Ipswich Art Gallery

On Monday I drove out to Lockyer Regional Art Gallery, Gatton, to pick up my exhibition Algalrhythms which had been exhibited for the last six weeks there. I was expecting it all to be off the walls ready to load, but it was still up – they left it so I could see the difference with the new lighting. I’m so glad, but I wish I had taken my proper camera. 

Particularly with the works on the moveable walls in the centre of the gallery, where the lights were focused solely on the work (and apparently only set at 50%) they just glowed. It was the one thing I had been disappointed with at the gallery, which had been a delight to work with in every way otherwise, and they had wanted the lights as much as I did. They were happy to be able to document the difference it made to my exhibition.

On the way home I dropped in to Ipswich Art Gallery to see the three current exhibitions – only to find one was shut on Mondays! A return trip may be in order. It was my first visit to the gallery, which has some impressive wood carvings from the collection in the foyer – you can read more about their creator on this blog I found – very interesting.

On the mid-level was Everyday Sketchbooks by Deb Mostert, an Ipswich artist who uses her sketchbook every day. From detailed studies of statues to records of her work in taxidermy, and beautiful everyday moments like pre-dinner drinks and nibbles, her work felt fresh and lively.

One of the simplest was of bands of colour in watercolour - but what a marvelous and accurate record of these beach views.

Her artist book of the interior of a home was wonderful in the way it took you through each room all at the same time, but you felt as though you had simply turned on the spot to see it all. A very evocative yet simply executed work.

Jane duRand’s large ceramic installations in the main gallery were impressive in both their scale and detail. I was definitely intrigued as to how they had been hung, and a fellow gallery patron suggested it was probably Command strips. She also voiced her opinion on the shiny glaze on the green work, and I had to agree that it took away the ability to see the textures, especially as you tried to look higher up. We also agreed that it should have started a bit lower down, as we felt we were missing out on the top pieces.

I think the black work was my favourite, in both its exploded installation and in the use of largely matt glaze with shiny highlights.

The main gallery is huge, but can be divided into smaller spaces, and I will definitely apply to exhibit there in the future.