Artists Represented


 

Aldo Bellemo

The city of Melbourne is my Muse. Melbourne is also my adoptive city. I came to Australia in 1964 from Chioggia, Venice, Italy. I started my Architectural studies at R.M.I.T. I graduated in Architecture in 1975 and registered as an Architect in 1976. Melbourne changed a lot since the late seventies. The transformation of the city in the last two decades is beyond what anyone could have ever imagined. I now look at Melbourne from an artist’s perspective: How buildings impact on their immediate surroundings and on the city itself and how the old and the new stand side by side. Do they change the historical character of the street? Does the human get lost in this new environment? Etc, etc. I think my paintings will speak for themselves and the viewers will see them from their own personal perspectives. That’s the beauty of Art.
Aldo Bellemo
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Antonio Balletta

Antonio Balletta works in a variety of media, large graphite drawings, oil painting s and bronze sculpture. His images are skillfully rendered, elaborately staged works that use quiet drama, subtle expression as well as visceral symbolism as a conduit for both personal and universal narratives. By emphasizing aesthetics, he wants to amplify the astonishment of the spectator, he creates compositions or settings that generate poetic images which ;balance on the edge of recognition and the subconscious. The images are an invitation into a story. Much of the symbolism derives from a synthesis of personal experience. Over the years he has developed a vocabulary of potent signs, each one iconic in its connection with humanity. Flowers, branches, boats, nests, kangaroos and other curious creatures populate his work. While his symbols imply tangible things he urges us to interpret them through our own experiences and mixed bag of memories. A branch may represent life’s forked and tenuous path yet it may also evoke metaphors for growth and energy, while the flowers can be read as repositories for feminine power, fertility and life’s transient beauty. The man in so many of his images represents himself, his sons and every man. His works appear as dreamlike images in which fiction and reality meet, allegories merge, meanings shift and the present fuses. Balletta's art inveigles us into its world through optimism for life journey. It makes us want to enter into the artists dialogue and decipher its allegorical tales. &
Antonio Balletta
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Antonio Muratore

Antonio Muratore
Antonio Muratore
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Bart Sanciolo 'When Words Fail' Exhibition March 2020 and other works

I am interested in the uniqueness of interpreted reality where the human form or the environment is the context and the catalyst for response. I choose to use, interpret and manipulate the human form as subject matter because I want to acknowledge that the Human Form is fundamental in art, and that abstraction is meaningless without an implied Human Form. I find that abstraction, perspective, distortion etc, fail when they do not act as devices for reaching an expressive climax and I understand that abstraction cannot be an end in itself because it cannot exist out of a defined context.
Bart Sanciolo 'When Words Fail' Exhibition March 2020 and other works
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Camillo De Luca

Artist Statement- ‘Beatitude’ is a collection of my latest body of paintings, bringing together several themes I have previously explored in my work over the years. Before I began to put energy toward this exhibition, I had no specific aim or established direction. My only aim was to loosen up and return to early times of being fearless and adventurous. I had only one strict rule...that I would not care about the image so much and that it flowed from my brushes and pallet knives. The works came together on their own from this. The objects I chose to paint and draw were all intrinsically intertwined in my mind, meaning that they are all connected somehow in my understanding and appreciation of them. They overlapped and swam around in my thoughts for years. They are things that bring me wonder and joy. Quite by accident three clear themes emerged from the body of work. The first theme to emerge is my love of the natural world, being the living plants on earth. Nature is utterly wonderful. I have an affinity for nature's colours, patterns, and organic flowing lines. I love the asymmetry. Each element is a complex and a perfect mathematical algorithm. As with most subjects I draw and paint, I cannot help but zoom in and magnify them. I am instinctively drawn in close to my subject. I crop objects tightly, looking for an intimate understanding of line and form. I don't have any interest in painting rolling hills or sweeping clouds. For me, zooming out would miss so much of the "good stuff". I can't help but focus in on one part of an object and tend to draw things quite large. I want to get as close to the action as possible. I fix my eyes firmly and it's as though I am relying on the sensation of touch, even though it's really only my eyes that are seeing. I try to stay honest in my work and have the courage to make honest mistakes. I draw lines that may be incorrect, which I then redraw and rub away. I also try to capture the splendour, the colours, the light etc. elements that give me joy. I try to share them with the viewer. The second theme that emerged is the gift of fruit. Without thinking too much about it I am always in awe of this miracle. It gravitates around fertility, sustenance, and goodness. The fruits of the earth are amazing and plentiful. It breaks my heart to think that these fruits are not evenly distributed. For me, the cycle of life on earth (as opposed to surrounding dead planets) is mind blowing. "Ancient Fruit" (sketch of a pomegranate) is an ode to this millennia old cycle as well as a subtle reference to knowledge, consciousness, rebirth and original sin. Lemons and limes are everyday fruit but equally worthy of being painted as divine objects. I have placed them front and center as such. The third theme to emerge in these works is my ongoing affinity to the humble vessel. These simple lines depicting a container or bowl have many deep undertones for me. The vessel represents an object that contains things, be it water, fruit, food etc... These images can be perceived by the viewer as empty or ready to hold the harvest. I gravitate toward this object for the essential role it has in our lives. It holds our daily meals, stores and preserves crops and water or taking the idea further, lakes and oceans are contained, and ultimately life itself is somewhat contained within the stratosphere. These paintings are echoes of the concept in my mind, of "holding", yield, plenitude and emptiness. I hope you enjoy the energy in this show. It was completely enjoyable painting it. Camillo De Luca
Camillo De Luca
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Clifford Possum- Hank Ebes Collection

Gallery Elysium is proud to act as an official agent for Hank Ebes and the Emily Museum. All works from the Hank Ebes collection are at least 20 years old and come with an impeccable provenance and official documentation. All Prices are in AUD
Clifford Possum- Hank Ebes Collection
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David Freney - Mills

Artist’s Statement David Freney-Mills – Gallery Elysium 2021 Through his paintings, Melbourne artist David Freney-Mills explores the visual properties of text. He does this via painting layers of ink on Mulberry paper, choosing a single word for each painting. Through fragmenting and repeating the text he creates abstract arrangements that convey a sense of flux and transformation. Freney-Mills’ paintings are akin to organisms made up of accumulated layers and traces of decisions. In different paintings the text overlaps in chance combinations, weaving throughout the atmospheric surfaces created by the artist. Freney-Mills uses text to represent matter and it’s shifting nature as a vehicle for energy. The text is also evocative of human consciousness in a state of constant re-invention, absorbing perceptions of colours and light from the outside world while also focused within it’s inner space, both outer and inner worlds have frontiers for awareness to push into, in both directions a void is contemplated, not a sterile void but one fertile with possibilities from which all forms, all ideas and realizations come.
David Freney - Mills
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Elio Sanciolo 

“I use painting as a tool to explore and play with ideas and connect me to culture and history. I do this to discover who and what I am, the nature of the world and my place in.” 'The artistic process is the distillation of conscious and unconscious experience through the filter of the body which is in turn embedded in a transient reality.'
Elio Sanciolo 
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Emily Kame Kngwarreye - Hank Ebes Collection

Gallery Elysium is proud to act as an official agent for Hank Ebes and the Emily Museum. All works from the Hank Ebes collection are at least 20 years old and come with an impeccable provenance and official documentation. All prices are in AUD.
Emily Kame Kngwarreye - Hank Ebes Collection
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George Tzikas

The questions occur. How to paint nothing? What does it mean to paint nothing? What does it mean to paint a void?
George Tzikas
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Hani Isac

I let myself go, apply marks, streaks, splashes of colors onto the canvas, to make them resonate with all the intensity that can be imagined.
Hani Isac
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Ian Crigg

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Ian Crigg
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Jack Dale-Hank Ebes Collection

Gallery Elysium is proud to act as an official agent for Hank Ebes and the Emily Museum. All works from the Hank Ebes collection are at least 20 years old and come with an impeccable provenance and official documentation. All Prices are in AUD
Jack Dale-Hank Ebes Collection
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Jaedon Shin

Artist Statement: Eros in the pandemic nights During the lockdown last year, every night I watched numerous operas through online free streaming service. Mostly they were melodramas about love, desire, betrayal, revenge, death and so forth. Interestingly, watching them helped me not only to get out of the strong sense of isolation, but also to have opportunities to think deeply about ‘the self-myself’ and ‘the other’, and the relationship between them. In the daytime, I made a bunch of paintings which were eventually about Eros. I imagined a perfect erotic, noble and flawless love. The object of love is the eternal other I can never reach. ‘Eros’ is one of my paintings inspired by stories and music of the operas. Lovers float in the air like twinkling stars in night sky. They are full of desire but know they can never own ‘the other’. The music that resonates in the night sky is sweet and mysterious. Jaedon Shin, July 2021
Jaedon Shin
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Rover Thomas-Hank Ebes Collection

Gallery Elysium is proud to act as an official agent for Hank Ebes and the Emily Museum. All works from the Hank Ebes collection are at least 20 years old and come with an impeccable provenance and official documentation. All Prices are in AUD
Rover Thomas-Hank Ebes Collection
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Sonny Dalimore

"For me, art is not recreating reality; it is about creating illusion regarding chosen subject matter with line, colour, and form with any given space on a two- dimensional surface. As is to say, nature is tangible. Size and shape of the canvas is very important to me. And what's also important is how the size and shape of the canvas will occupy the space as a finished product of my imagination, be that in a private home, gallery, or commercial building. The painting must possess aesthetic and spiritual attributes as well as intellectual and technical properties.
Sonny Dalimore
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TED MAY

Ted May - Artist The paintings of Ted May bridge many historical classifications, but they transcend any contemporary taxonomic interpretation. His study at East Sydney Technical College (now the National Art School in Sydney, Australia) in the early 1960s coincided with a time when Australian art was undergoing a shift; modernism had held strongly for two decades and abstract expressionism from the New York scene was starting to have an influence. Some artists rejected these new ideas, and May's formative years in this period were undoubtedly shaped by the discourse, but he and some of his Australian counterparts rejected the developing trends and concentrated on developing a style of painting that was unique and idiosyncratic. While the lines of expressionism and the intellectual minimalism of abstraction are evident throughout May's oeuvre, his signature 'drawings with paint' have remained resolute for 50 years. Unweighted by trends, they express an artistic freedom which has evolved through decades of faithful studio practice. Name: Ted May Qualifications: Diploma of Fine Art National Art School, Sydney Occupation: Full time artist - painter, draughtsman and soft sculptor Previously: Lectured at the VCA, RMIT, & Monash University Caulfield Campus, Melbourne and the National Art Schools, Sydney and Newcastle, NSW. CV Art Prize Exhibitions 2014 Shortlisted Black Swan Portrait Prize Perth WA 2014 Shortlisted Benalla Nude Prize Benalla Art Gallery, Vic 2012 Shortlisted Geelong Contemporary Art Prize Geelong Gallery, Vic 2012 Shortlisted Percival Xstrata Portrait Prize Perc Tucker, Townsville Qld2011 By Invitation Kedumba Drawing Prize Wentworth Falls, NSW2010 Awarded X Strata Portrait Prize Perc Tucker, Townsville Qld 2009 Shortlisted Gallipoli Memorial Art Prize Gallipoli Club, Sydney, NSW2009 Shortlisted Sulman Art Prize Art Gallery NSW2008 Shortlisted JADA Drawing Prize Grafton, NSW2008 Shortlisted Robert Jacks Drawing Prize Bendigo Art Gallery, Vic 2007 Shortlisted ANL Maritime Art Prize Melbourne, Vic 2007 Shortlisted Waterhouse Natural History Art Prize Museum of SA, SA 2007 Shortlisted Dominique Segan Drawing Prize Castlemaine, Vic 2006 Awarded ANL Maritime Art Prize Melbourne, Vic 2006 Shortlisted Doug Moran National Portrait Prize State Library NSW 2002 Shortlisted Dobell Art Prize Art Gallery NSW 1997 Shortlisted Sulman Art Prize Art Gallery NSW 1996 Shortlisted Wynne Art Prize Art Gallery NSW1986 Awarded Gold Coast Art Prize Gold Coast, Qld 1967 Awarded Maitland Prize (Abstract Painting) Maitland, NSW 1966 Awarded Maitland Prize (Figurative Painting) Maitland, NSW Selected Solo and Group Exhibitions 2021 Art UK: From Stage to canvas: Shakespeare in art 2020 Shakespeare Birthplace Trust: Shakespeare Week Portrait Exhibition 2019 Bendigo Art Gallery: The Paul Guest Collection Group Exhibition 2015 Sydney Contemporary 2015 Gallerysmith, Melbourne: Wundergarten 2013 Melbourne University: Festival of Ideas Group Exhibition 2013 Gallerysmith, Melbourne: Pentimenti 2012 Gallerysmith, Melbourne: Tomb Raider 2011 Light Factory Gallery, Eltham: Drawings and master classes 2010 Perc Tucker Gallery, Townsville: The Forlorn Hope Series 2010 Gallerysmith, Melbourne: Wild Things 2009 JADA Drawing Prize Touring Exhibition (2009 & 2010) Group Exhibition 2009 Ballarat Art Gallery: Eureka Translated 2009 Ballarat Art Gallery: Reclaiming Group Exhibition 2008 BenaIla Regional Art Gallery: Face of Shakespeare 2008 Ballarat Art Gallery: The Forlorn Hope Series 2007 John Paynter Gallery@ The Lockup, Newcastle: Face of Shakespeare 2007 Tsai-Mo Arts Festival, Taiwan: International Group Exhibition 2006 Michael Commerford Galleries, Sydney: Drawings 2006 VIII World Shakespeare Congress, Brisbane: Face of Shakespeare 2005 John Miller Galleries, Newcastle: Figurative Works 2005 Shakespeare Festival, Melbourne: Face of Shakespeare 2002 Studio/ Warehouse, Melbourne: A Return to the Figure 2000 M.A.C. Gallery, Melbourne 1996 Peter Gant Fine Art, Melbourne 1992 Solander Gallery, Canberra 1990 Kim Bonython Gallery, Sydney 1987 Robin Gibson Gallery, Sydney 1986 Barberino val D'Elsa, Florence, Italy 1985 Niagara Gallery, Melbourne 1984 Rudy Komon Gallery, Sydney (Group) 1983 Heide Museum of Modern Art - Figures & Faces Drawn from Life (Group) Public Art Collections Art UK Chartwell Collection, Auckland Art Gallery, NZ National Gallery of Victoria Heide Museum of Modern Art MOMA, Melbourne, VIC Ballarat Art Gallery, VIC Owen Dixon Chambers, Melbourne VIC Perc Tucker Regional Gallery, Townsville QLD Shakespeare Birthplace Trust, Stratford upon Avon Australian Embassy Saudi Arabia Peter McCallum Cancer Clinic, Melbourne VIC ANL, Melbourne BHP Melbourne Melbourne, La Trobe, RMIT and Victoria Universities, VIC Conrad Jupiter Casino, QLD Hilton Hotel, Perth WA Western Australia Institute Technology, WA Selected Biographical References The Paul Guest Collection- Publisher: Bendigo Art Gallery- 2019 What did Shakespeare really look like? Writer: Lydia Figes Publisher: ART UK 2019 Ted May and ''The Forlorn Hope" with excerpts from the journal of J P Stow- Editor: Anna Monument- 2008 The New McCulloch's Encyclopedia of Australian Art- Publisher: Miegunyah Press- 2006 International Tsai- Mo Art Festival- Publisher: Taichung Cultural Affairs Bureau Taiwan - 2005, 2006, 2007 The Human Face is the Landscape of the Viewers' and Artist's Mind- Yenobek No.5- 95. U.S.S.R. – 1995 Profiles in Contemporary Australian Art- New Art Four. Publisher: Craftsman House- 1990 Artists and Galleries of Australia- Volumes 1 and 2. 3rd Edition. Max Germaine, Publisher: Craftsmen Press- 1990 Drawn from Life. Figures and Faces. Editor: Elizabeth Cross, Publisher: Heide Park & Art Gallery – 1983
TED MAY
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Walala Tjapailtjarri-Hank Ebes Collection

Gallery Elysium is proud to act as an official agent for Hank Ebes and the Emily Museum. All works from the Hank Ebes collection are at least 20 years old and come with an impeccable provenance and official documentation. All prices are in AUD.
Walala Tjapailtjarri-Hank Ebes Collection
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