Exhibition June 22 - July 11

Opening reception Fri 23 June at 6-8 pm.

 
Gallery 1 : Group Show Self by Jason Hazle, Calum Lamb, Quirky Bones, Carl Ross, Nanou Dupuis Brady Clarke and Taras Semenenko ,   Curated by Briana Catherine Wall SELF is a mixed media group exhibition featuring emerging, unrepresented artists. Exploring and analysing concepts of identity, mortality, the representation of self, sexuality, physical autonomy & the history of mankind. Expressed in a chaotic fashion to emulate the clash of personalities & diversity in life, SELF is an exploration of just that. Credit image : Jason Hazle

Gallery 1 : Group Show Self

by Jason Hazle, Calum Lamb, Quirky Bones, Carl Ross, Nanou Dupuis

Brady Clarke and Taras Semenenko ,   Curated by Briana Catherine Wall

SELF is a mixed media group exhibition featuring emerging, unrepresented artists. Exploring and analysing concepts of identity, mortality, the representation of self, sexuality, physical autonomy & the history of mankind. Expressed in a chaotic fashion to emulate the clash of personalities & diversity in life, SELF is an exploration of just that.

Credit image : Jason Hazle

Gallery 2 : The Patterns of displacement in context of “HOME”                 byRushdi Anwar The Patterns of Displacement in Context of "Home" The Patterns of Displacement in Context of "Home" explores issues of displacement due to socio-political persecution that aims to reveal the difficulties and suffering of individuals who have faced displacement and dislocation - manifesting a universal understanding for change, fragility, resilience and redemption. The Patterns of Displacement in Context of "Home" address the catastrophe and the difficult reality of those individuals forced into displacement. In addition Reframe “Home” with Patterns of displacement indicate and invokes the idea of the “Home” fragments that parts are absent and lost or left behind somewhere, signifies both loss of home and the triumph of memory. However not only highlight the desperation and fragility of displaced individuals, it will also highlight their courage and compassion. Additionally, the project highlight the human condition, which when under difficult situations requires and seeks hope, renewal and light. ACKNOWLEGDGMENT: 1-This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. 2-This project is supported by the Victorian Government through Creative Victoria. 3- Merri Outreach Support Service (MOSS).   

Gallery 2 : The Patterns of displacement in context of “HOME”                 byRushdi Anwar

The Patterns of Displacement in Context of "Home"

The Patterns of Displacement in Context of "Home" explores issues of

displacement due to socio-political persecution that aims to reveal the difficulties and suffering of individuals who have faced displacement and dislocation - manifesting a universal understanding for change, fragility, resilience and redemption.

The Patterns of Displacement in Context of "Home" address the catastrophe and the difficult reality of those individuals forced into displacement. In addition Reframe “Home” with Patterns of displacement indicate and invokes the idea of the “Home” fragments that parts are absent and lost or left behind somewhere, signifies both loss of home and the triumph of memory. However not only highlight the desperation and fragility of displaced individuals, it will also highlight their courage and compassion. Additionally, the project highlight the human condition, which when under difficult situations requires and seeks hope, renewal and light.

ACKNOWLEGDGMENT:

1-This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

2-This project is supported by the Victorian Government through Creative Victoria.

3- Merri Outreach Support Service (MOSS).

  

Gallery 3 :  Fitch 11by Matthew Fitch Having over 20 years’ experience in the arts industry and gained a masters in art curatorship from the University of Melbourne I have always been engaged in exhibiting and presenting contemporary artworks.  This body of work embraces our neighbors in Asia and China to where I have recently visited and I have also been learning Mandarin for the past three years.  South East Asia and China have been knocking on Australia’s door for a long time now and also on the contemporary art world’s door to now be in the forefront and it cannot be or won’t be ignored and I believe we should be embracing Asia in this brave new contemporary world we now live in.  This current body of work is a reference to “The Chinese 1989 Avant-Garde Movement” as it is known in Asia, in this edgy new body of work and exhibition titled ‘Fitch 11’.  The artwork tilted ‘The 21 Century Ode to Sid’ translates as a question written in Chinese Characters as, ‘You Don’t know or You know?’  Depicting with a reference to Sidney Nolan’s Ned Kelly series; a black helmet amour that the bushranger Ned Kelly used.  The 21 Century influence as the text from China into Australia with a Confucius philosophical riddle, is stuck in the eyes of the helmet that Ned Kelly would have been wearing.  Our own mythologized figure from Australia whom was executed here in Melbourne, now to be immortalised into the 21 Century world. It is fitting that when the artist Xiao Lu shot her own work and this closed the opening of the Chinese avant-garde movement only after two hours of opening, that Xiao Lu ‘s work is now known as the gun shots before the Tiananmen Square riots:  As The Kelly gang took arms onto the authorities in the 1800’s with guns and armour and has ever since been mythologized.

Gallery 3 :  Fitch 11by Matthew Fitch

Having over 20 years’ experience in the arts industry and gained a masters in art curatorship from the University of Melbourne I have always been engaged in exhibiting and presenting contemporary artworks.  This body of work embraces our neighbors in Asia and China to where I have recently visited and I have also been learning Mandarin for the past three years.  South East Asia and China have been knocking on Australia’s door for a long time now and also on the contemporary art world’s door to now be in the forefront and it cannot be or won’t be ignored and I believe we should be embracing Asia in this brave new contemporary world we now live in. 

This current body of work is a reference to “The Chinese 1989 Avant-Garde Movement” as it is known in Asia, in this edgy new body of work and exhibition titled ‘Fitch 11’.  The artwork tilted ‘The 21 Century Ode to Sid’ translates as a question written in Chinese Characters as, ‘You Don’t know or You know?’  Depicting with a reference to Sidney Nolan’s Ned Kelly series; a black helmet amour that the bushranger Ned Kelly used.  The 21 Century influence as the text from China into Australia with a Confucius philosophical riddle, is stuck in the eyes of the helmet that Ned Kelly would have been wearing.  Our own mythologized figure from Australia whom was executed here in Melbourne, now to be immortalised into the 21 Century world. It is fitting that when the artist Xiao Lu shot her own work and this closed the opening of the Chinese avant-garde movement only after two hours of opening, that Xiao Lu ‘s work is now known as the gun shots before the Tiananmen Square riots:  As The Kelly gang took arms onto the authorities in the 1800’s with guns and armour and has ever since been mythologized.