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Individually selected, take a closer look at specific artworks from the exhibitions shown previously at the gallery. To enquire, contact us here.
JEDDA-DAISY CULLEY, ‘DON’T FUCK THE COWBOY 02’, 2021
The laws of attraction can prove to be fatal. If a cowboy says he’s a cowboy, how can you be sure? Just because he’s wearing cowboy boots doesn’t make it true. Similarly, the people in uniform we look to and rely on for protection can deceive us. In her recent series of Cowboy paintings, Jedda-Daisy Culley explores her desire to be seen and simultaneously unseen. Read more.
MATTHEW GRAEME JOHNSON, ‘THERE IS NO DIVIDE’, 2019
Where do we draw the line between ourselves and nature? For some, it may be instantaneous, ruled by strict definitions and observations — after all, we are not by definition trees, nor sand, or sunshine. For others, the line may be looser, guided by feeling, an intuition and deep reverence for the elements that bind us together as one. Read more.
JEDDA-DAISY CULLEY, ‘SUNSET’, 2019
It’s hard to comprehend the number of hours it would’ve taken Jedda-Daisy Culley to complete her weaving, Sunset, 2019. The scale of it is overwhelming, stretching 2.4 metres towards the ceiling and past arm’s width at 3.4 metres long. The weaving hovers somewhere between sky and ground within Culley’s latest exhibition, Printers and Portals at Jerico Contemporary. Read more.
PAIGE NORTHWOOD, ‘SEARCHING’, 2020
There is urgency within Paige Northwood's 'searching', 2020. Dynamic forms surge up towards the sky, as if sweeping energy upward. Hands have been applied to the work's surface, drawn back time and time again as if shaping a sacred message transmitted through the body. Reaching out, searching, for something more, for the very earth that binds the work together. Read more.
PAIGE NORTHWOOD, ‘ON RED’, 2021
Red like the iron rich desert earth beneath your feet. Red like the blood passing through the valves of your heart. Red like the light you see behind closed eyes; how vibrant our insides are. Traversing numerous cultural boundaries, red is a colour that signifies the intensity of both life and death. Australian artist Paige Northwood considers this notion through her latest body of work 'Meditations On Red'. Read more.
HOLLY FEWSON, ‘YOGA’, 2019
Arch back, release, submit. Looking at Yoga (2019) by Holly Fewson I’m reminded of the beauty that exists in solitary moments, of the quiet calm that resides in giving yourself the time to just be. Fewson’s exhibition ‘Garden Landing’, showing at Jerico Contemporary, features an array of paintings set within a sprawling garden landscape. Read more.
JAMIE PREISZ, ‘DREAMING OF SIDNEY’, 2019
There’s something eerily familiar about the helmet of Australia’s most notorious bushranger. It’s instantly recognisable upon viewing Dreaming of Sidney, a new painting by Australian artist Jamie Preisz, created as a part of his latest body of work, Soft Machine. Portrayed in Preisz’s signature style—a contemporary approach to modern portraiture and vanitas painting—the helmet is nestled in a bouquet of native flowers, its damaged shell grimacing in soft chrome. Read more.
ANDREW YIP, NETWORK SERIES 2019
Nothing can quite compare to the feeling of looking up at an ancient old tree. Tracing your eyes over a life that has lived hundreds of years, during which it has spread its roots, found its footing, sourced water and light, and grown as high as our necks may allow us to see. In those moments in nature when you allow yourself to be completely present, a tree comes into full view. Read more.