{"id":290,"date":"2022-06-21T19:07:22","date_gmt":"2022-06-21T19:07:32","guid":{"rendered":"https:\/\/acehotel.com\/sydney\/?page_id=290"},"modified":"2024-09-24T18:26:45","modified_gmt":"2024-09-24T18:26:45","slug":"art-program","status":"publish","type":"page","link":"https:\/\/acehotel.com\/sydney\/art-program\/","title":{"rendered":"Ace Hotel Sydney Art Program"},"content":{"rendered":"\t\n\n
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Sydney Art Program<\/h1>\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/section>\n\n\n\t\n\n\n\n
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Curated by Flack Studio<\/h2>\n\t\t\n\t\t\t<\/div>\n\n
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Ground Floor<\/span><\/h2>\n\t\t\n\t\t\t<\/div>\n\n
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Tony Albert<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Mid Century Modern, 2017<\/i><\/b> (16 pieces) <\/b><\/p>\n

Gallery: Sullivan & Strumpf\u00a0<\/span><\/p>\n

Materials: pigment print on paper<\/span><\/p>\n

Location: Ground floor passageway from Lobby to Good Chemistry, adjacent to heritage safe\u00a0<\/span><\/p>\n

Mid Century Modern<\/span><\/i> is a collaborative series between Albert and the remote community of Warakurna in Western Australia created during a residency in 2017. These poignant works interrogate the representations of Aboriginal people in kitsch tourist collectibles known as \u2018Aboriginalia\u2019 through a mix of humour and darkness.<\/span><\/p>\n

\u201cCollaboration brings up questions that we worked through: Do we create two bodies of work or one, separately or together? We resolved this by making a collective body of work in which individual artists\u2019 styles, ideas and voices still came through.\u201d\u00a0\u00a0<\/span><\/i><\/p>\n

Drawing on both personal and collective histories, Tony Albert\u2019s multidisciplinary practice considers the ways in which optimism might be utilised to overcome adversity. His work poses crucial questions such as how do we remember, give justice to, and rewrite complex and traumatic histories? Albert is the first Indigenous Trustee for the Art Gallery of New South Wales. His commitment to connecting and collaborating with other Indigenous artists and the wider community within his practice, has made him an integral part of Australia\u2019s visual arts sector and the wider Australian community.<\/span><\/p>\n

Albert\u2019s important work has been acknowledged industry-wide with a number of prestigious awards, prizes and commissions. His work is held in major national collections including National Gallery of Australia; Australian War Memorial; Art Gallery of New South Wales; Art Gallery of Western Australia and Queensland Art Gallery | Gallery of Modern Art.\u00a0<\/span><\/p>\n

@tonyalbert<\/a><\/p>\n\n\n\t\t\t\t\t

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Glenn Barkley<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Gallery: Sullivan & Strumpf<\/span><\/p>\n

Location: Lobby Lounge \u2014 Collection of Sculpture, Ceramic Library<\/span><\/p>\n

@glennbarkley<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Glenn Barkley<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Wall Vase for Jonathan Leak<\/i><\/b><\/p>\n

Gallery: Sullivan & Strumpf\u00a0<\/span><\/p>\n

Materials: Earthenware<\/span><\/p>\n

Location: LOAM, on wall\u00a0<\/span><\/p>\n

\u201c<\/span><\/i>Wall Vase for Jonathan Leak <\/span>is a large terracotta wall work that references the work of the convict potter Jonathan Leak whose kiln was on the site of Ace Hotel. It is installed, and was made, on Gadigal land.<\/span><\/i><\/p>\n

The work is made from terracotta and covered in a dense array of images\u2014 some cut and shaped, others from moulds\u2014including shells, coins, plaques, faces and stamps which points to kiln shards found on site. The terracotta references the clay that drew Europeans here to make bricks and functional vessels, but also its material importance to Aboriginal people for decoration and other utilitarian purposes. The images are strewn across the work in a way that may recall archaeological strata and the post-Leak use of the site by Sydney\u2019s Chinese community which was swept away in clearances and demolitions in the 20th century.<\/span><\/i><\/p>\n

The piece is anchored by a large shell vase that references the late 18th century European tradition since called \u2018vasemania\u2019\u2014where images of vases were used as lavish decoration in interiors\u2014roughly contemporaneous at the time Leak was making his rustic bottles and bricks. Three birds are represented in the work and are based on early European colonial watercolours of birds held by the State Library of NSW.<\/span><\/i><\/p>\n

I made the work in early 2022 specifically for the space. I wanted something that tangentially acknowledged the history of the place as well as being joyful and celebratory. It is the largest work I have made in this way and the process of making it has opened up potential new ideas for future work.\u201d\u00a0<\/span><\/i><\/p>\n

Glenn Barkley is an artist, writer, curator, and gardener based in Sydney and Berry NSW. His work operates in the space shared by these overlapping interests, with colourful, playful sculptures inspired by the history of ceramics, popular music, the garden, and conversations about art and the internet.<\/span><\/p>\n

Barkley has work in the Art Gallery of South Australia, the National Gallery of Australia and Artbank Sydney. He is co-founder of Kilnit Experimental Ceramics Studio Glebe and the Curators Department. Previously he was senior curator at the Museum of Contemporary Art Australia and curator of the University of Wollongong Art Collection.\u00a0<\/span><\/p>\n

@glennbarkley<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Zoe\u0308 Croggon<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Magazine #5, 2020 <\/i><\/b><\/p>\n

Gallery: Daine Singer Gallery\u00a0<\/span><\/p>\n

Materials: Collage of found images and glue on paper, perspex frame<\/span><\/p>\n

Location: Lobby Lounge \u2014 Collection of Sculpture, Ceramic Library<\/span><\/p>\n

@zoecroggon<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Scott Duncan<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Ohio Star Shine <\/i><\/b><\/p>\n

Gallery: Egg & Dart\u00a0<\/span><\/p>\n

Materials: Earthenware, underglaze and glazes\u00a0<\/span><\/p>\n

Location: Lobby Lounge \u2014 Collection of Sculpture, Ceramic Library<\/span><\/p>\n

@ol_slamzee<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Nadia Hern\u00e1ndez<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Protegida, nos llaman (tiernos, raspados, semi-licuados) \/ Protected, they call us (tender, scraped, semi blended), 2021\u00a0<\/i><\/b><\/p>\n

Gallery: STATION\u00a0<\/span><\/p>\n

Materials: Oil, flashe, acrylic, felt, cotton, and ribbon on linen\u00a0<\/span><\/p>\n

Location: Lobby lounge, near Wentworth Ave entry\u00a0<\/span><\/p>\n

\u201cMy artwork for Ace Hotel Sydney holds a multitude of meanings: one part blessing another part recipe, taking the words <\/span><\/i>protegida<\/span> (protected) and <\/span><\/i>nos llaman<\/span> (they call us) from a note written by my mother, and <\/span><\/i>tiernos, raspados, semi-licuados<\/span> (tender, scraped, semi-blended) from her recipe on how to make <\/span><\/i>cachapas<\/span>, a delicious Venezuelan dish made from fresh tender corn batter\u2019.<\/span><\/i><\/p>\n

In my work, I often use text extracted from familial exchanges as an act to preserve our <\/span><\/i>cotidianidad <\/span>(everydayness) and a way to retain a sense of togetherness despite physical distance \u2013 a way to feel at home.\u201d\u00a0<\/span><\/i><\/p>\n

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Nadia Herna\u0301ndez makes art as a means to connect with a sense of place that exists beyond psychic and geographic boundaries, informed by her diasporic experience as a Venezuelan living in Australia. She negotiates complex narratives, weaving the personal and the political, to create a highly recognisable visual language expressed through colourful textiles, paper constructions, paintings, installations, sculptures, and murals.<\/span><\/p>\n

Herna\u0301ndez was the winner of the 2019 Churchie National Emerging Art Prize, one of Australia\u2019s leading prizes for emerging artists, and the winner of the 2021 Grace Cossington Smith Art Award. She was the official artist for the city of Sydney\u2019s New Year\u2019s Eve celebrations in 2017.\u00a0<\/span><\/p>\n

@nando_nandez<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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James Lemon<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Brick Facade, 2022<\/i><\/b><\/p>\n

Materials: Kiln bricks, glaze, enamel, epoxy<\/span>
\n<\/span>Location: Front desk\u00a0<\/span><\/p>\n

\u201cI come from 8 generations of brick layers, in some ways I\u2019m continuing my family\u2019s trade. This work is a glazed sculpture made from decommissioned kiln bricks. I\u2019ve been working with kiln bricks for a few years now. Bricks are more or less made from mud; their use has been instrumental in expanding society. <\/span><\/i><\/p>\n

@jameslemon<\/span><\/a><\/p>\n

They\u2019re also used to make the kiln, a structure capable of housing the volcanic energy required to make ceramic objects which we use to make art and design objects. The work is industrial and geometric yet layered in the gestures of my colourful glaze application as well as marks made by hands and fire before me.\u201d\u00a0<\/span><\/i><\/p>\n

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James Lemon’s ceramic works reflect his humour and physical gestures, as well as social and philosophical concerns. References to religion, pop culture, and global ceramic forms are woven into his colourful, highly textural works, which can take on a slapstick effect. Lemon works primarily with clay, but embeds other objects like bricks, precious stones, and discarded ephemera into his art to develop his own sculptural language. His work has been featured in publications such as Architectural Digest, Vogue Living, Vault Magazine, and The Journal of Australian Ceramics. He has exhibited multiple times for Melbourne Design Week and is represented in the permanent collection of The National Gallery of Victoria. James Lemon currently lives and works in Melbourne.\u00a0<\/span><\/p>\n\n\n\t\t\t\t\t

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Ben Mazey<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Custom Black Line Stamped Lamp, 2022\u00a0<\/i><\/b><\/p>\n

Gallery: C Gallery\u00a0<\/span><\/p>\n

Materials: Glazed earthenware, metal, LED bulb<\/span><\/p>\n

Location: Lobby Lounge \u2014 Collection of Sculpture, Ceramic Library<\/span><\/p>\n

@benmazey<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Laith McGregor<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Vessel (OSO), 2022<\/i><\/b><\/p>\n

Gallery: STATION\u00a0<\/span><\/p>\n

Material: Glazed Ceramic<\/span><\/p>\n

Location: Ground Floor entryway, behind front desk (on shelf) <\/span><\/p>\n

Working across drawing, painting, ceramics and sculpture, Laith McGregor\u2019s multi-disciplinary practice reflects an ongoing inquiry into contemporary portraiture, semiotics of image making and notions of the self. With pieces incorporating laborious, hyper-realistic illustration, accumulations of pencil and eraser shavings, and other processes that form a meditative daily ritual, his practice is resolutely underpinned by a commitment to physical studio work and the marking of time. <\/span><\/p>\n

McGregor\u2019s works wrestle with the grey area that exists between fiction and non-fiction, negative and positive, black and white, two- and three- dimensions, serving an ongoing inquiry into the complexities of what it means to be human. McGregor has exhibited extensively in Australia and internationally, and is represented in significant institutional collections.<\/span><\/p>\n

@laithmcgregor<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Laith McGregor<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Vessel (Fallen), 2022<\/i><\/b><\/p>\n

Gallery: STATION\u00a0<\/span><\/p>\n

Materials: glazed ceramic and cue balls<\/span><\/p>\n

Location: Lobby Lounge \u2014 Collection of Sculpture, Ceramic Library<\/span><\/p>\n

@laithmcgregor<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Sann\u00e9 Mestrom<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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30 Fistfuls of Love <\/i><\/b><\/p>\n

Gallery: Sullivan & Strumpf<\/span><\/p>\n

Materials: Bronze\u00a0<\/span><\/p>\n

Location: Lobby lounge\u00a0<\/span><\/p>\n

\u201c<\/span><\/i>30 Fistfuls of Love<\/span> is a bronze sculpture I made specifically for the Ace Hotel building. I threw three handfuls of clay at a makeshift pillar I\u2019d reconstructed in the foundry. Each handful of clay holds an impression of both my hands and the architecture of the site\u2014in the specific way it splattered across the pillar. I then cast this collection of impressions in bronze. The resulting bronze sculpture became the shimmer of space between my body and the world it inhabits.\u201d\u00a0<\/span><\/i><\/p>\n

Sanne\u0301 Mestrom produces large scale sculpture and drawings in a materially rich palette including bronze, concrete, steel, marble, stone and glazed tile. She works with the full range of possibilities offered by her chosen materials and often combines two or more materials for their potential contrasts of colour, tone, texture and form. Mestrom\u2019s sculptures are memorable for their engaging tactile presence.<\/span><\/p>\n

Her works give voice to strong organic and geometric forms with imagery in dialogue with both figurative and abstract modernist legacies. Simplicity and ease of shape are the building blocks of dynamic<\/span><\/p>\n

relationships between bodies, the work and the space that surrounds them. She engages a wide range of disciplines and endeavours, including public art and play, architecture as well as natural phenomena governing daily life like time, gravity and the sun.<\/span><\/p>\n

While Mestrom\u2019s works are highly compelling visually, with their curvilinear language, they are completed by their communication with surrounding architecture creating conversations of monumentality, permanence and precision. Similarly, they require the day-to-day lived experience and presence of the viewer, communicating with body, perception, assumption and meaning.\u00a0<\/span><\/p>\n

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\u201cIn my art I\u2019m interested in the membrane between body and world\u2014the ways that architecture and the built environment informs, frames, limits and expands the ways we move through it with our bodies\u201d.\u00a0<\/span><\/i><\/p>\n

@sanne_mestrom<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Nell<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Two Sounds, 2021 <\/i><\/b><\/p>\n

Gallery: STATION\u00a0<\/span><\/p>\n

Materials: 1960s Japanese Guitar Case, 1970s Coffin Guitar Case, acrylic paint and archival glue\u00a0\u00a0<\/span><\/p>\n

Location: Ground Floor entryway, behind front desk\u00a0<\/span><\/p>\n

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\u201cFor me, art and music are simultaneously essential and mysterious. Art and music are the life medicine I self-prescribe every day. I think of the artworks in my exhibitions like tracks on an album – sometimes a concept album, sometimes a mix tape.\u201d<\/span><\/i><\/p>\n

Nell\u2019s practice spans painting, sculpture, performance, video, music, collaborations and public art, with scales ranging from small intimate objects, to large immersive installations. Regardless of material outcome, her work explores oppositional thresholds, such as the ancient and contemporary, individual and communal, feminine and masculine, and the sacred and profane.<\/span><\/p>\n

From an Australian vantage point, she uses the language of art history, popular culture and spiritual traditions to amplify or challenge these tensions so that new objects, which are both playful and intriguing, emerge. Highly symbolic motifs, including smiley faces, ghosts, eggs, teardrops and lightning bolts, reappear throughout her works as a tool for communicating the extremes of human existence.<\/span><\/p>\n

Across two decades, Nell\u2019s work has been included in over 250 exhibitions in Australia and abroad, and she is represented in significant institutional collections.<\/span><\/p>\n

@nellartist<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Nell<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Ghost Songs (black #2), 2021 <\/i><\/b><\/p>\n

Gallery: STATION\u00a0<\/span><\/p>\n

Materials: 2 parts; Marshall amp, hand blown glass<\/span><\/p>\n

Location: Lobby Lounge \u2014 Collection of Sculpture, Ceramic Library<\/span><\/p>\n

@nellartist<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Ramesh Mario Nithiyendran<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Triangular headed figure, 2021 <\/i><\/b><\/p>\n

Gallery: Sullivan & Strumpf\u00a0<\/span><\/p>\n

Materials: Earthenware\u00a0<\/span><\/p>\n

Location: Sunken lounge <\/span><\/p>\n

\u201cMy work at Ace Hotel Sydney is one of the more complex and ambitious ceramic sculptures I\u2019ve made. I\u2019m not interested in symmetry or formality. I often work sculpturally with threshold spaces. Encouraging viewers to think alternatively about spaces they inhabit through encounters with figurative sculpture is key to my work.\u201d<\/span><\/i><\/p>\n

Ramesh Mario Nithiyendran is a Sri-Lankan born contemporary artist who explores global histories and languages of figurative representation. He has specific interests in South Asian forms and imagery as well as politics relating to idolatry, the monument, gender, race and religion. While he is best known for his irreverent approach to ceramic media, his material vernacular is broad. He has worked imaginatively with sculptural materials including bronze, concrete, neon, LED and fibreglass, as well as conventional painting and printmaking materials and techniques.<\/span><\/p>\n

His signature neo-expressionist and polychromatic work has been presented in museums, festivals, multi-art centres and the public domain. This has included significant presentations at the National Gallery of Australia, Art Gallery of New South Wales, The Dhaka Art Summit, Art Basel Hong Kong and Dark Mofo festival. His first major permanent public artwork was recently installed at the entrance of the new HOTA gallery.\u00a0<\/span><\/p>\n

@rams_deep69<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Nabilah Nordin<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Hyperflux, 2022\u00a0<\/i><\/b><\/p>\n

Gallery: Neon Parc\u00a0<\/span><\/p>\n

Materials: Epoxy Modelling Compound, moldable plastic, polyurethane pigment, spray paint<\/span><\/p>\n

Location: Lobby Lounge \u2014 Collection of Sculpture, Ceramic Library<\/span><\/p>\n

@nabnordin<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Jahnne Pasco-White<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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becoming with 6, 2019 <\/i><\/b><\/p>\n

Gallery: STATION<\/span>\u00a0<\/span><\/i><\/p>\n

Materials: acrylic, paper, oil stick, pigment on canvas\u00a0<\/span><\/p>\n

Location: Lobby bar, on wall <\/span><\/p>\n

Jahnne Pasco-White\u2019s expanded painting practice explores the interconnectedness between humans and our environment. Her intuitive, generous style of abstraction articulates itself in raw, gestural paintings on fabric and canvas. Hand dyed fabrics pigmented with organic materials gathered from her surroundings \u00ac\u2013 including domestic debris and matter collected from the natural environment \u2013 are complemented by acrylic paint, oil stick, pastel and crayon.<\/span><\/p>\n

Into these surfaces, she introduces segments of old paintings, cut up and reworked in an ongoing cycle of decay and renewal. Pasco-White was the winner of the prestigious Arthur Guy Memorial Painting Prize in 2019, and a finalist in the 2019 Ramsay Art Prize, Australia\u2019s premier prize for emerging artists. In 2018 she was the recipient of an Art Gallery of New South Wales Moya Dyring Memorial Studio scholarship.<\/span><\/p>\n

@jahnnepascowhite<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Kenya Peterson<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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sculpture<\/p>\n

Location: Lobby Lounge \u2014 Collection of Sculpture, Ceramic Library<\/span><\/p>\n

@kenyapeterson_<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Jason Phu<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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if the moon farted all the birds would die, 2021\u00a0<\/i><\/b><\/p>\n

Gallery: STATION<\/span>
\n<\/span><\/i>Materials: Spray paint on nylon<\/span>
\n<\/span>Location: Ground Floor entryway, behind front desk (on wall) <\/span><\/p>\n

Jason Phu\u2019s multi-disciplinary practice brings together a wide range of references, including traditional ink paintings, calligraphy, readymade objects, everyday vernacular, ancient folklore, personal narratives and historical events. Working across drawing, installation, painting, performance and film, Phu frequently uses humour as a device to address identity and cultural dislocation within an Australian context.<\/span><\/p>\n

Often employing stories of ghosts, spirits, demons and gods from Chinese culture as a personification of these concepts, Phu\u2019s playful, deliberately nai\u0308ve style and tongue-in-cheek subject matter convey a sense of connection to today\u2019s world while being simultaneously timeless. Phu won the prestigious Sir John Sulman Prize in 2015, and the Freedman Foundation Travelling Art Scholarship, also in 2015. In 2018 he was included in the annual curated exhibition Primavera: Young Australian Artists, Museum of Contemporary Art, Sydney.<\/span><\/p>\n

In 2019 Phu was awarded the inaugural Art Assembly commission for the Sydney Opera House, and he was awarded the 2021 ACMI X Mordant Family Moving Image Commission for Young Australian Artists.\u00a0<\/span><\/p>\n

@jasonphuu<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Justene Williams<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Cleromancy, 2021\u00a0 <\/i><\/b><\/p>\n

Gallery: Sarah Cottier Gallery\u00a0<\/span><\/p>\n

Materials: Marine carpet, Australian pennies, Copper solder\u00a0<\/span><\/p>\n

Location: Level one landing\u00a0<\/span><\/p>\n

Born 1970, Sydney, New South Wales. Lives and works Brisbane, Queensland Justene Williams is a key figure of the Australian art scene of the 1990s, working across different media including photography, video, performance, installation and sound.\u00a0<\/span><\/p>\n

@justenewilliams<\/span><\/a><\/p>\n

 <\/p>\n

Much of Williams\u2019 work pays homage to the aesthetic bric-a-brac of German artist Kurt Schwitters\u2019 infamous dada technique that he coined \u2018Merz\u2019 and which became the name for much of his artistic philosophy and activity.<\/span><\/p>\n

In recent work she has constructed elaborate sets and costumes made from collaged paper and a variety of waste or refuse materials. Williams also uses found materials, past photographs and domestic objects in her stage sets and costumes. When she began to work in this way, her intention was to breathe new life into recycled detritus to see if she could animate the inanimate world of images and photography.\u00a0<\/span><\/p>\n

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Julia Gutman<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Once more, with feeling, 2021\/2022 <\/i><\/b><\/p>\n

Gallery: Sullivan & Strumpf<\/span><\/p>\n

Materials: clothing worn by the artist and her friends, embroidery cotton and polyester thread on calico<\/span><\/p>\n

Location: Staircase from ground floor to level one\u00a0<\/span><\/p>\n

\u201c<\/span><\/i>Once More, with Feeling <\/span>is a love letter to my friends, made almost entirely out of clothing, sheets and blankets they have worn and grown in. This piece is the largest work I\u2019ve made so far \u2013 it\u2019s taller than my studio walls and wider than the surface area of the floor. Until it was installed, I had only seen the work in parts. It\u2019s surreal to share something so intimate at such a monumental scale, particularly alongside the work of so many artists I admire.\u201d\u00a0\u00a0<\/span><\/i><\/p>\n

Julia Gutman is a multidisciplinary artist who reuses found textiles to produce patchworks that merge personal and collective histories to explore themes of femininity, intimacy and memory. Her practice is informed by events in her own life and by iconic art historical references. Stitching together worn garments and materials donated by friends and family members, Gutman\u2019s work is imbued with the lived experiences of those around her. Simultaneously, the artist navigates the inherent tensions of working with cloth: rupture and nurture. Gutman holds a BFA in painting from the University of New South Wales and an MFA in sculpture from the Rhode Island School of Design. She was a finalist in the 2021 Ramsay Prize at the Art Gallery of South Australia and the 2020 NSW Visual Arts Emerging Fellowship at Artspace Sydney. She has been profiled in the Sydney Morning Herald, ABC Arts and Index Magazine, and her work has been exhibited across Australia, in Rome and New York.\u00a0<\/span><\/p>\n

@julia__gutman<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Joanna Lamb<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Commission for Ace, 2021\/2022 <\/i><\/b><\/p>\n

Gallery: Sullivan & Strumpf\u00a0<\/span><\/p>\n

Materials: acrylic paint\u00a0<\/span><\/p>\n

Location: Level one landing\u00a0<\/span><\/p>\n

Joanna Lamb is a painter and printmaker from Perth. Her highly refined geometric compositions waver between realism and abstraction in their scenes of contemporary life. Generic domestic interiors and suburban spaces like homes, highways and airports are reduced to flat blocks of colour, contrasted with detailed depictions of plants, animals, cars and people. It\u2019s a practice that draws from the commercial perfection of real estate advertisements and the aesthetic monotony of the Australian suburban landscape.<\/span><\/p>\n

Through this distillation of colour, dimension and form, Lamb\u2019s everyday environments are made both striking and familiar. Lamb was voted one of Australia\u2019s 50 Most Collectable Artists by Australian Art Collector. Her works are included in the collections of the Art Gallery of Western Australia, Parliament House, The University of Western Australia and Murdoch University.\u00a0<\/span><\/p>\n

@lamb.joanna<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Guest Rooms<\/span><\/h2>\n\t\t\n\t\t\t<\/div>\n\n
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Sydney Ball<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Lush Days, 2013 <\/i><\/b><\/p>\n

Gallery: Sullivan & Strumpf\u00a0<\/span><\/p>\n

Materials: Acrylic on handmade paper\u00a0<\/span><\/p>\n

Location: Ace Suite<\/span><\/p>\n

sydneyballart.com<\/a><\/p>\n\n\n\t\t\t\t\t

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Sydney Ball<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Blue Vista, 2014<\/i><\/b><\/p>\n

Gallery: Sullivan & Strumpf\u00a0<\/span><\/p>\n

Materials: Acrylic on handmade paper\u00a0<\/span><\/p>\n

Location: Ace Suite<\/span><\/p>\n

sydneyballart.com<\/a><\/p>\n\n\n\t\t\t\t\t

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Barbara Cleveland<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Meeting Time (Blue)\u00a0 <\/i><\/b><\/p>\n

Gallery: Sullivan & Strumpf\u00a0<\/span><\/p>\n

Materials: Ink on paper\u00a0<\/span><\/p>\n

Location: Ace Suite<\/span><\/p>\n

Barbara Cleveland is an Australian artist collective made up of Diana Baker Smith, Frances Barrett, Kate Blackmore and Kelly Doley. The group is named after a fictitious, \u2018forgotten\u2019 performance artist who produced art on the edges of society before disappearing in 1981. The collective\u2019s work examines the legacy of its namesake, using queer and feminist theories to explore the way marginalized groups shape art history.<\/span><\/p>\n

Barbara Cleveland\u2019s projects have been shown at the Biennale of Sydney, Art Gallery of NSW, and London\u2019s Hayward Gallery, and are held in the collections of Artbank and Sydney\u2019s Museum of Contemporary Art.<\/span><\/p>\n

@barbara__cleveland<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

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Barbara Cleveland<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Meeting Time (Red)<\/i><\/b><\/p>\n

Gallery: Sullivan & Strumpf\u00a0<\/span><\/p>\n

Materials: Ink on paper\u00a0<\/span><\/p>\n

Location: Ace Suite<\/span><\/p>\n

Barbara Cleveland is an Australian artist collective made up of Diana Baker Smith, Frances Barrett, Kate Blackmore and Kelly Doley. The group is named after a fictitious, \u2018forgotten\u2019 performance artist who produced art on the edges of society before disappearing in 1981. The collective\u2019s work examines the legacy of its namesake, using queer and feminist theories to explore the way marginalized groups shape art history.<\/span><\/p>\n

Barbara Cleveland\u2019s projects have been shown at the Biennale of Sydney, Art Gallery of NSW, and London\u2019s Hayward Gallery, and are held in the collections of Artbank and Sydney\u2019s Museum of Contemporary Art.<\/span><\/p>\n

@barbara__cleveland<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Barbara\n\t\t\t<\/div>\n\t\t\t<\/div>\n<\/section>\n\n\n\t\n\t\t\t\t\t\t\n\n\n\n
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Scott Duncan<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
\n\t\t\t\t\t

Commissioned various sculptures<\/i><\/b><\/p>\n

Gallery: Egg & Dart\u00a0<\/span><\/p>\n

Materials: clay, glaze\u00a0<\/span><\/p>\n

Combining classical shapes with 1970s kitsch and vintage Australiana, Scott Duncan\u2019s ceramics are unabashedly nostalgic. His work is a playful embrace of high and low aesthetics; a typical example might be a cardboard fruit box (actually made of clay) collaged with a traditional Italian Bitossi vessel. In addition to making ceramics, he\u2019s the head chef of the Sydney cafe Fleetwood Macchiato.<\/span><\/p>\n

Scott Duncan applies a broad approach to ceramics, making composite objects of real technical complexity. Handmade tools and selected glazes are used to achieve the collage-like effects which are then placed in the kiln as whole pieces. Playful in construction and ambiguous in function, the work is an egalitarian and open-ended invitation to enjoy aesthetics high and low.\u00a0<\/span><\/p>\n

@ol_slamzee<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Scott\n\t\t\t<\/div>\n\t\t\t<\/div>\n<\/section>\n\n\n\t\n\t\t\t\t\t\t\n\n\n\n
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James Lemon<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\u00a0I ONCE KEPT A DEAD BIRD UNDER MY BED FOR 2 WEEKS BECAUSE IT WAS SO BEAUTIFUL, 2021\u00a0<\/i><\/b><\/p>\n

Materials: Acrylic, enamel, linen sheet\u00a0<\/span><\/p>\n

Location: Guest room<\/span><\/p>\n

@jameslemon<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"hotel\n\t\t\t<\/div>\n\t\t\t<\/div>\n<\/section>\n\n\n\t\n\t\t\t\t\t\t\n\n\n\n
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Michael Lindeman<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
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Regression Painting (Boring), 2022<\/i><\/b><\/p>\n

Gallery: Sullivan & Strumpf\u00a0<\/span><\/p>\n

Materials: Finger painted acrylic on mirror\u00a0<\/span><\/p>\n

Location: Ace Suite<\/span><\/p>\n

Michael Lindeman\u2019s large-scale text paintings, drawings, and sculptures are an exploration into his own identity as an artist. Drifting between stream-of- consciousness writing and institutional critique, Lindeman\u2019s work shines a light on the mechanics of the contemporary art world and his place within it.<\/span><\/p>\n

His work creates an absurd dialogue with the viewer, one in which the artist activates repressed impulses, embodies alienation, and disrupts convention in order to raise questions about the commodification of art and cultural taste. Lindeman has exhibited in a number of exhibitions nationally and internationally. He has been recognised in multiple awards and prizes, and most recently was awarded the Percival Portrait Painting Prize 2022. The artist currently lives and works in Sydney.\u00a0<\/span><\/p>\n

michaellindemanart.com<\/a><\/p>\n

 <\/p>\n\n\n\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Michael\n\t\t\t<\/div>\n\t\t\t<\/div>\n<\/section>\n\n\n\t\n\t\t\t\t\t\t\n\n\n\n
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Michael Lindeman<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
\n\t\t\t\t\t

Regression Painting (Tactics), 2022 <\/i><\/b><\/p>\n

Gallery: Sullivan & Strumpf\u00a0<\/span><\/p>\n

Materials: Finger painted acrylic on mirror\u00a0<\/span><\/p>\n

Location: Ace Suites <\/span><\/p>\n

Michael Lindeman\u2019s large-scale text paintings, drawings, and sculptures are an exploration into his own identity as an artist. Drifting between stream-of- consciousness writing and institutional critique, Lindeman\u2019s work shines a light on the mechanics of the contemporary art world and his place within it.<\/span><\/p>\n

His work creates an absurd dialogue with the viewer, one in which the artist activates repressed impulses, embodies alienation, and disrupts convention in order to raise questions about the commodification of art and cultural taste. Lindeman has exhibited in a number of exhibitions nationally and internationally. He has been recognised in multiple awards and prizes, and most recently was awarded the Percival Portrait Painting Prize 2022. The artist currently lives and works in Sydney.\u00a0<\/span><\/p>\n

michaellindemanart.com<\/a><\/p>\n\n\n\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Michael\n\t\t\t<\/div>\n\t\t\t<\/div>\n<\/section>\n\n\n\t\n\t\t\t\t\t\t\n\n\n\n
\n\t
\n\t\t
\n\t\t\t\t\t\t\t\n\t
\n\t\t\n\t\t\t\t\t

Jason Phu<\/h>\n\t\t\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
\n\t\t\t\t\t

\u00a0<\/b>navigating the ways of the heart over the mountains and through the seas, 2022\u00a0<\/i><\/b><\/p>\n

Gallery: STATION<\/span><\/p>\n

Materials: Ink on rendered walls\u00a0<\/span><\/p>\n

Location: Guest room corridors (multiple)<\/span><\/p>\n

@jasonphuu<\/span><\/a><\/p>\n\n\n\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"artwork\n\t\t\t<\/div>\n\t\t\t<\/div>\n<\/section>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":7,"featured_media":883,"parent":0,"menu_order":12,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"pgc_sgb_lightbox_settings":"","_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"0","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"footnotes":""},"class_list":["post-290","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":{"navigation_styling_options":["is_inverted"],"banners":false,"page_content":false},"yoast_head":"\nFlack Studio Sydney Art Program | Ace Hotel Sydney<\/title>\n<meta name=\"description\" content=\"Learn about the Art Program at Ace Hotel Sydney curated by Flack Studio. Explore artworks and their origins on display throughout the hotel.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/acehotel.com\/sydney\/art-program\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Flack Studio Sydney Art Program | Ace Hotel Sydney\" \/>\n<meta property=\"og:description\" content=\"Learn about the Art Program at Ace Hotel Sydney curated by Flack Studio. Explore artworks and their origins on display throughout the hotel.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/acehotel.com\/sydney\/art-program\/\" \/>\n<meta property=\"og:site_name\" content=\"Sydney\" \/>\n<meta property=\"article:modified_time\" content=\"2024-09-24T18:26:45+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/acehotel.com\/sydney\/wp-content\/uploads\/sites\/13\/2022\/06\/DSCF016_James-Lemon-Front-Desk.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2251\" \/>\n\t<meta property=\"og:image:height\" content=\"1500\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"1 minute\" \/>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Flack Studio Sydney Art Program | Ace Hotel Sydney","description":"Learn about the Art Program at Ace Hotel Sydney curated by Flack Studio. 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