Exhibition: 'Press Pause', Oct 4 - Nov 2, 2014.

'Press Pause' is a group show of new works by Toby Dutton, Bren Luke, and Mia Schoen. These three artists respond to moving images/stills from film and television with paintings and drawings.

The exhibition opens at Kreisler Gallery on Sat Oct 4th, 3pm.

For the Facebook event click HERE.

Description:
The joint exhibition ‘Press Pause’ responds to the ubiquitous screen display gallery experience. New works by artists Toby Dutton, Bren Luke and Mia Schoen seek to oppose the uniform properties of the flat projection one-dimensional screen by creating objects of unique presence and aura, in paint and ink. The subject is interpreted through a personal narrative of TV shows and films which have visually and emotionally influenced each artist.

“The mere sound of the Doctor Who theme tune would cause me to leap behind the couch in sheer terror as a young child. In this ‘Press Pause’ exhibition I have exorcised my early demons to produce a series of paintings which embrace the alien and other universes on screen.”
- Toby Dutton

“I've been using stills from cinema/moving pictures for some time now as a direct source reference as well as an overarching influence on my pen and ink drawings, primarily 1950s Film Noir, the films of Japanese director Yasujirô Ozu, the French Nouvelle Vague of the 1960's and the American New Wave cinema of the late 1970's/ early 80's. The drawings I've chosen to show in 'Press Pause' are an enquiry into the artistic approach, common aesthetics and thematic tropes transferred through the decades by directors and cinematographers.”
- Bren Luke

“Fast painted and glowing like screens I’ve portrayed the set-up exteriors pre-entering the narrative ‘interior’ to where richly built characters live out their struggle. The story content of the TV shows Prisoner and Roseanne is embedded in the 70s/80s gritty production aesthetic.”
-Mia Schoen

New Developments at 242 Victoria St, Brunswick.

Could 242 be on the way to being the largest arts centre in Brunswick, and by proxy, Moreland? We are close to completing a mix of galleries, workspaces for creative professionals, and are also pleased to announce the opening of Little Nina's Cafe today. Previously Hungry Birds Cafecito, new owner Sandra Mau has expanded with Little Nina's, adding substantial indoor seating to accompany the al fresco dining area.

Kreisler Gallery has new exhibitions scheduled, and will soon be adjoined by new gallery, Rogue Planet. Rogue Planet is a dedicated Fine Art Print Gallery, and will be run by owner Nicholas Mau.

Mau continues to offer spaces for Creative Professionals upstairs in the building, and Kreisler is developing more hot desks for the front office downstairs. Contact us through this site for more info.

Little Nina's Interior Seating.

Little Nina's Exterior.

Little Nina's - view from interior seating area.


Exhibition: 'Glitch', Sept 11 - Oct 2, 2014.

'Glitch' is a video installation by artists Robbie Pitts and Albert Wolski, and opens on Thursday Sept 11 at 6pm, at Kreisler Gallery.  Pitts produced the moving images, whilst Wolski did the soundtrack.

You can join the Facebook event HERE.

Still from Glitch.

Still from Glitch.

Artists' Statement:

Just as the household mirror offers visual feedback for the assessment of our physical appearance, the television, in the case of GLITCH, acts metaphorically as the mirror for the video signal. With a signal process of video camera to television back to video camera, the recorded imagery of GLITCH becomes a byproduct of technological self-portraiture - where self-reflection is symbolised by the infinite looping of the video signal. The hyperbolic vibrancy and abstraction of the image not only aims to beautify the visual characteristics of the used video formats but also to embody a counterargument to the existential dilemmas these formats face. By utilising forgotten forms of video equipment, GLITCH subconsciously examines the link between clarity and obsolescence within video imaging technology. Contemporary digital shortcuts may pride themselves on the artificial replication of the analog form, but GLITCH intentionally works within this real-time image-making process, where physical interaction is essential to the production and composition of the image.

Sound was composed subsequent to the completion of the visual, offering the piece synchronised aural accompaniment. Primarily concerned with the use of electronic instrumentation, the composition offers an appreciation of the beauty that is often dispelled in electro-acoustic feedback, distortion, and atonality. Its haunting undertones reflect the ghost-like state of near obsolete media formats, yet the insistent rhythmic propulsive suggests that death is not so certain, as the format has perhaps attained a state comparable to that of the ‘afterlife’. The synthetic hisses that pepper the composition were created by recording electro-magnetic energy produced from recording equipment itself, generating a similar rendering of feedback embodied in the visual composition of the piece. Analogous to visual impurities, the musical composition concludes that beauty is authentic in the ephemeral nature of errors; as GLITCH attempts to not discount these inaccuracies, yet celebrate them.

Photography of Benedict Ernst Artworks

It was really satisfying to photograph a new series of works by Melbourne sculptor Benedict Ernst last week, onsite at the gallery in the German School in North Fitzroy.

Ernst has produced a large install work of what could be a street side flower stall, complete with awning and fluorescent tube lighting. The flowers and pots, made from materials sourced at hardware stores and so on, and wonderfully luminescent when lit with photographic lighting.

I did an overall install shot, and then individual shots of each work.

The install shot required a blend of the available light from the fluorescent tube, and I also used my own fill lighting - Profoto D1, and Profoto Acute floor pack. 

When it came time for the individual object shots, I lit each one carefully according to what the object demanded.