Panoply – Group Show/Print Exchange curated by Rona Green

Emma will be a participating artist in an amazing display of printmaking in November at Metropolis Gallery Geelong. Check out Rona Green’s Website for more information on this exhibition.

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Photo: (Detail) “Visual Biography of a Melbourne Teenager”, 2016, 2 Colour Lino Print

panoply
ˈpanəpli/
noun
noun: panoply; plural noun: panoplies
  1. an extensive or impressive collection.
    “a deliciously inventive panoply of insults”
    2. a splendid display.
    Synonyms: array, range, collection

Panoply, an exhibition of specially made prints by 40 Australian artists curated by Rona, will be hosted at Metropolis Gallery in Geelong from 12 November – 3 December 2016. The splendid participating artists are Emma Armstrong-Porter, Asphyxia, Anna Austin, Eolo Paul Bottaro, Lauren Carter, Jazmina Cininas, Paul Compton, Graeme Drendel, Philip Faulks, Amanda Firenze Pentney, Alex Game, Silvi Glattauer, Janet Goldman, Rona Green, Andrew Gunnell, Gregory Harrison, Carolyn Hawkins, Bill Hay, Jake Holmes, Julie Holmes, Anita Iacovella, Adrian Kellett, Alexi Keywan, Julian Laffan, John McClumpha, Aaron McLoughlin, Marion Manifold, Olivia Mazzone, Graeme Peebles, Catherine Pilgrim, John Ryrie, Gwen Scott, Josh Searson, Jessika Schwientek, Heather Shimmen, Glen Smith, Sophie Westerman, Deborah Williams, Joel Wolter and Keren Zorn.

Group Show – Beetlejuice, Beetlejuice, Beetlejuice

beelejuice show

The Rat Portraits show has been bumped-out to make way for another exciting display of art at A Gallery this month, a group show inspired by the era that was the 1980’s.

Pop culture aplenty showcasing an array of Melbourne and Geelong artists exploring the decade, applying their art to canvasses, crockery and a variety of other surfaces.

The two pieces shown above are a hand studded/hand stitched/hand painted vinyl jacket, and the painting “Butts Down” (enamel and spray-paint on canvas), both by artist Emma Armstrong-Porter. They are a “gutterside” interpretation of the 80’s.

Being born in the decade and not being all that aware of fashion and culture at the time, she has found inspiration in the punk-rock music movement in Melbourne, taking ideas and imagery from first hand stories and crusty archives of the time, creating these two works.

Come see them on opening night at A Gallery, 206 High Street Preston, Saturday 10th September 2016, 6:30-10:30pm. Celebrations will include 80’s  Karaoke for those game enough to partake.

Solo Exhibition – Rat Portraits

Rat Portraits is Emma’s first solo exhibition and is showing at A Gallery, in Preston, Victoria, Australia from the 19th August to 3rd of September 2016.

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Rat Portraits is Emma’s first solo exhibition and is showing at A Gallery, in Preston, Victoria, Australia from the 19th August to 3rd of September 2016. The exhibition consists of paintings and sculpture from 2014 to 2016 and a live painting demonstration by the artist at the exhibition opening displaying the application of medium that creates the unique paintings displayed.

“These paintings were created in a state of mania and insomnia. A place where I feel I have clarity on issues in our culture that rattle my morals. I strive for perfection when creating artwork but, in this case, I challenge myself to achieve this through using materials and media that do not provide the traditional graphic qualities of cartoon imagery. Using acrylic gloss and house paints, applied with a feather onto a horizontal canvas on the ground, I mindfully apply black and white layers to create a texture that is at the same time chaotic and deliberate. I put a lot of effort into making the artworks look untidy.

At university I briefly studied children’s literature where I felt troubled by the use of cartoon characters that, over time, morphed into corporate Western iconography. One “brand” in particular has dominated moving-pictures aimed at children in the last century and has altered itself culturally and technologically to suit its target audience. The parody explored in these works shows skinless, empty portraits of an icon begging to be loved and consumed. The portrait’s repetitive psudo-masculine features reflect a deeper issue of gender in the corporate world, where to me the patriarch still exists as a “trusted” leader and role model for child and adult consumers alike.

This face of popular culture that changes overtime, but alas never ages, shows a darker side of the movie screen; A desperate journey from entertainment to enterprise that has withered the very soul of the original character depicted in this body of work.”