Darebin Art Collection

The Business at All Nations

Public Description: 

With a bold, saturated colour palette and fluid brushstrokes, Sarah Faulkner encapsulates the daily activity at All Nations Park with a mural like quality. Situated on the site of a former quarry and set against a brooding sky, the local park is alive with all kinds of business: walkers with dogs and without, Frisbee throwers, a friendly game of kick to kick with a footy and vacant seats beckoning the possibility of some simple contemplation or the chance to meet and sit with friends. In the background, Northcote Plaza and the high rise apartment block stand like silent sentinels watching over the entrance to the park. The Business at All Nations was the joint winner of the Darebin Art Show (2011).

Sarah Faulkner was founding member of Roar Studios, a co-operative for emerging artists, established in Brunswick Street, Fitzroy in 1982. She has exhibited her work regularly in group and solo shows throughout Australia since 1986.

The Business at All Nations © Sarah Faulkner

Untitled

Public Description: 

Matthew Gove was a joint winner of the Darebin Art Show (2013) for his work, Untitled, a Star Wars inspired ceramic lightsaber glazed in colours of green and brown. He is an emerging inter-disciplinary artist working across a variety of mediums. His art often references historical objects and figures while his “lightsaber” works explore a science fiction narrative.

Gove has exhibited in group exhibitions at Arts Project Australia, Bundoora Homestead Art Centre, C3 Gallery and No Vacancy Gallery in Melbourne and at Robin Gibson Gallery in Sydney.

Untitled © Matthew Gove

Regrowth after the fires

Public Description: 

In Regrowth after the fires, Gwen Garoni (1933-2014) powerfully demonstrates the devastation wrought on the landscape by the all engulfing Black Saturday bushfires in February 2009. This compelling pictorial narrative is informed by Garoni’s intimate knowledge and deep connection to the land of her ancestors. The hills and valleys of her Taurgurong country are laid bare, devoid of trees and vegetation, homes are burned out and the cost of human and wildlife loss is catastrophic. In the aftermath of the worst bushfires in Australia’s history, the healing process of nature’s regrowth begins.

Aunty Gwen Garoni was a respected Victorian Koori Elder and a descendant of the Taungurong people of north-east Victoria. Her work reflects upon the significance of place, family connections and cultural identity. Her art is grounded in her love of Country and explores the Australian landscape, ancestral memories and early colonial history.

Garoni was a winner of the DATSICC emerging artist award for the Gumbri White Dove Acquisitive Prize (2006 and 2010), a finalist in the Victorian Indigenous Art Awards (2006 and 2007) and a finalist in the ANL Maritime Art Prize (2009 and 2011). Her artwork is held in public and private collections.

Regrowth after the fires © Gwen Garoni

Taungerong Country; View of Yea

Public Description: 

In Taurgurong Country; View of Yea, Gwen Garoni (1933-2014) celebrates the landscape of her Taurgurong country, offering a personal perspective and artistic vision formed by an intimate knowledge and deep connection to the land. The vibrant hues of the distant mountains and the lushness of the uncleared land reveal a spiritual beauty that speaks of a time long before colonial settlement.

Aunty Gwen Garoni was a respected Victorian Koori Elder and a descendant of the Taungurong people of north-east Victoria. Her work reflects upon the significance of place, family connections and cultural identity. Her art is grounded in her love of country and explores the Australian landscape, ancestral memories and early colonial history.

Garoni was a winner of the DATSICC emerging artist award for the Gumbri White Dove Acquisitive Prize (2006 and 2010), a finalist in the Victorian Indigenous Art Awards (2006 and 2007) and a finalist in the ANL Maritime Art Prize (2009 and 2011). Her artwork is held in public and private collections.

Taurgurong Country; View of Yea © Gwen Garoni

Campsite in Springtime

Public Description: 

Campsite in Springtime is a richly colourful and vibrant expression of respect for ancestors and reflects the importance of Country in Koori life. Working within landscape depictions of her Gunditjmara tribal lands, and ancestral memories, Frances Gallagher contemplates the significance of place, family connections, spirituality and social displacement.

Clearing the land for agricultural purposes and the spread of urban centres has substantially diminished, from much of the public consciousness, the intense cultural mapping by Aboriginal and Torres Strait Island people throughout Australia. The impact of white settlement caused Indigenous people to move, or be moved, from their traditional lands and dramatically disrupted their way of life.

Aunty Frances Gallagher is a respected Victorian Koori Elder who was born in Bendigo in 1926 and is from the Gunditjmara people of Western Victoria. She was one in a family of eight children brought up on Framlingham Mission, an Aboriginal reserve established on the south-west coast of the state in 1861 by the Board for the Protection of Aborigines. Gallagher has participated in numerous group shows including exhibitions at Melbourne Museum, Koorie Heritage Trust, Bundoora Homestead Art Centre, Boscia Gallery and RMIT School of Art Gallery.

Campsite In Springtime © Frances Gallagher

Untitled

Public Description: 

Untitled, winner of the Darebin Art Show (2010), conveys a sense of summertime in the inner northern suburbs. The vivid blue sky dominating the top third of the painting infuses great energy into a mundane scene, while the everyday beauty of the neighbourhood is revealed in the bright, harsh light of the Australian summer sky.

Jason Emilianowicz captures a familiar, local streetscape: a suburban fence line, adorned with imposing graffiti, backs on to a public path following the South Morang railway line and the Merri Creek. A woman strides briskly along the path with her dogs that are just disappearing from view.

Untitled © Jason Emilianowicz

Lachesis

Public Description: 

In Lachesis, Georgina Cue reinterprets early 20th century police photographs depicting the sinister landscape of a crime scene where murder is committed or death is unexplained. In classical mythology, 'Lachesis' is that one of the three Fates who determines the length of the thread of life.

Employing a monochromatic palette, interspersed with dashes of colour, Cue’s process of thickly weaving the image into a lush, tactile surface eliminates visual cues or information provoking only pure sensation in the viewer. In doing so, this delicate work attempts to explore how artefacts of the everyday can become imbued with a heightened level of mystery as our attention is deferred onto the obsessively captured peripheral detail of the scene. Creating a quintessential noir effect through the intricate process of free-hand embroidery and stilled lighting illusion, Cue manipulates the perceptual experience of the viewer; a deliberate act to disorientate and query our understanding of reality.

Georgina Cue is an installation artist who examines the effects of light and time as a way to create immersive environments which traverse between the pictorial and physical, past and present, fictional and real. Her practice is diverse, encompassing large-scale installations which combine embroidery, woodcarving and set design. She has exhibited widely throughout Australia and her artwork is held in the National Gallery of Victoria and Artbank as well as private collections in Australia, New Zealand and the USA.

Lachesis © Georgina Cue

Krampus Wreath

Public Description: 

In Krampus Wreath, Paul Compton portrays the infamous folklore figure, Krampus, in the middle of a traditional Christmas wreath. Centred amidst the customary decorations of holly, ivy, bells, balls, trumpets, candy canes and stockings is the hairy half-beast, half-demon complete with horns, long pointed tongue and piercing black eyes. Legend claims at Christmas time Krampus takes the presents of naughty children as punishment for their misdeeds and keeps them for himself.

Compton’s art practice comprises drawing, book and zine making, and creating objects and animations. His work pursues an ongoing interest in vignettes, the uncanny, animism, outsiders and all things Victorian. Compton has shown his work in a number of solo exhibitions and participated in numerous group shows around Melbourne. His work is held in public and private collections in Australia, the UK and USA.

Krampus Wreath © Paul Compton

Monk in Landscape - Merri Creek

Public Description: 

Michael Camilleri evokes a medieval-like atmosphere in Monk in Landscape – Merri Creek as the lone figure of a crusading monk travails the banks of the Merri Creek. Sword in hand, his mission is to keep the urban space of the creek safe much like other costumed, modern day, superheroes. Bringing us firmly back to the present is the depiction of a walking path to Rushall train station and, behind that, one of Northcote’s large public housing estates.

Monk in Landscape – Merri Creek is inspired by Camilleri’s illustrations from the Fighting Monk series originally published in the literary journal ‘Going Down Swinging’ No. 30.

Monk in Landscape – Merri Creek © Michael Camilleri