Matthew Thorne - Gaib: 17th January - 3rd February
Gaib (Javanese) meaning; 1. mysterious. 2. hidden, invisible. 3. belonging to the invisible or supernatural.
Gaib is a solo exhibition examining spirituality, death and the presence of time in life. Featuring analogue printed film photos, and 16mm film work made in collaboration with the local community of Batu Karas, West Java.
Elizabeth West - Displacement: 7th - 24th February
Displacement disrupts spatial scale while landscape images recede, exploring the experience of climate change. Meanings of displacement stretch across human and hard sciences. There is reference to movement and removal; presence and disappearance; distance, volume and measurement. Viewers are immediately displaced within the space, by the presence of an enormous sphere, inducing awareness of their own physical presence. Saturated images of natural landscapes invite closer inspection, a fragile environment to move through.
The continuous thread of our daily lives often obscures reflection on dialogues of human displacement. Displacement offers space to engage with the gravity of the present moment.
Frances Cannon - (Mango): 28th February - 17th March
In her debut photography exhibition, (Mango), Melbourne artist Frances Cannon explores themes of sexuality, desire and childhood shame through self-portraiture. (Mango) comprises of a series of photographs taken in the house the artist spent her adolescence and uses the act of eating a mango as a metaphor for sexual desire. The artist uses taboo imagery and symbolism as well as accompanying poetry to reclaim her repressed queer sexuality, celebrate her body and glorify sexual pleasure.
21st March - 7th April Claudia Terstappen, Natalie Ryan & Laura Carthew - Something inherent to nature
Through sculpture, ceramics, photography and video three artists shows us their desire for experiencing, understanding and memorizing the phenomena of the physical world. Their visual language alludes to both the drama and celebration of life.
Image: Laura Carthew Still from Immortal flower (무궁화), 2015 Single channel HD colour video with audio 10 minutes
11th - 28th April Gallery One: Miranda Jill Millen & Jordyn McGeachin - Scorpio Heaven
Millen and McGeachin, two artistic Scorpio women true to their zodiac. Fiery, sexual and stubborn, they create an exhibition exploring their adventures within the landscape of modern dating along with self and sexual discovery. Millen and McGeachin step into their own in this new creative work, owning their experiences, and exploring what it truly means to be Scorpio Heaven.
The Canning Room: Christine McFetridge, Jack Cannon, Imogene Hage Nebyl & Jake Nemirovsky - Red Cross Road
With the unemployment rate in Nepal at 40%, many of its citizens are forced by necessity to seek work overseas as a means of attaining a better quality of life. Hundreds of thousands of people, predominantly men, consider labour migration to be the best way to do this despite the threat of abuse, exploitation and human-trafficking.
Our collaboration started by exploring the hospitality and insurance micro-economies that exist around Red Cross Road, Kathmandu, where the Department of Foreign Employment is situated. Throughout the project we interacted with people seeking their work permits, and participated in an exchange of waiting, serving tea and playing music with them.
Image: Christine McFetridge. Untitled (from the series Red Cross Road), 2018. Archival inkjet print. Courtesy of the artist and M.33, Melbourne.
2nd - 19th May Gallery One: Viviana Barrero - Liminal Space
Liminal Space is a photographic exploration of shifting landscapes in Australia. Viviana documents nature around her and what lies in between, exploring the intersection of topography and sociology. The exhibition serves to meditate upon the forces of our past and the fragility of our future.
The Canning Room: Christopher Jewitt - Contents Management
Christopher Jewitt's paintings express his fixation for quotidian objects in a tempest of colour and marks. Portraying subject matter in a playful manner between abstract and figurative, his style is reminiscent of childhood notebook doodles and simple scribbles. But in the creative discord, harmony is always possible.
23rd May - 9th June Gallery One: Elena Valimberti - Save the Ashtray
Valimberti investigates themes of introspection, sensibility, the corporeal, nuance and ambiguity. In Save The Ashtray, a series of paintings are inspired by a state of reminiscence. Characterised by an uncanny quality, Valimberti's paintings are displayed with a range of objects to stage dynamic compositions of the figure.
The Canning Room: Alex Sinclair - Sensitivity
Barren volcanic landscapes do not seem of this world. They can throw one into a realm devoid of comfort or familiarity, and can be the physical representation of one’s circumstances. Sensitivity investigates how journeying through these environments can unexpectedly nurture one through unsure situations.
13th - 30th June Gallery One: Rachael Edwards - Thirteen
Modern disassociation with the natural world and the rituals of our ancestors can be a point of contention in contemporary western society. These works act as talismans, or visual signifiers, attempting to reconnect us to this often forgotten way of life; whilst the kitsch nature of the work reminds us not to take ourselves too seriously in the quest for spiritual utopia.
The Canning Room: Kasia Fabijańska - Dark Ink
Dark ink, deep shadows and negative space create an ambiguous space. It is a refusal to suggest words and spoken language with its defined meanings, and to open the space to obscurity rather than clarity; the ambiguous vs. the manifest; the oscillation between the known and unknown.
This exhibition includes prints from the last 4 years and defines a current path in my practice that has been focusing more on the value of nature as an aid to introspection.
4th - 21st July Gallery One: Tyler Payne - Kimspired
At the centre of #fitspiration advertising products is the idol-like form of Kim Kardashian. Everyday women consume #fitspo products with this idol-like form in mind. But the fetish-like presentation distracts from an important reality: the rigorous disciplines required to produce that body, the labour-time expended in the mastery of capacities.
The Kardashian-body is a ‘full-time’role'. Kardashian’s body is both idolised and consumed through social media. She is a fetish object alongside the products she sells, or, more pointedly, she is the product, her flat tummy, her shapely waist represent the value of the commodity from which she has become indistinguishable.
The interface of Instagram encourages a false analogy between the life of the celebrity and the everyday life, a comic likeness between the sacred and the profane. The inevitable failures articulate class differences, insofar as the non-celebrity bodies of everyday consumers enjoy none of the economic freedom (time) of social media celebrities.
The Canning Room: Nicki Brancatisano - In Some Way
In Some Way investigates Brancatisano's drawing practice in relation to attention, vision and perception. For her first Melbourne exhibition, Sydney-based Brancatisano brings together a take on drawing that holds the tension between the fixed and unfixed. In this, renders emerge - in some way, shape or form.
25th July - 11th August Gallery One: Marina Mason - Untethered
Fragile or roughly hewn, Untethered is infused with stories from art history. This new body of work reflects an intuitive approach unfettered by rules and convention. Clay and paint come together, as do the equine and the feminine.
The Canning Room: RRAA - Storyboards
Storyboards consists of a series of hand built ceramic trays presented with small sculptures of marvels. The assemblages unlock visual play and poetry according to the viewer’s state of mind. Each of the framed spaces brings into being an activated field — a beginning of a story, a bridge for unacquainted objects, or a spot for incidental creative discovery and enquiry. RRAA is an applied art collaboration between Runa and Raymond Kamijo whose studio is a short walk from Tinning Street.
Untethered and Storyboards are exhibiting in conjunction with the 2019 Craft Cubed Festival.
15th August - 1st September Gallery One: Catch Becky Richards, Daegan Wells, Tyne Gordon, Felixe Laing, Jordan Davey-Emms, Greta van Oyen, Janie Bruce
Opening August 15th from 6pm.
A living body is more than matter. Muscles and bones, breath and heartbeat – all are animated by forces unseen. Chemical processes, the swooping rise of elation, the jagged-edged pressures of anxiety, the whine of electricity, the deep thrum of the earth.
What rhythms, what small processes might return us to our own limbs? How does one’s inner world shift, with the press of one body against another? And what uneasy content lurks beneath the polishing and modification of flesh?
Catch opens up the intangibilities of bodies; wrapping form around the invisible, the often unspoken. Featuring work from seven young New Zealand artists, covering diverse mediums, each seeking methods to catch, conquer, and celebrate that which can’t be grasped.
Image: Jordan Davey-Emms, 'Tower', hand built ceramic, 2019.
The Canning Room: Emma Hamilton - Arctic Eye
Opening August 15th from 6pm.
Emma Hamilton’s series of photographic objects ‘Arctic Eye’ was taken during daily walks while on residency in Iceland. She has captured these moments via a digital camera, shot through the viewfinder of an analogue camera. These photographs now exist as a slither of a printed image. Hamilton makes visible the space of the viewfinder, using it as a lens through which to view a winter morning. Here the blink of an eye becomes the opening and closing of the camera shutter, the light of the morning changes incrementally through the landscape.
5th - 22nd September Gallery One: Carolyn Menzies - Morphogenesis
Opening Sept 5th from 6pm.
In Morphogenesis form emerges from the union of the industrial and the handmade. The title comes from the biological process that causes an organism to develop its shape – a process where form is emergent rather than given in advance. Witnessing the embryonic development of the fourth industrial revolution we are seeing automation change our future in a way we can’t fully understand from our current vantage point.
If steel stands as a signifier in this relentless industrialization, Menzies’ use undermines this legacy evoking a structural order that is haptic and organic. Tenderly crafting the abrasive steel wool and mesh into sculpture, Menzies creates a more mutable manmade world.
The Canning Room: Monique Barnett - Incomprehensibility of being a (w)hole
Opening Sept 5th from 6pm.
Incomprehensibility of being a (w)hole is a series of intimate paintings depicting brass wire figures in a fictional world. These paintings consider how the body and personhood connect to space and movement and the flow of the contemporary era. This new series of paintings are the outcome of Barnett’s research on water, its loss of ontological meaning, its use in luxury marketing of consumer products and as a powerful concept that materialises the conditions in which we live.
The current time could be characterised by its constant flux and state of change, like water, nothing is stationary. Barnett is interested in the space that individuals inhabit within this constant change and the parallel between the concept of water and the human condition. Individuals, like water, are in constant flux and states of transition, always the same but always different, drifting in the never ending stream of time.
The physical elements of water, its depth, surface and reflectivity are used in the paintings as a tool to straddle tension between surface and depth in the lexicon of figurative painting.
26th September - 13th October No Exit Chris Hamnett, Corinna Berndt, Rachel Ang, Chloe Rose Taylor, Zhonghao Chen, Gaby Montejo, Ross Vaughan, Pip Ryan, Emily Galicek and Megan Archer.
In this group exhibition curated by Tinning Street Presents, ten artists come together to explore the absurd. From personal narratives through to piles of food, No Exit explores how the absurd can be found between humour, horror, dreams and the extreme.
Delightfully funny and erring on taboo, No Exit invites you to look, and laugh, at ourselves and the wider world.
Image: 'Desert Moon' by Megan Archer. Collage, 360 x 395mm, 2018.
17th October - 3rd November Gallery One: Vanessa Howells, Garth Howells, Lina Buck - inACTION
In inACTION Garth Howells, Lina Buck and Vanessa Howells reflect on transitional, reassembled and misremembered states. The exhibition examines impermanence through the transformation of material, memory and artefact. The works draw attention to the importance of process and assemblage in the creation of meaning by resisting prioritised points of view or moments in time.
Image: Vanessa Howells, 'Woman In Another Landscape, A modern history of Art', 34.5 cm x 43 cm Pigment print on Cotton Rag. .
The Canning Room: JB Knibbs - Reconstructing Home
In Reconstructing Home, JB Knibbs presents a series of photographs of fabricated home interiors, challenging the veracity of both personal memory and photography. Reconstructing Home explores the domestic space as a site of tension between nostalgia, expectations, idealisation, imposed narratives, and the reality of home.
7th - 24th November Gallery One: Brian Cheung - Where are we now?
Where Are We Now? is a response and commentary on the relationship between man and nature in an age of fear and uncertainty, as interpreted through a personal lens.
This new body of work represents a consolidation of past experiences as a means of understanding my own motivations, anxieties, and impulses as an artist. In a time when the concept of unspoiled nature is becoming an increasingly precious commodity, Where Are We Now? asks the open-ended question of where we are going, and at what cost.
The Canning Room: Marion Abraham - The End, And I Saw Its Beginning Too
lush / history / cranked up / orchid / fall / action / damask / chain / violence / lost / shadow / treeline / burning bush / rot / earthly / delight / detail / chorale / birth / garden / wilde / trouble / tacki / water / crazy found / damage / told.
In quiet moments, I think about history. If I keep thinking, it starts to feel alive and I forget my time. Sometimes I can almost smell the old world, when it is rank and heavy, but also when it is soft and beautiful. Push my brain harder, fall deeper, I see into the future too. Out of my place, and beyond my day.
The End, And I Saw Its Beginning Too is a series of twelve small oil painted works on canvas, embedded with a surface of copper leaf.
28th November - 15 December Gallery One: Ralph Bristow - The Cycle on Circle
In The Cycle On Circle Ralph Bristow shares a bright, sensual and wildly transporting vision, in which dimensions are subverted, spontaneity trumps tradition and colours enter into delightfully unexpected associations. A loose dancing application of paint opens boldly layered depths, and while emergent forms suggest the urgency of energy unleashed, an aggressive expressivity is deployed toward the apprehension of finely perceived and newly minted mythologies.
The Canning Room: Jordan Wood - Twofold
Twofold considers a series of dualities; the performed and private self, fragility and permanence, the familiar and the obtuse. A wall of ceramic masks and an exhausted theatre curtain, the props for a performance perhaps past, maybe yet to be played. Janus is at the threshold, looking inwards, looking out.