Botanical Calamity - Peaches+Keen
We have another exciting exhibition opening soon and we'd love you to come! Melbourne artists Peaches+Keen will be presenting their latest body of work Botanical Calamity opening next Thursday March 20 at 6pm.
Botanical Calamity is a series of original paintings on paper based on arrangements of plant-life collected on the daily wanderings of the pair Lucy Hearn and Lily Daley who work collectively as Peaches+Keen.
The botanical objects are then used as the foundation for chaotic yet controlled compositions reinterpreted in the bright colours they are known for.
Peaches+Keen describe the work as a combination of bright graphic colours and hand applied gold foil detailing, resulting in unique and tactile artworks. While they hang as a collective story, no two are identical.
Work in progress...
Botanical Calamity is the first exhibition for 2014 at Modern Times. We only have two to three exhibitions per year so it’s always exciting coming up to an opening. Peaches + Keen were selected to exhibit because their bright playful style perfectly reflects our philosophy behind the art we offer. We love to present original art that is light, bright and perfect for bringing a bit of fun and joy into people’s homes and Peaches+Keen do just that!
Join Peaches+Keen and the Modern Times team for a tasty Brewdog beer on Thursday 20th of March from 6pm to celebrate the opening of Botanical Calamity, which will run until Thursday 3rd April.
The gorgeous girls themselves photographed by Lauren Bamford
Art, Modern Times News
Ellie Malin – Interview
Thank you to everyone who has popped in to see Ellie Malin’s exhibition ‘Moonflower’ since it opened. If you missed all the pics from the opening check them out here. We have decided to keep the show up for one last weekend so if you haven’t visited already, you still have a few more days to do so.
This week I caught up with Ellie and got a bit deep with her about her work and current exhibition. Thank you to Ellie for answering my questions with such thought and generosity. Can you believe her works take 1-3 months to complete! It’s fascinating to get a deeper understanding of what goes into Ellie’s work.
Ellie mixing inks in the studio.
How did you begin your journey as an artist and what attracted you to print making particularly?
Working in a creative field was something I always wanted to do. I loved to create. It always felt like the most natural place to be. Whether it was exploring the city through the lens of a camera or making objects out of clay, even when I wasn’t actively creating stuff I would be observing my immediate surroundings, absorbing and collecting bits of visual information along the way.
I particularly liked observing the world of architecture and nature and how we move through it. I’m fascinated with the impact and importance they have on our lives and had this idea that if I could translate the beauty and vulnerabilities that captured me and communicate them back to others, that would be the ultimate challenge and somehow, it involved becoming an artist! Printmaking seemed to offer the right kind of environment to explore those themes.
Other than loads of day dreaming and philosophizing life I went to school where I completed a Cert IV in Visual Arts at Holmseglen TAFE and went on to complete a B.A in Fine Art, majoring in printmaking at Monash Uni... there were a few other courses along the way whilst ‘trying’ out different careers. Ultimately and thankfully the art is where I was at!
Ellie's preparations in the studio. It looks fun doesn't it!
Can you explain a little about your process and methods or technique you use?
All my prints are created with traditional printmaking techniques and equipment and are unique states (one offs’). The work is very much process driven and mostly developed whilst working at the press. I like to experiment with colour and tend to work spontaneously and respond to whatever’s happening on the page. Images are built up in layers over time where I’ll revisit any one print numerous times over time (generally 1-3 months, depending on the scale of the piece). I have a couple of favorite presses that I love to work on, particularly the large Hilton etching press. I’m willing to travel near and far to work on these machines. More recently I was fortunate to work in Canberra at Megalo studio and back home I’m usually printing at the APW on Gertrude St.
The printmaking process (in a nutshell) involves mixing colours, rolling up woodblock plates with inks, setting the press, laying out shapes on the press bed according to whatever configuration feels right at the time, paper comes down and then roll it through the press… There’s a whole lot of clean up that follows not to mention lots of experimenting and developing ideas!
Ellie at the press working on one of her smaller geometric series.
What are some of the influences hat inspire your work, and the themes which you have drawn upon?
I’m influenced by the everyday, streets I walk in, people I meet, design, architecture, travels, plus a good dose of daydreaming.
My process is spontaneous yet reflective at the same time. I tend to think a lot about colours and almost meditate on it before taking a print to the next state/layer. I present myself with a ‘problem’, which needs to be resolved. It’s so easy to make mistakes, but over time I’ve found that through the mistakes I also make the greatest discoveries.
Some artists and designers that I love in no particular order are: Kiki Smith, Frida Kahlo, Andy Warhol, Yayoi Kusama, Scholten and Baijings, Marimekko, Mirka Mora, Tadao Ando, Fornasetti, Japanese woodblock artists, … should I keep going?
Ellie making magic with one of the smallest presses she uses.
What is the inspiration for this current show "Moonflower”?
Moonflower is an exhibition of colourful woodblock prints depicting an inspired landscape of ‘other worlds’. The beauty of nature, the man made, and a fascination for impurities within it sparks the imagination.
In this body of work offcut shapes of paper are the starting point and are transformed into woodblocks for printing. These shapes become centre stage as the relationship between them is explored through layers of colours and textures.
Remnants, which once would have been discarded are now the stars, moon and sky and are telling a story about what might exist beyond the familiar.
Soft tones of blues and grey speak of a cirrus sky while painterly gardens of aqua marine greens and citrus orange speak of growth and light. Stories unfold over time and new discoveries made between the layers of tones and negative spaces.
Detail of one of Ellie's most recent works currently on exhibition at Modern Times.
What collaborations or projects outside your usual practice have you worked on?
The most significant collaboration to date would have to be with my all time favorite (and I’m not just saying it) fashion label gorman!
Lisa Gorman came across my work online and before I knew it we were sitting together with the gorman crew talking about art and fashion. The collaboration seemed like the most natural thing to do. I feel that we have complementing sensibilities and I wear her clothing all the time! I love that my art can be carried through into new realms of every day life and that my prints wouldn’t be confined to a frame but possibly a floaty dress.
I think there’s a lot to be said about the collaboration process. It’s an inspiring process that combines different skill sets and allows for creativity to evolve and be transferred into new realms and I can’t wait to do more of these working in different fields!
Ellie at work
Ellie's current exhibition at Modern Times, 'Moonflower', is on until Sunday.
Ellie’s first solo show ‘Moonflower’ is on at Modern Times until Sunday 8th Dec. It’s a must see!
Interviews, Modern Times News, Art