http://stuvvz.com/04_art_culture/saints-sinners-connor-brothers/

http://hk.asiatatler.com/culture-lifestyle/arts/interview-emma-hack

http://lj.hkej.com/artculture/article/id/56223

The first solo show of works by young Australian artist Anthony White has been unveiled in Hong Kong at the Cat Street Gallery. 'Informal Relations' is one man's study and fascination with painting - and more specifically form, texture, and the process of abstraction. His majestic, contemplative and powerful works, reveal tantalizing hints of landscape and dazzle with thoughtful hues and tones.

At 12.10, meet Australian artist Anthony White, whose exciting new exhibition "Informal Relations" opens this week at the Cat Street Gallery.

Urban exploration photography, less salubriously known as ruin porn, has exploded in recent years, but few, from Detroit to the docks, have the drama of Gina Soden. The 24-year-old photographer has spent recent years climbing in and out of decaying buildings, and her pictures have the suspense and narrative of a great British ghost story.

Koh Sang Woo, Eyes In, September 2012

Photographer Denice Hough loves abandoned urban spaces, which provide rich fodder for her inspired works of visual art.
By Gerrie Lim

Rob and Nick Carter are set to illuminate the art world again with their Postcards From Vegas series. Here, they shed light on pairing neon with nostalgia, melding highbrow with lowbrow and turning kitsch into 2011's most collectable contemporary work.

It could have been a throwaway idea, but when artists Rob and Nick Carter placed neon signs over old postcards, they found a fluorescent glowing glory.

He has designed must-have products for clients that read like a Who’s Who of
contemporary design. Now during the first ever Hong Kong exhibition of his highly covetable collection of designs, Michael Young talks about his stellar career and why he believes Hong Kong is the future of design.

Gramophone, "The world's authority on classical music" discuss Heimans's portrait of conductor Vladimir Ashkenazy. August 2011.

Oriental Daily's coverage of Olaf Mueller's solo exhibition, "All Under Heaven", at The Cat Street Gallery.

Coverage of Olaf Mueller's solo show at The Cat Street Gallery, "All Under Heaven"

Flash On's "Culture Talk" with photographer, Olaf Mueller.

Sun Newspaper's interview with photographer Olaf Mueller.

Long-time contributing photographer Olaf Mueller stages his first solo exhibition entitled 'All Under Heaven' at The Cat Street Gallery from June 9th to July 9th, and he unveils his most adventurous work to date. Kee offers a preview of the stunning visual works.

THE Russian maestro who has been a boon for Sydney Symphony is to continue conducting the orchestra for an extra year and has left his door open to collaborating beyond then.

But Vladimir Ashkenazy is not as keen to commit to an opinion of the painting of him unveiled yesterday when it was announced his contract was being extended.

Being the sixth largest country in the world, Australia’s art scene is diverse and influenced by a variety of neighboring cultures. Works in “WATTLE” ranged from those that pay homage to indigenous Australian art to boundary-breaking conceptual art, landscape paintings to activist-themed works. Click here for full review: http://artradarjournal.com/2011/03/30/hong-kong-gets-first-major-australian-art-survey/

Australian Contemporary Art at The Space
The Space presents "Wattle", Hong Kong's first expansive exhibit of Australian contemporary art. It combines photography, sculpture, painting and mixed media installations. Over forty selected works by renowned, emerging and award-winning artists are connected through nationality.

Koh Sang Woo's art explores many artistic boundaries to create a striking vision between reality and fiction. His art may appear innocent and idealistic, but it speaks also to how we respond to social and cultural obligations.

Water as a subject in art has a long history across visual cultures. Whether water is at the center of the work or merely a bit player, so to speak, it has a forceful and often eerie presence; after all so many great tragedies and dramas have happened in roiling seas or in dark, fog-clouded lakes.

There are large numbers of people hell-bent on owning a piece of work by Australian artist Martine Emdur. The breathtaking works by the self-taught artist lie at the end of a two-year waiting list in Sydney and ahead of her debut Hong Kong exhibition more than half of the show was already sold. Kee meets the diminutive and somewhat shy artist.

Gina Jones, Seeing The Light, Urbis 2011

The British artist Gavin Turk meets the musician Jarvis Cocker in his London atelier. They talk about Pop, Reality TV, activating the audience and the concept of altermodernity...All beginning with the question: what is music?

My parents were ... My dad is a jeweller; my mum worked as a journalist for a while, but stopped when I was born.

The house/flat I grew up in ... was a detached Victorian house with a very 1970s interior. It had a big garden with fruit trees and a large beech hedge.

There’s something a little spooky about a Paul Davies painting. Using vivid block colours and hand-cut stencils, he paints the kind of sleep space-age houses beloved of Palm Springs millionaires: floating concrete slabs, hectares of glass, kidney shaped swimming pools. Curtains waft invitingly around sliding doors. Palm trees reach for the sky. You can almost hear the tinkle of ice in a highball glass.

But there is no one home. The houses are dark and empty. With no one to swim in them, the pools are mirrors. The skies range from a baleful yellow to an irradiated pink or an ominous black.

When a still-life painter dropped anchor in an Aberdeen studio, the
1,600 sq ft industrial space made his work absorb the sea view.

The piece, signed by the artist Gavin Turk, was entitled “Revolting Brick” and stood in pride of place on a plinth at the “Bricks” exhibition in south London.

The day before the two week show at Area 10 Project Space in Peckham was due to close, its organisers noticed the prize work of art had been stolen.

The cliche of the artist who thrives on solitude doesn't apply to Paul Davies. This Sydneysider, fast gaining recognition for his paintings of modernist houses, shares his studio warehouse with fashion designers and art directors and thrives on the buzz of its inner-city location.

Life-support systems for burnt and ravaged landscapes and, by implication, for an imperilled planet, have been a particular focus of Janet Laurence’s work since 2004. Taking her portable laboratory of beakers, flasks, tubes, elixirs and veils to threatened or destroyed landscapes in Australia and Central America, she creates remedial installations in poetic homage to lost and endangered species. While regeneration of Tasmania’s Styx forest is impossible – clear-felling and the imposition of an exotic pine monoculture having reduced the old-growth forest floor to ground zero – Laurence brings a unique vision to environmental catastrophe and its imagined reversal. She photographs her interventions from many angles, recently introducing a glass sphere that becomes, at times, a lens through which to capture the damaged or carbonised landscape.

Richard Winkworth puts conflict on canvas to overcome an identity crisis, he tells David Phair

Gavin Turk isn’t afraid of playing with your perception. The pieces in his latest solo show, his first in London for two years, all disorientate and surprise.

Renowned as one of Australia's leading site-specific artists, Janet Laurence's most recent practice has involved the creation of environments that act as sanctuaries for the contemplation and regeneration of natural environments and plant life. During the recent 17th Biennale of Sydney (BoS), where the artist's latest work graced the Royal Botanic Gardens, Laurence spoke with Felicity Fenner about the artistic idea of the greenhouse, and the fragility and fecundity of plants.

Paul Davies - Wallpaper online 2009

Paul Davies - GQ Australia April 2012

Paul Davies - Art Month Sydney, 2012
Australian Art Review, March-April 2012

Paul Davies - Black Magazine #10 2009

Paul Davies - W Magazine online May 2011

Koh Sang Woo - Lifestyle Journal, March 2012

Rob and Nick Carter
Sunday Times Magazine, "Let There Be Light", 2004

Produced through a unique process in which light is directly applied to photosensitive paper, the final images are irreproducible and absolutely mesmerizing, consisting of a series of glowing concentric rings that could just as easily be computer-generated paintings or photographs of neon lights. This is the ultimate distillation of photography, incorporating a technique that captures the evanescent while maintaining its uniqueness to a single specific point in space and time.

"The dramatic light and exaggerated perspective lures you in, the luscious paintwork and tonal perfection seduces you while the content promises a spectacular climax but leaves you somehow suspended, elated and light-headed. Even his scenes of nocturnal disquiet quicken the pulse, flooding our bodies with adrenaline."

Rob and Nick Carter
ArtReview Magazine, "Matthew Williamson" 2008

"Don’t be surprised by the odd UFO in Tony Lloyd’s work, writes Ashley Crawford. Hovering above impenetrable mountains, these sci-fi symbols are stand-ins for the unknowable, the vast infinity of things humans can never comprehend."

Paul Davies - Art Almanac Feb 2012

Online web coverage from a number of publications including; Vogue; Wallpaper*; The Independent; Design Week and many more.

Rachel Hovnanian - Selected Press including: New York Times, Architectural Digest, Vogue, ArtInfo and Womens Wear Daily.

Rob and Nick Carter
TIME Magazine, "The Carters", 2007

Rob and Nick Carter
GQ Magazine, "The New Masters", April 2009.

Tony Lloyd: Lost Highways. Story by Sam Leach.

Pascal Dombis - un nouveau régime des images
art absolument
June 2012
Issue: Number 47