Born in Melbourne, Australia
Capertee Valley, N.S.W 2001-2010
Lived in Sydney Australia
Works Lennox Street Studios Newtown
PARTICIPATING IN UPCOMING EVENTS
Sydney Fringe Festival 17-18th September 2022 @ Lennox Street Studios
FIABCN 2022 - Fira Internacional d'Art de Barcelona 04-05 November 2022.
CURATORIAL PROJECTS
ESD Gallery, Burton St, Darlinghurst, 2013-2017
Curated 34 artist’s solo shows
7 group shows
Exhibitions included painting, sculpture and mixed media.
SOLO SHOWS
Solastalgia, ESD Gallery, Sydney, 2019
Extension Of The Senses, George Hall Gallery, Darlinghurst, 2018
Art Under the Influence, ESD Gallery, Darlinghurst, 2015
The Healing Show, ESD Gallery, Darlinghurst, 2013
DUAL SHOW
Pride, The Sydney Art Centre. 2023
Diablo Mode & GRC, The Art of Nature
ESD Gallery Darlinghurst, 2017
GROUP SHOWS
Pride Exhibition, The Sydney Art Center, Darlinghurst 2023
Lennox Street Open studio weekend 2022
Sign Of The Times, ESD Gallery, Darlinghurst, 2015
When it Comes The Landscape Listens, ESD Gallery, Darlinghurst, 2014
ART PRIZES
Stanthorpe Art Prize Finalist 2018
The Guardian 2023National Capital Art Prize Finalist 2021
PRESS
SBS News. The exhibition Leon Fernandes: Krishna in Erskineville
https://www.theguardian.com/artanddesign/2023/mar/29/we-get-to-hear-the-stories-unpacking-the-archibald-prize-at-the-art-gallery-of-nsw
The Capertee Valley, formative years 2001-2010
In the year 2000, I returned home from a three-month art residency in Switzerland, where I had been invited by art patron Martin Schweizer to paint and exhibit new work in Bern.
On my return, I moved to the Capertee Valley on the western edge of the Blue Mountains. Nestled amidst nature's embrace, I found myself living alone in an isolated rustic shack on a bush property, far away from the modern world. Devoid of electricity, I relied solely on candlelight and painted during the day; the sound came from the surrounding landscape and etch into my subconscious to return at night as I drifted off to sleep. Moonless nights rendered my world pitch black, leading me to contemplate and visualise my painting in the quiet without distractions. No lights, devices or screens were constantly draining my retinas. In the magic moments between sunset and twilight, white and coloured flowers would glow with a fluorescent vibrancy under the gradation of a blue-toned sky buzzing with ultraviolet light. The night sky, clear of light pollution, appears as a ghostly grey gradation between the stars rather than the blank perceived black. My pallet shifted towards higher-frequency, blue.
The landscape around me became internalised; the canvas no longer captured a mere reflection of life but materialized as a window offering glimpses into the magnificence ecosystem and fragility of the natural world. This will always inform and presents itself in the work.
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Glen Davis Studio Capertee Valley Australia
