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Lister – Live and Unplugged in Melbourne

As you all know, Anthony Lister held his very first Melbourne ‘Lister Live’ last Friday at Juddy Roller Studios. Backing this up, he held an all day show and painted a live wall on Saturday in Fitzroy.

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photo: @p1xels


‘It was a pleasure to give the new gallery space over to an artist such as Anthony Lister. His energy and his approach to his work is something that I’ve always found quite fascinating so it was an honour to finally get the chance to work with him. The atmosphere was quite a bit different to one of our regular exhibitions. It was a lot more intimate and a chance to get really up close and personal with the artist, his style and his creations, a rare opportunity for an audience that will usually only encounter an experience like that in the artists coveted studio’
Shaun Hossack, Creative Director, Juddy Roller

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photo: @p1xels

Hopefully this wont be the last time we see Anthony in Melbourne with a live class, but for now, here’s a few flicks from p1xels to keep you interested. Be warned, some of these are probably NSFW. Keep checking back too, cause Juddy Roller have some dope shows coming up for the latter half of 2016!

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‘HIC SVNT DRACONES’ – ROA

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For European explorers across the Fifteenth to Eighteenth centuries, Australia was a fantastic, geographically remote, ‘island’ continent. Australia represented a wunderkammer filled with curious animals, plants & cultures waiting to be ‘discovered’.

Early cartographers decorated maps of ‘Terra Australis’ with illustrations of extraordinary animals inspired by their encounters on the ‘island’. Transformed by the rare glimpses experienced by their illustrators, Australia’s native animals assumed a supernatural demeanour. However, these fantastical illustrations paled in comparison to those reserved for the unexplored sections of maps titled ‘Hic Svnt Dracones’, where the cartographers illustrations would cross into the realm of pure fantasy as they imagined what lay across the great, yet unexplored, horizons.

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‘The Couple’ – Shawn Lu

The Couple by Shawn Lu from Round 3 Creative on Vimeo.

Melbourne based contemporary artist and illustrator Shawn Lu has painted his latest mural, The Couple, at one of Melbourne’s most beloved watering holes, Dr. Morse.

Located in Collingwood, Melbourne, The Couple was completed over 7 days, in February this year. Using outdoor acrylic house paint, his trusty brush and steady hand, this piece features an unprecedented level of detail for a wall mural of this size.

The video, created by Round 3 Creative captures Shawn’s process through a time-lapse, allowing you to follow the process from initial outlines right through to the rendering and completion of the mural, all in the space of a tidy few minutes.

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Adrian Landon Brooks – Interview

Adrian Landon Brooks is an American artist, making smart illustrative work with a neo-folk slant. He’s living in the hills outside of Austin, Texas. The move out to the sticks has been a big adjustment for the city kid. He and his wife, Dalyce with their 9 month old baby, Willow, have taken on the challenge so many of us dream for…building their own house. Fun, challenging, exhausting, rewarding…the gamut. I caught up with Adrian for a little interview in anticipation of his solo exhibition, ‘Miracle Worker’ opening on June 11th at Andenken Gallery in Amsterdam. Here’s what he had to say.            two_birds_watching_detail_web 

Hyland Mather: You moved from the Big City of Austin, out into the country. Do you have a shotgun rack?

Adrian Landon Brooks: I don’t think a shotgun rack would fit in our city slicker hybrid! Give me a few years and I might start embracing our new-found surroundings.magic_hands_web

HM: I’ve heard you say your working process can be very meditative. Does your move to a more peaceful setting aide this creation meditation process, or do you find yourself missing the bustle?

ALB: I’ve always lived in big cities so the move is definitely an adjustment. I’ve managed to make work in all sorts of tiny closets and corners of dimly lit living rooms so it’s nice to have a dedicated space now. We have a lofted second floor that will serve as my studio ‘til we build something bigger down the line. I’ve learned to sit down and work regardless of the countless distractions surrounding me. All the outside noises are drowned out once I am engaged with the painting.

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HM: You’re neck deep in the building of a house. I know for many creatives, building your own space is a massive dream. How is that going?  

ALB: My wife and I have been building the last two years in the hill country outside of Austin, TX. I can honestly say it’s been the most challenging two years of my life but also just as rewarding. I am very accustomed to making my creative vision a reality with my artwork, but building was a whole other beast. One of the biggest challenges was learning to share a vision with another person and practicing the art of compromise. I am proud to say that we are now living in our place with our nine month old daughter, Willow. We are finally getting to the finishing stages of the process and can move on to the painting, staining and decorating. All the good stuff!

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HM: When you were pretty young, 19-20, you and a few friends had a rental house, and I read that you had pretty much covered it with paint and ink by the time the lease was up. Is this the plan for the house you’re now building, or are you going to try and separate the work you make as an artist from the space you’re living in as a home builder?

ALB: I would like to keep some separation for sure but the work tends to spill over in most areas of my life and house. We decided on a lofted studio partially because it’s more economical to build up but also to better contain the clutter. My actual workspace usually just consists of a drafting table and maybe an easel but it’s the repurposed materials that take up the most room. I hit streaks of collecting interesting pieces and it might be months before I get around to using them. I would really like to build a barn shell for a studio sometime in the next few years. It would be interesting to see the direction of the work without as many space restraints.  

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HM: More and more you’re using found object as the substructure for your paintings. I’ve heard your work described as ‘neo-folk’. Do you see the found object as a contributing force to this description?  When can we expect some more work on clean fresh panel?

ALB: The repurposed materials contribute greatly to my vision and the overall success of some of my work. Particularly using the original surfaces of the wood/metal as the background. I would be hard pressed to recreate the natural patina of some of these objects. I would say it’s pretty common to see repurposed objects and materials in traditional folk art from many different cultures. Some of which are more utilitarian but I imagine it was also about utilizing materials that were easily accessible. Over the last few years I have unearthed tons of treasures on the countryside, which have later turned into paintings. The hunt for materials and discovering ways to use them has become a very vital part of my process. That being said I still crave painting on a freshly built wood panel, especially when I am wanting to work a bit larger.

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HM: Your paintings seem to utilize some common totemic themes, for example the bird creatures. Can you elaborate a bit on your imagery mythology?  

ALB: Most of the symbolism in my work is a fairly subconscious hodgepodge of imagery borrowed from the different cultures that inspire me. The bird head specifically was a way of separating myself from the main subject in the painting. It’s stepping away from a more self-portrait approach. I put plenty of myself into my work but it’s not really intended to be a literal reflection of myself.

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HM: I’ve heard you talk about color interaction, particularly with pastel flavors. Color preferences though, especially from what the fashion seasons tell us, ha, seems to oscillate in popularity. Have you been visually married to the same set of colors for a long time? Do you see your personal preferences for colors changing?

ALB: I am partially color-blind so it’s kind of important for me to continue with what I know works. Certain hues blend when I see them and it can be hard for me to tell the difference. A good example would be light pink and white which can almost look identical to me depending on the surface. I still go through phases and get hooked on different color combos. I will always be a sucker for terracotta, seafoam green and marigold.

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HM: You went to school in SF at the SFAI.  How much influence have the Mission School artists had on your own work?  Was that a big draw for you when deciding where you wanted to study?

ALB: I will never forget sheepishly approaching Barry McGee back in 99 at the Hoss opening in Houston, TX. I brought him my sketchbook full of weak imitations of his work. He just smiled flipping through some pages and found a blank page to sign my book. I have always been deeply influenced by Barry and Margaret Kilgallen from the moment I stumbled upon the Mission School movement. It was only natural that I run to SF the first chance I got. I spent some time at SFAI and lingered around the city long after attending school. I met a handful of locals who showed me sides of the city that probably look like a different world nowadays. The years I spent in the bay area influenced my direction greatly and inspired me in too many ways to count. It was truly a magical time when everything started feeling possible.

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HM: Your old work, circa 2007, was an order of magnitude more abstract and expressive, the tight, flat illustrative renderings of your work of today is a real departure.  Was this a gradual move, or did you simply wake up one day and say, ‘Nope, time to paint flat, tight work instead’?

ALB: I think the departure came when my painting skill started to catch up with my creative vision. The more expressive approach was a way of going through the motions and fine tuning some of the imagery I still use today. I achieve the ultimate meditative experience by creating a simple and concise image filled with all the colors I love. The process itself can sometimes be more important to me than the final product. 

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HM: What’s a dream art project for you, if money, time and scale was no nuisance?

ALB: I would like to use some of the experiences from our building process and erect some small structures for site specific installation. Think Pee Wee’s Playhouse with creepy bird head pals.

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HM:  Thanks for the interview my friend.  I’m really really really looking forward to the Miracle Worker exhibition. 

ALB:  Oh you’re welcome man.  Thank you!

Check out more of Adrian’s work here: adrianlandonbrooks.com

Follow the dude on instagram: @adrianlandonbrooks

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Tilt – Extractions

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We caught up with French artist TILT during his residency at Jardin Rouge in Marrakech, Morrocco, while he was creating his new series called ‘Extractions’ .

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“Extraction is not only about the graffiti’s sacralisation, it is about young people who did not want to stay in front of the T.V. , making nothing. We wanted to act in the street, to be part of the city by a simple gesture … To write our name, to show our existence. I want to tell the story of a generation.”  Continue Reading →

Martha Cooper’s Snap Wrap!

Legendary NYC photographer Martha Cooper comes to Berlin! URBAN NATION presents: Martha Cooper’s ‘Snap Wrap’ in an interactive room installation.

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Opening Friday 20th May 19:00, at Bülowstr. 97, Berlin, 10783, Germany.

Four decades of graffiti in four walls… Martha Cooper’s ‘Snap Wrap’ is a historic look back through the years at some of her most iconic images from the 1980s right through to the present day.

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Now respected worldwide as one of the originators of photo documentary of the most important art form of the modern age, Cooper gives us a unique insight into her work with over 300 photographs in one room.

In honour of Cooper’s work, Montana Cans has produced a brand new triptych of her work over 3 cans as the latest edition in their ‘Iconic’ series. Martha herself will also be present on the evening to sign her special edition.

No need to RSVP, just rock up!

Urban Nation Production Office
Bülowstr. 97
Berlin
10783
Germany

FB event: www.facebook.com/events/129936940752659

www.urban-nation.com

URBAN NATION Berlin – 2017

Today saw the launch of a project that will enrich both Berlin’s diverse cultural landscape and the international art scene: the start of building work on the future URBAN NATION MUSEUM FOR URBAN CONTEMPORARY ART. In the coming months, a globally unique new centre for exhibitions, research and exchange focussed on one of the most important art forms of the 21st century will emerge.

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Lister Live – Melbourne Edition

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Australia’s most notorious artist, the infamous Anthony Lister, once again presents Lister Live, however this time with a twist. Lister has moved the class about 1000km south from Sydney to Melbourne (Juddy Roller Studios). Known for an intimate evening of drawing and mystique, Lister Live allows participants an opportunity to draw alongside Lister. Held this Friday 20 March, tickets are available here.

Following this event, Lister will present the sketches he completes during the evening (as well as a live paint) at Juddy Roller Studios on Saturday from 6pm. Billed as a one night / one day extravaganza, Melbourne is definitely in for a treat.

@anthonylister

@juddyroller

‘The Next Level’

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Wacom and ​Just Another Agency are teaming up to bring a one ­of ­a ­kind event to Melbourne, exhibiting and launching Wacom’s first publication, featuring a range of digital artists’ work from across the globe. The exhibition and publication will showcase the winners of the ​’The Next Level’ competition alongside five elite artists, whose designs are created using various Wacom tools.

The show will feature works from: ​Alex Lehours, Alex Solis, Ben Brown, Bec Winnel, and Dirty Bandits and will run from September 5-­18, 2016 at No Vacancy Federation Square.

ALEX SOLIS

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Lane’s End – ‘Open for Bidness’

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Looking to bridge that gap between high end fine art and urban contemporary culture, Lane’s End is a new creative project and gallery space located in Fitzroy, Melbourne. With an emphasis on new wave urban pop, post graffiti art and contemporary fine art. Lane’s End encourages a global mindset and a youthful edge to the world of fine art.

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Unwell Bunny

‘Lane’s End is an artist run space. We’re looking to add to the exhibiting culture and fill the gap between commercial and hire spaces. We’re interested in helping to move our demographics forward, and bring influence to the continued evolution of our specific genres. Within the space you can find influence from new wave urban pop, post graffiti art and contemporary fine art, with practices ranging from painting, illustration, sculpture, to photography and engraving. We will look to have the space as a platform for visiting national and international artists, and curators that are wanting to show concept exhibitions that fit with our sensibility and direction. We like the idea that the space can exhibit work that continues the debate and bridges the gap between high end fine art and urban contemporary culture.’- Unwell Bunny

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GT Sewell

Opening this Saturday 21st of May 6-9 pm, 404 Fitzroy Street, Fitzroy

Launch group show featuring work by the talented inhabitants: Elwyn Murray, Lindsay Moffatt, Tasha Whittle, GT Sewell, George Rose, Unwell Bunny

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George Rose