Post-process image by Christopher Gulick, Factory 49, Sydney, image courtesy of the artist (2017)

I'm pleased to say Held in Suspense, my first article for Rochford Street Review, has just been published. It's on the American sculptor, Christopher Gulick, and his rather astonishing residency-workshop-performance-exhibition at Factory 49 in Sydney.


"The universe is in a constant state of change. Christopher Gulick presented us with concrete evidence of space-time’s temporal poignancy by energising the Main Showroom at Factory 49 with an informal suite of angular and curvilinear projection-relief sculptures. Such a construct could have been kindled in the 20th century in two-dimensions by Matisse while making his most edited cut-outs. It also recalls Arshile Gorky’s ‘Child’s Companions’ (1945), Mondrian’s balanced black and coloured subdivisions in the last grid paintings with a generosity of white galaxies, and Kandinsky and Joan Miro’s ability to seemingly levitate flat forms..."


In-process image by Christopher Gulick, Factory 49, Sydney, image courtesy of the artist (2017)

Factory 49's catalogue
+ images by Marlene Sarroff of the finissage on 10 November 2017






Works in progress by Pablo Atchugarry, outside his studio at Fundaciόn Pablo Atchugarry, Uruguay

What a privilege to be one of only two visitors roaming around 30 hectares of the Sculpture Park created by the Fundaciόn Pablo Atchugarry near El Chorro / Maldonado in Uruguay. The Park was “designed in dialogue with the landscape… to appreciate the monumentality of the work of national and international artists.” Naturally, I concentrated on Atchugarry’s work, especially the massive ones in progress outside his studio and those installed in the Permanent Collection building. Although smaller, the latter sculptures showed his evolutionary explorations of scale and materials – not limited to wood, steel and bronze (finished with immaculate monochromatic glossiness) and marble. The most attractive pieces had a multiplicity of folds, initially reminiscent of flowing drapery, but Atchugarry increases the intensity of their intro-/extro-version with an inherent attribute of verticality: aspiration.


Portrait of Susan Sontag 1975 by Peter Hujar from "Hide/Seek: Difference and Desire in American Portraiture"


Maria Popova, in the latest edition of Brain Pickings, (re-)introduces us to The Aesthetics of Silence: a most eloquent essay by Susan Sontag on art as a form of spirituality and the paradoxical role of silence in our modern world's creative culture.


Let me know if you would like a PDF copy of the entire essay and I'll send it along.

BTW I only just discovered Brain Pickings via Nicola McClelland. Thanks to her for revealing this site of such contentment!



Ornament is a crime? Well, yes, there are crimes and then there are other crimes.
Ornament is Crime, a legally luxurious visual manifesto co-authored by Matt Hibberd and Albert Hill, pays "unprecedented homage to modernist architecture from the 1920s up to the present day."


Review by Frankie Crossley


Review in Aesthetica (edited):

"Ornament is Crime journeys between the decades to liberate Modernism from its traditional definitions and proposes its continuing presence in the work of 21st century architects... [With] elegant spreads and striking examples...  The use of quotes from cultural figures as diverse as Leonard Cohen and Kazimir Malevich here reframes Modernism as a timeless dialogue."



image courtesy of edX/Harvard University, archimagx

I’m enrolled at Harvard University doing my first course in architecture. Well, to be precise, I’m taking a free non-credit online course called The Architectural Imagination through edX and learning more about some fundamental principles of architecture. Baby steps for babies/babes!



Richard van der Aa 2009, image courtesy of ParisCONCRET


Such a mind enhancing pleasure to do an interview with Richard van der Aa for Whitehot Magazine of Contemporary Art, made all the more special because it centers on a preview of his first solo exhibition in New York. 57W57 Arts will be featuring Pictures of Paintings until 8 April 2017.


“The images of Pictures of Paintings by Richard van der Aa hold our gaze: the sequence is hypnotic - an extended repetition of a rounded square in duo-toned variations of black, white and an elusive colour palette of muted creams and greys…”


pictures of paintings No. 1, Richard van der Aa: enamel on dibond 30 x 30cm 2016, image by Richard van der Aa


Amarie Bergman, Cocoon #1 2017 mixed media (including fragrance, Chanel Chance Eau Tendre) 2.3 x 5 x 2.3cm

An exciting, tangible connection for my work with Stockholm will happen very soon through another inventive initiative by Factory 49. This artist run centre, which I’m so proud to be associated with, will participate for the first time in Supermarket International Art Fair (SIAF), 23-26 March 2017. The theme is ‘intimacy.’

Organisational wizards, Lisa Sharp and Anya Pesce, flew to Sweden a few days ago from Sydney to set up the 10-person exhibition. They will ‘person’ the dedicated space and act as connective resources during the extravaganza.


Anya Pesce & Lisa Sharp (with a suitcase filled with art), image courtesy Factory 49 / Facebook 2017


The catalogue, edited by Lisa and designed by Annelies Jahn, includes documentation for their work, Anya's and mine (Cocoon #1, Cube #1 and Square #1), along with the six other Factory 49 artists exhibiting at SIAF: Pam Aitken, Ivana Jovanovic, Michelle Le Dain, Pamela Leung, Kate MacKay, Chris Packer.



André Smits, photography by Anna Vimich (Artfridge) 2012

With the logic of day following night, Artist in the World, the unprecedented project by André 
Smits, is the subject of my latest article in Whitehot Magazine of Contemporary Art.


It opens enticingly with these 3 sentences:

"Edgar Degas may have been the first to detect the allure of portraying an artist by experimenting with photography as a visual memoir. Voilà +/- instant immortality. Man Ray to Mapplethorpe, among others since, have traced and retraced this genre pretty well to a fine point; The Famous/The Greatest in mostly frontal, often confrontational, close-up poses. Nothing like how André Smits approaches things, partly because his focus is so egalitarian..."