We are thrilled to present brand new bodies of work by Leonie Barton, Kerryn Levy and Lucas Wearne. Together they create a rich tapestry where anthropomorphism, geological history and introspection intertwine, inviting viewers to explore the diverse facets of human connection and narrative interpretation.
Lucas Wearne’s Shapes of the Mind is a body of sculptural work that intricately weaves together the organic and the geometric, the tangible and the intangible, through the age-old materiality of limestone and contemporary narratives that explore abstraction and psyche. In a nuanced layering of creative expression, Wearne’s works challenge us to trace their various forms, engage with their stories, and perhaps find a reflection of our own journey.
Lucas shares: “This stone, with its tales as old as time, encapsulates narratives of ancient landscapes and beings. There’s a life in it, a breath, even before my chisel touches it. Each sculpture, imbued with this living quality, stands as a testament to both the enduring forces of nature and the ever-evolving dance of human thought.”
Leonie Barton’s Looking Out to the Block is a contemplative exploration inspired by a large limestone block located in her garden. Originally intended for a sculptural project that her physical limitations prevented, Barton turned to painting as a stationary and creative outlet. The limestone block becomes a focal point, observed through shifting natural light, its changing textures and imagined transformations inspiring a series of paintings.
Leonie says of her work: “I watch this limestone block through the window, I watch the morning sun hit its planes to glow and the afternoon cast its darkest shadows that impose shifts in shape and highlight its rough and now-wearing skin. I imagine it in different forms, what will be added or what will be taken away. In the meantime, it waits for me and emerges in the paintings, while I too wait for it.”
Kerryn Levy’s The Moon, She Calls to Her Daughters is a captivating exploration of anthropomorphic artistry, comprising sculptural vessels and wall sculptures inspired by Ley Line’s adaptation of the Brazilian folk song Ciranda. Informed by the lyrical richness of Ciranda, Levy’s work extends beyond the auditory to visually embody the inherent connection between the human body and the surrounding landscape.
“I listened to this song repeatedly as I made works in my studio,” reflects Kerryn, “and felt enticed by the vision of women being drawn to the water under the moonlight, gathering—it felt powerful, mysterious, and magical.”