Exhibition dates: Wednesday 16 November 2016 to Sunday 11 December 2016. Venue: Sagra Gallery, 256 Glenferrie Road, Malvern, VIC, Australia.
An internationally acclaimed exhibition of photographs taken by Sydney artist Ralph Kerle during kayak journeys on Sydney's Middle Harbour, opened by Steve Vizard from the Vizard Foundation at Melbourne art gallery Sagra on Wednesday 16 November.
The exhibition, Drawings On Water - Series 2, ran from 16 November at Sagra, 256 Glenferrie Road, Malvern.
The Indeterminate Sublime, Kalve Gallery, Vilnius, Lithuania. Exhibition dates: Thursday 22 May 2025 to Monday 30 June 2025. Venue: Kalve Gallery, 24 Užupio gatvė, Vilnius, Lithuania.
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Exhibition dates: Saturday 11 March 2023 to Sunday 2 July 2023. Venue: Galeria Edifício Antiga Capitania, 2 Rua de Viana do Castelo, Aveiro, Portugal. Introduction Ralph Kerle has chosen to explore a new environment for this exhibition, The Water Spirits of Aveiro. In 2019, Kerle journeyed on the canals of Aveiro and was captivated by the relationship of the city's past to its present. Gazing at the surrounds from the water, he felt the spirited presence of the European artists who have inspired so many artists including himself. The buildings that line the canals of Aveiro provided a rich subject for Kerle's imagination. His digital photography is a representation of these meditative and transcendental moments experienced on the water. The spirits of the past and present are seen though Kerle's lens. The Water Spirits of Aveiro is a visual record of Kerle's ongoing creative journey.
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Exhibition dates: Friday 3 March 2023 to Sunday 21 May 2023. Venue: Daugavpils Mark Rothko Arts Centre, 62 Valmieras iela, Daugavpils, Latvia. Introduction Ralph Kerle's artistic practice began exactly where Mark Rothko's ended - within the context of life-threatening depression, and uncannily extends a lineage Rothko could never have imagined. Kerle's images evoke the imaginative, abstract and existential realms of 20th century haute-modernism, but are difficult to place within the context of the popular realism commonly associated with contemporary photographic practice. On the hunt, Kerle's images appear to offer themselves up from within a meditative state of self-reflection. Kerle takes the shot, but unlike his modernist predecessors, he does not make the mark. His images are not digitally altered; there is no cut & paste, no Photoshop in Ralph's studio. On reflection, Ralph's images, like Rorschach inkblots, arise from the deep and stand as shimmering spectres of some indeterminate sublime, enabling the viewer to unpack their own unspoken longings. In this regard Ralph Kerle's photographs uncannily extend a lineage Rothko might have once hoped for.
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