
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Painting
The prodigal son c.1780-1840
UNKNOWN
International Art | Sculpture
Spinario cast late 19th century
after School of PASITELES
Asian Art | Print
Courtesans (reprint) unknown
after EISEN
Asian Art | Sculpture
Flying horse of Kansu cast 1973
after EASTERN HAN ARTIST
International Art | Sculpture
Bust of Niccolo da Uzzano unknown
after DONATELLO
International Art | Sculpture
Borghese warrior 19th century
after AGASIUS THE EPHESIAN
Pacific Art | Fibre
Jipai (mask) 2011
AFEX, Ben
International Art | Glass
Decanter c.1875-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
Contemporary Australian Art | Installation
Blackboards with pendulums 1992
KENNEDY, Peter
International Art | Drawing
Design
ADAM, Sicander
International Art | Metalwork
Tea urn c.1770-1800
ADAM STYLE
International Art | Ceramic
Long necked vase c.1900-50
ACOMO PUEBLO
Pacific Art | Photograph
'Te Waiherehere', Koroniti, Wanganui River, 29 May 1986 1986, printed 1997
ABERHART, Laurence
Pacific Art | Photograph
Nature morte (silence), Savage Club, Wanganui, 20 February 1986 1986, printed 1999
ABERHART, Laurence
Pacific Art | Photograph
Angel over Whangape Harbour, Northland, 6 May 1982 1982, printed 1991
ABERHART, Laurence
Australian Art | Drawing
A memory of Gumeracha (study of flies) 1908
HEYSEN, Hans
Pacific Art | Print
The boxer 2009
ABEL, Patrik
APT10
Born 1978, Wellington, Aotearoa New Zealand
Lives and works in Brisbane, Australia
The intimate performative work of Brian Fuata is informed by theatre techniques and frameworks of improvisation. Fuata works across a range of sites including theatres, galleries, text messages and email. In each instance, the intent of the work is its engagement with an audience rather than the traditional representation of a pre-existing narrative.
The blank sheet — often understood as a space of ambivalence and absence — is a recurring motif and allegorical symbol, manifesting in different contexts that include emails, paper, SMS, concrete, film and, in the case of his 20-minute live performances, a blank bed sheet. In these ‘ghost’ performances, Fuata re-contextualises the physical space of the gallery into a moving stage of subjectivity and persona.
For APT10, Fuata presents a new trilogy of ‘post-improvisation’ films, documenting three performances created in response to the learning directives of the Open Studio space at the Queensland Art Gallery. These performances connect a personal history of artistic inspiration with selected works and practices encountered within the Gallery’s collections and archives and through the artist’s extended oeuvre.