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 Jane Trengove

08 November 2012 - 01 December 2012

Jane Trengove

Thank you

Thank You is part of Jane Trengove's Painting Element Series, commenced in 2005, this body of work is an ongoing project which links the elements and techniques of painting to contemporary visual culture and broader social contexts; in this instance, dysfunction and dependency.

With the work in Thank You Trengove considers what happens when the body undergoes trauma, illness or injury. The normal order of things changes fundamentally as the body is subjected to the corrective care of others. What transpires may be benign or menacing, depending on the circumstances. Trengove's suite of photographic images is intended to imply the disturbance of routine relationships and the reduced world of those under "care".

Jane Trengove has shown extensively in Australia, exhibiting regularly with Sutton Gallery since 1995, most recently presenting Under Study: Painting Element Series: Form in 2011. Other selected individual exhibitions include: This One is For You, 2012 (in collaboration with Susan Long), Techno Park Studios, Melbourne, Field, Canberra Contemporary Arts Space, 2003; Slit, (in collaboration with Susan Long), Gertrude Contemporary Art Space, Melbourne, 2000; and Tender Buttons, curated by Juliana Engberg as part of the exhibition series, E-sensual Fragments, Australian Centre for Contemporary Art, Melbourne, 1993.

Trengove has also featured in numerous group exhibitions including: National Works on Paper (NWOP), Mornington Peninsula Regional Gallery, Victoria, 2012; Darwin's Bastards, Verge Gallery, University of Sydney, 2009; Who Let The Dogs Out, Lake Macquarie City Art Gallery and Hazelhurst Regional Gallery and Arts Centre, New South Wales, 2008; Exploratory Behaviour: Contemporary Art from the Permanent Collection, National Gallery of Victoria, Melbourne, 1999; Juice, Art Gallery of New South Wales, Sydney, 1997; and The Aberrant Object: Women Dada and Surrealism, Museum of Modern Art at Heide, Melbourne, 1994. Her work is held in many public and private collections, including: Artbank, Sydney; Monash University Collection, Melbourne; and National Gallery of Victoria.

Artwork from exhibition by Sara Oscar and Justine Varga

28 September 2012 - 20 October 2012

Sara Oscar and Justine Varga

Photographs Arranged in Series

Photographs Arranged in Series has grown out of my desire for more exhibitions of contemporary photography that include the history of photography among their concerns. By history I don't mean any particular account of the past, more the ongoing activity of linking the past with the present and the future. The exhibition title comes courtesy of a recent catalogue essay by Adam Jasper on Sara Oscar's work. It is also intended to recall the title of Bruce Nauman's 1967 series, Flour Arrangements.

A visible attachment to the photographic medium and its history is relatively rare among contemporary artists. However the photographs that offer the most lasting pleasure are often ones that, dissatisfied with looking through their medium at something else in the world, find ways to reflect on it. I thought there must be others like me who want more of the subtle and varied intellectual and aesthetic pleasures this sort of photography has to offer.

While the works of Sara Oscar and Justine Varga have particular concerns of their own, they are both adept practitioners of this kind of photography. Many artists make use of photography; Oscar and Varga cultivate it. Both have produced photographic work that is generously laden with prompts for thought as well as aesthetic pleasure.

In Justine Varga's Empty Studio, a series of small object-based scenarios has been constructed within the confines of the artist's studio, then enclosed again within photography's rectilinear frame. In this and other ways this work is rich in references to photographic time, space and materiality. As a fleeting intervention in an otherwise empty space, each composition must disappear to make way for the next, creating a succession of recorded moments that is another form of alignment with photography.

The subject of Sara Oscar's work is the photographic series itself. The Law of the Series breaks down the familiar serial structure and pulls it apart. What appears on the wall is (here I want to say a series, the habit is hard to break) a sequence of images that do not obviously resemble or repeat each other (though certain elements recur) yet where, paradoxically, the idea of the series is more acutely present than ever.

It doesn't take much of a leap to see this work of reconfiguring the series as having implications for both photographic history and history in general, as a method for leaping forward and back across time and space, picking out scattered threads and linking them together.
- Anne Ferran, 2012

Sara Oscar received a Doctor of Philosophy (Visual Arts) from Sydney College of the Arts, University of Sydney, in 2007. She recently presented The Law of the Series at MOP Projects, Sydney, 2012, and has been included in numerous group exhibitions including: Tag Team Tournament, Firstdraft Gallery, Sydney, 2005; The Containers Project, Next Wave Festival, Federation Square, Melbourne, 2004; and informé, Australian Embassy, Paris, 2003. In 2004 Oscar was nominated for the Helen Lempriere Travelling Scholarship Exhibition presented at Artspace, Sydney, whilst in 2010 she received the Kodak Award for Excellence in Photomedia presented by the Centre for Contemporary Photography, Melbourne.

Justine Varga received a Bachelor of Fine Art (Photography) with Honours from the National Art School, Sydney, in 2007. During the second half of this year her work will be featured in several significant group exhibitions, including: Flatlands: Photography and Everyday Space, Art Gallery of New South Wales, Sydney; The Lookout, National Art School Gallery; and Privamera 2012, Museum of Contemporary Art, Sydney. Varga was a 2011 finalist in the Helen Lempriere Traveling Art Scholarship presented at Artspace, Sydney, and was nominated for Young Photographer, Infinity Awards, International Centre of Photography, New York, in 2010. Her work has been collected by the Art Gallery of New South Wales and Macquarie University, Sydney.

Artwork from exhibition by Ross Coulter, Sean Peoples, and Meredith Turnbull

24 August 2012 - 15 September 2012

Ross Coulter, Sean Peoples, and Meredith Turnbull

Clunky, Loose and Tight

A bejeweled vessel, calling a virtual brush made concrete.
A series of figurative metal objects are made wearing a painted constructivist wardrobe.
Adam and Eve, painted on a cup, leave the Garden of Eden.

Clunky, Loose and Tight is an intimate and whimsical collection of paintings, objects and sculptures developed from a shared interest in finding and building bridges between painting to painting, object to object and object to painting. Against the smooth flow of the future object and excess surplus surface, this exhibition argues for a space for crude artworks that exert, bend, defy and draw from art history and the traditions of art making techniques. Focusing on the points of equivalence and difference in the work of Ross Coulter, Sean Peoples and Meredith Turnbull, Clunky, Loose and Tight weighs up the possibilities of transmutation and translation between surfaces and scale.

Ross Coulter's series of painting and objects focus on vessels and figures, depicting the intriguing - often surprising - equivalences between the function and material qualities of items such as cups, boats and plastic bags. The project expands Coulter's interest in the conceptual and physical manifestations of ideas of levity and gravity.

Sean Peoples' paintings are a motivation to move away from an overtly representational language in the tradition of artists Alfred Manessier and Wassily Kandinsky. Developed using a sigil based methodology, his hope is the work will affect unconscious and subtle changes in the immediate environment through the use of magick. His time intensive sculptural vessels are symbolic representations that are charged with the secret intentions of the creator.

Meredith Turnbull presents a series of metal sculptures that reference Modernist architecture and interior design. These sculptures draw from conventions of constructivist collage and Kurt Schwitter's Merz Pictures, and are inspired by Boris Arvatov's ideas on the role of socialist objects. Turnbull's work engages with aspects of assemblage, abstraction and scale and expands upon her interest in combining approaches to sculpture, craft, décor and display.

Since graduating from the Victorian College of the Arts with First Class Honours in 2007 Ross Coulter has exhibited extensively in Melbourne and abroad. Selected exhibitions include The Space Between Our Hands, Echigo-Tsumari Snow Art Project, Matsudai, Japan, 2012; Telepathy and Love - The Spanish Apartment, Australia Council for the Arts Barcelona studio, Spain and West Space, Melbourne, 2011; Imaging the Apple, AC Institute, New York City, 2010; and The Body Electric (with Meredith Turnbull), Conical, Melbourne, 2009. In 2011 Coulter received the Keith & Elizabeth Murdoch Travelling Fellowship and in 2010 was awarded the prestigious Georges Mora Fellowship at the State Library of Victoria.

Sean Peoples completed a Bachelor of Fine Art/Painting at the Victorian College of the Arts, University of Melbourne, in 2006. Alongside his solo practice, Peoples also collaborates with Veronica Kent as The Telepathy Project. Peoples has been involved in numerous local and international exhibitions, including Telepathy and Love - The Spanish Apartment, Australia Council for the Arts Barcelona studio, Spain and West Space, Melbourne, 2011; Fluxus, as part of Speech Objects, Pavillion, Musée de l'objet, Blois, France, 2011; See Image, Y3K Gallery, Melbourne, 2010; Once More with Feeling, Margaret Lawrence Gallery, Victorian College of the Arts, Melbourne, 2009; Y2K Melbourne Biennial of Art (& Design), TCB art inc., Melbourne, 2008; and Explaining Contemporary Art to Live Eels, as part of A Constructed World: Increase your Uncertainty, Australian Centre for Contemporary Art, Melbourne, 2007.

Meredith Turnbull is a Melbourne-based artist and jeweler. She completed a Bachelor of Arts (Hons) in Art History, La Trobe University in 2000 and a Bachelor of Fine Arts, (Gold and Silversmithing), RMIT University, in 2005. Turnbull is currently a PhD Candidate in Fine Art at Monash University. Selected exhibitions include Target Practice, Centre for Contemporary Photography, Melbourne, 2011; Telepathy and Love - The Spanish Apartment, Australia Council for the Arts Barcelona studio, Spain and West Space, Melbourne, 2011; You'll be the death of me (with Bridie Lunney), Platform Contemporary Art Spaces, Melbourne, 2010; Folded, Faculty Gallery, Monash Art & Design, Monash University Museum of Art, Melbourne, 2008; and Happiness is a complex form, The Narrows, Melbourne, 2007.

Artwork from exhibition by Sara Hughes

28 July 2012 - 19 August 2012

Sara Hughes

Palonbasi Neydu Hokistshro

Sutton Gallery is pleased to announce Palonbasi Neydu Hokistshro, a site-specific wall installation by Auckland-based artist Sara Hughes that extends Hughes' interest in data, diagrams and graphics, and how this information is translated from the online digital realm into other media and navigated in contemporary space.

Inspired by the excess of visual information and stimuli that litters global hubs, Hughes presents a conglomeration of maps from the ten most visited cities in the world, collaged roughly together in poster form to create one large generic metropolis; a fictional space from non-fictional information. Tellingly, the title of the work abbreviates and combines the names of these tourist locations to create an exotic new hot spot: ‘Palonbasi Neydu Hokistshro'. The exhibition acts as a response to the way Google Earth maps and GPS applications influence our understanding and experience of cities, where city maps now present a plethora of way-finding symbols and promotional material that appears like a haze hovering above street names and suburbs.

Turning the gallery into a tactile environment where digital information drifts in cloud-like formations over the world's urban locations, Hughes asks: How has experience become mediated by marketing and promotion? How does this influence our understanding of place? And how do we navigate the virtual compared to the physical?

Hughes paintings and architecturally-scaled installations draw on the tradition of hard edge abstraction, reinterpreting its mode and method through contemporary culture and image making. Her candy-coloured compositions pulse with the heightened intensity of commercial graphics and display a continuing interest in optical perception. Utilising precise geometric arrangements to reference information technologies and assorted electronic communication systems, she explores the role that code and patterns play in the way we interpret and navigate our social environs in the digital age.

Artwork from exhibition by Sarah Bunting, Liang Luscombe,  Gian Manik, Peter Thomas

21 June 2012 - 14 July 2012

Sarah Bunting, Liang Luscombe, Gian Manik, Peter Thomas

Fresh Paint

Fresh Paint is an invitational exhibition featuring four emerging local painters, who each employ the medium of paint in a highly distinctive and engaging way.

Working with oil on canvas, Sarah Bunting deploys fiction, black humour, ethics and aesthetics as a way to reflect upon the highly subjective, transitive and traumatic nature of recent history. For Fresh Paint, she has created a series of surreal, apocalyptic spaces which are inhabited by discarded objects and fleshy mounds that represent the spectre of a failed human presence. Dislocated from easily identifiable spaces or points in history, Bunting's scenes offer a sense of timelessness, while also furthering her ongoing interest in how a melancholic state might be represented in painting.

Inspired by the wild colours, patterns and shapes of the Italian design collective Memphis Group, Liang Luscombe expands painting beyond the canvas into the realm of the functional and spatial. Incorporating significant art historical references - the wall painting After Proun Room 1 2012 draws upon Luscombe's interest in the practice of Russian Constructivist El Lissitzky, while the two chairs appropriate furniture designs by Memphis Group member Andrea Branzi - Luscombe mixes high art aesthetics with a do-it-yourself ethos in order to explore the almost volatile way in which the value of objects is created and exchanged.

Intrigued by the mirror's paradoxical ability to both reflect and distort, Gian Manik's oil paintings explore the complex relationship between figurative and abstract forms. Using reflective fabrics as his source imagery, Manik's striking paintings sit between literal depictions of the shiny veneer and abstracted representations of the portrait or thing which is reflected in the surface of the material.

In his subdued black and white paintings of streetscapes, Peter Thomas creates memorials to young men who have been assaulted or killed on the streets of Melbourne. Each image represents a site of a traumatic incident, yet does not include any direct reference to the event that took place. In this way, Thomas restrainedly documents the quickly forgotten pasts of these public spaces.

Artwork from exhibition by George Egerton-Warburton

22 May 2012 - 09 June 2012

George Egerton-Warburton

Living with Living

Sutton Gallery is pleased to present Living With Living, a solo exhibition by George Egerton-Warburton. The exhibited works appear as chapters severed from their context, here, in the account of a student that confused social culture with bacterial culture, subsequently becoming a dairy farmer geared toward the production of Greek yoghurt, rather than a disciple of Greek philosophy and poetry of the Roman Empire.

Living With Living is the third and final installment in a trilogy of case studies investigating clandestine autonomy in rural areas. The project is presented as a part of NEXT WAVE Festival 2012, with the support of the Department of Culture and the Arts Western Australia.

George Egerton-Warburton received a Bachelor of Art with Honours from Curtin University in 2009. His recent exhibitions include The Stalactite Love Review, as part of Perth International Arts Festival, University of Western Australia, 2011; Country Grammar, TCB, 2011; Yellow vest syndrome, Fremantle Arts Centre, 2009.In 2012 Egerton-Warburton completed a residency at the British School in Rome, funded by the Australia Council. Egerton-Warburton is currently a studio resident at Gertrude Contemporary.

Presented in association with NEXT WAVE Festival 2012.
Exhibition open Tue -Sat 1-5pm.

Artwork from exhibition by Aleks Danko

12 April 2012 - 05 May 2012

Aleks Danko

DILLY-DALLY SO-SO SHIPPY-SHOPPY? HO-HO HANKY-PANKY? BYE-BYE ... shopping for and with the un-dead (YU-AH-TISH-YU-AH remix)

From ‘shippy-shoppy’ in Hong Kong to ‘shippy-shoppy’ off Brunswick Street, Fitzroy, we are pleased to announce the ‘yuahtishyuah remix’ of Aleks Danko’s work that was shown at the 2011 Hong Kong Art Fair. The ‘remix’ has an odd Japanese Karate chop to it or maybe it’s a bit chopsueyed, skewed or even skewered for the Melbourne ‘shippy-shoppers’. The current remix moves the work decidedly into designer-bag-land and leaves us with no doubt of its intent. In keeping with Aleks’s ‘pointless’ exhibiton of 2011 he’s up to his old tricks, but this time masquerading as one of the un-dead … “ Hello China … and … Bye-bye L’Oreality” …
The new remix consists of three drawing tableaux, an arrangement of working drawings, and a display of speciality ‘shopping bags’ that are numbered, signed and editioned by the ‘artist’. Hanky Panky? So,So.
Aleks Danko March 2012    

Artwork from exhibition by Simon Terrill

02 March 2012 - 24 March 2012

Simon Terrill

Bow Cross

On 10 September 2011, the residents of Bow Cross were invited to take part in a large-scale photographic portrait amidst film lighting, smoke machines and an ice cream truck. While the stage was set, the participants were free to choose how and where they wished to present themselves within the scene. Alongside the photograph, a video work extends this captured event into a flight past friends, families and neighbours as they fill the street from dusk until nightfall, anticipating the next frame. 

'Bow Cross' is the culmination of Simon Terrill’s artist residency developed by Acme Studios London with the support of the Swan Foundation.