Past exhibitions
2024
Deakin University Contemporary Small Sculpture Award
29 August–11 October
In its fifteenth year, this annual award is organised by the Art Collection and Galleries Unit, Deakin University, celebrating contemporary sculpture with an exhibition of 40 shortlisted works at the Deakin University Art Gallery. This year’s prize pool comes to $21,000, with a $15,000 acquisitive prize for the winner, and a non-acquisitive prize of $3,000 for the highly commended recipient. At the end of the exhibition a People’s Choice Award is determined by votes from visitors with a non-acquisitive prize of $3,000.
Image: 2024 Deakin University Contemporary Small Sculpture Award installation view, Deakin University Art Gallery, August 2024. © and courtesy of the artists, photography Fiona Hamilton.
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Learn more about the Deakin University Contemporary Small Sculpture Award
Virtual tour artwork labels
2024 Deakin University Contemporary Small Sculpture Award, artworks left to right on gallery walls, then middle to end.
Sam Ward, Relinquished, stoneware ceramic
Ileigh Hellier, Growth, shells, hair, ribbon, charcoal, glue, Courtesy of Backwoods Gallery
Chi Ling Tabart, Landslide, Huon pine, Radiata pine, Baltic redwood and acrylic
Rox De Luca, Saved, pale blue bundle, 2024, found plastics, wire
Lori Pensini, Empty, Lesser Bottlebrush (Callistemon phoeniceus) nut & seed, jarrah bark, fine bone china, stainless steel, kangaroo hide, Courtesy of Gallerysmith
Michael Doolan, TALL TALE # 2, (CALLER), 2024, ceramic, nylon and auto enamel, Courtesy of Bett Gallery, Hobart
Nuha Saad, Zig Zag Chroma II, acrylic on wood, Courtesy of James Makin Gallery
Ian Munday, Hypnagogia, polyurethane casting resin, found marble clock case, stainless steel, wood, epoxy resin, CA resin, epoxy pigment
Di Ellis, Shaggin Wagon, vintage fabric, embroidery thread, polyester stiffener, balsa wood, found wheels, glue, black paint
Kendal Murray, Air, Share, Questionnaire, mixed media assemblage, Courtesy of Flinders Lane Gallery
Carmel Wallace, SHE/HER, woollen blanket, buttons, crochet cotton, thread, Courtesy of QDOS
SLIPPAGE, VESSELS THAT LEAK FROM THE TOP #4, ‘Roundup’ altered glazed stoneware, archival pigment print, Courtesy of This Is No Fantasy
Shin-I (Juliet) Tang, My Heritage, porcelain, cobalt underglaze and bamboo
Marlize Myburgh, Echinoid, stoneware and porcelain clay glazed as well as some acrylic painting
Jennifer Kemarre Martiniello OAM, Painted Desert Rainbow Serpent Egg #4, hot blown glass, powders, frits
Wona Bae and Charlie Lawler, EC.GC.016, charred timber, beeswax
Louise Blyton, The Daydream, acrylic, linen, plywood, lead
Kylie Harries, Un/broken, eggshells, volcanic rock
Isobel Waters, Do you think i'm pretty now?, stoneware, horsehair, nails, epoxy
Kenny Pittock, Hold Your Horses, bronze, Courtesy of MARS Gallery and Olsen Gallery
Tracey Lamb, Small Homes, steel, enamel paint, felt under base
Meagan Streader, Honeycomb (tower), acrylic, LED neon flex, driver, Courtesy of MARS Gallery
Matiu Bush, Wiri Vessel, ceramic (Stoneware), acrylic, silicon, pigment
Hannah McKellar, Road to Nowhere: Travelog Maps, linen, cotton thread, wire
Ron Robertson-Swann, Brancusi on the Move, acrylic on mixed media (in perspex box), Courtesy of Australian Galleries and Charles Nodrum Gallery
Janet Fieldhouse, Little Fish Charm, buff raku trachyte, raffia, Courtesy of Vivien Anderson Gallery
Sherna Terperson, Masking, black masking tape
Elvis Richardson, An Unsolved Study "The Funeral", 2024, glazed ceramics, Courtesy of Void_Melbourne
Augustine Dall'Ava, Collaborations and Interventions with Nature No 16, 2024, natural and painted wood, redgum, stones, Courtesy of Lennox Street Gallery
Troy Emery, Orbital Motion, cotton rope, polyurethane, polystyrene, epoxy, adhesive, screws, pins, Courtesy of Michael Reid Sydney
Ayako Saito, Enigma, steel, painted, Courtesy of Australian Galleries
Mark Booth, CODIFICATION No1 (neon camo), plastic, vinyl wrap, acrylic paint, polyurethane
Mark Threadgold, Metacognition X, oil and enamel on folded aluminium, Courtesy of James Makin Gallery
Brad Gunn, Eggplant is For Everyone, resin, synthetic fibres
Belem Lett, Wormhole, clear coat, acrylic, gesso, wood putty, screws, wood glue, pine, Courtesy of Edwina Corlette Gallery (Brisbane), James Makin Gallery (Melbourne)
Claire O'Halloran, "Just a minute", 2024, wool tops, wire, wood
Fiona Mcdonald, the tangibility of time & memory – inception, porcelain, hand dyed felted wool, artist’s own vintage woollen blankets, stainless steel, silver
Jo Lane, Because, Hydrostone, colour pencil and a 'nang', Courtesy of Kelli Lundberg
George Gittoes: Ukraine Guernica
3 July – 16 August 2024
Image: George Gittoes on location April 2022, Borodyanke, Ukraine. Painting in progress title House Where Children Lived, 2022.© and courtesy of the artist. Photo by Kate Parunova.
Originally staged at Hazelhurst Arts Centre, the Deakin University Art Gallery is proud to present celebrated Australian artist George Gittoes’ newest exhibition Ukraine Guernica, including collaborations with Hellen Rose and Ukrainian artist Ave Libertatemaveamor.
Not long after Russian armed forces invaded Ukraine in February 2022, artist George Gittoes and his partner, musician and performance artist, Hellen Rose, left Australia for Kyiv. During two separate trips to Ukraine, George and Hellen spent time with residents as the cities were being bombed, uncovering their experiences, and documenting the devasted urban and rural landscapes through film, performance and painting. They developed friendships with artists, poets and other creatives in Kyiv, Irpin and Odessa which lead to the development of collaborative works, including the re-birth of the destroyed House of Art in Irpin and the large KISS OF DEATH mural. The most significant work produced during this time has been their new film, Ukraine Guernica - a powerhouse documentary which follows artists behind the frontline, waging a war on war in the face of the Russian Invasion.
The exhibition Ukraine Guernica will be realised as an immersive and arresting experience for visitors highlighting Gittoes unflinching belief in the power of art to counteract war.
Ukraine Guernica cements Gittoes legacy as one of Australia’s most arresting and urgent figures across art and film.
Jumaadi: the unaccounted sea
17 April – 14 June 2024
Image: Jumaadi, Joli-Jolan 2022 (detail), paper cut-outs, dimensions variable, installation view as part of The National 4, Campbelltown Art Centre, Sydney 2023, © and courtesy of the artist and King Street Gallery on William, Sydney, photo by Silversalt Photography.
Jumaadi is an Indonesian/Australian artist who lives both in Sydney and Yogyakarta and works fluidly across painting, drawing, paper cuts, buffalo hide, performance, animation and installation. Jumaadi's Indigenous Javanese heritage informs his practice, as well as his personal experiences and the colonial and political histories of his homeland. Recent works and performances have addressed passages of water and those whose journeys depend on it. With a poetic sensibility and symbolism, Jumaadi weaves together personal iconographies of human and organic motifs exploring themes of place, conflict and belonging.
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From left clockwise around gallery
Jumaadi
Joli Jolan 2022
paper cuts, dimensions variable
© and courtesy of the artist and King Street Gallery on William, Sydney
This large artwork began during the pandemic periods of lockdown and was first included in the exhibition Superfluous Things: Paper at the Singapore Art Museum (2022). The project was further expanded for The National 4 exhibition at Campbelltown Arts Centre, Sydney (2023) and now consists of over 300 hundred intricate white paper cut-outs presented on a painted black wall with each individual work telling its own story. Here, Jumaadi reverses traditions of shadow puppetry where a play of light creates dark forms on a lit background. The title Joli Jolan is derived from the Javanese term ijol ijolan meaning to swap, to trade and to exchange things. In this major work we can glimpse the artist’s world view: a grand lexicon of migration and movement of people and things over a great expanse. Across three sections, the work considers the unbalanced exchange between humans, animals and nature. Trees and natural forms including rocks, roots and branches, as well as, bodies, agricultural animals, farming tools, ropes, chairs, carts and an assembly of characters, figures and ships – of all shapes and descriptions, are carrying things and are on the move in a mass formation. Jumaadi’s figures push, pull, lift and endure labouring under perpetual forces and burden. Jumaadi focuses on representations of creative adaptation and resilience conveying the energy and strength of common people under forced displacement and their struggles amidst the difficult challenges of daily life.
Wayang
The term wayang derives from the Javanese word wewayangan meaning ‘shadow’ or ‘imagination’ with the equivalent word in Bahasa being bayang. In modern daily usage wayang refers both to the Indonesian tradition of shadow puppetry which originated in Java, to the puppet itself and to the whole ritual of the puppet theatre performance including the singers, narrators and musicians. Wayang kulit is the most well-known and unique form of puppetry theatre employing light and shadow. The puppets are crafted from cut buffalo hide mounted on bamboo sticks which when held up behind a piece of white cloth, with a light source, shadows are cast on the screen creating animated characters. Wayang performances are usually held to mark certain times of the year, important ceremonies and events such as Indonesian Independence Day. Traditionally, wayang is played out in a ritualised midnight to dawn performances led by an artist or spiritual leader with the audience watching from both sides of the screen. Jumaadi often employs the wayang tradition using buffalo hide, or more commonly found materials such as white office paper or flattened tin to create cut out artworks representing figures, characters and or elements of the natural world in transformation.
Jumaadi
Untitled 2024
white chalk drawing
© and courtesy of the artist and King Street Gallery on William, Sydney
Jumaadi
Skak 2022
synthetic polymer paint on primed unstretched calico
© and courtesy of the artist and King Street Gallery on William, Sydney
Skak translates in Bali Bahasa to mean chess and this painting depicts a pair of figures seated at a chess board. One is a local Indonesian, and the other is dressed in the uniform of the Dutch colonial army. Together they are playing on a board made up of abundant vegetation with pieces made from nails in an exchange of resources and power. The figures are placed in a stage like setting surrounded by a frame of green mountains. Jumaadi was inspired by the Ludruk theatre of the 1930s from Surabaya, East Java, which often depicted colonial era stories as a method of political opposition through art.[3] In this painting however, nature is slowly taking over with a series of tree like root forms growing through the tiled floor.
Jumaadi
After the Forest 2022
synthetic polymer paint on primed unstretched calico
© and courtesy of the artist and King Street Gallery on William, Sydney
In this painting a mass migration of tree stumps has seemingly uprooted themselves and are on the move, with each tree stump brandishing a seeing eye. Jumaadi’s painting considers the issue of deforestation caused by the production and export of palm oil and asks the question, who is watching while precious natural resources are moved, consumed and exhausted, and who profits from this trade?
Kamasan Painting
Jumaadi’s recent paintings are inspired by the Balinese Kamasan painting tradition. This highly unique Indigenous cultural practice was the dominant form of pictorial representation in Bali until the 20th century. In this process, cotton cloth is primed and sealed with a glue paste made from rice, rubbed by hand to create a smooth surface like paper, and were then painted using natural pigments sourced from local plants and minerals. This tradition originates from the Kamasan village in East Bali that was once part of Klungklung kingdom. One of the oldest kingdoms on the island, Klungklung witnessed the flourishing of art forms, under the patronage of the royal court during the reign of the Gelgel dynasty in the 16th century. Historically, Kamasan paintings were folded and stored and were displayed to help create environments for important religious ceremonies. The subjects of Kamasan painting are usually grand religious and epic mythical stories from the Ramayana and Mahabarata depicting battle scenes and events.
Conversations in space
When: 12 February – 5 April 2024
Image: Laura Skerlj, Cloud (I) 2023, oil on linen, image © and courtesy of the artist.
Deakin University Art Gallery presents Conversations in space: a group exhibition in the form of an inter-generational dialogue between artists and objects in virtual and real spaces. Curated by Deakin’s James Lynch the exhibition presents new works by senior Australian artist Helen Maudsley alongside works by Alex Hobba, Noriko Nakamura and Laura Skerlj. Conversations in space is an interplay between painting, animation and sculptural practices focusing on object relations and their proxies and stand-ins, in a flat time world: where our world view appears constantly moving but much remains the same.
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Virtual tour artwork labels
From left clockwise around gallery:
Alex Hobba
Piss Trough 2020
digital video consisting of 3D render animation
1:24 mins, looped
courtesy of the artist
Laura Skerlj
Untitled (orb) 2023
Untitled (sparkler) 2023
Untitled (fizzy) 2023
Untitled (trance) 2023
Untitled (bouquet) 2023
Untitled (limbo) 2023
Untitled (moth) 2023
Untitled (cloud) 2023
all works are oil on linen
courtesy of the artist
Helen Maudsley
Know Thine Own Self 2022
The Power of the Written Word; Without the Written Word, Art Doesn’t Exist. 2020
The Coil, the Circle & the Rectangle. Into the Trees & the Landscape. Into the Distance.
Unless Art is Written About, it Doesn’t Exist. 2020
Linkages of Different Kinds. The basic 4 shapes; the square, the circle, and the triangle.
And the Golden Ratio. 2022
The Coil, the Screws, the Rectangle, and the Chain that Hangs
Colours and Tones, not mixed, but Calling to Each Other. 2022
all works are oil on canvas
courtesy of the artist and Niagara Galleries, Melbourne
rear wall:
Helen Maudsley
Nudes 1986
watercolour and gouache on paper and artist frame
Gift of the artist, 2007
Deakin University Art Collection
courtesy of the artist and Niagara Galleries, Melbourne
Noriko Nakamura
Milking my heart 2019
Rib Bone 2017
Untitled 2016
Secret 2017
all works are carved Mount Gambier limestone
courtesy of the artist
Alex Hobba
Cockfighter’s Ghost 2023
digital video consisting of 3D render animation with AI voice acting and human voice,
sound design by Christopher Maruca
6:36 mins
courtesy of the artist
2023
Text – Re read
When: 24 October–15 December 2023
Co-curated by Stephen Wickham and Leanne Willis, this exhibition is a celebration of thoughtful engagement with ideas. Text – Re read acknowledges the importance of words, texts, articles and books, from illuminated manuscripts to la poésie concrete, words and the ideas therein that remain central to art-making and its reception.
Much has been said about the inspirational muses and the ‘Eureka moment’ – the flash of insight where sources and origins are revealed and then manifested. This exhibition highlights a slow consideration of the complex relationships between artists, artworks and the ideas embodied in books and many other material sources. Text – Re read is the second exhibition of the Deakin University Centre for Abstract+Non-Objective Art, The Void: Visible. Abstraction & Non-Objective Art being the inaugural in November 2017.
Participating artists include: Andrew Christofides, Tracey Coutts, Janet Dawson, Lesley Dumbrell, Suzie Idiens, Raafat Ishak, Simon Klose, Sean Loughrey, Andrew Rogers, Wilma Tabacco and Stephen Wickham.
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Andrew Christofides | Tracey Coutts | Janet Dawson |
Artwork: Eternal Space III, 2015, photography Michele Brouet.
| Artwork: Weave, 2016, acrylic on marine ply, photography by Michael McMullan.
| Artwork: Easter Sunday Moon, 2019, acrylic and oil on panel, Deakin University Art Collection, purchase 2023. Photography Simon Peter Fox
|
Lesley Dumbrell | Suzie Idiens | Raafat Ishak and Sean Loughrey |
Artwork: Gridelin, 2007, oil on linen. Courtesy of the artist and Charles Nodrum Gallery, photography Simon Peter Fox.
| Artwork: Untitled #3 (Blue Wedge) 2017, MDF, Polyurethane, photography Fiona Susanto. | Artwork: Fanflag 7, Ocular Lab, 2006, Courtesy of the artists and Sutton Gallery, photography courtesy the artists.
|
Simon Klose | Andrew Rogers | Wilma Tabacco |
Artwork: no title, orange/black, Dec 2022, photography Simon Peter Fox.
| Artwork:I Believe IV, 2022, bronze and stainless steel, photography Gavin Hansford.
| Artwork: Lariat, 2022, oil on linen Courtesy the artist and Gallerysmith, photography Mark Ashkanasy
|
Stephen Wickham | ||
Artwork: Black Cruciform as Stupa Floor Plan 1996, oil on linen, Deakin University Art Collection, donated by the artist 2017, photography Simon Peter Fox.
|
Virtual tour artwork labels
Artwork left to right on Gallery wall
Janet Dawson
Easter Sunday Moon, 2019, acrylic and oil on panel
Deakin University Art Collection, purchase 2023.
Janet Dawson
Untitled, 2021, charcoal on paper, Deakin University Art Collection, donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
Janet Dawson
Parts of Fortune, 1981, sprayed stencil, Deakin University Art Collection, purchase, 1981
Raafat Ishak and Sean Loughrey
Fanflag 7, Ocular Lab, 2006
Courtesy of the artists and Sutton Gallery
Andrew Christofides
Eternal Space I, 2015
acrylic on canvas
Andrew Christofides
Eternal Space II, 2015
acrylic on canvas
Andrew Christofides
Eternal Space III, 2015
acrylic on canvas
Tracey Coutts
Untitled Series 1 (lines contract in), 2013
oil on marine ply
Tracey Coutts
Untitled Series 2 (lines expand out), 2013
oil on marine ply
Tracey Coutts
Weave, 2016
acrylic on marine ply
Suzie Idiens
Untitled #9 (Pink Vertical) 2016
MDF, Polyurethane
Suzie Idiens
Untitled #10 (Blue Vertical) 2016
MDF, Polyurethane
Suzie Idiens
Untitled #3 (Blue Wedge) 2017
MDF, Polyurethane
Lesley Dumbrell
Gridelin, 2007
oil on linen
Courtesy of the artist and Charles Nodrum Gallery
Simon Klose
Upper left:
Simon Klose
no title, orange/black, Dec.2022
Lower left:
Simon Klose
no title, green black/cream yellow (oil /gold), June 2023
Right:
Simon Klose
no title, orange/pale green, April 2023
Wilma Tabacco
Lariat, 2022
oil on linen
Courtesy the artist and Gallerysmith
Stephen Wickham
Artwork left to right:
Stephen Wickham
Ink pen on paper, 1986-1991
Stephen Wickham
Black Cruciform as Stupa Floor Plan 1996, oil on linen, Deakin University Art Collection, donated by the artist 2017
Stephen Wickham
But it’s getting there, 2023, oil on Linen
Artwork left to right on floor in centre of Gallery
Andrew Rogers
Artworks left to right:
Andrew Rogers
I Believe I, 2021, bronze and stainless steel
Andrew Rogers
I Believe II, 2021, bronze and stainless steel
Andrew Rogers
I Believe IV, 2022, bronze and stainless steel
Cabinet contents – cabinet 1 left side
Left to right:
Lesley Dumbrell
Book:
Ian Paterson, A Dictionary of Colour – A lexicon of the language of colour, Thorogood Publishing Ltd, London, 2003
Suzie Idiens
Book:
Singular Forms (Sometimes Repeated): Art from 1951 to the Present. Guggenheim Museum Publications. 2004. ISBN: 0-89207-308-X. Skinning Art. Mark C. Taylor. Page 25.
Stephen Wickham
Book:
Kasimir Malevich’s Black Square and the Genesis of Suprmatism 1907-1915W. Sherwin Simmons Garland Publishing, Inc, New York & London. 1981. ISBN 0-8240-3942-4 AACR2 Display page 314.
Wilma Tabacco
Book:
Charta: Dal papiro al computer, G. M. Cardona, Arnoldo Mondadori Editore, S.p.A., Milano
Simon Klose
Book:
Exhibition Catalogue, Two Decades of American Painting, Waldo Rasmussen (Lucy Lippard, G.R. Swenson), The Museum of Modern Art, New York Date 1967
Tracey Coutts
Artist book
Rotated Cube, 2014
artist book printed on Sovereign Offset 180gsm paper
Tracey Coutts
Book:
Design Rehearsals – conversations about Bauhaus lessons. Spector Books, Leipzig. 2019. ISBN 978-3-95905-270-2. Part 2: Questioning Knowledge. Tim Ingold In Conversation page 97.
Raafat Ishak and Sean Loughrey
Book:
El Lissitzky. Life-letters-texts. Sophie Lissitzky-Küppers. Introduction by Herbert Read.
Published by Thames and Hudson, London, 1980.
Janet Dawson
Book:
First Man: The Life of Neil A. Armstrong, James R Hansen, Simon & Schuster USA, 2005. ISBN 0-7432-5631-X
Cabinet contents – cabinet 2 right side
Left to right:
Andrew Christofides
A series of 12 working drawings, 2014 - 2021
Andrew Christofides
Book:
The Civil Architecture of Vitruvius, 1813 edition. Vitruvius Pollio, Marcus. Translated by William Wilkins, London, Printed by Thomas Davison, Whitefriars. For Longman, Hurst, Rees, Orme, and Brown, Paternoster-Row. 1812.
Andrew Rogers
Andrew Rogers
Cast bronze plaque with work relating to the text Sapiens A Brief History of Humankind.
Book:
Sapiens; A Brief History of Humankind, Yuval Noah Harari, Harper; Illustrated edition, 10 February 2015 [English]
ISBN 9780062316097
Deakin University Contemporary Small Sculpture Award 2023
When: 23 August–13 October 2023
The Deakin University Contemporary Small Sculpture Award is an annual competition showcasing outstanding sculptures from artists across Australia. An exhibition of finalists' work is held each year in August to October at the Deakin University Art Gallery.
Image: Installation image of the 2023 Deakin University Contemporary Small Sculpture Award, Deakin University Art Gallery, August 2023, photography Simon Peter Fox.
2023 finalists
- Samara Adamson-Pinczewski
- Ourania Amvrazis
- Anindita Banerjee
- Gillian Bencke
- Annette Bukovinsky
- Melanie Cobham
- Amy Cohen
- Emma Coulter
- Augustine Dall'Ava
- Julian Di Martino
- Naomi Eller
- Carly Fischer
- Gail Hastings
- Patrick Heath
- David Jensz
- Linda Judge
- Tala Kaalim
- Sam Kariotis
- Alicia King
- Jo Lane
- Jenna Lee
- Shirley Macnamara
- Carolyn Menzies
- Dónal Molloy-Drum
- Kendal Murray
- Lori Pensini
- Kirsteen Pieterse
- Kenny Pittock
- Daniel Press
- Nina Sanadze
- Louise Skacej
- Vipoo Srivilasa
- Hiromi Tango
- Natalie Quan Yau Tso
- Carmel Wallace
- Bettina Willner-Browne
- Alana Wilson
- Ching-Yee Wong
- Petr Zly
- Simon Zoric
Supported by Community Bank at Deakin University.
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Learn more about the Deakin University Contemporary Small Sculpture Award
Virtual tour artwork labels
Artworks left to right on gallery walls, then middle to end.
Linda Judge, Reconstituted Orange, wooden log, plastic lids
Natalie Tso, your spit is my nest, my saliva and guar gum on isomalt crystals (sugar) coated with nail polish varnish
Melanie Cobham, Melodies for Migrants, music box, expired passport
Jenna Lee, Dilly Can, pages of Aboriginal Words and Place Names, book binding thread, book cover board, Courtesy of MARS Gallery
Nina Sanadze, Gramophone: Rethinking, reworking, reshaping… monuments… what are the possibilities… (series), clay, resin, hydrostone, acrylics, glue. Sculpture incorporates a replica of a studio plaster model of a revolutionary by Soviet monumental sculptor Valentin Topuridze (1907-1980), Courtesy of Daine Singer
Sam Kariotis, Preservation, cardstock, tin
Kenny Pittock, Koala Teddy, acrylic on ceramic, Courtesy of MARS Gallery
Lori Pensini, Farm yard, oil on xanthorrhoea heart wood (grass tree heart wood), Courtesy of Gallerysmith, North Melbourne
Carolyn Menzies, Rewilding, acrylic, sponge, gouache, tapestry fragments, glass-head pins and glue
Carmel Wallace, Lone Pine Colony, pine needles, hair, thread
Bettina Willner, Wave Motion, stoneware glazed ceramic, Courtesy of Saint Cloche Gallery, NSW & Lennox St Gallery (formerly Metro Gallery), Victoria
Kirsteen Pieterse, Subsidence, acrylic and stainless steel, Courtesy of Utopia Art Sydney
Alana Wilson, Map of Fragility, stoneware with magnesium markings and shell salt flashing, Courtesy of ReadingRoom
Carly Fischer, Slip II 2023, concrete & basalt aggregate, ceramic, acrylic paint
Dónal Molloy-Drum, The Leaning, stainless steel, wood veneer, Courtesy of Flinders Lane Gallery
Anindita Banerjee, Sand Time, blown soda lime glass, wood charcoal, recycled glass jewellery, old dupatta, Mahaprasad
Julian Di Martino, Deceased estate (dressing table), wood, acrylic paint
Augustine Dall'Ava, Paradox no 10 2022-23, painted wood, painted stone, travertine
Naomi Eller, Navigation home 2022-23, ceramic, pigment, wax, gold leaf, steel plinth
Gillian Bencke, Amphora, felt, velvet, sequins, glass beads, thread, buttons, found items, lead
Samara Adamson-Pinczewski, Conical 2, acrylic and iridescent acrylic with UV gloss on ABS resin (SLA), Courtesy of Charles Nodrum Gallery
WONG Ching Yee (Jenny), Mask (III) – Forward, porcelain, acrylic board
Shirley Macnamara, The Gathering Laga Bag, spinifex, ochre, kangaroo bone, galah feathers, porcupine (echidna) quills, bullock bone, silver wire, gold leaf, spinifex resin, polymer fixative, Courtesy of Alcaston Gallery
Daniel Press, Revenants of Queen's Square, wax
Kendal Murray, Freelance Chance, Expanse Enhance, mixed media of metal, fabric, paper, polyurethane, wire, paint, Courtesy of Flinders Lane Gallery
Patrick Heath, Death Mask, plaster, milk varnish
Annette Bukovinsky, Recompense, fired clay, cardboard and plastic, Courtesy of Stanley Street Gallery
Louise Skacej, Lake Spomin, bronze
David Jensz, "Spin", river stone, lead, Courtesy of Australian Galleries
Simon Zoric, Untitled (Blue), aluminium, automotive paint, quartz, apatite, Courtesy of Lon Gallery
Jo Lane, mid-air, marble, rope and wax, Courtesy of Oigall Projects
Amy Cohen, Finding Space, raffia and Manila hemp paper raffia
Alicia King, Aeolian Dust , iron, resin, mineral pigments
Hiromi Tango, Ou Ka 桜花 | 謳歌 (Flower Song), textile and mirrored Perspex, Courtesy of Sullivan+Strumpf
Emma Coulter, Double tuck, enamel on steel, Courtesy of James Makin Gallery
Tala Kaalim, Avoir le Beurre et l'argent du Beurre, glass
Gail Hastings, Space holder lost when one day relocating its half-cylinder space, half-cylinder of space, acrylic on wood
Petr Zly, Finding the Floor, polylactide, polyurethane, steel, acrylic, pigments
Ourania Amvrazis, Speculative Futures: a simulation of future cities constructed through sound, PLA
Vipoo Srivilasa, Kiln God Altar, porcelain, earthenware, stoneware, air dry clay, mixed media, gold luster, gold leaf glaze, acrylic paint and glaze, Courtesy of Scott Livesey Galleries
Fayen d’Evie: I brave a whirlwind of dust, while those about me close their eyes ...
Fayen d’Evie is an artist and writer, born in Malaysia, raised in Aotearoa New Zealand, and now living in the bushlands of Jaara country, Australia. This exhibition celebrates d’Evie’s far reaching and influential practice that explores access as a force of new creative potentialities. Using sound, touch, movement, performance and language d’Evie expands upon the limitations of the visual arts.
This exhibition surveys recent projects with a range of interdisciplinary collaborators including, among others, performance maker Alex Craig, dancers Benjamin Hancock and Anna Seymour, printmaker Trent Walter, and paintings by the San Francisco-based artist and advocate Jennifer Justice. Curated by James Lynch.
Download the exhibition catalogue
Take a virtual tour of the exhibition
Fayen d’Evie and Trent Walter
Janaleen sings, and hides 2017
tactile screenprint and 3-channel audio description
printed by Trent Walter, Negative Press
© and courtesy of the artist
Virtual tour artwork labels
From left clockwise around gallery:
Jennifer Justice
Bourgeois and Brâncuși in Conversation 2023
acrylic on paper
courtesy of the artist
Jennifer Justice
Tornado 2023
acrylic on canvas
courtesy of the artist
Fayen d’Evie, Trent Walter and Bryan Phillips
Janaleen sings, and hides. 2017
unique state tactile screenprint with debossing and sound
printed by Trent Walter, Negative Press
Andy Slater
Hauntings (HM Castlemaine) 2019
site-specific sound recordings
Fayen d’Evie, Anna Seymour and Pippa Samaya
Shape of an Echo 2019
digital video with sound
13.5 mins
Hillary Goidell
To Catch a Thing in Flight 2020
digital video featuring audio description
13.04 min
Fayen d’Evie and Benjamin Hancock
Essays in vibrational poetics {~} ... , ... ; ... (2nd edition) 2021
digital video with sound
18.13 mins
Fayen d’Evie
Essays in vibrational poetics {.} Acknowledging Margaret Woodward, Núria López, Mrs Eaves, and women who painted the caves in tactile poetics 2019
granite, quartz, marble, bronze, ochre, charcoal
courtesy of the artist
Aaron McPeake and Fayen d’Evie
Resonant Cuts 2011
bronze bell slices
courtesy of the artists
Fayen d’Evie and Benjamin Hancock
H(e)R {~~~} ... , ... ; x 2021
digital video without sound
6.23 mins
Fayen d’Evie and Benjamin Hancock
H(e)R {~~~} … , … ; x ; o 2022
Fayen d’Evie and Benjamin Hancock
digital video featuring audiodescription
10.43 mins
Fayen d’Evie and Benjamin Hancock
{~~~} ... , ... ; x // typographic notes 2021
digital video without sound
12.17 mins
Fayen d'Evie, Anna Seymour, Vincent Chan and Trent Walter
Essays in gestural poetics {;;} // We get in touch with things at the point they break down. // Endnote: The ethical handling of empty space. // Care is a cognate to grief. 2021
three framed screenprints and six tactile UV prints
Fayen d’Evie and Trent Walter
Ascending/Descending Sonic Shadows 2019
photopolymer relief prints, embossing with Braille and laser-cut, soft cover artist book
printed and published by Negative Press Melbourne with assistance by Chelsea Collins and Lizzie Boon
sewn by George Matoulas, Braille by Nigel Herring at Pentronics, text layout by Hayden Daniel
Fayen d’Evie and Benjamin Hancock
{~~~~} Further Toward, Further Toward A Deconstruction of Phallic Univocality: Deferrals 2022
digital video without sound
26.41 mins
Fayen d'EVIE
Ex- [excerpt restaged] 2011/2023
engraved steel, acrylic paint, dye sublimated painting
Paul Laspagis: Metaphysical Order
When: 10 July–9 August 2023
Venue: Deakin University Library, Building V, Melbourne Burwood Campus
Open to the public Monday to Friday 8am–5pm, Saturday and Sunday 1–5 pm. Entry is free.
Paul Laspagis is an accomplished artist who lives and works near Deakin University’s Burwood Campus. Born in Limnos, Greece in 1949 and migrating to Melbourne in 1957, Laspagis studied at the National Gallery Art School with John Brack and Alun Leach-Jones. Laspagis then spent over 10 years working in art education. He is a dedicated artist using oil on canvas, drawings and in print media who has exhibited extensively in Melbourne and overseas.
The works on display show two different aspects to this artist’s work: the first being the human figure and second being the landscape. Although the pictures appear abstracted, there are clear visual references to people and place. Laspagis travels to the landscape of the Yarra Valley and works directly on drawings whilst in the bush. He then returns to the studio and translates those drawings into works that celebrate the underlying origin of the structure and form.
Take a virtual tour of the exhibition
Image: Paul Laspagis, Yarra Valley 2017, Oil on canvas, 183 x 130 cm
Collection of the artist, Photography Rodney Denholm © copyright and courtesy of the artist
Image description: An abstracted painting consisting of small cross-hatched blue, purple, olive green and white cross-hatched sections that form an undulating landscape vista.
Virtual tour artwork labels
From left clockwise around gallery:
Paul Laspagis
Figure activating space 2022
oil on canvas
From the artist’s collection
Paul Laspagis
Seated figure 2022
oil on canvas
From the artist’s collection
Paul Laspagis
The sun over the Yarra Valley I 2017
oil on canvas
From the artist’s collection
Paul Laspagis
Yarra Valley 2017
oil on canvas
From the artist’s collection
Paul Laspagis
Lysterfield Landscape 2018
oil on canvas
From the artist’s collection
Paul Laspagis
A subliminal order – Lysterfield 2018
oil on canvas
From the artist’s collection
Paul Laspagis
The sun over the Yarra Valley II 2019
oil on canvas
From the artist’s collection
Conflated
When: 18 April–9 June 2023
As well as the Deakin University Art Gallery, this exhibition will also be displayed in the Deakin University Library, Melbourne Burwood Campus (open 8am–9pm seven days a week, closed ANZAC Day, Tuesday 25 April 2023).
When we inhale and exhale, our bodies transform through the process of inflation and deflation. Drawing on the inflatable form as both material and metaphor, Conflated brings disparate artists together to explore bodies, environments and cultures through contemporary art. Here, the cycle of breathing serves as a framework through which a wide array of experiences, behaviours and expressions are examined.
Conflated is a NETS Victoria touring exhibition, curated by Zoë Bastin and Claire Watson. Participating artists include Zoë Bastin, Andy Butler, David Cross, Bronwyn Hack, Amrita Hepi with Prue Stent and Honey Long, Christopher Langton, Eugenia Lim, James Nguyen and Steven Rhall. This project has been assisted by the Australian Government’s Visions of Australia program and the Victorian Government through Creative Victoria.
Take a virtual tour of the exhibition
Zoë Bastin
Enough 2021
HD video with audio
© and courtesy of the artist and NETS Victoria
This project has been assisted by the Australian Government's Visions of Australia program and the Victorian Government through Creative Victoria.
Virtual tour artwork labels
From left clockwise around Deakin University Art Gallery gallery:
James Nguyen
Inhaleinhaleinhale 2021
sound file, 22 minutes
commissioned by NETS Victoria
courtesy the artist
Amrita Hepi, Honey Long and Prue Stent
Omphalus 2021
digital video, 3 minutes 30 seconds
commissioned by NETS Victoria
courtesy the artists, Anna Schwartz Gallery and ARC ONE Gallery
David Cross
Pair 2021
installation, PVC vinyl
commissioned by NETS Victoria
courtesy the artist
Steven Rhall
Hermetic Rituals 2020
digital prints on Dibond, found image, found floatation devices, remediated performance, timber commissioned by NETS Victoria
courtesy of the artist and MARS Gallery
Christopher Langton
Breathe In Breathe Out 2021
PVC, silicone, polyurethane, hybrid polymer, thermoplastic polyester, pigment, fibreglass, acrylic, plywood, jacket, backpack, fake fur, air valves and air commissioned by NETS Victoria
courtesy the artist and Tolarno Galleries
Andy Butler
Live to your Potential
(After Jeff Koons’s Balloon Dog) 2018
HD video with audio, 5 minutes
courtesy the artist
Eugenia Lim
Wearable Shelters from Shelters for Kyneton (triadic transfer) 2022
Shelters for Kyneton (triadic transfer) 2022
HD video with sound, 7 minutes 40 seconds, hand-sewn mylar Artist, Performer: Eugenia Lim; Cinematographer: Tim Hillier; Movement consultant, Editor, Sound: Zoe Scoglio; Costume designer: Ellie Boekman; Performers: Jennifer Anderson, Steve Boulter; Kyneton Contemporary Art Triennial Producer: Angela Connor; Production assistant: Kent Wilson; Wearable shelters designed by Eugenia Lim in collaboration with, and sewn by, Ellie Boekman; Metal fabrication: Dale Holden commissioned by Kyneton Contemporary and NETS Victoria courtesy the artist and STATION GALLERY, Melbourne
All works are © and courtesy of the artists
From left clockwise around Deakin University Burwood Campus Library Gallery:
Bronwyn Hack
Alfred 2021
mixed media and inflatable soft sculpture
commissioned by NETS Victoria
courtesy the artist and Arts Project Australia
Zoë Bastin
Enough 2021
HD video with audio, 4 minutes 47 seconds,
Mylar balloon and fan
Costume designer: Eve Maxwell; Videographer: Clayton Smith
Director: Louis Roach; Composer: James Rushford
Choreography assistant: Hayley Does
Sculptural assistant: Brigit Ryan
Artist assistant: Molly Stephenson
commissioned by NETS Victoria
courtesy the artist
Art School Confidential
When: 13 February – 5 April 2023
This exhibition features artworks by current lecturers and teaching staff from Deakin University’s School of Communication and Creative Arts, that were created while they attended art school. Art School Confidential celebrates creative discoveries in all their varied forms and the importance of a creative education experience. It explores the histories of artistic endeavours at the university and the transit of artistic practices over time.
Contributions by Bradley Axiak, Anindita Banerjee, Wendy Beatty, Cameron Bishop, David Cross, Joel Gailer, Tara Gilbee, Simon Grennan, Aaron Hoffman, Victoria Holessis, Penelope Hunt, Todd Johnson, Ilona Jetmar, Katie Lee, Sean Loughrey, Amber Smith, Sorcha Wilcox, Annie Wilson, Bruce Zhou and others. Curated by James Lynch.
Image: Marta Oktaba, In the studio 2023, ink on paper. © and courtesy of the artist. Image for promotional use only.
Take a virtual tour of the exhibition
Virtual tour artwork labels
Artworks as they appear from left clockwise around gallery:
Fiona LEE
Potential Unlimited (Level ARI) 2010
framed printed certificates with red circular paper adhesive sticker
30 x 32 cm each
West wall from left:
Simon GRENNAN
Untitled examination drawing 1995
charcoal on paper
56 x 76 cm
Sean LOUGHREY
Untitled study 1987
oil on canvas
22.5 x 20.5 cm
Todd JOHNSON12 years, 1 month, 3 weeks 2010-2022
framed archival inkjet print
95 x 95 cm
Amber SMITH
Persuasion and sacrifice: the poetics of learning to love again 2018
found wooden box with brass inlay, found atlas image, tissue paper, pocket-sized New Testament bible, waxed string, sea-glass, human hair, artists own Polaroids, tape, paper bark and assemblage
12 x 20 x 5 cm
Fiona LEE
Potential Unlimited (Level ARI) 2010
framed printed certificates with red circular paper adhesive sticker
30 x 32 cm each
Penelope HUNT
Looking Forward 1990
pigment print on Cansen Rag
80 x 60 cm
Penelope HUNT
Prized Collection 1988 reprint 2022
hand printed silver gelatin print
53 x 42 cm
Dan J KOOP
printed invitation to his student performance as part of the production I buy therefore I am 1998
21 x 17 cm
Aaron HOFFMAN
(Bed) 2015
resin, fibreglass and paint
70 x 90 x 25 cm (approx.)
Joel GAILER
Untitled 2002
artist book, monotype and hand-written text on Magnani paper, bound
30 x 60 x 2 cm
Sorcha WILCOX
Squid: Quantum Interference Studies (1-4) 2009
pigment print
30 x 20 cm each
Anne WILSON
TurnReturn 2001
medium format analogue
photograph digitally printed on lustre archival photo paper
97.5 x 71.5 cm
Bruce ZHOU
Lily 2001
digital video and animation
6 mins
Bruce ZHOU
Ming (Bright) 2004
digital video and animation
4 mins
Anne WILSON
Billy 2005
digital video still
photograph on rag photographique archival paper
107 x 126 cm
Sean LOUGHREY
Untitled (Sticks) 1987
oil, paper and wax on canvas
40.5 x 53.0cm
Katie LEE
Untitled 1998
etching on paper
112 x 71.5cm
Katie LEE
Untitled 1998
etching on paper
112 x 71.5cm
Simon GRENNAN
Dalek in Landscape 2011
oil on canvas
Deakin University Art Collection
Bradley AXIAK
Pitt Street 2009
black and white inkjet print from 35mm film
50 x 50 cm
Bradley AXIAK
Pitt Street 2009
black and white inkjet print from 35mm film
50 x 50 cm
North wall from left:
Reproduction plaster statue
on loan from the School of Communication and Creative Arts
Tara GILBEE
Xray Portrait (Stefan) 2000
black and white photograph
unique state
45 x 32 cm
Anindita BANERJEEK
alika 2008
digital video
3.23 mins
Jane BARTIER
Dalhousie Springs, aerial view 2006
batik on cotton
170 x 115 cm
Amber SMITH
How the air suffocates down here.
Lucky, lucky. 2018
found display case, geological and mineral specimens, hand-marbled paper and assemblage
60 x 60 x 15 cm
Joel GAILER
Natural Arch 1998
acrylic paint on box card
50 x 70 cm
Ilona JETMAR
Self Portrait 2002
oil on canvas
81 x 121 cm
Fiona LEE
Potential Unlimited (Level ARI) 2010
framed printed certificates with red circular paper adhesive sticker
30 x 32 cm each
Cameron BISHOP
Dumbluck 2008
digital video
7 mins
Cameron BISHOP
Near Heide 2008
digital video
7 mins
Tara GILBEE
Untitled Portrait 1999
lost wax cast bronze
unique state
50 x 45 x 40 cm
Reproduction plaster statue
on loan from the School of Communication and Creative Arts
East wall from left:
Victoria HOLESSIS
Body of work 2016
acrylic boxes, latex and liquid emulsion
40 x 35 x 45 cm each
Wendy BEATTIE
Untitled 2004
handmade negative Ilford photographic print on black and white paper
75 x 100 cm
Aaron HOFFMAN
Untitled (door) 2015
aluminium and fluorescent tube
130 x 45 cm
Bradley AXIAK
Applecore 2009
colour inkjet print from MD4 35mm film
35 x 53 cm
David CROSS
Closer 1994
colour photograph
100 x 100 cm
Near door:
Anne WILSON and Domenico DE CLARIO
Art School Job 2008/2023
digital video
26 mins
All works are © and courtesy of the artists
A leg through the ceiling: the art collection of Etta and Emmanuel Hirsh
This exhibition celebrates the recent gift and long-term loan of artworks from the family of pioneering art collectors Etta and Emmanuel Hirsh to Deakin University.
Curated by James Lynch this project highlights the significance of these leading Naarm/Melbourne collectors of the 1960s, 1970s and 1980s and their dedication to artists, new ideas, risk taking and the importance of living creative and cultural lives.
Image: Geoffrey PROUD, Nadine and Geoffrey 1967, charcoal and oil on composition board, Deakin University Art Collection. Donated through the Australian Government's Cultural Gifts Program by Irwin Hirsh in memory of Etta and Emmanuel Hirsh, 2021 © Sue Proud and courtesy of Fellia Melas Gallery Sydney
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Virtual tour artwork labels
All images are copyright and courtesy of the artists and their estates. From left, clockwise around gallery:
Peter Corlett
The leg through the ceiling 1966-67
Fibreglass and resin
On loan from the collection of Irwin Hirsh
Mike Nicholls
Samson 2004
Carved timber (gum) with iron oxide patina
2021.88
Donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
Judy Watson
Language group: Waanyi
Heartwood 2004
Colour lithograph
2021.82
Donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
Louis Karadada
Language group: Woonambol
Untitled (Wandjina figure and boomerang) 2000
Etching on paper
2021.80
Donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
John Howley
Portrait of Etta Hirsh 1971
Oil on canvas
On loan from the collection of Anouk Hulme
Guy Stuart
Portrait of Emmanuel Hirsh 1990
Oil on canvas
On loan from the collection of Anouk Hulme
Geoffrey Proud
Nadine and Geoffrey 1967
Charcoal and oil on paper on composition board
2021.63
Donated through the Australian Government's Cultural Gifts Program by Irwin Hirsh in memory of Etta and Emmanuel Hirsh, 2021
Peter Clarke
Untitled 1966
Synthetic polymer paint and PVC on canvas
2021.67
Donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
Guy Stuart
Man’s Money Toy I 1966
Spray enamel and collage on paper
2021.69
Donated through the Australian Government's Cultural Gifts Program by Irwin Hirsh in memory of Etta and Emmanuel Hirsh, 2021
Robert Jacks
Untitled 1968
Untitled 1968
Watercolour and pencil on paper
2021.74.1-2
Donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
Janet Dawson
Untitled 1972
Charcoal on paper
2021.72
Donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
Jim Lawrence
Sigmund Freud 1982
Carved timber and paint
2021.62
Donated through the Australian Government's Cultural Gifts Program by Irwin Hirsh in memory of Etta and Emmanuel Hirsh, 2021
Jan Senbergs
Diagram for Orderly Living 1975
Oil and silscreen on canvas
LT2021.92
On long term loan from the collection of Anouk Hulme
Bob Jenyns
Sculpture Design 1979
Coloured pencil on paper
1979.33-41
Purchased, 1979
Murray Walker
Untitled 1988
Found timber and epoxy resin
2021.66
Donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
Guy Stuart
Untitled 1978
Untitled 1978
Untitled 1978
All works watercolour on paper
2021.70.1-3
Donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
Joel Elenberg
Untitled 1977
Watercolour and pencil on paper
2021.55
Donated through the Australian Government's Cultural Gifts Program by Irwin Hirsh in memory of Etta and Emmanuel Hirsh, 2021
John Scurry
After the Party 1982
Gouache and pencil on paper
2021.56
Donated through the Australian Government's Cultural Gifts Program by Irwin Hirsh in memory of Etta and Emmanuel Hirsh, 2021
Tom Fantl
Untitled 1981
Colour litograph
2021.58
Donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
Bob Jenyns
Last Fellow (Ronald Ryan) 1988
Painted timber
2021.61
Donated through the Australian Government's Cultural Gifts Program by Irwin Hirsh in memory of Etta and Emmanuel Hirsh, 2021
Domenico De Clario
A snowy light filled room 1987
Oil on shaped canves
2021.85
Donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
Alberr Shomaly
Untitled 1971
Untitled 1971
Untitled 1972-73
Colour Chart 1973
Untitled not dated
Silkscreen, lithograph and colour photographic prints on paper
Paint and collage on paper
2021.75-79
Donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
Anne Hall
Untitled (Two figures) 1977
Oil pastel on paper
2021.60
Donated through the Australian Government's Cultural Gifts Program by Irwin Hirsh in memory of Etta and Emmanuel Hirsh, 2021
David L Wiggs
Apprentice 1985
Paint on tin, timber and electrical components mounted on ply
2021.64
Donated through the Australian Government's Cultural Gifts Program by Adrian Hirsh in memory of Etta and Emmanuel Hirsh, 2021
Mark Strizic
The Peripatetic Theme 1972
Colour photograph
2021.83
Donated through the Australian Government's Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh, 2021
John Cato
Drift 1990
Black and white silver gelatin photograph
1991.11
Gift of the artist, 1991
Bill Henson
Untitled (from the Kindertotenlieder series) 1976
Colour photograph
LT2021.90.1-16
On long term loan from the collection of Anouk Hulme
2022
Who am I and how am I to live?
When: 4 October – 16 December 2022
Deakin University Library, Burwood Campus, Building V.
Continuing in the Burwood Campus library gallery space until 16 December is the exhibition Who am I and how am I to live? Developed by senior lecturer Shane McIver, first year health students reflect on climate change and the environment through photography. All works were produced in 2022 and are digital colour photographs, inkjet printed on Ilford papers.
Image by Kaylah Karwan. Image: cobblestone laneway surrounded by brick walls covered with weathered posters, an overcast sky looms overhead.
Deakin University Contemporary Small Sculpture Award 2022
This is the 12th year of the award, and we were pleased to receive 306 entries, from which 41 works were selected. Congratulations to our finalists and Scotty So for his winning entry, Surburbkin in Red, 01. Exhibition closes at 5pm, Friday 21 October.
Scotty So, Surburbkin in Red, 01, nylon, metal. Winner of 2022 Deakin University Contemporary Small Sculpture Award. © and courtesy of the artist.
Take a virtual tour of the exhibition here
The external judges were Lyndel Wischer and Robert Hague, with Leanne Willis representing Deakin.
Virtual tour artwork labels
Left wall
Mark Eliott, Cloudy head
Scotty So, Surburbkin in Red, 01
Vicki West, Kelp Vessels
Wendy Teakel, Stockpile
Jess Taylor, Shelob
Jayanto Tan, Late Night Movies (sorry angel, call me by your name)
Zoran Bogdanovic, Basalt Quarry Sunset
Brad Gunn, Flopsy Large
Helen Earl, Triumph of Galatea (After Raphael)
Fleur Brett, Caught up in this
Sarrita King, Coolamon – Language of the Earth
Catherine Bell, Bouquet #1 (Lily) Bouquet #2 (Pansy)
Nat Thomas, Failed State
Centre wall
Kenny Pittock, The News
Emily McGuire, Demarcations II
Chloe Tizzard, Delphi
Samara Adamson-Pinczewski, Around the Corner 9
Susan Reddrop, Hedonism
Barry Jackson, ground zero
Sherrie Knipe, Off Guard
Miho Watanabe, Awareness of Between-ness: Memory and Time "Street trees at England"
Jodi Stewart, History vs Reality
Petr Zly, On The Occasion of The Endless Sea
Peter Vandermark, Seating Arrangement #6
Tracey Lamb, Essential Elements
Ron Robertson-Swann, Krak des Chevaliers
Right wall
Jos Van Hulsen, Emotional Baggage
Adrienne Doig, Goddess Complex
Sue Anderson, Waves of emotion
Elizabeth Colbert, In Transition
Ewen Coates, Accidental Embrace
Vittoria Di Stefano, Nocturne
Belinda Piggott, Stilled, for a moment to contemplate
Amalia Lindo, The Cloud is of the Earth (v. 1)
Moya Delany, DON'T GO
End wall
Ayako Saito, Artemis Bow
Nuha Saad, Sunburst (XOX)
Deb McKay, Twist
Helen Philipp, Afterburn
Hiromi Tango, Red Moon 赤い月 Akai Tsuki
From the Heart of Bangladesh
Artwork included in the virtual tour of the exhibition, From the Heart of Bangladesh, on display at the Deakin University Burwood Library, Melbourne Burwood Campus from 26 August to 30 September 2022.
All artwork from the Atiq and Nira Rahman Collection.
Image: Rafiqun Nabi, At Noon in the Field, 2014, Acrylic on Canvas, 89 cm x 89 cm, From the Atiq and Nira Rahman Collection © and courtesy of the artist
Take a virtual tour of the exhibition here
Virtual tour artwork labels
Left wall
Shahabuddin Ahmed, Stretching, 2019, Oil on Canvas
Shahabuddin Ahmed, Cosmos, 1990, Oil on Canvas
Monirul Islam, Black Angel, 2015, Collage and Oil on Paper
Monirul Islam, Maya's Dream, 1986, Etching and Aquatint
Middle wall
Qayyum Chowdhury, Untitled, 2008, Water Colour
Qayyum Chowdhury, Symphony 4, 2014, Acrylic on Canvas
Samarjit Roy Choudhury, Flying Birds, 2017, Acrylic on Canvas
Ranjit Das, Images and Reflections 3, 2014, Acrylic on Canvas
Sheikh Afzal, Untitled, 2011, Acrylic on Canvas
Farida Zaman, Sufia and Fishing Net, 2014, Acrylic on Canvas
Ferdousy Priobhashini, Nightly Shrine, 2017, Metal
Mohammad Iqbal, Distant Skies 22, 2021, Oil on Canvas
Karu Titas, Jol Jochnai (In Luminescence), 2012, Acrylic on Canvas
Kanak Chanpa Chakma, Festival, 2016, Acrylic on Canvas
Jamal Ahmed, Gypsy Woman, 2012, Acrylic on Canvas
Biren Shome, Bangabandhu-11 (The Friend of Bengal), 2016, Acrylic on Board
Rafiqun Nabi, Janak (The father of the nation), 2011, Water Colour
Rafiqun Nabi, At Noon in the Field, 2014, Acrylic on Canvas
Biren Shome, Motherland-2, 2019, Acrylic on Canvas
Samar Majumder, Inspiration of Liberation War, 2022, Acrylic on Paper
Kanak Chanpa Chakma, A Golden Day, 2018, Acrylic on Canvas
Right wall
Monsur Ul Karim, Janani 1 (The mother I never knew), 2017, Acrylic on Canvas
Rokeya Sultana, Stardust, 2020, Tempara on canvas
Abdul Mannan, Portrait of Tagore, 2010, Pencil on Paper
Farida Zaman, Memorable, 2021, Acrylic on Canvas
Shahabuddin Ahmed, Tigre du Bengal (Bengal Tiger), 2011, Oil on Canvas
Shahabuddin Ahmed, Bull, 2020, Oil on Canvas
Abdus Shakoor Shah, Story 1, 2017, Oil & Acrylic on Canvas
Sahid Kazi, Crow, 2017, Acrylic on Canvas
Also visible outside the exhibition space
Judy Holding, Kadjimulk's Tree, 2004, powder coated aluminium and steel, 250 x 130 x 51 cm, Deakin University Art Collection. Purchase 2008.
Holding in the hand
When: 19 July–26 August 2022
Where: Deakin University Art Gallery, Building FA, Melbourne Burwood Campus
The Deakin University Art Gallery is pleased to present Holding in the hand, an exhibition featuring newly commissioned and rarely seen artworks by artists Scott Duncan, Marta Oktaba, Rachel Schenberg, Michael Staniak and Evan Whittington. In an era in which direct touch and proximity to others are avoided; holding onto something precious, being held and sensations of tactility have extra meaning. Holding in the hand explores the ways a new generation of emerging artists consider the hand and the haptic as symbolic sites of interface and communication. It investigates the integration of artistic processes, media and materials creating new forms, meta-languages and hyper-surfaces, to better understand our digital and mediated worlds.
Marta OKTABA
Stuck on the internet 2020
ink on found paper
© and courtesy of the artist
Take a virtual tour of the exhibition
Virtual tour artwork labels
All works are copyright and courtesy of the artists and their galleries.
From left clockwise around gallery.
Michael STANIAK
HDF_330 2017
casting compound, acrylic on board and steel frame
courtesy of the artist and Station Gallery, Australia
Scott DUNCAN
The Sun sets on the Congress 2022
earthenware, under glaze and glazes
courtesy of the artist and Egg and Dart Gallery, Sydney
Marta OKTABA
Untitled 2020
Untitled 2020
Dance with me 2017
Untitled 2020
Stuck on the internet 2020
Find the Sun and the Moon 2020
all works are ink on found paper and adhesive
courtesy of the artist
Michael STANIAK
PNG_102 2015
casting compound, digital UV print, acrylic on board and steel frame
courtesy of the artist and Station Gallery, Australia
Evan WHITTINGTON
Purple Hands (Radio Slave on Rinse FM) 2019
two channel digital video without sound
courtesy of the artist
centre:
Scott DUNCAN
David 2020
earthenware, under glaze and glazes
courtesy of the artist and Egg and Dart Gallery, Sydney
Scott DUNCAN
Recycled Prawns 2021
earthenware, under glaze and glazes
courtesy of the artist and Egg and Dart Gallery, Sydney
Rachel SCHENBERG
Observation Station 2022
copper frame, bronze ring, miniature OLED display, HD video (Friday 12pm at Observatory Hill NSW, finger-to-the-wind weathervane, westerly winds/due east, the sky opens up to a day)
courtesy of the artist
centre:
Scott DUNCAN
Saturn 2021
earthenware, under glaze and glazes
courtesy of the artist and Egg and Dart Gallery, Sydney
Michael STANIAK
BMP_031 2015
casting compound, digital UV print, acrylic on board and steel frame
courtesy of the artist and Station Gallery, Australia
Rachel SCHENBERG
a silver’s worth of orange
a pepper’s worth of
(gold) 20193 copper frames, 3 miniature OLED displays, 3 HD videos
courtesy of the artist
Sarah Goffman: Garbage and the Flowers
When: 24 May – 8 July 2022
Where: Deakin University Art Gallery, Building FA, Melbourne Burwood Campus
The Garbage and the Flowers is a collection of painted plastic artworks spanning over fifteen years by artist Sarah Goffman. Disposable PET bottles and single use plastic packaging have been carefully upcycled by Goffman through her creativity and artistic skill since the early two-thousands. Using the histories of ceramic design and decoration to mimic, copy and transform, Goffman recreates objects of desire from the refuse of consumer culture, creating complex artistic artefacts for our time. Curated by James Lynch, Deakin University.
Sarah Goffman
Plastic Arts 2009
PET plastics, acrylic and enamel paint
© and courtesy of the artist
photo by Mike Myers
Take a virtual tour of the exhibition
Virtual tour artwork labels
All artworks are copyright and courtesy of the artist.
From left clockwise around the gallery:
I wish this were bigger 2018
cardboard, spray enamel, found PET, permanent marker, adhesive, silicon and metallic paper
Plastic Arts 2005–2022
acrylic, MDF, found PET and various plastics, concrete, spray enamel, permanent marker, water, bamboo, pins, adhesive, resin, agate, glass, costume jewellery, ceramic, and Posca pen
Scholar’s Desk 2005–2022
found PET and various plastics, acrylic, mirror, oil paint, concrete, spray enamel, permanent marker, cotton thread, glass, paper, wood, wire, pencil and plastic chair
Left tall glass cabinet
from top to bottom:
Tahara 2016
found PET and various plastics, adhesive, wire and gemstone
After Daniel 2021
found PET and various plastics
Black and Gold 2012
found PET and various plastics, synthetic polymer paint and spray enamel
Right tall glass cabinet
from top to bottom:
Funeral Urn 2022
Plastic Arts 2005
Plant Pot 2012 found PET and various plastics, hose, ceramic, spray enamel, permanent marker, adhesive and cycad branch
I am a 3D printer 2017
acrylic, found PET and various plastics, spray enamel and adhesive
Smoking Table 2022
faux satin, found PET and various plastics, spray enamel, synthetic polymer paint, permanent marker, acrylic, synthetic leather, branch and granite
Hayley Millar Baker: There we were all in one place
When: 5 April–15 May 2022
Where: Deakin University Art Gallery, Building FA, Melbourne Burwood Campus
The Deakin University Art Gallery is pleased to present 'There we were all in one place' – an early career survey exhibition of cross-cultural artist Hayley Millar Baker (Gunditjmara). From 2016 to 2019, Hayley Millar Baker produced five photographic series. Made almost exclusively in black and white, the photographs use historical reappropriation and citation, in tandem with digital editing and archival research, to consider human experiences of time, memory and place. Millar Baker’s layered photographic assemblages affirm Aboriginal experience and culture within the Australian imaginary to form a complex image narrative of place, family, identity and survival. Curated by Stella Rosa McDonald, this project is a UTS Gallery and Art Collection Touring exhibition. The exhibition is accompanied by a unique Learning Experience designed by Wiradjuri curator and educator Emily McDaniel in consultation with the artist.
I'm the Captain Now 2016
inkjet on cotton rag
7 parts, 20 × 20cm (each)
Courtesy the artist and Vivien Anderson Gallery, Melbourne
Take a virtual tour of the exhibition
Virtual tour artwork labels
Artworks in the exhibition clockwise around the gallery from left.
Toongkateeyt (Tomorrow) 2017
Even if the race is fated to disappear 1
(Peeneeyt Meerreeng: Before, Now, Tomorrow)
inkjet on cotton rag
125 × 85.5cm
Deakin University Art Collection
Purchased 2019
Courtesy of Deakin University Art Collection
Even if the race is fated to disappear 2
(Peeneeyt Meerreeng: Before, Now, Tomorrow)
inkjet on cotton rag
158.5 × 85.5cm
Deakin University Art Collection
Purchased 2019
Courtesy of Deakin University Art Collection
Even if the race is fated to disappear 3
(Peeneeyt Meerreeng: Before, Now, Tomorrow)
inkjet on cotton rag,
120 × 80cm
Monash University Collection
Purchased 2018
Courtesy of Monash University Museum of Art
Even if the race is fated to disappear 7
(Peeneeyt Meerreeng: Before, Now, Tomorrow)
inkjet on cotton rag
145 × 85.5cm
Deakin University Art Collection
Purchased 2019
Courtesy of Deakin University Art Collection
I’m the Captain Now 2016inkjet on cotton rag
7 parts, 20 × 20cm (each)
Courtesy the artist and Vivien Anderson Gallery, Melbourne
Cook Book 2017–19
inkjet on cotton rag (diptych)
16 parts, 55 × 55cm (each)
Courtesy the artist and Vivien Anderson Gallery, Melbourne
A Series of Unwarranted Events 2018
Untitled (So he mixed arsenic with half the flour and a raging thirst was created)
inkjet on cotton rag
80 × 100cm
Untitled (The circumstances are that a whale had come on shore)
inkjet on cotton rag
67 × 67cm
Untitled (The theft of the White men’s sheep)
inkjet on cotton rag
80 × 100cm
Untitled (The best means, of caring for, and dealing with them in the future)
inkjet on cotton rag
80 × 100cm
Courtesy the artist and Vivien Anderson Gallery, Melbourne
The Trees Have No Tongues 2019
Untitled (Flight) inkjet on cotton rag
90 × 68cm
Untitled (Taming) inkjet on cotton rag
90 × 68cm
Courtesy the artist and Vivien Anderson Gallery, Melbourne
Charlie Sofo: Tutto
When: 15 February–25 March 2022
Where: Deakin University Art Gallery, Building FA, Melbourne Burwood Campus
Over the last two decades Naarm/Melbourne based artist Charlie Sofo has used the habitual activities of daily life as forms of poetic expression. This exhibition at the Deakin University Art Gallery featured Sofo’s video and moving image artworks spanning the last ten years. Tutto, the Italian word for everything, explores Sofo’s interest in the over-production of things, where the dream of an abundant life intersects with the nightmare of endless growth. Focusing on the unexceptional moment, Sofo finds pleasure and humour in ordinary desirous things.
Charlie Sofo, 'Undone 2019', digital video still image © Courtesy of the artist and Darren Knight Gallery, Sydney
Take a virtual tour of the exhibition
Virtual tour artwork labels
All works are copyright and courtesy of the artist and Darren Knight Gallery Sydney.
From left clockwise around gallery:
Cats 2011
1 minute 2 seconds
Cracks, faults, fractures 2012
2 minutes 8 seconds
Tracks 2013
1 minute 2 seconds
33 Objects 2013
1 minute 28 seconds
At The Moment 2013
55 seconds
Library 2019
1 minute 9 seconds
Undone 2019
52 seconds
Cinecitta 2021
13 minutes
The whole universe 2021
8 minutes
Grip 2021
3 minutes 4 seconds
All works are digital colour video with sound.
2021
Deakin University Contemporary Small Sculpture Award 2021
When: 15 November – 15 December 2021
Where: Deakin University Art Gallery, Building FA, Melbourne Burwood Campus
The Deakin Contemporary Small Sculpture Award provides a fascinating snapshot of contemporary sculpture practice in Australia. Congratulations to the 2021 Contemporary Small Sculpture Award winner, Michael Le Grand for his sculpture ‘Transit’.
Learn more about the winner
Explore the virtual tour of the exhibition
Download the full details of the exhibition artworks (PDF, 1.9MB)
The Big Tree and Other Landscapes from the City of Whitehorse Art Collection 2021
Featuring a selection of precious artworks from the City of Whitehorse Art Collection, this exhibition looks at how the local environment and landscapes have changed through time. It includes stunning examples of the work of well-known artists such as Louis Buvelot, E. Phillips Fox, Frederick McCubbin and Tom Roberts alongside contemporary artists William Breen, David Frazer, Mary Tonkin and Rosalind Atkins. Curated by Jacquie Nichols-Reeves, City of Whitehorse.
Take the virtual tour of the exhibition
Louis BUVELOT, Switzerland/Australia 1814-1888, The Big Tree, Gardiners Creek c.1869, oil on linen. Purchase 2004, City of Whitehorse Art Collection. Image courtesy City of Whitehorse
Grounded in Flux
When: 14 April–11 June 2021
Where: Deakin University Art Gallery, Building FA, Melbourne Burwood Campus
Held in collaboration with Deakin University Art Gallery, Grounded in Flux is a reflexive exhibition of the NIKERI Institute that celebrates the research strengths and community engagement of this important Deakin Institution. NIKERI (National Indigenous Knowledges, Education, Research and Innovation Institute) grew from the 33 year legacy of IKE (Institute of Koorie Education) and continues to be a leader in the teaching of Aboriginal and Torres Strait Islander People through Deakin’s unique community-based learning model. Grounded in Flux includes a celebration of ‘Sovereign Threads’ drawn from the unique collection of Gary Foley, video installations celebrating the Institute, and a sandpit installation by Dr Tyson Yunkaporta.
Curated by Kiri Wicks, Rebecca Gerrett-Magee and Leanne Willis.
Ms Kiri Wicks and Dr Jenny Murray Jones, “Connected to Country, a discussion with community”, © image supplied by the artists.
Venetian Blind
When: 10 February – 26 March 2021
Where: Deakin University Art Gallery, Building FA, 221 Burwood Highway, Burwood VIC 3125
Deakin’s 2021 exhibition offers a re-staging of the original event in Venice, complete with various provocations and documentation of a diverse range of place-based creative responses. The artists were also invited to respond to a new provocation offered by the curators, completed in-situ at the Deakin University Art Gallery. This series of new artistic expressions are juxtaposed with the original works that together look at the importance of collaboration, time-based and site-specific research.
Sandy GIBBS, Jondi KEANE and Patrick POUND
The Spacer 2019
Digital video of public actions in Venice
© and courtesy of the artists and the Public Art Commission
2020
Drawing on the wall
When: 17 February – 27 March 2020
This exhibition features newly commissioned and rarely seen wall-based and site responsive artworks from artists Julia Gorman, David Harley, Kerrie Poliness and Kenny Pittock. Extending the usual academic reach of the gallery, these ambitious new artworks were conceived and produced with direct student participation and collaboration. The exhibition was shown at both our Melbourne Burwood and CBD gallery and was curated by James Lynch, Deakin University.
Take a virtual tour of this exhibition:
Deakin University Art Gallery virtual tour
Deakin Downtown Gallery virtual tour
Download the extended labels for the exhibition artworks (PDF, 3.6MB)
Kerrie Poliness
BBKO 2014, SMOBK 2020
Coloured adhesive tape
Dimensions variable
Deakin University Art Gallery
Courtesy of Anna Schwartz Gallery
Image: Polo Jimenez
2019
Presbyterian Ladies' College VCE art Year 11 exhibition
When: 30 October–13 December 2019, daily 8.30am–8pm
Where: Deakin University Burwood Library Gallery Space, Foyer Building V, 221 Burwood Highway, Burwood VIC 3125
Entry: Free
Info: +61 3 9244 5344 / artgallery@deakin.edu.au
Now in its third year, the annual student art exhibition features works by students undertaking units 1 and 2 in VCE art at the Presbyterian Ladies’ College. Using a variety of materials, techniques, and processes, students will explore an area of personal interest related to culture and contemporary practices. Deakin University Art Gallery aims to provide opportunities for students undertaking units in VCE art and studio arts to gain theoretical and practical knowledge of the art industry.
Curated by Vanja Radisic, Deakin University.
Presbyterian Ladies' College students’ works, details
Recent Acquisitions from the Deakin University Art Collection
When: 30 October–5 December 2019, Tuesday to Friday 10am–4pm during exhibitions (closed public holidays)
Where: Deakin University Art Gallery, Building FA, 221 Burwood Highway, Burwood VIC 3125
Entry: Free
Contact: +61 3 9244 5344 or artgallery@deakin.edu.au
This exhibition showcases a number of important acquisitions to the Deakin University Art Collection. The University’s Art Collection is constantly changing and evolving but is always reflective of the diverse cultural life at Deakin; brave, accessible, inspiring, stylish, and savvy. This exhibition features treasured examples of leading and emerging Australian painting, sculpture, photo-media, and artist books that have been donated or purchased for the Collection in recent years.
Curated by Leanne Willis and James Lynch, Deakin University.
Peta Clancy Fissures in Time # 2017, archival pigment print
image © and courtesy of the artist. Deakin University Art Collection
Everyday research
When: 24 July–1 September
Where: Deakin University Art Gallery, Melbourne Burwood Campus
Building FA, 221 Burwood Hwy, Burwood, VIC 3125
Tuesday to Friday 10am – 4pm
Deakin University Downtown Gallery
Deakin Downtown, Level 12, Tower 2 Collins Square,
727 Collins Street, Melbourne, VIC 3008
Monday to Friday 9am – 5 pm
Todd Johnson 3 weeks, 2 days, 4 hours (detail) 2018
digital inkjet print
image © and courtesy of the artist
Deakin University Art Gallery is pleased to present an exhibition of current Deakin Higher Degree by Research candidates from the fields of Art and Performance. The exhibition showcased the interdisciplinary and experimental approaches to art making and how practice-based research is informed through the everyday. The exhibition included a special performance at Burwood Open Day on Sunday 25 August. Artists include Todd Johnson, Victoria Holessis, Jan Nelson, Kirsten Lyttle, Rachel Hanlon, Maddie Leach and Lynda Roberts. Curated by James Lynch, Dr David Cross and Dr Jondi Keane.
Deakin University Contemporary Small Sculpture Award 2019
When: 29 May–12 July 2019
Tuesday to Friday 10am–4pm, Open only during exhibitions
Where: Deakin University Art Gallery, Melbourne Burwood Campus
Building FA, 221 Burwood Hwy, Burwood, VIC 3125
In its tenth anniversary year this annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit displaying the work of the 2019 finalists.
Congratulations to the winner of the 2019 Deakin University Contemporary Small Sculpture Award:
Kate Ellis for ‘Untitled. Poodle Paw 2019’
JUDGING PANEL STATEMENT
In selecting ‘Untitled. Poodle Paw 2019’ by Kate Ellis as the winner the judges felt that the work was beautifully resolved and crafted. The work is a seductive object with a sense of mystery or strangeness, where experimental materials have been refined to articulate the artist’s ideas in a commanding way. The inscribing of the lines on the delicate surface give it a sense of being a ritualistic or sacred object that could have been from hundreds of years ago or could be from the future. It has an inherent sense of melancholy and ambiguity which creates a feeling of magic, inferring a deep understanding of art history combined with an appreciation and exploration of contemporary art. The viewer is challenged to consider the value we place on animals, perhaps one day this may be all we have left to reflect on as we are encouraged to look beyond the surface to the structures that are hidden underneath and consider their meaning.
INFORMATION ABOUT THE WORK
Materials
Beeswax, damar resin, silk thread, acrylic fur, poodle fur
Technique
Initially modelled in a high grade plasticine by hand, the piece is then cast in beeswax to achieve a translucent, 'perfect' wax. Silk thread spirals are then pressed by hand into the surface of the wax. The fur tufts are hand sewn.
Artist statement
The fur of the coiffed poodle has a softness, an immaterial quality, ambiguous boundaries; yet the weightlessness is also suffocating and there is a sense of a heavier gravitational field. Under their coats poodles are dogs, descendants of the wolf. They are wild creatures, manicured for an interior dependent existence.
From Manchester to Melbourne: Colours of the Landscape
When: 27 May–12 July
Where: Deakin University Downtown Gallery
Deakin Downtown, Level 12, Tower 2 Collins Square, 727 Collins Street, Melbourne, VIC 3008
WANG Ying, member of China Artists’ Association, Director of Education Calligraphy and Painting Association, China.
Since an early age, WANG Ying has had a passion for painting and calligraphy. He studied Western painting in Beijing Children’s Palace as a teenager and took extra studies in the Fine Arts Department while studying at Capital Normal University; successively studying with famous calligraphers and painters such as Xuetao Wang, Xuguang Zhang and Zhibin Liang.
An accomplished artist, WANG Ying has exhibited his work around the world, including at the UN in New York in 2012 (attended by then United Nations Secretary General Ban Ki-moon and his wife); joint exhibitions with Nobel Prize Laureate Sir Konstantin Novoselov in 2015 at Leeds University and in 2018 at Manchester University and most recently a solo exhibition at Huddersfield University, UK, from which Prince Andrew, Duke of York collected a work. WANG Ying is currently the Education Counsellor of the Education Office of the Chinese Consulate General in Melbourne.
This exhibition features watercolour and ink scenes of cities and landscapes he has visited from England to his current home in Melbourne. Familiar scenes are captured in lyrical beauty with fascinating contrasts between the sharp Australian light and the flowing hills of England. All elegantly captured in a blend of traditional Chinese and contemporary Western oeuvre.
Image: WANG Ying, Impression of Geelong Harbour, 2019, watercolour and ink on paper, 41 x 30 cm © the artist Image courtesy the artist, photography Simon Peter Fox
Ralph Rogers: Byamee, Brewarrina
8 April–17 May 2019
Baranbinja artist Ralph Rogers explores his cultural and ancestral connections to Brewarrina and the history of aqua culture associated with the area. Stories about the creator Byamee, which are central to the kinship of the Baranbinja and Ngemba people of North West New South Wales, are deeply and vibrantly expressed. The Torch supports current and former Indigenous offenders in Victoria through its Indigenous Arts in Prisons and Community program. The program provides art, cultural and arts vocational support to Indigenous men and women who are greatly over represented in the criminal justice system. Opportunities to create new pathways through art and culture and reduce recidivism are central to the program.
Curated by Kent Morris, The Torch
RALPH ROGERS - Byamee, Brewarrina 8 APRIL – 17 MAY 2019 Ralph Rogers Tribute to My Grandmother, Evelyn Crawford (detail) 2018 acrylic on canvas 191 x 137 cm © the artist and courtesy of the Torch
Andrew Rogers: Evolution. From Maquettes to Major Sculptures 1996–2019
10 April – 17 May 2019
Whether it be one of the massive stone structures for the largest contemporary land art undertaking in the world, or a large-scale public sculpture in metal, every work has its genesis in an idea which is brought to life in a maquette. This exhibition explores the journey of an artwork from Maquette to Major Sculpture though an exhibition of the work of Andrew Rogers, titled Evolution. This exhibition of maquettes and sculptures will be framed by installation images of his large-scale public works. Andrew Rogers is a leading contemporary Australian artist whose work is exhibited in major galleries across Australia and internationally. His work can be found in prominent public and private collections around the world. Curated by Leanne Willis, Deakin University.
ANDREW ROGERS: Evolution From Maquettes to Major Sculptures 1996–2019 10 APRIL – 17 MAY 2019 Andrew Rogers I Am (detail) 2014 stainless steel 65 x 30 x 24 cm © the artist and image courtesy the artist.
Echo Chambers: Art and Endless Reflections
13 February - 29 March 2019
This ambitious exhibition brings together contemporary Australian artists working with mirrors, mirrored surfaces and reflections, transforming three separate galleries across the Deakin University campuses into a series of dizzying spatial encounters.
The project engages increasing audience desire to see images of themselves reflected in exhibitions and also considers how contemporary culture often represents itself as a duplicate or double. Key historical examples will frame the exhibition inviting the viewer to speculate on what they see and how our experiences of representation have changed over time.
Curated by James Lynch, Deakin University.
Meng-Yu Yan
New moon cleanse I 2018
framed digital print on Ilford gold mono
35 x 45 cm (framed)
© the artist and courtesy of Dominik Mersch Gallery, Sydney
Studio Pottery from the John Nixon Collection
31 October–14 December 2019
This exhibition features the private collection of artist John Nixon, who over the last fifteen years has acquired a ceramic collection of over 500 pieces. This exhibition showcases the incredible work of ceramic artists from the 1950s, 1960s and 1970s who were working in and around the eastern suburbs of Melbourne. The exhibition demonstrates how one person’s passion, knowledge and dedication to an art form has transformed the everyday act of collecting into a cultural treasure. This exhibition is the second in a series of exhibitions especially dedicated to the art of collecting. Curated by James Lynch, Deakin University.
A selection of works (from left) by Eric Juckert, Charles Wilton,
Artur (Artek) Halpern and McLaren Pottery. Image of selected
works from the collection of John Nixon courtesy of the owner.
2018
Keysborough Secondary College VCE Art Exhibition
31 OCTOBER – 12 DECEMBER
In its second year, the Annual Student Art Show 2018 features works by students from the Keysborough Secondary College. Students are exploring personal and social identities by engaging with ‘Self-Concept’, a term widely used in contemporary psychology to describe how we perceive and evaluate ourselves, as well as, how we think others perceive us. In this body of work the students, as artists, are responding to the challenge of communicating the deeply personal nature of the ‘self’ to the unknown viewer using only the visual and the sensory as tools. Deakin University Art Gallery aims to provide opportunities for students studying VCE Art and Studio Arts to gain theoretical and practical knowledge of the art industry.
Curated by Vanja Radisic
Deakin, The Beginning. Celebrating 40 Years of Deakin Alumni.
12 September to 19 October
Deakin is immensely proud to celebrate 40 years since our first students walked into the graduation tent at the Waurn Ponds Campus in Geelong. From humble beginnings to a global university with over 56,000 students and over 230,000 alumni, our University and alumni have developed and prospered together. This exhibition explores the early years of Deakin and the vibrant Waurn Ponds Campus life. It recognises our alumni as the beating heart of the University’s story, to be treasured and acknowledged as integral to the success of Deakin and its positive impact on the world.
Image:
Deakin University Waurn Ponds Campus circa 1978
image courtesy of Deakin Archives
Deakin University Contemporary Small Sculpture Award 2018
5 September–19 October
In its tenth year, this annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit at Deakin University. This exhibition of finalists’ works provides a fascinating snap shot of contemporary sculpture.
We are pleased to congratulate Hannah Toohey on winning the 2018 Deakin University Contemporary Small Sculpture Award for her work titled, Archaea No 4. Ms Toohey won the $10,000 prize and her sculpture will become part of the Deakin University Art Collection. The finalists and winners were selected by the judging panel including Lisa Byrne, Director of McClelland Sculpture Park and Gallery, Robyne Latham, practising artist and former Deakin academic and Leanne Willis, Senior Manager of Art Collection and Galleries representing Deakin University.
In selecting Archaea No 4 as the winner the judges felt the work was well executed with a clarity of construction resulting in a fascinating tension between the formal nature of the spheres and the elongated stick like legs. They also felt it was well resolved as a small sculpture in its own right and enjoyed its poise which contrasted with the whimsical nature of the work and its implied sense of movement.
The accompanying Contemporary Small Sculpture Exhibition features the 40 shortlisted works and is open at the Deakin University Art Gallery until October 19.
Finalists 2018
Fiona Abicare, VIC Megan Bottari, NSW Sandy Caldow, VIC Eugene Carchesio, VIC Emma Coulter, VIC Yuro Cuchor, SA Ham Darroch, ACT Rox De Luca, NSW Mariana Del Castillo, NSW Julian Di Martino, VIC Michael Doolan, VIC Mark Eliott, NSW Helga Groves, VIC Lee Harrop, NT | Will Heathcote, VIC Matt Hinkley, VIC Taro Iiyama, VIC David Jensz, NSW Brett Jones, VIC Roman Liebach, VIC Donna Marcus, QLD Anne-Marie May, VIC Sean Meilak, VIC Kendal Murray, NSW John Nicholson, NSW Kenny Pittock, VIC Kate Rohde, VIC | Robbie Rowlands, VIC Nuha Saad, NSW Adam Stone, VIC Susanna Strati, NSW Chi-Ling Tabart, TAS Sherna Teperson, NSW Hannah Toohey, NSW Naomi Troski, VIC Jos Van Hulsen, VIC Peter Vandermark, ACT Isadora Vaughan, VIC Dan Wollmering, VIC Pam Wragg, VIC |
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Paint, Painting, Painted
25 July–7 September 2018
Paint, Painting, Painted is an exhibition featuring emerging Melbourne artists Matthew Dettmer, Sarah Gosling and Laura Skerlj. Working with divergent approaches to painting and painting processes, these artists have been born into an internet era defined by a proliferation of images, big data and social media. Amidst this state of constant distractions, the artists consider how subjectivity manages to impose itself, even when we are not looking. Curated by James Lynch, Deakin University.
Matthew Dettmer
Hippy Pocket (detail) 2018
Image courtesy of the artist
Wearing Your Heart on Your Sleeve
25 July-26 August
In 1818 Mak Sai Ying arrived in Sydney as the first known migrant of Chinese descent – the start of a 200-year journey of the Chinese community in Australia. At this 200 year milestone, the Australian population now comprises over 1.2 million Chinese Australians – a community that has influenced the evolution of contemporary Australian Society and, in the future, will play a pivotal role in the shaping of Australia as a nation, particularly in its engagement with the Asia Pacific region. Deakin University is celebrating this bicentenary by staging an exhibition called Wearing Your Heart On Your Sleeve, a journey about a personal and collective identity reflected through the garments Chinese Australians have worn over the past 200 years in Australia.
Wedding portrait of Sam Chung Gon
and Queenie Young in Sydney c1920s
Donated by Frank Chinn, Chinese Museum Collection
Artworks from the Torch
28 May–20 July 2018
Deakin University Downtown Gallery, Level 12, Tower 2 Collins Square
727 Collins Street, Melbourne VIC 3008
The Torch supports current and former Indigenous Australian offenders in Victoria through its arts in prison and community program. The program provides art, cultural strengthening and arts vocational support to Indigenous Australian inmates and parolees, who are greatly over-represented in the criminal justice system. Opportunities to create new pathways through art and culture, and reduce recidivism are central to the program. This exhibition builds from successful exhibitions at Deakin in 2017 and is curated by artist and The Torch CEO Kent Morris (Barkindji).
Robby Wirramanda
Wergaia Wotjobaluk
New Beginnings #2 2017
Acrylic on canvas
61 x 92 cm
Brody Xarhakos: The Shape of Mentoring
29 June–18 July
Deakin University Burwood Library Gallery Space
Foyer Building V, 221 Burwood Highway, Burwood VIC 3125
Brody Xarhakos started painting as a teenager. With his love of street art, which grew into a stirring passion, he created and explored the realms of painting in the outside world. He studied at the Victorian College of the Arts in 2014 predominately in the medium of painting, and now, more recently, with the moving image, projection and digital soundscapes. This exhibition consists of paintings that were created to be used as activators and discussion points in a peer mentoring workshop with Deakin's Helping Students program coordinators.
Xarhakos questions whether mentoring communities could be the ugly machinery of the new capitalism or whether they are an expression of genuine interplay, reciprocity, exchange and learning? This collection of works explores metaphors created collaboratively and re-imagines them with a gentle energy and openness, gesturing towards further dialogues.
Brody Xarhakos
Diamond, 2017
Acrylic on canvas, 122x92cm
Collection of the artist
Image courtesy of the artist
Boneta-Marie Mabo: Immersed
30 May–13 July
Deakin University Art Gallery, Melbourne Burwood Campus
Building FA, 221 Burwood Highway, Burwood VIC 3125
Immersed is a collection of portraits of First Nations women that celebrates resistance against patriarchal colonialism. Each woman presents herself as she wants you to see her. The portraits offer a glimpse of individual resistance, power and beauty.
'First Nations women are over-represented in systems of control. Our lives are treated as an inconvenience to white society. Our existence unsettles white Australia because it is a reminder that First Nations people are still here, that sovereignty was never ceded. Even though we are surrounded by ugliness, we immerse ourselves in the fight for equality and justice. Unashamed and unapologetic, this collection invites you to see First Nations women as we see ourselves.' - Artist statement, from email conversation, January 2018.
Boneta-Marie Mabo
Nayuka Gorrie, 2018 (detail)
Image courtesy of the artist
Abstraction: Twenty-Eighteen
9 April – 27 June 2018
Deakin University Burwood Library Gallery Space
Foyer Building V, 221 Burwood Highway, Burwood VIC 3125
Deakin University joins with other Melbourne galleries to acknowledge the 50th anniversary of the National Gallery of Victoria's inaugural exhibition The Field. The exhibition includes works by George Johnson, Normana Wight, Stephen Bram, John Peart, Graeme Johnson, Robert Rooney, Janet Dawson, Sydney Ball, Wilma Tabacco and Stephen Wickham, along with other non-objective and abstract art from the Collection of Deakin University.
The Centre for Abstract+Non-Objective Art is a new area of specialty for the University Collection.
Logo design: Stephen McLaughlan
Gosia Wlodarczak: Artist Not @(at) Work, 31 Domestic Jobs For December
9 April – 25 May 2018
Deakin University Downtown Gallery, Level 12, Tower 2 Collins Square
727 Collins Street, Melbourne VIC 3008
Artist Gosia Wlodarczak's latest project is a series of 31 performances that took place each day throughout December 2017. While dressed up in designer garments selected from her extensive wardrobe collection, Wlodarczak completed various domestic chores around her home, which were in-turn documented by photographer Longin Sarnecki and uploaded onto social media for interaction.
The entire set of 31 photographs will be exhibited as a series of high-resolution archival prints at Deakin University’s Downtown Gallery. Wlodarczak’s project sets out to establish a dialogue between the two phrases: the artist is always working and women's work is never done.
Gosia Wlodarczak
Artist Not @(at) Work, 31 Domestic Jobs for December, 2017
Digital photograph archival print on paper
Photo by Longin Sarnecki, courtesy of the artist
Lucas Ihlein: Diagrammatic
11 April – 18 May 2018
Deakin University Art Gallery, Melbourne Burwood Campus
Building FA, 221 Burwood Highway, Burwood VIC 3125
Printmaking stimulates visualisation and exchange in the activities of Wollongong based artist Lucas Ihlein. Across his work involving socially engaged art, agriculture and environmental management, he expresses an affinity with print media.
This exhibition surveys his printmaking activities focussing on artist-led contexts including Squatspace, Big Fag Press and Teaching & Learning Cinema. The exhibition presents editioned and intervention/performance related artworks highlighting Ihlein’s promotional flair, appreciation for the economies of print and commitment to grassroots change. This exhibition is supported by the School of Communication and Creative Arts, Deakin University.
Works by Lucas Ihlein and collaborators.
Curated by Jasmin Stephens
Deakin Women
13 March – 29 March 2018
Deakin University Burwood Library Gallery Space
Foyer Building V, 221 Burwood Highway, Burwood VIC 3125
The role of women, in both family and public life, has undergone major change and transformation. In the twenty-first century, women are seizing the opportunity to be versatile, motivated and active citizens who inspire and lead change. Deakin women are strong, multi-faceted individuals, who successfully juggle many different roles in their lives. While they are often recognised for their workplace achievements, their other passions and commitments – the other facets to their personalities – are obscured or unknown. This exhibition of photographs by Deakin photographer Donna Squire celebrates the diversity and backgrounds of a cross-section of the University’s female staff, encouraging women to see themselves as accomplished and resourceful individuals who can effect change in their own lives, and the world.
Donna Squire
Alecia Bellgrove 2018
Digital photograph
Image courtesy of the artist
Pamela Irving: YOLO Man and his Apocalyptic Alphabet
12 February – 29 March 2018
Deakin University Downtown Gallery, Level 12, Tower 2 Collins Square
727 Collins Street, Melbourne VIC 3008
YOLO is a social media acronym meaning You Only Live Once. Pamela Irving’s ‘YOLO Man’ character started life in her murals at St Kilda’s Luna Park and were most recently shown at the Gallery of Contemporary Mosaics in Chicago, USA.
In this series of original ink drawings and mosaics to be exhibited for the first time in Australia, YOLO Man is depicted carrying a variety of apocalyptic figures on his head, hands and sometimes even his tongue. Often struggling due to the gravitas of those that burden him, YOLO man however manages the task with great optimism.
Irving appropriates imagery from both well-known and obscure
mosaics, drawings and paintings about the apocalypse. YOLO Man is a much loved character of the artist and a great edict to live by.
Pamela Irving
Yolo Man & Bruegel's Barrel Bug (detail) 2015
Ink on paper
Image courtesy of the artist
The Drawing Room
13 February – 29 March 2018
Deakin University Art Gallery, Melbourne Burwood Campus
Building FA, 221 Burwood Highway, Burwood VIC 3125
The English tradition of a drawing room was a dedicated space in the house designed to entertain visitors. Historically, a ‘withdrawing’ room was a room to which the owner of the house, family members or distinguished guests could withdraw for privacy to encourage social interaction, play, comedy, story-telling and drama.
The Drawing Room is an exhibition in the form of a series of short residencies by Australian artists: Anastasia Klose, Euan Heng, Kenny Pittock and Zilverster - Sharon Goodwin and Irena Hanenbergh. The exhibition focuses on the qualities of drawing as a medium of thinking and talking: exploring the intimate, informal, immediate and conversational nature of putting pencil to paper and sharing this with others.
Kenny Pittock
Me drawing Phil Jupitas drawing McCubbin 2017
Digital photograph of felt tipped pen on paper
Image courtesy of the artist
Ilona Jetmar: PUNCTUM
5 February – 9 March 2018
Deakin University Burwood Library Gallery Space
Foyer Building V, 221 Burwood Highway, Burwood VIC 3125
Family archives provide a rich source material for artist and current Deakin PhD candidate Ilona Jetmar. Family photographs, stories and cultural objects are the starting point of her creative process becoming re-purposed and recontextualised.
Through her painting practice Jetmar attempts to reconcile and connect with lost heritage whilst revealing the dislocated cultural practices of the Hungarian diaspora. These works look for the hidden element in images that causes us to react – the punctum.
Ilona Jetmar, #616 Eszter R 2017
Oil on linen
Image courtesy of the artist
2017
AFTERIMAGE
4 December 2017 – 2 February 2018
Deakin University Downtown Gallery, Level 12, Tower 2 Collins Square
727 Collins Street, Melbourne VIC 3008
New photomedia from the Deakin University Art Collection
Kent Morris, Polixeni Papapetrou, Patrick Pound, Zan Wimberley and Anne Zahalka
One reason afterimages occur is from an over exposure to images. When the eye is over stimulated, images are said to be moved to a new area of our cerebral cortex, redoubling the image. Long after the first representation appears, afterimages occur prolonging the effect of the image in our brain. Knowledge of how images function has evolved over time to include social, political, cultural and neurological developments. From theories of the copy and appropriation from the 1970s and 1980s to new discourses around images as digital meta-data, the way images are used, transferred and the ways they transform our experience is a rich subject for contemporary artists.
This exhibition surveys a selection of recent acquisitions to the Deakin University Art Collection. The artists: Kent Morris, Polixeni Papapetrou, Patrick Pound, Zan Wimberley and Anne Zahalka have worked with traditions of photography for some time. Whilst Wimberley and Morris are considered emerging artists, Papapetrou, Pound and Zahalka have been working consistently for over four decades. Imagery taken by a camera, existing pictures and representations are starting points and the raw materials for their various investigations and artistic research. They use methods of remembering and memorializing, appropriation, the archive, collecting, aggregation and the built environment in their approaches to understanding the after effects of images. Images no longer just depict the world around us but actively now shape and produce the various realities in which we live our lives.
James Lynch
Curator - Art Collection and Galleries
Advancement
The Void. Visible. Abstraction & Non-Objective Art
1 November – 15 December 2017
Deakin University Art Gallery, Melbourne Burwood Campus
Building FA, 221 Burwood Highway, Burwood VIC 3125
'In art there is a need for truth, not sincerity.' - Malevich
Instigated by artist Stephen L Wickham, The Void Visible. Abstraction & Non-Objective Art is an exhibition with fellow artists and close colleagues Stephen McCarthy, Andrew Christofides and Wilma Tabacco. Featuring important works from this genre the artists will investigate the various legacies and continuities within the practice of Abstraction & Non-Objective Art in the context of contemporary Australian Art.
Wilma Tabacco, Night Flight 2008-09
Oil on linen, 152x183cm
Image courtesy of the artist
Photography: Simon Peter Fox
Hannah Quinlivan: Travelling Light
14 September – 20 October 2017
Deakin University Art Gallery, Melbourne Burwood Campus
Building FA, 221 Burwood Highway, Burwood VIC 3125
Drawing moves between materials like steel, the body and voice in the work of artist Hannah Quinlivan. Working in collaboration with artists, classically-trained vocalists and dancers, Travelling Light explores the notion of adaptation in a time of constant motion. The question of movement seems to haunt our times. Some move freely while others are forced to stand still – creating new types of tension. This exhibition based on a series of dance, movement, sound and sculptural urban interventions developed in Berlin, culminates at the Deakin University Art Gallery at Burwood Campus.
Images and footage from the official opening night on Wednesday 13 September, including a special performance of Transition with vocalists Louise Keast and Shikara Ringdahl, can be found on our Facebook page.
Visit our YouTube page to watch the Deakin Alumni Webinar from 6 September, Travelling Light with Exhibition Artist Hannah Quinlivan.
Art and Performance by Research
26 July – 8 September 2017
This exhibition at the Deakin University Art Gallery brings together thirteen artists and current Higher Degree by Research candidates in the fields of Art and Performance within the School of Communication and Creative Arts at Deakin. Co-curated by Professor David Cross, Dr Patrick Pound and James Lynch. This large scale exhibition expands across four locations at Deakin University including the Art Gallery and the main library gallery space at Melbourne's Burwood Campus, the Pop Up gallery at Deakin Downtown and The Project Space at the Geelong Waterfront Campus.
- Deakin University Art Gallery, Melbourne Burwood Campus
Building FA, 221 Burwood Highway, Burwood VIC 3125
Artists featured: Anindita Banerjee, Jane Bartier, Bindi Cole Chocka, Shane McGrath and Monique Redmond. - Deakin University Downtown Gallery, Level 12, Tower 2 Collins Square
727 Collins Street, Melbourne VIC 3008
Artist featured: Jem Noble. - Deakin University The Project Space, Geelong Waterfront Campus
Corner Cunningham St and Western Beach Rd, Geelong, VIC 3220
Artists featured: Sandy Gibbs, Merinda Kelly, Raffaele Rufo, Amber Smith, Dario Vacirca and Sorcha Wilcox. - Deakin University Burwood Library Gallery Space
Foyer Building V, 221 Burwood Highway, Burwood VIC 3125
Artist featured: Shelley Jardine
Deakin University Contemporary Small Sculpture Award 2017
7 June – 14 July 2017
Deakin University Art Gallery, Melbourne Burwood Campus
Building FA, 221 Burwood Highway, Burwood VIC 3125
In its ninth year, this annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit at Deakin University.
Applications for the award closed on 13 April 2017 and the winner, Melbourne-based artist Richard Stringer, was announced at the launch of the five-week exhibition of finalists' works on Tuesday 6 June.
Deakin Vice-Chancellor, Professor Jane den Hollander, presented Mr Stringer with the $10,000 acquisitive prize for his work titled, House on Fire. The piece will now become part of the Deakin University Art Collection.
Download the media release about the Contemporary Small Sculpture Award winner (PDF, 120.2 KB)
Deakin Vice-Chancellor, Professor Jane den Hollander, with the Contemporary Small Sculpture Award winner, Richard Stringer.
No Turning Back: Artworks from The Torch
29 May – 14 July 2017
Deakin University Downtown Gallery, Level 12, Tower 2 Collins Square
727 Collins Street, Melbourne VIC 3008
The Torch supports current and former Indigenous offenders in Victoria through its indigenous Arts in Prisons and Community program.
The program provides art, cultural strengthening and arts vocational support to Indigenous inmates and parolees who are greatly over represented in the criminal justice system.
Opportunities to create new pathways through art and culture and reduce recidivism are central to the program.
Namib Mata Mata, Yorta Yorta/Muthi Muthi, Magpie Goose Hunting,
Acrylic on canvas 2016, 131x100 cm
ON THE SHEEP'S BACK by Francis Reiss
30 March – 12 May 2017 and 7 June – 14 July 2017
In the 1950s, the wool trade epitomised the Australian way of life. Australia's export economy rode high 'on the sheep's back'. In this captivating exhibition, photojournalist Francis Reiss documents the life and times of a rural enterprise at Burren Burren, near Collarenebri, New South Wales. Enduring images of Rex White and his family, taken in 1951, offer a glimpse of the 30,000 acres and 5000 sheep that symbolise a successful farm at the height of the wool boom in Australia.
Francis Reiss, Rex White
The iconic farmer 1951
Re-printed 2013
Unproductive Thinking
26 April – 26 May 2017
Jessie Bullivant, Lauren Burrow, Eugene Carchesio, Laresa Kosloff, Rob Mchaffie, Ian Milliss, Elyse De Valle and Simon Zoric.
Increasingly we are asked to be improving ourselves seemingly 24/7. The pressure to be transforming into something better is constant but for what purpose and what reward? Unproductive Thinking mediates on these ideologies. How do artists engage their time and how does the production of art differ from the incessant push to be always efficient, diligent and productive members of society. Unproductive Thinking features the humorous, poetic and mundane means artists employ to seek out imaginative alternatives.
The exhibition features work by Australia's leading emerging and established artists displayed throughout Deakin University's Burwood campus.
Sam Jinks
February 2017
This was a one-time-only opportunity to have a fascinating, intimate and up-close look into the extraordinary, hyper-real sculptures of this very talented Australian artist.
2016
What does this one do?
27 July – 2 September 2016
What does this one do? interrogates the relationship between engagement and entertainment. With increased recognition of the visitor and the rise of an audience voiced by social media, what does it actually mean to engage?
Guest curated by Carly Grace and Michelle Mountain through the Deakin University Museum Studies Alumni Program.
Anna Varendorff with Haima Marriott Bouba (detail), 2016
Brass, light and sound, dimensions variable
Photo: Haima Marriott
Deakin University Contemporary Small Sculpture Award 2016
8 June – 15 July 2016
In its eighth year, this annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit at Deakin University. One outstanding entry is awarded $10,000 and becomes part of the Deakin University Art Collection.
Melbourne artist Geoffrey Bartlett was selected from an exceptional field of 305 entries from around the world to receive the 2016 award for his striking work titled Fusion Revisited.
Previous winners include artists: Kendal Murray 2015, Mikala Dwyer 2014, Michael Sibel 2013, Lisa Roet 2012, Stephen Bird 2011, Robert Hague 2010 and Stephen Benwell 2009.
Deakin University Small Sculpture Award (installation view) 2016
Still in progress...
13 April – 27 May 2016
Still in progress... is an exhibition of work by current Deakin University PhD Students enrolled in the School of Communication and Creative Arts. It includes works by artists Sandra Minchin-Delohery, Todd Johnson, Kirsten Lyttle, Danielle McCarthy, Greg Penn, Ron Gallagher, Rachel Hanlon, Louise Morris, Ilona Jetmar, Alison Bennett, Keith MacDonald and Daniela Bertol.
Gregg Penn, Free of Internal Dialogue, 2016
Video still
Image courtesy of the artist
MYTHO-POETIC: Print and Assemblage Works by Glen Skien
24 February – 31 March 2016
An exhibition of artist books, assemblages, collages and installations that bring to life social histories and questions of identity. The exhibition offers viewers an immersive experience rich in imagery that navigates residues of the past and creates new propositions for Australian identity and historical awareness.
MYTHO POETIC is organised by the Gympie Regional Gallery and toured by Museums & Galleries Queensland. It has been assisted by the Gordon Darling Foundation and the Australian Government through the Ministry for the Arts' Visions of Australia program.
Glen Skien, Constellations, 2013
Collage, photo transfer and encaustic on paper, variable size.
Image courtesy of the artist and Museums & Galleries Queensland.
2015
Where are the Originals? Once were photographs… Peter Lyssiotis
28 October – 11 December 2015
Where are the Originals? slows down the frantic pace of photography in the modern era, pausing for a breath in our rush to capture every moment by taking an over-the-shoulder look at photography and interrogating it. Amongst other things this exhibition posits the view that once an idea has been stretched, almost to breaking point, it will return inevitably to the original.
Lyssiotis' process of scratching, erasing, sanding and over drawing an existing image is a way of drawing those photographs, which have been made and already reproduced back to their essence… light. So that the immediacy of photography goes arm-in-arm with the meditative nature of drawing.
Based on two series of works, 'Men of Flowers' and '… & Now?' these works look at the challenge of making visible that which the initial photographer has not foreseen, revealing, in the process, what was hidden in the original, with a view, always, to reach for those unexpected levels of poetry (and perhaps humour).
Curated by Leanne Willis
Peter Lyssiotis, … & now? III (detail), 2009
Giclee print
Deakin University Art Collection
Photo: Simon Peter Fox
Found in Translation: Deakin University Art Gallery
28 April – 29 May 2015
Found in Translation: Deakin University Art Gallery is part of Gosia Wlodarczak's ongoing Instruction Drawing project. Taking a drawing produced during a residency at the Western Washington University Art Gallery in 2012 as her starting point, Wlodarczak has developed two pictorial alphabets, each letter of the English alphabet represented by a small detail of this drawing.
Using these pictorial alphabets, Wlodarczak has created a series of three site-specific wall drawings, each containing encoded texts. The first has been completed by the artist; the second, by Deakin University Art Gallery staff using a manual provided by the artist, 'Instruction for the Maker'; and the third will be a collaboration with visitors to the exhibition.
Texts selected by the artist and University staff, which relate to project and to the specific context of the University setting, are encoded within two of the drawings, which may be decoded using a set of instructions provided by the artist 'Instruction for the viewer'. Visitors to the exhibition are invited to contribute a word to the project, which the artist will translate into a third wall drawing during a four-day residency from 28 April to 1 May, culminating in a collaborative concrete poem.
Gosia Wlodarczak extends the practice of drawing in performative, interactive and conceptual projects that respond to her direct environment and explore the idea of drawing and language being coded modes of communication.
Gosia Wlodarczak, Dust cover Eero Saarinen womb sofa, 2012
Performance with pigment marker, acrylic, stains and marks on canvas.
Deakin University Art Collection
Photo: Longin Sarneci
George Gittoes: I Witness
18 February – 5 April 2015
George Gittoes: I Witness is the first major survey in Australia of the work of leading Australian artist and filmmaker George Gittoes. Gittoes is a nationally significant and internationally recognised Australian artist best known for creating works in regions of conflict and upheaval around the world including Rwanda, Bosnia, Afghanistan and Iraq. Known for working in areas of international conflict, here Gittoes sharpens his eye around the moral, ethical and spiritual dimensions of being human.
Curated for Hazelhurst Regional Gallery and Arts Centre by Rod Pattenden, George Gittoes: I Witness presents the major themes explored throughout Gittoes' 40 year career, with a diverse body of work that includes paintings, drawings, printmaking, artist diaries from the fields of war, installation and film.
It is drawn from the artist's and other private collections with many works never having been seen publicly in Australia.
A Hazelhurst Regional Gallery and Arts Centre touring exhibition.
George Gitttoes, Night Vision (detail), 1993–1994
Oil on canvas
Photo: Simon Peter Fox