Group Exhibition

5 August — 22 August 2020

Historical explanations and cautionary tales – myths – conjure meanings that are powerful and insightful.  Generationally, they inform and direct the path forward for our society and culture.  In this land, we see the stories of the ancients – the Greek and Roman tales of old that were imagined and reimagined in marble and paint—forming the foundations of the Western tradition of art-making in this country. These perspectives are juxtaposed with the eternal longing of the First Nations peoples—their Tjukurrpa (Dreaming) is old and it remains ever strong. These stories have survived and have had much to tell us about how to live.  

Myth is a dialogue between the stories that make us. The powerful narratives collapse distinctions between time and space in a complex interrogation of cultural heritage. The positioning of the exhibited artworks invites an investigation into the controversial and conflicting perspectives that shape our collective history.

Myth provides us with an array of intoxicating conversations. Blak Douglas’ He’s Only Half the Man He’s Made Out to Be (2018) hangs beside Arthur Boyd’s Bridegroom Drinking From a Creek (1959).  The paintings are powerful in their direct and viscous imagery—their colour and form unique to the artists’ oeuvre. Their personal experiences and observations are distilled and representative of their time. They speak of the marginalisation of the First Nations peoples and the effect that the purgatory of colonisation has had on the ancestors of the land. The dialogue between the two paintings created 59 years apart is poignant and profoundly relevant in a contemporary society that seeks a solution for the inadequacies of the past.

In a serendipitous moment, the raw songlines of George Hairbrush Tjungari—a direct image from the time of creation—speak a similar eerie language to the lines that flow over the epic desert landscape of John Olsen’s Flight Over the Kimberley (1997). The artists seek to capture the essence of the life force of this land.  It’s not God they seek but some power that is explained and is inherent in the imaging of the landscape of their mind—anchored by their own stories and personal guiding mythology.

Dee Smart’s Fragmented Leap of Faith (2020) draws both visual and allegorical parallels with Sidney Nolan’s Leda and Swan (1960). Smart’s dancing swan, Ella Havelka—the Australian Ballet’s first Indigenous dancer—hints at the generational empowerment in the paradigm of high Western art.  The palpable connection to Nolan’s ancient story of passion reminds us of the philosophical power of the ancients. Jonathan Dalton’s nod to Poseidon captured deep in the lens of a drowned camera, along with the artist's customary wit, reminds us of the enduring legacy of the visual image in the formation of our history.

The tyranny of distance and its ensuing isolation permeates Sidney Nolan’s Sandhills Near Birdsville (1953) and is echoed in Jason Benjamin’s wistful, enigmatic, big sky landscape. Benjamin reminds us that isolation is not only a geographical affliction; it is a truism of which we are constantly reminded in the time of COVID. Delving into the natural symbolism of lone trees and distant horizons, the artists illustrate the melancholic longing that is a recurring theme in the Australian psyche.

There is no greater legend in Australia than that of Ned Kelly—Australia’s most famous of rogues—immortalised in the paintings of Nolan. It was a theme that he revisited throughout his life from the 1940s. Nolan’s Kelly Head (1947) is a rare unmasked painting of Kelly. The flat enamel treatment of Ned Kelly’s eyes provides its own mask, luring viewers into Ned Kelly’s menacing world. Gria Shead reminds us that mythology can be used as a tool to marginalise.  Shead’s haunted painting of Kate—Ned Kelly’s sister ostensibly written out of history—appears through the desolate landscape, acting as a powerful reminder of the inequities of the past. Adam Cullen—an outsider himself—brilliantly recontextualised the idea of Ned Kelly in the late 2000s.  Part Spaghetti Western, part Camp/Pop hero of the oppressed, Cullen’s chaotic execution is undeniably engaging in its reconstruction of the Kelly myth.

Both Nolan and Cullen paved the way for the every day to become elevated. James Drinkwater’s poignant works depict both the firefighter and the boxer—characters deeply embedded in his family mythology. Through the darkened palette and the bronze patina, there is hope. Extraordinary lives have been an enduring theme in the creation of our myths. 

A collective acknowledgement and sharing of our mythology is the underpinning of a stable society. History tells us that the passing down of stories and enduring messages allows for cross-cultural ideas of hope, joy and memory.  An understanding of past and present stories can provide a flaming torch in the darkness of a world in flux.

Ralph Hobbs
August, 2020

\ Exhibition featured works

Dee Smart

Fragmented Leap of Faith

2020 \ Acrylic on linen \ 3 Panels - Dimensions variable

Blak Douglas


2018 \ Synthetic polymer paint on canvas \ 150 x 180.5cm

James Drinkwater

Boxer II

2019 \ Bronze \ 28.5 x 13 x 9cm \ Edition of 12

Arthur Boyd

Bridegroom Drinking From A Creek

1959 \ Tempera and oil on board \ 98 x 135cm framed

Not for sale

John Olsen

Flight over the kimberley

1997 \ Oil on linen \ 198 x 198cm framed

Gria Shead

Kate Kelly II

2020 \ Acrylic and ink on paper \ 80.5 x 99cm framed

Sidney Nolan

Kelly Head

1947 \ Ripolin and enamel on composite board \ 95.5 x 83cm

Adam Cullen

Kelly on his horse

2009 \ Acrylic on canvas \ 183 x 183cm


Sidney Nolan

Leda and the swan

1960 \ Ripolin and enamel on board \ 98 x 128.5cm framed


Wentja Morgan Napaltjarri

Rockholes West of Kintore (AEWMN001347PAG)

Acrylic on linen \ 120 x 120cm


Sidney Nolan

Sandhills near Birdsville

1953 \ Ripolin and enamel on board \ 107 x 136.5cm framed

Arthur Boyd

The Lovers

1962 \ Oil on board \ 137 × 197.5cm framed

Jonathan Dalton

Two Japanese Tourists visit Poseidon of Melos

2020 \ Oil on linen \ 121x137cm


Nyurapayia Nampitjinpa (Mrs Bennett)

Untitled (AEMRSB200939-JJC59SY)

Acrylic on linen \ 122 x 305cm

George Hairbrush Tjungurrayi


2009 \ Synthetic polymer paint on linen \ 153 x 183cm


Jason Benjamin


2020 \ Oil on primed handmade paper \ 60 x 79.5cm framed


Jason Benjamin

We’re all on the long road

2019-20 \ Oil on primed handmade paper \ 31.5 x 55.5cm


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Sidney Nolan

arthur boyd at fitzroy falls

1988 \ Oil on linen \ 156 x 125cm framed

John Olsen

galah and moon, central australia

2009 \ Oil on linen \ 118.5 x 133cm framed

Blak Douglas

he’s only half the man he’s made out to be

2018 \ Synthetic polymer paint on canvas \ 130 x 105cm

James Drinkwater

the firefighter

2020 \ Oil on linen \ 89 x 78.6cm


\ Other exhibitions

Laura Matthews


28 July — 9 August 2021

Jason Cordero

The View From Here

6 July — 17 July 2021

Paul Ryan

South by Southwest

22 June — 10 July 2021

Contact Us

to find out more about MYTH.

12 - 14 Meagher Street Chippendale, NSW 2008
Opening Hours
Monday to Friday, 9am - 5pm ONLINE Saturday – closed until further notice Following the latest NSW Government advice in relation to Covid— from Monday 29th June, the Gallery will be operating online only—Monday to Friday 9-5 pm for the duration of the Sydney lockdown All events associated with Paul Ryan (South by Southwest) and Les Rice (Disco Inferno) exhibitions have been postponed. We will keep you advised of any further changes as they arise. COVID Safe Check-in: As part of the Nanda\Hobbs COVID safety plan, all visitors to the gallery must sign in via the Service NSW QR code.