Who is ricky swallow

Stephen Bush. Jon Campbell. Jon Cattapan. Tony Clark. Juan Davila. Destiny Deacon. Neil Emmerson. Farrell and Parkin.

Louise Hearman. Robert Hunter. Michael Nelson Jagamara. Tim Johnson. Tim Jones. Leah King-Smith. Emily Kame Kngwarreye. Lindy Lee. Linda Marrinon. Mandy Martin. Andrew McQualter. Tracey Moffatt. Ross Moore. Jan Nelson. Rose Nolan. A snaking floor installation reflects against the polished concrete, an aqueduct above a waterway at 40, feet. Ricky's own personal getaway from the studio is the Hollywood Hills home he's lived in with his family for a decade. He renovated it himself.

That was budgetary and also [for] control. Artwork covers the walls and every ledge, much of it swaps from friends in the artist community. Ricky describes the structure as an elongated cabin with a bank of windows across the back wall, the feeling of being in it akin to being in a treehouse.

Squint and you'll see faint pencil marks beside a measuring stick in the doorway—proof positive there's a growing kid in the house. On the neighboring wall hang two Hopi Tabletta works above an Alvar Aalto coffee table, which is topped with a David Gilhooly vessel. The small bronze work above the growth chart is by the London-based artist David Musgrave, a friend.

Throughout the house are a few rugs from Chimayo, New Mexico, that are modeled after Bauhaus designs; Ricky and Lesley use them as accents on furnishings. When Ricky first came to L. Weirdly, when you sit in them, they make perfect sense. Artwork dots the walls above a Roy McMakin rocker and ottoman. Made from materials such as cardboard and PVC, these objects, the value of which had diminished over time, gained a new level of permanence and recognition through sculptural form.

In the s Swallow, who represented Australia at the Venice Biennale, turned to wood carving, more directly engaging with traditional sculptural materials and techniques and their associated art-historical formats and references. He was particularly drawn to 17th-century Dutch still-life painting, with its rich layering of symbols and allegories of the transitory nature of life and inevitability of death.

The barnacle — capable en masse of slowing down or even temporarily halting a large ship — provides the support, a kind of anchor, for the more capricious balloon. Time is both acknowledged and transcended — from the transience of the balloon to something enduring and quantifiable the barnacle marking slow growth and evolution , from our very recent past to imagined future relics. Bronze is a material most familiar to us through its use in public sculptures commemorating important people and events.

But, as Swallow demonstrates, it also has the ability to transform the smallest of subjects into monuments. Info: David Kordansky Gallery, W.