Darebin Art Collection

Earthenware 'Remued' baluster-shaped vase, green / brown / blue

Public Description: 

This small plump baluster-shaped earthenware vase was produced in the ‘Remued’ ware range introduced by Premier Pottery, between 1941 and 1955 and is known to be part of the Later Series. It is characterised by its drip-glaze style, and in this case, colours of green, brown and blue have been used.

The 'Remued' ware in the City of Darebin art collection is significant as it represents fine examples from the nationally recognised twentieth century art pottery, Premier Pottery, that was based in the Victorian suburb of Preston from 1929-1956. Of great influence to the development of this range was the potter Margaret Kerr (1898-1958), who began introducing Australian imagery into pottery design.

'Remued' was one of Premier's most successful and defining ventures, a feat made particularly remarkable in that it survived the financial strains of the Great Depression. The work of Premier is significant in that although the firm was producing large quantities of commercial ware, they maintained a studio approach to their work, preferring handmade items as opposed to the use of plaster moulds.

Earthenware 'Remued' globe-shaped bowl, brown / blue

Public Description: 

This small globe-shaped earthenware bowl with a round mouth and no flare was produced in the ‘Remued’ ware range introduced by Premier Pottery, between 1941 and 1955 and is known to be part of the Later Series. It is characterised by its drip-glaze style, and in this case, colours of brown and blue have been used.

The 'Remued' ware in the City of Darebin art collection is significant as it represents fine examples from the nationally recognised twentieth century art pottery, Premier Pottery, that was based in the Victorian suburb of Preston from 1929-1956. Of great influence to the development of this range was the potter Margaret Kerr (1898-1958), who began introducing Australian imagery into pottery design.

'Remued' was one of Premier's most successful and defining ventures, a feat made particularly remarkable in that it survived the financial strains of the Great Depression. The work of Premier is significant in that although the firm was producing large quantities of commercial ware, they maintained a studio approach to their work, preferring handmade items as opposed to the use of plaster moulds.

Earthenware 'Remued' cylinder vase, green / beige / blue

Public Description: 

This small slightly ribbed earthenware cylinder vase with a flared foot was produced in the ‘Remued’ ware range introduced by Premier Pottery, between 1941 and 1955 and is known to be part of the Later Series. It is characterised by its drip-glaze style, and in this case, colours of green, beige and blue have been used.

The 'Remued' ware in the City of Darebin art collection is significant as it represents fine examples from the nationally recognised twentieth century art pottery, Premier Pottery, that was based in the Victorian suburb of Preston from 1929-1956. Of great influence to the development of this range was the potter Margaret Kerr (1898-1958), who began introducing Australian imagery into pottery design.

'Remued' was one of Premier's most successful and defining ventures, a feat made particularly remarkable in that it survived the financial strains of the Great Depression. The work of Premier is significant in that although the firm was producing large quantities of commercial ware, they maintained a studio approach to their work, preferring handmade items as opposed to the use of plaster moulds.

Earthenware 'Remued' wall pocket vase, green / brown

Public Description: 

This wall pocket earthenware vase in a flattened conical shape was produced in the ‘Remued’ ware range introduced by Premier Pottery, between 1941 and 1955 and is known to be part of the Later Series. It is characterised by its drip-glaze style, and in this case, colours of green and brown have been used.

The ‘Remued’ ware in the City of Darebin art collection is significant as it represents fine examples from the nationally recognised twentieth century art pottery, Premier Pottery, that was based in the Victorian suburb of Preston from 1929-1956. Of great influence to the development of this range was the potter Margaret Kerr (1898-1958), who began introducing Australian imagery into pottery design.

'Remued' was one of Premier's most successful and defining ventures, a feat made particularly remarkable in that it survived the financial strains of the Great Depression. The work of Premier is significant in that although the firm was producing large quantities of commercial ware, they maintained a studio approach to their work, preferring handmade items as opposed to the use of plaster moulds.

Earthenware 'Remued' egg-cup vase, green / brown

Public Description: 

This small angular ‘egg-cup’ earthenware vase was produced in the ‘Remued’ ware range introduced by Premier Pottery, between 1941 and 1955 and is known to be part of the Later Series. It is characterised by its drip-glaze style, and in this case, colours of green and brown have been used.

The 'Remued' ware in the City of Darebin art collection is significant as it represents fine examples from the nationally recognised twentieth century art pottery, Premier Pottery, that was based in the Victorian suburb of Preston from 1929-1956. Of great influence to the development of this range was the potter Margaret Kerr (1898-1958), who began introducing Australian imagery into pottery design.

'Remued' was one of Premier's most successful and defining ventures, a feat made particularly remarkable in that it survived the financial strains of the Great Depression. The work of Premier is significant in that although the firm was producing large quantities of commercial ware, they maintained a studio approach to their work, preferring handmade items as opposed to the use of plaster moulds.

John Batman and his Party Encounter the Budgeroo of Bundoora

Public Description: 

Hybrid mythical creatures and giant Australian animals are common encounters in the artwork of Sharon West. Set in a traditional landscape, West presents a unique way of exploring the relationships between the white settler, Aboriginal cultures and the Australian landscape. The artist navigates within Australia’s colonial narratives to highlight the cultural conditions of settlement, and the accompanying dispossession of Aboriginal people from their land.

West’s artwork is grounded in satire and, at the same time, references Australian landscape movement paintings, reflecting colonial perspectives of history and myth, while imbued with the artist’s imagination and personal narratives. Offering re-imagined glimpses of Victorian history with people of the Kulin Nation, West creates statements about colonisation as an evolving historical and cultural process.

In appropriating history, West visualises and accentuates European mythologies; the notion of an uncivilised and empty land was the basis of colonial occupation and the formation of Aboriginal missions. In John Batman and his Party Encounter the Budgeroo of Bundoora, West conveys the idea of a dangerous and inhospitable land with an oversized monster, in this instance, a now extinct giant ‘Budgeroo’ dominating the landscape as encountered by John Batman and his party during their surveying of Port Phillip. The artwork was created first as a diorama revealing an artificial scene populated by plastic figures, a handcrafted ‘Budgeroo’ and painted background. The diorama was then photographed through glass, flattening the texture to further distort the legitimacy of colonial settlement.

West has developed a comprehensive and impressive body of work examining the relationship between settler and Indigenous cultures within the context of Australian colonial art history. She practices principally with the mediums of painting, assemblage and digital media. West has exhibited widely in Australia and has curated a number of exhibitions working primarily with Victorian Indigenous artists. She is the recipient of various awards including the Excellence in Conceptual Photography Award Kodak Salon (CCP, 2011) Bendigo Bank Emerging Award for the ANL Maritime Art Awards (Mission to Seafarers, 2011), and winner of the Darebin Art Show (2011). Her artwork is held in public collections including the State Library of Victoria, City of Melbourne and the Museum of the British Empire (UK) as well as many private collections.

John Batman and his Party Encounter the Budgeroo of Bundoora © Sharon West

No Place for a Village

Public Description: 

Hybrid mythical creatures and giant Australian animals are common encounters in the artwork of Sharon West. Set in a traditional landscape, West presents a unique way of exploring the relationships between the white settler, Aboriginal cultures and the Australian landscape. The artist navigates within Australia’s colonial narratives to highlight the cultural conditions of settlement, and the accompanying dispossession of Aboriginal people from their land.

West’s artwork is grounded in satire and, at the same time, references Australian landscape movement paintings, reflecting colonial perspectives of history and myth, while imbued with the artist’s imagination and personal narratives. Offering re-imagined glimpses of Victorian history with people of the Kulin Nation, West creates statements about colonisation as an evolving historical and cultural process.

The inspiration for No Place for a Village is John Wesley Burtt’s Batman’s treaty with the aborigines at Merri Creek, 6th June, 1835 (c.1875), a European interpretation of a pivotal moment in history that underplays the onerous implications for the Indigenous participants who, within 25 years of signing the treaty, had been relocated to missions on the outskirts of Melbourne. On the banks of the Merri Creek, where it joins up with the Yarra River, John Batman balances precariously in the jaws of a giant eel grimly clutching his Treaty document. Aboriginal elders wait and watch with interest while Kangaroosters and other hybrid curios forage for food close by. A comical scene with a foreboding undercurrent, West shifts the balance of power to directly challenge the validity of the Treaty negotiations.

West has developed a comprehensive and impressive body of work examining the relationship between settler and Indigenous cultures within the context of Australian colonial art history. She practices principally with the mediums of painting, assemblage and digital media. West has exhibited widely in Australia and has curated a number of exhibitions working primarily with Victorian Indigenous artists. She is the recipient of various awards including the Excellence in Conceptual Photography Award Kodak Salon (CCP, 2011) Bendigo Bank Emerging Award for the ANL Maritime Art Awards (Mission to Seafarers, 2011), and winner of the Darebin Art Show (2011). Her artwork is held in public collections including the State Library of Victoria, City of Melbourne and the Museum of the British Empire (UK) as well as many private collections.

No Place for a Village © Sharon West

Rabbit Progress

Public Description: 

In Rabbit Progress, Peter Waples-Crowe presents the ever multiplying rabbit as a symbol of European colonisation, and highlights the absurdity of the unintended consequences of the introduction of these extremely prolific creatures that was catastrophic for the natural environment. Recognised as a critical agricultural threat, a rabbit proof fence was constructed at the turn of the 20th century to keep Western Australian pastoral areas free of the devastation caused by crop damage and soil erosion. Later drastic biological measures, including the use of myxomatosis in the 1950s and Rabbit Haemorrhage Disease (RHD) in the 1990s, were used in a semi-successful attempt to control burgeoning rabbit numbers. The long lasting effects of the original folly are the constant dangers posed by the wild rabbit population to Australia’s ecology. In contrast, the didgeridoo player featured in the artwork represents traditional Aboriginal culture in harmony with the land.

Peter Waples-Crowe is a descendent of the Wiradjuri and Ngarigo nations. He is a multi-disciplinary artist whose practice examines identity, race and culture. His primary interests are the exploration of Indigeneity, dislocation, globalisation, popular culture and subculture. Using various techniques such as cut and paste appropriations and mixed media applications, his work is influenced variously by politics, sexuality, adoption, traditional Indigenous cultures, street art and humour.. Waples-Crowe has twice won the Victorian Indigenous Art award for works on paper (2013 & 2014).

Rabbit Progress © Peter Waples-Crowe

Puppy (2)

Public Description: 

In Puppy (2) Natalie Thomas pays homage to Jeff Koon’s Puppy (1992) as she explores the interaction between humans, pets, science and our experience of nature. Thomas uses tiny shells to cover a plaster spaniel creating a fur effect that references the folk art traditions of seaside town mementos, and a childhood spent growing up in Queensland.

From classical antiquity, the shell or mollusc has been regarded as one of the most amazing achievements of nature, and has frequently been imitated in works of art. The architecture and astonishing ornamentation of shells are used in this work to compose an external covering suggestive of armour on forms; recognisable as a puppy. The use of shells to represent form and fur is a means through which complex human experience is distilled down to simple motifs and ideas; in this instance the experience of walking with a dog on a beach. Research assures us of the significant emotional benefits of pet ownership. Whether the mechanism is touch, exercise, attachment, non-evaluative social support, or some combination of these, the human connection to the non-human animal world is enjoyed by many and merits our close consideration.

Natalie Thomas has a diverse and independent visual and performing arts practice encompassing sculpture assemblage, gardening and photography. She works with multiple themes which are driven by an interest in the media landscape, consumption and popular culture. Thomas has exhibited extensively as an individual and as part of a collaborative project ‘nat&ali’ at the National Gallery of Victoria, Museum of Contemporary Art (Sydney), Institute of Modern Art (Brisbane) and Art Basel 2010 (Florida, USA). She is the recipient of the William and Winifred Bowness Prize for Photography, Monash Gallery of Art (2008) and a winner of the Darebin Art Show (2013).

Puppy (2) © Natalie Thomas.

DIM Furniture, Thomastown (Industryscapes 34)

Public Description: 

DIM Furniture, Thomastown (Industryscapes 34) is a precise and detailed industrial landscape presented to the viewer from an eye-level street perspective: a factory located in Thomastown, a northern suburb of Melbourne, comprising silos and heavy equipment together with a jumble of accumulated debris. Employing a flatness of form and colour, Senior’s watercolour palette is deliberately subtle using many colours with similar tonal values to construct a composition that reflects our understanding of a stereotypical Melbourne industrial site.

Senior’s artwork interrogates the themes of industry, suburbia and human influence over the landscape. His practice investigates the literal landscape with attention to the reduction of features achieved through colour blocking, architectural volumes and geometry to describe the human-intervened landscape. Influenced by artists such as Richard Estes (United States b.1932), Charles Sheeler (United States 1883-1965) and Jeffrey Smart (Australia 1921-2013), his work is evocative and contemplative, filled with intricate detail and informed by a passion for finding beauty in an austere built landscape.

DIM Furniture, Thomastown (Industryscapes 34) © Ken Senior