Artworks from Dana Harris and Peter Harris. A pink rectangular tapestry and a painting of dots inspired by Dr. No Artworks from Dana Harris and Peter Harris. A pink rectangular tapestry and a painting of dots inspired by Dr. No

Dana Harris
fancywork 2020–23
braided nylon cord and cotton embroidered on plastic grids
34 x 37 cm each
Courtesy of the artist

Peter Atkins
Dr No (after Maurice Binder) 2020–23 (detail)
synthetic polymer paint on board
92 panels: 28 x 46 cm each
Courtesy of the artist and Tolarno Galleries, Melbourne and GAGprojects, Adelaide

Artworks from Dana Harris and Peter Harris. A pink rectangular tapestry and a painting of dots inspired by Dr. No Artworks from Dana Harris and Peter Harris. A pink rectangular tapestry and a painting of dots inspired by Dr. No

Dana Harris
fancywork 2020–23
braided nylon cord and cotton embroidered on plastic grids
34 x 37 cm each
Courtesy of the artist

Peter Atkins
Dr No (after Maurice Binder) 2020–23 (detail)
synthetic polymer paint on board
92 panels: 28 x 46 cm each
Courtesy of the artist and Tolarno Galleries, Melbourne and GAGprojects, Adelaide

SUPERsystems:
Peter Atkins and Dana Harris

Now Showing
Closes 14 July 2024
Curated by Anthony Fitzpatrick

SUPERsystems is a joint exhibition featuring major new works by contemporary Melbourne-based artists Peter Atkins and Dana Harris. While these new projects by Atkins and Harris each express a highly distinctive visual language and materiality, they are closely aligned in their shared conceptual and formal concerns. Interested in the ways that systematic working methods can be applied as both a practical and conceptual framework, both artists employ geometry, repetition and seriality in their work as a means to reimagine the everyday world.

For many years, Peter Atkins’s practice has involved sourcing and appropriating colours, patterns and shapes from the everyday environment, distilling and reinventing them as abstract paintings and prints; a process he refers to as ‘readymade abstraction’. By incorporating familiar designs that evoke a collective experience in his work—such as movie posters, product packaging, road signs and record covers—Atkins blurs the boundaries between ‘high art’ and popular culture. For SUPERsystems, Atkins has deconstructed Maurice Binder’s opening animated sequence for the first James Bond film Dr. No (1962) which he watched for the first time on his computer during the COVID–19 pandemic. Referencing this experience, the artist painted the 92 individual frames to the exact scale of his desktop screen. Presented in four horizontal rows, each part of the sequence is revealed as a unique, abstract composition, like a tangible, stop-motion version of the original.

Dana Harris’s practice largely revolves around her self-described ‘obsession with mapping’. Working across small-scale drawings and weavings as well as large-scale site-specific installations, she employs a variety of techniques and media in her ongoing investigation of the relationships between natural and urban landscapes. For SUPERsystems, Harris presents a new project which emerged from her experience of walking the deserted streets of the CBD during the COVID–19 lockdowns. For the artist, exploring the city at a standstill allowed her to notice subtle shifts and spatial relationships in the built environment, inspiring her to explore this phenomenon through a series of intricately hand-embroidered panels which use repetition and complex patterns to express these new rhythms and connections. While the title of the project, fancywork, references the ornamental needlework of the Victorian era, Harris has adapted the technique in a contemporary format using a vibrant palette of pink lines and threads.

SUPERsystems is presented in conversation with The Industrial Design of Clement Meadmore: The Harris/Atkins Collection, a comprehensive collection of innovative modernist designs by the acclaimed sculptor and designer, Meadmore’s distinctive visual language was often informed by the modernist principles of the Bauhaus and the De Stijl movement—a source of inspiration shared by Harris and Atkins. Also on display isSystems and Structuresfeaturing a selection of works from the TarraWarra Museum of Art collection by Australian artists who also employ patterns, geometry, modules and repetition in their creative practices.

Dana Harris, fancywork has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body. 

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Further information

SUPERsystems: Peter Atkins and Dana Harris has been made possible by the TarraWarra Contemporaries Donor Circle:

Patrons
Tract
Christine & Gavin Fleer
Yashian Schauble

Trailblazers
Suzanne Halliday

Friends
Betty Alexopoulos
Fiona Dunin
Keith Hughson & Andrew Neilson
Maria Danos
Morris Low
Tracy Clark
Ying Ang

The Industrial Design of Clement Meadmore: The Harris/Atkins Collection, installation view, TarraWarra Museum of Art, 2024

 

Rosalie Gascoigne, Club Colours 1983

TarraWarra Museum of Art collection

Gift of Eva Besen AO and Marc Besen AO.

Donated through the Australian Government’s Cultural Gifts Program 2009

© Estate of Rosalie Gascoigne

 

Clement Meadmore, Leather Chair 1953

Harris/Atkins Collection

 

Robert Jacks, Red Painting 1968

TarraWarra Museum of Art collection

Gift of Eva Besen and Marc Besen AO 2001

 

Clement Meadmore, Rainbow Box c. 1970

Harris/Atkins Collection

 

Clement Meadmore, Reverse Cantilever Chair 1954

Harris/Atkins Collection

 

Hilarie Mais, Bay 2001

TarraWarra Museum of Art collection

Gift of Eva Besen AO and Marc Besen AO.

Donated through the Australian Government’s Cultural Gifts Program 2012

© Hilarie Mais

 

Robert Owen, Soundings (Composition #4, #8, #16) 2012

TarraWarra Museum of Art collection

Purchased 2013

Courtesy of the artist and ARC ONE Gallery

 

Lesley Dumbrell, Terreau 2008

TarraWarra Museum of Art collection

Purchased 2008

Courtesy of the artist and Charles Nodrum Gallery

 

Peter Atkins, Dr. No (after Maurice Binder) 2020–23

Courtesy of the artist, Tolarno Galleries, Melbourne and GAGprojects, Adelaide

 

Mark Galea

Lamp, willow, life and death 2007

Titanium, unbleached with parchment and mica 2007

TarraWarra Museum of Art collection

Purchased 2007

 

Dana Harris, fancywork 2020–23

Courtesy of the artist

 

Callum Morton, Corner 2 2022–23

TarraWarra Museum of Art collection

Purchased 2023

© Callum Morton

 

John Nixon

Polychrome Painting 2006

Polychrome Painting 2006

Purchased 2007

 

Clement Meadmore, Calyx Pendant Light 1954

Harris/Atkins Collection

 

Howard Arkley, Pauses (Interchronic) 1976

TarraWarra Museum of Art collection

Purchased 2016

© The Estate of Howard Arkley. Courtesy Kalli Rolfe Contemporary Art

 

Robert Hunter, Untitled No. 1 1987

TarraWarra Museum of Art collection

Gift of Eva Besen and Marc Besen AO 2001

© J.L.S Hunter

 

Hilarie Mais, reflection/feather 2016  

TarraWarra Museum of Art collection

Purchased 2017

© Hilarie Mais

 

Video: Non Studios https://www.instagram.com/_nonstudio/

 

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