Modern Art Projects Blue Mountains, 2022
Curated by Rebecca Waterstone
Tom Loveday, Berlin Kaleidescope Series, Mitte and Tier Garten, 2021, sample
Tom Loveday, Polar Vortex 1, 2020, sample
Tom Loveday, Polar Vortex 2, Train to DIA, 2015, sample
Séance – Fade to Black
A group exhibition curated by Sean Morris, Stanley Street Gallery, 2020
Tom Loveday, Kirlian Abstraction 1, 2, 3, 4, 2020, acrylic on canvas, each panel 45 x 45 cm and Tom Loveday, Spectral Animation, 2020, video.
Tom Loveday, Spectral Animation, 2019, sample
Blue was curated by Beata Geyer, Blue Mountains Cultural Centre, 2020, Modern Arts Projects, Blue Mountains, 2019.
Tom Loveday, Blue, 2020, HD 1920 x 1080, 10:48 mins.
My video, Blue, is a 10-minute transition from one kind of sky to another; from afternoon sky to approaching bushfire. The transition is played out artificially in colour and sound where the colour blue is used as a “palette” and sound moves from the bush to fire. The slow transition reflects the ambiguous nature of approaching disaster inherent from the isolated perspective of single houses in rural properties. My personal experience of approaching fires contributes to the feeling evoked in this work. The purpose of the work is to open up the feeling to audiences that have not experienced this effect in real life. So, naturally, for those who have been in this situation, the video will be uncomfortable but for those who haven’t perhaps this representation helps understand the experience.
Tom Loveday, Blue, Modern Art Projects Blue Mountains, 2020, sample
Willoughby Visual Arts Biennial, a Vivid event
Curated by Cassandra Hard-Lawrie
Tom Loveday, Willoughby Train, 2019, SD, 36 minutues sample only
Tom Loveday, Willoughby Train, 2019, installation, sample
Modern Art Projects, Blue Mountains, Braemar Gallery, Springwood, curated by Tony Bond AM, 2019.
Tom Loveday, The Language of the Gods (DO NOT CRUSH), 2019, SD Video and Cardboard Box, 32 x 42.5 x 36 cm.
VIVID Sydney, Art Space on the Concourse, Chatswood, Curated by Cassandra Hard-Lawrie, 2019.
Tom Loveday, Zombie Video, 2017. Installation. This work was re-edited for this exhibition after being shown in a previous exhibition, as shown below.
Tom Loveday, Zombie Video, 2017, sample. This work was re-edited for this exhibition after being shown in a previous exhibition, as shown below.
Articulate Project Space, 2018
FERRET 5 will open Friday 23 February showing the work of Susan Andrews, Michele Beevors, Bettina Bruder, Sophie Coombs, Carolyn Craig, Julia Davis, Marta Ferracin, Sarah Fitzgerald, Jane Gavan, Michelle Grasso, Lyn Heazlewood, Caitlan Hespe, Kendal Heyes, Elizabeth Hogan, Lisa Jones, Michelle Ledain, Tom Loveday, Joanne Makas, Alex Moulis, Eva Simmons, Helen M Sturgess, Yoshi Takahashi, Sienna White and Elke Wohlfahrt.
Modern Art Projects, Blue Mountains, Everglades Gallery, Leura, curated by Lizzie Marshall, 2018.
Imperceptible resistances, curated by Lizzy Marshall, featured the work of 17 MAPBM artists - Vivienne Dadour, Frank Davey and Tess Rappa, Fiona Davies, Beata Geyer, Anne Graham, Danica Knezevic, Tom Loveday, Fleur MacDonald, Peachey & Mosig, Sean O'Keeffe, Naomi Oliver, Ebony Secombe, Rebecca Waterstone and Gianni Wise. The exhibition focused on the subversive layers of resilience in human beings, under the pressure of the imperceptible compromises of today’s networked society.
“The MAPBM artists respond to the site and wider theoretical concerns to explore their role in networked systems where they effect change through resistance.”
Tom Loveday, Monochrome, 2015
Tom Loveday, End of the World 3, 2015
Braemar Gallery, 2018
Curated by Beata Geyer
More on this exhiobition can be found at, https://articulate497.blogspot.com/2018/02/ferret-5-opens-friday-23-february-6-8pm.html
The Catalogue Essay for the exhibition can be found at https://www.academia.edu/106433005/Artists_Catalogue_Essay
I exhibited a single video work, London Caravan, consisting of manipulated video taken on a London bus ride combined with the sound of carpenters working to Turkish music.
Tom, Loveday, The Edge of the City, London Caravan, Braemar Gallery, 2018
I can (Sing) Paint a Rainbow
Hawkesbury Regional Gallery 2017
Liam Benson, Anna Carey, Rosie Deacon, Anne Macdonald, Rachel Timmins, Tom Loveday,
I can see paint a rainbow explores the use and effect of colour; from the intellectual to the playful in contemporary Art. Art speaks to us in so many different ways, because its speaks to each of us individually in the act of looking and engaging. It may be accompanied by words and ideas from another, the artist, a curator or critic. But ultimately we will find our own meaning in the act of experiencing and surrendering.
We may find connection in an image or representation that is immediately recognisable or something unfamiliar that resonates and it is often the way an artist use colour, a purposeful choice of hue or shade that will evoke that intimate connection.
Colour is extraordinarily emotive.
The artist in I can sing paint a rainbow, use colour to explore identity, both collective and individual; social, cultural, sexual; the transience of childhood, connection to memory and place, personal obsession and Australian kitsch and a memorial to a cultures genocide.
Tom Loveday, Zombie Video, Hawkesbury Regional Gallery 2017
FROM A NEAR FUTURE
Sydney College of the Arts, 2016
curated by Nicholas Tsoutas
Mikala Dwyer, Matthys Gerber, Jan Guy, David Haines and Joyce Hinterding, Lindy Lee, Tom Loveday and Nicholas Tsoutas, Colin Rhodes and Julie Rrap.
The Questions I Didn't Ask is a confession. At the many conferences and public talks by international luminaries i have attended I usually took copious notes. In those notes, there are questions that I was either too lazy, too tired or too insecure to ask of the speaker. In this confession, I recite those questions, noting the speaker and the topic.
Tom Loveday, The questions I Didn't Ask, 2016, with Nick Tsoutas, sample