The Finkelstein Files: Golden Repair

Above: Remembering the Pattern, 2016

Analogue collage, oil stick on hand painted rag paper, 34 x 46cm.

Above: Where The Sun Don’t Shine, 2016

Analogue collage, oil stick on hand painted rag paper, 35 x 45cm.

“Helen Gory’s art pivots upon its connections. Its power lies in its links. Her images seem to unspool and reveal an almost filmic flow of associations. Golden Repair, the title of her solo exhibition at Chapman & Bailey in Abbotsford, refers to the Japanese procedure of Kintsugi. This process brings together and reconnects fragments of that which was whole; it is, in essence, an embrace of imperfection. For Gory, the procedure stands as an analogy of the honest acceptance of often overlooked and almost forgotten aspects of her inner self. It’s a type of re-stitching – an aesthetically realigned spill-out of the contents of a mental handbag.”

Attending the opening of the exhibition, I was reminded of the astute observations of esteemed art historian, Ken Wach, (above) as he waxed lyrical about Gory’s gilt creations. An Associate Professor and former Head of Creative School of Art at Melbourne University, Wach has long proved a valuable treasure trove of knowledge when sluicing to the core of an artists’ intention.

Above: (detail.) Never Ending, 2016

Collage and oil stick on paper, 140 x 100cm.

The mixed-media works in Golden Repair speak of desire and displacement. Through her art Gory searches for patterns and meanings; her mind is seduced by connections and coincidences as it points toward a form of self-interrogation. Thoughts are prompted by fractured, fragmentary and juxtaposed images – an inventive vision of constructed parts rather than given wholes.

“This body of work is autobiographical, and has taken me close to three years,’ says Gory. “To celebrate that which is not perfect resonates deeply with me. These distortions and missing bits and pieces, floating in mid-air, are expressions of seeing beauty in who we are, as we are,” explains Gory. “Finding the connections are our strengths.”

Above (Left to Right) : Three generations of Gory women together, artist Helen Gory with her daughter and grand-daughter.

Recognising the beauty in broken things, is interwoven with the Japanese philosophy of wabi-sabi – to find beauty in broken or old things. By giving new life, or rebirth to objects by celebrating their flaws and history, the 15th century practice of Kintsugi can be applied to life. To find value in the missing pieces – to bring light the scars that have come from our experiences, to find new purpose through seeing the beauty of imperfection – is a gift of innate prosperity.

I have long been an ardent fan of the collage as a unique medium of exploration – signposting our most primal visual markers. Assemblage is a dense and intricate process not for the feint-hearted as Gory explains of her practice. Gory’s ability to track and expand upon her ideas are referenced here in an earlier body of works here.

For an artist, who once was firmly fixed on the spectator side of the studio, her gallerist eye is sharp and pincer-like. An advantage of two decades of running a commercially successful exhibition space, and nurturing the fledgling careers of many of Melbourne’s finest talent, Gory has a head start. To then be able to ‘un-see’ what she can already ‘see’ is the trick to tying it all together. The Guts & the Gory.

Above: Holding My Flame, 2016

Oil Stick on Board, 38 x 34cm.

Above: Feeding the Donkey, 2016

Oil stick and pastel on paper, 122 x 86cm.

From a collectability perspective, the works are genuine nuggets of gold. Priced extremely affordably, it is tempting to select more than one work of art. A pair juxtaposed and pitted against themselves works well. I often ask my twin 7 year-olds their opinion on new works – their untrained eyes often ‘see’ better than most jaded buyers with decades of viewing under their proverbial belts. After a short discussion, they both select the same work – declaring it ‘special’.

A week post-opening, the collection is fast on its way to selling out – audiences are aware that what they see and feel resonates within long after stepping away from the image. That’s how great art is meant to make you feel. That you have stumbled upon something precious that makes you feel joyous!

Golden Repair is on until April 1st at Chapman And Bailey, 350 Johnston St, Abbotsford. For sales call the gallery 03 94158666, mon-fri, 10-5.30, sat 10.30-4.30.

The Finkelstein Files : Charlie Foxtrot gets Clusterfucked

Luke Cornish is an Australian artist creating unique, powerful images from handmade stencils. His rise within the contemporary art world has been meteoric, becoming the first artist to be nominated for the Archibald Prize with a portrait created entirely out of stencils. Formerly a blue-collar worker from Canberra, Cornish’s apathy and boredom during his mid-twenties encouraged him to start experimenting with stanley knives and spraypaint cans. Ten years on, he has literally carved his name into the public’s mind.
Using unto 85 layers of carefully hand-cut acetate, he sprays layer-upon-layer of aerosol paint until his images bear a striking photographic resemblance : this is a new form of hyper-realism that it is unlike what has been seen before.
Formally known as E.L.K , he uses the tools of street artist to create decadent, detailed works that envelop the viewer. A searing honesty, slices back the layers and reconstructs his muses with astonishing deftness. The emotions that permeate the eyes of his portraits have great depth, the shadows created by the stencils highlighting their anguish.
ELK 11
Father Bob Maguire, controversial Catholic Priest, gave an anti-pulpit rousing opening address to this lucky-to-attend Luke Cornish’s exhibition at Metro Gallery on Thursday night. Following a successful 2013, where he achieved the highest ever auction record for a street artist, Luke Cornish forms his desire to bring social awareness and change through his work.  


CHARLIE FOXTROT or Clusterfuck, echoes the chaotic situation where everything seems to go wrong. It is often caused by “incompetence, communication failure or a complex environment”. Maybe on paper, as the story goes, but up-close-and-personal, the works reveal another story altogether.

The exhibition follows Cornish’s journey to the Middle East where he wanted to gain access to Syria to photograph the ongoing civil war and highlight its humanitarian impact.What ensued was a series of major road blocks. What could go wrong, went wrong, badly – He arrived at the Syrian border only to be turned away as a potential spy. Cornish and his ‘fixer’ headed out with long time war correspondents to hide that he didn’t have accreditation to photograph the region and they were caught in cross fire in Tripoli between soldiers and insurgents.
Hauntingly captivating, the collection symbolises the strength of human spirit no matter the obstacles we face. Charlie Foxtrot – In radio communication or polite conversation (i.e. with a very senior officer with whom you have no prior experience) the term “clusterfuck” will often be replaced by the NATO phonetic acronym “Charlie Foxtrot.”
Metro Gallery Manager, Jacinta Cavalot, said: “Cornish’s work continues to connect with your soul and challenge your thoughts. Without a doubt these are his best works yet.” The solo exhibition is on view until the end of June at Metro Gallery 1214 High St, Armadale, Monday -Saturday 10am-5.30pm.
Nuzzling his way into the fine art world, Cornish shows that even if the pen is still mightier than the sword, the scalpel might win out overall.
 TFF xx