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DTSTART;VALUE=DATE:20211109
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SUMMARY:Tales from the Greek: Myth\, Beauty and Brutality
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nMarco Luccio\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nTales from the Greek\nMyth\, Beauty and Brutality[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]9 November – 4 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…Luccio’s artworks are at once compelling and confronting. They invite instant reaction and attention. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Marco Luccio\, Corruption\, 2021\, drypoint on Velin Arches Paper \nMother And Child\, 2021\, 60 x 90cm\, drypoint on Velin Arches Paper \nBurning Heart\, 2021\, 14.5 x 14cm\, drypoint on Velin Arches Paper \nTrojan Horse Hideaways\, 2021\, 38.5 x 30cm\, drypoint on Velin Arches paper \nThe Feather\, 2021\, 15.5 x 17cm\, drypoint on BFK Rives White Paper \nFreedom\, 2021\, 20.5 x 29.5cm\, drypoint on Velin Arches Paper \nThe Wooden Cow\, 2021\, 29 x 30cm\, drypoint on Velin Arches Paper \nListening\, 2021\, 60 x 80cm\, charcoal on Velin Arches Paper \nThe White Bull\, 2021\, 15 x 18cm\, drypoint on BFK Rives White Paper \nSisyphus Holding\, 2021\, 24 x 30cm\, drypoint on Velin Arches Paper \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-093333b8-571a” title=”Exhibition Statement”][vc_column_text]\nTales from the Greek is a new exhibition and book launch by award winning international artist Marco Luccio who has once again united with award winning and Miles Franklin shortlisted author John Hughes. \nThe artwork is an extensive and imaginative response to  a collection of ten narrative adaptations of Greek tragedies written by Hughes. Some of the stories remain set in ancient Greece\, while others provide a more modern context for the adaptation. \nLuccio has responded to these stories with a series of dramatic and gritty artworks. Using a variety of mediums\, he has created a suite of works that brings the text to life in a powerful and memorable way. \nInternationally recognised for his cityscapes\, Luccio has previously depicted stories by John Hughes in the beautiful book\, The Garden Of Sorrows\, described by some as the hardcover answer to digital storytelling with its art object construction and generously illustrated presentation. \nWith Tales from the Greek\, Luccio’s artworks are at once compelling and confronting. They invite instant reaction and attention. When charcoal is employed\, the images are filled with classical and sculptural chiaroscuro. But when etchings are the chosen medium\, the works are filled with the signature Luccio style of energetic mark making often described as honest\, direct and instantly recognisable. \nThese new works by Luccio will surprise and delight visitors to the show who will be greeted with a rich and powerful exhibition created by an artist who has always been interested in the classical world whilst remaining relevant and contemporary with his practice. \n[/vc_column_text][/vc_tta_section][vc_tta_section title=”Marco Luccio & John Hughes” tab_id=”1632277520161-3387b06a-5b8e”][vc_column_text]John Hughes and Marco Luccio met while Luccio was an artist in residence at Sydney Grammar in 2010. Hughes\, the Head Librarian\, invited Luccio to collaborate on The Garden of Sorrows after seeing his artwork. Consequently\, they have collaborated again to produce the breathtaking Tales from the Greek. \nMarco Luccio is an award- winning artist whose work is represented in over 40 major public collections both nationally and internationally\, including the New York Public Library\, the Museum of the City of New York\, The Skyscraper Museum and the National Gallery of Australia. His exhibition history includes 50 major solo exhibitions\, and 170 group\, curated and award shows. He has also received many commissions. Luccio has also been shortlisted for many major awards\, including twice for the Dobell prize\, Australia’s most prestigious drawing prize\, and in 2013 for the Adelaide Perry Prize for drawing. A feature documentary about Marco Luccio is currently in production. \nJohn Hughes is the author of seven books. His first book\, The Idea of Home\, won the 2005 NSW Premier’s Award for Non-Fiction\, the 2006 National Biography Award\, and was the National Year of Reading ‘Our Story’ winner for NSW in 2012. His second book\, Someone Else: Fictional Essays\, won the Adelaide 2008 Festival Award for Innovation and the 2008 Queensland Premier’s Award for Short Stories. His third book\, The Remnants\, was published in 2012 by UWAP\, who also published The Garden of Sorrows in 2013\, Asylum in 2016\, and No One in 2019\, which was shortlisted for the 2020 Miles Franklin Literary Award. His latest novel\, The Dogs\, was published by Upswell in September.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Events” tab_id=”1632277645070-839a9155-0139″][vc_column_text]TALES FROM THE GREEK\nMyth\, Beauty and Brutality \nOpening Event & Book Launch\nFriday 19 November\nDue to density limits\, there will be two sessions for the event: 5pm – 6.30pm & 7pm – 8.30pm\nFREE EVENT: RSVP essential. Email communications@fortyfivedownstairs.com with your preferred timeslot. \nExhibition Tour with John Hughes\nThursday 25 November\, 11:00am\nFREE EVENT \nArtist Talks\nMyth & Mayhem\nArtist and author panel discussion: 20 November 11:30am-1:00pm\nFREE EVENT: RSVP essential and COVIDsafe practices and limits apply. Email communications@fortyfivedownstairs.com. \nMaking the Greek Tales\nArtist talk: 27 November 11:30am-1:00pm\nFREE EVENT: RSVP essential and COVIDsafe practices and limits apply. Email communications@fortyfivedownstairs.com. \nDrawing in the Gallery with Marco Luccio\nFun and lively drawing sessions learning new approaches to mark making whilst developing your skills in an inspiring and friendly environment. All levels welcome! \nPower & expression\nFriday 12 November\, 11:00am-1:00pm\n$75 per person\, pay on the day\nPlease bring your own sketchbook\, pencil\, eraser and fine liner pen\nRSVP essential and COVIDsafe practices and limits apply. Email communications@fortyfivedownstairs.com. \nThe beauty of line\nFriday 26 November\, 11:00am-1:00pm\n$75 per person\, pay on the day\nPlease bring your own sketchbook\, pencil\, eraser and fine liner pen\nRSVP essential and COVIDsafe practices and limits apply. Email communications@fortyfivedownstairs.com. \nCapturing Chiaroscuro\nFriday 3 December\, 11:00am-1:00pm\n$75 per person\, pay on the day\nPlease bring your own sketchbook\, pencil\, eraser and fine liner pen\nRSVP essential and COVIDsafe practices and limits apply. Email communications@fortyfivedownstairs.com.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Tales from the Greek Book” tab_id=”1632878893693-64fa647e-8996″][vc_single_image image=”574559″][vc_separator][vc_column_text]\n\nTALES FROM THE GREEK \nby John Hughes\nArtwork by Marco Luccio \n1st edition is limited to just 500 copies\, numbered and individually signed.  \nDesigned and printed in Australia.  \n400+ pages printed on 140gsm paper with hard-cover and dust jacket that features over 200 artworks.  \n\n\n$220  \n\n\nPre-order now via marcoluccio.com.au  \n\n[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Statement” tab_id=”1632879386908-764f2223-18f3″][vc_column_text]\n\n\nArtist’s statement about the creation of this book\n\n\n\n\n\n\n\n\n\nTales from the Greek has been an odyssey in its creation. \nWhen I read the stories the first time\, I knew this was going to be a monumental project. I had worked with John last on The Garden of Sorrows\, which has had great critical acclaim. John’s words inspired so many ideas along the themes of love\, power\, war\, hate\, revenge and ambition\, together with a multitude of emotions. I love challenging myself to create new work and am constantly seeking ways to expand my artistic ability and creative scope. My hope for these works is that they not only resonate in a traditional way\, but also are seen as fresh and contemporary interpretations of Greek mythical imagery. To respond to words with such depth and layering was challenging and inspiring. John’s sentences seem to be so beautifully crafted and thought-out\, that each paragraph gave birth to countless possibilities. \nI started way back in 2016\, by reading the text and making small notes next to each story in the form of one or two words plus a thumbnail sketch. Each story required a great time in between to absorb\, so it was a time-consuming process. After the thumbnails next to the text\, I would do a storyboard in my sketchbook with captions. This gave me a good sense of the drama and flow of the images\, and helped make sure they were in order. \nFrom there I then hired both male and female models to pose in the scenes required\, from which I would then work up big charcoal drawings. After the charcoal drawings there came paintings\, monotypes and drypoints\, and later ink drawings  and collagraphs\, as well as an array of assemblages too. \nSome of the works are massive\, others small\, intimate portraits. Each medium allowed its own kind of effect and offered moods that are unique. The charcoals allowed for incredible chiaroscuro\, giving the images depth and dramatic light and dark. Perfect for some of the scenes where richness in mood and feeling were desired and conveyed in John’s rich text. The drypoints give the images gritty and powerful lines. They create an effect resonating energy and a visceral quality that is particular to the medium. The paintings allowed me to create a grander statement. The massive waterscape inspired by Icarus\, for example\, gave me the opportunity to paint water in an abstracted and physical manner using slates of wood to move the paint across the canvas. The images of the Trojan Horse seemed to demand a large scale\, so those were painted on 6ft canvasses. \nOne of my favourite stories to draw from was Sisyphus. What an amazing story\, and John’s take on it is so beautiful\, sad and at the same time filled with a philosophical complexity that is inspiring. Maybe during Covid times this story resonates the most as we all feel like we’re pushing our metaphorical rocks up and down the same hill. In fact\, I have deliberately omitted the rock that Sisyphus is pushing so that we all may place our own metaphorical obstacle in the space. \nI loved working on Achilles; the great battle scenes were thrilling to depict. It was such pleasure to draw the heroes Achilles\, Hector and Paris holding shields and wielding spears. And\, of course\, to draw the Trojan Horse that the soldiers hid in to surprise their hosts. \nAll the stories lend themselves so well to energetic mark making. I have chosen the splash of colour on a number of pages to evoke the colour of the old Greek vases\, but also to give a sense of ancient memory. A kind of earthy colour that feels old world whilst remaining complementary to the black and white images that are the main style in the book and in the exhibition itself. \n\n\n\n\n\n\n\n\n\nI chose the cover image because the horse to me represents civilisation. A horse can be very architectural. Without horses\, cities couldn’t be built in ancient civilisations. And of course\, most of all\, the Trojan Horse. The horse on the cover appears out of what could be seen as smoke after a fire…perhaps after the battle. \nSome of the stories are so breathtakingly beautiful the images poured out and the only question was how to limit myself and decide which were vital to the story. ‘Corruption’ was the first story. The hero trapped on an island with only his falcon companion\, which represented freedom and his rotting foot. This is where the idea came to me of looking at iconic religious painting where the head is tilted. I wanted these images to have the meaningful and layered appearance of a religious icon. Hence you will see in many of the stories the heads of the characters lean to one side in an exaggerated style\, which is highly visible in the woman and child in ‘Lady Macbeth of Tamarama Bay’\, as well as other stories in the book. \nI looked at artists such as Picasso and Rouault\, as well as years of studying what makes an image memorable and powerful. In addition\, I poured over my books on Ancient Greek myth\, as well as sketching the Greek and Roman artefacts in the New York Metropolitan Museum. I feel that this body of work is a combination of everything I have learnt in over thirty years of making art\, and that I needed that experience to be able to do justice to such powerful words. \nThe myth of Icarus and the story of the Minotaur was one story I couldn’t wait to get my hands on. How wonderful to depict this story so well-known yet told in a such a new and beautiful way. As an artist I salivated at the idea of drawing the wings of Icarus falling from the sky. To get my teeth into sketching how to make him fall dramatically\, I hired a model to pose upside down\, leaning against a wall to appear to be falling. And later\, with the model posed to appear squashed and broken. I used feathers I have collected over the years as inspiration\, along with looking at dead birds and classical renderings by Michelangelo and others of falling men. Also\, the prospect of creating my own version of the Minotaur after years of looking at Picasso was at once daunting and inspiring. I made many different versions and I’m proud of the one I have come up with. I hope that it has its own style born from me and the words of John. (Oh\, and the wooden cow in this story was a gift to me from the writer. I loved making her using drypoint to depict the hard nails hammered into slates of wood to create a visual effect filled with deep scratched marks whilst remaining somehow light in quality. The cow almost seems like the posters you might find in an old butcher shop showing the prime cutlets on the beast. With this story I went away for a couple of days to Daylesford and spent countless hours making the sketches in my hotel room. By the end of it\, the room was filled with drawings covering the bed and the floor\, and I went back home ready to turn those sketches into drypoints for the book.) \nThroughout the image making I would look for potential characters to use in the book. I also used some of the images I had made previous to the book coming into existence. I would draw the same poses over and over. For instance\, in ‘Corruption’ one of the characters listens whilst hiding. I photographed a friend posing with his hand near his ear. I kept refining it\, drawing it in ink\, charcoal and then finally with drypoint\, until it looked just right\, with a balance of light and dark\, whilst keeping a stark and graphic quality which I think works well with John’s writing. I found myself being innovative too\, exploring new methods I had not used before such as collagraphs. This is visible in the image of cracks in a wall in ‘Knots’\, where I used an old book cover that I painted glue over and then scratched and ripped away to create the appearance of cracks. They are really cracks in a way\, just like the leaves in the Icarus story are real leaves I pasted onto cardboard and printed over. Something about the materials being the real thing they are depicting is very appealing and new for me. \n\n\n\n\n\n\n\nImages such as Electra cutting her hair on the grave in ‘Knots’ needed great thought and many reworkings to get exactly right. The words pushed me to create imagery that I would otherwise never make. Sometimes the characters in the stories turn wild\, hissing like cats or howling like wolves. Oh\, what fun and joy it was creating those\, pushing my model\, who wore various wigs and outfits\, to crawl around the floor and rise like a madwoman\, hissing and howling in the studio. I would often try to feel what the characters are feeling\, so the stories needed me to stay away for a while to fully absorb the nature of each character and what the images should convey. \nShowing time going backwards in ‘Riddle’ was an incredible challenge. I loved making the clocks seem warped and mangled\, and drawing the woman walking like a ghost. Men and women falling on swords was another beautiful challenge. Once again\, my model posed\, faking her death over and over in various configurations to help me depict the scene realistically and dramatically. \nThe challenge was to be creative whilst imagining everything to be true. I was glad to draw a dragon. That was a terrific experience\, as who wouldn’t want to draw a dragon? So much fun\, and the creature lends itself well to the medium of drypoint with its scales and claws. \nI myself posed for some of the images as reference too\, such as in ‘Lady Macbeth of Tamarama Bay’\, where the couple are mourning at the grave. The fortune teller too was a great one to draw. I had my model wear a crazy wig and black long-sleeved top\, and I drew countless versions to get to the one I selected that best showed the mood and character required from the text. \nMarionettes and puppets appear a few times in the book. I loved looking at classical ceramic versions\, as well as my own wooden art version as inspiration. The stories also mention vultures and wolves devouring bodies. This was again something I would not normally draw\, so it allowed me to push myself further in the scope of my image making. I must say I also found it exciting\, rewarding\, and just plain fun to draw some bloodthirsty and dramatic scenes. \nIn addition to all the images for the book\, the words have inspired many assemblages of men riding horses and metal Spartans made from found metal discards from my local railway line. The idea of old welded found metal artefacts lends itself well to the stories and again gave birth to new image-making approaches for me \nThis exhibition and book have been years in the making. It seems as if John’s stories and my ideas have lived in my mind for an age. I feel like Zeus giving birth to Athena: the images have now sprung to life from the fertile world of John’s words into my world of image making. I think that Tales from the Greek is something of a Magnus Opus for me personally. I hope readers find inspiration to delve further into the richness of Greek mythology. \nMarco Luccio \n\n\n\n\n\n\n[/vc_column_text][/vc_tta_section][vc_tta_section title=”COVIDSafe venue information” tab_id=”1635900835324-3bbb96c5-dd31″][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/tales-from-the-greek/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2021/07/corruption_600.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210413
DTEND;VALUE=DATE:20210425
DTSTAMP:20210422T045704Z
CREATED:20210210T022725Z
LAST-MODIFIED:20210422T045704Z
UID:10004338-1618272000-1619308799@fortyfivedownstairs.com
SUMMARY:Iteration
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nMargaret Manchee\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nIteration\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]13 – 24 April 2021\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 11am to 3pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\n…the constant repetition of a single process\, in order to generate new but subtly different results. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Intersection III Blue\, 2021\, painting and collage\, 40 x 40cm\, $450 \nAll My Mistakes 2.0 3 colour\, 2020\, etchings\, spirograph\, 38 x 38cm\, $165 \nO\, 2020\, painting and collage\, 40 x 40 cm\, SOLD \nAll My Mistakes Silver\, 2020\, etchings\, 38 x 38cm\, $165  \nAll My Mistakes 3 colour\, 2020\, etching\, spirograph\, 38x38cm\, edition of 5\, $165 \nAll My Mistakes Flowers 2.0 3 colour\, 2020\, etching\, spirograph\, 20x21cm\, edition of 3\, $165 \nAll My Mistakes Atom 3 colour\, 2020\, etching\, spirograph\, 20x21cm\, edition of 3\, $165 \nAll My Mistakes Black\, 2020\, etching\, spirograph\, 38x38cm\, edition of 5\, $165 \nAll My Mistakes Flowers 3 colour\, 2020\, etching\, spirograph\, 20x21cm\, edition of 3\, $165 \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933845b-2581″ title=”Description”][vc_column_text]Iteration can be described as the constant repetition of a single process\, in order to generate new but subtly different results.  Through continuous iteration and experimentation\, Margaret Manchee uncovers new media\, materials and insights as well as developing new techniques along the way – and these new discoveries then lead to further play.  This creative process forms a continual cycle which is the recurring theme and motif in her work. \nIteration presents two series of Manchee’s recent work: etchings using Spirograph; and mixed-media paintings and collages. \nA Spirograph novice\, Manchee is captivated by the “skips & slips” created using Spirograph wheels and etching needles to draw on copper plates.  These happy accidents may annoy Spirograph purists\, but there is perfection in their imperfection.  Manchee loosens up and abandons trying to get things “right”.  In hindsight\, this series of prints has captured the intensity and energy of the marks made on the plate\, reflecting her state of mind and emotions during the recent months of lock-down in Melbourne. \nThis series of mixed-media paintings and collages presents an extension of Manchee’s printmaking practice. It started as an experiment to use the printmaking technique of “Chine Colle” with Japanese Kozo rice paper on a non-paper surface.  Through the use of layers\, she explores the interconnection between people’s lives and events in the world. As Michigan-based artist Nathaniel Whitcomb declares\, “collage more closely mirrors reality than any other art form. To be alive is to construct\, to selectively choose from an infinitum of objects and ideas\, internalise\, then reassemble into a new whole\, a life. Living is collage”. [1] \n[1] Nathaniel Whitcomb quoted in “The Age of Collage. Contemporary Collage in Modern Art” edited by Dennis Busch\, Hendrik Hellige and Robert Klanten published by Gestalten Berlin 2013.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933845b-2581″][vc_column_text]Margaret Manchee\, Chartered Accountant\, combines a career in accounting with a fine art practice. She was born in Hong Kong and moved to Australia in the late 1980s. Since graduating in Fine Art from the University of Melbourne – Victorian College of the Arts in 2008\, Margaret has been an artist in residence and teacher at Firestation Print Studio in Melbourne. \nMargaret creates copper etchings\, paintings/collages and artist books. The recurring motif “circle” in her work came from Margaret’s Indonesian and Chinese heritage. She explains\, \n“With all my work\, I am driven by the creative inspiration just as much as I thrive on the production process. Thinking through making\, my techniques continue to evolve because I need to challenge myself; by pushing my own boundaries as well as testing the potential and limitation of my medium and materials.” \nHer work has been the subject of three solo shows\, and is included in several group exhibitions\, international exchange projects\, private collection and museum collection including the NGV and the NGA. Margaret has won a few awards and has been recently short-listed in 2021 Northern Beaches Library Artist’s Book Award. She will be part of Impact 11 International Multi-disciplinary Printmaking conference to be held in April 2021.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/iteration/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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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
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191001
DTEND;VALUE=DATE:20191027
DTSTAMP:20190731T043657Z
CREATED:20190710T071005Z
LAST-MODIFIED:20190731T043657Z
UID:10004046-1569888000-1572134399@fortyfivedownstairs.com
SUMMARY:Dancing from the Dark\, Looking for the Light
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nDebra Luccio\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nDancing from the Dark\, Looking for the Light\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]1 – 26 October 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]\nNew monotypes\, paintings and etchings inspired by The Australian Ballet. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Untitled\, 2018\, monotype on Velin Arches paper\, 60 x 45cm \nSilver Rose\, 2018\, monotype on Velin Arches paper\, 60 x 45cm \nMoon Child\, 2018\, monotype on Velin Arches paper\, 60 x 45cm \nUntitled\, 2018\, monotype on Velin Arches paper\, 60 x 45cm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933cb7c-fc08″ title=”Description”][vc_column_text]Dancing from the Dark\, Looking for the Light\nMonotypes\, Etchings and Drypoints inspired by The Australian Ballet\nCurated by Mary Tokatlidis \nDebra Luccio’s new exhibition\, Dancing from the Dark\, Looking for the Light\, offers an exciting new series of monotypes\, drypoints and etchings. Each artwork draws inspiration from in situ drawings and photographs made at rehearsals for The Australian Ballet’s productions of Murphy (the celebration of Graeme Murphy)\, Tim Harbour’s Filigree and Shadow\, and Alice Topp’s award winning Aurum. \nThis evocative and exciting exhibition brings together fifty-two artworks showcasing the artist’s highly recognisable\, powerful approach to monotypes. \nHer dancers are not depicted in the way one might traditionally imagine\, in realistic style\, but rather in a dynamic\, contemporary combination of expressive abstraction with realism. Luccio has created this effect by using the inked roller to layer colours onto a copper sheet. Following this layering of colours\, Luccio then wipes away the etching ink to reveal light and form\, bringing to life a sculptural and fully modelled dancer\, working back into the details with fine brushes on the copper plate before printing. \n“With the strong element of chance\, the abstraction of marks and the unusual textures able to be created with rich etching inks\, monotype making is a technique hard to beat\,” says Luccio.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Events” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933cb7c-fc08″][vc_column_text]Artist Floor Talk\nSaturday 12 October\n11am – 1pm \nArtist\, Dancers and Choreographer Talk\nSaturday 19 October\n11am – 1pm \nFREE EVENTS\, spaces are limited.\nBook now: communications@fortyfivedownstairs.com[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/dancing-from-the-dark-looking-for-the-light/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2019/07/Morelli_debluccio_webhero600.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Australia/Melbourne:20161122T110000
DTEND;TZID=Australia/Melbourne:20161122T170000
DTSTAMP:20250821T054459Z
CREATED:20160831T053525Z
LAST-MODIFIED:20250821T054459Z
UID:10001758-1479812400-1479834000@fortyfivedownstairs.com
SUMMARY:Lore Makers
DESCRIPTION:[vc_row][vc_column width=”1/3″][vc_column_text]\nFreestone Printmakers\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]\nWe as Freestone Printmakers have created our own LORE… \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″]OLYMPUS DIGITAL CAMERA \nOLYMPUS DIGITAL CAMERA \nOLYMPUS DIGITAL CAMERA \nOLYMPUS DIGITAL CAMERA \nOLYMPUS DIGITAL CAMERA \nOLYMPUS DIGITAL CAMERA \n[/vc_column][vc_column width=”2/3″][vc_tta_tabs][vc_tta_section tab_id=”1451285630039-f4b33ad9-e290b1db-6de1ae33-46cb” title=”Description”][vc_column_text]LORE: Accumulated knowledge or belief held by a group about a subject. Passed on from person to person by word of mouth\, it can include mythology\, legends\, folklore\, culture\, beliefs\, sayings & fantasy. \nWe as Freestone Printmakers have created our own LORE which relates to us as a group of printmakers\, communally making and exhibiting prints together\, sharing techniques\, processes and our own stories.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Freestone Press” tab_id=”1451285630325-09def419-bb74b1db-6de1ae33-46cb”][vc_column_text]Nestled in the bushland along the Freestone Creek in the beautiful township of Briagolong\, situated at the gateway to the Great Diving Range\, East Gippsland\, Australia\, Freestone Press offers a large Studio Space with an etching press\, a relief press and all facilities for relief and intaglio printing. \nFreestone Press now has 15 printmakers that use the studio regularly and participate in exhibitions.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/lore-makers/2016-11-22/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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END:VEVENT
END:VCALENDAR