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home arrow artists arrow Brenda Nightingale and Megan Jenkinson

Other Space

November 6 - 28, 2015

installation - front gallery
installation - front gallery
installation - front gallery
Megan Jenkinson is known for her collages, and in the pre-digital days these were of the physical cut and paste variety. Nowadays, collage comes via Photoshop and other computer manifestations. In Other Space, this very new body of work, Jenkinson is in art galleries photographing walls, floors and shadows, focusing her gaze on interior details rather than the displayed objects themselves. Then the collage maker sets too and digitally crafts these 'other spaces'. They are niches, walls, corners and shadows that printed onto flat vinyl, pull away from us deep into an imaginary space within the wall. The affect is both physical and psychological.

CindersIn Cinders for example, texture and the colour of stone is palpable. We stand before the beautifully flecked ochre of cut granite that distinguishes the interior of the National Gallery of Australia in Canberra. Shadows from objects barely seen caress the walls. At the centre is an empty shallow niche. All is illusion and delicate suggestion. Light dances softly on the stone. And Jenkinson, for the first time in her practice, prints the photograph directly onto a re-usable vinyl. No frame or glass – just the immediacy of another space, flat onto and into the wall.

Harlequin has a similar sense to it, but there is less edge and just a wonderful softness about it. We are inside the National Gallery of China in Beijing. The spectral presence of a single vertical rod is both light and lightness personified – a paeon to simplicity, beauty and elegance. There is a similar poise to Wearing down the Point of Words. But in this big, physical print mounted right to the floor (so that we could almost walk into it), the poetic is replaced by a menacing shadowed complexity. There is something more veiled and threatening here – nothing might be quite what it seems.
Wearing down the Point of Words     

Additional works

Please hover over image to see title...
Parable of Shadows
Parting with Substance

Details of works

Erratum     920 x 790mm     $900
Melancholia     655 x 790mm     $900
Cinders     1190 x 825mm     $1200
Harlequin     1190 x 800mm     $1200
Radiation     1540 x 1510mm     $1800
Parable of Shadows     1290 x 1500mm    $1800   
Parting with Substance    1985 x 1980mm    $2400
Wearing down the point of Words    1985 x 1920mm    $2400

All works are digital prints on PhotoTex paper, editions of 5, from 2015.
Equivalent prices for the same works digitally printed on Hahnemuhle Photo Rag paper
up to a maximum of 1016mm sq, will range from $4500 - $6500 unframed.
Prices include GST

Megan Jenkinson would like to acknowledge the generous support of the Elam School of Fine Arts PBRF Research Fund for the production of this exhibition. 


Paintings 1-7

November 6 - 28, 2015

installation - back gallery
installation - back gallery
installation - back gallery
The first thing that needs be said about Paintings 1–7, the new body of work shown here by Brenda Nightingale, is that there are 9 paintings hung – and that’s not necessarily a bad thing! No, and on a more serious note, this is Nightingale’s first brush with acrylics, following on from watercolour and landscape work that has dominated her practice for a few years now.

Critically however, Nightingale is now relishing more and more the language of paint. Let us call it here, the language of abstraction. And this is a very good thing. Compositionally, the tree is a recurrent motif, but with various and changing horizon lines, the works comprise many fragments and many views, as opposed to a single coherent panorama. It is too, with a compelling range of brushstrokes – from the delicate to the broad, the fluid, the dry, and the horizontally expressive alongside the filigree of many a cascade – that these paintings are held together.
Painting 3

Finally, and equally important within this syntax of abstraction, is Nightingale’s quite startling use of colour. There is a small diptych, Painting 1, whose two panels meet in a vermillion tree. This freely brushed spectre foregrounds a composition full also of different blues, a magenta, various greens, a pink, and not inconsiderable areas in the painting where the white primed canvas is allowed to show through. It is the full panoply of colour: intense, vivid and free. To enjoy these works and their painted edge frames, is to relish painting that is knowing and playful, that is grounded yet intuitive, and all just within the bounds of risk and control.
Painting 2     
Painting 1

Additional works

Please hover over image to see title...
Painting 8   
Painting 7   
Painting 6   
Painting 5
Painting 4
Painting 9
Details of works
Paintings 1 & 2                
400 x 600mm          
Paintings 3, 4 & 9
400 x 1600mm  
Paintings 5, 6, 7 & 8          
500 x 400mm           
All works are acrylic on primed linen, from 2015.
Prices include GST