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Previous Exhibitions - FRESH GALLERY ART SPACE

Under Surveillance

Photography by


Artist statement:

Under Surveillance is a photographic body of work highlighting the increased use of surveillance in society. The Installation piece called The Surveillance Game comprises of simple everyday snapshots that challenge the ethics associated with photography and questions who is watching and why? These compelling images are arranged to resemble a monitoring control room. Other works are a combination of staged and unstaged photographs of surveillance from a voyeur’s perspective in a private and public space. Random Surveillance is a video work that illustrates the constant usage of technical devices to produce surveillance footage.


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Inside Maps

New paintings by


Artist statement:

‘Inside Maps’ by Gillian Brailsford is a series of paintings which reflect the artist' background in design, illustration and stained glass window painting.

The theme of the work is to explore the psychology of transformation. The artist uses personal motifs and symbols to explore and develop this idea.

A three stage process is applied whereby the image is painted, digitally manipulated and then re-painted. The work is, in fact, separate images combined to create one painting. This multi-layering technique achieves an enhanced complexity both in the subtlety & strength of the colours and the intricacy of the content.








Photography by


The combination of two bodies of photographic work by Anna-Karin Axelsson and Donna Bergshoeff explore the concept of displacement as it relates to self and consciousness.

Anna-Karin Axelsson explores displacement within the framework of consciousness. Through the juxtaposition of images she demonstrates the concept of a moment removed from context. Digital pigment prints of place show states of being in, yet escaping the conscious mind, pushed to the boundaries of the frame.

Through her use of layering and pattern, Donna Bergshoeff explores the perception of self as it relates to ones environment. Black and white self-portraits illustrate displacement of self and identity as experienced through submersion within the domestic and the struggles surrounding it.



An installation by Efterpi SOROPOS

with sounds by Achilles Yiangoulli

Divining without asceticism is a work in light.

Diviningis slightly autobiographical but non-narrative.

Divining is an immersion in space and how we perceive it.

The past and the deeply rooted mythological aspects of ourselves are represented in a view of our environments –

inner and outer

ancient and modern

Greek and Australian

and has become the source for our imagination and subsequent experiences.

Divining is Efterpi’s second major installation work in a career spanning 20 years as a theatre designer. The project is funded by the Yarra City Councils’ 2005 Community Grants Arts Development, which supports cultural and artistic diversity. Divining is the result of many years practicing a craft and skill which is highly specialized in the performing arts.

Efterpi has worked with many performing arts organizations in experimental and mainstream theatre, dance, opera, music and circus. Recently, Efterpi spent 3 years at the WestAustralianAcademy of Performing Arts teaching Lighting Design and is currently completing a Masters in Community Cultural Development at the VictorianCollege of the Arts, investigating the environments in which people are ill, healing and dying.

Achilles Yiangoulli is an Aria award winning musician who has also

composed for television documentary and theatre.


New works by……….


Artist statement:

These 'New Paintings' are the result of a more relaxed approach I have developed with my Art.

I enjoy moving from the figurative to the abstract and back again, it keeps me stimulated and pushing boundaries.

This new approach has resulted in paintings that are both enjoyable and fun to create as well as providing a pleasurable experience for the viewer.





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Artist statement:

As a medical doctor and urologist I mostly had to take care of others. I had to put myself into somebody else’s shoes.

Painting opened another perspective to me.

On days when I paint I meet my

“Alter ego”.

I don’t explain

I don’t care

I love it

You love it

or you leave it

Cornelia Rothfuchs

I was born in Kassel/ Germany in June 1960.

I grew up in a quite creative family. My father, as an architect, introduced me to some drawing techniques and my mother to colours and composition.

I studied medicine and became an urologist. In my free time I experimented with painting. During my travels I got inspired.I am influenced by Mark Rothko,Barnett Newman and Josef Albers.

With my husband and our two daughters we continued travelling and left Germany to live five years in Norway, where I started to study painting more intensely.

In Norway I had some exhibitions. Some of my paintings went to private collections and I also created several pieces for Norwegian and International companies.

Since January 2002 we are living in Black Rock, Melbourne.

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I’ve always been fascinated by colour and texture. My work is designed to show contrasts in all things: light and dark, fluid and solid, hard and soft, rough and smooth. This came from very detailed “macro” observations of the natural world when I was a child: The curve of a shell against the sand; a rabbit’s fur gently blowing in the breeze; and always water, moving, crashing and swirling. Water that never looked the same from one minute to the next. Water that changed colour gradually but constantly as I watched.

My favourite pictures all highlight the transient and fragile nature of man compared to great works of architecture that have stood for centuries in all weathers, wars and peace, and the endless tide.

I chose the theme for this exhibition of bricks and water to give a sense of permanency in one gallery space and transience in the other. The brick photos represent bricks in the widest sense of the word including also marble and concrete blocks as well as stone paving.

Some settings are easily recognisable, such as the Duomo in Firenze while others cause us to remember some faraway land made up of all our hopes and dreams. For a split second, we are immortal.

Men’s evil manners live in brass, their virtues

We write in water

Henry VIII, act 4, sc.2, 1.45-6







Ryan’s current collection of works titled “By the Sea Side”, has been heavily influenced by the late and early impressionists of Europe. Obtaining a degree in three-dimensional design from the University of Newcastle in England, Ryan’s technique was further developed whilst traveling throughout Europe and studying the works of such artists as Monet, Constable and Dali.

“By the Sea Side” is a range of works inspired by the post impressionists caught in the cusp of Pop Art. Further inspired by twentieth century beach culture; washed with a touch of Pop Art, Ryan creates a range of painting of big blue skies with everyday beach life and people having fun.

Born in England in 1972, Ryan and his family came to Australia on an ocean liner called “The Australia” on a family ticket costing 26 pounds. Growing up in Dandenong, Ryan soon developed a love for art from a very young age.

By the age of seven he was drawing in his sketch books at every chance.

Throughout this body of work we can see a heavy influence of Australian landscape and culture. However, Ryan’s technique also shows the refinement and control of the European classics that he observed and learnt from whilst studying in England.

“A large influence for this exhibition has come from observing the works of Jeffrey Smart. His clean palette and fun subject matter has drawn me to push my work into a similar surreal arena.”

For the last three years Ryan has been exhibiting work in Melbourne. He is also a commission artists who has done works for companies such as Paint Right, and numerous bars and cafes and private collectors.

Artists quote: “I believe a painting should not be placed on a wall to fill a space, but to inspire the onlooker, to evoke thought and feeling, and record times gone by.”


Barbara Bloeminck in her introduction essay to 'Design=/Art', 2004, argues that the 'separation of 'fine' art from design is a fairly Western conceit and that, 'so too is the idea...that art is non-functional'. This installation consists of objects that seek to investigate this assertion in relation to contemporary interdisciplinary practice between the fields of furniture design and sculpture. The objects are fully functional furniture pieces which are carried out using the visual language of art–they operate simultaneously as art objects and design objects.



Fore…1, Still Lost.

Fore… is a collective of emerging media artists exploring the intersections between various forms of media.

As graduates of Media Arts at Deakin University, the artists commenced their studies at a time when the digital realm was just beginning to come into prominence but traditional techniques were still widely taught and appreciated. It was this experience of transition which is the main influence on the artists’ work. The group sees no divisions between digital and traditional areas, just inherent possibilities.

Entitled ‘Fore…1, Still Lost,’ the group’s inaugural exhibition combines the artists’ eclectic areas of specialisation ranging from photography to cinematography and beyond; and encompasses themes of geography, magnetics and the intrinsic human response to the aesthetic. Each artist has used photography as a starting point and the outcome is delivered as a definitive mix of media and techniques.

‘Fore…1 Still Lost,’ opens May 30th, from 6.30-8.30pm at Fresh Gallery, 63 Brunswick St. Fitzroy. Opening hours 11am-6pm Tues to Fri, 12-5pm Sat. The exhibition will run until the 10th June 2006.

Fore is a collective of young, emerging media artists exploring the intersections between various forms of media. Their areas of specialisation range from photography to cinematography and beyond. Being recent graduates of Media Arts at Deakin University, Fore is very aware of the transitional nature of these art forms and technologies. The group sees no divisions between digital and traditional areas, just inherent possibilities.

Entitled 'Fore...1, Still Lost,' the group's inaugural exhibition explores the idea of force, encompassing themes of geography, magnetics, instinct and human attraction.

Each of the four members have used photography as a starting point with works ranging from print to mixed media and installation.

A brief description of our individual works:


My series will explore themes of navigation and direction, both literally and metaphorically. Why are we drawn to certain places and repelled by others? Do maps guide us or confuse us? How do birds know where to go?

'Off the Map' will consist of several large images of white paper birds 'flying' within a dark, indistinct space. Using Photoshop, I will create panoramic montages, arranging the birds in different formations. These will then be printed on canvas, and various maps or maplike representations will be hand stitched over the birds.


For this exhibition I'm exploring the effects of lunar forces on the human brain. There is superstition surrounding the way humans act during a full moon. When you break down the problem further, a full moon effects the tides, and the human body is made up of over 70% water.


For this exhibition my piece is one work consisting of 1000s of smaller shots, arranged in colour & tonal order. The individual shots are taken from the Point Lonsdale lighthouse webcam, from four different angles across Port Phillip Bay in Victoria, which is updated live on the internet every 60 seconds. I have always had a bond with the lighthouse & I am also interested in the voyeuristic elements of the concept of a lighthouse webcam. The original function of a lighthouse was to guide ships and to 'light the way' for people, but now through the introduction of the internet, people can potentially be followed by something that was originally guiding them.


I wanted to focus on the intrinsic attraction/force of an image alone. What happens when you erase a storyline or context? What are the aesthetic qualities that draw the viewer in and evoke an emotional response?


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The Asian continent with its majestic vistas, its multitude of customs, its myriad philosophies and religions, and its diversity of ethnic groups has held a perennial fascination for Westerners. Since its advent, the camera has been used to capture and record exotic and faraway locales for a variety of purposes, be they ethnographic, historical or documentary. The heightened visual sensibility of late 19th century photographers such as Felice Beato, Samuel Bourne and John Thomson, resulted in albums containing exquisite albumen prints of the Japan, India and China of their day. This enthralment with the East continues to this day and many Australian

Photographers have sought to capture the charm, mystery and enchantment of the Occident on film or digitally. Travelling North, shows the photographic works of 4 Melbourne based photographers who have acquired a passion for Asia and its culture. Despite their stylistic differences all the images were shot on film and predominantly focus on people in their environment. Most importantly, these images attempt to convey the poetry and rich tapestry of the Asian experience.

Chris Avery is a Melbourne based professional photographer and black and white dark room printer.Chris’ images were shot during his travels throughout S.E. Asia and India. Shot on film utilizing both 35mm and 120 formats colour and black and white, with a mix of portraiture and architecture capturing the aspects that make Asia unique.

Robert Babic is a Melbourne based photographer who has spent time in India, China, Burma, Taiwan, Sri Lanka, Japan, Thailand and Vietnam.He shoots exclusively in black and white because he prefers its simplicity over colour. He eschews digital processes in his work and seeks to capture on film the ‘poetic’ moments of life in Asia.

Sudeep Lingamneni

Born in Hyderabad, India, raised in Boston, USA and now based in Melbourne, Australia, Sudeep Lingamneni hopes to present a vast body of images in the coming years that provokes dialogue, moves its audience and presses social justice issues.

The images carefully chosen for the ‘Travelling North’ exhibition capture the spirit of the times, where we’ve been, where we are, and where we may be heading.

These images position you right in the middle of an experience with the aim to deliver one critical message: Strength, Pride, Courage and Love.

Emma Stone is a Melbourne based professional photographer who has travelled extensively throughout Asia.The images featured in this exhibition are a small reflection of her travels in India,Thailand and Malaysia.Shot on 35mm film and printed using the latest digital technology,her work is a merging of old and new worlds.




The philosopher Gilles Deleuze spoke of “becomings” and neither question or answer but as somewhere in between both.

The works for this exhibition were inspired by time spent in a remote place and the observation of the changes that occurred at this location over time.

Coming from an urban environment has given me a greater appreciation of space and time in the bush. The total lack of man made forms is a rarity for those from a bustling and busy community.

The space of the environment inspired contemplation allowing an exploration of mental space; time tended to elapse unnoticed except for the changes in the environment. The works were made from one area over one summer season.

The drawings were done sitting on the side of a remote part of a road surrounded by a canopy of gum trees and bush. This space enclosed and encircled me and I wanted to convey this sensation through my drawing as well as explore the notion of opening out the perspective. I returned to each of the three locations many times and completed the drawings over a period of a few months.

As I completed the drawings I placed them together with the previous ones to see how they read. I was at first inclined to fill the ‘gaps’ but then thought that the gaps gave the juxtaposition more authenticity and truth to the process for the viewer.

Accompanying these drawings is a series of paintings from a nearby location. In contrast to the drawings, the space is open and expansive. The cloud movement and change of light indicated the passing of time. As clouds came across the sensation of endless space altered.

This exhibition presents my provisional answers to a series of questions that are becoming increasingly important to me.

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New works by Rohan HUTCHINSON


What do we feel when we see a particular colour? Can an artist predict a viewers response to a piece based on there use of colour? And how influential is colour is our modern day consumerism based lives? As it does not to exist in a material form, being only a chemical reaction displayed through refracted light, why is it so effective in the advertising world? And would one be more neutral in there decision making if they did not view colour?

My work explores the use of colour psychology in an urban environment, form the red neon signs painting the walls of the food industry to the pale green walls inclosing the public heath system.

I construct exaggerated narratives of what could happen in today’s consumer based Western world, emphasizing abstractedly the capitalistic approaches of colour within our society, and it’s placement in our urban streets.

How does the homeless react to the neon filled sidewalks and is this reaction the same for the blue collar and white collar worker. And what are the short and long term social issues it raises?

These issues are what I try to make aware to the public through my art.







New works by Jenny Mitchell

Dumb and Dumber or Curiouser and Curiouser?

Melbourne artist Jenny Mitchell’s latest show is all about curiosity – both the act of being curious about something, and the description of things which are a little unusual.
The works on show in the exhibition “Curious” includeCabinets of Curiosities, intricate copper dragonfly wings, a Hills-Hoist-Tree (complete with tiny pegged leaves), a sculptured curtain constructed of seeds and buttons, artist’s books and multi-layered digital prints.

Many of the works invite the viewer to interact by opening drawers, picking up tiny bottles and exploring items ‘hidden’ within books.

The artist’s interest in exploring order and chaos in the natural world and her love of organic forms and textures is evident across the works.

“I’m interested in juxtapositions of ideas and materials, in humour, whimsy and ‘what-if’s’. Ms Mitchell said.

Ms Mitchell describes her exhibition as “a personal response to a worrying trend which sees our society becoming increasingly passive, disengaged and dumbed-down”.

“The growth in popularity of reality TV saddens me” Ms Mitchell said, “where are our story-tellers? It is sad to think of how impoverished our collective imagination will be in just a few years time if we keep going along this path.” I love the English language with all its expressive power and its intriguing ambiguities. At the risk of sounding like a grumpy old thing, why don’t we teach grammar any more? Why do some senior educators believe that one book and one filmed book is adequate for year 12 English? If we lose the richness and the complexity of our language and its rules, our culture will be irretrievably poorer for it.”

“I see my role as an artist working in this context as one of enticement – I want to draw people in, to engage them, to challenge them to explore things and ideas. I don’t believe art and artists should put up barriers – art isn’t for the elite, it’s for everyone and it should be part of life. You don’t have to be clever to ‘get-it’ you just have to be curious.”

In addition to her visual arts practice, Ms Mitchell is a published writer and has a Bachelor of Music from Melbourne University. She recently left a career in arts management to concentrate on her own practice.


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We Like Each Other

A photographic exhibition featuring :

Andrew Jenni Shay Michelle


From the glittering to the bizarre

We are four photography students at the VCA with relatively little exhibiting experience. We like each other, so we decided to have a show together at Fresh Gallery, in Fitzroy.

Our work varies from bizarre tongue in cheek photographs that recast portraits of animals using human subjects, to the dazzling light of mirrorball installations and a humorous, self-promoting group portrait of the exhibiting artists.

Andrew Cerchez has exhibited in group shows and been selected as a finalist in two competitions. In 2004 Shay Minster was shortlisted for the Josephine Ulrick Portrait Prize, and was part of the group show, Sweet Sixteen at Goya Galleries. Jenni Corbett is from a science background and Michelle Tran is originally from Dandenong.

We like each other and happily organise our first show as part of Fringe, which we feel is a great place for us to begin.


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Under is a group show of five Melbourne artists. These up and coming artists with their previously unseen works have with this show now placed themselves ‘under’ the radar of the Melbourne art scene. The works on show are all representational of the environment each of the artists has experienced whilst creating in this city. The result being a quite varied and interesting depiction that give the viewer incite to the combination of influences on offer for artists living and creating in this city of ours.

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Anthea and Shabana met at the Rose Street Artist’s Market Fitzroy three months prior to this Exhibition Grace Under Pressure. Both seeking to be apart of the Melbourne art scene Shabana moved from Brisbane from Sydney two years ago in May 2005.

Anthea has exhibited her art weekly at the Rose Street Artists Market for two seasons. She was interviewed by Channel 31 for the Sessions program about her art. Her art work was recently on the front cover of cheap thrills magazine and in the front covers Exhibition in May 2005. Anthea exhibited in four successful exhibitions in Sydney but this will be her first exhibition in Melbourne.

After breaking into the Brisbane art scene Shabana has been exhibiting her large mixed media paintings throughout Melbourne constantly. She has been a finalist in many painting and sculpture awards and won the peoples choice award at the Kingston Art Centre – Artz Blitz in 2005.

‘Grace Under Pressure’ will be running from 5th July to 9th July at Fresh Gallery, 63 Brunswick Street, Fitzroy. Opening Night is Tuesday 5th July from 6pm to 9pm.




Curated by Ryan D’Souza

The funk music that you are listening to has been the direct inspiration for the art that you are surrounded by and are viewing. The Soundscapes concept is one that aims to see how music can influence art.

Can you see the link between the music and art?

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CAROLINE MORTIMER - Artist statement

As a traveller, I have begun to discover what it feels like to be the outsider - the foreigner. I have been working with my own physical and cultural differences and finding it interesting to learn of language variations within small communities. The communities that are close in proximity but divided by borders have been the most interesting to dissect. For example; the vernacular, the speech patterns and accents, were quite different between the Windsor (Canada) and Detroit (US) borders. In my piece titled "The Signs are there", I examine these vernacular as well as semiotic idiosyncrasies.

Besides coming to terms as an outsider, I have often pondered the need to escape; to travel. The lone wanderer moving with no particular destination – the sole purpose being the physical journey, similar to "the man with no name" in the Spaghetti Westerns. In my mixed-media drawings, I look at movement; travel, crossing over into new thresholds. Is there something specific I am looking for? In the meantime, I continue to explore our uniqueness.





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