230 Young Street, Fitzroy
1 - 5pm Fri & Sat
Sutton Gallery's converted warehouse has an exciting series of experimental art projects scheduled throughout the year. An alternative to the conventional gallery space, the venue offers new possibilities for artists seeking to extend their exhibiting language and potential.
Invited artists are given space to try out new ideas and approaches that will supplement and stretch their practice. Unrestricted by the formalities of a commercial show, these artists are freed to play with more temporal forms of representation, such as performance, multimedia and site specific installations.
Artists may choose to use the project as an opportunity to broaden their horizons through collaboration with other artists or by taking on the role of curator. The space also provides a platform for artists wishing to reflect on the processes and outcomes of external projects that viewers would not ordinarily have access to, such as residencies and public commissions.
Projects will change over every 4-5 weeks during 2014.
06 March 2015 - 28 March 2015
Approx. Geez Louise
The paintings in this exhibition follow on from Lisa Radford's exhibition at Westspace (2013) c. At Sea, Before Dinner - a painting by Bonnard the artist could not see and the email exchange Radford had with its prior owner. Whilst some of the works are fine and laboured, others are quick and loose referring to dumb, potentially droll observations of location. The paintings for this exhibition come in pairs in relation to unseen narratives, shared conversations or un-unique observations to form images that are not quite representational.
The works are titled ‘Furniture Paintings' referring to the functional design, decor and objects such as maps and textiles from which they are sourced. Paintings of thin white handkerchiefs as if just dropped sit alongside others depicting mapped areas of a wasp's path wedged inside a window frame.
One of the pairings is closely related to the MUA (Maritime Union of Australia) and includes a piece of plastic containing the embroidered signatures of some of those workers who participated in the 1998 Waterfront dispute. This embroidered work was made by an artist and friend of Radford's, Danielle O'Brien, who sat on the docks at the time of the dispute and collected the signatures of the workers. The quilt she intended to make was never finished, Radford's painted version sitting alongside the original with the hope that the framed plastic artefact can be gifted to the MUA.
Lisa Radford is an artist who writes and teaches. She has exhibited in Australia and overseas and currently lectures in the Painting Department at the Victorian College of the Arts. Her practice investigates relationships between language and image through various strategies including painting, co-ordinating exhibitions and collaboration. Radford graduated from the Victorian College of the Arts in 1999. Recent projects have included The Museum is the Region, the Region is the Museum at The Living Museum of the West, curated by Dany Lacy, Liang Luscombe and Patrice Sharkey; Dear Masato, All at Once, Margret Lawrence Gallery, Victorian College of the Arts, 2014; Melbourne Now, NGV, 2013; and Test Pattern, University of Sydney Art Gallery, 2012. As a writer, Radford has published in excess of 50 catalogue essays and articles to accompany exhibitions and also published in magazines and journals such Art & Australia and Discipline. In 2014 she wrote an essay for the David Shrigley catalogue published by the National Gallery of Victoria and in 2012 she was the editor of UN Magazine 6.1 and 6.2. In 2010, she co-authored with Jarrod Rawlins a monograph on the artist Jon Campbell and in 2007 she published Hi God People - an unordered history of Melbourne Music Flyers, with funding from the City of Melbourne.