David Serisier has been committed to an abstract aesthetic for over twenty years. The focus of his abstract painting process has been directed towards the perception of colour and light questioning issues of materiality and immateriality.
Towards the White Buffalo: Serisier’s latest paintings and prints are a triggered cognitive response to memories of his recent experiences of travelling through Japan, the south west United States of America and also the landscapes of Sydney and Perth, Australia.[nggallery id=143]
Serisier’s paintings are layered concretisations paralleling extremely varied conditions of time, place and location. The subtle thickness of grey transitions of rainy season light whilst walking the island of Naoshima create a marked contrast to the filmic compression of sharpened light and colour, gleaned at speed on desert highway Interstate-10 through Arizona, New Mexico and Texas. Likewise, the saturated colour and vibrant light of Sydney’s cityscape and coast, where Serisier resides, varies to the vastness of space and light in the desert of Western Australia.
In 2010, Serisier continues to investigate reductive, minimalist painting through measured decisions that question perception, and are informed by the physical memory of a place.
8 May – 3 June, 2010 Liverpool Street Gallery, Darlinghurst Sydney
“Pure abstract painting is sometimes misunderstood as esoteric and over-intellectualised. Unlike more accepted genres of art, abstraction requires audiences to drink deeply from the well of good faith. And from abstract artists, equivalent measures of tenacity and conviction are needed. David Serisier is a veteran abstract painter: his work has remained loyal to the cause, despite his statement that, “I don’t know if I’m a purely non-objective painter.” Unrelenting and unapologetic, Serisier has spent a lifetime investigating and experimenting with nuances of colour, surface and the contradictions of visual perception.” … Prue Gibson Australian Art Review (Feb-April 2010)
His superb recent show at Liverpool Street Gallery in Sydney consisted of diptychs in which each large panel was a monochrome in a hue subtly inflected by the one beside it: for example, two panels of lemon yellow in which one was slightly bluer than the other. The resulting contrasts, in Serisier’s words, ‘set up a state of subtle kinesis where the viewer experienced an unconscious equalising of the differing colours’.” …Sebastian Smee The Australian (2007)
“Serisier is an artist who has freed his métier by its concentration to more fully engage the sensory/ physiological dimension of painterly realisation. His works have substance – literally…The paintings continue Serisier’s investigation of light and colour as it is synthesised into matter. Densities of colour question density of matter through an engagement with ever changing light.”… William Wright (2006)
“Anyone who has watched evening fog roll into the temperate Pacific Northwest will have some sense of the chromatic and textural articulation of David Serisier’s new colour field paintings.” …Roger Boyce Art in America (Dec 2003)
David Serisier was born in Orange, New South Wales, Australia in 1958. He holds a BA in English and Australian Literature from the University of Sydney and a BA (Visual Arts) from City Art Institute, Sydney.
From 1988 to 1992 Serisier completed post-graduate studies in painting and drawing at the New York Studio School, where he was the recipient of three continuous full scholarships including the Milton Avery Painting Scholarship.
In 1997, he was awarded an Australia Council Grant.
In 2002, he was awarded the Australia Council Greene Street- New York Residency.
Since 1995, Serisier has worked as a lecturer in painting and drawing at the National Art School in Sydney.
His work is represented in many significant public, corporate and private collections, including the National Gallery of Australia, New England Regional Art Museum, Newcastle Region Art Gallery, Orange Regional Gallery, Bathurst Regional Art Gallery, Charles Sturt University, Artbank and JP Morgan Chase Bank.
Established in September 2003, Liverpool Street Gallery is a commercial gallery, exhibiting Australian and International contemporary art.
Directors James Erskine and Basil Scaffidi bring over four decades of collective expertise, knowledge and a shared passion for collecting contemporary art to Liverpool Street Gallery. The gallery also has a strong association William Nuttall and Niagara Galleries, Melbourne.
The gallery represents both established and emerging Australian artists, including: John Beard, Kevin Connor, Virginia Coventry, Denise Green (USA), Steven Harvey, Christopher Horder, Anwen Keeling, Brett McMahon, Guy Peppin, David Serisier, Jeannette Siebols, Peter Sharp, Aida Tomescu, Kate Turner, Dick Watkins and Karl Wiebke. Liverpool Street Gallery also exhibits the work of Rick Amor, Gunter Christmann, John Kelly (UK), David Keeling and Kevin Lincoln, as well as solo exhibitions of the international artists Tony Bevan (UK), Jennifer Lee (UK), Jon Schueler (USA) and Enrique Martínez Celaya (USA).
Whilst predominantly exhibiting innovative abstract, realist and figurative painting, Liverpool Street Gallery also exhibits sculpture, limited edition prints and a variety of works on paper. The exciting combination of different media and diverse artists aims to encourage both collectors and admirers of contemporary art.
243a Liverpool Street / East Sydney / NSW / 2010 / Australia
Gallery Hours: Tuesday – Saturday, 10am – 6pm