What’s in the Stockroom?

To celebrate 10 years since we started our ‘What’s in the Stockroom?’ newsletter, each week we wander through one of the region’s premiere stockrooms to find out what treasures lay inside.

Arc One Gallery

This week, we peruse the stockroom at Melbourne’s Arc One Gallery, with director Fran Clark.

Pictured with Imants Tillers’ Stillness Speaks, 2019. Synthetic polymer paint, gouache on 64 canvas boards nos. 102818-102873, 244 x 244cm.

“The key thrill of an artwork’s power is if the work makes me ask questions, questions about wanting to know why and what the connections are – in this way Tillers ideas are invested in a particular on-going diary of philosophy, paired back poetry and throw away lines seeming unconnected but loaded with meaning.”

Janet Laurence, Worlds That Disappear III, 2019. Duraclear on shinkolite acrylic, aluminium oil pigment, 100 x 94cm.

“I have a weakness for Janet’s work as I have a weakness for the natural world. Being a dedicated bushwalker of special hidden tracks where the beauty of minutiae unfolds if you pause and lean in. So much of Janet’s care and thought is in this world. I have learnt many things from her but most of all to be aware.”

John Young, Naive and Sentimental Painting XII, 2018. Oil on belgian linen, 128 x 156cm.

“Our eye undulates over the forms in this painting like walking through a landscape. John as a visual artist has a deep of understanding for the creative worlds around him, whether visual, sound, or thoughts his knowledge is deep in conversation with human history and our place in these multi-worlds.”

Robert Owen, Study for Afterglow #16, 2018. Synthetic polymer paint on canvas, 61 x 61cm.

“The way the edges of colour hover seductively on each other in a state of levitation has to be seen to be believed. I have always described Owen as the master of colour alchemy – it is extraordinary what his work does to our senses. Owen is like a magician, whether as a painter or as a sculptor, whether the work is monumental or of an intimate and beautiful full stop of joy, as is this Afterglow work here.”

Peter Daverington, Boy with Daisies after Bouguereau’s Birth of Venus, 2019. Oil and resin on linen, 30 x 23cm.

“With hand on heart, how can you not fall in love with this superb piece by Daverington? Everything is obvious: his skill, his ability to empathise, his love of the artworld and the natural world. This piece says it all.”

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