We continue the gallery's history of promoting world-class artists from the Asia-Pacific region with a group presentation showcasing sensational work by highly regarded Australian artists including: Brook Andrew, James Angus, Daniel Boyd, Dale Frank, Fiona Hall, Bill Henson, David Noonan, and Imants Tillers.

Exhibition Dates: 29 March – 31 March 2019

Roslyn Oxley9 Gallery is pleased to participate in Art Basel Hong Kong 2019. We will continue its history of promoting world-class artists from the Asia-Pacific region with a group presentation that will showcase sensational work by highly regarded Australian artists including:

Brook Andrew, James Angus, Daniel Boyd, Dale Frank, Fiona Hall, Bill Henson, David Noonan, Imants Tillers

A stunning a new painting by Brook Andrew, the next Artistic Director of the 22nd Biennale of Sydney (2020), is created with archival material that aims to challenge cultural and historical perception, using text and image to comment on local and global issues regarding race, consumerism and history. 

Also exploring a sense of place, we are excited to present Imants Tillers' new work following his major survey exhibition, ‘A Journey to Nowhere' at the Latvian National Museum in 2018. We are delighted to feature two important new paintings that use Tillers' signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora.

Of equal magnitude, Roslyn Oxley9 Gallery is delighted to premiere a stunning new photographic collage by Bill Henson, arguably one of Australia’s best known contemporary artists. This exceptional work is similar to his signatory cut-screen photographs from the 1980s and 1990s. 

Exhibited alongside is a powerful new painting by Daniel Boyd. Boyd's practice is internationally recognised for its manifold engagement with the colonial history of the Australia-Pacific region. Drawing upon intermingled discourses of science, religion and aesthetics, his work reveals the complexity of perspectives through which political, cultural and personal memory is composed.

Also achieving great success internationally, London-based David Noonan presents a suite of collage works. Noonan’s work creates specific atmospheres, in which subtle emotion and dramatic expression coexist in a space of temporal complexity.

The booth will also feature a new sculpture by James Angus, whose work revels in physical and spatial conundrums. Angus’ practice draws on natural and built forms to investigate how sculpture can mediate our perception and experience of the physical world.

Also experimenting with perception and surface Dale Frank, one of Australia’s foremost contemporary painters, presents two stunning monochrome works which exemplify the artist's ongoing investigations into the potentiality of painting, through his controlled exploitation of epoxyglass on perspex. His paintings are characterized by an immediacy of process and a tense urgency of vision, the method of which he has mastered over several decades.

Having represented Australia at the 56th Venice Biennale in 2015, Fiona Hall is renowned for extraordinary works that transform quotidian materials into vital organic forms with both historical and contemporary resonances.

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Daniel Boyd untitled, 2019; oil and archival glue on linen; 198.5 x 183.5 cm; enquire
Daniel Boyd untitled, 2019
oil and archival glue on linen
198.5 x 183.5 cm
Daniel Boyd untitled (MLTBABP), 2019; oil, charcoal and archival glue on paper mounted to linen; 30.5 x 23 cm; enquire
Daniel Boyd untitled (MLTBABP), 2019
oil, charcoal and archival glue on paper mounted to linen
30.5 x 23 cm
Daniel Boyd Untitled (HITVPBA), 2019; oil, charcoal and archival glue on paper mounted to linen; 23 x 30.5 cm; enquire
Daniel Boyd Untitled (HITVPBA), 2019
oil, charcoal and archival glue on paper mounted to linen
23 x 30.5 cm
Daniel Boyd untitled (RRIL), 2019; oil, charcoal and archival glue on paper mounted to linen; 31 x 23 cm; enquire
Daniel Boyd untitled (RRIL), 2019
oil, charcoal and archival glue on paper mounted to linen
31 x 23 cm
Daniel Boyd Untitled (EBIR), 2019; oil, charcoal and archival glue on paper mounted to linen; 31 x 23 cm; enquire
Daniel Boyd Untitled (EBIR), 2019
oil, charcoal and archival glue on paper mounted to linen
31 x 23 cm
Daniel Boyd untitled (PBIAC), 2019; oil, charcoal and archival glue on paper mounted to linen; 26 x 18.5 cm; enquire
Daniel Boyd untitled (PBIAC), 2019
oil, charcoal and archival glue on paper mounted to linen
26 x 18.5 cm
Daniel Boyd Untitled (FBTY), 2019; Oil, charcoal and archival glue on paper mounted to linen; 32 x 24.5 cm; enquire
Daniel Boyd Untitled (FBTY), 2019
Oil, charcoal and archival glue on paper mounted to linen
32 x 24.5 cm
Imants Tillers The Siege, 2019; synthetic polymer paint, gouache on 54 canvasboards, no. 108714-108767; 228 x 212 cm; enquire
Imants Tillers The Siege, 2019
synthetic polymer paint, gouache on 54 canvasboards, no. 108714-108767
228 x 212 cm
Imants Tillers Amygdala Hijack, 2019; synthetic polymer paint, gouache on 64 canvasboards, nos. 108378 - 108441; 202 x 283.5 cm; enquire
Imants Tillers Amygdala Hijack, 2019
synthetic polymer paint, gouache on 64 canvasboards, nos. 108378 - 108441
202 x 283.5 cm
David Noonan Untitled, 2016; silk screen linen collage mounted on wooden panel, steel frame; 90 x 70 x 5 cm; enquire
David Noonan Untitled, 2016
silk screen linen collage mounted on wooden panel, steel frame
90 x 70 x 5 cm
David Noonan Untitled, 2016; silk screen linen collage mounted on wooden panel, steel frame; 90 x 70 x 5 cm; enquire
David Noonan Untitled, 2016
silk screen linen collage mounted on wooden panel, steel frame
90 x 70 x 5 cm
David Noonan Untitled, 2016; silk screen linen collage mounted on wooden panel, steel frame; 90 x 70 x 5 cm; enquire
David Noonan Untitled, 2016
silk screen linen collage mounted on wooden panel, steel frame
90 x 70 x 5 cm
Dale Frank chemical assisted clarity - all I would recommend is Panadol, 2018; Epoxyglass on Perspex; 150 x 100 cm; enquire
Dale Frank chemical assisted clarity - all I would recommend is Panadol, 2018
Epoxyglass on Perspex
150 x 100 cm
Dale Frank clear light on a bad day - Nambour, 2018; Epoxyglass on Perspex; 150 x 100 cm; enquire
Dale Frank clear light on a bad day - Nambour, 2018
Epoxyglass on Perspex
150 x 100 cm
Bill Henson Untitled, 2017-18; LS-HW SH98 N21; collaged archival inkjet pigment prints; dyptich: 184.5 x 131 x 6.5cm; 166.5 x 131 x 6.5cm; enquire
Bill Henson Untitled, 2017-18
LS-HW SH98 N21
collaged archival inkjet pigment prints
dyptich: 184.5 x 131 x 6.5cm; 166.5 x 131 x 6.5cm
James Angus Cast Iron Inversion (Black), 2012; from a series of 5 colours; cast iron, enamel paint; 80 x 80 x 50 cm; 45kg; enquire
James Angus Cast Iron Inversion (Black), 2012
from a series of 5 colours
cast iron, enamel paint
80 x 80 x 50 cm; 45kg
Brook Andrew Mother Earth, 2019; archival material, oil stick and mixed media on di-bond; 168 x 240 x 5 cm; enquire
Brook Andrew Mother Earth, 2019
archival material, oil stick and mixed media on di-bond
168 x 240 x 5 cm
Fiona Hall Noose, 2019; military garment, wire, ochre, charcoal, dice; 106 x 25 x 22 cm; enquire
Fiona Hall Noose, 2019
military garment, wire, ochre, charcoal, dice
106 x 25 x 22 cm