I’ve seen some of the MoreArts exhibition in Moreland. MoreArts appears to be replacing the annual Moreland sculpture show with a more contemporary site-specific series of installations along the Upfield train line from Gowie to Jewell. It has been successful at being noticed and starting conversations. My neighbours have been talking about Carmel O’Conner’s “Traart In Line Travellers” a series of line drawing on clear acetate installed in the Coburg train station waiting room. I have only seen part of the exhibition from the window of the train as the works are installed in wasteland beside the tracks or in the stations and I have been too busy to ride my bicycle along the trail beside the Upfield line to see all of them.
Liz Walker’s field of poles with plastic bags has attracted my attention, blown in the wind the plastic bags look like the ones that get caught in trees. Walker uses the effects of pollution and recycled materials and turned them into an art installation.
The MoreArts 2010 winners, judged by Sam Leach, are: 1st Prize Saffron Lily Gordon for “Don’t fence me in” and 2nd Prize Danielle Bain and Susie Zarris for “Life Obsolete”. Commendations went to Elizabeth Phillip-Mahney for “Jumper Leads” and Candy Stevens for “Rocks of all ages”.
Art-Vend is an “art gallery in a vending machine dispensing original artworks for $1.20 a pop.” It is a side-project to the MoreArts exhibition. While I was at the Coburg Library I did buy my own miniature artwork from the machine. Not that you could see the work in the machine, so it wasn’t really an art gallery more of a lucky dip. But the packaging and the machine were more attractive than the picture made of squashed plasticine inside.
A less successful exhibition was going on at about the same time along Sydney Road in Brunswick, the annual art in shop windows exhibition that has a different name each year. There is so much to look on Sydney Road that it is kind of pointless having an exhibition in shop windows as well but it is there, with “Window/Frames.” Street art, advertising and shop window displays are all competing with the haphazard quality of a community exhibition. Amongst the better works in “Window/Frames” is Ben Howe, “Everything Sacred Is Stolen By The Rich”. Last year Ben Howe was highly commended in the 2009 Melbourne Stencil Festival’s award exhibition but this is an oil painting. Oil painting is not such a strange move for an artist as both stencils and oil paintings require similar techniques in separating the image into areas of colour. (I also saw some of Howe’s stencils at Brunswick Street Gallery in Fitzroy.) Bliss, one of the few shops to give the artist enough space in the window hosted Aviva Hannah installation with drawings “Dancing on Glass”.
The reasons for the success and failure of these two exhibitions is simple, it is, as any real estate agent will tell you: location, location, location. And although Sydney Road might appear to be a better location than the Upfield line, the variety of locations, the surprise and joy of seeing art on the commute to and from the city makes MoreArt more successful.