Eastern Suburbs Art Group

I partly went to Melbourne to see this show and it did not disappoint. I was not really prepared for the contents of the show however, much of which is pretty boring stuff like silver ingots. I mean if you've seen one ingot you've seem them all, they are sort of like steel fingers in shape and size. Above photo shows some of the ingots, there is a ton of them. All nearly identical. But there are other items as well, including crafed containers. See photo below. This containers had in it a whole ot of other things, some glass some metal.  Each item was wrapped in cloth. I mean each item in the above container. Although most of the cloth had disintegrated as the container was like 1000 years old or something. But traces of cloth remained. Galloway is on the Ireland side of southwest Scotland, though the name actually sounds Irish. But it's not. The museum has a crafted sign showing silver trade routes, which was sort of cool. But not a whole ton of information.  There were ot...

The turnoff for the Foundation is large and has been especially constructed for the purpose of feeding traffic safely into the parking area, which is large. The gallery is located about three and a half hours' drive from Melbourne. NCEA has a spacious reception area that spills into a cafe. The tables are magenta and bottle green, which is very colourful and striking. The entry fee is small, or at least it was for the prize show I saw. The show didn’t really have a theme. A lot of the works in the prize exhibition are figurative, such as Jesse Wallace's 'Peekaboo' (above) which shows a fur seal, a species endemic to Australia. The show spaces are large and evidently suited not only to showing works but to accommodating events. I mean there is plenty of space for people to mingle and talk in comfort (see above photo). The facility is well organised and has a cafe as already mentioned, important when you have to go so far just to get to the gallery. The gallery is situate...

This little gallery is in a regional town about 3 hours' drive from Melboure. IT is a pretty part of the world and getting round Victoria is anyway pleasant becasue the landscape is so uniform. I apologise for not posting while away I just got back this morning, had a car wash to get the mud off the car, picked up mail, picked up framing, got some information from the art supply shop, and did other errands that needed doing. Gresham's tapestries are quite small but they are magnificent, full of colour and poise. For some reason they reminded me of banknotes, possibly the ndetail, which is astonishing. The gallery has several rooms but the Gresham show is nearest the front counter. The gallery does not sell works but staff can put you in touch with the artist if required.

The show was set up about a month ago and will come down next week. At the moment we are meeting people there by appointment only, so if you want to see the show please get in touch, I met friends there today and another man, whom I met at Rozelle Markets, also popped in briefly this morning. My friends have always been supportive of my practice. Each time at least they buy a book, one time a book of prose one time a book of poetry. At the markets I also sold paintings and a book each time. That is two weekends in a row. If anyone wants to see the Drummoyne show please get in touch and we can organise a time and date.   

“Small Works” at Tiliqua Tiliqua presented a group show featuring small-format artworks—each no larger than approximately 30 cm. Despite the modest scale of the works, the exhibition carried significant visual impact, showcasing a broad range of techniques, styles, and individual artistic voices. The opening attracted a very large audience, even busier than previous events at the gallery, and included returning artists as well as familiar faces from earlier exhibitions. The curatorial execution was one of the strongest elements of the exhibition. The layout followed a clear and intuitive reading flow—left to right—with works arranged in a visually coherent sequence. The curation strongly emphasised chromatic harmony, allowing the viewer to experience the show as a progressive visual journey despite the diversity of artists and mediums.

Studio 551 is a small but elongated gallery, easy to walk through even when full. The space benefits from two large street-facing display windows, one on each side of the entrance, which bring in strong natural light and make the gallery visible from the street. Despite working in very different mediums, the artists ( Fiona Roderick, Maggie Stein, Marina Civiero, Paola Talbert, Helen Ashley) formed a surprisingly harmonious group exhibition. A key curatorial factor was that each artist had a dedicated table, creating personal “micro-spaces” within the room. The exhibition attracted a lively crowd. Conversations flowed easily; many attendees mentioned they enjoy these events for the pleasant social experience and the opportunity to connect with beautiful work while sharing a drink or fruit.

Sausage Gallery is almost certainly one of the smallest gallery spaces in Australia—essentially a single glass-fronted display window functioning as an installation space. Its extremely reduced scale forces the visitor to engage with the work in an unusually direct and intimate way. Yellow Journalism by Jenny Brown is a politically charged installation addressing misinformation, propaganda, and the historical roots of media distortion—particularly in relation to wartime narratives. The title references the term yellow journalism, originally used to describe sensationalist reporting associated with newspaper magnate William Randolph Hearst. According to Brown’s accompanying text, excerpts from a film biography of Hearst and imagery linked to political cartoonists are interwoven with contemporary references.  Elizabeth went o the show in her car and took the photos. From a distance the iconography of the show nis intriguing due to the presence of the Bayweuz Tapestry, a sort of embro...