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Tag Archives: Fitzroy

The earth art of Astral Nadir

Aside from the odd stencil or tag, that could be on a wall, Melbourne’s street art has rarely colonised the sidewalks. On the sidewalks you are more likely to encounter industrial graffiti, markings put there by council or utilities workers. That makes Astral Nadir’s paintings are an exception.

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Resembling ancient symbols, crop circles or Nazca lines, these patterns on the ground refer to the stars and sky. Attractive small abstract patterns of circles and curves connected with straight lines. They are a kind of tagging using images instead of an alphabet. They are also signs mapping a linear trail taken by the artist around Fitzroy and have a relationship with fire hydrants, poles and edges of the sidewalk.

Recently, I discovered that I was walking the same path as Astral Nadir when I was out looking at art galleries and street art. As I walked along Gertrude Street and up Smith Street I started to look for and photograph for the next piece but I didn’t see them all. On returning home and reviewing my photographs I noticed another one, on the pavement next to a wall with a piece by Shida that I was focused on.

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After posting some of my photos on Facebook, I was told that it was the work of Astral Nadir. (Thanks Liz Sonntag.) The rock’n’roll aspect of Astral Nadir’s name combine the high with the low in a synthesis where contradictions are resolved. I’m not sure how long ago these were done but the Instagram photos @astral_nadir are all from this year.

Although it is not great art, it is an exception to the ordinary and I do look forward to finding more.

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Looking for an exhibition

First Site Gallery at RMIT “I Feel Like I Know You” by Chris Bowes, not the musician but the little known Brisbane-based artist. Except I think that the image is a portrait of Chris Bowes, the heavy-metal musician. Each of the subjects of the portraits was a ‘Chris Bowes.’ Bowes has added something more to the usual mosaic of tiles creating an image as each of the tiles is the logo of a page that the subject liked on Facebook to create a portrait of them. It was a visually and intellectually pleasing exhibition.

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Another exhibitions at First Site was also looking at our digital image but unlike Bowes, Stephanie Milsom “All of It” was visually boring and focused entirely on herself. It is always more interesting to focus on other people rather than yourself.

I have a physiological reaction to bad art; it feels sickening (in the past bad poetry has caused me to actually vomit), oppressive and there is something like mental claustrophobia. Then there is the dull boredom of another average exhibition. I try to pay attention; maybe I haven’t paid enough attention, maybe the artist will improve in time, maybe it’s just my taste or even my current mood. It is always a risk, especially with the small galleries, the rental and artist run spaces.

I wanted to get back to my routine of visiting a couple of small galleries and writing a review of some or all of the exhibitions; regular readers will be aware of a gap of several months this winter without any reviews. Yesterday this became a desperate search for some art worth writing about.

Sometimes I am looking for a gallery that I haven’t visited before but recently I have been missing all of the galleries that have closed or moved to new locations. There are only two galleries left on Gertrude Street: Seventh and This Is No Fantasy. A decade ago there were seven, which is why there is Seventh Gallery.

At Seventh in Gallery Two, Joe Gentry and Jen Mathews exhibition; “skyscraper, school, shrine, slaughterhouse” looks at the power and inherent violence in architecture. It is a good idea and it can almost be seen in Jen Mathews’s substantial mixed media assemblages and Joe Gentry’s paper warehouses and houses with graffiti on their walls.


The Smallest Pieces

“All the pieces matter” Lester Freamon The Wire

This is just a small post with a small collection of photos about the smallest works of street art. The antidote to the inflated egos and dubious aesthetics of murals are the smallest of graffiti pieces. To find them just look in the opposite direction to the murals, look down the wall below eye level. There are miniature street art sculptures, tiny drawings, small stickers; overlooked and often entirely unseen. At that scale they become a treasure hunt, rewards for being aware and looking around in the city. They are so small that often there is no room for a tag or signature but I think I know some of the artists, please comment to correct or add to this information.


Anti-Muralism

For the past three years murals, very large multi-story painted walls are the popular form in Melbourne’s street art. Murals are also very popular in advertising and with socialists. Van Rudd says that wants to revive the tradition of political mural painting in Melbourne that happened with Geoff Hogg in the 1970s.

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Murals are seen as community art solution, read Tony Matthews and Deanna Grant-Smith “How murals helped turn a declining community around” in The Conversation, as well as an advertising technique. Dvate’s painted banner for The Lion King in 2015 or HaHa’s 2016-17 3MMM banner at Macaulay railway station, a favourite old haunt of HaHa when he was running around the city getting his name up. Smug’s mural on Otter Street promoting a luxury apartment development, makes gentrification cute. The popularity of murals makes for endless commercial applications.

I think that I lost a lot of my interest in Melbourne’s street art when murals became the dominate form of street art. I don’t like most murals, street art or otherwise, as I have already written about the Harold Freedman mosaic mural on the Fire Station. So I don’t feel as motivated to write about street art, although I have written about Rone and Adnate’s murals.

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Rone in Collins Street, 2014

I’m not sure what it is about murals that I don’t like, after all they are just very large paintings. I do like a few murals in Melbourne. The Keith Haring mural in Collingwood but that is because I like his other work and the mural is simply a large example. I don’t think of the large walls by sprayed with fire extinguishers full of paint by Ash Keating and others as murals because they are just paint whereas a mural is about something.

Often murals are so about something that it feels like you are being lectured or advertised at. I’m not sure that I want the intended message or non-message of a mural and even if I do then what about people who don’t? The intended mass audience of a mural makes is like advertising. Whereas I like art that is aimed at a small audience rather than the lowest common denominator. The bigger the audience does not mean the better the art; size is kind of pornographic.

At other times there is so little content in a mural, like Rone’s faces, that being content free and abstract would have something more than these substitutes for content. For this reason I found Doyle’s Empty Nursery Blue to be more artistic than any and all of Rone’s murals.

I was also wondering if it is because murals lack a human scale. Murals are different to graffiti pieces in terms of scale. The reach of a graffiti writer defines the height of a piece, the arc of the curves so that a piece of graffiti reflects a human scale. Whereas the size of a mural is determined by the size of the wall and the equipment used.

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Cam and Scale, Brunswick 2017


Street Messages

I’ve been looking, photographing and thinking about messages on the street. Not the stencil or paste-up poster messages directed at a mass audience but the individual messages directed at a specific audience or even an individual.

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I’m not sure of the accuracy of this claim outside Anstey Station, but it has been at least 20 years of providing a great legal wall.

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I am interested in the ethics of graffiti writing and the messages that debate this. Often this is the ethics of what counts in the claim of “I was sitting there first.” Claiming a right to a chair in bar or to occupy a spot by the pool or to paint a wall when such things are a limited resource by virtue of a prior claim of occupancy. Amongst graffiti writers there is a transmission of a code of ethics through an oral tradition, as well as, messages written on walls.

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Generally graffiti writers are only interested in communicating with other graffiti writers but occasionally they want to make a point to a wider audience. Messages written on walls, as an adjunct to a piece is the only direct form of communication. This note from Bailer was probably intended for a idiot who often caps pieces in the area.

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“No Style” is an irony free cap over a cleanly executed bubble letter style piece by Speds.

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Old skool graffiti writers do not respect anyone without good aerosol skills just like the old school conservatives would not read anyone who could write neat copperplate with prefect spelling and grammar.

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I don’t want to be a grammar nazi but some people have to, just like some people have to tag. This comment was in reference to a tag with unconventional spelling. (Are you still reading Facter?)


Smith and Gertrude Street Galleries

On Thursday I was walking around the galleries around Smith and Gertrude Streets when I saw lots of men in suits out the front of the artist-run-gallery, 69 Smith Street. They were real estate agents packing up from the auction, the old building and small block of land had just sold for $2 million. The gallery was still open with their second last exhibitions; still life paintings by Martin Tighe and a exhibition of graduating regional artists from GOTAFE.

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As an artist-run-gallery 69 Smith Street survived for many years offering some of the cheapest exhibition space in Fitzroy and Collingwood. Consequently there were many exhibitions by students, amateur artists and a few others. Its final years as an organisation was notable only by an ugly year long dispute about who ran the gallery.

Sometimes I wonder what is the value of my practice of going around as many galleries as I can in a day. Sometimes I do this in different locations (Chelsea Gallery Crawl) but most often it the same familiar galleries. What am I doing exploring often the same territory? Why am I bothering with going to some rental space or small ARI?

I am observing the opening and closing of art galleries, the changes in the street, the graffiti and street art? I observe that a few galleries have closed in the area in the last couple of years. Finally I spotted a piece by Utah and Ether, graffiti’s Bonnie and Clyde, that will help with the book I’m writing about art crime.

In the past I used to write regular reports of these walks, I still do them but now I use the exercise to find a particular art work or artist that I am will write about or just for the exercise of the walk.

I have a late lunch at the Beach Burrito Company on Gertrude Street. It is the only Mexican restaurant I’ve seen with an empty in-ground swimming pool, presumably for skateboards. As I eat my tacos I look at my notes:

Backwoods had its end of year stockroom show featuring art by the usual street art suspects including Deams, Shida, Roa, Reka, Twoone, and Lush.

Collingwood Gallery, “Nepo Rab” new paintings by Eric Henshall, a whole series of acrylic paintings on canvas depicting colourful scenes in American bars. Why American bars in Collingwood?

Gertrude Contemporary, there was too much to read at the “Gertrude Studios 2016” exhibitions. Pages and pages of notes for a single art work, more pages for another one, along with a room sheet in 10pt font. What ever it is, contemporary art appears to be a form of literature.

This Is No Fantasy, Neil Haddon, “New Works” are lush paintings that fracturing, in several ways, including between sort of landscapes and silly portraits with two round eyes.

Seventh Gallery, several strong contemporary art exhibitions at this ARI, including an upstairs space (shows how long it has been since I was last at Seventh) where Elizabeth Presa “In Playland” depicts the frozen memory of playtime in plaster. Downstairs in the front gallery Freÿa Black “Umbilicus in Flux” is an impressive, expanding weaving of donated clothing, fabric and yarn that grew during the exhibition.

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Elizabeth Presa, In Playland

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Freÿa Black “Umbilicus in Flux”


Lost Wax Workshop @ Meridian

Although I have written a book about public sculpture I have never done any sculpting. Last weekend I went to Melbourne’s oldest sculpture foundry, Meridian for one of their workshops in the lost wax technique.

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When the sculptor Peter Corlett first took me to see Meridian I was amazed that there was a sculpture foundry just off Johnston Street in Fitzroy. Looking around the foundry there are sculptures in progress and moulds for sculptures by notable sculptors including Peter Corlett, Robert Kippel, Lisa Roet, and Andrew Rogers.

The foundry has been located in a two story nineteenth century brick warehouse, since it was established in 1973 by Peter Morely. It is now in its second generation with Peter Morely’s son, Gareth working at the foundry.

Peter Morely still works part-time often doing his favourite job applying the surface colouring effect to the bronze, the patination on the sculptures. This ranges from traditional black and brown through to green, white or polished.

So Fitzroy hasn’t been completely gentrified, there is still some industry in the suburb. People are still melting down bronze in furnaces and pouring the molten metal into moulds to make sculptures, using techniques that have been developed over the last five millennia.

Although the lost wax casting has been around for millennia techniques in bronze casting have not stopped developing. New synthetic materials are being used from building industry rubber to 3D printing using potato starch. Anything that will cleanly burn away like wax leaving an empty space, the mould into which the bronze will be poured.

Even the traditional bees wax has also been replaced by a synthetic wax with a dark green pigment added. The wax as media is very forgiving because it can be both additive modelled and subtractive carved; so if you make a mistake you can easily stick something back on or cut it off.

I thought that I knew about lost wax technique before the workshop however there is so many steps in the process that you don’t realise until you start. One thing I did know it is a process where you don’t do it all yourself; that part of the job of a sculpture foundry is providing assistance and advice to the sculptor.

Darien Pullen conducted the workshop for three people and myself which allowed for plenty of one on one advice and assistance. Darien is a sculptor who has worked at Meridian since 1984 mostly making moulds and preparing waxes for casting; last year his winged victory statue was unveiled outside the Marrickville Town Hall. He also teaches in life drawing and that helped with my sculpture.

I thought that a small cat sculpture would be a good idea because I had a lot of sketches and photographs of my cats. Cats, like sculpture, are all about volume, the thin creature beneath the hair is a very different creature. Furthermore, I consoled myself, as many people like cats, so any cat sculpture however poor will have some admirers.

At the end of Sunday afternoon I took the wax model home; nobody is expected to complete a model in six hours. I plan to do some more work on it and sandpaper smooth out some of its curves. Eventually each of the workshop participants will have their wax model cast in bronze and a patina applied. None of the workshop participants will be involved in pouring the bronze as there are too many health and safety issues involved to even begin to list.

Black Mark did the workshop courtesy of Meridian.


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