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‘FACING DECONSTRUCTION’ by Unwell Bunny

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‘FACING DECONSTRUCTION’ by Unwell Bunny is somewhat of a self-portrait for Unwell Bunny otherwise known as Ed Bechervaise. It represents a point of reflection both on himself and the urban art movement he has a lengthy relationship with. Captured are faces of Ed’s contemporaries, mentors, figure heads and the new breed of an independent disestablishment art movement.

‘FACING DECONSTRUCTION’ opens at Backwoods Gallery on October 20th from 6pm. Visit the exhibition page for more information. In the lead up to the show, Ed sat down with Damo….

Damo: We’ve finally managed to actually speak in person! Could we just start with who is ‘Unwell Bunny’ and how do you describe your current style?

Unwell Bunny: Unwell Bunny is kind of like my second artistic incarnation; an incarnation of Ed Bechervaise and my first graffiti name in Adelaide that I ran for about seven years. Moving to Melbourne I felt the need to reemerge in a slightly different form and Unwell Bunny was the reemergence. It came from a comic book that I did very early on in about 2002 or 2003 whilst I was actually witnessing the Melbourne street art boom happening. I had not quite ten years’ graffiti heritage and the street art boom was just completely new and I’d never experienced anything like that before. So, Unwell Bunny is the reincarnation of my graffiti past in a new form which has gone on to resemble urban contemporary art -giving me another sphere to project myself beyond my own name.

This allows the work to have secondary perspective on things and that works quite well for me. Keeping my name as a part of the linkage to my artistic practice with Unwell Bunny being an easier vehicle to move forward with.

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‘Content by the Kilo’ – Callum Preston

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‘Content by the Kilo’ is Callum Preston’s first venture north to exhibit artworks from his home town of Melbourne, with Church Brisbane being the perfect venue considering his history creative visual work in the music industry.

The artworks are a collection of what he calls ” fast and loose” butchers shop signs, the kind of thing you would have seen as a kid while shopping with a parent, proclaiming the finest cuts, the cheapest prices or the freshest produce. Big bold and eye catching, from a time before social media, you wanted to say something, you wrote it down and put a splash of neon around it.

Callum sat down with Damo over at Everfresh Studios to have a yarn about his show and what else is happening in his world.

Damo: Thanks for taking the time to hang out today. Can you introduce yourself and talk about your various artistic practices?

Callum: My name is Callum Preston I am based out of Everfresh Studios in Collingwood (Melbourne, Australia). I’ve been part of Everfresh since around 2004/2005 when I was a lot younger. I’m currently 33 and I’m a full-time… I don’t really have a full-time title but I’m sort of a full-time artist / designer / sculptor. It’s kind of very blurry; basically I’ll have a go at anything. That’s sort of my motto. I have just come to accept that I don’t really like the ‘jack of all trades, master of none’ phrase. I think it’s not as simple as that, it’s more that will do a lot of things to the best of my ability and then I have to decide whether I think that’s an acceptable quality. I’m sort of still finding my feet in all elements of my practice but I really am enjoying myself.

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“The Hug” Limited Edition by Adam Neate

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Coinciding with London’s Frieze week, Elms Lesters just released especial limited edition by one of their most prominent artists, Adam Neate. Continuing their ongoing series of 2D Dimensional multiples, “The Hug” is another release in which both the artist and the gallery are testing out new techniques and materials to bring the most exceptional product possible.

Limited to only 18 pieces, this edition is a dynamic motion lenticular print mounted on aluminium plate. Measuring 50 x 67 x 0.5cm (2.5cm inc. aluminium hanging frame), the piece is ready to hang and changes depending of the angle of viewing, mixing the vibrant pigments and creating countless different combinations of color schemes. The motif of a hug is something that the artist has been revisiting frequently in his work, and this particular image was created by mixing graphic and subtle photographic elements. This ambiguous ‘shape-shifting’ composition changes from blue / yellow tonal background, gradually morphing into vibrant pink / green tonal background. The edition is now available through Elm Lesters online store and will be ready for international shipping by the end of October 2017.

ElmsLesters.co.uk
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‘OPEN HOME’ – Ian Strange

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OPEN HOME is a new 2-day project by artist Ian Strange.

Creating a site-specific intervention onto the exterior of a suburban home in Melbourne, Australia and transforming the interior to display film, photographic and installation works.

‘OPEN HOME’ OPENING NIGHT:
FRIDAY OCT 6th
6pm – 9pm

25 Clifton Street
Richmond, Victoria
AUSTRALIA

PROJECT OPEN:
SAT 7th and SUN 8th
10am – 6pm

For any information about the project or to request an advanced catalogue please contact Jedda Andrews; jedda@jmaprojects.com

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‘Lateralisation’ – Liam Snootle

L A T E R AL I S AT I OИ
noun
[lat-er-uh-luh-zey-shuhn]
The functional specialisation of the brain with some skills, such as analytical and mathematical occurring primarily in the left hemisphere and others, such as perception of visual and spatial relationships occurring primarily on the right.

Liam Snootle presents new paintings that encourage an internal dialogue by stimulating the viewer’s lateralisation.

VNA: It’s been 12 months since we last spoke, what has been happening in your world?
LS: Yes, well if I’d said it’d gone quickly I’d be lying. At the time of my last show we were blessed with the very early arrival of our first child, little George. He had a pretty hectic first few months, I think it was 137 days in the hospital but now he is home and doing amazingly well, such a happy and inspiring person.

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Photo: Nik Epifanidis

VNA: How has the birth of your son changed the way you look at things? Has it changed your artistic practice at all?
LS: I’d have to say it has completely changed me, priorities have been totally reworked. I struggled to find time to paint but I’m in such a great space at the moment, after a really tough time and I’d like to think this newfound optimism and inspiration is reflected in my latest body of work which has come together nicely.

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Photo: Nik Epifanidis

VNA: Tell us a little about ‘Lateralisation’. There is often a lot in the name of a show, why did you go down the ‘Lateralisation’ path?
LS: Lateralisation is the theory that people have a tendency to use different hemispheres of their brains in different ways, a preference of one over the other, mathematical/analytical on one and creativity on the other. I’ve always felt I did both of these naturally and these paintings are my attempt a creating an environment where the viewer was forced to get both hemispheres working in unison.

VNA: What is the make up of the show? Is there a piece you are particularly proud of?
LS: Most of the paintings are diptychs of colour blocks with a black and white dynamic geometric expression. I’m hoping that the two halves complement one another. I’m fond of all of them but there is a personal favourite that I’m hoping stays unsold (they probably all will).

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Photo: Nik Epifanidis

VNA: What do you hope people will take away from the show? What messages (if any) are you trying to convey to your viewers?
LS: I’m hoping that people that usually walk away from contemporary art saying “I don’t get it” might have an awakening.

VNA: If you could collaborate with anyone, who would you choose and why?
LS: I’ve got a soundtrack that plays during the show which was designed and recorded by my brother, Dylan. He’s an amazing singer, songwriter and guitarist and I guess this was our first art/music collaboration. It’s something I’d love to build upon for future projects.

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Photo: Nik Epifanidis

VNA: When we last spoke, you commented on the generational gap between you and your students ever increasing and your goal is to make art full time. How is that journey coming along?
LS: Oh yeah that gap is getting wider and wider, they’ve just made me realise that cool music is now called Dad Rock and that my preference for double denim is downright embarrassing. As far as full time art is concerned, well I still have a mortgage and the bank insists that I keep going back to the classroom most days!

@liamsnootle

‘Lateralisation’ opens this Friday at ‘Off the Kerb Gallery’ 66B Johnston St, Collingwood.

POW! WOW! Taiwan Brings Art To The Community

Imperial Taels and POW! WOW! Taiwan have teamed up to bring a radical celebration of art to small communities across Asia.

Paint Asia is a crowdfunded art festival that will bring artists from around the world to various communities across the continent, to congregate at workshops, exhibit pieces and create art for the public. Every year, the festival will be held in a different host city, town or village, a place that desperately needs the seeds of art to be sown.

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‘Happy Never Ending’ – D*Face

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On Saturday, September 23, Downtown Los Angeles’ Corey Helford Gallery (CHG) will premiere the long awaited new solo exhibition from world-renowned UK-based multimedia street artist D*Face, entitled “Happy Never Ending.”

As one of the most prolific contemporary urban artists of his generation, D*Face (a.k.a. Dean Stockton) has been at the forefront of his practice since his initial breakthrough in 2005. Working with a variety of mediums and techniques, he uses a family of dysfunctional characters to satirize and hold to ransom all that falls into their grasp – a welcome jolt of subversion in today’s media-saturated environment.

His ambition is to encourage the public eye not just to “see” but to carefully consider the surroundings of our day-to-day, and society’s increasingly bizarre fascination with celebrity culture and mass consumerism.

“For me this work is about the tragedy of losing someone you love. Not just in the physical sense of death but also in the metaphorical way that romance has become such an artificial thing in recent years. Courtship used to be a craft, something careful and considered; marriage was an everlasting bond of trust and commitment. Today though, romance is comparable to a shop bought commodity – instantly attainable at the touch of a button or swipe of a screen. In a constant search for someone or something better, people treat others as if they were mere objects – infinitely attainable and instantly disposable.” – D*Face

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By rethinking, editing and subverting imagery drawn from decades of materialistic consumption – currency, advertising and comic books, D*Face transforms these now iconic motifs, figures and genres in order to gain new insight into today’s conspicuous society. Describing his work as aPOPcalyptic, D*Face seeks to pick up where the masters of 80s American Pop left off – to establish a very real, albeit tongue and cheek criticism of our consumer dominated world.

“With this new series of work I wanted to re-kindle the lost romance of a bygone era, back when, even in death, the memory of a loved one could last an eternity and a marriage went beyond just a symbolic gesture. For the show I want to construct a mini chapel where we can actually hold a real ceremony and a graveyard in which I want people to leave momentos to the people they have lost. If romance is truly dead, then I want to resurrect it for the modern age

The influence I’ve taken from pop-masters like Roy Lichtenstein allows my work to give the clearest possible narrative. At the same time, it offers something more, something beyond the surface of the work – a darker side to pop that resonates with society of today.” D*Face

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The opening reception for “Happy Never Ending” will be hosted Saturday, September 23 from 7-11pm in Gallery 1 at Corey Helford Gallery. The reception is open to the public and on view through October 21. D*Face is recently ordained and in connection with the theme of his show (to resurrect romance in the modern era), he will perform a real marriage ceremony during opening night in front of a chapel installation inside the gallery.

@dface_official

“Johnny Whiskfingers” Comic by Josh Josh Jones

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UK-based journalist, copywriter, interviewer and quality content producer, as well as editor and founder of art ‘zine Pavement Licker, Josh Josh Jones, recently published his first comic. This story about drink, drugs, bears, fights, gay saunas and reluctant superheroes was done in collaboration with illustrator Simon Davies and was premiered in Pavement Licker #10.

“100 years from now, in Itchytown, London’s scummiest area, lives masterful pick pocket, Johnny Whiskfingers. After having his hand cut off by a corrupt government he staggered into the lawless borough and was rescued by two ex-special forces bears, Saul and Gibbs who run an illegal bar. Fighting a secret war against injustice, the bears, joined by no nonsense barmaid, Tilika, let the hard drinking, drug taking, unreliable anti-hero into their lives and fit him with a robotic hand that might just save the city…”

Intended for mature audience the comic is now available for worldwide order through JohnnyWhiskfingers.com.

JoshJoshJones.co.uk
SimonDaviesDraws.com

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“Toutes en Finesse” (All in finesse) group show @ Nunc! Paris

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On Thursday 21st of September from 18h Nunc! Paris will be opening a comeback group show titled “Toutes en Finesse” (All in finesse). Focusing on the creative ladies out there, this show will include works from ten female artists whose common point resides in the finesse and elegance of their work.
Showing mostly local, but also internationally famed names, the full lineup will include works by @Madame, Koralie, BTOY, Olivia De Bona, Alixe Cooper, Emmanuelle PetitePoissone, Germaine Couillon, Stoul, Yz Yseult and Hera (with the support of myFINBEC). Covering wide range of themes and styles, as well as techniques and formats, this collective exhibition will take place from 21.09.17 to 21.10.17 at 3 rue d’Arras-Paris 5th.

Nunc! Paris

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