230 Young Street, Fitzroy
1 - 5pm Fri & Sat
Sutton Gallery's converted warehouse has an exciting series of experimental art projects scheduled throughout the year. An alternative to the conventional gallery space, the venue offers new possibilities for artists seeking to extend their exhibiting language and potential.
Invited artists are given space to try out new ideas and approaches that will supplement and stretch their practice. Unrestricted by the formalities of a commercial show, these artists are freed to play with more temporal forms of representation, such as performance, multimedia and site specific installations.
Artists may choose to use the project as an opportunity to broaden their horizons through collaboration with other artists or by taking on the role of curator. The space also provides a platform for artists wishing to reflect on the processes and outcomes of external projects that viewers would not ordinarily have access to, such as residencies and public commissions.
Projects will change over every 4-5 weeks during 2016.
22 October 2016 - 12 October 2016
A fixation with moments captured, and the relationship between the camera and memory have continued throughout Colquhoun's practice. Imagery of slide canisters, 35mm film reels and the camera lens have been depicted across his paintings, etchings and drawings from the 1990's to his most recent exhibitions.
Landing depicts a series of instances of an aircraft's landing gear approaching touchdown and bouncing off the tarmac. The position of the wheel in the frame, and the intensity of the shadow indicate the time and distance before and after touchdown. The imagery reads as a cinematic storyboard - each painting as a film still.
One image, (or frame) is inverted to the negative, effectively highlighting the instant the wheel makes contact. Colquhoun likens this Landing moment to the experience of a hypnic jerk or the involuntary jarring sensation as one falls off to sleep. This fascination with points of transition from one state to another was explored in Colquhoun's previous works in the form of the strike of a match, or flick of a light switch. Landing decelerates a moment of speed and impact, extracting and extending a fraction of time normally unnoticed.
Brett Colquhoun has a distinguished exhibiting history, with his participation across a number of pivotal Australian institutions including Art Projects, Gertrude Contemporary and Pinacotheca. Colquhoun has exhibited regularly since 1982 holding numerous solo shows at Sutton Gallery, the most recent, Backcatalogue, 2014, and in the same year Breath, a solo show at Five Walls projects, Melbourne. Recent group exhibitions of note include: Trams: Moving Pictures, The Old Treasury Building, Melbourne, 2012; Arthur Guy Memorial Painting Prize, Bendigo Art Gallery, Victoria, 2011; Pulp, Sutton Gallery, Melbourne, 2010; MELBOURNE>
23 September 2016 - 15 October 2016
Feigned indifference is a personal interpretation of impersonality. It is a meditation on hardness and softness. Using photographic prints, silk, plaster and Perspex, Grace Wood and Kathryne Genevieve Honey create a milieu within which the images can be viewed.
A variety of techniques are utilized in making the works, where the images are abstracted, masked, cropped and covered, such that they are made impersonal through the use of distance, flatness and compression, yet synonymously personal in the softness of touch and sentiment shown through the making of the works.
Grace Wood is an artist living and working in Melbourne. In 2014, she completed her Honours in Fine Art at the Victorian College of the Arts. Wood is a current Seventh Gallery Board member. Recent exhibitions include Is/Is Not, West Space, 2016; Moving On/Up, Bus Projects, 2015; Some of them got the first look, Kings ARI, 2015; Blue Moves, Seventh Gallery, 2014; From the window to the wall, Fort Delta, 2014; and Hatched, Perth Institute of Contemporary Art, 2014.
Kathryne Genevieve Honey completed a bachelor of Fine Art at the Victorian College of the Arts in 2013. Exhibitions include an upcoming exhibition at C3 Contemporary Art Space and previous exhibitions at Kitchen Gallery, The Centre for Contemporary Photography, Queensland Centre for Photography, Margaret Lawrence Gallery, George Paton Gallery, and the Weinman-Scida Project Space.
20 August 2016 - 10 September 2016
Painting Revealed is an invitational exhibition featuring four emerging local painters. These artists span vastly different approaches to paint, from the lightness of raw gestural mark making, to sculpted surfaces of thick paint and wax, to the precision of representational oil painting. Across the distinctive painting processes, a fascination with what lies beneath prevails throughout - a desire to expose what preceded, to leave traces of evidence, or a key to decipher what is presented on the painted surface. Within their works each artist uniquely and deliberately accentuates what is masked or covered.
Born in Dunedin, New Zealand, Ruby Brown is a graduate of the Victorian College of the Arts. Recent solo exhibitions include Finding, Rubicon ARI, 2014; and Multi-Purpose Gap Filler, c3 Contemporary Art Space, 2016. Group exhibitions include I is Another, George Paton Gallery, Melbourne, 2015; and Sutton Projects Melbourne. She currently lives and works in Melbourne.
Eleanor Louise Butt graduated from the Victorian College of the Arts in 2013 with a Bachelor of Fine Arts, Honours. Her recent solo exhibitions include after-image, Fort Delta, Melbourne, 2015; Time Circles, Seventh Gallery, Melbourne, 2015; and Hell Hole, c3 Contemporary Art Space, 2010. Her works have been exhibited at Bus Projects; Blindside; Wellington St. Projects; Boom Gallery; Rubicon Ari; George Paton Gallery; and Margaret Lawrence Gallery.
Ann Debono completed a Bachelor of Fine Art with Honours at the Victorian College of the Arts, University of Melbourne. Recent exhibitions include Upaithric, CAVES Gallery, Melbourne, 2015; Work, Slopes, Melbourne, 2014; Majilis Travelling Scholarship Prize, Margaret Lawrence Gallery, 2014; Some of these things are not like the other things, George Paton Gallery, Melbourne, 2013; and Proud, Margaret Lawrence Gallery, 2013.
Kate Tucker received a Graduate Diploma in Visual Arts at the Victorian College of the Arts in 2009. She has held recent solo exhibitions at Chapter House Lane; Art Stage Singapore; Rubicon ARI; c3 Contemporary Art Space; and Platform Public Art Space. Her work has been included in group exhibitions at LON Gallery; SPRING 1883 with Dutton Gallery; Caves; Linden New Art; c3 Contemporary Art Space; and Bus Projects. She was a finalist in the Albany Art Prize; Bayside Acquisitive Art prize; The Churchie Emerging Art Prize; Geelong Acquisitive Print Awards; and The Archibald Prize.
15 July 2016 - 06 August 2016
In Shared ruin Unkovich and Tsoulis-Reay explore intersecting themes through their individual practices and collaborate to form a cohesive interior space. Unkovich works with materials traditionally associated with the building trade, such as gypsum board, plaster and paint, from which she constructs installations of sculptural objects. In contrast, Tsoulis-Reay creates intimate oil paintings featuring imagery from found photographs. For Sutton Projects, Greece is used as the starting point. The works evolve from a series of associations, referencing classical ruins, island holidays and an archetypal colour scheme of white, stone and blue. Greece symbolizes a place of origin, and a locus of separation. Both artists are of Mediterranean descent and spent their formative years in the ocean-infused landscape of New Zealand. There is a certain nostalgia or longing inherent in their work. Shared Ruin proposes the idea of ‘place' as a series of approximations and shared experience. The project is the culmination of the longstanding friendship of Unkovich and Tsoulis-Reay and the process of communication, negotiation and collaboration between two artists.
Amy Unkovich completed a Bachelor of Fine Art and her Masters at Elam School of Fine Arts, Auckland University in 2013. Recent exhibitions include Parlour Games, Wallace Arts Centre, Auckland, 2016; Realizing Stuff, Glovebox, Auckland, 2016; Future Home of Stucco Monstrosity, Man Friday, Christchurch, 2015; Hey Cutie, w/Ophelia King & Nina Lloyd, Pilot, Hamilton, 2015; Three's Company, w/Ophelia King & Nina Lloyd, Rockies, Auckland, 2015; New Beginnings are in the Offing, Fuzzy Vibes, Auckland, 2014; Terrace Setting w/Yolunda Hickman, Rm, Auckland, 2014;Façade Charm w/Amber Wilson, Window, Auckland, 2014; and Primitive Tints w/Jennifer Mason, Projectspace, Auckland, 2012.
Kristina Tsoulis-Reay completed a Bachelor of Fine Art (Honours) at RMIT University, Melbourne in 2009 and her Master of Fine Arts at Monash University in 2014. She has held solo exhibitions at Caves; St Heliers St Gallery; Light Projects; Linden Centre for Contemporary Arts and West Space. Her work has been included in group exhibitions at Federation University, Gippsland; Lowrise Projects, Melbourne; Monash Faculty Gallery, Melbourne; Milani Gallery, Brisbane; Utopian Slumps, Melbourne; Centre for Contemporary Photography, Melbourne; TCB Art Inc, Melbourne; Gertrude Contemporary, Melbourne; Joint Hassles, Melbourne; Platform Gallery, Melbourne; One Minutes Foundation, The Netherlands; Block Gallery, Sydney; and Seventh Gallery, Melbourne.
10 June 2016 - 02 July 2016
Noriko Nakamura is a Melbourne based artist who uses stone carving and organic elements to make installations which draw on ideas of animism and ritualistic practices. Experimenting with the transformational potential of materials, she explores the boundaries that are created by systems of categorisation. Previous bodies of work have consisted of hand carved limestone sculptures and plants, with shapes representing the sun, the moon and the body.
For her current exhibition Motherland, Nakamura was influenced by Japanese mythology and its legendary island chain. During her recent residency in Japan, Nakamura visited shrines which worshiped Izanami, the goddess of both creation and death, leading her to create this personal response to the Kojiki tale, the oldest extant chronicle in Japan. The Kojiki is a collection of mythologies starting from the creation of the deities and the lands and continuing through to historical references of around 630BC. The gods Izanami and Izanagi appear in "Kuniumi", the birth of Japan, which is the traditional history of the Japanese archipelago, as narrated in the Kojiki. As a Japanese-born person who has been living in Australia for the past 14 years, Motherland is a way of reconnecting with her own cultural heritage.
It was before the earth and the sky were divided and solid.
There was a blob like oil floating in water, like a jellyfish floating in the sea. Izanagi and Izanami were born and used salt water to set the blob into form.
Izanagi and Izanami procreated and Izanami gave birth to an island.
They continued procreating and Izanami gave birth to eight islands, natural landscapes and phenomena such as wind, sea, mountain, river and so on.
Then she gave birth to fire and burned her private parts and became sick.
Her vomit, excrement and urine created dirt, minerals, and artesian water.
Then she died.
Izanagi cried for her death and visited her in the land of the dead.
Izanami asked him not to look at her but he turned back and saw her rotten body.
Izanami felt she was ashamed and she chased Izanagi away.
He moved a huge rock to close the pass to the land of dead.
From the other side of the rock, Izanami said
"I will strangle to death a thousand of the people of the land everyday"
and then Izanagi said
"Then I will make sure one thousand five hundred children are born everyday."
Noriko Nakamura, 2016
Noriko Nakamura completed a Fine Art Foundation Diploma at Saint Martins College of Arts and Design, University of the Arts London, before receiving a Bachelor of Fine Arts (Honours) from the Victorian College of the Arts in 2012. She has presented solo exhibitions at West Space, Melbourne; and TCB art inc., Melbourne. Her work has been exhibited at Aperto, Montpellier France; XYZ Collective, Tokyo; RM gallery, Auckland; Dog Park Art Project Space, Christchurch and National Gallery of Victoria Studio, Melbourne. She received an Australia Council ArtStart grant in 2012 and was selected by Gertrude Contemporary as a studio artist for 2016-2018.
06 May 2016 - 28 May 2016
Over the past five years Grigg's art practice has had a dramatic shift. This has been a result of his slow recovery from a neurological condition called Focal Dystonia which affects the fine motor skills of his hands and arms effectively triggering the agonist and antagonist muscles simultaneously. He was initially no longer able to draw or hand cut and assemble sculptures by laminating cardboard so he began experiments with mold-making, casting, and building assemblages from a range of materials including wood, plaster, concrete, glass, leather, resin, and cotton.
The sculptures in Agonist/Antagonist relate to my body - either in scale or the experience of it and its unsynchronised agonist and antagonist muscles. Importantly the works in this show are all about touching and the hand, about the experience of recognizing the action of my hands and the dysfunction of my body.
Richard Grigg, 2016
Agonist/Antagonist contains various symbols and images that are employed to reflect Grigg's bodily experience, including, the leopard, a creature known to symbolise strength, endurance and distance presented as a sliver-thin sculpture resting atop a plank of wood with an array of found stones and shells, it appears like it is in shadow between states, passing through. Grigg also references Osiris, the Egyptian god of the underworld, who symbolises the piecing together of broken parts and the recreation of a new and altered functioning body.
Less culturally charged but equally symbolic of Grigg's physical condition, is the inclusion of objects such as the boot or the spider shell. Both explore the transition from interior to exterior - the path of the boots laces, and the once inhabited shell. The transition from one state to another is a common thread throughout this exhibition.
Richard Grigg is a sculptor and drawer based in Clunes Victoria. He has exhibited extensively in Melbourne's artist run initiatives and held solo shows at major institutions including Centre for Contemporary Photography, Melbourne, 2010; Canberra Contemporary Art Space, Canberra, 2007 and Heide MoMA, Melbourne, 2006. Grigg has a Master of Fine Arts from Monash University and a Bachelor of Fine Arts from VCA. In 2007 he undertook the Mino Paper Art Village Project Residency, Mino, Gifu prefecture, Japan.
19 March 2016 - 16 April 2016
- Where it is here - it does not matter - how I have got here - can I forget
Like a little child chasing a butterfly, here and there, I try to capture a shifting atmosphere with my eyes and hands. Their shapes sometimes look like my mother's and my grandmother's, who have shown me how to live one's life lovingly. But I am still learning to do so, as it is a difficult task.
In his essay, The Translator's Task, the philosopher, Walter Benjamin redefined ‘translation' from what makes "itself remember the meaning of the original" to what "must lovingly, and in detail, fashion in its own language a counterpart to the original's mode of intention".
I imagine that it will be the same risk and chance for a poet to translate love, as for an artist, but it would be the ultimate task.
My exhibition title is the first line of a 70's Japanese song, 恋は桃色 (Love is Pink), written by Hosono Haruomi. When one is in love, the world appears so different that one forgets everything and accepts everything. Such poetic experience/reflection is perhaps untranslatable, but that is what my artwork is longing for.
Utako Shindo, 2016
Utako Shindo is an artist working with a range of materials and processes, including
drawing shadows, projecting reflections and printing traces. She is currently undertaking
her PhD research at the Centre for Ideas (The University of Melbourne) to explore the
notion of ‘untranslatable' and a poetic practice that embodies this through the ‘translation/ transference' between perceptions, materials, images and languages.
19 February 2016 - 12 March 2016
Fabrik: conceptual, minimalist and performative approaches to textiles
Conceived by Sarah crowEST
Curated by Jane O'Neill
Fabrik: conceptual, minimalist and performative approaches to textiles is a multi-venue exhibition held at the University of Melbourne's Ian Potter Museum of Art and Margaret Lawrence Gallery at the VCA, and Sutton Project Space. The project runs from February to May 2016 and forms part of the Virgin Australia Melbourne Fashion Festival Cultural Program.
Fabrik provides a platform for the cross-pollination of ideas across the fields of fashion, textiles and contemporary art. Featuring a selection of new and existing works, the exhibition includes emerging, mid-career and established artists from Australia and overseas. The word fabrik translates from German as ‘workshop', and refers to the tendency of these artists to address both materials and methods of production. Whether scrunched, snipped, draped, ironed, ripped or threaded, the artworks reveal a strong emphasis on the artists' physical engagement with textiles. By extension, the exhibition prompts consideration of our own daily interactions with fabric.