‘Duality’, an exhibition from Melbourne artist, Bailer, opens at fortyfivedownstairs, Melbourne, on Tuesday 30 January 2018.
Featuring paintings and sculptural works that traverse liminal states of being, ‘Duality’ aims to explore the ever-changing state of the human condition. Through abstraction, the viewer is immersed, unlocking their own mutable states of mind and coming to understand that nothing ever stays the same. All is fluid, moving.
Capturing a likeness of something that already occupies space has never really interested Bailer. Instead, the development of a personal style and the refinement of an enjoyable cathartic process takes precedence. Process is the most important part of Bailer’s artistic expression, and is clearly apparent in his work.
‘I have used art (and an array of other activities) as a form of escapism for many years. Graffiti, muralism, sketching, writing, all forms of creativity I have used to escape the hands of time, the act of contemplating my own successes/failures, impending mortality, the inequities of an unjust society. Getting deeply lost in the creative process is like ducking my head below the breakers. The roar of the ocean instantly forgotten in the calm below, surfacing for air briefly only to dive deeper. The noise of self- doubt, expectation and pressure fading into the depths.’ – Bailer
Painting publicly in Melbourne for 20 years, Bailer’s style is instantly recognisable. The roots of his work are imbedded deeply in the graffiti subculture, and his new pieces push outside the self-imposed boundaries of genre. Bailer’s studio practice and public art incorporate a broad range of artistic modes.
Bailer’s art practice is varied: from large scale creations across walls in Australia, New Zealand, Japan, Bali and Europe to more intimate approaches on canvas evoking existential explorations of the mind. His work is a fusion of biomech – surrealist manifestations of the self – expressed within abstract forms. Bailer’s art is currently positioned within these liminal states of the mind.
‘Duality’ opens at fortyfivedownstairs 45 Flinders Lane Melbourne on Tuesday 30 January from 5pm.
For catalogue enquires, contact curator: firstname.lastname@example.org
Gallery Hours: Tuesday to Friday 11am-5pm, Saturday 12pm-4pm
Born in New Zealand and raised on Melbourne’s Hurstbridge line, Ling is a multi-faceted artist based in Melbourne’s infamous Everfresh Studio. With a background in stylised lettering and graffiti, Ling is also well known for his 80’s and 90’s pop culture pieces, littering the streets of Melbourne and beyond, pushing those who come in contact with the pieces to reminisce of days gone by.
Having shot to international notoriety through his “Allure of Gold” project, taking everyday items like trains and cars that have been left to degrade and painting them gold, giving them the illusion of value once again, Ling is now pushing things even harder. Whilst on the hunt for a holy grail gold piece – ‘I noticed an abandoned fighter jet at Santorini airport…’– Ling has started working on far more diverse projects, pushing the canvas-based boundaries of portraiture and abstract work. A member of Melbourne’s ID crew, Ling is no stranger to collaboration, and is as familiar working alone as he is taking part in full scale productions, including most recently at Denmark’s Roskilde festival.
Well known Croatian graffiti artists, Lunar, Smack, Mosk & Ronald Lindgreen, recently opened a quirky group show organized in collaboration with Regeneracija, a local company that recycles textile and produces floor coverings. Under the title “Wool Tang Clan” they managed to transform some of their creative visions to an usual medium – woolen carpets.
Opened on December 20th 2017 @ Regeneracija’s Regalerija show space in Zabok, Croatia, the artists challenged their creativity by introducing graffiti-influenced knitted works. Intrigued by the unusual medium and a chance to produce work with such atypical technique and format, the artists boldly stepped away from their comfort zones for this exhibition. In such manner Mosk created somewhat conceptual piece spelling “WHO NEEDS A CARPET ANYWAY”, reducing the household object to minimum, completely cancelling or at least questioning its purpose. His friend Smack created a large round piece based on a pixelated macro shot of one of his actually graffiti pieces. Showing such strict structure with such organic and soft medium, the artist created a vibrant piece next to his actual tag created from bundles of wool. One of Croatia’s most prominent urban artists and initiator of this project, Lunar, successfully translated his cartoon-like imagery into this new medium, similar to Ronald Lindgreen whose watercolor landscapes turned out to be a perfect motif for knitted rugs.
Our friend Mayo has just released his new limited run of t-shirts just in time for the holiday and gift giving season! These tees are screen-printed front and back and available in sizes S, M, L, XL, XXL.
Email email@example.com to purchase while they last. First in best dressed (literally!). AU$60 + $10 shipping within Australia. Add an international address to your email for a shipping quote. Don’t sleep fam.
Photographs by Rennie Ellis and p1xels: Capturing the message – protest, graffiti and art draws on the extensive work of documentary photographer Rennie Ellis, who documented life of the 1970s and 1980s, juxtaposed with contemporary artist p1xels’ street photography.
The exhibition encourages debate about imagery and messaging in the public domain and how we respond – from local experiences, to those across Melbourne.
Photographs by Rennie Ellis and p1xels: Capturing the message – protest, graffiti and art showcases the importance of photographers documenting ephemeral aspects of our urban landscape – through their lenses they frame the political, social and cultural discourse in our public spaces.
Ellis’s photographs capture word-based graffiti of the 1970s and 1980s, which were an effective method of communicating a social message on a large scale in the days before social media. The Ellis works selected highlight that some of the concerns that were raised in the 1970s and 1980s still resonate today such as the environment and gender issues. Ellis’ framing of these political statements sits alongside the current visual records by p1xels Melbourne catalogue.
Images captured in recent times by p1xels provide a different insight where messages are still communicated on walls, but may be conveyed in a more subtle form using illustrative imagery in addition to text. The exhibition investigates the disparate styles of photographing graffiti from the documentary style of Ellis’ photography to the more aesthetic approaches of p1xels photographs.
The exhibition will be officially launched at 6pm, Thursday 30 November 2017 at The Gallery, St Kilda Town Hall. Exhibition dates: 29 November to 22 December 2017
Secret Walls began back in 2006 in a small bar in East London, it was small and intimate yet had the potential to be so much more. Years of hard work, dedication and a strong following has meant Secret Walls has pushed the boundaries and raised the bar for artists and promoters alike on an international stage.
Secret Walls is the world’s premier live illustration battle. Working in a similar way to Fight Club, Secret Walls battles are set up and promoted through word of mouth and social media with battles taking place between two individuals or teams of artists.
On Monday November 6, Melbourne will once again play host to this prestigious event. Fighting it out at Melbourne’s The Vic Bar will see Callum Preston and Heesco vs. Jack Douglas and Unwell Bunny….
‘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.
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.