THE COLLECTOR 2014             +


    23 May – 27 June 2014



      Artist Tané Andrews explores the intricacies of the natural world, often referencing botanical and animal elements in his practice. In his latest solo exhibition, The Collector, Andrews’ continues to draw inspiration from nature and focuses on investigating the patterns and habits of the native Australian White Zebra Finch.

      Andrews’ interest in the relationship between humans and nature drove him to work closely with eight White Zebra Finch birds in an attempt to understand whether a creative process could be established between the artist and the birds. The breeding and nesting behaviours of the finches sees them utilise carefully considered materials to create their nests. Andrews selected the materials for the birds to choose from, including natural and precious materials such as gold leaf, white fox fur, horse hair, raw silk, pearls, butterfly wings, twigs and shredded pieces of his past drawings, unaware of what would be used and included in the finches nests. Over a prolonged period of time, a relationship evolved between the artist and birds inspiring the production of a series of new works.

      The resulting artworks include an ambitious sculptural installation featuring the birds in a custom built birdcage as well as a series of their completed nests. These sculptural works will be accompanied by hand embossed die-cut paper works and a number of drawings featuring Andrews’ unique stippling technique. The Collector is a poetic and considered exploration into the potential for engagement between artist and animal, one that seeks to understand creative processes inherent in nature and how these can interact with human activity.

    Read The West Australian's article and interview with Tané Andrews


  •     TIME BIDS BE GONE 2013      +

    Heathcote Museum & Gallery

    25 May – 1 July 2013

    time bids be gone

      Time Bids be Gone by Tané Andrews and Moira de la Hunty


      'Time Bids be Gone' is a grab of a William Shakespeare quote “We are time's subjects, and time bids be gone”.  The title of the exhibition perfectly encapsulates Moira de le Hunty’s and Tané Andrews’ fascination with the concept of time. Their work shares not only thematic links but an aesthetic uniformity and rhythmic tranquility, where underneath the apparent stillness of the surface, a faint bubbling of energy lies dormant.


      Visually the exhibition is a kaleidoscope of white through to black, with every shade of gray in between.  On one hand, black speaks with authority and power; on the other hand, despair and mourning. It symbolises evil and mystery, as well as devotion and wisdom. The use of white in the exhibition is tempered; it is veiled and never stark. It straddles meaning between life, death and a new beginning. The perpetual passing of time is a constant. While it may have seemed like the longest hour of our lives, one second, one minute, one hour is as identical to the previous as it will be to the next. Time in this exhibition is not just a measuring of the clock it is a collective of our experiences, a discourse on the past, present and future.  The artworks explore how we understand and describe time in our daily lives through an infinite series of mechanisms, associations and symbols.


      Tané Andrews’ delicate stippling wreath drawing in Goodbye Father hovers at the top of a blank sheet of pristine white paper. The rectangular form and somber nature of the design have a funerary feel, like a wreath at the head of a casket.  The petals and leaf-like forms weave almost snakelike in a circular motion. There is no beginning and no end, a cyclic symbol of life and death.


      Andrews’ work drawn inspiration from the natural world but it is not constrained by it. While his drawings are initially guided by natural forms they quickly evolve and blossom into highly imaginative compositions guided by the process of repetition and contemplation. In Time Bids Be Gone Andrews juxtaposes the real and the representation of the real through the addition of a living work titled Collaboration with Butterflies. Three live chrysalises of the Common Eggfly butterfly (Hypolimnas Bolina) are mechanically suspended in three Victorian glass domes. Over the period of the exhibition they will grow quietly, unhindered by the world around them into their final form. Their metamorphic development, measured, concealed, private and unique is in parallel to the artist’s own method of working, intensive, disciplined and methodical.  The glass dome was a central object of curios in Victorian parlors, generally filled with flowers and fruits, dried or finely crafted and in some cases staged taxidermy displays of the absurd.  While the domes originally held objects frozen in time, in full bloom, at their climax of beauty and existential youth, the chrysalides are a testament to the cycle of life and the tangible passage of time.


      In the work Collaboration with Crystals the shadows cast through finely intricate laser-cut designs create a positive and negative relationship between the real object and the suggestion of the object, it is a play on presence and absence, of weight and weightlessness, of the concreteness of the paper and the changeability of the light through it.  The base of the paper has been dipped in Borax solution. As the crystals grow upwards, conversely pulling down on the fragile lacework by their increasing weight, they calcify. The ritual of growth is both active and passive on a single sheet; as areas grow others stop when they reach their maturity.


      © Paola Anselmi, 2013.



    ABC ARTS Review

  •   SILENT DISTORTIONS 2012        +



    6 September – 26 October 2012


      Silent Distortions contains a series of new drawings and sculptural works that consider a moment in nature that is neither rising nor falling; a time that is perfectly still.


      In the exhibition Andrews focuses specifically on the form of the jellyfish, a creature whose unique attributes provide a rich source of inspiration for these meditative works. These ancient forms never cease growing and their quiet composure and slow-motion are reinterpreted throughout the artworks.


      Each of the drawings produced utilise the artist’s signature style of stippling, a labour intensive method where multiple dots and shading are used to create pattern, shape and form. Andrews also develops a number of sculptural works that involve manipulating paper, laser cutting and glass. The exhibition creates a space in which audiences can contemplate and engage with these Silent Distortions.


       RE-FORMATION 2011            +


    22 July – 19 August 2011


      {RE-FORMATION} adapting impermanence, featured a collection of drawings on paper, illuminated works and kinetic sculptures.

      This new series of works continued the artist’s fascination with botanical illustration, repetition, mortality and the passage of time. Utilising the labour intensive technique of stippling, Andrews produced thousands of tiny dots to create images of specimens in metamorphosis or various stages of life and death.

      The works are explorations of transience, displaying a beauty and fragility that marks the progression and deterioration of life.


      The {RE-FORMATION}: adapting impermanence exhibition grew – like everything I create – from the twin states of nature and time. I am fascinated by nature, by its delicate beauty, variety, complexity, and detail. For me it is perfection and the most inspiring teacher.

      I am then also fascinated by the role of time. Life and beauty that is so brief, occurring sometimes for only a few moments.

      What is that moment? The length of time from birth, bloom to decay can be seconds to a lifetime.

      The development for this show involved studying organisms whose life spans lasted for only hours. Witnessing the inevitable transition from life into death inspired renderings and sculptures that shared time as a central theme.

      The works were produced over the span of a year, using a process of illustration that is made up of millions of tiny dots, each  drawing taking months to complete.

      Every work in some way references time and with every piece I have attempted to create works that re form the fleeting object adapting its impermanence to a work that hopefully transcends time in the permanence of the artwork.


            MEDIA + BIO                 +




      Tané Andrews

      Born 1986, Sydney, NSW, Australia. Lives and works in Perth, Western Australia



      2005-07    Bachelor of Arts (Art) / with Distinction, Curtin University, Perth, WA, Australia

      2004-05    Certificate 4 in Graphic Design, Central TAFE, Perth, WA, Australia

      1998-03    Special Art Program, Applecross Senior High School, Perth, WA, Australia



      2014       The Collector, Venn Gallery, Perth

      2013      Time Bids Be Gone, Heathcoate Gallery, Perth, WA, Australia

      2012       Silent Distortion, Venn Gallery, Perth, WA, Australia

      2011       {RE-FORMATION} adapting Impermanence, Venn Gallery, Perth, WA, Australia

      2010       Stimulus: Response, Alda’s Art Space, Perth, WA, Australia

      2009       Repetitive by Nature, Kurb Gallery, Perth, WA, Australia



      2015       DeMonstrable, Lawrence Wilson Gallery, Perth, WA, Australia

      2015       Memories in Motion, M. Contemporary, Sydney, NSW, Australia

      2015       Oxford Art Factory, Sydney, NSW, Australia

      2014       Melbourne Art Fair Platform Pop-up, Cutler & Co, Melbourne, VIC, Australia

      2014       Apate, Moana Project Space, Perth, WA, Australia

      2014       Mine Own Executioner, Mundaring Arts Centre, Perth, WA, Australia

      2013        Summer Show, Venn Gallery, Perth, WA, Australia

      2012       NOT FAIR 2012, Melbourne, VIC, Australia

      2011       INFEST, Central Institute of Technology Gallery, Perth, WA, Australia

      2010       Summer, Goddard de Fiddes Gallery, Perth, WA, Australia

      2009       Hard cover, Oh Really Gallery, Sydney, NSW, Australia

                     Celebration, Last chance Gallery, Perth, WA, Australia

                     Make Friend, Norfolk Galley, Fremantle, WA, Australia

                     Hidden World, Perth Art Space, Perth, WA, Australia

      2008       Design Now, Object Gallery, Sydney, NSW, Australia

                     Design Now, Melbourne Museum, Melbourne, VIC, Australia

      2007      30 x 30, RMIT, Melbourne, VIC, Australia

      2006       Skin, Breadbox Gallery, Perth, WA, Australia

      2004      Perspectives, Art Gallery of WA, Perth, WA, Australia

                     Perspectives, Ginza Museum of Modern Art, Tokyo, Japan



      2014       Artsource Residency, Sydney

      2008       Finalist for Design Now Object Awards in the Design for the Body category

      2004       Recipient of the Chairman’s Travel Grant. Awarded by Haruhisa Handa and the International

                     Foundation for Arts and Culture

      2003       Winner of the Quest For Excellence, Art Awards

      2002       Winner of the City of Melville Art Awards, Youth Category



      SymbiotcA, Perth, WA, Australia

      City of Perth Collection, Perth, WA, Australia

      Curtin University Art Collection, Perth, WA, Australia

      Private Collections



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