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Tag Archives: model buildings

Three model buildings

Looking at three artist’s models of buildings in two exhibitions that I saw this week. From miniature realism to fantastic visions model buildings represent a form of life.

David Hourigan, The Chicken Shop Yarraville

The first two models were in “Uncontrolled Development” a group exhibition at Brunswick Street Gallery. One was by David Hourigan, the other by John Gatip.

Hourigan has received plenty of mainstream media coverage for his models of Melbourne’s disappearing old urban sites, like milk bars and donut stands. They are very detailed, almost photo-realistic, 1:25 scale models of actual buildings. However accurate, Hourigan’s models are just a road to nostalgia, a criticism free version of the past, where there are no regrets or disappointments. (For more on Hourigan’s models see The Age.)

John Gatip, part of Eureka series

Gatip’s ‘Eureka’ series of golden models are abstractions of Melbourne; particularly the nineteenth century Melbourne constructed from the profits of the gold rush. His models are not an accurate representations but the city is clearly recognisable from the forms. Gatip is an architect but these models are very different from architects models. In an architects model the building is shown in an ideal state, as an example to imitate in the actual construction; in the artist’s model it is a three-dimensional representation.

Alfredo and Isabel Aquilizan, Arrivals and departures

In “Bruised: Art Action and Ecology in Asia” RMIT Gallery, Alfredo and Isabel Aquilizan models of buildings are clearly made of corrugated cardboard. In their Arrivals and departures multi-storey towers of dense bricolage homes are piled on top of each other in chaotic constructions. Aquilizan’s houses are lively, with overgrown pot plants, bird boxes, antennas and other signs of life. Each building is on a luggage trolleys, ready to move to a new location on the artificial grass.

Bruised is part of ART+CLIMATE=CHANGE 2019 the art festival that is unfortunately so necessary in this climate emergency (see my other posts about visual arts exhibitions the ART+CLIMATE=CHANGE 2019: The plastic jewellers and Art in the face of a climate emergency).

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Miniature Worlds: Stone and Goonhugs

Occasionally going to multiple galleries in an afternoon can reveal an interesting comparison, even if it does mean suffering Melbourne’s light rain and the cold wind. For example, Adam Stone’s Trust Me, 2016 is a 3D printed miniature plastic model of a roller door covered in graffiti crushing a watermelon. It is an oddity amongst his other works at Fort Delta. It is also odd because coincidentally there is another exhibition of miniature models on a similar scale in Goonhugs’s exhibition, “Tiny Writers” at Dark Horse Experiment.

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Goonhugs, Tiny Writers (photo by Yvette Crozier)

At Fort Delta there are two exhibitions. Spencer Lai’s “Beat Peace, lovely, lovely”, a funky minimalist contemporary sculpture exhibition, and Adam Stone’s “Cane Toad” exhibition.

“Cane Toad” opens with two glass doors with the image of Lance Armstrong on them and then a lot of bronze painted bananas with faces. Cast bronze jokes are a bit heavy handed, playing on an antique art world joke that goes back to Warhol, and jokes about topical figures, Lance Armstrong, Bill Clinton, and Tiger Woods don’t last long; I couldn’t recognise the faces.

So, back to the miniature model buildings. Both Stone and Goonhug’s models are excellent, sensational as miniatures, and both refer to graffiti culture.

Goonhug’s miniatures at Dark Horse Experiment are complete with every tag, every poster, and sticker. They loving recreation of specific locations, empty shops, ‘abandos’ (abandoned buildings) in Melbourne and Toyko, except that all the grime and weeds appear slightly larger. There is the indulgence is in details, in creating miniature rubbish bags,  miniature dumpsters and miniature rubbish. They celebrate the aura that taggers and sticker slappers, like Goonhugs, have given them. It is the current version of a boys own dream: making models and doing tags.

The room at Dark Horse Experiment of sticker tags, 3000 GOONHUGS, is a better representation of Goonhugs work. In the middle of the room sit couple of casks, the ‘flagons’ that add the ‘goon’ to his name. Repetition turns the tags into a pattern like wallpaper, following from Warhol and Ai Weiwei.


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