23rd June - 3rd July
GROUP SHOW: Come Together
Fergus Binns, Jasper Knight, Clifton Mack, Julian Meagher, Laurel Nakadate, Oliver Watts

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Fergus Binns
Untitled (Gang Sharing a Sambo)
Oil on board
122 x 91 cm

Chalk Horse is pleased to present Come Together, a group exhibition
featuring a selection of our stable artists.

Fergus Binns’ 2004 work 'Untitled (Gang Sharing a Sambo)' has an edge of
naivety that renders such a seemingly mundane mis-en-scène with an
innate attractiveness; indeed, the aerial perspective gives us a kind
of voyeuristic perspective into Binns’ brain more that it does the
scene at hand.
"By killing or mummifying the image I find it easier to accept that,
I’m getting older, decaying and one day I’ll die and fuck you
painting, I’ll kill you before you kill me, but I’m glad you will live
(Fergus Binns, 2010)

'1975 Rolls Royce Corniche Turbo' 2011 by Jasper Knight explores the
relationship between material and subject and between constructed
object and painted surface. The provenance of the featured vehicle is
particularly of note as it belonged to the late Michael Jackson and
was intended as a wedding present for one of his children. Now
immortalised on Knight's constructed collage-like signature board,
heralding Knight’s hallmark primary colours, this work is nothing if
not iconic.

The son of a father who insists that "only real men wear pink", Julian
Meagher's latest body of work is an extension of his ongoing
investigation into modern-day masculinity; it's rituals, it's
boundaries, it's icons. The work in this exhibition presents us with a
marriage of interests, every element is balanced by its counterpart.
Where there is masculine, there is feminine, where there is blue,
there is pink, and where there are elements of the foreign and exotic,
there are bold trophies of Australiana. (Kat Sapera, 2011)

In her Lucky Tiger series, 2009, Laurel Nakadate project enlisted the
help of anonymous, middle-aged male volunteers from Craigslist. The
group sat in a circle with fingers covered in ink, passing around
photos of the artist in poses reminiscent of 1950’s pin-ups. The meet
culminated in unique photographs individualised through the touch of
their handlers, the result leaves an indelible trace of spectators’
interaction whilst Nakadate maintains her agency in the face this
voyeuristic game via the construction of her own exposure. This work
is held in the Saatchi collection and is currently on display at
MoMA’s PS1 in New York as a part of a major retrospective exhibition
of Nakadate entitled Only the Lonely.

In this paper collage The Dancers (I am free) Watts continues his
exploration of freedom and individuality. This is an extension of his
work looking at Dada poetry and art as inspiration, with Tristian
Tzara as a figure of particular interest. Tzara was a French-Romanian
avant-garde poet and performance artist; he was also active as a
journalist, playwright, literary and art critic, composer and film
director, and best known as one of the central founding figures of the
Dada movement.