Alex Pittendrigh completed a degree in painting at the Victorian College of the Arts in 1994, was awarded an Australia Council residency at The British School in Rome and was a resident artist at Gertrude Contemporary Art Spaces. In his series of three artworks, 'Worlds through worlds III', 'Worlds through worlds IV' and 'Phenomenon', the scenes appear as if extricated through a kind of portal or void. They are landscapes as imagined or perhaps remembered, ‘pictured’ in the mind’s eye. Seen as an exercise in rococo excess and ornamentation, these artworks suggest a tension between the ornamental and pictorial. The decorative filigree within the painted surface set these scenes further away from the real world. They are ideal, and idealised, places that remain at a distance.In this dark landscape-like image, pale pink and yellow feather forms float around a shadowy central volcano-like shape. The image is reminiscent of a 18th century textile design. Acrylic and ink on linen.stonnington contemporary art collection, painting, alex pittendrigh, memory, landscape

Alex Pittendrigh completed a degree in painting at the Victorian College of the Arts in 1994, was awarded an Australia Council residency at The British School in Rome and was a resident artist at Gertrude Contemporary Art Spaces. In his series of three artworks, 'Worlds through worlds III', 'Worlds through worlds IV' and 'Phenomenon', the scenes appear as if extricated through a kind of portal or void. They are landscapes as imagined or perhaps remembered, ‘pictured’ in the mind’s eye. Seen as an exercise in rococo excess and ornamentation, these artworks suggest a tension between the ornamental and pictorial. The decorative filigree within the painted surface set these scenes further away from the real world. They are ideal, and idealised, places that remain at a distance.In this dark landscape-like image, feather forms in pale greens and yellow float around a shadowy central volcano-like shape. The image is reminiscent of a 18th century textile design. Acrylic and ink on linen.stonnington contemporary art collection, painting, alex pittendrigh, landscape, memory

Alex Pittendrigh completed a degree in painting at the Victorian College of the Arts in 1994, was awarded an Australia Council residency at The British School in Rome and was a resident artist at Gertrude Contemporary Art Spaces. In his series of three artworks, 'Worlds through worlds III', 'Worlds through worlds IV' and 'Phenomenon', the scenes appear as if extricated through a kind of portal or void. They are landscapes as imagined or perhaps remembered, ‘pictured’ in the mind’s eye. Seen as an exercise in rococo excess and ornamentation, these artworks suggest a tension between the ornamental and pictorial. The decorative filigree within the painted surface set these scenes further away from the real world. They are ideal, and idealised, places that remain at a distance.In this dark landscape-like image, viewed from above, is a central pale yellow shape, bordered irregularly by twig-like forms, which is perhaps the earth, shone on by a moon in the top right. Ornamental vegetation - leaves, grapes - appear to be spinning off the earth into corners or out of the frame. Acrylic and ink on linen.stonnington contemporary art collection, painting, alex pittendrigh, landscape, memory

Since 1981, internationally acclaimed artist Rosslynd Piggott has maintained a prolific practice across a variety of media and techniques, including glass-blowing, fabric, painting, installation, drawing and photography. Influenced by natural forms, systems, Japanese design and surrealistic figuration, Piggott’s practice is marked by an attention to aesthetics and the material properties of things. The slumped glass surface and jewel-like ornament of Mirror x 3 shares with the viewer Piggott’s slow and deliberate engagement with the exquisite and the unknowable. Oil and palladium lead on linen, rhodium plated silver, glassstonnington contemporary art collection, materiality, aesthetics, rosslynd piggott

Rennie Ellis was an award-winning photographer celebrated for his photographs of life and culture in Melbourne. Ellis struck fame in the 1980’s for his societal photography for high profile magazines. This put him in high demand by the rich and famous to record their flamboyant parties, and in turn he changed the course of social photography in Australia. Ellis lived and worked in Stonnington with a home and studio in Prahran. In the 1970’s, he opened his own photographic gallery, Brummels Gallery, in South Yarra. Ellis’ work in Stonnington reads like an iconic historical archive of happenings and people, a recollection and celebration of human activity. stonnington contemporary art collection, photography, social history, toorak, rennie ellis

Rennie Ellis was an award-winning photographer celebrated for his photographs of life and culture in Melbourne. Ellis struck fame in the 1980’s for his societal photography for high profile magazines. This put him in high demand by the rich and famous to record their flamboyant parties, and in turn he changed the course of social photography in Australia. Ellis lived and worked in Stonnington with a home and studio in Prahran. In the 1970’s, he opened his own photographic gallery, Brummels Gallery, in South Yarra. Ellis’ work in Stonnington reads like an iconic historical archive of happenings and people, a recollection and celebration of human activity.stonnington contemporary art collection, photography, social history, greek easter, windsor, rennie ellis

Rennie Ellis was an award-winning photographer celebrated for his photographs of life and culture in Melbourne. Ellis struck fame in the 1980’s for his societal photography for high profile magazines. This put him in high demand by the rich and famous to record their flamboyant parties, and in turn he changed the course of social photography in Australia. Ellis lived and worked in Stonnington with a home and studio in Prahran. In the 1970’s, he opened his own photographic gallery, Brummels Gallery, in South Yarra. Ellis’ work in Stonnington reads like an iconic historical archive of happenings and people, a recollection and celebration of human activity.stonnington contemporary art collection, photography, social history, mirka mora, rennie ellis

Rennie Ellis was an award-winning photographer celebrated for his photographs of life and culture in Melbourne. Ellis struck fame in the 1980’s for his societal photography for high profile magazines. This put him in high demand by the rich and famous to record their flamboyant parties, and in turn he changed the course of social photography in Australia. Ellis lived and worked in Stonnington with a home and studio in Prahran. In the 1970’s, he opened his own photographic gallery, Brummels Gallery, in South Yarra. Ellis’ work in Stonnington reads like an iconic historical archive of happenings and people, a recollection and celebration of human activity.stonnington contemporary art collection, photography, social history, rennie ellis, windsor

Rennie Ellis was an award-winning photographer celebrated for his photographs of life and culture in Melbourne. Ellis struck fame in the 1980’s for his societal photography for high profile magazines. This put him in high demand by the rich and famous to record their flamboyant parties, and in turn he changed the course of social photography in Australia. Ellis lived and worked in Stonnington with a home and studio in Prahran. In the 1970’s, he opened his own photographic gallery, Brummels Gallery, in South Yarra. Ellis’ work in Stonnington reads like an iconic historical archive of happenings and people, a recollection and celebration of human activity.stonnington contemporary art collection, photography, social history, rennie ellis, prahran

Rennie Ellis was an award-winning photographer celebrated for his photographs of life and culture in Melbourne. Ellis struck fame in the 1980’s for his societal photography for high profile magazines. This put him in high demand by the rich and famous to record their flamboyant parties, and in turn he changed the course of social photography in Australia. Ellis lived and worked in Stonnington with a home and studio in Prahran. In the 1970’s, he opened his own photographic gallery, Brummels Gallery, in South Yarra. Ellis’ work in Stonnington reads like an iconic historical archive of happenings and people, a recollection and celebration of human activity.stonnington contemporary art collection, photography, social history, rennie ellis, harold holt, pool

Rennie Ellis was an award-winning photographer celebrated for his photographs of life and culture in Melbourne. Ellis struck fame in the 1980’s for his societal photography for high profile magazines. This put him in high demand by the rich and famous to record their flamboyant parties, and in turn he changed the course of social photography in Australia. Ellis lived and worked in Stonnington with a home and studio in Prahran. In the 1970’s, he opened his own photographic gallery, Brummels Gallery, in South Yarra. Ellis’ work in Stonnington reads like an iconic historical archive of happenings and people, a recollection and celebration of human activity.stonnington contemporary art collection, photography, social history, rennie ellis, toorak, salon

Rennie Ellis was an award-winning photographer celebrated for his photographs of life and culture in Melbourne. Ellis struck fame in the 1980’s for his societal photography for high profile magazines. This put him in high demand by the rich and famous to record their flamboyant parties, and in turn he changed the course of social photography in Australia. Ellis lived and worked in Stonnington with a home and studio in Prahran. In the 1970’s, he opened his own photographic gallery, Brummels Gallery, in South Yarra. Ellis’ work in Stonnington reads like an iconic historical archive of happenings and people, a recollection and celebration of human activity.stonnington contemporary art collection, photography, social history, rennie ellis, toorak

Rennie Ellis was an award-winning photographer celebrated for his photographs of life and culture in Melbourne. Ellis struck fame in the 1980’s for his societal photography for high profile magazines. This put him in high demand by the rich and famous to record their flamboyant parties, and in turn he changed the course of social photography in Australia. Ellis lived and worked in Stonnington with a home and studio in Prahran. In the 1970’s, he opened his own photographic gallery, Brummels Gallery, in South Yarra. Ellis’ work in Stonnington reads like an iconic historical archive of happenings and people, a recollection and celebration of human activity.stonnington contemporary art collection, photography, social history, rennie ellis, hairdresser

Rennie Ellis was an award-winning photographer celebrated for his photographs of life and culture in Melbourne. Ellis struck fame in the 1980’s for his societal photography for high profile magazines. This put him in high demand by the rich and famous to record their flamboyant parties, and in turn he changed the course of social photography in Australia. Ellis lived and worked in Stonnington with a home and studio in Prahran. In the 1970’s, he opened his own photographic gallery, Brummels Gallery, in South Yarra. Ellis’ work in Stonnington reads like an iconic historical archive of happenings and people, a recollection and celebration of human activity.stonnington contemporary art collection, photography, social history, rennie ellis, dancing, raleigh street, prahran

Usually visible at dawn or dusk, this kangaroo has prospered through the clearing of forests for farming. It is well camouflaged by its pale grey coat, merging seamlessly into the landscape only visible when it moves. Louise Weaver’s crocheting new layers and covers for living things and objects acts as much as an act of protection and preservation for this indigenous species, as it alludes to the essential and fleeting quality of the artist’s subject. Her working method, on the other hand, is obstinately slowed down with hours of hand-crafted work going into each unique piece.Hand crochet wool and silver thread snugly encase a life-sized foam taxidermist’s cast of the Grey Forester kangaroo. stonnington contemporary art collection, sculpture, kangaroo, textiles, environmental conservation, louise weaver

‘This is a beautiful landscape in sandhills country after rain. We went hunting for echidna and goanna and looking for witchetty grubs and bush potatoes.’ Artwork acquired as part of a project between City of Stonnington and World Vision.stonnington contemporary art collection, first peoples, painting, first nations, indigenous, aboriginal torres strait islander, landscape, susie ngwarrey peterson

‘This is a soakage that has been around for a long time. Four ladies are collecting their water in coolamons. They have digging sticks with them from hunting and now they are getting water.’ This artwork was acquired as part of a project between City of Stonnington and World Vision.Epenarra is a remote indigenous community 220kms South East of Tennant Creek, Northern Territory.Framed artwork. Acrylic on canvas.There is a registration label on the back. 'Kwaty Nagenty' handwritten in texta on the canvas, registration label on the back. NOTE: two works cite the same Mossgreen catalogue number.stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, water, jessie akemarr beasley jr.

‘Cockatoos go and get food from the trees, seeds, conkaberry and bush beans. Cockatoos live near the creek.’ This artwork was acquired as part of a project between City of Stonnington and World Vision. Epenarra is a remote indigenous community 220kms South East of Tennant Creek, Northern Territory.Framed artwork. Mossgreen catalogue # 9 with certificate of authenticity World Vision. Acrylic on canvas.Canvas is titled on the back. NOTE: two works cite the same Mossgreen catalogue number.stonnington contemporary art collection, first peoples, painting, first nations, indigenous, aboriginal torres strait islander, jessie akemarr beasley jr., cockatoo

‘This is a beautiful landscape in sandhills country after rain. We went hunting for echidna and goanna and looking for witchetty grubs and bush potatoes.’ Artwork acquired as part of a project between City of Stonnington and World Vision. "This shows the soakage on my country. My tucker is conkerberry which is found all over this land." Epenarra is a remote indigenous community 220kms South East of Tennant Creek, Northern Territory.Mossgreen catalogue # 2 with certificate of authenticity World Vision. Acrylic on canvas.There is a registration level on the back of the artwork.stonnington contemporary art collection, first peoples, painting, first nations, indigenous, aboriginal torres strait islander, topsy akemarr beasley, landscape

stonnington contemporary art collection, first peoples, sculpture, first nations, indigenous, aboriginal torres strait islander, goanna, arluwetyerra, epenarra, kay beasley, susie ngwarrey peterson, jessie akemarr beasley jr.

Marco Fusinato’s ongoing series titled Mass Black Implosions is suite of drawings that represent the physical materiality of sound. He transforms avant-garde musical compositions from such figures as John Cage, Cornelius Cardew and here, Australian experimental musician Anthony Pateras, into new graphical interpretations resembling collapsing galaxies. The systematic connection of individual notes to central points within the notation reconfigures the temporal and sequential reading of scores. Instead, Fusinato proposes a kind of sonic implosion in which all notes are played simultaneously. Marco Fusinato is a multidisciplinary artist and musician. His work questions and re-configures accepted cultural forms and concepts, laying bare their construction and exploring how those worlds are made. stonnington contemporary art collection, music, sound, materiality, marco fusinato

Marco Fusinato’s ongoing series titled Mass Black Implosions is suite of drawings that represent the physical materiality of sound. He transforms avant-garde musical compositions from such figures as John Cage, Cornelius Cardew and here, Australian experimental musician Anthony Pateras, into new graphical interpretations resembling collapsing galaxies. The systematic connection of individual notes to central points within the notation reconfigures the temporal and sequential reading of scores. Instead, Fusinato proposes a kind of sonic implosion in which all notes are played simultaneously. Marco Fusinato is a multidisciplinary artist and musician. His work questions and re-configures accepted cultural forms and concepts, laying bare their construction and exploring how those worlds are made.stonnington contemporary art collection, music, sound, materiality, work on paper, marco fusinato

Marco Fusinato’s ongoing series titled Mass Black Implosions is suite of drawings that represent the physical materiality of sound. He transforms avant-garde musical compositions from such figures as John Cage, Cornelius Cardew and here, Australian experimental musician Anthony Pateras, into new graphical interpretations resembling collapsing galaxies. The systematic connection of individual notes to central points within the notation reconfigures the temporal and sequential reading of scores. Instead, Fusinato proposes a kind of sonic implosion in which all notes are played simultaneously. Marco Fusinato is a multidisciplinary artist and musician. His work questions and re-configures accepted cultural forms and concepts, laying bare their construction and exploring how those worlds are made.stonnington contemporary art collection, music, sound, materiality, work on paper, marco fusinato

Marco Fusinato’s ongoing series titled Mass Black Implosions is suite of drawings that represent the physical materiality of sound. He transforms avant-garde musical compositions from such figures as John Cage, Cornelius Cardew and here, Australian experimental musician Anthony Pateras, into new graphical interpretations resembling collapsing galaxies. The systematic connection of individual notes to central points within the notation reconfigures the temporal and sequential reading of scores. Instead, Fusinato proposes a kind of sonic implosion in which all notes are played simultaneously. Marco Fusinato is a multidisciplinary artist and musician. His work questions and re-configures accepted cultural forms and concepts, laying bare their construction and exploring how those worlds are made.stonnington contemporary art collection, music, sound, materiality, work on paper, marco fusinato

Marco Fusinato’s ongoing series titled Mass Black Implosions is suite of drawings that represent the physical materiality of sound. He transforms avant-garde musical compositions from such figures as John Cage, Cornelius Cardew and here, Australian experimental musician Anthony Pateras, into new graphical interpretations resembling collapsing galaxies. The systematic connection of individual notes to central points within the notation reconfigures the temporal and sequential reading of scores. Instead, Fusinato proposes a kind of sonic implosion in which all notes are played simultaneously. Marco Fusinato is a multidisciplinary artist and musician. His work questions and re-configures accepted cultural forms and concepts, laying bare their construction and exploring how those worlds are made.stonnington contemporary art collection, music, sound, materiality, work on paper, marco fusinato

Marco Fusinato’s ongoing series titled Mass Black Implosions is suite of drawings that represent the physical materiality of sound. He transforms avant-garde musical compositions from such figures as John Cage, Cornelius Cardew and here, Australian experimental musician Anthony Pateras, into new graphical interpretations resembling collapsing galaxies. The systematic connection of individual notes to central points within the notation reconfigures the temporal and sequential reading of scores. Instead, Fusinato proposes a kind of sonic implosion in which all notes are played simultaneously. Marco Fusinato is a multidisciplinary artist and musician. His work questions and re-configures accepted cultural forms and concepts, laying bare their construction and exploring how those worlds are made.stonnington contemporary art collection, music, sound, materiality, work on paper, marco fusinato

Marco Fusinato’s ongoing series titled Mass Black Implosions is suite of drawings that represent the physical materiality of sound. He transforms avant-garde musical compositions from such figures as John Cage, Cornelius Cardew and here, Australian experimental musician Anthony Pateras, into new graphical interpretations resembling collapsing galaxies. The systematic connection of individual notes to central points within the notation reconfigures the temporal and sequential reading of scores. Instead, Fusinato proposes a kind of sonic implosion in which all notes are played simultaneously. Marco Fusinato is a multidisciplinary artist and musician. His work questions and re-configures accepted cultural forms and concepts, laying bare their construction and exploring how those worlds are made.stonnington contemporary art collection, music, sound, materiality, work on paper, marco fusinato

Marco Fusinato’s ongoing series titled Mass Black Implosions is suite of drawings that represent the physical materiality of sound. He transforms avant-garde musical compositions from such figures as John Cage, Cornelius Cardew and here, Australian experimental musician Anthony Pateras, into new graphical interpretations resembling collapsing galaxies. The systematic connection of individual notes to central points within the notation reconfigures the temporal and sequential reading of scores. Instead, Fusinato proposes a kind of sonic implosion in which all notes are played simultaneously. Marco Fusinato is a multidisciplinary artist and musician. His work questions and re-configures accepted cultural forms and concepts, laying bare their construction and exploring how those worlds are made.stonnington contemporary art collection, music, sound, materiality, work on paper, marco fusinato