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SUMMARY:Fishtail
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nKyle Minors\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nFishtail\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]30 May – 10 June 2023\n\nhours:\nTuesday – Friday: 12pm – 7pm\nSaturdays: 12pm – 4pm \nadmission: Free[/vc_column_text][vc_column_text]\n…a breathtaking collection of works that offer a unique perspective on the natural world… \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]Kyle Minors // Artist Statement \nFishtail draws as much on emotion as it does the landscape it is inspired by. It is an attempt to capture the feeling of standing at the base of a mountain\, and feeling the presence of what our guide told us were the spirits of the mountains. Standing beneath their cold\, unyielding majesty\, it is hard to disagree that the mountains are indeed alive. \nAs an artist\, I wanted to capture the feeling of awe I felt when I first saw Machapuchare\, or Fishtail\, a mountain that is forbidden to climb and looms large over the Annapurna circuit. The sharp intake of breath\, followed by my eyes scanning\, focusing and readjusting repeatedly as I found more detail\, more mystery and more inspiration is a feeling I will chase for the rest of my life. \nTo create these works\, I’ve employed my entire skillset as a generative artist. \nI created a photorealistic simulation of the Himalayas\, including erosion\, sediment and debris. Once I was satisfied with the base terrain\, I scattered particles on the terrain and started to give them life and movement\, being careful not to lose the integrity of the mountains I was inspired by\, but also trying to reflect the feeling and spirit of what I saw\, not just a literal representation. \nIf I manage to capture a fraction of the awe I felt myself in Nepal\, then I’ve succeeded as an artist.[/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]Kyle Minors is a generative 3D artist whose work is deeply inspired by the patterns and forms found in the natural world. Drawing inspiration from the stunning landscapes and patterns in the world around him\, he creates mesmerizing digital art that captures the beauty and complexity of nature. \nUsing algorithmic processes and generative techniques\, Minors explores the intricate patterns and shapes that emerge from natural phenomena like the flow of water\, the growth of plants\, and the cold majesty of mountains. \nThe result is a breathtaking collection of works that offer a unique perspective on the natural world. \nWith a keen eye for detail and a passion for innovation\, Minors pushes the boundaries of what’s possible in generative art. His work invites viewers to contemplate the mysteries of nature\, and to appreciate the stunning beauty that surrounds us every day.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/fishtail/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220830
DTEND;VALUE=DATE:20220911
DTSTAMP:20220902T060041Z
CREATED:20220806T025958Z
LAST-MODIFIED:20220902T060041Z
UID:10004150-1661817600-1662854399@fortyfivedownstairs.com
SUMMARY:Drift
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nMing Chung\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nDrift\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]30 August – 10 September 2022\n\nhours:\nTuesday – Friday: 12pm – 6pm\nSaturdays: 12pm – 4pm\nTuesday and Friday evenings: 6pm – 8pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\nBy looking at these slow moving images\, my mind goes to a place where I find calmness and peace… \n[/vc_column_text][/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]“Drift” explores the state of mind where our consciousness drifted away to a difference place\, wondering\, imaging\, and perhaps just thinking of nothing.  Mind drifting breaks you away from the present moment and free your mind to a different world. \nThese images are generative by different sets of rules and changing and moving freely  under the predefined logic.  They are deterministic (as they followed the rules) and yet unpredictable (as each frame of animation is not predefined but changes at random). \nBy looking at these slow moving images\, my mind goes to a place where I find calmness and peace.  It is an experience that I like to share and hopefully they take you to a place that you feel free.[/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]Ming Chun Chung is a photographer and generative artist who was born in Taiwan\, educated in New Zealand\, and traveled extensively around Japan for many years. \nAs a photographer\, he takes photos on the streets\, by the lakes\, and in the mountains and has exhibited his time-lapse “Tokyo in times — 100 Time-lapses\, 100 moments of Tokyo” in the past. \nAs a programmer\, he uses a mix of tools to create digital arts.  The evolving technology not only provides new ways of creating arts and immersive experiences but also enables people like Ming to generate arts by codes.  “Drift” is his first generative art series.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/drift/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210413
DTEND;VALUE=DATE:20210425
DTSTAMP:20210317T012009Z
CREATED:20200115T042318Z
LAST-MODIFIED:20210317T012009Z
UID:10004320-1618272000-1619308799@fortyfivedownstairs.com
SUMMARY:A Pilgrim's Progress
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nNel ten Wolde\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nA Pilgrim’s Progress\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]13 – 24 April 2021\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 11am to 3pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\n…fascinated with the mysterious existence of abandoned clothes… \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Triangle\, oil on canvas\, 112 x 112 cm $3000 \nNel ten Wolde\, Ropas Abandonadas III iPad\, 50 x 50 cm \nNel ten Wolde\, Ropas abandonadas I\, 91 x 122 cm \nNel ten Wolde\, Ropas Abandonadas I iPad\, 50 x 50 cm \nIncidence of Light\, oil on canvas 57 x 102 cm\, $3500 \nFree Red Transformed\, oil on canvas 102 x 122 cm $5400 \nFree Take Off\, oil on canvas 102 x 122 cm $5400 \nI Am Free\, oil on canvas 102 x 122 cm $5600 \nThe Free Dance\, oil on canvas\, 102 x 152cm $5600 \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933c705-9813″ title=”Description”][vc_column_text]We often come across abandoned clothes\, lost or discarded by their owners. These material items signal an absence from their former purpose\, assuming their own life and existence in the environment where they are left behind. The reasons for their abandonment are vast\, but meaningful. They can signify an array of meanings\, from loss\, absence\, relationships\, the past and presence. The act of discarding clothes sends a message and their existence affects both the spaces and people that inhabit them. \nAbandonment can only be understood when exploring the material existence of a garment and its relationship with the people\, objects or places it interacts with. There is a history\, a present and a future\, one that mysteriously eludes us as we walk by them. On the many travels artist Nel ten Wolde has undertaken in past years\, she has become fascinated with the mysterious existence of abandoned clothes she comes across on her journey. Her curiosity for their former life\, the reason for their abandonment and the way in which they become immersed in the spaces they come to inherit. \nA Pilgrim’s Progress\, a series of paintings and digital collage works\, is Nel’s expression of the discarded and lost clothes that cross her path on the pilgrimage trails she has covered throughout Europe\, especially Spain. There is a connection between the long and often desolate miles the artist covers on foot\, with the deserted clothing strewn across fences\, in river beds\, along the path or roadside she is travelling.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933c705-9813″][vc_column_text]\nOriginating from the Netherlands\, Nel ten Wolde emigrated to Australia in 1985. Since this move\, Nel has enjoyed the possibilities of travelling internationally\, particularly throughout Europe\, seeking inspiration from different countries & cultures. She has been invited multiple times to take part as an artist in residence\, working alongside and collaborating with other artists worldwide. Whilst in Melbourne\, her work is focused on abstract landscape oil paintings in varied sizes. The greatest source of inspiration for her work\, has always been nature\, evoking emotions of freedom\, beauty & wonder.  \nNel has exhibited extensively in Australia\, Europe and the Middle East since the 1980s. She has been a finalist in the Broken Hill Art Prize\, Nillumbik Art Prize and Alice Art Prize\, and had participated in numerous residencies in Australia and Europe.[/vc_column_text][/vc_tta_section][vc_tta_section title=”A Pilgrim’s Progress” tab_id=”1615943883436-353c1e47-28e1″][vc_column_text]For the last 11 years I have been walking on different Pilgrim routes in Spain and Italy and covered about 4\,500 km. Walking through landscapes and villages\, listening to the progress of my own steps taken over stones or mud\, through riverbeds or over a beach. It is a very meditative experience. \nWhile walking one gets to see a lot of detail and I had time to take it all in. \nI have taken a lot of photos that I can use as reference and others that I use to transform on my iPad. \nWhile walking\, one often comes across abandoned clothes\, lost or discarded by their owners. These material items signal an absence from their former purpose\, assuming their own life and existence in the environment where they are left behind. The reasons for their abandonment are vast\, but meaningful. They can signify an array of meanings\, from loss\, absence\, relationships\, the past and presence. The act of discarding clothes sends a message and their existence affects both the spaces and people that inhabit them. \nAbandonment can only be understood when exploring the material existence of a garment and its relationship with the people\, objects or places it interacts with. There is a history\, a present and a future\, one that mysteriously eludes us as we walk by them. On the many travels I have undertaken during the past years\, I’ve become fascinated with the mysterious existence of abandoned clothes I come across on my journey. My curiosity for their former life\, the reason for their abandonment and the way in which they become immersed in the spaces they come to inherit. \nThe series Ropas Abandonadas is my expression of the discarded and lost clothes that cross my path on the pilgrimage trails I have covered throughout Europe\, especially Spain. There is a connection between the long and often desolate miles I cover on foot\, with the deserted clothing strewn across fences\, in riverbeds\, along the path or roadside I am travelling. \nMy work is composed using multiple layers of materials and methods. The process begins with taking photographs of the Ropas Abandonadas\, along my travels. I put several of these photos together with landscape photos. In this way I recreate on paper\, the original context of the abandoned clothes\, bringing together the material in relation to the natural environment. My aim is to create a continuation from the original context in which I found them and translating that through each stage of the creative process. I adapt the juxtaposed photographs using the program Procreate\, to create additional depth to the images and finish by detailing them through painting and drawing. This gives them the appearance of being submerged\, in the same way they are submerged by different layers of the elements in their original environment. Layering these creative stages evokes the mystery and message behind the past and present life of the abandoned clothing. \n– Nel ten Wolde\, 2021[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/a-pilgrims-progress/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190730
DTEND;VALUE=DATE:20190811
DTSTAMP:20190718T024513Z
CREATED:20190510T075612Z
LAST-MODIFIED:20190718T024513Z
UID:10004029-1564444800-1565481599@fortyfivedownstairs.com
SUMMARY:TERRAFORM
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nJosh Dykgraaf\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nTERRAFORM\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]30 July – 10 August 2019\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 11am to 3pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\n…unreal\, surreal\, and wondrous worlds within worlds. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Josh Dykgraaf\, Ourea\, 2018\, digital photo manipulation\, editioned print\, dimensions variable \nJosh Dykgraaf\, Noctua\, 2019\, digital photo manipulation\, editioned print\, dimensions variable \nJosh Dykgraaf\, Drogedy\, 2019\, digital photo manipulation\, editioned print\, dimensions variable \nJosh Dykgraaf\, Nanook\, 2019\, digital photo manipulation\, editioned print\, dimensions variable \nJosh Dykgraaf\, Karkardann\, 2019\, digital photo manipulation\, editioned print\, dimensions variable \nJosh Dykgraaf\, Tatanka\, 2019\, digital photo manipulation\, editioned print\, dimensions variable \nJosh Dykgraaf\, Daramullum\, 2018\, digital photo manipulation\, editioned print\, dimensions variable \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-093351e2-154a” title=”Description”][vc_column_text]Terraform: to shape the earth. \nTerraform is a photographic manipulation experiment representing the culmination of countless hours of exploration\, both literal and artistic. While travelling the world\, artist Josh Dykgraaf\, built a photography bank of thousands of landscapes and textures. In Terraform\, he breaks down and rebuilds the earth into familiar fauna. \n“I enjoy being able to create a sense of wonder. My work comes from a curiosity about the world and enjoyment of creating things\, playing with perspective and illusion. The conceptual development of this series as being a lot like staring at clouds in the sky and seeing all kinds of shapes and forms. technically\, I work with the idea that “Any sufficiently advanced technology is indistinguishable from magic.” \nHis works explores scale and the spiritual relationship between life and environment. It asks the question: where do we end and where does the fabric of the earth begin? His pieces feature imagery shot in North America\, Scandinavia\, Central Europe\, Africa and around Australia.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-093351e2-154a”][vc_column_text]Josh Dykgraaf creates imagery that will transport you to unreal\, surreal\, and wondrous worlds within worlds. Josh’s work features manipulations of his own photography and plays with scale and illusion\, creating new realities from textures that make up both built and natural environments. \nHe is a mixed-media Photoshop artist and illustrator based in Melbourne\, Australia\, who has trained in photography and graphic design and has been working as a commercial illustrator for seven years. He draws on influences such as MC Escher and futurist architects such as Eero Saarinen.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Talk Saturday 3 August” tab_id=”1563417619100-e57d0029-b549″][vc_column_text]\n\nJoin us for two artist talks from exhibiting artists Josh Dykgraaf and Amanda Johnson.\n\n\n \n\n\nSaturday 3 August\, 1pm\n\n\nfortyfivedownstairs\, 45 Flinders Lane\, Melbourne\n\n\nRefreshments provided\n\n\nFREE EVENT\, ALL WELCOME\n\n\n \n\n\nFirst up\, Josh Dykgraaf will speak about his exhibition TERRAFORM\, his artistic process\, and the literal and artistic exploration that led to the exhibition.\n\n\n \n\n\nAfter a short break\, Amanda Johnson will be in conversation with art historian Associate Professor Alison Inglis (the University of Melbourne) about her exhibition After the Archive: Park Life.\n\n\nJoin the Facebook event here.\n[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/terraform/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2019/05/joshdykgraaf_web_hero.jpg
ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190702
DTEND;VALUE=DATE:20190728
DTSTAMP:20190703T064443Z
CREATED:20190508T071941Z
LAST-MODIFIED:20190703T064443Z
UID:10004028-1562025600-1564271999@fortyfivedownstairs.com
SUMMARY:The Last Days of Summer
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nPeter Hyatt\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nThe Last Days of Summer\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]2 – 27 July 2019\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 11am to 3pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\n…a poetic insight into ways of seeing and experience. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Aisle 17\, 2019\, fine art giclee print on rag paper\, edition of 5 + A/P\, dimensions variable \nThe Last Days of Summer\, 2019\, fine art giclee print on rag paper\, edition of 5 + A/P\, dimensions variable  \nThe Great Caves\, 2019\, fine art giclee print on rag paper\, edition of 5 + A/P\, dimensions variable  \nEnchanted\, 2019\, fine art giclee print on rag paper\, edition of 5 + A/P\, dimensions variable  \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933800f-7b65″ title=”Description”][vc_column_text]Peter Hyatt’s latest series\, The Last Days of Summer combines sublime photographic imagery and digital art to create a richly invented tableaux. Familiar yet dreamlike\, his work captures the collision of people\, places and nature\, frequently as disparate forces. Light and shadow are critical in the texture of antiquity and nature challenged by indifference\, commercialism and tourism. Hyatt’s limited-edition prints offer a poetic insight into ways of seeing and experience. \nAn overriding ambition throughout my commercial career as a photographer\, writer and documentary maker has been to bring out the art in even the most mundane or unlikely situation. Reading a room\, city or wider landscape\, involves an observer’s prism to bring into focus selective elements and nuances that can create a compelling narrative. Personality\, behaviour\, ironies of circumstance and chance encounters all contribute to inform these artistic endeavours – most notably my most recent digital art work. \nIn the process of writing and photographing eight books on architecture and design I have never omitted the importance of people as players and protagonists. This is just one of the reasons why The Last Days of Summer is so important to me – It’s a holistic endeavour of photography\, digital art\, supporting text and soundscape to create an immersive\, absorbing experience for visitors.  \nJournalism\, architectural photography\, documentaries all contribute to a watchful eye developed over more than four working decades. These experiences all cross-reference each other in the process of making art. \n– Peter Hyatt \nVimeo link to Last Days of Summer: https://vimeo.com/330921375[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933800f-7b65″][vc_column_text]Peter Hyatt is a fine-art and commercial photographer\, writer and documentary-maker. His practice has evolved with his own strong artistic vision. Hyatt’s experience includes almost four decades documenting and interpreting Australian architecture. More recently he has created several photographic series informed by this work. These include Incandescent (2016) and Tattooed City (2017/18). \nHis photography and digital art features extensively in eight internationally distributed books on architecture and design as well as on-line and printed design media. \nHe has also directed and produced more than two dozen short documentaries on architecture. These include the work of luminaries such as Pritzker prize winning Australian architect\, Glenn Murcutt\, Sir Norman Foster\, Sir Richard Rogers\, Jean Nouvel and Christoph Inghenhoven.[/vc_column_text][/vc_tta_section][vc_tta_section title=”ARTIST TALK SATURDAY 13 JULY” tab_id=”1560914812950-e2df33ca-cde7″][vc_column_text]Artist Talk: Peter Hyatt\nSaturday 13 July\n11.30am\nFREE EVENT\, ALL WELCOME \nJoin artist Peter Hyatt as he discusses his exhibition The Last Days of Summer\, his artistic practice and the evolution of digital art.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/the-last-days-of-summer/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=fortyfivedownstairs gallery 45 Flinders Lane Melbourne Victoria 3000 Australia;X-APPLE-RADIUS=500;X-TITLE=45 Flinders Lane:geo:144.9730607,-37.8147392
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20171031
DTEND;VALUE=DATE:20171126
DTSTAMP:20250821T014718Z
CREATED:20170914T052956Z
LAST-MODIFIED:20250821T014718Z
UID:10004105-1509408000-1511654399@fortyfivedownstairs.com
SUMMARY:The Art of Conversation
DESCRIPTION:[vc_row][vc_column width=”1/3″][vc_column_text]\ntbC\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]31 October – 25 November 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…a colloquial and visual dialogue around the arts\, community\, collectivity and what it’s like to be young. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″]The Art of Conversation\, Image and Text on paper & Interactive Digital work 100cm x 100cm \n[/vc_column][vc_column width=”2/3″][vc_tta_tabs][vc_tta_section tab_id=”1451285630039-f4b33ad9-e290b1db-6de1bc5e-05cc” title=”Description”][vc_column_text]The artwork pictured here is part of a larger collaborative exhibition series presented by tbC\, a Melbourne-based artist run initiative. A fine ‘mesh-like’ layer of text and accompanying imagery present a colloquial and visual dialogue around the arts\, community\, collectivity and what it’s like to be young. This artwork is also the focal point of a digital app called\, The Art of Conversation – an app designed to engage wider audiences in such conversations. On scanning this work\, with a free app on an apple device\, you are invited to engage in creative conversations. Download tbC’s The Art of Conversation app from the App Store and try it out! \n[/vc_column_text][/vc_tta_section][vc_tta_section title=”tbC Bio” tab_id=”1451285630325-09def419-bb74b1db-6de1bc5e-05cc”][vc_column_text]tbC is an artist run initiative that offers young people a studio environment to locate their arts practice in and to launch creative careers from. This nearly 10 year old youth driven/adult mentored arts program provides young artists with space\, materials\, mentoring and opportunities to participate in and lead collaborative art projects – promoting a ‘new status’ for young creatives via an autonomous and experimental arts model. Young artists claim professional recognition via highly ‘visible’ contemporary creative activity and the arts model attracts a broad and sustained youth membership. \ntbC engages young artists (and artist mentors) in a variety of professional art making processes\, mediums\, and collaborative practices\, juggling social engagement\, education and high art outcomes. tbC’s practice is gaining national and international recognition with research and partnership projects across Australia and the UK. tbC is not a hang-out\, it’s taken very seriously by the young artists as a creative lab for the development of artistic careers. \nhttps://tbcaustralia.org/pages/about-us[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/the-art-of-conversation/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170530
DTEND;VALUE=DATE:20170611
DTSTAMP:20250821T041537Z
CREATED:20170329T031557Z
LAST-MODIFIED:20250821T041537Z
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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