RHYS LEE & HEIDI YARDLEY
3:33 ART PROJECTS FOR THE CLAYTON UTZ ART PARTNERSHIP, MELBOURNE
NOVEMBER 2018 TO MAY 2019
The Clayton Utz Art Partnership brings together a unique collaboration between two outstanding Australian artists and our firm.
Each exhibition presents an opportunity to showcase the work of two contemporary artists in the offices of Clayton Utz. Our exhibition space offers a unique visual art experience for clients to get up-close and personal with an amazing array of artwork.
Following the success of our first Melbourne exhibition we are excited to launch our second exhibition featuring artwork by two Victorian based artists, Rhys Lee and Heidi Yardley. The uniquely curated program allows both artists to explore and display their work in one of Australia’s leading corporate environments. Guests visiting the exhibition will have an opportunity to explore the artwork in an intimate and innovative environment. The Clayton Utz Art Partnership is a truly exciting initiative and demonstrates our pride as an Australian firm committed to the cultural sector, and the broader creative communities in which we live and work.
The Clayton Utz Art Partnership
VIEWING BY APPOINTMENT ONLY
CONTACT GALLERY FOR FURTHER INFORMATION
Heidi Yardley is a recognised Australian artist who has exhibited widely throughout the country for the last 20 years. She has been a finalist in significant prizes including The Archibald Prize, Wynne Prize, Sulman Prize and The Doug Moran National Portrait Prize. Yardley has held two artist residencies in New York, funded by the Ian Potter Cultural Trust and has been listed as one of Australia’s 50 most collectable artists (Australian Art Collector magazine, 2011). Yardley’s work is held in a number of public institutions including Artbank, Gippsland Art Gallery, and the University of Queensland Art Museum.
Heidi Yardley’s practice explores elusive worlds of displaced identity through representations of the female figure, often in surreal configurations. Yardley pairs her protagonists with ‘broken’ still lives (fragmented florals and displaced objects) through which the viewer can begin to decipher a language of fractured memory and unresolved relationships. She additionally explores the Australian landscape through her enigmatic and melancholy landscape paintings. Yardley’s process begins with collecting found imagery from twentieth century archives and reworking this source material on computer, often using collage techniques to reappropriate existing photographic images. The source material is then referenced to create detailed and labour-intensive paintings and drawings. Through this process Yardley aims to reconstruct her personal history as well as that of the collective unconscious, forging ambiguous narratives imbued with a dark psychoanalytic timbre. Yardley’s compelling and elegant compositions explore personal identity, psychology, ritual, desire and loss but also allow the viewer the space to draw their own conclusions.
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*SEVERAL OF HEIDI YARDLEY'S WORKS IN THIS EXHIBITION APPEAR COURTESY ARTHOUSE GALLERY, SYDNEY
Rhys Lee has held solo exhibitions in Melbourne, Brisbane, Perth, Sydney and internationally in New York, USA; Cologne Germany and Gisborne New Zealand. His work has been included in group exhibitions at the Ian Potter Museum, Melbourne (2015), the Archibald Prize at the Art Gallery of New South Wales (2012), Mornington Peninsula Regional Gallery (2001), The University of Queensland National Artist's Self Portrait Prize (2009) and the Doug Moran Prize at the State Library of New South Wales (2009). Internationally, his work has been included in group exhibitions in Dusseldorf, Germany; London, UK and New York, USA. Lee has a Bachelor of Visual Arts, Graphic Design from the Queensland College of Art (1997). A monograph on the artist was published in 2009. Lee's work is held in the collections of the National Gallery of Australia, the University of Queensland Art Museum and Artbank.
Rhys Lee’s images are a product of rigorous process. A prolific artist, his strong understanding of colour relationships, mark making and suggestive figuration has developed through continual experimentation and repetition in the studio. This process of working dictates the content of Lee’s images, as figures as diverse as cartoon characters, horror tropes and emotional archetypes emerge from the subconscious through the almost automatic act of painting and drawing. The humanoid face, or at least its suggestion or abstraction, is present in all of Lee’s imagery. Each work operates as a type of self-portrait, offering a fleeting glimpse of an aspect of the artist, before the face is reconfigured in the following image in Lee’s continual production.