Shida’s work explores the interlinked relationship between ritual, sexuality and love. Psychedelic entities are entwined in ceremonial acts, transcending the boundaries of known reality. In a world where society’s issues are becoming increasingly gendered and people are seemingly more divided than ever due to the rise of identity politics, Shida seeks to turn this tide like an ancient shaman with each of these works being, in essence, an invocation, an energetic manifestation, a prayer to joy.
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.
Our friends over at Dangerfork have released a bunch of new prints just in time for Christmas!
‘Hungry Heart’ by Melbourne-based Loretta Lizzio is a fine art giclee print on premium etching 285gsm paper using archival inks. It is a very limited edition of 20 and each print has been hand painted in a gold ink with ink detailing.
Everyone’s favourite street artist Rone has also released a print, but this time things are a little different. his print will only be available to purchase for the next 24 hours. It’s strictly a timed release so you snooze you loose.
‘End of Spring’ was originally a large scale painting created for a museum in Berlin. The enormous level of detail that can be reproduced through giclee printing ensures that every tiny gesture of paint and texture is retained in its printed form. As with many of Rone’s images this has an almost spectral quality. Greys and pinks meld with an electric blue that shines almost iridescently. The longer one stares the more they will find.
‘End of Spring’ will be available until December 4, 3pm (Australian Eastern Standard Time).
‘A Glimpse In The Right Direction’ is a one layer split fountain screen print by the Australian (and well-travelled) artist Kyle Hughes-Odgers.
Kyle’s whimsical but detailed style blends seamlessly into any environment from streets to homes, much like the gentle blend of colours used in this print. He continues to explore the complex themes of life, death and survival in his work and this print is no exception. However Kyle excels at making these ideas accessible to the audience by using themes and images that have a connection to the everyday.
Dangerfork printed the original edition earlier this year for Kyle, but have only just now been able to offer a very small amount of Artist Proofs for purchase.
All these (and many, many more) can be found at dangerfork.com!
Our man Liam Keown has been over to catch up with George Morton-Clark in the studio.
Standard Practice Gallery is thrilled to announce the international debut of Australian artist Ian Strange’s acclaimed exhibition, ISLAND to American audiences at 149 West 14th Street from November 19th – December 16th.
Continuing Strange’s investigations into the home, ISLAND features large-scale photographs documenting interventions onto suburban houses, paintings, sculpture, artefacts, found photography, research and a new limited edition publication.
Ian Strange, ‘SOS’, Archival Photographic print, Documentation of site-specific intervention 2015 – 17
ISLAND approaches the iconic symbol of the suburban home through the metaphor of the desert island – a place of refuge, protection and personal sovereignty, but simultaneously entrapment and isolation – offering an unsettling look at our deep psychological relationship with the places we live.
‘ISLAND’ OPENING EVENT:
Saturday Nov 18th
Open to the Public
6pm – 9pm
Sunday 19th November – Sat 16th Dec, 2017
Open 10am – 6pm daily
149 West 14th St
(Between 6th and 7th)
New York, NY
Image: Ian Strange, Untitled series, Oil pastel on found vintage photograph 2015 – 17
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
TRUMP TOWERS BROKEN INTO & TRASHED BY LEGENDARY STREET ARTIST
After a hugely successful opening, Twumps is closing it’s doors this weekend. Twumps will be ending with a YUGE bang as well-known graffiti artist Dscreet “breaks in” and trashes the joint. Mimicking a break in to Trump’s very own penthouse, Dscreet films his break into Twumps, spray paints the walls, and even takes a “dump” on Trump’s desk.
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….
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.