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OTOMYS is delighted to introduce new works by Sydney-based Artist, Celia Gullett.

Gullett’s masterful Geometric Abstractions (Oil on Panel) are a construction and deconstruction of arrangements. In this series, Gullett explores the interplay of colour and compositions, creating a lively dialogue within and between the works.

A recurring motif features within many of the works in the series – these pieces play to each other in a sympathetic vibration of sorts.

Viewing or procuring the works as a pair or collection highlights the striking conversation between the shifting shapes.

Gullett’s Raga Series (Oil on Linen) examines the confluence between painting and music in the Rajput tradition of Indian culture. Within each Raga, Gullett explores colour and layering, making reference to melodic structure and spirituality in the Raga tradition. As such, each Raga seems to possess distinctive notes and energy levels.

These are deeply peaceful works. The immersive quality of the Raga series is strengthened by their large scale and highly textured ‘loom state’ linen.

Both the Geometric Abstractions and Raga series are available through OTOMYS.

Image: Studio Tate’s ‘Green Gables’, Photographer Sharyn Cairns


We visited Gullett’s Sydney studio – a large, collaborative studio space shared with five other artists – to view her works in progress, and catch up on her most recent influences.

Celia, thank you for having us at your studio! Please tell us about your recent inspirations and processes?

What propels my work is a fascination for colour and surface. I’m interested in working with colour. It has meaning. It has structure. It can be elusive, it can be emotive. But as a single entity, it’s really limitless. In terms of colour, my inspiration comes from observing. Anything can trigger a painting – an arrangement in nature, or a partnership of colours I might find in the non-natural world. Light and its effect on colour is vital to the way I observe. Surface is something that can in itself be seductive, but surface is affected by how we apply the matter, the substance of paint. The way a brush delivers paint to the surface is really the hand writing, the mark making. This mark making is such an important part of my practice, it’s a language I am constantly developing.

In both my Colour Fields and my small geometric pieces I am investigating colour and surface. The Colour Fields works are nearly always inspired by a desire to dialogue with one colour. Within this one colour there are many versions, so I tend to layer versions of, for example blue, until the work has enough depth. Generally, when the depth is right, the painting is finished.

The Geometrics are a little different, in that there are more colours. It’s about composing – balancing those colours within a motif that supports the colours. Often one colour calls for another, in a certain tone or density. In this way, I can choose between a discord or a harmony, depending on what I am trying to explore.

The panels I work on give a very different surface to the effects of paint on heavy linen. Multi layered, glazed, altered until everything sits perfectly together. I’m totally inspired by my trips to India. The Ragas have a strong connection to the culture and history, in particular the music. This led to a need to harmonise or make each colour speak to the others in each painting, creating a narrative in colour.

Please tell us about your new work? What are you exploring? Is it linked to your previous work?

My new work is a continuation what I have been doing. I’m inspired by the works of Fra Angelico, not so much in terms of their religious subjects, although I think they go way beyond the Christian beliefs and go closer to pure painting, pure spirit. The palette is limited by the pigments that were available at the time. The extraordinary use of these colours is wonderful. I find so much relevance for this use of colour in my own work, it speaks to me.

View the Celia Gullett OTOMYS Catalogue

View Celia Gullett’s Online Gallery, or make a time to view the works within our Melbourne and Tetbury Gallery spaces.

Contact to make an appointment to discuss these works with an OTOMYS Art Consultant in your state.

Danielle’s work occupies a liminal zone between abstraction and representation, where the experience of a place, rather than a literal rendition of landscape feeds her creative practice. Wind-swept and gestural, the artist distills the essence of her subject through reductive marks made confidently on lithographic plates, which through the alchemy of printmaking are released onto paper.” – Marguerite Brown MA ArtCur, General Manager Print Council of Australia Inc.

Danielle completed a Masters of Art at the University of New South Wales before moving abroad. Having remained overseas for the last 18 years, Danielle currently practices from her superb print studio in Barcelona. Her central motivation is the intrinsic dialogue between landscape and people, how landscape is perceived through our library of pre-lived experiences and the ways in which this is reflected through the visual language of gesture.


Her work has received numerous awards internationally including – The René Carcan International Printmaking Award 2016 1st Mention in Belgium, and her lithographs were selected to represent Australia in the International Print Triennial Krakow 2015. Creenaune’s work is held in public collections including the National Gallery of Australia. Her book ‘When the Sea Wakes Inside You’ is currently selected in the 250th Royal Academy Summer Exhibition London.

Danielle Creenaune Online Gallery

View Danielle Creenaune’s works in the Otomys Gallery – Melbourne, or email to make an appointment to discuss these works with an Otomys Art Consultant.

OTOMYS is proud to represent London-based artist, Gill Rocca, and we were thrilled to visit her London studio to view her new art works.

Rocca’s contemporary oil paintings tend to stop viewers in their tracks.

The powerful miniature scale of these works prompts the viewer to engage and contemplate.

One can get lost in these art works – there is a sense that each image is a screen or portal to another world; a mysterious, alluring realm, hidden in our own. Each piece is spectacularly detailed, and the fine mist that lingers in each possesses its own emotive power.

Rocca describes: “My body of work primarily revolves around the representation of imagined landscapes. Executed in oil, the works vary in scale from intimate miniatures on resin and wood to large scale paintings on canvas.

Inspired by the realism of film and photography, the paintings attempt to create a dreamlike tension between reality, memory and the imagination.

Always uninhabited, shrouded in mist or captured as night draws in, the scenes pictured suggest an unspoken, unfinished narrative. The glow of streetlights or road markings act as traces in the paintings, often disappearing into the distance to merge again into empty space.”

Rocca launched her new edition of archival pigment prints at the Royal Academy Original Print Fair, held in London from 3-6 May 2018. The Once Upon A Time Edition is an archival pigment print based upon Rocca’s recent larger scale landscape paintings, comprising 60 signed and numbered prints.

Gill Rocca Online Gallery

View Gill Rocca’s works in the Otomys Gallery – Melbourne, or email to make an appointment to discuss these works with an Otomys Art Consultant.


Images courtesy of:

Gill Rocca

Hecker Guthrie – shot by Shannon McGrath, for the Schiavello showroom in Melbourne, Victoria

“Preferentially of some man or woman distinguished in art, letters, science or politics, painted by any artist resident in Australasia.”

Florence Rodway – Jules François Archibald, 1921 – Art Gallery of New South Wales.

The Archibald Prize is Australia’s most highly regarded art prize for portraiture – Value $100,000. Named after John Feltham Archibald (1856 – 1919) from Warrnambool, Victoria. He later changed his name to Jules Francois which reflected his move to a more bohemian lifestyle; working as a journalist and living a life at street cafes, boarding houses and theatres in Melbourne. In 1880 he founded The Bulletin magazine which addressed issues in the public consciousness. In 1900 he commissioned Melbourne portrait artist, John Longstaff to paint a portrait of Australia’s iconic author Henry Lawson. Following the success of this portrait he left money in his will for an annual portrait prize – first awarded in 1921.

Shaver III – Self-portrait pushing 60.
Otomys Artist Hugh Ramage’s Archibald Entrant for 2018.

“This painting is one of several ‘Shaver’ paintings that I worked on in March. These paintings emerged from the desire to get back to an essential possibly universal subject matter. Something as basic as contemplating one’s own reflection. Something very ordinary and everyday. Like shaving. They were also informed by my approaching 60th birthday (feelings of disbelief and something akin to dread) and the deaths of a number of acquaintances recently. So, they are inevitably a kind of memento mori. Shaver III in a way is a reverse portrait .The razor is held in the left hand (I am right handed) so it could be seen as existing in the world beyond the mirror, the private world of feeling and emotion, below the surface, not revealed. The right hand is holding something ill defined, a box, a phone, life sustaining illusion perhaps. The surface pools and slides and slips and is covered with footprints, essentially unstable like the self. It is a wild painting and a sincere painting. It is also ridiculously large and bleakly hilarious. As such it lacks pretty much every ingredient that makes for a successful Archibald contender.”

View Hugh Ramage’s new Portrait Series in the Otomys Gallery.

After an extraordinary 2017, we knew that a holiday was imperative. And so it was! Siestas, balmy evenings, shared tables, informed conversations, page turners, coastal walks, day dreaming. Such meditative recovery worked wonders. Seeing Otomys into 2018 with a refined perspective. Whilst ready to return to the Gallery – we contemplate our next break. A vacation with Caroline Denervaud at Hôtel Les Roches Rouges – Côte d’Azure.

Azure blue, pure white and ochre red are the colours celebrated in this hotel perched on the water’s edge, close to the Esterel, where holidays are experienced to the rhythm of the sea and the sunlight.

To step into Les Roches Rouges is to step out of the world and to delight in the pleasures of Provence. Here, you can enjoy long days in the sunshine, savour the passing hours, and taste the simple yet sophisticated joys of a holiday in a barefoot paradise. To stay here is to take your time, to enjoy the company of the people you love, to discover new things, or to do as much or as little as you please. In short, to enjoy a holiday!

Les Roches Rouges is the essence of understated luxury, simplicity, conviviality, where the immensity of the sea, mild climate and an exquisite natural environment combine to create a truly authentic and refined setting.

The hotel benefits from two swimming pools, including a large natural seawater pool, a Mediterranean garden, three bars, two restaurants and an array of activities, both in and around the hotel, from an open-air cinema to ping pong, diving, petanque, yoga, hiking, cookery courses and sailing.

Les Roches Rouges invited several young contemporary artists to complete the walls of the hotel. Their works are frequently abstract, executed in glowing colours recalling the Mediterranean light that has always inspired painters, some even painted directly onto the wall; as Le Corbusier did in the iconic Eileen Gray-designed villa E1027.

Newly appointed Otomys Artist – Caroline Denervaud shares a strong presence within Les Roches Rouges Artist Colony. Les Roches Rouges was very taken with her abstract paintings, and invited her to complete the hotel’s bedrooms. Inspired by the play of colour, she works with multiple shades of blue and red that she harmonises with browns, pinks, yellows and ochres. She works in pastels that she rubs with her fingers, to create a dense, velvety depth of colour, echoing the abstract harmony of colours that she creates in her Paris studio.

90 Boulevard de la 36ème division du Texas, 83530 Saint-Raphaël.

Photography | Benoit Linero – Office de Tourisme de Saint-Raphaël
Caroline Denervaud | Expression of Interest –


Born in Lausanne, Switzerland.

Paris based.

This is research.

Feelings and sensations create the forms; guiding the movement onto paper.


It’s a question of here and now.

In this proposed series of paintings, forms and colours play around balance in space. The quiet abstract compositions hide stories, the feeling is fixed on paper. The paintings are caséines, pigments reveal their intensity or not depending on the preparation.


My work is a constant research around balance-unbalance. I try to get that little moment when the unbalance is balanced and the balance is unbalanced.



Denervaud studied contemporary dance, movement analysis and choreography at the Laban Center in London, as well as Fine Arts at Beaux-Arts de Paris.

Since she was very young, Denervaud has been exploring the ways that movement can convey intrinsic emotions. Dancing and allowing herself to accept natural bodily motion has been a prominent part of her life and has become the foundation of her expansive practice, which includes performance, video, paintings and collage.

Through Denervaud’s performance she creates marks – marks of movement, marks of time, marks of emotions.



View Online Gallery | Caroline Denervaud


OTOMYS is pleased to open the exhibition: Poetic Space. A succinct and aesthetically honed grouping of work by three Melbourne-based artists. The three practitioners share a common background and profound understanding of architecture and photography. Poetic Space is all about photography and architecture, yet – it is nothing about these things.

As the title would suggest, there is more going on in this exhibition than can be seen by the eye. Knight, Barbieri and Mein’s respective practices are driven by similar conceptual and technical concerns, locating their work along an ever increasing scale shift from the next to the next. From the micro to the macro, each suite of works establishes a platform from which the mind’s eye is free to wander.

Susan Knight invites us into a domestic setting with her collection of everyday, household objects. As with previous works, Susan is interested in the personal connections objects around us become imbued with over time. Suspended within a grid, these familiar items begin to fall from view as one looks closer and realises Susan is tuning us into the spaces between. Rendered through a cyanotype process, material and form, the objects once embodied start to be read as a series of blueprints. Suddenly, spaces between a string of beads undergo a scale shift and their relationship becomes a composition of positive and negative space. No longer objects on the kitchen table, rather plans for future spatial environments.

At architectural scale, we meet the works of Liliana Barbieri as though on an afternoon stroll through a piazza in an un/familiar town. Drawing from the language of Renaissance and Italianate architecture; geometry, perspective, colour and space are among her chosen media. Liliana’s carefully pared back fragments of architectural elements appear and hint at locations and moments in time neither past, nor present. The spaces created between form and sky articulate the passage into an emotional realm, the key to Liliana’s paintings.

Zooming out beyond the architectural plane, Trevor Mein draws us into the ether, high above Earth. On entering his floating world Trevor presents us with a repeating line in the sky. The line acts as an orientational device which we hold onto until we are prepared to take a leap beyond. Should one look deeper, we realise his compositions are about subtle shifts in atmospheric vapors resulting in significant changes as we move from one image to the next. Each frame brings with it a completely different psychological landscape. Mein’s evanescent medium conjures vast expanses of possible spatial configurations we find ourselves imagining into.

WORDS | Ri Williamson 2017. BFA (sculpture) M.Arch (Prof.)


Trevor Mein | atmosphereelevenfortyseven2017

Trevor Mein Susan Knight  |  Liliana Barbieri


You are invited to the opening!

Wednesday 6th September – 6:30pm

567 – 569 Victoria St Abbotsford 3065


 On View | 6th – 29th September 2017


Meet the Montreal born, New York based, OTOMYS artist Liza Lacroix.

As OTOMYS prepares to head to America this week, we reflect upon the last time we were in the USA; visiting Liza Lacroix in her New York Studio.

Follow us into Lacroix’s realm of gestural movement, bold strokes, dark hues, soft pastels and abstract figures.

‘I exalt in the aura that comes both from the historical prominence of painting and from its potency as an emotional object. Throughout the painting process, I am compelled by the heightened subconscious and intuitive possession that takes hold as a painting comes together, component by component, stroke by stroke. I am open to chance, accidents and awkward colour juxtaposition. I place the agency of the painting materials above personal intentions for storytelling; the paint has a life of its own.’

‘While my influences are drawn from the canon of abstraction, I reject the dichotomy between figuration and abstraction. I prefer to refer to my work as abstract figurative painting. Using large canvases and a rich but muted colour palette, I create soft but arresting paintings using texture, wide strokes and watery oils. I often use reference material that contains images of humans, a practice in line with the history of abstract painting. I push my abstraction to a place where it becomes almost entirely non-respresentational – but it must still maintain a human presence. I wish to always maintain a trace of humanity.’

Liza Lacroix | Brooklyn Studio

VIEW | Liza Lacroix’s work at OTOMYS. Beyond the Online Gallery, we share access to Lacroix’s NYC art portfolio and facilitate commissioned projects. Facilitating commissioned projects is a very rewarding part of our work at OTOMYS. Representing both client and artist, we seek to deliver the most unique work for the specific space, whilst honouring the integrity of the artist. Schedule a Liza Lacroix appointment |

Further Reading –

Liza Lacroix | Liza Lacroix x OTOMYS

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 Removed from our own very Gallery in Abbotsford, we are forever frequenting The Heide Museum of Modern Art. With every visit, we become even more so enchanted by Heide MOMA. 

Beginning life in 1934 as the home of John and Sunday Reed, Heidi nurtured circles of artists, writers and intellectuals such as Sidney Nolan, Albert Tucker, Joy Hester, John Perceval and Danila Vassilieff.

The fifteen acre property has since evolved into one of Australia’s most important cultural institutions. Heide MOMA presents a space for contemporary art, literature, conversation, connection, sharing and friendship.

Recently we viewed: Call of the Avant-Garde: Constructivism and Australian Art. So we ask, What is Constructivism? And how has this movement impacted Australian Art?

George Johnson, Construction With Brown Triangle 1986

Constructivism is nonrepresentational style of art developed by a group of Russian artists, in response to the social and political nuances of The Russian Revolution [1917]. Lead by Vladimir Tatlin, this group presented art as an approachable everyday idea, rather than a unique commodity. Employing modern industrial materials and abstract forms to explore mass, volume and space, these artists sought to ‘construct’ art, and engage with it!

Constructivism called upon geometry, colour and line to unite art and life.

Ralph Balson, Constructive Painting, 1963

This artistic experiment quickly travelled throughout Europe, eventually reaching Australia. International Constructivism pervaded architecture, graphic design, industrial design, theatre, film, dance and fashion. And of course, art. Modern art movements of the 20th century grew from International Constructivism, particularly Bauhaus and De Stijl trends.

Zoe Croggon, Harp no.2, 2015

Co-curators, Sure Cramer and Lesley Harding trace the influence of Constructivism on Australian painters and sculptors throughout the 1930s, 1940s and 1950s, as well as in later, contemporary times.

Considering that Constructivism sought to explore ideas across all art forms, the exhibition presents painting, sculpture, videography, photography, graphic arts, theatre and costume.

“We’ve tried to convey that it’s a very mobile movement,” says Lesley Harding. “It never stays still. It’s international and intergenerational.”

On view are works by Russian Constructivists: Rodchenko, Malevich, El Lissitzky and Alexandra Exter. British Artists: Ben Nicholson and Barbara Hepworth. Australian Artists: Ralph Balson, Frank Hinder, Inge King, Gunter Christmann, George Johnson, Robert Owen, Rose Nolan, Justene Williams and Zoë Croggon.

Sure Cramer encourages visitors to consider “how art might function in the world and interact with the everyday.” 


Heide Museum of Modern Art | 7 Templestowe Rd, Bulleen VIC 3105.
Hours | Tuesday – Sunday – 10 am – 5 pm.
On View |  5 July – 8 October 2017.


Further Reading –

Heidi Gallery | Call of the Avant-Garde: Constructivism and Australian Art

Stay Social –

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