With works spanning the last 40 years, Roslyn Oxley9 Gallery’s presentation at Sydney Contemporary 2024 is a considered deep dive into our archive.

Exhibition Dates: 4 September – 8 September 2024

With works spanning the last 40 years, Roslyn Oxley9 Gallery’s presentation is a considered deep dive into our archive. ⁠

Our selection includes: a highly anticipated painting by Daniel Boyd; Dale Frank’s oily, resplendent black monochrome from 2008; a selection of dark, dream-like oil paintings by Louise Hearman; unseen works from Bill Henson’s celebrated 'Paris Opera Project' (1990-1991); cinematic photographs from Sir Isaac Julien’s most recent body of work Once Again… (Statue Never Die); architectural marvels by Linda Marrinon from the 1990s; Imants Tillers’ first foray incorporating text in painting from 1988 and never-been-seen works from the estate of Ms. N. Yunupiŋu.


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Installation Contemporary: Patricia Piccinini

I’m looking for new ways to understand our relationship with the world and the creatures and objects within it. The surreal juxtaposition and metamorphosis of beings, plants and manmade objects attempts to document a world where the traditional boundaries are no longer useful. – Patricia Piccinini

Patricia Piccinini is renowned for her work that blurs the lines between the natural and artificial, human and animal, creating chimeras that appear so realistic as to be conceivably alive. She is interested in unpicking the distinction human animals have shored up between ourselves and the rest of the living world, a falsehood that has resulted in the current state of climate emergency. For Installation Contemporary she presents an intimate ecosystem, with two smaller sculptures in conversation with a constantly moving corona of hair – a recurring material and symbol used by the artist because as she notes, ‘it is both alive but inert, unfeeling but sensuous’.

Cloudgazer takes the form of an albatross, but not quite. Its vibrant hues and patterned wings render it perhaps transformed by technological intervention. It is now a desirable thing, and alongside the shoe form of Tresses, speaks to the deliberate allure, and attendant environmental impact, of consumer culture. 

The magnificent albatross was historically seen by sailors as an omen of good luck, but metaphorically the term is used to describe something that causes persistent deep concern or anxiety, in allusion to Coleridge’s poem The Rime of the Ancient Mariner, whose protagonist kills an innocent albatross and is forced to wear its carcass around his neck as punishment. When he realises the consequences of his actions and can see the beauty of the sea and its creatures, the weight is lifted. Indeed, connection, empathy, vulnerability and responsibility are at the heart of Piccinini’s practice.

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Daniel Boyd Untitled (DCPC 3), 2018; oil, charcoal and archival glue on digital print on paper mounted to linen; 129.5 x 90 cm; more info; enquire
Daniel Boyd Untitled (DCPC 3), 2018
oil, charcoal and archival glue on digital print on paper mounted to linen
129.5 x 90 cm
Dale Frank Djimon Hounsou, 2008; varnish on canvas; 200 x 200 cm; more info; enquire
Dale Frank Djimon Hounsou, 2008
varnish on canvas
200 x 200 cm
Louise Hearman Untitled #1193, 2005; oil on masonite; 39 x 42 cm; more info; enquire
Louise Hearman Untitled #1193, 2005
oil on masonite
39 x 42 cm
Louise Hearman Untitled #1090, 2005; oil on masonite; 50 x 65 cm; more info; enquire
Louise Hearman Untitled #1090, 2005
oil on masonite
50 x 65 cm
Louise Hearman Untitled #1092, 2005; oil on masonite; 43 x 57 cm; more info; enquire
Louise Hearman Untitled #1092, 2005
oil on masonite
43 x 57 cm
Louise Hearman Untitled #1105, 2005; oil on masonite; 56 x 64.5 cm; more info; enquire
Louise Hearman Untitled #1105, 2005
oil on masonite
56 x 64.5 cm
Isaac Julien Sonata in Red (Once Again... Statues Never Die), 2022; Inkjet print on Hahnemühle Photo Rag Ultrasmooth; 225 x 150 cm; Edition of 6 + 2 AP; more info; enquire
Isaac Julien Sonata in Red (Once Again... Statues Never Die), 2022
Inkjet print on Hahnemühle Photo Rag Ultrasmooth
225 x 150 cm
Edition of 6 + 2 AP
Bill Henson Untitled 5-JF, 1990-91; from the series Paris Opera Project; archival inkjet pigment print; 127 x 127 cm; 153 x 153cm (framed); Edition of 10 + AP 2; more info; enquire
Bill Henson Untitled 5-JF, 1990-91
from the series Paris Opera Project
archival inkjet pigment print
127 x 127 cm; 153 x 153cm (framed)
Edition of 10 + AP 2
Bill Henson Untitled 31/85, 1990-91; from the series Paris Opera Project; archival inkjet pigment print; 127 x 127 cm; 153 x 153cm (framed); Edition of 10 + AP 2; more info; enquire
Bill Henson Untitled 31/85, 1990-91
from the series Paris Opera Project
archival inkjet pigment print
127 x 127 cm; 153 x 153cm (framed)
Edition of 10 + AP 2
Linda Marrinon Winter Bride, 2010; painted plaster; 85 x 23 x 29 cm; more info; enquire
Linda Marrinon Winter Bride, 2010
painted plaster
85 x 23 x 29 cm
Linda Marrinon Monument for a War Memorial, 2019; painted plaster; 65 x 49 x 23 cm; more info; enquire
Linda Marrinon Monument for a War Memorial, 2019
painted plaster
65 x 49 x 23 cm
Linda Marrinon Flinders Street Station, 1998; from the series Sculpture For The Home; terracotta tinted to resemble bronze; 21 x 44 x 15 cm; more info; enquire
Linda Marrinon Flinders Street Station, 1998
from the series Sculpture For The Home
terracotta tinted to resemble bronze
21 x 44 x 15 cm
Linda Marrinon Detail of St. Mary's Cathedral, Sydney, 1998; from the series Sculpture For The Home; Terracotta tinted to resemble bronze; 29 x 12 x 13 cm; more info; enquire
Linda Marrinon Detail of St. Mary's Cathedral, Sydney, 1998
from the series Sculpture For The Home
Terracotta tinted to resemble bronze
29 x 12 x 13 cm
Imants Tillers Sometimes it is, 1988; synthetic polymer paint, oilstick, gouache on 54 canvas boards, nos 19588 - 19641; 228 x 228 cm; more info; enquire
Imants Tillers Sometimes it is, 1988
synthetic polymer paint, oilstick, gouache on 54 canvas boards, nos 19588 - 19641
228 x 228 cm
Nyapanyapa Yunupiŋu Ganyu, 2021; 8082-21; earth pigments on board; 245 x 245 cm; more info; enquire
Nyapanyapa Yunupiŋu Ganyu, 2021
8082-21
earth pigments on board
245 x 245 cm
Nyapanyapa Yunupiŋu untitled, 2018; 5277-18; paint pen on clear acetate; 86 x 62 cm; more info; enquire
Nyapanyapa Yunupiŋu untitled, 2018
5277-18
paint pen on clear acetate
86 x 62 cm
Nyapanyapa Yunupiŋu untitled, 2018; 5263-18; paint pen on clear acetate; 86 x 62 cm; more info; enquire
Nyapanyapa Yunupiŋu untitled, 2018
5263-18
paint pen on clear acetate
86 x 62 cm
Nyapanyapa Yunupiŋu White Lines, 2021; 8083-21; Earth pigment on paper; 69.5 x 49.5 cm; more info; enquire
Nyapanyapa Yunupiŋu White Lines, 2021
8083-21
Earth pigment on paper
69.5 x 49.5 cm
<div><p>Patricia Piccinini at Sydney Contemporary 2024 as part of<i> Installation Contemporary</i>.<br/></p></div>

Patricia Piccinini at Sydney Contemporary 2024 as part of Installation Contemporary.

Patricia Piccinini Sensuous Gyre, 2023; polyurethane, synthetic hair, steel, mechanism; 150 x 95 x 76 cm; more info; enquire
Patricia Piccinini Sensuous Gyre, 2023
polyurethane, synthetic hair, steel, mechanism
150 x 95 x 76 cm
Patricia Piccinini The Cloudgazer, 2024; silicone, paint; 47.5 x 35 x 33.5 cm; Edition of 6 + 2 AP; more info; enquire
Patricia Piccinini The Cloudgazer, 2024
silicone, paint
47.5 x 35 x 33.5 cm
Edition of 6 + 2 AP
Patricia Piccinini Shoeform (Tresses), 2019; resin and automotive paint; 58 x 35 x 52 cm; Edition of 3 + 1 AP; more info; enquire
Patricia Piccinini Shoeform (Tresses), 2019
resin and automotive paint
58 x 35 x 52 cm
Edition of 3 + 1 AP