At Anita Traverso Gallery there were two solo sculpture exhibitions by husband and wife, Hendrik and Kerryn Forster. In Gallery 1 there was Kerryn Forster’s “Found + Fabricated II” and, in Gallery 2, there was Hendrik Forster’s “Domus”. The game of identifying the artist’s gender from their art is too easy with these two sculptors.
Kerryn Forster’s sculptures have a lyrical surrealism and the objects and the found wooded branches used in them have been delicately treated. In “The Offer” a delicately carved arm and hand reach out from the end of a poplar tree branch. There are lots of trees in the sculptures of Kerryn Forster; there is a tree house, trees with birds with rusted washers for heads. There are contrasting textures and emotions in her sculpture, the smooth waxed wood and the rough found objects, hope and sorrow. Her work is informed by Surrealist sculpture, like Giacometti, Miro and Ernst, but also other sculptures, like an early Christo piece of a stack of 44-gallon drums.
Kerryn Forster’s use of rusted metal objects for bases for her sculpture is the only obvious similarity with her husband’s sculptures which also shows a love of rust. It is less obvious that both of them are jewellers; Hendrik Forster is notably for his design of the Helpmann Trophy for live performance in Australia.
Hendrik Forster’s iron sculptures have a beautiful patina. The oxidizing agent has been splashed on creating various effects, dappled, running down from the roofs in streaks, dripping on the walls. The series of twelve sculptures are formal exploration of architectural forms of the domus (or “house” for you plebeians who don’t savvy Latin). Actually not all the sculptures are of houses there are also churches and factories with sawtooth roofs. The architectural forms have been simplified, there are no doors, windows or other details – these are not models of buildings but sculptures about the space that buildings occupy. Only on the roof of “Himmel Street Houses” there is the repeated pattern of bombers, a reference to Markus Zusak’s novel The Book Thief (Picador, 2008).
The Forsters live in East Gippsland and were, coincidentally, visiting the gallery at the same time that I was there. They were checking on the exhibition at the halfway point and I got a chance to speak with Hendrik Forster about his wife’s sculpture. He told me about searching through rural junk shops for the found materials and the aura of reused materials.
I had to go to East Richmond on Friday to check the Sweet Streets PO box (formerly the Melbourne Stencil Festival but it is much more than just stencil art now). The snail mail PO box is necessary for legal and administrative reasons but we don’t get much mail.
While I was in East Richmond I had a look at the galleries on Albert St. There are always a lot to see at the Albert Street galleries. I saw “Five Ringed Circus” by photojournalist, Michael Coyne at Anita Traverso Gallery. “Five Ringed Circus” is a series of portraits marking the 10-year anniversary of the Sydney Olympics. Jenny Port Gallery was showing “Pressing Matters – Melbourne printmaking”. This group exhibition has a variety of printing techniques by a variety of Melbourne artists. The standout works of the show were the lycanthropy inspired reduction linocuts by Jazmina Cinnas. At John Buckley Gallery there were exhibitions by Hilarie Mais and Hamish Carr but the post-minimalist optical effects that both artists were engaged in really didn’t grabbed my attention.
On Friday were several people in Sophie Gannon Gallery, more than I’ve seen in there before during the day. I haven’t reviewed Sophie Gannon Gallery in the past as it has always appears to have exhibitions of their stock rather than exhibitions of individual artists (I don’t often write about their exhibitions as reviewing stock exhibitions is uninspiring). I always enjoy seeing the latest Michael Zavros painting in this gallery, it is fantasy art for those who like good contemporary painting. This time I managed to see the second last day of a fantastic exhibition, Nightmare’s Plutonian Shore by Julia de Ville. Read the reviews of the exhibition by Marcus Bunyan, Melbourne Jeweler and many others. I should add that there was also work by sculptor Aly Aitken in the exhibition that fitted into the macabre taxidermy theme (I last reviewed her exhibition at Platform in October 2009).
There have been some changes amongst the Albert Street galleries, in Richmond. It is a change in commercial gallery practice that has become common in Melbourne – the separate stock room exhibition space. Normally gallery stock rooms are just that a room of stock; perhaps equipped with hanging racks or with paintings stacked against the walls. Now stock rooms have become exhibition spaces. There is the new JBG1 at #1 Albert St., a space formerly occupied by Alison Kelly Gallery that specialized in aboriginal art. Open stock rooms are becoming common in Melbourne’s commercial galleries; JBG1 is much smaller than the Australia Gallery stock room in Derby St. Collingwood. Karen Woodbury Gallery has a stockroom upstairs with a relaxed sitting room atmosphere, an alternative to their white cube gallery space. Shifted Gallery and Studios, the one artist run initiative on the block also appears to have closed. On the subject of changes to galleries, there is now a gallery within a gallery at Jenny Port Gallery, with the back gallery now called Ladner & Fell Gallery.