ALEKS DANKO ALEX RIZKALLA AMANDA MARBURG ANDREW CURTIS ANDREW HAZEWINKEL ANNE FERRAN ANNE-MARIE MAY ARLO MOUNTFORD BRETT COLQUHOUN CATHERINE BELL CHRISTOPHER L G HILL COLLEEN AHERN DAN MOYNIHAN DANIEL NOONAN DARCEY BELLA ARNOLD DAVID EGAN DAVID ROSETZKY ELIZABETH GOWER EUGENE CARCHESIO GEORGE EGERTON-WARBURTON GIAN MANIK GORDON BENNETT HELEN JOHNSON HELGA GROVES IRENE HANENBERGH JACKSON SLATTERY JANE TRENGOVE JON CAMPBELL JOSEPH L GRIFFITHS JULIE DAVIES KAREN BLACK KATE BEYNON KATE SMITH LANE CORMICJ LARESA KOSLOFF LINDY LEE LISA RADFORD MADELINE KIDD MASATO TAKASAKA MATT HINKLEY MIKALA DWYER MIRA GOJAK NADINE CHRISTENSEN NAOMI ELLER NICHOLAS MANGAN NICK SELENITSCH PETER ROBINSON RAAFAT ISHAK ROSSLYND PIGGOTT RUDI WILLIAMS RUTH HUTCHINSON RY HASKINGS SANGEETA SANDRASEGAR SARA HUGHES SEAN MEILAK SHARON GOODWIN SIMON TERRILL TOM 01
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ART AID FOR FIRE RELIEF 17 – 19 JANUARY 2020
TOWARDS REGROWTH
SUTTON GALLERY 254 BRUNSWICK ST, FITZROY
Towards Regrowth: Art Aid for Fire Relief represents the collective action of more than 60 contemporary artists in response to the unprecedented devastation caused by the ongoing bushfires. 100% of proceeds and cash donations collected at the opening reception will be donated to Volunteer Fire Brigades Victoria (VFBV) and Firesticks Alliance Indigenous Corporation and there is no gallery commission.
We acknowledge and pay respect to the Traditional Owners, and Elders past, present and future, of the lands and waters on which we live and work. We acknowledge Aboriginal connection to material and creative practice on these lands for more than 60,000 years, and celebrate their enduring presence and knowledge.
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Aleks Danko Alex Rizkalla Amanda Marburg Andrew Curtis Andrew Hazewinkel Anne Ferran Anne-Marie May Arlo Mountford Brett Colquhoun Catherine Bell Christopher L G Hill Colleen Ahern Dan Moynihan Daniel Noonan Darcey Bella Arnold David Egan David Rosetzky Elizabeth Gower Eugene Carchesio George Egerton-Warburton Gian Manik Gordon Bennett Helen Johnson Helga Groves Irene Hanenbergh Jackson Slattery Jane Trengove Jon Campbell Joseph L Griffiths Julie Davies Karen Black
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Kate Beynon Kate Smith Lane Cormicj Laresa Kosloff Lindy Lee Lisa Radford Madeline Kidd Masato Takasaka Matt Hinkley Mikala Dwyer Mira Gojak Nadine Christensen Naomi Eller Nicholas Mangan Nick Selenitsch Peter Robinson Raafat Ishak Rosslynd Piggott Rudi Williams Ruth Hutchinson Ry Haskings Sangeeta Sandrasegar Sara Hughes Sean Meilak Sharon Goodwin Simon Terrill Tom Nicholson Trevelyan Clay Vivienne Binns Ying-Lan Dann Zilverster
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Aleks Danko Incident / Ambivalance 1991-92 acrylic and varnish on wood with steel tacks signed and dated on reverse 28.5 x 27.5cm Ed. 4 of 11 Courtesy the artist and Sutton Gallery $1,800
02 — 03
Aleks Danko works in a range of media from installation and performance art to public commissions. The past decade has seen Danko create a body of work that suggests, discusses and interrogates the social, political and cultural landscape of Australia. Danko achieves this through the production of largescale installations and individual artworks that combine irony, humour and sarcasm with aesthetically sophisticated and materially confident statements and gestures.
Alex Rizkalla Memento Mori 2012 photogram on silver gelatin paper 42 x 32cm Series 4/9 Courtesy the Estate of Alex Rizkalla $500
Julie Davies and Alex Rizkalla have collaborated over a 20-year period whilst maintaining individual practices and collaborations with others. Their co-authorship developed from the idea of two people working together and the possibility of collaborative projects emerging, in their case it was a sort of fusion; certain circumstances, sustained dialogue and joint research often result in the situation where on completion of a project the authorship was so enmeshed that the work naturally cannot be considered outside of collaboration. The persistent thread that runs through their work starts with the intersecting interests of art, nature and science but equally valued are the dialogue and methodology—the doing, looking, recording and studying. Davies and Rizkalla have over many years built an iconography of objects in their distinctive ways, but in their collaborative works they subtly shift the emphasis onto the relationships between the process and the product - be it fruit or art - it is the eating and the digesting, the topic and the conversation that the works invite the viewer to be a part of. — Elvis Richardson, 2017
04 — 05
Amanda Marburg Sherrin 2010 watercolour on paper 29.7 x 42cm Courtesy the artist and Sutton Gallery $950
06 — 07
Amanda Marburg’s paintings are the end-product of an extended process that involves photography and model making. Drawing from film, art history, cultural artefacts and paraphernalia, Marburg constructs technically modest yet endearing plasticine figures before photographing the strange worlds she creates against studio backdrops. Painting from these photographs, a curious tension arises in Marburg’s images between the intentionally unceremonious handling of her models, mediated through the medium of photography, and the exacting realism with which her subjects are rendered. Melancholic and irreverent in equal measure, Marburg’s paintings enlist and rework canonical tropes to relieve the medium from its own rigidity.
Andrew Curtis Broome (0540) 2018 Broome (0624) 2018 pigment print 24 x 36cm (image size) 30 x 42cm (paper size) AP Courtesy the artist $300 each
08 — 09
Although these new landscapes reference American west coast photography of the 70s, there is a subtle sense of menace typical in a lot of Curtis’ images of industry. Andrew Curtis lives and works in Melbourne. His work is held by the National Gallery of Victoria, Artbank, Monash Gallery of Art and the City of Boroondara. He has received New Work grants from Australia Council in 2004 & 2006 and Creative Victoria in 2002 & 2014.
Andrew Hazewinkel SANCTUARY #1 2019 digital pigment prints on archival paper 38 x 25.3cm (individual prints) 38 x 50.6cm (diptych) Courtesy the artist $1,400 diptych
10 — 11
This work is from the ongoing series Sanctuary, which focuses on material recoveries from the site of the earliest known organised centre of western healing (dating back to 16th c. BCE); and continues Hazewinkel’s enduring fascination with the entanglement between psychological states embodied in the broken bodies of antiquity and our own ephemeral bodies. Andrew Hazewinkel makes sculpture, photographs, installations and moving image works. Often working with museum and photo-archive collections, his approach to the palimpsest of history varies. At times he is a story (re)teller, at times a thief, and at times a trickster in the realm of fact. Working with both sanctioned and marginalised recordings of the past, his works (re) tell the histories captured within objects as a way of releasing the objects from their incarceration within specified histories, thereby sufficiently loosening their ties to the past and drawing out their relevance within the contemporary realm.
Anne Ferran Stone bird 2013 pigment print 88 x 53cm (framed) Ed. 3 of 5 + 2AP Courtesy the artist and Sutton Gallery $1,900
12 — 13
Anne Ferran has been exhibiting since the 1980s. Her landmark series Scenes on the Death of Nature, presented at Australian Centre for Contemporary Art, Melbourne, in 1987, established her as one of Australia’s leading photographic artists. In the mid 1990s she began working with the meagre residues of Australian colonial past, paying particular attention to the lives of women and children. Intellectually and emotionally engaging, her photographs have explored histories of incarceration in prisons, asylums, hospitals and nurseries. They play with invisibility and anonymity, and are often haunted by things unseen.
Anne-Marie May Untitled 2014 thermally formed acrylic 57 x 38 x 40cm 2014 Gertrude Contemporary Edition Unique State Ed. of 50 Courtesy the artist and Murray White Room $825
14 — 15
Anne-Marie May is an artist who works across mediums, from sculpture and installation to design and textiles. A long-standing interest in architecture and craft informs her experimentation with process and the production of objects. Making and materials are central to May’s practice. Her methodology is multifaceted and intuitive, a process of reworking materials to explore spatial, perceptual and chromatic relationships. Materials as diverse as bronze, felt and transparent acrylic inspire her experimental approach. Her practice is a nuanced exploration of the continuum between geometry and gesture, transparency and solidity, void and mass.
Arlo Mountford Bridget 2014 digital print mounted on Dibond, motor, sensor, Arduino controller board 33.3cm diameter Ed. 1 of 3 Courtesy the artist and Sutton Gallery $2,000
16 — 17
Arlo Mountford works primarily with large-scale interactive installations that integrate sound, video and animation. His digitally animated films feature a dizzying assortment of famous artists, iconic artworks and events from the history of art mixed with an almost equally generous array of pop culture references. Infused with humour and irony, Mountford’s work re-navigates art history, and explores the contextual relationship between contemporary art practice and its perceived past.
Brett Colquhoun Permeate 2003 Lapse 2003 etching 29.5 x 19.5cm (image size) 38.5 x 28.5cm (framed) Printed at Australian Print Workshop Courtesy the artist and Sutton Gallery $300 each
18 — 19
Brett Colquhoun’s lightness of touch results in paintings and drawings that exude a strange and elegant mystery. Forever in search of ways to articulate states of being, moments in time and ways of seeing the world, Colquhoun produces moments of introspection where figurative elements provide a way into more timeless and profound issues. Colquhoun’s distinguished exhibition history dates back to 1982, having been part of the pivotal Australian institutions Art Projects, Gertrude Street and Pinacotheca.
Catherine Bell Mountains of Mourne 2012-14 florist oasis foam, ink on paper, steel display stands, Perspex box and shelf Dimensions variable Courtesy the artist and Sutton Gallery $950
20 — 21
Mountains of Mourne is a series of mythologised landscapes that explore the natural world as an allegory of loss, mourning, memorialisation and renewal. The recycled florist foam, like all ecological systems, responds to environmental factors. The foam burns in direct sun, gets waterlogged if flooded, erodes if dry and disintegrates under slight pressure. The mono prints taken from the surface of the foam blocks, archive this fragile terrain as haunting epitaphs. Catherine Bell is a multi-disciplinary artist and Associate Professor (Visual Arts), Australian Catholic University. Bell’s practice-led research focuses on the generative potential of grief, loss and memory in a creative context. In recent times, she has located her practice within an archive and healthcare setting. Bell’s socially engaged artworks expose personal narratives by up-cycling excess or waste materials to create unique, yet familiar, objects of reverence and contemplation.
Christopher L G Hill ENDLESS LONELY PLANET 8 modular poem with words from: Abella D’Adamo, Adelle Mills, Alex Vivian, Aurelia Guo, Christopher L G Hill, Conor O’Shea, D&K, Discipline, Elizabeth Newman, Endless Lonely Planet, Fayen d’Evie, FFIXXED, Gian Manik, George Egerton Warburton, H.B. Peace, Joshua Petherick, Kate Meakin, Lewis Fidock, Lou Hubbard, Lisa Radford, Lucina Lane, Matt Hinkley, Matthew Benjamin, Matthew Ware, Nick Selenitsch, Raafat Ishak, Rudi Willams, Samuel Heatley, Sean Peoples, Simon Zoric, S.T. Lore, Tahi Moore, Virginia Overell. (counterfietnessfirst bootleg) 2020 Courtesy the artist $110
22 — 23
Christopher L G Hill is an artist, poet, anarchist, ignorant teacher, collaborator, facilitator, curator, lover, friend, publisher of Endless Lonely Planet, noise wall proprietor, gardener, label boss, traveller, homebody, dancer, considerate participator, dishwasher, graffiti bencher, fine food eater, exhibitor: TCB, BUS, Physics Room, 100 Grand street NYC, Lismore Regional Gallery, Good Press, Gambia Castle, Conical, GCAS, NGV, Mission Comics, Slopes, Art Beat, Papakura Gallery, UQ Gallery Margaret Lawrence, Flake, Utopian Slumps, Rearview, Joint Hassles, SAM, Chateau 2F, and tweeter, twitcher, sleeper, Biennale director (‘Artist initiated’ 2008, 2011, 2013…2016), DJ, retired gallerist Y3K, conversationalist who represents them self and others, born Melbourne 1980c.e, lives World.
Colleen Ahern Gold Bryan Ferry no. 1 2017 oil on panel 30 x 30cm Courtesy the artist and Neon Parc $1,000
24 — 25
Colleen Ahern was born in Leeton, NSW and lives and works in Melbourne. She completed a Bachelor of Arts, Painting, from the VCA in 1999. Ahern’s work is motivated by musical fandom, the portrait and cultural iconography. She has participated in numerous solo and curated group exhibitions, as well as collaborative projects in museums, commercial galleries and ARIs, both locally and interstate.
Dan Moynihan Singles 2019 mirror polish stainless steel 23 x 7.5 x 2cm Courtesy the artist and Tolarno Galleries $900
26 — 27
…In one interview, when asked what his influences are, Moynihan nominated ‘inappropriate text messaging, the radio, driving a shitty car.’ This is a nice summation of his modus operandi. Moynihan is an artist strongly orientated towards the vernacular. His artistic palette is comprised of the stuff that surrounds most of us most of the time… — Phip Murray, 2013
Daniel Noonan Hybrid Moments 2015 oil on linen 66 x 56cm Courtesy the artist $2,600
28 — 29
Daniel Noonan’s abstractions are sophisticated balancing acts of colour and composition, in which elusive forms, figures and text emerge and dissolve. Central to Noonan’s painting approach is challenging the boundaries of the picture plane. This tactic is most obvious in his off-square paintings comprised of two panels joined to create a singular L-shaped work. A sense of expansion and contraction is also evident in Noonan’s segmented image structure, created by shifts in gestures and variable paint applications. Preferring to daub or drybrush the predominantly matte paint, Noonan cannily draws our attention to the materiality of the medium. Generally, he approaches and uses paint not as liquid but as matter and considers the medium akin to thought or speech. While painting, Noonan scribbles random notes onto the walls or sections of paper in his studio. These can be phrases, words or collections of words – not structured sentences – that directly feed into the artworks.
Darcey Bella Arnold Upholstery painting 2 2018 upholstery fabric and gesso on board 90 x 120cm Courtesy the artist and Reading Room $500
30 — 31
Darcey Bella Arnold (b. 1986) is an Australian, Melbourne-based artist of British and Scottish descent. Darcey completed a BFA, Drawing at the Victorian College of the Arts, Melbourne (2007) and a BFA, Honours at Monash University, Melbourne (2009). Darcey has been announced as a 2020 Gertrude Studio Artist, Gertrude Contemporary, Melbourne; and was recently selected as a finalist in the John Fries Award, 2020.
David Egan Pluto, Side, Reins, Seal 2015 oil, gesso and flowers on canvas 112 x 76cm Courtesy the artist $500
32 — 33
To borrow from Helen Hughes; for Egan,“painting is a fragment of the whole; even as it commands attention, it points away from itself to the parallel activities from which it has arisen. In so doing, Egan’s paintings figure forth something that is invisible. In many cases he paints what Ian McLean has evocatively referred to as a veil: a signposted secret, a layer that simultaneously highlights or gives shape to that which it conceals.” David Egan (b. 1989) lives and works as an artist in Melbourne. He graduated from a BA in Fine Art, Curtin University, 2011 and a BA in Fine Art (Honours), Monash University, 2013, where he is currently a PhD candidate and teacher.
David Rosetzky Karlo #2 2017 gelatin silver print 57.5 x 47.5cm (image) 67 x 57cm (framed) Ed. 1 of 6 + 2AP Courtesy the artist and Sutton Gallery $1,400
34 — 35
David Rosetzky works predominantly in video and photographic formats, creating scenarios in which human behaviour, identity, subjectivity, contemporary culture and community come under intimate observation. Rosetzky enlists portraiture to explore the relationships between interiority and exteriority, reality and fantasy, authenticity and artificiality. Technically and aesthetically precise, Rosetzky’s work is stylised, moody and strikingly beautiful, and resembles the idealised images found in high-end advertising and screen culture.
Elizabeth Gower Savings 15 2010 paper cuttings on board 45 x 45cm Courtesy the artist and Sutton Gallery $1,500
36 — 37
Elizabeth Gower has been exhibiting innovative work, including collages and wall hangings, since 1976. Her interest lies in the human desire to create order from the chaotic. Gower creates stunning abstract compositions from humble materials, with an emphasis upon translucency, fragility and impermanence. Her practice draws much of its content and form from the world of the everyday – commercial images and objects as well as familiar and domestic materials such as newspaper and tissue paper. Exploiting the associations evoked by such banal material, her work has often been connected with a feminist sensibility; however this framing should be countered with recognition of the strong aesthetic concerns at play.
Eugene Carchesio Upside Down Music 3 (orange) 2017 paper, acrylic, craft glue 31 x 23 x 1cm Courtesy the artist and Sutton Gallery $900
38 — 39
Since the 1980s, Eugene Carchesio has produced small scale drawings, watercolours and minute cardboard sculptures. Carefully placed elements of geometric abstraction and figurative symbolism coalesce within his compositions, forming an ontological space emptied of the clutter of everyday life. Carchesio is unconcerned with durability, instead favouring the fragility and uncertainty of ephemeral materials such as matchboxes and paper ephemera. His quietly focused, intimate works stand in contrast to increasingly glossy, inflated modes of contemporary art and provide us with moments of welcome reprieve amid the chaos of modern life.
George Egerton-Warburton And we’ll see if one tree won’t grow as crooked as another, with the same wind to twist it! 2019 oil on canvas 150 x 180cm Courtesy the artist and Sutton Gallery $3,000
40 — 41
George Egerton-Warburton employs text, performance, sculpture, painting and video in his practice which embraces stylistic dissonance, and the syntax of conceptual art. Referring to day-today situations, Egerton-Warburton examines the discord between impulses and behaviour shaped by cultural norms. His work, varying in scale and duration, corresponds to the distortion of time in space constructed by late capitalism. At odds with this space, Egerton-Warburton questions it’s affect on mental health, social structures, his relationship with the natural landscape that is simultaneously nostalgic and destructive, and the body’s agency under the administrative labour processes required of it. He creates elusive situations anchored by droll humour and irony, where sympathetic structures and topologies of stress are cobbled together in textured installations.
Gian Manik Trampoline 2019 oil on board 25 x 30cm Courtesy the artist $500
42 — 43
Manik’s practice is defined by an ongoing investigation into the boundaries of representation, which the artist has previously explored by analysing the threshold between abstraction and figuration. Known for his nonrepresentational paintings produced from photographic imagery, the work included in this exhibition incorporates recognisable subjects, while also slipping in and out of abstraction, as the artist combines memories with references from the fabric of his daily life.
Gordon Bennett Home Décor (De Stijl + Preston) No 1 1996 acrylic on paper 80 x 120cm Courtesy Sutton Gallery and the Estate of Gordon Bennett $15,000
44 — 45
Gordon Bennett is internationally acclaimed as one of Australia’s most significant and critically engaged contemporary artists. He is recognised for his powerful perspectives on the post colonial experience, particularly in the Australian context, with much of his work mapping alternative histories and questioning racial categorisations and stereotypes. Bennett regularly adopted the persona ‘John Citizen’ as a means of confronting the rhetoric of identity and the politics of categorisation in Australian art.
Gordon Bennett Number Five 2008 acrylic on linen 182.5 x 152cm Courtesy Sutton Gallery and the Estate of Gordon Bennett $40,000
46 — 47
Gordon Bennett is internationally acclaimed as one of Australia’s most significant and critically engaged contemporary artists. He is recognised for his powerful perspectives on the post colonial experience, particularly in the Australian context, with much of his work mapping alternative histories and questioning racial categorisations and stereotypes. Bennett regularly adopted the persona ‘John Citizen’ as a means of confronting the rhetoric of identity and the politics of categorisation in Australian art.
Helen Johnson Figurative study (crab) 2012 Figurative study (ass) 2012 Abstract study 1 2013 Abstract study 2 2013 acrylic on paper Dimensions variable Courtesy the artist and Sutton Gallery $360 each
48 — 49
Helen Johnson’s practice is concerned with how painting can be used as a means of addressing and reflecting on aspects of cultural identity in an open – as opposed to declarative – way. Though grounded in figuration, Johnson’s approach to painting diverges in search of pluralism and openness, where the privilege of the subject is challenged. For Johnson, painting is a space where seemingly incontestable things are constantly being reconsidered, put into new relations with other things, where slippage is always present.
Helga Groves Contained Deliquescence 2017 shellac based ink, copper pigment, pearlescent vellum, Perspex tube, wooden shelf 41 x 8cm 16 x 16cm (shelf) Courtesy the artist and Sutton Gallery $900
50 — 51
Contained Deliquescence, 2017, alludes to a specimen featuring the surface topography of an iron meteorite, due to chemical changes when etched by rainwater over geological time. Helga Groves’ meticulous and sensitive practice encompasses painting, three dimensional forms, drawing and animation. Her works are informed by rigorous investigations into geophysical processes and natural phenomena across the vast expanse of geological time. Carefully balancing topographical patterns, colour and tonal layers, her compositions transpose the rhythmic flow and luminosity of her subject matter. The underlying power of Groves’ work lies in its ability to permeate the senses and minds of the viewer, conjuring vivid memories of the physical experience of place.
Irene Hanenbergh Stoyan Lalovski (1991) 2015 oil on canvas 23 x 18cm Courtesy the artist and Neon Parc $650
52 — 53
Exhibiting internationally since the late 1980s, Irene Hanenbergh has amassed a large body of work which the artist describes as ‘liminal portals’ into other worlds, and ‘windows of longing’, suggesting psychological and physical spaces that lie just beyond our grasp. Her evocative oil paintings are personal and contemporary renderings of the sublime in which scenes of primordial forests, lakes, mountains and oceans morph in and out of formation, infused with influences of the baroque, romanticism, and marginal fantasy genres. Exploring the slippage between contemporary and historic landscape painting, key styles and traditions including folk art, mystic and visionary practices, ( faux) political histories and cults have been erased, repainted and spiritually charged, creating fantastical and otherworldly shifts as brushstrokes collide with impossible foliage, dark shadows and the spectre of history. Her works do not rely on narrative structures for the formation of content; rather they seduce or just invite the viewer to become immersed in another world, another time, another sensation.
Jackson Slattery Nicolas 13 2018 oil on linen 30 x 8cm Courtesy the artist and Sutton Gallery $2,400
54 — 55
Slattery’s practice operates within the grey area between external and internal realities, tantalising the viewer with what is depicted and what is implied. In collecting disparate and diverse images then meticulously reconstructing them, Slattery alludes to a narrative of events, one that is concerned as much with fiction as with the realities that they are extracted from. Though he is known for his meticulously painted watercolours and oil paintings, Slattery’s practice branches out with a radical shift in scale in the form of sculpture and installation.
Jane Trengove POV 175 2003 POV 177 2003 oil on board 30 x 19cm Courtesy the artist and Sutton Gallery $300 each $500 diptych
56 — 57
Jane Trengove works across a range of visual art media including painting, installation and collaboration. Trengove’s practice articulates the relevance of contemporary art in wider social political debates and power relationships, such as gender, sexuality, race and ability. Trengove is also concerned with the vexed issue of painting in contemporary practice. She deploys painting in a dialogue of abstraction/representation in order to tie it to current streams of thought. Trengove engages ideas of perception and the primacy of sight, with an interest in the way cultural meanings are affected by the way we ‘see’, and how representation can be used to interrogate these meanings.
Jon Campbell Up Shit Creek 2014 3 colour lithograph on Magnani white prescia 300gm. Printed by Adrian Kellet at Sunshine Editions 56 x 76cm Ed. 11 of 20 Courtesy the artist and Darren Knight Gallery $600
58 — 59
With a focus on text-based works, Jon Campbell’s recent work carefully constructs imagery with abstracted and geometric elements. Meaning is created in the negative spaces, hiding words and phrases within the surface image. Campbell implements this methodology to explore the colloquial language and culture of contemporary society, he also engages with the viewer as a critical part of the work itself as they decipher the text.
Joseph L. Griffiths Panta Rhei (Everything Flows) 8.9.2019, 1:21pm 2019 water, ink, leachate and solvent on paper, acrylic and aluminium fixtures 60 x 42 x 5cm Courtesy the artist $400
60 — 61
Joseph L. Griffiths explores the local histories, material foundations and infrastructures that shape the urban environment. His drawings, sculptures, artist-books and urban-interventions reframe contemporary sites as evidence of changing cultural values and traditions. Through fieldwork, community engagement, and archival research, he studies the city as an archaeological record etched by natural and cultural processes. His recent projects trace the circulation of water as a critical agent in these systems. He lives and works in Melbourne, Australia.
Julie Davies Archives Nationales: Twenty First of the Twelfth Two Thousand and Ten 2012 inkjet print on archival paper 40 x 50cm Ed. 1 of 5 Courtesy the artist $500
Julie Davies and Alex Rizkalla have collaborated over a 20-year period whilst maintaining individual practices and collaborations with others. Their co-authorship developed from the idea of two people working together and the possibility of collaborative projects emerging, in their case it was a sort of fusion; certain circumstances, sustained dialogue and joint research often result in the situation where on completion of a project the authorship was so enmeshed that the work naturally cannot be considered outside of collaboration. The persistent thread that runs through their work starts with the intersecting interests of art, nature and science but equally valued are the dialogue and methodology—the doing, looking, recording and studying. Davies and Rizkalla have over many years built an iconography of objects in their distinctive ways, but in their collaborative works they subtly shift the emphasis onto the relationships between the process and the product - be it fruit or art - it is the eating and the digesting, the topic and the conversation that the works invite the viewer to be a part of. — Elvis Richardson, 2017
62 — 63
Karen Black The red camellia 2017 oil on Belle Arte board 36.5 x 31.5cm (framed) Courtesy the artist and Sutton Gallery $1,500
64 — 65
Karen Black’s artworks hover between figuration and abstraction. A sense of theatre is created in Black’s paintings and ceramics as obscured faces emerge, or are dissolved by, patches of vividly coloured, dripped and daubed paint. These characters appear in the depth and texture of the painted surface or in the striking silhouettes of her nervously balanced ceramic assemblages. Black’s subject matter fuses the historical with the mythical and the political with the personal as she examines tales of separation, isolation, loss and violence.
Kate Beynon Fox spirit hearts vase 2016 watercolour, gouache and metallic pigment on cotton rag 50.5 x 37.5cm (framed) Courtesy the artist and Sutton Gallery $1,100
66 — 67
Created in the latter stages of the PhD research project, Other Worlds: Creatures of the In-between, this work features a hybrid fox spirit inspired by shape-shifting figures in Chinese and Japanese mythology. It explores the concept of the ‘apotropaic charm’, an at times unsettling image used to ward off negative influences. Through the materiality of fluid media—watercolour, gouache, metallic pigments and pearlescent medium— the fox spirit is entwined with anatomical and botanical motifs. As an unconventional guardian figure, she aims to embody a sense of hope and renewal. Kate Beynon’s familial ancestry is the bedrock of her artistic engagement and the resulting artworks are a nexus of influences. Informed by a diverse range of pictorial traditions including Eastern and Western comic books, animation, film, graffiti, calligraphy and fashion, Beynon’s paintings manifest the hybrid reality of today’s multicultural global citizen. In 1996, Beynon first exhibited images depicting Li Ji – a heroine from an ancient Chinese legend – adapted into a contemporary urban warrior. Portraiture has remained central to Beynon’s practice, allowing the artist to negotiate notions of history, race and class through the projection of the self or other.
Kate Smith / Trevelyan Clay Knifing 2013 Stinky Demons 2013 acrylic on canvas board 20 x 40cm Courtesy the artists, Sutton Gallery and Neon Parc $700 each
68 — 69
Kate Smith’s paintings lay bare the conventions and challenges of the medium. Wry, witty yet critically perceptive, her works are active sites of negotiation in which opposing elements defiantly co-exist. Combining confident brushstrokes with hesitant gestures, Smith produces small-scale compositions that hover between figuration and abstraction. In playful subversion of the very tradition to which her work belongs, Smith overlays Western art historical references with personal narratives and often incorporates sculptural or relief elements. Her works deliberately eschew resolution in favour of a certain open ended-ness; for Smith the process of painting is one of constant re-evaluation. Trevelyan Clay was born in Cornwall, United Kingdom in 1982, and not long after moved to Australia, where he grew up on the Mid-North Coast, New South Wales. Trevelyan completed a Bachelor of Arts Visual (Painting) with First Class Honours at The Australian National University in 2004. He has held regular solo exhibitions since 2006 and his work is collected by public institutions and private collections in Australia, New Zealand and the United States.
Lane Cormicj untitled 2015-19 screen print on drafting film 84 x 118cm (AO) Courtesy the artist and Daine Singer $400
70 — 71
Lane Cormicj’s work draws from a wide array of influences including the aesthetics of the industrial and functional, investigation of skill and technique, performance, music, modernist and contemporary culture. These influences feed into an art practice that is open-ended and without predictable outcome. Previous works have been created through endurance-based performance or procedure, with a commitment to impractical or unreasonable projects that test him physically and mentally, exposing the limits of his skills and the enormity of his attempts.
Laresa Kosloff Child’s pose 2019 Flatness 2019 Huddle 2019 giclee print 67 x 57cm (framed) Courtesy the artist and Sutton Gallery $650 each
72 — 73
Laresa Kosloff makes performative videos, Super 8 films, hand drawn animations, sculpture, installations and live performance works. Her practice examines various representational strategies, each one linked by an interest in the body and its agency within the everyday. Recent artworks have involved a variety of participants such as lawn bowlers, celebrity artists, museum visitors, personal trainers and local residents in Prato, Italy. An incisive humour is woven throughout all of Kosloff’s work, whether it be in questioning the act of “looking” within the public realm, or drawing out the tensions between received cultural values, individual agency and free will. Laresa is the recipient of the prestigious 2019 Guirguis New Art Prize.
Lindy Lee Dark as the Heart of Time 2018 Chinese ink, fire, giclee print on cold pressed paper 154.5 x 102cm Courtesy the artist and Sutton Gallery $8,800
74 — 75
Lindy Lee’s practice explores her ancestry through the philosophies of Taoism and Buddhism, characterised by an awareness of humanity’s close relationship to nature and the universe. Employing the ideas of chance and spontaneity, she creates imagery that emanates philosophical meditations on nature and life. Rather than singular visual statements, they are thoughtful objects where meaning emerges from sustained meditation. Conceptually concerned with the ancient universe, we are repeatedly offered ‘a grander vision of existence where the bonds of time are loosened and we are for a moment free’.
Lisa Radford Furniture Painting (Last of Three Tom) 2018 acrylic on board 30 x 20cm — Furniture Painting (Last of Three Tom) II 2018 acrylic on linen 30 x 22.5cm Courtesy the artist $700 each
76 — 77
Lisa Radford uses conversation and correspondence as a way of exploring the shared space between images, place and people through writing, editing, exhibition making and education. More often than not she works with others, most recently with Sam George and Yhonnie Scarce but previously with TCB art inc. for some 15 years, and as a member of the collective DAMP. Currently working in the Painting Department at the Victorian College of the Arts, University of Melbourne, she shares thoughts publicly and intermittently in the The Saturday Paper.
Madeline Kidd Pattern making #5 2017 acrylic on linen 84 x 64cm (framed) Courtesy the artist and Daine Singer $1,300
78 — 79
Madeline Kidd’s practice can be defined as the curating of contemporary artworks, representational or abstract, into real and pseudo-domestic settings. The sculptures, paintings, installations and theatrical designs that she produces are conceptualised as ‘set pieces’ or what is known as ‘costume sculpture’. Commonplace and familiar icons of interior decoration, such as paintings, furniture, floral arrangements, fruit plates, and abstract sculptures are appropriated and recreated in her work.
Masato Takasaka Untitled #20 (garage days revisited 1994) 2020 pencil and acrylic on linen 40 x 30cm Courtesy the artist $650
80 — 81
Masato Takasaka is a Melbourne-based artist, known for both his performances as a lead guitarist in über-hip rock bands as well as his visual art practice. Takasaka thinks about his studio practice in musical terms, describing his aesthetic as an iPod Shuffle on endless repeat: playing the greatest hits of 20th century avantgarde art, with references to constructivism, dada, pop and minimalism alongside the back catalogue of his own greatest hits. Primarily working with found objects and materials and more recently in the medium of painting to construct his gallery based installations, art and design histories collide in Takasaka’s mini-cities. Described as “techno-contemporary”, the exuberant chaos of his sculptural practice involves a process of working and re-working everyday materials in inventive ways to make something new. Takasaka completed a Bachelor of Fine Art (Hons) at the Victorian College of the Arts and also holds a PhD in Fine Art from Monash University.
Matt Hinkley Untitled 2013 altered ping pong ball 4 x 4 x 4cm Courtesy the artist and Sutton Gallery $600
82 — 83
Matt Hinkley’s artworks range in scale from the modest to the minute. Challenging the tiny scale on which he works with an understated yet elaborate aesthetic, Hinkley pays great attention to the palette and composition of each object. On close inspection, Hinkley’s artworks demonstrate painstaking intricacies as he makes carefully cast objects and inscribes dazzlingly intricate patterns on small-scale plaster and silicon sculptural forms. In the age of digital reproduction, Hinkley’s meticulous and delicate carvings are refreshing and perversely anachronistic.
Mikala Dwyer Green Ghost 2020 nail polish on Belgian linen 50 x 60cm Courtesy the artist and Anna Schwartz Gallery $1,000
84 — 85
Mikala Dwyer began exhibiting in the mid1980s and has developed a distinctive and highly engaging international sculptural and installation practice that explores ideas about shelter, childhood play, modernist design and the relationship between people and objects. Known for her playful, fantastical installations that explore matter and metamorphosis, Dwyer’s practice is developed through a series of evolving projects, connecting personal biography, site-specificity and research, to theories of the occult and alchemy. Dwyer works in sculpture, performance, video and photography. She uses quotidian materials, such as transparent plastics, that are manipulated into colossal sculptural volumes.
Mira Gojak places stored 2017 steel and yarn 130 x 80 x 80cm Courtesy the artist and Murray White Room $3,000
86 — 87
This sculpture is from a series of works in response to the question, ‘how far away is the blue sky?’. The yarn loops and loops a distant measure in an effort to anchor this blue realm to everyday life. Mira Gojak’s drawings and sculptures attempt to trace how the contours of the forces of gravity, weight, suspension and resistance can be experienced in the body. Her sculptures are enacted as drawings in space that materialise a place where the distinction between the internal and external is unclear. Here the idea of the void becomes a site, as a result of actions played out, in and through time. Gojak has been concerned in her recent works with the blue sky and its apprehension in light of recent conceptions of change and possibility in the time of the Anthropocene.
Nadine Christensen Back of chair, Outside 2007 acrylic on board 35 x 28cm Courtesy the artist and Sarah Scout Presents $400
88 — 89
Nadine Christensen’s practice encompasses painting, installation and drawing and has comprised an ongoing investigation into natural phenomena. She draws on diverse sources including design and illustration, architecture, new and arcane technologies, science fiction, animation, tall stories and curiosities to engage the changing possibilities and conditions of light and perception. Christensen’s work also explores the desire to map and understand our environment as well as the role of narrative and story telling in the unfolding of information throughout contemporary culture.
Naomi Eller A birds lament 2009 watercolour and ink on watercolour paper 35 x 39cm Courtesy the artist $400
90 — 91
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.
Nicholas Mangan Friday the 13th 2009 C-type print 98.5 x 68.5cm AP 1 Courtesy the artist and Sutton Gallery $3,000
When I walked out of my flat in North Melbourne seven days after Victoria’s Black Saturday bush fires in 2009, aimed my camera at the sun and captured it in this image on Friday 13th, I felt I was staring into the distant future of a world where climate change had finally arrived on my doorstep (as it had already in many other less prosperous islands/countries and cities in Australia). 10 years ago, I held false hope there would be many decades of further slouching towards catastrophe before we fell face first into an accelerating and irreversible feedback loop of climate emergency. The title was a prophesy of horrors to come; which are all too here and now. After weeks of consuming/binging on the optics of climate disaster and digesting the onslaught of opinions that culture wars have ignited, I’m left feeling anger, despair and what also feels like some kind of bittersweet affirmation in the face of the deniers. In Melbourne the smoke finally sunk into the city, as it did weeks ago in Sydney and Canberra. Like most people who breath inside the same bubble as I do, I enjoy seeing PM Morrison who has been MIA, shunned by communities directly affected by the fires. But more broadly, I feel deeply saddened to be the father of two children growing up in a country that voted for a zero policy on climate change. The last decade has seen any real, sensible action and climate policy smothered by what Mckenzie Wark in her great book Molecular Red describes as the vanguard of the “carbon liberation front”, which the Australian liberal party belongs to. Alert to both history and science, Nicholas Mangan is a multi-disciplinary artist known for unearthing and interrogating narratives embedded in objects, times and places. Through a practice bridging drawing, sculpture, film and installation, Mangan creates politically astute and disconcerting assemblages that address some of the most galvanizing issues of our time; the ongoing impacts of colonialism, humanity’s fraught relationship with the natural environment and the complex and evolving dynamics of the global political economy.
92 — 93
Nick Selenitsch Shepparton Linework (2) 2014 acrylic on paper 40 x 73cm Courtesy the artist and Sutton Gallery $900
94 — 95
Nick Selenitsch’s art practice promotes the artistic and social importance of play in the formation of understanding. Through a variety of media – installation, drawing, sculpture and public artworks – his works create an elemental language out of familiar forms where the impulse to achieve the goal of singular understanding is both continuously acknowledged and endlessly eschewed. He has achieved this by incorporating the aesthetics and motifs of games, sports and civic markings to make artworks that flirt ambiguously with the rules and procedures of their source.
Peter Robinson Decoration 3 2017 blue felt 86 x 20cm Courtesy the artist and Sutton Gallery $1,150
96 — 97
Historically known for his critical exploration of identity politics, Robinson’s early artworks examined his Maori ancestry and biculturalism. More recently, Robinson has shifted from this rhetoric and weight of interpretation to focus more exclusively on exploring and celebrating the materiality of the mediums with which he works – such as felt, polystyrene and steel. Interested in the play between order and disorder, density and lightness, dispersion and compression, Robinson creates bold, monumental and irrepressible forms where the idea of sculpture is often momentarily balanced between building up and breaking down. Indeed, Robinson’s affection for materiality is regularly experienced as profusion and excess.
Raafat Ishak Breasts 2018 oil on canvas 42 x 30cm Courtesy the artist and Sutton Gallery $4,000
98 — 99
Working across painting, installation and site-specific drawing, Raafat Ishak’s practice is informed by architecture and his Arabic cultural heritage. Using a formal but understated graphic language, where distinctive lines enclose curved, square or rectangular shapes that have been slowly built up in pastel shades on unprimed canvas or MDF. Ishak seamlessly mixes the personal with the political in a way that highlights the circularity and interdependency of these relationships. Underscored by a utopian, romantic tendency, his work is subtle, contemplative and alive to the nuances of crosscultural dialogue and transit.
Rosslynd Piggott Boy and blue butterfly 1995 pencil and watercolour on Fontenay paper 38 x 28cm (paper) 51 x 39.5cm (framed) Courtesy the artist and Sutton Gallery $1,250
100 — 101
For almost four decades, Rosslynd Piggott has maintained a prolific practice that encompasses – and often combines – painting, drawing, photography, hand-blown glass and installation. Enlisting a sophisticated materiality, technique and sense of colour, Piggott recalls the fragile, ephemeral qualities observable in the natural world to signal the inner realm of emotion, memory and imagination. Slow and deliberate, her work makes palpable that which lies just beyond our tangible reality.
Rudi Williams Cataract, Museum of Old and New Art 2017-18 pigment on glass, acrylic and mild steel 13 x 10 x 1.5cm Ed. of 3 Courtesy the artist $500
102 — 103
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.
Ruth Hutchinson Friend or Fiend 5 2018 bronze 6 x 3.5 x 15cm Ed. 1 of 3 + 2AP Courtesy the artist and Sutton Gallery $600
104 — 105
This work is from the series Friend or Fiend, part of a larger body of work in which the artist reflects on the privilege of having and making choices. These works perform as elaborate gargoyles or interior hooks, incorporating both human and animalistic features. The artist ruminates on the correlation between attitude and choice via the duplicitous nature of the gargoyle; an ornament that comforts and protects yet presents as hostile and threatening. Hutchinson has employed diverse mediums – from goat skin, fake teeth and hair to precious stones, metals, porcelains and watercolour – to make intimate and challenging artworks that lure and repel in equal measure. Hutchinson’s astonishing attention to detail is demonstrated in artworks that draw multifarious imagery from both literal and invented sources – from the realms of imagination, myth and from the world around her. These works operate as a crucible for the psychological, biological and mystical, that when combined undergo an alchemical transformation to conjure or banish real and imagined daemons.
Ry Haskings QSL Mesh Hopper I 2019 Screen Print on cardboard 66 x 73 (framed) Courtesy the artist $800
106 — 107
Ry Haskings holds a PhD (Fine Art) from Monash University, Melbourne and a Bachelor of Fine Arts (Honours) from the Victorian College of the Arts, University of Melbourne, Melbourne. Haskings is interested in unfinished narratives and improvisatory research methodology. His spatial investigations reflect his practice, which has developed to one of oblique strategies.
Sangeeta Sandrasegar Quite Contrary (XXI) 2018 watercolour and paper cut-out 36 x 48cm Courtesy the artist and Niagara Galleries $2,700
108 — 109
Sangeeta Sandrasegar’s practice consolidates postcolonial and hybridity theory, exploring her life in Australia and the relationship between migrant communities and homelands. Her work has consistently engaged with shadow as a formal and symbolic motif in developing these themes. The artist manipulates shadow in all forms to create images and effects that are ephemeral and powerful. Sandrasegar’s diverse application of the silhouette gives a voice to the identities of people caught on the margins of society. These fluctuating shadows and ephemeral visual effects subtly address the ambiguous status of individuals caught in a complex social structure. The artist’s representation of contemporary narratives considers the beauty and brutality of the contemporary world. She weaves together theory and artistic motifs inspired by various cultures and her work demonstrates that political statements can be made within the realm of visual poetics.
Sara Hughes Steam Boiler 2016 acrylic paint on canvas board mounted on aluminium 56 x 76cm Courtesy the artist and Sutton Gallery $650
110 — 111
Sara 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. Hughes’ 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, computer viruses and assorted electronic communication systems, she explores the role that code and patterns play in the way we interpret and navigate the world in the digital age.
Sean Meilak Rotations and Undulations #6 2016 pencil on paper 50.5 x 67cm Courtesy the artist and Niagara Galleries $825
112 — 113
Born in 1975, Sean Meilak works in a variety of mediums including painting, drawing, video, sculpture and installation. Sean’s work explores the layering of personal and collective histories and the psychology of space often referencing the architecture of ancient Rome, theatre and film set design as well as modern and postmodern art, architecture and design movements.
Sharon Goodwin Shadenfreude 2019 medium ink on arches paper 42 x 29.7cm Courtesy the artist $300
114 — 115
Sharon Goodwin is a Melbourne based artist that has shown extensively both in Australia and overseas. Her practice ranges from installation, sculpture, painting and drawing and references the familiar visual language, artefacts, mythology and stereotypes found in popular culture, illustration and art history. Through their altering, repainting or reconfiguring as sculpture, the works explore the incongruity of these mythologies in present-day culture, their absurd promise, their embodiment in objects, our expectations developed from them and inevitable disappointment.
Simon Terrill Tilt 2013 C-type print 112 x 112cm (framed) Ed. of 6 Courtesy the artist and Sutton Gallery $2,000
116 — 117
Working with photography, sculpture, installation, drawing and video, Simon Terrill’s work investigates relations between architectural spaces and their received narratives, public and private identities, and the idea of the crowd as a tool to examine architecture, identity, community and a performance of self. His ongoing Crowd Theory project consists of largescale stage-managed public events resulting in exhibitions at the sites of their creation along with collaborations with museums and public galleries to extend these images and stories outwards.
Tom Nicholson Marat at his last breath (Flags for a Trades Hall Council) 2005 / 2018 photography: Christian Capurro. Inkjet print mounted on dibond 93 x 120cm Courtesy the artist and Milani Gallery $1500
118 — 119
Tom Nicholson’s drawing, sculptural and social practice thoughtfully unfolds and re-folds time, draws and erases borders, tells and un-tells history. He draws upon personal experience and understandings gathered from conversations with other artists, thinkers and community leaders to reimagine historical events that have taken place within Australia and in other parts of the world. His practice is concerned with the intersection of national and international, Indigenous and colonial narratives and histories.
Vivienne Binns Gingham Thread 1999 acrylic on canvas 30.4 x 40.5cm Courtesy the artist and Sutton Gallery $1,500
120 — 121
Viewed as anticipating the Feminist art movement, Vivienne Binns early career was defined by images of powerful sexual symbolism and activism. During the last thirty years Binns practice has focused on studio-based painting. Her work explores what it means to be an artist in Australia with local and European histories, specifically engaging cultures within the Asia Pacific region. Her abiding interests are the function of art making as a human activity, which occurs in all social groups, and the manifestations of this throughout these communities. This is especially visible in Binns’ use of patterning and surface treatments, which connect historical art movements to domestic or familiar imagery.
Ying-Lan Dann untitled 2018 ink on water colour paper 57 x 77cm Courtesy the artist $500
122 — 123
Ying-Lan is a Melbourne-based architect, artist and Interior Design lecturer at RMIT. Her interdisciplinary practice explores time, movement and thresholds and adopts an infrastructural design approach and drawing, as mechanisms for revealing their relationships. Over the past twenty years, Ying-Lan has contributed to numerous architecture studios, exhibited in artist run spaces and has her own small independent architecture practice. She has a Master of Architecture (RMIT), Bachelor of Fine Art-Drawing (VCA) and is a PhD candidate within RMIT’s School of Architecture and Urban Design.
Zilverster (Hanenbergh & Goodwin) Amator 2010-2015 medium ink on paper 42 x 29.7cm Courtesy the artists and Sarah Scout Presents $600
124 — 125
Zilverster is an ongoing collaborative project between Sharon Goodwin and Irene Hanenbergh, Melbourne-based artists who have garnered strong individual reputations for their imaginative, elaborate and meticulously rendered expanded drawing and painting practices. What began in 2010 as a problem solving exercise – with one artist offering problematic, unfinished works to the other for advice on resolution – has evolved into a rich shared practice that continues to extend the discursive as well as process potentialities of each artist. While there are many shared interests and concerns between the two artists – (art) history, fantasy, cult iconography, alchemy, supernatural phenomena to name a few – each operates from a distinct temporal and imaginative framework: Goodwin’s contributions are embedded in a medieval, Gothic context while Hanenbergh’s derive from a European Romantic sensibility. Zilverster’s practice continues to develop out from an original series of beautiful, fantastical drawings that remain compelling in their strangeness.
Afterword While this exhibition has no overarching premise other than to support the collective response of artists to a national tragedy, perhaps a curatorial provocation arises in the form of its optimistic approach towards regrowth; how can we collectively prepare for a future in which the threats caused by global heating will only increase in frequency and severity? What are the pathways to affecting long-term sustainable practices within the commercial gallery sector and wider contemporary art community? How can we continue to harness the capacity of artistic practice and activity to support rejuvenation and regrowth of people, community and Country? In the first instance, we hope that this exhibition and act of coming together can help to mediate the despair associated with climate catastrophe by generating hope and seeding further action.
Donation recipients Firesticks Alliance (firesticks.org.au) is an Indigenous led network that aims to reinvigorate the use of cultural burning by facilitating cultural learning pathways to fire and land management. It is an initiative for Indigenous and non- Indigenous people to look after Country, share their experiences and collectively explore ways to achieve their goals. Volunteer Fire Brigades Victoria (vfbv.com.au) is the representative body for volunteer fire fighters in Victoria. Their Welfare Fund offers small grants to CFA volunteers, long serving former volunteers and their families, who are experiencing significant financial hardship. Typical cases involve prolonged illness, bereavement, loss of earnings, or the accommodation and travel costs associated with supporting a relative in hospital. Towards Regrowth: Art Aid for Fire Relief Friday 17 – Sunday 19 January 2020 © Sutton Gallery 2020
126 — 127
Enquiries Sutton Gallery 254 Brunswick St, Fitzroy VIC 3065 T. +61 3 9416 0727 art@suttongallery.com.au www.suttongallery.com.au
Acknowledgments Anne-Marie May and Mira Gojak appear courtesy Murray White Room. Colleen Ahern, Irene Hanenbergh and Trevelyan Clay appear courtesy Neon Parc. Dan Moynihan appears courtesy Tolarno Galleries. Darcey Bella Arnold appears courtesy Reading Room. Lane Cormicj and Madeline Kidd appear courtesy Daine Singer. Jon Campbell appears courtesy Darren Knight Gallery. Mikala Dwyer appears coutesy Anna Schwartz Gallery. Nadine Christensen appears courtesy Sarah Scout Presents. Tom Nicholson appears courtesy Milani Gallery. Sangeeta Sandrasegar and Sean Meilak appear courtesy Niagara Galleries.
Exhibition organisers Brigid Moriarty Nicholas Mangan Raafat Ishak
Sponsors Good Intentions Wine Co. Little Brunswick Wine Co. Gage Roads Brewing Co.
Design sponsor Alex Ward, Pidgeon Ward
Special thanks The artists, first and foremost, for their generous donations. Thank you also to Irene Sutton and Kati Rule for supporting this iniative, and to Darcey Bella Arnold and George EgertonWarburton for their installation support.
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