FLG is delighted to be showcasing the practices of Bronwyn Hill, Michael Gromm, Hannah Quinlivan and Leah Thiessen as part of the 2022 Melbourne Art Fair.
FLG is located at Stand B7 Melbourne Convention Centre and Exhibition Centre Exhibition Door 2 (Nearest entrance Clarendon St. Car park door 2, 3, 4, 5)Head to the MAF website to pre-purchase your tickets.
LEAH THIESSEN 'My work taps into the emotional gravity of a place, its memory, its pulse, its rawness and power. For me the paintings communicate a deep felt relationship with the earth, embodying a spirit of place and its atmosphere. The images are a direct emotional response to the bush, beaches and mangroves that surround my home. My paintings explore unique ways of capturing the diversity of the natural terrain. I am interested in local flora, protected plant species, seaweeds and noxious plants. I often start my paintings with the small delicate details found in the bush and then depart to a place of frantic energy.’
HANNAH QUINLIVANThrough various methods of exploring line and form – via traditional drawing techniques, canvas painting, wire and salt installation, as well the use of LED lighting – Hannah challenges the way we expect drawing to operate and be presented. Subsequently her work becomes experiential not only in its physicality but also through a range of conceptual connections. Grappling with contemporary issues such as human migration, emotional cognition, time’s flowing passage and more traditional explorations of landscape and remoteness, Hannah’s work uses processes of repetition, ephemerality and the interplay of light and shadow to open up discussions around some of contemporary society's most pressing topics. The evolving quality of her practice gives Quinlivan’s work an organic, living quality that creates an immersive experience for the viewer.
BRONWYN HILL Insects feature heavily in this body of work, used both for personal symbolism and aesthetic interest. The fascinating structures and often surprising colours of these mostly unseen creatures has long captured Hill’s attention, as well as the curiously unsettling feeling that comes from seeing a bug out of its natural environment; like in our beds or on our dining table. Working and living alone has amplified this interest, as any tiny movement in the very still studio catches the eye and influences Hill's thoughts and interpretations of personal events.
MICHAEL GROMM I have an innate fascination with what is not known, and enjoy those moments when my eyes perceive things incorrectly. Those moments, usually out of the corner of my eye, when a few shapes or movements blend together to trigger a response from my consciousness. My works delve into the unknown and form unplanned, unending puzzles; a game of charades for both me and the viewer. However, among the puzzles there exists an overarching awareness that sets the direction of my works, and strikes a fundamental balance between letting the paint do as it wants, and making it do as it is told.
