CIRCLES N STEEL

"Circles n Steel" showcases an artistic evolution through unpredictability and experimentation. Captivated by unconventional methods, Eddy uses undisclosed tools to create vibrant, abstract patterns with unique markings. Inspired by Melbourne's culture , his work blends nostalgia with urban energy, transcending traditional 2D art. Pieces are crafted on primed galvanized steel, floating in hand-brushed aluminum frames, creating immersive, three-dimensional illusions. This series, made while away from Melbourne, conveys a longing for connection and celebrates the city’s influence. "Circles n Steel" offers lightness and joy amidst uncertainty, inviting viewers to explore and reflect on Eddy's journey of artistic experimentation.

CATALOGUE

Here begins my journey.

This is a journey of exploration, connection and expression. My art draws from the endless abundance of inspiration in the world around us.    The process of translating nature onto the canvas captivates me. As such, each new painting is a play of observation, interpretation and articulation.

This exhibition presents works that I feel represent my search for artistic voice and relationship with the landscape. Water and light play a prominent role in many of the paintings – their fleeting nature creating an inherent link with the moment. This subject matter is explored through a manipulation of colour, texture and gesture.

I invite viewers to connect with the paintings in their own way. Pay attention to what draws you in but don’t overthink it. Enjoy the journey.

CATALOGUE

Melbourne artist Martin Tighe has built a career focusing on stories important to Australia’s culture and identity. His work has examined wide-ranging subjects from Ronald Ryan, Tom Wills, Simpson’s Donkey and Picnic at Hanging Rock to Australian Rules Football, landscapes and portraiture.

Throughout his career Martin has used many different media to realise his art. These include traditional materials, oils, acrylics and bronze. Found objects such as scoreboard numbers, timber off-cuts and flat iron gathered from wheat farms have also been used.

Martin believes in fostering an appreciation of art and ideas within our community. Since 2001 he has exhibited regularly in both individual and group exhibitions, as part of his commitment to the cultural significance of the creative process. Martin is a regular entrant and finalist in the Archibald Prize and for many years he has assisted in the organisation of the annual Australian Rules Football art exhibition.

Martin has participated in a two-year artist-in-residence programme at a Melbourne secondary school. He presents his ideas imaginatively and confidently.

Text, courtesy of John Harms

“I Hang my Clothes”

A collaborative piece developed by Beatrice Magalotti & Begitte Andersen

The inception of the project was lyrics and music by Beatrice’s sister, Margaret Magalotti.

The installation incorporates 42 fabric banners throughout the space, screen printed, hand and machine embroidered with lyrics from the song. Large hand embroidered cushions are available for members of the public to sit on.  Members of the public can download the music and lyrics from a QR-Code at the gallery.

The installation is a circle or spiral of banners slowly letting people into a universe of emotions. They can visualize, hear the song and be enveloped by a rich fragrant smell so that the viewer meets an intense atmosphere that reflects the core of the song and the way we see, smell and interpret the song. We hope to leave the audience with a sense of well-being.

This series of paintings is a study of Mount Emu Creek, a river in Western Victoria stained by the memory of the massacre of indigenous inhabitants, the Tanbeere Gundidj clan, in 1839. The incident, now called The Murdering Gully Massacre, was one of many such occurrences in the early years of the white settlement of Australia. In recent decades, many academics and writers have been researching and giving voice to these secrets, but still many Australians remain unaware of the extent of this violent past.

These paintings focus on the river, the reeds and the ageing river red gums that I imagine as quiet custodians whose presence bear witness to the horrors that happened along this river.

Bruce has transitioned from a successful career in architecture to the world of figurative oil painting. His focus has shifted from bricks and mortar to the intricate elements of color, tone, light, and pictorial structure. Through his art, he delves into the depths of revealing the unseen narratives concealed within a human countenance, the walls of a room that have silently observed countless human stories, or the way emotions seep into an impartial natural vista. His work is a reflection of his fascination with the lasting impact of human interactions and history on our lives and surroundings.

LEVEL PLAYING FIELD

Level Playing Field is an innovative, inclusive and inspiring arts project celebrating self-expression and demonstrating how we are all different. A unique opportunity for connection, with all participants accepted as equal and deserving of the title of artist.

Facilitated by Sheena Mathieson, Level Playing Field has been running for 10 years and is based on Sheena’s firm belief that we are all artists (even if we don’t think we are).

 Level Playing Field 2024 involved 100 artists each producing an artwork in one of 20 group sessions held between May and October 2024, in Melbourne, Barwon Heads, and Paris.

The same set of rules, technique, materials and primary colour palette applied to everyone involved. Different group dynamics and choices impacting the nature of the works produced. Individual yet unified creativity.

Level Playing Field 2024 artists:

Alesia, Amanda, Amelia, Amy, Anastasia, Anita, Anne, Anthony, Bill, Brett, Bronwyn, Carrie, Chase, Cheryl, Chloe Ba, Chloe Br, Christine C, Christine P, Claire, Clara, Clara O, Colette, Dave, Debby, Diya, Elana, Elise, Eliza, Elizabeth, Emilie, Evelyn, Fiona, Fiona L, Frances, Francesca, Frank, Gaye, Georgie, Ghosttaker, Ingrid, Isabelle, Jack, Jan, Jane, Janice, Janine, Jennifer, Jo, Jo P, Joanne, Joelene, Julian, Julie, Juliet, Kathy, Kerryn, Kim, Kirsten, Kristy, Lauris, Lexis, Lindesay, Louise, Manon, Margaret, Margie, Martine, Martyn, Mat, Merren , Michela, Monica, Naomi, Pam, Pascale, Patsy, Pete, Petre, Prue, Rashmi, Rita, Robyn, Rosa, Roslyn, Roxanne, Sally, Sharon B, Sharon W, Sheena, Sonya, Stephanie, Stephen, Suzy, Sylvie, Tristana, Vicki Si, Vicki St, Wrania, Yama, Zac

Each artwork on paper measures 12 x 12 cm and is framed in a cd case.

$2000 for the 100 artworks, or $50 per artwork.

Park Chi-ho's artistic journey reflects his personal life, described as "floating" between his island hometown and city education. His work explores identity through Western painting, infused with traditional East Asian techniques. Park's art evolved from installation and animal depictions to self-portraits and limbless human figures, symbolizing the loss of individuality and autonomy in modern society.

ZANDRINA TACEY (1953-2004).

Zandrina’s art invites the viewer into a world of positivity, harmony, and excitement. The bold strokes and scintillating colours sparkle with life and connectivity with nature. Her work is charged with energy of strengthened relationships, based on respect, compassion and gratitude.

The images display a poignant understanding of our place in the world, representing improved relationships and inherent value of a life worth living. The evocative eyes of Zandrina’s characters, ‘see it all’ and engage the viewer in a thread that orchestrates a spirit that dances. The colours and patterns are a tapestry of a vibrant life that expresses the beauty of culture through love and understanding of humanity. Her artistic works bridge the natural world with ease and confidence in its stance, leaving the viewer wanting more!

JOURNEYS. 

Sandra Espinoza’s abstract artwork seeks to bring harmony by balancing form, colour and texture to create cohesive yet dynamic compositions. They are “journeys” that transcend literal interpretations of movement or travel, inviting a more personal and introspective exploration. These visual journeys are not about a defined destination but about the unfolding of sensations, thoughts, and moments, making the artwork itself a space for contemplation and transformation. 

The relationships between elements often appear non-representational, but their interaction evokes a sense of unity or tension. This pursuit of harmony is about finding resonance between contrasting forces—chaos and order, movement and stillness—while leaving space for interpretation and emotional response, allowing viewers to engage with the artwork on multiple levels.

These paintings can evoke a sense of progression, capturing the fluidity of experiences that shape an individual’s perception.

Sandra Espinoza is a Melbourne based artist, currently in residence within the Dunmoochin foundation. Her abstract oil paintings have been showcased in numerous local exhibitions, including two solo shows in 2023 and 2024. Sandra’s artistic process serves as a testament to her unwavering commitment to sustainable creative expression and environmental consciousness. In June of this year, Sandra participated in a one month artist residency, with Can Serrat, in Barcelona. Participation in these residency opportunities have been pivotal to Sandra’s future direction and have emphasised her commitment to instinctive approaches in practice.

This art exhibition is a tribute to the individuals who have profoundly influenced the artist's journey of self-discovery and creative exploration. Each person encountered along this path has left an indelible mark, shaping her experiences as she ventured beyond her homeland and into a new world, navigating both friendships and conflicts. These encounters have tested her beliefs and motivations, enriching her artistic vision.
The displayed artworks weave a narrative of interconnectedness, highlighting how bonds can form across cultural and geographical divides. This exhibition celebrates the universal threads that link us all, transcending boundaries to reveal a shared human experience.

Maria Therese, also known as Tish Hautea, is a visual artist from the Philippines who is currently based in Melbourne. Her artistic focus is on mixed media, carving on wood, and etching on various surfaces. Tish’s art practice is deeply fueled by her fascination with individuals, cultures, and the complexities of human desires. Her creative concepts are inspired by the rich tapestry of conversations and interactions she has with people, reflecting the diverse experiences and insights she encounters.
Tish has exhibited her artwork in various countries including the Philippines, Thailand, Japan, Korea, and Australia. Her work is part of public collections such as the ASEAN Secretariat in Jakarta, Indonesia (2023), the ASEAN Cultural Center in Bangkok (2023), and the ASEAN Culture House in Busan (2023).

Two Worlds Collide

TWO WORLDS COLLIDE bringing two worlds closer : a migrant and an artist.

• Artist: Samantha Lord, Akshay Gandhi, Laura Bailey, Nandita Chakraborty, Rohit Bhasi and Shipra Anand

Embark on a groundbreaking journey through the senses with the world’s first "book to gallery" experience, inspired by the evocative memoir, "Dirty Little Secrets." This immersive event delves deep into the emotional and sensory landscapes of migration, masterfully bridging the two worlds of its author: the one she was born into and the one she now calls home.

Attendees will explore the artist's journey through touch, feel, and sound, gaining a profound perspective on the intricate tapestry of migration. This sensory odyssey invites visitors to connect intimately with the author's experiences, touching on the essence of what she has carried into her new life.

Internationally acclaimed artist Akshay Gandhi and the renowned creator of the book cover, Rohit Bhasi, will showcase their talents alongside esteemed local artists Laura Bailey, Shipra Anand, and Indigenous artist Samantha Lord.

Shipra Anand’s alpona or rangoli, renowned for its intricate patterns and vibrant colors, serves as a cultural bridge to the author's heritage. Through its tactile and visually striking presence in the exhibition, attendees can connect directly with the world the author was born into.

Conversely, Samantha Lord’s dot painting, with its meticulous detail and spiritual significance in Indigenous art, embodies a deep connection to land and cultural identity. This art form beautifully symbolizes the author's journey to a new home, weaving together her experiences into a new cultural context.

LIMITLESS

All I have ever wanted was to create something beautiful.

This profound desire drives my artistic journey, compelling me to weave together colours and movement into a captivating visual experience. In a world brimming with imagination and wonder, I strive to create pieces that transcend reality, offering viewers a glimpse into fantastical realms where beauty knows no bounds. Each artwork is a testament to the endless possibilities of creativity, an invitation to dream, and celebrate of the magic that exists both within and beyond our everyday lives.

Through my art, I hope to inspire others to see the extraordinary in the ordinary, to find joy in the act of creation, and to embrace the limitless potential of their own imaginations.

Janine McGuinness is an Australian-born, contemporary Artist who holds numerous qualifications, including a Master of Contemporary Art from the Victorian College of the Arts (VCA.) and, concurrently with her art practice, has a career in Social Psychology. Some of her career highlights in her art practice include being selected as a finalist for the 2022 William and Winifred Bowness Photography Prize, being awarded the Galloway Lawson Prize, receiving the Alliance Francaise Group Exhibition award and the Tolarno Hotel VCA annual art award, and being listed for the (international) Lumen Prize longlist.

Her photographic-based art practice usually concerns the intertwined relationship of people, place, space and time and works often serve as metaphors for emotional and psychological experiences and concern suburbia and the everyday. Most recently, works are printed on archival, Japanese paper and use gold leaf to create highly textured, images that are both painterly and dimensional.

"Seduced by the Winter Sun" celebrates the understated glow found in the quiet corners of a winter landscape. Leona DeBolt, is a regional emerging artist from the North Coast of NSW, Bundjalung Country. These autobiographical works capture the essence of fleeting moments of the artist's solstice days. Days spent following the warmth, flirting with the sun. Each scene is infused with a sense of looseness and movement. Despite each piece telling its own story, the series is unified by a vibrant palette and expressive thick textures. This exhibition invites viewers to savor the pleasures of the season, and embark on a visual adventure that promises to leave them bathed in the warmth of its radiance.

Melanie (she/her) is an emerging artist originally from Bendigo. Her work explores the nature of feminine identity within our constantly evolving society, using embroidery as a medium to question the historical use of textiles as a traditionally ‘female craft’. She particularly enjoys the use of vibrant colours and surrealist elements to make her art seem other-worldly. Elements of retro-futurism are also present in Melanie’s work, questioning the presence of technology in conjunction with feminism. Her works seeks to emphasising the human interactions of art creation, focusing on hand embellishments such as the addition of gold leaf and hand stitching. She draws inspiration from artists such as Mirka Mora, Frida Kahlo and Maria Lassnig.

MORE OR LESS

Lindesay Dresdon & Sheena Mathieson

Creating art is usually a solo, and sometimes lonely, journey so to find another person with whom one immediately connects on an artistic level can prove to be an invigorating and inspiring experience. One that requires trust, respect and an open mind to whatever the collaboration reveals.

Lindesay and Sheena first met in May 2023, having been admirers of each other’s work for some time. Their common aesthetic and lively conversations about art and process lead to this series of collaborative artworks.

‘We started this collaboration at the beginning of 2024. As a shared materials project, we exchanged a batch of papers and artworks which we then used to create individual works. These works developed and evolved during the year as we shared our observations and insights, and more materials.

The papers/surfaces were painted or printed upon or found from domestic sources. The limited palette was often challenging, but also liberating. Cut, torn and glued onto cardboard panels, the collage technique lent itself to our own intuitive and independent design work.

It was always a delightful surprise to see the similarities and differences when we revealed to each other our completed panels.’ In this body of work (and the process behind it) Sheena and Lindesay have developed a kind of language; a lyrical discourse, which has in turn inspired growth and innovation in their individual practices.

CATALOGUE

MORE OR LESS

Collaborative works by Sheena Mathieson and Lindesay Dresdon

VISCERA : Guts, embodiment, ritual and unrest.

Viscera finds common ground between four artists through ritual and catharsis in their explorations of subjectivity, communication and embodiment. With roots in expressionist and history painting, Bonnie, Paula, Ned and Sean both explore and reconcile with different states of being through their use of intuitive and experimental sculptural and painting practices.

As we position ourselves in a violent shifting political and ecological landscape, the brutality of Viscera aims to contribute to the normalisation of addressing discomfort, and in turn, the collective truth-telling that is crucial for our transition into a contemporary cultural landscape.

Sean is a Bachelor student at LCI Melbourne, Bonnie-Jean Whitlock and Paula Maggs are 2023 Master of Fine Art Graduates from RMIT, where Ned is a current student in the same program.

Support by Yarra City Arts

Catalogue

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The art I make is dedicated to exploring my mental landscapes. I am on the quest to understand myself, experiences that shaped me, my own personal as well as collective history, and the world we live in. My process of creating reflects the relationship between construction and deconstruction, chaos and order, frustration and peace, soft and aggressive. I’m exploring past, traumatic events and how they transpire through our everyday lives. The questions raised often refer to integration and awareness of trauma, and how these events linger in our lives, even more so if we try to ignore them. The paintings I make are an invitation to embrace our tragedies and demons, and allow all of our parts to stand together equally in order to understand ourselves better.

‘Arrival of the New Things’ 2024

Acrylic, gouache and pencil on canvas, 94 x 112 cm

NFS

Alanna baxter’s sculptural, digital and print artworks delve into the essence of community care in a post-capitalist society. Her pieces explore the interconnected tiers of self, relationships, and home, extending to the broader global community. In the current zeitgeist, characterized by relentless pursuits of new frontiers and ownership, alanna’s work serves as a poignant counter-narrative. She envisions a grand shift toward communal care, where survival hinges on mutual aid and collective existence. Through toying with materiality and recontextualisation of forms alanna synthesizes these diverse elements into a cohesive sphere of care, advocating for a world where we see all children as our own and every community member as family. Her work resonates with the belief that true progress lies not in individual conquest but in the embrace of a unified, caring village. alanna’s art invites viewers to reimagine a society where interconnectedness and shared responsibility are the cornerstones of our existence. The selected works juxtapose Western nuclear and monogamous fictions with multi-tiered models of love.

We are Not Spectators, digital print on plywood, 59.5x84.1cm $345

You’re My Only, gouache, coloured pencil, ink, digital print, greylead, and luminous spray paint on repurposed wood, 30x66cm.   $299

Something Real, Wax and soap, dimensions vary NFS

JAKUB FABIJAŃSKI | PORTRAITS

With an innate passion for capturing the essence of individuals through photography, Jakub's journey into the world of portraiture began as a personal exploration of human expression and connection. Through careful composition and an intuitive understanding of light, he creates portraits that resonate with depth and emotional authenticity. Often approaching his subjects on the streets, he establishes a quick rapport that enables him to capture genuine expressions, reflecting the true essence of individuals. His choice of using black and white film through medium and large format cameras allows for unparalleled detail and clarity but also imbue his subjects with a distinctive visual richness and depth, enhancing the immersive quality of his portraits.

Jakub Fabijański is a Gippsland-based photographer. His work focuses on documenting his family's life, picturesque landscapes, and expressive portraits. Primarily drawn to black and white film photography, Jakub's work exudes a timeless quality, emphasizing contrasts and textures that evoke a sense of nostalgia and raw authenticity. His work not only showcases the charm and simplicity of rural living but also reflects his profound connection to nature and people. Jakub's portfolio shines with intimate portraits that reveal the depth of emotion and character in his subjects.

Tersine Göç | Reverse Migration - Photography by Mert Berdilek

After traversing 8000km+ on road  across Türkiye, a project was born by photographer Mert Berdilek, on how the country has changed, or hasn't since its formation 100 years ago. Shot solely on medium-format film, Tersine Göç ('Reverse Migration' in Turkish) is a journey into the heart of a country and its people. Where the lines of past and present are blurred. Where in some of the most remote locations, that elusive purity in humanity we're searching for as artists, is found, even if it were for just a fleeting moment.

Mert Berdilek, is a Melbourne based Australian-Turkish Photographer & Filmmaker. Mert's work focuses on returning to his roots, for artistic exploration on core themes experienced by many migrant children living in diaspora. Mert's two major projects in 2024 address the same concept of "Reverse Migration" in two different mediums. Tersine Göç ('Reverse Migration' in Turkish) is a documentary portrait photography project shot from West to East Türkiye, and Geride Kalanlar ('The Remains' in Turkish) is a debut feature film project, entering production in December 2024, during winter in Eastern Türkiye.

Support by Yarra City Arts

CATALOGUE

Tersine Göç | Reverse Migration

Price POA