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Artist Statement:
As a traveller whose ancestors
had to migrate from their
homelands seeking a refuge in
Israel - a place not quite as
safe for their children as
they'd hoped - I feel like a
wanderer in search of a
resting place.
The search is a motive
constantly expressed in my
painting. ...
Further Information
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Artist Exhibitions:
1988 Begg Lane Studio,
Sydney - 'Transformation'
1990 Libby Edwards,
Melbourne -'Fruit of the
brush'
The wall gallery,
Sydney - 'Landscape'
Begg Lane Studio,
Sydney- 'Photo Art'
1991 Hotel continental,
Sydney - 'Figures in
Landscapes'
Spacebase Gallery,
Glebe - 'Portraits of friends'
1992 'Where do you want to
go?’- Selected for the Sulman
exhibition ...
Further Information
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Artist Galleries:
Coming Soon!
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Artist Reviews:
BEING THERE, 1995 written by
Evelyn Juers (Sydney based
literary writer and art
critic)
Nomads, tourists, refugees,
colonisers, soldiors,
explorers, astronomers in
outer space, hippies in inner
space, vagrants, social
climbers, even taxi
passengers, all are migrants.
The dislocation from one place
to another is the single focus
of Micha ...
Further Information
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Commissions:
Coming Soon!
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Artist Galleries:
Coming Soon!
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Artist Reviews:
BEING THERE, 1995 written by
Evelyn Juers (Sydney based
literary writer and art
critic)
Nomads, tourists, refugees,
colonisers, soldiors,
explorers, astronomers in
outer space, hippies in inner
space, vagrants, social
climbers, even taxi
passengers, all are migrants.
The dislocation from one place
to another is the single focus
of Micha ...
Further Information
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Commissions:
Coming Soon!
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Micha Nussinov Biography:
Biographical information for Micha Nussinov can be found below. The artist may choose what information to display. Sometimes the artist chooses not to display personal information to the general public. |
Age
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60
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| Gender |
Male
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| Status |
Married
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| Children |
1
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| Religion |
not provided |
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| Education |
Self Taught |
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| Hobbies / Interests |
not provided |
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| Favorite Artistic Medium |
Painting Other
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| Favorite Arthistory Movement |
Surrealism - (1924 - 1955)
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| Favorite Visual Artist |
not provided
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| Favorite Work of Art |
not provided
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| Biggest Artistic Inspiration |
Being on a journey, endlessly searching for ways to externalize inner emotions. |
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| Why Did You Become An Artist |
not provided |
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| Your Personal Biography |
1947 Born in Israel.
1969-72 Diploma in Film Technique (London film school)
1974- Migrated to Australia
1974-82 Worked as cinematographer of documentaries and short dramas.
1975- 79 Director and Cinematographer of conceptual films: 'Waiting, for What?', 42 minutes; and 'Feeling for Balance', 80 minutes
1974-94 Photographic exploration.
Experimentation with overlaying of images and fusion of realities
1984-95 Sketching and collecting images for painting.Painting excursions in Australia: West Macdonald Ranges, Olgas,Rainbow Valley, Lake Mungo, Flinder's Ranges
1986-95 Working at various studios, developing skills in paintings and design.
1995-99 Designing and fabricating Installation Works.
1998 –03 Gaining Computer skills. Creating digital images and sound scapes.
2001-02 Life drawing at the Globe. Co designing my website:www.isitlike.com
2003-4 Trips to Israel: Drawing street scenes, landscapes and family portraits.
2001-5 Creating music compositions. Playing on kurzwiel keyboard, editing and rearranging with computer program.
2006 - Opening of Nussinov Gallery,
56 Cope Street,Redfern,2016 Australia
GRANTS: Australian Film commission- Experimental film fund (1976), Creative development fund (1979).
PRIZES: 2004 Kao international kinetic Art Competition – third prize
2005 Art addiction - honorable award
EXHIBITIONS
1988 Begg Lane Studio, Sydney - 'Transformation'
1990 - Libby Edwards, Melbourne -'Fruit of the brush'
The wall gallery, Sydney - 'Landscape'
Begg Lane Studio, Sydney- 'Photo Art'
1991 -Hotel continental, Sydney - 'Figures in Landscapes'
Spacebase Gallery, Glebe - 'Portraits of friends'
1992 -'Where do you want to go?'- Selected for the Sulman exhibition NSW Art Gallery.
Still Gallery, Paddington - Photographs
1993 - Avoca Gallery, Kincumber- 'Figurative paintings'
Howard Leonard Gallery, Sydney - Paintings, photos, installations.
1994 - Travelodge, Sydney - WIRES charity Exhibition
1995 -Gallery Nakai, Kyoto, Japan - 'Dreamscapes'
1997 -Mann Auditorium,Tel Aviv, Israel - 'Between Reality and Dream'
1998-9 Art in public places, Exhibiting installation works in Glebe Park, Centennial Park
1999 - Fundraising exhibition, Sydney- 'Expressions of Faith'
Downing Center, Sydney - Paintings and Installation works.
2000 - Public Art Sculptures mounted at roundabouts in Newtown and Annandale
2000 -Jones Bay Warf,Pyrmont –‘Transforming spaces’, Sculpture, paintings & photographs
2001 - The Globe – Marrickville – Open studio
2002 - Sculpture by the Sea – Bondi, Australia -Click Clak troupe - Piano hammers become the limbs of figurative sculptures.
From 2002-Exhibiting works on line at my website : www.isitlike.com
2004 - Washhouse Gallery, Rozelle – Light of Darkness
2005 - ‘Medial biennial’- on line exhibition at Artaddiction medial Museum
Sala Barna , Barcelona, Spain – ‘Drapes of tissues’
2006 -Exhibiting with ‘Togetherness – art for humanity’ in Manly and Surry hill.
Mixed media artworks exhibited at Nussinov Gallery, Redfern, Australia
2008-Exhibiting with the Sculpture Society in Chiefly & Governor Towers, and at Darling Park, Sydney
-Won a prize by the Sculpture Society
-Etching on glass doors exhibited at Nussinov Gallery
2009- Won a Prize by the Sculpture Society
- 'Shifting arrangements' at Nussinov Gallery,Redfern, Australia |
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| Artist Statement |
As a traveller whose ancestors had to migrate from their homelands seeking a refuge in Israel - a place not quite as safe for their children as they'd hoped - I feel like a wanderer in search of a resting place.
The search is a motive constantly expressed in my painting. Not just the process whereby the artist seeks clues that will eventually add up to an image he or she is happy with, but as a subject itself. The characters in my paintings are looking for something,and the people who view the pictures are looking for clues.
My mother was still at school in Germany when she had to join her parents who were concerned by the rise of the Nazis. In 1936 they landed in Israel, where they had to work as labourers in the fields. In a Ukrainian town near the Polish border, my father's mother was the driving force behind the family's welfare, not only raising six children but also selling leather in the market. My grandfather spent less and less time running the factory and devoted more and more time to religious studies. It was my father's oldest sister, the paediatrician in Israel, who persuaded her parents to leave Ukrania. My father was 18 when he and his parents settled in Israel. They bought a piece of land and my father worked on
the land for the rest of his life. It was in the scented grapefruit orchard and amongst the fruitful plum trees that I often found a refuge.
As a growing child I often felt insecure, perhaps this relates to the questions of survival by which the Jewish people have been confronted for centuries. It might also have arisen from my subconscious wanting something I couldn't articulate in words. My frustration caused me to be rebellious and often at odds with my father - stubborn as I was, he couldn't tolerate my disobediance
nor my temperamental traits.
In my early 20's, having seen my father experience a crisis that shattered his confidence in himself, I realised how sensitive and gentle he was. When I have been shy and reclusive I can feel how my sadness is linked to his vulnerability. On the other hand, on those happy occasions where I have been dancing or playing the harmonica I sense how I project the Ukranian temperament: spontaneous and quick but with a down to earth natural wisdom.
For my milestone 13th birthday my parents bought me a camera. Looking through the viewfinder gave me a new perspective on the world. I could see my surroundings upside down. I could bring things in and out of focus and I could show people my visions. Thirty five years later I still experiment with my camera, superimposing images to create a fantasy world.
After I finished my two and a half years of army service I enrolled in film school in London. It was my first time outside Israel. Not understanding what people were saying created a sense of mystery; in the beginning everything seemed to be quaint. But as the weather got colder and sleeping in a damp bedsiter became uncomfortable, the illusion evaporated.
Learning the art of film making provided me with more opportunities to avoid reality. Over the two years in the London Film School I specialised in camera and lighting.
In 1974 I migrated to Australia, where people in the film industry told me that to succed I must joint the club; have a drink with the boys. But I wasn't quite ready to socialise in a new country - so, while waiting for a job in the film industry, I wrote down ideas that became the basis of 'For What',a documentary that examined people waiting for something to happen.
As a cinematographer and director of conceptual films I have learnt a lot about the art of illusion - how to create the structure and mood of a story and make the audience believe in it. In the early 80's when money for films was channelled more to commercial projects my frustration with the industry grew until I found a new outelet for my creativity.
Painting has given me much more space to manoeuvre and develop my style or artistic expression. Transforming realities into fantasy worlds with detailed landscapes has led me to many discoveries. Many of my paintings contain worlds within worlds - like a jigsaw puzzle, they are linked by various jurneys. Until a year ago, just before my son's birth, occasional taxi driving met most of my financial needs. It also enriched me with many insights into the multicultural nature of Australians. The intimacy of some of the encounters I had with people who told me of their pressing needs was very revealing.
My impression of of the essence of these dramas is expressed in a series of paintings on taxi driving stories.
Whereas my watercolour paintings are soft and gentle my oil paintings are more intense and provocative. Oil colour and its carious mediums have seduced me into exploring many stylistic strands in painting. Many are structured on sketches - ideas based on reality; others stem from the impulse of a colour and the movement of my hand, a few begin in chaos and are clarified through a process of discovery, others are painted on location and are
perhaps more fluid impressions.
At my studio, in Sydney's rag trade area, between layer upon layer of added paints my squinted eyes search for the missing link. Then something comes to life, an imprint of recognised entity, and bit by bit my imagination creates a story around it. When it all adds up to a harmonised creation I feel a sense of relief. A cycle has come to an end; I let the painting rest as I myself reach a resting place.
Micha Nussinov 1995 |
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