Melbourne Art Fair 2024

Renee Cosgrave

22.02.2024 - 25.02.2024


Haydens presents a series of recent paintings by Renee Cosgrave for the 2024 edition of The Melbourne Art Fair. These new works continue Cosgrave’s exploration of her Māori heritage and whakapapa [genealogy], challenging the history of abstraction by embedding her paintings with emotion and intergenerational knowledge.

Colour becomes a vehicle, transporting us into a carefully considered site of investigation. While the prismatic hues of Cosgrave’s works can be understood as embodying the complex, heterogeneous experience of human emotion, they also speak to a reflection on our relationship to family, and the lands on which we call home.

There is a significant link in Cosgrave’s paintings to the methodology used in raranga, the Māori art of flax weaving. Used as a process to create practical items such as baskets, bags, and matts, it has traditionally incorporated layered symbology, and played a significant part in Māori culture and society. Like the traditional art of raranga, Cosgrave’s paintings interweave experience and history in their surface by questioning how we express emotion through the symbolic nature of colour.

Cosgrave’s works also embody whakapapa by connecting the artist to whanau [family], land, sea, and sky through the act of painting. The painting Learning Whakapapa (Māori Land Court Archives), 2023, represents the specific lands of her family, rendered opaque through the process of abstraction, and communicated only by her to whānau. This familial understanding speaks to an act of care, and a responsibility to preserving a connection to ancestors, those who came before, and those who will come after.

Through this body of work, Cosgrave asks us to question our own relationship to family, land, and history, and the inheritance we might pass on to our kin. It represents a wide array of emotions, both light and dark, and helps us feel comfortable in its expression of vulnerability.



Renee Cosgrave lives and works in Naarm/Melbourne on Wurundjeri Woi-wurrung Country. She’s from Aotearoa/New Zealand of Irish, Māori (Ngāti Tūwharetoa iwi) and Scottish ancestry. Renee’s practice explores abstract painting, her recent works are inspired by raranga (Māori weaving) and reference colours from land, waters, and speaks to concepts of whakapapa, her works become dedicated to people or place.

Renee was awarded the MECCA M-Power National Gallery of Victoria Arts Mentoring Grant in 2019. Her recent exhibitions include: Papa, Two Rooms, Auckland, New Zealand (2023); Whanaungawith Aunty Dorothy Nilson, Blak Dot Gallery, Melbourne (2022); Serotonin, Futures Gallery, Melbourne (2022); Geelong Contemporary Art Prize, Geelong Gallery, Geelong (2022); Ahi Mahana with Sean Miles, Sutton Projects, Melbourne (2019) and WestFarbe, CoCA, Christchurch, New Zealand (2020). Renee’s work is held in private collections in Australia & Aotearoa and public collections including Artbank, Charles Sturt University, Wagga Wagga and the James Wallace Arts Trust, New Zealand.

Renee Cosgrave is represented by Haydens, Melbourne
Spring1883
at
The Windsor Hotel

Amalia Lindo
Sam Martin

09.08.2023 - 12.08.2023

Haydens is pleased to present new works by Amalia Lindo and Sam Martin as part of the eighth edition of the Spring188 Art Fair at The Hotel Windsor. As a unique pairing of two seemingly disparate practices, this presentation highlights contemporary questions of labour, technology, and craft.

Amalia Lindo’s suite of twelve CNC trace monotypes are created from over 9,000 descriptive keywords submitted by globally-distributed online workers over one year. The keywords were provided by workers to describe their video submissions for Lindo’s twelve-channel video installation Telltale: Economies of Time (2022-23). Depicting partial images reminiscent of touchscreen gestures, each work reveals a glimpse into the lives of a global digital workforce. The monotype drawings, primarily in silver and earthy tones, share similarities to early surrealist automatic drawings–highlighting the increasingly blurred line between human and machine. These works further emphasise artificial intelligence (AI) as a reflection of our collective conscience, an extension of Lindo’s broader research into the human intelligence behind AI systems.

Sam Martin’s eclectic series of small-scale paintings are framed in skeuomorphic injection moulds of various patterned baskets. As an art form, basketry is one of the few crafts that has yet to be mass-produced via manufacturing. Martin’s faux facsimiles of this ancient craft are used to frame our view of abstract painting as a heterogeneous object. These works use the picture plane as a site to explore the materiality of painting through layering and optical illusion. Paint and its application, via staining, brushing, and the various interweaving of coloured threads, questions and interrogates our understanding of the painted image.

Viewing these bodies of work together raises questions about labour in a contemporary context. Martin’s works Element (2022-23) and Re-enactment (2022-23) act as markers of time through their laborious process of layering, stitching, and sewing, emphasised by gently dragging paint across the surface revealing its peaks and valleys. Just as the collision of tectonic plates slowly forms mountains, the surface of these works only exists through a build-up of time and material. Here, the artist’s labour is directly embedded in the picture plane. Lindo’s work similarly incorporates a build-up of labour over a significant period of time. In this case, it is the result of the labour of roughly 1,800 human workers who are routinely contracted to train AI. The aesthetic of her work is a direct result of the mass volume of its inputs, with its symbolism derived from the common themes identified by these globalised workers.

Just as Martin’s paintings are composed of thousands of layered threads, Lindo’s machine-mediated drawings are an accumulation of thousands of individuals’ labour. As our technology continues to evolve to replicate human creative acts, art will continue to exemplify the layered and at times contradictory conditions that make us human.



Amalia Lindo (b. 1990, United States) is a multi-disciplinary artist in Naarm/Melbourne. In 2016, she completed a Bachelor of Fine Art (First Class Honours) at Monash University. By incorporating human and algorithmic decision-making into her image-based practice, Lindo examines the effects of automated technologies, such as artificial intelligence, on human labour, behaviour and decision-making.

Sam Martin (b. 1985, Australia) is a contemporary artist who uses painting as a platform to test the order and location of things. The pictures are created over a number of years. Within the studio environment, each piece undergoes a process of rigorous experimentation - splicing together elements of repetition, circumstance and decoration. Found materials are combined with labour intensive craft and the picture plane reconciles every decision for the viewer. The final outcome is arrived at rather than determined.

Aotearoa Art Fair 2023

Eliza Hutchison

02.03.2023 - 05.03.2023

Eliza Hutchison’s work experiments with materiality and abstract aesthetics in an exploration of our complex and psychological relationship to the photographic image. Placed firmly within our present cultural and historical contexts, she explores the idea of biography in which personal archive is both indexically abstracted with and enmeshed in the narrative of mass culture as an alternative to traditional self-portraiture.

Hutchison’s work uses the archive as a generative tool to investigate ideas of collective consciousness and personal histories. Her most recent works address the digital reception of imagery and the fluid formation of consciousness, amalgamating the personal and political on the same interface.

Eliza Hutchison was born in Johannesburg, South Africa and currently lives and works in Melbourne. Hutchison was educated at UNSW and RMIT Melbourne where she studied film, sculpture and photography. Hutchison’s recent exhibitions include The Chills, OIGÅLL PROJECTS, 2023; Josephine Ulrick and Win Schubert Photography Award, HOTA, 2022; MUMMUMMUMUMMUMMUMMUM, Haydens, 2022; Photo 2021, Victorian Parliament Commission; The National, curated by Isobel Parker Phillip, 2019; Image Reader, Centre of Contemporary Photography curated by Made Spencer-Castle, 2019; Balnaves Contemporary, Art Gallery of New South Wales, curated by Natasha Bullock, 2013; Melbourne Now, National Gallery of Victoria, 2013.

Press:
Hamish Coney: Nau mai ki te Kapua/Welcome to the Cloud
Aotearoa Art Fair 2022

Stephen Bram
Renee Cosgrave
Anna Fiedler
Guy Grabowsky
Sam Martin
Rose Nolan
Stephanie Pile
Allan Rand
Jacqueline Stojanović
Masato Takasaka
Audrey Tan
Sarah Ujmaia
Tim Wagg

16.11.2022 - 20.11.2022

Haydens is pleased to be participating in the Aotearoa Art Fair 2022 at The Cloud in Tamaki Makaurau, Auckland. This is the first time Haydens is exhibiting work in Aotearoa.

Stephen Bram is represented by Anna Schwartz Gallery
Rose Nolan is represented by Anna Schwartz Gallery
Sam Martin is represented by Station Gallery






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