http://www.andrewnicholls.com.au/work daily 1.0 2025-10-13 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1555371765496-56A66AGR1ABT024H3GLH/Hyp4lr.jpg Artwork - 'Hyperkulturemia', partial view of installation, 2018 Hyperkulturemia, partial view of installation at the Art Gallery of Western Australia, 15 December 2018 - 15 April, 2019. Photograph by Bo Wong, c/o the Art Gallery of Western Australia. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1669422987045-UV1RH0IOWW62B909LSQU/AGM_1.jpg Artwork - 'A Gentle Misinterpretation - Australian Artists and Chinosierie', 2022 Partial view of installation at Fremantle Arts Centre featuring works by (l to r): David Charles Collins, Tanija and Graham Carr, Andrew Nicholls, Nathan Beard, Theo Costantino, Susan Flavell, Marek Szyler and Andrew Nicholls featuring HIP Company with Teresa Tan. Not shown are works by contributing artists Abdul Abdullah, Sandra Black, Tarryn Gill, Pilar Mata Dupont and Cherish Marrington. Photograph by Dan McCabe, c/o Fremantle Arts Centre. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1669423356508-QUSM3PYHT5TY34EU8LWQ/This_is_my_body_detail1.jpg Artwork - 'Gulchenrouz' (detail), featuring HIP Company with Teresa Tan, 2015-2022 Gulchenrouz, digital video, 10 minutes (looped), 2015-2022. Music performed by HIP Company with Teresa Tan: - Dance for a Chinese Man and Woman, Henry Purcell, adapted by Teresa Tan - Yan Guo Sheng 雁過聲- Traditional Chinese, transcr. Joseph-Marie Amio, arr. Bonnie de la Hunty Video editing by Chad Peacock. Additional footage c/o Casey Ayres and Tarryn Gill. With thanks to Brighton & Hove Museums. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1460427790833-RSHXE22TT3UWYD4RMFIZ/image-asset.jpeg Artwork - Delight and Hurt Not, 2016 Delight and Hurt Not, ceiling mural for the new City of Perth Library, approximately 11 x 14.3 meters, 2016. Commissioned by the City of Perth. Photograph by Bewley Shaylor, 2016. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1716243865117-BCMLEEBZE0IBCR1DC6G5/image-asset.png Artwork - PORTENT (fire), still from digital video, Andrew Nicholls with Ad Lib Collective, Wind Up Bird, Chad Peacock, and multiple other collaborators, 2024. Holmes à Court Gallery @ No. 10 for the Perth Festival, February-March 2024 Inspired by the artist’s experience of the 2023 Exmouth eclipse, PORTENT explored the common understanding of eclipses as bad omens in diverse cultures throughout history. Video projections, large-scale wall murals and printed hangings, lighting and sound took over the expansive Holmes à Court Gallery @ No. 10 and saw the space repeatedly morph from light to darkness and back again throughout the course of the day. The exhibition was preceded by a ritual performance referencing Western planetary magick and eclipse lore from various ancient cultures. The ritual (and accompanying commissioned soundtrack) was filmed and played on a loop as the centrepiece artwork throughout the exhibition run. PORTENT comprised solo works and collaborations with Ad Lib Collective, Sarah Elson, Chad Peacock and Wind Up Bird, and featured Thomas Fitzgerald Bloomer, David Charles Collins, Azariah Felton, Jeffrey Jay Fowler, Tim David Green, Nicholas Harle, Timo Kroker, Manuao Makeup, Sam Madame, Rebecca Paterson, Alex Spartalis (GSD Productions), Manuao TeAotonga, and Mitchell Whelan. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1464345222417-FDE7CKUVK5HYCONMGYQO/Via_Appia_Antica_%28after_Piranesi%29.jpg Artwork - 'Via Appia Antica (after Piranesi)' (detail), 2016-2018 Via Appia Antica (after Piranesi), (detail), archival ink pen on watercolour paper, 45 x 400 cm, 2016-2018 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1669415318137-YR4V02VUFGUTNQPHDA6V/Brent_skull_WS.jpg Artwork - 'Gentry Vase', 2018-2022 Underglaze and overglaze decoration on celadon-glazed Superwhite porcelain, 38 x 25 x 25 cm, 2018-2022, photograph by Eva Fernandez. http://www.andrewnicholls.com.au/curatorial-1 daily 0.75 2025-06-11 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1507623209818-5LEKAH46D28SXZRVSXDZ/collins+manik_5.jpg Curatorial - 'What's your name. It's a symbol. Don't talk', Gian Manik, 2017 Curated for FORM Acclaimed Melbourne-based painter Gian Manik undertook a residency through FORM in the Western Australian Pilbara during April, 2017. Born and raised in Perth, but based in Melbourne since 2011, Manik was invited to undertake a residency as part of an ongoing focus on re-engaging artists who began their careers in the State prior to moving elsewhere for their professional development. Manik spent 3 weeks based at FORM’s Spinifex Hill Studios, creating new works inspired by the Pilbara’s urban and regional landscapes. Outcomes of Manik's residency showed at FORM Gallery via the solo exhibition What's your name. It's a symbol. Don't talk. from June-August, 2017. Image: What's your name. It's a symbol. Don't talk. Partial view of installation at FORM Gallery, 2017. Photograph by David Charles Collins, c/o FORM. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1507695585411-MCAXKFRBVW64UT3J1HPV/Paper_lr.jpg Curatorial - Paper: 'Cerberus', Susan Flavell, 2013 Co-curated with Kara Pinakis for FORM. Paper, Cotton, Leather, Flowers, Wood was co-curated with Kara Pinakis, to celebrate the fifth anniversary of FORM's Midland Atelier, an art and design studio hub occupying a cluster of buildings in the former Midland Railway Workshops (the southern hemisphere's most significant remaining collection of Edwardian industrial buildings). A group of artists with links to the Midland region were each allocated a site within the workshops to respond to, and one of the first five traditional anniversary gifts as their theme. The artists are all known for their innovative use of the material in question, drawing attention to the site's century-long history of hand-skilled labour. Susan Flavell's Cerberus was created from cardboard for the site's former Foundry as the Paper component of the exhibition. Cerberus, Susan Flavell, cardboard, glue and mixed media, 2013, photograph by Bewley Shaylor, c/o FORM. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1507699716574-K6M8E79I24GVCVHAKMF0/Image_5.jpg Curatorial - 'Wembley Ware - Excitingly Different!', entrance to exhibition at Art Gallery of Western Australia, 2005 Wembley Ware - Excitingly Different!, first retrospective of Wembley Ware ceramic 'fancy wares' produced by Brisbane and Wunderlich (1946-1961), co-curated with Melissa Harpley for the Art Gallery of Western Australia, in 2005. Wembley Ware is iconic of the spirit of post-war buoyancy in Western Australia during the 1950s, and practically every household in Western Australia owned a piece of Wembley Ware during this era. Despite its kitsch appeal, the range is nationally-significant as Australia's largest range of commercially-produced porcelain home wares during an era when the ceramics industry was booming across the country. The exhibition design aimed to reflect this spirit of optimism. Photographs c/o The Art Gallery of Western Australia. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1507687334806-RBNO6ZJNPX6YI5EXRGHM/ws.jpg Curatorial - 'Wild Silence 1', David Charles Collins, 2016 Curated for FORM. David Charles Collins established his art practice in Perth before moving to Sydney in 2015. Over recent years he has gained growing national attention for his richly sensual photographic and video works, which reference the aesthetics of high-Renaissance painting to critically comment upon the hedonism, decadence and apathy of his generation. In 2016 FORM commissioned Collins to travel to Western Australia’s remote southern regions and create a new body of botanically-themed works in conjunction with the Ravensthorpe Wildflower Festival. His resulting photographic series, Wild Silence, documents the iconic orchids of the Fitzgerald Biosphere, an area of nationally-significant biodiversity at the border of the Great Southern and Goldfields-Esperance regions. “Each photograph is an abstracted portrait,” Collins explains, “the flowers, initially hard to see and find, still carried the weight and history of the place in which they had quietly existed. Becoming more than flowers, I conceptualized them as individuals in a community, all tacitly aware of the knowledge of the land they inhabited. I found these silent bodies heavy with the secrets they keep to themselves”. In striking contrast to the high-baroque sensibility of Collins’ previous works, the images have a stark and minimal beauty, representing a new direction in his practice. Image:Wild Silence 1, Giclee fine art print on smooth pearl paper, 110 x 110 cm, 2016. Image c/o David Charles Collins. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1507764992532-12N93EL99GK3GEISFIN8/CI.jpg Curatorial - Collectors Items, 2001 Collectors Items was co-curated with Pam Aitken for Artsource in 2001. The exhibition focused on collecting as an art form - artists whose practices involve collecting, artists who collect other artists' work, and non-artists whose dedication to their collection reflected an artistic flair. It included actual and documented collections by over 40 participants. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1507765472030-3IEGUCZOTNDY7YYMFDML/locust+night.jpg Curatorial - 'Locustman', Susan Flavell, 2002 Locustman, Susan Flavell, cardboard and glue, 2002. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1507765714691-EMT7291GFZBOV3LWSVTL/IMG_8354.jpg Curatorial - 'Untitled', (documentation of performance), Casey Ayres and the CCC Lion Dance Troupe, 2014 Curated for FORM Dear William - a dedication to William Street, curated by Andrew Nicholls for FORM's PUBLIC Festival, 2014, with sponsorship from the City of Vincent. The exhibition paid affectionate tribute to one of Perth's most iconic inner-city streets, and its surrounding precinct, which has been home to numerous immigrant communities from the 1980s to the present day. Image: Untitled (documentation of performance along William Street, March 2014), Casey Ayres in collaboration with the Chinese Community Centre Lion Dance Troupe, 2014, photograph c/o the artist. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1509429169576-QMDJD8AK75QLCJWP8GA2/Red_Right_Shoe.jpg Curatorial - Visitants - close encounters with remote Western Australia Curated for FORM   Participating artists Consuelo Cavaniglia Penny Coss Berndnaut Smilde   Visitants brings together three acclaimed artists, working in response to one of Western Australia’s most haunting remote landscapes. Consuelo Cavaniglia, Penny Coss, and Berndnaut Smilde share an interest in capturing moments of experience, particularly of the natural world, that inspire wonder, or a sense of personal revelation. At the heart of all three artists’ practices is the illusionary potential of colour and light, frequently employed to evoke sensual and transformative experiences. Cavaniglia utilises transparency, reflection, and colour relationships to confuse foreground and background, or disrupt the relationship between viewer and artwork, placing her audience in a state of pleasurable instability. Coss employs layering, carefully controlled staining, and scale to interpret her experience of the natural world via luminous abstract and collaged compositions. Smilde creates photographs, sculptures, and installations that aim to capture fleeting moments of revelation, often by recreating naturally-occurring phenomena such as clouds and rainbows. During 2016, each artist was commissioned by FORM to undertake a residency in Western Australia’s remote Pilbara region, and immerse themselves in a landscape that is almost hallucinatory in its harsh beauty and extremes of climate. Visitants comprises the outcomes of their field trips to Karijini National Park, home to some of the State’s oldest and most dramatic natural landforms. Their resulting artworks attempt to capture and interpret their time in this extraordinary place, with its vast natural monuments and continually-changing light, and where the fragility of the body becomes apparent in comparison to the age, hostility, and imposing majesty of the surrounding environment. Image: Red Right Shoe, Berndnaut Smilde, 2017 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1507763787477-F4OZNSEYHHIP4SAL8PPI/Golden_eagle.jpg Curatorial - 'Golden Eagle' by Tarryn Gill, 2016 Project Curators Mollie Hewitt and Andrew Nicholls, for FORM   Participating artists Thea Costantino Rebecca Dagnall Tarryn Gill   Image: Golden Eagle by Tarryn Gill, 2016. Photograph c/o the artist. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1507702688369-FZDRNI5KV6SUJZ7S29BG/Bernd_medium_res.jpg Curatorial - BUILDED REMNANTS: Berndnaut Smilde Curated for FORM. Netherlands-based Berndnaut Smilde (born 1978) is interested in how we experience the world around us. Drawing inspiration from his daily surroundings, his work explores our relationship to built and natural environments, often toying with his viewers’ perceptions of inside/outside, or the scale or function of built spaces. Many of his artworks are the documentation of temporary interventions into buildings or landscapes, capturing fleeting moments of sublime beauty. Smilde undertook a residency with Western Australian arts organisation FORM in 2016, his first visit to the Australian continent. He and his studio assistant, German artist Annegret Kellner, spent a month in Western Australia from November-December 2016, based in Perth, but travelling extensively throughout the State. During this time Smilde produced a new series of his iconic Nimbus cloud images in evocative metropolitan locations, and in the remote Pilbara. This included his first outdoor Nimbus works, in Karijini National Park, and the red dirt landscape outside of Roebourne. Smilde also travelled to the State’s South West region and created an experimental rainbow work at the Cape Leeuwin Lighthouse, on a site first mapped by the Dutch several centuries ago. In July 2017, the exhibition BUILDED REMNANTS opened at The Goods Shed, FORM’s exhibition and project space in Claremont, Western Australia. The exhibition presented the outcomes of his 2016 residency, and was Smilde’s first solo exhibition in the Southern Hemisphere. Image: Smilde working outside Roebourne in the Pilbara, December, 2016. Photograph by Bewley Shaylor, c/o FORM.   https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1439191830010-PEN6HO0XJN6ZKJ5BP4DU/Image%233.jpg Curatorial - A Gentle Misinterpretation - Australian Artists and Chinoiserie Fremantle Arts Centre, August-October, 2022 In 1999 Robert Copeland described the myriad of Willow Pattern tableware produced in Britain over the past three centuries as ‘gentle misinterpretations’ of Chinese culture. However Blue Willow – unquestionably the world’s favourite china motif – was in fact Chinoiserie, aggressively marketed to undercut the Chinese domination of the global ceramics market. As a marketing ploy, the design was accompanied by an ‘authentic’ legend capitalising on the European craze for the ‘far East’, while simultaneously portraying Chinese culture as mysogenistic and tyrannical; it was so effective that Asian ceramicists were soon forced to copy the design, further fuelling the myth of its authenticity. The pattern’s ongoing popularity reflects the extent to which ‘the West’ was and continues to be fascinated by – and appropriate - the aesthetic traditions of Asia. Chinoiserie remains something of a guilty pleasure, via its undeniable aesthetic charm, but intensely-problematic and kitsch appropriation of Asian culture. It reflects the worst excesses of colonial imperialism, yet reflects a level of fascination for the Asian ‘other’ that could be seen as (albeit naively) cosmopolitan in spirit. This exhibition invites a number Western Australian artists to develop new works investigating this aesthetic legacy. The core of the exhibition will be the outcomes of a series of residencies at the Brighton Museum & Art Gallery, and the adjoining Brighton Pavilion, England, and The Pottery Workshop in Jingdezhen, China, between 2015-2018. Image: Production still from Gulchenrouz by Andrew Nicholls. Image by Casey Ayres with thanks to the Royal Pavilion and Museums, Brighton. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1507699485868-JVK5ACOSO1QIQTMVX7HE/Study.jpg Curatorial - The artists in Freud's study, 2013 An Internal Difficulty - Australian Artists at the Freud Museum London showcased the outcomes of a group residency by 7 Western Australian artists at the Freud Museum London in 2013, curated by Andrew Nicholls. Photograph by Pilar Mata Dupont. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1749523272490-QF92D9919VE6L813BDSG/IMG_0608.JPG Curatorial - 'Divergence - Photographs from Elsewhere', 2012 Co-curated with Sharmila Wood for FORM and FotoFreo 2012 Showcasing the work of hundreds of photographers from across the world, Divergence was a weekend-long takeover of the heritage-listed Midland Railway Workshops presented by FORM as part of FotoFreo 2012. The exhibition included works by some the world’s leading photographers including Nigel Bennett, Sohab Hura, Martin Parr, Ketaki Sheth and Bharat Sikka, and incorporated the world premiere of a new dance work by Jacob Lehrer. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1749525130397-S9OM674ZTMI7SK33OHMP/Tracks+We+Share%2C+2022.+Image+by+Sundae+Studio%2C+courtesy+of+FORM+%2861%29.jpg Curatorial - 'Tracks we Share: Contemporary Art of the Pilbara' 2022 I was privileged to be Lead Curator of first survey of Pilbara art for FORM and The Art Gallery of Western Australia, with a curatorial team comprising Clothilde Bullen, Glenn Iseger-Pilkington, Tui Raven, Ron Bradfield Jr. and Sharmila Wood, working in collaboration with Cheeditha Art Group, Juluwarlu Art Group, Martumili Artists, Spinifex Hill Studio, Yinjaa-Barni Art and independent artists Jill Churnside, Katie West and Curtis Taylor. The exhibition comprised over 100 works in multiple mediums by more than 80 Pilbara artists, and was overseen by a Cultural Advisory Group of representatives from the multiple Aboriginal Language Groups represented in the exhibition. Outcomes of the project went on to show in Primavera at the Museum of Contemporary Art, Sydney, Tarnanthi at the Art Gallery of South Australia and the 24th Biennale of Sydney, and were acquired by collections including the Art Gallery of Western Australia, Janet Holmes à Court and Kerry Stokes, among others. Pictured above are works by Jill Churnside. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1749600190021-9ACDP88HF1MBY2JY5JCG/bugai_1907-72.jpg Curatorial - Martumili Exhibition Series, 2019-2023 Aboriginal and Torres Strait Islander readers are advised that this page contains the names and artworks of deceased Aboriginal people. During my time as Senior Curator at FORM - Building a State of Creativity Ltd. I was privileged to curate three exhibitions of extraordinary work by the Martumili Artists at FORM Gallery in Claremont. Bugai, the first solo exhibition by Senior Martu artist Bugai Whyoulter, in 2019 What Now - The Next Generation of Martumili Artists in 2020 We Didn’t Get Tired, We Just Kept on Going a celebration of the work of senior Martu sisters Maywokka Chapman, Mulyatingki Marney and Mrs. N. Champan, in 2023. Photograph: Bugai Whyoulter with her work at FORM Gallery in 2019, photograph by Sundae Studio, c/o FORM. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425777366969-HBY0ITGVAZ5VSZPWRSXT/Spooked2.jpg Curatorial - 'Flies' (detail), Therese Howard, 2004 Spooked 2 - the sequel was the follow-up to the first Spooked, continuing the project's investigation into non-Indigenous post-colonial tension, while jokingly extending the horror film premise of the initial project (in that horror movie sequels are generally inferior re-hashes, with more gore and jumps than the original, but less plot and content). Like the first project, Spooked 2 focused on an allegedly-haunted colonial building, with the project informed by a sleep-over the Fremantle Arts Centre and Museum. The resulting exhibition was installed in non-conventional locations across the site, drawing attention to parts of the building and grounds not normally utilised for the installation of artworks. The artists hid their works on windowsills and down administrative hallways, or in the Museum dioramas. Shown above: Flies (detail), Therese Howard, metal and organic matter, 2004, photograph by Tony Nathan. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684038633-RKP0KQWBNN06P07KLOZS/DIMOL8.jpg Curatorial - 'Siphon' (detail), Nalda Searles, 2007 Nalda Searles, Drifting in my Own Land showcased new works by Nalda Searles produced via a Creative Development Fellowship from the Western Australian Department for Culture and the Arts. The exhibition was co-curated with Christina McGuinness and Paul Thomspon in collaboration with the artist in 2009. It opened at John Curtin Gallery before touring Australia between 2009-2013 through Art on the Move. Image: Siphon (detail), meadow fodder, blanket and thread, 2007, photograph by Eva Fernandez. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1445140866625-BMY7KOFD848PDQFUB1NK/Fair_is_Foul.jpg Curatorial - Fair is Foul and Foul is Fair Showing at Turner Galleries Perth, 16 October-14 November, 2015 Participating artists: Abdul Abdullah, David Charles Collins, and Andrew Nicholls Project curator: Andrew Nicholls Image: Fair is Foul and Foul is Fair, Andrew Nicholls, archival inkjet print on Ilford paper, 80 x 178 cm, 2015 http://www.andrewnicholls.com.au/writing-1 daily 0.75 2024-09-24 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425284321948-2UYLZW18RVYT42QIH31K/WA.jpg Writing http://www.andrewnicholls.com.au/new-gallery-3 daily 0.75 2015-10-15 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684670402-XEDJXV6X9NW6ENJDQ82R/Andrew_shelf.jpg Florid, 2014 - Ceramics by Andrew Nicholls, 2012-2014 Florid, co-curated with Clare McFarlane showed at fortyfivedownstairs, Melbourne, from 25 March - 22 April 2014, and at Turner Galleries Perth from 4 July - 2 August 2014 Florid showcased recent works by eight Western Australian mid-career artists who reference histories of decoration in order to explore subjectivity, identity, colonialism and/or nationalism.   https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684670402-XEDJXV6X9NW6ENJDQ82R/Andrew_shelf.jpg Florid, 2014 - Ceramics by Andrew Nicholls, 2012-2014 Florid, co-curated with Clare McFarlane showed at fortyfivedownstairs, Melbourne, from 25 March - 22 April 2014, and at Turner Galleries Perth from 4 July - 2 August 2014 Florid showcased recent works by eight Western Australian mid-career artists who reference histories of decoration in order to explore subjectivity, identity, colonialism and/or nationalism.   https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684876611-81606BSBHPCEBHUJCF9Z/Exhibition4.jpg Florid, 2014 - Installation view at fortyfivedownstairs The word 'florid' has both corporeal and aesthetic connotations as both describing the physical state of being flushed, and as a somewhat derogatory term for elaborate or excessively intricate detail. The curators particularly invited the participating artists to reference its antiquated meaning of 'being covered in flowers'. The artists were encouraged to explore the notion of excess, to create works in which the ornamental becomes too elaborate, where the intricate crosses over into something oppressive or sinister. Shown above are works by Clare McFarlane, Olga Cironis, Susan Flavell and Eva Fernandez. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684717548-A2QATM567703S8Y6CP4R/Eva.jpg Florid, 2014 - Photographic works by Eva Fernandez, 2012-2014 Collectively, the participating artists draw upon influences including Rococo porcelain, Victorian china patterning, Arts and Crafts Movement design, and the decorative arts during the 19th and early 20th centuries. The exhibition works spanned painting, sculpture, textiles, photography, drawing and ceramics. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684627567-X6DH41AVXR13W6MFN4W5/Susan_Clare.jpg Florid, 2014 - Installation view at fortyfivedownstairs Works by Clare McFarlane (background) and Susan Flavell (foreground) https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684912979-AEPSRP6VXWSPEZ719EDS/Exhibition10.jpg Florid, 2014 - Installation view at fortyfivedownstairs Works by Thea Costantino (background) and Susan Flavell (foreground) https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684733853-KD65DOIRLW1G0NFM48MA/Exhibition14.jpg Florid, 2014 - Installation view at fortyfivedownstairs Works by Andrew Nicholls, Clare McFarlane and Susan Flavell https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684414271-JL24302QTRW9DF8DRYV4/004_florid_turner+galleries_2014.jpg Florid, 2014 - Installation view at Turner Galleries Works by Eva Fernandez, Thea Costantino, Ryan Nazzari and Susan Flavell Photograph by Eva Fernandez https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684402478-NSYV4S69YITGE8FCM4IW/002_florid_turner+galleries_2014.jpg Florid, 2014 - Installation view at Turner Galleries Works by Eva Fernandez and Thea Costantino Photograph by Eva Fernandez https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684438860-QXDXCBE44CM4KA5VX7SX/006_florid_turner+galleries_2014.jpg Florid, 2014 - Installation view at Turner Galleries Works by Ryan Nazzari, Andrew Nicholls, Olga Cironis, Susan Flavell and Clare McFarlane Photograph by Eva Fernandez https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684463340-5TW3VA08SZOPTUXIA7YW/012_florid_turner+galleries_2014.jpg Florid, 2014 - Installation view at Turner Galleries Works by Andrew Nicholls Photograph by Eva Fernandez https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425685014661-6Y9TX0SGRA8OTZ1ZQZI9/013_florid_turner+galleries_2014.jpg Florid, 2014 - Installation view at Turner Galleries Works by Ryan Nazzari Photograph by Eva Fernandez https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684497240-UNAAK8TVS78GJEF0BC9A/008_florid_turner+galleries_2014.jpg Florid, 2014 - Installation view at Turner Galleries Works by Olga Cironis Photograph by Eva Fernandez https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1425684482139-YFTKE2LH6USIA44L307I/010_florid_turner+galleries_2014.jpg Florid, 2014 - Installation view at Turner Galleries Works by Mel Dare Photograph by Eva Fernandez http://www.andrewnicholls.com.au/andrew-nicholls-support-images daily 0.75 2018-04-04 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1489363424460-MYUZ5F6EQH6RHQJV2B72/Via_Appia_Antica_%28after_Piranesi%29_new+copy.jpg Andrew Nicholls Support Images - Via Appia Antica (after Piranesi) (detail of work-in-progress), 2016-2018 Via Appia Antica (after Piranesi) (detail) archival ink pen on watercolour paper, 45 x 350 cm, 2016-2018 (in-progress). https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1489363424460-MYUZ5F6EQH6RHQJV2B72/Via_Appia_Antica_%28after_Piranesi%29_new+copy.jpg Andrew Nicholls Support Images - Via Appia Antica (after Piranesi) (detail of work-in-progress), 2016-2018 Via Appia Antica (after Piranesi) (detail) archival ink pen on watercolour paper, 45 x 350 cm, 2016-2018 (in-progress). https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1489359548212-1NIH2CSK0OBJXS4PDPNQ/Delight_and_Hurt_Not+copy.jpg Andrew Nicholls Support Images - Delight and Hurt Not, 2016 Delight and Hurt Not, ceiling mural for the new City of Perth Library, approximately 11 x 14.3 meters, 2016. Commissioned by the City of Perth. Photograph by Bewley Shaylor. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1489363402295-9NVX0A422AM6WT8BTC4Q/5_Mangia_gelato+copy.jpg Andrew Nicholls Support Images - Mangia Gelato (Piazza del Popolo), 2015-2016 Mangia Gelato (Piazza del Popolo), large format photograph, 120 x 100 cm, 2015-2016. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1522829153687-MBWCH9XMGNVQRALWVAVY/Andrew_Nicholls_3.jpg Andrew Nicholls Support Images - 'Attitudes #3, Parco degli Acquedotti (Afternoon of a Faun)', 2015 Attitudes #3, Parco degli Acquedotti (Afternoon of a Faun), large format photograph, dimensions variable, 2015 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1522829226540-0KFR586A8DXJKFWOAH2E/Andrew_Nicholls_4.jpg Andrew Nicholls Support Images - 'Jacob and the Angel', 2016-2018 Jacob and the Angel, fine art giclée print, 120 x 80 cm, 2016-2018 (edition of 3 + 1 AP) https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1522829259649-EBYD34KJTO127I8VXQ2K/Andrew_Nicholls_5.jpg Andrew Nicholls Support Images - 'Bitter Heritage (for Randolph Stow)', 2013 Bitter Heritage (for Randolph Stow), decal print on recycled Wembley Ware dinnerware, approximately 1.5 x 2.5 mtr, 2013 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1489363339615-I5YVSTVIY0ZVLCS5ZSUB/Cobalt2+copy.jpg Andrew Nicholls Support Images - Untitled (Cobalt Skull), 2016 Untitled (Cobalt Skull), collaboration with Yu Xuan and various Jindezhen artisans, hand painted cobalt on porcelain, 30 x 35 x 35 cm, 2016. Cobalt painting by Yu Xuan. Photograph by Bewley Shaylor. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1522829313473-C904IJXJ28VNZNKHEXUT/Andrew_Nicholls_7.jpg Andrew Nicholls Support Images - 'Untitled (Cobalt Skull) #2', 2016 Untitled (Cobalt Skull) #2, collaboration with Yu Xuan and various Jindezhen artisans, hand painted cobalt on porcelain, 30 x 35 x 35 cm, 2016. Cobalt painting by Yu Xuan. Photograph by Bewley Shaylor. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1522829381612-WREZ5VVLPAJ35YIBH8D5/Andrew_Nicholls_8.jpg Andrew Nicholls Support Images - 'The Last Judgement', 2016-2018 The Last Judgement, archival ink pen on watercolour paper, 12 panels able to be rearranged into two alternate configurations, each 76 x 57 cm (30 x 22 in), 2016-2018. Artbank collection. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1522829469540-NMMC3K9HHGOMJYCV0JCL/Andrew_Nicholls_9.jpg Andrew Nicholls Support Images - 'The Last Judgement' (alternative configuration), 2016-2018 The Last Judgement, (alternative configuration), archival ink pen on watercolour paper, 12 panels able to be rearranged into two alternate configurations, each 76 x 57 cm (30 x 22 in), 2016-2018. Artbank collection. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1522829544179-5PNRC842Q9ECIZS58X3J/Andrew_Nicholls_10.jpg Andrew Nicholls Support Images - 'The Last Judgement' (detail), 2016-2018 The Last Judgement, (detail) archival ink pen on watercolour paper, 12 panels, each 76 x 57 cm (30 x 22 in), 2016-2018. Artbank collection. http://www.andrewnicholls.com.au/support_material_2 daily 0.75 2022-12-04 http://www.andrewnicholls.com.au/gulchenrouz daily 0.75 2023-02-22 http://www.andrewnicholls.com.au/portent daily 0.75 2024-02-25 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1708902180137-Q43NPM3CY3MGF3F7KQ6K/Water_film_still2.jpg PORTENT - Showing until 16 March at Holmes à Court Gallery at No. 10, West Perth, for the 2024 Perth Festival PORTENT (water), still from digital video, Andrew Nicholls with Chad Peacock, 2024. Inspired by the artist’s experience of the 2023 Exmouth eclipse, Andrew Nicholls’ exhibition, PORTENT, plays with the common understanding of eclipses as bad omens in diverse cultures throughout history. Video projections, large-scale wall murals and printed hangings, lighting and sound take over the gallery and see the space repeatedly morph from light to darkness and back again throughout the course of the day. The exhibition comprises solo works and collaborations with Ad Lib Collective, Sarah Elson, Chad Peacock and Wind Up Bird. https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1708902180137-Q43NPM3CY3MGF3F7KQ6K/Water_film_still2.jpg PORTENT - Showing until 16 March at Holmes à Court Gallery at No. 10, West Perth, for the 2024 Perth Festival PORTENT (water), still from digital video, Andrew Nicholls with Chad Peacock, 2024. Inspired by the artist’s experience of the 2023 Exmouth eclipse, Andrew Nicholls’ exhibition, PORTENT, plays with the common understanding of eclipses as bad omens in diverse cultures throughout history. Video projections, large-scale wall murals and printed hangings, lighting and sound take over the gallery and see the space repeatedly morph from light to darkness and back again throughout the course of the day. The exhibition comprises solo works and collaborations with Ad Lib Collective, Sarah Elson, Chad Peacock and Wind Up Bird. http://www.andrewnicholls.com.au/hyperkulcheremia daily 0.75 2019-07-16 http://www.andrewnicholls.com.au/new-cover-page-1 daily 0.75 2024-02-25 http://www.andrewnicholls.com.au/biography daily 0.75 2024-09-05 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1506521516128-VUL2R85VX1AWDOAN2BP5/Pavilion_small.jpg Biography http://www.andrewnicholls.com.au/contact daily 0.75 2024-06-30 http://www.andrewnicholls.com.au/selected-recent-national-arts-media-coverage daily 0.75 2017-03-13 http://www.andrewnicholls.com.au/love-andrew-nicholls-selected-extracts daily 0.75 2020-05-28 http://www.andrewnicholls.com.au/shop daily 0.75 2022-10-30 http://www.andrewnicholls.com.au/shop/love-sick-andrew-nicholls-works-2009-2019 monthly 0.5 2023-05-08 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1683537310075-RPZDTMR7NRWYN2XB7DQL/LOVESICK.jpg Shop - LOVE SICK - Andrew Nicholls, Works: 2009-2019 http://www.andrewnicholls.com.au/shop/love-andrew-nicholls-drawn-works-1998-2008 monthly 0.5 2023-05-08 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1683537543703-SSKOGH4RY3JIFJ7TZBAZ/LAN1.jpg Shop - LOVE ANDREW NICHOLLS - Drawn Works, 1998-2008 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1683537515920-HDK8JRTOIAVGE04GBRX5/LAN1.jpg Shop - LOVE ANDREW NICHOLLS - Drawn Works, 1998-2008 http://www.andrewnicholls.com.au/shop/a-gentle-misinterpretation-australian-artists-and-chinoiserie monthly 0.5 2022-10-30 https://images.squarespace-cdn.com/content/v1/54c35106e4b09b3245f518f3/1667094689536-JO83S3LOGWV6Y3JU2BOP/A-Gentle-Misinterpretation_Book.jpg Shop - A Gentle Misinterpretation - Australian Artists and Chinoiserie