Between the Hong Lee Chinese food store, with its rows of canned foods that most Westerners avoid, and a swankily refurbished Capitol Theatre, two adventurous artist-entrepreneurs have established Gallery 19. Although Sydney's Chinatown area is no stranger to small art spaces hidden away from the gaudy glitz of Asian commerce, it has so far not seen anything like Gallery 19. For a start, Gallery 19 is not an artist-run space; it is a commercial exercise (not that it is yet making money) run and operated by Michael Hutak and Sean O'Brien.
From the street, Gallery 19 'calls' to the passer-by. A former cafe, its large open windows and impressive front room allow for a full kerb-side perusal, at all hours, of the delights within. Artists who pay for a show at Gallery 19 get a professional although understandably limited package of services: stylish invitations and publicity fliers ; access to the Gallery's contacts; and the chance to hang in a quite beautiful exhibition space that is bright, airy, open and centrally located.
A recent show at Gallery 19, one of the first at the space, consisted of work by three well-known Sydney artists: Robert Pulie, John Spiteri and Mary Teague. Teague's elegantly dangerous work, Hazchem (the symbol used on signs to warn of the presence of 'hazardous chemicals') was one of the real highlights of the show, along with Spiteri's video piece Siesta, which had me pining for Roadrunner cartoons. This is not to say Pulie's work was without merit. A new sculptural piece made from cotton and wadding, stretched out along the wall and floor, demanded the viewer's attention. Seeming simple at first, the work revealed a stitched