The Curated Eye - Art Exhibition - Michael Reid Gallery

The Curated Eye

This month Michael Reid presents The Curated Eye, presented by Dean Andersen who joins the ranks as the manager of an ambitious new gallery project.

Be my Valentine (if you’re ok with it)

Maybe it’s too commercial, uncool or just tacky but I’m on the side of love.
In whatever form it takes for you.

From candy hearts and roses to the pagan origins of the festival of Lupercalia.
I’ve curated this selection of works from the Michael Reid stockroom that look at the notion of Valentine’s Day.

The surreal yet intimate Petrina Hicks work Fragrant memory, 2010. Framed within a tondo, a veiled woman in pink gazes at a single pink rose.

Narelle Autio’s Red Balloon, 2009, where Autio catalogued her daily findings from a summer spent combing the beaches with her children. These washed up, discarded treasures form imagined narratives drawing from our memories of lost loves.

Gerwyn Davies work Motel, 2020, shows the artist dressed in vivid pink fishnet spandex and foam.
Davies sculptural, arched figure starkly contrasts yet somehow merges within the stylised 1960’s Palm Springs motel exterior.

Derek Henderson examines the fragile beauty of the rose in this sculptural still life within the work  #38, 2021, from his series Rosa.

The dark side of love is portrayed in Petrina Hicks Persephone, 2015.
The myth of the goddess Persephone, who became queen of the underworld after her abduction by Hades.

Bushfire smoke forms the background of Joseph McGlennon’s Awakening #4 – Yellow Tails, 2020. A contrast to the pair of yellow-tailed black cockatoos in the foreground nestled within sprays of flowering new growth and butterflies. The cyclical narrative of rebirth after the fire. This species of parrot is monogamous and will mate for life in this tender relationship of the natural world.

Tamara Dean’s Darkness Falls, 2015 portrays the potent sense of mystery, sexiness and magic as two teenagers are positioned in a vivid green landscape outside the shadowed, ominous depths of an abandoned train tunnel in Canaan, upstate New York.

The artist becomes the subject in Dean’s work Night Garden, 2020.
Partially dressed in a crimson petticoat she is seductively drawn into the depths of an expansive Rhododendron tree.

These eight works represent an amalgamation of love’s many guises.  

Dean Andersen

  • Narelle Autio
    Red Balloon, 2009

    25 × 20 cm
  • Gerwyn Davies
    Motel, 2020

    100 × 93 cm
  • Petrina Hicks
    Persephone, 2015

    100 × 77 cm
  • Tamara Dean
    Darkness Falls, 2015

    100 × 75 cm
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