About this Artwork
Within the influences and dynamics of a modern world, Marilyn Ardley’s investigation lies in the stillness often lost in life -‘the space inbetween’. The painting Drift delves into the artist’s encounter with this space, investigating the relationship of existence through layers of paint, rubbing back and partially exposing what lies beneath.
Email: ardley@wideband.net.au
About Marilyn Ardley
Marilyn Ardley completed a diploma in Art & Ceramic design in 1978 and a BVA at Monash in 2006. Her current interest is in abstract painting exploring a sense of place, with reference to the female in the rural landscape. Early influence in ceramics has instructed the textural dimension referenced in her practise.She uses various media in her paintings to explore issues of environmental connectedness. Her methodology pushes the boundaries of paint, investigating the different layers of existence, exploring 'the space inbetween'. Her work is intuitive and visceral, developing osmotically. Selected recent shows are Going to Town, Blindside Gallery, Flinders Lane, Melb; Contemporary Artists, Gheko Gallery, Fish Creek; Recent Paintings, Cowwarr Art Space, Cowwarr; Connections & Shift both at Stockyard Gallery, Foster; New Energies 2007,a touring exhibiton presented by Meeniyan Art Gallery,(MAG) showcasing contemporary artists in South Gippsland and 24 Hour Love, presented by Clubs in the Pines, Switchback Gallery, Monash University.Churchill. Her work has also been showcased at Monash University functions. Upcoming shows are Back to the Land with Meg Viney, sculptor at (MAG), Meeniyan and Flooded In, group show at Gippsland Art Gallery, Sale.
Supported by Artist Run Initiative:

Blindside
Blindside’s role is to support and promote contemporary art practice.
We offer an exhibition space for emerging and established artists with a program spanning solo to curated group shows. We provide an environment for experimentation and encourage the creation and presentation of art works that are challenging and innovative.
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