Ash Keating Concrete Propositions 2012. Acrylic house paint on concrete. Courtesy the artist and Fehily Contemporary, Melbourne Australia. Photo: John Collie
Ash Keating West Park Proposition (detail) 2012. Courtesy of the artist and Fehily Contemporary Art. Photo: James Wright © the artist
Ash Keating West Park Proposition (detail) 2012. Courtesy of the artist and Fehily Contemporary Art. Photo: James Wright © the artist
This exhibition is now closed
An explosive work of art in the central city.
On Saturday 10 November, Melbourne-based artist Ash Keating created Concrete Propositions, a huge, abstract painting on a Worcester Street wall revealed by demolition.
Created by throwing, spraying and firing paint from the likes of buckets, weed sprayers and fire extinguishers onto a concrete wall, Concrete Propositions is presented by Christchurch Art Gallery and Gap Filler.
Keating is a Melbourne born and based contemporary visual artist, who has been working professionally since 2004. His practice ranges from site-specific, conceptual, collaborative, mixed media installations, public and gallery based projects created both throughout Australia, and also internationally in residencies and exhibitions in Chile, Korea, Indonesia, Japan and New Zealand.
The wall work is not Keating's first. In September this year, Keating painted a 50 metre-long, 10 metre high tilt-slab warehouse building on the edge of Melbourne's Western District Industrial Park. He used the colours of the surrounding farmland to propose what he described as "a camouflage aesthetic for the surfaces of these imposing concrete block structures.
The public were invited to join Keating on the site between 9am and 1pm on Saturday 10 November to watch the painting emerge and even lend a hand with filling containers.
The work can be viewed from Manchester Street between Gloucester and Worcester.
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Date:
November 2012 – December 2013 -
Exhibition number:
926 -
Part of
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Presented with
Related reading: Outer Spaces
film
Ash Keating: Concrete Propositions
Early on Saturday 10 November, Melbourne artist Ash Keating began painting a mural on a recently exposed inner city wall in Christchurch. This video shows how Ash's unconventional painting technique allows him to complete this huge mural in a relatively short period, as well as revealing why he was motivated to return to Christchurch to undertake this project. You can view his work, entitled Concrete Propositions, from Manchester Street between Gloucester and Worcester.
Article
Sparks that fly upwards
Curator Felicity Milburn remembers five years and 101 installations in a gallery without walls.
Notes
Detail
Due to other committments I was unable to attend the creation of Ash Keating's massive inner city mural, Concrete Propositions.
Notes
Christchurch - get ready to have your colours done...
Melbourne-based artist Ash Keating is in town and is preparing to launch an all-out assault on concrete blandness with waterbombs, fire extinguishers, weed throwers and other paint-propelling devices.
Notes
Artist fires colour into the Central City
You are all invited to come and watch an explosive work of art take shape in the central city between 9am and 1pm this Saturday.
Notes
Holloway Press 1994-2014
Last chance to view the Holloway Press exhibition at Central Library Peterborough this week so if you are in the neighbourhood and like beautifully printed, designed and hand-crafted books then make sure you head along.
Notes
Sian Torrington Call Out
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See below for a message from Sian to find out how you can get involved.
Notes
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Notes
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The inner binding now on display at the library
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(Way Out)er Spaces
We're pretty pleased with what we're achieving with our Outer Spaces programme, but it's always good to see what else is out there. And I do mean 'out there'...
Notes
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Interview
Silent Patterns
When we asked Tony de Lautour to produce a new work for the Bunker—the name Gallery staff give to the small, square elevator building at the front of the forecourt on Montreal Street—he proposed a paint scheme inspired by Dazzle camouflage. Associated with the geometric near-abstraction of the vorticist movement, Dazzle was developed by British and American artists during the First World War to disguise shipping. It was a monumental form of camouflage that aimed not to hide the ship but to break up its mass visually and confuse enemies about its speed and direction. In a time before radar and sonar were developed, Dazzle was designed to disorientate German U-boat commanders looking through their periscopes, and protect the merchant fleets.
Senior curator Lara Strongman spoke with Tony de Lautour in late January 2016.
My Favourite
Peter Stichbury's NDE
Anna Worthington chooses her favourite work from the Gallery collection.