Passages of Time: Hill Smith Gallery 27 April – 20 May
Brume 2012 oil on linen 152 x 152 cm
113 Pirie Street
Adelaide
South Australia 5000
Tuesday-Saturday 10am-5.30pm
Sunday 2-5pm
Passages of Time is Adriane Strampp’s first exhibition in Adelaide since 1999, and is an overview of recent work. It includes paintings from both the horse and landscape series as well as several drawings.
Strampp’s new work continues to explore the poetic and the romantic, whilst at the same time referencing elements of her earlier work. Over the last six years Strampp has reduced her palette to quiet greys built of many thin washes of colour, creating a sense of stillness and shadow, reinforcing her interest in both spatial relationships, surface materiality and the presence of absence.
As a result her landscapes have become ethereal and ambiguous, their haziness leaves the viewer uncertain of what they are seeing – trees in the mist or shadows suspended in particles of light, they appear familiar but not specific. The statues refer to her early and popular dress series, weathered and sometimes damaged they remain strong and heroic, a contemplation of mortality and fallen ideals. The animals she chooses to draw and paint are often vulnerable, yet they too carry a stoic, if guarded strength.
There is a sense of timelessness in this new work, and a sense of maturation as Strampp attempts to address the importance of connection and communication through her work.
Istoria: King Street Gallery 6 – 31 March 2012
King Street Gallery
on William
177 William St
Darlinghurst
NSW 2010
10am – 6pm Tuesday – Saturday
Opening March 7, 6-8pm
Istoria
In this new exhibition Strampp continues to work with a limited palette, focusing on the ambiguities of spatial perception, history and connection.
Included in this exhibition are two works referencing Strampp’s early dress series. The landscapes have developed a deeper space than previous work, whilst the animals within, (a result of a residency at Taronga Zoo in 2011) hold their own, survivors of a rapidly changing landscape.
This exhibition also includes a new series of smaller works, Memorium, that further explore spatial relationships and connection through surface materiality, with the use of paint, wax, paper, mirror and lead.
Image: Nike 2012 oil on linen 152 x 152 cm
Erlösung: The Animal Gaze, dianne tanzer gallery + projects 2 – 23 April 2011
Dianne Tanzer Gallery + Projects 2 – 23 April 2011
108 – 110 Gertrude Street Fitzroy VIC 3065
Opening hours:
Mon – Fri 10am – 5pm
Sat 12pm – 5pm
105 x 225 cm
105 x 150 cm
Hares, horses and stags have long featured in Strampp’s work, images of the hunted and the haunted, symbols of both strength and vulnerability. In conjunction with Strampp’s 2011 residency at Sydney’s Taronga Zoo, Erlösung: The Animal Gaze is a project drawing exhibition that considers the animal gaze, and the relationship between the observer and the observed.
The animals in this exhibition are not cute; rather they are solid, monumental creatures drawn life-size, yet paradoxically they remain fragile and exposed. Their wary gaze regards us, guarded and measured, and they remain ‘in absentia’. In our desire for connection we long for our gaze to be returned, but as they look through or past us our projections are mirrored back, only to remind us of our imposition on their world.
Imaging the gap: King Street Gallery on William 4 – 29 May 2010
oil on linen 90 x 90 cm
King Street Gallery
on William
177 William St Darlinghurst NSW 2010 Australia
Opening times:
10am – 6pm Tuesday – Saturday
Today Adriane Strampp’s work takes another look at the horse and the landscape, in a quieter and more contemplative manner, together with the use of a limited palette. Her work continues to explore the intangible and evocative, that communicates before it is understood, and the importance of and relationship between scale, surface and the poetic image through a method of layering and reduction that reflects the experience of connection, through history on either a personal or broader level. Subject and shadow are indeterminate, and the viewer is drawn into the work to decide between what is ‘real’ and what is not. More importantly, it is hoped that the viewer will experience a connection of experience through the work.