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DTSTART;VALUE=DATE:20231031
DTEND;VALUE=DATE:20231112
DTSTAMP:20231109T023213Z
CREATED:20230926T011230Z
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SUMMARY:The Community Art Card Project
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nRobert Lee Davis\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nThe Community Art Card Project\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]31 October – 11 November 2023\n\nhours:\nTuesday – Friday: 12pm – 7pm\nSaturdays: 12pm – 4pm\nadmission: Free[/vc_column_text][vc_column_text]\nPlaying cards are used in communities across the globe and offer ways to strike up conversation and be part of a group. \n[/vc_column_text][/vc_column][vc_column width=”1/2″][/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933″ title=”Description”][vc_column_text]In partnership with St Michael’s Grammer School and fortyfivedownstairs\, The Community Art Card Project aims to provide an opportunity for the CBD Melbourne community\, students\, and artists to engage in collaborative art making using large playing cards as their canvas to create an installation in the gallery of fortyfivedownstairs. \nThe project will be facilitated by artist\, Robert Lee Davis and students from St Michael’s Grammar School.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933″][vc_column_text]Artist Statement \n“I am drawn to making art from objects\, discarded books and observations of the world around me. I aim to explore these themes in a way that challenges and provokes thought in the viewer.” \n– Robert Lee Davis\, artist[/vc_column_text][/vc_tta_section][vc_tta_section title=”Events” tab_id=”1699496880435-5b253325-c5a4″][vc_column_text]Closing Night Event \nFriday 10th November\n5:00pm – 7:00pm\nSmall Gallery \nFree Entry\nAll Welcome\nNo Pre-Booking Required\nSnacks and Beverages Provided[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/the-community-art-card-project/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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DTSTART;VALUE=DATE:20220524
DTEND;VALUE=DATE:20220605
DTSTAMP:20220528T032356Z
CREATED:20220407T070545Z
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SUMMARY:Everything Else
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nDavid Maxwell\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nEverything Else\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]24 May – 4 June 2022\n\nhours:\nTues – Fri: 11am-5pm\nSat: 11am-3pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\n..a collection of journaled visual languages\, linking historic and modern iconography into a combined pallet.. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]David Maxwell\, Thimble Candle Cathedral\, 2021\, Collage and paint on canvas\, 46 x 46cm. \nDavid Maxwell\, Advance Australia Air 2\, 2022\, Collage and paint on canvas\, 105 x 106cm. \nDavid Maxwell\, Advance Australia Air 2 (Detail)\, 2022\, Collage and paint on canvas\, 105 x 106cm. \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933156a-c6e7″ title=”Description”][vc_column_text]David Maxwell’s forthcoming exhibition Everything Else reflects on the visual cycle of life through graphic links in time\, pushing together the connections between feelings and happenings in an evolving world. \nThe choice of materials used are a collection of journaled visual languages\, linking historic and modern iconography into a combined pallet\, held in a complexity of spatial structure. \nEach work is a multifaceted reflection of the races\, faces and places within this tug-of-war of life and the ongoing existence within a shared space\, echoing the resonance of chaos and balance colliding inside the span of modern time. \nThe signature layered style of the work allows the mind to travel through an intricate tapestry\, combined in a single aperture to be viewed in the present moment. \nThe artist explores materials such as mixed medium collage on canvas\, vintage advertising magazine and newspaper images\, jigsaw pieces\, synthetic polymer paint\, spray paint\, glue & acrylic glaze.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/everything-else-2/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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DTSTART;VALUE=DATE:20170530
DTEND;VALUE=DATE:20170611
DTSTAMP:20250821T041537Z
CREATED:20170329T031557Z
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UID:10004081-1496102400-1497139199@fortyfivedownstairs.com
SUMMARY:But She is the Monument
DESCRIPTION:[vc_row][vc_column width=”1/3″][vc_column_text]\nWendy Muir\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]30 May-10 June 2017\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 12pm to 4pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”2/3″][vc_column_text]\n…small and discreet – as if viewed through the windowed opening of a monstrance. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″]She animates the Monument – St Elizabeth of Hungary\, Widow \n[/vc_column][vc_column width=”2/3″][vc_tta_tabs][vc_tta_section title=”Description” tab_id=”1494311502984-a5156622-8f6e”][vc_column_text]But She is the Monument is an exhibition that plays with the concept of the Monument through a contemporary reimagining of twelve saints\, selected from the 18th century colour plates of Alban Butler’s Lives of Fathers\, Martyrs and other Saints. \nThe chance acquisition of Butler’s four-volume tome by Adelaide-based artist Wendy Muir provided the impetus for this study and subsequent exhibition. Examining the lives of 1\,486 saints\, Muir chose twelve female saints from Butler’s text to explore in But She is the Monument. \nThe resulting digital prints explore themes of religion\, mathematics and the zodiac. The interrelation of these themes emerged during research for the exhibition\, revealing many associations between the mystic\, numerical code\, and Catholic saints. \nMuir brings But She is the Monument to Melbourne after exhibiting the series of work at The Other Art Fair in Sydney.[/vc_column_text][/vc_tta_section][vc_tta_section tab_id=”1451285630039-f4b33ad9-e290b1db-6de1f533-adab” title=”Artist Statement”][vc_column_text]\nAt illa hic est titulus  \nBut She is the Monument  \nDeus testis est  \nThe Monument is God \nThe chance acquisition of Alban Butler’s 4 volume Lives of Fathers\, Martyrs and other Saints [Virtue and Co Ld 1928 edition] provided the impetus for this Negotiated Study 1. The Rev. Alban Butler published Lives of the Saints in 1756\, containing in 4 volumes 1\,486 saints\, the result of thirty years study. It is a notable compendium to the 16th Century Acta Sanctorum\, being the 68 folio volumes of critical hagiography examining the lives of Christian saints. \nThe preface to this edition of Butler\, written by Rev. J H McShane of the Collegio Beda\, Rome\, expresses a concept taken up by contemporary religious author Kenneth L. Woodward in his book How The Catholic Church Determines Who Becomes A Saint\, Who Doesn’t\, And Why\, that the Church tells the story\, but the author [God] is the Source of the grace by which saints live. Thus\, a saint is someone whose story God tells. \nThis\, in essence\, was Alban Butler’s mission. \nBut whose story\, from Butler’s treatise should I tell? \nThe language of Butler’s prose is florid – ornate and ornamental – most intensely expressed when he conveys the life stories of female saints. I was drawn principally to the account of the lives of these women\, and most particularly to the peculiarity of the moniker V. and M. [Virgin and Martyr]. \nThe provenance of the exquisitely realised colour plates [in the edition I possess] that illustrate a selection of the saints is uncredited and unknown. What is known is that since the Middle Ages\, images rendered of female saints\, most especially Virgin Martyrs should convey them as youthful\, eternal\, beautiful and unblemished. This desire to express youth\, piety and beauty as one and the same\, reaches back to the pagan rites of sacrifice associated with Vestal Virgins. \nButler’s account of St Syncletica V. provided the impetus for an association of an object/image with that of the saint: \n…having soon distributed her fortune among the poor\, [she] retired with her [blind] sister into a lonesome monument… \nThe idea of a monument suggested a review of the Catholic Monstrance – the elaborate vessel that both contains and displays the Eucharist. In the same manner\, the Catholic Reliquary is a form of Monstrance. I wanted my saints\, however\, to reside in a more austere\, pared back or “hewn” even\, monument. Stone suggested itself as a means of visual expression. The Barossa International Sculpture Park\, which houses public works in stone from two international symposiums in 1988 and 2008\, provided the opportunity to explore the possibility of “monument”\, or monstrance in relation to selected images of female saints from Butler’s volumes. * \nI nominated 12 female saints\, covering V.M.\, V.\, Blessed\, Patroness\, Penitent\, Abbess\, Foundress\, Religious\, Queen\, Noblewoman\, Widow. The number 12 is of seminal importance in Christianity. I selected the significance of the 12 Apostles [Saints]\, the 12 Tribes of Israel [Sainthood] and 12 as the perfect governmental foundation [stone] of Christianity as associations. Research\, reading and experimentation lead to the association of a saint\, to a monument and finally\, to an explanatory phrase [as above]. The monstrance came into play again: to show; to display in relation to the small aperture in the monstrance used to show / display the Eucharist.  I wanted my images to remain small and discreet – as if viewed through the windowed opening of a monstrance. \nThe number 12 also references the zodiac in relation to the often-complex graphics associated with zodiac star charts. I wanted graphic codes that could allude to or suggest mystic associations – again\, research revealed many associations between the mystic and Catholic saints. \nNumbers as a coded system seemed important to me after reading Butler’s volumes. Saints’ birth and death dates; feast day dates\, references to significant years in the life of a saint; references to passages from the Bible; and both Latin phraseology and numerals\, all figured prominently in accounts. I toyed with creating a coded system using Latin numerals\, but felt the need to contemporise the use of numbers in each artwork as a foil to the historical weight of the images. The code\, in each image\, leads systematically to a revelation by Butler\, of some aspect of the saint’s life [or self-willed deprivation\, or martyrdom\, or sweet release from same]. \nFinally in the determination of title\, I looked to the etymology of the word codex. Its late 16th Century root denotes a collection of statues: At illa hic est titulus… \nBut She is the Monument \n[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Bio” tab_id=”1494311583535-26aea339-b6d6″][vc_column_text]Wendy Muir has a Master of Visual Art and Design with High Distinction from the University of South Australia\, and has exhibited extensively throughout Australia. Muir won the Pro Vice Chancellor’s Acquisition Prize at the University of South Australia in 2015. She is represented in public collections worldwide\, including Brooklyn Art Museum (USA) and the University of South Australia (AUS).[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/but-she-is-the-monument/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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