|FAMILIAR BEYOND RECOGNITION 2017
QUEENSLAND COLLEGE OF ART, BRISBANE
FAMILIAR BEYOND RECOGNITION 2017
SPIRO GRACE ART ROOMS, BRISBANE
FAMILIAR BEYOND RECOGNITION | link
SPIRO GRACE ART ROOMS AND QCA, QUEENSLAND
NAMBOUR SUBWAY MURAL. SUNSHINE COAST, QLD 2017OUR KIND OF PLAYGROUND | link
OUR KIND OF PLAYGROUND celebrates the connections between space, touch, play, and making. Through a collection of interactive works and 'play spaces', this exhibition encourages you to touch, reassemble and understand through the action of play. Drawing the visitor to physically engage with exploring material and design thinking, Our Kind of Playground reaffirms Artisan's thoughts on the universality of craft and design.
Curated by Kellee Uhr
Artists: Lincoln Austin, Simon Degroot, and Anna Varendorff
Opening Saturday 4 February 2017, 11am - 2pm
4 February 2017 - 18 March 2017
Artisan. 381 Brunswick Street, Fortitude Valley QLD
15 ARTISTS 2016 | link
REDCLIFFE ART GALLERY, QUEENSLAND
15 ARTISTS is an acquisitive award and exhibition which plays a pivotal role in the ongoing growth of the Moreton Bay Regional Council Art Collection. Fifteen artists are invited to submit work that reflects a focus on culture, identity, spirit and sense of place. The judge in 2016 will be Prof Pat Hoffie.
Artists selected are Courtney Coombs, Laurindo De Abreu Soto, Simon Degroot, Dale Harding, Lyndal Hargrave, Julian Meagher, Lucy Quinn, Tricia Reust, Charles Robb, John A Robinson, Vipoo Srivilasa, Jacqui Stockdale, Anna Varendorff, Sera Waters, and Jenny Watson.
Installation image courtesy of Al Sim
26 August 2016 - 24 September 2016
Redcliffe Art Gallery, 470 Oxley Ave Redcliffe
FLOWERS COLLECTION 2016 | iAM PROJECTS
SUNSHINE COAST UNIVERSITY HOSPITAL
I recently completed a suite of paintings with iAM Projects for the new Sunshine Coast University Hospital opening later this year. These works recognise the hospital as a place of healing, the floral shapes compliment and enhance the architectural and landscaping elements of the hospital to create a supportive environment for patient wellbeing. This suite of ten paintings have been curated by iAM Projects into the extensive collection of wall based artworks for the hospital.
PICTURE BUILDING 2016 | link
KICKARTS CONTEMPORARY, CAIRNS
PICTURE BUILDING is an exhibition exploring the construction of image details focusing on ways that architectural shapes can be rebuilt and reconsidered in contemporary abstract painting. Large paintings negotiate different image shapes and transparent overlap to revitalise existing forms. These works focus on exploring how painting can be used to highlight complex interactions in the built environment and be understood as a metaphor when making space for the new.
PANDANA MURAL, LIMITLESS PROPERTY. BRISBANE 2016
HARD GRAPHICS 2016 | link
SPIRO GRACE ART ROOMS, BRISBANE
HARD GRAPHICS is an online exhibition of new paintings exploring tensions between drawing, painting, and computer techniques. These works capture a process of translation as hand drawn sketchbook shapes are made into vector files before returning to the hand made in contemporary painting. This process is emblematic of a larger and more accelerated contemporary relation with visual culture and the way artists triage visual information - the way they identify, select, and translate ephemeral visual elements and turn them into painted motifs.
Dates | March 16 - May 7, 2016
Location | www.sgar.com.au
AT THIS TIME 2015 | link
THIS IS NO FANTASY + DIANNE TANZER GALLERY, MELBOURNE
AT THIS TIME is a curated group exhibition at This Is No Fantasy and Dianne Tanzer Gallery of works by Chris Bond, Simon Degroot, Neil Haddon, Valerie Sparks, Jacqui Stockdale, Oliver Watts and Paul Wood.
Working across a range of mediums - painting, photography and sculpture, the artists challenge the boundaries between the real and the ideal, past and present. Each offers a unique perspective on our physical and cultural landscape, and the ways in which it shapes and defines us
20 Oct - 14 Nov, 2015
THIS IS NO FANTASY | 108-110 Gertrude St, Fitzroy, VIC 3065
FEELING FOR PLACE: RECENT ACQUISITIONS 2015 | link
CABOOLTURE REGIONAL GALLERY, QUEENSLAND
CHANGING LANES, CAIRNS 2015 | larger image
This mural uses abstract shapes from the built environment to evoke a vibrant and distinctive sense of place. Curated by Simon Suckling for the Changing Lanes Public Art Project in Ewan Lane, Cairns. Commissioned by Cairns Regional Council.
INDIRECT RESPONSE 2015 | link
POSTGRADUATE ART GALLERY GRIFFITH UNIVERSITY, BRISBANE
Photographs courtesy of www.emmaewright.com
INDIRECT RESPONSE is an exhibition of new works exploring a translation of image details in abstraction. This exhibition considers how an abstract translation of architectural shapes can maintain a line of reference as they are painted and repeated in physical space. In particular, how a strategy of translation can be used to build and compose while simultaneously acknowledging the structures of the past.
This exhibition is in support of my PhD candidature and is generously supported by
The Queensland College of Art, Griffith University and Spiro|Grace Art Rooms.
COMPOSITE ORDERS 2015 | link
RUBICON ARI, MELBOURNE
A composite order refers to the delicate appearance of architectural columns used in churches during the Renaissance. They are a mixed capital design combining and restructuring elements from previous orders in new ways and in a different order. This double use of the word order is important here as it suggests an architectural relation and structural arrangement. This arrangement or order is also reflected in layers of computer code determining the order of operations often visually depicted using the phosphor green of early monochrome computer monitors. In this exhibition Degroot employs this green considering how contemporary painting can abstract, build on and combine visual structures to explore a space between the digital and the real.
NUNDAH MURAL 2015 | larger image
This mural is a design collaboration where illustration is translated into contemporary abstraction. Dan Brock took photographs of people and places in Nundah and illustrated them using thick line drawings. I then selected segments from these drawings and magnified them until they became shapes. These shapes informed the final mural design which maintains a local connection to the people and places of Nundah through this process of translation.
SEMI-PERMANENT BOOK 2015 | larger image
Excited to open the mail and see the new 2015 Semi-Permanent Book!!
Image: Composite Orders Black 2 (2014) oil on board 155 x 205mm. $305-
For more info about Semi-Permanent visit semipermanent.com
MORETON BAY ART AWARDS 2015 | larger image
Cove Dupont (pictured) was recently awarded the top prize at the 2015 Moreton Bay Art Awards. Originally exhibited at Spiro Grace Art Rooms in 2014, the work has now been added to the extensive Moreton Bay collection.
For more info about the Moreton Bay Art Awards visit www.moretonbay.qld.gov.au
THE PILLARS PROJECT | G20 CULTURAL CELEBRATIONS BRISBANE | larger image
SELECT RESPONSE 2014 | link
SPIRO | GRACE ART ROOMS, BRISBANE
SELECT RESHAPE | opening night
SHALLOW SPACE 2014 | link
AUSTRALIAN NATIONAL CAPITAL ARTISTS (ANCA), CANBERRA
An exhibition of paintings and collages exploring illusion, construction and representation.
BRISBANE HILTON | MILD MANNERS
photograph courtesy of Justin Nicolas and Atmosphere Photography
This mural commission with Mild Manners for the Brisbane Hilton is based on a photocopy of 'Le Lagon' an original artwork by Matisse. The adapted design is an appropriation from a copy of a photocopy sourced from the office of Hilton architect Harry Seidler. This design is a dominant motif featured throughout the interior of the Vintaged Bar area. This artwork is an exploration in the change of meaning that occurs in contemporary images as they transfer via copies, photocopies and image processing.
REFLECTIVE FRAGMENTS | opening night
LET'S FACE IT | event pics
MAINTAIN PLEASURE PERSONALLY | opening night
Controlled explosions of colour are the dominant characteristic of Simon Degroot’s paintings. Hard, flat brights and day-glo neons dazzle, but there is no hiding behind this richness; beneath the immediate sensuality of Degroot’s surfaces seethes a complex social encounter. Placed alongside, or, more often, partially buried beneath an array of hard-edged squares and ragged gestural swipes are recognisable images, culled from centuries of human visual culture - the cornucopic abundance of Dutch still lifes, Sesame Street’s Big Bird and a child’s toy truck all make an appearance on the painter’s canvas stage. Re-presented in printers’ halftone, these images are abstracted from their ‘realistic’ contexts, and so Degroot’s paintings achieve a detente between abstract techniques at either end of the spectrum: both ‘pure’ geometric forms, and images uncoupled from the demands of verisimilitude are synthesised in these works.
In this layering of the abstracted with the abstract, Degroot establishes a dialogue between the known and the ineffable. There is a breaking down of things into their component parts: the square and the pixel. The choice of squares for each individual canvas imposes a discipline across their otherwise unruly relations, while the squares within each canvas appear both as foreground interventions effacing their subjects (the low-res skin-toned pixelation which partly obscures Big Bird in Copia Avis), and as blown-up symbols of photographic representation, in the enlarged half-tone of Constructed Landscape. Degroot seems to be saying, by all means take pleasure in this vibrant, unabashed colour, but remember what it’s made of. Skin tones can be reduced to a series of pink, brown and greenish hues, any offset photograph is a combination of cyan, magenta, yellow and black dots, and our daily screen life is regulated by ordered arrays of red, green and blue. In the imposition of these layers, Degroot’s overpainting refuses our illusion, but it is the insistence of the basic units - the building blocks of visuality, as reshuffled elements, that draw the analogy between colour space, and public space.
For despite the lushness of the coloured surfaces and techniques which thwart pictorial representation, the paintings inevitably seem to suggest colour space is highly rigid; our spectrum of perceived colours has a distinct limit, just as the rest of our human existence is subject to other, less easily perceptible limits. If Big Bird is a symbol of the colonisation of our collective subconscious by entertainment industries, and if the shallow perspective and fundamental unreality of the Dutch still lifes is a continuing reminder of the conceits of privilege and constraints of class, then their reappropriation in Degroot’s paintings imply that the analogy between colour space and visual space is ongoing in the interpenetrated public and private spheres of 21st century life.
Moreover, though those regimes that order and control human consciousness persist, they need not be obeyed willingly or wholeheartedly. Degroot seems to suggest sensuality and play are weapons against boredom and conformity, not just in the quotation of children’s toys, or the iconicity of Copia Avis, with all the associations of abundance and indulgence that title triggers, but via colour itself. The insistent repetition of a distinctly intimate, warm pinkish flesh tone, as well as a coloured smear suggestive of melted chocolate or human stool in Maintain Pleasure Personally, hints at a transgressively carnal, or possibly pre-adult sphere, preceding the development of sober social norms such as shame, duty and moderation. By incorporating neon hues in works such as Festoon With Orange, the limits of the colour spectrum are similarly exceeded. These works seem to suggest the challenge to resist the regulation of ordering forces is open to all of us, provided we are prepared for a little excess.
|SUPERBOUQUET is a solo exhibition of new work by Simon Degroot featuring paintings on canvas that alternate between expressionistic painterly floral bouquets and pixelated paintings of the same works repeated.|
Degroot draws upon a Dutch history of still life flower painting and the associated conspicuous display of wealth in order to engage with a contemporary consumer culture, where displays of wealth and plenty incite a promise and sense of the attainable — while at the same time bringing into sharp focus the divide between the haves and have nots.
OPENING RECEPTION 6PM. 17TH FEB 2011
17 FEB 2011 - 6 MAR 2011
photo by dane beesley | www.photodane.com