Michelle Gearin presents Lux Aeterna, her first solo exhibition at Michael Reid Sydney.

The centrepiece of the exhibition is AntiPrism, an installation comprising 42 circular panels. Each individual painting within AntiPrism symbolises a stream of light, collectively forming a polyhedron. The multifaceted lenses of AntiPrism extend on themes originating in the 49-panel work Prism, exhibited at Maitland Regional Gallery. AntiPrism is at once an evolution of Prism and its antithesis. 

Using oils and watercolours, Michelle creates hybrid mythological creatures that exude intricate threads of energy. Through the technique of pointillism these entities radiate vivid displays of colour from their eyes or genitals while appearing shrouded in a protective aura. For Gearin, the synergies within her compositions speak to a universal desire for connection, binding humanity to the natural and metaphysical worlds.

Frequently drawing from dreams, Gearin offers us a glimpse into private realms. Her compositions evoke transformative narratives in an attempt to rewrite her family histories. This authenticity and depth resonates on a profound level, creating an alchemy that connects her audience beyond the visual. In experiencing Lux Aeterna we are reminded that the multifarious ways we perceive and interact with the world are far from confined to a single archetypal lens.

For assistance with an acquisition from this exhibition, please contact dean@michaelreid.com.au

Into The Distance assembles unreleased images from Narelle Autio‘s archive, pictures that were taken between 2003-2004 while on a road trip across Australia. Twenty years later, this exhibition precedes the forthcoming release of a major publication, one which provokes a conversation between Autio’s until now, very separate Watercolours and Outback photographs.

There will be ten key photographs on display that broadly encapsulate this period of Autio’s career, presented as one curated body of work. For the first time, photographs from two distinct periods of Narelle Autio’s career will collide. In addition, an installation of small prints will illuminate this entire period in compelling detail.

For private previews and acquisition enquiries, please contact danielsoma@michaelreid.com.au

Among the most adored and in-demand artists in the Michael Reid stable, Lucy Vader returns for her first solo exhibition at our Eora/Sydney gallery in four years.

A stunning suite of paintings that visually thread together to read as one continuous installation, Exaltation arrives after several successful presentations across our network – including at the most recent Sydney Contemporary – and will be celebrated with an opening reception on Thursday, 14 March.

A true iconoclast of pastoral painting, Vader’s deeply saturated scenes burst with energy, exuberance and vibrant undulations of paint, appearing as though they might momentarily break open to roiling undercurrents of pure colour that flow freely from one canvas to the next.

Reflecting her deep and enduring affinity for rural life, the artist imbues these bucolic pictures with dynamism and movement, evoking the landscape’s natural rhythms. As birds take flight against radiant skies and tumbling clouds, farm animals graze along rolling paddocks below.

Having moved to the Northern Rivers of NSW following the devastation of the 2022 floods, Vader’s visions of thick clouds bursting across heavenly skies read in Exaltation as an artist reaching for the sublime, while nodding to the resilience, grit and steely determination required to live and work in the country.

Private previews are currently being conducted at our Sydney Gallery ahead of the exhibition. To make an appointment, or to request a digital preview, please email danielsoma@michaelreid.com.au

The first solo exhibition from India Mark since joining our stable of represented artists, Night Music forms a sequence of perfectly composed, intimately formed still-life paintings that shift between moments of quietude and tension in much the same way that a single piece of music might strike different chords and invite subtle variations in tone and textural nuance. “The same piece of music can be experienced in a variety of ways and interpreted differently depending on the interests of the conductor or musicians,” says the artist. “Composition notates the same objects, experiencing them in new ways. I am always fascinated that the same few objects can, with even the slightest difference in arrangement, be completely altered in feeling and nature.”

Working through the night hours to give her greater control of the light in her studio, Mark imbues her bijou canvases with velvety depth, glinting details and a featherlike haze emerging from fiery underpainting.

“This series leans mainly into my love for the paintings of Giorgio Morandi,” says Mark, who received the top award for an emerging artist in last year’s Lester Art Prize and was shortlisted for the 2023 Brett Whiteley Travelling Art Scholarship and Portia Geach Memorial Award. “In these works, I take reference from [Morandi’s] tendency to arrange objects in distinct units that draw emphasis on the connections and tensions between objects and the space around them.”

For information regarding acquisitions, please contact dean@michaelreid.com.au

Gaypalani draws her name from the tree of the same name whose yellow blossom enlivens the forests of North East Arnhemland and is a rich source of nectar for native bees. It is also used in dance and in post-funeral cleansing ceremonies as well for hardwood implements like clapsticks, spearthrowers and digging sticks.

In Yolŋu philosophy honey is a metaphor for hard won knowledge. The bees travel further and further to find the best sources to make the sweetest honey. They bring this back to the nest to share with their tribe. Gaypalani owes her inspiration to her late father whom she assisted in his celebrated artistic career. She continues to grieve for him as do his many friends worldwide. But she continues his spirit of enquiry and innovation as the first and foremost female exponent of the Found Movement.

Her intricate engravings on repurposed road signs and scrap metal are unique. They honour the songlines of her Marrakulu clan ancestral being Wuyal. These epic song poems track his odyssey from the stone quarries of Ŋilipitji in Southern Arnhem Land along the northern coastline and across to the West past Arnhem Bay. His quest for the sacred Avatar-like Waṉambi tree describes him passing through the lands of a confederacy of clans who are linked through this honeyed journey.

Working from the Buku-Larrnggay Mulka Art Centre in Yirrkala, Northeast Arnhem Land, Wanambi is the leading female practitioner within the ‘found movement’, which sees roadside material gleaned on Country repurposed as shimmering, intricately detailed works of art.

For information regarding acquisitions, please contact tobymeagher@michaelreid.com.au