Tag Archives: Brunswick

A sculpture, a garden and a library

There is a quote from Cicero engraved into the paving stones on Dawson Street in Brunswick:

“If you have a garden and a library, you have everything you need.”

Now there is a garden and a library there.

The garden plugs Saxon Street shut near the corner of Sydney Rd and Dawson Street. A new micro-park with a sculpture, trees, shrubs, a couple of benches, lot of paving and rocks has turned a dull lane beside Brunswick Library into a place for people.

The sculpture is a bronze column like a twisted rope stands. On its base there are the words “bring us together’, in part referring to the strands of its rope-like form. It is Anton Hasell’s most recent sculpture, Where We Have Come To, 2019.

As a sculptor Hasell has learnt to keep things simple with public art. His early sculptures were so full of meaning you couldn’t unpack them without a tool box and manual (see WTF Corner). Now he is focused on combines sight and sound with circles. Hasell makes circles beautiful, meaningful and strong.

The circular twisted column of Where We Have Come To is about the twisted place that brings us together. And it makes a sound.

I didn’t get to the launch of Anton Hasell’s sculpture Where We Have Come To. According to the launch invite the sculpture “represents the many diverse cultures that give strength to the community of Moreland.” The plan for the launch of the sculpture on Thursday 5 December was described as a “celebration of Moreland’s multiculturalism”. After the Mayor of Moreland’s opening remarks and there was a community musical event playing Hasell’s tubular bell sculpture and Federation Bells. I don’t know if it went to plan, because I wasn’t there. I wonder what it sounded like.

Hasel has always been interested in the sound that sculpture makes when you tap it; bronze sculpture are hollow. Then he started to make bells: the Tilly Aston Bells, the Federation Bells, lots and lots of bells (link to my post Hasell with Bells).

When I went to see his new bronze column I neglected to bring along a pencil or something suitable to tap it. What sound does the sculpture produces? Perhaps it sounds as if it is similar to Hasell’s Twisted Bell located on the Yarra River main trail next to the Yarra River between Yarra and Darling Street in South Yarra but I haven’t seen or heard it yet. I must get around to listening to some more sculpture.


Graff Notes

– green buff – a new style? – pastels?!

I am trying to promote a new term: ‘green buff’. To ‘green buff’ is to plant in a way that a wall is no longer usable for graffiti. Brunswick Station is a good example of green buffing. It used to be a prime location for graffiti. Adnate and the AWOL crew found their style on the walls around the station. It also used to be surrounded by fly tip of a wasteland. Apart from maintaining the path to the station Moreland Council and the multi railway authorities took no care of the area. Then locals took action and guerrilla gardeners turned it into a garden. Now there is only a couple of walls left around Brunswick Station, the rest of them have been green buffed with trees blocking the view. Green buffing is the best way to prevent graffiti because graffiti is a response to neglected areas, to ugly blank walls.

Graffiti writers, those extreme urban decorators of the urban wasteland are still inventive and looking at the beauty of aesthetics in of letters. I keep seeing a development of fresh material in graffiti and in the last couple of years but I hesitate to call it a new style. Saem and Rashe’s work looks like a fresh take on modern artists, like Léger’s cubism or the Russian Suprematist. It is a contrast to all the painted air, the illusionistic space around the letters, blown by the aerosol, that has been the standard for many years. These works are so flat there is no air in it;  they are super-flat like Takashi Murakami. It was so startling that I had to stop my bike and check it out.

After more than a decade of looking at graffiti and street art it I feel some burnout; a bit like “I have seen this all before, so many times.” CDH asked me when I last got excited by street art or graffiti. I replied: “Astral Nadir.” I forgot that I put the breaks on my bike for Saem and Discarded; willing to lose the momentum had been hard won with muscle power to look at their work.

So what if I’ve become a bit jaded over the years – I’m still thinking, looking, and exploring the city. Part of my routine over the last decade, aside from wearing down a groove in the bluestone blocks of certain laneways, is visiting art galleries, sometimes the two align but I didn’t expect them to at a high-end commercial gallery like, Flinders Lane Gallery.

At Flinders Lane Gallery (now on the first floor of Nicholas Building) Amber-Rose Hulme’s exhibition — “Context” is a series of photorealist pastel drawings of Melbourne’s walls. The photorealist quality is startling. There was a shock of recognition of same familiar laneways, tags and walls. Unlike the photographers who exploit the popularity of graffiti Hulme has her own vision of these location. It is one of a nostalgic urban wabi-sabi, the acceptance of ephemeral and the decay. Drawing the cracked paint, the splatters and drips with a mix of dedication and patience the graffiti is seen in its context of walls and bluestone laneways.


Fantastic Worlds

Art in children’s picture books is how most of us first experienced art and the current exhibition at the Counihan Gallery could be some children’s first experience of an art gallery. “Fantastic Worlds” is an exhibition of children’s book illustrations that has been specifically curated for children (aged 2 to 10 years old).

Ann Walker, Mr Huff soft sculpture, 2015

It is not just the subject of the exhibition that is designed for children. Low plinths allows easier viewing for children. Cushions and beanbags offer a place for children to relax. There is also an interactive work, Story-go-round by Cat Rabbit and Isobel Knowles, that was commissioned especially for the exhibition. And there are story-times, workshops and other events that are part of the exhibition.

Even if you are no longer a child there is plenty of appeal in this exhibition; emphasis on the word ‘plenty’, for unlike the minimalism of many contemporary art exhibitions with ten illustrators there is plenty to look at. Shaun Tan’s paintings and sculptures have their own power as art; the rough surface of the paint and the solidity of these imaginary places. Elise Hurst fantastic pen and ink illustration from Imagine a City (2014). Graeme Base’s intensely detailed watercolour and ink illustrations from Animalia (1986), The Sign of the Seahorse (1992) and Uno’s Garden (2006) — and much more.

Shaun Tan paintings installation view

What I didn’t expect was so much collage. Alison Lester’s figures are cut out and collaged onto a background; they stand out fresh and lively in the original (although it might not be as obvious in the print version). Tai Snaith does more obvious collage mixing cut paper and stoneware clay to create very three dimensional images for Slow Down World (2017). And then there is the digital collage and gothic cyberpunk styling of Lance Balchin’s mechanical insects, from his book Mechanica: a beginner’s field guide (2016).

“Fantastic Worlds” at Counihan Gallery in Brunswick was curated by Edwina Bartlem.

detail from Tai Snaith’s A cool shady place

The Ardern mural

Apart from the graffiti pieces at their base the old silos have stood empty for decades. Now there is a mural by Loretta Lizzio of Jacinda Ardern embracing a Muslim woman on one of them.

So why in Brunswick? The silo is owned by a Muslim and Coburg’s Islamic community has supported the mural. The mural was crowd funded and the artist, Lizzio donated her time. And Ardern is considered far more believable than any current Australian politician according to a recent poll.

I wouldn’t call it an original work; as is a copy of a photograph taken in NZ after the Christchurch massacre. I assume that it has been done with copyright permission from the photographer. And originality is not the purpose of the work, it is getting the image and message up there.

Tinning Street is a good area to explore and see street art and graffiti in Brunswick. There are often fresh new graffiti pieces in the other nearby lanes and there were some guys painting when I was there this week. There is also the vibrant Ilhan Lane, the Hosier Lane of Brunswick for street art. (Ilhan Lane is named after “Crazy John” Ilhan. Remember when retailers would advertise that they were mentally ill? Crazy John, Ken Bruce has gone mad, Bipolar Bill; okay I made the last one up. I’m glad that trend came to an end.)

At Moreland Station I notice that OG23 and Askem have repainted the same wall that they have been painting for decades. It is not unusual. (See my post Same Walls.)

OG23 & Askem

Has Melbourne’s street art and graffiti reached an almost steady state? In my last blog post about street art wrote that it had. A point where very little changes except for the names and locations; although many of the names and locations have been the same for decades. A decade ago new forms of street art were being explored: installations, yarn bombing, people even thought that you could grow moss in patterns.

Adnate and Fantauzzo

Vincent Fantauzzo collaboration mural with Adnate in Strachan Lane serves as a reminder that street art is now another luxury commodity. F is not a street artist and his fine art works with a theme of luxury and fashion. Artists can have their careers entirely within the street art and graffiti scene, rather than moving to another career in graphic design or fine arts. This professionalism has brought an end to the D.I.Y. aspects of the culture.

What will alter the current stasis?

Locally I have seen that growth of guerrilla gardening out compete graffiti along the Upfield trainline. Planting at Brunswick Station now obscure walls that were once regularly painted. Along the tracks the vines on the side of The Commons building at Anstey Station have green-buffed large sections of that wall.

Scanning the horizon with a global look I wonder how will the environmental hazards of the current street art and graffiti be tolerated? The chemicals, the one-use cans and other aspects make it environmentally unsustainable. Painting another mural to raise public awareness will only be a sustainable argument for a short time.

Van Rudd, climate strike mural

The Plastic Jewellers

In the foyer of the Counihan Gallery is selection of ear-rings with recycled components, recycled silver and plastic. TempContemp’s exhibition of sustainable jewellery is part of the “Art + Climate = Change 2019” arts festival.

Ann Welton, Flotsam and Simone Alesich, Gelo One

On Saturday one of the exhibiting jewellers and curator, Laila Marie Costa led walk and talk; or rather a talk with a walk to change the location. It started at the Counihan Gallery and continued, not far off, at Northcity4. The reason for this geographically extended talk was that TempContemp was also presenting “The Urban Gleaner & the Plastique Pt. II” another exhibition at Northcity4’s very small exhibition space (also part of “Art + Climate = Change 2019”).

Costa is an advocate for contemporary jewellery to have the same status as ceramics in the contemporary art world. She works with found materials and was exhibiting a pair of dramatic earrings built on inverted glow-in-the-dark crosses.

Northcity4 is a jewellery studio in Brunswick in a factory converted into studio spaces on Weston Street where seventeen jewellers work. Costa gave us a quick tour of the well-equiped studio with a forest of indoor plants. The studio tour was followed by a chat about both jewellery exhibitions and the use of plastic in contemporary jewellery.

Two more jewellers, Regina Middleton and Lauren Simeoni spoke about their work in the exhibition.

Lauren Simeoni uses fake plants as her primary material occasionally sneaking in precious materials into these compositions. In her hands the unnatural stamens, twigs and branches become necklaces and ear-rings.

Although they are using plastic as their primary material the horror of plastic covering the planet in a colourful layer of toxic chemical junk is very present in all their minds. Middleton describes an encounter with a Thai beach covered in plastic rubbish and the “tragic beauty of plastic” as it breaks down into smaller and smaller pieces. Middleton creates displays of these tiny, weathered fragments of plastic collected from beaches; elegant display boxes of poisonous, anti-magical, gems.


Happy Birthday Counihan Gallery

The Counihan Gallery is twenty years old. The Oven’s Street Studios are twenty-one years old. And, the youngest, Studio 23A is nineteen years old. Together there are two exhibitions at the Counihan to review. “Twenty One Today” celebrates the Oven’s Street Studios with an exhibition of its four founding members. And “Endangered Space” celebrates Studio 23A with an exhibition of eleven of its current members.

Doug Kirwan’s paintings seen through George Matoulas’s bronze Eureka Flag

Before the Counihan Gallery there wasn’t much in the way of galleries, or even, exhibition spaces in Brunswick. A room at the Mechanics Institute were used for irregular exhibitions and Moreland City Council had an arts officer. Having a dedicated, purpose-built gallery was a big improvement have a good curator was the next. Starting in 2006 curator, Edwina Bartlem made the Counihan Gallery something more than just a local council gallery and, the current curator, Victor Gris has followed through on improving the quality of the exhibitions.

Over the two decades since it was established I have seen many exhibitions at the Counihan Gallery. I have also seen many of the artists currently on exhibition in the gallery and in their studios (thanks to Brunswick Studio Walk).

I hadn’t seen the work of Doug Kirwan from the Oven’s Street Studios before and was instantly struck by their beauty and intensity. Geometric and organic patterns intersect and grow across Kirwan’s acrylic paintings. I was not surprised to discover that for eight years Kirwan was the in-house designer for a wallpaper company.

An informal look at some of the artists work from Studio 23A

Essential to the “Endangers Space” exhibition were the two tables that assembled work, materials and inspirations from all eleven of Studio’s 23A current members. The most powerful work was Kasia Fabijańska’s magnificent drawing; this huge drawing of a dead tree is almost 3 metres tall and fantastically rendered in graphite, charcoal and pencil.

Happy Birthday Counihan Gallery! Cheers! Cheers! Cheers!


Sunshine Lane

A visit to the Sunshine Lane (Ann St, Brunswick) is always worthwhile to see quality street art and graffiti. There are other great locations for street art in Brunswick hidden away in the backstreets. Few laneways in Melbourne get a 5 star review on Google but this is one; Google describes it as an art gallery and in a way it is. Sunshine Lane is one of the locations in Brunswick where street art graffiti thrive because it is semi-curated by Dean Sunshine, whose family owns several of the warehouse in the area. There are some permanent works, like this one by Slicer that I videoed when he was spraying it six years ago.

In the video I wanted to convey the action painting aspects of painting with a spray can (as in the action painting of the Abstract Expressionist 10th Street School). Aspects that Slicer embodied well, but it is his footwork, the dance that is also common to all artists spray painting large walls that I was also watching. The person dances along the wall with their spray can, steps back, pause, steps to the left, or to the right, and then steps back up to the wall to once again paint across its surface.

A couple of stencils by Drasko and others around the area reminded me that a decade ago the main focus on Melbourne’s street art was stencils. It is not that stencils are making a come back, they never went away, it is just that the street art scene is so much larger that stencils no longer dominate.

No-one would have predicted what is still happening with street art; what was underground and wild is now mainstream. A decade ago I was told so often that Melbourne’s street art had peaked that I took it too mean that the person in question was getting out of the scene. However, for every person who left the scene to pursue other goals it seemed that five took their place.

Rapid urbanisation has been the fuel in this expansion in many ways. The growth of the city, not just spread, but vertically has created many more walls filled by many more people who want to paint them. The walls get larger, whole sides of multi-storey buildings and more and more get painted. There are now building sites around Sunshine Lane, small laneways have vanish or are now cut off by construction works.


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