Monday, August 28, 2006

The Leichhardt Council vs The Shelf Life of Iraq

This week on Art and Mayhem I interviewed Toby Leon, the arts project officer for the Wall 2 Wall Mural project.
For all the details about how to enter (due 22 Sept) check out

Fascinating to note, too, is this amazing study on art vs graffiti by the nsw government:
not to mention this debate raging in the newspaper last week:


And we did a shout out to the Shelf Life exhibition at Mop Projects, opening on Thursday 31 August 6-8pm, 617 Elizabeth Street Redfern

Shelf Life
Ron Adams, Lionel Bawden, Drew Bickford, Cash Brown,
Adam Cullen, Samantha Edwards, Sarah Goffman, Prudence Murphy, Elvis Richardson, Kate Rohde, Kurt Schranzer
Curated by
Daniel Mudie Cunningham

The ‘shelf life’ of a product refers to the amount of time it can be stored before it spoils or becomes obsolete. Generally the ‘shelf’ in question is a retail space allotted for the display of consumer goods. Shelves, then, are temporal zones that see items coming and going according to highs and lows in consumer demand: when we want the product it gets restocked, when we don’t, it goes to waste. These ideas provide a rich source of meaning for artists when the conventions of use and display, as it relates to art practice, are considered.

Simply speaking: shelves speak to the things we collect, promote display and status, thereby elevating the very ‘thingness’ of our things. When, conversely, the whims of fashion, taste and novelty wear thin, that same shelved stuff lies dormant and abandoned, left to collect dust. As mnemonic devices, objects shelved are meaningful only because they’re attached to memories that risk being eventually forgotten. And forgotten is what often happens to objects filed away, shelved out of sight. As an exhibition featuring new work by eleven contemporary artists, Shelf Life engages with the lives of shelves, the shelves of life, life on the shelf, shelf life.


And finally, we plugged the film 500 Miles to Babylon which is on at Sydney tonight, 302 Cleveland St Surry Hills, 730pm... A rare chance to see this daring documentary about Iraq by American filmmaker David Martinez. For more info go to

Over and out... Lucazoid

Underground Mayhem

Just coz mayhem is unable to tlak on air - don't mean I've lost touch wiht the art scene.

It's just that I'm not allowed to tell anyone if I've bene placed under house arrest as a teroorist suspect or not (Hell it sounds a lot more glam than being chained to a PhD).

this week opens with Bad NEWS: the biennale of sydney is over, and if you didn't go, well YOU MISSED OUT!

today's papers had some coverage of a BIG FAT ART PROTEST against the current bombing in lebanon.

Yesterday, some artist laid out a stack make-shift body bags in Martin Place.

The bags were in various sizes representing different age groups of people who have recently died in conflict in the middle east and indeed all over the world). Each body bag had masking tape across the chest area with words such as "your mother", "your son", etc written on it to personalise the bags and the death itself.

There were also olive branches taped to the chest above the masking tape. Toys will laid next to the child-size bodies. etc.
There were NO identifiers of national identity on any of the bags or banner and
NO speeches. The council and police were very particular about this one. "

Nevertheless - it attracted controversy because one body bag was labelled "Your Prime minister" (not any one in particular - th it did have rather rat like dimensions)

the right wing hordes alos wet themselves because the body bags were placed NEAR THE CENOTAPH IN MARTIN PLACE.

Under the new yewbeaut gallipoli doo dah ozzie ozzie ozzie naitonal ideaology - its some kind of crim against the nation to like , associate WAR WITH DEATH.

apparently just like 'our schapelle', the glorious war dead known as 'our boys' are actually reincarations of the Jesus myth - and were like inhunmanly crucified by the evil untamed forced of islam, terorroism and left wing pinkochattering classes.

(mind you, that Kozic guy is probing a bit of a challenge: how many iraquis lives did he fuck over before he shot himself?)


the glorious war dead, as far as I can tell (from all those wilfred owen poems) were acutally trying to kill poeple at the time that they met their maker. Its sad, it's fucked, but it's true. they weren't innocent civilians, they were gun toting maniacs, many of whom were killing innocent civilians.

so its kind of nice really that someone has a little reminder of the unnamed, unstatued INNOCENT causalities of war whose only uniform is a bloody body bag

This controversy is a nice little segue into the SAMAG forum tonight!

Censorship: A Forum

FEATURING: David Marr, Liz Ann Macgregor and Stephen Sewell
6pm-8pm, Monday 28 August 2006
Australia Council: 372 Elizabeth Street, SURRY HILLS

This forum will be a lively discussion reflecting on censorship in its different forms as it relates to arts in the Australian context. Looking at the current working environment of artists, trends and opinions, our speakers will debate the impact censorship has on the Arts - and the impact the Arts has on censorship.

Cost: Free Entry for SAMAG members (see website for details)
$10 for non-members / $5 for students (please pay at the door - cash or cheque only)
For full details, visit or email:
To visit our website, please go to

On TUESDAY @ Kudos Gallery: 6 Napier St. Paddington NSW 2021

A traveling exhibition by the Swiss artist Alfonso Hüppi is finally opening in Sydney. It is the first time that the works by this famous artist are being shown in Australia. (OK I don’t know him either but that’s what their email said and who am I to judge?)

Sentimental Journey reveals the diversity of this artist, with a range of materials and mediums and treatments. The works draw from everyday life and attempt to depict the human condition in all its possible forms. Despite being in his 70s the artist’s work continues to be experimental, surprising and confronting.

This exhibition is presented in partnership with the Embassy of Switzerland, The Consulate General of Switzerland and Pro-Helvetia: the Arts Council of Switzerland. Supported by UNSW College of Fine Arts, Kudos Gallery and the COFA Students' Association.

Wednesday @ global (in paddington)

My mate Pete and a bunch of others have a group show opening

There's also another opening with Lea McPherson innit at first draft. (near central)

excuse vagueness but I've jsut beached my hair.

Thursday @Gaffa

Has opening night drinks this Thurs 31st Aug 6-8pm
For :::Birds of a Feather::: By Marcelle Robbins

In the exhibition Birds of a Feather Marcelle Robbins is exploring memory through the notion of collecting and collections. She uses objects and imagery of birds and feathers to evoke the feeling of nostalgia. She believes we collect to make sense of our world, which is made up of some ones present and their past. They hoard and store souvenirs of past moments, mentally and physically.

Birds obviously have great significance for the artist; they represent her suburban upbringing, being blessed with a highly decorated living room and a backyard full of native flora and fauna. The bird objects are replicas of flying ceramic birds cast from the originals, once owned by Marcelle’s grandmother, that were a popular domestic interior motif of the 1950s/60s. However they are now represented in white plaster, as if the distant memory of growing up in the suburbs flocks around her. As for the bird feather photogram images, they originate from a collection the
artist has assembled over recent years. These representations play on the space of domestic life,
both interior and exterior, and through repetition emphasise the practice of collection and assemblage to make peace in the world.

Up the ROAD another Robbins has an opening the same night at IVAN DOUGHERTY Don’t think they are related tho, and don’t think Amanda is into birds either.

“Chinese Whispers” features Muamer Cajic, Li Wenmin, Toshiko Oiyama, Deborah Wilkinson, Nicola Brown, Maria Kontis and Amanda Robins

And “is a visual exploration of the drawing process, its evolution through experience and knowledge, interpretation and misconception through educational transfer that invariably creates diverse and exciting variations”.

I’m not sure if I understand it either and I’m going coz I know 2 of the artists and like their work.

Even if you’ve missed the biennale, you can still catch a great show at the mori cave. Highlights are the invisible chair, and the pink pussycat porno playing cards, and the flip books, and the new femo king on the wall. Get there before Saturday.

Monday, August 21, 2006

Lucazoid Fan Club

this week Lucazoid will be sitting in the radio hot seat.

for those of you who can't get enough of his dulcet tones on air, then you can hear (and see) him again on tuesdya night at artspace.

Artspace is developing 'a series of informal events in order to provide a point of contact between the Gunnery studios and the local art community, and to facilitate discussion on issues important to artists operating today.'

that's the excuse for chinwag plus nibbly/drinkies thingo tomorrow night.they got three artists talking from 6pm on Tuesday 22nd August:

Yuken Teruya (Japan)
Roslisham Ismail a.k.a. Ise (Malaysia)
Lucas Ihlein (Sydney)

None of them have much to do wiht woolllomoolloo but we won't hold that against them.

Yuken Teruya introduces his practice in the context of the forthcoming program of exhibitions, residencies and public events Rapt! 20 Contemporary Artists from Japan. Ise discusses his participation in artist networks and collaborations across South-East Asia, while Lucas Ihlein presents a narrative of his recent two-month
residency in his home suburb of Petersham. Admission is free and refreshments will be served.

ARTSPACE @ The Gunnery @ 43-51 Cowper Wharf Road, Woolloomooloo

you can catc another opening at LOOSE (level 2, 168 Day St, Sydney CBD)

"in the dark and alone, artmagic"
Lisa Andrew, Debra Phillips, Elvis Richardson, Kevin Sheehan

Opens at 6-8pm and continues to saturday 9th september

This is a way of saying that you've missed Jenny Browns work in the big box and Shane Hasemanns work in the little box.

the little box willl have : Ryszard Dabek - in a NOICE sherman touch.

(gallery hours: thursday and friday 12-5pm, saturday 1-6pm)


GAFFA has a special group show thing opening that they've schwankily titled:

:::Profile Week: Edition II:::

Names are:
Katrina Freene, Kevina-Jo Smith, Karin Jakobsson, Ivan Buljan, David
Finch, Amelia King, Kate Carr, Christopher Newton, Gillian Bencke, W.
Watkinson, Adrianne Tasker, Aesha Henderson, Ellie May Aroney

Objects are: mix of jewelry, sculpture, photos and toys.
GAFFA is at 330 Crown street, Surry hills

Sunday, August 13, 2006

Weird words and great art

Now it may seem a bit trite to focus on artist’s press releases, but hell, is it any more trite than the official focus of Art and Mayhem on the quality of refreshments at exhibition openings?

I think not.

Lately mayhem has been swooning in a sea of arty words.

I could go off on a Derridean tangent about words being the framing structure in which art operates – and as essential to the operations of the free exchanges within the free flowing field of art as anything else – but deep down you and I both want to believe that’s bullshit – so I’ll cut straight to the bitching.

At the opening for Anna Wheeler’s paintings on Saturday, I think I heard THE WORST exhibition opening speech in the history of the universe. It was something like a cross between a best man’s speech at a drunken wedding and something from a Lion’s club annual dinner. Not that I’ve been to either for a while.

Fortunately there were plenty of excruciatingly delicious bright paintings to provide a visual balm for the audio pain.

But I digress.

I received A REALLY WEIRD PRESS RELEASE for the group show of July Fragar and Fiona Lowry at MOP which opened last week. I didn’t look at it before the show – which was kind of fortunate.
I went for the names – Lowry was in last years primavera with some great spooky airbrushed photographicky things and mayhem wet herself after a preview of Fragar's solo show last year.

Deep in the belly of the Tokyo Metro Mr. Lu gives her an early early morning lesson in Japanese. It’s too much. She aches. Bye Bye he said. Sayonara Mr. Lu.

Never had a lesson I ever learned
I know I could never learn not to love you
Come in now closer
Come in closer closer closer ahhhh
Cease to resist, come on say you love me
Give up your world, come on and be with me
I'm your kind, I'm your kind, and I see

She was living, in short, on the edge of a landscape of vast shame.
A vegetable patch on a railway line: insistent.

Between two thousand houses, in the time it took the express to pass, she saw a black van with national flags and loud speakers.

I'm your night prowler, break down your door
I'm your night prowler, crawling 'cross your floor
I'm your night prowler, make a mess of you, yes I will
Night prowler, and I am telling this to you
There ain’t nothing you can do
Where are all the entrepreneurs in China?

She saw him behind sunglasses. He was wearing the sneakers she wanted her boyfriend to buy. But the goatee undid all the hard work. The toil of his presentation made crappy by the self-consciousness of a patch of hair on the underside of his chin. Idiot.

Come on come on, ooo I love you pretty girl
My life is yours, and you can have my world
I'm your kind, I'm your kind, and I see

These are evil minded people, and like dogs with rabies there is only one way -
they have to be put down and destroyed.

When she said the last thing she wanted was contact with the art world she understood what she meant. But you can’t just go around killing everybody.

So ahhh yeah, eh?

Do you know what that means?

Julie Fragar is great with photorealism, intense woven textured paint and cool text. So I guess the text is important. The highlight of the works at MOP consisted of
Which was in elegant faecal colours and reminded me of my waylaid vigilante project of CACA.

Fiona had a great mauve spooky spatial thing and Julie had lots of ink sketches of weird Sino-imperial jade court scene things… but THE WEIRDEST THING IN THE WHOLE SHOW were a bunch of works by some guy called Brian.

Think of Ron Swan meeting – well, err… some really sweet intense surrealist spooky painter – and err… maybe this was the bastard love child of Defiance gallery and Brenda May?

OK I’ll cut out cultural references.

40 x 60cm paintings on a wall – and kind of dark colours and weird spooky little heads and DEEP titles that have serious social comment you know. Some looked like a bunch of Neil Armstrong/Jetsons style space cadets. And then there were these WEIRD curved painted bits of metal over the top – with these impeccable cut out holes.

So I don’t have the analytical language to describe this. Errs… pastiche? Errr.. Discombobulated? Errr. What?

There was another foray into ART MEETS SCULPTURE earlier I the week at Virginia Wilson Art. Andrew Frost was the star curator of IRONIC EXPRESSIONISM.

I received the blurb, read it and ate it, which is why I can’t give you pithy excerpts of it here. A pity coz it was witty but deep.

Oh well. I think the show was mean to be based ‘ironically’ on some of the big boy stars of the new male expressionism in sinney art scene. So there was a big painting (with some scarey tones of beige) by Ben Quilty of a car moose/confabulation that took up one wall of the gallery with another big painting of a rooster named George by Craig Waddell. Waddell’s cock was delightfully playfully elegantly coloured – a nice counterfeed to the brash moose-car of Quilty.
On the back wall there was some vagueish autumnal sensuous toned abstracted thing by Todd Hunter, and then the side wall had an intriguing combination of Nigel Milsom's white on black sketchy painty things of churchy looking structures and Ash Hempsall's WEIRD trippy little brightly coloured painty freaks. Mayhem loved the latter unconditionally. Miro eat you heart out. Which reminds me of Craig Waddell’s 23rd birthday but that’s another story.

None of this is visible from the outside of the gallery. Which is small. Amazingly small and amazingly capable of holding all these big boy masterworks. Was that part of the irony?

What were visible were some small canvases of Todd’s, and then lots of WEIRD GLOOPY BEIGE things in frames by Craig Waddell. Extreme sports drippy stuff and not a jot of those lovely blue greens, chocolate smears or ecstatic pinks.

Heavens! Had he been conquered by the Sydney school of beige gestural painting? Fortunately not –this was just a funny segue into the divine power of liquid nails. I liked the cerebral forms the best.

All of the above is just a mild little warm up for the serious rapturous art moment of the year. It’s hard to write about ART when it is linked to horrible tragedy, so I’ll warm you up with some nasty narky bitchiness.

I usually avoid THE OX, and especially OX opening nights. Partly coz they are right down the arse end of paddo – and all I get flashbacks to all those scary history books I read in High school mentioning the razor gangs and plague outbreaks.

And the street surfaces down that end of town – not unlike Woollahra are made only to be negotiated in a 4WD. The street surfaces are lethal for legs, bicycles or small cars and there is no street lighting. At all.

Lucky the ox has big pink and blue neon sign.

Anyway the opening night soiree was a bit of a fright. The crowd were all in ‘NOIR’, sweetie –that serious art crowd in morning thing – including one woman in a delightful velvet and tulle party frock. And lots of the men were in suits. And they were casting nasturtium laden glances at mayhem (who was wearing a GREEN dress – that didn’t come from Prada, or even Kmart)

I’m not used to my sartorial presentation being aspertioned by snooty visual glances (and I hang out in PARIS) so this was a bit odd. I was so disconcerted that I buried my nose in, err, the art on the wall, and on the ground.

This was no mean feat – given the win swilling throngs in mourning. All with backs to the work – except for occasional cursory glances followed by a fleeting ‘oh, god, how tragic’ (unsure if referring to me or the tragic death of the artist) and ‘yes, if only they were for sale, well which one would we buy sweetie?’

Because the works weren’t for sale, the show was a memorial tribute to Oliver, who was an amazing mid-career artist in her mid-forties, and who killed herself last month. So this show – at a commercial gallery, which doesn't feature works for sale, and there’s no buzz and flurry of red dot spotting or price speculation. All people could do was look at each other, or, you know, like, the work.

So I started looking at the work, and got sucked in big time.

Bronwyn Oliver is best known for those large seedpod – metallic basket weaving type things that you see every now and then. There was a great one at the botanic gardens, and LOTS of artists have sort of copied her since. So it’s become a bit of a style…

But don’t be fooled. Oliver composes her pieces with an intrinsic sense of the organic method of construction, assembling pieces according to the rules of placement, structure emerging, gradually, perfectly.

My god its’ a good show. Close up – not just the overall forms of the pieces, but the minutiae – their impeccable structural integrity that really sucked me in. this extended to the tracery of oxidized patinas of the brazing where she melted and joined metal elements together. Metal was metal, but opened itself up to something else.

This is absolute alchemy of material, form, suggestion, imagination…. And so immensely, intensely moving….. So mayhems eyes lingered, following each segment, meditating on the divine structure of each piece –highlights included cascades of tumescent budding breasty forms, exquisitely balanced stone like structures, a mighty pentacled anus, and some delightfully laced woven threading forms composed into long stem like structures. Oliver composes new structural laws for each piece, and the time, the time just to look, to comprehend, well it’s more ZEN than ZEN ART. It’s amazing.

So now, after this I have a definition of GREAT ART. And it is timeless. (A classic line).

But really amazing work, draw you into its own logic and its own time. You don’t just look at it and go ‘oh, its about that’, you get invited to explore further what it could be, has been, might become.

It takes a very special, intimate and knowing love of the material, of the medium in order to convey that. So heart, hand, eye, imagination. Time space, medium.

This is one of the best things I’ve seen all year (I mean ANYWHERE – including Europe).

The Ox ain’t easy to find – but until September 2, you can be guaranteed snarky suit free epiphanic eyeball delight. Those school-aged minions at the ox have outdone themselves in the installation and lighting department. Each piece is well placed, well lit and there’s the right ratio of space to art.

Roslyn Oxley is a 20-minute walk from 5 ways in Paddo or a 10-minute stroll across the oval near Edgecliff station. Shanks pony can get you there easily in daylight. Soudan Lane runs off Hampden Street, which runs off Glenmore. I don’t usually promote the big end of town galleries – but Oliver’s work is so wonderful and it’s doubtful if she’ll get a retrospective at AGNES WALES in the next 30 years so this may be your last chance to enjoy her work.

Tuesday, August 08, 2006

Knives, Snow, Architecture

On Art and Mayhem this week, Lucazoid brought artist Hilik Mirankar
into the studio. Hilik is best known as the knife sharpening motorcycle
guy, but he's also an accomplished sculptor in wood. Almost everything
that Hilik carves is salvaged and refashioned, recombined, with scraps
found on the street. And in the last few years, Hilik has begun to
refashion neighbourhood relationships in his own street - Queen Street,
Glebe. He has been negotiating with his neighbours to place his wooden
sculptures in the front yards of nearly every house on Queen Street. We
talked about Hilik's processes and motivations. Hilik's website is

Lucazoid also plugged two events this Wednesday night:

the first is the final PELT show by snow (see LOTS happening post below)

the second is the
Architecture Lecture: Teddy Cruz
The 2006 Lloyd Rees Memorial Lecture

Wednesday 9 August, 6.30 pm

Guatemalan-born architect Teddy Cruz has a San Diego-based practice
informed by its location at the border of San Diego, California, and
Tijuana, Mexico, where two radically different cultures, societies and
economies occupy the same geography. Outspoken in his condemnation of
borders, Cruz addresses how borders discriminate against cultures and
restrict entrepreneurial activity within mainstream activities. His firm,
Estudio Teddy Cruz, has won numerous awards from the American Institute of
Architects and is gaining an international reputation for recycling
overlooked space into liveable, workable environments. In 2004-05 Cruz was
the recipient of the Stirling Lecture Prize, a collaboration between
the Canadian Centre for Architecture and the London School of Economics
and Political Science Cities Program.

Admission: $15/$10 MCA & RAIA Members and Concessions

Bookings essential (Mon – Fri): 9245 2484 or

Presented with assistance from the NSW Ministry for the Arts in
association with Sydney Design 06 and the Royal Australian Institution of

Thursday, August 03, 2006

LOTS happening!!!

After my spectacularly content free broadcast last week – I’ve decided to take a break and go see some art so I can review it.

Lucazoid will do the Monday 7th segment and mayhem will go and investigate the following shows for the broadcast on the 14th august.

FRIDAY AUGUST 4th (6-8pm) at Chrissie Cotter Gallery, Pidcock Street Camperdown

Scenario House by Gianni Wise

An installation by artist Gianni Wise that places gun culture within the context of everyday living, literally, Gianni has built the interior of a home in a gallery space. Scenario House 's timing is particularly relevant given the events currently unfolding in the Middle East .

Exhibition Runs until August 20. Gallery hours are Wednesday - Friday 11 - 4pm. Saturday & Sunday 11 - 5pm

ALSO on friday at S.N.O.: Sydney Non Objective, First Floor 175 Marrickville Road, Marrickville
19: Ian Milliss And Christopher Dean, Quentin Sprague, Salvatore Panatteri

Exhibition runs to August 27, : hours are Thursday to Sunday 12:00-5:00PM or by Appointment

MONDAY AUGUST 7th (5.30pm) at Artspace, Cowper wharf road, Wooloomoolloo

Mimi Tong, Lori Kirk, James Hancock, Astra Howard and Jade Boyd announced as official winners of the NAVA/Freedman Travel Scholarship. Thanks to nice Freedman family and NAVA they each get $5,000 to travel the world and make some GR8 ART.

NAVA: National Assocation of Visual Artists. It's cheap to join and does lotsa nice stuff. Just don't say the"U" word.

TUESDAY AUGUST 8th (6-8pm) at Virginia Wilson Art, cnr Darley & Burton Streets, Darlinghurst
'Ironic Expressionism' group show curated by Andrew Frost.

My computer hates adobe so I couldn't read the artists list - but Craig Waddell is in it.


One day soon, when sydney art is reduced to beige derivative meanderings of Glenmore Road boosted by Stockroom sales of Lindsay, Whitely and Billich people will yearn for the days of old, interactive plyhanous multimedia multisensorial experimental art experiences.

So come live out the last sunset of OZCO new media funding initiative at a great little white box behind the old Brewery in chippo. Balfour street is tucked behind abercrombie street near Broadway - just off meagher street.

The Show is Mr Snow (don't think its a coke dealer tho)
Camera Notes: 2000/06

Exhibition Runs: Thursday 10 August - Sunday 20 August. Opening hours: Thu - Sun, 12am-6pm

PELT IS AT Unit 2, 46 Balfour Street, Chippendale or

Also on Wednesday at Mori Gallery, 168 day street, sydney CBD

David Capra, Leah McPherson, Stephen Barton, chelsea Lehman, Jacqueine Olivettie, Belle Charter, Ben Terakes, Melodya Williams, Shelley Atkinson, Kotton Patterson

Exhibition Runs until September 3. Gallery hours are Wednesday - Saturday 11 - 6pm

THURSDAY AUGUST 10th (6-8pm) at MOP Projects Room 16 Level 2 617 Elizabeth Street Redfern
CHARGE TO SLOW Julie Fragar and Fiona Lowry

Fragar is one of mayhem's favourite painters, taking photorealism, text and texture to extrme sports heights of crikey god knows what. this should be a big eyeball fest of contained intense drippy stuff, and August is one of the few months in the ear when MOP doesn't feel like a sauna.

Opening hours: Thursday - Saturday 1 - 6, Sunday 1 - 5 pm (02) 9699 3955

Same night at GAFFA gallery, 330 crown Street Surry Hills
The Debut, by the Makers Manifold

Rosary Coloma, Loren Keir, rhonda Lin, Mirna Novosel, Susie Rugg, Brooke Wilson, Chloe Waddell
One of them looks like she's wearing a lawn bowls outfit, so mayhem may be eviscerating her on the night for plagiarsism.

Opening Hours: mon-fri, 12-6pm, Sat: 11-6pm, sun: 2-5pm

SATURDAY AUGUST 12th (5-7pm) at Addison Road Gallery Marrickville
Riding in Wonder by Anna Wheeler

An exhibition of new paintings playing on the fauvist influences on her flamboyant colourist style. Wheeler has explored symbolist themes more deeply, applying them to her lyrical depictions of animals and still life elements. In english this means that Anna's paintings are big, bright, and a welcome smack in the face to the horrors of ACGA school of Beige. Think of trumpets screaming out a mambo improv over 'little brown jug' and you get the picture.

Exhibition Runs until August 27. Gallery hours are Wednesday - Sunday 11 - 5pm