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1</head><body><div id="__next"><div class="header fixed w-full z-40 left-0 top-0 duration-500 header-white" style="color:white"><div class="header-inner h-14 shadow-3xl shadow-pageBG bg-pageBG
2      "><nav class="w-full h-full relative z-90 px-5 pt-5 pb-6 sm:pt-5 sm:pb-4 sm:px-6 grid grid-cols-3 "><div class="sm:hidden"><div class="cursor-pointer max-w-[25%]">Menu</div></div><div class="w-fit mr-auto hidden sm:block"><div class="flex transition ease-in-out"><div class="mr-2 cursor-pointer ">Works,<!-- --> </div><a class="mr-2 cursor-pointer   " href="/practice">Practice,<!-- --> </a><a class="cursor-pointer  font-italic" href="/information">Information</a></div></div><div class="w-full"><a class="jh-title z-10 cursor-pointer text-center" href="/"><p>Jordy Hewitt</p></a></div></nav></div></div><div class="transition-1"><div style="opacity:1;transform:none"><div class="mt-pageTop px-5 sm;px-6 "><div class="flex flex-col items-start"><p class="mb-[1.35rem] sm:w-1/3">I currently have artworks available in Perth, Melbourne, Sydney, Newcastle and Noosa. Contact me for details, to organise viewings and for domestic and international shipping quotes.</p><p class="mb-[1.35rem] sm:w-1/3">I am available for commissions and am happy to quote your custom piece.</p><p class="italic">Email</p><a href="mailto:[email protected]"><p class="mb-[1.35rem]">[email protected]</p></a><p class="italic">Instagram</p><a target="_blank" href="https://instagram.com/jordy_hewitt"><p class="mb-[1.35rem]">@jordy_hewitt</p></a><p class="italic">Mailing list</p><div class="form-container"><form class="relative bg-transparent grid place-content-start"><input placeholder="Enter email here..." class=" placeholder:overflow-visible  bg-transparent" name="email"/><input type="submit" class="text-left" value="Subscribe"/></form></div></div></div></div></div><div class=" footer fixed z-40 w-full min-w-full left-0 bottom-0" style="border-image:linear-gradient(0deg, rgba(250,250,250,1), rgba(250,250,250,0)) 100% 0 0 0 / 1rem 0 0 0 repeat"><div class="footer-inner bg-pageBG h-14 shadow-3xl shadow-pageBG 
3          "><div class="hidden sm:block absolute left-0 bottom-0  pb-5 sm:pb-5 pl-6"><div class=""><p>0<!-- --> Works</p></div></div><div class="jh-footer-details absolute bottom-0 w-full pb-5 "></div><nav class="hidden sm:grid absolute  bottom-0 right-0  pb-5 sm:pb-5 pr-6 text-right"><div class="hover z-10 lg:block"><span class="w-fit ml-auto cursor-pointer">Slideshow</span></div></nav></div></div></div>
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This is a question written to me over email by Jordy Hewitt. At least it resembles a question, though it bears no question mark. As a painter, I feel affectionate toward this statement disguised as a question. It signals something about the difficult process of bringing forth into the gaze of another (or the big Other) something previously private. The process of attempting to render intelligible that which is unintelligible, and reaching across the difference between what ‘I’ make and what ‘you’ make, or make of it. \n\nTo roil might look like dragging one’s finger through a puddle to watch as sediment becomes unsettled, forming clouds beneath the shimmering surface. It could also look like Hewitt in her studio, swirling a brush around in a jar of old medium, changing the liquid from crystal to opaque with muddy pigment from the day before. To roil is to stir up, disturb, disorder. Perhaps a dream is the roiling of one’s unconscious. One watches, eyes closed, as chains of signifiers spin loosely together to form a sleepy sentence. In roiling pigment or one’s unconscious, like with sublimation both chemical and creative, something is elevated and transmuted. \n\nThough here I am placing little pieces of language around Hewitt’s paintings, the paintings themselves resist language and symbol. Like Hewitt’s question suggests, they flirt with representation through formal tensions and ambiguities, but never quite plant the kiss. Looking at Roil VIII, I find myself tapping ‘Monet’s haystacks’ into a new tab, or thinking about the waxy quality of a Clarice Beckett painting as I linger on the oxide green and warm lilac of Roil I. Like an impressionist captures momentary vibrations of light and colour, Hewitt’s paintings are attuned to processes of sensation, continuously becoming, and becoming material. 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New territory in that she mines the prosaic in her notebooks, the scribbles as she prepares the oil bars, as a starting point for the series; doubling back in that the graphic, emboldened mark making and line work seen on the canvase
3s strongly hark back to the expressive figurative work she made during life drawing groups at the beginning of her career, but now with years of painting experimentation behind her.\n\nIn all her work, there’s a sense of exploration and investigation of the world around her and within, often examining the changes they contain. She looks at the physical and metaphysical, as well as the psychological and emotional, and seeks to capture her responses. \n\nIn Hum, there’s something deeply self-contained about the work – a sense of contentment and newly found confidence. In part, Hum refers to the multi-layered, background sounds we constantly encounter, whether that’s the hum of the manmade or the gentler resonances of nature. It is also about the energy that surrounds us, that we choose to either pick up on or ignore.\n\nHewitt is also focusing in on the human hum – an intimate, unselfconscious and unfiltered sound that does not require an audience, that has nothing to do with performance. Unique to each of us, it can happen simultaneously with other aspects of life; it’s a sound that is attached to us and never ventures too far. For anyone who happens to hear it, that can mean something ephemeral, a glimpse, a flavour, a signature. In Hum, Hewitt has created works each of which has its own melody, its own personality. 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But here—unlike in a chorus of voices—that all important thing of harmony, which provides the shortest, straightest line to a pleasing result, is not the composer’s first priority. This series of nine paintings takes a different route, one led by paint and process to a destination of great complexity and richness. It is less a chorus produced by a humble choir and more an invigorating rhapsody: free-flowing, seemingly spontaneous, and assorted in mood, colour and intensity. Each painting feels episodic and distinct, yet the series as a whole is a cohesive movement that holds space for many interpretations.\n\nHewitt is connected to a close and intricately woven community, and understands herself as being part of a greater whole, as containing multiplicities. The title of this series, Chorus, suggests it is in some way dedicated to a certain collective wisdom or a greater entity to which Hewitt is trying to connect or from which she draws her essence. It is fitting to consider, though, that the word “chorus”, which has its etymological roots in the Greek khoros (c. 1560), speaks both of tragedy and joy, dark and light, dread and beauty. As emotional realms, these seemingly opposing states have never been independent poles—there is a historical and ubiquitous bleeding between the two, a cross-hatching of types and forms, a merging of meanings. \nHewitt understands this on a molecular level. Ever-apparent in Hewitt’s work is that she is perplexed or evaded by joy or beauty as much as she appreciates or needs it. In her earlier series Ledge Point (2015), for example, she casts doubt over the typification of beauty in the Western Australian coastline, opting instead to see and present a precipice, a point of friction or, perhaps, one of no return. While her works tend always to culminate beautifully, they carry undertones of quiet questioning, of restrained yet also uncontainable interrogation of life’s darker landscapes: fear, anxiety, destruction, mortality.\n\nThe compositions in Chorus are the bold and extroverted product of a private, even sub-conscious journey through, between and out of this same terrain. There is a visible urge to use all the colours, to layer and scrape and redo, to traverse the many possibilities of paint. A spectrum of highly active reds, pinks, greens, yellows and blues compete for agency, and sections of thick paint attempt to dominate patches of diluted underpainting, serving instead to enhance their emanant presence.\n\nIf Ledge Point took us to the edge of the earth, then these colours, and Hewitt’s intuitive application of paint—venturing all the way, in some works, to a careful use of dripping—take us to the edge of what is beautiful. In one section of Chorus VII, concrete grey sits confidently next to and over the top of neon orange, with flanks of muddy red and aquamarine. Chorus V is anchored by a captivating and weighty triangle of inky royal blue. Other pieces are more diffused, though no less brave; in Chorus II, there is a patchwork of colours reminiscent of old lipsticks foun
3d in your mother’s bathroom, the canvas itself almost the smudged and stained interior of her long-disused make-up bag. As the eyes wander down this painting, muted fluorescent green, canary yellow and a light-filled sky blue transport us to an exuberant youth, a blurry dancefloor, perhaps, or the abundant field of a spring day. Similarly, in Chorus IV, pastel yellow, pink and green emanate from the painting’s centre, as if bursting toward us, before vanishing on one side into a lavender plane and meeting, on the other, grounding marks of brown and orange. There is immense joy in these paintings, but it is easy to feel they may be wrought from more arduous emotional and, particularly at this large scale, physical work than their surface beauty might first have us believe.\n\nHewitt’s practice has a relationship to existential, mythological and astrological inquiry, but these interrogations can be seen, here and elsewhere in her oeuvre, to find full expression in the tangible, bodily world. Her work reflects a constant grappling with her own worldly experience as vessel or channel, crossing between the light and dark edges of her felt realities and parallel emotional places. The pure energy of the works in Chorus—a product of the way Hewitt paints in short, productive bursts and through total submission to process—brings this into clearer view. The mark-making is instinctive: the works at first appear muddled, or as if certain colours or pieces are in the wrong places, but it is not long before all those pieces come together with a sense of preordained unity.\n\nThere is something eternal about the wisdom Hewitt brings, in this way, to the paintings in Chorus. It is as if the lives of those who came before her and who surround her now, and the echoes of their many tragedies and triumphs, combine in this now joyful song, this composition, this constantly repeating offering that is laden with the fullness of human experience. These works embrace the ageless plurality of the chorus, declaring the circular relationship of the light and dark in a disparate yet singular voice. To venture to the edge is really to push toward the centre—the innermost part—which is sometimes the darkest or the most devoid of joy, and also the most potent source of lightness, of life, of beauty.","openingAddressTitle":"Essay by Emma Pegrum","slug":{"_type":"slug","current":"chorus"},"title":"Chorus, 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In previous series, she has explored her response to happenings around and of herself – the death of a grandmother, the birth of a child, for instance – and developed, over a number of years, colour field painting to translate her ideas onto canvas. The culmination can be found in Other Wise, her 2020 exhibition, which explored her response to being a mother for the second time. Here, while it was clear that Hewitt was investigating the psychological, mythological and astrological themes she has been interested in for so long, there was also the sense, seen in the distinct horizontal planes found within those paintings, that she was subconsciously aiming to assert some type of order over her inner – and perhaps outer – world.\n\nIn Wellspring, she realises that such attempts at control are futile. This, quite clearly, is a series for our current times. Overwhelmed by the realities of the world in which she finds herself, Hewitt’s response – like that of many of us – is to retreat within herself and explore the depths of her imagination, her experience, her being. She is unable to affect, or even rationally respond to the outer world, so aims to cocoon herself against it. She’s searching for a source of energy that is both esoteric and pure – digging into the well to find out what’s there – claiming back territory that is without expectation or judgement.\n\nThe works are completely joyful and unexpected, and radiate positivity. Rather than a revisiting of earlier series, what is apparent in Wellspring is the artist’s realisation that, when viewed anew, the inner world is completely fertile and largely unexplored terrain, untrammelled by such constraints as gender, history and analysis. The revelation is that there is no need for invention or re-invention; even if not immediately apparent, everything is contained within, and Hewitt shows a willingness to dig deep and lay herself open to whatever she discovers. While a wellspring might suggest abundance, there’s no sense in these paintings that the source is either relentless or unvaried – energy comes in many forms, from the calming and tranquil to the exuberant, and almost volcanic. It is, however, always authentic and true.\n\nWhile purely abstract, the works in Wellspring speak of isolation – of the importance to Hewitt of where she lives, and her relishing of the newness of it. These 
3could be landscapes, they could be the bush – the colours are redolent of Australianness in the loosest possible form. It’s up to the viewer to make connections, and Hewitt leaves space to let that happen.\n\nFor Hewitt, exploration takes a number of forms – the genesis for Wellspring might be the search within herself, but exploration also has a physical manifestation. As with all her work, she builds up layers of paint – in this case, oil – with brushes and, for the first time, small palette knives. But here, just as important as the layering is the mining, the scraping away – sometimes urgently with the handle of the brush or palette knife – to find out if there’s anything important, valuable or unimagined beneath. There so often is.\n\nIn revealing both the exploration of self and her hand in the making of these works, Hewitt demonstrates confidence and strength, as well as a certain level of generosity. This, in turn, allows the viewer to contemplate a wellspring of their own, a response which could hardly be more welcome.","openingAddressTitle":"Essay by Leta Keens","slug":{"_type":"slug","current":"wellspring-2021"},"title":"Wellspring, 2021","type":"Exhibited"},{"_createdAt":"2022-10-07T15:17:45Z","_id":"8202b8cc-b6ee-49cc-8df8-c126a4d345a8","_rev":"FDY6aBJxSaYygCzFtdqMeE","_type":"exhibition","_updatedAt":"2023-08-22T04:37:33Z","catalogueStatement":"\n","date":"2020-10-13","exhibitionPhotos":[{"_key":"a6a410a3f9c7","_ref":"ed3f7b41-ed24-48d6-ab52-4176961cd01b","_type":"reference"},{"_key":"03f403a8f72b","_ref":"2ca104a2-c0f4-46e5-8e87-379e5b6c2f5e","_type":"reference"},{"_key":"2777a53387bb","_ref":"40fce087-dff2-4c62-8b55-c22c42f519b2","_type":"reference"},{"_key":"0215a3ab4daf","_ref":"25ad0ed0-6cf6-4ddc-9842-c058db7c051e","_type":"reference"},{"_key":"8d0f19f09767","_ref":"d48bf16f-444f-466b-ad76-024a8c2c8872","_type":"reference"},{"_key":"8b56603d76b0","_ref":"82433c4e-9734-4398-a5a6-460fe8cfdd67","_type":"reference"}],"featureImage":{"_type":"image","asset":{"_ref":"image-ddd27857193c7eb63e0d5bbb6d920460e999f0e7-2979x3543-jpg","_type":"reference"}},"installPhotos":[{"_key":"7eacee209057","_type":"installPhotos","photos":[{"_key":"311702255bf2","_type":"photo","asset":{"_ref":"image-4952601584adb44e0f6ff9f2c775342ea3590054-591x678-jpg","_type":"reference"}},{"_key":"8134c10edfc6","_type":"photo","asset":{"_ref":"image-53309b2d710b8c839872517453e95636aed893d1-591x758-jpg","_type":"reference"}},{"_key":"867d9b2f4dac","_type":"photo","asset":{"_ref":"image-46612d5e0cdac480a4decd37835eafb1387099be-591x758-jpg","_type":"reference"}},{"_key":"a4dc81565564","_type":"photo","asset":{"_ref":"image-09fc2e1d1631b54bc251b6483ef2ba6057e3d2bf-1772x2083-jpg","_type":"reference"}},{"_key":"a06f1198418e","_type":"photo","asset":{"_ref":"image-b3aadfb5e6b816742ac950a013098d22190ef080-1772x2040-jpg","_type":"reference"}},{"_key":"098921bdcc18","_type":"photo","asset":{"_ref":"image-d7b8e39ef5aa1700d428820a8b2484094856494b-1772x2268-jpg","_type":"reference"}},{"_key":"23e8da6a97a4","_type":"photo","asset":{"_ref":"image-3760dde93c232618207f73789c71fcca885460af-591x886-jpg","_type":"reference"}}]}],"location":"Online Exhibition","openingAddress":"Moment by moment, we enact or bring forth our world through sensorimotor interplay with space. In other words, our experiences of reality are composed of and determined by the multilayered sets of relations we hold with the human and non-human life forms eddying within our orbits.\n\nThis understanding is, in essence, an Indigenous one. In speaking from an Indigenous Australian perspective, Professor Mary Graham describes traditional Aboriginal relationality as one that ‘embraced uncertainty and imprecision’, ‘consented to being driven by feeling’, ‘accepted and made room for conflict’ and, ultimately, ‘lived as if not only groups, but all [...] are autonomous beings.’ [1]\n\nDense though these entanglements are, the newest series of paintings by Western Australian artist Jordy Hewitt - Other Wise - piercingly, lucidly distills from the mire specific aspects or points of intersection. This set of six expanded colour fields, each one comprised of four horizontal planes, invites us to encounter - from a higher vantage point - a cross-section of the archetypal complexities that are alive within us.\n\nThese opulent compressions, in all their dynamism and electricity, offer viewers a standpoint that is both rich and spacious. Here, we see Hewitt expand upon earlier bodies of works occupied with decoding more subtle energetic traces and psychological spaces; Hewitt now springboards into the astral. With this departure, comes an intensification of her note range.\n\nChronicled in oil and wax are a set of pre and postnatal exchanges, transmitted between the artist and her second child as she came in to being. The amorous blushes of Other Wise I, for instance, produced in 2019 during Hewitt’s second pregnancy, emanate with the presence of Eros, the Greek God of love associated with fertility and desire. To what extent did this soul, enfolded and unfolding inside Hewitt’s body and field over this passage of time, influence the outcome of these murals?\n\nAs the series progresses, these effusive tableaus begin to contrast with more subterranean and stormier forecasts. The works hold strong as vestiges of the solace and reprieve Hewitt sought inside her studio throughout the personal and collective upheavals of 2019 – 2020, as well as signal the artist’s ongoing process of adaption to these shifting landscapes.\n\nAs an ensemble, Other Wise crafts a symphony, and symphonies within symphonies, that are high in drama and somatic affect. The enduring qualities of the sound and colour bath educed by these transversal planes can perhaps only be conjured, in earnest, through a methodical act of surrendering one’s body as channel.\n\nParameters around the practice of revolutionary Swedis
3h artist and mystic Hilma af Klint (1862 – 1944) come to mind. During a séance in 1906, af Klint received clear directives from beings referred to in her diaries as ‘High Masters’, instructing her to undertake a major commission of spiritual paintings. In describing how these guides worked through her in the studio, af Klint wrote: ‘The pictures were painted directly through me, without any preliminary drawings and with great force. I had no idea what the paintings were supposed to depict; nevertheless, I worked swiftly and surely.’ [2] Hewitt’s instinctive mixing of tones and application of bristles pledges an allegiance with the spirit of af Klint.\n\nThe artist as channel in this way, hands automated by unseen forces, challenges historical notions that artistic credence is based solely on intentionality. In Other Wise, Hewitt divines that it is in the balance and the tensions between these modes of working that inner and outer worlds, and the worlds within those worlds, may be, in the artist’s words, ‘discovered in the act of making’.\n\nWith each new series, we see Hewitt access and harness in her making, more and more deftly, an ancient form of mind-body-spirit intelligence. The source of this same way of knowing glimmers in Graham’s words on Indigenous perspectives of interconnectedness, just as it resonates within the yielding methodology of af Klint.\n\n[1] Graham, Mary, ‘Aboriginal Notions of Relationality and Positionalism’, Global Discourse: An Interdisciplinary Journal of Current Affairs and Applied Contemporary Thought, Volume 4, Issue 1, 2014, pp. 17 – 18.\n\n[2] Horowitz, David Max, ‘The World Keeps You In Fetters; Cast Them Aside: Hilma af Klint, Spiritualism and Agency’, Hilma af Klint – Paintings for the Future, Guggenheim Museum Publications: New York, 2018, p. 130.","openingAddressTitle":"Essay by Kate Alida Mullen","slug":{"_type":"slug","current":"other-wise-2020"},"title":"Other Wise, 2020","type":"Exhibited"},{"_createdAt":"2022-10-08T04:59:46Z","_id":"da7248eb-847d-4b34-a035-2e4161d9fd15","_rev":"KGWSa53yXTENZ88yJw6Tsi","_type":"exhibition","_updatedAt":"2022-10-14T06:57:47Z","date":"2018-05-18","exhibitionPhotos":[{"_key":"fcaaf61f2fcf","_ref":"7279120c-edfc-4d47-a49f-95932978a94b","_type":"reference"},{"_key":"3bcb24bc71e0","_ref":"fb705d7a-6a9c-4448-a8a5-bff6a395aaeb","_type":"reference"},{"_key":"1fb2286ec246","_ref":"bbd44175-5cfc-43c6-8caf-719cf9605e23","_type":"reference"},{"_key":"7040dd67013a","_ref":"31c201a6-f336-4eb6-8f0e-995693c7ac09","_type":"reference"},{"_key":"9a7ceb48110d","_ref":"433a0a2b-fa6d-44fa-8315-528575e866a2","_type":"reference"},{"_key":"11f7b4fe97b9","_ref":"18f35a90-1791-43d2-9f07-b9dd3f481867","_type":"reference"},{"_key":"f42e10f79602","_ref":"fcfbc400-9ac4-472c-9858-e9b60e1c8fbf","_type":"reference"},{"_key":"d39235a8178c","_ref":"5a2330bb-a1b5-494f-99fa-0e01e05fd521","_type":"reference"},{"_key":"bca2c713158a","_ref":"07e9bc45-d350-4e8f-9118-f0c64c24ad1c","_type":"reference"},{"_key":"eb566ec97b26","_ref":"b21a6d83-b29e-4440-8dec-ed698165e06e","_type":"reference"},{"_key":"3fc14aa90c9f","_ref":"76ecbcc3-9617-48d5-bda7-42a8c3690354","_type":"reference"},{"_key":"c1ee976e96ff","_ref":"a03c9a59-ff68-46f6-b0ed-01d09e73abae","_type":"reference"},{"_key":"672d3b99f9df","_ref":"82800e20-7215-461e-b77a-75e4c9432e9d","_type":"reference"},{"_key":"7756203a2e4e","_ref":"e1f05d81-7487-476e-b115-f0efc3e40235","_type":"reference"},{"_key":"6fb7106061f2","_ref":"5feaef68-fb64-45e1-9361-12f6a6a31575","_type":"reference"},{"_key":"04eb2956e6af","_ref":"76a2f1a3-517c-47cf-9da0-23c25b8a61bb","_type":"reference"}
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Slip out of the head and more towards the heart. Think less, feel more, and finally, even feel less: Be more’\n\nThis mantra, taken from a small volume of evening meditations, puts English to what the sky wordlessly urges of us. The chemistry of perpetually morphing light and vapor doming our horizons at once orientates us in space and time, while its amorphous vastness can, at times, prompt a sense of disembodiment - a strangely comforting weightlessness. These sensations are echoed in the experience of Life Outside - the latest body of works by Western Australian artist Jordy Hewitt - in that these paintings benevolently usher us to Be.\n\nThe human body’s nervous response to the viewing of abstract painting is examined by prominent 20th century French philosopher Gilles Deleuze (1925 – 1995) in his discourse on the logic of sensation. First, Deleuze makes clear how this specific style of painting dissolves subject and object into one interchangeable mass so that the image depicted is rendered one with the artist’s body and mind. He follows by describing how this, in turn, renders the viewer one with the artist: ‘at one and the same time I become in the sensation and something happens through the sensation, one through the other, one in the other’[1]. Though Deleuze speaks primarily in reference to the charged figurative abstractions of his muse Francis Bacon (1909 – 1992), this same phenomenology plays out in the presence of Hewitt’s ethereal world.\n\nThis is the sixth in a series of poetically framed solo exhibitions from Hewitt, each one its own emotional and sensory deluge. Of these, Life Outside marks a zenith in the artist’s steady movement towards ‘pure painting’, or pure abstraction. In keeping true to the tradition of abstraction, Hewitt has 
3wielded a finely tuned ode to the movement of matter: That of the paint itself, but also of the unseen molecular matter vibrating in the air between artwork and gaze. The artist gives visual form to that which is non-visible; to ineffable space.\n\nThough soft, almost whispered, are the shades, textures and orb-like entities adrift across the canvases, these works are radical in their minimalism. Their unrestrained, non-literal planes free us of the linear narratives and cerebral readings our minds have been trained to chase. Life Outside grants us the space – a welcome breath – to better engage our less exercised faculties. As we bask in their midst, an understanding of the works’ materiality begins to unfold – its layers of carefully manipulated brushstrokes, the melding of pastel hues with pearlescent lustres – and we are invited to simply take note of the unique set of bodily sensations brought about.\n\nFor Hewitt, ‘life outside’ signifies the world beyond the insular, metamorphic realm of Motherhood in which she’s been wrapped since the birth of her firstborn in April last year. Propelled inward by biological marvel, the artist has, of late, been withdrawn from more external elements: People, places, rituals of the past. And so, it is through these paintings that we bear witness to a passage of re-entry; an archetypal graduation from Maiden to Mother, one regarded as sacred by matriarchal societies throughout the ages. These artworks bravely lay bare the artist’s physiological evolution as she inhabits this new position; internal shifts illumed further still when contrasted with the ‘outside’. In this sense, these creations are as bold as they are subtle.\n\n[1] Deleuze, G., Francis Bacon; The Logic of Sensation, Trans. Daniel W. Smith, Minneapolis: Minnesota 2002, Ch. 6 Painting and Sensation, p 31.\n\n","openingAddressTitle":"Catalogue Essay by Kate Alida Mullen","slug":{"_type":"slug","current":"life-outside-2018"},"title":"Life Outside, 2018","type":"Exhibitited"},{"_createdAt":"2022-10-07T11:43:57Z","_id":"0ddfed74-8dd4-42fd-b1dd-2d5623184c64","_rev":"Fm7knGwqxUA42Dj23gDUTF","_type":"exhibition","_updatedAt":"2022-10-16T15:53:44Z","catalogueStatement":"Pool reflects a magical place, a family place, an ancient place\nPool is reservoir, amalgamation, mystery and mirror\nPool is a call to the spirits of the young\nPool is a new dream, a long time coming","catalogueTitle":"Catalogue Statement","date":"2016-06-10","exhibitionPhotos":[{"_key":"8c8339e15845","_ref":"dab1ad47-9611-4622-b5f5-34b1cf01975f","_type":"reference"},{"_key":"6fe28bef63eb","_ref":"9fd998d2-7b26-4fdf-be7c-96e90e943274","_type":"reference"},{"_key":"ead1eb8aac73","_ref":"fd4f9678-b540-4faa-b2d6-91014c8a7860","_type":"reference"},{"_key":"bd06e2e81f70","_ref":"410a5b54-6a9a-4b07-abcc-d5fc8d2c5f1a","_type":"reference"},{"_key":"ee3f80a7f712","_ref":"bd72fbc1-816a-4e5b-aa5b-b78c28eff4dc","_type":"reference"},{"_key":"5ff2e123f7f9","_ref":"5d542bbc-cdb3-4f75-8155-17944aa915eb","_type":"reference"},{"_key":"0e562a538c55","_ref":"2e965b86-9453-4b80-a3ca-a772d331253e","_type":"reference"},{"_key":"2dc12ae07948","_ref":"1a3c4839-77d4-46e7-9284-74f94e46ddcd","_type":"reference"},{"_key":"90b4aa0688b4","_ref":"00c39221-be5b-4140-aa88-816c9444e022","_type":"reference"},{"_key":"9bc7468e446b","_ref":"b110b52a-be87-4e74-9859-0180f143438a","_type":"reference"},{"_key":"a1b73d0e189b","_ref":"693ad345-3c32-4adc-a60c-79def9d2446b","_type":"reference"},{"_key":"6157c653f598","_ref":"f5934dc2-1c3e-4e1a-b9a8-9b2f516a500a","_type":"reference"},{"_key":"450fa01accf8","_ref":"4fa5bf44-c376-4152-9863-7a77302855bd","_type":"reference"},{"_key":"eac6dc5e009c","_ref":"61cfa567-e3c2-476e-8691-d95df53c56de","_type":"reference"},{"_key":"2f94fca6f39a","_ref":"1df4a9ac-34c1-45d4-b22c-5988de0f7a9f","_type":"reference"},{"_key":"926a006907e3","_ref":"99bb9fdd-2d63-4263-83a9-b804ac4030ee","_type":"reference"},{"_key":"7cc0d1425228","_ref":"aec1e90c-5fa6-461c-b909-3278fe2d8fa2","_type":"reference"},{"_key":"08dfb8ac6a4c","_ref":"0a4ae842-c8a8-4ba2-b9c3-11b5ab6939d1","_type":"reference"},{"_key":"edcd8906eb35","_ref":"6f06c75b-7982-4c3c-b8b7-be512241e897","_type":"reference"},{"_key":"dc3a208f2756","_ref":"32406bde-b09e-410e-8514-c58f8650cc3f","_type":"reference"},{"_key":"137e967fa7de","_ref":"04de3e16-be36-43bf-b212-abf43ac0e3f3","_type":"reference"},{"_key":"3545fca4301b","_ref":"4cb1fe14-497e-4e9b-801e-c40fb2fe49b8","_type":"reference"},{"_key":"7055b49bdab4","_ref":"78bf8986-7165-4e03-929a-836f53899f65","_type":"reference"},{"_key":"8599a1b4e900","_ref":"b4cd6036-3e1d-4c47-8952-833d3e076d0d","_type":"reference"},{"_key":"ea5183e59846","_ref":"5059b61c-446f-43a7-8bb4-496302759569","_type":"reference"}
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3onnections and relevance - its not to define or to limit an artist. But when I met with Jordy in the studio we spoke briefly about artists such as Joan Mitchell or Cy Twombly and it was obvious, if you look at the body of work, that there are references, in a very subtle way to the American greats of the mid twentieth century. Color field painters such as Rothko, Gorky, Helen Frankenthaler and so on. But that’s not to attribute that to Jordy's work, she’s her own artist.\n\nBut naturally I look for my own lead-in beyond that, and as I came to think about the works and see them in the space and also to reflect on what Jordy has written in her own time, I couldn’t help but think of the experiences I’ve had of the American artist Roni Horn who’s still abundantly active today and lives across NY and Iceland. Roni is largely a conceptual artist who makes these extraordinary sculptures in optical glass, beautiful collaged images on paper, she paints, makes massive installations. She’s very cross discipline but she’s very committed to the interconnectedness between humanity and forces of nature, weather or water and perhaps that’s why I was reflecting on Pool.\n\nI saw a major exhibition of hers in London last year and I was interested in reading a guardian review by Adrian Searle and I thought of a couple of quotations which I think might be nice resonances for you to then really slow up and engage with the work. Searle says:\n\n“Horn is an much concerned with the weather in the soul, emotional weather, as she is in cold fronts, south-easterly, gales and pressure drops”\nHorn herself has talked about water, as mirror “when you see your reflection in water, do you recognize the water in you?”\n\nI think by her own admission Jordy is quite attracted to water, to edges and the elements and what they might invoke in her emotionally, spiritually, physically. I think the Pool suite is a very demanding and ambitious body of work. It’s obviously a move from where Jordy’s been and I’m really looking forward to seeing the evocations of what is a very sentient art, into the future.","openingAddressTitle":"Opening Address by Margaret Moore","slug":{"_type":"slug","current":"pool-2016"},"title":"Pool, 2016","type":"Exhibited"},{"_createdAt":"2022-10-08T05:29:04Z","_id":"b89c03c0-a894-4f4c-8596-dd97a4917d5f","_rev":"rdwow6lAnBxM5EhJ1Ef7YA","_type":"exhibition","_updatedAt":"2022-10-13T13:19:46Z","date":"2015-08-01","exhibitionPhotos":[{"_key":"60660bb2edb4","_ref":"0a4977e4-18e2-4970-9e86-efb1d74eb800","_type":"reference"},{"_key":"c377f4d1b393","_ref":"a11dc57b-eef7-4eca-a20e-959bbdd56ee7","_type":"reference"},{"_key":"b153d5071190","_ref":"f5038922-c057-4af0-8676-6f453acc95d1","_type":"reference"},{"_key":"07eab8da9c67","_ref":"22b6bd05-f013-438b-9e01-d6253d31564c","_type":"reference"},{"_key":"6f483e1e7d16","_ref":"d04e9bcd-da4b-4070-94a3-b84a5520c304","_type":"reference"},{"_key":"46a88e485e75","_ref":"f9e1c12d-781e-4356-b8d9-46b66168b8c5","_type":"reference"},{"_key":"b3b864af5af5","_ref":"11896569-346c-4ad2-8ca1-2951e7d31d73","_type":"reference"},{"_key":"9a304ec0a6b2","_ref":"5fea3270-dee2-45bc-80bd-85fa0b33e859","_type":"reference"},{"_key":"31e130198b2d","_ref":"7799cad8-5036-4e34-8bd8-6c703afc55b5","_type":"reference"},{"_key":"04e4152b1de3","_ref":"6a5a3a58-7ebc-48fe-bf8a-683ad2fc2204","_type":"reference"},{"_key":"b3908cfec826","_ref":"bbfea3e8-d807-44ee-9d79-7e1873dbd006","_type":"reference"},{"_key":"bc0eb45f0cdb","_ref":"13857180-f3e1-4d6e-b289-208e883d968e","_type":"reference"},{"_key":"2ecfcd0a2a4f","_ref":"9bfd8973-2cd9-4060-a991-19cd322c6beb","_type":"reference"},{"_key":"db126c3acca0","_ref":"e777fa3c-7dc0-4038-8905-f59805b414e6","_type":"reference"},{"_key":"e9d0ca83c9f8","_ref":"d77b789c-8504-455c-bc5e-7a9000301117","_type":"reference"},{"_key":"8ec09b419dd2","_ref":"0947d8c6-3c13-42b4-802e-7256c193e915","_type":"reference"},{"_key":"c20e0b173c6b","_ref":"683aefe0-8ba1-4033-9c12-bb5bad8365da","_type":"reference"},{"_key":"1063c17271c1","_ref":"797d6df4-c96d-49d1-8d4f-795ec78a32c3","_type":"reference"},{"_key":"edec563ee859","_ref":"78ac2b6b-c4f4-4ecf-87c9-e99c503be233","_type":"reference"},{"_key":"107ee6f6f5db","_ref":"4fb58cc5-cf42-4526-8b87-86e3700365b4","_type":"reference"},{"_key":"f88ab78201fe","_ref":"999a5d03-5fc6-47ab-bbc7-e4dfac9528af","_type":"reference"},{"_key":"82350239b151","_ref":"4be1d2d5-ef1f-4eee-b54f-78a55d765485","_type":"reference"},{"_key":"3ac2589c1b3b","_ref":"4b7e13c9-5742-45d1-9685-95ca2472563e","_type":"reference"},{"_key":"cfe372f805c7","_ref":"660a7ff6-876c-42ab-8231-b4729543fa23","_type":"reference"},{"_key":"b02ce6ada2c9","_ref":"4c996f5a-0002-428f-a3cf-f92141250440","_type":"reference"},{"_key":"21d13c308797","_ref":"e33f0245-9b7b-42de-b3b9-20b866720663","_type":"reference"},{"_key":"ff6ff71676fb","_ref":"2cf31c38-3c2a-4555-98b4-9c32b67cacff","_type":"reference"},{"_key":"fb11291993d7","_ref":"6937d529-7021-4f0c-9722-65b0b4a85e7f","_type":"reference"},{"_key":"376019a69aa6","_ref":"3011e180-98f8-493b-9dbd-99e4afb90e5a","_type":"reference"},{"_key":"7bf33c374127","_ref":"8c4eb035-6183-46ca-9669-5f0481b4d9c7","_type":"reference"},{"_key":"014045f2ff6a","_ref":"74b969ba-c35f-428f-881f-2ead1f900d95","_type":"reference"},{"_key":"034979da330a","_ref":"e6d20808-7567-4f27-aa49-4b25dee1309f","_type":"reference"},{"_key":"b6f6f9b3af20","_ref":"75404648-c725-4f22-baa1-13721861a523","_type":"reference"},{"_key":"e4eed0a51119","_ref":"3f1323ba-ab3b-49c8-8481-3aaf3a160f43","_type":"reference"},{"_key":"4bdd7e6c4c89","_ref":"db5a31d4-2557-4546-a44e-37545cf9a8fc","_type":"reference"},{"_key":"812dbe7122eb","_ref":"1b8b3d10-2950-4c7e-a725-3e9c82b5692a","_type":"reference"},{"_key":"9ca995a13e8b","_ref":"cf1d27ea-bb5b-455d-9cc7-a3eb624dab12","_type":"reference"},{"_key":"a05be953d863","_ref":"ccf5f8c0-0fe6-4d65-8ad6-3d19bad59c8f","_type":"reference"},{"_key":"6c7690b8d5b6","_ref":"21ccf0de-88c9-41f6-877f-bd8bdeab5fce","_type":"reference"},{"_key":"c4aa527892b6","_ref":"c5c68b6d-4db5-4e96-853d-5a08f8a5a616","_type":"reference"},{"_key":"2f8ca4fd77bf","_ref":"cd36323f-3623-43fc-a794-a2f9456a00d5","_type":"reference"},{"_key":"ae9e8aee20b1","_ref":"bfa4d5c9-0168-4f07-a13d-16451d9e87f8","_type":"reference"},{"_key":"f04e69a352e2","_ref":"4d1d7b60-fb6a-4ed4-8551-b01e8fda2a33","_type":"reference"},{"_key":"d59d3443877e","_ref":"594308c5-805d-495a-b5f5-fe14182b9c67","_type":"reference"},{"_key":"c56d9b7c550c","_ref":"799493a1-8dd4-4200-8d2e-d510137ce503","_type":"reference"},{"_key":"18a03aaf066e","_ref":"a8cba0c4-b5ff-4887-bf73-8f525394be09","_type":"reference"},{"_key":"e1d1e2539cc0","_ref":"826b6db0-f066-48dd-a968-16a0abd8a4f1","_type":"reference"},{"_key":"7930ac6dee51","_ref":"5d7d5bbe-b7b9-48a0-8718-577714440b15","_type":"reference"},{"_key":"b89422eaa166","_ref":"db7844ac-71bc-44f0-a4ae-0514618d5dd9","_type":"reference"}
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In these works, emotions appear in dualism, and the emotional world is depicted as contested ground where passions shift and contend. Fields of colour represent duelling decisions, possibilities and futures, that combine to create images of anticipation and anxiety. This work is developed through an exploratory and personal process, and the paintings express the artist’s struggle for interior balance.\n\nIn this way, these paintings recall the 20th century psychoanalyst Carl Jung. In his writings, Jung encouraged his patients to visually transcribe their interior lives through psychoanalytic treatment, as an attempt to make the contents of the unconscious accessible. Similarly, Ledge Point is the product of a cathartic, process driven exercise, that aims to discover and unearth.\nJung also considered the generation of chance and automatistic expression to be restricted by adherence to formal artistic traditions. In Hewitt’s work, the abstract techniques of heroic Modernist painting are employed to this end. Hewitt considers that if there is no revelation or discovery in her process she has failed. These works are emotionally rather than intellectually driven, and accomplished through the play of instinct and inner need. They express a striving to represent what usually lies beyond the conceivable, and towards what is achievable only in the un- planned.\n\nThis approach recalls that of a number of artists throughout the Modern period. Master of perceived abstraction, Mark Rothko, in his expressly anti-formalist claim, insisted that he was interested only in expressing basic human emotions, and that color relationships are irrelevant. Likewise, Paul Klee considered that above all it was the desire of the surrealists to make chance essential, embracing primal law and feeding growth.\n\nWith this process in mind, we can relate Hewitt’s use of oscillating tones and indistinct colour fields to depicting an emotional state where the artist’s passions play out. Here in the interior landscapes created by Hewitt, passions, such as the fear of death, love, or anxiety, as well as dormant aspects of personality, can find synthesis and balance. They testify to the grounding and transformative potential of art production. Much like Rothko, and in keeping with automatist philosophy, Hewitt engulfs the viewer in the absorbing meta-physicality of paint while living out the imperatives of the self.\n\nThis series of works is not purely atmospheric however, they express a sort of tension with landscape. In a technical sense, the hard horizontal divides between colour fields suggest that these would-be colour field paintings are really, formally, landscapes, an entirely different artistic tradition. In a thematic sense, the title of the series, Ledge Point, a geographical analogy, confirms this problematisation. Ledge Point refers to a bleak sandy point on the Western Australian coast. In the name itself, Hewitt deepens this analogy. Like the interior emotional worlds of her paintings, this is a landscape that is teetering on the edge, it is a jumping-off point, a precipice. This tension with landscape is unresolved, and perhaps in a philosophical sense, it suggests the wider unresolved tension between the interior, emotive world, and the chaos and violence that the outer world can impress on it.\n\nIn any case, as viewers of these abstracts, we should not expect a translation into purely conceptual language. When colour signifies anything, it also always signifies something that is inexpressible in language. Inevitably and necessarily, detailed linguistic explanations will be lacking. In our experience of ‘Ledge Point’, we must acknowledge the foreign and, to some extent, leave conceptions of familiarity aside. What we do find in these pictures, however, is an experience of liminal non-space and a generous, honest, invitation into the artist’s personal world.","openingAddressTitle":" Catalogue Essay by Lydia Bradshaw","slug":{"_type":"slug","current":"ledge-point-2015"},"title":"Ledge Point, 2015","type":"Exhibited"},{"_createdAt":"2022-09-26T07:45:58Z","_id":"0852db35-cc5d-4222-b587-7b0589880b0c","_rev":"rdwow6lAnBxM5EhJ1B18Q4","_type":"exhibition","_updatedAt":"2022-10-12T16:13:52Z","catalogueStatement":"In this work I want to explore constructed realities, facades and the potential existence of gateways out. By dropping atmospheric paintings into familiar yet unexpected and isolated settings, I am hoping to jolt the existing state of affairs and create a precipice or portal opening. I am interested in the creation of somewhat conflicted non-places, places that are like holding zones of intense potential, from which transformation may occur.\n\nThe potential aspect is the most important for me in terms of this work having a positive, living relevance. The title Act One, Scene One was something my grandmother said just before she died, in her customary sardonic and resigned tone. She approved of the concept of multiple lives and had fond ideas, which she expressed frequently, about how she herself was Cleopatra reincarnated. Although creative, passionate and eccentric, she was exhausted and trapped in an unhappy life and left it prematurely.\n\nAlthough for me there is an inherent element of ode or dedication to her and my matriarchal lineage, this project is not about her death, the afterlife, nor driven by grief. The relevance to her story in my thinking is about consciousness and personal power. Existing realities may be established or entrenched but they are not predetermined or fixed. There is an ominous mix of apprehension, expectation and fear involved in leaping and shifting and maybe this work acknowledges and encourages that.","catalogueTitle":"Catalogue Statement by Jordy Hewitt","date":"2015-02-05","exhibitionPhotos":[{"_key":"daea6a4d9e70","_ref":"d08d716b-52c2-4a19-8259-c73eab379b62","_type":"reference"},{"_key":"4f7df0047392","_ref":"699c2777-3e2e-474d-ba97-c3b7012c95f2","_type":"reference"},{"_key":"a44abe2309b9","_ref":"544bcf2f-9822-404a-acb2-82495f50d674","_type":"reference"},{"_key":"8c89f5e85871","_ref":"1d370f6c-e72e-4096-8fe5-680bd1e5e142","_type":"reference"}
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I’ve known Jordy for years and have watched her practice take passage through subject matter that belies a very genuine curiosity in the human experience. Act One, Scene One - the darkly humorous last words uttered by Jordy’s grandmother - have inspired the series and her movement from the ‘what is’ to the ‘what could be’ in her work. \n\nWithin these works Jordy borrows from the romantic and sprawling idea of landscape, and grants it an abstraction. Through the positioning of her works, which borrow from the natural and the vulnerable, against images of the familiar, a liminal space is created. An uneasiness that speaks to what is at the heart of our being human: what lies beyond, what are the passages into and out of this confusing, chaotic and beautiful life. \n\nThe works particularly resonate with me as death and the unknown seem to be a common theme arising in my life at the moment. The emotions that this experience bring up are not exclusively of grief and of sorrow, but also of questions; what do I truly believe? When you strip back all the distractions and are confronted with the real idea of mortality it forces you beyond a place to which the rational mind is granted access. I think what Jordy has done with these works, through use of medium and colour, is to provide a provocative guide through the landscape of the what lies beyond the capacity of the rational. For me, the images trigger ideas of both beauty and of a very personal silence. \n\nWhat is affected by her abstracting these landscapes is a presentation of large ideas and difficult concepts, while offering the viewer an opportunity to let go. How far you go is up to you, but that joke on humanity, the painful conscious awareness of mortality and the unknown, is the underlying thing that drives each of us and the true beauty of the human experience. I’m impressed with Jordy’s fearlessness in her desire to continuously create and share her personal dialogue with it.","openingAddressTitle":"Opening Address by Sarah Booth","slug":{"_type":"slug","current":"act-one-scene-one-2015"},"title":"Act One Scene One, 2015","type":"Exhibited"}]},"__N_SSG":true},"page":"/information","query":{},"buildId":"vXWKhg1Jf64ztzotajyaR","isFallback":false,"gsp":true,"scriptLoader":[]}</script>
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