Irene Rose is pleased to present 'Still Life Part. I' curated by Adam Stone.
NOTE: This exhibition will be opening on a Wednesday rather than our usual opening evenings that occur on Tuesdays.
Opening: Wednesday the 23rd of May 6:00pm - 8:00pm
Exhibition Dates: 24th May - 16th June
Gallery Hours: Wednesday - Saturday 12:00pm - 5:00pm
Irene Rose recognises that the gallery sits on stolen and occupied grounds. It acknowledges the rightful owners as the people of the Kulin Nations, and observes the legitimacy of their connection to place and community on these lands. Irene Rose pays its respects to their Elders; past and present.
'Still Life Part. I'
Curated by Adam Stone
James Deutsher holds a Bachelor of Visual Arts from the Victorian College of Art, University of Melbourne, Melbourne. His practice combines readymade, architectural and domestic objects with custom fabricated sculpture which develop logical narrative to comment upon the impossibility of a unified perception of collective reality.
He has had solo exhibitions throughout Australia, New Zealand, London, Singapore and Japan and has exhibited in group exhibitions at the Tate Modern, London, Museum of Contemporary Art, Sydney and in galleries in France, China and New Zealand.
Deutsher is creative consultant to China based fashion label FFIXXED STUDIOS. He founded and co-directed Y3K Gallery in Melbourne (2009 - 2011) and was a founding co-director of World Food Books. In 2010, Deutsher completed an Asialink Tokyo Residency (w/ Christopher L G Hill) and has been the recipient of several awards including the NGV Woman's Association Award (2005) and the TCB Art Inc. Award (2005).
James Deutsher is represented by STATION Gallery, Melbourne.
Dane Lovett currently lives and works in Melbourne. He completed a Bachelor of Fine Art at Queensland University of Technology, Brisbane, in 2004, received a Bachelor of Fine Art (First Class Honours) and a Masters of Fine Art from the Victorian College of the Arts in 2007 and 2016.
Dane Lovett’s paintings are delicately crafted observations of familiar subject matter, from domestic plants and flowers to left over remnants of music and popular culture. His work often echoes traditional still-life painting, yet a familiar arrangement of flowers and vases take on new meaning with the inclusion of forgotten and outdated technology. The imagery of a vintage synthesiser, an old Vinyl LP or a discarded television, are placed in a nostalgic haze that questions their belonging as they float between the personal and the universal.
Lovett’s has exhibited extensively in Australia and abroad. He has participated in solo and group exhibitions at a number of public, artist run and commercial galleries over the past 10 years. Recent exhibitions include: Nightshades, Sulivan + Strumpf; Club Moss, STATION; Versions, TCB; Dane Lovett, KALIMANRAWLINS; Paintings, West Space and Explaining Colours to the Blind, Tristian Koenig. He has been the recipient of a number of grants and awards including an Australia Council Studio Residency in Japan; The RBS Emerging Artist Award; the Clayton Utz Travelling Scholarship the SOYA Art Prize and a Australia Council New Work Grant.
He is represented by STATION, Melbourne and Sulivan + Strumpf, Sydney.
Chris Bond’s practice involves the invention and embodiment of fictional artists, writers, organisations and scenarios that assist with the creative act. In his painting practice, the process finds an end in the form of painted facsimiles of imagined books, magazines, exhibition catalogues and correspondence. Within institutional settings, his installations adopt the conventions of museum display to convey unlikely, often fantastic narratives. In each of these forms, Bond combines identity fabrication and closely-worked detail in order to play with knowledge and perception.
Bond studied Fine Art at RMIT in the mid-1990s and has exhibited since 2000. He undertook a studio residency at Gertrude Contemporary in 2001, and has since featured in numerous group and solo exhibitions, at venues including the Australian Centre for Contemporary Art; Gertrude Contemporary; Blindside; Centre for Contemporary Photography; Bus Projects; Heide Museum of Modern Art; National Gallery of Victoria; Museum of Contemporary Art, Sydney and Samstag Museum, Adelaide. In 2013 he was awarded the Arthur Guy Memorial Painting Prize, and in 2016 was included in the Adelaide Biennial of Australian Art. In 2017 his work will be seen at Art Basel Hong Kong, and in The National Biennial of Australian Art, Sydney. In 2017 he won the BalletLab McMahon Contemporary Art Award and was awarded an Australia Council for the Arts Development Grant.
Bond is represented by THIS IS NO FANTASY + dianne tanzer gallery, Melbourne, and Darren Knight Gallery, Sydney. He is a candidate for a Doctor of Philosophy in Fine Arts (Visual Art) at the Victorian College of the Arts, and is the recipient of an Australian Postgraduate Award. He lives and works in Melbourne.
Chris Dolman’s practice moves across painting, sculpture and sometimes video. Using wry humour as a veil to disguise meaning, and juxtaposing art history with popular culture and everyday lexicons, Dolman looks to self-portraiture, still life, and interior motifs, to explore scenes of the absurd and tragicomic. Probing the sad ironies complicit in contemporary artistic and personal life, he mines the many mundane melodramas which make up our life. In his work, failure is always lurking, and feelings of doubt, anxiety, regret and boredom roam free-range.
Dolman holds an MFA (research) from Sydney College of Arts, Sydney University, 2016, and a BFA (first class) from the Victorian College of the Arts, University of Melbourne, 2010, where he was the recipient of the Wallara Travelling Scholarship (2009). He was awarded the 2017 AGNSW Dyason Bequest. He has recieved support from the Australia Council for the Arts and Arts NSW. Dolman has undertaken international residencies at the Cité Internationale des Arts, Paris, and Frans Masereel Centrum, Belgium. National residencies include: Hill End, Bundanon Trust, BigCi NSW, Ceramic Design Studio, and St George Institute of TAFE. He has exhibited internationally: Auckland Art Fair 2016 and SPVI Turner gallery Tokyo, and nationally with solo and group shows at: Galerie Pompom; Alaska projects; Firstdraft; West Space; Seventh; FELTspace; Fontanelle; Wellington St projects; MOP projects; Casula Powerhouse; Hazlehurst Regional; Hawkesbury Regional; Anna Pappas and [MARS] gallery.
Dolman created and ran the project gallery TWENTY THIRTYSEVEN (2015).
He is represented by Galerie pompom, Sydney.
Olga Bennett’s work reflects upon the limitations of photographs as privileged sources of knowledge about the past and examines how photographic documents are continuously altered through ongoing digital mediation. She uses an hybrid digital/darkroom process to create works that are anachronistic in their materiality and provenance.
Olga recently graduated with BFA (Honours) from the Victorian College of the Arts and held a solo show at BUS Projects. She has participated in collaborative and curated exhibitions in Melbourne at the Center for Contemporary Photography, CAVES, The Substation, Monash Gallery of Art, BUS Projects, KINGS artist run, C3 Contemporary, George Paton and Margaret Lawrence gallery and internationally at CalArts Gallery (Los Angeles), and Gallery Kiitos (Japan). She was a recipient of multiple Center for Contemporary Photography Salon awards, the Evans Family Award for Photography and a Melbourne University Student Union Arts grant. Her work was shortlisted for Bowness Prize (2017), Footscray Art Prize (2017) and Majlis Travelling scholarship (2015).
Annika Koops is an artist whose work explores the impact of networked technologies upon human relations and the formation of self. By exploring new representational paradigms involved in the intertwining of painting, photography and computer generated imagery, her work reflects upon the break down of barriers between physical and virtual space and its psychological implications.
Annika has been the recipient of a number of significant grants and prizes including the Australia Council for the Arts British School, Rome Residency, The Keith and Elisabeth Murdoch Traveling Fellowship, Australia Council New work grant and an Australian Postgraduate Award. She has been invited to participate in a number of International exhibitions such as the Inaugural Bristol Biennial and the Project(or) Exhibition Rotterdam as well as having exhibited at a range of public institutions, artist run spaces and private galleries in Australia. She has undertaken National and International residencies as well as having work in significant Australian public collections such as Art Bank and MONA Hobart.
She is represented by Bett Gallery Hobart.
Focusing on the art community around her, Kez Hughes makes art about art, realist paintings that document exhibitions of her contemporaries. These paintings of paintings, sculptures or installations elaborate on issues of authenticity, subjectivity and cultural and social economies.
After graduating from the Victorian College of the Arts and in 2005 with a Bachelor of Fine Art (First Class Honours), Kez has gone on to lecture at the Ian Potter Centre for Cultural Materials Conservation at Melbourne University and the Victorian College of Arts. In 2015 along with artist Storm Gold, Kez opened CAVES, a curated, not for profit gallery located in the Nicholas Building in Melbourne, Australia.
Kez has exhibited widely in Melbourne, in solo and group exhibitions. Selected solo presentations include; Spaghetti Western, C3 Art Space; The Full Picture, Chapter House Lane; Best Of, West Space; Love the Way You Make Art, Bus Projects and World Tokenism, TCB. Hughes was the recipient of the Roger Kemp Memorial Award and an APEX Art Fellowship.
Anne-Marie May is an artist who works across mediums, from sculpture and installation to design and textiles.
A long-standing interest in architecture and craft informs her experimentation with process and the production of objects. Making and materials are central to May’s practice. Her methodology is multifaceted and intuitive, a process of reworking materials to explore spatial, perceptual and chromatic relationships. Materials as diverse as bronze, felt and transparent acrylic inspire her experimental approach.
Her practice is a nuanced exploration of the continuum between geometry and gesture, transparency and solidity, void and mass.
May transforms both materials and objects to produce a range of contemplative sculptures or spaces. In a recent series, she heats and stretches acrylic to yield a range of colour harmonies, producing sculptures that conduct and project light and create shadows that animate the exhibition space. At a large scale and suspended to introduce subtle movement, organic articulated forms such as RGB (mobile), 2013–14 (in the collection of the National Gallery of Victoria) and Hema Spectrum, 2015, (commissioned by Monash University) accentuate the axis of the architecture.
Anne-Marie May’s work is held in numerous public collections, including the National Gallery of Australia; National Gallery of Victoria; Art Gallery of Western Australia; Museum of Contemporary Art Australia; Geelong Art Gallery; Fremantle Art Centre, and Heide Museum of Modern Art. It is also held in private collections including the Chartwell Collection, Auckland; and Ten Cubed Collection, Melbourne.
Anne-Marie May is represented by Murray White Room, Melbourne and Hamish McKay, Wellington.
Pia Murphy graduated from Victorian College of The Arts with BFA Fine Art Printmaking in 2004. Murphy has exhibited nationally and has been included in exhibitions in Melbourne and Sydney including Karen Woodbury Gallery, Nicholas Thompson Gallery, Geelong Regional Gallery and Campbelltown Arts Centre. Recently Murphy participated in ‘The ordinary instant’ alongside Clarice Beckett at Bayside Arts and Cultural Centre.
Her practise includes Ceramics, Painting and Printmaking. A solo exhibition of paintings and ceramic work was exhibited most recently at CAVES inc, with past solo exhibitions at Chapterhouse Lane gallery and C3 Contemporary Art Space. Murphy’s work is held in private collections throughout Australia.
Adam Stone’s practice is primarily concerned with hubris, schadenfreude and jouissance. Using narrative, often drawing on personal experience to frame and develop ideas around these central themes of self destruction.
Sculptures of falling figures, cast bananas and automatic sliding doors as portraits of disgraced celebrities and bronze cast rose thorns address these concerns. Conceptually this transcends the personal to explore a global narrative such as the global financial crisis, the rise of Donald Trump, climate change and environmental catastrophe; the disillusion of Western arrogance.
Adam received his BFA (First Class Honours) from the Victorian College of the Arts. Since graduating Adam has had numerous solo and group shows and undertaken residencies in Beijing and New York. He has been the recipient of numerous grants and prizes, including the Montalto Sculpture Prize, the Fiona Myer Award, the Orloff Family Charitable Trust Scholarship and travel grants from the Ian Potter Cultural Trust and the City of Boorandara. Recently, he has been a finalist in the McClelland Gallery Sininni Prize, the Fishers Ghost Prize, the Churchie Award, the M Collection Prize and the Qantas SOYA Prize.
Adam has exhibited in both group and solo shows at ARI’s, commercial and public galleries in Australia and Asia. Selected galleries include: McClelland Gallery + Sculpture Park, Neon Parc; Inside Out Art Museum (Beijing); Seventh; Blindside ARI; Kings ARI; Sawtooth ARI; Bus Projects; Fort Delta; C3; LON Gallery; Margaret Lawrence Gallery and the CCP. In 2016 he was awarded a public sculpture commission in the City of Moonee Valley and participated in Spring1883 Art Fair as a guest artist with Fort Delta. In 2017, Adam completed a public sculpture project for the City of Yarra and is the recipient of a studio residency from Bayside City Council.