Neon Parc is thrilled to announce the participation of Nabilah Nordin and Kieren Seymour in ‘The National 4: New Australian Art’ at the Art Gallery of New South Wales and Museum of Contemporary Art, Sydney.
‘The National’ is a biennial survey of contemporary Australian art, bringing together 48 new artists projects involving more than 80 artists across Country, generations and communities. ‘The National’ is a partnership between four leading Sydney cultural institutions: the Art Gallery of New South Wales (AGNSW), Campbelltown Arts Centre (C-A-C), Carriageworks and the Museum of Contemporary Art Australia (MCA Australia).
Nabilah Nordin’s suite of newly commissioned sculptures for ‘The National’, take over the entrance of the AGNSW in monumental fashion. As Scott Elliot, Curator at AGNSW writes in his accompanying essay about Nordin’s work:
“Nabilah Nordin’s installation, ‘Corinthian Clump’ (2023), is like an unruly party in a place where parties aren’t allowed. It’s a gathering of six abstract sculptures inside the sanctuary of a temple. The temple is the neoclassical vestibule at the entrance to the Art Gallery of New South Wales’ historic building. Each sculpture is a riotous welter of colours, textures, materials, and improbable forms, thrown into relief against the smooth brown stone of the temple interior. ‘Corinthian Clump’ is impossible to avoid, and makes lavish appeals for the attention of every visitor.”
— Scott Elliot, 2022
Kieren Seymour’s paintings at the Museum of Contemporary Art Australia, extend the artists’ interest in using drawing and painting to explore idiosyncratic modes of representing the body, objects and space.
“Kieren Seymour calls his figurative paintings and drawings ‘thoughts.’ This thought is intuitive and mythical, snatched from a waking dream populated by misshapen giants, homunculi, and monstrous animals, accompanied by mundane objects such as brooms, hammers, and smartphones that, in this fantastical context, receive a curious archetypal charge. Keeping his distance from what he calls the ‘noise fields’ of contemporary art discourse, Seymour prefers to immerse himself in this idiosyncratic image-world, where an enormous gaping maw is filled with hammers, or where a multi-headed canine-hominid, enveloped in a membrane of green light, sniffs with its many noses, flanked by two stunted ghouls.”
— Francis Plagne, 2023
