Hany Armanious, Andy Boot, Diena Georgetti,
Patrick Hartigan, Tim Johnson, Josey Kidd-Crowe,
Emily Kame Kngwarreye, Clare Milledge, Jonny Niesche,
Andre Piguet, Mary Teague, Michelle Ussher

Minerva, 4/111 Macleay Street, Potts Point, Sydney, NSW 2011
27 June — 8 August, 2015

“Paintings: lifeless images rendered in colorful goop.”
— Bart Simpson, “Treehouse of Horror IV”, 1993
“…Perhaps this is a word that might be seized upon for the thinking of painting: squeamishness, a term that holds the slippery, squelchy quality of paint, the insistent becoming of a medium that has been variously condemned as anachronistic, stuck, limited and dead, and the hesitancy enacted by painting as it seeks to preserve ambiguity in the discomfiture of addressing the fraught or taboo. Whether or not its continuation is accepted, there is a sense in which painting is a form of self-insistence: it will always stretch and contort, and find a way to justify its continuity, its taking place. As a painter today one works within this space of insistence, and might find within it a means by which to question. “
— Helen Johnson,“Painting is a Critical Form”, p 84, 2015

“Paleo-Internet”, 2015, Cyathea fern, metal hook, dimensions variable.