Learning to Fly – Marco Corsini’s upcoming exhibition

Exhibition dates: 4 – 17 April

Opening: 6 April 6pm – 9pm

Location: Brunswick Street Gallery

I began to reflect on the King River as a source. Its river stone beds and shallow streams, sometimes bubbling around arrangements of boulders, sometimes disappearing into deep, dark, still waters, which had never been beautiful to me when growing up and I had never thought of its significance in our lives beyond its supply of water. The river as a source which had branded a primordial sense of dependency and intimacy within me over my half lifetime. The river that constantly flowed, had always flowed, will always flow. The river that bound us around itself and preserved us. I slowly connected to the idea of source and slowly felt that my own dependency on this source was being revealed. That I had felt a need for years now, to constantly return to this source. I began to connect with the notion of origin and that just as I sat on the banks of this river or swam or drank from it, all I could ever do was draw close to it, to be within in, return to it. I had to return to this river. I have always returned to the King River.

From, Returning to the river, Marco Corsini, 2016

Marco Corsini’s paintings feature the landscape and his immediate environment. Using shifts in viewpoint and perspective and often painted over extended periods of time, the works explore perception and the nature of painting as a recorder of experience rather than as a representative tool. Alongside a phenomenological interest in consciousness and experience, Corsini’s work also incorporates personal motifs such as the horse, indicating the artist’s own presence. The paintings explore perception and subjectivity, asking us to go beyond everyday discourse into deeper engagement with the nature of our existence.

Originally published on Thursday, 29 March, 2018 by Marco Corsini

Colour Sensation: The Works of Melinda Harper

Written by Elizabeth Fritz

Melinda Harper’s vast kaleidoscopic collection of works has been carefully curated from three decades’ worth of paintings, screen prints, embroideries and much more.

Melinda Harper, Untitled, 2013, oil on canvas, 153 x 122.5 cm, Private collection, Adelaide
Melinda Harper, Untitled, 2013, oil on canvas, 153 x 122.5 cm, Private collection, Adelaide

Harper’s love of abstraction, colour and all manner of materials is evident in every piece. For her it’s in the process of looking and experiencing that developed her complex and precise visual language, which she translates into vivid and dynamic works. Nature and the colours in nature are two of her biggest sources of inspiration; it brings her awareness, she says. “When I look at green, I see ten greens, the flickering colours changing and the movement.”

It’s through this type of intimacy that her works are realised. The colours, which are all carefully considered and mixed by Harper, are also a crucial element in her paintings. Harper explains, “It’s the endless possibilities of where it can go next, and the potential in expanding visually is what drives me.”

Melinda Harper, Untitled, 2000, oil on canvas, 183 x 152.3 cm, National Gallery of Victoria, Melbourne
Melinda Harper, Untitled, 2000, oil on canvas, 183 x 152.3 cm, National Gallery of Victoria, Melbourne

Harper’s art is meant to encourage the viewer to really look.  Some of her paintings are lines as fine as pick-up sticks; some resemble glass shards or laser beams, while others lean towards mosaic-like patterns. Harper says, “I was always interested in abstract art, in the feel of the apple rather than the apple itself.”

Colour Sensation: The Works of Melinda Harper, Installation view, photograph: Christian Capurro, Heide Museum of Modern Art
Colour Sensation: The Works of Melinda Harper, Installation view, photograph: Christian Capurro, Heide Museum of Modern Art

Colour Sensation: The Works of Melinda Harper
Heide Museum of Modern Art – Heide III
7 Templestowe Rd, Victoria 3105
27 June – 25 October

Andrea J. Smith’s exhibition at Australian Galleries

Andrea J. Smith’s new body of work was recently exhibited at Australian Galleries, Derby Street.
Andrea J. Smith Three ladels, 2011
Andrea J. Smith Three ladels, 2011

Andrea was a guest artist at Melbourne Art Class in 2013, discussing her art and work practices such as the use of the “sight size” technique.

Knowing how she creates her works allowed me to examine the paintings in her exhibition with a more attuned eye and not just simply be overawed by her skill.
 Andrea trained in the use of traditional oil painting techniques used by the old masters at the Florence Academy, which is evident in her work.
Every portrait and still life has a strong illusionary quality.  When standing afar, you may think you are peering in to a Mediterranean kitchen, with plump, bold tomatoes, eggplants and persimmons playing the characters on weathered surfaces and rusted metal.
However, when you get closer to the paintings, you can see playful brushstrokes skilfully placed to give a slight sheen to the skin of fruit, or the crispness to a lemon leaf.

Andrea J. Smith detail of Ladle and lemons 2014
Andrea J. Smith detail of Ladle and lemons 2014
Andrea has explored combinations of complimentary colours in her still life works, Composition of blue and orange, Composition of red and green. The colours do not seem to be the focus of these still lifes however, as they do not dominate her limited palette.
The portraits in her exhibition all have a haunting quality to them. Her subjects stare at you, illuminated by the gold leaf surrounding them; they almost float towards you.

Andrea J. Smith The four seasons 2003
Andrea J. Smith The four seasons 2003

These paintings have bolder colours, yet retain the soft, almost dusty light that Andrea captures in her still lifes.

She also has a number of landscape paintings in her exhibition, which appear to be painted more freely than the other works.
A looseness and energy to her brushwork is evident, where only a few brush strokes suggest sky, or grass, giving her work a real freshness and freedom compared to her still lifes.
Andrea J. Smith Harcourt 2014
Andrea J. Smith Harcourt 2014

These landscapes are some of her latest works; perhaps we are seeing a shift of Andrea’s technique?

Written by Lauren Ottaway – current MAC student

David Palliser’s ‘send nurse’ at Chapman and Bailey

David Palliser, Triptych, at Chapman and Bailey
David Palliser’s Triptych at Chapman and Bailey

David Palliser’s exhibition ‘send nurse’, opened at Chapman and Bailey in Melbourne last night with this work being a highlight. The exhibition continues David’s exploration of gesture, tone, colour and space. They reflect David’s dedication to the subtleties of the painter’s craft and his work as a experimental musician.

With a seemingly perpetual visual play of elements, the works are anything but static. They reveal themselves slowly, reordering themselves in the viewer’s perception with any final resolution of the image, always postponed. Of particular interest to me are several works including the smaller works which seem to mark a development from David’s previous work. These have an exciting new fluidity which until now has been most evident in David’s drawings.

1 September – 8 October 2014
Gallery hours: Mon – Fri 10-5    Sat 10.30-4.30
Chapman & Bailey Artspace
350 Johnston St, Abbotsford 3067 Vic
Ph. 03 9415 8666

Marco Corsini




Graeme Drendel – Surrender

We are pleased to announce Graeme Drendel’s latest exhibition, Surrender.

Graeme Drendel

MAC has been fortunate to have Graeme speak at a number of our art classes about his previous works, and we are excited to see his new collection at the Australian Galleries in Derby Street, Collingwood.

Graeme’s new works are highly descriptive, stark and symbolic of earlier part of his life spent on the plains of Mallee. They feature groups of people, clothing and focus on relationships and expressions within the paintings that leave you questioning why each figure is present.

Details of the exhibition

Date: 2 – 21 September, 2014

Time: Open 7 days 10am to 6pm

Location: Australian Galleries Derby Street – 35 Derby Street Collingwood VIC 3066

Drawing course still life, working with tone.

Still Life arrangement in Drawing Class
Still Life arrangement in Drawing Class

This is a Still Life that we have used for working with tone in our drawing course. Yes, the fruit and vegetables you see are real and have been hand painted. Taking the colour out of the Still Life allows students to accurately see tones in the subject. When lit, it is beautiful to look at and fun to draw.

Our next 6 session Drawing short course will begin on Thursday August 7th and will be tutored by Jesse Dayan. See the previous post for more about Jesse and his recent exhibition. You can find out more about the course at:


Allende and Pinochet, Jesse Dayan


MAC Drawing tutor, Jesse Dayan will be exhibiting at C3 Contemporary Art Space with Adrian and Daniel Stojkovich. The exhibition entitled, ‘Where Were You? All Things’, features reproduced images from major historical/political junctures in Latin American history. The artists are attempting to recover something from history that is only perceptible from a distance. Perhaps a narrative or an indication of the primordial conflict beneath the political?

‘Where Were You? All Things’

June 25 – July 13

Opening night Wednesday June 25th 6 – 8 pm

C3 Contemporary Art Space

1 St Heliers Street, Abbotsford VIC 3067 Open 10am – 5pm Wednesday to Sunday

Tony Irving

Tony Irving, Dutch Perspective 2014 oil on linen 92 x 122 cm
Tony Irving, Dutch Perspective 2014 oil on linen 92 x 122 cm

Tony Irving will be speaking at Enderby Studio Art Program next Tuesday.  A Melbourne-based artist, Tony’s figurative work often originates from everyday life and contains playful narrative nuances. The work demonstrates a mastery of colour and composition, borrowing from the great painting techniques of the past to create relevant work for our time. You can find out more about Tony at http://tonyirvingartist.com.


Maree Woolley

My Myna, Maree Woolley
My Myna, Maree Woolley
Big Foot, Maree Woolley
Big Foot, Maree Woolley

Next week, Enderby Studio Art Program will host guest artist, Maree Woolley. Maree has worked as a freelance illustrator and animator on numerous award-winning multimedia titles for broadcasters and multimedia production houses. 

Maree has a love of drawing. Her drawings are evocative notations of everyday objects and zoo animals. They are economical and skillful, often containing subtle, delightful narratives.

You can see more work at: