Jan Manton
... out of time | Carl Warner
... out of time | Carl Warner
Jan Manton
Desire Path | Karla Marchesi
Desire Path | Karla Marchesi
Jan Manton
False Continuity | Jacinta Giles
False Continuity | Jacinta Giles
Jan Manton
Intimate Dialogues | Judith Wright
Intimate Dialogues | Judith Wright

Miles Hall

Holdings 2023 | Group Exhibition

 

Holdings 2023 | Group Exhibition

28 November - 20 December, 2023

Jan Manton Gallery is pleased to present Holdings 2023, a group exhibition of selected works celebrating the exhibiting artists of 2023. We welcome you to our gallery stockroom for viewing.

Exhibiting Artists:

Andrew Browne
Angela Brennan
Dadang Christanto
David Fenoglio
Ian Friend
Jacinta Giles
Jonathan Kopinski
Joseph Daws
Kellie O’Dempsey
Miles Hall
Natalie Lavelle
Simon Degroot

 

FALL TO EARTH | Miles Hall

 

FALL TO EARTH | Miles Hall

28 November - 20 December, 2023

“As the force of Gravity pulls all animate and inanimate beings towards the earth it perhaps, inversely and paradoxically, that which connects us to something beyond.

These recent paintings have been created working under the direct inspiration of the Mediterranean light and the warmth that falls directly into the studio from above. I have tried to exploit the material qualities of paint and surface to create a cosmos of colour, rhythm, gesture – a territory held between stillness and movement.

Sometimes on the wall, sometimes on the floor, these new works are made through a process of combining solid and liquid layers of paint. Paint is not passive but rather an active participant, responding to the forces of gravity, gesture and climate.

Many of the paintings contain reflective pigments that create multiple chromatic variations depending on the ambient light and the position of the viewer - things will appear and disappear.”

— Miles Hall, 2023

 

DISSEVER | Miles Hall

 

DISSEVER | Miles Hall

Online from 13 September 2023

Jan Manton Gallery is pleased to present DISSEVER by Miles Hall, our latest online exhibition showing from 13 September. Hall’s paper works capture the process of combining graphite pigment with an oil binder to create gestural qualities and forms. Each piece has been torn into two seperate pieces and is then recombined on the opposite side to reveal its tear.

“These works question the distinction between drawing and painting aiming to blur the boundaries habitually made between the two techniques,” states Hall in an exhibition essay by Jonathan McBurnie from Perc Tucker Regional Gallery in 2022. “This process allows me to create a physical encounter between colour and gesture where drawing and painting function as one.”

 

GRAPHEMISM | Miles Hall

 

GRAPHEMISM | Miles Hall

20 July - 7 August, 2022


Graphemism (neologism): originating from the greek GRAPHIA (γραφία) “to draw, write, describe, record” and PHEME  (ϕάναι) "to speak".

Jan Manton Gallery is pleased to present GRAPHEMISM by Miles Hall on show between 20 July to 7 August, 2022. Using a range of both linen and aluminium supports, Hall's new works evolve from an active dialogue between material, gesture and surface. Paint is not considered as passive matter but an active element – its inherent properties contribute to the development and emergence of both form and content.

"Graphite holds the distinction of being the most stable form of solid carbon ever discovered and forms the basis for these new paintings. Its etymological ties to the history of drawing and writing confer the medium with a cultural significance that I have attempted to celebrate - notably the impulse to trace and elucidate existence through line." — Miles Hall


 

Miles Hall | Petit Pois

 

Petit Pois | Miles Hall

2 - 24 December 2020

Jan Manton Gallery is pleased to present Miles Hall's latest exhibition PETIT POIS.

Hall is an Australian born artist, though currently resides in Montpelier, France. His recent series of work titled 'Petit Pois' translates to 'the little green pea' and makes reference to the fairytale of the Princess and the Pea.

Miles states in an interview with Louis Martin Chew:

“As I started making this work in April 2020, we went into confinement. And the paintings became something very different. At their base is the idea of layering. The image is the result of embedded layering and this is where the story of the princess and the pea – the green pea – comes in. I always loved the Hans Christian Anderson tale of the twenty mattresses with the pea at the bottom because, in a painting, the underpainting, the first few marks and impressions have a way of coming all the way through and manifesting themselves on the surface.”

 

Pigmentum MMXVI | Miles Hall

 

Pigmentum MMXVI | Miles Hall

23 November - 21 December 2016

At the height of the Italian quattrocento, the prosperity of Venice was considerably strengthened by the sale of oltremare de venecia (Venetian overseas goods). Imported products such as pepper, ginger, nutmeg and cloves found themselves combined with local ingredients that re-invigorated pigments and the golden age of Italian painting has a certain debt to the colours made from pigments that came from contacts established with Eastern and Middle-Eastern civilisations.

While we don’t know whether Piero della Francesca ever relished a sugo di carni from Bologna, seasoned with cloves, nutmeg and cinnamon, we are certain (via the analysis of his paintings) that he had access to a diverse range of foreign pigments such as vermilion, verdigris, cinnabar, orpiment, azurite blue and the most famous pigment - ultramarine blue, made from imported lapis lazuli mined in what is today known as Afghanistan. Similar to the transmutations occurring in the kitchens of the Italian peninsula, Piero della Francesca incorporated foreign pigments with locally sourced materials such as yellow ochre, raw and burnt umber, vine black and red earth. More than five centuries later, Piero’s paintings continue to touch us through their chromatic beauty, formal elegance and economy of means.

In this way the history of pigments is also the history of cultures, people, trade and the relations established between different societies. These small, modestly sized works entitled PIGMENTUM MMXVI have found their inspiration through research into the history of the silk roads, augmented by a love for colour and the desire to bring pigments from diverse horizons into new configurations and visual dialogues. In a world that is increasingly characterised by the control of boarders, refugees, discrimination and intolerance, I hope that these paintings, in their own small way, can celebrate the beauty of what can occur when disparate things collide.

— Miles Hall, November 2016.

 

Miles Hall : Détrempe et Tourage 6 – 30 August

Détrempe et Tourage

Used in patisserie to describe the process of layering and the building up of surfaces, ‘Détrempe et Tourage’ is a technical term I have borrowed to highlight the physical processes involved in the act of painting.

The painter and the patissier share a common pursuit – both are concerned in some way or another with the amalgamation of independent stratums that combine to generate an overall experience for our senses. For the painter, oil, medium and pigment are blended to the required chromatic and material consistency and then applied to a support with a spatula, brush or tool.  Layers are developed and combine in often surprising, mysterious ways.

I find this process of layering to be most compelling – these works are testaments to my desire to render the act of looking into a visually sensual, tactile experience.

Miles Hall

Miles Hall – Flatland Boogie : 5 Sept – 5 Oct