What’s in the Stockroom?

Each week we wander through one of the region’s premiere stockrooms to find out what treasures lay inside.

Yavuz Gallery

This week we visit Sydney’s Yavuz Gallery with director Sarah Hibbs.

Caroline Rothwell, Cloud, 2019. Hydrostone, canvas, steel, paint, epoxy resin, 129 x 103 x 24cm. Courtesy: the artist and Yavuz Gallery.

“I adore Caroline Rothwell‘s unique and fascinating practice, and the work Cloud is a beautiful example of her scientifically informed sculpture. Through the creation of her hybrid plants and forms, we are asked us to contemplate humanity’s current position in the world, and our relationship to non-human beings, structures and systems. Caroline’s upcoming exhibition Corpus shows in our Singapore gallery from 20 March to 18 April 2021.”

Kien Situ, Shanshui (Column), 2020. Chinese Mò ink, gypsum plaster, 136 x 24 x 24cm. Courtesy: the artist, 4A Centre Contemporary Asian Art and Yavuz Gallery. Photo: Kai Wasikowski.

Shanshui (Column) is one of the last works that remain from Kien Situ’s solo exhibition at 4A Centre for Contemporary Art last year. When I first encountered Kien’s work, I was struck by the coherent and refined visual language, which was only further reinforced after speaking with him about his conceptual underpinning and process. The dark forms take their colour from the mixing of Chinese Mò ink combined with the industrial material of gypsum cement, creating strong interrelationships to place, geography and memory.”

Dean Cross, Tree: Sentinel, 2019. Pure pigment print with Rhodamine-B on 300gsm Arches watercolour paper, 78 x 53cm. Courtesy: the artist and Yavuz Gallery.

“The genesis of the highly successful series presented at Sydney Contemporary last year, Tree: Sentinel comprises an image of the artist’s family land, overlaid with minimal line motif. The lines are drawn in the same pink-dyed poison his family uses on their property to kill weeds and invasive plant species that were largely introduced to Australia through colonisation. The work is visually simple and strikingly poetic.”

Aida Azin, Stop interveening (so that we can self-manage), 2016, Acrylic and mixed media on wood, 61 x 42cm. Courtesy: the artist and Yavuz Gallery.

“I’ve been watching Aida Azin for a few years now, and am a huge fan of her painting practice. It is beautifully intuitive, playful, yet eminently political. As a second-generation Australian born Filipino-Iranian woman, Aida’s deceptively colourful, gestural paintings are imbued with heavy critique of white imperialism and contemporary Australian society.”

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