Posts Tagged ‘Julia deVille Night’s Plutonian Shore


melbourne’s magnificent eleven 2010

December 2010


Here’s my pick of the eleven best exhibitions in Melbourne for 2010 that featured on the Art Blart blog (in no particular order). Enjoy!



1/ Jenny Holzer at The Australian Centre for Contemporary Art (ACCA)


Jenny Holzer. 'Right Hand (Palm Rolled)' 2007


Jenny Holzer (American, b. 1950)
Right Hand (Palm Rolled)
Oil on linen
80 x 62 in. (203.2 x 157.5 cm)
Text: U.S. government document



The reason that you must visit this exhibition is the last body of work. Working with declassified documents that relate to the wars in Iraq and Afghanistan Holzer’s ‘Redaction’ paintings address the elemental force that is man’s (in)humanity to man (in the study of literature, redaction is a form of editing in which multiple source texts are combined (redacted) and subjected to minor alteration to make them into a single work) … I left the exhibition feeling shell-shocked after experiencing intimacy with an evil that leaves few traces. In the consciences of the perpetrators? In the hearts of the living! Oh, how I wish to see the day when the human race will truly evolve beyond. We live in hope and the work of Jenny Holzer reminds us to be vigilant, to speak out, to have courage in the face of the unconscionable.


2/ ‘Pondlurking’ by Tom Moore at Helen Gory Galerie, Prahran

This exhibition produced in me an elation, a sense of exalted happiness, a smile on my dial that was with me the rest of the day. The installation features elegantly naive cardboard cityscape dioramas teeming with wondrous, whimsical mythological animals that traverse pond and undulating road. This bestiary of animals, minerals and vegetables (bestiaries were made popular in the Middle Ages in illustrated volumes that described various animals, birds and even rocks) is totally delightful … What really stands out is the presence of these objects, their joyousness. The technical and conceptual never get in the way of good art. The Surrealist imagining of a new world order (the destruction of traditional taxonomies) takes place while balanced on one foot. The morphogenesis of these creatures, as they build one upon another, turns the world upside down … Through their metamorphosed presence in a carnivalesque world that is both weird and the wonderful, Moore’s creatures invite us to look at ourselves and our landscape more kindly, more openly and with a greater generosity of spirit.


Tom Moore. 'Birdboat with passenger with a vengeance' (left) and 'Robot Island' (right) 2010 and 2009


Tom Moore
Birdboat with passenger with a vengeance (left) and Robot Island (right)
2010 and 2009


3/ ‘Safety Zone’ by John Young at Anna Schwartz Gallery

What can one say about work that is so confronting, poignant and beautiful – except to say that it is almost unbearable to look at this work without being emotionally charged, to wonder at the vicissitudes of human life, of events beyond one’s control.

The exhibition tells the story of the massacre of 300,000 people in the city of Nanjing in Jiangsu, China by Japanese troops in December, 1937 in what was to become known as the Nanjing Massacre. It also tells the story of a group of foreigners led by German businessman John Rabe and American missionary Minnie Vautrin who set up a “safety zone” to protect the lives of at least 250,000 Chinese citizens. The work is conceptually and aesthetically well resolved, the layering within the work creating a holistic narrative that engulfs and enfolds the viewer – holding them in the shock of brutality, the poignancy of poetry and the (non)sublimation of the human spirit to the will of others.

Simply, this is the best exhibition that I have seen in Melbourne so far this year.


John Young. 'Flower Market (Nanjing 1936) #1' 2010


John Young (Australian, b. 1956)
Flower Market (Nanjing 1936) #1
digital print and oil on Belgian linen
240 x 331 cm
image courtesy of the artist and Anna Schwartz Gallery


John Young. 'Safety Zone' 2010


John Young (Australian, b. 1956)
Safety Zone
60 works, digital prints on photographic paper and chalk on blackboard-painted archival cotton paper
Installation shot, Anna Schwartz Gallery, Melbourne
Image courtesy of the artist and Anna Schwartz Gallery


4/ ‘To Hold and Be Held’ by Kiko Gianocca at Gallery Funaki


Kiko Gianocca. 'Man & dog' found image, resin, silver 2009


Kiko Gianocca (Swiss, b. 1974)
Man & dog
Found image, resin, silver



A beautiful exhibition of objects by Swiss/Italian artist Kiko Gianocca at Gallery Funaki, Melbourne, one full of delicate resonances and remembrances.

Glass vessels with internal funnels filled with the gold detritus of disassembled objects, found pendants: Horse, Anchor, Four leaf clover, Swan, Hammer & sickle … Brooches of gloss and matt black resin plates. On the reverse images exposed like a photographic plate, found images solidified in resin.

The front: the depths of the universe, navigating the dazzling darkness
The back: memories, forgotten, then remade, worn like a secret against the beating chest. Only the wearer knows!

As Kiki Gianocca asks, “I am not sure if I grasp the memories that sometimes come to mind. I start to think they hold me instead of me holding them.”


5/ ‘Jill Orr: Vision’ at Jenny Port Gallery, Richmond

The photographs invite us to share not only the mapping of the surface of the skin and the mapping of place and identity but the sharing of inner light, the light of the imaginary as well – and in this observation the images become unstable, open to reinterpretation. The distance between viewer and subject is transcended through an innate understanding of inner and outer light. The photographs seduce, meaning, literally, to be led astray … I found myself looking at the photographs again and again for small nuances, the detail of hairs on the head, the imagining of what the person was thinking about with their eyes closed: their future, their fears, their hopes, the ‘active imagination as a means to visualise sustainable futures’ (Orr, 2010) …

In the imagination of the darkness that lies behind these children’s closed eyes is the commonality of all places, a shared humanity of memory, of dreams. These photographs testify to our presence and ask us to decide how we feel about our life, our place and the relation to that (un)placeness where we must all, eventually, return.


Jill Orr. 'Jacinta' 2009


Jill Orr. 'Jacinta' 2009


Jill Orr (Australian, b. 1952)


6/ ‘AND THEN…’ by Ian Burns at Anna Schwartz Gallery

These are such fun assemblages, the created mis en scenes so magical and hilarious, guffaw inducing even, that they are entirely delightful.

There is so much to like here – the inventiveness, the freshness of the work, the insight into the use of images in contemporary culture. Still photographs of this work do not do it justice. I came away from the gallery uplifted, smiling, happy – and that is a wonderful thing to happen.


Ian Burns. '15 hours v.4' 2010


Ian Burns (Australian, b. 1964)
15 hours v.4
Found object kinetic sculpture, live video and audio
Image courtesy the artist and Anna Schwartz Gallery


7/ ‘Night’s Plutonian Shore’ by Julia deVille at Sophie Gannon Gallery, Richmond


Julia deVille. 'Nevermore' 2010


Julia deVille (Australian, b. 1982)



This is an excellent exhibition by Julia deVille at Sophie Gannon Gallery in Richmond … This exhibition shows a commendable sense of restraint, a beautiful rise and fall in the work as you walk around the gallery space with the exhibits displayed on different types and heights of stand and a greater thematic development of the conceptual ideas within the work. There are some exquisite pieces.

In these pieces there is a simplification of the noise of the earlier works and in this simplification a conversant intensification of the layering of the conceptual ideas. Playful and witty the layers can be peeled back to reveal the poetry of  de Sade, the stories of Greek mythology and the amplification of life force that is at the heart of these works. Good stuff.


8/ ‘Mari Funaki; Objects’ at The Ian Potter Centre: NGV Australia


Mari Funaki. 'Object' 2008


Mari Funaki (born Japan 1950, arrived Australia 1979, died 2010)
Heat-coloured mild steel
36.0 x 47.5 x 14.5 cm
Collection of Johannes Hartfuss & Fabian Jungbeck, Melbourne
© The Estate of Mari Funaki



Quiet, precise works. Forms of insect-like legs and proboscises. They balance, seeming to almost teeter on the edge – but the objects are incredibly grounded at the same time. As you walk into the darkened gallery and observe these creatures you feel this pull – lightness and weight. Fantastic!

And so it came to pass in silence, for these works are still, quiet and have a quality of the presence of the inexpressible. Funaki achieves these incredible silences through being true to her self and her style through an expression of her endearing will. While Mari may no longer be amongst us as expressions of her will the silences of these objects will be forever with us.


9/ ‘Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang’ at Heide Museum of Modern Art

When looking at art, one of the best experiences for me is gaining the sense that something is open before you, that wasn’t open before. I don’t mean accessible, I mean open like making a clearing in the jungle, or being able to see further up a road, or just further on. And also like an open marketplace – where there were always good trades. There is the feeling that if you put in a certain amount of honesty, then you would get something back that made some room for you in front – some room that would allow you to look forward, and maybe even walk into that space. Seeing Jerrems work gives you that feeling.


Carol Jerrems. 'Mark and Flappers' 1975


Carol Jerrems (Australian, 1949-1980)
Mark and Flappers
National Gallery of Victoria, Melbourne
Gift of James Mollison, 1994
© Ken Jerrems & the Estate of Lance Jerrems


10/ ‘John Davis: Presence’ at The Ian Potter Centre: NGV Australia


John Davis. '(Spotted fish)' 1989


John Davis (Australia 1936-99)
(Spotted fish)
Twigs, cotton thread, calico, bituminous paint
55.0 x 145.0 x 30.0 cm
Private collection, Melbourne
© Penelope Davis & Martin Davis. Administered by VISCOPY, Australia



This is a superlative survey exhibition of the work of John Davis at NGV Australia, Melbourne.

In the mature work you can comment on the fish as ‘travellers’ or ‘nomads’, “a metaphor for people and the way we move around the world.” You can observe the caging, wrapping and bandaging of these fish as a metaphor for the hurt we humans impose on ourselves and the world around us. You can admire the craftsmanship and delicacy of the constructions, the use of found objects, thread, twigs, driftwood and calico and note the ironic use of bituminous paint in relation to the environment, “a sticky tar-like form of petroleum that is so thick and heavy,” of dark and brooding colour.

This is all well and true. But I have a feeling when looking at this work that here was a wise and old spirit, one who possessed knowledge and learning … a human being who attained a state of grace in his life and in his work.


11/ ‘Mortality’ at The Australian Centre for Contemporary Art (ACCA)


Fiona Tan. 'Tilt' 2002


Fiona Tan (Indonesia, b. 1966)
courtesy of the artist, Frith Street Gallery London



I never usually review group exhibitions but this is an exception to the rule. I have seen this exhibition three times and every time it has grown on me, every time I have found new things to explore, to contemplate, to enjoy. It is a fabulous exhibition, sometimes uplifting, sometimes deeply moving but never less than engaging – challenging our perception of life. The exhibition proceeds chronologically from birth to death. I comment on a few of my favourite works below but the whole is really the sum of the parts: go, see and take your time to inhale these works – the effort is well rewarded. The space becomes like a dark, fetishistic sauna with it’s nooks and crannies of videos and artwork. Make sure you investigate them all!




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Review: ‘Cineraria’ by Julia deVille at Sophie Gannon Gallery, Richmond, Melbourne

Exhibition dates: 28th July  – 22nd August 2009


Julia deVille (New Zealand, b. 1982) 'Ruby Heart Starling' 2008


Julia deVille (New Zealand, b. 1982)
Ruby Heart Starling
Starling, sterling silver, black rhodium & gold plate, rubies, antique frame
30 x 35 x 18 cm



This is an itsy-bitsy show by Julia deVille at Sophie Gannon Gallery in Richmond, Melbourne. Offering a menagerie of macabre stuffed animals and conceptual ideas the exhibition fails to coalesce into a satisfying vision. It features many ideas that are not fully investigated and incorporated into the corporeal body of the work.

We have, variously, The Funerary Urn/Cinerarium, The Ossuary, Skeletons, Black, Victorian Funerary Customs, Feathers, Taxidermy, Time, Eggs and Religion. We also have stuffed animals, cigar boxes, lace and silver, pelts and columns, jet necklaces and Victorian glass domes, glass eyes and ruby hearts to name but a few. The viewer is overwhelmed by ideas and materials.

When individual pieces excel the work is magical: the delicate and disturbing Stillborn Angel (2009, below) curled in a foetal position with appended sparrows wings is a knockout. The large suspended raven of Night’s Plutonian Shore (2009, above) effectively evinces the feeling of the shores of the underworld that the title, taken from an Edgar Allan Poe poem, reflects on.

Other pieces only half succeed. Piglet (2009, below) is a nice idea with its lace snout and beaded wings sitting on a bed of feathers awaiting judgement but somehow the elements don’t click into place. Further work are just one shot ideas that really lead nowhere. For example Cat Rug (2008, below) features black crystals in the mouth of a taxidermied cat that lies splayed on a plinth on the gallery floor. And, so … Silver Rook (2008, below) is a rook whose bones have been cast in silver, with another ruby heart, suspended in mid-air in the gallery space. Again an interesting idea that really doesn’t translate into any dialogue that is substantial or interesting.

Another problem with the work is the technical proficiency of some of the pieces. The cast silver front legs and ribs of The Anatomy of a Rabbit (2008, below) are of poor quality and detract from what should have been the delicacy of the skeletal bones of the work. The bronze lion cartouche on the egg shaped Lion Urn (2009) fails to fit the curved shape of the egg – it is just attached at the top most point and sits proud of the egg shape beneath. Surely someone with an eye for detail and a sense of context, perfection and pride in the work they make would know that the cartouche should have been made to fit the shape underneath.

Despite its fashionable position hovering between craft, jewellery and installation this is ‘art’ in need of a good reappraisal. My suggestion would be to take one idea, only one, and investigate it fully in a range of work that is thematically linked and beautifully made. Instead of multiplying the ideas and materials that are used, simplify the conceptual theme and at the same time layer the work so it has more complexity, so that it reveals itself over time. You only have to look at the work of Mari Funaki in the previous post or the simple but conceptually complex photographs of Matthias Koch in the German photography review to understand that LESS IS MORE!

There are positive signs here and I look forward to seeing the development of the artist over the next few years.

Dr Marcus Bunyan for the Art Blart blog

Many thankx to Sophie Gannon Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.


Julia deVille (New Zealand, b. 1982) 'Night's Plutonian Shore' 2009


Julia deVille (New Zealand, b. 1982)
Night’s Plutonian Shore
Tasmanian Forest Raven, black garnets, cotton, sterling silver, amethyst


Julia deVille (New Zealand, b. 1982) 'L'enfant (Infant Funerary Urn)' 2009


Julia deVille (New Zealand, b. 1982)
L’enfant (Infant Funerary Urn)
Ostrich egg, sterling silver, ostrich plumes and black garnet
35 x 12 x 12 cm


Julia de Ville 'Cineraria' installation view at Sophie Gannon Gallery, Melbourne

Julia de Ville 'Cineraria' installation view at Sophie Gannon Gallery, Melbourne


Julia deVille Cineraria installation views at Sophie Gannon Gallery, Melbourne


Julia de Ville. 'Piglet' 2009


Julia deVille (New Zealand, b. 1982)
Piglet, antique lace, pins and feathers
25 x 23 x 13 cm


Julia de Ville. 'Cat Rug' 2008


Julia deVille (New Zealand, b. 1982)
Cat Rug
Cat, glitter and fibreglass
100 x 60 x 8 cm


Julia de Ville. 'Sympathy' 2008


Julia deVille (New Zealand, b. 1982)


Julia de Ville. 'Silver Rook' 2008


Julia deVille (New Zealand, b. 1982)
Silver Rook
Sterling silver, rubies
30 x 25 x 35 cm




n. pl. Cineraria
A place for keeping the ashes of a cremated body.

n. any of several horticultural varieties of a composite plant, Senecio hybridus, of the Canary Islands, having clusters of flowers with
white, blue, purple, red, or variegated rays.

Origin: 1590-1600; < NL, fem. of cinerarius ashen, equiv. to L ciner- (s. of cinis ashes) + -rius -ary; so named from ash-coloured down on leaves.

CINERARIA is a study of the ritual and sentiment behind funerary customs from various cultures and eras.


Notes on inspirations

The Funerary Urn/Cinerarium: Funerary Urns have been used since the times of the ancient Greeks and are still used today. After death, the body is cremated and the ashes are collected in the urn.

The Ossuary: An ossuary is a chest, building, well, or site made to serve as the final resting place of human skeletal remains. They are frequently used where burial space is scarce. A body is first buried in a temporary grave, then after some years the skeletal remains are removed and placed in an ossuary. The greatly reduced space taken up by an ossuary means that it is possible to store the remains of many more people in a single tomb than if the original coffins were left as is. This was a common practice in post plague Europe in the 14th-16th Centuries.

Skeletons: Human skeletons and sometimes non-human animal skeletons and skulls are often used as blunt images of death. The skull and crossbones (Death’s Head) motif has been used among Europeans as a symbol of piracy, poison and most commonly, human mortality.

Black: In the West, the colour used for death and mourning is black. Black is associated with the underworld and evil. Kali, the Hindu god of destruction, is depicted as black.

Victorian Funerary Customs:

  • A wreath of laurel, yew or boxwood tied with crape or black ribbons would be hung on the front door to alert passers by that a death had occurred
  • The use of flowers and candles helped to mask unpleasant odours in the room before embalming became common
  • White was a popular colour for the funeral of a child. White gloves, ostrich plumes and a white coffin were the standard

Feathers: In Egyptian culture a recently deceased persons soul had to be as light as a feather to pass the judgment of Ma’at. Ma’at (Maet, Mayet) is the Egyptian goddess of truth, justice and the underworld. She is often portrayed as wearing a feather, a symbol of truth, on her head. She passed judgment over the souls of the dead in the Judgment Hall of Osiris. She also weighted up the soul against a feather. The “Law of Ma’at” was the basis of civil laws in ancient Egypt. If it failed, the soul was sent into the underworld. Ma’at’s symbol, an ostrich feather, stands for order and truth.

Taxidermy: Taxidermy to me is a modern form of preservation, a way for life to continue on after death, in a symbolic visual form.

The Raven: In many cultures for thousands of years, the Raven has been seen symbol of death. This is largely due to the Raven feeding on carrion. Edgar Allan Poe has used this symbolism in his poem, “The Raven”.

Time: Less blunt symbols of death frequently allude to the passage of time and the fragility of life. Clocks, hourglasses, sundials, and other timepieces call to mind that time is passing. Similarly, a candle both marks the passage of time, and bears witness that it will eventually burn itself out. These sorts of symbols were often incorporated into vanitas paintings, a variety of early still life.

Eggs: The egg has been a symbol of the start of new life for over 2,500 years, dating back to the ancient Persians. I have chosen egg shapes and even one Ostrich egg to represent the cycle of life, the beginning and the end.

Religion: Religion has played a large part in many funerary customs and beliefs. I am particularly interested in the Memento Mori period of the 16th-18th centuries. In a Calvinistic Europe, when the plague was a not too distant memory, a constant preoccupation with death became a fashionable devotional trend.

Julia deVille


Julia de Ville. 'Stillborn Angel' 2009


Julia deVille (New Zealand, b. 1982)
Stillborn Angel
Stillborn puppy, sparrow wings and sterling silver
13 x 10 x 5 cm


Julia de Ville. 'The Anatomy of a Rabbit' 2008


Julia deVille (New Zealand, b. 1982)
The Anatomy of a Rabbit
Rabbit, sterling silver, rubies, glitter and mahogany
30 x 30 x 30 cm


Julia de Ville 'Cineraria' installation views at Sophie Gannon Gallery, Melbourne


Julia deVille Cineraria installation view at Sophie Gannon Gallery, Melbourne



Sophie Gannon Gallery
2, Albert Street, Richmond, Melbourne

Opening hours:
Tuesday – Saturday 11 – 5pm

Sophie Gannon Gallery website


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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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