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 Ann Debono

24 November 2017 - 16 December 2017

Ann Debono


For Awled, Debono melds realism with abstraction in her images of deteriorating fragments which float above or oscillate around the recurring motif of an aperture. The title is an extension on the word "awl," an instrument for piercing holes, referenced by Debono's apertures which puncture the picture plane to expose submerged images.

These paintings reflect upon the condition of an image as it stands in relation to the visible world. For Debono, visible phenomena in the world seem to fluctuate between two poles: of latency and potency, silence and speech, illegibility and legibility, without ever touching and fusing with either extreme. For Awled the choice of imagery exemplifies this fluctuation: a shattered window pane, photos from a book or marks on a concrete footpath, all vying for precedence.

As the viewers eye navigates these compositions the artist pierces their reflections on what is significant in the world. Furthermore, the apertures, as a reference to the human eye, indicate that the audience is being provided a glimpse into the artists process of viewing, and the aesthetic potentiality of imagery she observes in her everyday environment - hence in turn the artists eye is also pierced. These paintings attempt to transmit an image of the world as a field of infinite regression of images behind images through which some spectral 'real' is evacuating.

Ann Debono completed a Bachelor of Fine Art with Honours at the Victorian College of the Arts, University of Melbourne in 2015. Recent exhibitions include; Painting Revealed, Sutton Projects, 2016, Upaithric, CAVES Gallery, Melbourne, 2015; Work, Slopes, Melbourne, 2014 and Majilis Travelling Scholarship Prize, Margaret Lawrence Gallery, 2014. This year Debono was a finalist in the Bayside Acquisitive Art Prize.

Ann Debono is now represented by Sutton Gallery, Melbourne.

Artwork from exhibition by Siri Hayes

21 October 2017 - 11 November 2017

Siri Hayes


Loading grants the viewer access to the rudimentary details of an image before seeing its full detail, and in doing so, highlights the notion of photograph as artifice and illusion. Loading was created by taking screenshots of Instagram loading in low reception areas, with the recognisable loading circle (indicating the speed which the image takes to load) remaining on the surface of each work. This instantly resonates with the viewer, calling into question whether this is an image they know, or is the obscured figure someone they know - perhaps themselves, or is the artist inviting us into her personal space with images of herself, or her family? In this way, Loading extends strands of Hayes' photographic practice in which she seeks personal connections between self, familial subject, photography and art historical context.

Hayes recalls Gerhard Richter's, Portraits. Painting Appearances, a series of paintings exclusively sourced from photographic images and categorised according to their origin - "Devotional Pictures" compiles images that can be traced back to family photo albums, whereas the source images for "Continual Uncertainty" was primarily drawn from newspapers or magazines and reflect the zeitgeist. However, the majority of works referenced portraits of people from Richter's intimate circle: artists, friends and family members.

Hayes was initially drawn to the out of focus Loading stills for their technological nod to the construction of an image present within the image. Though, she is equally drawn to the aesthetics of the resulting photographic work, which often appeared as abstract bands of colour reminiscent of Mark Rothko paintings. Perhaps Loading slips painting into photography in a similar way to which Richter slips photography into painting.

Siri Hayes lives and works in Melbourne. Solo exhibitions include: Backdrop, Stockroom Kyneton, (forthcoming); Holding Still, Sarah Scout Presents, 2017; Back to Nature Scene, Heide Museum of Modern Art, 2013; All You Knit Is Love, Centre for Contemporary Photography, 2012; Dredge (in collaborations with music composer Eve Duncan), Linden Centre for Contemporary Arts, 2010 and Listening Portraits, Latrobe Regional Gallery, 2010. Group exhibitions include: Framing Nature, McClelland Sculpture Park and Gallery (forthcoming); An Unorthodox Flow of Images, Centre for Contemporary Photography, 2017; Revealing Identity: The collections of La Trobe University, Bendigo Art Gallery, 2017. Hayes' work is held in a number significant Australian collections including the NGA, NGV, Artbank, Australian Parliament House, Heide Museum of Modern Art, Latrobe University, Monash University Museum of Art.

Artwork from exhibition by Aaron Hoffman

23 September 2017 - 14 October 2017

Aaron Hoffman


Vent is a new series of works, which attempts to materialize the absent body and the untraceable. Hoffman's investigation points to the futility of the endeavor to reanimate the body using only the trace it leaves behind. He draws inspiration from the psychological desires that complicate the physical act of looking.

Aaron Hoffman lives and works in Melbourne, Victoria. He completed a Bachelor of Fine Art with Honours at the University of Melbourne in 2016. Recent exhibitions include Push, Seventh Gallery, 2016; Ocean/Oceano, Hilo Galeria, 2016; Room/Body, Kings Gallery, 2016; Hatched, Perth Institute of Contemporary Art, 2016; Debut XII, Blindside Gallery, 2016; and Transfer, Rubicon ARI, 2015. Hoffman was awarded the Sutton Gallery Emerging Artist Award in 2016 and his work is included in private collections in Australia.

Artwork from exhibition by Jane Trengove and Susan Long

11 August 2017 - 02 September 2017

Jane Trengove and Susan Long


For this installation, the artists consider collective memory and the deployment of nostalgia in the public space. With the expansion of neo-conservative ideas, an evocation of reminiscence seems to be "in play", placing progressive thought under duress.

Remembering and forgetting.

The artists provide a desk with a lamp and a chair to invite reflection. An old school book is placed on the desk, opened at a black and white photograph; the image is a commonplace bush scene from the past, and the book is stale in its materiality. However, loosened from the page, enlarged and placed on the wall, an inexact remnant floats on its own.

This work is staged to animate the idea of memory, the fragility of the mind and perhaps a nostalgia for something that never happened.

Jane Trengove has shown extensively in Australia and has regularly exhibited with Sutton Gallery since 1995. Recent exhibitions include Pointillism, 2015, Thank You, 2012; and Understudy, 2011. Other selected individual exhibitions include; This One is for You, 2012, in collaboration with Susan Long, Techno Park Studios; Field, Canberra Contemporary Arts Space, 2003; Slit, in collaboration with Susan Long, Gertrude Contemporary, Melbourne 2000. Trengove has also featured in numerous group exhibitions including f generation; feminism, art, progressions, 2015, George Paton Gallery; National Works on Paper, Mornington Peninsular Regional Gallery, 2012. In the year 2000 Trengove undertook an Australia Council studio residency in Los Angeles. Her work is held in a number of public and private collections, including Artbank and National Gallery of Victoria.

Susan Long completed a Master of Fine Art at the University of Melbourne University in 2001. Recent solo exhibitions include START, Sutton Projects, Fitzroy, 2014; This One is for You, Techno Park Studios, 2012; Big Sky, Techno Park Studios, 2009; Pass, CCP, 2005; and SLIT, 200 Gertrude Street (front gallery), 2001. In 2016 her work was included in Wildcards and Fugitives, Joyce McGrath Gallery, State Library of Victoria. Long's works are held in prestigious collections including Rare Books Collection, State Library of Victoria; Legal Aid Collection and private collections in Australia.

Artwork from exhibition by Naomi Eller

08 July 2017 - 29 July 2017

Naomi Eller

Single-hole weight...plugged

Naomi Eller is a Melbourne artist who makes sculpture inspired by nature, myth and the human condition, translating our complex states and feelings into visual form. Like her earlier works, these sculptural installations focus on our personal discourse and the external factors that play a part in our construction and destruction.

Titled Single-hole weight...plugged, the works are comprised largely of forms that reference our being, our inner self and to the stone anchors of antiquity. Representing and encapsulating the continuity of our atavistic selves and the sense of heaviness and weight that is often omnipresent in our dialogues. The opening, single perforations, are often accompanied by a series of ‘plugs' that take the form of functional and non-functional tools. The openings can be filled with these optional insertions that can act as both aids and blockages.

Naomi Eller was born in Melbourne, Australia where she currently lives and works. 2016 Australian Council Grant for CRETA Rome residency. She has had numerous solo exhibitions in Melbourne, including the Heide Museum of Modern Art, 2015; Tristian Koenig 2014; Chapterhouse Lane, 2014; The Alderman, 2013; c3 Contemporary Art Space, Abbotsford Convent, 2012; The fates at play, DEATH BE KIND, 2011. Selected group exhibitions include: Caves, Substation, Melbourne, 2017: Misshaped Head, Neon Parc, Melbourne, 2017, Setouchi Triennale; Fukutake House, Shodoshima, Japan, 2016; Switchback Gallery, Gippsland, Caves, Melbourne, 2016; Caves, Nicholas Building, Melbourne, 2016; Faux Museum, c3 Contemporary Art Space, Abbotsford Convent, Melbourne, 2014; SMALLpieces, Northcote Pottery, Melbourne, 2014; Platform Art Space, Melbourne, 2013; The Collector's Edition, DEATH BE KIND, Melbourne Art Fair, Melbourne, 2012; The rest is silence, DEATH BE KIND, Melbourne, 2011.
Work held in collections in Japan, Italy and Australia including James Mollison collection, The National Gallery of Victoria collection.

Artwork from exhibition by Worldbackwards

02 June 2017 - 24 June 2017


Curated by Nik Papas

Marco Fusinato
Helen Grogan
Sophia Hewson
Raafat Ishak
Fiona Macdonald
Nik Papas
Warren Taylor

Worldbackwards presents an expanded enquiry into the rhetoric of spectatorship and theatre fostered in contemporary art practices.

Including performance and time-based media, this exhibition adopts an interdisciplinary approach to art that focuses on themes of transition and material agency. It is intended that such a perspective will throw light on the changing role of artifacts, and on an environment molded by theatre to evoke temporality, the audience, and the place of the stage.

What follows, then, is not an exhaustive history of theatre but more precisely a field of experimentation in which artists negotiate the boundary between the audience and stage, but also the body and image, and the power of exchange at work between media and everyday, affective experience.


Artwork from exhibition by Ebony Truscott

28 April 2017 - 20 May 2017

Ebony Truscott

Handheld Ellipse, Recent Paintings

Ebony Truscott is a Melbourne-based artist employing observational realism in painting and works on paper. Her work is marked by an interest in human sensation and perception, particularly the relationship between sight and touch.

Handheld Ellipse, Recent Paintings brings together still life paintings from the last two years that are at once formal and personal. Truscott's compositions are attentive and unflinching in their description of disparate objects, their surface qualities and the space they occupy. Found and constructed solids; cones, cylinders, domes and bricks sit with reflective or transparent forms to induce palpable and uncanny associations.

The making and presentation of Handheld Ellipse, Recent Paintings was made possible by an Arts Project grant from the Australian Council for the Arts.

We invite you to come and hear the artist, Ebony Truscott talk about her work and practice at Sutton Projects on Saturday May 13th at 1.30pm. This talk will be AUSLAN interpreted.

Born 1977, Warrnambool, Victoria, lives and works in Melbourne. Truscott has held solo exhibitions at TCB, Platform and Mr Kitly. Her work has also been included in notable group shows at Caves, the Centre for Contemporary Photography, the Australian Print Workshop and George Paton Gallery at The University of Melbourne. Truscott's work has been selected for exhibitions at major regional institutions such as the Bendigo Art Gallery and the Mornington Peninsula Regional Gallery. Truscott has a Bachelor of Fine Art with first class honours from the Victorian College of the Arts. Her work is included in collections across Australia and China including: the Anhui University, China, Government of Hefei Municipality, China, The University of Melbourne, the Epworth Hospital Foundation, Deakin University, the Athenaeum Club and the Besen Collection.

Artwork from exhibition by Nina Gilbert and Sean McKenzie

10 March 2017 - 08 April 2017

Nina Gilbert and Sean McKenzie


Nina Gilbert and Sean McKenzie's work evolves from collaborative research into witnessed and recounted history, and an interrogation of place through immediacy. They share an impulse to investigate a subject by examining from a centrifugal viewpoint and developing an understanding through the gaze of the camera lens.

Versions explores impressions of seemingly everyday encounters through photographic images and text based works. Photographs portray and obscure candid moments within the urban environment while text takes on the form of enlarged, fragmented scripts to develop and displace narratives. The elusive nature of the scripts and photographs both allude to and mask their subjects, providing a platform for imagined scenarios.

The work follows on from Gilbert and McKenzie's previous collaboration From night to day to night which uses footage taken from a landmark location, The Twelve Apostles alongside composed witness account statements and a series of found 'test' slides of everyday interiors and workspaces. Speculative language layered over repeated imagery perpetually shifts the position of the subject and the viewer.

Nina Gilbert is an artist based in Melbourne, her practice uses photography and video to question the relationship between image, encounter and event. Taking peripheral or abstracted points of view, the work tests traditional notions of plane and perspective, while providing the viewer with a sense of familiarity brought through an tension or presence in the work. Nina graduated with Honours at the Victorian College of the Arts in 2014. Recent exhibitions include The image shadow, the shadow general at Bus Projects 2016, Associations at Fusion Art Gallery, Torino 2016, Points of Advantage at c3, Melbourne, 2015 and Archiving and Fragmentation in the Digital Age with SOAP at Fort Delta, Melbourne, 2015. She is a member of SOAP collective.

Sean McKenzie is a writer and Artist living in London. His work explores moments between fiction and non-fiction through the lineage of both personal and collective memory. He graduated with Honours from the Victorian College of the Arts in 2014.

Artwork from exhibition by Kieren Seymour & Dana Hoey

11 February 2017 - 04 March 2017

Kieren Seymour & Dana Hoey

Love Job

The term Love Job is commonly used by contractors who do work for friends, family, schools etc. for free. This common act of generosity was an important part of Seymour's upbringing and early conceptualising of exchange and currency. For this exhibition, Hoey and Seymour present multiple photographic and video works engaging ideas of exchange and value while remaining ambiguous and peculiar.

Dana Hoey (born San Francisco, California) is a prominent visual artist who works in photography and video to explore the intersection of feminism and violence. Her meticulously constructed staged works are often saturated with light and colour and point to a fascination with corrupted idealism.

Her work has been exhibited in the U.S., Germany, Switzerland, and London, England. Notable solo exhibitions have been held at the Tache Levy Gallery in Belgium and the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, in Washington, D.C. and the Albany Institute of History & Art, Albany, New York. Her work is included in collections at the Hirshhorn Museum and Sculpture Garden; the Los Angeles Museum of Contemporary Art, CA; the Middlebury College Museum of Art, VT; the National Museum of Women in the Arts, D.C.; the San Francisco Museum of Modern Art, CA; and the Solomon R. Guggenheim Museum, NY. Hoey holds a B.A. from Wesleyan University (1989) and an M.F.A. from Yale University (1997). She sometimes teaches in the Bard College m.f.a. program. Hoey is represented by Petzel Gallery, New York.

Kieren Seymour (born London, UK) is an artist based in Melbourne, Australia and works across multiple mediums including video, digital painting and photography. Fragments of politics, economics and personal experiences shape the predominantly image based studio practice. Using absurdity and humour as a narrative device in his work, Pip Wallis states in her 2013 essay, Hi, here I am, that must be enough, "The conceptual strategies of Seymour's video (artworks) are comically encumbered with humanism".

Seymour's work has been exhibited in Australia, Italy, New Zealand, Switzerland and UK. He has participated in notable group exhibitions at ACMI (Melbourne), NGV (Melbourne), MCA (Sydney). He has also shown at Neon Parc, Utopian Slumps, Sutton Projects, TCB Inc, Alaska (Sydney), RM (Auckland), Snakepit, (Auckland), Flake, Thirty Twenty Seven (Sydney), Blindside, Bus Projects and the SACI Institute, Italy. Seymour completed his Bachelor of Fine Arts (Honours) at R.M.I.T. in 2015, with an exchange studies program at Zurcher Hochshule De Kunste (Zhdk), Zurich 2010. His work is held in collections in Australia, Hong Kong and UK.