New Abstract Paintings by Harry Hay.
Opening on Thursday, 22.02.18. From 6 to 9pm.
All other times between Friday, February 23, and Sunday, February 25, 2018, by appointment.
There is a passage in The Fatal Shore by Robert Hughes that details an escape attempt from
Sydney by a group ofIrish convicts. Fleeing west into the impenetrable fortress of the Blue
Mountains, in thedeluded hope of reaching China, the escapees set off with a piece of
cardboard crudely marked with the four directional points of a compass, “and no needle!”
Needless to say, they wandered around in circles, almost starving to death before being
recaptured. Whilst I see absolutely no relation between these paintings and that particular
episode, I am drawn to the idea of a painting that has no dominant directional pull. There is
a certain kind of freedom to be had in that sort of experience, although the analogy with the
escape artists doesn’thold, because there is no freedom in starvation.
In abstract painting, there is a potential to intuitively construct any number of moments and
passages that amount to pieces within the whole. If the “linking passages” are objects of
interest in themselves, then there is no limit to how we may piece it all together. A painting
that promises freedom of movement is one that should constantly change not only each
time we look at it, but whilst we look at it. If it all goes around in circles it may as well turn
Harry Hay was born in Melbourne in 1991. He began his Bachelor of Fine Art (Painting) in
2010, graduating with an Honours Degree in 2013. In 2013 he co-founded Trophy Shop
studios in Preston, Melbourne. The following year he co-founded the Trophy Shop project
and exhibition space. In 2016 he was resident caretaker of Garden Shed Gallery in
Northcote. He has exhibited regularly in Melbourne and interstate. In 2017 he exhibited in
London, travelling there to participate in the Brancaster Chronicles discussions about
Hay haswritten extensively about abstract art in recent years, with essays and
reviews published online for Abcrit (UK based website for discourse about abstract art), as
well as a transcribed conversation with artist Simon Gardam, which was published for the
Romanian based web journal, Samizdat Online.