Last time I saw Scott, we were playing ping pong at The Marcy Project in Brooklyn. Sadly for me, he beat me in a best of 7. It still stings a bit. I mention it here as a form of therapy I think. Anyway, I’m catching up with him now as his two person show with Mary Iverson called ‘Correspondence’ has just opened at Andenken in Amsterdam on November 11th.
Our man Liam Keown has been over to catch up with Danny O’Connor in the studio.
‘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.
‘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.
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
SAT 7th and SUN 8th
10am – 6pm
For any information about the project or to request an advanced catalogue please contact Jedda Andrews; email@example.com
L A T E R AL I S AT I OИ
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.
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.
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).
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.
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!
‘Lateralisation’ opens this Friday at ‘Off the Kerb Gallery’ 66B Johnston St, Collingwood.
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
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
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.
Kim Hyunji has created a collection of portraits that uncover each of her models carefully curated social media personas to find true beauty in the discarded remains, deemed unfit for projection. The collection, titled Mirror Stage, is an honest counter point to the rise of the online persona that bravely evokes feelings of love, alienation, angst, and hope.
Kim Hyunji, aka KIM KIM KIM, is a painter from South Korea, currently based in Melbourne, Australia. Recognising Australia’s multiculturalism and diversity, Hyunji’s main subjects are the culturally attuned creatives of her generation, the Millennials. In real life and social media, she often observes the impacts of a globalised society – its conveniences, and pitfalls. Her unique style of portraiture is intended to portray the issues this generation is facing.
Opens Friday, Sept 15th and is on display until Sunday, Oct 1st – Backwoods Gallery.
Vandal extraordinaire and VNA featured artist Ronzo and ArtAppeal are releasing a print ‘ Hugs for Grenfell’ to raise money for Grenfell Families. After more than 10 weeks, the majority of the survivors are still in need of our help. Buying this print is a very quick and effective way to aid those affected. All profits from the sales will go to the Grenfell families via local organisation ‘Love4Grenfell‘ who will pass them on directly, to avoid the long delays and high administration costs of big charities. This is a great opportunity to combine your love of art with donating money for a good cause.
Charity Screen Print Release in Support of Grenfell Families.
2 colour hand pulled screen print, Dimensions: 50cm x 50cm, Edition: 100 Signed and numbered by the artist. Price: £25 (+ £4 UK postage)
Big up & thank you for your support!
For more info visit ArtAppeal
Our man Liam Keown has been over to catch up with London-based artist and East-London art-throb, Ben Slow…