Group Show

Gang of Four

Lindy Lee, Simryn Gill, Savanhdary Vongpoothorn and Phaptawan Suwannakudt.

Exhibition Dates: 10 December – 22 December 1999

The four artists who comprise the Gang of Four came together initially as friends. From this friendship was discovered a shared artistic sensibility, despite the differences in each artist's practice. Lindy Lee's iconic photocopies and paintings, Savanhdary Vongpoothorn's pierced and patterned canvases and works on paper, Simryn Gill's installations and photographs, and Phaptawan Suwannakudt's exquisitely detailed paintings and drawings could not be more different in their form, yet the similarity in approach is somehow evident. Each artist's work exhibits a layering of ideas and a deliberate, almost meditative precision, arising from what the artists call a "slowness of temperament."

The exhibition is the first time that these artists have shown together as a group, and proves to be a vibrant and dynamic show.

Simryn Gill is an installation artist who works in a vast range of media. In recent works she has brought fragile and momentary outdoor installations into the gallery through large photographs. Gill is Malaysian and has lived between Australia, Singapore and Malaysia since 1987. She has exhibited widely both in Australia and internationally, including the 1995 Venice Biennale, the 1997 Istanbul Biennial, Australian Perspecta 1997 and 1999, as well as soro shows at the Kiasma Museum of Contemporary Art, Helsinki (1998) and ArtPace, San Antonio (1999). A survey show of her work is currently touring the U. K.

Lindy Lee is one of Australia's most renowned artists and has shown extensively both in Australia and overseas, including the 1985 Australian Perspecta, the 1986 Sydney Biennale, Prospect 93 (Germany), Transcultural Painting (toured throughout Asia) and Edge to Edge: Contemporary Australian Art to Japan. Her work is held in most of Australia's major institutions, including the National Gallery of Australia, the Art Gallery of New South Wales, the Art Gallery of Western Australia, and the Art Gallery of South Australia.

Phaptawan Suwannakudt learned temple painting from her father Paiboon, Thailand's most venerated mural painter. Since his death, she has become his natural successor, working on numerous projects throughout Thailand. Her subject matter, while adhering to the tenets of Buddhism, also often questions the role of women within that culture. Her works have also been exhibited in The Philippines, France, Japan and Australia, as well as Thailand (such as the Womanifesto show in Bangok in 1997). In 1998-99 Suwannakudt completed an Australia Council-funded commission for the Zen Meditation Centre, Sydney.

Savanhdary Vongpoothorn's art references a wide range of sources: Minimalism, Buddhism, Lao textiles, Australian landscape, Aboriginal art. Her sculptural installation, perforated canvases and works on paper maintain a clarity and conviction that has won her numerous supporters and awards. Born in Laos, she grew up in south west Sydney. She has shown throughout Australia, and has been included in such exhibitions as Spirit + Place at the Museum of Contemporary Art, Transit at the Art Gallery of NSW, and The Rose Crossing, currently touring Southeast and East Asia. She has recently completed a major commission for Macquarie Bank.

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Simryn Gill Rampant, 1999; black and white photographs; 26.67 x 29.21 cm; Edition of 10; enquire
Simryn Gill Rampant, 1999
black and white photographs
26.67 x 29.21 cm
Edition of 10
Simryn Gill Vegetation, 1999; black and white photographs; 26.67 x 26.67 cm; Edition of 10; enquire
Simryn Gill Vegetation, 1999
black and white photographs
26.67 x 26.67 cm
Edition of 10
Lindy Lee Ulterior Function, 1993; Photocopy and acrylic on Stonehenge paper; 175 x 125 cm; 16 panels; enquire
Lindy Lee Ulterior Function, 1993
Photocopy and acrylic on Stonehenge paper
175 x 125 cm; 16 panels
Lindy Lee Entry into the Inconceivable, 1999; oil, acrylic, wax and photocopy on Stonehenge paper on board, 4 panels; 82 x 57 cm; enquire
Lindy Lee Entry into the Inconceivable, 1999
oil, acrylic, wax and photocopy on Stonehenge paper on board, 4 panels
82 x 57 cm
Lindy Lee Being Time, 1999; Oil, acrylic, wax and photocopy on Stonehenge paper on board; 82 x 57 cm; 4 panels; enquire
Lindy Lee Being Time, 1999
Oil, acrylic, wax and photocopy on Stonehenge paper on board
82 x 57 cm; 4 panels
Lindy Lee Eight Negations, 1999; Oil, acrylic, wax and ink on Stonehenge paper on board; 82 x 57 cm; 4 panels; enquire
Lindy Lee Eight Negations, 1999
Oil, acrylic, wax and ink on Stonehenge paper on board
82 x 57 cm; 4 panels
Lindy Lee Uji, 1999; Oil, acrylic, wax and photocopy on Stonehenge paper on board; 82 x 57 cm; 4 panels; enquire
Lindy Lee Uji, 1999
Oil, acrylic, wax and photocopy on Stonehenge paper on board
82 x 57 cm; 4 panels
Phaptawan Suwannakudt Buddha's Lives, 1995; ink on tracing paper; 4 panels, 180 x 65 cm each; enquire
Phaptawan Suwannakudt Buddha's Lives, 1995
ink on tracing paper
4 panels, 180 x 65 cm each
Phaptawan Suwannakudt My Mother was a Nun I, 1998; acrylic on canvas; 120 x 120 cm; enquire
Phaptawan Suwannakudt My Mother was a Nun I, 1998
acrylic on canvas
120 x 120 cm
Phaptawan Suwannakudt My Mother was a Nun II, 1999; acrylic on hemp mounted on hemp; diptych, 130 x 35 cm each; enquire
Phaptawan Suwannakudt My Mother was a Nun II, 1999
acrylic on hemp mounted on hemp
diptych, 130 x 35 cm each
Phaptawan Suwannakudt Nariphon I, 1996; acrylic on silk; 165 x 80 cm; enquire
Phaptawan Suwannakudt Nariphon I, 1996
acrylic on silk
165 x 80 cm
Phaptawan Suwannakudt Nariphon II, 1996; acrylic on silk; 90 x 165 cm; enquire
Phaptawan Suwannakudt Nariphon II, 1996
acrylic on silk
90 x 165 cm
Phaptawan Suwannakudt Nariphon III a, 1996; acrylic on silk, one panel; 90 x 90 cm; enquire
Phaptawan Suwannakudt Nariphon III a, 1996
acrylic on silk, one panel
90 x 90 cm
Phaptawan Suwannakudt Nariphon III b, 1996; acrylic on silk; 2 panels, 90 x 90 cm; enquire
Phaptawan Suwannakudt Nariphon III b, 1996
acrylic on silk
2 panels, 90 x 90 cm
Phaptawan Suwannakudt Nariphon III c, 1996; acrylic on silk; two panels, 90 x 90 cm; enquire
Phaptawan Suwannakudt Nariphon III c, 1996
acrylic on silk
two panels, 90 x 90 cm
Savanhdary Vongpoothorn Glyph, 1999; acrylic on canvas; 200 x 77 cm; enquire
Savanhdary Vongpoothorn Glyph, 1999
acrylic on canvas
200 x 77 cm
Savanhdary Vongpoothorn Tayati 1997, 1999; acrylic on paper; 70 x 70 cm; enquire
Savanhdary Vongpoothorn Tayati 1997, 1999
acrylic on paper
70 x 70 cm
Savanhdary Vongpoothorn Shoots, 1999; acrylic on canvas; 51 x 51 cm; enquire
Savanhdary Vongpoothorn Shoots, 1999
acrylic on canvas
51 x 51 cm
Savanhdary Vongpoothorn Umbra, 1999; acrylic on canvas; 51 x 51 cm; enquire
Savanhdary Vongpoothorn Umbra, 1999
acrylic on canvas
51 x 51 cm
Savanhdary Vongpoothorn Illume, 1999; acrylic on canvas; 51 x 51 cm; enquire
Savanhdary Vongpoothorn Illume, 1999
acrylic on canvas
51 x 51 cm
Savanhdary Vongpoothorn Before Dawn, 1999; acrylic on canvas; 51 x 51 cm; enquire
Savanhdary Vongpoothorn Before Dawn, 1999
acrylic on canvas
51 x 51 cm
Savanhdary Vongpoothorn Nibha, 1999; acrylic on paper; 23 x 23 cm; enquire
Savanhdary Vongpoothorn Nibha, 1999
acrylic on paper
23 x 23 cm
Savanhdary Vongpoothorn Topograph II, 1999; acrylic on paper; 23 x 23 cm; enquire
Savanhdary Vongpoothorn Topograph II, 1999
acrylic on paper
23 x 23 cm
Savanhdary Vongpoothorn Augury, 1999; acrylic on paper; 23 x 23 cm; enquire
Savanhdary Vongpoothorn Augury, 1999
acrylic on paper
23 x 23 cm
Savanhdary Vongpoothorn Nama, 1999; acrylic on paper; 23 x 23 cm; enquire
Savanhdary Vongpoothorn Nama, 1999
acrylic on paper
23 x 23 cm
Savanhdary Vongpoothorn Jalakkhika, 1996; acrylic on paper; 100 x 35 cm; enquire
Savanhdary Vongpoothorn Jalakkhika, 1996
acrylic on paper
100 x 35 cm
Savanhdary Vongpoothorn Jitatta, 1996; acrylic on paper; 100 x 35 cm; enquire
Savanhdary Vongpoothorn Jitatta, 1996
acrylic on paper
100 x 35 cm