Photo credit: André Piguet
Opening Thursday 3 August, 6-8pm
Exhibition Friday 4 – Saturday 26 August 2017
The Honeymoon Suite is pleased to announce the opening of Bound For Glory on Thursday 3 August 2017. The exhibition includes collaborative work by Oscar Perry and Benjamin Sexton.
28th September 1991.
Angry Anderson entered Waverley Park for the AFL Grand Final clash between Hawthorn and West Coast on a vehicle that resembled The Batmobile. After a short speech he performed “Bound For Glory”. The song was later counted down on Australian TV show 20 to 1 Greatest Sporting Anthems. It was later noted that he performed it live but dramatically out of tune. The day was also memorable for the half-time entertainment which featured a parade of sporting celebrities in Ford Capris. The game was played with what appeared as a four-goal breeze towards the main scoreboard end.
First Quarter 1928.
The pair get ready to start work in the kitchen where Stan tells the chef (who is busy cooking) not to wear his hat. Stan takes it off him several times but the chef proceeds to keep putting it back on. Stan soon loses his cool and throws the chef’s hat away. The chef retaliates by grabbing the nearest plate and smashing it over Stan’s head. Stan does the same back to the chef and they carry on using plates as weapons until Ollie calms things down by stopping Stan from destroying a large, expensive looking plate. However, as Ollie walks off, he trips on the kitchen floor and smashes the plate, causing him to be embarrassed by the onlooking maid.
Second Quarter 1982.
Wilson was temporarily banned from competing in darts tournaments after he allegedly threw a punch at an official during a championship. This was taken as a reaction to Jocky’s being under intense pressure at the time of the Falklands War. Wilson was a constant sweet-eater and generally refused to brush his teeth (“My Gran told me the English poison the water”); he had lost his last tooth by the age of 28. Following his 1982 World title win, he paid £1,200 for dentures, but never took to them. They made him belch when drinking, he complained.
Third Quarter 1320.
Disillusioned knight Antonius Block and his nihilistic squire Jöns return after fighting in the Crusades and find Sweden being ravaged by the plague. On the beach immediately after their arrival, the knight encounters Death personified as a pale, black-cowled figure resembling a monk. The knight, in the middle of a chess game he has been playing alone, challenges Death to a chess match, believing that he can forestall his demise as long as the game continues. Death agrees, and they start a new game.
Final Quarter 1996.
A huge passenger jet flies past the giant peach, and severs the silken strings connecting the seagulls to the peach, which is then impaled upon the tip of the Empire State Building. The people on the 86th floor at first believe the inhabitants of the giant peach to be monsters or extraterrestrials; but when James explains his story, the people hail James and his friends as heroes. The remains of the giant peach are brought down to the streets, where it is consumed by the town’s children, and its seed is established as a mansion in Central Park, where James lives, while his friends establish careers in the human world.
A golfer standing on a tee overlooking a river sees a couple of fishermen and says to his partner, “Look at those two idiots fishing in the rain.”
Oscar Perry holds a Postgraduate Diploma in Fine Art Painting from Royal Melbourne Institute of Technology, Melbourne, 2012 and Bachelor of Fine Art in Painting from the Victorian College of the Arts, Melbourne, 2009. Recent solo and group exhibitions include The Natural, Fontanelle Gallery, Adelaide, 2017; 9 X 5 NOW, curated by Elizabeth Gower, Margaret Lawrence Gallery, Melbourne, 2017; Game, Bowerbank Ninow, Auckland, 2017; Painting. More Painting, curated by Max Delany, Annika Kristensen and Hannah Mathews, Australian Centre for Contemporary Art, Melbourne, 2016; Simon Ingram, John Baldessari, Oscar Perry, Bowerbank Ninow, Auckland, 2016; Essential Oils, Bowerbank Ninow, Auckland, 2016; A streetcar named re·tir·ee/ If slippers could talk, Station, Melbourne, 2015; Mutt and Jeff, (two-person exhibition with Simon Perry), Firstdraft, Sydney, 2015; Negative Gearing, Chapter House Lane, Melbourne, 2014. Oscar is the Founding Director of Coq au Vin Project Space, an ongoing curatorial initiative at his home in Daylesford that began in 2015. His work is represented by The Commercial in Australia and Bowerbank Ninow in New Zealand. His work is held in the Chartwell Collection, Auckland Art Gallery Toi o Tāmaki, Auckland.
Benjamin Sexton holds a Bachelor of Fine Art in Photography from the Victorian College of the Arts, Melbourne, 2009. Recent solo and group exhibitions include Group Show: Second Iteration, curated by Louise Klerks, Arts Project Australia, Melbourne, 2016; The Bends, curated by Claire Capel-Stanley with Lucy Caldwell, PhotoAccess, Canberra, 2016; Even Dim Stars Add Light To The Universe, Independent Photography Festival, Doomsday, Melbourne, 2015; Living In Oblivion, Anna Pappas Gallery, Melbourne, 2015; Flower, Fort Delta, Melbourne, 2015; The Alchemists: Rediscovering Photography in the Age of the JPEG, curated by Cherine Fahd, Dr. Martyn Jolly and Suzanne Buljan, Australian Centre for Photography, Sydney, 2015; Crescent, Neospace, Melbourne, 2014; Mental, Muddguts Gallery, New York City, 2014; Das Boot Fair, curated by Oscar Perry and Esther Stewart, Next Wave Festival, Melbourne, 2014; I Know You Will Be Happy Here, Utopian Slumps, Melbourne, 2013. Benjamin was a finalist for the Bowness Prize, for Run, Warwick Baker #3, 2013, and recipient of the Kodak Salon at the Centre for Contemporary Photography (Excellence in Photomedia) for Saturday night’s alright, 2006.