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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220222
DTEND;VALUE=DATE:20220306
DTSTAMP:20220303T010046Z
CREATED:20210726T050935Z
LAST-MODIFIED:20220303T010046Z
UID:10004363-1645488000-1646524799@fortyfivedownstairs.com
SUMMARY:Hidden
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nDorothy Lipmann\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nHidden\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]\n…a quiet determination and freedom from convention… \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Swimming At Sea World\, oil on linen\, 122 x 107 \nShickered\, oil on linen\, 46 x 51cm \nBlack Summer\, oil on linen 61 x 122 \nHidden\, 2021\, oil on linen\, 137 x 91 cm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933908a-b636″ title=”Description”][vc_column_text]The human face demands intimacy and closeness. Faces of the homeless are far away\, seen as objects. They have been there so long they’ve become invisible. Now there is an emerging group who live where they can; elderly women who use cars\, couch surfing\, house sitting or cheap and dangerous boarding houses for shelter. They are the fastest growing group of people in crises and are largely hidden. Many have never imagined they would become homeless\, buffeted by their environment and hidden behind structures that limit their choices economically\, socially and politically. These women face an uncertain future\, having no security\, assets or savings. All suffer from a profound loneliness that leaves them intimidated and with a feeling of hopelessness. \nHowever\, amongst the women artist Dorothy Lipmann met as a volunteer at Wintringham\, a Melbourne not-for-profit organisation that cares for the elderly homeless\, there is a quiet determination and freedom from convention reflected in their clothing and bearing. It is this sense of flux\, change and turbulence compounded by their diverse circumstances\, vulnerability\, inequality as well as their resilience that Lipmann chose to explore and depict. Their suffering deserves empathy and compassion. \nLipmann’s paintings are intuitive expressions of people she has known. Rather than paint realistically\, she emphasises the psychology of the subject without reverting to caricature. The subject is as much about the situation as the person in it. Close-ups are used to show the genuinely funny\, chaotic and extreme behaviours used in order “to belong”. \nCombining figurative and abstract elements to create movement and an atmosphere of unease\, Lipmann has “put it straight down as dreaming\, not narrative”. While it must be convincing\, the most interesting thing about a painting is the intangible; a sense of mystery.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933908a-b636″][vc_column_text]Dorothy Lipmann is a Melbourne based painter who has exhibited regularly since 1987. Her work has been acquired by Museum of Modern Art Brisbane\, the City of Yarra and private collectors. Many paintings and drawings have been donated to Wintringham\, a non-profit organisation in Melbourne. The paintings exhibited in Hidden are oil on linen\, painted in 2021. \nView Dorothy Lipmann’s CV here.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/hidden/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220222
DTEND;VALUE=DATE:20220306
DTSTAMP:20220207T040014Z
CREATED:20210721T021717Z
LAST-MODIFIED:20220207T040014Z
UID:10004360-1645488000-1646524799@fortyfivedownstairs.com
SUMMARY:20-20 Hindsight
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nJames Yuncken\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\n20-20 Hindsight\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]\n…a Melburnian perspective on social and political climate in 2020… \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Collins Street\, 5pm\, 2021\, acrylic on canvas\, 110 x 110 cm \nSocial Media\, 2021\, digital print\, 181 x 102 cm \nJames Yuncken\, Gold Standard (study)\, 2021\, acrylic on board\, 56 x 80cm \nPress Conferences\, 120 days of Daniel (detail)\, James Yuncken and Gregory Alex-Vasey\, 120 digital prints on Kapa mounts in an 8 x 15 grid\, edition of 2\, 235 x 445 cm\, 2021 \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933a331-6f57″ title=”Description”][vc_column_text]What does Collins Street look like at 5pm in 2020 lockdown? In Hindsight 20-20: A Melburnian Perspective\, James Yuncken explores this question\, and the wider ramifications of Melbourne’s extended lockdown. The exhibition consists of just five works. \nIt is a Melburnian perspective on social and political climate in 2020\, both in Australia and with a view to the wider world. Simultaneously\, it’s a ‘compare and contrast’ with – some of John Brack’s 1950s paintings. \nIn Yuncken’s Collins St\, we look into the foyer at 356 Collins St\, just near where Brack used to meet up after work before going for a drink. There are few people inside. They wear masks: just one passer-by in the street. The foyer windows reflect the view of the street that is much like the one depicted in Brack’s painting. On the November afternoon the plane trees have burst into leaf. \nFrom this\, other John Brack paintings suggested themselves for re-visitation. \nGold Standard\, referring to Morrison’s swipes at Daniel Andrews by praising NSW\, substitutes Gladys Berejiklian and Scott Morrison for Brack’s Jockey and his Wife. The Telephone Box\, updated to Social Media\, substitutes Donald Trump for the lady with the curlers in her hair. His hypnotic effect on his supporters in the run-up and in the aftermath of the US election persists\, but somehow he is the lady with the curlers too. Hat Shop revisits Menswear\, two very different interiors and impressions. \nLastly\, Press Conferences\, the only work without link to John Brack\, documents the 120 days that Daniel Andrews stood and answered questions until the journalist had no more. One image from each of those 120 days\, it owes its genesis to Andy Warhol’s Campbell’s Soup Cans. \nThe exhibition will be available to view in the gallery at fortyfivedownstairs\, as well as online here\, and through the artist’s website\, jamesyuncken.com.au. The exhibition will include public programming in the form of an artist’s talk and walkthrough. Details to be confirmed.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933a331-6f57″][vc_column_text]James Yuncken is a Melbourne based artist\, working from a studio on Smith Street in Fitzroy. \nJames has exhibited frequently in Melbourne and Canberra since 1989. \n  \nSELECTED EXHIBITIONS \n2021                20-20 Hindsight\, a Melburnian Perspective\, fortyfivedownstairs\, Melbourne \n                          Travels With My Wife: Hong Kong from the Water and Air\, fortyfivedownstairs\, Melbourne \n2020                Represented HERE\, fortyfivedownstairs Fragments Online Exhibition Series\, fortyfivedownstairs\, Melbourne \n2018                Improvisations\, St Vincent’s Residency: Drawings from Caritas Christi\, St Vincent’s Gallery\, Fitzroy \n2017                Represented 45 at 45\, fortyfivedownstairs\, Melbourne \n2015                The Drawing Room\, Prints\, Drawings and Bas Relief\, fortyfivedownstairs\, Melbourne  \n2014                Places Nearby\, More Inner Melbourne fortyfivedownstairs\, Melbourne \n2012                Walking to Work\, Melbourne\, Inner East fortyfivedownstairs\, Melbourne \n2011                Vox Pix\, Voices and Images Together Centre for Theology and Ministry\, Parkville \n2010                Travelling North\, Journey to Cape York fortyfivedownstairs\, Melbourne \n2008                Abstraction and Space\, fortyfivedownstairs\, Melbourne \n2005                Formal Considerations\, 257 Church St\, Richmond and On-line \n2003                Sense of Place\, SPAN Galleries\, Melbourne \n2001                Presence/Absence\, SPAN Galleries\, Melbourne \n2000                Represented 8 x 8\, Roar Studios\, Fitzroy \n1999                Represented 8 x 8\, Roar Studios\, Fitzroy \n1998                Represented 3rd Annual Summer Show\, Galerie helengory\, Richmond \n1997                First Steps\, Galerie helengory\, Richmond \n1996                Represented A Four Art 19 ninety-six\, Westspace \n1995                Studio Landscape Exhibition\, Smith Street Studio\, Fitzroy \n1993                Represented Swan Hill Print and Drawing Show \n1992                Represented Studio One’s ’92 Pressing Annual Show\, Spiral Arm Gallery\, Canberra \n1990                Represented Sun\, Smoke and Steel\, Studio One touring exhibition Canberra\, Sydney\, Newcastle \n1989                Images in Different Genres\, Dorette’s Bistro\, Canberra[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/hindsight-20-20-a-melburnian-perspective/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220125
DTEND;VALUE=DATE:20220206
DTSTAMP:20211124T060936Z
CREATED:20210319T011134Z
LAST-MODIFIED:20211124T060936Z
UID:10004355-1643068800-1644105599@fortyfivedownstairs.com
SUMMARY:monumentum
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nJohn Mezzini\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]mɔ.nuˈmɛn̪.t̪um[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]25 January – 5 February 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]\n…a visual representation of a heightened state of being\, reminding the viewer of the meaningful joy of human physical movement… \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Afferte ignis\, oil on canvas\, 70 x 110cm \nThe Embraced\, oil on canvas\, 100 x 120cm \nNequidquam\, oil on canvas\, 55 x 140cm \nVortex\, oil on canvas\, 100 x 110cm \nPan\, oil on canvas\, 55 x 140cm \nFalling girl\, oil on canvas\, 55 x 140cm \nIn manna\, oil on canvas\, 100 x 120cm \nArcum\, oil on canvas\, 55 x 140cm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-09334f03-16b4″ title=”Description”][vc_column_text]The works in mɔ.nuˈmɛn̪.t̪um are conceptually abstract paintings based on the physicality of movement of his performance artist subjects\, including acrobats and professional dancers.  Mezzini’s work captures an intense or static physical crescendo to create an emotive response.  These paintings are a visual representation of a heightened state of being\, reminding the viewer of the meaningful joy of human physical movement and the associated physiological state. \nJohn Mezzini recently rediscovered the process of making art.  With the belief that artistic evolution is paramount\, he has expanded his practice\, forming creative relationships with performance artists from all over the world.  Intrigued by their abilities and dedication\, he worked toward adapting some of the concepts of their various art forms to further the development of his own. \n“I believe that artist should strive to describe and interpret by whatever means necessary without the confines of a specific notion or movement.” \nChoosing different spatial arrangements in the compositions allows Mezzini to manipulate and abstract elements of light with colour and give equal measure to representational and abstracted aspects of each piece. The resulting works move the viewer into the orchestrated pattern of the chosen gesture or expression. \nMezzini collaborated with his performance artist subjects in terms of pose\, style and resulting shapes\, as well as utilising studio photography and drawings in the creation of these paintings. mɔ.nuˈmɛn̪.t̪um is the result of this coherent theme and statement.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-09334f03-16b4″][vc_column_text]An engineer by trade\, John Mezzini has recently returned to painting after studying at the North Adelaide School of Arts over twenty years ago. Mezzini has dabbled in the arts in the intervening years\, notably as a musician. His interest in painting never really subsided\, but neither did he fully commit himself to it. After encouragement from friends and a renewed enjoyment of the process\, Mezzini began again. He first exhibited E lascia dir le genti  at fortyfivedownstairs in 2019. \nSince then\, Mezzini has participated in SWISSARTEXPO\, and was placed in the top 100 artworks of the fair. He has also shown work at Art Box Miami\, and was part of the group show Emerge at Brunwick Street Gallery\, both in 2019. Mezzini returns to fortyfivedownstairs for his second solo exhibition\, mɔ.nuˈmɛn̪.t̪um.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Exhibition Catalogue” tab_id=”1637734093289-be6f1642-e8ef”][vc_column_text]CLICK HERE for the exhibition catalogue.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/monumentum/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211207
DTEND;VALUE=DATE:20211219
DTSTAMP:20211109T025853Z
CREATED:20210720T065615Z
LAST-MODIFIED:20211109T025853Z
UID:10004117-1638835200-1639871999@fortyfivedownstairs.com
SUMMARY:Entering the Subconscious: The COVID Works
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nMichael Wedd\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nEntering the Subconscious: The COVID Works\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]7 – 18 December 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…sit on the edge of formlessness\, stirring the viewer’s mind with a relentless and niggling ambiguity. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Submarine Yakuza Goldfish\, 2020\, inks on 220gsm Arches archival paper\, 570x760mm \nHokusai’s Forest\, 2020\, inks on 220gsm Arches archival paper\, 760x570mm \nAquatic Temporal Meltdown\, 2020\, inks on 220gsm Arches archival paper\, 570x760mm \nThe Red Owl Sees All\, 2020\, inks on 220gsm Arches archival paper\, 760x570mm \nExploding Fuji Head\, 2020\, inks on 220gsm Arches archival paper\, 760x570mm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933f371-18b1″ title=”Description”][vc_column_text]Entering the Subconscious is a series of ink paintings that began at the beginning of COVID-19 in March 2020 and continued during the ongoing lockdowns in Melbourne in the intervening months. \nThese works in sequence chart a journey into both levels of artist Michael Wedd’s mental health\, as well as new evolving techniques as his time in lockdown progressed. \nA medium new to Wedd; inks\, was chosen over traditional oils and prints\, allowing for spontaneous\, gestural and tightly controlled brush techniques. The subject matter shifts from abstract and organic to landscape\, figurative and conceptual. \nRecurring themes move between microscopic scientific and biological environments towards overviews of constructed worlds\, while matter emerges from the immaterial\, governed by whatever cognitive state is present on the day\, in this current climate of stasis and uncontrollable flux.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933f371-18b1″][vc_column_text]Michael Wedd is a Melbourne-based visual artist\, primarily working as a painter. He has exhibited extensively throughout Australia and internationally\, and is represented in collections worldwide including in Australia\, UK\, Italy\, Germany\, USA. \nCLICK HERE for CV[/vc_column_text][/vc_tta_section][vc_tta_section title=”Exhibition Essay by Dr. Christopher Heathcote” tab_id=”1626763141528-5263a6cf-7244″][vc_column_text]Real art is never poorly composed. Where curatorial talk often orbits around representing\, studio banter invariably fixes upon composing. Visiting Michael Wedd’s studio I am reminded how for painters this never-ending pursuit seems to guzzle their studio hours. Be prepared for a sermon on what dense issues are being signified if you ask a curator about contemporary painting or sculpture; but ask artists themselves what honestly absorbs their creative energies when working (the driven artists\, like Michael)\, and you will hear how they strive to stimulate the viewer visually. \nWedd’s latest work confronts this impulse. This extended suite of works was painted over the Melbourne ‘Lockdown’ of 2020. Those months in a drawn-out medical quarantine became for Wedd a deepening period of creative contemplation and sustained self-reflection. Turning his back upon isms and style trends while ignoring obligatory subjects and ‘correct’ political themes\, the artist set himself to enticing the inquisitive eye\, of stirring the seasoned imagination\, of composing afresh. \nHis process was basic. Concentrating on one piece at a time\, Wedd took a sheet of fine artist’s paper which he fixed to a watercolour board\, then he set to improvising with runny inks. He poured on black ink\, tilting the surface and allowing this dark medium to flood over the paper\, then working from each side he dripped on water to thin certain sections\, at points steering his ink into veins of marbled tone with fine brushes. This wasn’t done in one rushed session\, but slowly over days\, the paper being redampened so forms were worked further\, and touches of primary colours added. \nImprovisation was the guiding rule\, Wedd only ceasing to manipulate when satisfied a work was complete. Then he assigned a number to it (the sequence of the compositions is easily traced) and turned to the next piece. \nThis approach is indebted to the surrealists\, especially Max Ernst\, Paul Klee and Andre Masson—artists Wedd deeply values. In using their improvisational methods he did not intend to use free association to tap his unconscious\, being interested more in this as a means of creative play. Much of his conversation is about savouring the range of visual effects he can get with such basic pigments\, while how he allows the unfettered imagination to take flight. \nAfter a lifetime painting\, he tried to remove suggestions of purposeful control. There was no tinkering to insert images\, or impose suggestions of structure\, least of all to resort to tidy order. Linear grids or shapes were not layered on top. The work had to sit on the edge of formlessness\, stirring the viewer’s mind with a relentless and niggling ambiguity. \nChatting in his studio\, Wedd insists he has no weighty message to press\, and rejects political meanings. Instead by their very fluid nature he wants his abstractions more to suggest those tiny protoplasmic forms that underpin life. Pointing to certain works\, he tells me how with them he especially wants to evoke that miniature world of our internal biology\, an intricate myriad of tiny organisms and essential bacteria and delicate membranes and cell clusters and enzyme threads all within us\, such intricate inner multitudes which are revealed via electron microscopes. \nAs he talks of these things\, I am thinking how—as a virus threatens—it appears Michael Wedd has quite unconsciously taken our vulnerable human biology at his subtle theme. ‘We don’t catch hold of an idea\,’ the poet Heine once said\, ‘rather the idea catches hold of us.’ These works are surely exemplars of that artistic truth. In withdrawing from that hurdy-gurdy media chatter about viral contagions\, trying to escape a spreading public hysteria\, Wedd’s imagination has circled right around and indirectly confronted the wondrous mysteries of the human organism. \n—Christopher Heathcote[/vc_column_text][/vc_tta_section][vc_tta_section title=”COVIDSafe venue information” tab_id=”1635900380923-6b8a8e47-6f82″][vc_column_text]welcome back to a COVIDSafe fortyfivedownstairs! \nThe following information is to keep you and our staff safe during your visit to fortyfivedownstairs. Our procedures follow strict guidelines set by the VIC State Government.  Everyone who visits fortyfivedownstairs is required by law to register for contact tracing and be fully vaccinated. There will be a QR code available on arrival for registration. By registering\, you agree to follow our COVIDSafe plan and follow direction from fortyfivedownstairs staff. \nfortyfivedownstairs is a fully vaccinated venue\nIn accordance with government regulations\, proof of full COVID-19 vaccination or valid medical exemption will be required for anyone over the age of 16 to enter fortyfivedownstairs. All staff at fortyfivedownstairs will likewise be fully vaccinated. \nEach member of your party will be required to check-in on arrival and show proof of your vaccination status or medical exemption before you enter the building. \nThere are four types of evidence that will be accepted: \n\nVaccination certificate integrated into the Services Victoria check-in app\nVaccination certificate in your smartphone wallet\nDigital or printed vaccination certificate issued by the Australian Government along with photo ID\nDigital or printed exemption certificate along with photo ID\n\nIf you cannot provide the required proof on arrival\, you will be unable to enter fortyfivedownstairs. \nFor information about how to get your vaccination certificate please visit the Victorian Government’s coronavirus website. \nwear a mask \nThe wearing of masks is mandatory throughout the gallery and theatre. \nif you are feeling unwell\, please stay home\nDo not attend if you are experiencing any symptoms of COVID-19\, have been in contact with a suspected or confirmed COVID-19 patient or visited one of the updated public exposure sites. \nIf you begin to feel unwell during an event\, contact a fortyfivedownstairs staff member immediately and in the instance of a positive COVID-19 case\, contact the venue on 03 9662 9966. \nuse the hand sanitiser provided\nWe have hand sanitiser available at all entrances\, exits and toilets throughout the venue – please lather up and remember to wash your hands regularly. \nphysical distancing \nPlease socially distance from people wherever possible and adhere to the distancing guidelines. \ngroup bookings\nTo arrange for a school or tour group to visit the venue\, please contact us to find out capacity limits for the current events. \nCOVIDSafe documents\nfortyfivedownstairs COVIDSafe checklist[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/entering-the-subconscious-the-covid-works/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210525
DTEND;VALUE=DATE:20210620
DTSTAMP:20210604T054115Z
CREATED:20210318T054325Z
LAST-MODIFIED:20210604T054115Z
UID:10004353-1621900800-1624147199@fortyfivedownstairs.com
SUMMARY:Retreat
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nJames Grant\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nRetreat\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]25 May – 19 June 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…local landscapes and private domestic environments which have become increasingly important spaces of both refuge and of tension over the last year. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Yellow Brick Front Garden\, 2020\, oil and acrylic on canvas\, 100cm x 75cm. SOLD \nBeckoning Cats\, 2020\, oil and acrylic on canvas\, 120cm x 101cm\, $1250 (framed) \nStill life with Vase\, 2020\, oil and acrylic on canvas\, 90cm x 77cm. SOLD \nBack of Smith Street Shop #2\, 2021\, oil and acrylic on canvas\, 90cm x 120cm\, $1\,500 (framed)  \nLounge Room\, 2020\, oil and acrylic on canvas\, 87cm x 120.5cm\, $950 (framed)  \nWilliamstown Front Yard\, 2020\, oil and acrylic on canvas\, 122cm x 104cm. SOLD \nSmith Street Shop\, 2020\, oil and acrylic on canvas\, 130cm x 94cm\, $1500 (framed) \nFitzroy Houses\, 2020\, oil on canvas\, 120 x 110 cm. SOLD \nZali (shell)\, 2021\, oil and acrylic on canvas\, 104cm x 130cm\, $1\,800 (framed) \nLounge Room (small)\, 2020\, oil and acrylic on canvas\, 85cm x 100cm\, $700 (framed) \nEast Melbourne\, 2021\, oil and acrylic on canvas\, 150 x 131 cm. SOLD \nLiv's Apartment\, 2021\, oil and acrylic on canvas\, 150 x 131 cm. SOLD \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-09330f8a-9bed” title=”Description”][vc_column_text]Retreat by James Grant explores local landscapes and private domestic environments which have become increasingly important spaces of both refuge and of tension over the last year. The exhibition draws on objects which accumulate in these spaces\, and which we use to build identity\, connection\, and happiness.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-09330f8a-9bed”][vc_column_text]James Grant grew up travelling with his family in several areas across northern and central Australia\, including the Kimberly and Arnhem Land whilst living in Alice Springs and Darwin. On his return to Melbourne\, he commenced a Bachelor of Fine Art at the Victorian College of the Arts. After graduating in 2016\, Grant spent several years travelling and working. \nAs for many other artists\, the 2020 lockdown forced a reset of his art practice. In this recent collection of work\, Grant has been drawn to the vibrancy and beauty of his Melbourne locale\, and its striking contrast to the rugged\, regional landscapes he grew up with. \nEducation\nBachelor of Fine Arts (Painting)\, Victorian College of the Arts – University of Melbourne (2014 – 2016) \nExhibitions\n2019 – ‘Portraits between Alice Springs and Darwin’ – Red Gallery (September 2019)\n2019 – ‘Portraits between Alice Springs and Darwin’ – Rubicon ARI (June 2019)\n2017 – Small painting exhibition Brunswick St Street Gallery (December 2017)\n2016 – Victoria College of the Arts Graduation Show (November 2016)[/vc_column_text][/vc_tta_section][vc_tta_section title=”Exhibition List” tab_id=”1622431168694-1bb1f4ab-9959″][vc_column_text]CLICK HERE for the Retreat price list.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/retreat/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2021/03/jamesgrant_williamstownfrontyard_600.jpg
ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
GEO:-37.8147392;144.9730607
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:20210323
DTEND;VALUE=DATE:20210411
DTSTAMP:20210326T054751Z
CREATED:20200115T021206Z
LAST-MODIFIED:20210326T054751Z
UID:10004319-1616457600-1618099199@fortyfivedownstairs.com
SUMMARY:Travels With My Wife: Painting Hong Kong from the Water and Air
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nJames Yuncken\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nTravels With My Wife: Painting Hong Kong from the Water and Air\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]23 March – 10 April 2021\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 11am to 3pm\nGood Friday CLOSED\nEaster Saturday 11am to 3pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\n\n…overwhelmingly industrial…somehow nevertheless romantic… \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Airport 5 (F)\, 2020\, acrylic on canvas\, 10 x 24 cm\, $556 \nAirport 4\, 2020\, acrylic on canvas\, 12.5 x 28 cm\, $470 \nAirport 3\, 2020\, acrylic on canvas\, 12 x 26.5 cm\, $470 \nAirport 2\, 2019\, acrylic on canvas\, 10 x 28 cm\, $470 \nAirport 1 (F)\, 2019\, acrylic on canvas\, 10 x 28 cm\, $668 \nWind turbine\, 2019\, acrylic on canvas\, 10 x 22.6 cm\, $380 \nTug Boat\, 2019\, acrylic on canvas\, 9 x 28.5 cm\, $470 \nAirport 6 (F)\, 2020\, acrylic on canvas\, 17.5 x 17 cm\, $646 \nNew Territories From Victoria Harbour I (F)\, 2020\, acrylic on canvas\, 13 x 28 cm\, SOLD \nNew Territories From Victoria Harbour II (F)\, 2020\, acrylic on canvas\, 7 x 17.5 cm\, SOLD \nShips in a mist (F)\, 2019\, acrylic on canvas\, 9 x 19 cm\, SOLD \nShips off Lamma Island I (F)\, 2020\, acrylic on canvas\, 10 x 28 cm\, $679 \nShips off Lamma Island II (F)\, 2020\, acrylic on canvas\, 7.5 x 26 cm\, $468 \nShips off Lamma Island Power Station\, 2019\, acrylic on canvas\, 9 x 27 cm\, $380 \nShips off Stonecutters Bridge\, Hong Kong\, 2020\, acrylic on canvas\, 10 x 27 cm\, SOLD \nMany Moorings in Hong Kong Harbour\, 2019\, acrylic on canvas\, 10.7 x 25 cm\, $470 \nLantau\, 2020\, acrylic on canvas\, 84 x 56 cm\, $2\,400 \nHZM (Hong Kong - Macau) Bridge\, 2020\, acrylic on gesso board\, 25 x 25 cm\, $620 \nHong Kong - Macau Bridge 2 (F)\, 2020\, acrylic on canvas\, 16 x 21 cm\, $635 \nHaze (F)\, 2019\, acrylic on canvas\, 7 x 18 cm\, $499 \nFerry crossing\, 2019\, acrylic on canvas\, 9.5 x 28 cm\, $470 \nFerries departing Central (F)\, 2020\, acrylic on canvas\, 16 x 29 cm\, $638 \nDredge\, Hong Kong Harbour (F)\, 2020\, acrylic on canvas\, 8 x 25 cm\, $468 \nAirport Grand Vista\, 2020\, acrylic on canvas\, 68 x 132 cm\, $3\,800 \nBlue Vista 2\, 2020\, acrylic on canvas\, 16 x 28 cm\, $550 \nBlue Vista 1 (F)\, 2020\, acrylic on canvas\, 10 x 26.5 cm\, $635 \nBoats on Hong Kong Harbour (F)\, 2020\, acrylic on canvas\, 8 x 20.4 cm\, $488 \nBridge\, Hong Kong Harbour (F)\, 2018\, acrylic on canvas\, 7 x 17.5 cm\, SOLD (note\, different frame) \nCargo Ship HMM\, Hong Kong Harbour (F)\, 2018\, acrylic on canvas\, 7 x 20 cm\, $510 \nCargo Ship\, Hong Kong Harbour (F)\, 2020\, acrylic on canvas\, 15 x 28.5 cm\, SOLD \nDocks at Lamma Island power station (F)\, 2020\, acrylic on canvas\, 12 x 28 cm\, $657 \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933346a-a80f” title=”Description”][vc_column_text]Travels With My Wife is a new series of small paintings by James Yuncken\, exploring bustling harbour and airport scenes in Hong Kong. \nMy wife travels to Hong Kong about six times a year for work. I go sometimes to keep her company.  \nI didn’t expect a mega-city\, an international finance hub to be fertile territory to paint. But first the airport – an artificial island in the South China Sea which sets a multitude of airliners against clouded mountains rising above chilling rows of apartment towers in one direction\, or a host of dredges and ships in the other – and then the harbour where ships of all shapes\, sizes and ages\, overwhelmingly industrial\, grubby\, somehow nevertheless romantic\, inhabit a haze\, tropical and industrial where everything is just a bit unclear. I had to paint all that! [/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933346a-a80f”][vc_column_text]James Yuncken is a Melbourne based artist\, working from a studio on Smith Street in Fitzroy. \nJames has exhibited frequently in Melbourne and Canberra since 1989. \n  \nSELECTED EXHIBITIONS \n2018                Improvisations\, St Vincent’s Residency: Drawings from Caritas Christi\, St Vincent’s Gallery\, Fitzroy \n2017                Represented 45 at 45\, fortyfivedownstairs\, Melbourne \n2015                The Drawing Room\, Prints\, Drawings and Bas Relief\, fortyfivedownstairs\, Melbourne  \n2014                Places Nearby\, More Inner Melbourne fortyfivedownstairs\, Melbourne \n2012                Walking to Work\, Melbourne\, Inner East fortyfivedownstairs\, Melbourne \n2011                Vox Pix\, Voices and Images Together Centre for Theology and Ministry\, Parkville \n2010                Travelling North\, Journey to Cape York fortyfivedownstairs\, Melbourne \n2008                Abstraction and Space\, fortyfivedownstairs\, Melbourne \n2005                Formal Considerations\, 257 Church St\, Richmond and On-line \n2003                Sense of Place\, SPAN Galleries\, Melbourne \n2001                Presence/Absence\, SPAN Galleries\, Melbourne \n2000                Represented 8 x 8\, Roar Studios\, Fitzroy \n1999                Represented 8 x 8\, Roar Studios\, Fitzroy \n1998                Represented 3rd Annual Summer Show\, Galerie helengory\, Richmond \n1997                First Steps\, Galerie helengory\, Richmond \n1996                Represented A Four Art 19 ninety-six\, Westspace \n1995                Studio Landscape Exhibition\, Smith Street Studio\, Fitzroy \n1993                Represented Swan Hill Print and Drawing Show \n1992                Represented Studio One’s ’92 Pressing Annual Show\, Spiral Arm Gallery\, Canberra \n1990                Represented Sun\, Smoke and Steel\, Studio One touring exhibition Canberra\, Sydney\, Newcastle \n1989                Images in Different Genres\, Dorette’s Bistro\, Canberra[/vc_column_text][/vc_tta_section][vc_tta_section title=”Travels With My Wife by James Yuncken” tab_id=”1579742816326-b0062db2-a8da”][vc_column_text]Travels with My Wife \nMy wife likes to travel. Travel is her great escape\, from the daily grind of earning a living\, to a world of places\, experiences and romantic atmospheres that bring joy to her soul. \nIn 2018 Sophie’s journey to Hong Kong was different and she needed some support. This time it was travelling to work. Finding an everyday life in a foreign environment where you have no established friends or local connections is not the romance of travel. It’s a little daunting. I found myself – for first of many times – on a plane to Hong Kong. \nHong Kong – China: One Country\, Two Systems: The Asian Century. An Asian mega-city\, an international finance hub sporting an array of architectural show pieces promoting various brand-egos. \nBut what made an impression on me and what led me to paint was – \nThe airport: An artificial island in the South China Sea has spectacular views of cloud covered Lantau Mountain and its form signals China. The mountain is guarded by rows of apartment towers lined up like soldiers. Imagining a life there sends a shudder down my spine. Look in the opposite direction\, beyond planes\, runways\, hangers\, terminals and you’ll see the sea and ubiquitous clouds\, haze\, ships and busy swarms of dredges. \nThe harbour: The water\, where ships come and go as they have\, ever since and even before the British freebooters\, thugs and drug runners stole it at gunpoint. Those same ships I saw from the airport\, all shapes\, sizes and ages\, but mainly the grimy\, ships of work and commerce\, old\, new\, big and little. \nWhat I found was\, I guess\, what was ever there: the gateway to southern China\, to trade and riches. \nA haze sits over it all: the tropical haze\, the industrial haze. Everything is just that little unclear …[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/travels-with-my-wife/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2020/01/jamesyuncken_Dock_Scene_24_x_24_cm_2019_600.jpg
ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
GEO:-37.8147392;144.9730607
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:20210323
DTEND;VALUE=DATE:20210411
DTSTAMP:20210408T063334Z
CREATED:20200115T013335Z
LAST-MODIFIED:20210408T063334Z
UID:10004318-1616457600-1618099199@fortyfivedownstairs.com
SUMMARY:elemental
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nJoan Blond | Aliki K | Bev Plowman | Jo Carroll\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nelemental\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]23 March – 10 April 2021\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 11am to 3pm\nGood Friday CLOSED\nEaster Saturday 11am to 3pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\nWhen the right elements come together\, magic can happen… \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Bev Plowman\, "The Garden"\, 2020\, acrylic on linen\, oak frame\, 120 x 180 cm\, $2\,800 \nJo Carroll\, "Turquoise Beauty"\, 2020\, acrylic on ultrafine canvas\, oak frame\, 153 x 153 cm\, $3\,495 \nAliki K\, "Belle Flower"\, 2021\, acrylic\, ink & gold leaf on canvas\, oak frame\, 76 x 76 cm\, $1\,200 \nAliki K\, "Gypsy Water"\, 2021\, acrylic\, ink & gold leaf on canvas\, oak frame\, 76 x 76 cm\, $1\,200 \nAliki K\, "Ring a Rosie"\, 2021\, acrylic\, ink & pastel on canvas\, oak frame\, 120 x 120 cm\, $2\,800 \nJo Carroll\, "Poseidon"\, 2020\, acrylic on ultrafine canvas\, oak frame\, 88 x 88 cm\, $1\,695 \nJo Carroll\, "Amphitrite"\, 2020\, acrylic on ultrafine canvas\, oak frame\, 88 x 88 cm\, $1695 \nBev Plowman\, "Waterlilies"\, 2020\, acrylic on linen\, oak frame\, 150 x 150 cm\, $2\,500 \nJo Carroll\, "Opal Lagoon"\, 2021\, acrylic on ultrafine canvas\, oak frame\, 88 x 88 cm\, $1\,695 \nAliki K\, "Vintage Wild Flower"\, 2021\, acrylic\, ink & pastel on canvas\, oak frame\, 100 x 100 cm\, $2\,400 \nJoan Blond\, “Perennial Garden 9”\, acrylic & gold leaf on canvas\, oak frame\, 123 x 201 cm\, $5\,500 \nJoan Blond\, “Perennial Garden 10”\, acrylic & gold leaf on canvas\, oak frame\, 105 x 105 cm\, $3\,200 \nJo Carroll\, "Ocean Spirit"\, 2020\, acrylic on ultrafine canvas\, oak frame\, 183 x 123 cm\, $3\,695 \nAliki K\, "Indigo Still-life"\, 2021\, acrylic\, ink on canvas\, oak frame\, 100 x 100 cm\, $2\,400 \nAliki K\, "Indigo Oasis"\, 2021\, acrylic\, ink & pastel on canvas\, oak frame\, 150 x 100 cm\, $2\,900 \nAliki K\, "Party in the Sun"\, 2021\, acrylic on canvas\, oak frame\, 100 x 100 cm\, $2\,400 \nJo Carroll\, "Galactic Journey"\, 2021\, acrylic on ultrafine canvas\, oak frame\, 193 x 123 cm\, $3\,795 \nJoan Blond\, “Yarra Valley Pastel Hills”\, acrylic & gold leaf on canvas\, oak frame\, 79 x 79 cm\, $1\,200 \nBev Plowman\, "Spring Flowers"\, 2020\, acrylic on ultrafine canvas\, oak frame\, 60 x 60 cm\, $750 \nJoan Blond\, “Warburton Pastel Hills”\, acrylic & gold leaf on canvas\, oak frame\, 64 x 64 cm\, $900 \nJo Carroll\, "Immerse"\, 2020\, acrylic on ultrafine canvas\, oak frame\, 63 x 63 cm\, $1\,250 \nBev Plowman\, "Inspiration"\, 2020\, acrylic on ultrafine canvas\, oak frame\, 60 x 60 cm\, $750 \nBev Plowman\, "In too deep"\, 2021\, acrylic on ultrafine canvas\, oak frame\, 150 x 150 cm\, $2\,400 \nBev Plowman\, "Sunrise on the Lake"\, 2021\, acrylic on ultrafine canvas\, oak frame\, 100 x 120 cm\, $2\,500 \nJoan Blond\, “Shimmering Morning Light”\, acrylic & gold leaf on canvas\, oak frame\, 123 x 201 cm\, $5\,500 \nJoan Blond\, “Sun Drenched”\, acrylic & gold leaf on canvas\, oak frame\, 125 x 155 cm\, $4\,600 \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933f0ae-7308″ title=”Description”][vc_column_text]When the right elements come together\, magic can happen – beauty is created. \nfortyfivedownstairs is pleased to present elemental: a collection of works by Joan Blond\, Aliki K\, Bev Plowman and Jo Carroll. \nJoan Blond \nAbstract expressionist Joan Blond paints both intuitively and from her everyday experiences and memories of nature. Blond’s work is heavily influenced by her rural surroundings and her connection to the land’s positive energy. \n“I find great fulfilment in delivering work that brings about emotions of happiness and excitement to those whom own and view my art. My work is a journey\, ever evolving with continuous growth.  I am blessed to share my stories and to evoke emotion through each and every piece.”   \nAliki K \nFree flowing\, spontaneous and driven by colour\, Aliki K draws inspiration from her love of fashion\, interior design and everyday beauty. \n“My artworks are inspired by the feel of Bohemian Summer\, freedom and frivolity… the flowers & leaves that emerge\, soft and vibrant colours combined together to create a sense of beauty.” \nBev Plowman \nIn this exhibition Bev Plowman is looking at mood\, light\, and the colour spectrum of nature. Use your mind to puzzle these soft\, mosaic like images into something recognisable\, Relax and unwind in the garden\, by the pond\, near the sea. \n“I enjoy creating artworks that are calm and relaxing. ‘Hybrid landscapes’ that feel familiar\, as if you’ve seen them before.” \nPlowman has also created many mosaic murals around Melbourne and won National and State awards for her work. \nJo Carroll \nJo Carroll’s abstract\, moody art captures the imagination of the viewer\, with serene colourscapes that invite you to pause\, reflect\, re-balance and energise. \nCarroll works by allowing herself to be guided by her own intuitive energy.  Clouds\, nebulae\, water and the glow of light being common themes in her work. \n“I love creating atmospheric and ethereal images\, taking the viewer into the painting to experience something transcendent and mystical – often beyond the world as we see it.” [/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Bios” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933f0ae-7308″][vc_column_text]Joan Blond is an abstract expressionist and contemporary artist based in the Yarra Valley\, Victoria. She works from her home studio in Yellingbo and is creatively motivated by the location and the relaxed atmosphere it offers. Mostly self taught\, Joan’s creative side was nurtured by her Mother who constantly shared her love of drawing & painting. Joan loves painting generous blocks of colour her style is vibrantly expressionistic\, often incorporating energetic line work. Joan mostly paints using acrylics with substance\, which add texture to her work and loves experimenting with different mediums\, washes\, and at times works with oil paint. Joan also takes many cues from contemporary design and her love of interior design. She loves working with homeowners and designers looking for paintings with a custom colour scheme. \nJoan has had 4 solo exhibitions and had works included in numerous group shows in Australia. Joan’s paintings have been featured on the TV series\, The Block and are held by private collectors throughout Australia\, New Zealand\, USA\, Germany\, Singapore and recently Hong Kong. \njoanblondart.com\n@joanblond \n  \nAliki K is an Australian artist from Melbourne. Her style is free flowing\, colour driven and full of spontaneity. Other inspirations are through her love of fashion\, interiors and everyday beauty. Aliki was formally trained in Fashion Design\, receiving a BA Fashion at RMIT Melbourne. She has worked as a Product Designer and Buyer for many leading apparel brands. \nAliki has progressed from fashion\, to raising her young children\, and has naturally shifted her creativity to her art practice. \n@aliki.k \n  \nMelbourne artist Bev Plowman has always been involved in the arts as both a practicing artist and visual arts teacher for 20 years. In 2009 she started creating full time as a painter\, mosaic artist and sculptor. Plowman is inspired by the mood and light created by the impressionist painters\, with water\, ponds and the sea as primary themes that come through in her art. Plowman’s work experiments with making marks in paint\, mosaic\, or ceramics to convey a feeling. \nBev Plowman has created many mosaic murals around Melbourne and won National and State awards for her mosaic work. \nbevplowman.com\n@bevplowmanart \n  \nJo Carroll’s abstract\, moody art is borne out of her passion to create from nothing\, capturing the imagination of the viewer. Her serene colourscapes invite her viewers to pause\, reflect\, re balance and energise. Jo begins each artwork without a plan of composition\, simply allowing herself to be guided by her own intuitive energy with clouds\, nebulae\, water and the glow of light being common themes in her work. Jo’ s paintings are at once scenic\, atmospheric and ethereal\, taking the viewer into the painting to experience something transcendent and mystical. \nJo graduated from RMIT with a BA in Creative Advertising and has over 20 years of experience working in major advertising agencies on some of Australia’s top brands. She has also owned and run 2 small businesses and has a passion for helping startups succeed. \nSince having her third child\, Jo returned to her first creative love\, painting. “My earliest and fondest memories of childhood involve drawing and painting. It’s a strong part of my identity. I feel blessed to be at a stage in my life where I can paint full time and be part of a strong and successful community of artists.” \njocarroll.com.au\n@jo.t.carroll[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/elemental/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2020/01/elemental_hero_square_600.jpg
ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
GEO:-37.8147392;144.9730607
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:20210302
DTEND;VALUE=DATE:20210321
DTSTAMP:20210319T003237Z
CREATED:20201126T060416Z
LAST-MODIFIED:20210319T003237Z
UID:10004328-1614643200-1616284799@fortyfivedownstairs.com
SUMMARY:SHORT STORIES
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nLisa Sewards\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nShort Stories\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]2 – 20 March 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]\nEach book turned into a capsule of reflection and hope and led to a body of work that celebrates and pays homage to Australian short stories and reflects on my creative year that was 2020. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Pyrocumulonimbus\, a charcoal sky\, 2020\, unique state\, etchings\, archival pigment prints and charcoal\, four panels\, BFK cotton rag 300gsm and Awagami Tengucho papers 80gsm\, Framed 138x198cm. Photo credit: Chris van der Spuy \nNortherly\, Southerly\, Code RED\, 2020\, unique state\, etchings\, 80cm diameter. Photo credit: Chris van der Spuy \nConcertina Artist Books: Writers are dreamers 2020\, Their words are magic 2021\, They write about Love 2021\, etchings and text\, various sizes \nWriters are dreamers (detail)\, 2020 unique state\, Concertina Artist Book\, 20cm x 225cm (extended)\, etchings\, text and words. Photo credit: Chris van der Spuy \nThe edge of tears\, 2020\, 1/1\, etching\, text and gouache\, Image/plate 50.5 x 38cm. Photo credit: Chris van der Spuy \nAnd I love you. And I miss you. And I’m with you everyday.\, 2020\, unique state\, etchings\, assemblage of multiplate intaglio etchings\, 80cm diameter. Photo credit: Chris van der Spuy \nShort story\, 2020 1/1\, etching\, Image/plate 19x13.5cm. Photo credit: Chris van der Spuy \nPersonal and planetary grief\, 2020\, unique state\, multiplate Etchings\, chine colle\, image 60cm diameter. Photo credit: Chris van der Spuy \nThe boats\, 2020 1/1\, multiplate etching\, image/plates 14.5x21cm. Photo credit: Chris van der Spuy \nBioluminescent phytoplankton\, an eerie sort of magic\, 2021\, etchings\, assemblage 31 panels\, hand coloured\, 80cm d.\, framed 104x104cm \nHis Mementos\, 2020\, etching\, gouache\, Somerset 300gsm\, framed 64x46cm \nThe old man with the Glasshouse (and his book collection)\, 2021\, repurposed original W.Hunter 1942 book-plate etching (incomplete)\, vintage books\, wood\, museum gel\, demountable glass dome\, 30x30x30cm \nThe old man with the Glasshouse (and his book collection) (detail)\, 2021\, repurposed original W.Hunter 1942 book-plate etching (incomplete)\, vintage books\, wood\, museum gel\, demountable glass dome\, 30x30x30cm \nIn the Ashes I\, 2020\, etching\, Somerset 300gsm\, framed 64x46cm \nIn the Ashes II\, 2020\, etching\, Somerset 300gsm\, framed 64x46cm \nLove in the art in Woman\, and the Woman in the art (Winged Victory of Samothrace)\, 2020\, etching\, Somerset 300gsm\, framed 64x46cm \nOnce we were Travellers\, 2020\, etchings\, assemblage 18 panels\, 60cm d.\, framed 104x104cm \nI can still hear the lullaby of a vanished world\, 2020\, etching\, chine-colle\, Somerset 300gsm\, framed 64x46cm \nYou're free to write\, 2020\, etching\, graphite\, Somerset 300gsm\, framed 64x46cm \nWe owe it to the Birds\, 2021\, collage of etchings\, archival pigment prints\, charcoal\, 80cm d.\, framed 104x104cm \nNova\, 2020\, multiplate etching\, Somerset 300gsm\, framed 64x46cm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-093345d6-e02c” title=”Description”][vc_column_text]“The intersection of art and literature\, and the ways in which both invigorate each other”1 is the perfect sentiment to describe Lisa Sewards’ new body of work entitled SHORT STORIES. \nMelbourne’s lockdown severely impacted the amount of time the artist could spend in her studio. As a result\, during her extended time at home\, Sewards began reading Australian short stories.  She was intrigued by the way a writer swiftly draws one into their story\, and then just as swiftly leaves you to wonder and contemplate the story further within your own creative imagination.  Sewards was drawn to those stories with underlying threads and motifs about displacement\, hope and humanity\, the threads connecting to her previous bodies of work and solo exhibitions.  Climate change was also a strong undercurrent in many of the stories and along with a global pandemic\, a reminder of the vulnerability of our world. \nEach book turned into a capsule of reflection and hope\, leading to a body of work that celebrates and pays homage to Australian short stories.  The intersection of the visual arts and literature is a powerful combination and continues to bring important messages to the forefront of people’s minds and conversations.   The imagery reflects and reimagines the narratives\, extracting symbolic motifs from the written pages.  The publications that inspired SHORT STORIES include the very first published Australian short story book held in the State Library of Victoria\, to one whose publisher closed this year leaving only a raw manuscript\, to a small selection of the huge talent of contemporary authors and writers in Australia. \nThe works on paper in the exhibition are primarily etchings and a small selection of oil paintings. Sewards’ own personal vintage typewriter will be displayed in situ.  Short story books will be available to read in the gallery by visitors in a COVIDsafe environment. \nSupported by the City of Melbourne Arts Grants. \n\n by Dr Laurie Steed\, Author of Nova\, short stories\n\n[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-093345d6-e02c”][vc_column_text]Lisa Sewards is a Melbourne based Printmaker using copper and solar plates to produce etchings and works on paper.  Her studies were undertaken at RMIT\, Melbourne School of Art\, and the CAE and she is an active member of NAVA (National Association for the Visual Arts)\, Firestation Print Studio and the Print Council of Australia Inc. \nSewards recurrent motif of the Parachute is weaved through her works\, and it is the object pivotal in many bodies of work and solo exhibitions.  In her 2013 White Parachute exhibition\, a post memory referencing identity and family memories surrounding a found abandoned silk parachute during internment in WW2 formed its theme; in her 2015 Flight from Silence exhibition the WW2 messenger Pigeons were highlighted\, and in her 2018 exhibition entitled Thousand kisses deep\, an underwater WW2 resting place\, its maritime parachutes were researched and imagined. During 2020 the narrative of captured scenes within a Snow Globe developed with several works paying homage to her previous solo exhibitions.  Due to Melbourne restrictions the referencing of life within a Snow Globe seemed very relevant and her exhibition at Queenscliff Gallery in regional Victoria was recently shown on-line via interactive cyber software. \nSewards has been shortlisted as a Finalist in several major Australian Works on Paper Awards including The Muswellbrook Art Prize\, Peebles Print Prize\, NAB Flannigan Acquisitive Art Prize\, the M Collection Award\, Hutchins Art prize\, AMP Capital Art Prize and The Burnie Print Prize. \nEarlier this year Bayside Gallery VIC in conjunction with Bayside City Council VIC commissioned a Q&A and Virtual Studio Tour as part of their on-line arts program.  Several of Sewards’ works have entered public collections including the State Library of Victoria\, the Australian War Memorial ACT\, Hardcourt Homestead TAS\, Stonnington Council VIC and several private and government faculties. \nInvited by TACIT Galleries Melbourne Lisa Sewards was their Feature Artist during Editions 2019\, an annual printmaking exhibition that showcases Victorian Printmakers.  Also by invitation from Print Council of Australia\, Sewards’ work was shown at Sydney Contemporary International Art Fair 2018\, 2019 and in the 2020 on-line bespoke digital platform. \nTo quote from the catalogue essay written for her White Parachute exhibition by Dr. Julie Cotter\, Australian Art Historian and author Tom Roberts and the Art of Portraiture\, “Sewards imbues her work with a poetic stillness that suggests notions of reflection and passiveness”. \nAnd to quote the Artist “I see so much beauty in the parachute object\, from its pure functional form to its rich association with past stories I have uncovered. To many people\, myself included\, they provide a universal symbol of hope\, survival and strength”. \nwww.lisasewards.com.au[/vc_column_text][/vc_tta_section][vc_tta_section title=”ARTIST TALK Saturday 13 March” tab_id=”1612420166425-c2d137b4-2148″][vc_column_text]SHORT STORIES\nTalk by Lisa Sewards\nSaturday 13 March\, 1.30pm \nAs part of her solo exhibition SHORT STORIES\, Lisa Sewards will give an artist talk about this new body of work and the intersection between visual art and literature. \nFREE EVENT\, spaces may be limited. \nPlease RSVP to communications@fortyfivedownstairs.com[/vc_column_text][/vc_tta_section][vc_tta_section title=”ARTIST and AUTHOR in Conversation Saturday 20 March” tab_id=”1616111752809-65d7a1b4-ff9e”][vc_column_text]Lisa Sewards SHORT STORIES exhibition celebrates the short story genre in Australian Literature and concludes Saturday March 20th at 3pm.  Sewards will host Author COLIN VARNEY for a Q&A and reading from his short story titled SOLO at 1pm. \nSOLO was shortlisted as a finalist in The Big Issue Short Fiction award in October 2020 and has inspired two of the artworks in the exhibition that opened March 2nd. \nJoin the Artist and the Author at 1pm in the beautiful space of fortyfivedownstairs Gallery in Flinders Lane.  The Gallery is open on Saturday 11-3. \nInspired by the creative storytelling of authors and writers read during Melbourne’s lockdown Sewards presents works on paper\, mainly etchings\, alongside oil paintings and her vintage typewriter.  The seventeen Australian short story books that inspired the artist’s new body of work are also available to read in the gallery. \nThe exhibition is supported by The City of Melbourne Arts Grants 2021.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Catalogue” tab_id=”1615259819331-626cd5d8-e210″][vc_column_text]CLICK HERE for the SHORT STORIES exhibition catalogue\, including an essay by Loni Jeffs. \nCLICK HERE for the SHORT STORIES works list.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/short-stories/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2020/11/600Lisa-Sewards_Northerly-Southerly-Code-RED_etchings2020.jpg
ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
GEO:-37.8147392;144.9730607
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:20200204
DTEND;VALUE=DATE:20200216
DTSTAMP:20191108T013216Z
CREATED:20191107T020029Z
LAST-MODIFIED:20191108T013216Z
UID:10004299-1580774400-1581811199@fortyfivedownstairs.com
SUMMARY:reconstructed landscapes
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nAnnie Burns\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nreconstructed landscapes\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]4 – 15 February 2020\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]\nDripping\, verdant\, lush\, green and mossy\, these forests abound with ferns\, strange luminous fungi and ancient gondwanaland trees… \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Annie Burns\, forest\, 2019\, acrylic on canvas\, 137cm x 86cm \nAnnie Burns\, golden image\, 2019\, oil on canvas\, 66cm x 76cm \nAnnie Burns\, mangrove selfie\, 2019\, acrylic on aluminium\, 61cm x 61cm \nAnnie Burns\, still place\, 2019\, acrylic on wood panel\, 76cm x 101cm \nAnnie Burns\, plastic garden\, 2019\, acrylic on wood panel\, 76cm x 102cm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-093360cc-a2f2″ title=”Description”][vc_column_text]We are fortunate in Australia to have retained some relatively pristine wilderness areas\, but climate change\, deforestation and the destruction of the environment are rapidly altering our natural world. \nThe nascent global movement of rewilding\, in areas such as Europe\, is restoring lost ecological processes. Does our future include the rewilding of Australia in an attempt to restore a small part of the complex natural environments we are currently destroying? Spending time in the bush\, the forests\, the desert or a garden nourishes our souls\, but also raises issues of the interplay between humans and the rest of nature – our violence and exploitation of the natural world. \nTasmania’s magnificent forests and Victoria’s old growth forests are unique and enchanting areas. Dripping\, verdant\, lush and green\, these forests abound with ferns\, strange luminous fungi and ancient Gondwanaland trees\, festooned with dripping mosses and lichens. \nAnnie Burns’ work is engaged with ideas of mortality\, a consideration of stereotypical imagery\, and a passionate interest in the sublime natural world and our relationship with it.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-093360cc-a2f2″][vc_column_text]Annie Burns is an Australian visual artist\, currently living and working in bushland on the outskirts of Melbourne. Her recent work is informed by this environment and its beauty and vulnerability as the area faces the impact of climate change\, hotter and drier weather and increasingly severe and frequent bushfires. \nAnnie attended the Victorian College of the Arts (VCA). She has participated in a number of group shows in Australia and Japan. She has had several solo shows in Melbourne and has won a number of awards. She has work in public and private collections including the City of Richmond collection (VIC)\, Diamond Valley Art Award Collection (VIC)\, Ministry of Housing (VIC)\, Araluen Centre (NT)\, Federation University Art Collection\, (VIC)\, and others.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/reconstructed-landscapes/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2019/11/Annie_Burns_hero_square_600.jpg
ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
GEO:-37.8147392;144.9730607
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:20200121
DTEND;VALUE=DATE:20200202
DTSTAMP:20200116T021833Z
CREATED:20191107T011702Z
LAST-MODIFIED:20200116T021833Z
UID:10004298-1579564800-1580601599@fortyfivedownstairs.com
SUMMARY:The Delusions Run Thick
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nMark Chu\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nThe Delusions Run Thick\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]21 January – 1 February 2020\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]\nChu embraces the power of fantasy\, hollow ambition\, and absurdity… \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Mark Chu\, Me as a Goalkeeper\, a Vicar\, a Nationalist\, and a Cartoon Snail Called Barry\, 2019\, acrylic on canvas\, 152cm x 122cm \nMark Chu\, Me as a Trapeze Artist and Hanging Meat\, 2019\, acrylic on canvas\, 152cm x 122cm \nMark Chu\, Me Upside-Down on a Rollercoaster Clung to a South-Australian Red-Backed Sloth\, 2019\, acrylic on canvas\, 152cm x 122cm \nMark Chu\, Me as a Clear Plastic Replica of Rodin's The Thinker Peering Through Scissors by Crop Fields at Sunrise as Hot Iron Filings Cascade\, 2019\, acrylic on canvas\, 152cm x 122cm \nMark Chu\, Me as Lucifer in a Tango for One\, Mark Chu\, Me as a Victorian Silhouette (Left Profile)\, 2019\, acrylic on canvas\, 152cm x 122cm \nMark Chu\, Me Taking the Place of a Skittish Caribou's Heart\, 2019\, acrylic on canvas\, 152cm x 122cm \nMark Chu\, Me as a Bull\, 2019\, acrylic on canvas\, 152cm x 122cm \nMark Chu\, Me as a Mango Tree Coogi Loom Chair\, 2019\, acrylic on canvas\, 152cm x 122cm \nMark Chu\, Me as a Skybound Skiing Jockey\, 2019\, acrylic on canvas\, 152cm x 122cm \nMark Chu\, Me as a Victorian Silhouette (3/4 Profile)\, 2019\, acrylic on canvas\, 152cm x 122cm \nMark Chu\, Me as a Victorian Silhouette (7/8 Profile)\, 2019\, acrylic on canvas\, 152cm x 122cm \nMark Chu\, Me as a Victorian Silhouette (Left Profile)\, 2019\, acrylic on canvas\, 152cm x 122cm \nMark Chu\, Me Fetching a Wet Cigarette from the Autumn View of a Glass Ashtray\, 2019\, acrylic on canvas\, 152cm x 122cm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-093355bd-76c8″ title=”Description”][vc_column_text]Traversing the postmodern landscape\, imagination and identity become one. In The Delusions Run Thick Mark Chu embraces the power of fantasy\, hollow ambition\, and absurdity\, in a series of large scale\, self-portraits depicting the plural nature of who or what a person can (and cannot) be. \nIn one work\, Chu becomes a goalkeeper\, a vicar\, a nationalist\, and a cartoon snail called Barry\, highlighting how persistent (and mollusk) transformation can be. Using virtual ideology\, Chu’s kinetic and colorful work thrusts himself into an irreverent multiverse\, where passion collides with awkwardness\, ethics with violence\, where object\, life\, idea and category are all flattened by paint and the hallucination of buzzwords. A conscious departure from modernist portraits\, these paintings tap into just how demented the chaos of the zeitgeist can be\, where new ideals inundate a global society still bound to its past. \nIn taking postmodernity as the earnest subject of these reflective works\, Chu consciously engages in a metamodern practice. Practically\, Chu layers colors with hundreds of handwritten buzzwords to create tangled non-representational forms\, with no literal meaning. When shapes or objects emerge\, he strengthens their form\, applies motifs from the same universe. After repeating this several times\, he inserts himself\, then masks negative space with further color\, leaving the final composition devoid of most textual marks\, and a representational self-portrait in image.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-093355bd-76c8″][vc_column_text]Mark Chu’s painting is informed by multidisciplinary work\, having written for The Good Food Guide\, The Lifted Brow\, and EuropeNow\, and recorded as a solo pianist with the MSO and WASO. Mark has a fiction MFA from Columbia University and recently studied the Complex Systems Summer School at the Santa Fe Institute. Consequently\, he is engaged in a research investigating color properties of words. \nMark has recently shown paintings in Melbourne\, Shanghai and New York City. He frequently contributes to the Atlantic City Arts Foundation’s public art program\, through murals\, print\, and installations in disused spaces. In 2019 Mark attended the Q Bank Residency in Queenstown\, Tasmania. Later in 2020\, Mark will collaborate with Michelin-starred restaurant Nouri\, in Singapore\, on works reflecting emotions uncommon to the fine dining experience. This is Mark’s ninth solo painting show\, and he is based in New York City.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/the-delusions-run-thick/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2019/11/markchu_hero_2020_square_600.jpg
ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
GEO:-37.8147392;144.9730607
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:20191112
DTEND;VALUE=DATE:20191124
DTSTAMP:20191114T062608Z
CREATED:20190823T055602Z
LAST-MODIFIED:20191114T062608Z
UID:10004293-1573516800-1574553599@fortyfivedownstairs.com
SUMMARY:Once was Paradise
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nDiane Keating\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nOnce was Paradise\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]12 – 23 November 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]\nOur ancient fragile landscape is suffering and needs to be nurtured to sustain human life\, fauna and flora. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]The Aftermath\, 2019\, acrylic on canvas\, 153 cm x 122 cm \nOnce was Paradise\, 2019\, acrylic on canvas\, 153 cm x 122 cm \nReef\, 2019\, acrylic on canvas\, 153 cm x 122 cm \nOld growth forest\, 2019\, acrylic on canvas\, 153 cm x 122 cm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933168b-025d” title=”Description”][vc_column_text]Diane Keating presents a new series of oil paintings highlighting her passion for the natural environment and horror at seeing the effects of climate change on remote areas. These paintings bear witness to the spiritual and physical void left by logging to fauna\, flora and to our precious waterways. \n“It leaves me sad and frustrated that those in power are not acting with the necessary will and resources to mitigate the effects of climate change. Our ancient fragile landscape is suffering and needs to be nurtured to sustain human life\, fauna and flora.” \nIn this body of work\, Keating depicts endangered environments that are not always accessible to the average person who may never be able to experience such special places. Our protection is needed for these places to survive the onslaught of so-called development which results in only short-term monetary gain. The loss of place and the warming and degradation of our oceans and its people diminishes us as caring human beings.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933168b-025d”][vc_column_text]Diane Keating is a Melbourne-based painter with a Bachelor of Education majoring in Art from Deakin University. \nShe has exhibited frequently in solo and group exhibitions locally and nationally since the 1990s. \nKeating primarily focuses on environmental and political issues in her practice.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Talk Saturday 23 November” tab_id=”1573712634758-f7166fba-6c52″][vc_column_text]ARTIST TALK Saturday 23 November\, 11.30am \n\nfortyfivedownstairs\, 45 Flinders Lane\, Melbourne\nFREE EVENT\, ALL WELCOME\n\nJoin us in the gallery on the final day of the exhibition to hear Diane Keating speak about her current work and artistic process.\n\n[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/once-was-paradise/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2019/08/dianekeating_reef_webhero_600.jpg
ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
GEO:-37.8147392;144.9730607
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:20191112
DTEND;VALUE=DATE:20191124
DTSTAMP:20191114T050545Z
CREATED:20190823T030929Z
LAST-MODIFIED:20191114T050545Z
UID:10004292-1573516800-1574553599@fortyfivedownstairs.com
SUMMARY:Wilderness: A Natural Response
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nTerry Swann\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nWilderness: A Natural Response\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]12 – 23 November 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 unique perspective of the contrasting landscapes of remote Western Australia and the Northern Territory. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Terry Swann\, 2019\, watercolour\, 530 x 530 mm \nTerry Swann\, The Bungle Bungles\, 2019\, watercolour\, 530 x 530 mm \nTerry Swann\, Beside Deep Gorge\, Burrup Peninsula\, Pilbara\, 2019\, watercolour\, 530 x 530 mm \nTerry Swann\, Pool Reflections\, Broome\, 2019\, watercolour\, 530 x 530 mm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933cea7-6e07″ title=”Description”][vc_column_text]Renowned contemporary watercolourist Terry Swann’s Wilderness: A Natural Response\, is a unique perspective of the contrasting landscapes of remote Western Australia and the Northern Territory. \nFrom the abstract\, angular beauty and chromatic drama of desert landscapes marked by time and an unrelenting dry; to the lush relief of azure hot springs and waterholes reflecting life’s movement and vitality\, Swann’s impressions of the Pilbara\, East and West Kimberley and the Tanami Desert capture an immediacy of place expressed in vivid hues.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Statement & Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933cea7-6e07″][vc_column_text]My painting is a journey into landscape\, an exploration of place. \nI am drawn to Australia’s remote places where I feel a genuine connection to the land. There I paint on site to capture the essence of the landscape. \nPlein Air Painting is all about ‘painting in the moment’. The immediacy of vision makes the imagination move to an exciting new ground and see possibility of shapes\, colours and line. The painting takes on a life of its own as one drives the emotions through the work. \nTerry Swann is one of Australia’s foremost contemporary landscape watercolourists. She has been working as a professional artist for over 30 years. \nShe has held over 20 solo exhibitions in Sydney and Brisbane and Melbourne. \nBorn in Sydney\, Swann had her first solo exhibition in 1978 at Sydney’s Holdsworth Galleries\, who exhibited her work for over 18 years. \nShe moved to the Yarrabah Aboriginal Community\, Far North Queensland in 1988 and to South East Queensland in 1990. In 2005 she moved to Melbourne. \nHer work has taken her around the world\, but it is the remote Australian landscape that captivates her. \nEach winter\, Swann travels through remote areas of Australia working on location in all weather conditions. Her work explores these varied landscapes expressed in her unique\, spontaneous style. \nHer work is held in numerous private and public collections including the State Library of Brisbane\, State Parliament House of Queensland and Federal Parliament Offices\, Brisbane.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Terry Swann in Conversation Friday 22 November” tab_id=”1573700293694-2f6b0ca0-e4c6″][vc_column_text]Surviving En Plein Air: painting across Australia \nJoin artist Terry Swann for a conversation about the pleasures (and occasional pains) of watercolour painting in the outdoors. She’ll also demonstrate some of the watercolour techniques she’s used in this exhibition\, which ranges from mangroves in the East to deserts in the West. \nFree event\, but numbers are limited.\nBookings essential. Email communications@fortyfivedownstairs.com. \nFriday 22 November\n12.30pm – 1.30pm \nThis is the first of an ongoing series of conversations in the gallery. Watch this space![/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/wilderness-a-natural-response/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2019/08/terryswann_webhero_600.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190827
DTEND;VALUE=DATE:20190908
DTSTAMP:20190918T012514Z
CREATED:20190606T020515Z
LAST-MODIFIED:20190918T012514Z
UID:10004287-1566864000-1567900799@fortyfivedownstairs.com
SUMMARY:Since You’ve Been Gone
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nPenelope Metcalf\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nSince You’ve Been Gone\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]27 August – 7 September 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]\nIt won’t always be like this. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Penelope Metcalf\, Square Balwyn\, 2018\, oil on canvas\, 71 x 71 cm \nPenelope Metcalf\, Home Time\, 2019\, oil on canvas\, 102 x 72 cm \nPenelope Metcalf\, Park Life\, 2018\, oil on canvas\, 92 x 102 cm \nPenelope Metcalf\, Over the Hill\, 2019\, oil on canvas\, 92 x 92cm \nPenelope Metcalf\, Since You've Been Gone #1\, 2018\, oil on canvas\, 72 x 92 cm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933ae74-3296″ title=”Description”][vc_column_text]Big old houses sit beneath tall trees\, on large blocks\, on wide streets\, under big skies. \nThis new suite of paintings by Penelope Metcalf is based in and around the eastern suburbs of Melbourne as it is now. \nIt won’t always be like this. \nFor complete catalogue and prices\, visit penelopemetcalf.com.au[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933ae74-3296″][vc_column_text]This is Penelope Metcalf ’s fifteenth solo exhibition. \nShe graduated with a MVA in Fine Art from the VCA in 1998. \nShe exhibits regularly in Melbourne and Sydney. \nCV \npenelopemetcalf.com.au[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/since-youve-been-gone/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
GEO:-37.8147392;144.9730607
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:20190716
DTEND;VALUE=DATE:20190811
DTSTAMP:20190718T053354Z
CREATED:20190522T043640Z
LAST-MODIFIED:20190718T053354Z
UID:10004282-1563235200-1565481599@fortyfivedownstairs.com
SUMMARY:After the Archive: Park Life
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nAmanda Johnson\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]After the Archive: Park Life[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]16 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…evoke the ecological impacts of colonisation upon the literal and cultural landscapes of the present. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Supported Exotic: Transplanted Queensland Bottle Tree\, Royal Botanic Gardens\, Cranbourne\, 2015\, synthetic polymer and oil on canvas\, 1100 x 1550 mm \nGone to Seed: Introduced green (Tasmanian South Cape 1792)\, 2015\, synthetic polymer and oil on canvas\, 1100 x 1550 mm \nManfern: First Contact (after Jean Piron\, Recherche Bay\, Tasmania\, 1792)\, 2017\, synthetic polymer and oil on canvas\, 1100 x 1550 mm \nSupported Exotic: Dragon Tree 2\, 2018\, synthetic polymer and oil on canvas\, 1100 x 1100 mm  \nAfter Orchids: Extinction Garden\, 2015\, synthetic polymer and oil on canvas\, 400 x 400 mm  \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-09336fc7-2d38″ title=”Description”][vc_column_text]Amanda Johnson’s paintings question the fate of the public garden in a context of global warming. How has our physical and cultural encounter with the public garden changed? Has the picturesque garden subject (as landscape vista\, folly\, or symbol of civic confidence) been relegated to expressions of cultural nostalgia as environmental problems take their toll? \nParks and gardens were quickly established in Australian colonies to celebrate settlement\, the rise of botanical scientific collections and the global exchange of exotic plant species and ready cultivars. Colonial documentors of flora and fauna assumed that their subjects would endure in perpetuity; naturalists\, artists and voyagers were also enamoured of glimpses of what they perceived to be ‘gentlemen’s parks’\, mistakenly believing tracts of land were devoid of Indigenous inhabitants. \nDrawing on field trips to urban and regional botanic gardens and national parks\, these paintings offer correctives to these views\, re-thinking early botanical empire building\, or colonisation by seed. They also evoke the ecological impacts of colonisation upon the literal and cultural landscapes of the present. \nThe paintings on canvas are generally large scale and mimic archival paper documents. They are replete with stains\, watermarks and foxing mould copied from deteriorated botanical documentations. As painterly parodies of early colonial botanical documentations\, they perhaps suggest the melancholy possibility of last contact. \nThe exhibition’s explorations\, taken together\, invite questions as to the landscape subjects of the future. What models of ‘park life’ will be possible going forward?[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-09336fc7-2d38″][vc_column_text]Amanda Johnson is a painter and writer who has lived in Melbourne and on the Bellarine. Her artwork has been shown in Australia and overseas. Her work has been represented in the 2019 Hadley’s Art Prize\, the 2018 Bruny Prize and the 2016 Bruny Prize. Paintings have also been shown in the Geelong Contemporary Art Prize (2012) and the Fletcher Jones Prize (2006). She has a Masters in painting from Victorian College of the Arts (1994-5). Since graduating\, she has been the recipient of Asialink and Arthur Boyd Bundanon residencies for painting. A previous solo show\, Friable:The Lost Garden\, was held at Geelong Gallery in late 2015 as part of the gallery’s regional artists program. In 2011\, she worked with artist Michele Burder to create the exhibition Understorey: Botanic Gardens\, Past\, Present\, Future – from Civic Vision to Climate Change (Geelong Gallery). The exhibition toured to regional Victoria in 2011. \nAmanda Johnson’s practice is interdisciplinary; she publishes poetry and prose as A. Frances Johnson. Her writing often overlaps postcolonial ecocritical themes found in her art. Her 2007 novel Eugene’s Falls (Arcadia) retraced the so-called ‘wilderness’ journeys of colonial painter Eugene von Guerard across Taungurong country in The Great Divide. Amanda currently works as a Senior Lecturer in Creative Writing in the School of Culture and Communication at the University of Melbourne.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Talk Saturday 3 August” tab_id=”1562122494874-95262d30-3c79″][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/after-the-archive-park-life/
LOCATION:Victoria
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2019/05/amandajohnson_supportedexotic_hero600.jpg
ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
END:VEVENT
END:VCALENDAR