Ildiko Kovacs

Congratulations to Zaachariaha Fielding, Ildiko Kovacs, and Richard Lewer who have been selected as finalists in the 2024 Mosman Art Prize!

Also congratulating previous exhibiting artist Marisa Purcell and Christopher Zanko, who will be exhibiting with us in 2025, for also being named as finalists.

The Mosman Art Prize is the longest running and most prestigious municipal art prize in Australia. Winning entries form the basis of the Mosman Art Collection, a valuable and historic collection that surveys Australian painting since 1947. The Mosman Art Prize is an acquisitive award of $70,000 sponsored by Mosman Council.

Finalist works will be on display from 10 August to 6 October 2024 at Mosman Art Gallery, NSW.

Richard Lewer, Let Me Tell You a Story, 2024. Acrylic on found table, 150 x 90 cm

Zaachariaha Fielding, Paralpi, 2024, acrylic on linen, 152 x 122 cm

Ildiko Kovacs, Shine, 2024, oil on linen, 122 x 70 cm.

ARTIST NEWS

We are delighted to share that Zaachariaha Fielding and Idiko Kovacs have been announced as finalists in the 2024 Wynne and Sulman Prizes.

This work depicts the sounds of Paralpi, a special place found just outside of Mimili on the eastern part of the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands, South Australia. ‘Paralpi is a place where people come to embrace and celebrate children,’ says Fielding. ‘They are taught by the Elders how to move and mimic their clan emblem, and, for Mimili, this has always been the maku (witchetty grub).’

Paralpi is an extension of Fielding’s previous Inma series (2019–23), which includes the titular work that won him the 2023 Wynne Prize. Fielding’s scratchy application of Pitjantjatjara text as a stylistic element used to outline and define Country also captures reverberations of bodies performing the act of inma (ceremonial song and dance).

‘When this inma is sung, the sounds of the soprano, alto, tenors and baritone are thick, hitting the heart and then returning to the ngura (country),’ Fielding describes. According to Fielding, who is also a finalist in the 2024 Sulman Prize, this is a cyclical process unique to Aṉangu culture, which celebrates one’s interconnectedness with the land.

Zaachariaha Fielding, Paralpi, 2023, acrylic and ink on canvas, 300 x 200 cm

About her work selected as a finalist in the Sulman Prize, Ildiko Kovacs shares: “Two-up is a gambling game played on Anzac Day. Tossing a coin upward and its inevitable falling are attributes of a certain kind of line. It isn’t a straight line, nor a singular line, but a line drawn from kinetic energy. A line fuelled with emotion, unpredictability and the excitement of chance.”

Ildiko Kovacs, Two-up, oil on wood, 220 x 90 cm

We would also like to extend our congratulations to Christopher Zanko who the gallery is excited to be working with in 2025.

Congratulations Zaachariaha, Ildiko, and all the finalists!

The Archibald, Wynne, and Sulman Prizes will be on display at the Art Gallery of New South Wales from 8 June to 8 September 2024.

Ildiko Kovacs’ ‘The DNA of Colour’ is now showing at ANU Drill Hall Gallery, Canberra. The exhibition displays a decade of Kovacs’ roller paintings, linking the looped, spiral lines with the double helix structure of genetic material.

“In thinking about Kovacs’ abstract paintings I was struck by the resemblance of her spiralling lines to the coils of DNA … Her rippling forms seem to twist into a vortex or follow an unravelling double helix pattern. The DNA code is a metaphor for the way these paintings unfold and move with colour, sparked by an excavation of inner feelings and intuition…”

Sioux Garside, curator for Orange Regional Gallery and the Drill Hall Gallery

‘The DNA of Colour’ is on show until August 11.

Congratulations to Ildiko Kovacs and Richard Lewer, who have been selected as finalists in the 2019 Sir John Sulman Prize!

The Prize is presented by the Art Gallery of New South Wales, established within the terms of Sir John Sulman’s bequest, the prize was first awarded in 1936. The Sulman Prize is awarded for the best subject painting, genre painting or mural project by an Australian artist.

Of the work, Kovacs says: “This painting comprises plywood covered with oil paint. I often use my hands to apply several layers of colour. I then draw into it with graphite and wax pencil. I work on the floor so I can press down onto the surface. This allows me to manoeuvre around the board as I improvise the form. The lines are webbed in the way they are drawn or scratched, appearing to have a primal quality that reminds me of scarification or Riji shell engravings.”

Of the work, Lewer says: “Last year was not a good year; I spent a lot of time in hospital with Dad who was very ill. One day I remember more vividly than the others. I’d returned to the ward for the afternoon and was watching Dad from the doorway when the doctor stood beside me and said, ‘We have grave concerns for your father’s health’. I made this work to process my reality and feelings, as deep and raw as they were.”

The winner will be announced May 10. Exhibition runs until June 30.

Ildiko Kovacs’ The DNA of Colour is now showing at Orange Regional Gallery. Curated by Sioux Garside, the exhibition will tour to the ANU Drill Hall Gallery after its run at Orange Regional Gallery.

In thinking about Kovacs’ abstract paintings I was struck by the resemblance of her spiralling lines to the coils of DNA. Her rippling forms seem to twist into a vortex or follow an unravelling double helix pattern. The DNA code is a metaphor for the way these paintings unfold and move with colour, sparked by an excavation of inner feelings and intuition…Rippling is a term that scientists used to describe the movement of gravitational waves first discovered as ‘ripples in the fabric of space-time’ by Albert Einstein in 1905–08.

Exhibition runs until June 18 at Orange Regional Gallery.

Purchase the beautiful cloth-bound, full-colour, 236-page publication here.

Hugo Michell Gallery invites you to the opening of Ildiko Kovacs’ ‘Both Ways’ and Gerry Wedd’s ‘Pot Songs’.

ldiko Kovacs’ abstract works revel in the rich and sumptuous possibilities of paint and its ability to evoke different thoughts, emotions, and sensations. Across the course of her career, Kovacs has created paintings that are intuitive and raw, the result of a process of experimentation, and of applying and removing pigment until a sense of cohesion is achieved. Working directly…without a preconceived outcome, painting for Kovacs is process-driven and instinctive – an “intuitive line of thought or belief”. Her practice over 40 years has been shaped by a series of artistic shifts and developments that, as she says, are “somehow always connected with what is happening in my life.”
– Megan Robson

Kovacs’ early career ‘void’ paintings were succeeded by her experimentations with reintroducing forms to the pictorial space. These abstracted forms coalesced into lines, structured and fluid. In recent years, Kovacs has worked with wide, rolling lines that twist, turn, curve, and loop over themselves. In ‘Both Ways’, Kovacs presents four such works. In contrast, Kovacs also presents ply-mounted works on card in which her gestural line narrows, sharpens, and becomes almost sculptural, carving through the two-dimensional space. In both styles, Kovacs draws on abstract expressionism’s focus on process and gesture in mark-making, as she builds up, excavates, and builds again thick layers of lines and shapes which follow the movements of her body as she works. From the process-based similarities and the drastically different styles of the works in ‘Both Ways’ emerges a dialogue about line and gesture, colour and movement, and internal and external landscapes.

Since the 1980s, Kovacs has exhibited extensively both nationally and internationally, and has the recipient of major awards including the Bulgari Art Award in 2015. Her work is held in major national and international collections, including the National Gallery of Australia, the Museum of Contemporary Art Australia, the National Gallery of Victoria, the Art Gallery of New South Wales, Artbank, and the World Bank.

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Gerry Wedd is a South Australian artist known for his ceramics as well as his long-term contribution to the iconic Mambo brand, beginning in the late ’80s and ending in 2006. Wry and witty, his classical ceramic forms draw on surf culture, politics, and cult music in their surface decoration. Blue and white willow pattern plates might sport the face of Paul Kelly or Dolly Parton, or barrelling surf à la Hokusai.
– Varia Karipoff

In ‘Pot Songs’, Wedd presents a series of ceramic works he views as fan art, or suburban folk art, in that they are homages to their subjects. Wedd sees the works as covers – as tributes of a sort, but more importantly, as reinterpretations, that, like musical covers, focus on the lyric content, melodic aspect, or rhythm of the original. Wedd pays homage to the sources of the images, text, and lyrics that adorn his vessels, but also pays homage to the canon of his chosen medium, as he engages with and subverts its traditions.

Wedd has exhibited widely both nationally and internationally, including at the Victoria and Albert Museum, the Havana Biennial, the JamFactory, and the Ian Potter Museum of Art. He has been the recipient of several major awards, and is held in private and major public collections across the country, including the National Gallery of Australia and the Powerhouse Museum.

Please join us in celebrating the launch of these two incredible exhibitions!

Hugo Michell Gallery acknowledges the Kaurna people as the traditional custodians of the Adelaide region, and that their cultural and heritage beliefs are still as important to the living Kaurna people today.

Congratulations to Ildiko Kovacs, finalist in the 2015 Wynne Art Prize! The Wynne Prize is an annual award for the best landscape painting of Australian scenery in oils or watercolours, or for the best example of figure sculpture by Australian artists. Finalists are displayed in an exhibition at the Art Gallery of New South Wales from 18 July – 27 September 2015.

Image: Ildiko Kovacs, Sunlit, 2015, oil on plywood, 180 x 245 cm.