Daniel Noonan Being Built

18 November –
16 December 2017
without thunder to announce it or wind to carry it.
Matt Hinkley

without thunder to announce it or wind to carry it.

, 2024
Pencil on paper, perspex
13 x 18cm
an edited & polished scrap yard,
Matt Hinkley

an edited & polished scrap yard,

, 2024
Pencil on paper, perspex
13 x 18cm
lay in shining disarray.
Matt Hinkley

lay in shining disarray.

, 2024
Pencil on paper, perspex
13 x 18cm
into that iron abyss.
Matt Hinkley

into that iron abyss.

, 2024
Pencil on paper, perspex
13 x 18cm
After it all, the illusions to resist disappeared
Matt Hinkley

After it all, the illusions to resist disappeared

, 2024
Pencil on paper, perspex
13 x 18cm
Half the harvest is thrown into the sea
Matt Hinkley

Half the harvest is thrown into the sea

, 2024
Pencil on paper, perspex
13 x 18cm
Together Again

Together Again

, 2023
Oil on linen
130 x 90cm (diptych)
Shadow Crossed The Sky
Marlee McMahon

Shadow Crossed The Sky

, 2023
Acrylic and oil on canvas
90 x 75cm
Bypass Blue Abyss
Ann Debono

Bypass Blue Abyss

, 2024
Installation view
Metro Arts, Meanjin/Brisbane
Photography: Lee Wilkes
Bypass Blue Abyss
Ann Debono

Bypass Blue Abyss

, 2024
Installation view
Metro Arts, Meanjin/Brisbane
Photography: Lee Wilkes
Bypass Blue Abyss
Ann Debono

Bypass Blue Abyss

, 2024
Installation view
Metro Arts, Meanjin/Brisbane
Photography: Lee Wilkes
Bypass Blue Abyss
Ann Debono

Bypass Blue Abyss

, 2024
Installation view
Metro Arts, Meanjin/Brisbane
Photography: Lee Wilkes
Bypass Blue Abyss
Ann Debono

Bypass Blue Abyss

, 2024
Installation view
Metro Arts, Meanjin/Brisbane
Photography: Lee Wilkes
Bird’s Eye
Marlee McMahon

Bird’s Eye

, 2022
Oil and acrylic on canvas
75 x 90cm
Portico
Ann Debono

Portico

, 2023
Oil on linen
152 x 112cm
Pennants
Ann Debono

Pennants

, 2023
Oil on linen
152 x 112cm
Depth by height
Ann Debono

Depth by height

, 2023
Oil on linen
152 x 112cm
Bypass blue abyss
Ann Debono

Bypass blue abyss

, 2024
Oil on linen
152 x 112cm
Bend
Ann Debono

Bend

, 2024
Oil on linen
152 x 112cm
Chicane
Ann Debono

Chicane

, 2023
Oil on linen
92 x 66cm
Limits to Growth (Part 3) – Letter to Rai (detail)
Nicholas Mangan

Limits to Growth (Part 3) – Letter to Rai (detail)

, 2020–2021
Installation view, Nicholas Mangan: A World Undone, Museum of Contemporary Art Australia, 2024
Steel server rack, reconstituted aluminium and cables from Bitcoin mining machines, archival pigment print with aluminium frame, papier mâché sculpture made from 149 shredded photographs
Image courtesy the artist, Museum of Contemporary Art Australia and Sutton Gallery, Australia © the artist, photograph: Hamish McIntosh
Ancient Lights (detail)
Nicholas Mangan

Ancient Lights (detail)

, 2015
Installation view, Nicholas Mangan: A World Undone, Museum of Contemporary Art Australia, 2024
2-channel digital video, high definition, sound, colour, off-grid solar power supply, steel cage
Image courtesy the artist, Museum of Contemporary Art Australia, Sutton Gallery, Australia and LABOR, Mexico © the artist, photograph: Hamish McIntosh
Proposition for Dowiyogo’s Ancient Coral Coffee Table
Nicholas Mangan

Proposition for Dowiyogo’s Ancient Coral Coffee Table

, 2009
Installation view, Nicholas Mangan: A World Undone, Museum of Contemporary Art Australia, 2024
Coral limestone from the island of Nauru, wooden travel crate
Image courtesy the artist, Museum of Contemporary Art Australia and Sutton Gallery, Australia © the artist, photograph: Hamish McIntosh
Core-Coralations
Nicholas Mangan

Core-Coralations

, 2021
Installation view, Nicholas Mangan: A World Undone, Museum of Contemporary Art Australia, 2024
Image courtesy the artist, Museum of Contemporary Art Australia, Sutton Gallery, Australia and LABOR, Mexico © the artist, photograph: Hamish McIntosh

The title being built immediately references both the physical and conceptual formation of this body of work – it can refer to the building of an idea, or the building of experiences and expectation. In this way Noonan draws our attention to the connection between the physical woks before us and the physical/sensory creative action of the artist.

Layered with imagery a raw honesty prevails throughout these paintings. For Noonan, colour ,form and composition, are cues for a personal interpretation of experience and psychology. His painterly practice performs as a language to translate sensory response.

Compositions reference preliminary drawings, collected phrases, and more specifically here a family photograph taken at a communist camp at Yarra Junction,and a 1940’s futuristic watercolor by an unknown French painter. This source material points to a culmination of idea and desires. Obscured figures and landscapes appear throughout this predominately abstracted series.

Daniel Noonan was born in Melbourne in 1974 and now lives and works in Brooklyn, N.Y. Noonan attended the Victorian College of the Arts, University of Melbourne, and received a Bachelor of Fine Arts (Painting) in 1997. Throughout the late 90s and 2000s, Noonan exhibited in various solo and group shows in Melbourne and Sydney and was also a member of artist group “DAMP” during this time. Noonan relocated to New York in 2005. His work is held in collections of Artbank, the National Gallery of Victoria, the collections of James Mollison AO, John McBride, the Joyce Nissan collection, as well as private collections in Australia, United States and Europe.

Selected solo exhibitions

ECHO HOPE, Sutton Gallery, Melbourne, 2019; Being Built, Sutton Gallery, Melbourne, 2017; Working Pictures, Dutton, New York, 2015;
That of my There, Dutton, New York, 2015; GG Spectrum & Elements, Tristian Koenig, Melbourne, 2014; Minor Threat, Crossley & Scott Contemporary, Melbourne, 2005; Nothing, Kaliman Gallery, Sydney, 2004; The Unfinished Studio, Crossley & Scott Contemporary, Melbourne, 2003; Day to Day, Kaliman Gallery, Sydney, 2002

Selected group exhibitions

Spring 1883, Dutton, Sydney, 2018; Works on Paper, BEERS, London, 2017; Spring 1883, Dutton, Sydney, 2017; Out of Place, Dutton, New York, 2016; Spring 1883, Dutton, Sydney, 2015; REDUXDELUX, Parkhaus Projects, Berlin, 2010; Our Project Presents: Poster Show, with Guy Benfield, 117 Grattan St., New York, 2008; Brix Presents: Full Nelson, Berlin, 2007; Recent Aquisitions, National Gallery of Victoria, Melbourne, 2005.

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