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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:20200218
DTEND;VALUE=DATE:20200301
DTSTAMP:20200117T034340Z
CREATED:20200114T025640Z
LAST-MODIFIED:20200117T034340Z
UID:10004317-1581984000-1583020799@fortyfivedownstairs.com
SUMMARY:give me shelter
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nPaula McLoughlin\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\ngive me shelter\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]18 – 29 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]\n…the environment is screaming for us to take notice. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Paula McLoughlin\, can you see me\, 2019\, screen print\, 76cm x 112cm \nPaula McLoughlin\, do you even know I am here\, 2019\, screen print \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-09330738-3426″ title=”Description”][vc_column_text]We cannot see the wood for the trees. We build abstracted layers to shield us from the view of the damage we are doing to the environment around us.  Do we notice what is around us or is our appreciation of our natural environment only piqued when there is disaster? \ngive me shelter is an exhibition of screenprints based on the images of scapes that were noticed\, and interesting enough that picture was taken – without people in it. \nIn that moment the environment was captivating enough for the person with a phone or digital camera to take a picture and not make themselves or anyone else the centre of that landscape. \nWe take the picture\, create a memory and move on.  In the real world we have a nostalgic sense of ourselves within that environment.  The changes that occur to that captured scape is out of sight and mind\, and missed.  But the environment is screaming for us to take notice. \nThese images weren’t taken specifically for this exhibition. When artist Paula McLoughlin spoke about her intentions for this exhibition\, some were offered up\, and some come from her own pictorial history. \nThey started as personal pictures that marked points in time with places and with that in mind\, McLoughlin wanted to draw a focus to the separation that we as humans create with our environment. \nBy deconstructing the images\, distorting the focus and putting in visual barriers\, McLoughlin wanted to extend a sense of the separation created and confuse the point of focus.  Can you see what is behind the visual barrier or only focus on the barrier? The titles are familial calls to attention – it’s not about sudden immersion but having sustained contact.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-09330738-3426″][vc_column_text]Paula McLoughlin is a Melbourne based artist who explores ‘traditional’ and contemporary printmaking techniques and materials in her practice using lithography\, etching\, screenprinting and digital techniques.  Her practice has included the production of editioned prints as well as installation works. \nHer work has developed over the years exploring the themes of human connection and interactions\, landscape and belonging. \nShe studied Printmaking in Melbourne at the Victoria College and RMIT\, obtained a post graduate degree at Edinburgh College of Art and a Masters from Sydney College of Art.  Paula spent a period of time working as a printmaker in Scotland\, which was a formative experience in consolidating her practice upon her return to Australia. \nShe has exhibited both here and overseas\, with the most recent solo exhibition at Tacit Contemporary Art in 2019 and has been shortlisted for the new CAM Experimental Print Prize as well as the Burnie and Fremantle Print Prize .[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/give-me-shelter/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2020/01/paulamcloughlin_hero_square600.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:20191029
DTEND;VALUE=DATE:20191110
DTSTAMP:20191112T052948Z
CREATED:20190830T022147Z
LAST-MODIFIED:20191112T052948Z
UID:10004295-1572307200-1573343999@fortyfivedownstairs.com
SUMMARY:Mrs Larritt
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nCatherine Pilgrim\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nMrs Larritt\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]29 October – 9 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]\nWhat was life like for Maggie Larritt\, a colonial woman in the first years of her marriage? \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Untitled (Blue Chocolate Lily)\, 2018\, stone lithograph with coloured pencil\, 290 x 260mm \nMrs Larritt Blue #1\, 2018\, coloured pencil & watercolour\, 570 x 380mm \nUntitled (Murnong with Map)\, 2018\, stone lithograph with reproduction map\, 300 x 420mm (map - State Library of Victoria)  \nBulbine Lily on Shelbourne\, 2018\, stone lithograph layered reproduction map\, 280 x 200mm (map - State Library of Victoria) \nBulbine Lily (Blue)\, 2018\, lithograph with hand colouring\, 290 x 260mm \nMurnong\, 2018\, stone lithograph with hand colouring\, 290 x 170mm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933d7b5-7167″ title=”Description”][vc_column_text]Mrs Larritt presents the second iteration of Mrs Larritt in Upside-down Country – an exhibition of lithographs and drawings celebrating the caring role and early married life of Maggie Larritt (1835 -1908)\, wife of the first Surveyor of Bendigo.  This body of work acknowledges the singularly European view of the colonial migrants as they lived on Dja Dja Wurrung land. \nThis exhibition was originally presented at Dudley House\, Bendigo – once the Surveyor’s Office and residence – and home to Maggie and her family. \n(NB Upside-down Country – The name given by the Dja Dja Wurrung to their land desecrated by gold mining.) \nBuilding was started at Dudley House Bendigo in 1858. It was to be the Surveyor’s Office and residence. Perhaps there was some sense of urgency to have the building finished for Richard Larritt and his new bride Maggie? Their wedding was in April 1858\, although the building wasn’t finished until sometime in 1859. \nWhat was life like for Maggie Larritt\, a colonial woman in the first years of her marriage? Her husband was mapping the streets of early Bendigo and women were encouraged to be the ‘Angel in the House’ as per Coventry Patmore’s poem of that name. The poem was popular in the era\, espousing ideals of devotion grace and purity for women who would primarily remain in the domestic sphere. It is interesting to note that Virginia Woolf wrote later of ‘Killing the Angel in the House’. \nFlowers were seen as an appropriate subject for a woman to explore and while there is little information available about Maggie Larritt\, it is highly likely she was aware of Indigenous flowers. Yet it is unlikely that she appreciated their importance as a food source. \nWorks for Mrs Larritt have been made in consultation with Dja Dja Wurrung elders who provided information regarding food plants of significance.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933d7b5-7167″][vc_column_text]Meticulous\, considered drawing is the basis for Catherine Pilgrim’s practice including lithographs\, drawings and textiles. Fastidious attention to detail is the work’s common element – fueled by curiosity and a commitment to accessible imagery. Absence\, contemporary still life\, personal and historical narratives influence much of the subject matter. \nCatherine has exhibited widely since 1994\, when she returned to Australia after studying lithography and drawing in Washington DC\, USA. In 2011 Catherine completed her Master of Fine Art (Research) at Monash University\, Melbourne. Her research was based on the subjective process of capture\, which occurs in making a representational image. \nCatherine has won a number of awards for her intricate works on paper including the Australian Print Workshop Collie Trust Award. \nThe artist’s works are held in public and private collections including the National Gallery of Australia\, Geelong Regional Art Gallery\, National Australia Bank\, Perri Cutten and Castlemaine Art Museum. \nCatherine’s most recent solo exhibition titled Mrs Larritt in Upside-down Country was held at Dudley House Bendigo in November 2018. This exhibition was supported by Creative Victoria through a Regional Centre for Culture\, Local Makers Grant. Mrs Larritt at fortyfivedownstairs\, Melbourne is the second iteration of this exhibition.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Talk Saturday 9 November” tab_id=”1572417280127-8c64ef63-62f6″][vc_column_text]\n\nSaturday 9 November\, 1.30pm\n\n\nfortyfivedownstairs\, 45 Flinders Lane\, Melbourne\nFREE EVENT\, ALL WELCOME\nJoin us in the gallery on the final day of the exhibitions to hear Ella Whateley and Catherine Pilgrim speak about their 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/mrs-larritt/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2019/08/catherinepilgrim_hero_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: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
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:20180925
DTEND;VALUE=DATE:20181021
DTSTAMP:20180927T030713Z
CREATED:20180801T052915Z
LAST-MODIFIED:20180927T030713Z
UID:10004011-1537833600-1540079999@fortyfivedownstairs.com
SUMMARY:Manhattan Dreaming
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”]\nManhattan Dreaming\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]25 September – 20 October 2018\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 12pm to 4pm\nGrand Final Holiday 12pm to 4pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\nManhattan Dreaming reveals an artist who\, having achieved an enviable level of intimacy with his metropolitan muse\, is now able to capture her lines\, angles\, moods and movement with a spontaneity bordering on instinct. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef8ab0-0745″ title=”Description”][vc_column_text]Award-winning artist Marco Luccio’s latest exhibition\, Manhattan Dreaming\, will open at Melbourne’s fortyfivedownstairs on the 25th of September. An astounding collection of paintings and drypoints\, Manhattan Dreaming reveals an artist who\, having achieved an enviable level of intimacy with his metropolitan muse\, is now able to capture her lines\, angles\, moods and movement with a spontaneity bordering on instinct. \nLuccio is constantly chasing and challenging his own boundaries\, and there can be no doubt that exciting new ground has been broken with Manhattan Dreaming. The paintings in this collection—some of which span 6 feet in height or width—were all painted in situ\, often amid heavy pedestrian traffic (and interest)\, in single sessions stretching up to seven hours. Scenes commenced in daylight are layered over to depict the night-time hours in which they were completed. The constantly changing features of scenes—both human and non—are captured in evocative hazes that suggest both their arrival and departure. The energy that went into producing these works is immediately palpable: they are\, in a very real sense\, exhilarating to view. \nComplementing the canvas-grounded hustle and bustle are Luccio’s drypoints\, which\, eschewing the monumental bridges and buildings so recognisably Manhattan\, have taken on the no less iconic scene of the New York City diner. Copper plates and tools in hand\, these pieces were also created in situ by Luccio and delightfully capture the unabashed eccentricity and character of some of the city’s most legendary haunts. \nLong-term followers of Marco Luccio’s work will find their appreciation of his expertise and artistry taken to a new level\, while first-time viewers will have the fortune of being introduced to an artist who continues to bravely explore and expand\, creating beautifully striking works of art in the process. \nImages: photographed by Sina Basila \nmarcoluccio.com.au \nclick here to watch a 3min film of Luccio painting in New York[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef8ab0-0745″][vc_column_text]Marco Luccio is represented in over 40 public and corporate collections internationally\, including several museums such as the New York Public Library\, the Museum of the City of New York\, the National Gallery of Australia\, and more. \nLuccio has held over 40 exhibitions\, including two major solo shows in New York. He has exhibited in a large number of group\, curated and award shows\, and has received several commissions. Luccio’s work has been shortlisted for many major awards including twice for both the Dobell Prize for Drawing\, in 2009 and 2010\, and the Adelaide Perry Prize for Drawing\, in 2013 and 2016. \nFor further information please visit marcoluccio.com.au/about/[/vc_column_text][/vc_tta_section][vc_tta_section title=”Opening” tab_id=”1536213952664-b275d821-bebf”][vc_column_text]MANHATTAN DREAMING\nOpening event\nTuesday 25 September 5.30pm – 7pm \nJoin artist Marco Luccio for the official opening of his exhibition\, MANHATTAN DREAMING.\nOpening speaker: Guy Grossi \nRSVP: communications@fortyfivedownstairs.com[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Talk” tab_id=”1533099700370-8f0c206e-8e6a”][vc_column_text]NEW YORK STORIES\nArtist Talk\nSaturday 6 October 11am – 1pm \nJoin artist Marco Luccio as he speaks about his new exhibition Manhattan Dreaming\, and his time in New York creating the works for the show. \nRSVPs essential.\nEmail: communications@fortyfivedownstairs.com[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/manhattan-dreaming/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2018/08/marcoluccio_webhero_650.jpg
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:20180306
DTEND;VALUE=DATE:20180318
DTSTAMP:20250821T040052Z
CREATED:20171104T041604Z
LAST-MODIFIED:20250821T040052Z
UID:10004176-1520294400-1521331199@fortyfivedownstairs.com
SUMMARY:Bird as totem
DESCRIPTION:[vc_row][vc_column width=”1/3″][vc_column_text]\nMike Nicholls\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]6-17 March 2018\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 12pm to 4pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”2/3″][vc_column_text]\n…a metaphor to comment on issues affecting our lives\, war\, the environment and the higher being. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][/vc_column][vc_column width=”2/3″][vc_tta_tabs][vc_tta_section tab_id=”1451285630039-f4b33ad9-e290b1db-6de12c46-4c5b” title=”Description”][vc_column_text]An exhibition of sculpture\, drawings and prints. \nHumanity for all our technological advances is still a society based on tribalism. \nFor 30 years\, Mike Nicholls has based his art practice on this concept\, drawing reference from the indigenous culture and art of the oceanic region. \nIn this exhibition\, Nicholls has created his own personal iconography based on the totem of the bird\, as a metaphor to comment on issues affecting our lives\, war\, the environment and the higher being.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1451285630325-09def419-bb74b1db-6de12c46-4c5b”][vc_column_text]Born in 1960 Mike Nicholls grew up on a dairy farm at Narre Warren North on the out skirts of Melbourne\, where he still has a studio-gallery and maintains the family property. \nHe majored in sculpture at the Caulfield Institute of Technology receiving a high distinction in his final year for his fabricated steel sculptures. \nFrom the formal training in abstraction\, where he concentrated on line\, balance\, movement and gesture\, Mike migrated to Fitzroy in the early eighties becoming a founding member of Roar Studios\, his work influenced by the fellow artist’s of Roar\, made a shift to expressionistic figuration. \nBy the mid 1980’s the artists eye sought to simplify his previously visually busy works\, Nicholls has slowly cultivated his quietly methodical practice; paring it back and reducing it to an elemental visual diary. \nMike has sought to incorporate an Australianness within his art; much of his reference has been visually and culturally sourced through travelling on plien air painting trips for months at a time\, spending time on relatives cattle stations in central Queensland and visiting remote areas within Australia. Mike has held woodcarving workshops in remote aboriginal communities of Cape York and the Torres Strait\, ass well as extensive over seas travel. \nHe has developed a deeply personal vocabulary of motifs\, striving to create a sense of feeling and or place\, focusing on his ultimate goal of imbuing his work with expression\, soul and a reflection of the human spirit.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/bird-as-totem/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2017/11/IMG_5349-copy_web.jpg
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:20180306
DTEND;VALUE=DATE:20180318
DTSTAMP:20250821T040137Z
CREATED:20171104T033308Z
LAST-MODIFIED:20250821T040137Z
UID:10004175-1520294400-1521331199@fortyfivedownstairs.com
SUMMARY:Thousand kisses deep
DESCRIPTION:[vc_row][vc_column width=”1/3″][vc_column_text]\nLisa Sewards\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]6-17 March 2018\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 12pm to 4pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”2/3″][vc_column_text]\nSewards imbues her work with a poetic stillness that suggests notions of reflection and passiveness… \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″]lisasewards_ghostfleet_web \nLisaSewards_Wreath_web \nlisasewards_thousandkissesdeep_web \nlisasewards_parajellyii_700 \nlisasewards_theallureisdeep_web \n[/vc_column][vc_column width=”2/3″][vc_tta_tabs][vc_tta_section tab_id=”1451285630039-f4b33ad9-e290b1db-6de19ab8-a7dc” title=”Description”][vc_column_text]Lisa Sewards continues to explore the parachute object from its pure functional form to its rich association with past stories that she has uncovered\, both personal and historical.  An image of a medusozoa\, or as captured Sewards’ mind\, a “maritime parachute” caught her interest due to its visual lineage to Parachutes\, which have been fundamental in her retrospective bodies of work. The medusozoa image and its article led to research into the serene waters of Truk Lagoon in Micronesia\, the resting place for hundreds of sunken vessels\, aircrafts and their ghosts. \nTruk Lagoon was the location of Japan’s naval stronghold in the central Pacific during WW2 and in February 1944 America’s Operation Hailstone struck its fleet and the lagoon floor was transformed into a macabre and haunting graveyard.  Nature has hidden and healed the scars of this event\, which has receded into history\, and today a magnificent underwater world exists of colourful reefs\, corals and abundance of jellyfish varieties. This watery grave is an incredible time capsule and submerged museum within a peaceful flourishing marine ecosystem. \nSewards has sourced small US military pilot parachutes that are reminiscent of jellyfish.  They are suspended in her studio providing inspiration for her illusory “parajellys”.  These chutes will physically be incorporated into the Thousand kisses deep exhibition adding a third dimension. \nIn producing this body of new works\, Sewards’ drawings are etched into solar plates and then the final prints are all hand pulled on a press. She is reworking several of the prints to create large-scale pigment prints which will cover one gallery wall reflecting fractured lagoons. These works on paper and a suite of oil paintings are parallel through their colour palette\, imagery and quiescent application. \nTo reference Dr Julie Cotter “Sewards imbues her work with a poetic stillness that suggests notions of reflection and passiveness”.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1451285630325-09def419-bb74b1db-6de19ab8-a7dc”][vc_column_text]“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 strength\, hope\, security and grace”. \nThe parachute object is the source for Seward’s imagery\, continually creating storytelling in the absence of text.  Her warehouse studio is filled with suspended vintage parachute canopies that provide constant inspiration.  As part of her preparation and practice Sewards extensively researches her subject matter\, always searching and probing for unique historical fragments. \nSewards’ printmaking techniques continually evolve and incorporate traditional intaglio printmaking\, etching using photopolymer plates\, and also contemporary digital technology. \nCOLLECTIONS \nMGC Contemporary Print Collection\, Manhattan NYC USA \nAustralian War Memorial\, ACT Australia \nState Library of Victoria Melbourne VIC Australia \nStonnington Council Malvern VIC Australia \nSt Leonards College East Brighton VIC Australia \nHampton Primary School Hampton VIC Australia \nAlbert Park College Albert Park VIC Australia \nPrivate Collections Australia\, USA\, Croatia\, UK        \n[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/thousand-kisses-deep/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2017/11/lisasewards_hero_700.jpg
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20170919
DTEND;VALUE=DATE:20171015
DTSTAMP:20250821T040742Z
CREATED:20170817T043703Z
LAST-MODIFIED:20250821T040742Z
UID:10004100-1505779200-1508025599@fortyfivedownstairs.com
SUMMARY:A Decade of Dance
DESCRIPTION:[vc_row][vc_column width=”1/3″][vc_column_text]\nDebra Luccio\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]19 September – 14 October 2017\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 12pm to 4pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”2/3″][vc_column_text]\nCelebrating ten years of artwork inspired by dance companies from New York to The Australian Ballet… \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″]Flying Puck 1 (2009) Monotype on Velin Arches paper 75.5 x 103cm \nChynoweth (2017) Monotype on Velin Arches paper 58.5 x 44cm \nFairy of Grace (2015) Monotype & Etching Ink on Velin Arches paper 58.5 x 44cm   \nAurora in Purple (2016) Monotype & Etching Ink on Velin Arches paper 43.5 x 39cm \nThe Spell of Sleep (2016) Monotype & Etching Ink on Velin Arches paper 39.5 x 28.5cm   \n[/vc_column][vc_column width=”2/3″][vc_tta_tabs][vc_tta_section tab_id=”1451285630039-f4b33ad9-e290b1db-6de13d5c-8842″ title=”Description”][vc_column_text]A Decade of Dance celebrates ten years of artwork inspired by dance companies from New York to The Australian Ballet by award winning artist Debra Luccio. This evocative and exciting exhibition brings together fifty-six artworks showcasing the artist’s highly recognizable\, powerful approach to monotypes and also a foray into the art of mezzotints. It is to be opened by the Artistic Director of The Australian Ballet\, David McAllister AM\, on Tuesday 19th September and shows until 14th October at fortyfivedownstairs\, Melbourne. \n“Since 2011\, I have had the privilege of sitting discreetly in The Australian Ballet studios\, quietly sketching the generous and incredibly inspiring dancers in class and rehearsal of many productions. \nBut it was ten years ago\, in 2007\, that my first trip to New York began my love of dance. I drew in rehearsals of the New York City Ballet and created artwork from my photos and drawings of a contemporary dance performance\, Landfall\, by the Tiffany Mills Company at the Joyce SoHo.” \nFor ten weeks during that first trip to New York\, Luccio would use their small rented apartment as her drawing studio. Here she would create small monotypes inspired by the previous day’s experiences. Luccio says\, “I used the tiny bench that folded down from the wall to paint\, the floor to roll my monotypes\, and the bed as a drying area. It worked well until we needed to sleep.”  The artwork was exhibited later the same year. \nVisitors to fortyfivedownstairs can expect a complete transformation into the world of dance as they enter the large warehouse-style space. With its wooden floors\, high ceiling and beautiful light\, it makes the perfect backdrop for Luccio’s images of dance. \nIn this space Luccio’s work seems to leap off the walls\, shimmering with expression afforded by her painterly\, layered\, unique approach to monotype. Much like the performances she portrays\, many of Luccio’s work are grand in scale and filled with great emotive energy. \n[/vc_column_text][/vc_tta_section][vc_tta_section title=”Events” tab_id=”1502944713176-90412040-05d9″][vc_column_text]Artist Floor Talk\nSaturday 23 September\n11am – 1pm \nFREE EVENT\, spaces are limited.\nBook now: communications@fortyfivedownstairs.com \n  \nChoreographer\, Artist and Dancers Talk\nSaturday 7 October\n11am – 1pm \nFREE EVENT\, 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/a-decade-of-dance/
LOCATION:Victoria
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2017/08/debluccio1_webhero.jpg
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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
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2016/08/valmaitodd_freestone_webhero.jpg
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
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END:VCALENDAR