A large number of paintings were being loaded into a rented truck on Easey Street in Collingwood. I saw what appeared to be a late James Gleeson painting being carried out.
I write, ‘appeared’ because although I am familiar with Gleeson’s paintings, I am not an expert, I only saw the painting from across the road and did not examine it. These caveats are necessary because, although the owner of Victorian Art Conservation, Aman Siddique was found not guilty of art forgery on appeal earlier this year, his lawyers claimed that copies, as distinct from forgeries, were being painted at Victorian Art Conservation. (For more read my post Forgery Trial Book.)
The real estate agent’s sign on the red brick building on Easey Street in Collingwood read: “For Lease: Industrial-Style: high ceilings, concrete floor, good natural light, rear laneway access, zoning: commercial 2, area: 570 square metres.”
The good natural light would have been important for Victorian Art Conservation but now the building where it was located is up for lease. The sign confirmed what I had heard in court had been told that the business was closed.
I happened upon the scene as I was passing by after visiting street artist Shida’s exhibition at Beeser Space, around the block on Keele Street, on my way to see an exhibition of rock photography by James Adams and Sam Brumby at Backwoods Gallery on Easey Street. They were the only two galleries in Collingwood with original exhibitions. Most of the galleries in Collingwood had stockroom exhibitions, even the shopfront Collingwood Gallery. (It has a stockroom?!?)
Shida’s paints beautiful and sexy figures that would have been avant-garde modernism if they were painted a century ago. I know that the paintings were genuine Shida paintings, although I am no more an expert on them than Gleeson paintings, because Shida was sitting the exhibition. No-one has ever bought a forgery when they acquired the art directly from the artist.