Gallery One is thrilled to see these two new paintings by Christopher McVinish on Exhibition. Both paintings, ‘The faded dream no. 1’ and ‘The faded dream no. 2’ are oil on linen, 91 x 122cm each, 2025. These works are available to secure now. Contact Gallery One for more information and to purchase.
8 March – 4 May 2025: SH Ervin Gallery Exhibition
In Suburbia: Recent Detours, is an exhibition project that features the work of 19 contemporary artists from across the country who probe, celebrate and question the notion of the great Australian dream.
As we look down the nation’s street of dreams so much has altered. A modest home in a secure community is now financially out of reach to the majority of young people. What was once considered a beacon of security is now evolving into a site of constant anxiety that too often erupts into tragic scenes of domestic violence. Nevertheless, suburbia, in all its disparate manifestations remains the living paradigm for the great majority of Australians.
The exhibition looks across a diverse spectrum of housing types and conditions in suburban environments from Perth, Melbourne, the Wollongong region, Sydney, Penrith, Lismore, the Northern Rivers and Brisbane. The scope and quality of the works is drawn from a select group of artists focuses on the physical and psychological spaces that characterise the suburban experience.
In Suburbia: Recent Detours, is a timely project as the nation comes to terms with an ever-growing housing crisis.
Featuring works by Adrian Doyle, Anne Wallace, Alan Daniel Jones, Catherine O’Donnell, Christopher McVinish, Christopher Zanko, Craig Handley, David Wadelton, Eliza Gosse, Ian Strange, Joanna Lamb, Nick Santoro, Noel McKenna, Peter O’Doherty, Rachel Ellis, Raimond de Weerdt, Robyn Sweaney, Tajette O’Halloran and Wade Taylor.
Curated by Gavin Wilson.
In this show, Christopher Zanko, Christopher McVinish and Robyn Sweaney produce images of the classic suburban house. I’ll leave aside Raimond de Weerdt, who gives us 99 photos of such houses in a single panel! Each of the paintings has a ‘snapshot’ quality, although only Zanko trims the edges in the way Degas might have cropped a picture. McVinish plays it very straight, as if he didn’t want to do anything to embellish the sheer ordinariness of the scenes he chooses.
