Art

White Night Melbourne, February, 2017

  • PS LightPS Light
  • Seadragon's LairSeadragon's Lair

on february 14, WE SAW our CITY IN A DIFFERENT LIGHT. the white night FESTIVAL celebrated LIGHT, MUSIC AND ART and saw Hundreds of thousands of Melbournians move towards the light in a show that went FROM 7PM-7AM. Amongst our favourite installations were the Sonic Light Bubble in the Carlton Gardens, Dotted with glistening LED dots, it was mesmerising.

A little further on in Little Lonsdale Street, Pierre Ardouvin paid homage to the late, great prince with precipitation and enlightenment. “Purple is the colour of the small hours, this moment of transition between dreary and sublime” – GUILLAUME DESANGES. THIS BREATHTAKING VISUAL AND SOUND INSTALLATION INCITED YOU TO PICK UP A TRANSPARENT UMBRELLA AND WANDER THROUGH A LILAC COLOURED SHOWER – “WE CANT WAIT TO SEE YOU LAUGHING IN THE PURPLE RAIN”.

INSTALLATION LIGHT ARTIST, CARLA O BRIEN, INFAMOUS FOR HER NEON ANGEL WINGS. SHOWED HER appreciation of melbourne’s multi culturatism this year, WITH her INSTALLATION, ‘INNOCENCE RETURNED’, in the ALEXANDRA GARDENS…a LARGE NEON WORD LOVE WITH AN OVERSIZED ARROW POINTING IN A DIRECTION, enticed you to follow…. “LOVE IS THIS WAY” AND so YOU STARTed ON YOUr  JOURNEY, LOOKING FOR LOVE. TURNING THE CORNER , YOU Saw A FIELD OF NEON HEARTS….  YOU Had FOUND love. FULLY INTERACTIONAL, you could interact with them and WATCH as PEOPLE KISSed, HUGged AND PHOTOGRAPHed THEIR LOVED ONES IN THIS REPRESENTATION THAT REMINDed US OF WHERE TRUE LOVE BEGINS, where the heart is….a VERY SPECIAL installation, well done Carla!

THE HIGHLIGHT FOR ME, HAD TO BE THE SEA DRAGON’S LAIR, CREATED BY SHEREE MARRIS, LISA GREENAWAY & JOHN POWER AT THE STaTE LIBRARY OF VICTORIA.

IT WAS WORTH THE WAIT AS THE DOME IN THE READING ROOM IN STATE LIBRARY OF VICTORIA WAS SUBMERGED IN A WALL OF WATER, REVEALING SOME OF THE SPECTACULAR LANDSCAPES AND CREATURES THAT LURK BENEATH PORT PHILLIP BAY. WORLD-CLASS ANIMATION, SOUNDSCAPES AND UNDERWATER CINEMATOGRAPHY CREATE A LIVING CANVAS IN MELBOURNE CBD AS SPONGES EXPLODED IN A KALEIDOSCOPE OF COLOUR AND SWAYing CANOPIE’S OF KELP HID THE ELUSIVE SEA DRAGONS, GIANT SPIDER CRABS AND OTHER ASSORTED CREEPY CRAWLIES THAT WE RARELY, IF EVER, SEE.

A TRULY WONDEROUS SPECTACLE…

 

Art

MAXXI GALLERY, ROME

Art

NIGHTMOVES, MELBOURNE ART FAIR

LOCATION: a PROJECTED INSTALLATION IN a laneway off FLINDERS LANE in MELBOURNE DURING the MELBOURNE ART FAIr.

PHOTOGRAPHER: JOSH ELLIS

models: KRISTINA & ZOE

 

Art

JULIA DeVILLE

DISCE MORI BY JULIA DeVILLE

TRANSLATION: LEARN TO DIE.

THIS PROVOCATIVE AND CONTROVERSIAL MELBOURNE BASED JEWELLER AND TAXIDERMIST INCORPORATES SYMBOLS OF DEATH AND ETERNITY AT THE SAME TIME. HER STARTLING AND BEAUTIFUL WORK SPEAKS TO THE POTENTIAL FOR LIFE TO CONTINUE ON, EVEN THOUGH WE, AS HUMANS, DO NOT.

WHEN I FIRST SAW JULIA’S WORK, I WAS SHOCKED. IT SEEMED FREAKISH AND DISCOMFORTING. MY ANIMAL RIGHTS SHACKLES PRICKED UP. WHAT ENSUED WAS A HEATED INTERCHANGE ON FACEBOOK DURING WHICH I WAS POUNCED UPON BY SEVERAL OF DEVILLE’S FANS FOR EXPRESSING MY RESERVATIONS.

SINCE THEN, I HAVE GROWN TO NOT ONLY APPRECIATE HER STYLE BUT WANTED IT ON MY SITE AS A PERFECT METAPHOR FOR DARK ART.

DeVILLE EXHIBITS FROM JULY 29 – AUGUST 17, 2013 AT JAN MURPHY GALLERY IN BRISBANE.

REPRESENTED BY SOPHIE GANNON GALLERY IN MELBOURNE.

Art

ROBERT OWEN/ARC ONE GALLERY

WALL SCULPTURE
UNTITLED K, 2011
40 X 34
PAINTED STEEL

I HAVE ALWAYS LOVED THESE WORKS,  THE ELECTRIC COLOUR OF THE BLUE STEEL SHAPES AND THE SHADOWS THEY CAST ON THE WALL.

ROBERT OWEN HAS A CONTINUING FASCINATION WITH SPACE, LIGHT, SHADOW AND COLOUR IN HIS PRACTICE.  HE IS ALSO FASCINATED WITH GEOMETRY AND ITS ENDLESS POSSIBILITIES.

MUCH TRADITIONAL SCULPTURE IS LARGELY ABOUT SOLID FORM WHEREAS OWEN’S SCULPTURES OUTLINE SPACIAL FORM AND ITS CONSTANT REINVENTION IN MOTION WHOSE SHADOWS ARE SHIFTING DRAWINGS IN SPACE.

ONCE, WHEN GIVING A FLOOR TALK IN FRONT OF ONE OF HIS LARGE, COLOUR GRID, WALL PAINTINGS, HE INVITED THE AUDIENCE TO IMAGINE ELASTIC BANDS AROUND EACH OF THE COLOURED SQUARES, NEXT IMAGINE PULLING THEM

FORWARD … “THEN” HE SAID, ” YOU HAVE ONE OF MY SCULPTURES”.

 

PAINTING
LAKE MUNGO
2004

THESE PAINTINGS ARE EXQUISITELY SUBTLE, THEY CAPTURE THE DELICATE LIGHT THAT THE FULL MOON CASTS OVER THE LANDSCAPE FROM MIDNIGHT AT ITS FULLEST TO DAWN ON ITS DEPARTURE.

DIFFICULT TO PHOTOGRAPH, THE LAKE MUNGO SERIES IS BEST EXPERIENCED FIRST HAND. I HAVE ONE IN MY LIVING ROOM AND THE ENERGY IT PERMEATES IS TANGIBLE.

“THE TRANSITIONS OF NIGHT (LAKE MUNGO)” PAINTINGS ARE A SERIES OF RICH DARK TONALITIES OF THE COLOURS OF NIGHT IN THE OUTBACK ENVIRONMENT OF LAKE MUNGO WHERE OWEN SAT AND WATCHED THE COLOUR GRADUALLY RECEDE FROM THE LANDSCAPE AS THE SUN WENT DOWN”.

 

SCULPTURE
‘TEARS OF HISTORY’, 2000-2004

THESE TEAR SHAPED GRANITE SCULPTURES REPRESENT THE TEARS OF HISTORY, THE STOLEN GENERATION OR ANY TIME IN HISTORY WHERE LOSS OCCURRED.

IN OWEN’S OWN WORDS:

THE PASSAGE OF TIME AND THE TRACE OF HUMAN ACTIONS ARE INFERRED IN ‘TEARS OF HISTORY’, A SCULPTURAL FLOOR PIECE FIRST CONCEIVED IN 2000. THE HARD DENSITY OF THE BLACK STONE SCULPTURE IS A DISTILLATION OF WHAT THE SCULPTOR REGARDS AS THE SORROWS OF RECENT AUSTRALIAN HISTORY, PARTICULARLY RACE RELATIONS. THE ORIGINAL VERSION, ENTITLED ‘SORRY STONES (TEARS OF HISTORY)’, WAS PROPOSED FOR THE MELBOURNE MUSEUM AND WAS INTENDED TO BE A PARTICIPATORY WORK INSCRIBED WITH THE SIGNATURES OF ‘NON-INDIGENOUS AUSTRALIANS WHO WISH TO APOLOGISE FOR THE PAST ATTITUDES AND ACTIONS OF THEIR SOCIETY WHICH RESULTED IN THE FORCIBLE REMOVAL OF INDIGENOUS CHILDREN FROM THEIR FAMILIES. THIS PROJECT DOES NOT ATTEMPT TO REPRESENT THE INDIGENOUS COMMUNITY OR THE SUFFERING ENDURED AS A RESULT OF THE STOLEN GENERATION.’

IN THIS NEW VERSION OWEN HAS STEPPED BACK FROM INSCRIPTION AND A MORE LITERAL SYMBOLISM AND NOW THE FORM AND MATERIAL ITSELF, AS WELL AS ITS VAST AGE, CARRY AN IMPUTED CONTENT. THERE IS A SOLIDITY TO THIS WORK WHICH CALLS ON SCULPTURE’S TRADITIONAL COMMEMORATIVE FUNCTION AND THE STILLNESS AND CONTEMPLATIVE QUALITY THIS ROOM EMBODIES RATHER THAN REPRESENTS A HISTORY OF PLACE. THE BLACK GRANITE HAS AN INTENSE DENSITY WITH AN IGNEOUS LAYERING VISIBLE WHICH CREATES FLASHES OF MINUTE LIGHT WITHIN THE BLACK, SUGGESTIVE OF A CONCENTRATED IMAGE OF THE NIGHT SKY.

IN ITS HIGHLY POLISHED STATE, IT SEEMS TO BOTH REFLECT AND YET DENY LIGHT. WHILE ENTITLED ‘TEARS OF HISTORY’, THE STONES ARE NOT TEAR SHAPED BUT ARE MORE LIKE CAPSULES, SUGGESTIVE OF SOME KIND OF ANCIENT CONTAINER. THEY ALSO RECALL MEDICINAL PILLS, POTENTIALLY A CURE THOUGH PERHAPS A PLACEBO WHICH CANNOT CORRECT HISTORY JUST AS IT SEEKS TO ACKNOWLEDGE IT”.

 

Art

PAT BRASSINGTON, ARC ONE GALLERY

PAT BRASSINGTON’S PHOTOGRAPHS ARE BOTH CHARMING AND MENACING AT THE SAME TIME. THEY ROUSE A SENSE OF DISQUIET AS THEY SUBTLY AND HUMOROUSLY SCRATCH AT THE UNDERBELLY OF THE HUMAN CONDITION. IN HER UNIQUE WAY, BRASSINGTON BLURS THE BOUNDARIES OF THE REAL AND IMAGINED, STRIPPING PHOTOGRAPHY OF ITS AUTHORITY, BESTOWING IT INSTEAD WITH THE LOGIC OF DREAM OR FANTASY…

I WENT TO SEE A PANEL AT ACCA DURING HER RETROSPECTIVE EXHIBITION REBOURS EARLIER THIS YEAR. THERE ARE NOT MANY ARTISTS WHO CAN INSPIRE SUCH A LEVEL OF DEBATE AMONGST LEARNED ART CRITCS, PSYCHOLOGISTS AND SEX EXPERTS, COMPLEX STUFF…..

FOR FURTHER ENQUIRIES PLEASE CONTACT ARC ONE GALLERY ON (3) 9650 0589.