Gordon R Carmichael
Born in Melbourne, Australia
Capertee Valley, N.S.W 2001-2010
Currently works from Lennox Street Studios, Newtown, Sydney, Australia
PARTICIPATING IN UPCOMING EVENTS
Lennox Street Open Studio 2019 - 2025
Sydney Fringe Festival 17- 18th September 2022
FIABCN 2022 - Fira Internacional d'Art de Barcelona 04-05 November 2022.
CURATORIAL PROJECTS
Curator ESD Gallery, Burton St, Darlinghurst, 2013-2020
34 solo shows, 7 group shows, including painting, sculpture, photography, and mixed media.
SOLO SHOWS
Solastalgia, ESD Gallery, Sydney, 2019
Extension Of The Senses, George Hall Gallery, Darlinghurst, 2018
Art Under the Influence, ESD Gallery, Darlinghurst, 2015
The Healing Show, ESD Gallery, Darlinghurst, 2013
GROUP SHOWS
ElFaro gallery 2024
Pride Exhibition, The Sydney Art Centre, Darlinghurst 2023
Diablo Mode & GRC, The Art of Nature, ESD Gallery Darlinghurst, 2017
Sign Of The Times, ESD Gallery, Darlinghurst, 2015
When it Comes The Landscape Listens, ESD Gallery, Darlinghurst, 2014
ART PRIZES
Northern Beaches Environmental Art Prize MAG&M 2025
National Capital Art Prize Finalist 2021
Stanthorpe Art Prize Finalist 2018
PRESS
SBS News. The exhibition Leon Fernandes: Krishna in Erskineville
The Capertee Valley, formative years 2001-2010
In 2000, I returned home from a three-month art residency in Switzerland, by art patron Martin Schweizer, to paint and exhibit new work in Bern.
On my return, I moved to the Capertee Valley on the western edge of the Blue Mountains. Nestled amidst nature's embrace, I lived alone in an isolated rustic shack on a bush property, far from the modern world. Devoid of electricity, I relied solely on candlelight and painted during the day; the sound came from the surrounding landscape and etched into my subconscious to return at night as I drifted off to sleep. Moonless nights rendered my world pitch black, leading me to contemplate and visualise my painting in the quiet without distractions. No lights, devices or screens were constantly draining my retinas. In the magic moments between sunset and twilight, white and coloured flowers would glow with a fluorescent vibrancy under the gradation of a blue-toned sky buzzing with ultraviolet light. The night sky, clear of light pollution, appears as a ghostly grey gradation between the stars rather than the blank perceived black. My palette shifted towards higher-frequency, blue.
The landscape around me became internalised; the canvas no longer captured a mere reflection of life but materialised as a window offering glimpses into the magnificence of ecosystems and fragility of the natural world. This will always inform and present itself in the work. GRC.
Glen Davis Studio, Capertee Valley, Australia. 2000-2010
