19 September - 19 October
Not only is Askew One recognised globally for his ferocious, explosive graffiti aesthetic, he also displays an equally as daring and dramatic approach in the studio. His works demonstrate a curiosity about the boundaries of the art making process, the flexibility of his media, and the potential of the tools he uses to create his paintings. Yet, despite his expressive strokes and theatrical composition, there is a precious tension in his works that comes from tempering that ferocity with restraint – a skill reserved only for the most well-practised artists.
Askew One has over 20 years experience in self-taught graphic design, illustration, photography, publishing, directing and editing music videos and moving images. He has exhibited and appeared as a keynote speaker internationally.
Kyle Hughes-Odgers’ works both shout and whisper at once. Evoking elements of Takashi Murakami’s Superflat aesthetic, Hughes-Odgers harnesses his bold style to experiment masterfully with geometry, depth of field, balance, pattern and symmetry. The characters in his work possess an absurd sombreness that serves to quieten his compositions, which seem to sing – through his playful colour palette – visual melodies.
Hughes-Odgers is enormously accomplished, having exhibited internationally, completed major public art commissions at high-traffic sites including Perth International Airport and Murdoch University, featured in numerous publications and received the 2013 SCBWI Crystal Kite Award for Australia/New Zealand with Meg Mckinlay (author) for the children’s book Ten Tiny Things (Fremantle Press).
Jess began stencilling in 2005 and has spent most of her time toiling over a table ever since. Under the pseudonym 23rd Key, she creates photo-realistic stencils, taking no short cuts and spending up to 6 months on any one piece. With a background in printmaking, graphic design and audio engineering, she utilises all aspects of these experiences, contributing greatly to her already photo-realistic style.
She hand-carves each delicate, perforated layer, and this attention to detail is the trademark that won her the Australian Stencil Art Prize in 2011. Working with only 9 layers or fewer on any one piece, she doesn’t give weight to the number of layers a stencil has, but the amount of detail cut into each individual layer. Breaking ground in her medium, she is one of the few stencil artists to incorporate 3D elements and free-hand embellishments into her works. 23rd Key excels in breaking the rules of the stencil medium and approaching it in a way none of her peers have before.