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 2016.
06 May 2016 - 28 May 2016
Over the past five years Grigg's art practice has had a dramatic shift. This has been a result of his slow recovery from a neurological condition called Focal Dystonia which affects the fine motor skills of his hands and arms effectively triggering the agonist and antagonist muscles simultaneously. He was initially no longer able to draw or hand cut and assemble sculptures by laminating cardboard so he began experiments with mold-making, casting, and building assemblages from a range of materials including wood, plaster, concrete, glass, leather, resin, and cotton.
The sculptures in Agonist/Antagonist relate to my body - either in scale or the experience of it and its unsynchronised agonist and antagonist muscles. Importantly the works in this show are all about touching and the hand, about the experience of recognizing the action of my hands and the dysfunction of my body.
Richard Grigg, 2016
Agonist/Antagonist contains various symbols and images that are employed to reflect Grigg's bodily experience, including, the leopard, a creature known to symbolise strength, endurance and distance presented as a sliver-thin sculpture resting atop a plank of wood with an array of found stones and shells, it appears like it is in shadow between states, passing through. Grigg also references Osiris, the Egyptian god of the underworld, who symbolises the piecing together of broken parts and the recreation of a new and altered functioning body.
Less culturally charged but equally symbolic of Grigg's physical condition, is the inclusion of objects such as the boot or the spider shell. Both explore the transition from interior to exterior - the path of the boots laces, and the once inhabited shell. The transition from one state to another is a common thread throughout this exhibition.
Richard Grigg is a sculptor and drawer based in Clunes Victoria. He has exhibited extensively in Melbourne's artist run initiatives and held solo shows at major institutions including Centre for Contemporary Photography, Melbourne, 2010; Canberra Contemporary Art Space, Canberra, 2007 and Heide MoMA, Melbourne, 2006. Grigg has a Master of Fine Arts from Monash University and a Bachelor of Fine Arts from VCA. In 2007 he undertook the Mino Paper Art Village Project Residency, Mino, Gifu prefecture, Japan.
19 March 2016 - 16 April 2016
- Where it is here - it does not matter - how I have got here - can I forget
Like a little child chasing a butterfly, here and there, I try to capture a shifting atmosphere with my eyes and hands. Their shapes sometimes look like my mother's and my grandmother's, who have shown me how to live one's life lovingly. But I am still learning to do so, as it is a difficult task.
In his essay, The Translator's Task, the philosopher, Walter Benjamin redefined ‘translation' from what makes "itself remember the meaning of the original" to what "must lovingly, and in detail, fashion in its own language a counterpart to the original's mode of intention".
I imagine that it will be the same risk and chance for a poet to translate love, as for an artist, but it would be the ultimate task.
My exhibition title is the first line of a 70's Japanese song, 恋は桃色 (Love is Pink), written by Hosono Haruomi. When one is in love, the world appears so different that one forgets everything and accepts everything. Such poetic experience/reflection is perhaps untranslatable, but that is what my artwork is longing for.
Utako Shindo, 2016
Utako Shindo is an artist working with a range of materials and processes, including
drawing shadows, projecting reflections and printing traces. She is currently undertaking
her PhD research at the Centre for Ideas (The University of Melbourne) to explore the
notion of ‘untranslatable' and a poetic practice that embodies this through the ‘translation/ transference' between perceptions, materials, images and languages.
19 February 2016 - 12 March 2016
Fabrik: conceptual, minimalist and performative approaches to textiles
Conceived by Sarah crowEST
Curated by Jane O'Neill
Fabrik: conceptual, minimalist and performative approaches to textiles is a multi-venue exhibition held at the University of Melbourne's Ian Potter Museum of Art and Margaret Lawrence Gallery at the VCA, and Sutton Project Space. The project runs from February to May 2016 and forms part of the Virgin Australia Melbourne Fashion Festival Cultural Program.
Fabrik provides a platform for the cross-pollination of ideas across the fields of fashion, textiles and contemporary art. Featuring a selection of new and existing works, the exhibition includes emerging, mid-career and established artists from Australia and overseas. The word fabrik translates from German as ‘workshop', and refers to the tendency of these artists to address both materials and methods of production. Whether scrunched, snipped, draped, ironed, ripped or threaded, the artworks reveal a strong emphasis on the artists' physical engagement with textiles. By extension, the exhibition prompts consideration of our own daily interactions with fabric.