These labour intensive works glow like gems in their polished aluminium frames. They are becoming a clear favourite with collectors.”

Caleb Shea, Untitled (Single Line Gradient), 2019. Aluminium, automotive paint, 92 x 42 x 40cm. Courtesy: the artist and LON Gallery, Melbourne.

“This work is a stunning example of Caleb Shea‘s practice and one of his first in the seductive automotive gradient finish. The single line form is a recurring motif in the artist’s oeuvre that Caleb continues to revisit and develop. Contributing to the history of sculpture as drawing in space, this work, with its electric gradient, is a dynamic take on the possibility of sculpture.”

Dord Burrough, Sky, 2020. Oil on canvas, 147 x 164cm. Courtesy: the artist and LON Gallery, Melbourne.

“Sky is a contemplative painting. Its muted palette, whirling vortex composition and gestural strokes are typical of the artist’s recent works at this scale. It is the sort of picture you can continue to look into and still find something new. Dord Burrough is also known for her textured sculptural paintings at a smaller scale. Her ability to oscillate between these two drastically different scales and methods of painting is quite remarkable.”

Sarah CrowEST, Espaces Sonores #1 Re-sequenced version-excursion, 2019-2021. Acrylic on wood panel, 60 x 40cm. Courtesy: the artist and LON Gallery, Melbourne.

“Sarah CrowEST‘s works on board at this size are so compelling. Their graphic quality and her distinctive visual language are both strange and alluring. Having honed her practice for the past four decades, Sarah CrowEST is still remarkably under recognised within the commercial sector and these works provide a wonderful entry point into the artist’s practice. Having made a commitment to sustainability, CrowEST has bought no new art materials since 2019, instead reworking and upcycling materials and discarded art supplies. Each ‘new’ work includes detailing on its verso about its previous exhibition history and incarnations – a fascinating approach to making art objects.”