Past Resident2018: Anonymous
Over the past few years, Lu Liang has been dedicated to creating what he calls “empty scenes” without figures. The scenes he depicts are based on his personal experiences. Liang uses techniques of classical painting to express contemporary concerns.
Lu Liang has exhibited work at Creek Art Center, Beijing and Eslite Gallery, Taipei. His work is in the collection of the National Art Museum of China.
Residents from China
Past Resident2018: Australia Council for the Arts, Creative New Zealand
Jess Johnson’s drawings and installations are influenced by the intersections of language, science fiction, culture and technology. In her drawings, she depicts complex worlds that combine densely layered patterns, objects and figures within architectural settings. Johnson’s drawings are often displayed within constructed environments. Her recent video collaborations with Simon Ward have involved translating her drawings into animated videos and virtual reality, enabling audiences to have simulated experiences of her drawings.
Jess Johnson was born in Tauranga, New Zealand in 1979. After ten years of living and working in Melbourne, she relocated permanently to New York City in 2016. Her work has been exhibited internationally in solo and group exhibitions at Jack Hanley Gallery, New York; Art Basel Hong Kong; Talbot Rice Gallery, Edinburgh; Centre CLARK, Montreal; National Gallery of Victoria, Australia; Museum of Contemporary Art Australia; and Christchurch Art Gallery Te Puna o Waiwhetu, New Zealand. She is represented by Jack Hanley Gallery, New York; Darren Knight Gallery, Australia; and Ivan Anthony Gallery, New Zealand.
Residents from Australia
Past Resident2018: Senate Department for Culture and Europe, Berlin
Antonia Low’s installations, sculptures and photographs are inspired by infrastructures that underline everyday life, such as work spaces, storage rooms, construction sites and archaeological excavations. When she exposes a room’s wiring or presents medieval walls on semi-transparent fabric, she is only rarely concerned with a critique of that specific site. Instead, her interest is in a spatial reconstruction of how the recollections and after images of spaces become fixed in one’s mind and superimposed on an actual space.