Daniel Noonan Being Built

18 November –
16 December 2017
Tribal Object (After Lázló Lakner)
Being Built

Tribal Object (After Lázló Lakner)

, 1993
Etching on paper
60.5 x 40 cm
Non Swimmer – The Inland Sea
Gordon Bennett

Non Swimmer – The Inland Sea

, 1993
Etching on paper
60.5 x 40 cm
Memory
Gordon Bennett

Memory

, 1993
Etching on paper
60.5 x 40 cm
Blue Retreat
Gordon Bennett

Blue Retreat

, 1993
Etching and watercolour on paper
60.5 x 40 cm
Rainbow’s End
Gordon Bennett

Rainbow’s End

, 1993
Etching on paper
60.5 x 40 cm
How to Cross the Void
Gordon Bennett

How to Cross the Void

, 1993
Etching on paper
60.5 x 40 cm
Through the Void (Diving Board)
Gordon Bennett

Through the Void (Diving Board)

, 1993
Etching, watercolour and graphite on paper
60.5 x 40 cm
The Real Value of Art (Culture Bag)
Gordon Bennett

The Real Value of Art (Culture Bag)

, 1993
Etching on paper
295 × 198 mm
A Level of Abstraction
Gordon Bennett

A Level of Abstraction

, 1993
Etching on paper
295 × 198 mm
Hand of glory
Gian Manik

Hand of glory

, 2023
Oil and aerosol on canvas
160 x 110cm
Fieldwork
Peter Robinson

Fieldwork

, 2018
Installation View
Toi Moroki Centre of Contemporary Art, Christchurch
Fieldwork
Peter Robinson

Fieldwork

, 2018
installation view
Toi Moroki Centre of Contemporary Art, Christchurch
Fieldwork
Peter Robinson

Fieldwork

, 2018
Installation View
Toi Moroki Centre of Contemporary Art, Christchurch
Fieldwork

Fieldwork

, 2018
Installation View
Field Work
Peter Robinson

Field Work

, 2018
Installation View
Toi Moroki Centre of Contemporary Art, Christchurch
Field Work
Peter Robinson

Field Work

, 2018
Installation View
Toi Moroki Centre of Contemporary Art, Christchurch
Field Work
Peter Robinson

Field Work

, 2018
Installation View
Toi Moroki Centre of Contemporary Art, Christchurch
Field Work
Peter Robinson

Field Work

, 2018
Toi Moroki Centre of Contemporary Art, Christchurch
Field Work
Peter Robinson

Field Work

, 2018
Installation View
Toi Moroki Centre of Contemporary Art, Christchurch
The Jacopetti Effect – Duck Rock Part 1 
Peter Robinson

The Jacopetti Effect – Duck Rock Part 1 

, 2000
Various objects
550 x 1250 cm
Collection Musée d'Art Contemporain de Lyon, Lyon
Classics for girls
Kate Beynon

Classics for girls

, 1996
Chenille sticks, satin, silk, cotton thread, polyester
22 components: 212 x 137 x 130 cm
Ian Potter Museum Collection - The Vizard Foundation
Death of the ahistorical subject (up rode the troopers a, b, c)
Gordon Bennett

Death of the ahistorical subject (up rode the troopers a, b, c)

, 1993
synthetic polymer paint and photocopy on canvas and linen
diptych: 167 x 188 cm (irreg.)
Ian Potter Museum Collection - The Vizard Foundation
Venetian red #17 
Stephen Bush

Venetian red #17 

, 1995
oil on linen
66 x 87 cm
Venetian red #12 
Stephen Bush

Venetian red #12 

, 1993
oil on linen
107 x 133 cm

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.

Enquire

Subscribe