Elisabeth
Bodey
Art

Raga MKH Arvo Vespers 1 Devotion Vespers 1 Doxa
Developing Structures Developing Structures Developing Structures Maelstrom McJAD Songs From a Lorikeet Triadic 1 Triadic 2 Triadic 3 Small Songs Small Songs Vespers 1 Vespers 2

From the installation fields of relations, boxes of jewels: ANU School of Art Gallery, September 2015:

Shatter Push and Pull
Untitled Small Songs Small Songs Small Songs Untitled Untitled Clash
Untitled 2 Primary Grid Untitled 4 Untitled 5 Untitled 6 Florentine Palette Molly's Palette Amundurrgnu Boogie Descending Descending Manuscript Manuscript
Angampentye....Angampentye Bundanon....Bundanon Two Ways McDonald…Untitled McDonald…Untitled McDonald…Untitled Pmere Udepata Utnenge Country History Painting No.1 History Painting No.2 Language Place Reflection Untitled Untitled
Bundanon - Pulipt Rock Bundanon - Single Woman’s Hut – Topos Bundanon - Single Woman’s Hut – Lichens and Moss Bundanon - Single Woman’s Hut – Banksias and Spotty Gum Bundanon - Single Woman’s Hut – Mist Bundanon - Sky Bundanon - Topos Dark Mountain Descent Boxed Landscape The Idea Of North The Idea of North
Dutch Lace Lull Spill Purple Span Ritratto Feminile Ritratto Feminile Feminile Periodic Intrada Vessel Vessel Vessel Vessel Periodic Post Factum Periodic Nothingness

This group represents a selection of oil on canvas paintings made between 1987 to 1989:

Oil on Canvas, 1987-1989 Oil on Canvas, 1987-1989 Oil on Canvas, 1987-1989 Oil on Canvas, 1987-1989 Oil on Canvas, 1987-1989 Oil on Canvas, 1987-1989 Oil on Canvas, 1987-1989 Oil on Canvas, 1987-1989 Oil on Canvas, 1987-1989 Oil on Canvas, 1987-1989

Statement

My painting practices arise from a cross-cultural/cross-disciplinary focus. I am interested in how order and randomness, chance and the arbitrary can play out in painting, carried in a conversation between the process of making, relationships of colour, space and notational forms. They are responses to the phenomenological experience: of cultural spaces, of those of sound and paint, of immediacy and improvisation. Manipulating these aspects, constructing and re-constructing, makes for the experience of the unexpected and often a sense of the unfinished at the end stage. The viewer can add her own perceptions to the richness of the experience.

Contact

Contact Elisabeth via: elisabethbodey@gmail.com.

Studies

Collaborations

Solo Exhibitions

Group Exhibitions

  • 2018 • The Field Revisited – Langford 120, Melbourne
  • 2018 • Of Colour And Light – West End Art Space, Melbourne
  • 2018 • Abstract Junctions – Abstract Project, Paris
  • 2018 • The Abstract Project – Factory 49, Sydney
  • 2018 • Edge – Langford120, Melbourne
  • 2018 • Abstraction TwentyEighteen – Langford120, Melbourne
  • 2017 • Group Show: Reductive – Non objective Private Gallery, Katoomba, NSW
  • 2015 (November-December) • 'Works On Paper' – Charles Nodrum Gallery, Melbourne
  • 2014 • 'Blue' – Langford120, Melbourne
  • 2014 • Gold Coast Art Prize, Queensland
  • 2013 • In Line – Langford 120, Melbourne
  • 2012 • SPAN – The Stockroom, Kynton
  • 2008 • Abstraction Six Ways – Charles Nodrum Gallery
  • 2006 • Fletcher Jones Art Prize – Geelong Gallery, Geelong
  • 2005 • A Short Ride in a Fast Machine – Gertrude Contemporary Art Space
  • 2002 • APW Celebrating 21 Years of Printmaking – Australian print Workshop, Melbourne
  • 1997 • A4 Art 1997 – West Space, Melbourne
  • 1996 • The Art of Collecting #2 – Linden Gallery, Melbourne
  • 1996 • Grounded – The Basement, Melbourne
  • 1995 • Save Albert Park – Robert Lindsay Gallery, Melbourne
  • 1995 • Decadence – 200 Gertrude Street, Melbourne
  • 1994 • Don't Stop – Linden Gallery, Melbourne
  • 1994 • Sinistra – Artspace, Sydney
  • 1994 • House – Lighthouse Foundation at Sotheby's, Melbourne
  • 1993 • Margaret Stewart Endowment Selected Exhibition – National Gallery of Victoria
  • 1993 • Supervalent Thoughts/Periodic: post factum – Fifth Australian Sculpture Triennial (Core Program)
  • 1993 • Ether Ohne titel – Melbourne
  • 1992 • Recently Seen – Works from the Margaret Stewart Endowment of the National Gallery of Victoria, McClelland Gallery, Langwarrin
  • 1992 • A.C.A.F.3 – Charles Nodrum Gallery, Melbourne
  • 1992 • Artworkz Four – 101 Collins Street, Melbourne
  • 1991 • Frustrated Cargo, Studio 12, 200 Gertrude Street, Melbourne
  • 1991 • Art Object Vending Machine Project – Cell Block – Rhumbarallas, Melbourne
  • 1990 • Inaugural Exhibition – Northern Territory Centre for Contemporary Art
  • 1990 • A.C.A.F.2 – Realities Gallery, Melbourne
  • 1990 • Lost in Space – 200 Gertrude Street, Melbourne
  • 1989 • IN-HOUSE – 200 Gertrude Street, Melbourne
  • 1989 • IN-HOUSE – Exhibition Gallery, Wangaratta
  • 1988 • A New Generation – Australian National Gallery, Canberra
  • 1988 • Five Painters – RMIT Gallery, Storey Hall, Melbourne
  • 1988 • Show With No Name – Linden Gallery, Melbourne
  • 1988 • Artist's Choice – Stanfield Gallery, South Melbourne
  • 1988 • Collector's Starting Kit – D.C.Art, Sydney
  • 1988 • National Women's Art Award – Centre Gallery, Gold Coast

Awards

  • 2010 • ANU CASS Scholarship for PhD Candidature – July 2010
  • 2007 • Corangamarrah Art Prize – Victoria
  • 1993 • Pat Corrigan Artist Grant – National Association for the Visual Arts, for Periodic, an installation at 200 Gertrude Street, Melbourne
  • 1991 • Australia Council Visual Arts and Crafts Board – Verdaccio Studio, Italy, 1993
  • 1989 • Pat Corrigan Artist Grant – National Association for the Visual Arts, for IN-HOUSE at 200 Gertrude Street, Melbourne
  • 1986 • RMIT Arts Travelling Scholarship

Presentations

  • 2014 • AAANZ Conference. Before, During and after Watiyawanu: a story of a brief moment in time.

Residencies

  • 2019 • Residency and exhibition at Factory 49 Paris
  • 2017 • Residency and exhibition at Abstract Project gallery in Paris
  • 2015 • The Gatekeepers Cottage at Police Point, Point Nepean, Victoria
  • 2007 • Bundanon Studios. N.S.W
  • 2004 • Bundanon Studios, N.S.W
  • 1994 • Australia Council, Verdaccio Studio, Italy
  • 1992-1993 • Oncology Department, Heidelberg Repatriation Hospital, Melbourne

Bibliography

  • 2016 • Bodey, Elisabeth. Negotiating cross-cultural conversations in painting. Quoted in Warlpiri non-linguistic references. David Nash, compiler.
  • 2008 • Rebecca Guest, Abstraction 6 Ways catalogue essay, Charles Nodrum Gallery
  • 2006-7 • Sunnysideup2006-7 blogspot fortyfivedownstairs “A short ride in a fast machine: Gertrude Contemporary Art Spaces 1985-2005"
  • 2005 • Gertrude Contemporary Art Spaces, 2005
  • 1998 • RMIT 98 Postgraduate Catalogue, Department of Fine Art, RMIT University
  • 1997 • “Nachtraglichkeit (deferred action)”, Hjorth L., catalogue essay, Glisten, Project Space, RMIT University
  • 1996 • “Artist mothers tell...”, BROADsheet, Vol. 25 No.2
  • 1994 • Christopher Heathcote, The Age, June
  • 1993 • Kevin Murray, The (B)Racket (Creep), catalogue essay, 1993 Australian Sculpture Triennial
  • 1993 • The (B)racket (Creep). Kevin Murray. Catalogue. Sculpture Triennial. Melbourne
  • 1993 • “Declension/Thanatos”, Rizkalla A., catalogue essay, Periodic – Intrada, Artspace, Sydney
  • 1993 • “The Archival Body”, Marsh A., catalogue essay
  • 1993 • Periodic- Archival Body, 200 Gertrude Street, Melbourne
  • 1992 • “Art Object Vending Machine Project”, Agenda, March/April, p.22
  • 1992 • Christopher Heathcote, The Age, March
  • 1989 • Gary Catalano, The Age, October
  • 1989 • Elwyn Lynn, The Australian, July
  • 1989 • Gary Catalano, The Age, June
  • 1988 • Gary Catalano, The Age, March
  • 1988 • Ron Millar, The Herald, March
  • 1987 • Ron Millar, The Herald, June

Collections

  • City of Darebin
  • National Gallery of Australia
  • National Gallery of Victoria, Melbourne, Australia
  • Monash University, Melbourne, Australia
  • Artbank
  • Private Collections

© Elisabeth Bodey 1987-2020.