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Simryn Gill

April 12, 2024

Simryn Gill (born 1959) is a Singapore-born artist who specializes in sculpture, photography, drawing, writing, and publishing.[1] Throughout her career, Gill has presented her art at several significant events, including Germany's Documenta art show and the Venice Biennale, and is one of Australia's most famous contemporary artists.[2] Gill lives between Sydney, Australia, and Port Dickson, Malaysia.[3]

Early life and career edit

Although she was born in Singapore, throughout her childhood her family moved to Malaysia, India, and the United Kingdom, the latter being where she remained throughout her young adulthood.[2] There, she met her future husband, a social anthropologist named Souchou Yao, with whom she would go on to have two children with. In 1987, the family settled in Australia, where she would attend the South Australian School of Art to pursue her interest in artistic expression. However, a few months into her degree, Gill dropped out of her courses, both as a result of her pressing responsibilities to help raise two young children and her increasing dissatisfaction with the lack of novelty in her studies.[2]

Despite these setbacks, Gill’s art continued to gain respect and renown within the contemporary art community, with early collections of photographs such as May 2006 and Dalam in particular receiving notable recognition.[2] In 2007 and 2012, she was invited to Kassel, Germany to showcase her work at the quinquennial Documenta, one of the most well-known art shows in Europe. A year later, she was selected to represent Australia in the 55th Venice Biennale.[4] Since these events, Gill’s art has been exhibited in many cities worldwide, such as the Museum of Modern Art and the Guggenheim, both in New York.[2] Then, in 2015, Gill hosted her first major solo exhibition, Hugging the Shore, at the Centre of Contemporary Art in Gillman Barracks, Singapore.

Style and works edit

Gill's work is said to embody a sense of "in-between-ness",[5] with pieces inspired by her various homes and the influence of place. She acknowledged the irony this brought to her 2013 feature in the Australian pavilion at the Venice Biennale, saying "mine is not a representative voice—in fact, it's entirely the opposite of that possibility … Representation is a very strange notion."[5] Her work has been said to occupy a space of transition and compromise, taking small mementos and fleeting moments of everyday life to construct a sense of belonging.[6] Red Hot (1992), a Native American headdress made from dried chilies, was made from Gill's homegrown chilies while she was completing projects from a 1950s boy scout manual with her son.[7] This gentle incursion of the everyday into Gill's art is acknowledged in the foreword to the publication accompanying Gill's exhibition at the Museum of Contemporary Art, Sydney, in 2008–09. Director Elizabeth Ann Macgregor characterizes her as "an artist whose approach is rigorous yet sensual, conceptual yet tactile."[8]

Gill is a systematic collector, "especially of books as objects of reverence and dispute".[3] Roadkill (1999–2000) features hundreds of items collected from the side of the road, including flattened plastic and discarded rubbish. In many of these works, audiences are invited to play with and reposition the items,[9] leaving interpretation of meaning to the viewer. In addition to this, Gill often allows these subjects of her art to be openly exposed to the degrading forces of the environment, demonstrating the inherently ephemeral nature of man-made objects.[4]

Her photographic works often come in series. My Own Private Angkor, 2007–2009, spans 90 photographs taken in an abandoned and decaying housing development in Malaysia.[9] The estate, once the fringe of Port Dickson, had been ransacked for anything of value and left to the elements. The name of the series alludes to "the ruins of a civilization that had been suddenly curtailed",[8] that of the ancient city of Angkor in Cambodia. Similarly, the series Standing Still (2000) examines deserted and ruined architecture across the Malaysian peninsula following the country's economic decline.

Books and words themselves are recurring themes and mediums in Gill's work. Pearls (2008) is a sparse publication full of images of strings of beads. On inspection, the reader discovers each bead is made from tightly wound strips of paper, cut from canonical texts like Mao's 'Four Essays On Philosophy' and more mundane books, such as a tome on highland dress.[10][page needed] The exhibition variation of Pearls, 9 Volumes of the Collected Works of Mahatma Gandhi (2008–09), again invited visitors to touch and play with the volumes, now turned into boules-style balls.[5] This preoccupation with words and the dismantling of the constraints they place on us is revisited in Where to Draw the Line (2011–2012), now housed in the collection of the Museum of Modern Art. ArtAsiaPacific sees in these works a continual process of negotiation with words, a desire to reduce their impact and to make them physical and tactile: "of course the real keepers and foot soldiers in this world of words are books, and Gill has employed an arsenal of them for her quietly revolutionary purposes".[5]

As a consequence of her experiences with travel throughout her life, Gill’s art is inherently influenced by the landscapes, cultures, and communities that she has encountered, utilizing these experiences to incorporate evocative imagery and the associated emotion into her art.[11] In particular, the empty spaces she deliberately places within many of her photographs and drawings manage to capture the dual fascination and apprehension that humanity holds towards the unknown.[11] Connected with this, Gill tackles complex topics such as cultural exchange, globalization, the interactions of culture and nature, and the transformation of knowledge in a postcolonial society, demonstrating the impacts of those inherent feelings of fascination and apprehension on indigenous cultures and the environment as a whole.[12]

55th Venice Biennale edit

Gill represented Australia in the 2013 Venice Biennale, with the exhibition entitled Here Art Grows on Trees. Her exhibit replaced that of famous architect Philip Cox’s Australian Pavilion, which had represented Australia at the Venice Biennale since 1988, with the structure scheduled to be removed the following December.[13] Working with curator Catherine de Zegher, Gill produced three unique works for the festival. De Zegher described the inspiration for the exhibition as "a space of negotiation between the small and the global, between nature and industry, as it reveals an understanding of the interconnectedness of all in a world in flux".[6] One displayed art piece consisted of Gill’s traditional style of carefully collecting specific words to display them in a massive collage spanning twelve white panels.[13] Another was a series of large cibachrome photographs taken of an open, abandoned mine system at dusk and dawn.

Her most famous work produced for the event was the unconventional use of the Australian Pavilion itself.[13] Challenging her audience to see her work as impermanent and transitory, Gill removed sections of the roof of the Australian pavilion, "allowing each moment of the six month exhibition to be a unique snapshot."[14] This exposure of the work changed it over time, both the beach house and the art stored within it slowly being altered by the surrounding environment, emphasizing nature's ability to reclaim structures and objects constructed by humans.[13]

Collections edit

Solo exhibitions[20][21] edit

Gill is represented by Tracy Williams Ltd in New York City, and has held four solo exhibitions in the gallery: Blue (2014), Simryn Gill | Nicole Cherubini (2012), Holding Patterns (2010) and Interiors (2009).[22]

Group exhibitions[20][21] edit

References edit

  1. ^ "Stolon Press". Retrieved 2021-06-20.
  2. ^ a b c d e Yusof, Helmi (March 27, 2015). "In Search of a Lost Time". The Business Times. Retrieved April 17, 2021.
  3. ^ a b "Simryn Gill". The Solomon R Guggenheim Foundation.
  4. ^ a b Fitzgerald, Michael (May 25, 2013). "Raising the Roof". The Sydney Morning Herald. Retrieved April 17, 2021.
  5. ^ a b c d Fitzgerald, Michael (April 2013). "Against Blankness – The Inhabiting Spaces of Simryn Gill". ArtAsiaPacific. No. 82. Retrieved July 11, 2016.
  6. ^ a b Forrest, Nicholas (May 31, 2013). "See Simryn Gill's Venice Biennale Australia Pavilion". Australia: BlouinArtinfo. Retrieved July 11, 2016.
  7. ^ Hauser, Kitty (May 25, 2013). "Artists Simryn Gill becomes Australia's accidental ambassador at Venice Biennale". The Australian.
  8. ^ a b Storer, Russell; Morgan, Jessica; Taussig, Michael (2008). Simryn Gill. Koln. pp. 7, 41.
  9. ^ a b "Simryn Gill – My Own Private Angkor, #51, 2007–2009". Artsy. Retrieved July 11, 2016.
  10. ^ Gill, Simryn (2008). Pearls. Raking Leaves.
  11. ^ a b Chua, Kevin (2002). "Simryn Gill and Migration's Capital". Art Journal. 61: 4–21 – via Academic Search Premier.
  12. ^ Vali, Mutaza (2021). "Perspectives". ArtAsiaPacific. Retrieved April 20, 2021.
  13. ^ a b c d Fitzgerald, Michael (May 25, 2013). "Raising the Roof". The Sydney Morning Herald. Retrieved April 20, 2021.
  14. ^ Gill, Simryn (2013). Here art grows on trees. Australia Council for the Arts. p. 29.
  15. ^ Yap, June. "Simryn Gill – Full Moon". The Solomon R Guggenheim Foundation. Retrieved July 28, 2016.
  16. ^ "Simryn Gill". The Museum of Modern Art. Retrieved July 28, 2016.
  17. ^ "Simryn Gill". San Francisco Museum of Modern Art. Retrieved July 28, 2016.
  18. ^ "A Small Town at the Turn of the Century 1999–2000". Tate. Retrieved July 28, 2016.
  19. ^ "Works by Simryn Gill". Art Gallery of New South Wales. Retrieved July 28, 2016.
  20. ^ a b "Simryn Gill". Artsy. Retrieved July 6, 2016.
  21. ^ a b "Simryn Gill to represent Australia at the Venice Biennale 2013" (Press release). Australia Council for the Arts. May 23, 2012. Retrieved July 6, 2016.
  22. ^ "Simryn Gill – Press Kit". Tracy Williams, Ltd. Retrieved July 6, 2016.
  23. ^ "Simryn Gill: Hugging the Shore". NTU Centre for Contemporary Art Singapore. Nanyang Technological University. Retrieved July 28, 2016.
  24. ^ "Simryn Gill". Museum of Contemporary Art Australia. Retrieved July 13, 2016.
  25. ^ "Simryn Gill". dOCUMENTA (13). Retrieved July 28, 2016.
  26. ^ "Simryn Gill". Universes in Universe. Retrieved July 28, 2016.

April 12, 2024
simryn, gill, born, 1959, singapore, born, artist, specializes, sculpture, photography, drawing, writing, publishing, throughout, career, gill, presented, several, significant, events, including, germany, documenta, show, venice, biennale, australia, most, fam. Simryn Gill born 1959 is a Singapore born artist who specializes in sculpture photography drawing writing and publishing 1 Throughout her career Gill has presented her art at several significant events including Germany s Documenta art show and the Venice Biennale and is one of Australia s most famous contemporary artists 2 Gill lives between Sydney Australia and Port Dickson Malaysia 3 Contents 1 Early life and career 2 Style and works 3 55th Venice Biennale 4 Collections 5 Solo exhibitions 20 21 6 Group exhibitions 20 21 7 ReferencesEarly life and career editAlthough she was born in Singapore throughout her childhood her family moved to Malaysia India and the United Kingdom the latter being where she remained throughout her young adulthood 2 There she met her future husband a social anthropologist named Souchou Yao with whom she would go on to have two children with In 1987 the family settled in Australia where she would attend the South Australian School of Art to pursue her interest in artistic expression However a few months into her degree Gill dropped out of her courses both as a result of her pressing responsibilities to help raise two young children and her increasing dissatisfaction with the lack of novelty in her studies 2 Despite these setbacks Gill s art continued to gain respect and renown within the contemporary art community with early collections of photographs such as May 2006 and Dalam in particular receiving notable recognition 2 In 2007 and 2012 she was invited to Kassel Germany to showcase her work at the quinquennial Documenta one of the most well known art shows in Europe A year later she was selected to represent Australia in the 55th Venice Biennale 4 Since these events Gill s art has been exhibited in many cities worldwide such as the Museum of Modern Art and the Guggenheim both in New York 2 Then in 2015 Gill hosted her first major solo exhibition Hugging the Shore at the Centre of Contemporary Art in Gillman Barracks Singapore Style and works editGill s work is said to embody a sense of in between ness 5 with pieces inspired by her various homes and the influence of place She acknowledged the irony this brought to her 2013 feature in the Australian pavilion at the Venice Biennale saying mine is not a representative voice in fact it s entirely the opposite of that possibility Representation is a very strange notion 5 Her work has been said to occupy a space of transition and compromise taking small mementos and fleeting moments of everyday life to construct a sense of belonging 6 Red Hot 1992 a Native American headdress made from dried chilies was made from Gill s homegrown chilies while she was completing projects from a 1950s boy scout manual with her son 7 This gentle incursion of the everyday into Gill s art is acknowledged in the foreword to the publication accompanying Gill s exhibition at the Museum of Contemporary Art Sydney in 2008 09 Director Elizabeth Ann Macgregor characterizes her as an artist whose approach is rigorous yet sensual conceptual yet tactile 8 Gill is a systematic collector especially of books as objects of reverence and dispute 3 Roadkill 1999 2000 features hundreds of items collected from the side of the road including flattened plastic and discarded rubbish In many of these works audiences are invited to play with and reposition the items 9 leaving interpretation of meaning to the viewer In addition to this Gill often allows these subjects of her art to be openly exposed to the degrading forces of the environment demonstrating the inherently ephemeral nature of man made objects 4 Her photographic works often come in series My Own Private Angkor 2007 2009 spans 90 photographs taken in an abandoned and decaying housing development in Malaysia 9 The estate once the fringe of Port Dickson had been ransacked for anything of value and left to the elements The name of the series alludes to the ruins of a civilization that had been suddenly curtailed 8 that of the ancient city of Angkor in Cambodia Similarly the series Standing Still 2000 examines deserted and ruined architecture across the Malaysian peninsula following the country s economic decline Books and words themselves are recurring themes and mediums in Gill s work Pearls 2008 is a sparse publication full of images of strings of beads On inspection the reader discovers each bead is made from tightly wound strips of paper cut from canonical texts like Mao s Four Essays On Philosophy and more mundane books such as a tome on highland dress 10 page needed The exhibition variation of Pearls 9 Volumes of the Collected Works of Mahatma Gandhi 2008 09 again invited visitors to touch and play with the volumes now turned into boules style balls 5 This preoccupation with words and the dismantling of the constraints they place on us is revisited in Where to Draw the Line 2011 2012 now housed in the collection of the Museum of Modern Art ArtAsiaPacific sees in these works a continual process of negotiation with words a desire to reduce their impact and to make them physical and tactile of course the real keepers and foot soldiers in this world of words are books and Gill has employed an arsenal of them for her quietly revolutionary purposes 5 As a consequence of her experiences with travel throughout her life Gill s art is inherently influenced by the landscapes cultures and communities that she has encountered utilizing these experiences to incorporate evocative imagery and the associated emotion into her art 11 In particular the empty spaces she deliberately places within many of her photographs and drawings manage to capture the dual fascination and apprehension that humanity holds towards the unknown 11 Connected with this Gill tackles complex topics such as cultural exchange globalization the interactions of culture and nature and the transformation of knowledge in a postcolonial society demonstrating the impacts of those inherent feelings of fascination and apprehension on indigenous cultures and the environment as a whole 12 55th Venice Biennale editGill represented Australia in the 2013 Venice Biennale with the exhibition entitled Here Art Grows on Trees Her exhibit replaced that of famous architect Philip Cox s Australian Pavilion which had represented Australia at the Venice Biennale since 1988 with the structure scheduled to be removed the following December 13 Working with curator Catherine de Zegher Gill produced three unique works for the festival De Zegher described the inspiration for the exhibition as a space of negotiation between the small and the global between nature and industry as it reveals an understanding of the interconnectedness of all in a world in flux 6 One displayed art piece consisted of Gill s traditional style of carefully collecting specific words to display them in a massive collage spanning twelve white panels 13 Another was a series of large cibachrome photographs taken of an open abandoned mine system at dusk and dawn Her most famous work produced for the event was the unconventional use of the Australian Pavilion itself 13 Challenging her audience to see her work as impermanent and transitory Gill removed sections of the roof of the Australian pavilion allowing each moment of the six month exhibition to be a unique snapshot 14 This exposure of the work changed it over time both the beach house and the art stored within it slowly being altered by the surrounding environment emphasizing nature s ability to reclaim structures and objects constructed by humans 13 Collections editSolomon R Guggenheim Museum New York City 15 Museum of Modern Art New York City 16 San Francisco Museum of Modern Art San Francisco 17 Tate London 18 Art Gallery of New South Wales Sydney 19 Queensland Art Gallery amp Gallery of Modern Art BrisbaneSolo exhibitions 20 21 editGill is represented by Tracy Williams Ltd in New York City and has held four solo exhibitions in the gallery Blue 2014 Simryn Gill Nicole Cherubini 2012 Holding Patterns 2010 and Interiors 2009 22 Simryn Gill Stormy Days Jhaveri Contemporary Mumbai 2015 Hugging the Shore NTU Centre for Contemporary Art Singapore 2015 23 Here art grows on trees Australian Pavilion 55th Venice Biennale 2013 Simryn Gill Inland Centre for Contemporary Photography Melbourne 2009 Simryn Gill Gathering Museum of Contemporary Art Sydney 2008 Tate Modern London 2006 Shiseido Gallery Tokyo 2004 Art Gallery of New South Wales Sydney 2002 Group exhibitions 20 21 editStorylines Contemporary Art at the Guggenheim Solomon R Guggenheim Museum New York 2015 Apparitions Frottages and Rubbings from 1860 to Now Hammer Museum Los Angeles 2015 Alluvial Constructs Octavia Art Gallery New Orleans 2014 Sites of Reason A Selection of Recent Acquisitions Museum of Modern Art New York 2014 24 Lasting Images Solomon R Guggenheim Museum New York 2013 5th Moscow Biennale of Contemporary Art Moscow 2013 Considering Collage Jhaveri Contemporary Mumbai 2013 Untitled 12th Istanbul Biennial Istanbul Turkey 2011 Animism Kunsthalle Bern Bern Switzerland 2010 Provisions for the Future Sharjah Biennial UAE 2010 Transmission Interrupted Modern Art Oxford Oxford UK 2010 Revolutions Forms That Turn Biennale of Sydney 2008 News From Islands Campbelltown Arts Centre Campbelltown 2007 documenta 12 Kassel Germany 2007 25 Living in the Material World National Arts Centre Tokyo Japan 2007 Singapore Biennale 2006 26 References edit Stolon Press Retrieved 2021 06 20 a b c d e Yusof Helmi March 27 2015 In Search of a Lost Time The Business Times Retrieved April 17 2021 a b Simryn Gill The Solomon R Guggenheim Foundation a b Fitzgerald Michael May 25 2013 Raising the Roof The Sydney Morning Herald Retrieved April 17 2021 a b c d Fitzgerald Michael April 2013 Against Blankness The Inhabiting Spaces of Simryn Gill ArtAsiaPacific No 82 Retrieved July 11 2016 a b Forrest Nicholas May 31 2013 See Simryn Gill s Venice Biennale Australia Pavilion Australia BlouinArtinfo Retrieved July 11 2016 Hauser Kitty May 25 2013 Artists Simryn Gill becomes Australia s accidental ambassador at Venice Biennale The Australian a b Storer Russell Morgan Jessica Taussig Michael 2008 Simryn Gill Koln pp 7 41 a b Simryn Gill My Own Private Angkor 51 2007 2009 Artsy Retrieved July 11 2016 Gill Simryn 2008 Pearls Raking Leaves a b Chua Kevin 2002 Simryn Gill and Migration s Capital Art Journal 61 4 21 via Academic Search Premier Vali Mutaza 2021 Perspectives ArtAsiaPacific Retrieved April 20 2021 a b c d Fitzgerald Michael May 25 2013 Raising the Roof The Sydney Morning Herald Retrieved April 20 2021 Gill Simryn 2013 Here art grows on trees Australia Council for the Arts p 29 Yap June Simryn Gill Full Moon The Solomon R Guggenheim Foundation Retrieved July 28 2016 Simryn Gill The Museum of Modern Art Retrieved July 28 2016 Simryn Gill San Francisco Museum of Modern Art Retrieved July 28 2016 A Small Town at the Turn of the Century 1999 2000 Tate Retrieved July 28 2016 Works by Simryn Gill Art Gallery of New South Wales Retrieved July 28 2016 a b Simryn Gill Artsy Retrieved July 6 2016 a b Simryn Gill to represent Australia at the Venice Biennale 2013 Press release Australia Council for the Arts May 23 2012 Retrieved July 6 2016 Simryn Gill Press Kit Tracy Williams Ltd Retrieved July 6 2016 Simryn Gill Hugging the Shore NTU Centre for Contemporary Art Singapore Nanyang Technological University Retrieved July 28 2016 Simryn Gill Museum of Contemporary Art Australia Retrieved July 13 2016 Simryn Gill dOCUMENTA 13 Retrieved July 28 2016 Simryn Gill Universes in Universe Retrieved July 28 2016 Retrieved from https en wikipedia org w index php title Simryn Gill amp oldid 1211392662, wikipedia, wiki, book, books, library,

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