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october 17 - november 4





Marcus Rose


Our urban infrastructure is the oppidan clothing that summates our cultural identity and history.  From the imposing corporate headquarters flanked by classical Greek columns, to the dilapidated dockside warehouses; from the uber-cool postmodern apartment block with in-house gym, to the bare and functional boarding room houses… the identity of a city’s inhabitants emanates through the built façade.


Metropolitan explores the fragility of the built environment. Marcus Rose’s large scale paintings demonstrate the breakdown of the monolithic cultural edifice. The result is a diverse collection of morphing, simmering and melting infrastructure.


Marcus Rose has studied at Monash University and also at the Ecole des Beaux-Art in France












(The Clearance Project - Part 1)



Leanora Olmi

During the Nineteenth Century Scottish Highlanders left their homeland and braved the journey to Australia.  Their values and traditions were repressed in the aftermath of the failed Jacobite Rising of 1745 in Scotland. In the years that followed the failed rebellion, dominant landowners pursued the greater profit to be made from sheep farming, evicting tenants from land their families had inhabited for centuries. Looking for a way out of the poverty that had taken hold of their communities, many Highlanders sailed to Australia, seizing the opportunity to start a new life in the ‘Empty Land’.

Leanora Olmi began photographing the Scottish Highland and Island clearance sites in 2004 and has brought these images to Victoria as part of her Masters studies at VCA. The project is a personal exploration of the remote and unforgiving wilderness of the Highlands and Islands, the beautiful and haunting expanses of rural Victoria, and the people that link them. The strong bonds of family and community that were so important in the Highlands were destroyed by the clearances. The Scottish Highlanders came to extreme conditions in Australia; they entered the unknown. Their journey was hard and their battle with the land and the original Australians was a cruel one, setting in motion the same chain of evictions and displacements that they themselves had fallen victim to in their homeland. Olmi’s resulting collection of photographs are clear and haunting.















Spiked Cell    


Lucy Irvine

Lucy Irvine is fascinated by building blocks, the individual units of purpose from which things are made. This becomes evident not only in the materials and processes used to make her sculptures but also in the resulting shapes that evolve. Each sculpture is intricately constructed using cable ties and irrigation pipe.

The resulting body of work, Spiked Cell is informed by the common ground found between organic forms and structures of industry. They share rhythms of change, cycles of growth, production and reproduction. 

There is an acute poetry that is attributed to basketry and other traditions of vessel making. This gentle movement and depth transcends into Irvine’s woven forms. The Spiked Cell alludes to both the internal and external surfaces.  There is a play off between vulnerability and defense as the outer skin holds the inner space.

Earlier this year, Irvine’s  work was shown in the context of world craft in Common Goods, at the Melbourne Museum. A related collaborative residency in February gave her the opportunity to work with Hlengiwe Dube, an expert in telephone wire weaving from Durban, South Africa.  Irvine finds crafted objects to be providing an increasingly insightful commentary within contemporary culture










opening night drinks

wednesday october 17


exhibition duration:  october 17 - november 4


red gallery
hours: tuesday - saturday 12 - 6 pm
157 st georges rd   north fitzroy
melbourne, victoria, australia
(opposite edinburgh gardens)
+61 3 9482 3550