OCT 14 – NOV 8 2015.  MOP PROJECTS INC.  2/39 ABERCROMBIE ST, CHIPPENDALE NSW

 

 
1.-Darren-Munce-8579

 

 

 

2.-Darren-Munce-8572

 

 

 

3.-Darren-Munce-8573

Double Blind, 2014  oil on canvas, 42.5 x 52.5cm*
Whale Watching, 2015  oil on canvas, 53 x 43cm*

 

 

4.-Darren-Munce-8574

Once Upon a Time in the East, 2014  oil on canvas, 65.5 x 59.5cm*
Treehaus, 2014  oil on canvas, 65 x 62.5cm*

 

 

5.-Darren-Munce-8563

 

 

 

6.-Darren-Munce-8575-#2

Livery, 2014  pencil on paper, 54 x 53cm
Little Jonah, 2015  pencil on paper 35 x 58.5cm
The Autocrat, 2014  pencil on paper, 59.5 x 47.5cm*

 

 

7.-Darren-Munce-8576

 

 

 

8.-Darren-Munce-8558

Who know Where the Time Goes, 2015  oil on canvas, 109 x 141cm
Moth, 2015  oil on canvas, 138.5 x 97.5cm
Is This desire, 2015  oil on canvas, 138.5 x 97.5cm
Strange Attraction, 2015  oil on canvas, 132.5 x 99.5cm

 

 

9.-Darren-Munce-8567

 

 

 

10.-Darren-Munce-8568

 

 

TERRAFIRMING

Graphic works stimulated by a residency in Leipzig, Germany

Supported by The Australia Council and Creative Victoria.

During a visit to Germany as part of a travelling scholarship in 2011, Munce was captivated by the history, art, architecture and people of Germany. In 2014, he returned to undertake a three-month residency at The Spinnerei in Leipzig, Germany supported by The Australia Council and Creative Victoria (formerly Arts Victoria). This extended stay permitted time to explore and absorb German culture and sparked new lines of inquiry in his practice.

This exhibition presents works created as part of the Leipzig series alongside new works produced more recently in Melbourne. Together they reflect how the experience of this important cultural exchange has been filtered to find a new emergence in the artist’s work.

Leipzig:

Created in a self-contained warehouse studio in downtown Leipzig, these paintings reveal an exploration of new surroundings and depict the sights and sounds of ‘the city with no limits’. Employing a process that invents its own possibilities, Munce’s paintings are initiated by a series of false starts. In these works, evidence of misplaced hopes and unfulfilled promises create an aggregation of forms that stimulate further investigation.

Melbourne:

The distance created by moving back to Australia has given Munce a shift in focus from the macro to the micro. His study of German cultural periods and the interweaving of aesthetic principals between art, architecture and design, driven by artists associated with the Bauhaus, has led to a creative transference.

Moving away from a process of spontaneity and chance, this new series reflects a demand for precision and strives towards an elementary harmony of surface, colour and shape. Concentrating on the two dimensionality of the picture plane, Munce investigates the rational assemblage of exact geometric forms to achieve an aesthetic paraphrase of our techno-industrial times.