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Sydney: a Saltwater Perspective HOBIE PORTER Sydney: a Saltwater Perspective

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Sydney: a Saltwater Perspective HOBIE PORTER Sydney: a Saltwater Perspective HOBIE PORTER Sydney: A Saltwater Perspective HOBIE PORTER Sydney: A Saltwater Perspective 29 November – 14 December 2019 Opening Night & Festive Drinks Friday 29 November, 6pm Hobie Porter’s microscopically detailed landscapes examine the faceted intersections between modern civilisation, Indigenous cultures and the natural environment. The artist’s skilful trompe l’oeil and striking verisimilitude capture a specific place and time hedged by a suspended sense of timelessness and transcendence. Notions of catharsis and emancipation radiate from the sublime formations of his sweeping panoramas, yet lingering below this surface allure are deeper contemplations of environmental pillage and questions of sustainability in the age of the Anthropocene. The artist’s newest series, ‘Sydney: A Saltwater Perspective’, depicts the region of Port Jackson and Sydney’s Eastern Suburbs Banksia Scrub – known to the Eora people as Saltwater Country. In creating the paintings, Porter has been inspired by the contemporary current of historical revisionism of Indigenous engagement with, and cultivation of, the Australian landscape – led by authors such as Bill Gammage (The Biggest Estate on Earth: How Aborigines made Australia) and Bruce Pascoe (Dark Emu). ‘These works have inspired me to engage in my own historical revision of Sydney’, he reflects, ‘and to develop a project that might decolonise assumed constructions of place, and to think of the very familiar city of Sydney in a less familiar way’. Overlaying Porter’s vast landscapes are salient fragments from Indigenous natural history, which float, mid-air, like a displaced memory or material dream. The artist is fascinated by the flora and fauna utilised by Aboriginals in the Saltwater region, and how they managed these for a sustainable future. Some of the paintings, for example, feature remnants of shellfish species that have been identified in local midden sites as an important food source. In South-Head Harvest (Saccostrea Glomerata), a constellation of Sydney rock oyster shells hovers against a headland, the iconic red and white Hornby Lighthouse diminutive in the distance as Porter directs our gaze away from conspicuous European landmarks towards the subtle environmental symbiosis of Indigenous practices. Many of the paintings depict Banksia Ericifolia seed cones as flaming torches, which were an important source of light prior to European settlement. In the foreground, fire flickers against a night-time backdrop of city lights, the effervescent flames evoking folds of classical drapery. These native cones glow scarlet like a burning heart – a revenant specter refusing to let its light go out. In each work, the artist sensitively captures vignettes of shared human experience, whether it’s the enjoyment of Sydney rock oysters across different cultures or the fundamental need for light and warmth. By reflecting upon the profound Indigenous history in the Saltwater region, he prompts us to remember that the things we love about this place were also cherished by countless generations across cultures. Buttressing this symbolic continuity is, paradoxically, a sense of contrast, as Porter explores the chasm between the way in which the land is used today and the sustainable ways it was tended by First Nations people for over 50,000 years before European invasion. By placing timeless tropes of Aboriginal culture against panoramic snapshots of the contemporary landscape, he opens up this dichotomy for contemplation. He suggests that the undercurrent of Sydney’s deeper history is always there for us to hear, albeit muffled by the veneer of architecture and activity: ‘All we have to do is listen to country, peel back the world we know so well and have the courage to peer into an uncanny world – where we recognise some things and others not so much.’ In the paintings, sweeping formations of sandstone stand like omniscient sentinels, their organic, gnarly formations eroded with the lashes of time. ‘My own understanding of this place has much to do with its sandstone’, reflects Porter, ‘There is a certain watery cadence in the weathered stone … the subtle sandstone colours offer a gravitas and sobriety to the region.’ These lofty sandstone vistas evoke an Australian Gothic, with the hostility of their craggy surfaces and malevolence of their threatening cliffs visualising the sublimated fears and foreignness enshrouding the Australian environment within the white Australian psyche. Created from photographic material gathered by Porter from his father’s boat, drone imagery and walks along the escarpment of North Head, most of the paintings’ perspectives are from the water, as Porter imagines the moment when Governor Phillip’s first expedition party entered the alien landscape of Sydney Heads for the first time. Here he captures the uniquely white Australian anxiety of being a stranger in one’s own land – the mystery and secrecy of this land we call home. While touching on anthropogenic impacts of loss and neglect, displacement and imposition, the paintings in ‘Sydney: A Saltwater Perspective’ ultimately point towards resilience and redemption, celebrating the ingenuity of Indigenous cultures and the burning necessity for humankind to unite if we are to remedy our fraught relationship with the natural world. Hobie Porter has exhibited nationally since 2004 with major exhibitions at Bundaberg Regional Art Gallery, Lismore Regional Gallery, Tweed Regional Gallery & Margaret Olley Arts Centre and in 2017 was invited to participate in the ‘North Head Project’ at the Manly Art Gallery & Museum. His work is held in numerous public collections, including Warrnambool Art Gallery, Bundaberg Regional Art Gallery, Tweed Regional Gallery & Margaret Olley Arts Centre, Mosman Art Gallery and Manly Art Gallery & Museum. The Lights of Sydney Cove, Past and Present oil on polyester canvas 167 x 135 cm (framed) $25,000 Time and Sediment oil on polyester canvas 127 x 187 cm (framed) PRIVATE COLLECTION The Lights of Sydney Cove I The Lights of Sydney Cove III oil on linen oil on linen 54 x 44 cm (framed) 54 x 44 cm (framed) $6,000 $6,000 North Head Feast (Pecten Fumatus) oil on polyester canvas 167 x 135 cm (framed) $25,000 In Memory of the Torches I Never Witnessed oil on polyester canvas 152 x 327 cm (framed) MANLY ART GALLERY & MUSEUM COLLECTION The Midden Record oil on polyester canvas 127 x 187 cm (framed) PRIVATE COLLECTION South Head Harvest (Saccostrea Glomerata) oil on polyester canvas 117 x 207 cm (framed) $26,000 The Lights of Sydney Cove IV oil on linen 54 x 44 cm (framed) $6,000 The Fishing Place (Turbo Torquatus) oil on polyester canvas 141 x 206.5 cm (framed) $28,000 The Lights of Sydney Cove II The Lights of Sydney Cove V oil on linen oil on linen 54 x 44 cm (framed) 54 x 44 cm (framed) $6,000 $6,000 Breakfast at Cape Solander (Cellana Tramoserica) oil on polyester canvas 135 x 167 cm (framed) $25,000 HOBIE PORTER Born 1976, Sydney, Australia EDUCATION 2014 ‘Nature’s Redesign’, Mossgreen Gallery, Melbourne, VIC 2002 Graduate Diploma of Education, Southern Cross University, Lismore, NSW ‘Burnshine’, Arthouse Gallery, Sydney, NSW 1999 Contemporary Arts (Honours), Southern Cross University, Lismore, NSW 2012 ‘Continuum’, Arthouse Gallery, Sydney, NSW 1998 Bachelor of Arts (Visual Arts), Southern Cross University, Lismore and 2011 ‘Full Circle’,Arthouse Gallery, Sydney, NSW Pratt Institute, New York, USA ‘Pressing Currents’, Tweed Regional Gallery & Margaret Olley Art Centre, Murwillumbah, NSW AWARDS, GRANTS & RESIDENCIES 2009 ‘Dry Rain’, Tweed Regional Gallery & Margaret Olley Art Centre, 2018 Artist Residency, Bundaberg Regional Art Gallery, Bundaberg, QLD Murwillumbah, NSW and Arthouse Gallery, Sydney, NSW 2011 Countryscapes Art Prize, Bathurst, NSW, Highly Commended 2008 ‘Suspension’, Arthouse Gallery, Sydney, NSW 2006 Brett Whiteley Travelling Art Scholarship, Brett Whiteley Studio, Sydney, 2007 ‘Exodus’, Arthouse Gallery, Sydney, NSW NSW, Finalist 2006 ‘Hobie Porter - New Work’, Arthouse Gallery, Sydney, NSW Border Art Prize, Tweed Regional Gallery & Margaret Olley Art Centre, 2005 ‘Urgent Calm’, Tweed Regional Gallery & Margaret Olley Art Centre, Murwillumbah, NSW, Second Place Murwillumbah, NSW Conrad Jupiters Art Award, Gold Coast City Arts Centre, Gold Coast, QLD 1997 Australia Day South Arm Citizen of the Year for Youth Award, SELECTED GROUP EXHIBITIONS Australia Council 2019 ‘Love’, Tweed Regional Gallery & Margaret Olley Art Centre, 1996 Community Printmakers Murwillumbah Student Encouragement Award, Murwillumbah, NSW Murwillumbah, NSW ‘Reflections of a Fading Sky’, Arthouse Gallery, Sydney, NSW Southern Cross University Vice Chancellor’s Travel Grant, Student 2018 ‘Three Decades’, Tweed Regional Gallery & Margaret Olley Art Centre, Exchange to Pratt Institute, New York, USA Murwillumbah, NSW 1994 Henry Lawson Tertiary Study Scholarship ‘Summer Salon’, Arthouse Gallery, Sydney, NSW 2017 ‘The North Head Project’, Manly Art Gallery & Museum, Sydney, NSW SELECTED SOLO EXHIBITIONS ‘Works on Paper’, Arthouse Gallery, Sydney, NSW 2018 ‘Hobie Porter, The Last Decade’, Bundaberg Regional Art Gallery, 2015 ‘Assemble | Disassemble : Earth. Wind. Fire. Water. Heart.’, Caboolture Bundaberg, QLD Regional Gallery, Sunshine Coast, QLD ‘Unnatural History : The Tower Hill Project’, Lismore Regional Gallery, ‘Unfolding Splendour’, Arthouse Gallery, Sydney, NSW Lismore, NSW 2014 ‘Mossgreen Group Show’, Melbourne Art Fair, Melbourne, VIC 2016 ‘Unnatural History : The Tower Hill Project’, Warrnambool Art Gallery, 2012 ‘Arthouse
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