Jodie Flugge | (un)expecting the (un)known

JODIE FLUGGE | (un)expecting the (un)known
19 October-4 November
Exhibition Opening Saturday 21st October 2-4 pm
Join us for Opening Drinks with the artist.

View paintings
CV & Artist Statement

collage 17

collage 4

collage 12

collage 19

collage 2

 

Lanterns 6

Lanterns 2

 

Lanterns 4

37

TomboyBill | 28 September -14 October

TomboyBill | offcut
28 September-14 October

Exhibition Opening Saturday
30 September 2-4 pm

Artist Bio

View works

Head In The Clouds Again (daily life can be such a yawn small

Self Portrait If I Were A Half-Cat small

The Sometimes Disposition small

u do u don't i do, u don't small

My Lips Got Burnt Today small

 

offcut.

TomboyBill reflects on life after taking a leap of faith from the comfortable life of

a commercial artist, to the uneasy, introspective life of the fine artist.

‘Living as a fine artist is proving to be quite a challenge. Finding the solitude,

stillness and detachment which is necessary for my work, can also leave me feeling

disconnected and cut off from the daily routine of the world. As challenging as this is,

I’m beginning to see that this is how it has to be, for my work to progress…”

And so it is in TomboyBill’s latest series of works offcut. which uses left over materials and offcuts that would otherwise have been discarded, to explore the meaning of a self-imposed physical and emotional detachment from the conventional norms of work and life.  In using materials for some greater purpose, we always leave something behind. These scraps are inevitably seen as waste, as not having any value. In fact, they are seen as an unavoidable cost. But the question is why? What happens if we challenge the nomological validity of this idea? What happens when we value the offcut, not just because it can be reused or repurposed, but because it is necessary for the greater purpose? In the same way, the artist’s detachment and discontent can be reappraised – not as being in conflict with monotony of the daily grind, but as being complementary and essential. Every action has a reaction. The artist needs to have a certain distance from the world in order to explore it, and in a sense we need the artist to feel – and be – disconnected so that we can be surprised and excited by a view of ourselves we’ve never seen before. The offcut, then becomes vital and necessary.
TomboyBill’s offcut. series challenges us to look at things differently. There is a sense of vulnerability and rawness throughout the artworks. We feel the artist’s personal journey. This work goes beyond the idea of finding a hidden beauty and value in the unloved, discarded and the abandoned, instead arguing that these things have an innate, intrinsic value.

Veronica Cay | Folly of Angels

VERONICA CAY |  Folly of Angels
drawings & sculptures
2-23 September 2017

Exhibition Opening Saturday 2nd of September 2-4 pm.
Join us for opening drinks with the artist.
Join Exhibition Opening event on FB

9_astrongbrew copy

Artist Statement:

These latest group of sculptures, are experimental and like previous work acknowledge my textile/embroidery background. For me it is this combination of textile practices ie wrapping, stitching and collaging onto the clay that adds to the richness and variety of surface; providing visual reference points and a familiarity for the viewer sometimes enabling new understandings, evoking memory and forging a new dialogue.

My drawings and sculptures are a vehicle to reflect upon what it is to be human; seeking connections, testing resilience, acknowledging frailties – hence the importance of life drawing to my practice and the endless possibilities presented within this paradigm. The origins of the characters that populate my work all begin during life drawing sessions. Sometimes I will be very excited when I finish a drawing knowing that I have something to build on – other times I come away feeling very dejected that I haven’t managed to capture a fleeting look or form. My studio is littered with this detritus – but it is this very existence that generates the next image.

I am not particularly interested in an academic transcription – drawings that I love describe a feeling, evoke a response or excite the imagination I want there to be a conversation about what is happening below the surface (real or imagined) – the body experienced from within and definitely not as object to be critically viewed and perhaps improved upon.  Beauty radiates irrespective of the age or gender of the model.

Time spent in the life drawing studio is slowed – it allows a space for gentle observations and connections to be made; journeying through a human landscape – a stilled life – a distilled experience that is offered/proffered by the model. And as Malbert says ‘there are things that can be said about the human condition in a drawing that cannot be expressed in any other way’ (1)

My drawings and sculptures form the basis of a much larger conversation; experienced through marks revealed across the surface, utterances that can be swift and staccato in sound and rhythm or fluid and generous in their tone and substance and form.

  1. Robert Malbert, Drawing People – the human figure in contemporary art, Phaidon Press 2015 page 10

10_foldedliesII small

INKT group show 17-31 August

The Artists of INKT Group
17-31 August, 2017
Amanda Lugg, Fay Abromwich,
Jeremy Boland, Pamela Dempster, Sophie Riviere-Verninas
Exhibition Opening Saturday 19 August 2-4 pm
Join Exhibition Opening event on FB

the musician

‘We are a Group of Melbourne Artists who formed a strong bond in our years as students in the Printmaking Studio while studying for our Diploma of Visual Arts .
Our art practice is as varied as we are, and demonstrates the unlimited ways in which printmaking methods and practices can inspire each of us to create wonderful images.
Expressing our creations with linocut and drypoint etching, our work describes the many ways in which our world becomes manifest.  All of our works are printed on archival paper using either oil or water based inks.

As well as Works on Paper, Amanda includes handmade books. Her artwork is inspired by “the great fortune to have a garden which attracts a number of Australian native birds, and so I felt that an “ABC” book of Australian birds would be a good way to address the gap I had identified. From that point, the study of birds in the garden, the finding of feathers, the examination of other avian images filled my mind, and enabled me to produce a variety of images.”

Jeremy states that his “prints and paintings are presented as scenes or representations of ideas in realistic or semi-realistic ways, attempting to tell a story or explain an idea with each piece. Utilizing composition of light and shadow and perspective. My art is a personal reflection of my own experiences as also a way to deal with life’s problems. Light and shadow a predominant themes in my work. Many of my pieces capture moments in time, carrying layers of meaning.”

 Pamela explores Modernist influences, Sophie presents her sensitive images of the human condition on both paper and ceramics and Fay’s ‘Abstractions’ explore the universal shapes of circles, triangles and square, with some pieces being embellished with stitching and hand colouring.’   Artist Fay Abromwich

JEREMY BOLAND

Jeremy (3)

Jeremy (4)

Jeremy (5)

 

 

AMANDA LUGG

Amanda 1

amanda 3

amanda 4

 

FAY ABROMWICH

Fay (1)

Fay (10) - Copy

 

 

 

 

 

 

 

 

 

 

Fay (11)

 

Fay (7)

 

SOPHIE RIVIERA-VERNINAS

Sophie (1)

Sophie (5)

Sophie (4)

Sophie (2)

 

 

PAMELA DEMPSTER

Pamela (9)

Pamela (6)

Pamela (7)

Pamela (8)

SELVA VEERIAH | Be As You Are

Progress Leader 21.04.2015

BE AS YOU ARE  11-25 April  2015
“Progess Leader” Booroondara  April 2015

SALLY STOKES | Moods of the River

SallyStokes newspaper
“Progress Leader” Booroondara 14 February 2017

KIRSTEN BRESCIANI | Floroscopic

article about Kirsten Bresciani

AT HOME | 29 June-24 July

AT HOME  | 29 June-24 July 2017
Exhibition Opening Saturday 1st July 2-4 pm Join us for Opening Drinks.

AT HOME is a curated group show  featuring paintings & drawings by 6 female artists:
KIATA MASON ,CHRISTINE WEBB, WENDY McDONALD, LIZZIE DENNIS,
PHILLIPA CROLL and SHARON MONAGLE

“Initial idea for this exhibition was Interiors, with the aim to explore our home spaces in a visual language of painting & drawing. It took 2 months to prepare the show and after selecting the paintings, it became obvious, that the title for this exhibition should be changed to AT HOME. This exhibition consists by 34 works by 6 female artists from Victoria and NSW, who didn’t know each other before the show.
Each exhibition is like a breathing, live organism that has life of its own. It draws to itself, like a magnet, different people, works, ideas and circumstances. And you can never predict how it will turn up, until you actually put all pieces up on the wall. Only then, you can see the beautiful synergy of colour, form, texture and subject matter. It becomes a cohesive unit, which is alive, vibrant and communicates with each other and audience in many unexpected ways.
This exhibition is not about concepts and ideas, but about the beauty and simplicity of our intimate spaces, where the whole process of homeostasis occurs by rebalancing and recharging our lives. Home is where the heart is and these artworks shine the warm, feminine light to the audience. They are snapshots of our everyday lives seen from the woman’s perspective.
May you all come home to your heart while exploring this visual journey from Outside to Inside.”

Curator
Brigita Lastauskaite

 

KIATA MASON

This series of work by Kiata Mason revolves around the collections of objects in the
domestic home environment. A quiet contemplation of the small and beautiful objects
that make a house a home. Looking at two familiar spaces, that of the sea side home
of my grandmothers at Lake Cathie and my aunts home in Palm beach as both have a
love of the found and collected object. The two homes are full of shells, paintings,
sculptures, flowers and other found things others might walk past, interspersed with
day to day objects of food and flowers, collected together tell a story of the people who
have lived in the house and bean part of the family.

 

At Georgia's with persimmon's 61x61 small
At Georgia’s with Persimmons | 61 x 61 cm
acrylics on canvas SOLD

 

Figs and Indian horse_40.7x50.9cm small
Figs and  Indian Horse | 40.7 x 50.9 cm
acrylics on canvas


Table at palm beach 61 x 61 cmsmall
Table at Palm Beach | 61 x 61 cm
acrylics on canvas SOLD

 

vogue patterns 45.8x45.8
  Vogue Patterns | 45.8 x 45.8 cm |
acrylics on canvas

Tray of Shells 61 x 61 cm small
Tray of Shells | 61 x 61 cm |
acrylics on canvas SOLD

 Indian Bird and green plate 40 x 50 cm small
Indian Bird and Green Plate | 40 x 50 cm |
acrylics on canvas

Side table with garden flowers 30.5 x 30.5 cm small
Side Table with Green Flowers | 30.5 x 30.5 cm
acrylics on canvas

 

judi's clay bird house40.7x50.9cm small

Judi’s Clay Bird House | 50.9 x 40.7 cm
acrylics on canvas

 

LIZZIE DENNIS

My practice is underpinned by my love of drawing.  I enjoy drawing from life,
with a focus on interiors and the relationships we have with our everyday domestic
environments and the other people and objects that may inhabit those spaces as well.
I also enjoy portraiture, and particularly portrait commissions, because it allows
me to focus on the elements that make each of us unique and irreplaceable.  I often
combine portraits with domestic spaces or personal objects in order to create a sense
of the everyday, yet in a familiar, but unfamiliar, sense. Whilst I like to experiment
with many mediums, I do work predominantly in colour pencil.  I enjoy the precision,
detail, texture, depth and lightness that pencil allows me to achieve.

 

IMG_7290
Who cares about nice? |  42cm x 37cm ,
colour pencil on paper

 

IMG_7287
Between a rock and a remote |  37.2cm x 38.5cm ,
colour pencil on paper

 

IMG_7289
Leave the key in the door | 38 x 36 cm
colour pencil on

 

CHRISTINE WEBB

I am a multi disciplinary artist who paints in Acrylic on stretched canvas, and works on
paper both figurative and abstract. The starting point for my work will be a sense of light and
colour and shafts of light will fall onto, through or around an object and the effects of that fall
of of light. Whether objects are transparent, of silhouetted against a window, I am continually
fascinated at the relationship between light and shadow, solid and transparent. When I draw
I like to anchor figures to the ground and chairs to a floor with a sense of dimension that’s
either evident and receding into the distance or tilted into the viewers picture plane.

 

CHRISTINE WEBB Elvis Wants a Walk 137x1137 cm e
Elvis Wants a Walk, Dixie’s Parlour
137 x 137 x 5 cm | acrylics on canvas

 

CHRISTINE WEBB Anthurium Armchair150x100
Anthurium Armchair | 100 x 150 cm
acrylics on canvas

 

CHRISTINE WEBB Sansepolcro Table 46x46 cm e
Sansepolcro Table | 46 x 46 x 2.5 cm
acrylics on canvas

 

SHARON MONAGLE

I find art is a useful tool to help me to explore, understand and to empathize
with people’s experiences – their reactions to self, to others and to the world
around them. It enables me to see beauty in the everyday and in imperfection.
Other key influences are the built and natural environments: in particular I
am drawn to the sea and boats (the daughter of a long line of sea-farers) and
to industrial scenes that tell us much about the way we live today. A degree of
abstraction seeks to remind us that we all see the same thing differently: our
perceptions are distorted by our own experience, our mood, our biases.Whilst
still experimenting with style and technique, I like to paint with acrylic and
tend to paint fast: often wet-on-wet, allowing the painting to emerge or
declare itself as I go.

 

sharon 3
Empty Room | acrylic on canvas board | framed
40.6 x 50.8 cm

sharon 2
Girl with a Dog | acrylics on canvas
45.7 x 45.7 cm

 

sharon 5
New Day | acrylics on canvas
61 x 50.5 cm

 

 sharon 4
 Girl in a Wallpapered Room | acrylics
on canvas | 74.5 x 60 cm


PHILIPPA CROLL

“These paintings represent the objects of everyday life whilst recognizing
that life consists of many layers and contradictions. Objects, rooms and
doorways are found in unexpected places. Our role in nature is shown by
the landscapes discovered within the objects themselves reflecting our
tendency to behave as though our actions are inconsequential. Nevertheless
they are optimistic, bright paintings reflecting our ability to take on the
challenges that we face, to create and move forward.”

 

suspended disbelief 91 x 76 $1650
Suspended Disbelief  91 x 76 cm
Acrylic on Canvas

 

Sea Change.acrylics on canvas 91 x 76 $1650
Sea Change | 91 x 76 cm
Acrylic on Canvas

 

cirtaintea1,2 acrylic on linen 92 x 92.$1750  cirtaintea 2 acrylics on linen 92 92cm $1750
Certaintea | 91 x 76 cm |  Acrylic on Canvas

 

Domestic Blitz (resized)
Domestic Blitz | 80 x 70 cm | acrylic on linen

lifes mixing pot. acrylics on linen 81 x 81 $1500
Life’s Mixing Pot          81.3 x 81.3 cm
Acrylic on linen

WENDY McDONNALD

“As an artist, I am continually evolving. My Still Life and Landscape works are narratives about the
connection I have to the both land and community, in our remote part of the river country. The “found”
interior paintings in this show are snapshots of a farming and artistic life intertwined. Included is foliage
from our forest, produce from the orchard and equipment for making. Small moments of the everyday,
providing a link between rural and city consciousness.”

 

Wendy.Bench with Blue Cloth 45 x 45 cm $800
Bench with Blue Cloth | 45 x 45 cm
acrylics on canvas

 

Wendy.Night Studio with vintage cloth 40 x 40 cm $750
 Night Studio with vintage cloth | 40 x 40 cm
acrylics on canvas

Wendy.Autumn Kitchen with Sketchbook 40 x 40 cm $750
 Autumn Kitchen with Sketchbook | 40 x 40 cm
acrylics on canvas SOLD

 

Wendy.Foliage on Artist's Bench 40 x 40 cm $750
 Foliage on Artist’s Bench | 40 x 40 cm
acrylics on canvas

 

Wendy .Studio Bench with Apples 45 x 45cm $800
 Studio Bench with Apples | 45 x 45 cm
acrylics on canvas

 

Wendy.Studio Bench with Tasseled Cloth 45 x 45 $800
 Studio Bench with Tasseled Cloth | 45 x 45 cm
acrylics on canvas

Wendy.studio with japanese bowl.45 x 45
 Studio with Japanese Bowl | 45 x 45 cm
acrylics on canvas SOLD

Nik Uzunovski | Midnight Horizon

 Nik Uzunovski | Midnight Horizon
4-27 May| Opening Saturday 6 May 2-4 pm

_20170413_105811

My most recent work investigates how we access memories and the emotional and sensory responses to memories. It is through the visual medium of paint, collage and drawing; using formal elements of line, form, shape and colour, where I articulate my own and shared responses to memories of people, places and experiences. It is how I am able to make sense of something that is often difficult to articulate through sustained thought and conversation; trying to give the feelings memories generate a tangible presence in a visual context. It is through this process that I map out the relationship between a memory; representational and non-representational forms, often fractured in nature, hence why much of the work often takes on an almost topographical appearance. John Elderfield et al (2011) writes “A representational painting can be composed through abstract manipulation of the medium of painting and also the less familiar one that an abstract painting may be created through acts of representation.”; an exchange of the elements, the abstract and the representational. It is through this process of mapping out an experience or memory that I am able to put together fractured pieces of memory and create something that generates aesthetic interest, however, also has the potential to resonate with the viewer, help them to understand their own memories and thought processes; how and why they respond in such a way. Whether they’re negative or positive, memories of people, places, experiences and happenings are deeply engrained within everyone they make us who we are. Memories are precious things; even the bad ones, we learn from them, teach ourselves and teach others. My late grandmother developed dementia and lost almost all of her memories, not remembering who I and her other grandchildren were, it slowly consumed her entire mind. That is why I map memories; as well as try to articulate one’s emotional and sensory responses, my own and those of friends, family and even strangers, to ensure that they live on through paint even when we cease to exist.

Bibliography
Eldefield, J et al 2011, de Kooning a retrospective, The Museum of Modern Art, New York.

 

LAURA WHITE | 8-29 April

LAURA WHITE | Still | 8-29 April 2017

Exhibition Opening Saturday 15 April 2-4 pm

portrait 2

Laura White is an Australian realist artist specialising in still life and nature-inspired oil paintings.   Originally from Argentina, White moved to Australia as a child.   Her paintings illustrate vivid images of clarity and life-like quality which subsequently necessitate the need for considerable observation of the brush work. Her love for both food and the garden greatly influences the realist and botanical subject matters which she prefers. White employs the ‘flemish’ techniques of the Dutch Masters and uses multiple layering methods and translucent glazes to achieve depth and texture in her work. Her main motivation is to portray the inherent beauty she sees in everyday life, capturing colour, light and texture to produce artworks that speak to the senses.

After an unfulfilling period studying interior design, White’s first steps in oil painting were largely self-guided and driven by curiosity and experimentation, after which she began studying at Petruccelli Art Studio in 2015 in Upper Beaconsfield. Here, where she began developing the depth of her creative license. White now paints full time from her studio in Berwick, providing work to exhibit both locally and interstate with subsequent sales being made both within Australia and internationally.

“I am inspired by the everyday items usually taken for granted.  My aim is to engage the viewer not only with their sense of sight, but also that of touch, taste and smell. Since starting to paint, I find myself “looking” at things with a greater intensity; truly looking at the colours, textures, contrasts, reflections and hues. I hope that by capturing this, I force the individual to stop and take a minute to see things through my eyes.  This is what I strive to share with my viewer.”

Join Exhibition Opening event here

 

Still Life Sunday Arvo 60x60cm

 

 

 

An Oriental Mood 60x60cm (2)

 

 

Magnolia and lemons 50x60cm

 

 

Persimmons on cloth 60x50cm

 

 

Pomegranates on china 60x50mcm

 

 

French jug and pears 60x50cm-1

 

 

Roses in Crystal 50x60cm

 

 

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