Since its establishment in 1984, the Charles Nodrum Gallery’s exhibition program embraces a diversity of media and styles - from painting, sculpture & works on paper to graphics and photography; from figurative, geometric, gestural, surrealist & social comment to installation & conceptually based work.
— Introduction by Kate Nodrum
This exhibition extends a similar format to David's 2011 show - namely floor to ceiling pigmented inkjet prints on paper. This printing process produces an exceptionally high quality finish - the surfaces subtly matte, the colours rich and pure – which is important for David's work since it allows the best presentation of his complex marks and layers. In this exhibition his compositions will stretch along the full length of the gallery walls. The effect will be intense and all-encompassing.
This comes about from a more consolidated exploration of 3D computer software which has profoundly enhanced the construction of his imagery. Also new - for the Charles Nodrum Gallery, but not for the artist - is the presentation of his moving paintings - to be viewed on a monitor or by projection. These provide the chance to do what one can’t help but desire to do with David’s work: to get inside them, to see within them. They’re a virtual swim in the pool that is the process and practice of his abstraction. Moving paintings, some silent and some sound controlled, were at the core of David’s PhD exhibition at the Margaret Lawrence Gallery of the VCA in 2015.
Also in this show will be pigmented inkjet prints mounted on aluminium composite panel, their smaller scale a contrast to the wall works. But these smaller works must be imagined large, just as the large works can be imagined small, for the beauty of Harley's practise is that his production is versatile and adaptable to virtually any conceivable medium, be it paper, canvas, vinyl, laminate, etc...
This is David Harley's second solo show at the Charles Nodrum Gallery, following his 2011 exhibition June 12th, 13th & 14th listening to Haydn. In this interim he has completed his PhD, as well as several commissions: a major series of collaborative wall paintings for a hospital in Germany, two commissions from Deakin University, and one from the National Australia Bank. For Deakin, he developed works for site-specific wall installations at their Burwood campus, and for NAB he composed a novel and, to date, unique piece: working with the architects’ 3D modelling programs, he produced a 6m high, back-lit column to form the focal point of The Village in their new headquarters at Docklands (pictured below).
The Charles Nodrum Gallery invites further proposals for commissions and is open to discussion of any potential projects, be they private, institutional or corporate.