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Eliza Gosse_I Have A Problem With Fir Tr

I Have A Problem With Fir Trees Because You Paint Them, oil on canvas, 120x150cm

Eliza Gosse_She Was Vegan But Inside Aft

She Was Vegan But Inside After Wine Chicken Nuggets Were Fine, oil on canvas, 120x150cm

Eliza Gosse_There Were No Punk Rock Clas

There Were No Punk Rock Classics But I suppose This Is Yours, oil on canvas, 120x150cm

Eliza Gosse_You Answered The Door In You

You Answered The Door In Your Navy Undies, oil on canvas, 120x150cm

Eliza Gosse_Dogs That I Have Known - Bil
Eliza Gosse_Dogs That I Have Known - Ste
Eliza Gosse_Dogs That I Have Known - Zuz

Dogs That I Have Known 

From left to right: Stella, Billy, Zuz

All works 2019, oil on board, 25.4 x 23.3 cm

ElizaGosse_ Antol Kagan I_Gouache on pap
ElizaGosse_ Antol Kagan III_Gouache on p
ElizaGosse_ Antol Kagan II_Gouache on pa

Gouache Studies

From left to right: Anatol Kagan I, Anatol Kagan II, Anatol Kagan III

All works 2019, gouache on paper, 12 x 15 cm

A Distance From Here

1950's Australia - The days when Sunday mornings meant Dad was washing the Holden, the kids were playing in the backyard under the Hills Hoist and Mum was effortlessly preparing a roast lunch in her modestly appointed kitchen. It was a time of stability and innocence. The standard of living was high, unemployment low and cultural awareness absent. Those who did not fit this increasingly standardised pattern found their minority status more pronounced. By 1956, 1.5 million immigrants had arrived, all within the confines of the White Australia policy. Books such as 'They’re A Weird Mob’ by John O’Grady published in 1957, tell us of the trials these migrants went through in order to assimilate into a foreign country. 

On the surface, this exhibition Distance from Here depicts with uncritical nostalgia, the 1950's Great Australian Dream – a suburban house on a quarter acre block, owned by a traditional nuclear family. However, these beautifully built mid-century modern homes were all designed by post-war European migrants. The first being Hillman House which was built by Russian-born, Viennese-trained émigré architect Dr Henry Epstein in 1948 for the Hillman family in Roseville, Sydney. Many Europeans like Epstein who emigrated to Australia had a significant impact across architecture, interior and furniture design. This series of works speaks of the stories of migrants alike and the enormous contribution they made to Australia.

Following this, The Dogs That I Have Known series features chairs designed by George Korody, an architect and furniture designer who relocated to Sydney from Hungary in 1939. 

Showing at Edwina Corlette February 19th 2019  

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