Sutton Projects

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 2018.



Project Space calendar 2018

Project Space calendar 2017

Project Space calendar 2016

Project Space calendar 2015

Project Space calendar 2014

Project Space calendar 2013

Project Space calendar 2012

Project Space calendar 2011

Project Space calendar 2010

Project Space calendar 2009

Artwork from exhibition by Marnie Edmiston

24 November 2018 - 15 December 2018

Marnie Edmiston

Sorting Machine

The linear perspective techniques developed between the fourteenth and early sixteenth centuries were intended to assist in realistic renderings of buildings and natural objects. Linear perspective was then superseded by the popularisation of camera obscura in the late sixteenth century. At its most rudimentary, this new method of seeing required the spectator's body to be removed from the scene being transcribed. Comprising a darkened room with a single aperture through which an inverted image of the outside world was projected onto a surface, this technology allowed the necessary information to bypass the human perceptual and representational apparatus - faculties which, as we know, are particularly unreliable and susceptible to disruption. By bestowing a precise depiction of a scene in which the viewer is not immediately present, the camera obscura's hole or void can be considered one of the earliest instances of the automation and outsourcing of the aesthetic faculties to technology.

Sorting Machine presents a series of paintings by Marnie Edmiston. Continuing her interest in perception and cognition, the work in this exhibition details fragmented scenes populated by strange objects and partial bodies. Rendered in a stylised and unnatural fashion-employing "archaic" perspective techniques, punctuated by holes and voids-the "still" character of these images masks an unfolding sense of disquiet. These are images of and from the uncanny continuum between the technical and the human. This exhibition is held as part of the Monash Graduate Emerging Artist Prize, awarded by Sutton Gallery on the occasion of the 2017 MADA MFA graduate exhibition.

Marnie Edmiston is an artist working in Melbourne. She completed a Master of Fine Art degree at Monash University in 2017 and has exhibited in various solo and group shows. Recent exhibitions include Memoria Technica, Kingston Arts Centre, Melbourne (2017), Redlands Konica Minolta Art Prize, NAS Gallery, Sydney (2017), The City Speaks, ACCA, Melbourne (2016), A plant is a plant, Metro Arts, Brisbane (2016) and Entropy is just a lack of storage options, Bus Projects, Melbourne (2016).

Image: Marnie Edmiston, Technical Agnosia (detail), 2018, oil on board, 40 x 50cm

Artwork from exhibition by Benjamin Aitken

20 October 2018 - 10 November 2018

Benjamin Aitken

Hard Yakka

'The interface of an Australian posturing around work ethic and the derogatory implications of artists' lifestyles sets the tone for Ben Aitken's latest body of work, presented at Sutton Projects. With a painter's eye to composition and a tradesperson's honouring of labour, Aitken weaves together a ‘yeah-nah' attitude with a semi-fetishised material acuity. Object, image and text are put to play in his work, blurring divisions between high and low, art and design, the artist's hand and the found object. A desire to unlock complex notions of identity, and the authorship of clichéd colloquialism and anonymous digital communications, propels Aitken's assemblages of form and meaning'. - Dr. Kent Wilson

Born in Melbourne in 1991, Ben Aitken is an artist whose work focuses on text, appropriation and humour. Recent solo exhibitions include An artist of some description, ALASKA Projects, Sydney, 2018; Collaboratory (with Jon Cattapan), La Trobe Art Institute, Benidgo, 2018; and Alternative Literature is also like Alternative Literature, Bayside Arts and Cultural Centre, Melbourne, 2016. Aitken was a finalist in the 2018 Archibald Prize and Highly Commended in the 2014 Black Swan Prize for Portraiture. His work is held in public and private collections Australia wide, including the Michael and Janet Buxton Family Collection, PricewaterhouseCoopers and Lismore Regional Gallery.

Image caption: Ben Aitken, ACCA (detail), 2018, tyres, vinyl, dimensions variable.

Artwork from exhibition by Jethro Harcourt and Michael Bullock

14 September 2018 - 06 October 2018

Jethro Harcourt and Michael Bullock

Jethro Harcourt and Michael Bullock

Sutton Projects is pleased to present an exhibition of sculptures, drawings and prints by Victorian based artists, Jethro Harcourt and Michael Bullock. The exhibition reflects on the apparent congruences running through Harcourt and Bullock's sculptural based practices. Fundamental to each artist is the process of making and material investigation undertaken in the studio, workshop or foundry.

Harcourt's artworks incorporate elements of design that connect the lived, everyday experience of the world. The artist uses logos as source material while employing technically involved and experimental means of production. Bullock's sculptures start with found letters and numbers that are cast in bronze. An important aspect of his process are the materials and objects sourced from second hand markets, to reference their different applications, for figurative purposes or as the remnants of industry.

This inaugural two-person exhibition of Jethro Harcourt and Michael Bullock invites the possibility of an exciting and ongoing conceptual dialogue between the artists.

Jethro Harcourt lives in Gippsland. He studied sculpture at the Victorian College of the Arts in Melbourne with a semester at the Akademie Für Bildende Künste, Mainz in Germany. His most recent exhibitions were Tim Buckovic and Jethro Harcourt at Gippsland Art Gallery, Sale, 2018; and we at Bundoora Homestead Art Centre, Melbourne, 2018. Harcourt's artworks have been exhibited in various artist run spaces and public galleries, including the Perth Institute of Contemporary Arts.

Michael Bullock lives in Melbourne. He is currently a PhD candidate at MADA Faculty, Monash University. Selected solo exhibitions include Market Values, Five Walls Gallery, Melbourne, 2017; Michael Bullock, One Shanthiroad, Bangalore, 2013; The Sandalwood Project, Fremantle Arts Centre, Fremantle 2013; Enlightenment Figures, Linden Centre for Contemporary Art, Melbourne, 2012; Duo, Kings ARI, Melbourne, 2007; Chuyen The, Gertrude Contemporary Art Spaces, Melbourne 2003. Bullock has participated in group shows locally and internationally including: Spaced 2: Future Recall, curated by Hannah Mathews as part of Perth International Arts Festival, Perth Museum, Perth, 2015; Merchant Cities, curated by Will Foster, The Substation, Melbourne 2013; and Beautiful Volcanoes, curated by Michael Vale, Monash Faculty Gallery, Melbourne, 2011. In 2013 he undertook the Asialink Spaced Reciprocal Residency Program in Bangalore.

Image: Michael Bullock, Circulation Piece Metal and Letters, 2018, bronze, 87 x 38 x 7.5cm
Photography: Aaron Christopher Rees 

Artwork from exhibition by Darcey Bella Arnold

11 August 2018 - 01 September 2018

Darcey Bella Arnold

My Mother's Labour

Sutton Projects is pleased to present My Mother's Labour, a solo exhibition by Darcey Bella Arnold.

Arnold's works explore labour, particularly the parallel between artistic production and the creation and upkeep of the home. Employing both utilitarian and decorative materials such as house paint and upholstery fabric, Arnold paints the textured facades of the familiar brick veneer home, a staple of Australian residential architecture.

These flat, hard-edge paintings are layered with references to interior domestic settings and playful, scaled-up depictions of hand-written notes, alluding to household social dynamics. By fusing the internal with the external, the public with the private, Arnold points to narratives that are at once personal and political.

Alongside these paintings sit figurative works of women making art, sketched by Arnold's mother and then reinterpreted by the artist. In doing so, the physical and emotional labour of both mother and daughter is used to position the house as a vessel for speaking about art making, feminism and storytelling.

Darcey Bella Arnold is an Australian, Melbourne based artist of British and Scottish descent. She completed a Bachelor of Fine Art at the Victorian College of the Arts in 2008, and a Bachelor of Fine Art (Honours) at Monash University in 2009.

A selection of recent exhibitions include: Talking with the Taxman About Poetry, Testing Grounds, Melbourne Arts Precinct, 2017; Cat Cracker (or catalytic cracker), Stockroom Gallery, Kyneton, curated by Jason Waterhouse, 2016; New but Nah, M16 Artspace, Canberra, curated by Liz Errol, 2015; Light the blue touchpaper and retire, BACC, Biannual Emerging Artist Exhibition with artists: Adam John Cullen, Saskia Doherty and Matthew Greaves, curated by Julie Skate, 2015; Paper, Rock, Scissors, Tristian Koenig with artists: Ry David Bradley and Andre Hemer, 2015.

Arnold's curatorial projects include Duck on the Pond, involving artists Elena Betros López, Noriko Nakamura, Lisa Radford, Darcey Bella Arnold, Salote Tawale, Roberta Joy Rich and Kalinda Vary at an offsite location in Melbourne, 2018, and Bricklaying with artists Dan Moynihan, Georgina Cue and Adam Wood at Rearview Gallery Project Space, Melbourne, 2017.

In 2018 Arnold was shortlisted for the Ravenswood Australian Women's Art Prize. She attended an Artist-In-Residence program with Eastside International (ESXLA), Los Angeles in 2016 and was also included in Kimposiuma social sciences symposium curated by Dr. Meredith Jones at Brunel University, London.

Image: Darcey Bella Arnold, Cream brick #1, 2018, synthetic polymer paint on board, 900 x 1200 mm. Image credit: Christo Crocker.

Artwork from exhibition by Rudi Williams

07 July 2018 - 28 July 2018

Rudi Williams

Echo: beneath the cataract lies a stain

Sutton Projects is pleased to present a solo exhibition by Rudi Williams. This exhibition Echo: beneath the cataract lies a stain is a study into patterns of performing, concealing and imaging desire, through the dual meaning of the word cataract. A meditation on the relationship between representation and form, these current works dissolve different historic practices of image making: hand-printed chromogenic prints, silver gelatin prints and Becquerel daguerreotypes with sculptural supports made from steel, glass and acrylic.

Rudi Williams' exhibitions combine recollections of chance, facade and desire, experienced through settings of cultural congregation and spectatorship. Her photographs depict reflections and anomalies within continuities of history, viewing and display.

Rudi Williams was born in Milan, Italy in 1993. Based in Melbourne, she completed a Bachelor of Fine Art, Honours at the Victorian College of the Arts in 2015. Previous solo exhibitions include: Echo (2016), Last Picture Show (2015), Amnesia (2014), Unfixed (2014). Her work has been exhibited in the following institutions: Centre for Contemporary Photography, Monash Gallery of Art, The Substation and Tarrawarra Museum of Art.

Special thanks to: John Andrews, Janet Ballis, Tony Ballis, Caitlin Cummane, Aodhan Madden, Darren Rokahr, Asko Ryhanen, Jerry Spagnoli, Carleene de Somerville, Annette Soumilas, Michael Williams, David Wood, Alan Young and Ellie Young.

Rudi Williams, (detail) Cataract, Museum of Old and New Art, 2017-2018, Pigment on glass, acrylic and steel, 110mm x 130mm x 20mm (support dimensions variable) 

Artwork from exhibition by Sutton Projects: Kirby Casilli, Daniel Kotsimbos, Jana Moser, David Lowe and Ben Stephens

09 June 2018 - 30 June 2018

Sutton Projects: Kirby Casilli, Daniel Kotsimbos, Jana Moser, David Lowe and Ben Stephens

Seven Paintings

Seven Paintings presents a selection of works from five under-graduate and honours students at the Victorian College of the Arts, Kirby Casilli, Daniel Kotsimbos, David Lowe, Jana Moser and Ben Stephens. Selected by Raafat Ishak, all five students have studied in the drawing and printmaking discipline. This exhibition which comprises performance, sculpture, video, drawing and lithography, demonstrates a materially diverse yet shared interest in how art works are constructed to evoke the mundane and the potential poetics in its expansion.

Image: Ben Stephens Untitled #1, 2017, Lithograph, 57 x 69 cm

Artwork from exhibition by Hamish Carr

05 May 2018 - 26 May 2018

Hamish Carr


For this exhibition, Hamish Carr presents a new body of work including paintings and sculpture. Carr's paintings are meticulously layered with pigmented inks to depict a detailed and colourful web of shapes amongst a mass of dark cloud. Through a process of drawing and painting into the raw linen surfaces, his compositions emerge. These abstractions resemble cell like structures and are created using a careful methodology of ritualistic and repetitive mark-making. The exhibition suggests subtle references to confectionary and flesh that speak of voyeuristic and hedonistic tendencies.

"Sweetmeat" is graphic and deliberate while at times chaotic, drawing the viewer in to an intimate net of coloured fragments that are boldly interrupted by stark contrasting icons.

Hamish Carr received a Master of Fine Arts (Research) at the Victorian College of Arts, University of Melbourne in 2009. Since graduating Carr has been the recipient of grants from the Australia Council and Arts Victoria. In 2011 he completed an artist residency at Youkobo Art Space, Tokyo, concluding with a solo exhibition, and was a participating artist in the Australia-Japan Immanent Landscape Project at the Kurumaya Museum of Art, Tochigi. He has been short-listed for numerous art prizes including the John Leslie Art Prize (2014), the Fleurieu Art Prize (2013), Rick Amor Drawing Prize (2012), the Substation Art Prize (2012), and the Geelong Contemporary Art Prize (2012, 2008). He has held solo exhibitions at commercial and artist-run spaces in Australia and Japan. His work can be found in the following public collections, Artbank, Bullseye Glass USA, Geelong Gallery and the Museum für Gestaltung Zürich.

Image: Hamish Carr, Never is forever, 2018, acrylic on linen, 183 x 168cm


Artwork from exhibition by Shelley Lasica

26 April 2018 - 28 April 2018

Shelley Lasica

The Design Plot

The Design Plot (2016 - ), is an ongoing performance project by Shelley Lasica in collaboration with dancers Ellen Davies, Timothy Harvey, Louella Hogan, Daniel Newell, Lilian Steiner, and Jo White and cinematographer James Wright. The project has previously been staged at RMIT Design Hub, MPavilion, Gertrude Glasshouse, Minanoie and the Royal Melbourne Tennis Club.

Each utterance considers the various ways that spaces are inhabited, designing three-dimensional space through choreography and time. Delving into the problematic nature of improvisation, the work explores the agency of the performers as they adapt to each given location, shifting with each context and audience exchange.

For this repetition of the process, The Design Plot will take the form of an exhibition, physically and temporally occupying Sutton Projects through both live and filmed performance.

Shelley Lasica is an independent choreographer and dancer whose practice is characterised by cross-disciplinary collaborations and an interest in presenting dance in various spatial contexts. Lasica's choreographic works illustrate an enduring interest in thinking about dance, movement and the many contexts in which they occur. Her works have been presented by Melbourne Festival; National Gallery of Victoria; Artspace, Sydney; Centre Nationale de la Danse. Paris; Siobhan Davies Studios, London; Dance Massive 2015; 20th Biennale of Sydney; Murray White Room and Anna Schwartz Gallery. In 2018, solo and ensemble work will be presented in a number of situations including Union House, University of Melbourne, Sutton Projects, The Substation.

Image: Shelley Lasica, The Design Plot (2016 - ), film still.
This project is supported by the City of Yarra.

Artwork from exhibition by Joan Brossa, Aleks Danko, Ian Hamilton Finlay, Mike Parr, Alex Selenitsch, Alan Riddell and Richard Tipping

24 March 2018 - 21 April 2018

Joan Brossa, Aleks Danko, Ian Hamilton Finlay, Mike Parr, Alex Selenitsch, Alan Riddell and Richard Tipping

works from an anonymous collection II

"There are many different kinds of collectors in the same way that there are different kinds of artists - and there are many different approaches and motivations for the collection you build. My advice would always be to expose yourself to as much work as possible and see what you're drawn to."
Jennifer Higgie, 2017

works from an anonymous collection II
is the second iteration of an exhibition from a reclusive art collector's treasury. The focus of the current exhibition is specifically text-based works from Joan Brossa, Aleks Danko, Ian Hamilton Finlay, Mike Parr, Alex Selenitsch, Alan Riddell and Richard Tipping.

Joan Brossa was a poet, but his works stood at a crossroad of languages. Frequently collaborating with other artists, musicians, filmmakers, dancers, comedians and even magicians, his work constantly went against the grain and beyond the limits between disciplines. Aleks Danko's prolific career spans over thirty years, working in a range of media from installation and performance art to public commissions. The past decade has seen Danko create a body of work which suggests, discusses and interrogates the social, political and cultural landscape of Australia. Ian Hamilton Finlay was a short-story writer, poet, concrete poet, visual and conceptual artist, sculptor, gardener and classical moralist, now internationally recognised for his contributions to each of these spheres of culture. Repetition, imitation and tradition lay at the heart of Hamilton's poetry, and exploring the juxtaposition of apparently opposite ideas. Mike Parr is one of Australia's pre-eminent artists with a practice spanning performance, film, painting, sculpture and printmaking. Emerging from a background of conceptual art in the early 1970s, his interrogatory poems and word works escalated into the provocative performance art for which he is now recognised internationally. Alex Selenitsch has worked as an architect and urban designer in public and private practices in Australia and England, with long stretches as a sole practitioner in Melbourne. His concrete poems were the first of the genre to be published in Australia, and he continues to research and publish the aesthetic possibilities of a spatial literature. Alan Riddell a poet and a journalist was the author of a well known work on typewriter art. He has been included in numerous journals for his poetry throughout the world; and worked as a journalist for the Age, Daily Telegraph and Sydney Morning Herald. Richard Tipping is known as both a poet and artist. His artwork often bridges text and image, from large public sculptures to photographs, prints of concrete poetry and 'art signs'.

Image: Aleks Danko, THE ALPHABET, INDIVIDUALLY WRAPPED AND SEALED FOR YOUR PROTECTION (f/or, Emily Foiled), 1970-2017, glass preserving jar, rubber, distilled water and laser-cut, engraved acrylic sheet, signed, editioned and dated, 22 x 11cm

Artwork from exhibition by Susan Hawkins and Clare Rae

16 February 2018 - 10 March 2018

Susan Hawkins and Clare Rae

Irrational Behaviour

For their two-person exhibition at Sutton Projects Clare Rae and Susan Hawkins have explored ideas of resilience and repetition, creating works using a call and response methodology to explore parallels and the potential for conceptual crossover within their practices. Both artists engage in themes of domesticity through the use of material objects in spatial contexts. Often employing an absurdist approach to art-making, the resulting works in this exhibition are gently humorous and simultaneously uncomfortable, traversing the sometimes awkward and complex territory between bodies and materials.

Born and raised in Gunnedah, NSW, Susan Hawkins is currently based between Brisbane and Melbourne. An emerging artist with a playful, process-oriented practice, Hawkins received a Bachelor of Fine Art (double major of sculpture and jewellery and small objects) from the Queensland College of Art in 2014. Exhibiting for five years, she has been a part of many group shows, including the Willoughby Sculpture Prize, 2013 in Sydney. In 2014 she was a finalist in the prestigious Gas Award, GUAG, Queensland College of Art, in 2016 a finalist in the Gold Coast Art Awards, Gold Coast City Art Gallery and a finalist in the Redlands Art Awards, Redland Art Gallery. Since Graduating Hawkins has held two solo exhibitions, Make of Me at Blindside Melbourne in 2016 and in 2017 The Remainder at Metro Arts Brisbane.

In her photographic practice Clare Rae explores ideas of performance and gesture to interrogate and subvert dominant modes of representation. Her work is informed by feminist theory, and presents an alternate and often awkward experience of the female body. Known for her engagement with domestic and institutional spaces, recently Rae's work has been captured and exhibited in locations such as the Australian Centre for Contemporary Art (ACCA), the National Gallery of Victoria, Monash University, the Abbotsford Convent, and the Substation, Melbourne. Rae completed a Master of Arts by research in 2014 at Monash University, and received first class Honours in Fine Art in 2009 at RMIT University. Her work is held in public and private collections nationally, including Artbank, The National Gallery of Victoria, Monash University, and RMIT University.

We invite you to come and hear Clare Rae and Susan Hawkins talk about their work at Sutton Projects on Saturday March 10th at 3pm.