Tom Nicholson (b 1973) is an artist who lives in Melbourne. He is trained in drawing, a medium which he has used to think the relationships between public actions and their traces, between propositions and monuments, and between writing and images. He has made a number of works engaging aspects of Australia’s colonial history, using combinations of drawings, monumental forms, and posters, often articulating these histories in relation to the histories of other places.
He has exhibited nationally and internationally in a sustained way since the mid 2000s. In March this year a major monographic study, edited by Helen Hughes and Amelia Barrikin, was published by Sternberg, IMA and ACCA, including 10 essays commissioned from national and international scholars. Currently three exhibitions include large-scale works: Drawings and correspondence, a solo survey of his drawing-based work at the IMA, Brisbane, 2018; the 2018 Sydney Biennale; and Trade markings, at the Vanabbe Museum, The Netherlands. Later this year his work will appear in two sections of the Gwangju Biennale. In 2019 a solo survey of his work 2004-2018 will be presented at ACCA in Melbourne.
His recent work includes: Comparative monument (Shellal), the third in his triptych of Comparative monument projects, was recently shown in The National, at the AGNSW, and earlier in the Jerusalem Show VIII, part of the 2016 Qalandiya International; his solo exhibition “I was born in Indonesia” at the Ian Potter Museum, presenting a provisional presentation of an on-going project engaging both the history of diorama-making in Indonesia and the realities of refugees and asylum seekers marooned in Indonesia; Cartoons for Joseph Selleny, first shown as a solo work at the AGNSW in 2014 and later in Antwerp, recently articulated with a vast wall drawing for the Tarrawarra International, All that is solid …, TWMA 2017.
Tom Nicholson is represented by Milani Gallery, and is a Senior Lecturer in Drawing at MADA, Monash University, Melbourne.
In his Art Forum presentation Tom will talk about two recent works, and about figuring histories into the present, the persistence of drawing, an interplay of remoteness and intimacy, and art-making and shore-lines.
Image credit: detail from Action for 2pm Sunday 6 July 1835, 2005. Postering action over 10 consecutive nights, Melbourne, November 2005