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A lifetime resident of Melbourne and educated at Melbourne Grammar School, Brett Goldsmith
is the eldest son of Melbourne restaurant/bar/nightclub/hospitality impresario, Brian Goldsmith.
Introduced to music by his aunt Olivia Newton-John, Brett spent much of his early adult life in pursuit of an informal musical education, both on the road and in recording studios. As a musician, songwriter and music producer Brett achieved 3 top ten hits whilst con-currently owning and operating some of Melbourne 's most successful (and occasionally notorious!) after hours establishments. Constantly in search of new modes of expression Brett turned his eye to photography only a few years ago with immediate success, firstly in the domain of fashion
and most recently in more observational and interpretive genres.
Having made a career of knowing which way the cultural, business and social wind of Melbourne was blowing, Brett conceived an idea for Melbourne Artists, Icons and Achievers, a photographic documentary book, as a means to not only photograph 50 of Melbourne's most interesting subjects but to tell a story with a candid image & to bring to the attention of his fellow Melbournians &
the rest of the world the talent & enterprise we have in our own back yard. This project is slated for release in early 2007.
When not writing, recording and producing music, consulting on hospitality venue
development and taking photographs, Brett surfs.
Born and bred in Melbourne, Andrew has just begun to spread his painting style around town.
Drawing influence from comic books, fantasy art and films, his works have a vibrant and colourful tone which enhance the walls on which they hang. Working mostly with acrylics
and inks. Andrews recent love affair with the airbrush has given his works another level
of depth and realism.
After joining the eye candy group in late 2005. Andrew has had exhibitions at Tomorrow gallery, Fitzroy and currently at Deelish gallery, Collingwood and also at Reaktion Space Gallery in Abbotsford.
Dennis Van Doorn
You ain’t gonna believe this no matter how carefully I explain it. But I’ll give it a try because
it might be worth your time. If not, forget it and move onto the next chapter. You don’t have
to stick around for this. Maybe you got better things to do. But, just maybe you’re interested.
Your curiosity is piqued. You’ve seen someone you recognise and you want to know what
they’re doing at this moment. Truly, in your heart of hearts, you’re wondering what the hell
Mickey Rourke is doing right now. And if not Mickey, then Uma or Ellen or Nina or Julianne
or David or Milla or some journalist with a greedy grin from the Daily Telegraph.
So, surely you have a second or two to peel yourself away from that accounting job of yours
to open a can of imported beer, or pour yourself an expensive glass of Lafitte Rothschild, flick
on “Entertainment Tonight”, take out your Hello magazine, look over your People Magazine,
log onto the New York Social Diary, peruse the Hollywood Reporter and closely study the words
and images of the New York Post Page 6. After all, it’s your personal cultural duty to Western
society and your obligation as a member of Western conspicuous consumption.
You have the time.
You see, at some point, you’re going to want to compare your delusions of grandeur, fantasies involving silk lingerie, daydreams with martinis, casual brushes with stardom and lusty loose distractions with photographer Dennis van Doorn. You’ll be a wanton traveller on his disorienting odyssey into the vampire-rich smiles of the material wealthy and the utterly famous while they prance around on the public and private stages of their lives. Here, Van Doorn gets us in and out
of places where our human desires, avarice and mortal failures breathe new life amid cocktail aromas, camera flashes, new hairdos, and the stylishly appropriate cigarette smoke.
You may not be ready for it, but Van Doorn will make you want to burn your old celebrity scrap
book and swipe his. He gets in and out and in and in and in and in and out. In the process, he manages to steal a bit of that other world and bring it back to us like a severed head on a platter, some kind of soup of the day that we can taste once and then maybe, if we’re lucky, order and taste again a few weeks from now. It’s quick. It’s furious. It’s demonic. But then, so is his subject matter. His photographs have a way of reflecting that.
You begin to wonder, where does it all start? How does it happen. Well, it starts somewhere
before the images you get to see, in fact, somewhere just before the photographs you are now grasping in your pink little fingers with your body temperature rising like a teenager about to
lose her virginity. It begins somewhere with the quiet giggle of possibility, an invitation to a party,
or an opening, or a premiere, or a casting session, or a press conference, or an awards banquet,
or a ceremony, or a tribute, or a party in honour of someone in the throes of fame. A moment
with those who command privilege. A peek at people with notoriety. You know, the people we go
to the movies to see, or read magazines in order to disgust us, inspire us, or, perhaps, test the depths of our jealousy. It starts there, in the way Van Doorn enters, cast afloat in the wonderland
of celebrity, mishap, fascination, beauty, and disregarded or carefully guarded, lost and regained reputation. It’s where Van Doorn brings his camera. Lucky for us.
After the appointment has been made, the pass arranged and the order given, the ravenous
eye is given free range to have a curious look inside the daze of this can-this-really-be-
happening climate created by popular culture. Van Doorn seems as perplexed as the rest of
us mortals by the shenanigans going on around the gold and crystal palaces. A rock star glances
one way and she looks familiar. She’s older now, still beautiful but ageing. A last vestige of her signature looks clings desperately to the whim of the camera as if to say, yes, Nina Hagen
is alive and well.
The composition is as quick and relentless as we are in our instinctual craving to see it
all in action. We want to know what these people do back there, in there, with each other.
We wonder how fame looks when it is not in a music video or on a movie screen or in a
magazine editorial. How does fame behave? How does fame laugh? How does fame get
drunk? How does fame make a fool of itself? Van Doorn shows us.
The photographs themselves are made without any formal fear or restriction regarding photography. They are shot by instinct and gut inspiration. They are a visual fling or one-night stand. Each image is a nuclear flash-like glimpse at someone out there breathing in the ether.
Van Doorn puts you in there. He translates you there. He snatches you away to that place and, although they are photographs, they are loud exciting objects to look at. They scream with
delight. Like over-sugared candy bars, you eat them in rapid succession until your teeth are
caked with powder.
The confrontation between the image of Ellen von Unwerth and another adorned party freak
who holds his fingers in front of his eyes creates a brief summation. Van Doorn is caught between them. He captures that realm somewhere between massive interest and utter disgust, between adoration and ridicule. The two photographs play off each other as the viewer and the viewed; neither one is very different from the other. The question for Van Doorn in the end is whether,
as a photographer, he is merely caught in the intriguing cross-fire of this other planet, or is he
bringing these images back to a more primal reality for us to examine soberly. This remains
to be seen. Perhaps it’s for us to decide. But maybe that’s the point and we should just cut
loose, and join him as fellow astronauts in his anthropological study of that other place called Hipland-Spacewonder!
'a journey of life'
From the shores of Aotearoa and then abroad. Benjamin has now planted his roots in Melbourne
to show his flavour. Benjamin started up his own artist group under the name eye candy in 2003
and now has taken on two young australian artists. The start of his career as a full time artist
came when selling his first four pieces through the national art gallery of New Zealand and since then hundreds more through exhibitions in galleries, bars, cafes and commissions. He studied
a bachelor of design in visual communication and illustration in Wellington NZ.
Benjamin paints mainly human form in stylised portraits and abstracts. He has a obsession with painting the human eye 'a window to the soul' He takes his inspiration from the everyday. People, emotion, love, friendship, passion, life.
You can view more of Benjamin’s art work at Deelish cafe on Smith St, Collingwood and also
at Hairy Canary on Little Collins St in the city.
MELBURNIAN, PIERRE BARONI began designing record covers in 1990. Whilst Art Director of
Mushroom Records he took up photography in 1991 after buying an instamatic camera on holiday
in New York City . He started photographing the artists he was designing covers for and began directing music videos in 1994. He spent the next 3 years as Tina Arena's creative director, photographing and filming her everywhere from Los Angeles to Rome to Cairo and back again, before returning to Melbourne and starting his own studio.
Pierre still works primarily in the music industry and began exhibiting his photography in order
to break out of his "12cm square CD cover cell".
As well a being a photographer, art director and music video director, Pierre spends his 'spare'
time DJ-ing and presenting his own weekly radio show, SOULGROOVE'66, Saturday afternoons
on PBS 106.7FM. He remains proudly untrained in all of the above.
Pierre regards himself as portrait photographer who merely captures people's eyes; leaving
the rest of the shot to take care of itself.
His photographic subjects have also included THE AUSTRALIAN BALLET COMPANY,
VALI MYERS, MAVIS STAPLES, SOLOMON BURKE, WILSON PICKETT, ISAAC HAYES, TINY TIM, PEARL JAM,
NICK CAVE & THE BAD SEEDS, DAVID HOBSON, STEVEN HEATHCOTE, ANTHONY MUNDINE, MADELEINE WEST, KATE CEBERANO, VANESSA AMOROSI, CHRIS WILSON, DAVID McCOMB, JIMMY BARNES, DIESEL, VIKA & LINDA BULL, RICK PRICE, DARYL BRAITHWAITE, MELISSA TKAUTZ, RUBY HUNTER, KATIE NOONAN, TONI PEAREN, JIMEOIN and CHARRO.
This collection of work explores the idea of narrative and tests new possibilities of experience within the conventions of painting.
The work does this by creating ambiguity within the reading of the narrative. The two dimensional works integrate painting and drawing
and deal with the balance between the rational and the irrational,
the logical and the illogical, the tangible and the intangible, in order
to create ambiguous narratives. The works utalise popular iconography
in conjunction with automatic drawing to explore how each viewer identifies a different narrative.
Since graduating Honours at RMIT, Jessica has been living and working
in Melbourne where she has exhibited in several group and solo shows over the past three years. Her short film was included in OneMinutes broadcast on Amsterdam television station Salto in 2004, and she was recently invited to exhibit paintings at Gallery Wren in Sydney. In September Jessica had the privilege of participating in a thirty-day residency at Can Serrat near Barcelona.Painting mainly in series,
Jessica sources found photographs as subject matter.
She re-works images from newspapers or lost personal photographs
to create new narratives that mirror the ways in which we collect
images to support our memories.
Perth raised , Melbourne based photographer liz looker has been shooting professionally
for 6 years.represented in Sydney by Company 1 and Melbourne by Katrina Herschell,
Liz's recent work includes advertising campaigns for such clients as Sportsgirl and
Wrangler, editorials for Poster and Dazed and Confused, celebrity portraits including
Dannii Minogue,Vince Colossimo and Kate Ceberano.and music industry work for
Warner. Most recently for Eskimo Joe...
liz is self taught and after years of living overseas and observing people,decided
to pick up a camera and put it on film." i want the subjects of my photographs
to look stumbled across..a story to be interpreted by the observer..not manipulated
by the photographer..me capturing something in them rather than me creating
something for them..."
Liz's exhibited works are taken from holiday polaroids.
My recent work embraces the randomness of marks (intentional
and unintentional) on street walls, the unthoughtfulness of industrial urban architectureand the accumulation of cultural detritus within
the metropolitan environment. Collaborating elements of collected street posters, wood, material and paint, I trace the underpinnings
of popular street culture while acknowledging the essence
of industrial urbanization.
Teb joined the eye candy crew in early 2005 with his six month artist residency at Deelish gallery on Smith St in Collingwood. Since then he has contributed works to three of the group shows at tomorrow gallery.
His works in this show represent four different periods of his visual
art making from his interest in the inside outside architectural space fractured, cut & paste, compromise, self portraiture and portraits inanimate objects
Irreverence, intelligence, confidence, arrogance, quirkiness, altruism and green things. With a 20 year career as an Art Director in Melbourne's advertising industry, Ingrid's paintings glow with her own quirkiness. Metallics and flourescent paints highlight her fascination with beauty, pornography and animation.
Born in 1964 at Box Hill, Victoria, Ingrid's family life took her to Queensland before returning to Melbourne where she undertook
a Diploma of Applied Art. Having exhibited her work for over 1
0 years, Ingrid hopes to eventually make the transition from
commercial to fine art a full time occupation
Jamie’s work is spontaneous and free yet balanced in composition,
using many mediums from fabrics, aerosol paint, crayon, acrylic
and various objects. The work is light hearted and innocent.
2003 VCE Studio Arts – 4Cats Gallery
2003 VCE Top Arts – National Gallery of Victoria
"Painting for me is an emotional necessity and there is no rhyme nor reason behind them. Usually though I start with a colour in my head
and go from there. I never learnt how to paint and only started one
year ago after a physical and mental breakdown. It was my personal therapy. I would recommend it to anybody. The magic about painting
for me apart from helping me survive in a crazy fast and sometimes cruel world is that; what once never existed now does all because
of me and it is unique and can never be duplicated either by myself
or anybody else. That is an extraordinary feeling and one that gives
me great peace of mind."
2005 Prince of Wales
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