Exhibition dates: Feb 27 — Mar 30, 2020 (gallery is closed Tuesdays)
Official opening: Mar 1 from 3pm
Abstractionist, Melinda Harper has been exploring the relationship between colour and form for three decades.
Adam Nudelman refines classical landscape painting and ads complex forms that seek cultural identity and the artist’s own place in the world.
In the first of QG&W’s 2020 focus exhibitions, Melinda Harper and Adam Nudelman will display force and tension, push and pull in their works – Harper as a means to explore the limits of colour, Nudelman to define the idea of human isolation.
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One of Australia’s leading abstractionists, Melinda Harper continues her 30-year exploration of the relationship between colour and form.
Displaying force and tension, her vivid geometric style carries the emotional impact of Fauvism at its most rousing – full of distortions, flat patterns and violent colours – juxtaposed against the slow, deliberate creative process employed by the artist. Melinda uses tape to create straight lines and solid forms, on to which one layer of paint is applied and dried in preparation for the next; like a dazzling mille-feuille in oils.
Though labour-intensive, this method affords her the time she needs to formulate theme and tone. While kaleidoscopic colour is central to her oeuvre, this exhibition sees Melinda opt for a restricted palette of blues, greens and yellows in several pieces, eliminating some colours in others.
Expressed in all of Melinda Harper’s spirited, sensory responses to the visual world is “the act of looking, the obvious, the precise and the precious”.
For 25 years Adam Nudelman has been exploring the paradox of belonging in isolation through his cool, realist landscapes.
Yet this is more than landscape, this is allegory: the inside as outside; the interior as exterior; emotional vista as earthly view. At once exquisitely detailed and barren, his scenes reflect the artist’s uncovering a history and homeland previously veiled in secrecy.
The grandson of Polish immigrants, he expresses the struggle to reconcile blood ties with cultural identity via competing themes of the ancient and post-industrial, the sombre and sunlit, the real and imaginary, the jew and gentile.
Since graduating in Fine Arts at the Victorian College of the Arts, Adam Nudelman has forged a career that has seen his works exhibited widely and featured in collections across the private-, corporate- and public sectors.