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‘Crossed Wave’ – New Works by Kai and Sunny

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Subliminal Projects (LA) welcomes back UK-based artist duo Kai & Sunny for their second solo exhibition at Subliminal Projects titled, ‘Crossed Wave’. The exhibit will showcase new works of archival ballpoint pen on paper and acrylic on primed aluminium panel. As part of the exhibition, the artists will collaborate once again with Subliminal Projects founder, artist Shepard Fairey, on an original pen piece to be featured in the exhibition. The artists will also be releasing a screen print edition available in two color variations signed by Fairey and Kai & Sunny, to be released at the opening reception.

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Crossed Wave is comprised of two narratives; fluid deconstructed landscapes representing a calm isolation, and hard-edged geometrics exuding energy and optimism. These parallel concepts are characterized by the duo’s hallmark precision line- work, a slow methodic process of building individual thin lines upon each other creating tense kinetic compositions while a certain fragility remains. The tidal-like waves and intense sunbursts hint at the changing environment we live in and the fragile planet we all share.

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As part of the exhibition, there will be an exclusive giveaway, four limited edition skate decks and a new Kai & Sunny print release available.

KAI & SUNNY (born 1975 and 1977, respectively) are a UK based artist duo. They both graduated from the Epsom School of Art in Surrey, United Kingdom with degrees in Art and Design. They have collaborated with author David Mitchell, designer Alexander McQueen, artist Shepard Fairey and have won numerous accolades, including a 2012 D&AD Design Award and a 2015 LIA award. Works by Kai & Sunny have been exhibited internationally at institutions such as Haunch of Venison, Jonathan Levine Gallery in New York and are included in the Victoria & Albert Museum Print Archive Collection.

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@kaiandsunny

@subliminalprojects

‘Chaise Lounge’ by Stephen Baker – print release

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Stephen Baker is a Melbourne based Artist and Graphic Designer working from the Everfresh Studios. This is Stephen’s second screen-print release with Dangerfork Print Co and much like the first screen-print edition, they got Steve in to hand paint the outline layer directly onto the film to preserve the original texture and add an analogue detail to help bring the print to life. The seven colours are all hand mixed to perfection and the final pink outline colour printed using a hi-build screen to add some height to the ink and give some extra texture to the print.

Print: Chaise Lounge
Printing: 7 Colour screen print
Paper: Rosapina 285gsm cotton rag
Size: 880mm x 650mm
Number in Edition: 40 hand signed and numbered
Price: $320.00AUD

Now available at DANGERFORK!

Badgirl Garden

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Stayfly Sydney recently launched a night called Badgirl Garden which showcases female performances along with art installations by designers Ailie Banks & Merindah Funnel.
The stage is owned by rappers, singers and DJs who entertain the crowd, while live art is painted on canvas by artists from the collective.

Badgirl Garden is a space created by a team of women smashing into the Sydney arts and music scene. Every event they create is a safe place for women, men and the LGBTIQ community to congregate, congratulate and party! The goal is to to bring parties and events where everyone can celebrate and support the up and coming female artists of every caliber.

This Thursday Badgirl Garden will be bringing new names to the line up, exciting acts and local artists.

DJ LOU LOU
LADY LASH (Mel)
ALPHAMAMA
JANNAH BETH
JACQUIE MALI

LIVE ART by STYNA & SOPHI ODLING

3 August 2017
9pm start – $5 entry
Slyfox, 199 Enmore Road

@badgirlgarden

‘Self Loathing’ – Mic Porter

True artists are compelled to make art. The reason for their expression is not always important. What is always important, however, is the act of creation. Art comes before reason in the same way that the universe existed before science. Mic Porter is one of those rare, great artists who is simply compelled to create. Mic isn’t driven by ‘career’ nor does he force himself to create consumable art. Mic is, instead, driven by a indefinable, fiery, energy of creation which torments him if he stops. In his youth, this creative compulsion drove Mic towards graffiti. He forged ahead as one of Australia’s pioneer street artists, eventually to be tempered into a painter and sculptor by the VCA and experience at a bronze foundry.

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Mic wrestles his demons with chainsaws, knives, markers and paint upon the battlegrounds of canvas, found objects, bronze and the exterior of tall buildings. His work is primal, expressive and above all, honest. It’s easy to assume that Mic is a conduit for something that he doesn’t understand; that his work is automatic and lacking self awareness. A subconscious process perhaps? After all, Mic’s work is primal, he is reserved and is reluctant to talk about his art. Mic is not a spectator, he has mastered his drive, and is very much in control. Perhaps even due to his reservation to talk about his work, Mic manages to express himself with the kinds of perfectly cryptic sound bytes that other artists drive themselves mad in an attempt to coin. “Art is eternal narcissism, I’m a narcissist” ‘Self Loathing’ brings you a gallery full of screams, smiles and manic grins.

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In Mic’s autobiographical collection of work, he’s produced Totemic heads, brutally sculptured with from blocks of wood with a chainsaw sit in the centre of the large room, loomed over by the three largest Self Loathing paintings. The triptych feature Mic Porters iconic faces, instantly recognisable for the role that they’ve played in shaping Australia’s street art landscape for over a decade, now rendered in a mix of oil and enamel. Each face is Mic’s, but also his family and society’s, he explains that it’s history coming through his face. I think that it’s more than that, I think Mic is so brutally honest with himself, that the self portraits end up reflecting all of us, which is why they’re so alluring and powerful.

– Alex Mitchell

‘Self Loathing’ will be on display at Backwoods Gallery from the 4th until the 20th of August. The collection will consisted of paintings, bronze and wood sculptures and installations across two rooms and Backwoods Lane.

‘Fuck Sydney’ – Will Coles

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UK born sculptor Will Coles’ long awaited follow up show to ‘I Fucking <3 Melbourne’ (March, 2013) will open this week at BSIDE Gallery, Fitzroy.

‘Fuck Sydney’ is Coles' ‘it’s not me it’s you’ break-up letter to the city he called home for 20 years:

What was true twenty years ago is just as true today: Sydney is where the money is, Melbourne is where the culture is. Sydney, where the average house will now put you back $1 million, where they import foreign street art rather than invest in their own. Sydney, where the pubs & clubs close early, live music is a memory & the shops close at 5. Sydney? Go fuck yourself.
– Will Coles

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‘Fuck Sydney’ opens this Friday at BSIDE Gallery, 121 Brunswick St, Fitzroy from 6-9pm, and runs until the 30th of July 2017.

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@mrwillcoles

‘The Resistible Rise Of A Bear of Little Brain’ – An exhibition by Stephen Ives

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Stephen Ives is an architect of fantastic worlds.

Stephen Ives, employs a rare level of expert craftsmanship to present an unfiltered and lucid exploration of his brilliant imagination. Ives’ subconscious pours free-style poetry into his sculptures and illustrations, lacing his work with a playful language of archetypal symbols and colours.

As his audience, we are free to enjoy the surreal, superficial brilliance of a B17 Bomber with a baby’s face or a gun turret placed in dissected eyeball. However, if we choose to delve deeper into his work there is hidden meaning in each and every detail, waiting for us to decipher.

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‘Surface Tension’ – Silk Roy

Celebrating over a decade of creativity, Melbourne artist Silk Roy brings his debut solo show ‘Surface Tension’ to Melbourne. In the lead up to the show (opening this Friday), Silky was kind enough to chat with us.

How and when did you get into art and why?

I always enjoyed drawing when I was a kid, but it wasn’t ever something I thought I’d pursue until I moved to Melbourne in ’98. I’d never seen graffiti before having come over from Singapore, which in comparison was/still is a spotless city. I’d take the train to school and back everyday and it was hard not to notice the smashed insides and the walls on the line changing nightly. For a 13 year old, the idea of having an alias that people identified you by and going out on missions was pretty appealing. It wasn’t until years later that I’d realize this daydream, but of course now being an active writer, artist, creative is much more that, it’s given me a sense of ‘self’, and outlet to express my ideas and thoughts and a platform to continue my creative journey.

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You run two identities, Kid Silk and Silk Roy, How did this come about?

Basically I arrived at a point where I needed to let my graffiti and studio practise have their own shine as trying to put all my work under one name was confusing and felt forced. Silk is an old nickname I was given a long time ago so it was a no-brainer as far as putting it up as a writer.

‘Kid Silk’ came about because of my insta handle, other writers would meet me and ask who I was, I’d reply ‘Silk’ and they’d ask ‘Like Kid Silk?” It also works in terms of me keeping graffiti for myself, I don’t intend to profit from it or ever make it feel like work, it’s fun and I get to go out and essentially be a kid.

Silk Roy on the other hand is the name I work under when I’m showing / producing studio work. Two identities works for me now as I’ve started getting opportunities for both which is cool as far as keeping things varied creatively.

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‘ZERO TO THE LEFT’ – Luke Cornish (ELK)

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For many years, Cornish has challenged himself and others with his art. Often confronting and always compelling, he never ceases to spark conversations around race, religion, conflict and the human condition,. His work sees him travel to some of the most dangerous conflict zones in the world. The artists most recent trip abroad was a venture to Syria. In one of the artists most significant bodies of work to date, ‘ZERO TO THE LEFT’ intends to:

‘Put a human face on the effects of this war and raise awareness for the people caught in the middle of this conflict…It’s these people I want to support, the ones that left and the ones that have stayed…the ones that have no say in how their government fights this war, the ones who have no say in the sanctions that are crippling their lives and the ones who have no say in foreign invaders bent on destroying their secular society; the everyday people just trying to get by.’ – Luke Cornish

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