SPRING 1883

Art Fair

9 - 12 AUGUST 2023

Suite 220 | The Hotel Windsor, Melbourne

PRESENTING

Gabrielle Adamik, Scott Duncan, Aaron Fell-Fracasso, Erin Mison, Darren Munce, Henry Jock Walker and Christopher Zanko.

Gabrielle Adamik

Gabrielle Adamik studied Object Design in Glass at Sydney College of Arts, and has been a finalist in the touring Ranamok Glass Prize and the Meroogal Women's Art Prize. She was an Artist in Residence with Gapuwiyak Community, North East Arnhem Land where she explored basket-making using pandanus.

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Domestic Puddle III, 2023. Hot and Kiln Formed Glass.

14 x 29 x 24.5 cm

AUD 2950

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Domestic Puddle VIII, 2023. Hot and Kiln Formed Glass.

20.5 x 20.5 x 16 cm

AUD 2500

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Domestic Puddle VII, 2023. Hot and Kiln Formed Glass.

37 x 40 x 24 cm

AUD 3200

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Domestic Puddle IV, 2023. Hot and Kiln Formed Glass.

33.5 x 13 x 22 cm

AUD 3100

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Domestic Puddle I, 2023. Hot and Kiln Formed Glass.

22 x 27 x 17 cm

AUD 2750

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Domestic Puddle II, 2023. Hot and Kiln Formed Glass.

12 x 13 x 21.5 cm

AUD 1250

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Domestic Puddle V, 2023. Hot and Kiln Formed Glass.

32 x 14 x 14 cm

AUD 2600

Scott Duncan

As he assesses the qualities of the newly fired object, Scott Duncan states, ”I’m not a tromp-l’oeil artist.” His core objective is to transfer idea to form, later summarising that, “I made this because I wanted to see what it looked like.” Consistent with this, Scott Duncan talks about figuring out how to make things as he is making them. The ideas are generated in clay with very little drawing. In the place of drawing is an experimental approach to tools. “Bits of stuff from the kitchen, dome moulds, bevelled edges. I used wedges of balsa to imprint those patterns,” pointing to the clay circular decoration on one of his iconic bird vessels (which another visitor described as feeling like embossed leather bags). These adaptive tools allow him to explore qualities which are not usually found in clay. “I want to explore added texture – texture that does not belong in traditional pottery.”

The ceramic bird is a classic motif in ceramics that finds its way into Scott Duncan’s work variously as a chicken, a partridge or sometimes a rooster. It is a universal symbol that also speaks to something elemental in the artist’s childhood via the bird-shaped salt and pepper shakers his grandmother would place on the table.

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Spring Chicken IX, 2023, Raku Clay, Underglaze, Glazes, Acrylic.

67 x 45 x 8.5 cm

SOLD

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Spring Chicken VII, 2023. Raku Clay, Underglaze, Glazes, Acrylic.

29.5 x 21 x 4 cm

AUD 1500

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Bananas, 2023. Raku Clay, Underglaze, Glazes, Nylon.

61 x 37 x 15.5 cm

AUD 5,200

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Eggnog, 2021. Earthenware, underglaze and glazes.

50 x 34 x 8 cm

SOLD

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Spring Chicken VIII, 2023. Raku Clay, Underglaze, Glazes, Acrylic.

61.5 x 44 x 7 cm

AUD 3400

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Spring Chicken III, 2023. Raku Clay, Underglaze, Glazes, Acrylic.

30 x 22.5 x 4.5 cm

AUD 1500

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Straight Up Staunch, 2023.Raku Clay, Underglaze, Glazes, Wool, Nylon.

61 x 40 x 17 cm

AUD 5,200

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Amphora Australis-Moselle, 2022, Earthenware, underglaze and glazes.

50 x 27 x 27 cm

SOLD

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Spring Chicken IV, 2023, Raku Clay, Underglaze, Glazes, Acrylic.

29 x 22 x 4 cm

AUD 1500

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Spring Chicken II, 2023. Raku Clay, Underglaze, Glazes, Acrylic.

30 x 23.5 x 4.5 cm

AUD 1500

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Spring Chicken VI, 2023. Raku Clay, Underglaze, Glazes, Acrylic.

23.5 x 23.5 x 4 cm

AUD 1500

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Spring Chicken I, 2023. Raku Clay, Underglaze, Glazes, Acrylic.

41.5 x 32 x 6 cm

AUD 1500

Aaron

Fell-Fracasso

In the studio Aaron Fell-Fracasso has a range of tools to get paint onto a surface. There are wide edged trowels, screeding brushes with soft bristles and concrete finishing knives. Oil paint has been poured into a stack of cartridges ready to be loaded into a caulking gun. He can use this to quickly apply vibrant colour to a trowel or extrude it straight onto the work as a wormy line. The method means an idea becomes action almost immediately. This is abstraction that repurposes construction methods, holding within it the correlations between physical labouring and the artist’s studio. 

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Green Rendered On Pink, 2023. Oil, acrylic and sand on board.

182 x 150 cm

AUD 12,500

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Red Oxide Rendered on Yellow Ochre with Colour Swatch, 2023. Oil, sand and acrylic on board.

162 x 121.5 cm

AUD 9,200

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Gold Ochre On Institution Mint Green With Colour Samples, 2023. Oil, sand and acrylic on board.

162 x 121.5 cm

AUD 9200

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Turquoise Rendered on Raw Umber, 2023. Oil, sand and acrylic on board.

147 x 122 cm

AUD 7,900

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Naples Yellow Rendered on Red, 2023.Oil, sand and acrylic on board.

147 x 122 cm

AUD 7,900

Darren Munce

Darren Munce creates works that are compelling investigations into the visual language of painterly abstraction. Driven by a research-based interest in the methods and processes that surround the language of painting, his works exist as experimental negotiations with geometry, colour, material and surface.

His beautifully crafted paintings stimulate the viewers’ sensory memory and create a generous visual exchange. Drawing from a wide variety of contrasting external sources, Munce assembles self- authored signs to present woven networks of technically structured compositions; cropped street fashion motifs may be partnered with architectural forms and rendered using a colour palette inspired from a children’s book. The works generate new relations and potential associations, while promoting an aliveness through their multiplicity of pictorial structures.

Born in Sydney and currently based in Melbourne, Darren Munce holds a Bachelor of Fine Arts (Hons) from the Victorian College of the Arts (VCA), a Diploma of Visual Art from RMIT and a Diploma of Graphic Design from Sydney Institute of Technology. With a background in commercial signwriting and graphic design, for over a decade Munce has worked in the Painting Department at VCA, sharing his considerable technical experience in support of the current generation of emerging visual artists.

Munce has undertaken tours and residencies in Europe and North America to inform his practice and deepen his understanding of the divergent histories of painting.

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Lollygag, 2023. Pigment and Binders on Canvas.

72 x 60 cm (Framed: 74 x 62 cm)

AUD 3750

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The Compromise, 2023. Pigment and Binders on Canvas.

Framed: 25 x 15 cm

AUD 1,200

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Damascus Transfer, 2023. Pigment and Binders on Canvas.

Framed: 42 x 52 cm

AUD 2,950

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Drying Time, 2023. Pigment and Binders on Canvas.

43 x 38 cm (Framed: 45 x 39 cm)

AUD 2650

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Old Town, 2023. Pigment and Binders on Canvas.

54 x 38 cm (Framed: 56 x 39 cm)

AUD 2950

Erin Mison

The works included in this collection are a part of a series in which Mison explores traditional Greek myths and religious cannon in an effort to draw into focus the similarities between these ancient stories and our current social and cultural climate.

Mistaken for weakness, 2023 depicts three women, huddled together and illuminated by the burning orange light of their home city being burnt to the ground by some omniscient force. A woman stares in confident defiance at the viewer as her daughters look back at the devastation.

A fallacy of sunken costs, 2023 is a free form textile work showing four unique yet intimately intertwined figures. Wrapping into one another either by desire, circumstance or a naïve sense of duty, the figures

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Mistaken For Weakness, 2023, Hand tufted wool and acrylic yarn on cotton monks cloth, 95 x 95cm

SOLD

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A Fallacy Of Sunken Costs, 2023, Hand tufted wool and acrylic yarn on cotton monks cloth.

180 x 65cm

AUD 4650

Henry Jock Walker

Henry Jock Walker's practice commonly explores possibilities of surfing, performance and painting through collaboration, and socially inclusive events. Walker has developed a national nomadic practice, utilising his Toyota Hiace van as an ever-changing exhibition/studio/performance site and mobile core of operations. Walker both celebrates and questions the place of contemporary art in Australia through public studio practice, thinking and working with many urban and regional communities.

For ten years he has been prolifically practicing, performing and exhibiting nationally - showing in leading artist run spaces and contemporary art organisations.

Walker was a founding co-director of the mobile ARI tarpspace. Studying at the Art School of South Australia 2006-2008, partly studying abroad in San Diego, California, he successfully completed his honours in 2011 at the Victorian College of Art, Melbourne.

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Untitled #12, 2023.Stretched found neoprene with powder-coated aluminium frame.

Framed: 180 x 242 x 4.5 cm

AUD 18,500

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20th July, 2023. Stretched found neoprene.

52 x 42 cm

SOLD

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Shaping, 2023. Stretched found neoprene.

75 x 70 cm

AUD 3,100

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Shaping Prototype (Jarvis Earle), 2023. Stretched found neoprene.

75 x 70 cm

AUD 3,100

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Goes Both Waves, 2023. Stretched found neoprene.

90 x 78 cm

AUD 3,300

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Wetsuite II (black and cream), 2021. Stretched found neoprene with powder-coated aluminium frame

122 x 92 cm

AUD 3,950

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UV, 2021. Stretched found neoprene with powder-coated aluminium frame.

122 x 92 cm

AUD 3,950

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Untitled #3, 2023. Stretched found neoprene with powder-coated aluminium frame.

Framed: 104 x 78 x 4.5 cm

SOLD

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Nana Bev Blue No.14, 2023. Stretched found neoprene with powder-coated aluminium frame.

Framed: 104 x 78 x 4.5 cm

AUD 3,850

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George Fullard, 2023. Stretched found neoprene with powder-coated aluminium frame.

Framed: 104 x 78 x 4.5 cm

AUD 3,850

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Todd Leg, 2023. Stretched found neoprene with powder-coated aluminium frame.

Framed: 50 x 40 x 4.5 cm

AUD 2,150

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Kelp, 2023. Stretched found neoprene with powder-coated aluminium frame.

Framed: 50 x 40 x 4.5 cm

AUD 2,150

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Boom Gate To Sideways, 2023. Stretched found neoprene with powder-coated aluminium frame.

Framed: 50 x 40 x 4.5 cm

AUD 2,150

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Greyson Fletcher, 2023. Stretched found neoprene with powder-coated aluminium frame.

Framed: 148 x 108 x 4.5 cm

AUD 4,750

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Nana Bev Blue With Mints, 2023. Stretched found neoprene with powder-coated aluminium frame.

Framed: 50 x 40 x 4.5 cm

AUD 2,150

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Whites, 2023. Stretched found neoprene with powder-coated aluminium frame.

Framed: 50 x 40 x 4.5 cm

AUD 2,150

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Jackaleeda, 2022. Stretched found neoprene with powder-coated steel frame.

52 x 42 cm

AUD 1,800

Christopher

Zanko

Past communities, settings, and homes have always faced change driven by powerful exogenous forces: social, economic, political, technological, environmental and aesthetic.  Adaptation to these demands has led to removal, replacement, renovation, and a preoccupation with new fads and fashions, some for good some for bad. The original fades or disappears as do individual and collective memories.

By contrast, Illawarra artist Christopher Zanko has directed his gaze to look back at the original in our communities, to capture and record the settings and dwellings of mid-twentieth century suburban homes. Those homes with humble, noble bones and those with greater possibilities. Christopher celebrates these through the duality of printmaking and painting. He locates his subjects, their settings, and world through wood-carved expression suffused with the play of colour and shade reminding the viewer of the past.  

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Paska, 2023. Acrylic on wood relief carving.

46 x 57 x 2.5 cm

AUD 2700

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Mono-Permanance (After Klein), 2023. Acrylic on wood relief carving.

145 x 122 cm

AUD 13,500