ArtByLynch

Artist Bio

2011-11-05T21:40:00.000-07:00

Meredith Frances Lynch is a multi-disciplinary, Sydney based artist. She has a Master of Visual Arts from Sydney College of the Arts, the University of Sydney and also has studied at the Rhode Island School of Design. Recent solo projects include 'Shapes & patterns' a solo exhibition at Peloton Gallery Sydney, and 'Fence Lines Project' an environment art installation at Bundanon in regional New South Wales. The artist also holds the professional position of Artspace Gallery Assistant as well as Client Relations Manager at International Conservation Services.

Upcoming Exhibition!

2011-10-15T20:01:00.001-07:00

A selection of new and retrospective works will be on exhibition at Westmead Hospital from 11 - 30 November 2011. Stop in any time to check it out.

New writing...

2011-09-23T18:29:00.001-07:00

The rigour of an artist; the modus operandi
Written by Meredith Frances Lynch, 2011
Illustrated artwork by Christine Simpson

[IMAGE]

This article is a general response to the artwork and art making of Christine Simpson. This written commentary comes after Simpson’s participation in the recent exhibition ‘Open Call’ at the University of Sydney Union’s Verge Gallery .

‘Open Call’ was an exhibition of emerging artists, all enrolled in the different studios and at different levels of study at Sydney College of the Arts. ['Open Call’ (25 July – 19 August 2011) Featuring artworks by Isabella Andronos, Vilma Bader, Merryn Bowden, Lucas Davidson, Ellana Kariatlis, Alex H Mack, Jonny Niesche, Meghan Rheynolds, Christine Simpson, Brooke Wagstaff and Tianli Zu. Curated by SCA Union Alumni Meredith Frances Lynch, Nerida Olsen, & Mary Wenholz.] The artwork ‘Carbon Waves II’ by Simpson represented her ongoing creative explorations as an artist but was also an example of the capabilities of a student in the Sydney College of the Arts’ Master of Studio Arts program.

In a recent discussion between the author and the artist Simpson has described deciding to become an art student again as a searching for new developments in her practice. In Simpson’s artist statement she talks of her ongoing investigations with the materiality of art making materials. She describes her recent creation as ‘An artwork that investigates the effects of heat on various materials... Experimenting with hot glass…’ Developing ones method of operating, that is the mode of art making, is an enjoyment of experimentation in the art practice. This is an ongoing concern for many artists.

After many years of competent sculpture practice and amounts of commercial successes - including large scale commissions and a rigorous teaching schedule from the artist’s bush studio. The master sculpture has returned to the art school in search of increasing her intellectual rigour as an artist. Simpson is on a new journey, learning research methodologies and challenging her art practice through peer critiques as well as exploring new methods of art making.

Simpson has described her former sculpting practice where her skilled hand and learnt knowledge of materials lead the direction of the art making and resulted in calculated aesthetic outcomes. In Simpson’s more recent use of the SCA glass studio she has enjoyed an amount of releasing control as materials and elements new to her drive the aesthetic results. Simpson has recently explored burning of the glass. Heat transforms materials in this new work and it directly affects the finished artworks’ composition.

There is a new shift happening in her practise. Simpson talks about her increasing interest in the kinetic as well as memory scape of materials. This idea of memory is literal in the material sense but also symbolic in a greater definition of memory, personal and environmental. The artist often names artworks in ways relating to environmental happenings; employing words such as darling in reference to the river and carbon in reference to the hotly debated Australian carbon tax issues.

Simpson talks of exploring new types of art making as being like a shedding. Her newer works are not as focused on pure artistic solution. The newer artworks allow for poignant tell-tale signs of the journey of the artist. Her new studio work, such as the exhibited ‘Carbon Waves II’, is about the reaction of the materials to the applied elements heat and cold.

For exhibition the artwork was meticulously installed in the gallery with purpose built brackets. In line with the artist’s recent explorations, this clean installation was not understood as complete by the emerging artist. Herein she dusted ash and talc over the installed disk, letting the powder fall to the gallery floor. This was an attempt to extend the artwork into the gallery space. Aesthetically this move by the artist was not integral to the finished artwork on display. However, artistically, this was a move of importance for a developing art practice. In dusting over the otherwise finished artwork the artist publicly displayed her attempt to grow and in doing so she put on show her shifting modus operandi. This is in line with recent behaviour by the artist. It is a move Simpson has described as shifting her practice from considering oneself a sculptor. Her ongoing art practice and newly invested studies are steps in the direction toward becoming what she considers to be ‘an artist’. The dusting over the artwork in the gallery space was an expression of a wanting, or even a need, to shift and to make change. The artist was not fazed by the stillness of the floor dustings being interrupted by gallery visitors’ movements near the work. The artist took delight in this new phase of her art making. When the topic was recently discussed, the artist smiled and said ‘yes! to footprints’. There is an energetic presence about this artist’s intention.

In the Verge gallery, near an otherwise still sculpture that had been neatly attached to the wall, footprints tarnished the dusting of powder and left a trace of viewer activity while the stillness of the artwork was also ever present. There was a feeling, a type of quiet energy that comes from this type of artistic exploration, it is a poetic element. In the application of well-honed sculpting skills in combination with the vitality of this emerging artist, the artworks yet to come from Christine Simpson are well worth keeping an eye out for.

'Open Call' An exhibition at Verge Gallery

2011-07-09T18:02:00.000-07:00

We put out an open call. And this is what we got. Sydney College of the Arts students making art in all different ways and forms.

As graduates of SCA and past members of the SCA Student Association, each member of the curating team have made art and also seen what student organisations offer in terms of support and just as importantly, opportunities.

Making art is not enough, it also needs somewhere to be shown. Verge Gallery, through the support of USU, SCASS and SCA also believe this and the show has been made possible thanks to their support.

Featuring works by Isabella Andronos, Vilma Bader, Merryn Bowden, Lucas Davidson, Ellana Kariatlis, Alex H Mack, Jonny Niesche, Meghan Rheynolds, Christine Simpson, Brooke Wagstaff and Tianli Zu.

Curated by SCA Union Alumni, Meredith Frances Lynch, Nerida Olson and Mary Wenholz and supported by SCASS President, Georgia Banks.

Exhibition on display from Monday 25 July to Friday 19 August.

Upcoming curatorial project at Verge Gallery

2011-06-04T19:08:00.000-07:00

Meredith Frances Lynch, Mary Wenholz, & Nerida Olsen will be curating an exhibition of young artists new work at The University of Sydney Union's Art Gallery - Verge Gallery. The exhibition will be on view in July 2011

Summer Artist in Residence Concludes...

2011-01-29T16:45:00.001-08:00

Images from artworks underway in the Artspace studio...

My current work at SNO

2010-12-18T20:47:00.001-08:00

On view December 2010 - January 2011

December at SNO gallery Sydney

2010-12-04T18:53:00.000-08:00

Please join us for the opening of the next exhibition at SNO.
It's a group show that I am in, it'd be great to see you there.

Opens Saturday 11 Dec at
3pm at SNO, LEVEL 1,
175 MARRICKVILLE RD, MARRICKVILLE, SYDNEY
T. +61 (2) 9560 3470
E. info@sno.org.au
W. www.sno.org.au
Open 12:00 – 5:00 pm. Friday to Sunday,
or by appointment.

Artist Bio

2010-11-27T16:21:00.000-08:00

Artspace Studio Residency

2010-10-16T22:06:00.000-07:00

Lynch will be an Artist In Residence at Artspace, Sydney, during the 2010- 2011 Summer building a new body of artwork for future exhibitions.

Almost Grey Series

2010-08-10T01:16:00.001-07:00

Artist Statement

2010-06-20T01:17:00.001-07:00

Meredith Frances Lynch creates marks from repetitive patterns creating works that become a diary of gesture. A diary that marks time that is silent while recording honestly the process and the accident through process. Therefore these artworks return making to the centre of activity; repetitive gestures make the physical activity of the process visible. Through the use of repetitive gesture the painting become signifiers of the everyday mundane routine, which emphasizes the lack of uniqueness and individuality. This is referenced and then subverted as the pattern is never quiet complete never quite resolved. Lynch therefore embraces the random, the accidental, and leaves a space to question within any given structure.

Peloton Gallery Images

2010-06-20T01:14:00.000-07:00

Exhibition Images - 'Blue Mandala Series'

2010-02-18T20:58:00.000-08:00

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Bundanon : Stage Two. January 2010

2010-01-17T17:42:00.000-08:00

The Fence Lines Project is a temporal environment installation that consists of mirror pieces cut to the specific dimension of the top surfaces of fence posts on the Bundanon property. Bundanon boasts an enormous property with vast rolling landscapes and magnificent open sky lines. The environment installation aims to merge the naturally occurring green landscape with the blue sky-scape. An introduction of mirrors along fence lines at Bundanon will lower the sky into the green landscape, allowing for a poetics in a contemporary creation of environment installation art.

The second in a series of temporal environment installations by Lynch on the Bundanon property has been scheduled for Sat 23 & Sun 24 January 2010.

Photo Paul Sharp

Recent Exhibition at Peloton, December 2009

2009-11-08T04:44:00.001-08:00

My recent show 'shapes and patterns' opened at Peloton gallery, Thursday 3 Dec, 2009

The show continued until 19 December 2009 at Peloton, 19 + 25 Meagher Street, Chippendale, Sydney. Gallery hours Thurs-Sat 1-6pm. For further information please email mflynch82@hotmail.com or info@peloton.net.au

Environment Installation

2009-10-06T22:11:00.002-07:00

The project’s proposal plans that a temporal environment installation will consist of mirror pieces cut to the specific dimension of the top surfaces of fence posts on the Bundanon property. Bundanon boasts an enormous property with vast rolling landscapes and magnificent open sky lines. The environment installation aims to merge the naturally occurring green landscape with the blue sky-scape. An introduction of mirrors along fence lines at Bundanon will lower the sky into the green landscape, allowing for a poetics in a contemporary creation of environment installation art.

The first in a series of temporal environment installations on the Bundanon property has been scheduled for Sunday October 17th. More dates to be confirmed.

2009 Finalist RBS Emerging Artist Award

2009-10-06T22:11:00.001-07:00

The RBS Emerging Artist award is a newly branded award formerly known as the ABN AMRO Award. Lynch's work has been selected as a finalist and the work is on view now at the RBS Tower, 88 Philip Street, Sydney.

Artist statement – September 2009

2009-09-07T15:44:00.001-07:00

The visual arts practice of Meredith Frances Lynch is a fusion-pursuit of painterly and multi-disciplinary art practice. An investigation into the shared territory between painting and other art forms, such as artist books, installation art, meditative practice, performance art, political art, and so forth is underway in the studio practice. This is an investigation into an expanded understanding of contemporary painting as one engages elements to do with painting. Meaning, the historic placement and definition of painting; the associated material matter; the work of artists considering themselves to be painters; and any other singled-out elements that might combine to shape the practice of painting - historically as well as contemporarily.

The studio practice is an exploration into the contemporary expanded field of painting. I create works that employ repetitive action, and in turn I engage a meditative process in the making of artworks. These paintings trace the time and act of creating the artworks and, consequentially, the artwork becomes an abstract form of diary of the creative experience completed by artist for the viewer to further contemplate.

RBS Emerging Artist Award, 2009

2009-07-30T16:55:00.000-07:00

This image depicts a study for 'Untitled Quiet' created in preparation for the RBS Emerging Artist Award - Shortlisted Artists Exhibition. The RBS Emerging Artist award is a newly branded award formerly known as the ABN AMRO Award. The above illustrated work will be on view Mon 7th - Fri 18th September 2009, at the RBS Tower, 88 Philip Street, Sydney.

Artwork by Meredith Frances Lynch
Photograph by Therese de Villier d'Hotman

New Landscapes Exhibition, Sydney, 2009

2009-03-09T17:47:00.000-07:00

New Landscapes at Horus & Deloris Contemporary Art, Pyrmont, Sydney

An exhibition of new work by Jasmine Avril, Meredith Frances Lynch, Kylie McKendry, Bridget Minatel, Kevin Platt, & Mary Wenholz. Curated Meredith Frances Lynch

Exhibition Dates: 11th March – 1st April, 2009

Untitled (Moving Skies), 2008, by Meredith Frances Lynch, Acrylic on glass, 13 x 18

Nostalgia for the never known, 2008, by Kevin Platt, Hoop pine, kavir pine, plywood, TV, DVD, slides & projector

New Landscapes - Exhibition Blurb

2009-02-22T19:46:00.000-08:00

New Landscapes: Landscape as a vehicle.

‘New Landscapes’ presents worldly engagements and the quietude of paying attention. It presents a collection of artworks resultant of reflection upon and engagement with the world. This exhibition is to do with conceptual output as much as aesthetic practices. Illustrations of trees uninterrupted in bush scenes is not what can be found in ‘New Landscape’, these are not the visual traps of these artists’ work. The practices of Jasmine Avril, Meredith Frances Lynch, Kylie McKendry, Bridget Minatel, Kevin Platt, & Mary Wenholz deal with landscape from a myriad of perspectives; spatially, politically, experientially, as well as yes: visually. It is visual arts after all.

The artworks in this exhibition present numerous responses to the idea of an expanded form of landscape in the sense of conceptual artistic activity that sees artworks created that respond or relate to the world (or an aspect of world, space, people, knowledge, history, etc.). This is intentionally an open ended exhibition theme to allow for honesty within every artists’ work and concepts. ‘These works explore different ways of imagining landscape. They suggest ideas about our relationship to land, whether in terms of categorisation, ownership or belonging.’ (Avril) Conceptual output as a purist non-visual activity within the visual arts has evolved over the years. Melded activity is vigorous in artists’ practices today. This is the case now, in the works shown in this gallery by Avril, Lynch, McKendry, Minatel, Platt, & Wenholz as much as it this true for many works to do with landscape created by many, many, emerging artists today. The notion of landscape in this exhibition is a vehicle, it is a means of expression, a conceptual medium, and a means of transporting ideas.

- Meredith Frances Lynch. Sydney, 2009.

Action v Action at Gallery 4A, 2009

2009-01-14T14:54:00.002-08:00

Action v Action - A Ten Day Painting Project at Sydney's Gallery 4A

Bundanon Artist in Residence

2009-01-14T14:54:00.001-08:00

Above - Detail of one work completed at Bundanon: 'Untitled (Bundanon Landscape)' 2008. Lower image - Working in the Freedman studio at Bundanon, October 2008

Painting then painting (repeat)

2008-10-19T03:40:00.003-07:00

Painting then painting (repeat), by Meredith Frances Lynch
2008 installation, mixed media
Fauvette Loureiro Memorial Artists Travel Scholarship Finalists Exhibition 2008, SCA Gallery - on show until 8th November 2008

Painting: repeat, Mori Gallery, 2008

2008-10-19T03:40:00.001-07:00

Untitled (wall painting 08) by Meredith Frances Lynch
2008, Biro on wall. 170 x 1200cm, Mori Gallery, Sydney

The Surface of Painting, Horus & Deloris Gallery, 2008

2008-10-19T03:39:00.000-07:00

A group show exhibiting the work of Peter Barnes, Meredith Frances Lynch, Bridget Minatel, Sarah Newall, Teong Eng Tan, & Mary Wenholz.

Works L-R by Wenholz, Lynch & Newall...

Painting: repeat

2008-09-12T23:27:00.000-07:00

Painting: repeat

Opening Night 24TH September 2008, 6–8pm.

Mori Gallery
168 Day St. SYDNEY

Exhibition continues until Sat 11th November 08

Gallery open Wednesday – Saturday 11am–6pm (or by appointment)
Ph. +61 292 83 29 03

Artist Statement, August 2008

2008-09-12T23:26:00.000-07:00

My studio practice is an exploration into the contemporary expanded field of painting: at the fore, practice led painting research. I create works that employ repetitive action, and in turn I engage a meditative process in the making of artworks. These paintings trace the time and act of creating the artworks and, consequentially, the artwork becomes an abstract form of diary of the creative experience completed by artist for the viewer to further contemplate.
A fusion exists in the paintings created: in the attention paid to the appearance, form and means of presentation of the formal aesthetic detail of works, meaning an engagement with the art theory and practice of the abstract painters of New York from the 1950s to now. This art historic consideration also blends the acts of 1960s and 70s Australian, American, and European conceptual artists: questioning elements of the definition of the studio term painting. This formal artistic practice and consideration for the conceptual activity of artist occurs alongside an exploration into the creative meditative experience of any artist, with particular consideration for my own practice as an Australian painter following after a rich history of landscape, romantic, Aboriginal, modern and contemporary Australian painters.

Artist Bio, August 2008

2008-09-12T23:25:00.000-07:00

Meredith Frances Lynch is a Sydney based artist. She studied at Rhode Island School of Design, USA as well as receiving First Class Honours and a Master of Visual Arts from Sydney College of the Arts. In 2007, two publications to her credit include an essay published by the Perth Institute of Contemporary Arts: ‘Practice Based Learning: Learning through Doing’; as well as an artist profile featured in the Art Almanac, July. The University of Sydney Union awarded Lynch first place in the annual arts and literature prize for the abstract painting category and Lynch also spoke on a panel at The Arts Research Symposium at Edith Cowan University, Perth in 2007. In 2008 Lynch has curated one exhibition: ‘The Surface of Painting’ at Horus and Deloris Contemporary Art, Sydney. This year will also see the Master of Visual Arts awarded for the project entitled ‘Embodied Meanings: The Possibilities of Narrative for Abstract Art’; as well as a solo exhibition at Mori Gallery, Sydney. In July 2008 she will also have an essay published in the International Journal for the Arts (Birmingham Art and Design Institute, UK). Still to come this year: Lynch will take up placement as a Bundanon Artist in Residence as well as being exhibited as a finalist for the Fauvette Loureiro Memorial Artists Travel Scholarship.

Kurnell 2008

2008-06-24T20:06:00.001-07:00

The Kurnell Project
Meredith Frances Lynch & Therese de Villiers in collaboration
co-ordinated by Mori Gallery

SURFACE - EXHIBITION ESSAY

2008-05-27T22:57:00.000-07:00

The Surface of Painting, Horus & Deloris Contemporary Art Space, Pyrmont Sydney May 2008

‘To scratch the surface’ is to experience only a small taste of something containing great depth. Contemporary painting in Australia is a field enormously rich in terms of diversity of practice and intelligence of artists’ pursuit. Creativity, conceptual practice, aesthetic activity, inspired art making, as well as research related practice in the field, are all under way in artists’ studios, art schools, universities, galleries and museums. To see the six artworks contained in ‘The Surface of Painting’ by artists Peter Barnes, Meredith Frances Lynch, Bridget Minatel, Sarah Newall, Teong-Eng Tan, and Mary Wenholz is an exhibition that can be enjoyed as a survey, that is, a survey of the multitude of options for artists creating new work today.

To paint on a support surface is a traditional notion regarding the definition and making of a painting. Relating back through many centuries, the term ‘support surface’ refers to the material upon which artists paint. Linen, cotton canvas, and various types of board and paper are a selection of materials traditionally popular as support surfaces. More recently, say the last fifty years, artists from across numerous studio disciplines have pushed the boundaries and openly considered the essence of traditionally defined and divided schools of practice. Inter-disciplinary practices eventuated. Artists recognisable as painters, sculptors, installation, glass, as well as performance artists are able to create works multi-disciplinary in nature. Artists have the option to employ traditional as well as new materials and artmaking techniques in fresh and exciting ways, with some such results being exhibited on the occasion of ‘The Surface of Painting’.

Multitude of option is real for contemporary painters. The work by Barnes in this exhibition employs acrylic (a modern medium) on linen (traditional support). ‘My paintings are surfaces upon which references and relationships are put into play.’ (Barnes) Wenholz shares Barnes’ use of acrylic, but layers it over, amongst and between layers of vinyl; the vinyl behaves both as support and medium. ‘In my paintings I explore the notion of surface in relation to the modernist concept of medium specificity. My works on transparent vinyl incorporate the support into the composition of the painting, thereby creating a disruption to the two-dimensional image’ (Wenholz)

In the work by Tan paintings are built. The size and structure of his paintings is not dictated by the frame or edges of the canvas; many canvases are attached to one another: ‘Maintaining surface unpredictability by working between extremes; the paintings are “organically” grown to allow for the two broad types of abstraction (geometric and organic) to emerge in a single work.’ (Tan)

In Lynch’s work the concept of the surface of painting is addressed in creating multidisciplinary artworks that take shape from an understanding of the historic and contemporary positions for painting. This is both ‘painting’ as the object and as the act. ‘My visual artworks attempt to engage the rich tradition that abounds from the school of painting while also participating in the inspired act of artmaking.’ (Lynch) The artwork in this exhibition uses mirror to expand the artwork into illusionary space - illusion being an effect common to painting, only ordinarily the illusion is pictorial rather than reflecting a painting’s installation.

Minatel cuts abstract cityscapes into glass in ways that other artists might apply paint onto canvas. ‘My work is an exploration into the representation of systems that can appear to exist in our urban environment, visually interpreting these systems through layered linear grid formations to create elusive, symbolic 'cityscapes'.’ (Minatel) The artist continues - ‘The city can also be imagined as a field where many lines intersect, creating a complex physical and social grid of cultural representations and discourses, existing simultaneously across various points in time within the same space.’

In this exhibition Newall’s painting-come-storage unit boldly moves painting into functional object. Sheets with a rubber like consistency are in fact poured and peeled orange house-paint, a material used in new ways as ‘the surface of the painting for me is more than a surface, it is a material that fully contains colour’ (Newall)

This exhibition is not a restructuring of the definition of the studio term painting, nor specifically a question regarding the act of painting. ‘The surface of painting’ surveys a few of the options for artists undertaking the activity of painting today and presents the artwork of six artists, Peter Barnes, Meredith Frances Lynch, Bridget Minatel, Sarah Newall, Teong-Eng Tan, and Mary Wenholz, for public consideration. ‘The Surface of Painting’ attempts to scratch the surface of the potential for contemporary painting, today.

- M. F. Lynch, May 2008

‘The Surface of Painting’ will be open to the public at Horus and Deloris Contemporary Art Space, Pyrmont, Sydney, from 7th May to 8th June 2008.

The Surface of Painting, May-June 2008

2008-03-08T23:46:00.003-08:00

'The Surface of Painting'

'The Surface of Painting' presents the work of Peter Barnes, Meredith Frances Lynch, Bridget Minatel, Sarah Newall, Teong-Eng Tan and Mary Wenholz at Horus & Deloris | Contemporary Art Space

Opening Night: 7th May, 6 – 8pm -ALL WELCOME-

Level 2, 102 Pyrmont Street, Pyrmont, New South Wales, 2009
Gallery Director: Caroline Wales
Email caz@horusanddeloris.com.au

Exhibition continues until 8th June, 2008

Speaker at the 2008 International Conference on the Arts in Society

2008-03-08T23:46:00.001-08:00

Lynch will present a paper titled 'The Interplay of Self-Authored & Temporal Narrative: Embodied Meanings in Art' at the 2008 International Conference on the Arts in Society. To be held at the Birmingham Institute of Art and Design, part of Birmingham City University, Birmingham, UK from 28th-31st July 2008, this year's annual conference will address a range of critically important issues and themes relating to the arts today.

An abstract taken from the paper follows:

'Most simply: self-authorship refers to the fact that artists make, or are behind the making of, their artwork. The time of the making of an artwork, as well as the times at which the work is viewed, always affect the interpretation and critique of a work. This is temporal narrative. It occurs in all artworks. Temporal narrative also refers to art historic references within artworks, whereby the work of an artist is possible because of the work of a predecessor, art flanuers, or an artist’s contemporaries.

Eventually, one question persists, what is left for an artist to make today? The ‘what’ of such statements disguised as questions can be anything from a myriad of options. Self-authorship relates to the interplay of how the author comes to the decision from the question ‘what is to be made?’ This decision is fed from all sorts of influences as the author / artist does not conceive, create, or present works made from thin air, nor from a point of isolated genius.

Temporal narrative is always present in a work of art as the contemporary surroundings of an artist intersect with the historic situation and reality of past events to influence the shape, form and concept of any new piece of art. The interplay of self-authorship and temporal narrative can be considered as one critical framework for examining any artwork. This is by no means an attempt to make redundant or to cancel out other modes of interrogation, nor to strictly prioritize authorship above or below temporal aspect. The exploration of the conditions and interactions of self-authorship and temporal narrative allow for one version of an understanding of any work of art.'

For further info see web link http://a08.cgpublisher.com/proposals/72

Graduate Exhibition at the SCA Gallery, 2007 (Part 1)

2008-03-08T23:45:00.001-08:00

'Untitled (Biro on wall, 2007)' Biro on gallery wall, 230 x 610cm. In-situ artwork as installed on the Entance Wall of the SCA Galleries, on the occasion of the 2007 Master of Visual Arts Degree Exhibition, Sydney College of the Arts, 2007

Graduate Exhibition at the SCA Gallery, 2007 (Part 2)

2008-03-08T23:25:00.000-08:00

'Untitled (Hinged Painting, 2007)' Biro on unprimed canvas with hinges x8 canvases, each 140x180cm. As presented in the SCA Main Gallery space on the occasion of the Sydney College of the Arts Degree Exhibition, 2007.

Untitled Painting Project, Exit Gallery, 2007

2008-03-08T23:16:00.001-08:00

images from show to come...

'Untitled Exhibit', ATVP, 2007

2008-03-08T23:15:00.001-08:00

Artist Profile, Almanac, July 2007

2008-03-08T23:14:00.003-08:00

Meredith Frances Lynch
Untitled Painting Project

Exit Gallery
July 2 to 13
Sydney

The studio practice of Lynch explores the contemporary expanded field of painting as a blended practical and conceptual artistic investigation.

A fusion exists in this body of work: in the attention paid to the appearance, form and means of presentation of the formal aesthetic of works, as well as questioning elements of the definition of the studio term - painting, alongside an exploration into the creative meditative experience of a practicing visual artist.

Meredith Frances Lynch, Untitled (Painting Project 06/07), 2006-07, liquid paper on baking paper, 600 x 30cm

Also see - http://www.art-almanac.com.au/page.php?page=78

Hatched07, Perth Institute for Contemporary Art

2008-03-08T23:14:00.001-08:00

SCAfold June 2007

Learning Through Doing

MVA candidate Meredith Frances Lynch joined a panel of speakers from galleries, museums and universities across Australia at this years Hatched Arts Research Symposium. Meredith’s paper: 'Learning through doing: practice based learning', discussed the artwork and practices of artists Tony Tuckson and Mel Bochner as examples of informal methods of and practical strategy for artists’ learning and development outside of the art-school setting. These case studies were considered in a comparison to the preparatory structure for learning as established in a formal setting such as the BVA and MVA programmes offered at Sydney College of the Arts. The event was coordinated by the Perth Institute for Contemporary Art to complement the annual Hatched exhibition that this year included the work of three SCA students: Shannon O’Laughlin, Courtney Williams, and Bronwyn Thompson.

SCAfold, June 07

2008-03-08T23:13:00.000-08:00

Student news…

MVA students Meredith Frances Lynch and Mary Wenholz recently shared an exhibition space at one of Sydney’s newest emerging artist galleries: A.T.V.P – Contemporary Art in Newtown. The work exhibited by the pair was consistent with the ongoing studio investigations undertaken as the work represented a blurring of the common held understandings of what painting is as a medium, in a contemporary context.

Firstdraft Gallery, 2006

2008-03-08T23:02:00.001-08:00

In May 2006 Lynch participated in the group exhibition Scissors, Paper, Rock at Sydney's oldest artist run innitiative Firstdraft gallery.

Firstdraft Gallery
116 - 118 Chalmers St
Surry Hills NSW 2010
http://www.firstdraftgallery.com
(+61 2) 9698 3665

kurnell / mori 2006

2008-03-08T23:00:00.002-08:00

Abstraction Continued, Exit Gallery, 2006

2008-03-08T23:00:00.001-08:00

Mon 26 June - Sat 8th July 2006 - Meredith Frances Lynch:
ABSTRACTION CONTINUED by Meredith Frances Lynch displays works focused on an ongoing investigation into the nature of contemporary abstract painting.

Gallery installation, three views...

Degree Exhibition, 2005, Honors Students, Sydney College of the Arts

2008-03-08T22:59:00.002-08:00

'Abstraction X Me' Exit Gallery, 2005

2008-03-08T22:59:00.001-08:00

'Network', Newspace Gallery, 2004

2008-03-08T22:58:00.003-08:00

'Untitled (A shade of red)' 2004, Lipstick on unprimed canvas, 60x60inch

'Untitled Self', Exit Gallery, 2004

2008-03-08T22:58:00.001-08:00

A detail from one of a pair of twin paintings, 'Untitled (Black and white grids)', 2004, Oil pastel & acrylic on canvas, 48x48inch x 2 paintings

'1+1=2', Newspace Gallery, 2003

2008-03-08T22:57:00.000-08:00

'Untitled (Mandala)', 2003, Oil pastel & acrylic on canvas, 54x54inch