'That feeling when you finally decide you want to have kids one day, but the next day you read that climate scientists are warning we only have 12 years before the shit hits the fan #1,' 2019 by Zhu Ohmu. Glazed ceramic. 'Heavy Chair' by Jonathan West. American ash, American oak & ebonised oak. 'Big Round, Gold', 2019 by Sabine Marcelis. Glass, mirror & colour foil. 'Ancient Redgum Assegai' by Adam Markowitz. Brass, LED, pre-fossilised Murray Redgum Carbon dated to 9000 years old. 'Southern Light,' 2018 by Darren Fry. European Maple, white gold leafing & handblown glass sphere. 'Layman's Throne,' 2019 by Andre Bahremand. Cement, plasticiser & terry towel. 'Shinki- Bowls and Stands,' 2019 by Makiko Ryujin. Eucalyptus, blackwood & cypress. 'Somersby Stool,' 2014 by Rachel Vosila. Somersby Sandstone & Tasmanian Oak. 'Storyteller,' 2019 by Lisa Reihana. Photograph printed on acrylic & face-mounted. Belly of the Beast (Gold Mask), 2018 by Tarryn Gill. Mixed media. Guardian (The Dogs), 2019 by Tarryn Gill. Mixed media including EPE Foam, aluminium wire, hand-sewn fabric & beads. 'Aztec Daybed,' 2018 by Michael Gittings. Brushed & patinaed stainless steel. 'Serpentile,' 2019 by Noel Surti. Glass fibre reinforced concrete & painters rag. 'b'urning Ayer #1,' 2003 by Rosemary Laing. C Type photograph. 'Colour Shift panel' by Rive Roshan. Trichroic mirror- Rose, colour sublimated print on fluted glass, mirror. 'Stick Chair,' 2018 by Michael Gittings. Blackened electroformed copper. 'Untitled,' 2019 by Trent Jansen & Johnny Nargoodah. Aluminium & New Zealand saddle leather. Sally Dan-Cuthbert & the artists. Photo by Billy Zammit. Photo by Peter Braig. Set in Sydney’s harbourside suburb of Rushcutter’s Bay, a newly opened design gallery by Sally Dan-Cuthbert specialises in Australian visual and functional art, and collectible design. The first of its kind in Australia, the gallery exhibits a collection of limited edition or one-off design pieces from Australian and New Zealand designers living locally or abroad. These are exhibited alongside artworks by some of the country’s leading visual artists.On show until September 22, the gallery’s first group exhibition presents work from 29 artists and designers including sculptures made from used car parts by Trent Jansen and Johnny Nargoodah, ‘Big Round, Gold’ mirror by Sabine Marcelis, and vessels made from eucalyptus and blackwood by Makiko Ryujin.“I really want to show the excellence of Australian and New Zealand collectable design/functional art and how good our artists in this country are,” Dan-Cuthbert explains.Nestled between Sydney’s Paddington and Potts Point Gallery precincts, the space was chosen for its light and aspect. Neither a contemporary white box nor industrial warehouse, the gallery employs clean lines and a minimalist approach to presentation, occupying a purpose-built exhibition and working space that unites both natural and architectural elements.“Most of us do not live or work in white boxes, so to fully appreciate art and objects, all pieces need to complement each other. It’s a delicate balance and a carefully choreographed dance that needs to unfold between all the elements in a room. It’s the curating of multiple layers of artworks that gives rise to the greatest emotional response”, says Dan-Cuthbert.Having practised as a fine art consultant for 30 years with an esteemed roster of private and corporate clients, the gallery represents Sally Dan-Cuthbert’s shift in focus to include more contemporary design and functional art. Gallery Sally Dan-Cuthbert will curate and exhibit solo and mixed shows by emerging, mid-career and senior artists and designers, demonstrating the importance of marrying art and design. [Images courtesy of Gallery Sally Dan-Cuthbert.] Share the love:FacebookTwitterLinkedInEmailPinterest Leave a Reply Cancel ReplyYour email address will not be published.CommentName* Email* Website Δ