The Goods Shed, Wonthaggi ... from left, Ursula Theinert, Susan Hall, Karin Ellis and Ellen Hubble.
Words: Catherine Watson
Photos: Laura Brearley and Catherine Watson
IT STARTS with chaos. Over 70 works of art of varying sizes, colours, shapes and textures for the Woodlands Exhibition in the Goods Shed … A fabulous collection of works but how do you even start arranging them, especially in a makeshift gallery?
You call in the A team: Karin Murphy Ellis, Susan Hall and Ursula Theinert, who’ve been hanging the exhibitions at ArtSpace for the past 12 years.
They approached the woodlands exhibition with their customary skill and good humour. Their mission: to make every artwork show its best side.
Photos: Laura Brearley and Catherine Watson
IT STARTS with chaos. Over 70 works of art of varying sizes, colours, shapes and textures for the Woodlands Exhibition in the Goods Shed … A fabulous collection of works but how do you even start arranging them, especially in a makeshift gallery?
You call in the A team: Karin Murphy Ellis, Susan Hall and Ursula Theinert, who’ve been hanging the exhibitions at ArtSpace for the past 12 years.
They approached the woodlands exhibition with their customary skill and good humour. Their mission: to make every artwork show its best side.
They're ably assisted by the exhibition's curator, Ellen Hubble, who rarely offers an opinion – she doesn't like to interrupt the intense concentration – but does the high-rise hanging, since she has her ladder certificate, and small repairs on frames and D rings when required.
They start with the big works. These are the works you’ll see as you enter the gallery so they have to get them right. Warren Nichol’s “Morning Mist - Gippsland Hills” is a particular challenge. It seems to wash out any other work hung alongside.
"What on earth are we going to do with that green?" Karin wonders. She moves Phil Henshall’s “What the Driver Saw” alongside. They stand back to judge.
“Yes!” they say, almost in unison. "That works!"
They start with the big works. These are the works you’ll see as you enter the gallery so they have to get them right. Warren Nichol’s “Morning Mist - Gippsland Hills” is a particular challenge. It seems to wash out any other work hung alongside.
"What on earth are we going to do with that green?" Karin wonders. She moves Phil Henshall’s “What the Driver Saw” alongside. They stand back to judge.
“Yes!” they say, almost in unison. "That works!"
Susan moves a smaller dark painting to the right. “It’s got a lot of greys in it and actually gives this a bit of a lift.”
All three of them are moving around the room, selecting works that they think might belong together. At this stage, of course, it’s all provisional. Karin says she tends to group by colour rather than subject matter.
“I think Peter Walker’s is going to be all on its Jack Jones because of its colour."
All three of them are moving around the room, selecting works that they think might belong together. At this stage, of course, it’s all provisional. Karin says she tends to group by colour rather than subject matter.
“I think Peter Walker’s is going to be all on its Jack Jones because of its colour."
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It's an education to watch and listen to them at work.
“I’m keeping the quiet ones and the busy ones separate," Susan says. "I think we’ll put Ray Dahlstrom and Bruce Watson together."
Karin: “Ursula, what are you thinking? I can hear you thinking!”
Ursula: “I was thinking of a double hang. These colours look beautiful together.”
“I’m keeping the quiet ones and the busy ones separate," Susan says. "I think we’ll put Ray Dahlstrom and Bruce Watson together."
Karin: “Ursula, what are you thinking? I can hear you thinking!”
Ursula: “I was thinking of a double hang. These colours look beautiful together.”
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Karin: “I like this group. It’s slightly abstracted. “That definitely goes with that … Those colours”
Ursula: “And it’s the right width.”
Susan: “I think this works … what do you think?”
“Yes, you’ve got it!”
And an occasional but very definite “No, that doesn't work!”
Ursula: “And it’s the right width.”
Susan: “I think this works … what do you think?”
“Yes, you’ve got it!”
And an occasional but very definite “No, that doesn't work!”
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Over three hours, order is restored to the chaos. The exhibition is ready for the eagle eye of Meg Viney, the distinguished judge of the exhibition, and the official opening. A few latecomers will be slotted in as they arrive that evening.
Karin departs early as she’s on catering duties for the opening and Susan, Ursula and Ellen take a last look around. And they see that it is good!
Karin departs early as she’s on catering duties for the opening and Susan, Ursula and Ellen take a last look around. And they see that it is good!
Save Western Port Woodlands sold 30 artworks during the Woodlands Exhibition with a total value of over $12,000, which will be split with the artists. Thanks to everyone who supported the exhibition, from the artists, hanging team and our amazing curator to those who bought artworks and the many people who visited to enjoy the art and show their support.