Another Dimension 1 April - 15 July 2018 curated by Simon Lawrie, The Balnaves Curator of Australian Sculpture

McClelland Sculpture Park+Gallery 390 McClelland Drive Langwarrin Victoria 3910 Australia www.mcclellandgallery.com

The views expressed in this publication are those of the author and do not reflect those of the publisher. Copyright © 2017 McClelland Sculpture Park and Gallery. All works of art copyright the Artist. All photographs reproduced with the permission of the Artist and gallery.

The curator would like to thank all the artists and lenders to this exhibition. Special thanks are also due to Maudie Palmer AO, Curatorial Advisor, and the McClelland staff and volunteers, including Ian Cail, Imogen Good, and Gabriella Beaumont.

McClelland Sculpture Park+Gallery is supported by the Victorian Government through Creative Victoria. This exhibition was made possible by The Balnaves Foundation through the Balnaves Curatorial Internship. Paint has been generously supplied by our program partner Haymes Paint.

Cover image: Robert Owen, Model for silence #2 2012, painted stainless steel, 58.0 x 72.0 x 74.0 cm. Courtesy of the Artist and ARC ONE Gallery. ANOTHER DIMENSION

Another Dimension explores the dynamic relationship between form and content Another Dimension refers to both the material form and conceptual perspective in contemporary art, by positioning sculpture as part of a broader two and of these works. According to the influential American critic Clement Greenberg, three-dimensional spatial practice. It represents the fluid relations that now exist the history of modern art entailed a process of increasing purification of each between image and object, in contrast to traditional artistic categories where a medium into its essential and inimitable qualities – sculpture as object and clearer definition between pictorial and physical space can be found. painting as surface. Conversely, contemporary art can be defined by hybridity and a fertile interplay between artistic categories and media. This shift was informed This exhibition showcases six contemporary Australian artists who, working by intellectual developments in philosophy and cultural theory which gained across and between media, creatively venture into other dimensions. Benjamin wider currency in the 1960s and 70s. Historical narratives and social definitions Armstrong’s otherworldly sculptures are complemented by a series of prints such as colonisation and gender were questioned and reappraised, and artists which evoke biological and evolutionary forces. Sanné Mestrom maintains continue to provide new perspectives on these themes today. a dialogue with modernist forms and styles through an inventive use of materials and illusory space. Robert Owen’s abstract work moves between Simon Lawrie sculpture, painting and photography in poetic response to visual and aural The Balnaves Curator of Australian Sculpture November 2017 sensation. Steaphan Paton approaches colonialism and cultural conflict from a contemporary perspective with found and repurposed media. Marian Tubbs’ prints and assemblages are concerned with the materiality of the image and the interplay between two- and three-dimensionality. Michelle Ussher’s paintings and porcelain sculptures explore themes of intimacy and sexuality while reconfiguring archetypal narratives. By expanding traditional notions of medium-specificity, these artists reveal alternative forms for their ideas and new ways of approaching sculpture.

4 5 Benjamin ARMSTRONG

Benjamin Armstrong’s works depict what seem to be permutations of primordial life, the biological stirrings of another world or perhaps our own during a period of rapid evolution. Hold I and Hold III present sinuous organic growths interrupted by strange cocoon-like accretions. They highlight the symbiotic interaction between living things, and nature as the product of unseen relationships and processes. These uncanny hybrid forms are neither welcoming nor threatening, instead suspended in a mysterious indifference which alternates between the beautiful and the sublime.

Eyes are a common motif throughout Armstrong’s practice, and appear in his linocut series Sorcery to evoke the presence of advanced life or a cosmological overseer. In the evolution of species, eyes have developed independently numerous times in various forms and have presented a significant challenge to Charles Darwin’s theory of natural selection. The subtle gradation of pastel colours in Sorcery activates our own advanced visual faculty, and is reminiscent of the prismatic splitting of light in a rainbow. Imagery of fences and openings refer to notions of confinement and liberation, proximity and distance, suggesting that our senses only give us a limited experience of the world. The series is printed with activated carbon and metallic pigment, materials which complement Armstrong’s themes. Carbon is a common element throughout the universe and serves as a building block of all known life, yet also causes environmental destruction through carbon emissions.

6 7 Benjamin ARMSTRONG

Page 6: Hold III 2017 Hydrocal, steel, timber, dye and wax 210.0 x 52.5 x 53.0 cm Courtesy of the artist and Tolarno Galleries

Opposite: Sorcery 2008 linocuts printed with activated carbon and metallic pigment on dyed BFK Rives paper 48.0 x 38.0 cm each Courtesy of the artist and Tolarno Galleries

Pages 10 and 11: Sorcery 2008 linocuts printed with activated carbon and metallic pigment on dyed BFK Rives paper 48.0 x 38.0 cm each Courtesy of the artist and Tolarno Galleries

8 9 10 11 Sanné MESTROM

Sanné Mestrom’s practice often references and redefines iconic twentieth-century paintings to question the cultural and aesthetic assumptions they carry. With a process she refers to as ‘deferral’, Mestrom destabilises modernist notions of originality, uniqueness and absolute knowledge, and disrupts the relation between representation and reality.

Lady with Green Stripe, 1905 reconfigures a portrait by the French painter Henri Matisse of his wife, from painting into sculptural installation. While expanding modernist notions of medium-specificity and associated hierarchies, this work also deconstructs the privileged male gaze which permeates the art-historical canon, particularly in traditions of portraiture and the nude. Female subjects were often objectified as passive, without autonomy or individuality, and Mestrom parodies this in the deadpan marble portrait at the foot of this work.

Mestrom’s watercolours create a complex spatial environment, where faceted forms compete and coalesce on the flat material surface of the paper. She highlights the contingency of perspective with particular reference to historical narratives. Histories of art, culture, sexuality and politics are always based on selective, and often competing perspectives, illustrated here by Mestrom using the language of formal abstraction. On a more fundamental philosophical level, Mestrom is engaged with concepts of the decentred subjective gaze, which is omnidirectional and surrounds the self at all times. This concept echoes elements of Eastern philosophy, particularly Chinese Buddhism, which seek to dissipate consciousness in order to gain a more holistic experience of being in the world.

12 13 Sanné MESTROM

Page 13: Lady with Green Stripe, 1905 2013, installation view marble, steel, timber, found objects dimensions variable Courtesy the artist and Sullivan+Strumpf, Sydney. Photograph Christian Capurro

Opposite: Lady with Green Stripe, 1905 2013, detail marble, steel, timber, found objects dimensions variable Courtesy of the artist and Sullivan+Strumpf, Sydney

Pages 16 and 17: A history of space is the history of wars (I) and (II) 2006, installation view watercolour on paper 101.0 x 152.2 cm Courtesy the artist and Sullivan+Strumpf, Sydney. Photograph Christian Capurro

14 15 16 17 Robert OWEN

Robert Owen’s paintings and sculptures highlight the perceptual processes we use to navigate the world, drawing equally from physics and mathematics as poetry and music. His sculptures emerge from an intuitive process of play, reconfiguring lines in space until he arrives at complex and evocative forms. Despite the rigid geometry of Model for silence #1 and Model for silence #2, these works emphasise the spatial contradictions between different viewpoints and the relativity of perception.

Owen activates our senses in two and three dimensions through intense visual and spatial cues. The flat surface of Melatonin shift #3 is imbued with movement and depth; vibrant linear patterns oscillate between figure and ground, and the highly saturated complementary colours of red and blue cause visual vibrations. While Owen’s process is carefully calculated, the fluctuating relationships between light and colour resonate on an emotional register, uniting the rational and the spiritual. While some abstract artists employ non-representational forms to transcend physical and subjective reality, Owen’s work hinges on the physiology and psychology of seeing. Breaking down subjective perception into a vibrant play of colour and pattern, Various rays #1 and Inside the crystal #40 revel in the phenomena of visual apprehension.

18 19 Robert OWEN

Page 18: Melatonin shift #3 2005 synthetic polymer paint on linen 198.0 x 198.0 cm Courtesy of the artist and ARC ONE Gallery

Opposite: Robert Owen, installation view Photograph Christian Capurro

Page 22: Various rays #1 2014-16 Inkjet print 80.0 x 80.0 cm Courtesy of the artist and ARC ONE Gallery

Page 23: Model for silence #2 2012 painted stainless steel 58.0 x 72.0 x 74.0 cm Courtesy of the artist and ARC ONE Gallery

20 21 22 23 Steaphan PATON

Steaphan Paton is a member of the Gunai and Monero Nations of Gippsland, whose work addresses themes of colonisation and ongoing cultural conflict. His Muraskin series is based on the image of muskets (muraskin in Gunai language) used by colonial aggressors, which Paton has reconfigured into traditional Gunai designs. These motifs are indelibly etched into ‘colonial cotton canvas’, a durable material used for squatters’ and, more recently, recreational campers’ tents. In other canvases, the formations suggest Victorian tile patterns or wire fences, and demonstrate how colonial and Indigenous histories are inextricably linked by conflict.

Paton’s cloaks reference those made from possum skin by Indigenous communities in south-eastern Australia. These served a variety of practical and ceremonial purposes, while also mapping the identity of their owner and illustrating stories. Paton’s versions are constructed using numerous parking fines and infringement notices glued together on canvas, and each is named after a figure of colonial authority, The Sheriff, The Magistrate, and The Officer in Charge. They contrast an Indigenous connection to Country and native title with the petty authority of parking inspectors and council bureaucracy. With this defiant gesture, Paton demonstrates conflicting understandings of space and ownership and how historical forms of cultural sovereignty are perpetuated in contemporary ways.

24 25 Steaphan PATON

Page 25: Muraskin III 2017 etched colonial cotton canvas 75.0 x 55.0 cm On loan from private collection

Opposite: Muraskin IV 2017 etched colonial cotton canvas 75.0 x 55.0 cm On loan from private collection

Page 28: The Sheriff 2016 paper, archival glue, oil stick, synthetic polymer paint and cotton thread on canvas 160.0 x 210.0 cm Courtesy of the artist and Tristian Koenig

Page 29: Steaphan Paton, installation view Photograph Christian Capurro

26 27 28 29 Marian TUBBS

Marian Tubbs uses photography, video, assemblage and the internet to explore the physicality of images and the interplay between two- and three- dimensionality. Her work negotiates the distinction between the actual and the virtual, and between absence and presence - objects become images which are then reformed as objects, while the artist’s painterly expressions are mediated by computer programs. Her aluminium prints give digital images an industrial materiality: machine-cut holes disrupt the surface illusion of the work, creating tension between its status as both image and object.

Responding to the rise of virtual platforms and the global flow of visual information, Tubbs’ Under striates 1 gives poetic form to the immaterial. Images of everyday objects and environments, taken from the internet, camera phones and screen-grabs, have been digitally manipulated through touch screens and printed on ten metres of fine silk. This medium elevates ephemeral experience to a valuable and luxurious status, yet is also extremely delicate and prone to deterioration, which complicates its worth as a collectable art object.

Tubbs practice challenges the accordance of value in contemporary art and society. Her selection and incorporation of found objects in Slipstream social media both subverts their throwaway nature and introduces a wider network of associations. For instance, plastic toys simultaneously reference capitalist economies, education, and environmental sustainability. While ordinarily the artist creates value with raw materials, Tubbs’ readymade elements, which are often discarded and dismissed as having no intrinsic value, come with their own conflicting associations. The context from which these elements derive also challenges the value system of the gallery and art history. Objects from the street and the internet transgress the implicit boundary between art and life, between treasure and trash.

30 31 Marian TUBBS

Page 30: Under striates 1 2014, installation view pigment print on micro-georgette 50.0 x 1000.0 cm Courtesy of the artist and STATION, Melbourne Photography Christian Capurro

Opposite: Abstract 2018 dye sublimation on machine cut aluminium 150.0 x 100.0 x 1.0 cm Courtesy of the artist and STATION, Melbourne Photograph C hristian Capurro

Page 34: Slipstream social media 2017, installation view carpets, powder coated welded steel, digital print on vinyl, silicone octopus toys, mini playing card, plastic dimensions variable Courtesy of the artist and STATION, Melbourne. Photograph Christian Capurro

Page35: Slipstream social media 2017, detail

32 33 34 35 Michelle USSHER

Michelle Ussher’s paintings and sculptures explore themes of intimacy and sexuality, often referencing and reconfiguring archetypal narratives and stereotypes of female identity. Her process has a strong narrative and textual element, involving research and writing short stories. She uses a specific colour palette for each body of work, deriving from Josef Albers’ series of abstract paintings from the 1960s, Homage to the Square. This process allows Ussher to reclaim the ideas of a predominantly male art-historical canon for a contemporary female perspective.

Blueye ballsack employs a soft light-blue palette and is composed like an off- kilter mandala. The title irreverently contrasts the beauty of blue eyes with male genitalia, in a kind of Rorschach test which challenges the viewer’s psychological and emotional inclination. The viewer’s act of interpretation and the creation of symbolic meaning are foregrounded in Sunset in a blackhole – lightbulb in a plughole. The title gives this ambiguous composition two apparently opposed, but perhaps compatible readings – one of cosmic cataclysm, the other of banal domesticity.

In Ussher’s delicate sculptures Spoon and Maracas, everyday objects are imbued with overt eroticism. The loaded psychoanalytic imagery of eating utensils and percussive instruments may refer to sexual appetites and self-gratification. Similarly, with Cock and balls blankie the traditionally feminine craft of weaving is used to create a phallic grafitto, an act of ribald defacement. In this way, representations and performative gestures of sexual identity are collapsed and reconfigured.

36 37 Michelle USSHER

Page 37: Spoon 2017 glazed porcelain, two parts dimensions variable Courtesy of the artist and STATION, Melbourne

Opposite: Blueye ballsack 2015 oil on linen 77.0 x 61.5 cm Courtesy of the artist and STATION, Melbourne

Page 40: Maracas 2017 black earthenware 10.0 x 11.0 x 19.0 cm each Courtesy of the artist and STATION, Melbourne

Page41: Cock & balls blankie 2017 hand dyed hand crocheted wool and silk 195.0 x 145.0 cm Courtesy of the artist and STATION, Melbourne.

38 39 40 41 42 43 44 45 Benjamin ARMSTRONG Abstract 2018 Spoon 2017 Steaphan PATON dye sublimation on machine cut aluminium glazed porcelain, two parts Sorcery 2008 150.0 x 100.0 x 1.0 cm dimensions variable The Sheriff 2016 linocuts printed with activated carbon and Courtesy of the artist and STATION, Melbourne Courtesy of the artist and STATION, Melbourne paper, archival glue, oil stick, synthetic metallic pigment polymer paint on dyed BFK Rives paper Maracas 2017 and cotton thread on canvas 48.0 x 38.0 cm each Robert OWEN black earthenware 160.0 x 130.0 cm Courtesy of the artist and Tolarno Galleries 10.0 x 11.0 x 19.0 cm each Courtesy of the artist and Tristian Koenig Melatonin shift #3 2005 Courtesy of the artist and STATION, Melbourne Hold I 2017 synthetic polymer paint on linen The Magistrate 2016 Hydrocal, steel, timber, dye and wax 198.0 x 198.0 cm Sunset in a blackhole – lightbulb in a plughole 2012paper, archival glue, oil stick, synthetic 210.0 x 52.5 x 53.0 cm Courtesy of the artist and ARC ONE Gallery oil on linen polymer paint Courtesy of the artist and Tolarno Galleries 75.2 x 60.0 cm and cotton thread on canvas Model for silence #2 2012 Collection of Monash University Museum of Art 160.0 x 130.0 cm Hold III 2017 painted stainless steel Courtesy of the artist and Tristian Koenig Hydrocal, steel, timber, dye and wax 58.0 x 72.0 x 74.0 cm Cock & Balls blankie 2017 210.0 x 52.5 x 53.0 cm Courtesy of the artist and ARC ONE Gallery hand dyed hand crocheted wool and silk The Officer in Charge 2016 Courtesy of the artist and Tolarno Galleries 195.0 x 145.0 cm paper, archival glue, oil stick, synthetic Model for silence #1 2012 Courtesy of the artist and STATION, Melbourne polymer paint painted stainless steel and cotton thread on canvas Marian TUBBS 90.0 x 68.0 x 57.0 cm 160.0 x 130.0 cm Courtesy of the artist and ARC ONE Gallery Sanné MESTROM Courtesy of the artist and Tristian Koenig Under striates 1 2014 pigment print on micro-georgette Inside the crystal #40 2014-16 Lady with Green Stripe, 1905 2013 Muraskin III 2017 50.0 x 1000.0 cm Inkjet print marble, steel, timber, found objects etched colonial cotton canvas Courtesy of the artist and STATION, Melbourne 80.0 x 80.0 cm dimensions variable 75.0 x 55.0 cm Courtesy of the artist and ARC ONE Gallery Courtesy of the artist and Sullivan+Strumpf On loan from private collection Slipstream social media 2017 carpets powder coated welded steel digital print Various rays #1 2014-16 A history of space is the history of wars (I) 2006 Muraskin IV 2017 on vinyl silicone octopus toys mini playing card Inkjet print watercolour on paper etched colonial cotton canvas plastic 80.0 x 80.0 cm 101.0 x 152.2 cm 75.0 x 55.0 cm dimensions variable Courtesy of the artist and ARC ONE Gallery Courtesy of the artist and Sullivan+Strumpf On loan from private collection Courtesy of the artist and STATION, Melbourne A history of space is the history of wars (II) 2006 Muraskin V 2017 The plant feeds through its leaves not its roots Michelle USSHER watercolour on paper etched colonial cotton canvas 2018 101.0 x 152.2 cm 75.0 x 55.0 cm dye sublimation on machine cut aluminium Blueye ballsack 2015 Courtesy of the artist and Sullivan+Strumpf On loan from private collection 150.0 x 100.0 x 1.0 cm oil on linen Courtesy of the artist and STATION, Melbourne 77.0 x 61.5 cm Courtesy of the artist and STATION, Melbourne 46 47 Benjamin ARMSTRONG was born in 1975 in Melbourne and completed a Sanné MESTROM was born in the Netherlands in 1979 and completed a Doctor Bachelor of Fine Arts at the Victorian College of the Arts, Melbourne in 1996. of Philosophy, Fine Art at RMIT University in 2008. Solo exhibitions include Solo exhibitions include Conjurers, Tolarno Galleries, Melbourne, Australia, 2012; CORRECTIONS, Sullivan + Strumpf, Sydney, 2017; Leftovers, RMIT Project Space, Hold Everything Dear, Perth Institute of Contemporary Art, Perth, 2009; Sorcery, Melbourne, 2016; Weeping Women, Monash University Museum of Art, Melbourne, Studio 12, Gertrude Contemporary, Melbourne 2008; and Drawings, T.C.B. Gallery, 2014; The Internal Logic, LaTrobe Regional Gallery, 2013; New Fillings, Substation, Melbourne 2002. Selected group exhibitions include Versus Rodin: bodies across Melbourne, 2012; and The Reclining Nude, Gertrude Contemporary, Melbourne, space and time, Art Gallery of South Australia, Adelaide, 2017; WE ARE HERE: 2011. Selected group exhibitions include Sydney Contemporary, Carriageworks, An exploration of contemporary portraiture as a response to hatred and hope, Sydney, 2017; Today, Tomorrow, Yesterday, Museum of Contemporary Art, Sydney, Glen Eira City Council Gallery, Caulfield, 2016; 19th Biennale of Sydney, AGNSW, 2016; Sydney Myer Ceramic Award, Shepparton Art Museum, Shepparton, 2015; Sydney, 2014; Melbourne Now, National Gallery of Victoria, Melbourne, 2013. McClelland Sculpture Survey and Award, McClelland Sculpture Park, Melbourne, 2014; Future Primitive, Heide Museum of Modern Art, 2013; NEW 13, Australian Armstrong’s work is held in numerous public collections including Art Gallery Centre for Contemporary Art, Melbourne, 2013; Ode to Form, West Space, of South Australia; Art Gallery of Western Australia; British Museum, Prints and Melbourne, 2012. Drawings Department; Ian Potter Museum of Art, Melbourne University; Monash University Museum of Art; and Museum of Contemporary Art, Sydney. Benjamin Mestrom has undertaken residencies at Gertrude Contemporary Art Spaces, Armstrong lives and works in Melbourne. Melbourne, 2010-12, and SOMA, Mexico City in 2009. She has won numerous prizes including Credit Suisse / Art & Australia Emerging Artist Award for 2013/14; John Fries Memorial Prize, Sydney, 2011; Siemens Post Graduate Fine Art Scholarship Award, 2008; and she has received grants from Australia Council for the Arts, 2014; Arts Victoria New Work Grant 2014; City of Melbourne New Works Grant 2013; Monash University Creative Works Grant 2012; Arts Victoria International Grant 2007. She currently lives and works in Melbourne.

48 49 Robert OWEN was born in 1937 in Sydney. He studied sculpture at the National Steaphan PATON was born in 1985 in Mildura, Australia. He completed a Master Art School, Sydney and graduated, with honours, in 1962. He then lived in of Contemporary Art at the Victorian College of the Arts, Melbourne in 2016. Greece from 1963 to 1966 and London until 1975 when he returned again to Solo exhibitions include Doublethink, RMIT Gallery, Carlton, 2016; Come in, Sydney. In 1988, he moved to Melbourne and was Associate Professor and Head Alaska Projects, Sydney, 2016; Faunaface, Space Space Gallery, Tokyo, Japan, of Sculpture at RMIT University until 2001. He has had over 40 solo exhibitions 2015; Boorun’s Canoe, Birrarung, Bunjilaka. Melbourne Museum, 2012; Where the both in Australia and overseas, including Robert Owen, ARC ONE Gallery, trees are big and green, Latrobe Contemporary Gallery, Morwell, 2011. Selected Melbourne, 2016; Fallen Light, ARC ONE Gallery, Melbourne, 2012; Inside and Out, group exhibitions include Sovereignty, Australian Centre for Contemporary Sherman Galleries, Sydney, 2007; The text of light, TarraWarra Museum of Art, Art, Melbourne, 2016; 33rd Telstra National ATSI Art Awards, MAGNT, Darwin, Yarra Glen, Victoria, 2004; Quietness, Anna Schwartz Gallery, Melbourne, 2000. 2016; Murruwaygu, Art Gallery of New South Wales, 2015; Primavera, Museum of Selected group exhibitions include Call of the Avante-Garde: Constructivism and Contemporary Art, Sydney, 2015; Victorian Indigenous Art Awards, Art Gallery Australian Art, Heide Museum of Modern Art, Melbourne, 2017; Ann Thomson and of Ballarat, Ballarat, Vic, 2013; Melbourne NOW, National Gallery of Victoria, Contemporaries, National Art School Gallery, Sydney, 2016; Harry Siedler: Painting Melbourne, 2013. Towards Architecture, Museum of Sydney, 2015; Melbourne Now, National Gallery of Victoria, 2014; Vibrant Matter, TarraWarra Museum of Art, Victoria, 2013. Paton has held residencies at St Vincent’s Hospital Artist in Residence Program, 2012, and Deadly in Gippsland Conference: Artist in residence, 2011. His work is Owen has won numerous awards including the Woollahra Small Sculpture Prize, in the collections of National Gallery of Australia; National Gallery of Victoria; Sydney, 2015, and Emeritus Award for lifetime service to the Arts, Australia Melbourne Museum, Melbourne; Brooklyn Art Library, New York; Wellington Shire Council Visual Arts/Craft Board 2003. His work is held in numerous public Council, Sale; and Yarra City Council, Collingwood. He currently lives and works in collections including National Gallery of Australia, Canberra; Art Gallery of New Melbourne. South Wales, Sydney; Art Gallery of Queensland, Brisbane; Art Gallery of Western Australia, Perth; National Gallery of Victoria, Melbourne; Museum and Art Gallery of Tasmania, Hobart; and Museum of Contemporary Art, Sydney. He currently lives and works in Melbourne.

50 51 Marian TUBBS was born 1983 in Sydney. She completed a PhD in Art and Design Michelle USSHER was born in 1975 in Moree, NSW, and completed a Bachelor of at UNSW, Sydney in 2015. Selected solo exhibitions include Quiet revolutions and Arts Honours at Victorian College of the Arts in 2002. Selected solo exhibitions enfant terribles, STATION, Melbourne, 2017; transmissiondetox.com Inaugural include Medusa’s Room, STATION, Melbourne 2017; Yellow Eyes Burn and Online Commission, Museum of Contemporary Art, Sydney 2015; SLUSH, Minerva, Return, TarraWarra Museum of Art, Victoria, 2014; Helovanorak, Perth Institute Sydney, 2015; Concrete Island, with Magnus Pettersen, Rooster Gallery, New York, of Contemporary Art, PICA, Perth, 2008; and Present Elsewhere, Gertrude USA, 2014; Installation: Objects are shit (On the way to the studio...), Eastern Bloc, Contemporary Art Spaces, Melbourne, 2008. Group exhibitions include Dancing 2011. Group exhibitions include something, Minerva, Sydney, 2017; Spring 1883 Umbrellas, Heide Museum of Modern Art, Melbourne, 2016; The White Hotel, Art Fair, STATION, e Establishment Hotel, Sydney, 2017; Apocalypse Summer, ltd Gimple Fils Gallery, London, UK, 2014; Melbourne Now, National Gallery of Los Angeles, Los Angeles, USA, 2017; In Practice: Material Deviance, Sculpture Victoria, Melbourne, 2013; Adelaide Biennial, Art Gallery of South Australia, Centre, New York, USA, 2016; Pleasure and Reality, National Gallery of Victoria, Adelaide, 2013; Home Project, Tomaso Anfossi via Bono Cairoli 17 | 20127 Milan, Melbourne, 2015; Primavera 2014: Young Australian Artists, curated by Mikala IT, 2010; An Elaborate Fiction, Acme Project Space, London, UK, 2010; I Walk the Dwyer, Museum of Contemporary Art, Sydney, 2014. Tubbs’ work is held in the Line: New Australian Drawing, Museum of Contemporary Art, Sydney, 2009; Lost collections of National Gallery of Australia; National Gallery of Victoria; Museum & Found: An Archaeology of the Present, TarraWarra Biennial, Victoria, 2008; and of Contemporary Art, Sydney; and Zabludowicz Collection, London. She currently Primavera 2005, Museum of Contemporary Art, Sydney, 2005. lives and works in Sydney. Ussher has held residencies at VCA Phasmid Studio Residency, Berlin, DE, 2016; Australia Council London Studio Residency, United Kingdom, 2009; and Studio Artist Gertrude Contemporary Art Spaces, Melbourne, 2005-6. Grants include the Australian Council for the Arts Award for the British School at Rome, Rome, IT 2015; Australia Council for the Arts New Work Grant, 2013; and Marten Bequest Traveling Scholarship, 2010; and she was awarded the ANZ Art & Australia Emerging Artist Award 2006. Ussher’s work is held in the collection of Art & Australia Collection, Australia; Monash University Museum of Art, Melbourne; Credit Suisse, Sydney; UBS, Melbourne; BHP Billiton Collection, Melbourne; Holmesglen Institute of TAFE; and Artbank Australia. She currently lives and works in London, United Kingdom.

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