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DTSTART;VALUE=DATE:20211207
DTEND;VALUE=DATE:20211219
DTSTAMP:20211109T025853Z
CREATED:20210720T065615Z
LAST-MODIFIED:20211109T025853Z
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SUMMARY:Entering the Subconscious: The COVID Works
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nMichael Wedd\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nEntering the Subconscious: The COVID Works\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]7 – 18 December 2021\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 11am to 3pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\n…sit on the edge of formlessness\, stirring the viewer’s mind with a relentless and niggling ambiguity. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Submarine Yakuza Goldfish\, 2020\, inks on 220gsm Arches archival paper\, 570x760mm \nHokusai’s Forest\, 2020\, inks on 220gsm Arches archival paper\, 760x570mm \nAquatic Temporal Meltdown\, 2020\, inks on 220gsm Arches archival paper\, 570x760mm \nThe Red Owl Sees All\, 2020\, inks on 220gsm Arches archival paper\, 760x570mm \nExploding Fuji Head\, 2020\, inks on 220gsm Arches archival paper\, 760x570mm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933f371-18b1″ title=”Description”][vc_column_text]Entering the Subconscious is a series of ink paintings that began at the beginning of COVID-19 in March 2020 and continued during the ongoing lockdowns in Melbourne in the intervening months. \nThese works in sequence chart a journey into both levels of artist Michael Wedd’s mental health\, as well as new evolving techniques as his time in lockdown progressed. \nA medium new to Wedd; inks\, was chosen over traditional oils and prints\, allowing for spontaneous\, gestural and tightly controlled brush techniques. The subject matter shifts from abstract and organic to landscape\, figurative and conceptual. \nRecurring themes move between microscopic scientific and biological environments towards overviews of constructed worlds\, while matter emerges from the immaterial\, governed by whatever cognitive state is present on the day\, in this current climate of stasis and uncontrollable flux.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933f371-18b1″][vc_column_text]Michael Wedd is a Melbourne-based visual artist\, primarily working as a painter. He has exhibited extensively throughout Australia and internationally\, and is represented in collections worldwide including in Australia\, UK\, Italy\, Germany\, USA. \nCLICK HERE for CV[/vc_column_text][/vc_tta_section][vc_tta_section title=”Exhibition Essay by Dr. Christopher Heathcote” tab_id=”1626763141528-5263a6cf-7244″][vc_column_text]Real art is never poorly composed. Where curatorial talk often orbits around representing\, studio banter invariably fixes upon composing. Visiting Michael Wedd’s studio I am reminded how for painters this never-ending pursuit seems to guzzle their studio hours. Be prepared for a sermon on what dense issues are being signified if you ask a curator about contemporary painting or sculpture; but ask artists themselves what honestly absorbs their creative energies when working (the driven artists\, like Michael)\, and you will hear how they strive to stimulate the viewer visually. \nWedd’s latest work confronts this impulse. This extended suite of works was painted over the Melbourne ‘Lockdown’ of 2020. Those months in a drawn-out medical quarantine became for Wedd a deepening period of creative contemplation and sustained self-reflection. Turning his back upon isms and style trends while ignoring obligatory subjects and ‘correct’ political themes\, the artist set himself to enticing the inquisitive eye\, of stirring the seasoned imagination\, of composing afresh. \nHis process was basic. Concentrating on one piece at a time\, Wedd took a sheet of fine artist’s paper which he fixed to a watercolour board\, then he set to improvising with runny inks. He poured on black ink\, tilting the surface and allowing this dark medium to flood over the paper\, then working from each side he dripped on water to thin certain sections\, at points steering his ink into veins of marbled tone with fine brushes. This wasn’t done in one rushed session\, but slowly over days\, the paper being redampened so forms were worked further\, and touches of primary colours added. \nImprovisation was the guiding rule\, Wedd only ceasing to manipulate when satisfied a work was complete. Then he assigned a number to it (the sequence of the compositions is easily traced) and turned to the next piece. \nThis approach is indebted to the surrealists\, especially Max Ernst\, Paul Klee and Andre Masson—artists Wedd deeply values. In using their improvisational methods he did not intend to use free association to tap his unconscious\, being interested more in this as a means of creative play. Much of his conversation is about savouring the range of visual effects he can get with such basic pigments\, while how he allows the unfettered imagination to take flight. \nAfter a lifetime painting\, he tried to remove suggestions of purposeful control. There was no tinkering to insert images\, or impose suggestions of structure\, least of all to resort to tidy order. Linear grids or shapes were not layered on top. The work had to sit on the edge of formlessness\, stirring the viewer’s mind with a relentless and niggling ambiguity. \nChatting in his studio\, Wedd insists he has no weighty message to press\, and rejects political meanings. Instead by their very fluid nature he wants his abstractions more to suggest those tiny protoplasmic forms that underpin life. Pointing to certain works\, he tells me how with them he especially wants to evoke that miniature world of our internal biology\, an intricate myriad of tiny organisms and essential bacteria and delicate membranes and cell clusters and enzyme threads all within us\, such intricate inner multitudes which are revealed via electron microscopes. \nAs he talks of these things\, I am thinking how—as a virus threatens—it appears Michael Wedd has quite unconsciously taken our vulnerable human biology at his subtle theme. ‘We don’t catch hold of an idea\,’ the poet Heine once said\, ‘rather the idea catches hold of us.’ These works are surely exemplars of that artistic truth. In withdrawing from that hurdy-gurdy media chatter about viral contagions\, trying to escape a spreading public hysteria\, Wedd’s imagination has circled right around and indirectly confronted the wondrous mysteries of the human organism. \n—Christopher Heathcote[/vc_column_text][/vc_tta_section][vc_tta_section title=”COVIDSafe venue information” tab_id=”1635900380923-6b8a8e47-6f82″][vc_column_text]welcome back to a COVIDSafe fortyfivedownstairs! \nThe following information is to keep you and our staff safe during your visit to fortyfivedownstairs. Our procedures follow strict guidelines set by the VIC State Government.  Everyone who visits fortyfivedownstairs is required by law to register for contact tracing and be fully vaccinated. There will be a QR code available on arrival for registration. By registering\, you agree to follow our COVIDSafe plan and follow direction from fortyfivedownstairs staff. \nfortyfivedownstairs is a fully vaccinated venue\nIn accordance with government regulations\, proof of full COVID-19 vaccination or valid medical exemption will be required for anyone over the age of 16 to enter fortyfivedownstairs. All staff at fortyfivedownstairs will likewise be fully vaccinated. \nEach member of your party will be required to check-in on arrival and show proof of your vaccination status or medical exemption before you enter the building. \nThere are four types of evidence that will be accepted: \n\nVaccination certificate integrated into the Services Victoria check-in app\nVaccination certificate in your smartphone wallet\nDigital or printed vaccination certificate issued by the Australian Government along with photo ID\nDigital or printed exemption certificate along with photo ID\n\nIf you cannot provide the required proof on arrival\, you will be unable to enter fortyfivedownstairs. \nFor information about how to get your vaccination certificate please visit the Victorian Government’s coronavirus website. \nwear a mask \nThe wearing of masks is mandatory throughout the gallery and theatre. \nif you are feeling unwell\, please stay home\nDo not attend if you are experiencing any symptoms of COVID-19\, have been in contact with a suspected or confirmed COVID-19 patient or visited one of the updated public exposure sites. \nIf you begin to feel unwell during an event\, contact a fortyfivedownstairs staff member immediately and in the instance of a positive COVID-19 case\, contact the venue on 03 9662 9966. \nuse the hand sanitiser provided\nWe have hand sanitiser available at all entrances\, exits and toilets throughout the venue – please lather up and remember to wash your hands regularly. \nphysical distancing \nPlease socially distance from people wherever possible and adhere to the distancing guidelines. \ngroup bookings\nTo arrange for a school or tour group to visit the venue\, please contact us to find out capacity limits for the current events. \nCOVIDSafe documents\nfortyfivedownstairs COVIDSafe checklist[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/entering-the-subconscious-the-covid-works/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191112
DTEND;VALUE=DATE:20191124
DTSTAMP:20191114T050545Z
CREATED:20190823T030929Z
LAST-MODIFIED:20191114T050545Z
UID:10004292-1573516800-1574553599@fortyfivedownstairs.com
SUMMARY:Wilderness: A Natural Response
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nTerry Swann\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nWilderness: A Natural Response\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]12 – 23 November 2019\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 11am to 3pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\n… a unique perspective of the contrasting landscapes of remote Western Australia and the Northern Territory. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Terry Swann\, 2019\, watercolour\, 530 x 530 mm \nTerry Swann\, The Bungle Bungles\, 2019\, watercolour\, 530 x 530 mm \nTerry Swann\, Beside Deep Gorge\, Burrup Peninsula\, Pilbara\, 2019\, watercolour\, 530 x 530 mm \nTerry Swann\, Pool Reflections\, Broome\, 2019\, watercolour\, 530 x 530 mm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef2edb-f0663f53-0933cea7-6e07″ title=”Description”][vc_column_text]Renowned contemporary watercolourist Terry Swann’s Wilderness: A Natural Response\, is a unique perspective of the contrasting landscapes of remote Western Australia and the Northern Territory. \nFrom the abstract\, angular beauty and chromatic drama of desert landscapes marked by time and an unrelenting dry; to the lush relief of azure hot springs and waterholes reflecting life’s movement and vitality\, Swann’s impressions of the Pilbara\, East and West Kimberley and the Tanami Desert capture an immediacy of place expressed in vivid hues.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist Statement & Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef2edb-f0663f53-0933cea7-6e07″][vc_column_text]My painting is a journey into landscape\, an exploration of place. \nI am drawn to Australia’s remote places where I feel a genuine connection to the land. There I paint on site to capture the essence of the landscape. \nPlein Air Painting is all about ‘painting in the moment’. The immediacy of vision makes the imagination move to an exciting new ground and see possibility of shapes\, colours and line. The painting takes on a life of its own as one drives the emotions through the work. \nTerry Swann is one of Australia’s foremost contemporary landscape watercolourists. She has been working as a professional artist for over 30 years. \nShe has held over 20 solo exhibitions in Sydney and Brisbane and Melbourne. \nBorn in Sydney\, Swann had her first solo exhibition in 1978 at Sydney’s Holdsworth Galleries\, who exhibited her work for over 18 years. \nShe moved to the Yarrabah Aboriginal Community\, Far North Queensland in 1988 and to South East Queensland in 1990. In 2005 she moved to Melbourne. \nHer work has taken her around the world\, but it is the remote Australian landscape that captivates her. \nEach winter\, Swann travels through remote areas of Australia working on location in all weather conditions. Her work explores these varied landscapes expressed in her unique\, spontaneous style. \nHer work is held in numerous private and public collections including the State Library of Brisbane\, State Parliament House of Queensland and Federal Parliament Offices\, Brisbane.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Terry Swann in Conversation Friday 22 November” tab_id=”1573700293694-2f6b0ca0-e4c6″][vc_column_text]Surviving En Plein Air: painting across Australia \nJoin artist Terry Swann for a conversation about the pleasures (and occasional pains) of watercolour painting in the outdoors. She’ll also demonstrate some of the watercolour techniques she’s used in this exhibition\, which ranges from mangroves in the East to deserts in the West. \nFree event\, but numbers are limited.\nBookings essential. Email communications@fortyfivedownstairs.com. \nFriday 22 November\n12.30pm – 1.30pm \nThis is the first of an ongoing series of conversations in the gallery. Watch this space![/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/wilderness-a-natural-response/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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ORGANIZER;CN="fortyfivedownstairs":MAILTO:info@fortyfivedownstairs.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190430
DTEND;VALUE=DATE:20190519
DTSTAMP:20190506T033013Z
CREATED:20190214T023822Z
LAST-MODIFIED:20190506T033013Z
UID:10004270-1556582400-1558223999@fortyfivedownstairs.com
SUMMARY:UNFOLDING
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nMichael Pearce\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\nUNFOLDING\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]30 April – 18 May 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]\nThe works reflect an artistic and personal endeavour to reconcile and balance the conflict between spontaneity and rigidity\, freedom and discipline. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Feet series\, 2018\, pastel on Velin Arches\, 300 x 1210mm \nWaterfall\, 2018\, pastel on BFK Rives\, 800 x 650mm \nUnfolding series\, 2017\, pastel on Velin Arches\, 300 x 1210mm \nUnfolding series\, 2017\, pastel on Velin Arches\, 1200 x 400mm \n[/vc_column][/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section tab_id=”1518320329614-868977ba-1f9e905c-b0b3368e-b9ef0805-e9d5″ title=”Description”][vc_column_text]Michael Pearce returns to fortyfivedownstairs with a new series of drawings. \nThe Unfolding series introduces elements of dimension\, light and shadow into Pearce’s pastel drawings through precise folding and embossing of parts of the paper. \nSpontaneous fluid pastel lines and markings contrast and balance against the hard straight lines of the folded paper. \nThe works reflect an artistic and personal endeavour to reconcile and balance the conflict between spontaneity and rigidity\, freedom and discipline. \nInfluenced by Pearce’s theatre and dance design practice\, light from above casts shadows and creates an ambiguity between which is drawn or folded. The paper folding idea began whilst making the sculptural set model for his design for choreographer Stephen Baynes Constant Variants for The Australian Ballet (seen in Melbourne in 2018 and Sydney April 2019). \nFrom the earlier drawings of pure pastel markings/lines this series includes the body\, botanical almost organic shapes (the latter influenced by a trip to Japan). The figures are controlled and influenced by the folded paper forms or fighting against them. The works are all united by a sense of fluid movement.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef0805-e9d5″][vc_column_text]Michael Pearce is a Melbourne based theatre set and costume designer\, visual artist and occasional performer\, designing for dance\, drama and opera companies in Australia and New Zealand\, Europe and Asia. \nHe began his professional career in 1972 as Resident Designer for the State Theatre Company of South Australia under the directorship of George Ogilvie. Later designing for companies such as Australian Dance Theatre\, Sydney Dance Company\, the Netherlands Dance Theatre\, Melbourne Theatre Company\, Dance North\, Hong Kong Arts Festival and The New Zealand Ballet. He is a frequent collaborator with Douglas Wright and The Australian Ballet’s resident choreographer\, Stephen Baynes\, and recipient of three Green Room Awards for Best Dance design – Edge of Night 1997\, Book of Alleged Dances 1999 and Imaginary Masque 2005 – all for The Australian Ballet. \nMichael exhibits his pastel and charcoal works on paper in Australia and Asia. He exhibited his Vietnam-inspired Fluid in Melbourne in 2011 and his Unwrapped Hong Kong series in 2013\, part of which was shown in Hong Kong in 2009. \nSince 1997 Michael has undertaken 5 extensive cross cultural projects in Vietnam\, designing for the Vietnam Opera Ballet Theatre\, undertaking two Asialink Residencies\, teaching stage design at the Hanoi Academy of Theatre and Cinema\, exhibiting and researching an exhibition. \nHe is a regular guest teacher of design at the Victorian College of the Arts\, Melbourne.\nIn 2007 and 2009 he was Artist in Residence-Design at the Hong Kong Academy of Performing Arts\, and in 2005 Visiting Fellow -Design at The West Australian Academy of Performing Arts. \nAn original creator and performer with the movement performance trio Chrome\, he performed at festivals and events throughout Australia\, Europe\, Canada and the U.S.A. His most recent performance in 2002 was acting in Lois Ellis’ production of Art & Eros by Iris Murdoch.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Arts Centre Talk” tab_id=”1556767281836-acbf9ce7-ed7c”][vc_column_text]Theatre Heritage Australia in association with Arts Centre Melbourne presents \nMichael Pearce in conversation\n3pm\, Saturday 11 May 2019 \nThe Channel (beside Fatto Restaurant)\nHamer Hall\, Arts Centre Melbourne\nEntry is FREE! but bookings are required \nBox Office 100 St Kilda Rd\, Melbourne\nTelephone 1300 182 183 (Mon-Sat 9am–8:30pm)\nOnline www.artscentremelbourne.com.au[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/unfolding/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180911
DTEND;VALUE=DATE:20180923
DTSTAMP:20180801T032025Z
CREATED:20180719T063923Z
LAST-MODIFIED:20180801T032025Z
UID:10004009-1536624000-1537660799@fortyfivedownstairs.com
SUMMARY:...of script and facture... with Two Shanks
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text el_class=”ffds-gallery-artistname”]\nCatherine Bainbridge with Daniel Keene\n[/vc_column_text][vc_column_text el_class=”ffds-gallery-exhibitionname”]\n\n…of script and facture…\nwith\nTwo Shanks[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]11 – 22 September 2018\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 12pm to 4pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]\n…abstract visual ideas circulating around words… \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-b9ef5e11-829f” title=”Description”][vc_column_text]This is a two-part exhibition of paintings\, prints and film. \nTwo Shanks\, a play by Daniel Keene\, filmed in memory of Lewis Fiander\, who first played the central role in the theatre production of the same name. The short film and images in the piece probe the abstract ideas circulating around the words of the script\, their written appearance\, and spoken meaning. The sequenced paintings by Catherine Bainbridge convey one set of interpretations\, and others from the script acted and filmed. Marco Chiappi plays the role of the late Lewis Fiander. Filming\, soundscapes and editing by Philippe Charluet. \nA second series of paintings and prints by Catherine Bainbridge result from observations of the natural world and the experiencing of the surrounding space. Sometimes\, these are seen as grand overviews from the air\, or as close ups of tiny organisms and earth formations under magnification. These observations are taken back to the studio\, analysed\, worked up and sequenced\, forming this organic series of paintings and prints.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Catherine Bainbridge” tab_id=”1518320329651-b769a1a3-29e6905c-b0b3368e-b9ef5e11-829f”][vc_column_text]Catherine Bainbridge is a contemporary Australian artist and teacher working from studios in Richmond and East Gippsland\, Victoria. \nIn her early working life\, Catherine taught for a decade at primary\, secondary and tertiary levels\, and went on to develop her own teaching practice in and around Melbourne. She has taught all age levels in the wider community\, in painting\, drawing\, printmaking and 2D work. She taught an art philosophy course Drawing and Thinking in the Eastern suburbs. Catherine also ran a Saturday workshop for artists with intellectual disabilities for over twenty years\, and an open studio for emerging artists with mental health issues. \nCatherine’s work in the last decade has been dedicated to the exploration of abstraction in its many forms – and her forms. She has spent time\, often on her own\, in the bush throughout Australia and overseas in Scandinavia\, UK\, India\, Europe and the USA. From this exposure\, tracts of work were prompted by the study of organic and mechanical forms\, and the solitude of remote areas. Bringing these observations back to the studio\, she investigates and dissects the structure and appearance of botanical\, animal and geological forms\, the impact of the emotional experience\, and reconstructs her responses in her art making. \nCatherine is currently teaching in Richmond\, Victoria.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/of-script-and-facture-with-two-shanks/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
ATTACH;FMTTYPE=image/jpeg:https://fortyfivedownstairs.com/wp-content/uploads/2018/07/catherienbainbridge_webhero.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20171031
DTEND;VALUE=DATE:20171126
DTSTAMP:20250821T014636Z
CREATED:20170914T060310Z
LAST-MODIFIED:20250821T014636Z
UID:10004107-1509408000-1511654399@fortyfivedownstairs.com
SUMMARY:LIMINAL
DESCRIPTION:[vc_row][vc_column width=”1/3″][vc_column_text]\nLiza McCosh\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]31 October – 25 November 2017\n\nhours:\nTuesday – Friday 11am to 5pm\,\nSaturday 12pm to 4pm\nadmission: Free[/vc_column_text][/vc_column][vc_column width=”2/3″][vc_column_text]\n…interest in the Sublime\, environmental concerns and the generative possibilities of painting. \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-6de19113-455e” title=”Description”][vc_column_text]Liza McCosh\, a Warrnambool based artist\, takes the natural elements of her environment as inspiration for her creativity. The south-west Victorian landscape highlights nature’s elements with rugged coastlines\, dramatic sky-scapes and volcanic topography.  Themes of water\, air\, earth and fire\, inspired by this immediate environment\, have dominated McCosh’s practice over the preceding twenty-five years.  An interest in the Sublime\, environmental concerns and the generative possibilities of painting further underpin her work. \nThe artwork in LIMINAL derives from McCosh’s direct engagement with the natural environment. She is interested in the transient and threshold experiences; fleeting times and latent spaces through which knowledge of the natural world is embodied by artist to be further transformed through studio interaction.  It is important to McCosh that her painting material is allowed some level of autonomy in creating her imagery.  This method of working positions matter as animate\, rather than inanimate\, and allows for a space of negotiation whereby unique creative effects and insights into matter can emerge; in this process the form of artist\, environment and materials of production\, co-emerge through the creative process.  The paintings become symbolic of the generative possibilities of matter\, probing the process of material interaction as informative and relevant in increased understandings of the natural environment and material world.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1451285630325-09def419-bb74b1db-6de19113-455e”][vc_column_text]Liza McCosh is Founder and Director of SCOPE Galleries Warrnambool where she has developed and implemented a National Environmental Art Award\, Art Concerning Environment and has curated several group exhibitions on environmental themes. Her qualifications include a Bachelor of Arts with Honours\, MA (research) and a PhD (Deakin\, 2004). Her publications include ‘The Sublime: Process and Mediation’ in Carnal Knowledge: Towards a ‘New Materialism’ through the Arts\, I. B. Taurus\, London and New York\, 2013.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/liminal/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170822
DTEND;VALUE=DATE:20170903
DTSTAMP:20250821T040813Z
CREATED:20170707T030640Z
LAST-MODIFIED:20250821T040813Z
UID:10002217-1503360000-1504396799@fortyfivedownstairs.com
SUMMARY:The Trees Are Falling Into The Sea And Other Stories: Part Two
DESCRIPTION:[vc_row][vc_column width=”1/3″][vc_column_text]\nRosie Weiss\n[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]22 August – 2 September 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]\nThe trees were falling into the sea faster than I could draw or photograph them… \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″]Rosie Weiss\, Tootgarook\, 2016\, Chinese ink and watercolour on Arches\, 160 x 125mm \nRosie Weiss\, Mt Martha\, 2016\, Chinese ink and watercolour on Arches\, 160 x 125mm \nRosie Weiss\, Williamstown\, 2017\, Chinese ink and watercolour on Arches\, 160 x 125mm \n[/vc_column][vc_column width=”2/3″][vc_tta_tabs][vc_tta_section tab_id=”1451285630039-f4b33ad9-e290b1db-6de1158a-b56e” title=”Artist Statement”][vc_column_text]In September 2015\, I showed the first of these drawings at The Gatekeepers Cottage at Point Nepean as a result of a short residency. Being immersed in the landscape over the winter\, I was able to observe and document ‘an extreme erosion event’ (Parks Victoria beach closure signage). The trees were falling into the sea faster than I could draw or photograph them\, it was like walking through the fallen on a battlefield\, their bones bleaching white by the waves. \nWhat I am observing is occurring all over the world\, this is a result of climate change\, human interventions\, and more locally\, channel deepening\, which has dramatically changed the shape and structure of the coastline in Port Phillip Bay\, eroding some parts beyond recognition. \nWhile the installation of drawings at fortyfivedownstairs will mirror plant collection points around Port Phillip Bay\, small fragments that have been dislodged from cliffs and embankments\, they also refer to all living beings\, be they plant\, animal or human\, or all three at once. \nThis project is supported by the City of Melbourne Annual Arts Grants Program.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Artist’s Bio” tab_id=”1451285630325-09def419-bb74b1db-6de1158a-b56e”][vc_column_text]Rosie Weiss is a Melbourne / Mornington Peninsula based artist & educator. In 1992 she won the Moet & Chandon Australian Art Fellowship with a painting titled lung\, a reaction to the chemical fire on Coode Island the same year. In 1996 she completed her Master of Arts at RMIT with Intimate Patterns\, a body of work that examined our relationship with nature.  \nShe has exhibited in Australia\, Asia and France over the past twenty years\, and her work can be found in collections across Australia including The National Gallery of Victoria\, Tasmanian Museum & Art Gallery\, Artbank & The National Gallery of Australia.[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][/vc_row]
URL:https://fortyfivedownstairs.com/event/trees-falling-sea-stories-part-two/
LOCATION:fortyfivedownstairs gallery\, 45 Flinders Lane\, Melbourne\, Victoria\, 3000\, Australia
CATEGORIES:gallery
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