W HOTEL, BRISBANE
Mashing splashes of camouflage design with his bright ‘pop’ aesthetic, this new site-specific commission within W Hotel's foyer continues Rennie’s Visible Invisible series in which the art of disguise is inverted. Rennie is an indigenous artist of the Kamilaroi people whose practice intentionally draws on the symbology of his Aboriginal identity to explore the extremes of cultural visibility.
Referencing the hypnodiscs of a Victorian sideshow, Folland’s new site-specific commission draws us into a slippery vacuum of concentric circles. A deceptively simple design, Folland lulls us into observing this almost imperceptibly moving portal to another world or another state of being.
Working consistently with binding polymers and pigmented Perspex, Nicholson creates sculptures and two-dimensional wall installations in his signature psychadelic palette. Step through the looking glass and into the solour spectrum – see yourself transformed by Nicholson’s kaleidoscopic portal.
O'Callaghan pushes literal and metaphorical boundaries. Created by pouring acrylic paint onto glass, contrasting colours meet. Drying as they are now, the separation between the paints was held only by surface tension, until the threshold broke and they bled beautifully into one another.
With tongue firmly in cheek, larrikin artist Lucas Grogan has scrawled an assortment of irreverent BrisVegas phrases onto the very walls on the hotel… But why read this when the work can speak for itself?
Glenn Barkley's ceramic work fuse together a mixture of the artist's interests in English and European porcelain, folk art traditions, and gardening. Like the backyard of any Australian home, full of native and introduced species of plants and shrubbery, Glenn creates intricately detailed ceramic gardens out of clay using botanic motifs. His introduction of quippy text and short sound bites speak specifically to a personal Australian vernacular.