Adelaide exhibition guide: November 2018

Yanni Floros: UnVeiled
Hill Smith Gallery
1 – 17 November 2018
hillsmithgallery.com.au/exhibitions/unveiled

Yanni Floros’ new series of hyper-realistic charcoal on paper drawings are an exploration of the human body as a landscape as well as an experiment with the medium of charcoal, pushing the limits of its flexibility. While most of the works are charcoal on paper Floros has also included a piece which is white on black.

The ‘Veil’ represents not only the shape of land, lake and mountains but also the internal and external landscapes of the human body. While these works are realist drawings they can also be viewed as abstract works of art. They are not portraits or landscapes but instead they explore the form and texture of both.

Todd Hunter – She moves right up close to me, 2018 Oil on Canvas 152 x 122cm

Todd Hunter
BMG Gallery
2 – 24 November 2018
bmgart.com.au

Todd Hunter doesn’t describe himself as a figurative or an abstract painter, instead he uses the colours and shapes of the natural world to stimulate imagination and memory and it’s this that drives his painting practice. This latest body of work is the result of a recent stint living and working in the bush in Northern New South Wales.

The works reflect Hunter’s daily observations and experiences of the landscape. He explains: “Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.”

Hunter believes that a successful painting should be totemic. It goes beyond representation and relies on the viewer to draw in their own memory to evoke a response.

“I’m drawn to images that possess a mystery that hides things, being out of focus and relying more on evocation than a simple recognition.”

Jude Adams: Narratives from the Family Album
artroom5
5 Kent St, Henley Beach, SA 5022
3 – 25 November 2018
artroom5.com.au

In her latest exhibition, Narratives from the Family Album, Jude Adams re-visits the period of second-wave feminist art recovering her own lost and forgotten or incomplete works. Adams has a long career in the visual arts, working across a range of media and exploring notions around gender, narrative and identity and was significant in the early days of feminism in Australia.

Narratives from the Family Album includes works from the period of 1970s feminism, works that have undergone a makeover and works that were made over time. By looking back to the past, the exhibition not only brings to the forefront feminism and the significance of women’s material practice but also obsolete objects and technologies of representation such as the snapshot, the Polaroid and the photocopy.

Gail Hocking: Peripheral Disturbance: Wandering between worlds
Flinders University Art Museum
Until 30 November 2018
artmuseum.flinders.edu.au/the-collections-project-gail-hocking

As a result of her Guildhouse Collections Project in collaboration with Flinders University Art Museum Gail Hocking presents the multi-site exhibition Peripheral Disturbance: Wandering between worlds. Her project draws on the Ernabella Arts archive, which features approximately 750 works, mainly made by women from the 1940s to the present day.

By exploring the Ernabella archives (artists from Pukatja (Ernabella) in the Anangu Pitjantjatjara Yankunytjatjara Lands) Hocking has observed the strong connection these women have to their land and people, expressed through their art and ephemeral sand drawings. Hocking has created works which are intimate and evoke a sense of vulnerability, reflecting the resilience and the strength of Ernabella women in terms of their cultural practices, their families and their connection to Country.

Through a number of installation and sculptural works at the Bedford Park Campus, Hocking explores the relationship between diverse peoples, environments, languages and ideas. “This experience, for me, gives rise to unexpected insights which reveal the tenuous position I hold, with what I call, ‘non-human others’: environments, objects, machines and animals. I feel a perpetual redefining of my sense of attachment and connection to this shared world and ecological and territorial spaces.”