Friday, October 23, 2015


Public art project and artist in residence

City of Boroondara

Artist Laura Woodward with her artwork The Return (2014) exhibited at Town Hall Gallery.

'The Droplet Project' is an art project set around the themes of integrated water management and water sensitive practices, working with an artist in residence and engaging with the Boroondara community.

The City of Boroondara is seeking to commission an artist to develop a public artwork to be displayed (temporarily) outside on a City of Boroondara site. Space for development of the artwork will be provided through the provision of an artist in residence studio at the Hawthorn Arts Centre for six months. As the focus is engaging with the community, the selected artist will be required to develop and run 6 -10 creative participatory cultural development workshops that engage with targeted members of the Boroondara community around the artwork and the key themes - valuing water, integrated water management and water sensitive practices. It is expected that some of these targeted members of the Boroondara community will be young people from local schools in the municipality.

The completed work will be displayed for a short time (approximately 3 months) outside at a City of Boroondara site. The preferred location is the (soon to be) landscaped civic space adjacent to the Hawthorn Arts Centre at 360 Burwood Rd (corner Burwood and Glenferrie Roads), Hawthorn. 

City of Boroondara seeks expressions of interest from experienced professional artists who wish to be considered for this exciting project.

It is envisaged that the artwork take the form of an outdoor work which is designed to withstand the outdoor environment of the site for the proposed display period. 

How to Apply

Download the Expression of Interest form here, and any questions can be directed to: 

Mardi Nowak, Senior Curator, Town Hall Gallery
Phone: (03) 9278 4775

Tuesday, October 13, 2015

Sounding out the Vision

Humans have identified five types of senses that we have evolved to help us find our way in the world - sight, sound, smell, taste and touch. And over the years we have come to accept them as separate and distinct ways our bodies gather information about the universe around them. These senses are like our antennas, bringing data from the outside world back into our inside world – through our eyes, ears, nose, mouth and skin.

Eye Score installation shot, Gallery 1 
Artists from l to r: John Aslanidis, Angela Cavalieri, Michael Graeve.
Documentation photography courtesy of Christian Capurro

The art you encounter in museums and galleries is mostly made to be consumed by sight - to be taken in through the eyes. For Eye Score we have brought together a collection of artwork that accesses your ears through your eyes.

The gallery spaces have each developed their own flavour - their own character - driven by the nature of the particular artworks in that space. In the first gallery there is a sense of feeling; in the back gallery there is a sheet music library; and in the long gallery there is a biological flavour.

The first works you encounter are text works. Catherine Clover has produced a site-specific intervention on the large glass-walled entrance foyer. Clover provides a reflective experience, where the subtlety of visual concentration marries the subtlety of aural concentration.

Catherine Clover (2015), so to speak, site-specific text installation, (c) Courtesy of the artist.
Documentation photography courtesy of Christian Capurro

Text is at the start of the show because writing is possibly the first audible image. Humans first started communicating with body language, then with voice (sound) and then with writing (image). Once we figured out that you can scratch circles and lines and dashes into clay and send it 100km away in a way that carries our voices over the horizon, we could start talking silently.

So text is at the start of the exhibition. It’s also a way to show that while you’re inside a fairly isolated gallery, the ideas connect back outside into the presence of the world. Angela Cavalieri’s prints are along the entrance wall, swirling lines of lyrics moving through space. The first gallery contains a central work – John Aslanidis epic-scale 5-metre painting. Its vibratory effect activates your central nervous system and its delivery platform echoes its inner content.

Michael Graeve’s site-specific painting installation is a master class in composition. It is rich with the experimentation of improvisation and yet conducted with symphonic orchestration. The spaces of empty wall left between the colourful paintings is as important as the paintings themselves.

In the back gallery we have a record shop - a library of sheet music. John Nixon’s fourteen abstract paintings are geometric modernist history in the theatre of a postmodern environment. And also vice versa. This work has been site-specifically modified by Nixon, extracting all the even-numbered panels from his full suite, leaving #1, #3, #5, #7… etc on the walls for Eye Score. Improvising his composition in this way is a form of performance that reinforces the ideas inherent in the work.

Dylan Martorell's various scores
Documentation photography courtesy of Christian Capurro

In the same space is a suite of diagrammatic pencil drawings. Dylan Matorell’s scores are architectural blueprints taken from nature and constructed as instructions. They are the DNA of plants converted to guide-lines for songs. Martorell’s work runs across and into the long gallery where his biological source material reveals itself most directly and connects to the nature of the artworks in that space.

Along the central 19-metre wall, local Boroondara artist and musician Carmen Chan has produced a site-specific wall painting that pulls at the architectural space to weave an expression of bodily movement. Bubbles breath their way across the expanse, rising against gravity to meet their home.

A series of six Sound Paintings by Danae Valenza are record sleeves for bands whose music is only ever heard in your own head. Isolating notes and recombining them, Valenza delivers a concert of electronic sampling, but with rich analogue tones. Musicians' hands float free to talk in sign language. The looping historical journey of Eye Score returns to our earliest form of audible imagery – body language.

Eye Score installation shot, Gallery 3
Artists from l to r: Danae Valenza, Angela Cavalieri, Carmen Chan
Documentation photography courtesy of Christian Capurro

All of the characteristics described above are only part of the ideas and significance of the artworks. They each have much more to tell you about an array of different topics and themes. But it is their way of communicating sound through visual means that unites them as a group. Each in their own unique way, each with their own beautiful interpretation of sound into vision.

Monday, October 12, 2015

In Conversation: Angela Cavalieri

The second installment of our In Conversation series takes Gallery & Curatorial Assistant Marion Piper into the gallery and up to the work of Angela Cavalieri. Many of you may remember Angela's work from the exhibition Re-writing the Image in 2014. We're thrilled to be working with her again and to learn more about her inspirations and influences for Eye Score: The Audible Image


[MP]: Hi Angela!
Let’s kick off this interview for Eye Score…

You exhibited with us last year in ‘Rewriting the Image’ - is the work in Eye Score dramatically different or in a similar vein?

[AC]: Hi Marion! 
Different in that the work in Re-writing the Image was a 3-Dimensional object (an artist book) and the two works in Eye Score are 2-Dimensional. They both have imagery made up from text. The works in Eye Score are based on music lyrics from Claudio Monteverdi's madrigals and the artist book was based on Italo Calvino' s "invisible cities", in particular the continuous city.

Giro (2015), Hand-printed linocut print and acrylic on paper, Artist Proof, 130 x 272cm
(c) Courtesy of the artist. 

[MP]: Great! I can see the links between your previous works and the ones for Eye Score, particularly the idea of using another creative work as inspiration. Is this something that has always been a part of your creative practice?

[AC]: Yes, it has...there has been influences from literature or music from great writers and musicians.

Detail of Giro (2015), Hand-printed linocut print and acrylic on paper, Artist Proof, 130 x 272cm
(c) Courtesy of the artist. 
It has also come from great architecture, monuments or places that that I have been to through my travels and residencies....there has been many references from Rome, Renaissance domes and arches as well as early Romanesque architecture from Catalonia, Spain.

[MP]: Your work is very architectural in nature which also has links to the structural nature of writing. Are the texts you garner inspiration from ones you feel personally connected to in terms of their cultural content, or do you use them because of their structural or aesthetic features? 

[AC]: They are mainly related to places I have been to or buildings I've visited.
The historical or cultural connection for me is important as well as their structural aesthetic quality. 

Ragionando (2015), Hand-printed linocut print and acrylic on paper, Artist Proof, 121 x 206 cm
(c) Courtesy of the artist.
[MP]: Fantastic! Can you tell me of a place you have visited recently that took your breath away?

[AC]: Venice in the rain.... and it wasn't the first time!
PS: actually Ravenna wasn't too far behind!

Detail of Ragionando (2015), Hand-printed linocut print and acrylic on paper, Artist Proof, 121 x 206 cm
(c) Courtesy of the artist.
[MP]: Haha I would imagine that Venice in the rain would be incredible!

After participating in Eye Score, what other exhibitions or projects do you have on the horizon?

[AC]: I'm basically just going to continue working with some ideas I had during my Venice residency. I'm currently working with an animator and musician on a project for the Port Fairy Spring Music Festival. I'd like to expand that further. In April next year I have a show booked in Darwin at the NCCA.

Detail of Ragionando (2015), Hand-printed linocut print and acrylic on paper, Artist Proof, 121 x 206 cm
(c) Courtesy of the artist.
I have a solo show "Canzone - Music as storytelling", on at the moment at fortyfive downstairs in conjunction with the Melbourne Festival till 24th October.

There is also a documentary showing my research and outcome from a State Library of Victoria Creative Fellowship in 2012-13. It is on Youtube as well, the link is:

You can checkout some earlier work on my website:


Eye Score: The Audible Image is open to the public until Sunday 1 November, 2015. For more information on Angela Cavalieri, check out her website: 

Tuesday, October 6, 2015

This May Be the Last Time - Screening this Saturday

Town Hall Gallery has your Saturday arts events covered with a free film screening of This May Be the Last Time at 1pm Saturday 10 October.  The film debuted at the Sundance Film Festival in 2014 and is being shown in conjunction with our current exhibition, Eye Score: the Audible Image.

If film isn't your thing, there is also a free artist talk with Jesse Dayan at 2pm.  Jesse has been a semifinalist in the Doug Moran Prize, a finalist in the National Works on Paper Prize and was shortlisted for the Brett Whiteley Travelling Scholarship. A recent graduate from Victorian College of the Arts, Jesse has exhibited in Melbourne, London, Adelaide, Coffs Harbour and Bendigo.

Then to round your day off, join us for the launch of The Power Street Project at the Community Project Wall.  Power Street Project is an exploration of the relationship between discarded objects and place-making. On weekdays, Lauren Castillo walks from her home on Riversdale road in Hawthorn, straight up Power St (that turns into Denmark St), to her workplace at QArt Gallery on High St in Kew. Castillo collects discarded objects which she has called ‘groundfinds’ on her daily journey and repurposes them into jewelry and other wearable items. Power Street Project is a participatory exhibition as Castillo encourages you, the viewer, to notice what is discarded around you and how you can re-purpose ‘junk’ into something wearable or useful.  A smoothie bike will be onsite to quench your thirst, though you will need to cycle away to get your treat!

For more information about these events please contact the gallery on 03 9278 4626 or  

To see what other events are coming up, visit our Public Programs page.  We look forward to seeing you at Town Hall Gallery soon!