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About me I am a visual artist from Australia, working primarily with painting and painting-based sculptural and installation work. As well as exhibiting in galleries and project spaces I keep a selection on view at home. Visitors always welcome – please phone or email in advance.
Contacts
63 Wardell Road
Lewisham NSW 2049
moc.rekcapsirhc@sirhc
+61 403 769 612
christopherpacker.com
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facebook.com/chris.packer
instagram.com/chrispackerart
Education 2011 BFA, National Art School Sydney
Solo shows 2017 Dither, Factory 49, Marrickville
2015 No Denying the Concrete Imaginary, Factory 49, Marrickville
2014 Cannibals, Conductors Project, St James / Museum Stations, Sydney
Red Tape Amnesty, Factory 49, Marrickville
Gotta Zip, Articulate Upstairs, Leichhardt
2013 The Planes, Office Project Space, Factory 49, Marrickville
Group shows 2018 Abstraction Twenty Eighteen, Five Walls Projects, Melbourne
Annual Group Show, Factory 49, Marrickville
2017 Supermarket, Stockholm, Sweden
Painting, Installations, Objects, Galleria Kierat, Szczecin Poland
Annual Group Show, Factory 49, Marrickville
2016 The White Collection, Conny Dietzschold, East Sydney
Art Central, Conny Dietzschold, Hong Kong
Shane Drinkwater and Chris Packer, Conny Dietzschold, East Sydney
Annual Group Show, Factory 49, Marrickville
2015 Christmas Show, Conny Dietzschold Project Space, East Sydney
The Other Art Fair, Central Park, Chippendale
Annual Group Show, Factory 49, Marrickville
F493D, Factory 49, Marrickville
Colour & Line are not Lies, West, Hazelbrook / Raygun, Toowoomba
2014 Annual Group Show, Factory 49, Marrickville
The Edge, Annandale Galleries
2013 Playing beyond the skin, GalleryEight, Millers Pt
Annual Group Show, Factory 49, Marrickville
Surely You Gesture, Salerno Gallery, Glebe
2011 Graduate Show, National Art School, Sydney
Pop-up show, NAS
Uncomfortable, on-site drawing project, NAS
Grid Project, student exhibition, NAS
2010 Cockatoo Island Drawing Week, student exhibition, NAS
2008 Marrickville Sketch Group, Addison Road Gallery, Marrickville
2007 Friends in Hand, Gallery110, Petersham
2006 Gyprock Kite, ShoreTime Restaurant, Norah Head
2004 Studio show, Art On King, Newtown
Community 2018 Inner West Open Studio Trail, studio gallery, Lewisham
2017 Inner West Open Studio Trail, studio gallery, Lewisham
2015 Marrickville Open Studio Trail, studio gallery, Lewisham
2013 Fundraiser for Stonevilla Studios, Chrissie Cotter Gallery, Camperdown
Fundraiser, UP Studio Projects, Marrickville
2011 Stonevilla Fundraiser, Chrissie Cotter Gallery, Camperdown
2007 Fundraiser for Royal Hospital for Women, Randwick
2005 Marrickville Open Studio Trail, Mary Street Studios, St Peters
Competitions 2013 Waverley Art Prize selection
2011
Sydney Olympic Park Residency Prize for Painting
John Olsen Prize for Drawing, finalist
Vortex Sculpture Prize, Stonevilla Studios, Sydenham Green
Commissions    2016 Wall hanging, Masseria Trapana, Puglia, Italy
2014 Wall sculpture, private residence, Bellevue Hill
Collections Private collections in Sydney, Christchurch, Fribourg, London, Lecce, Singapore and Warsaw.
Statement
As an artist you work with paint and canvas or metal or junk or imaging programs, but you are also managing colour and light and space and time and expectations. Your materials have properties that suggest or dictate certain processes, and as much as you hack the rules, you always end up making new ones. Doing so, you create a poetic grammar for human experience.
For me, the stuff of painting – pigment, medium, placement, support, ground, surface, illusion, context, history – can all be exploited for what they might trigger in the viewer’s subjectivity, so that what looks like “painting about painting” throws up art about life.
I think of my art as both concrete and conceptual, but with a small ‘c’. Despite the minimalism of much of my work, I’m no purist. It's the insistent complexity of things that’s interesting, not the control I can achieve by simplifying them. I’m looking for how art can extend us beyond the limits of description to apprehend directly (and indirectly) the concurrency of opposites: our coming and going, hiding and showing, opening up and closing down, our presence and our absence – the contradictions that tear us together.
Often my work will comment on its own premises: a rotating sculpture, for instance, will reveal itself as a scrolling picture plane; a series of discrete paintings in a gallery space will together describe intersecting planes stretching out in a conceptual space; a step in the process will offer itself as a completed work; an old piece might be recycled as an independent work at the same time as it documents its own previous life; or a political protest will amount to just so much leftover stage blood.
As a guide to looking at the works, I ask that you start with your own perception. Look for what’s happening, physically, within the work. Listen to the words that come to mind offering to describe it, and then observe how it might be describing you. Be aware of the questions that arise, about whether you like it or not, what you think of it and such, but rather than try to answer them, just look. Set aside yourself and what you make of it, and let it make of you what it will.
Let the work do its work.
C: