Colour Music

AUGUST 14 – SEPTEMBER 28, 2014

Featuring Sonic Network no.14 oil and acrylic on canvas 304x488cm

COLOUR MUSIC brings together the work of visual artists who speculate on connections between pictorial form and pitch, harmony, movement and musical notation.

A core of historical works by Roy de Maistre, Ludwig Hirschfeld-Mack, Jozef Stanislaus Ostoja-Kotkowski and Frank Hinder provides the framework for contemporary artists who are also engaged with the rapport between music and the visual arts.

Extended forms of painting using light, performance, kinetics and musical collaborations continues the preoccupation with synaesthesia that haunted the modernist project.

Video/film works from the 1980s, an immersive installation by Botborg, painted ‘compositions’ by John Aslanidis, John Nixon, David Sequeira and Cathy Blanchflower and collaborative performances round out this exhibition curated by Tony Oates.

Drill Hall Gallery (ANU)

Kingsley Street, off Barry Drive, Acton T +61 2 6125 5832
Hours: 12-5pm Wednesday to Sunday


JUNE 27 – AUGUST 31, 2013

What is the unique thing that all artists share? What do they search for in their art that defines them? Is it their brush stroke, line, hand on the material, humor, politics or choices in presenting ideas?

ETHAN COHEN NEW YORK presents Sharper Image, a group exhibition that brings to together 22 artists and the unique expressions. The purpose of this exhibition is to showcase these diverse ideas as each of their practices moves toward some notion of idealism and refinement.

Idealism, in its myriad forms, can be serious or playful, abstract or representational, sculptural or painterly, conceptual or nonobjective, active or passive.

Idealism in its painterly form, like in the work of Barry Nemett, Kyle Hackett, Chi Ming, Joseph Ayers, Peter Ferguson, Li Lin, June Culp, Laini Nemett, M.Cheon aka Kim Il Soon, Liu Xiaohui  or Lillian Lorraine, focuses on  specific details, like an architectural step or varying approaches to portraiture. As Barry Nemett says, “Painting, for me, is about bringing subject matter, emotions, ideas into visual focus. Ironically, sometimes sharpening an image involves ambiguity, ethereality . . . even invisibility.”

The everyday object finds revision and refinement in the sculptural works of Brookhart Jonquil, Michael Zelehoski, Bob Bailey, Matt Kinney, Breon Dunigan, and Isaac Aden, who employ speakers, street signs, skeletons, fluorescent tubing, and mirrors. In the work of Eric Doeringer, the artist has taken familiar art objects – on Kawara’s date paintings, in this case – and appropriated it as his own.

The intangible is given form in the sound/algorithm paintings of John Aslanidis, and Leanna Pascual’s yoga-practice-turned-performance artwork. Likewise, Steve Lambert’s lit sign illuminates, literally, the notion of authoritarianism and power.

Sharper Image  artists include Trong G. Nguyen, Breon Dunigan, Eric Doeringer, Leanna Pascual, John Aslanidis, Barry Nemett, Laini Nemett, M. Cheon aka Kim Il Soon, Brookhart Jonquil, Michael Zelehoski, Lillian Lorraine, Peter Ferguson, Steve Lambert, Kyle Hackett, Joseph Ayers, Matt Kinney, Liu Xiaohui, Isaac Aden, Bob Bailey, June Culp, Chi Ming, and Li Lin.

Ethan Cohen New York will present Sharper Image: Part II, a special exhibition, at artSTRAND in Provincetown, Massachusetts from August 9 – 18, 2013. For more information, contact  or  508-487-1153.

For general inquiries about Sharper Image, contact 212-625-1250 or

Gallery 9 Exhibition 20 Mar – 13 Apr 2013

Gallery 9 is excited to welcome Melbourne based artist John Aslanidis back to Sydney for an exhibition of new work along side of his latest collaboration with Berlin based sound artist Brian May, Sonic Network no. 13.

In the creation of Aslanidis’ Sonic Network series, the artist uses sets of mathematical (algorithmic) intervals to structure the paintings’ compositions. These are relative to a symmetrical grid on each of the four panels which make up the whole. For these collaborations May considers the structural and compositional elements of Aslanidis’ paintings and emulates Aslanidis’ processes by responding to the moiré (wave-like) patterns. Furthermore he demonstrates the multiple sine waves’ interactions via audio interference. To interpret these sine waves May adapts a tonal range to represent the circular forms, geometric shapes, reverberating patterns and colours inherent to the paintings. Order and chaos are present in both the sound piece and the painting and the result is one of synergy between the analogue and digital mediums. Aslanidis explains his intention “is to create imagery with a sonic resonance where there is no start or end point. They capture a fragment of infinity and represent a sense of a perpetual change.”

John Aslanidis has collaborated with Brian May recently on a number of exhibitions: Sonic Network no. 8 at Melbourne arts centre The Substation (Nov, 2012), Sonic Network no. 9 at dr Julius–ap in Berlin (Oct 2011), at White Box in New York City (Mar 2012) and also at Kunsthalle Beacon (NY). Also in the USA in 2012, Aslanidis participated in an exhibition Emergence and Structure touring Pennsylvania and Florida. In the lead up to this exhibition Aslanidis has also recently completed a large scale painting commissioned by the Arts Centre Melbourne, Sonic Network no. 11 (2012) for Hamer Hall.