Ricky Swallow, Forgotten Foundation 2002
pigmented urethane resin multiple, comprised of two components, cast from wooden hand-carved originals
12 x 5.5 x 5.5 cm and 7 x 3.5 x3.5 cm, overall height 19 cm
Edition 1 of 55
The inaugural Gertrude Edition by Ricky Swallow is comprised of two pigmented urethane resin components cast from two hand-carved wood originals.
Courtesy of the artist and Darren Knight Gallery, Sydney.
Ricky Swallow is represented by Fine Arts, Sydney; David Kordansky, Los Angeles and New York; and Modern Art, London and Paris.
John Meade, Screw Babs 2010/2024
3D printed PLA, epoxy resin, auto enamel, polyethylene and stainless steel
51.5 x 30 x 9 cm
Edition 2 of 50
Comprising a new sculptural work by John Meade in a limited edition of 50, the 2010 Gertrude Edition consists of a hand-cast Hydrostone spine, inset with polyethylene bristles, on a steel base.
Special thanks to Jethro Harcourt, Gasworks Sculpture Studio, and Yanni Florence.
Courtesy of the artist and Sutton Gallery, Naarm Melbourne.
Photograph: Christian Capurro
Nicholas Mangan, Monument for small change 2007
cast bronze
21 x 7 x 9 cm
Edition 2 of 50
The 2007 Gertrude Edition is a sculptural work by Nicholas Mangan – a bronze
form cast from an assemblage of banksia pods, beeswax and coins. Inhabiting an uneasy space between growth and decay, totem and tourist kitsch, Monument for small change explores the environmental effects of culture on nature and the dubious progress of capitalism.
Courtesy of the artist and Sutton Gallery, Naarm Melbourne.
Nicholas Mangan is represented by Sutton Gallery, Naarm Melbourne; and LABOR, Mexico City.
David Rosetzky, Lindsey 2008
C-Type photo collage
44 x 35 cm (framed)
Edition 2 of 45
The 2008 Gertrude Edition is a photographic collage by David Rosetzky, which combines two portraits to question the boundaries between self and other.
Lindsey is characteristic of Rosetzky’s interest in layering and portraiture, and the relationships between interiority and exteriority, gender and identity, realism and fiction.
Generously supported by Exhibit Framing and Prism Imaging.
Courtesy of the artist, Sutton Gallery, Naarm Melbourne; and Kaliman Gallery, Sydney.
David Rosetzky is represented by Sutton Gallery, Naarm Melbourne.
Benjamin Armstrong, Pink and Black 2009
blown glass and wax
dimensions variable
Edition 2 of 50
Comprising a work by Armstrong, originally produced in a limited edition of 50, the 2009 Gertrude Edition is a wax and glass sculpture in three parts. As the glass has been hand blown, there are variations between the glass forms, making each of the Editions individual.
Courtesy of the artist and Tolarno Galleries, Naarm Melbourne.
Photograph: Andrew Curtis
Robert Owen, Florentia 2006
painted steel
dimensions variable, longest edge 30 cm
Edition 2 of 45
Comprising a sculptural work by Robert Owen in a limited edition of 45 unique states, the 2006 Gertrude Edition is a series of open cubes, which have been broken down and reconfigured into five different arrangements. The work plays upon the idea of “flowering”, part of Owen’s poetic and associative investigations into colour, form, and space.
Special thanks to Peter Skerys (production) and Rosa Voto (studio assistant).
Courtesy of the artist and Arc One Gallery, Naarm Melbourne; and Sherman Galleries, Sydney.
Robert Owen is represented by Arc One Gallery, Naarm Melbourne.
Jess Johnson, SENSORIUM MACHINE 2015
gouache, pen, fibre tipped markers on archival pigment print
43.8cm x 33.8 cm (framed)
Unique State Edition 2 of 55
The 2015 Gertrude Edition is a specially commissioned series of unique collages by Jess Johnson. Each work combines a hand-drawn figure or group of figures affixed to an archival pigment printed background, of which there are eight different variants. The background prints form part of Johnson’s inimitable repertoire of landscapes from parallel universes, which are inspired by science fiction narratives and their cover artwork, comic books, and videogames. These landscapes comprise jet-black skies, gridded floors rippling with primitive gradients, tessellating patterns in bricked architecture, mystical domes and colonnades. The figures are a cast of bald-headed men twisting and stretching in impossible contortions, and hybrid human–animal beasts. Johnson’s Gertrude Edition continued her explorations into multiple and co-existent alternative realities through drawing.
Courtesy of the artist and Darren Knight Gallery, Sydney; and Ivan Anthony, Tāmaki Makaurau Auckland.
Jess Johnson is represented by Darren Knight Gallery, Sydney; Ivan Anthony, Tāmaki Makaurau Auckland; and Nanzuka Gallery, Tokyo.
Renee So, Bellarmine 2019
black Jesmonite cast from original clay sculpture produced by the artist, individually hand fabricated by Nick Johns
22 cm x 22 x 8 cm
Edition 2 of 50
The 2019 Gertrude Edition is emblematic of London-based Renee So’s long-standing exploration and repetition of the Bellarmine, a domestic vessel depicting a bearded man with origins in Rhineland during the 16th and 17th century. Created especially for Gertrude Contemporary, this sculptural edition of 50 has been individually hand-cast in black Jesmonite from a clay master.
Courtesy of the artist, Roslyn Oxley9 Gallery, Sydney; and Kate MacGarry, London.
David Noonan, Untitled 2005
etching, photo-etching, spit bite and aquatint, printed in 3 colours from two copper plates and one aluminium photo-etching plate
76 x 56 cm (sheet)
64 x 45 cm (image)
Edition 2 of 45
Printed by Martin King at Australian Print Workshop, Melbourne
The 2005 Gertrude Edition comprises a print by David Noonan, which continued his complex layering of histories and genres – from the romantic sublime and the historical gothic to 1970s bohemia and hippie culture.
Courtesy of the artist and Uplands Gallery, Naarm Melbourne; Roslyn Oxley9 Gallery, Sydney; and Foxy Production, New York.
David Noonan is represented by Anna Schwartz Gallery, Naarm Melbourne; Roslyn Oxley9 Gallery, Sydney; and Modern Art, London and Paris.
Michelle Ussher, Mirrorrim Sees 2011
screen print, printed with 12 colours, 5 screens, 1 digital print, embossing, silver pigment, pencil and watercolour
90cm x 65 cm (framed)
Edition 2 of 50
The 2011 Gertrude Edition Mirrorrim Sees is a specially commissioned digital pigment and screen print on Somerset paper in an edition of 50, signed and numbered by Michelle Ussher. Responding to the repetitive process of printmaking, the series combines 4 images in 10 permutations with 5 variations making each print unique. Mirrorrim Sees depicts the narrative of a three-faced woman relentlessly pursuing an object through a universe of parallel reflections. Ussher’s print plays with the infinite possibilities of perception in relation to fiction, holographic principle, alternate realities and contemporary theory.
Printed by the artist and Lesley Sharpe at Wimbledon School of Art, London.
Special thanks to Lesley Sharpe, Stepehen Beasley, Matthew Noel-Tod and ACME Studios, London.
Courtesy of the artist and KALIMANRAWLINS, Naarm Melbourne; and Barbara Flynn, Sydney.
Michelle Ussher is represented by STATION, Naarm Melbourne and Sydney.
Kate Beynon, Li Ji - Forbidden City memory
Li Ji - Melbourne life 2003
acrylic and aerosol enamel paint on canvas with wooden stretcher
2 panels, 12.5 x 12.5 x 3.5 cm each
Edition 2 of 30
The 2003 Gertrude Edition comprises a diptych of hand-painted works on canvas by Kate Beynon, produced in a limited edition of 30 unique states.
These works further develop the theme and imagery of the multiple lives of Li Ji - 4th century warrior girl / 19th century Forbidden City Princess / 21st century inner-city Australian-Chinese girl.
Courtesy of the artist and Sutton Gallery, Naarm Melbourne.
Richard Lewer, Tarot Card Series: Eight of Wands 2012
oil on epoxy-coated steel
30.5 x 22.5 cm
Unique State Edition 2 of 78
The 2012 Gertrude Edition is by internationally acclaimed artist Richard Lewer, who created 78 unique, hand painted works, each of which represent a Tarot card.
Comprising all of the cards in the Tarot deck these works continued Lewer’s investigations into the extremes of human behaviour. In each of the 78 works, Lewer employs his distinctive expressive painting style to engage us in the battle between good and evil, darkness and light, all seen through his viscerally humorous lens.
In creating the series, Richard Lewer referred to a number of historical precedents including the 15th Century Visconti-Sforza deck, one of the earliest surviving examples of tarot imagery. Here, Lewer found common ground between narratives that have been central to his oeuvre and in imagery that for centuries has been used to reveal the self and divine the future.
Special thanks to Kerryn Wilson, All Panel Paints Fremantle, St Lukes Artist Colourmen, C. Tech Engineering, Fremantle Arts Centre and Famous Visual Services.
Courtesy of the artist and Fehily Contemporary, Naarm Melbourne; and Hugo Michell Gallery, Tarntanya Adelaide.
Richard Lewer is represented by Hugo Michell Gallery, Tarntanya Adelaide; Jan Murphy Gallery, Meanjin Brisbane; and {Suite} Gallery, Auckland.
Photograph: Bo Wong
Emily Floyd, Important Emerging Artist 2004
MDF, 296 letters
dimensions variable
Edition 2 of 35
Emily Floyd’s 2004 Gertrude Edition continued her investigation into the ways in which artists, curators and audiences learn to internalise and reproduce art discourse. Parodying the hype that can surround young artists, Important Emerging Artist provides a humorous and insightful commentary on the cliches used to market early-career artists artists.
Courtesy of the artist and Anna Schwartz Gallery, Naarm Melbourne.
Emily Floyd is represented by Anna Schwartz Gallery, Naarm Melbourne; and Ames Yavuz, Sydney, Singapore and London.
Photograph: Courtesy of Art + Object