1. Renee Cosgrave
A NEXT WAVE FESTIVAL 2012 PROJECT
19 → 29 MAY
19 → 29 MAY
↑ Previous Work
'Circular Colour Wall Painting'
Renee Cosgrave will playfully transform the exterior of a building with her work 'Circular Colour Wall Painting.' The piece will extend the artist's practice of repetitive mark making and experimentation with form and colour.
See Renee's creative process on the pinboard.
Renee Cosgrave will playfully transform the exterior of a building with her work 'Circular Colour Wall Painting.' The piece will extend the artist's practice of repetitive mark making and experimentation with form and colour.
See Renee's creative process on the pinboard.
2. Artist Statement
New Babylon has been a project like no other. This has given me the opportunity to present a painting in a public arena.
Selecting a building in the city that fits as a location for a wall painting has been a challenge and interesting aspect of the project. I have been looking at sites that are of a modest scale compared to other architecture within the city, made from materials that will absorb paint in a practical manner, looking at bricks, concrete, wood, looking for sites that have already been painted so with this project I have been thinking about de-installing the wall and how it can be returned by choosing a building that has already been painted gives myself more freedom in that I am not the first to touch the site.
The work is rather simple in some ways; it’s just shapes applied by hand repeated onto the building surface. But these shapes are taken from a doodle or sketch made in the studio on simply A4 paper. When this is transcribed onto a site into a large-scale space something happens where this simple gesture becomes more.
Abstract shapes or colour applied to a site within this city context is kind of strange and I’m interested in putting a decorative work within an urban context, making a space that was once for students or business people or tourists walking past the site is now a space for contemplating contemporary painting and more specifically abstract painting on architecture.
This project has been challenging and a long process, although I cannot stop anticipating the install period which I believe will be the period where the project becomes into realisation and surprises may occur. What I think the work will be now could change when it’s actually installed and this tension between preparing for the work and the realisation is of interest to me with projecting paintings onto a larger scale for my wall works.
Selecting a building in the city that fits as a location for a wall painting has been a challenge and interesting aspect of the project. I have been looking at sites that are of a modest scale compared to other architecture within the city, made from materials that will absorb paint in a practical manner, looking at bricks, concrete, wood, looking for sites that have already been painted so with this project I have been thinking about de-installing the wall and how it can be returned by choosing a building that has already been painted gives myself more freedom in that I am not the first to touch the site.
The work is rather simple in some ways; it’s just shapes applied by hand repeated onto the building surface. But these shapes are taken from a doodle or sketch made in the studio on simply A4 paper. When this is transcribed onto a site into a large-scale space something happens where this simple gesture becomes more.
Abstract shapes or colour applied to a site within this city context is kind of strange and I’m interested in putting a decorative work within an urban context, making a space that was once for students or business people or tourists walking past the site is now a space for contemplating contemporary painting and more specifically abstract painting on architecture.
This project has been challenging and a long process, although I cannot stop anticipating the install period which I believe will be the period where the project becomes into realisation and surprises may occur. What I think the work will be now could change when it’s actually installed and this tension between preparing for the work and the realisation is of interest to me with projecting paintings onto a larger scale for my wall works.
3. Bio
Renee Cosgrave is concerned with colour, form and surface and an intuitive mode of making. Renee completed her Honours majoring in Painting at Monash University in 2009 and works predominantly in painting, drawing, collage, installation and wall paintings.
Since 2007, Renee has taken part in over twenty exhibitions and collaborations, including a solo show at Shepparton Art Gallery in 2009, SNO Gallery (Sydney) in 2010 and Mehringdamm 25, (Berlin) in 2011. Recently returned from living in Berlin, Renee is being mentored by John Nixon while working as a studio assistant to the artist. Renee has been awarded a City of Melbourne public art grant for her project.
John Nixon is represented by Anna Schwartz and has been collected by the National Gallery of Victoria and the Museum of Contemporary Art, Sydney.
Since 2007, Renee has taken part in over twenty exhibitions and collaborations, including a solo show at Shepparton Art Gallery in 2009, SNO Gallery (Sydney) in 2010 and Mehringdamm 25, (Berlin) in 2011. Recently returned from living in Berlin, Renee is being mentored by John Nixon while working as a studio assistant to the artist. Renee has been awarded a City of Melbourne public art grant for her project.
John Nixon is represented by Anna Schwartz and has been collected by the National Gallery of Victoria and the Museum of Contemporary Art, Sydney.
