Daniel Noonan Being Built

18 November –
16 December 2017
Know Thy Measure (installation view)
Tom Kreisler, Anna Peters, Robert Pulie, Michael Snape

Know Thy Measure (installation view)

, 2025
Sutton Projects, Melbourne
Photo Christian Capurro
Know Thy Measure (installation view)
Tom Kreisler, Anna Peters, Robert Pulie, Michael Snape

Know Thy Measure (installation view)

, 2025
Sutton Projects, Melbourne
Photo Christian Capurro
Know Thy Measure (installation view)
Tom Kreisler, Anna Peters, Robert Pulie, Michael Snape

Know Thy Measure (installation view)

, 2025
Sutton Projects, Melbourne
Photo Christian Capurro
Know Thy Measure (installation view)
Tom Kreisler, Anna Peters, Robert Pulie, Michael Snape

Know Thy Measure (installation view)

, 2025
Sutton Projects, Melbourne
Photo Christian Capurro
Know Thy Measure (installation view)
Tom Kreisler, Anna Peters, Robert Pulie, Michael Snape

Know Thy Measure (installation view)

, 2025
Sutton Projects, Melbourne
Photo Christian Capurro
Know Thy Measure (installation view)
Tom Kreisler, Anna Peters, Robert Pulie, Michael Snape

Know Thy Measure (installation view)

, 2025
Sutton Projects, Melbourne
Photo Christian Capurro
Know Thy Measure (installation view)
Tom Kreisler, Anna Peters, Robert Pulie, Michael Snape

Know Thy Measure (installation view)

, 2025
Sutton Projects, Melbourne
Photo Christian Capurro
Know Thy Measure (installation view)
Tom Kreisler, Anna Peters, Robert Pulie, Michael Snape

Know Thy Measure (installation view)

, 2025
Sutton Projects, Melbourne
Photo Christian Capurro
Me
Michael Snape

Me

, 1981
Painted steel
85 x 170 x 20cm
Mirror of Self Under Standing
Robert Pulie

Mirror of Self Under Standing

, 2023
Tempered glass, brass, form ply
116cm (diameter)
Pride Pants Rack
Robert Pulie

Pride Pants Rack

, 2023
Oil, stain and wax on timber
59 x 100 x 20cm
Hard Sole Shoe Mat
Robert Pulie

Hard Sole Shoe Mat

, 2023
Jute, rug canvas, linen
118 x 69 x 2.5cm
The night
Michael Snape

The night

, 2008
Enamel on masonite
40 x 50cm
A quarter past floor
Tom Kreisler

A quarter past floor

, 2001
Pen on paper bag
34 x 20cm
No estoy dispuesto a llorar (I am not in favour of crying)
Tom Kreisler

No estoy dispuesto a llorar (I am not in favour of crying)

, 2001
Acrylic and tape on cardboard
46 x 50 x 6cm
I look terrible in this!
Anna Peters

I look terrible in this!

, 2023
Pen, pencil and coloured pencil on paper
21 x 29.7cm
The Shredder
Anna Peters

The Shredder

, 2023
Pen, pencil, coloured pencil and acrylic on paper
21 x 29.7cm
I’d hate to do that job!
Anna Peters

I’d hate to do that job!

, 2023
Pen, pencil and coloured pencil on paper
21 x 29.7cm
Bad reception
Anna Peters

Bad reception

, 2023
Pen on paper
21 x 29.7cm
Visiting in Blue Dress
Anna Peters

Visiting in Blue Dress

, 2023
Pen, pencil, coloured pencil and acrylic on paper
21 x 29.7cm
Terraforming
Anne-Marie May

Terraforming

, 2021
Patinated bronze cast from paper maquette, acrylic
24.4 x 14 x 5.8cm
AP 3/3
Li Ji – Melbourne life
Kate Beynon

Li Ji – Melbourne life

, 2003
Synthetic polymer and enamel on canvas
12.5 x 12.5cm
Collection of the National Gallery of Victoria (NGV), Melbourne
Dog Robot Space Star
Catherine Bell

Dog Robot Space Star

, 2023
Single channel HD video, black and white, no sound.
12:00 (duration)
Bouquet #5 (Roses for Archie)
Catherine Bell

Bouquet #5 (Roses for Archie)

, 2024
Florist Oasis foam
45 x 25 x 25cm

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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