The Clayton Utz Art Partnership

The Clayton Utz Art Partnership brings together a unique collaboration between two outstanding Australian artists and our firm.
Read more about this collaboration in an article recently published in Issue 43 of Artist Profile.

Each exhibition presents an opportunity to showcase the work of two contemporary artists in the offices of Clayton Utz. Our exhibition space offers a unique visual art experience for clients to get up close and personal with an amazing array of artwork. The uniquely curated program allows both artists to explore and display their work in one of Australia's leading corporate environments. Guests visiting the exhibition will have an opportunity to explore the artwork in an intimate and innovative environment.

Complementing the exhibition is an Artist-in-Residence experience within the Clayton Utz offices. This opportunity provides both artists and Clayton Utz a collaborative platform to explore the artistic process and allows us and our clients exclusive access to the artist and the creative process.

The Clayton Utz Art Partnership is a truly exciting initiative and demonstrates our pride as an Australian firm committed to the cultural sector, and the broader creative communities in which we live and work. We hope you enjoy being part of it.


Current Melbourne Exhibition

Artists: Margaret McIntosh and Paul Ryan

Margaret McIntosh 
Margaret McIntosh
Paul Ryan 
Paul Ryan 
In our latest exhibition in our Melbourne office we are excited to feature works from Paul Ryan and Margaret McIntosh who both take inspiration by actively engaging in the world around us.

Margaret McIntosh likes being inside other people’s houses, having a look at their things. The allure of being privy to displays of prized belongings and initiate glimpses into the settings of their daily lives. As visitors we are invited to move through hallways, living rooms and kitchen spaces - spaces that transcend public and private spaces. Moving through these spaces we fabricate our own understanding of what we see, how spaces and objects are used when we’re not there, why particular objects are given special place on a mantle piece. What we don’t see has its own intrigue; what lies behind closed doors, what’s stocked in the refrigerator or crammed into the third drawer down?

In a wry evaluation of what is ‘Australian’ Paul Ryan does not shirk from uncomfortable moments in our shared history. Indeed, confronting these histories is an important part of developing a stronger society. In this confrontation of Australian history, Mick Jagger is cast as botanist Joseph Banks dressed in pastel dandy garb, and jaunty still life scenes are populated with weeds like Morning Glory. These comical and often anachronistic elements of Ryan’s still life and landscape paintings highlight the impositions of colonialism and draw striking analogies between invasive species and European settlement. His works are painted raw and fresh atop old linens with unsuccessful works, and roughly painted with big brush strokes. This imbues his work with an immediate quality and energy that is ordinarily alien to historical and still life paintings. As much as his subjects, Ryan’s invigorative approach to painting sparks inquiry into historical narratives and traditions.