| 2007 Hedgemaze, Adelaide Fringe group exhibition of studio artists, Light Square Gallery, Adelaide | ||||||||||||||||||||||||||
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| Works in a range of media including from left oil paint, encaustic and pokerwork: inkjet print, carved wood, encaustic, bronze, & slate: intaglio and chine collé: mixed media, oil paint, pokerwork, and gel glaze: inkjet print on paper and film. | ||||||||||||||||||||||||||
| 2006 Sweet
Monsters and ScallyWags, Adelaide
Central School of Art Studio Gallery, Adelaide The works in Sweet Monsters and ScallyWags are a delightful and otherworldly mix of curious characters and absurd and intriguing scenarios. The combination of pokerwork on wood, and oil paint and surface textures, intensifies the drama of these small works. |
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| 2005
Emporium, Adele Boag Gallery, Adelaide Emporium, a cross-media exhibition of encaustic, digital, and print works, small cast bronze sculptures, and on-glaze porcelain works explores curious and weirdly fascinating creatures which cross timezones and cultural origins; creatures which personify inner realities rather than outer human and animal forms. The curious and fantastic creatures have origins in the Renaissance historia animalium of Conrad Gesner, humorous figures from 16th century French artist François Rabelais, contemporary Japanese ‘kawaii’, pop-imagination figures, and grotesque imagery through history. Download exhibition invitation/catalogue PDF Download exhibition review PDF |
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2004
Avarice, Artspace, Adelaide Longley's works for the Avarice exhibition included 8 works, two prints each focusing on the dramatic and symbolic themes of each of the four operas. The images for Avarice are constructed narratives, snapshots of the operatic drama and intrigue. In past works Longley has explored the notion of ‘theatre’ as a visual construction to provide a metaphor for the important and (seemingly) unimportant events that shape our lives and colour our destiny. Previously though, she has not worked directly from a particular operatic or theatrical work. Download exhibition review PDF |
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2003
SALA Festival, Adele Boag Gallery, South Australia |
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Spring
Air Awakening, Summer Fire Cloud Dreaming, Autumn Lotus Twilight,
Winter Earth Sunlight, Quintessence, intaglio and injket chine
collé, 15 x 21 cm, 2003 |
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The
Art of Travel, intaglio and injket chine collé, rubber
stamps, 46 x 36 cm, 2003 Afternoon Tea Diplomacy, intaglio and inkjet chine collé, rubber stamps, 46 x 36 cm, 2003 |
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2001
Tracing the Echo, artist books and folios 1978-2001, Flinders
University Art Museum, Adelaide This exhibition traces the artist's journey of twenty-two years of investigation into artist book production using traditional techniques and more recently, combining traditional and new digital technologies. Download exhibition catalogue PDF |
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| 1999
Printed Matter, Robert Steele Gallery, Adelaide |
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| Printed
Matter was an exhibition of photopolymer prints, artist books,
and a series of prints created using a combination of etched tin
plate and photopolymer plate. The etched tin plates, after they
had been editioned were used to create new works; the plates were
inked and a digital print was inserted where the plate had been
etched away in the centre. Download exhibition catalogue PDF |
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| 1998 Sensory Memorandum, Robert Steele Gallery, New York | ||||||||||||||||||||||||||
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The
works taken to New York for Sensory Memorandum included the
metal sense monitors and armorial works, as well as the folio of
relief photopolymer prints The Golden Rose. |
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| 1996
Traversing the Echo, Flinders University Art Museum, SA |
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| Traversing
the Echo was an exhibition of computer generated prints, books
and folios. It was also the title of an interactive work within
the exhibition. The interactive was a working model, destined for
future placement on CD-ROM or the Internet. The electronic book
was designed to showcase three limited edition printed works; two
artist books and a folio (Compass of Change, Night Sea Crossing,
and The Golden Rose). |
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| 1996
Flower
of Destiny, Sir Hermann Black Gallery, Sydney University, NSW
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| The
works taken to Sydney for Sensory Memorandum included the
metal sense monitors and armorial works, as well as the folio of
relief photopolymer prints The Golden Rose and the 16 metre
long book Compass of Change. Download exhibition catalogue PDF |
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| 1995
Armorial, Adelaide Central Gallery, Adelaide, SA |
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| The
armorial bearings on Longley's metal shield, helmut and glove are
the zero/one binary code which is the basis on which computers operate.
Appropriate insignia for the symbolic armour to be worn when entering
the realm of virtual reality. The code has been etched into the metal
in the same way that metal smiths in the Middle Ages created ornaments
and insignia on armour worn by knights. The historical connection
between the etching of steel armour and the printing process which
grew out of this practice - etching, where an etched and inked image
on a metal plate is impressed onto a dampened sheet of paper, is a
further example of the cross-referencing in this exhibition. Artists
since the 1500's have used the medium of etching to express visual
ideas and continue to do so today. Contemporary artists work with
computers to create visual images. The hand that guides the mouse
is the same hand that guides the paint brush and the drawing scribe.
From catalogue essay by Olga Sankey, 1995. Download exhibition catalogue PDF |
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| 1995 Towards the Light, New Collectables Gallery, Perth, WA | ||||||||||||||||||||||||||
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| 1992
Enclosures, New Collectables Gallery, Perth, WA |
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| 1991
Enclosures, Anima Gallery, Adelaide, SA |
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| 1990
Works on Paper, Anima Gallery, Adelaide, SA |
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| 1988
Arenas of Embarcation, Anima Gallery, Adelaide, SA |
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| 1988
Journey
to the West, New Collectables Gallery, East Fremantle, WA |
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| 1986
Springton Art Gallery, South Australia |
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| 1985
Aberdeen Art Gallery, Aberdeen, Scotland. Adelaide Festival Centre,
SA |
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| 1984
Anima Gallery, Adelaide, SA |
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| 1982
Recent Prints, CAS Gallery, Adelaide, SA |
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| 1979
Adelaide Fine Art and Graphics Gallery, Adelaide, SA |
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