I am currently working on a new website. In the meantime you can view my current project, an artist book in progress at https://www.instagram.com/lynnebarwick/

Lynne Barwick, Desperate Algorithms, 2018, digital file from artist book in progress

Cartoons of the atomic scientists, 2017

Lynne Barwick, Cartoons of the Atomic Scientists, 2017, acrylic paint on birch panels, variable dimensions, each panel 30cm x 20cm. Photo: Felicity Jenkins

Melancholia Finger Bet, 2016

Lynne Barwick, Melancholia Finger Bet, 2016, acrylic paint on birch panels, variable dimensions, each panel 30cm x 20cm. Photo: Felicity Jenkins

Mechanical climate, Marrickville Garage, 'Worm', June 2016

Lynne Barwick, Mechanical Climate, 2016, permanent marker on whiteboard, 75 cm x 50cm. Curated by Philipa Veitch. Photo: Felicity Jenkins

The law of contagion writings

I occasionally write about the work of other artists here: lawofcontagion.blogspot.com

Protocol Malady, 55 Sydenham Rd, June 19 - July 5, 2015

Lynne Barwick, Protocol Malady installation shot, 2015. Curated by Nick Strike. Photo by Felicity Jenkins.

Lynne Barwick, Protocol Malady installation shot, 2015. Curated by Nick Strike. Photo by Felicity Jenkins.

Lynne Barwick, Protocol Malady installation, Notice of intent to alleviate images and A pact for representative maladies, 2015. Curated by Nick Strike. Photo by Felicity Jenkins.

Lynne Barwick, Protocol Malady installation shot, 2015. Curated by Nick Strike. Photo by Felicity Jenkins.

Lynne Barwick, Protocol Malady installation. Dedicated to the stagecraft of data, 2015. Curated by Nick Strike. Photo by Felicity Jenkins.

Lynne Barwick, Protocol Malady installation. Stealing cows by thinking of milk, 2015. Curated by Nick Strike. Photo by Felicity Jenkins.

Lynne Barwick, Protocol Malady installation shot, 2015. Curated by Nick Strike. Photo by Felicity Jenkins.

Affiliated Text

A year-long gallery project of text-based exhibition and events, co-curated by Lynne Barwick and Bronia Iwanczak, launches on Friday March 6th at 33 Roslyn Street, Kings Cross, Sydney. 

 

www.affiliatedtext.com

Notes to a Future Feminist Archive, Affiliated Text exhibition # 1, installation shot. Photo credit: Felicity Jenkins

Notes to a Future Feminist Archive, Affiliated Text exhibition # 1, installation shot. Photo credit: Felicity Jenkins

Many thanks to Gavin Harris at Cross Art + Books for hosting the project.

In the service of material culture, Galerie pompom, 'Sydney Painting Now', Nov 2014

Lynne Barwick, A zone in which events may be staged/On the matter of Anachronism, 2014, acrylic paint on birch, 2 panels: 40 x 30cm and 30 x 20cm. Photo: Felicity Jenkins

Lynne Barwick, Any subject recalled in text/This one is a provisional decoy, 2014, acrylic paint on birch, 2 panels: 40 x 30cm and 30 x 20cm. Photo: Felicity Jenkins

Afterimage, Damien Minton Gallery, July 2014

Lynne Barwick, Like A Word Instead Of A Thing and Like A Token Memory, 2014, acrylic paint on birch ply. Each panel 30 x 40cm. Photo: Felicity Jenkins

Lynne Barwick, Like A Standard Inquisition and Like A Complicit Visual, 2014, acrylic paint on birch ply. Each panel 30 x 40cm. Photo: Felicity Jenkins

Lynne Barwick, Like A Discharged Subject and Like An Unregulated Sense, 2014, acrylic paint on birch ply. Each panel 30 x 40cm. Photo: Felicity Jenkins

Lynne Barwick, This In Place Of An Afterimage, 2014, acrylic paint on birch ply. 30 x 40cm. Photo: Felicity Jenkins

Lynne Barwick, A Platform For Sympathetic Resemblance, 2014, acrylic paint on birch ply. 30 x 40cm. Photo: Felicity Jenkins

Lynne Barwick, The Practised Distortion of Night To Day and As If No-one Was Looking, 2014, acrylic paint on birch ply. Each panel 30 x 40cm. Photo: Felicity Jenkins

Like A Structured Language, Marrickville Garage, May 2014

Lynne Barwick, Like A Structured Language, 2014, soft pastel, installation dimensions variable. Photo: Felicity Jenkins

Lynne Barwick, Like A Structured Language, 2014, soft pastel, installation detail. Photo: Felicity Jenkins

Lynne Barwick, Like A Structured Language, 2014, installation detail. Photo: Felicity Jenkins

Lynne Barwick, Like A Structured Language, 2014, installation detail. Photo: Felicity Jenkins

Lynne Barwick, Like A Structured Language, 2014, installation detail. Photo: Felicity Jenkins

Lynne Barwick, Like A Structured Language, 2014, installation detail. Photo: Felicity Jenkins

Please do not ignore it, Redfern Biennale, March 8, 2014

Lynne Barwick, Please Do Not Ignore It, 2014, vinyl lettering on double-sided phonebox. Photo: Felicity Jenkins

Lynne Barwick, Please Do Not Ignore It, 2014, vinyl lettering on double-sided phonebox. Photo: Felicity Jenkins

The Redfern Biennale was a one-day, site-specific and ephemeral art event in Redfern, in conjunction with Damien Minton Gallery

Scrivener, Articulate Project Space, 'LOST' exhibition, Feb 2014

Lynne Barwick, Scrivener, 2014, acrylic paint, linen on board, wood, 420mm (h) x 775mm (w). Photo: Felicity Jenkins

As is all space expanded, Jeffrey Stewart's kitchen cupboard door commission, 2014

Lynne Barwick, As If All Space Expanded, acrylic paint on wood, 2014. 250mm (h) x 400mm (w). Installed in Jeffrey Stewart's kitchen along with cupboard doors painted by Ron Adams and Chris Dean. Allan Booth's assemblages and collected objects are visible on top of the cupboard. Photo by India Zegan.

Phantasy Island, Damien Minton Gallery, 'One Night Stand', 22nd Dec, 2013

Lynne Barwick, Phantasy Island, 2013, acrylic paint on linen board, wooden shelves. Installation dimensions: 954mm (h) x 1266mm (w).  Photo: Felicity Jenkins

Nature: An Enquiry, Articulate Upstairs, Nov 2013

Lynne Barwick, Nature: An Enquiry, 2013, acrylic paint on linen board, acrylic paint on wooden shelf. Dimensions: 522mm (w) x 270mm (h) x 45mm (d) Photo: Felicity Jenkins

Lynne Barwick, A Hierarchy of Hunger, 2013, acrylic paint on linen board, wooden shelf. Dimensions: 222mm (w) x 320mm (h) x 45mm (d). Photo: Felicity Jenkins

Lynne Barwick, Signs & Wonders 1, 2013, acrylic paint on linen board, acrylic paint on wooden shelf. Dimension: 400mm (w) x 280mm (h) x 45mm (d). Photo: Felicity Jenkins

Lynne Barwick, A Placeholder For Community, 2013, acrylic on linen board, wooden shelf, plinth. Dimensions: 497mm (w) x 1325mm (h) including plinth. Photo: Felicity Jenkins

Lynne Barwick, Cornered Parameters, 2013, acrylic on linen board, acrylic on wooden shelves. Dimensions of each panel: 203mm (w) x 205mm (h) Photo: Felicity Jenkins

Lynne Barwick, Articulate Upstairs, 'Closer' exhibition, 2013: Nature: An Enquiry, install shot. Photo: Felicity Jenkins

Our hearts to scale, Artspace Open Studio, The Gunnery, Sydney, 14-15 June 2013

Lynne Barwick, Our Hearts To Scale (In Pixels), 2013, acrylic on linen board, feathers. Installation dimensions: 1170mm (h) x 1850mm (w) Photo: Felicity Jenkins

Lynne Barwick, Three Measures, Two Propositions and a Capitulation, (detail) 2013, acrylic on linen board, found chair.  Photo:Felicity Jenkins

Lynne Barwick, Three Measures, Two Propositions and a Capitulation, 2013, acrylic on linen board, found chair, plinths, cardboard, texta. Installation dimensions: 2020mm (h) x 1170mm (w) Photo:Felicity Jenkins

Ornamental Grammar, Damien Minton Gallery, Sydney, February 2013

Ornamental Grammar (for Arthur & Martin), 2012-2013, acrylic on canvas and linen boards, 2100mm width x 1200mm height. Photo by Eamonn.

My shadow reckoning, Drawing Room, Sydney, 'Recycled Dreaming', October 2012

My Shadow Reckoning A-Az, 2012,  book board, book cloth, laser print, paper, transparent paper. 23 x 38 x 5.5cm approx. 290 pages of alphabetised words that begin with 'a'and follow the words 'My Shadow': from 'My Shadow Aback' to 'My Shadow Azygous'. 'Recycled dreaming' curated by Bronia Iwanczak.

My Shadow Reckoning A-Az, 2012,  book board, book cloth, laser print, paper, transparent paper. 23 x 38 x 5.5cm approx. 290 pages of alphabetised words that begin with 'a'and follow the words 'My Shadow': from 'My Shadow Aback' to 'My Shadow Azygous'. 'Recycled dreaming' curated by Bronia Iwanczak.

Baroque Essay 1, 2020 exhibition, Damien Minton Annex, curated by Robert Lake

Baroque Essay 1, 2012, installation dimension approx 1000mm x 2000mm, materials: acrylic paint, gouache,pencil, pen, gesso, on canvas, canvas board and plywood. Photos by Eamonn.
http://www.2020art2012.com/