Giordano Biondi’s 'Meridians' are imaginary cities that inhabit an eternal midday hour. Noon is the time when the sun flattens the world through the absence of shadows cast by objects, and the demon of the midday hour sows restlessness among things that have briefly lost their weight and consistency. The viewer looks at these cities from above, the gaze equivalent to the direction of a sun that shrinks away the shadow of buildings and renders them utopian and ideal, abstract entities without memory. The plazas, streets and courtyards collect the wandering eye and project it along these urban atlases, restless in the midday these cities have appeared.
Giordano’s drawings seek to depict an ideal cityscape as a narrative that invites the gaze to linger in everyone of its components. The eye finds itself ringed by the buildings of an open square. It flies and travels through the straight lines of the boulevards, exiting away from the art or entering into it. And each house and palace is the locus of an encounter or an idea, expressed through the peculiarity of its architecture. The whole picture is then an alphabet or an archive into which the gaze consults, travels, or finds refuge and solace. this fictional city is intended as a sort of dream catcher for the eye, a portal (or perhaps end point) of an invisible land.
“Émigré II - The Folds” is an ongoing series which the artist began in 2013. This second iteration of the series continues to elucidate the ever present, but now markedly heightened shared moment of political and ecological uncertainty through the eyes of the emigrant. The work evokes, the joy and the sorrow of the migration experience, both of dislocation and integration. We are also drawn into stories, as in literature where we become identified with the main character and are asked to feel and live those contradictory states of what is it like to be on the outside, looking in? And visa versa. Ad infinitum! Aswell as the elevated states that finding a new home and country can bring.
“The main character in the current Émigré show is Gertrude/Trudy/Tina who was born in Donawitz, Austria. Hers is like all emigrant stories...unique. She was born to a family of steelworkers. A child of the second world war. Raised by her grandparents, with her one real connection being with her grandmother, who was the only other female in the home.
In those days, a child was seen and not heard. After school & her chores, her nights would be largely spent alone under the kitchen table, lit by a single hanging globe, listening to the uncles argue and debate the politics of the day, with the steelworks streams of molten metal regularly giving their facial expressions an orange flash and glow.”
Research is critical to Paradine’s methodology and he devotes much time to it. Once image groupings cohere - they are digitally edited together. This part of the procedure is time intensive involving much experimentation. Typically involving post-processing, layering, editing, retouching and aesthetic tweaking, all in service to achieving subtle and complex lighting effects.
West End Art Space is proud to bring to the Melbourne audience 'Inner Forest', a solo show by renowned international artist Lev Khesin.
Born in Russia and based in Berlin, Lev is the son of two well known byzantine iconographers and was exposed from an early age to the fine layers and luminosity of egg tempera and oil painting. A child of his time, Khesin has forged a path of his own in the 21st century.
'Inner Forest' continues Khesin's exploration with countless layers of pigment through a long process that deals with the 'now' only. The artist compares painting to the art of archery and various Zen rituals, while focussing exclusively on the current action. He says ' I only think about perfecting the current layer. In the end, the Image becomes evidence of a completed meditation'.
We invite you to experience these glossy microcosms that pulsate with light and project off the walls. Professor Paul Bishop at 5 pm will officially open 'Inner Forest ' by Lev Khesin on Friday November 8.
Lev Khesin 'Surfuct' 33x24cm, silicone and pigments on wood
West End Art Space presents ‘Chasing Seasons’ a solo exhibition by artist Dana Dion, 17 Oct – 3 Nov, 2019, 137 Adderley St, West Melbourne.
Dana’s paintings aim to reflect her exploration of a variety of landscapes and
subsequent quest for inner expression of the experience. Bold physicality of
the painterly surfaces are balanced with a sense of vulnerability and a love
for the process of painting.
Her works explore an inner landscape through a personally developed
language. “Painting for me is meditative: I travel into another world. Awake, alert, yet
absorbed into the art of painting ... not thinking of anything else.
Through my landscapes, I aim to locate a place of belonging”. Dana Dion
Dana has participated in numerous selected group and solo exhibitions and
has received many prizes and awards, most recent…
2019 Hunters Hill Regional Art Prize — Winner
2019 Bell Property Acquisitive Art Prize — Winner
2018 Hunters Hill Regional Art Prize — Winner
2017 Gosford Art Prize $15,000 — Winner
Please join us for drinks with the artist on Saturday, 19 October, 2-5 p
West End Art Space presents ‘Emotion in Space’ an extensive body of oil paintings and sculptures by Sue Rosalind Vesely, a Royal College of the Arts London graduate, who has received great reviews through her career, including by the great Henry Moore who called her paintings ‘A sight to please an old man’s eyes’ 1980.
‘People say that I have painted their dreams’ Sue Rosalind Vesely MA Royal College of Art
‘Emotion in Space’ is on show from 26 September – 12 October.
Drinks with the artist Saturday, 5 October, 2019 2-4pm at West End Art Space
137 Adderley Street West Melbourne.
Vault Link Only Melbourne ArtsHub
The exhibition ‘White on White’ explores the philosophical, poetic associations of the colour white through the work of Melbourne artists Anna Caione and Fiona Halse. Caione and Halse express the synergies and divergences in their approach to abstraction through the process of surface manipulation and gestural expression. Their shared preference for the colour white amalgamates their works yet each artist loads the neutrality of the hue with a diversity of personal meaning that gives rise to a range of intriguing interpretative possibilities.
White is considered by some to be a non-colour, yet its transformational qualities continue to fascinate contemporary artists. White can be purely suggestive or a dominant force informing the intrinsic visual language within an artist’s work. The initiation of the single-coloured artwork termed the ‘Monochrome’ is a fairly recent occurrence of twentieth-century art, with practitioners such as Piero Manzoni, Robert Ryman, Mary Martin and Kazimir Malevich falling into the category of monochromatic painters. Curator Tanya Barson of the Tate’s Painting with White exhibition has noted that the decision for artists to restrict themselves to one colour can open up a rich and versatile area of investigation, with the use of white drawing attention to a variety of techniques, materials, textures, surfaces, structures and forms.
Artists often impose a restrictive palette to enable them to discover a plethora of subtleties and nuances. Robert Ryman, for example, embraced white’s neutrality for its ‘tendency to make things visible’. He suggested that ‘a blank canvas enables an artist to clearly see a mark and celebrate directness and materiality,’ yet a mark on white can also expose the bare essentials posed within the surface of the work and manifested by gestural impulses from the artist’s hand. Kandinsky sensed this multifaceted aspect to white when he claimed it was the ‘harmony of silence’. In his book Concerning the Spiritual in Art he described how the silent or still quality of white resonated for him with ‘the many pauses in music that break the melody temporarily’. (Kandinsky, W, 1977, p. 39).
The exhibition ‘White on White’ is a tribute to Kazimir Malevich and his Suprematist composition: White on White (1918). Whilst the Black Square (1915) is commonly believed to be the ‘first Suprematist painting’ (Lodder, C. 2018, p. 13) and communicates Malevich’s aesthetic theory as the ‘the supremacy of pure feeling or perception in the pictorial arts’ ( MOMA, n.d.).
Malevich referred to White on White as ‘a representation of the transcendent state reached through Suprematism’ (The Art Story, n.d) and marked a shift from polychrome to monochrome. Malevich’s contribution was significant to the development of non-objective and abstract art, which he believed could pave the way to spiritual freedom, a utopian world of pure form and a ‘universal language that would free viewers from the material world.’ (Malevich, K, 1926). Catalogue https://drive.google.com/file/d/1YHQuu0bxFrowTHq6lxSHLWbStQhqo-07/view?usp=sharing
Find us at 137 Adderley Street West Melbourne,
'Double Take²' by SUSAN BURET opens at West End Art Space in 10 August at 2pm. Meet the artist and view her latest suite of works. This second time at West End Art Space, Susan presents handpainted porcelain with underglaze alongside minimal geometric abstract paintings, creating optical illusions.
'Twixt' by LILIANA BARBIERI opens 10 August at West End Art Space. 'Twixt' is a continuation of Barbieri's long exploration in abstraction and we're looking forward to presenting this solo show to our audience.
West End Art Space proudly presents 'Echo', the latest show by Pamela Rataj.
JULY 19 - AUGUST 4, 2019
‘And further, by contemplating these forms
In the relations which they bear to man,
He shall discern, how, through various means
Which silently they yield, are multiplied
The spiritual presences of absent things’.
- from The Excursion by William Wordsworth
For me, the porous surface of sandstone resonates both timelessness and transition. There is no direction to the ongoing process of change in form and texture, simply openness to the interplay of forces.
On worn leather or wood traces left by past use, echo the presence of a time or a person no longer here. These works explore the merging and coexistence of elements, and the mystery of connection through time.
image, Pamela Rataj, the white piece
apoxysculpt, wire, wood, 177h x 43w x 43d Copyright © 2019 W
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West End Art Space is a contemporary art gallery in Melbourne, Australia. Established in November 2016, through a dynamic exhibition programme, our objective is to showcase and support Australian and International artists and nurture their art practice. We present hardworking, collectable contemporary artists with a long exhibition history. Currently situated at 137 Adderley Street West Melbourne and generously supported by Trenerry Property Group, we excitedly await the completion of the West End Precinct and specifically The Adderley building, where our permanent gallery space will be in 2020.
Image credit- Timothy Burgess
Our Services include:
137 Adderley Street, West Melbourne Victoria 3003, Australia
11:00 am – 04:00 pm
Email firstname.lastname@example.org to open by appointment.