Phil Gordon | FireWorks Gallery

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Selected works

FW1 Wombat (dark bronze)	FW16338 Platypus (dark bronze)	FW16453 Quoll (dark bronze)
FW16455 Quoll (stainless steel)	FW16459 Tasmanian Devil (stainless steel)	FW16516 Koala (light bronze)
FW16518 Koala (stainless steel)	FW16526 Tasmanian Devil (dark bronze)	FW17295 Sugar Glider (solid dark bronze)
FW17301 Platypus (light bronze)	FW17308 Tasmanian Devil (light bronze)	FW17559 Penguin
FW18488 Quoll (light bronze)	FW19232 Platypus (stainless steel)	FW19242 Koala (dark bronze)

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Bio & CV

Born: 1957 Toowoomba Qld

Phil Gordon graduated from the University of Tasmania in 1983 with a BFA with Teaching majoring in sculpture and ceramics. He was a founding member of Chameleon Artist Co-operative before venturing to the mainland to exhibit with various galleries, work in theatre design, constructing sets and performing. He also produced 3 fashion labels, screen printing fabrics and designing prints. Phil has many paintings and sculptural works in private and public collections in Australia and overseas. He is currently working on bronze and stainless steel sculptures in Tasmania and assisting Aboriginal artists to translate their images into these metals.

Story/Statement

CROCODILE WITH STEVE IRWIN HEAD 2021
Anthropomorphism the act of attributing human characteristics and psyche to animals. Inspired by David Lynch’s film Dune, Irwin’s head becomes the dominating controller of the crocodile, yet without his body he no longer has independence himself - trapped by his own doing. A comment about the hideous nature of zoos and the entrapment of animals for human entertainment.

FAT HOUSE 2021
Fat House is about freedom and the true meaning of wealth. The bronze forms represent xenophobia, domestic entrapment, greed and the hoarding of wealth. The poem, Ithaca by Greek poet Constantine P. Cavafy - inspired by Homer and the story of Ulysses and the Golden Fleece - is stencilled on the patina of these forms.

On one Fat House the first half of the poem is written in Greek, representing the immigrants that took the journey to Australia from Greece in the 1950s and 60s. The other Fat House, with the poem's second half in English, represents the generations that born to the original immigrants and their adaptation to Australian life, perhaps now with an understanding of what these Ithaca’s mean?

SECOND NATURE SERIES 2016
Evolution speaks directly to questions of genealogy. We are intrigued as to who we are and what is our biological relationship with other creatures. Through a process of animism I embody the relationship I have evolved with the wombat to reveal a soul within the inanimate sculpture. Secondly by way of stylisation, form and patina, in a minimal way I attempt to capture strong, peaceful and stoic nature of a variety of native Australian animals.

Courtesy of the Artist

PHIL GORDON

EDUCATION

Bachelor of Fine Arts with Bachelor of Education University of Tasmania.

PROFESSIONAL APPOINTMENTS

1986-1987 Designed Fashion and Printed Fabric for Boho Dance Print Design Studio.

EXHIBITIONS - SOLO

2010 Recent Sculpture, Maleny Arts, Maleny.

2008 On Tasmania, Oil Paintings Doggett Street Studio, Brisbane.

2007 Trial Harbour, Oil Paintings Doggett Street Studio, Brisbane.

2004 Regrowth, Ceramic Sculpture Doggett Street Studio, Brisbane.

2003 Transportal, Ceramic Sculpture Doggett Street Studio, Brisbane.

2002 Road Works, Ceramic Sculpture Doggett Street Studio, Brisbane.

2001 Ceramic Sculpture, Woodford Folk Festival, Woodford.

1998 New Sculptural Work, Pencil Creek gallery, Mapleton.

1996 Still Eating Paris, Ceramic Sculpture Fireworks Gallery, Brisbane.

1989 Recent Works, Young Artists Gallery, MOCA, Brisbane.

EXHIBITIONS - GROUP (SELECTED)

2023 Evidence of Scale III: Drawing & Sculpture, FireWorks Gallery Brisbane

2022 Evidence of Scale II: Drawing & Sculpture, FireWorks Gallery Brisbane

2021 Evidence of Scale, FireWorks Gallery Brisbane

2020 Stockroom Strays FireWorks Gallery Brisbane

2020 Figuratively Speaking, FireWorks Gallery, Brisbane

2020 From the Sea, FireWorks Gallery, Brisbane

2020 Small things from the Desert, FireWorks Gallery, Brisbane

2019 Small Mercies, FireWorks Gallery, Brisbane

2018 Small Mercies, FireWorks Gallery, Brisbane

2017 Small Sculpture, Handmark Gallery, Hobart

2016 SECOND NATURE, FireWorks Gallery, Brisbane

2016 Montalto Sculpture Prize (Invitation), Montalto Victoria

2015 Small Sculpture, Handmark gallery, Hobart

2015 Affordable Art Fair Singapore

2012/2014 Main Street Gallery, Montville. Oil paintings, LE Prints.

2013/2014 Oil Paitings, Collective works stock room, Despard Gallery, Hobart.

2012 Oil Painting, Collective Exhibition, Fireworks Gallery, Hobart.

2010 Oil Painting, Sona Gallery, Hobart.

2008 Christmas Show 30 Square, Doggett Street Studio, Brisbane.

2007 Christmas Show 30 Square, Doggett Street Studio, Brisbane.

1996 Fresh Water Saltwater Borewater, Fireworks Gallery, Brisbane.

1996 All Stock Must Go!, 2nd Asia Pacific Triennial, Queensland Art Gallery, Brisban.

1984 Works On Paper, print show, Cameleon Artists Co-op Gallery, Hobart.

1984 Tower Show, Cameleon Artist Co-op Gallery, Hobart.

1983 Group Show, Tasmanian Crafts Council Gallery, Hobart.

1983 Every Home Shoulld Have One, University of Tasmania Gallery, Hobart.

1983 Graduate Show, Long Gallery, Hobart.

EXHIBITIONS - TOURING

1999 Big Smoke, Campfire Group, Cooee Gallery, Sydney.

1997 Saltwater Freshwater Borewater Travelling Exhibition, Campfire Group and Fireworks Gallery.

PUBLIC COLLECTIONS

Collection Ipswich Regional Art Gallery

COMMISSIONS

2015 Aluminium ‘Wangarra Spirit’ for FireWorks gallery, Brisbane.

2014 Bronze "Lin Onis Dingo" for Fireworks Gallery, Brisbane.

2014 Bronze Scupture "Trees and Rain" Islington Hotel, Hobart.

2014 Bronze Sculpture of Pan for Poets Cafe Monville.

1998-2011 Various Theatre sets and imagery, Woodford Folk Festival.

1988 Expo 88 Various Kinetic Works and Installations.

Essay

SECOND NATURE - Medium wombat bronze sculpture

Evolution speaks directly to questions of genealogy. We are intrigued as to who we are and what is our biological relationship with other creatures. Through a process of animism I embody the relationship I have evolved with the wombat to reveal a soul within the inanimate sculpture. Secondly by way of stylisation, form and patina, in a minimal way I attempt to capture strong, peaceful and stoic nature of the wombat.

Courtesy of The Artist, 2016

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