OLSEN gallery wishes to congratulate Paul Davies. Built Landscapes I has been acquired by the Palm Springs Art Museum for their permanent collection and will be presented in the current group show Desert Stories until April.
Paul Davies, Built Landscape I, 2015, acrylic on canvas
“Davies explores the fusion of man-made and cultivated natural elements that now comprise our environment.”
Nicholas Harding, Hugo at Home (Hugo Weaving), 2011, oil on canvas
Christopher Allen states “the small survey of portraits by Nicholas Harding at the National Portrait Gallery in Canberra … fills us with an infectious enthusiasm for drawing and painting, and convinces us that it is, after all, worthwhile to be interested in people…”.
Read the full article here.
TIM OLSEN Art Consultant places winning bid for
EARTH’S CREATION 1
An artwork by the late Indigenous artist Emily Kame Kngwarreye, Earth’s Creation 1, has been sold for $2.1m at an auction in Sydney.
Created in 1994 and shown in art galleries around the world, the painting was sold to the Australian art gallery owner Tim Olsen, on behalf of a collector, on Thursday night at the Cooee Art Gallery in Paddington.
EMILY KAME KNGWARREYE, Earth’s Creation 1, 1994, oil on linen
Read the full article at the guardian.com
OLSEN gallery wishes to congratulate Paul Davies on the inclusion of his photographs, produced on residency at the Frank Lloyd Wright School of Architecture in the McClelland Sculpture Park + Gallery permanent collection.
Davies’ photographs will be on display in the upcoming group show Framing Nature along side the works of Ethel Carrick Fox, John Constable, Nicholas Chevalier, Brodie Ellis, John Farmer, James Geurts, John Gollings, Siri Hayes, Gabriella Hirst, Polly Hurry, Janet Laurence, Frederick McCubbin, Harry McClelland, Danie Mellor, Dorothy Napangardi, John Skinner Prout, Hanna Tai, and Fred Williams.
Framing Nature will be held from 26 November 2017 until 18 March 2018 at the McClelland Sculpture Park + Gallery.
Please join Leila for a private viewing of her works at a unique outdoor exhibition in the lush grounds of Taronga Zoo and become immersed in a vision so powerful we promise you won’t look at birds the same way again.
Date: Wednesday 29th November
Time: 6:00 – 7:30 pm
Venue: Taronga Zoo, Mosman (enter via main Zoo entrance)
RSVP: By Friday 24th November to Pauline Georges at email@example.com or 02 9932 4251
The evening will include a private walk with the artist followed by a special bird show in the magnificent ampitheatre overlooking Sydney Harbour. Drinks and nibbles are included.
A percentage of sales of Leila’s artworks will be donated to Taronga’s conservation work.
For details and the availability of Leila’s works please contact OLSEN gallery.
Featuring in this months Vogue is an article written by the talented Paul Davies. The artist writes on the link between the 19th Century gold rushes in California and Australia with modern-day Los Angeles.
Everything Loose Will Land in LA/Double Golden Gully
In a moment of realization it was the eucalyptus trees, strangely dotted throughout Los Angeles, that revealed a connection between my adopted home in Los Angeles California and my native home in Sydney, Australia.
This unexpected link sparked a series of paintings I’ve been working on for over 3 years titled Everything Loose Will Land in LA/Double Golden Gully. The paintings formed part of a site-specific installation that I was invited to present at the MAK Center for Art and Architecture Los Angeles in June, before being exhibited here in Sydney at the Olsen gallery.
“Everything Loose Will Land in Los Angeles” is a quote from Frank Lloyd Wright who described Los Angeles as a centre-less sprawl of buildings and billboards and to me, can be further extended to the multitude of searching souls that land in LA from all over the globe.
The second part of the title, Double Golden Gully, refers to a disused gold mining location in New South Wales, Golden Gully. The word “Double” is added to suggest a gambling term rather than a place, infused with the notion of instant luck and risk. Australia’s gold rush began after Edward Hargraves noticed that the landscapes producing gold in California were also present in Australia. Coincidentally, during this time Australia began exporting gum trees to California to support its growing population. I liked this idea of a shared experience between two places on opposite sides of the Pacific Rim. The duality of commercial exports linking the two places as well as the emerging cultural presence in each landscape was an interesting juxtaposition. In addition to this, Golden Gully is a place of significance to Australian artists and poets who documented the nearby town, Hill End, from a booming metropolis during the gold rush, to an abandoned outpost, once the gold was gone. An excerpt from the poem, The Roaring Days, by Henry Lawson written in 1889 exemplifies this and was significant to the development of the paintings:
The night too quickly passes
And we are growing old,
So let us fill our glasses
And toast the Days of Gold;
When finds of wondrous treasure
Set all the South ablaze,
And you and I were faithful mates
All through the roaring days!
The native Australian gum trees scattered throughout Los Angeles remind me of the ‘gold rush’ link between both places. Furthermore, Frank Lloyd Wright’s quote that “Everything Loose Will Land in LA” is happening today, as many Australians are drawn to ‘Hollywood’ to try their luck. Los Angeles is something of an El Dorado for actors, filmmakers and artists. Like the gold prospectors of the 19th century these are people who come to the city seeking success in a difficult industry. The series of paintings ‘Everything Loose Will Land…” looks at this idea of history repeating through a lens of photography and painting. Reflecting on the notion of Hollywood and the ‘Silver Screen’ the scenes are painted with silver pigment. Like the hopeful actor, artist or director, the paint shines more intensely depending on the angle at which the picture is viewed. Here, photographs taken of these locations in Australia and California are layered to create imaginary painted scenes in shimmering tones that hover between fact and fiction, rationality and emotion and perhaps most pertinent, reality and dreams.
Paul Davies, July 2017