We are extremely proud to announce that two of our students are exhibiting this month! Be sure to visit and experience their work and support them on their artistic journeys!
Arjun attends our Children’s Art Class with artist Marco Corsini every Monday. His wonderful work, Budgie, will be on display as part of Brunswick Street Gallery’s “Small Works” exhibition. The exhibition is open to the public from 21 July to 16 August. Congratulations Arjun – we are so proud!
Isabel has been attending Marco’s Friday morning Drawing and Painting Class. You can view her recent work at a joint exhibition with Erica Bettles at red gallery. The exhibition explores landscapes and subjectivity – peoples’ associations, their memories, sense of purpose, belonging and emotions.
Her landscapes are an abstract body of work which are dreamscapes. They capture emotions based on experiences in nature. She thanks everyone so much for their support. “And a special mention to Marco – for his encouragement and support in class motivated me to work on paintings, on my skills and to commit to my work.” A huge congratulations, Isabel!
We are looking to bring our artistic community closer and create a communal art studio with individual storage, and an exclusive mentor program.
From 2017, our additional space will have both teaching studios and a communal studio. We are so excited about creating a space for artists to create, connect and even collaborate.
To make this happen we are seeking expressions of interest from individuals who would like to be a part of our communal studio. As we get an indication of the interest, then we can further clarify exact costs and location.
Why join our shared studio space?
Our communal studio offers a cheaper alternative for artists than a rented private studio.
You will be able to connect with different artists and be a part of a new, creative community.
You will have 24-hour access to the studio and your personal storage space.
You will receive a 10% discount on all MAC courses whilst you are part of our communal studio.
You can also receive one-on-one art tuition and mentoring from our teachers.
What is the communal student studio?
A communal studio which is available for individual use. Each artist would have access to personal storage space.
Proposed Timing: 24-hour access
Cost: Approximately $30-$50 per week
In addition to this, Melbourne Art Class will also be offering one-on-one art tuition and mentoring in this space.
What is one-on-one mentoring?
One-on-one meetings with your tutor (one of our experienced artists/instructors), in the communal studio.
Proposed Timing: Twice weekly, about half an hour each session.
Cost: Approximately $50-60 per week
If you are interested in being a part of our communal studio, or have any questions or feedback, please email Lauren at firstname.lastname@example.org and help our new project begin!
Gnarly eucalyptus trees often seen on a well-travelled stretch of road near the town Buangor, in country Victoria, was the starting point for Tim McMonagle’s latest exhibition. Buangor is a collection of five oil-on-linen paintings, painted on McMonagle’s preferred square format.
Each painting consists of one tree in a uniquely contorted form with hints of vitality depicted in the occasional sprouting green leaf. The colours are mostly muted browns, pale blues and greys, mustardy yellows and olive greens. McMonagle added intricate details to his mesmerising trees; hints of vibrant oranges and yellows and texture with brushstrokes and thick paint. An energy is also present, particularly in Pull the Cup2016.
To paint the twisted, mythical old trees, McMonagle relied heavily on his imagination, but also on a soundtrack to get him into the painting process. “It’s the music that got me into the right head space,” he says. “I put this on everyday I painted.” He is talking about the album, At Action Park by Shellac, an album that’s been described as rock, post-hardcore and punk. The influence of the music is evident in the dynamic and somber elements of the paintings. To expand on this, McMonagle borrowed song titles to name his paintings.
Other Worlds, is a collection of landscape paintings that embody the subtleties of the natural world; the changing light and weather, the evolving colours and the textural intricacies of the environment. But it’s the depth within the landscapes, the movement, and the emotional response that standout.
The landscape that surrounds Tasmanian artist Philip Wolfhagen, has been penetrating his being for a long time. They are triggers for new works, sources of colour and light, and they are a connection to the past and the present. Landscapes, and elements within the landscapes fuel his imagination and solidify a starting point. From here, with the inclusion of classical music, beeswax, and a primary colour palette his evocative and perceptual paintings begin to develop.
The Serpentine Path 2015, a group of three paintings on linen with oil and beeswax, depicts impressions of the undulations in the land. Rocks, shrubs and paths and a never-ending horizon complete the picture. The subdued colours of browns, greys and greens are blended to create contrast, depth and texture all at once. For Wolfhagen, a landscape isn’t about precision and accuracy but rather a representation of the natural world, in which he harnesses the atmosphere, the mood and the light. His paintings are emotive and represent a snapshot of a fleeting moment in nature.
The large scale Other World No.1 2015 draws the viewer into the landscape. The shear size is like a window you could move through. Strong shades of browns and oranges in the foreground are gradually teamed with greys and blues that fade into the distance. The painting commands stillness as the eye moves into the distance. It is as though Wolfhagen’s landscapes urge the viewer to stop and take notice.
Discussion between author and Philip Wolfhagen
I have read that music plays a very important part in your painting process. One of the standout features in your paintings is movement, is it your engagement with the music that enlivens your paintings?
I would say that listening to music keeps me aloof from the act of painting. It is a means to maintaining a separation; it promotes more rational thought processes, and is a caution against too much self awareness. It is possible that the influence of the music translates into movement, if not in the image itself, then certainly in the accumulation of gestures that comprise the image.
Another standout feature is the depth you create in your landscapes. Does the depth represent the deep feelings you have with the natural world and the deep respect for the historical and cultural past?
The illusion of receding space is a vital element in my work because each successive painting is representative of a journey; a never ending reinvention of self. The passage from ones own position to the always shifting vanishing point is inexhaustible in its potential for meaning.
Philip Wolfhagen Other Worlds 1 July-1 August 2015
Karen Woodbury Gallery
Level 1/167 Flinders Lane
Kate Daw: Love, Work (Show Me Grace) at Sarah Scout Presents, Melbourne
Kate Daw’s exhibition, Love, Work (Show Me Grace) is her third solo exhibition at Sarah Scout Presents.
As I entered the gallery’s hallway, I was surrounded by pale lilac wallpaper with a floral motif. This is Daw’s installation that has been described as ambitious. It felt intimate and inviting and made quite an impact but on closer inspection it started to reveal a whole lot more.
I started noticing uneven edges and fraying, this wallpaper is in fact pieces of dyed calico that have been pasted to the wall. The origin of the floral images is twofold; the gardenias are photographs straight from Daw’s garden and her student created the linear flower drawing. These two images have been printed onto fabric to create a visually rich and somewhat feminine feel. The textural effect works well. “Striking” commented a man as he walked into the hallway.
The remaining space is comprised of a further two rooms. The artwork in the first room was not what I expected. There are two paintings, one on canvas with the word ‘MAM’SELLE’ and the other on reclaimed blackboards comprising of light blue flowers heads. On the adjacent wall was a series of small boards, some with text and some with images. I read the texts over and over trying to get a sense of the meaning. One of the boards posed this question; “What is important in your life? “Fresh coffee and a sense of autonomy” was the response. There are in fact big questions offered up on these small boards. Such as what true happiness might be? And is there ever a point of satisfaction we arrive at? What initially appeared to be a somewhat underwhelming room was suddenly being transformed into a contemplative space. Here the viewer could be confronted with weighty topics that were based on actual conversations between Daw and a few young women.
Daw’s diverse influences continue to be evident in the second room. Floral motifs, words painted on black boards and references to sisterhood dominate.
“I am not really interested in logical links, rather how far I can stretch things both from their original source and from one another. I am fascinated by certain books, relationships, memories and associative, sensory experience, among other things.”
Kate Daw in conversation with author.
Love, Work (Show Me Grace) is a collection that showcases Daw’s interest in literature, design and reproduction but at the same time there is something jarring about how she paired the complexities of the underlying subject matter to the almost simplistic, child-like works of art. But perhaps this is precisely what makes it compelling and thought provoking.
Love, Work (Show Me Grace), until May 16
Open Wed-Sat 12pm-5pm
Suite 15, Level 1
12 Collins St. Melbourne
AFL Grand Final fever has engulfed Melbourne once again, and the mention of a Sherrin football is the last thing you may relate to artwork.
However, one of our former students, Marion Crooke, is the Co-Producer of an exhibition that combines the two: Sherrin footballs and textiles.
Shepparchiballs is a quirky exhibition of textile work that celebrates nurturing and the creation of beauty regardless of the context – and in this instance, it is the Sherrin football. The artists are women from different cultural backgrounds living in Shepparton: African, Australian, Afghani and Koorie.
The exhibition heralds an array of humorous, colourful and creative works from a diverse group of women. From portraits, to echidnas, turtles, and intricate sculptures of trees, this unique body of work shows another side of the Sherrin football that needs to be seen to be believed.
The body of work is now on show in Melbourne until the end of October.
We are pleased to announce Graeme Drendel’s latest exhibition, Surrender.
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