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DTSTART;VALUE=DATE:20220222
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SUMMARY:A Stream of Consciousness: One Year Later
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nBraden Howard\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nA Stream of Consciousness: One Year Later\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]22 February – 5 March 2022\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]\nThese works share many varying themes between them and act as a mental mapping of the year\, with many works being directly influenced by the day in which they were made. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Obelisk of Communication\, pen\, ink\, metal leaf and collage on paper\, 163cm x 130cm \nTuef\, pen\, pencil on paper\, 105cm x 155cm  \nLava Head\, ink\, pen and gouache on paper\, 105cm x 148cm \nCabled Goddess\, pen\, paint and ink on paper\, 105cm x 152cm \nThe Power of 300\, pen\, ink and gouache on paper\, 105cm x 148cm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933302c-213e” title=”Description”][vc_column_text]A Stream Of Consciousness: One Year Later comprises 365 individual works on paper\, created once a day for a year\, varying in size but mostly adhering to A6 in size. The first work was created on the 10th of August 2020 with the last work being completed one year later on the same day. Each work is dated and signed on the back side with a select few that are signed with gold leaf\, imitating a collectable playing card and being deemed as a “special edition”. \nBraden Howard created these intuitive mixed media works through the influences of movies and television\, video games\, current events\, childhood memories and other artists. These works share many varying themes between them and act as a mental mapping of the year\, with many works being directly influenced by the day in which they were made. Some pertain to themes of particular political or social events that occurred on that specific day. Elements of war\, destruction\, mental health\, evil\, creation and religion spread throughout the large series with the use of humour and absurdism also finding its way into the mix. \nEach work ties into Howard’s broader artist practice\, building upon his personal mythology; telling stories of beings\, creatures and other worlds. Influenced heavily by science fiction and fantasy\, a large majority of the works contain alien-like beings\, characters with otherworldly powers and cult-like groups on the ultimate search for knowledge and power. With an addition to these mythological travellers\, the series of works also contain experimental explorations of mediums and drawing games. \nCollaborations with other artists\, imitations of artists Howard is inspired by\, and surreal exquisite corpses also find their way into these works as he continues to learn through the process of creating. With a heavy use of personal symbolism and experiences\, A Stream Of Consciousness: One Year Later invites you to find your own meanings and create your own stories behind each of the works.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933302c-213e”][vc_column_text]Braden Howard is a Melbourne based artist\, practicing in studio art. He originally grew up in the city of Wagga Wagga and moved to Melbourne in 2016 to study art. His current practice is heavily influenced by television and movies\, video games\, pop culture\, current events and childhood memories. He is deeply interested in fantasy worlds and mythologies\, working intuitively to create stories\, creatures and beings. All of his works relate back to a continuously expanding mythology he is and connect to the universes in which his creations reside.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/a-stream-of-consciousness-one-year-later/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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DTSTART;VALUE=DATE:20180605
DTEND;VALUE=DATE:20180617
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SUMMARY:Constant Companions
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]\nMaria Petrova\n[/vc_column_text][vc_column_text]\nConstant Companions\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]5 – 16 June 2018\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 12pm to 4pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\n…dark aspects of our personalities that are kept hidden behind civil facades \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Maria Petrova. Inheritance\, 2017\, ballpoint pen on paper \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b374a4-acde” title=”Description”][vc_column_text]If your first thought is: that’s a reference to Kafka’s Metamorphosis when you see the works in this exhibition\, then you’d be wrong. Instead\, their theme alludes to a common Russian expression referring to “cockroaches in the head”\, uttered upon encountering self-destructive or damaging behaviours. Often\, the person handing down this diagnosis will note\, sadly\, that “we all have our own cockroaches”\, to show empathy and to acknowledge the universal challenges of the human condition. \nThrough this visual metaphor\, Constant Companions explores concepts of dysfunctional attachment\, heredity\, trauma and healing; both in relation to the artist and her family\, and as a unifying thread running through humanity. \nWhile the metaphor of cockroaches as pervasive negative emotions and beliefs is crude\, it is also apt. Unwelcome vermin inside the head\, spreading filth and feeding off it\, thriving and multiplying – and nearly impossible to exterminate. Whether a single persistent cockroach or an infestation\, their presence is not immediately obvious in daylight – much like the dark aspects of our personalities that are kept hidden behind civil facades – but does not fail to reveal itself on closer inspection.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b374a4-acde”][vc_column_text]Maria Petrova is a Melbourne-based artist. Her work is concerned with the conflict between a subject’s internal narratives and their external manifestations. Using expressionistic line-making and realistic rendering\, Petrova seeks to both capture the friction between these opposing realities and create a synthetic representation beyond them. \nPetrova has recently exhibited in awards exhibitions including the Whyalla Art Prize\, Agendo Emerging Artist Award and Wyndham Art Prize. She has also shown work at Off the Kerb Gallery and Campbelltown Arts Centre. Constant Companions will be her first solo exhibition at fortyfivedownstairs.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/constant-companions/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180130
DTEND;VALUE=DATE:20180211
DTSTAMP:20250821T040250Z
CREATED:20171101T054247Z
LAST-MODIFIED:20250821T040250Z
UID:10004147-1517270400-1518307199@fortyfivedownstairs.com
SUMMARY:As you are
DESCRIPTION:[vc_row][vc_column width=”1/3″][vc_column_text]\nStephanie Howden\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]30 January – 10 February 2018\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…an exploration in the subtleties of physical expression through body language\, attitude and sartorial choices. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″]Stephanie Howden\, Liam \nStephanie Howden\, Bec and the Fox \nStephanie Howden\, Daniella \nStephanie Howden\, Surani \n[/vc_column][vc_column width=”2/3″][vc_tta_tabs][vc_tta_section tab_id=”1451285630039-f4b33ad9-e290b1db-6de1f2e3-6651″ title=”Description”][vc_column_text]As you are is an exploration in the subtleties of physical expression through body language\, attitude and sartorial choices. Taking visual cues from street fashion photography\, the collection of life-size portraits aims to capture the feeling of presence through the illustration of everyday Melburnians. \nOur bodies are our connection to life. They’re what link us to the world. The way we dress\, stand and hold ourselves tells a story about this relationship. I think this is what makes a portrait so interesting. Not intense beauty or striking features\, but the subtleties in expression\, posture\, stance\, that both hide and reveal at once. It’s this quiet tension between the internal and external that gives away who we are\, and what I have aimed to capture in my work. \nAs you are is a collection of portraits of people I know. They’re everyday people\, dressed as they would be on any day of their lives.  It may be true what they say about the eyes being the window to the soul\, but I think the door\, lawn and mailbox say something too. And so it was important to me to capture their full body. I chose to remove them from their surroundings and place them in a completely white world so they could be transported anywhere. This\, along with the life-size scale of the work\, gives the sense of presence – that they’re standing here in the room with us. \nEach portrait has been rendered in fineline pen and black pencil. In contrast to the simple composition\, the drawings themselves delight in the detail. In many ways\, As you are is about the craft of drawing itself. It’s an exploration of time\, patience and repetition\, of the discipline and commitment required to achieve mastery. With each piece taking between 50 – 100 hours to complete\, they inadvertently tell a personal story of my battle with perfectionism\, and relentless desire for excellence.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1451285630325-09def419-bb74b1db-6de1f2e3-6651″][vc_column_text]I’m a fresh new artist living and working in Melbourne.  I may not have been to art school\, but innovation\, creativity and conceptual exploration have always been a fundamental aspect of both my education and adult working life. \nIn the eight years I spent working in advertising I was influenced by some of the most brilliant minds and charismatic personalities\, inspired by the work they produced and motivated by their passion.  While I was never really able to find creative satisfaction from my role in this world\, it gave me the energy and ambition to create something of my own. \nI use black pen and pencils on paper to produce simple compositions with intense detail.  I love street fashion photography and spend more time on Instagram and Tumblr than I care to admit. The frivolousness of my favorite pastime plagues me with guilt\, and yet continues to be my greatest source of inspiration. \nWhile this inspiration may have served as a starting point\, my most recent work is not about fashion at all\, but rather takes cues from this style of photography to explore themes of attitude\, body language and the unique way that people find connection to everyday life through the expression of their body. \nAs you are will be my debut exhibition. \n– Stephanie Howden[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/as-you-are/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20171128
DTEND;VALUE=DATE:20171217
DTSTAMP:20250821T040640Z
CREATED:20170922T012833Z
LAST-MODIFIED:20250821T040640Z
UID:10004109-1511827200-1513468799@fortyfivedownstairs.com
SUMMARY:Hiding in Plain Sight
DESCRIPTION:[vc_row][vc_column width=”1/3″][vc_column_text]\nKim Anderson\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]28 November – 16 December 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 deeply personal journey of intense emotional scrutiny. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][/vc_column][vc_column width=”2/3″][vc_tta_tabs][vc_tta_section tab_id=”1451285630039-f4b33ad9-e290b1db-6de116cf-1bfd” title=”Description”][vc_column_text]Hiding in Plain Sight centres around Kim Anderson’s personal experience of eating disorders and mental illness over the past twelve years\, as well as exploring more universal themes of grief\, yearning\, confusion\, despair and finally\, hope.  Both a disclosure and a form of therapy\, with a hint of dark humour she peels back the protective layers normally displayed to the world to expose a deeply personal journey of intense emotional scrutiny. \n[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Bio” tab_id=”1451285630325-09def419-bb74b1db-6de116cf-1bfd”][vc_column_text]Kim Anderson completed a Bachelor of Fine Arts (First Class Honours) at the University of Ballarat\, and in 2007 was awarded a scholarship to study a Master of Fine Art at the University of Dundee in Scotland.  Since then Kim has undertaken a number of residencies around the world including an Australia Council Studio Residency at the British School at Rome\, at Australia House in Echigo-Tsumari\, Japan\, Hospitalfield House in Arbroath\, Scotland\, twice at Murray’s Cottage in Hill End\, NSW\, the University of Tasmania and Scotch Oakburn College in Launceston\, and The Art Vault in Mildura.  In 2016 she undertook a three-month residency at DRAWinternational in Caylus\, France\, which was supported by the Ian Potter Cultural Trust\, the Copyright Agency Creative Industries Career Fund\, and Creative Partnerships Australia. \nIn 2010 Kim received an ArtStart Grant from the Australia Council\, and she has been a finalist in numerous national awards including the Paul Guest Award\, the Rick Amor Drawing Prize\, and the Hazelhurst Art Award.  Along with more traditional works on paper\, Kim has also created ephemeral installation projects involving site-specific drawing and projection\, most notably in Scotland and Tasmania.  Her most recent large-scale project was The Space Between\, a visual/sound installation at the inaugural White Night Ballarat in March 2017 which had an outstanding response.  Next year  Kim will be featured in the inaugural Biennale of Australian Art (BOAA) in September with a solo exhibition at the Art Gallery of Ballarat.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Statement” tab_id=”1506043065196-943b6d65-b803″][vc_column_text]Close observational drawing has always formed the core of my practice. Through my drawing I am able to peel back the protective layers I display to the outside world and undertake a deeply personal journey of intense psychological scrutiny\, exploring my deepest responses to the world around me. In attempting to capture not only the physical attributes of a subject but also the less tangible emotional aspects\, I repeatedly explore themes such as the physical manifestations of a mind in turmoil\, the relationship between the psyche and the environment\, the minute traces we leave upon the world and the imprint it leaves upon us. While dealing with some very private emotions\, my drawings also relate to a more universal experience of our human condition. \nHiding in Plain Sight centres around my personal experience of eating disorders\, anxiety and depression over the past twelve years\, as well as exploring wider themes of grief\, yearning\, confusion\, despair and finally\, hope.  Many of these works also contain a hint of dark humour\, as I consider how insignificant my own struggles are within a wider context.  I have reached a point where I am compelled to undertake a raw and honest reflection upon how far I have come and how far I have yet to go.  For me this project is a form of exposure therapy; it is work that I need to do in order to process the thoughts\, feelings and behaviours that have dominated my life for so long and begin to understand them\, and also to depict my on-going daily struggle to overcome these physical and mental battles in order to forge on with my life and work.  These drawings have been in development over the past three years\, and this is the first time they have been displayed collectively – to do so is both terrifying and liberating. \nKim Anderson\, 2017[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Talk Saturday 16 December” tab_id=”1513220289902-98eece35-2a72″][vc_column_text]On the final day of this exhibition\, join Julie McLaren\, Curator at the Art Gallery of Ballarat\, and Kim Anderson as they discuss the background and themes explored in this body of work. \nSaturday 16th December @ 2pm \nfortyfivedownstairs\n45 Flinders Lane\nMelbourne VIC 3000 \nExhibition concludes 4pm Saturday 16th December.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/hiding-plain-sight/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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DTSTART;TZID=Australia/Melbourne:20161122T110000
DTEND;TZID=Australia/Melbourne:20161122T170000
DTSTAMP:20250821T054517Z
CREATED:20160915T041934Z
LAST-MODIFIED:20250821T054517Z
UID:10004041-1479812400-1479834000@fortyfivedownstairs.com
SUMMARY:Looking for the Leviny Women of Buda
DESCRIPTION:[vc_row][vc_column width=”1/3″][vc_column_text]\nCatherine Pilgrim\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]22 November – 3 December 2016\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 rich contemplative view of curious female ‘makers’. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″]Installation image by Tim Gresham \nInstallation image by Tim Gresham \nInstallation image by Tim Gresham \nCatherine Pilgrim\, Dorothy 2014 Graphite drawing 300gsm (detail 30 x 19cm) \nCatherine Pilgrim\, Relic Without Cultural Context 2016 lithograph (A/P) 38 x 28cm \nCatherine Pilgrim\, (Untitled) Homage to the Leviny Women of Buda 2016 (2nd State) Lithograph with hand colouring (edition of 8) 25 x 42cm \nCatherine Pilgrim\, Mother 2014 Lithograph with graphite hand colouring (detail) (edition of 10) 38 x 57cm \nNaked Ladies 2016 lithograph (edition of 16) 38 x 28 cm  \n[/vc_column][vc_column width=”2/3″][vc_tta_tabs][vc_tta_section tab_id=”1451285630039-f4b33ad9-e290b1db-6de17e89-e598″ title=”Description”][vc_column_text]Buda Historic Home and Garden in Castlemaine\, like a good piece of art\, rewards our greater attention. The more time you spend the greater the appreciation of the complexities of two generations of the Leviny family who lived there from 1863 to 1981. \nThis exhibition\, Looking for the Leviny Women of Buda responds particularly to narratives around the fascinating women of the family.  Five of the six daughters never married or raised children and therefore had a greater freedom than usual to pursue their creative interests.  These women were curious and intelligent makers. \nFrom the rich archives of Buda (pronounced ‘Bewda’) Catherine Pilgrim has explored stories of creative ambition\, intrepid travel\, involvement in establishing a regional art gallery\, cancelled weddings\, fractious relationships and more.  Through drawing and lithography\, Catherine Pilgrim has explored these stories and the relative freedom the women apparently enjoyed. \nYet the stories are also incomplete. Works in the exhibition also refer to the inability to accurately read the history through a contemporary lens. Everything is an interpretation and /or incomplete. Works created for this exhibition have never aimed at absolute veracity\, but are rather one individual’s moment of understanding from the vantage point of a constantly shifting contemporary world. \n‘Looking’ in the title also refers to the observational nature of representational drawing that is at the core of the imagery presented. Drawing is by its very nature an exploratory process\, ideal for the slow and contemplative greater attention that Buda deserves. \nInstallation images by Tim Gresham[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1451285630325-09def419-bb74b1db-6de17e89-e598″][vc_column_text]Meticulous\, considered drawing is the basis for Catherine Pilgrim’s practice including lithographs\, drawings and textiles – fastidious attention to detail is the work’s common element\, fueled by an intelligent curiosity. Personal narratives influence many of the images. \nCatherine has exhibited widely since 1994\, when she returned to Australia after studying lithography and drawing in Washington DC\, USA. In 2011\, Pilgrim completed her Master of Fine Art (Research) at Monash University\, Melbourne. Her research was based on the subjective process of capture\, which occurs in making a representational image. \nCatherine has won a number of awards for her intricate works on paper including the Australian Print Workshop Collie Trust Award and the Works on Paper\, Warwick Non-Acquisitive Art Award. \nIn 2014\, Catherine was Artist in Residence at Buda Historic Home and Garden\, in Castlemaine\, researching the Leviny family history in preparation for a project exhibition at the Castlemaine Art Gallery and Historic Museum in February 2015. \nCatherine Pilgrim’s artworks are held in public and private collections including the National Gallery of Australia\, Geelong Regional Art Gallery\, National Australia Bank and Castlemaine Art Gallery and Historical Museum. \n© The Artist 2016[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/looking-leviny-women-buda/2016-11-22/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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