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Title:
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Title:
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'Where are you, can you hear me?'

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Title:
'Where are you, can you hear me?'

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'Where are you, can you hear me?'

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Title:
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Title:
‘Are You Still There Planet’ 2008

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'Where are you, can you hear me?'

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Title:
'Untitled’

Artist:
Mona Ryder

Media:

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Exhibition:
'Barcelona Two Step'

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Artist Statement

Mona Ryder is a twenty first century Surrealist. Of course, she doesn’t see herself that way, at least not consciously. But Surrealism never was about the conscious mind: the socially constrained and rigorously monitored thoughts of everyday reality. In Surrealism, too much is never enough, it’s the wild and illicit thrill of more, more, more. It is literally about going up and over the top, above the real. Surrealism is the delicious and cloying excess of surfeit, the conquering urge of surmount, the competitive spirit of surpass. Surrealism soars above, but it also delves under; it deliberately probes beneath the real to the realm of the unconscious, a world ruled by the capriciousness of chance, fear and dreams.

The Surrealist legacy that Ryder taps into is perfectly embodied by Meret Oppenheim’s 1936, Object (Luncheon in Fur). Art critic Robert Hughes describes this fur covered teacup, saucer and spoon as, “the most intense and abrupt image of Lesbian sex in the history of art.”1 And he’s right. But only half right; cunnilingus isn’t a girls only club, men can play too…if they ask nicely. The real point is that Oppenheim’s Object has brilliantly withstood the test of time. More than seventy years later it still elicits a cheeky erotic tingle (or a moue of distaste, depending on your predilections). Perhaps more significantly, with this simple sculpture, Oppenheim trumped all the efforts of her predominantly male and often misogynistic Surrealist compatriots. Using the domestic, a sometimes stifling, always feminine milieu, Oppenheim beat the boys at their own game.

Ryder carries on this tradition. She practices a cunning and feisty old school feminism which feeds off dreams, nightmares and corporeal desires in equal measures. Ryder will neither deny, nor be confined by, her feminine roles as a wife, mother and now grandmother. For more than two decades she has been channelling her passions and frustrations into artworks that interrogate gender stereotypes and challenge the male dominated status quo. And like Oppenheim, Ryder has the almost alchemical ability to transform the ordinary into the extraordinary. She turns everyday materials and domestic objects into titillating, powerful sculptures that ooze a flagrant feminine sexuality, toy with taboos and teeter on the edge of abjection.

In Barcelona Two Step, Ryder melds the rich, visceral iconography of Catholicism with a raw, post-apocalyptic tribal aesthetic. She uses crutches, faux fur, real hair, shattered records, shoes, stockings, broken furniture and other psychologically loaded found materials to create mysterious objects that conjure up sexually charged, ambiguous rituals. Ryder’s shoe pieces, especially, could be fetishes in both the pre and post Freudian sense of the word.

Freud associated the fetish with a disavowal and compensation for difference. For him, a fixation on shoes is a reaction to fear of castration brought on by witnessing the mother’s lack (her missing penis) and a pair of stilettos, handy at the scene, become cathected with libido. Ryder’s shoes are fetishistic for precisely the opposite reason. They represent exactly what they stand in for.

Placed together, heel to heel and toe to toe, Ryder’s shoes form an enticing void that overtly mimics distinctly female organs. Some sprout hairs, others trail long skeins of red fabric, one is penetrated by a plastic snake: they are sexy but not subtle, fetishes in the primary sense of the word. Like ritual objects from a matriarchal cargo-cult, they invite fantasy, devotion and worship.

Freud’s obsession with the unconscious, coupled with his anxious and sexist ideas about sex made him a darling of the Surrealists. In Barcelona Two Step, Mona Ryder drags him out, slaps him around a bit, then milks him for all he’s worth.
You go girl.

Tracey Clement
Tracey Clement is a sculptor, jeweller and writer, currently living in Sydney.

Curriculum Vitae

Mona Ryder completed an associate Diploma of Visual Arts in 1980 and a Bachelor of Arts (Visual Arts) in 1991 at QUT, Brisbane.  Since 1980 Ryder has had numerous solo exhibitions, including Mother other lover, QAG, Brisbane (1995), and Mona Ryder a Survey, University Art Museum, University of Queensland, Brisbane (1984), and touring in 1985-86.  Her work has been selected for many group exhibitions, including Regarding retro, Blacktown Arts Centre, Sydney (2005) and touring the 3rd International Fibre Art Biennale, Shanghai, China (2004) and invited artist to the 4th International Fibre Art Biennale, Suzhou, China (2006), the Biennale of Sydney, Penrith Regional Art Gallery, New South Wales (1986), and Australian Perspecta, AGNSW, Sydney (1985).  Ryder has undertaken many public art commissions, including the Thornton Street Ferry Terminal, Brisbane, in 1995.  She has received a number of awards and grants, including an Australia Council Studio Grant for a residency in Vence, France, and Italy.  Ryder has taught at Griffith University, Gold Coast, Queensland: Queensland College of the Arts, Brisbane; and Curtain University and Claremont School of Art, Perth.  Mona Ryder lives in Sydney.

Studies
1991 B.A. Visual Arts, QUT, Kelvin Grove, Queensland
1980 Associate Diploma of Visual Arts, QUT, Kelvin Grove, Queensland

Exhibitions - Selected Solo:
2008 Perc Tucker Regional Art Gallery (forthcoming)
2007 Horus & Deloris Contemporary Art Space, Sydney
2004 Rawhide, Peloton, Sydney, Australia, NSW
1999 Big Small, Travelling Exhibition USQ, Singapore
1997-98 Delicious, Magazine Space, Griffith Artworks, Griffith University, Brisbane, Queensland
1996 Have a Nice Day, Invited Artist, Gomboc Gallery, Perth, Western Australia
1995 Mother Other Lover, Queensland Art Gallery, Brisbane, Queensland, Curator Tim Morrell
1995 Lures, Noosa Regional Art Gallery, Noosa – November 5
1992 Return to Paradise, Gold Coast City Art Gallery, Gold Coast
1990 The Heart of the Matter, Roz MacAllen Gallery, Brisbane
1987 Passing On, Michael Milburn Galleries, Brisbane
1987 Mona Ryder:  Recent Works, The Gold Coast City Art Gallery
1986 Mona Presents Circus Follies of Exasperating Subtlety, Q.P.A.C, Brisbane.
1985-86 Mona Ryder: A Survey Travelling Exhibition, Queensland Arts Council
1985 Broken Records, Michael Milburn Galleries, Brisbane
1984 Mona Ryder: A Survey, University Art Museum, University of Queensland

Exhibitions - Selected Group:
2007 Horus & Delorus Contemporary Art Space, Sydney
2007-8 Redeeming the Ruin: the art of debris, Banyule Art Space, Ivanhoe, Victoria (travelling exhibition)
2007 Red Parts Murmuring, Dis-locate, Rawspace, Brisbane
2007 Monolithiic, Red Parts, Peleton Gallery, Sydney
2006 Angels on Horse Back, Angels, Perc Tucker Regional Art Gallery, Queensland
2006 From Lausanne to Beijing’ 4th International Fibre Art Biennale, Invited Artist
2006 Post It, Peloton, Sydney, curatorTracey Clement
2006 Strange Fruit, Percival Vestments, Perc Tucker Regional Gallery, Townsville 14th April – May 21
2006. Leichhardt Academy of Style & Health – Vending Machine Project, Jane Naylor, NSW Art Gallery & Casula Powerhouse
2006 Les Animaux Sauvage, National Sculpture Prize, Macquarie Bank Travelling Exhibition, Dell Gallery, QCA,       Brisbane
2005 Les Animaux Sauvage, National Sculpture Prize, National Gallery, Macquarie Bank.  Curator: Elena Taylor
2005 Sufferance, Artist’s Book Commission & Exhibition, State Library of Qld., Q.C. Gallery, Brisbane.  Curator: J. Armstead
2005 Pricked, Regarding Retro, Blacktown Arts Centre, Sydney, Touring Exhibition, Queensland, New South Wales, Canberra
2005 The Broadway Café, Chippendale, Sydney, organised by Giles Ryder and Mathys Gerber
2004 3rd International, Fibre Art Biennale & Symposium, Shanghai
2002 Stretched ‘Grip’, The Art Gallery, National Institute of Education, Nan Yang Technical University Singapore
2002 Stretched ‘Grip’ Toowoomba Regional Art Gallery, Toowoomba
2002 Internal Views, Fed on Arts, Kick Arts, Cairns. Curator: Ann Harris, Federally Funded
2001 Real World Art, QUT Alumni.  Curator: Bertina Mc Cauly, QUT Gallery
1995-96 The Prime Painting Prize, Travelling Exhibition (Newcastle, Ballarat, Nolan, Gold Coast City Regional Art Galleries)
1993 Eye Spy, University Art Museum, Touring Exhibition, RGA of Queensland
1992-93 Dame Edna Regrets She Cannot Attend Heide Park Art Gallery, Melbourne, AETA
1990 Against the Grain (12 Western Australian sculptors), NETS, Touring Exhibition
1986 Biennale of Sydney, Penrith Regional Art Gallery, New South Wales
1985 Australian Perspecta, Art Gallery of New South Wales
1985 Queensland Works 1950-1985, University Art Museum, University of Queensland

Selected Awards And Grants
1999 Arts Queensland Development Grant to travel overseas (completed 2002)
1996 Selected Artist for Maquette Stage, Brisbane City Council, Inner City Sculpture Award
1995 Arts Queensland (Project Grant) for Q.A.G., Mother Other Lover (Curator, Tim Morrell)
1993 Arts Queensland (Individual Development Grant)
1990 Caloundra Art Prize, Caloundra Regional Art Gallery, Caloundra, Queensland
1987 The Andrew and Lillian Pedersen Memorial Prize, Queensland Art Gallery
1986 Gold Coast Art Prize (printmaking) Gold Coast Art Gallery, Gold Coast
1986 Visual Arts Board Studio Grant, Residency at Vence, France and travel through Italy.

Selected Bibliography
2007 Sydney Morning Herald, Metro, Voodoo Dolls, Tracey Clement, February, 2-8th January
2007 Sydney Morning Herald, Open Gallery, Monolithic, Clara Jaccarino
2006 Eyeline, ‘Sufferance’, Linda Carolli
2006 Textile, Issue 1, No. 81, 2006
2005 The Australian, ‘Sufferance:  Women’s Artists’ Books, Louise Martin-Chew,
2005-06 Object Magazine, Issue 48,  ‘Sufferance Women’s Artists Books, Louse Martin-chew
2005 The Program, Creative Industries, Interview with Lisa Greenway
2005 ABC Stateline, National Sculpture Prize, 15th July
2005 Craft Culture, Craft Victoria, ‘Language Craft & Politics in the Nation Sculpture Prize’ Tracey Clement, on line review, 30th Sept
2005 Critic’s Pick, Sydney Morning Herald, Metro, ‘Regarding Retro: reanimations of the Preloved’, Tracey Clement, on line review 30th Sept. 2005
2004 Critic’s Pick, Sydney Morning Herald, Metro, ‘Mona Ryder’ Dominique Angelero, Oct. 1
2002 The Business Times, Aug. 10-11, P, 15, Grip, NIE, NIU ‘Eyeful of Aesthetics’ Cheah Ui Hoon
2002 Art Monthly Australia, August 2002 N.152, Art notes Asia, ‘Get a grip’

Books
2001 Cross currents in Contemporary Australian Art , Traudi Allen, Craftsman House
1996 New Visions, New Perspectives, Anna Voight, Craftsman House
1995 Whose Who of Australian Visual Artists, Thorpe in Association with NAVA OTEN. Open Learning EDU Australia
1993 New Sculpture:  Profiles of 40 Australian Sculptors, Nevil Drury, Craftsman House, Fine Art Press
1992 Sight Lines: ‘Women’s Art and Feminist Perspectives: Feminism in Australia, Sandy Kirby, Craftsman House
1992 A Visual Sourcebook of Contemporary Australian Painting, Nevil Drury, Craftsman House,
1992 Images in Contemporary Australian Painting , Nevil Drury, Craftsman House,
1990 New Art Six, Nevil Drury, Craftsman House Video, CD ROM and Websites
2005 Mona Ryder Lecture, National Gallery Sculpture Prize, National Gallery Australia
2000 Website, Australian National Gallery Collection, Australian Sculpture – Stories from Austria’s Culture and Recreation Portal, Australian Government www.culturalandrecreation.gov.au
1999 Website, Griffith University, Griffith Artworks Collection
1997 U.S.Q.  (CAUT 3D Project)
Commissions: Public Art Projects
2002 Arcadian Illusions, Cairns City Council, 3 Water Features, City Centre, Cairns
2001 Atherton Shire Council, Atherton, Halloran’s Hill, Kinetic Sculptures, Project Manager, John Mongard
2001 Park Road Park, Park Road, Milton, Brisbane City Council Collaboration with Landscape Architect, Mathew Lawson
2000 Sentinels Attempting Flight, Griffith Artworks, Griffith University, Logan Campus, two 3 metre external sculptures
1998 Tide and Time, Temporal Art Project, Brisbane City Council and Boondall Wetlands
1995 Crossover Guardians, State Government & Brisbane City Council, Statement sculptures (2-10.5m H), Thornton Street, Ferry Terminal, Kangaroo Point Boardwalk, Kangaroo Point, Brisbane Guest Lectures
2006 Guest Lecture, Macquarie Bank Travelling Exhibition, National Sculpture Prize, Griffith Artworks, Griffith
University, Queensland College of Art
2006 Guest lecture, Manly Regional Art Gallery, Manly, Sydney, Regarding Retro
2005 Guest Lecture, National Gallery, Canberra, 2005 National Gallery Sculpture Prize
2005 Guest Lecture, Craft Council, Sufferance Exhibition (commission State Library of Qld)
2003 Guest Lecture, Newcastle University, Newcastle
2002 Guest Lecture, Public Art, TAFE, Cairns

Board Member/ Reference Committees
2001 Management Committee Member, Kick Arts, Cairns
1995-99 Management Committee Member for Art Workers Alliance, Brisbane
1995-98 Reference Committee, Excellence Awards, Queensland State Government, Queensland
1995-97 Advisory Committee, Excellence Awards, Qld State Government Education Department, Queensland
Member of Advisory Committee, Qld College of Art, Griffith University (Brisbane Campus)
1996 Reference Committee, Roma Street, Parklands, Qld State Government
1993-96 Member of  Arts Advisory Committee, Griffith University (Gold Coast Campus)
1982-83 Director, Craft Council of Queensland

Collections:
Australian National Gallery
South Australian State Library
Parliament House Collection
Ipswich Regional Art Gallery
British Library, London
University of Melbourne Library
Western Australia Art Gallery
Gold Coast City Art Collection
Q.U.T., Queensland
Griffith Artworks, Griffith University, Qld
Queensland Art Gallery
University Art Museum, University of Queensland
State Library of Queensland
City Council Art Gallery, Brisbane
The Hardie Collection of Fine Art, State Library of Qld
Brisbane Grammar School, Queensland

 

 

Featured Work

Enlarge

Title:
'Red Chair Drawing 528' 2008

Artist:
Mona Ryder

Media:
photography

Size:

Exhibition:
'Where are you, can you hear me?'

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Enlarge

Title:
‘Are You Still There Planet’ 2008

Artist:
Mona Ryder

Media:
installation

Size:

Exhibition:
'Where are you, can you hear me?'

s Sales Information

 

dottled line

s

Enlarge

Title:
'Two Chairs drawing 525', 2008

Artist:
Mona Ryder

Media:
photography

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'Where are you, can you hear me?'

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Title:
'Untitled’

Artist:
Mona Ryder

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Exhibition:
'Barcelona Two Step'

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Enlarge

Title:
'Untitled’

Artist:
Mona Ryder

Media:
65cm diameter

Size:

Exhibition:
'Barcelona Two Step'

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Enlarge

Title:
'Untitled’

Artist:
Mona Ryder

Media:

Size:

Exhibition:
'Barcelona Two Step'

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Enlarge

Title:
'Untitled’

Artist:
Mona Ryder

Media:

Size:

Exhibition:
'Barcelona Two Step'

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Enlarge

Title:
'Untitled’

Artist:
Mona Ryder

Media:

Size:

Exhibition:
'Barcelona Two Step'

Sales Information

Artist Statement

Mona Ryder is a twenty first century Surrealist. Of course, she doesn’t see herself that way, at least not consciously. But Surrealism never was about the conscious mind: the socially constrained and rigorously monitored thoughts of everyday reality. In Surrealism, too much is never enough, it’s the wild and illicit thrill of more, more, more. It is literally about going up and over the top, above the real. Surrealism is the delicious and cloying excess of surfeit, the conquering urge of surmount, the competitive spirit of surpass. Surrealism soars above, but it also delves under; it deliberately probes beneath the real to the realm of the unconscious, a world ruled by the capriciousness of chance, fear and dreams.

The Surrealist legacy that Ryder taps into is perfectly embodied by Meret Oppenheim’s 1936, Object (Luncheon in Fur). Art critic Robert Hughes describes this fur covered teacup, saucer and spoon as, “the most intense and abrupt image of Lesbian sex in the history of art.”1 And he’s right. But only half right; cunnilingus isn’t a girls only club, men can play too…if they ask nicely. The real point is that Oppenheim’s Object has brilliantly withstood the test of time. More than seventy years later it still elicits a cheeky erotic tingle (or a moue of distaste, depending on your predilections). Perhaps more significantly, with this simple sculpture, Oppenheim trumped all the efforts of her predominantly male and often misogynistic Surrealist compatriots. Using the domestic, a sometimes stifling, always feminine milieu, Oppenheim beat the boys at their own game.

Ryder carries on this tradition. She practices a cunning and feisty old school feminism which feeds off dreams, nightmares and corporeal desires in equal measures. Ryder will neither deny, nor be confined by, her feminine roles as a wife, mother and now grandmother. For more than two decades she has been channelling her passions and frustrations into artworks that interrogate gender stereotypes and challenge the male dominated status quo. And like Oppenheim, Ryder has the almost alchemical ability to transform the ordinary into the extraordinary. She turns everyday materials and domestic objects into titillating, powerful sculptures that ooze a flagrant feminine sexuality, toy with taboos and teeter on the edge of abjection.

In Barcelona Two Step, Ryder melds the rich, visceral iconography of Catholicism with a raw, post-apocalyptic tribal aesthetic. She uses crutches, faux fur, real hair, shattered records, shoes, stockings, broken furniture and other psychologically loaded found materials to create mysterious objects that conjure up sexually charged, ambiguous rituals. Ryder’s shoe pieces, especially, could be fetishes in both the pre and post Freudian sense of the word.

Freud associated the fetish with a disavowal and compensation for difference. For him, a fixation on shoes is a reaction to fear of castration brought on by witnessing the mother’s lack (her missing penis) and a pair of stilettos, handy at the scene, become cathected with libido. Ryder’s shoes are fetishistic for precisely the opposite reason. They represent exactly what they stand in for.

Placed together, heel to heel and toe to toe, Ryder’s shoes form an enticing void that overtly mimics distinctly female organs. Some sprout hairs, others trail long skeins of red fabric, one is penetrated by a plastic snake: they are sexy but not subtle, fetishes in the primary sense of the word. Like ritual objects from a matriarchal cargo-cult, they invite fantasy, devotion and worship.

Freud’s obsession with the unconscious, coupled with his anxious and sexist ideas about sex made him a darling of the Surrealists. In Barcelona Two Step, Mona Ryder drags him out, slaps him around a bit, then milks him for all he’s worth.
You go girl.

Tracey Clement
Tracey Clement is a sculptor, jeweller and writer, currently living in Sydney.

Curriculum Vitae

Mona Ryder completed an associate Diploma of Visual Arts in 1980 and a Bachelor of Arts (Visual Arts) in 1991 at QUT, Brisbane.  Since 1980 Ryder has had numerous solo exhibitions, including Mother other lover, QAG, Brisbane (1995), and Mona Ryder a Survey, University Art Museum, University of Queensland, Brisbane (1984), and touring in 1985-86.  Her work has been selected for many group exhibitions, including Regarding retro, Blacktown Arts Centre, Sydney (2005) and touring the 3rd International Fibre Art Biennale, Shanghai, China (2004) and invited artist to the 4th International Fibre Art Biennale, Suzhou, China (2006), the Biennale of Sydney, Penrith Regional Art Gallery, New South Wales (1986), and Australian Perspecta, AGNSW, Sydney (1985).  Ryder has undertaken many public art commissions, including the Thornton Street Ferry Terminal, Brisbane, in 1995.  She has received a number of awards and grants, including an Australia Council Studio Grant for a residency in Vence, France, and Italy.  Ryder has taught at Griffith University, Gold Coast, Queensland: Queensland College of the Arts, Brisbane; and Curtain University and Claremont School of Art, Perth.  Mona Ryder lives in Sydney.

Studies
1991 B.A. Visual Arts, QUT, Kelvin Grove, Queensland
1980 Associate Diploma of Visual Arts, QUT, Kelvin Grove, Queensland

Exhibitions - Selected Solo:
2008 Perc Tucker Regional Art Gallery (forthcoming)
2007 Horus & Deloris Contemporary Art Space, Sydney
2004 Rawhide, Peloton, Sydney, Australia, NSW
1999 Big Small, Travelling Exhibition USQ, Singapore
1997-98 Delicious, Magazine Space, Griffith Artworks, Griffith University, Brisbane, Queensland
1996 Have a Nice Day, Invited Artist, Gomboc Gallery, Perth, Western Australia
1995 Mother Other Lover, Queensland Art Gallery, Brisbane, Queensland, Curator Tim Morrell
1995 Lures, Noosa Regional Art Gallery, Noosa – November 5
1992 Return to Paradise, Gold Coast City Art Gallery, Gold Coast
1990 The Heart of the Matter, Roz MacAllen Gallery, Brisbane
1987 Passing On, Michael Milburn Galleries, Brisbane
1987 Mona Ryder:  Recent Works, The Gold Coast City Art Gallery
1986 Mona Presents Circus Follies of Exasperating Subtlety, Q.P.A.C, Brisbane.
1985-86 Mona Ryder: A Survey Travelling Exhibition, Queensland Arts Council
1985 Broken Records, Michael Milburn Galleries, Brisbane
1984 Mona Ryder: A Survey, University Art Museum, University of Queensland

Exhibitions - Selected Group:
2007 Horus & Delorus Contemporary Art Space, Sydney
2007-8 Redeeming the Ruin: the art of debris, Banyule Art Space, Ivanhoe, Victoria (travelling exhibition)
2007 Red Parts Murmuring, Dis-locate, Rawspace, Brisbane
2007 Monolithiic, Red Parts, Peleton Gallery, Sydney
2006 Angels on Horse Back, Angels, Perc Tucker Regional Art Gallery, Queensland
2006 From Lausanne to Beijing’ 4th International Fibre Art Biennale, Invited Artist
2006 Post It, Peloton, Sydney, curatorTracey Clement
2006 Strange Fruit, Percival Vestments, Perc Tucker Regional Gallery, Townsville 14th April – May 21
2006. Leichhardt Academy of Style & Health – Vending Machine Project, Jane Naylor, NSW Art Gallery & Casula Powerhouse
2006 Les Animaux Sauvage, National Sculpture Prize, Macquarie Bank Travelling Exhibition, Dell Gallery, QCA,       Brisbane
2005 Les Animaux Sauvage, National Sculpture Prize, National Gallery, Macquarie Bank.  Curator: Elena Taylor
2005 Sufferance, Artist’s Book Commission & Exhibition, State Library of Qld., Q.C. Gallery, Brisbane.  Curator: J. Armstead
2005 Pricked, Regarding Retro, Blacktown Arts Centre, Sydney, Touring Exhibition, Queensland, New South Wales, Canberra
2005 The Broadway Café, Chippendale, Sydney, organised by Giles Ryder and Mathys Gerber
2004 3rd International, Fibre Art Biennale & Symposium, Shanghai
2002 Stretched ‘Grip’, The Art Gallery, National Institute of Education, Nan Yang Technical University Singapore
2002 Stretched ‘Grip’ Toowoomba Regional Art Gallery, Toowoomba
2002 Internal Views, Fed on Arts, Kick Arts, Cairns. Curator: Ann Harris, Federally Funded
2001 Real World Art, QUT Alumni.  Curator: Bertina Mc Cauly, QUT Gallery
1995-96 The Prime Painting Prize, Travelling Exhibition (Newcastle, Ballarat, Nolan, Gold Coast City Regional Art Galleries)
1993 Eye Spy, University Art Museum, Touring Exhibition, RGA of Queensland
1992-93 Dame Edna Regrets She Cannot Attend Heide Park Art Gallery, Melbourne, AETA
1990 Against the Grain (12 Western Australian sculptors), NETS, Touring Exhibition
1986 Biennale of Sydney, Penrith Regional Art Gallery, New South Wales
1985 Australian Perspecta, Art Gallery of New South Wales
1985 Queensland Works 1950-1985, University Art Museum, University of Queensland

Selected Awards And Grants
1999 Arts Queensland Development Grant to travel overseas (completed 2002)
1996 Selected Artist for Maquette Stage, Brisbane City Council, Inner City Sculpture Award
1995 Arts Queensland (Project Grant) for Q.A.G., Mother Other Lover (Curator, Tim Morrell)
1993 Arts Queensland (Individual Development Grant)
1990 Caloundra Art Prize, Caloundra Regional Art Gallery, Caloundra, Queensland
1987 The Andrew and Lillian Pedersen Memorial Prize, Queensland Art Gallery
1986 Gold Coast Art Prize (printmaking) Gold Coast Art Gallery, Gold Coast
1986 Visual Arts Board Studio Grant, Residency at Vence, France and travel through Italy.

Selected Bibliography
2007 Sydney Morning Herald, Metro, Voodoo Dolls, Tracey Clement, February, 2-8th January
2007 Sydney Morning Herald, Open Gallery, Monolithic, Clara Jaccarino
2006 Eyeline, ‘Sufferance’, Linda Carolli
2006 Textile, Issue 1, No. 81, 2006
2005 The Australian, ‘Sufferance:  Women’s Artists’ Books, Louise Martin-Chew,
2005-06 Object Magazine, Issue 48,  ‘Sufferance Women’s Artists Books, Louse Martin-chew
2005 The Program, Creative Industries, Interview with Lisa Greenway
2005 ABC Stateline, National Sculpture Prize, 15th July
2005 Craft Culture, Craft Victoria, ‘Language Craft & Politics in the Nation Sculpture Prize’ Tracey Clement, on line review, 30th Sept
2005 Critic’s Pick, Sydney Morning Herald, Metro, ‘Regarding Retro: reanimations of the Preloved’, Tracey Clement, on line review 30th Sept. 2005
2004 Critic’s Pick, Sydney Morning Herald, Metro, ‘Mona Ryder’ Dominique Angelero, Oct. 1
2002 The Business Times, Aug. 10-11, P, 15, Grip, NIE, NIU ‘Eyeful of Aesthetics’ Cheah Ui Hoon
2002 Art Monthly Australia, August 2002 N.152, Art notes Asia, ‘Get a grip’

Books
2001 Cross currents in Contemporary Australian Art , Traudi Allen, Craftsman House
1996 New Visions, New Perspectives, Anna Voight, Craftsman House
1995 Whose Who of Australian Visual Artists, Thorpe in Association with NAVA OTEN. Open Learning EDU Australia
1993 New Sculpture:  Profiles of 40 Australian Sculptors, Nevil Drury, Craftsman House, Fine Art Press
1992 Sight Lines: ‘Women’s Art and Feminist Perspectives: Feminism in Australia, Sandy Kirby, Craftsman House
1992 A Visual Sourcebook of Contemporary Australian Painting, Nevil Drury, Craftsman House,
1992 Images in Contemporary Australian Painting , Nevil Drury, Craftsman House,
1990 New Art Six, Nevil Drury, Craftsman House Video, CD ROM and Websites
2005 Mona Ryder Lecture, National Gallery Sculpture Prize, National Gallery Australia
2000 Website, Australian National Gallery Collection, Australian Sculpture – Stories from Austria’s Culture and Recreation Portal, Australian Government www.culturalandrecreation.gov.au
1999 Website, Griffith University, Griffith Artworks Collection
1997 U.S.Q.  (CAUT 3D Project)
Commissions: Public Art Projects
2002 Arcadian Illusions, Cairns City Council, 3 Water Features, City Centre, Cairns
2001 Atherton Shire Council, Atherton, Halloran’s Hill, Kinetic Sculptures, Project Manager, John Mongard
2001 Park Road Park, Park Road, Milton, Brisbane City Council Collaboration with Landscape Architect, Mathew Lawson
2000 Sentinels Attempting Flight, Griffith Artworks, Griffith University, Logan Campus, two 3 metre external sculptures
1998 Tide and Time, Temporal Art Project, Brisbane City Council and Boondall Wetlands
1995 Crossover Guardians, State Government & Brisbane City Council, Statement sculptures (2-10.5m H), Thornton Street, Ferry Terminal, Kangaroo Point Boardwalk, Kangaroo Point, Brisbane Guest Lectures
2006 Guest Lecture, Macquarie Bank Travelling Exhibition, National Sculpture Prize, Griffith Artworks, Griffith
University, Queensland College of Art
2006 Guest lecture, Manly Regional Art Gallery, Manly, Sydney, Regarding Retro
2005 Guest Lecture, National Gallery, Canberra, 2005 National Gallery Sculpture Prize
2005 Guest Lecture, Craft Council, Sufferance Exhibition (commission State Library of Qld)
2003 Guest Lecture, Newcastle University, Newcastle
2002 Guest Lecture, Public Art, TAFE, Cairns

Board Member/ Reference Committees
2001 Management Committee Member, Kick Arts, Cairns
1995-99 Management Committee Member for Art Workers Alliance, Brisbane
1995-98 Reference Committee, Excellence Awards, Queensland State Government, Queensland
1995-97 Advisory Committee, Excellence Awards, Qld State Government Education Department, Queensland
Member of Advisory Committee, Qld College of Art, Griffith University (Brisbane Campus)
1996 Reference Committee, Roma Street, Parklands, Qld State Government
1993-96 Member of  Arts Advisory Committee, Griffith University (Gold Coast Campus)
1982-83 Director, Craft Council of Queensland

Collections:
Australian National Gallery
South Australian State Library
Parliament House Collection
Ipswich Regional Art Gallery
British Library, London
University of Melbourne Library
Western Australia Art Gallery
Gold Coast City Art Collection
Q.U.T., Queensland
Griffith Artworks, Griffith University, Qld
Queensland Art Gallery
University Art Museum, University of Queensland
State Library of Queensland
City Council Art Gallery, Brisbane
The Hardie Collection of Fine Art, State Library of Qld
Brisbane Grammar School, Queensland

 

 

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