18-28 November 2014

Closing night: Thursday 27 November, 5-7 PM

Visual Art and Design Education students

Most artists who teach experience tension when trying to balance their teaching, art making, and family lives.  Through this research exhibition approximately 30 new teachers explore how these aspects of their daily lives can connect, rather than conflict.

9-12 December 2014
Launch, December 11, 5-7pm


Cherelyn Brearley, Janet Burchill, Virginia Fraser, Helen Johnson, Marina Kassianidou (UK), Utako Kunai (Japan), Danni McCarthy, Joanne Makas, Alex Martinis Roe, Caroline Phillips, Kerrie Poliness, Elizabeth Presa, Julieanna Preston (NZ), Grace Pundyk, Jacqueline Taylor (UK), Terry Taylor, Alison Thomson.

Coordinated by Louise Burchill and Caroline Phillips


Inspired by Luce Irigaray and her thinking of sexual difference, this exhibition explores current feminist art practices. Held in conjunction with the Luce Irigaray Circle Conference hosted by the VCA Matters of the Body Research Cluster and The Communication, Politics and Culture Research Centre at RMIT

Caroline Phillips, Density (detail). Recycled foam rubber, stainless steel pins. Photograph by Catherine Evans, 2013

21-31 October 2014
Closing night, Thursday 30 October, 5-7 PM

Eleanor Louise Butt, Vivian Cooper Smith, Nina Gilbert, Pip Grenda, Melanie Irwin, Gina Nero, Aaron Christopher Rees, Thomas Rennie, Kate Robertson, and Jo Scicluna

Curated by Jake Treacy


Holy Lands is an exhibition situated between lands. It is an earthed forum, like a sacred circle drawn into dirt, wherein a consecrated gathering of contemporary Australian artists map the landscape.  Scars and valleys, mountains and veins, the water which dislocates and unites, and terrain mirroring the expanse of the sky.

Yet, like the slow and ancient dance of tectonic plates, it is also an exhibition very much about transience and movement, and therein becomes an activated space. Holy Lands follows the tracings of the nomad, charting human rhythmic movements and engagements with the landscape, and how this figure sings the landscape and its song to life. With this in mind, the George Paton Gallery becomes a crossroad, a point of communal sharing of narrative, myth and product which the artists
exchange with one another and the viewer.

As curator, I encourage you to also follow the sensibilities of the nomad as you walk these holy lands. Please, leave your petrosomatoglyph for the ages. Allow the gravitational push and pull, in and out, sway your navigation through the gallery space; find lines and circles within this landscape; connect them and intercept them. The power of the line and the capacity of the circle, as visual and expressive motifs, connect and unify each artist within Holy Lands, making it a map to be charted and experienced, a topography of these contemporary artists. Do not be afraid to get lost, as your meanderings may yield surprising delights of imagery and meaning.

Performance by Melanie Irwin: 5pm to 6:30pm Thursday 23 October, George Paton Gallery
Entry is FREE, no booking required. The affect of this performance may be viewed throughout the duration of the exhibition, as a monument/memory in the gallery’s landscape.

IMAGE: Kate Robertson, Cosmic Walk #1. Solarised silver gelatin print (photogram) with toner, 2013



21-31 October 2014

Closing Night, Thursday 30 October, 5-7 PM

Youjia Lu


A metre by metre square cage serves as an external representation of one’s mental prison. I improvise a performance of weaving red rope into a web. There are two forms of prison that are created in this work, the more identifiable cubic metal cage and the overwhelming chaotic form of a net like prison in which the strings engulfs and dominates the space. The materials reinforce one another as the fear and anxiety grows, the barriers and self suppression grows also.

I am interested in using my art practice as an exploration of the invisible “reality” within the human subconscious mind. I am looking for a connection that can generate new perceptions and dialogues around the individuality, relationships, and human nature on both a physical and psychological levels. Most of my work is project based. Depending on the content of the project, the media and forms mainly cover video, photography, installation and performance.

IMAGE: Youjia Lu, Cage (performance). Performance still, 2014

7-17 October 2014

Closing night, Thursday 16 October, 5-7pm

Drawing & Printmedia VCA

Roseanne Chalker McGann, Libby Clarke, Charlotte Hill, Kevin Jones, Sorcha McKenzie, Jessica Milne, Sam Murnane, Alexandra Nemaric, Courtney Price, Lois Waters and Sean Whittaker

Coordinated by Raafat Ishak

In Drawn Drawn, students from the department of Drawing and Printmedia at the VCA respond to the question: what can a drawing be?

Given the diversity of materials and multi-disciplinary approach to art making today, such a question addresses the role of drawing-as-medium in articulating the contemporary condition.

Specifically for this exhibition, students have been asked to consider the role of drawing in the wider context of studio production as well as its status as a preliminary and preparatory tool for exploring a range of ideas and their material articulation. Further to this, the students were asked to negotiate the conventional status of drawing as secondary cultural material and address its culpability in appeasing hierarchical market evaluations of cultural production.

The core aim of this exhibition is to demonstrate the ambiguous objective status of a work of art by presenting a range of material speculations that begin with the simple gesture of drawing.

IMAGE: Drawing and Print Media studio, Jess. Digital photo, 2014

9-19 SEPTEMBER 2014


Eric Demetriou, Vincent Giles and Nigel Tan
Curated by Aneta Trajkoski


Troika presents three sound installation projects by artists Eric Demetriou, Vincent Giles, and Nigel Tan. Each work adopts sound as a material to explore spatial, aural, and temporal parameters of locales within the University’s Parkville Campus.

Eric Demetriou’s sound-based kinetic sculpture flirts with conceptual and practical notions of noise. Demetriou’s work mischievously employs the anarchic gesture of noise as aural excess, as a site for sonic exploration.

Vincent Giles’s sound installation, The Great Unhearing, responds to the iconic System Garden on the University’s Parkville campus. Giles’s installation transforms the System Garden Tower into a resonating space that is responsive to the garden surroundings and the tower itself.

Composer Nigel Tan’s audio-visual installation #30 is a collaborative project that informs an unorthodox connection between sound and video.


The Closing Event on Thursday 18th September 2014 will feature experimental sound performances as part of the exhibition.

Eric Demetriou completed a Master of Fine Art at the Victorian College of the Arts (VCA) in 2013; is the 2013 Linden Art Prize recipient; and exhibited at Gertrude Contemporary, West Space, CAST, Seventh Gallery, Bus Projects and Substation.

Vincent Giles is a sound artist, composer, PhD Candidate at the VCA, and the Co-Founder of the Tilde New Music Mini Festival. Giles has exhibited at Portland Upwelling Festival 2013, and published a number of peer-reviewed scores and releases.

Nigel Tan is composer, sound and video artist completing his Bachelor of Fine Arts in Contemporary Music at the VCA, and has exhibited at Resonating Spaces 5, Ian Potter Museum of Art 2013, and other projects in Melbourne and Singapore.

Aneta Trajkoski is an emerging curator, writer, and PhD Candidate (Art History) at the University of Melbourne.

 Visit the GPG Flickr page for more installation photos.

IMAGE: Troika, installation detail, 2014

9-19 SEPTEMBER 2014


Ashlee Ko


INFINITY explores the discreet articulation of spatial perception and examination in relation to the feeling of serenity. As a site-specific project, INFINITY aims for a heightened psychological context, transforming existing architectures beyond their inherent dimensions. The window shape of the drawer act as a canvas frame and the hand painted air vent connects with the immediate and one place to another. The gap between frame and canvas introduces tension; highlighting the window absent room INFINITY transports the viewer to an in-between space, between suffocation and serenity.
Blue painted canvas extends to the blue wall and it becomes a perceptual sculpture form, generating infinite space that leads to a space of subtlety. INFINITY brings out a sensitive and subtle relation between the viewer and the activated architecture. A dream-like experience, allowed oscillation between reality (the phenomenal experience of wall / colour) and imagination, this is turn conflicting with the airless environment.
The expanded flatness converts the process of viewing to one of calmness, inviting the uninitiated viewer to an intensity of aesthetic experience.


 Visit the GPG Flickr page for more installation photos.

Ashlee Ko, INFINITY, Wood, synthetic polymer paint and canvas, 2013

29-30 AUGUST 2014


A dynamic and unique force in Australian art, Kiffy Rubbo was director of the Ewing & George Paton Galleries, at the University of Melbourne Student Union, 1971-1980.

With Meredith Rogers, Assistant Director (1974-1979), Rubbo devised an innovative and inclusive exhibition program presenting a wide range of artforms. Under Rubbo’s leadership, the Gallery became a vital, nationally recognised venue, the first institutionally supported experimental art space.

For the first time, Rubbo’s legacy is explored, including her major role in Australian visual culture. This symposium investigates the George Paton Gallery’s radical agenda, Rubbo’s curatorial strategies and the narratives she proposed about contemporary art.

Find more information here

Supported by the Australia Centre, CCRAG, Victorian College of the Arts, University of Melbourne Archives, UMSU Inc., Norma Redpath Bequest and the Rubbo family

IMAGE: Judy Stack and Bob Weis, Kiffy Rubbo in ‘You, Them and Us’.  Video installation, 1977



Coordinated by Sandie Bridie, Craig Burgess and Alice Mathieu

George Paton Gallery: Artist’s Books (reprised) presents four decades of investigation into the possibilities and limitations of the artist book form.

The George Paton Gallery will be transformed into a reading room with a range of contemporary artist’s books displayed on shelves available for viewers to peruse at a reading table. On display in vitrines in the gallery will be archival material remaining from two earlier exhibitions held at the GPG; Artists’ Books/Bookworks from 1978 and Artist’s Books and Not(e) Books from 1982, curated by Tim Guest.

In the catalogue introduction to Artist’s Books and Not(e) Books, Guest provides a definition of the artist book:

‘Artists’ books can most simply be described as those books which have been conceived, designed and produced by visual artists. As distinguished from those books about artists, such as a monograph or catalogue raisonnée, or those about art, artists’ books are instead complete artworks in themselves: they are artworks that are presented in the form of books.’

On loan from University of Melbourne archives will be works such as; Ed Rusha’s Small Fires (and Milk), 1964, Marcel Broodthaers’ A Voyage on the North Sea, 1973, artist’s bookworks by Sol LeWitt and many more.

 Visit the GPG Flickr page for more installation photos.

This exhibition is supported by the University of Melbourne Archives

3.30pm: DISCUSSION ‘On the archiving of artist’s publications’ and LAUNCH of
Re-Print #1: 1 2 3 (1992) Stephen Bram and David Morrison by 3-ply

At the launch of Re-Print #1, John Nixon, Rebecca Coates, Justin Andrews and other invited speakers will discuss the archiving of artists’ publications, during an informal conversation moderated by Sandra Bridie, Director of George Paton Gallery and an artist with a sustained interest in books as conceptual vehicles.


12-22 AUGUST 2014


Alice O’Connor


Alice is the 2013 recipient of the George Paton Gallery/Proud Award

Sometimes the rules change subtly so that no one really notices, but the changes are there, and before you know it there’s a whole new system in place.

For her first solo exhibition, Alice O’Connor presents an installation that responds to the surveillance culture and calculated affectivity that underpin the aesthetics of contemporary casino environs. Constituted of lustrous surfaces, hollow spaces and reflections, Do you feel special? invites the viewer to consider ways in which the constructed environment can subtly influence our behaviour and steer decision-making processes. Discreet surveillance fittings appear as décor, shiny and enticing, whilst trance-inducing muzac piped into the space simultaneously repels and placates, luring the unconscious into a hypnotic fantasy space.

Subtle influence, evocations of fantasy and surface-level experience are fundaments of the consumer psychology that has become increasingly pervasive, a soporific overlay on a society obsessed with systems of control and the regulation of space. O’Connor’s work re-situates these phenomena in a space of contemplation, affording the viewer a reflection on regulatory modes of power that often remain discreet.

O’Connor is a final year student in the BFA (Painting) program at the VCA, and a recipient of the 2013 Proud/George Paton Gallery

 Visit the GPG Flickr page for more installation photos.

IMAGE: Alice O Connor, Crown Chandelier, digital image, 2014