BEVAN HONEY

 

  • Bevan Honey : plane
    Opening 6pm Wednesday 30 August 2006 (6 - 8pm)
    Exhibition dates: 31 August - 30 September 2006
  • Monash University Gallery : Caulfield Melbourne
    Opening speaker Domenico de Clario
    Artist, Associate Professor, Head Fine Arts, Monash Art & Design Caulfield

  • Western Australian based artist Bevan Honey will transform the Faculty Gallery into planes of familiar yet non-functional 3-D objects made from plywood, polymer resin, polyurethane and automotive acrylic paint. Honey’s objects resemble car parts, and various other functional items located in and around your average backyard shed.
    Their resemblance is all that links them with such functionality. Honey explores the form and content of these seeming familiar objects to heighten the audiences awareness of spatial architecture.
    This exhibition follows on from a series of major projects the most recent of which was at Galerie Düsseldorf in Perth, titled Project.
    It is Bevan’s first major solo exhibition in Melbourne.
    Bevan Honey is represented by Galerie Düsseldorf, Perth Western Australia

  • 32pp full colour exhibition catalogue with essay by Robert Cook, Curator of Contemporary Art, Art Gallery of Western Australia available at the Faculty Gallery.

 

BEVAN HONEY : project - Galerie Düsseldorf - 7 May - 4 June 2006

 

Canberra Contemporary Art Space in partnership with ACT Government present:
Bevan Honey
Love is Blind
Canberra 2005
venue: Commonwealth Place
time: 24 hours a day
date: October 7–23, 2005

 

Read Biographical Information

Scroll down for previous images and documentation

 

 

Bevan Honey 'houseandlandpackage' Lawrence Wilson Art Gallery University of Western Australia 4 May - 10 June 2001

 

 
  • Extract from Exhibition Introductory Essay by Dr. Robert Cook
  • active surburban creativity is similarly the logic behind bevan honey's contributions to houseandlandpackage strategically recouping materials with a bad rep, the large 'remote constellation', routed and drawn in with artline on wood veneer panels, for instance, discusses the ways that mass-manufactured materials can be given a life of their own. in this, honey shifts the stereotype that denigrates the suburbs as a hive of conformity: creativity is there for the maiking and for the finding in the transformative practices of the home handy-person. even so, honey's inclusion of the barking mechanical dog signals the flip side - the lack of imagination and open mindedness that can occur in surburbia's "bunker mentality" when outside influences are filtered through discourses of pathologised differnce. this attitude is further dramatised (albeit obliquely) in gable with its references to anselm kiefer's images dealing with nazi atrocities, located in australia, however, the holocaust honey's image of a shed roof alludes to is that associated with colonialism.paradoxically combined with a loving acknowledgment of the site of vernacular home-handy-person activities, therefore, honey's piece uncovers a surburban archaeology of violence and pleasure/creativity of a particular ingenious and complex nature.

 

 

 

 

'Punctuation': Images with text by Lesley Duxbury, Bevan Honey and Matthew Hunt Erica Underwood Gallery, Curtin University of Technology 1996

Read Intro Text by John Barrett-Lennard: Text-1 - Text-2 - Text 3 - Text 4