Aleks Danko
Installation view
EMPTY VOID FILLER
, 2024Installation view
Daniel Noonan Being Built
18 November –16 December 2017
Aleks Danko
Installation view
EMPTY VOID FILLER
, 2024Installation view
Aleks Danko
Installation view
EMPTY VOID FILLER
, 2024Installation view
Aleks Danko
Installation view
An empty void feeling (not for sale)
, 2024Installation view
Aleks Danko
Sandblast-etched mirrors and plastic mirror clips
62 x 42cm
Ed. 9 of 10
Selfie Portrait No.4 – WARNING: OBJECTS IN MIRROR ARE DUMBER THAN THEY APPEAR
, 2021–2022Sandblast-etched mirrors and plastic mirror clips
62 x 42cm
Ed. 9 of 10
Aleks Danko
Sandblast-etched mirrors and plastic mirror clips
62 x 42cm
Ed. 9 of 10
Selfie Portrait No.1 – IT’S SUCH A THIN LINE BETWEEN CLEVER AND STUPID
, 2021–2022Sandblast-etched mirrors and plastic mirror clips
62 x 42cm
Ed. 9 of 10
Aleks Danko
Photographic lithograph print
60 x 45cm (framed)
Installation view
TAPE / MEASURE / LAUGH – a self portrait
, 2022Photographic lithograph print
60 x 45cm (framed)
Installation view
Aleks Danko
Photographic lithograph print
60 x 45cm (framed)
Ed. 32 and 33 of 40
TAPE / MEASURE / LAUGH – a self portrait
, 2022Photographic lithograph print
60 x 45cm (framed)
Ed. 32 and 33 of 40
Aleks Danko
Detail
TONGUE IN CHEEK (“Twixt the optimist and the pessimist, The difference is droll, The optimist sees the doughnut, The pessimist sees the hole.”) Florence Wilson née McLandburgh Wilson
, 2024Detail
Aleks Danko
Detail
TONGUE IN CHEEK (“Twixt the optimist and the pessimist, The difference is droll, The optimist sees the doughnut, The pessimist sees the hole.”) Florence Wilson née McLandburgh Wilson
, 2024Detail
Aleks Danko
Detail
TONGUE IN CHEEK (“Twixt the optimist and the pessimist, The difference is droll, The optimist sees the doughnut, The pessimist sees the hole.”) Florence Wilson née McLandburgh Wilson
, 2024Detail
Aleks Danko
Detail
Stupid as a painter, thick as a sculptor … and yes as thick as two short planks … (and, another self portrait) after Juan Davila
, 2024Detail
Aleks Danko
Detail
Stupid as a painter, thick as a sculptor … and yes as thick as two short planks … (and, another self portrait) after Juan Davila
, 2024Detail
Aleks Danko
Detail
Stupid as a painter, thick as a sculptor … and yes as thick as two short planks … (and, another self portrait) after Juan Davila
, 2024Detail
Aleks Danko
Detail
Stupid as a painter, thick as a sculptor … and yes as thick as two short planks … (and, another self portrait) after Juan Davila
, 2024Detail
Aleks Danko
Exhibition invitation
EMPTY VOID FILLER
, 2024Exhibition invitation
Aleks Danko
Detail
A Family Resemblance (“D’AILLEURS, CÉST TOUJOURS LES AUTRES QUI MEURENT” – Marcel Duchamp 1887-1968) trans: “BESIDES, IT’S ALWAYS THE OTHERS WHO DIE” (another self portrait)
, 2024Detail
Aleks Danko
Detail
A Family Resemblance (“D’AILLEURS, CÉST TOUJOURS LES AUTRES QUI MEURENT” – Marcel Duchamp 1887-1968) trans: “BESIDES, IT’S ALWAYS THE OTHERS WHO DIE” (another self portrait)
, 2024Detail
Aleks Danko
Detail
A Family Resemblance (“D’AILLEURS, CÉST TOUJOURS LES AUTRES QUI MEURENT” – Marcel Duchamp 1887-1968) trans: “BESIDES, IT’S ALWAYS THE OTHERS WHO DIE” (another self portrait)
, 2024Detail
Aleks Danko
Silkscreen on canvas, wood, cast silicon rubber, galvanized steel
Dimensions variable (Banner: 257 x 220cm; Silicon ring: 68cm diameter; Galvanized steel shelf: 200 x 20 x 15cm)
TONGUE IN CHEEK (“Twixt the optimist and the pessimist, The difference is droll, The optimist sees the doughnut, The pessimist sees the hole.”) Florence Wilson née McLandburgh Wilson
, 2024Silkscreen on canvas, wood, cast silicon rubber, galvanized steel
Dimensions variable (Banner: 257 x 220cm; Silicon ring: 68cm diameter; Galvanized steel shelf: 200 x 20 x 15cm)
Aleks Danko
Silkscreen print on canvas, wood, galvanized steel, cast concrete, enamel and acrylic paint
Dimensions variable (Banner: 257 x 220cm; Plinth and sculpture: 186 x 40 x 40cm; Trestles and planks: 66 x 75 x 100cm)
Stupid as a painter, thick as a sculptor … and yes as thick as two short planks … (and, another self portrait) after Juan Davila
, 2024Silkscreen print on canvas, wood, galvanized steel, cast concrete, enamel and acrylic paint
Dimensions variable (Banner: 257 x 220cm; Plinth and sculpture: 186 x 40 x 40cm; Trestles and planks: 66 x 75 x 100cm)
Aleks Danko
Unique laser print
45 x 31.5cm
Oh, my! What a tiring day!
, 2024Unique laser print
45 x 31.5cm
Aleks Danko
Steel wire, enamel paint
90 x 66 x 30cm
An empty void feeling (not for sale)
, 2024Steel wire, enamel paint
90 x 66 x 30cm
Aleks Danko
Plywood, liming solution, enamel paint, galvanized steel, plastic and glass
Dimensions variable (Tombstone: 94 x 77 x 20cm)
A Family Resemblance (“D’AILLEURS, CÉST TOUJOURS LES AUTRES QUI MEURENT” – Marcel Duchamp 1887-1968) trans: “BESIDES, IT’S ALWAYS THE OTHERS WHO DIE” (another self portrait)
, 2024Plywood, liming solution, enamel paint, galvanized steel, plastic and glass
Dimensions variable (Tombstone: 94 x 77 x 20cm)
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.