June is a time for small businesses to take advantage of the 100% accelerated depreciation tax incentives by purchasing artwork from Artsite Gallery and supporting local artists.
The Government's changes to accelerated depreciation, announced in the 2015 Budget, allow small businesses to immediately deduct the cost of artwork that is purchased for values less than $20,000, provided it is prominently displayed in their Business.
Note, this incentive has now been extended in the recent 2017 Budget announcement.
Satisfying art is not sold by price, value in art is simply a combination of the artists’ recognition gained through achievement, and primarily, whether you like the work. Plus, after you walk out the door, if you keep thinking about the work - then it should be yours – so buy it, there are not always second chance opportunities.
The emerging and early to mid-career artists exhibiting at Artsite Gallery are art professionals with integrity and growing reputations. Represented Gallery Artists are supported in a mutually beneficial gallery relationship. Artists prices reflect the individual artists increasing recognition and professional achievement with finalist award exhibitions and numerous competition and award achievements.
Buyers can be confident purchasing genuine original work from gallery artists in the comfort of a well-managed, excellent exhibition viewing environment.
In seed time learn, in harvest teach, in winter enjoy. William Blake
All pictures are, in one way or another, time machines. That is, they condense the appearance of something – a person, a scene, a sequence – and preserve it. It takes a certain amount of time to make them. And it also takes time to look at them, varying from a second to a lifetime. Martin Gayford, the Guardian, 27 September 2016
In Winter Enjoy Gallery Weekends in June with a curated and changing selection of favourites and new works from gallery and invited artists including Ah Too Chew | Daniel Skeffington | Dorothy Erickson (Jewellery) | Edith Cowlishaw | Erika Beck | Graham Austin | Graham Marchant | Hamish Campbell | Kate Jones | Katherine Rooney | Kerry Johns | Kerwayne Berry | Madeleine Tuckfield-Carrano | Nikki Suebwongpat | Rhett Brewer | Ross Skinner | Vittoria Dussoni | Victoria Peel | Sandi Rigby | Peter Anderson | Paul McKnight | Mo Orkiszewski | Michael Ambriano | Cathryn McEwen.
We see with memory... And my memory is different from yours; even if we are both standing in the same place, we’re not quite seeing the same thing. Other elements are playing a part; whether you have been in a place before will affect you, and how well you know it. David Hockney, the Guardian, June 17, 2016
We are the original displaced personalities. We are a breed apart, us theatre people. Daniel Schacter, 2011
Displacement, a new solo exhibition by surrealist photographer Suellen Symons, investigates contemporary displacement through Australia’s multicultural obsession with Cosplay and Medieval alter-egos.
Each subject is committed to the spirit of being a displaced person (warrior, knight, queen) and enjoys the transformation into another time and place. They have fashioned their own destinies as havens for the imagination.
In Freudian psychology, displacement (German: Verschiebung, "shift, move") is an unconscious defence mechanism whereby the mind substitutes either a new aim or a new object for goals felt in their original form to be dangerous or unacceptable.
Symons’ exhibition radiates with the power of the ideal self, the confidence of actors on stage: courageous knights or beautiful princesses, extraordinary civilians who dip in and out of a creative parallel universe.
Her pictures acknowledge the alter-ego of the subject as well as the discordant background of modern life – blending the everyday with the imagined.
I aimed to capture a moment of intensity, revealing vulnerability and sense of belonging, says Symons. I tried to heighten the formality of the portrait-making situation, which may emphasize awkwardness but mostly shows each person proud of what they have accomplished.
A life-long photography learner with many years of experience, Suellen’s goal is to create fantastic photography that reaches across art, fashion, and the senses. She wants to inspire and be inspired.
Suellen has worked with portraiture, corporate photography, advertising and fashion, as well as fronting solo and group exhibitions. Her artwork involves people, landscapes, and fashion with a twist.
This exhibition of the Displacement Series along with a selection of Symons’ popular earlier photographic series is presented in association with Head On Photo Festival 2017.
Suellen Symons is represented many local and international public & private collections including:
The National Gallery of Australia, Canberra, ACT
The International Polaroid Collection, WestLicht Museum of Photography, Wien, Austria
The Graham Nash Collection, Los Angeles, USA
The Belgiorna Nettis Collection, Sydney, Australia
University of NSW (COFA) Collection, Australia
La Bibliotheque Nationale de France
SPADEM Collection, Paris, France
Trinity Grammar School, Sydney, Australia.
This exhibition will continue until the 28th May, 2017.
The objects we surround ourselves with are always intriguing, eloquent even when they are silent and still...
Objects are always saturated with cultural signification... Our relationship with them is complex. We traffic in signs and symbols as much as in matter.
It is in order to understand objects that we classify them... our position in the world is always mediated and filtered by our relationship with objects. Through them we understand ourselves better; they give us the elements for a cartography of our own mutable identity.
However, this relationship is never neutral. It instigates passions, desires and obsessions. Betti Marenko, MEI Journal #31, April 2010. pg. 240-241.
With a nod to Andy Warhol’s "Cookie Jar" collection, Winnie-the-Poo’s "Honey Pot" and the 1970’s must have Bendigo Pottery’s Bread Crock, Skeffington’s Cookie Jar Series, utilises the bright colours of the well know layered sugar candies, Liquorice Allsorts. A sweet with a wide variety of appearances, accounting for the allsorts name. Each of Skeffington’s hand thrown repetitive forms, uniquely adorned with cast and layered Allsorts motifs, has its own unique character.
As with Skeffington’s earlier Vase Form Series, Sweet offers another take on a ubiquitous vessel form of long ceramic history, dressed in the memorable colours of an 111+ year old sweet.
This is Daniel Skeffington's first Solo Exhibition at Artsite Gallery.
*Janet DeBoos is one of Australia’s most respected ceramic practitioners, academics and champions of Australian ceramic art.
Among many accolades, Janet’s work is held in public collections in Australia and worldwide.
This magical little device provides... the answer to the GPS receiver's aching question, "Where am I?"
The GPS has no idea where I am going! is a curated exhibition culled from Artsite Gallery's Call to Artists of Sydney and the Inner West over recent months.
Exhibiting Artists include: David Asher Brook | Kerwayne Berry | Nicole Eggers | Mo Orkiszewski | Lynne Sung | Judy Trick | Madeleine Tuckfield-Carrano.
The GPS is held responsible for everything that is out of place in the twenty first century; the weather, the lost USB and the keys that aren’t where they were left. It’s the ultimate go-to guru when all else fails.
It listens with stillness and attention to cathartic rants on life, the universe, and other travellers; to singing that should be left in the shower, rudeness, accolades and all the why, what, when, and where on earth queries that occupy daily life.
It rarely answers the question, is too polite to contradict, and, when completely bamboozled, may profoundly and very politely request that you complete a U-turn, when it is safe to do so.
Of course, this doesn't really help much unless you know where you are going, otherwise any road will take you there - to misquote an age-old adage.
The GPS is the techno answer to contemporary life’s questions: What am I doing here? Where am I going? Where did I lose my way? Do I really want to go there? Am I on the right road? Did you really take me for a ride?
You can ask it anything if it's voice activated, and the best you may get is "I’m sorry, I did not understand the Question?" The worst is a convoluted, mangled interpretation that is profoundly significant, if we could just decipher it.
The GPS is the modern equivalent to the magic 8-balls found hidden at the back of dusty shelving - a limited number of absolutely profound answers to all of life’s questions.
Two things I have learnt, "The GPS does not do weather", and "There is a very long way from here."
I am passionate about my art and enjoy working with etching, drawing, painting and making Artist Books. I find my art wonderfully rewarding, ...sometimes exasperating and totally addictive. Sandi Rigby 2017
A graduate of the National Art School, and the Sydney Gallery School, Sandi Rigby has been a recipient of the Broken Hill Regional Gallery's Outback Works on Paper Art Award, The Geelong Regional Gallery Print Prize and the Hazelhurst Regional Gallery Works on Paper Award amongst others. She has been a finalist in many recognised awards including the Art Gallery of NSW Dobell Drawing Award.
Sandi Rigby has been awarded the Artist in Residency at the Scuola Internazionale di Grafica in Venice, the Daniel & Anne Pata Residency in Paris and most recently the Gullisktan Art Residency, Laugarvatn, Iceland.
In this exhibition, Artist and traveller, Sandi Rigby communicates the mood of her subjects and the places visited with colour, pattern and detail in beautifully executed paintings, drawings, and artist prints often utilising the multiple layering of etched plates to capture both realistically and conceptually her experiences of her personal journeying.
Of her recent residency in Iceland at Gullkistan, Laugarvatn, Sandi Rigby described it as a wonderful experience out in the country on a sheep farm with great facilities for artists, and a landscape like nothing else on earth.
How very necessary it is to train ourselves to observe the natural beauty around us so that in the exuberance of our beautification schemes we shall not do things that disturb and eventually destroys the landscape. ...seldom, if ever, do we achieve the quiet perfection of Nature’s planting.
Edith Cowlishaw is a bush walker and, like well-known Australia artist Margaret Preston, loves walking around the local bushland parks in suburban Sydney and as far afield as her recent explorations in the forests in Manjimup, Western Australia.
Her affinity for the natural plantings of the Australian bush, evident all through Edith's career, are environmentally increasingly important in the current debate over global warming.
Edith's passion for the subtle natural plantings that occur between the trees of our bushland is shown in these finely detailed and delicately excuted etchings that celebrate more than fifty years of her personal observations.
Cowlishaw's sensitivity and powers of observation make us look, and look carefully again, at the minutiae that is the Australian bush.
To take a walk through Edith Cowlishaw's eyes is, in the words of John Stilgoe, to enjoy the best-kept secret around - the ordinary, everyday landscape that touches any explorer with magic. ("Outside Lies Magic: Regaining History and Awareness in Everyday Places" 1998).
Arguably one of Australia's longest working Master Printmaker's, Edith Cowlishaw (b.1923) is represented in many Public Collections including the National Gallery of Australia, Canberra, ACT; The MAGAM Collection, Manly Art Gallery & Museum, Sydney NSW; The Art Gallery of NSW, Sydney NSW; The Coles Myer Collection of Australian Art; The BRAG Collection, Bathurst Regional Art Gallery, NSW; The Portland Collection, Lithgow City, NSW; The Private Collection of the Japanese Royal Family, Tokyo Royal Palace, Japan; as well as numerous private and public collections in Australia and Internationally.
..it was in Australia that I gained my first impressions of the beauty of the world, and it was the Bush that taught me.Tom Roberts
This is Edith Cowlishaw’s second Solo Exhibition at Artsite Gallery.
A selected exhibition of fresh stockroom work by our newly represented Gallery Artists, Sandi Rigby and Kerry Johns.
Plus new works from our Gallery Artists: including Ross Skinner, Madeleine Tuckfield-Carrano; Gallery Associates including AhToo Chew, Peter Anderson, Erika Beck, Victoria Peel and we welcome in this exhibition the strong sculptural work of our new associate artist, Charles Walker.
Summer Weekends in January
Artsite Gallery Stockroom open for browsing: Weekends in January. Open Saturday and Sunday 11am - 5pm on the weekends of 21st - 22nd January and 28th - 29th January 2017.
Artists: Ah Too Chew | Daniel Skeffington | Dorothy Erickson | Edith Cowlishaw | Erika Beck | Graham Austin | Graham Marchant | Greg Hyde | Hamish Campbell | Kate Jones | Katherine Rooney | Kerry Johns | Kerwayne Berry | Madeleine Tuckfield-Carrano | Nikki Suebwongpat | Rhett Brewer | Ross Skinner | Vittoria Dussoni | Victoria Peel | Sandi Rigby | Peter Baron | Peter Anderson | Paul McKnight | Mo Orkiszewski | Michael Ambriano | Cathryn McEwen.
Confronting an original art work in the real world, in all its raw glory and texture, is a far better experience in the flesh.
Visiting a gallery is not to be experienced secondhand in a virtual online environment. It is an unashamedly first-hand experience seeing original artworks in all their tactile, and sometimes discomforting, rawness.
Art, without the re-imaginings of online stylists and hip pocket hype, should be enjoyed in the flesh - it is not a "pin" to add to an over burgeoning "google clogging" image folder and rarely re-visited.
Liking, buying and collecting art is not about following trends or the competitive gamification of online sites geared to appeal to the hunter gather instinct.
It is about "seeing boldly what no one has seen before" (with apologies to Gene Roddenberry and the Star Trek team).
It is about visiting exhibitions in local gallerys and looking at art in the raw – a visceral experience that is missing with online art today.
It is about developing an eye for what is good, bad, ugly and just downright fantastic – even if it is only in your own opinion and not already a "pin" on someone elses "wall".
It is about building self confidence, getting good advice and using your own eyes.
Collector's Choice 2016 offers art works by local emerging and established artists to help you to start, develop or gift the start of a collection from $300....
Surprised? No, you shouldn't be – there are affordable/emerging and investment/established artists (at a range of affordable prices and payment options) exhibiting in this year’s Collector’s Choice that make liking, buying and living with “real art” simple and achievable.
Satisfying art is not sold by price, value in art is simply a combination of the artists’ recognition gained through achievement, and primarily, whether you like the work. Plus, after you walk out the door, if you keep thinking about the work - then it should be yours – so buy it, there are not always second chance opportunities.
Established artists are those who have been acquired by public collections – serious credibility and deserving of respect - making the purchase of work by established Australian artists very affordable compared with international artists of equivalent profile. Emerging artists are those our experienced curators have identified with a strong consistency and future potential that has nothing to do with age, who are yet to be discovered by, and acquired into, public Institutions.
The emerging and early to mid-career artists exhibiting in Collector's Choice 2016 are art professionals who guard their integrity and reputation by pricing their own work based on increasing achievement and developing buyer confidence through a mutually beneficial gallery relationship.
Catalogue prices are artist prices, and all sales transactions are between the artist and the purchaser. You are purchasing genuine original artworks directly from the artist in the comfort of a well-managed and great exhibition viewing environment. Most importantly, What you see is what you take home.
Collector’s Choice 2016 is your opportunity to see art in the real from gallery and invited artists:
Vittoria Dussoni | Victoria Peel | Sheila White | Sandi Rigby | Ross Skinner | Rhett Brewer | Peter Baron | Peter Anderson | Paul McKnight | Mo Orkiszewski | Michael Ambriano | Madeleine Tuckfield-Carrano | Kerwayne Berry | Kerry Johns | Kathryn Sieber | Katherine Rooney | Kate Jones | Julie Ashcroft | Hamish Campbell | Greg Hyde | Graham Marchant | Graham Austin | Erika Beck | Edith Cowlishaw | Dorothy Erickson | Daniel Skeffington | Ahtoo Chew
Be bold this Christmas, select artwork you have actually seen for yourself before purchase! Ultimately, you will have a greater sense of satisfaction taking your purchase home to enjoy, for now and into the future, in the knowledge that you are directly supporting local emerging and Australian artist’s and in turn the multiple local small business services that artists in turn support in exposing themselves to your view.
Reality has to be digested, it has to be transmuted by paint. It has to be given a twist of some kind.
Artsite Gallery takes great pleasure in presenting The Still Life Exhibition with new work from our very popular gallery artist, Graham Marchant, and introducing the work of Paul McKnight and Nikki Suebwongpat.
Still life, observed Christopher Allen (2013), is an art of objects... not only the representation of a collection of objects, but a kind of mirror image of our own sensibility... everything that is included has been the object of a choice by the artist;... their appearance is always significant.
The timeless appeal of these simple objects of still life painting is seen in new work from Graham Marchant, Paul McKnight and Nikki Suebwongpat. Flowers in a vase, or garden pot, are chosen for their abundance of joyous colour, and natural beauty. Collections of simple objects enfused with association and memory rise above the mundane of the everyday. Carefully placed, or accidental juxapositions of objects, a combination of shape, colour, and light, are infused with palpable meaning and emphatic experience.
Graham Marchant's meticuluosly observed floral displays, so bright in sunlight and deep in shade, are imbued with a strong sense of "joie de vivre".
The quiet visual power of Nikki Suebwongpat's paintings demand attention by focusing on objects and viewpoints from her daily life. Her art is the deeply personal evolving out of the starkly ordinary. She makes us notice the commonplace and creates a mysterious, almost spiritual attachment to the objects around her.
Paul McKnight's paintings of delicately decorated porcelain tea sets invite the viewer to want to know more about the tea party that has just taken place. These closely observed and nostalgically delicate remnants of convivial times evoke memories of simple pleasures in which the carefully placed china acts a scripted role, as Matisse (1951) observed, "a good actor can have a part in ten different plays; an object can play a role in ten different pictures."
The object must act powerfully on the imagination, and the artist's feeling. (Matisse)
The Still Life Exhibition opened on Sunday 30th October 2016.
A jaded eye could be bored with the most spectacular view; if we are open to it, the simplest things can be beautiful. Ross Skinner 2016
Ross Skinner has an almost romantic relationship with his craft: I love the stuff of paint, the smell, look and feel of oil paint, watercolour, and soft vine charcoal... I am always trying to find the sweet spot between total freedom in expressing colour and form, and the correct representation that gives the work its meaning as an image.
Ross Skinner´s latest exhibition, In a Marine Light, draws inspiration from Lloyd Rees, an Australian landscape painter pre-occupied with depicting the effects of light and emphasising the harmony between man and nature.
Two painting trips to Gerringong, on the south coast of NSW, attempt to recapture and explore the subject matter of Rees´ work. I discovered it was possible to complete small paintings on the beach with my family in tow... Although, they seem to have an amazing ability to attract sand, commented Skinner whilst admitting that balancing artistic practise with other life commitments involves making the most of time when you can get it because, especially with two young children, you can never plan too far ahead.
Ross admires artists such as Pierre Bonnard, Giorgio Morandi and Clarice Beckett, who find beauty within their own immediate environments. He describes the initial process of painting as being struck by an arrangement of forms, a "look at this!" feeling... The quicker I can begin trying to sketch, and the less I think directly but let that process take over, the more likely I will take away something worth keeping.
Skinner enjoys the immediacy of plein-air painting, which reflects his perceptions of the simple, everyday things around him. I enjoy looking at and recording my immediate environment; flowers from the garden, shadows passing across the yard, and views across Iron Cove from the local parks... (and) the feeling that after working hard on a painting or drawing, suddenly, something seems to come together that wasn’t there before.
Ross Skinner is a three times finalist in the NSW Parliamentary Plein-air prize and a current finalist in the Victorian Castlemaine Art Museum's 2016 Len Fox Painting Prize. He has been the recipient of many art awards including the 2014 Glebe Art Prize Open Painting Award and the 2009 Glebe Sesquicentennial Painting Prize.
"In a Marine Light" explores the landscapes of the NSW South Coast, and Iron Cove in Sydney’s Inner-West.
I love the visually confronting and unique landscape of Australia. Michael Ambriano 2016
Michael Ambriano’s first solo exhibition at Artsite features work from his personal explorations of the bush landscape found in Australia´s National Parks, including Warrumbungle National Park and the bush surroundings of the Sutherland Shire of Sydney.
Ambriano grew up in Cronulla in a large Italian family, where he would explore the bush around Cars Park with his brothers and cousins.
This was the foundation of his enduring relationship with the Australian landscape.
There is nothing better for me than spending my time in the landscape, plein-air painting, sketching or just absorbing my surroundings... I enjoy the creative process because it puts me in a time and space that I can’t describe, but when I am there, it’s my high...
Michael Ambriano names Clifton Pugh, Sidney Nolan, Fred Williams and Lloys Rees as some of his influences, and he describes subconsciously scanning the landscape for colours, shapes, forms, shadows and highlights before he sets up his palette. You just have to walk through the landscape and you will find inspiration. You have to teach yourself to see what is around you.
I love being able to discover and rediscover the space and scale of this land.
In 2012 Michael Ambriano was a participant in the World Expeditions Art trip to West MacDonnell Ranges-Larapinta in the company of well known Australian artists such as Euan Macleod, Leo Robber and Steve Lopes.
Ambriano’s work is developing a consistent representation in finalist Art Awards including The Paddington Art prize, and in 2013 he was the recipient of the Kelton Artist Residency at Cooma, NSW.
This is Michael Ambriano's first Solo Exhibition at Artsite Gallery.
This project celebrates four decades of music by iconic Blues and Roots singer/songwriter Rod Morgan (aka. Old Man Crow) and 25 years of collaboration with his partner, illustrator & bookbinder Mo Orkiszewski.In this exhibition, the songwriting of Old Man Crow is honoured with a collection of 38 beautifully rendered illustrations that bring to life his heart-felt lyrics seasoned with wry observations of life in Sydney’s Inner West.
The result of four years of intensive drawing (2011–2015), the original illustrations will be exhibited alongside a limited edition hand coloured book, that includes a 4 CD set of the illustrated songs.
We have been making art and playing music in Sydney's inner west for 25 years, publishing "The illustrated lyrics of Old Man Crow" is a celebration of those years together, dancing with the changes and contributing to the colour and movement of the local Newtown and Inner West music and art scene, says Mo Orkiszewski and Rod Morgan. It’s the beginning of the next chapter in Old Man Crow's lifelong musical journey, as he sings in the last line of the last song in the book, next stop the end of the line."
The limited edition, hand coloured The Illustrated Lyrics of Old Man Crow and CD set was launched at the Exhibition was opened on Sunday 4th September by Peter Cox, Curator of Pop Culture, Powerhouse Museum. An Official event of the 2016 Sydney Fringe Festival.
In the true spirit of rock ´n´ roll, posters, cards, t-shirts & stage and costume accoutrements designed and made by Mo for Old Man Crow’s stage performances were on exhibition and the Crow T-shirts are still available on order from the gallery.
This is the Fifth Annual Sydney Fringe Festival Exhibition at Artsite Gallery.
Resonance, continues our Winter Weekends exhibition across both Gallery spaces - introducing the work of two newly represented Sydney artists, Michael Ambriano and Nikki Suebwongpat. Plus featuring selected work by represented artists from the Gallery Stockroom.
Exhibited artists include: Christina Cordero | Dorothy Erickson | Edith Cowlishaw | Graham Marchant | Hamish Campbell | Katherine Rooney | Judy Trick | Kerwayne Berry | Rhett Brewer | Ross Skinner | Daniel Skeffington | Sheila White.
Amplitude A group exhibition across both Gallery spaces, of work by a selection of represented gallery artists, and introducing the stunningly colourful sculptural ceramic work of new gallery artist, Daniel Skeffington.
Exhibited artists include: Bernd Heinrich | Christina Cordero | Edith Cowlishaw | Graham Austin | Graham Marchant | Hamish Campbell | Kate Jones | Katherine Rooney | Kerwayne Berry | Madeleine Tuckfield-Carrano | Rhett Brewer | Ross Skinner | Sheila White | Vittoria Dussoni.
We have pleasure in including in this exhibition work from invited artists Erika Beck, Kerry Johns and Cathryn McEwen.
The paintings and drawings selected for this exhibition have all been produced in my studio in Blackheath. However they follow work done on location, during various working trips, often produced sometime after our return.
If I have developed a body of finished work from the visual records I bring home with me, I can return to that same subject matter indefinitely, working again from the visual notes I have made through sketching.
On site I sketch rapidly, just making enough marks to represent where I have stopped. I carry only the simplest material so I can cover more territory in the day.
Back in camp where conditions are often easier, I usually add more tone and detail while still sharp in my memory. I am not looking for future painting compositions at this stage, merely using the sketches as a means of imprinting the various aspects of topography, geology and vegetation typical of that area.
These particular landscapes fall into several broad groups, the first are to do with subject matter close to home in the upper Blue Mountains.
The idea for "Above the Valley Floor" came from looking down on the Nepean River from the eastern escarpment, but typically, developed with full use of artistic licence.
"Beyond Sodwalls","Hartley Granite", "Megalong Pasture" , and "Valley Timber" are to do with country just to the west of Blackheath
The second group of images relate to country that became familiar from many camping trips through the slopes and tablelands of NSW while developing a series called "Granite Country": extending from Bathurst through the New England and up into the Granite Belt of Queensland. As in all trips, ideas can stick during travelling to and from the destination such as "Northern Rivers Run", (along the Clarence River plain). The work from these trips are- "Approaching Change", "Mountain River Bend", "Divided Light","East Coast Gorge", "Granite Catchment", "Gully Boulders", "Hidden Gorge", "Namoi Gorge", "Reedy Creek ", "Tablelands Evening", "Western Bank" and "Wilderness Spur".
In recent years I have spent time in the East Kimberley and Kakadu, NT where some of the sandstone land forms have an afinity with the Blue Mountains landscape.
These images are - "Escarpment and Spinifex", "Kimberley Cliff Face", "High Escarpment", "Kimberley Ramparts" and "South of the River Plain".
"Western River Mouth" looks back to a five week camping trip along the southern coast of Western Australia.
Before I began painting I worked in the Channel Country of western Qld. "Western Watershed" and "Shed Paddock Tank" (constructed earthen water storage are called "tanks" in Queensland, "dams" in NSW),are from my memory of that area.
John Caldwell 2016
This is John Caldwell's third Solo Exhibition at Artsite Gallery.
The Australian landscape is reborn, not as a colonial outpost, surveyor's plot, picturesque sign of leisure/work, ownership, but as a conceptual and aesthetic playground for the artist's imagination, writes Imogen Corlette of Bernd Heinrich´s Landscape Paintings.
Heinrich's work is quintessentially, contemporary Australian landscape, with a look that is simultaneously haunted, scarred, entrancing, lucid and resonating.
The conceptual base of Bernd's work is highly esoteric. The sense of secrecy in the images is strong, with the landscape abstracted to the point where depth, focus and form are almost, obscured - and where the earth appears to harbour secrets and symbols which point outwards to realms beyond the canvas.
Bernd's works are both highly physical (in the complex and rigorous nature of their construction) and highly esoteric. The result is a body of work which makes a well grounded and stimulating contribution to an art historical genre and to Contemporary Landscape as a vital element of current international artistic practice.
Born in Weimar, Germany, Bern Heinrich studied at the Art Academy Augsburg and arrived in Australia in the early 70's, returning to Europe several times before settling in Sydney in 1975.
Heinrich has held numerous solo and group exhibitions in Germany, Australia and USA since 1974. These included the Grosse Kunst Ausstellung Munich in 1983 and 1984, the Wynne Prize and twice as finalist in the Archibald Prize in Australia and at the New Century Gallery in New York in 2000.
Heinrich is represented in The National Portrait Gallery Canberra, as well as private collections in Australia, Germany, America and England.
This is Bernd Heinrich's first Solo Exhibition at Artsite Gallery.
Hamish Campbell: The Taisho Photographer's House
Hidden atop a hill, deep in a bamboo grove in northern Japan lies a house full of history.
Japan is full of abandoned residences, but very few offer us quite the same glimpse into the lives of its former residents as this one. Constructed some time during the Taisho era (1912-1926) and abandoned in the late 70s or early 80s, several generations of family lived here (likely the Matsunobu family based on documents remaining on the property), and one of these people was a photographer.
I know this because tucked away on the second floor of the house behind a rotting door is a dark room, and littered amongst the debris resulting from years of nature's ingress were over 200 glass plate negatives.
These negatives afford us a rare glimpse into the life of the photographer, his friends and family. We see the house as its being constructed. We see a posed portrait from the photographer's wedding. We see local neighbours and school children. We see him reading a newspaper with a pet macaque perched on his shoulder.
Many of these photos were taken in and around the property itself, which is now half collapsed and increasingly consumed by the encroaching bamboo.
In this exhibition I present my own photography of this peaceful small parcel of land as it exists today, alongside images taken by the Taisho Photographer, as well as images attempting to bridge the gap between these two eras.
While some may find the images ghostly or confronting due to the level of decay, I find some comfort in knowing that a house which served for so many years as a bustling family nexus is now at rest amongst the quiet and peaceful natural surrounds, which are slowly and gently reclaiming it.
Exhibition was opened on Sunday 8th May, with guest speaker Patrick O'Carrigan, Urban Designer, Fellow of the Royal Australian Institute of Architects and Consultant to The Heritage Office of NSW.
"Hamish Campbell is a photographer with an exacting eye for detail and rigorous exploration of ideas. A serious technician, his prints are both didactic and highly nuanced - the shadows, the palimpsest, the tonal play.
In continuing his exploration of abandoned places in contemporary Japan, Hamish has now moved beyond merely recording the past through the current viewfinder. In this exhibition, through the serendipitous finding of ancient glass plates, he has fused the past and present. In this his approach is reminiscent of the exploration of Erich Consemuller at the Bauhaus, 1926 such as Mechanical fantasy 1 and 2.
In these hand-forged images, we confront youthful endeavour and ancient traditions. Our mind is drawn into the private realm of a long departed family man, his young bride, the children, pets and even the workers and builders. We see the self in reflection, where only shadows are found now.
Over time entropy and decay cannot halt the march of bamboo. Nonetheless, as a documentary exercise, Hamish has now secured for these once treasured plates, a permanence beyond the artefact.
As an architect, I am drawn to the curious conjunction of the c.1922 design - part traditional and tatamied single storey + part Euro/Germanic decorative upper level. This clash contrives to elevate the modern above the bund, perhaps a manifestation of the democratic ambitions of the Taisho era in post WWI Japan.
These young [male) workers were entitled to vote for the first time in 1926. Contrast this innocence with the posture of the Photographer here, assured in his elan, adept at using advanced technologies, comfortable in his gaze."
Katherine Rooney is a traveller – regularly journeying from Sydney, north beyond the Hunter Valley, and south via the Federal Highway to Canberra .
The Federal Highway is a 72 km stretch of road, existing since 1931, roughly between Sydney and Canberra, travelling through the southern tablelands of NSW. It starts, or finishes, at its junction with the Hume Highway near Goulburn, and runs south west towards Canberra’s Northbourne Avenue and the Barton Highway. NSW meets the ACT on this road at Wollogorang where the poplars are.
It is this stretch of highway that is the subject matter for the majority of Katherine’s new paintings in this exhibition.
This road took Katherine Rooney through the small whistle stop towns of Collector and Sutton, as well as skirting the western side of the Lake George Basin. The works in this exhibition document stops on this journey, recorded sometimes in postcard like vignettes and other times in larger paintings of sky, road, land and cows, a familiar terrain that is so much a part of everyone's memories.
As a family traveling this road through to the Snowy Mountains in the 80's, says Katherine Rooney, we listened to ´hooked on classics´ and golden oldies... the familiarity of memory..., experiencing the past,.. travelling this road. I listen to classical music because it evokes a familiar memory. I listen to talk-back because to me it's the hum of chatter that I recall in our family car, the radio replaces my family, but the ´natter´ is still there.
Road sides... many roadside stops, I stop at re-fuel places, short whistle stops, get out and looking around, a nostalgia hits me... it´s good and yet it´s a sensitive good... comfort stops for us kids to buy smurfs from the BP and chocolate bars and donuts... especially donuts.
Road trips, and the associated songs, are so much a part of the Australian way of life as to be almost a rite of passage for Australian Youth. Travelling the Federal Highway is familiar to all east coast dwellers, if not to all Australians, and the works in this exhibition capture that familiarity.
Vittoria Dussoni’s large-scale black and white portraits have received an impressive number of awards and recognitions, most notably the Gold Medal and People’s Choice award at the 2012 Prix de la Photographie (Paris), 1st Prize at the 2013 International Photography Awards (USA), and an exhibition of over 60 of her works being showcased at the 2014 Daegu Photo Biennale in Korea, as well as being a 4-time finalist at the National Photographic Portrait Prize in Canberra.
Using exclusively the medium of middle format negatives hand-printed on archival paper, Dussoni’s images explore her subjects in their realities- whether documentary style or traditional portrait style, her works give a unique voice to her subjects, who are often the disempowered, marginalised or vulnerable groups in society. Dussoni is committed to photographing her subjects as dignified individuals, and always as beautiful human beings.
I try to emphasise the subject’s personal reality, yet I limit myself to showing only the essential. Ultimately, when I portray each individual, I am searching for what is common to us all.
An exhibition from Australia's top artist printmakers in both traditional and contemporary practice to celebrate Sydney Printmakers 55th Anniversary (1961-2016).
Sydney Printmakers are represented in major Australian Public collections including: The Art Gallery of NSW, The National Gallery of Australia, plus many Australian Regional Gallery and International public collections.
This exhibition celebrates the unique hands on nature of artist printmaking, an often labour intensive and time consuming creative process to achieve a unique printed image, or a strictly limited artist edition of highly collectable original artworks.
Thirty seven members have selected work for this exhibition, to celebrate Sydney Printmakers 55th Anniversary, that is representative of their best work from the previous two years.
Exhibiting Sydney Printmakers: Angela Hayson | Anne Smith | Anthea Boesenberg | Barbara Davidson | Ben Rak | Bernhardine Mueller | Cheryle Yin Lo | Christina Cordero | Dinah Johanson | Edith Cowlishaw | Gary Shinfield | Geraldine Berkemeier | George Lo Grasso | Graham Marchant | Helen Best | Ian Hale | Joanne Gwatkin Williams | Laura Stark | Madeleine Tuckfield Carrano | Marta Romer | Michael Kempson | Mieke Cohen | Nathalie Hartog Gautier | Neilton Clarke | Prue Crabbe | Rew Hanks | Robyn Waghorn | Roz Kean | Ruth Faerber | Salvatore Gerardi | Sandi Rigby | Seraphina Martin | Sharon Zwi | Susan Baran | Susan Rushforth | Tanya Crothers | Wendy Stokes
Artist made prints are appreciated by astute collectors world wide and are a great entry point for new buyers wanting to purchase original artist prints rather than mass produced posters, or the limited editioned giclee reproductions of artworks originally created in other mediums, that arguably have little or no inherent value.
Three artists come together capturing the relentless power and the strength in stillness of water: Erika Beck | Rhett Brewer | Cathryn McEwen
Erika Beck captures water’s erosive energy through abstract interpretation of personal observation recorded in paint on journeys from Sydney's foreshores to the Northern Territory's Finke River and across to the water-worn shores of Kangaroo island.
For Rhett Brewer, the moment when a wave has reached its full height and is about to topple and spend its wind driven energy on the rocks or sand, is the moment when its at its most beautiful and its form catches my eye. I use a waterproof camera and stand in the surf to get photographs that might give me a start for a painting. These images are from the coast South of Sydney; from Bondi to Bendalong.
No wave is exactly the same, every surfer knows that. I see these waves as perfect metaphors for nature itself. Time and change are constant. I used to surf waves; now I paint them...
Realistic depictions of water dissolve into depths of painterly abstraction as Cathryn McEwen explores the power of contemplative stillness found in the mesmerising depths of rock pools shimmering in the Sydney and Central Coast sun.
Ripples disturb this contemplation, gently rolling thought out to sea as McEwen paints with rapidly vibrant strokes, capturing this potential, this thought....
Summer Weekends in January
Artsite Gallery Group Exhibition and Stockroom open for browsing: Weekends in January. Open Saturday and Sunday 11am - 5pm on the weekends of 16 - 17 January, 23 - 24 January and 30 - 31 January 2016.
Artists: Ah Too Chew, Anthony Buselli, Christina Cordero, Daniel Skeffington, Dorothy Erickson, Edith Cowlishaw, Erika Beck, Graham Austin, Graham Marchant, Greg Hyde, Hamish Campbell, Julie Ashcroft, Kate Jones, Katherine Rooney, Kathryn Sieber, Kerwayne Berry, Madeleine Tuckfield-Carrano, Nikki Suebwongpat, Peter Anderson, Rhett Brewer, Ross Skinner, Shane Robertson, Sheila White, and more...
Collector's Choice 2015: with Artists, Ah Too Chew, Anthony Buselli, Christina Cordero, Daniel Skeffington, Dorothy Erickson, Edith Cowlishaw, Erika Beck, Graham Austin, Graham Marchant, Greg Hyde, Hamish Campbell, Julie Ashcroft, Kate Jones, Katherine Rooney, Kathryn Sieber, Kerwayne Berry, Madeleine Tuckfield-Carrano, Mo Orkizewski, Nikki Suebwongpat, Peter Anderson, Rhett Brewer, Robert Gribble, Ross Skinner, Shane Robertson, Sheila White, and more...
Graham Marchant’s paintings in this exhibition are based on the close, intimate study of collected objects, and the patterns found in natural forms observed in sunlight.
The Colour of light is subtle, strong, blinding and transparent. Filtered by the delicacy of the poppy petals, or reflected by the sheen of satin curtains, sunlight glows with an optimistic brightness echoing the joys of spring and summer blooms.
The interplay of light on meticulously detailed brightly translucent poppies, often found in the midst of precisely placed objects and fabrics collected on his travels, is recognisably Marchant's own.
Graham Marchant has had over twenty five solo exhibitions, and been the recipient of several fellowships, awards and artist residencies, enabling him to work in Paris, Italy, Spain, United Kingdom, New York and Vermont as well as undertaking residencies in Australia.
National Gallery of Australia, Canberra, ACT; La Trobe University, Vic, Australia; Nepean Hospital, NSW, Australia; Cheltenham Art Gallery UK; Art Bank, Australia; New Parliament House, Canberra, Australia; Australian Maritime Museum, Sydney, Australia; University of Central England, Birmingham, UK; Hills Grammar School, Sydney, NSW. Australia.
This is Graham Marchant’s second Solo Exhibition at Artsite Gallery.
This work is a synergy between art and science, said Kate Jones talking about her work for this Exhibition. The paintings in "Ornithology" are directly inspired by my work with taxidermy bird specimens at the Australian Museum. As a conservator, I focus on the scientific and ethical preservation of the museum’s natural science and cultural collections.
Repairing specimens and painstakingly cleaning feathers, I closely examine each bird and visually absorb intricate details of their composition and structure. Contemplating the inherent energy and character of each specimen was integral preparation for these detailed portraits of both taxidermy specimens and living birds. The series includes portraits of Dr Walter Boles, the ornithologist who managed the bird collection at the museum for many decades.
Compositionally the works are anthropomorphic-style head-and-shoulders poses. The stark background for the taxidermy portraits mirrors the mid-grey backdrop used when the specimens are photographed for scientific documentation purposes in the laboratory.
There is a resonance between the taxidermy portraits and live subjects that mirrors the shifting and fluctuating link between life and death. I am exploring the intrinsic link and interdependency between these two states of being.
The work explores the role of natural science collections and their interconnection with the natural world. The museum’s collections are very much alive in that they are frequently accessed, studied and referred to by scientists, students and researchers – and reinterpreted by artists. They are an invaluable resource in understanding our constantly changing and evolving natural world.
Highlighting the importance of science is a driving force behind my art practice, particularly in the current political climate where science and conservation do not receive the attention they deserve.
Kate Jones is a local Sydney emerging artist with a strong representation in significant finalist award competitions including the City of Albany Art Prize, WA, and the Mosman Art Prize, Sydney.
This is Kate Jones’ first Solo Exhibition at Artsite Gallery.
Canadian born, Kerwayne Berry immigrated to Australia in 1981, establishing her studio in Newtown in 2007. Since then, Kerwayne has become recognised for her subtle responses to the Australian landscape in mixed media works utilising a variety of mediums and techniques including printmaking.
Kerwayne revels in exploring techniques and materials to capture her experience of the texture and light of the watery edges of the unique rock and land-locked pools, and the waterless landlocked interiors of Australia.
My very simple desire is to create work that reaches out and connects people to their nature, acknowledges Kerwayne Berry.
Many years ago I saw photos of an amazing place that has called to me until I was finally able to go there and draw... this place was Binalong on the Bay of Fires in Tasmania....it is almost prehistoric in its rawness, and drama, ...it took me another three years to process the experience, the awesomeness, the rawness, ...the boulders, ..the crudeness of nature, ..the subtle depths of the pools...
Berry's new works focus on Binalong Bay situated at the southern end of the Bay of Fires on the northeast coast of Tasmania. The area is said to be one of the most beautiful and scenic places in Tasmania; famous for it’s breathtaking and picturesque white sand, blue water and orange-hued granite that stretch for more than 50 kilometers along the coastline.
The name Binalong originated with Captain Tobias Furneaux in 1773 who described the fires of Aboriginal people on the beaches, but equally today, it could apply to the orange/yellow lichen that grows on the granite boulders lining the bay.
Kate King BVA (Hons) writes: There is a rhythm playing through her work that is expressive of elemental forces of water, earth, air and fire.
These landscapes found within rock pools and the waters edge appear to echo aspects of Turner’s landscapes in their rawness. ...timeless and beyond cartography
...a reflective surface into which viewers fall ...that quiet place at the core of being, (eliciting)...a sense of discovery, resisting interpretation, ...and ...indiscriminate in it’s beckoning.
This is Kerwayne Berry´s first Solo Exhibition at Artsite Gallery.
The images in my work are both, allusive and elusive, notes Christina Cordero, they reflect a diversity of cultural experiences and combine the real and the surreal, the personal and the collective, the serious and the whimsical...
Underlying all this, there is a strong connection to music (very specially Mozart), and the wish to discover the ‘new’, the ‘surreal’, ‘the unknown’...
I like to listen to the whispers of the night,
to the music and the poems floating in the sky,
to the voices from within,
to the cries and the dreams buried in the sand,
to the songs falling from the clouds.
"Probably the earliest and most remarkable of the style of painting which provided the genesis of this exhibition was that of Pieter Bruegel the Elder in the Sixteenth Century. Bruegel and the many great artists who succeeded him,in contrast to the history painting which preceded them, brought a more observational, humanistic and sometimes witty approach which in time became known as genre painting.
In presenting this exhibition, which could be regarded as that of a contemporary version of genre painting, I have chosen five noted artists who excel in this field and whose work reflects many facets of everyday life with the figure featuring in either the landscape or an interior.
Enjoy the exhibition and revel in its diversity." ~ Max Taylor
"The figure has always been an important element in my painting. Sometimes it is the beautiful action and movement that attracts me, sometimes as a design element, or as a portrait of an individual.
Sometimes I am attracted by action and movement as my painting of workers, or it may be the pattern of colours of the figures as in the Newtown High Show Band. Creating a likeness and capturing the character of an individual fascinates me . The Stage Designer is a portrait of my friend Tom Bannerman at the New Theatre; Streaming on the other hand, while using my son Bryn as the model, became a study of light moving over the shapes of his face and torso as he sat in an almost fugue state, engrossed. The figure as subject, is infinitely varied and perpetually challenging." Ian Chapman 2015.
"I have always been fascinated by the human form and my earliest work was just figurative drawing.
Portraiture has been a main feature in my artistic development and I was always inspired by the way Gustav Klimt would integrate his figures into patterns and textures.
In these works I have endeavoured to meld the figures into their environment so they seem unaware that I am observing them and sharing their quiet moments.... I like to sketch whilst on my travels and sometimes use these images to create a narrative with the figures." Angelika Erbsland 2015
Daniel Pata is an astute observer of the human form and condition. Quiet sketches from cafes and quick studies of places visited are often the source material for larger major works. Cafe Greco in Venice has changed little from early times of artists travelling on long journeys sketching the wonders they saw.
Spending time in Etretat in France, Daniel Pata sketched and painted the coastline from different directions becoming fascinated with the moving population of locals and tourists plus an extensive film crew with actors in period costumes silhouetted against the dusk sky.
Over the last six years Victoria Peel has been drawn by the evening light of rural and urban landscapes, exploring space, light and colour.
"The night, when forms are hidden, transforms the commonplace... I am drawn to that sense of mystery".
Victoria’s works often contain a sole figure, acknowledging both the experience of isolation, and the isolation of the act of painting and drawing her immediate environment.
Randall Sinnamon* is a born romantic, surfer and wanderer of the bush looking for pieces of natural forms to make his sculptures. His figure paintings reflect a quintessentially Australian surfer lifestyle and the casuallness of visits to Sid Nolans Beach, the visits of friends to the bushland where he has his studio and the everyday nudity of isolated places of the bush venacular.
*Courtesy Robin Gibson Gallery
Greg Hansell lives on the historic Peninsula area of Windsor, and many of the sites he paints are within walking distance from his studio overlooking the Hawkesbury River.
Greg has been a full-time artist since 1980 in the traditionalist or realist school of Australian painting. His medium is pastel and he uses a combination of handmade earth pastels and Schmincke pastels. His Earth Pastels are " hand made only from rocks and clays with no commercial pigment, binder or additive used in their manufacture. (Their) Permanence has been tested to the ultimate rating".
Hansell is a fellow of the Royal Art Society of New South Wales and has been a finalist in the Archibald Prize, and over 20 times in the Dobell Drawing Award, The Wynne prize and Salon de Refuses.
Collections: Historic Houses Trust Collection; Nepean River County Council; Hawkesbury City Council; Camden City Council; Jeffrey Smart collection; late Mervin Horton collection; Commonwealth Art Bank; Coles Myer collection; ANZ Bank collection; Prime Ministers’ collection; University of Western Sydney; New England Regional Art Museum Armidale; Mosman Regional Art Gallery.
Private Collections: Australia and Internationally.
Josh Bullen + Catherine Conceicao are the Australian artist duo - The Silicon Artists. They describe their collaboration as:
"..more about experimenting with different mediums and exploring their possibilities... After a couple of years, peers started to emerge, artists like Dale Frank entered our artistic vocabulary and when compared, has very similar modes of expression and use of paint. Other artists not dissimilar to us, such as Sydney based artist Jonny Niesche are also pushing the boundaries of how paint should be used and reinterpreted. I guess one day, theorists will pigeonhole us into a movement. We just hope the work will fit into visual splendour and be appreciated for beauty to walk hand in hand with philosophical waffle..."
"Silicon was introduced into our work partly due to desire but ultimately for necessity. When we first started collaborating, we experimented with polyurethane. Polyurethane has a mind of its own and can end up the way you didn’t intend...SILICON was adopted and became the perfect solution... Not only did the silicon work so well for us in terms of solving a problem for our art but silicon generally has also gone on to become so symbolic of our times. Silicon is a product that we believe is definitive of the times we live in. Silicon is synonymous with technological change, its use in modern production has forwarded the computer age and has literally redefined who we are as humans..."
"Although the artworks are figurative, the figures within the paintings have lost their personality and adopted uniforms to portray the idea that modern life can lead to isolation. As technology speeds forward, humanity slowly removes itself from physical contact. Conversation happens whilst being in separate locations,.. Will social encounters eventually not rely upon the senses and be wrapped in an outer layer suit protecting us from external contact?"
"We see every work of art produced like a marriage of two minds without the traditional ceremony... The spaceman is a motif that is deeply ingrained into our artistic production. When a figure enters the picture it inevitably ends up wearing a space suit...
Josh Bullen + Catherine Conceicao 2015
Collections: Art Bank
Private Collections: Australia and Internationally
Artsite Gallery presents the work of five Head On Associate Photographers, Paula Broom, Fay (Bell) Clark, Dylan Coombe, Kevin Leong, and Mathew Wylie, whose individual bodies of work were selected for exhibition by this years Photo Festival Selection Committee: Amanda James, Anthony Browell, Bronwyn Rennex, James Cottam, John Donegan, Louisa Kirby and Tim Hixson.
Opened on 17th May with Special Guests Anita Schwartz and Festival Director - Moshe Rosenzveig.
The Word On The Street: Paula Broom
This series is a collaboration with the Post Growth Institute, who provided me with the words juxtaposed with each photograph. The Post Growth Institute’s by-line is “creating global prosperity without economic growth”: their ultimate goal is for wellbeing, for a better world for everyone.
Moments In Mumbai: Fay (Bell) Clark
The images …were taken in the poorest parts of Mumbai and my intention was not to show the poverty these men and women live in, rather show them as they live their lives. As generous, hardworking, happy, sad, eccentric human beings who, despite being born into a certain life, just get on with it.
Stranded: Dylan Coombe
An exploration of ephemeral forces and enduring figures in nature. Chronological & geographical ambiguous compositions challenge a response to the inherent emotion of the photographic image.
Correlation: Kevin Leong
A man spilling his coffee while crossing a road. A woman getting startled by the loud bark of a dog. That moment observed, ... photography is a testament to the occurrence.
Sex, Death, and Butterflies: Mathew Wylie
Reflections on ...the balance of life, choice, direction, and others perception of our reality...
Art Money, offers art buyers and collectors the opportunity to purchase local Australian artworks from Artsite Gallery through the Art Money interest free loan Scheme. Art Money makes owning art immediate and affordable. Payments are spread over 10 equal monthly payments. After paying a 10% deposit, you can take your artwork home from the Stockroom or at the end of the exhibition period and pay the remaining balance over 9 months, interest free.
Owning and supporting local Australian Artists could not be easier, says Paul Becker, CEO of Art Money, you can apply for an Art Money loan online at home or in the gallery – it only takes a few minutes. Once you have been approved, your in-principle approval is valid for 30 days...
Loans are available for works priced from $750 to $20,000. Art Money can lend you up to 90% of the artwork price.
Works available by local artists including: Julie Ashcroft, Graham Austin, Erika Beck, Rhett Brewer, Anthony Buselli, John Caldwell, Hamish Campbell, Christina Cordero, Edith Cowlishaw, Alison Mackay, Graham Marchant, Toni McDowell, Katherine Rooney, Randall Sinnamon, Ross Skinner, Anthony Springford, Madeleine Tuckfield-Carrano, Michael Willard, and more...
Four distinctly different local Sydney Artists, John Caldwell, Graham Austin, Anthony Buselli, Katherine Rooney explore their sense of place through personal experience of the Australian landscape - bush, desert, mountain, sea, on paper and canvas.
Long recognised as an Australian pointillist, Graham Austin has interpreted the Australian landscape from the air and from high points in the natural landscape looking across towards the horizon touching the sky. Graham Austin has spent his painting life searching to capture the spirit of the aerial landscape, utilising a cartographic expression of spotted abstraction.
The coast is an environment that is in a state of constant change. Marrying my artistic impulse to my families’ love of the sea I have found this dynamic environment endlessly fascinating.…
Nowhere else is there such extreme contrasts between the elements of sea, sky and land. I love the image of rocks tumbling into the sea, and the Romantic themes of collapse and time’s passing. Anthony Buselli 2015
John Caldwell gathers reference material from landscapes through sketches and photography, drawing on these resources to create finished studio work. This technique requires the use of the artists own experience and remembered impressions of a site. Caldwell's artworks hold the sense of both record and memory simultaneously with a strong subjectivity based on place.
Katherine Rooney draws on childhood experience of family holidays, driving the roads between country towns, stopping to paint on the roadside recapturing transient moments of déjà vu…
“Returning to the Poplars of the Federal Highway over the last 10 years, passing through on my travels to Canberra and beyond, I always go through a wave of emotion over what they meant to us as a family...nostalgia and memory, soup in Cooma & scones in Berrima, the ‘are we there yet’ point, the excitement of seeing snow...”
Rhett Brewer´s recent work has moved towards plein-aire paintings of the natural environment,
...particularly the unique, and often unexpected forms of the Angophoras and Snow Gums that I’ve been directly painting on the spot, or sketching and recording on camera in my travels as references...
...like the twisted rusting hulks of long abandoned cars which populated my rural landscapes, these trees are often depicted as anthropomorphic; becoming characters that relate to each other... a seemingly staged setting... human actors or dancers caught in a moment of stillness....
The subjects of Rhett´s current paintings were found on walks around Sydney Harbour, The Monaro district and the Blue Mountains west of Sydney.
Rhett Brewer has been an exhibiting professional artist since 1981. With over 15 solo exhibitions and more than 30 major group exhibitions, Rhett has been exhibited twice in the AGNSW Sulman Prize and is recognised for his strength of detail and colour of the Australian bush and towns.
This is Rhett Brewer’s first Solo Exhibition at Artsite Gallery
Edith Cowlishaw has been long recognised as a master Australian Artist printmaker. A recognition that has been gained over a lifetime of dedication to the technique of etching and her enduring bush walking passion. This relationship with the native flora and bush landscape of Australia is evoked in her detailed intaglio drawings of the delicate native plants and flowers, often overlooked, hidden in the undergrowth of the bush.
Cowlishaws´ passion for the bush echoes with bush walkers world wide. Her Mastery of technique and aesthetic is obvious; it is both a great recommendation of and recognition for, her skills as printmaker and artist, that her work is represented in the personal collection of the Japanese Royal family.
This is Edith Cowlishaw’s first Solo Exhibition at Artsite Gallery.
Exhibiting Artists include: Peter Anderson | Julie Ashcroft | Graham Austin | Erika Beck | Kerwayne Berry | Rhett Brewer | Kathryn Burton | Anthony Buselli | John Caldwell | Hamish Campbell | Ah Too Chew | Neilton Clarke | Edith Cowlishaw | Dorothy Erickson | Angelika Erbsland | Robert Gribble | Peter Griffen | Greg Hansell | John Hardaker | John Hatfield | Jude Hotchkiss | Greg Hyde | Peter Joannidis |Dana Lundmark | Denise Lithgow | Klaus Major | Graham Marchant | Toni McDowell | Mo Orkiszewski | Daniel Pata | Victoria Peel | Zahn Pithers | Katherine Rooney | Randall Sinnamon | Daniel Skeffington | Ross Skinner | David Skinner | Jan Spencer | Anthony Springford | Judy Trick | Madeleine Tuckfield-Carrano | Catherine Zimdahl... and more
This exhibition celebrates forty five years of jewellery making by Internationally recognised Australian artist Dorothy Erickson. The work on exhibition is diverse with the Homage to Klimt selection featuring precious and semi-precious stones set in gold capturing the essence of Klimt’s paintings, to her well known kinetic Jewellery and recent Wildflower Collections.
Exhibition opened by Joanna Mendelssohn, Associate Professor UNSW Art & Design, on Sunday 2nd November 2014
Internationally recognised Australian artist jeweller Dorothy Erickson has successfully exhibited internationally since 1979 and is represented major collections including the Schmuckmuseum, Pforzheim, Germany, Victoria & Albert Museum, London, Koch Collection Switzerland, Australian National Gallery, Art Galleries of Western Australia, South Australia and Queensland, the Powerhouse Museum, NSW, and Queen Victoria Museum and Art Gallery, Launceston Tasmania.
Dorothy’s work primarily draws inspiration from the flora, fauna, colours and light of Western Australia, though the first years of the twenty-first century saw her making work based on the paintings of the Austrian Gustav Klimt following a stint in Vienna and a solo exhibition in the legendary Galerie am Graben.
Erickson, the daughter of a prominent naturalist, botanical illustrator and author, has been immersed in the unique flora that is Western Australia's heritage for as long as she can remember. She painted wildflowers as a child and in the 1960s researched at Kew Herbarium and the Natural History Museum, South Kensington London while studying at the Chelsea Institute at night. However it has only been since she was commissioned in 2009 to write A Joy Forever: The Story of Kings Park - Perth’s iconic park and botanic garden followed closely by the death of her mother, that she turned her attention to Western Australia’s unique flora as a subject for her jewellery.
The work on exhibition is diverse with the Homage to Klimt selection featuring precious and semi-precious stones set in gold capturing the essence of Klimt’s paintings, to her well known kinetic Jewellery and recent Wildflower Collections.
Few of the jewellery pieces are literal translations of Australian wildflowers, instead they are evocations of colour, form or habit of individual species of our precious and endangered heritage.
This exhibition celebrates forty five years of jewellery and includes newly commenced pieces for her Connections Collection, based on research into her antecedents and their occupations in Australia, Scotland, Wales, England and Sweden.
Dr Erickson (Phd UWA ) is also a significant author, her recent books include: A Joy Forever: The Story of Kings Park (2009), Gold and Silversmithing in Western Australia: A History (2010), and her most recent publication, Inspired by Light and Land: Designers and Makers in Western Australia 1829-1969(2015).
Dorothy Erickson acknowledges support by the Government of Western Australia, through the Department of Culture & the Arts Art-flight Programme.
Ross Skinner, won the 2014 Open Award of the Glebe Art Prize, as well as the 2009 Glebe Sesqui-centennial Painting Prize and regularly receives Highly Commended, Judges and People’s Choice Awards for his paintings, watercolours, and drawings.
His work is regularly selected as a finalist in many awards including the 2014, 2013, NSW Parliamentary "Plein air" prize, The Kogarah Art Prize, Hunters Hill Art Prize, to name a few, and this year his self portrait has been shortlisted in the 2014 Moran Portrait Prize Exhibition.
"In my work, I tend to respond to subjects found in my immediate environment. These ...I can return to every day, even just to look and think, ...local landscapes, backyard shadows cast against a wall, or flowers in a vase against my studio wall...the ordinary and not so ordinary of the every day..."
Working around Sydney's harbour foreshores surrounding Rodd Island and looking through the Iron Cove Bridge towards Birkenhead Point and the Harbour beyond, Ross Skinner works "en plein air" with watercolour on paper and oil on canvas. Studying the changing temperment of the seasonal light and completing works around the Cove directly capturing the atmosphere and changing cloud patterns over the water towards Rodd Island and beyond.
On his still life paintings and watercolours, Ross comments:
"Here is a subject I can study at night, when the noise and distractions of the day can be left behind, a subject that can be considered repeatedly.
I have tried to put down (on canvas and paper) that which strikes me, ...the fall of light and shadow, ...the arrangement of objects, ...a resonant colour note, in such a way as to reward continued contemplation, enriching our experience of the everyday and perhaps following in the footsteps of disparate, but to me, important artists such as Pierre Bonnard, Clarice Beckett and Frank Auerbach, who have worked from their own immediate environments." (Ross Skinner 2014)
Officially Opened by Katrina Cashman Assistant Director/Senior Curator Mosman Regional Gallery
This is Ross Skinner's second solo exhibition at Artsite Gallery.
Artsite Project Exhibition: 20 - 28 September 2014.
An associated Event of Art and About Sydney 2014 produced by City of Sydney.
...There is such a wide range of characters making up a very eclectic group of urban humans. These locals suffer both societal and technological change... A pressure that is reshaping the very human fabric of urban Newtown... (Julie Ashcroft 2014)
The Great Unknown 2014 - curated by Max Taylor AM, David Van Nunen & Jenni Sant.
Through the Artsite Scheme - designed to identify local, emerging and mid-career artists - Artsite Gallery holds an annual call to Sydney Artists for the exhibition - The Great Unknown is an official event of the Sydney Fringe Festival.
Sixteen artists were selected by curators Max Taylor, David Van Nunen & Jenni Sant to exhibit in this exhibition: Anne Edmonds, Clare Nicholson, Daniel Skeffington, Ioulia Terizis, Jan Spencer, John Hardaker, John Hatfield, Jude Hotchkiss, Judy Trick, Katherine C Rooney, Lenni Moe, Melanie Vugich, Miriam Cabello, Pam Sparre, Peter Joannidis, Yang-En Hume.
Opened by David Van Nunen, Artist, Sunday 31st August.2014.
A Visual Review of the Year Past.
Winter weekends at Artsite Gallery - Wonderful works, sampling each exhibition since last winter and works not seen before - a warm feast for a cold period.
Favourite works by Gallery and Associated artists including: Peter Anderson | Julie Ashcroft | Graham Austin | Peter Baron | Kerwayne Berry | Anthony Buselli | John Caldwell | Hamish Campbell | Ah Too Chew | Edith Cowlishaw | Shay Docking | Greg Hansell | Peter Lindon | Graham Marchant | Toni McDowell | Daniel Pata | Venita Salnajs | Randall Sinnamon | Ross Skinner | Anthony Springford | Madeleine Tuckfield-Carrano | Sheila White | Michael Willard | and more...
John Caldwell's vision is entirely of the landscape: its immense, and diverse grandeur, its natural forms, textures and colours, no human figure intrudes on the timelessness of the landscape.
This new work by John Caldwell continues his preoccupation and evident love of the natural Australian landscape. There is a great sense of silence and solitude in his watercolours, which hold atmospheric qualities derived from Caldwell’s alliance of both a plein-air and studio approach to art-making.
Caldwell landscapes are of untouched, natural beauty, tinged with our own self-awareness of strangeness of our own natural landscape.
When I think about my imagery from its beginnings, one of the important things has always been space. I was always used to a lot of space in Queensland, and the Riverina was very open country. Most of my landscapes are set at a distance with a high distant horizon line trying to give the illusion of immense spaces on a small two-dimensional surface.
Caldwell gathers reference material on his travels, through sketches and photography, drawing on these resources to create his unique interpretation of the landscapes of his travels. His work holds the sense of both record and memory simultaneously with a strong subjectivity based on place.
Recognised as one of Australia foremost watercolour painters, John Caldwell is represented in major Australian Public collections, including The Art Gallery of NSW Collection, and many Regional Gallery Collections.
Exhibition was opened on Sunday 1st June, by Paul Brinkman, Director, Blue Mountains Cultural Centre.
Isolated, un-inhabitable and abandoned places - the legacy of post war and post-industrial Japan, are the subject of Hamish Campbell's ultra-high resolution panoramic landscape images capturing temporal and spatial atmospheres.
Exhibition was opened on Sunday 4th May, by Dr Mathew Stravos, Senior Lecturer, Japanese Studies, The University of Sydney.
I frequently hear that cameras "don’t do the place justice". A place is not a space. It’s very easy to take a photo of a place. Capturing a space means capturing not simply what it looked like, but possibly what it sounded, smelt, and most importantly, felt like.
When I first enter a new and interesting space that I want to photograph, the first step is to explore it fully. It’s important not to touch the camera for a while, or you start thinking about the technicals of just pressing that button, and capturing the place.
You cannot capture a space unless you carefully observe the elements that make it more than a place...
The elements which give you a sense of space are not necessarily contemporaneous. They are additive, like light. If you sit on a bench at a beach and observe a seagull fly by, then a ship pass in the distance, then a child falling over, all these elements combine to create a memory of the space in your mind, even if the individual events did not occur simultaneously...
What I aim to show in my photos is the true atmosphere of the space, the total sum of the parts of my memory, not an exact or specific fraction of a second. I want to show the whole timeline, not a slice of it.
By taking 50-100 images of the scene over the course of several hours, I am able to hone in on the important details as they happen. I then put all the pieces back together into a whole whose details build on one another to create a total memory of the space, bypassing the disconnect caused by the camera’s temporal limitations, and allowing me to “do justice” to my memory of the space...
Why I’m in Japan...?
I moved to Japan because I played too much Nintendo as a child...
I quickly realised in university that Japan was not the fantasy land my high school obsession with the culture had hyped it up to be. Fortunately, it was something far less superficial than that, and my interest in the culture gained much deeper roots... living in this country instills me with a feeling that I draw inspiration from...
In Japan, I feel like I exist in a separate, isolated stream to the general public... I am calmed by the feeling of being outside the general bustle that occurs on city streets. I have no yearning for being completely “accepted” and able to integrate into Japanese society.
From this position, I have a clear view of where I stand, and I don’t feel myself lost in a sea of people who are similar to me...
I know that I am alone, which means I know that I am different, which, for better or for worse, is an extremely comforting feeling to someone trying to find their own voice... pieces of themselves...
This isolation parallels Japan’s own cultural history. Self imposted isolation has led them to develop a very nuanced and rich culture which is above all unique. I don’t truly believe that what I do is completely unique, but living in Japan, I can sometimes fool myself into thinking that it is, which allows me to see and feel things I could never dig out of myself sitting at home in Sydney.
Hamish Campbell 2014
The 18th Century philosopher and art critic Denis Diderot is reputed to have described pastels as "nothing but dust", surely a tongue-in-cheek comment, as it is well known that he was a great admirer of Jean-Siméon Chardin, a great practitioner in this medium. The fact that pastel painting had existed since the Renaissance and had resulted in wonderful works, such as the late pastels of Chardin, is proof enough for the title of the exhibition - La Belle Poussière or Beautiful Dust.
The Exhibition intends to show how the medium of pastel, sadly much neglected by contemporary Australian artists, can be as vibrant and as eclectic as work in any other medium.
Probably the names of artists renowned for their work in pastel and those most familiar to art lovers would be the French artists, Millet, Manet, Degas and Redon, and the Americans, Whistler and Mary Cassatt. However there are many others of equal significance from the 15th Century to the present day.
It is a particular pleasure to be able to present at Artsite, an exhibition of pastel paintings by six notable Sydney artists whose work in this medium reflects as faithfully and with such versatility the title, La Belle Poussière.
Max Taylor AM - Curator - La Belle Poussière
Exhibition was opened by HENDRIK KOLENBERG, former Senior Curator of Australian Prints, Drawings & Watercolours, Art Gallery of New South Wales, on Sunday 6th April - 3-5pm.
Anthony Buselli's strong gestural pastel drawings inform the detail in his larger paintings on canvas previously exhibited at Artsite. Some look to be spontaneous sketches capturing composition; others take on a single subject under variant light and viewpoint.
The finely executed rendering of the eroded cliffs of Ha long Bay (a UNESCO World Heritage Site, in Quảng Ninh Province, Vietnam) are juxtaposed with the strong facile strokes in works executed along the coastline of Australia.
A Sydney Flower Show- Works in the flamboyant & subtle traditions of the Chelsea Flower Show and Canberra's Floriade. ...stunning blooms for the soul....
Featuring recent paintings in oils by emerging artist Ah Too Chew, as well as the more recognised Poppy and Orchid paintings of Graham Marchant, with the Earth Pastel drawings of Australian Bush by Greg Hansell, plus the delicate etchings of sometimes overlooked flowers of the Australian bush by Master Australian Printmaker, Edith Cowlishaw.
The Exuberance of Summer 08 February - 02 March 2014
Margaret Bendit | Madeleine Tuckfield-Carrano | Sheila White
The Exuberance of Summer is open during the Marrickville Open Studio Trail (MOST), as part of Art Month Sydney.
Artists include: Peter Anderson | Julie Ashcroft | Graham Austin | Mark Bailey | Eva M Barry | Erika Beck | Kerwayne Berry | Kathryn Sieber | Anthony Buselli| John Caldwell | Hamish Campbell | Lyndal Campbell | Ah Too Chew | Denis Clarke | Mieke Cohen | Angelika Erbsland | Peter Griffen | Greg Hansell | Margo Hoekstra | Jude Hotchkiss | Greg Hyde | Anne-Marie Jackson | Denise Lithgow | Graham Marchant | Toni McDowell | An Morison | Mo Orkiszewski | Victoria Peel | Kate Reilly | Venita Salnajs | Ross Skinner | Lindy-Rose Smith | Elyssa Sykes-Smith | Anthony Springford | Brenda Thomas | Madeleine Tuckfield-Carrano | Sheila White | Catherine Zimdahl
Walking the Landscape features recent works by Graham Austin, Kerwayne Berry, Peter Griffen and Toni McDowell. Four artists who are influenced by their experience of walking and working in the Australian landscape.
"..then all collapsed..." is a fragment of the last sentence of Moby Dick: "Now small fowls flew screaming over the yet yawning gulf; a sullen white surf beat against its steep sides; then all collapsed, and the great shroud of the sea rolled on as it rolled five thousand years ago."
Anthony Buselli and I have been good friends for a very long time (close to 20 years!). We have been talking about painting - especially the history of painting and how painting works - for all that time, and we have both been thinking about Realism and Moby Dick while we have been preparing for this show. You could say these are echoes of a 19th Century fascination with materiality going on, as well as a paradoxical enthusiasm for post-war abstraction (including Robert Ryman and Lucio Fontana) and photography.(Anthony Springford 2013)
Anthony Buselli paints ambiguous rock faces and landscapes in a way that references Courbet, abstract painting and photography.
"In this body of work I have chosen to start from my own photographs, painting on canvas using metallic pigments. The metallic colours emphasize the flatness of the painted surface. The shimmering effect de-stabilises the representation of spatial constructions within the composition.
It was this push-pull effect that heightened the drama and ambiguity of the paintings and usurped the power of the source photos....Initially the subject of this exhibition seemed to be history and memory because of the references to silver gelatine processing and the black and white imagery. In the process of translating a photographic image to paint on canvas, some fidelity and detail of the image is lost. But there is a reversal or change of parameters, and the gain that is made from this loss is finding what makes a painting work. The impossibility of creating an absolutely neutral copy means the medium becomes the subject. The artist is the filter." (Anthony Buselli 2013)
Anthony Springford's work is about ambiguity, flesh and bodily space in a still life mode. The result is neither abstraction nor straight figuration.
"My thinking moves between Baroque still life, 19th Century realism, and post-war European abstraction (such as Robert Ryman and Lucio Fontana) because these artists made art about the way an image could hold as an image - but often only just - while containing a weight of gaps, ambiguities and chaos´.
These paintings are quiet and small, because I want them to be modest, and the spaces I construct are gently Baroque, convoluted, open and inter-penetrating. The transitional parts, like the frames or the canvas tooth, are almost over determined. On the brink of too much. Similarly, bones, meat, and even plants, are living surfaces that shift and change, and it fascinates me that these bones especially could be be both horrifying or appetising, repellent or desirable, to the same viewer, at the same moment.
These paintings are all named after fictional or mythological characters for whom identity is provisional, multiple or in crisis. They are hysterical, Dionysian or divided against themselves. This is because, if I am for anything in my painting, it is to evade categories, institutions and narratives.
For someone who only looks only for unified meanings and stable ideas my paintings are probably quite unsatisfying. I'm more interested in transitions and flows, oozes and flops; moments when the matter or body of the world interrupts the flow of ideas; when muscles are as light as air; when the tongue gets caught making a word; when an image collapses into paint or texture; or when substance, space and thought run together, and we are reminded that life is liveable only when it exceeds us." (Anthony Springford 2013)
InsideOutsideIn: Lionel (Lee) Pedersen | Denis Mizzi | Peta Morris | David Morrissey | Anton Murre
Outsider Semantics - Curator David Morrissey: 28 September - 06 October 2013
InsideOutsideIn - An Artsite Project Exhibition, curated by David Morrissey.
Exhibiting Artists: Lionel (Lee) Pedersen | Denis Mizzi | Peta Morris | David Morrissey | Anton Murre
Duchamp signed the urinal and declared I made this not physically but by recognition.
People make stuff, always have, always will - recognisably arty things, recognisably crafty things and some just downright weird...
A human need to create, to leave a mark, a small pebble on a headstone to life - I recognise, I exist, I made this!<
Ingenuity, invention, need - whatever! - stuff happens - and some stuff, in an uncomfortable OMG moment, is recognised as something more.
Outsider Art is not a label for the object itself, rather it is a label for the act of recognition that separates this stuff out from dusty graveyards and places it where it can be seen again.
This exhibition is a celebration of created stuff that cannot be comfortably labeled.
Exhibition Opening on Sunday 29th September 3-5pm with an address by Colin Rhodes, Professor and Dean, Sydney College of the Arts, University of Sydney, author of Outsider Art: Spontaneous alternatives.
Lionel (Lee) Pedersen (1924-2013)
Lee is a true outsider...
Lionel (Lee) Pedersen walked into Artsite Gallery about four years ago and in one sense originated the idea of this exhibition.
Lee was a back lane scavenger, a recycler of discarded things, and would often bring finds into the gallery for perusal before delivering to the Cat protection Society or local charity shops.
Lees work is truly remarkable, imbued with a sense of humour and often produced in response to current events or articles he found in newspapers and television. Regrettably Lee was developing dementia and whilst some of his history has been pieced together by the curator David Morrissey and anecdotally from Lee's regular visits to Artsite Gallery, much was faded with age.
Lee's works are fundamentally made from scavenged and recycled things, he spoke of gutting discarded televisions for tiny components and finding treasures of abandoned materials on his wanderings around lanes of Camperdown and Newtown...
Lee Passed away in August this year leaving a small and unique legacy of extraordinary artworks exhibited in this exhibition.
*Note: All proceeds to the estate of Lionel (Lee) Pedersen will be donated to the National Breast Cancer Foundation, Funding Research for Prevention and Cure.
Denis Mizzi's art is about life, death, love humour and authenticity... Black humour is his obliquely critical take on everything... His cut-ups and collages recycle cultures used images, sometimes making ironic use of them, and often injecting the surreal... (the goal)... a thousand hand made books...
(Catalogue essay Much Ado About Nothing 2012, George Alexander)
Represented in the Collections of Boulder Museum of Contemporary Art, USA; Burning Deck Press, Rosmarie & Keith Waldrop; Providence, USA; The International Museum of Collage, USA; Assemblage and Construction; Fort Worth, Texas; Museum of Modern Art, New York, USA; Ohio University Library , USA; Smithsonian Institution, Washington D.C., USA; The Ruth & Marvin Sacker Archive, Miami, USA; University of Buffalo, New York, USA; T.A.C. Collection, Belgium; Institute of Culture, Sao Paulo, Brazil; Art Gallery of South Western Manitoba, Canada; National Gallery of Canada, Ottawa Ontario, Canada; Chelsea School of Art, London, England; Victoria & Albert Museum Library, London, England; Museum of Temporary Art, Germany; Museum of Collage, Holland; Artpool Research Center, Budapest, Hungary; Eraldo Di Vita Collection, Milan, Italy; Artemisia Arte Contemporana, Pisa, Italy; Mueseo dell’ Informazione e Arte, Moderna, Italy; Hiroshima Peace Museum, Japan; Seoul International Fine Arts Centre, Korea; International Museum of Collage, Cuenava, Morelos, Mexico. Australian War Memorial Museum, Canberra; Bibliotheca Librorum, Sydney; Experimental Art Foundation, Adelaide; Stonington Stables Museum of Art; Deakin University, Adelaide; Monash University Gallery ; National Gallery of Australia; National Library of Australia; State Library of Queensland; State Library of Victoria; The Art Gallery of New South Wales Library; University of New South Wales COFA Library; University of Sydney Collection; University of Sydney Library ; University of Sydney Union Art Collection.
Private Collections: Australia and Overseas.
Since studying at the National Art School, Peta Morris has lived and worked creatively in the more remote locations of Australia, including Alice Springs and Arnhem Land before returning to settle in Sydney.
She has exhibited extensively with eight solo exhibitions and numerous group shows throughout Australia including as finalist in the 2011 Sulman Prize at the Art Gallery of NSW.
Using assemblage as a sculptural medium, Peta's work is created using a mixture of vintage books, found objects and collectable's gleaned on her travels. Discarded materials are brought to life inside vintage drawers and invite the viewer into worlds where humour underlines messages with a social consciousness.
The monarchy series come from my desire to question the many things the monarchy has come to symbolise, whether warm, outraged or indifferent. Is the monarchy simply a commodity; a well worn souvenir; an ironic, rather than iconic fairy tale....?
These works pose the question as Queen Elizabeth II rein comes to an end, is it time Australians say our final goodbyes to the monarchy and move on?
As a modern Australian, I’d like to think we could move forward into a new future without needing mother’s approval. Peta Morris 2012
David Morrissey, curator of this exhibition, is both a collector of Outsider Art and a self confessed maker of "stuff".
A back yard fabricator of icons to the gods/goddesses of "back shed blokes"... working amongst the perpetually reassembled racing motor bike and the collected tat of a family and traveling life.
Morrissey originally studied Sculpture at the National Art School in 1968 then moved into fringe arts and green politics, organising an open show with the Contemporary Art Society, a protest community art garden in Woolloomooloo, and the 1973 Mildura Sculpturescape.
He was part of Tomato Press, Glebe, Sydney until 1975, printing for poets, environmental, arts, Indigenous, theatre, feminist and sundry advocacy movements. He left to study Anthropology and worked for Indigenous groups in the NT and QLD before returning to Tranby Aboriginal College, Glebe, to help set up Blackbooks, then went on to train NSW Land Council personnel in heritage protection.
In 1988 he co-founded ARTD, a Sydney consultancy in program evaluation, then went solo as CSR Sydney, working with firms on Corporate Social Responsibility.
Anton Murre (1924-2012)
Anton Murre was a prolific creator, drawing inspiration from his work, his religion, his experiences and found materials...
Born in Zeeland, Holland, in a strict Dutch Reformed community, Murre was in an orphanage when the Germans invaded in 1940. He studied Marine Engineering in the war years, which saved him from being drafted into the German army, then served on the Holland-Baltic-Norway-Sweden and Holland-America runs. He met his wife Mary on a trip to Sydney in 1948, emigrated to Australia and married in 1949, then worked as a fitter and turner to the late 1980's.
During the 1950s and 60s he studied with Professor Bissietta in Sydney and held his first solo exhibition in 1955. In later years he enjoyed exposure with solo and group exhibitions, was a Member of Berrima District Arts Society and won several awards, including Bowral Sculpture Prize (2004) and Blackheath Art Society- 2005 Commended.
Jaime Tsai (independent writer/curator/academic) and Anthony Springford (artist/writer/academic), have curated Artists that they anticipate will seduce both local and international audiences, and be snapped up by public and private collections in the near future.
This exhibition is of exceptional quality and includes stand-out, innovative graduates of SCA, CoFA, NAS and UTS, working across a diverse range of media and approaches, including photography, painting, installation, ceramics and textiles.
Fourteen emerging Sydney artists, whose work is interesting, ambitious and representative of current developments in contemporary art, have been selected.
Hamish Campbell | Benjamin Chadbond | Theresa Darmody | Jenni Eleutheriades | Anne-Marie Jackson | Eloise Kirk | Gillian Lavery | Lucy Le Masurier | Joanne Makas | Gabrielle Mason | Ramesh Nithiyendran | Nadia Odlum | June Sartracom | Stephanie Tsai
´Drunken lustre´ suggests an altered state of perceptual experience, akin to the magpie’s swoon before shards of coloured glass, or the kaleidoscopic vertigo encountered in a vast gothic cathedral.
This exhibition is luminous, playful, tactile and sensuous; it represents the most perceptive and sophisticated of Sydney’s emerging artists.
An Official Event of the Sydney Fringe Festival 2013.
Hamish Campbell is a local Sydney Photographer currently based in Japan. He completed a Master of Arts (Cross Cultural Communications) at The University of Sydney in 2008. Since graduating, Hamish has been accredited by the Rookwood Necropolis Trust (the largest necropolis in the Southern Hemisphere) to document cemetery workers and the physical environment to contribute to the Trust’s photographic records. His current work uses a mixture of film, digital, and panoramic stitching techniques to explore the isolation and abandonment which are found hidden amongst Japan’s beautiful landscapes, both rural and urban.
Benjamin Chadbond is a Sydney based photo-media artist whose practice operates at the boundaries of the documentary genre. His work seeks to question both our understanding of images and our selves and was most recently exhibited at the Kaldor Public Art Project's 13 Rooms Parlor event, curated by Super Kaleidoscope.
He is the founder and co-editor of an online photography magazine called, Try Hard Magazine, which aims to further discourse on contemporary Australian photography. Currently he is completing a Bachelor of Design in Photography and Situated Media at The University of Technology, Sydney.
Theresa Darmody is a Sydney-based artist whose current practice focuses on the craft of knitting which she recontexualises into paintings, drawings, monoprints and soft sculptures. The materials and scale of her works challenge the historical marginalisation of female artists and craftswomen. She is currently completing a Masters of Fine Art at the College of Fine Arts, and is the recipient of several prizes including the Winsor Newton Start your studio Scholarship (2012) and the Mosman Commendation Prize (2010). She has exhibited broadly, at galleries including Salerno (2013), Kudos (2012) and the National Art School Gallery as part of the Westpac Redland Art Prize (2012).
Jenni Eleutheriades is a Sydney based artist working predominantly in the field of ceramics. She completed her Bachelor of Fine Arts Honours in 2012 at the National Art School in Darlinghurst whilst under the guidance of Merran Esson. Eleutheriades has had work displayed in several exhibitions including the Graduating Students Exhibition at the Inner City Clayworkers Gallery (2013), the National Art School Gallery Emporio Armani Postgraduate Show (2012), and the A Fresh Perspective exhibition at the Kerrie Lowe Gallery in Newtown (2012).
Anne-Marie Jacksonis a Ceramic artist currently based in Sydney. In 2012 she completed a Bachelor of Fine Art at the National Art School, for which she received the Outstanding Academic Achievement Award and the Ceramics, Art and Perception Prize. In 2013 she was awarded the Trudie Alfred Bequest Scholarship to study Honours. She recently exhibited in A Fresh Perspective at Kerrie Lowe Gallery.
Joanne Makas is a Sydney based artist. Her practice is an exploration of the painting tradition. Working within an expanded context, she challenges cognitive and emotional responses by blurring categories and creating paintings without boundaries. She completed her Bachelor of Fine Arts in Painting at the National Art School in 2012 and is currently studying Honours in Painting at the National Art School.
Eloise Kirk is aSydney based artist. Her work is interdisciplinary and primarily includes small scale sculpture, distorted found objects, collage and taxidermy. She has exhibited in various Sydney Artist Run and commercial galleries such as MOP, Papermill, Roslyn Oxley and Mori. She completed her Masters of Fine Art at Sydney College of the Arts in 2013 and is a current recipient of the re-imagined Frazer Studio residency in Surry Hills.
Gillian Lavery is a Sydney based artist. Her process-based practice pushes the boundaries of contemporary textile art, branching into drawing, installation and performance. She recently attained a Bachelor of Fine Arts (Hons I) and the University Medal from the College of Fine Arts (2012). She was the recipient of the highly commended award at the Wangaratta Contemporary Textile Exhibition (2013) and has been selected to contribute to the 2014 Tamworth Textile Triennial.
Lucy Le Masurier is a Sydney based photographer currently studying a Bachelor of Visual Arts at Sydney College of the Arts. She has been in several exhibitions including a joint show with Scott Cotterell at Basic Space Gallery (2010) and with Paloma Brierley Newton at Kaleidoscope Gallery (2011).
Joanne Makas is a Sydney based artist. Her practice is an exploration of the painting tradition. Working within an expanded context, she challenges cognitive and emotional responses by blurring categories and creating paintings without boundaries. She completed her Bachelor of Fine Arts in Painting at the National Art School in 2012 and is currently studying Honours in Painting at the National Art School.
Gabrielle Mason is an Indonesian Australian mixed media artist who is currently completing her final year of a B.F.A. (Hons) at the National Art School. Her passion is assemblage, which allows her to work with a range of materials, including ceramics and found objects. At the moment she is finishing a large painting assemblage commissioned by Gadens Law Firm to be displayed in their CBD foyer.
Ramesh Nithiyendran was born Colombo, Sri Lanka in 1988. In 2011 he completed a Bachelor of Fine Arts at the College of Fine Arts, Sydney. He is the recipient of an Australian Postgraduate Award and is currently a Masters by Research candidate at the College of Fine Arts. His present research is focused upon the construction of a celebratory, phallocentric discourse. Particularly, through a multi-disciplinary practice that spans sculpture, painting, drawing and installation. He has received various prizes including: the Freedman Foundation Travelling Art Scholarship, The Tim Olsen Drawing Prize, The Gallery Barry Keldoulis Award and The Lloyd Rees Youth Memorial Award(Commended). He has exhibited in galleries such as the Perth Institute of Contemporary Art, Firstdraft and Robin Gibson Gallery.
Nadia Odlum is a Sydney based artist. Drawing upon a background in painting, her practice incorporates a variety of mediums, including drawing, projection, film, textiles, painting and kinetic sculpture. She completed a Bachelor of Fine Art (Honours) at the National Art School in 2012, graduating with First Class Honours and received the 'academic achievement award' for the highest finishing mark in the year. She recently completed a residency with Sydney Non Objective, exhibiting the results as part of SNO95. She was also a participant in the OYEA mentorship program in 2012 and 2013, funded by the Australia council.
June Sartracom is a Sydney based artist. She recently completed her Bachelor of Fine Arts (Hons) at the National Art School, Sydney (2012). She recently had a solo show In Flux, Office Project Space, Factory 49 (2013) and has participated in several group shows including Origins II at the William Wright Artists Projects (2012) and the Armani Postgraduate Exhibition, National Art School Gallery (2012). In 2011 she was the recipient of the Parkers Fine Art Supplies Prize for Painting and the William Fletcher Foundation Grant.
Stephanie Tsai is a Sydney based illustrator and artist who works in watercolour, collage and drawing. She recently completed her honours year at the Sydney College of the Arts. Her works are contemporary reflections of her fascination with medieval history and Slavic folklore. She has participated in several group shows at galleries such as Papermill (2011) and PSH (2011), and is the recipient of several prizes including the William Fletcher Trust Grant (2010) and the University of Sydney Academic Merit Prize (2010).
"Pastel is a medium that requires great skill and patience..."
Eminent Curator Max Taylor AM, founder & former Director of Delmar Gallery Trinity College and Taylor Galleries Sydney has selected seven Australian artists who are noted for their different approaches to the pastel medium and subject matter.
Ann Cape | Ian Chapman | Greg Hansell | Greg Hyde | Anne Kearney | Victoria Peel | Brenda Thomas
A Featured Exhibition of the HeadOn Photo Festival 2013
The expression in camera, literally in the room, is used in the sense of "privately" or "secretly", as well as in the box and in the camera - in the sense of not post manipulated.
Photographs of and around Sydney by amateur as well as studio photographers of the first half of the 20th Century are featured: Re-found photographs lying dormant in old storage packets and boxes re-appreciated.
Rediscovered local Sydney Studio Photographers, including Nagel of 83 Enmore Road, Newtown; N. McEneally of Campsie, Invicta Studios of 508 Parramatta Road, Petersham.
Exceptional photographs out of the box under the bed - the private photographs; the holiday/occasion/everyday snaps that "work" by accident or intention. Photographs that offer insights into either the lives of the photographer or the lives of the observed. Photographs that can be explored not glanced over.
It's very, very hard to say what I look for in an image. I think it's when you see something particularly arresting or distinctive, ... It needs to be something that surprises you, or says something new, either about the subject or about photography itself.
Brett Rogers, Director, the Photographers' Gallery, London (The Guardian, Friday 16 November 2012)
Visitors to the Gallery are invited to explore these photographs and contribute their identification/observations and sense of place found in these photographs, in the log of collective knowledge being developed to accompany this collection of re-found Sydney photographs.
ReFound Photographsis on Facebook - upload your own re-found photographs and contribute to the knowledge base.
Proudly sponsored by
Hidden Treasures - Artists include: Julie Ashcroft | Peter Baron | Erika Beck | Margaret Bendit | Kerwayne Berry | John Caldwell | Judy Cassab | Christina Cordero | Edith Cowlishaw | Shay Docking | Alex Fensham | Greg Hansell | Margo Hoekstra | Greg Hyde | Graham Marchant | Toni McDowell | David Middlebrook | Terry O'Donnell | Desiderius Orban(1884-1986) | Colin Parker | Venita Salnajs | Randall Sinnamon | Ross Skinner | Anthony Springford | Madeleine Tuckfield-Carrano | Sheila White | Michael Willard
Truth in Origin- Five Truths... Five Lifetimes...: 06 - 21 April 2013
Edith Cowlishaw - Etchings, Pam Core -Jewellery, An Morison Jewellery, Venita Salnajs -Watercolours & paintings, Jo Riley - Works on Paper & paintings. Five lifetimes accumulating skill in the pursuit of excellence.
Truth in Origin - Five Lifetimes of Persistence.
The fecund atmosphere of hot housed flowers, strong colours that perfume the mind with remembered fragrance.
Graham Marchant is quietly obsessed with the delicacy of the cultivated garden, a world that constantly riots in ways that are both subtle and outrageously suggestive. Intimate details of his images conjure associations both shocking and ecstatic.
The need to control - or to perceive control - is a human urge that led to the kind of grand cultivated gardens that formed the subject matter of Marchant's earlier works. And it was this same urge that motivated his journeys of exploration to some of the most outstanding garden wonders in Europe and the world.
In this exhibition, Graham has turned his eye inwards not within his own self but within the secret places of the gardens themselves. He takes us on a journey, confronting us with intimate views of the hot housed secrets, both exotic and familiar.
New works developed from Alex Fensham's residency at La Cite Internationale des Art's, Paris.
This body of work explores a contemporary sublime that arises from within the experience of nocturnal Paris. It examines the the play of darkness and artificial light that transforms the Parisian landscape from the material to the ethereal.
Paris, known as the city of light, has not only been an important centre for artists, it's architectural landscape has been a significant subject for many," Alex Fensham notes, "this new body of work examines the urban subject in ways that seek to represent the romantic beauty of this great city whilst attempting to avoid visual cliché.
Hemingway once wrote, If you are lucky enough to have lived in Paris ... then wherever you go for the rest of your life it stays with you, for Paris is a moveable feast.
Including works by: Julie Ashcroft | Ros Auld | Graham Austin | Eva Barry | Erika Beck | Kerwayne Berry | Julie Brunton | Anthony Buselli | John Caldwell | Alison Chaim | Ah Too Chew | Denis Clarke | Mieke Cohen | Edith Cowlishaw | Patrick Dagg | Angelika Erbsland | Glenda Fell Jones |Robert Gribble | Greg Hansell | Gemma Hodge | Margo Hoekstra | Clyth Hoult | Greg Hyde | Ivan Janotka | Anne Kearney | Alison Mackay | Graham Marchant | Toni McDowell | David Middlebrook | Richard Moorecroft | An Morison | Bernhardine Mueller | Victoria Peel | Venita Salnajs | Randall Sinnamon | Ross Skinner | Bernadette Smith | Lindy Rose Smith | Anthony Springford| Lilly Tallula | Madeleine Tuckfield-Carrano | David van Nunen | Marilyn Walters | Sheila White
The primary focus of Caldwell's work is the natural Australian landscape where there is little or no evidence of human presence.
Caldwell is an explorer of the Australian Landscape with brush, paint and paper. Constantly revisiting the source, seeking to render the individual, and ultimate, essence of colour and light that is completely identifiable with the bush and outback of Australia.
Popular Sydney Sculptor Alan Somerville has selected a number of recently unseen sculptures for this intimate exhibition at Artsite Gallery.>
"Sculpture should be touched " said Alan, the surface, the coolness of the bronze, the texture at the hands of the sculptor as they moved in creating the form.>
These personal sized works are imbued with a tactile sensuality as the bronze responds to the touch of hand, warming to life with the subtle throb of a passionate heartbeat.
"... that which strikes me as the beauty of the light, ... not always using obviously beautiful subject matter."
An exhibition of new oil paintings from "Inside" to Rodd Point. Well known for his nudes and still life's, Ross Skinner has continued to paint the observable things around his studio and then taken his observing eye alone the water from Haberfield to Rodd Point painting some extraordinary works of painterly observation.
I have been looking at .. my immediate environment; flowers from the garden, shadows passing across the yard, and views across Iron Cove from the local parks. For me this is an instinctive approach, where my art comes to reflect my everyday experience and perceptions of the things around me. Through oil and watercolour I have tried to put down that which strikes me as the beauty of the light, while not always using obviously beautiful subject matter. ...We shouldn’t have to go on holiday or be in a room with a “view”, before we open our eyes to what’s in front of us. In this I wish to follow in the footsteps of such disparate, but to me, important artists who have worked from their own immediate environments such as Pierre Bonnard, Clarice Beckett and Frank Auerbach."
Ross Skinner has won numerous Art awards since 1995, including the 2009 Sesqui-Centenary Glebe Painting Prize ,the 2007 Port Macquarie Art Prize and has been regularly highly commended by award judges.
Urban Aspects: Newtown ... a brief glimpse into an aspect of the human condition...
An exhibition of clay and bronze sculptures sourced from observations and drawing in the streets of Newtown. The characters, the pets, the facades that is the extraordinary mix that is living in Newtown.
"This exhibition has provided a wonderful opportunity for me as an artist, to explore and study the Newtown area through the medium of sculpture. I am mainly a figurative artist; however, I’ve always incorporated backgrounds such as landscapes, townscapes and interiors to help create appropriate moods. Nonetheless it was a real challenge to create architectural sculptures. I am fascinated by Victorian and Federation architecture in the Newtown area. Some of my architectural sculptures are quirky, almost dreamlike and surreal, and have narrative to them, for example, the sculpture called ‘After Munch’s the Scream’ which was based on a Victorian house. Other sculptures are figurative, depicting a range of Newtown identities, from the bizarrely eccentric to the urban fashionista." Julie Ashcroft
Since graduating from College of Fine Arts (University of NSW) with a Master of Art degree in 1994, Julie Ashcroft has exhibited regularly and she has been a finalist in the Blake Prize and the Freemantle Print Prize, plus winning several awards for sculpture and drawing. She was awarded First Prize for Miniature Sculpture at the Royal Easter Show 2004.
Don’t Let Our Youth Go To Waste is a collection of brand new work which looks to express the simple things that are often overlooked in life. Largely improvised, the paintings in Dagg’s upcoming show represent an optimistic naivety, focusing on gesture and colour to create sweeping forms that jump out at the viewer.
An Official Selection of the Sydney Fringe Festival 2012.
Works by Tom Bass with Sculptors of the Tom Bass Studio 22 September - 07 October 2012
A curated exhibition of sculpture selected by Margo Hoekstra from artists working at the Tom Bass Sculpture Studio accompanied by seldom seen works from the late Tom Bass’ personal collection.
A rare insight into the influence one of Australia’s great sculptors has had on living artists of today.
Featuring bronze sculpture by Tom Bass, Helen Alajajian, Wendy Black, Peter Lewis, Bernice Lowe and reconstituted stone indoor/outdoor sculpture by Margo Hoekstra.
An Official Selection of the Sydney Fringe Festival 2012.
The Great Unknown 2012An Exhibition of Un(der)Represented Sydney Artists: 01 - 16 September 2012
Curated by Alex Fensham, Jenni Sant and Ross Skinner.
Artists include: Mazin Ahmad | William Bil Anderson Jr | Julie Brunton | Anthony Buselli | Alison Chiam | Bernice Davies | David Helmers | Gemma Hodge | Mori Kamolvutana | Deb Keogh | Alison Mackay | Toni McDowell | Richard Morecroft | Bohemian Rockstar | François Olivier | Anthony Priddle | Gavin Roberts | Bernadette Smith | Cornelis Timmer | Lenni Moe Weber | Michael Willard | Catherine Zimdahl
An Official Selection of the Sydney Fringe Festival 2012.
The Likely Lads: 16 June - 01 July 2012
Curated By Max Taylor AM
Alex Fensham | David Middlebrook | Randall Sinnamon*| Ross Skinner | Anthony Springford
*Courtesy Robin Gibson Gallery
Disparate Realities: Tony Deguara | Shauna Greyerbiehl | Robert Gribble | Peter Lindon | Zahn Pithers
Disparate Realities invites audiences to explore the individual worlds of five very different photographers.
This exhibition features work of contemporary Sydney photographers Tony Deguara, Shauna Greyerbiehl, Robert Gribble and Zahn Pithers with Adelaide Photographer, Peter Lindon.
...Each photographer offers their observation on a reality captured through the lens - discovery; intrigue; abstraction; intimacy; purity...
Exhibition opened by Ray Martin, Journalist and Television Presenter.
In 2002, Walkley Award-winning photojournalist Megan Lewis went to live with the Martu people - one of the last Indigenous groups in Australia's vast Western Desert to come into contact with Europeans. Through stunning photographs and oral stories, CONVERSATIONS WITH THE MOB captures the beauty, humour and friendship of an Aboriginal community at odds with Western culture.
"Whitefella do more study of our dreamtime than us, we just living it." Nola Taylor
I've been thinking about these photos you've been taking. When I first saw them they made me feel funny inside. I been thinking they no good, she wrong to be taking these photos because they showing Martu inside our houses. Outside people shouldn't see us like that. After a while I thought about what was upsetting me.
What was upsetting me is that it showing my people inside, and it made me think, am I looking after my old mother properly, am I doing the right thing?
Now I see what you're doing.
Your photos are making Martu look at themselves and think, what are we doing? Where are we going and are we doing the right thing?
Now I see why you have to do this, because Martu have to look at themselves.
"Taking a picture is hardly ever a simple act, often the difficulty arises from complex cultural thinking and shyness, other times it simply boils down to the fact the Martu are never switched off to their surroundings. The desert doesn't suffer from background noise and the release of a camera shutter draws as much attention as a shot from a high powered rifle in the dead of night."
CONVERSATIONS WITH THE MOB, Megan Lewis. UWA Press 2008, page 17
Conversations with the Mob is an intimate photographic portrayal of the Martu Aboriginal people, one of the last Indigenous groups in Australia’s Great Sandy Desert to come into contact with Europeans.
When the Mob allowed a whitefella – photojournalist Megan Lewis – to come and live with them, the understanding was she was there to take photographs to share with outsiders. But as two and a half years passed and Megan absorbed herself in the Mob’s way, it became apparent that the project was more than a book or an exhibition… it was a journey of marpan (healing) for whitefellas and Martu alike.
Conversations with the Mob captures the reality of a traditional people who live neither in their old world or in a white world. Through photographs, oral stories and Megan’s own experiences with the Mob, the viewer enters the reality of desert life where health, grief, footy, humour, sorry business and spirits consume daily survival.
In 2005, Megan’s images of the Martu won a Walkey Award and was also voted winner of the Nikon Australian Photographers Choice Awards 2006.
Megan has a strong personal connection with the Western Desert Aboriginal people, spanning twelve years.
It is Megan’s vision that offering Conversations with the Mob to the wider community will help channel support for initiatives into Martu health, diet and lifestyle.
In late 2008, after completing the photographs for Conversations with the Mob, Megan was personally invited by Martu elders to another desert community called Warralong. They sought her help to address concerns about their peoples’ physical and emotional wellbeing in a changing world.
With the approval of Strelley Community School Principal Kate McKenzie, Megan set up a Healthy Eating Program. Up to seventy school‐aged children were moved away from foods high in artificial flavours, sugar, wheat and dairy; within weeks, with breakfast being the main meal of the day, improvement in their wellbeing and school behaviour was noted by teachers and visiting medical staff. The program is still operating at the time of this exhibition.
Megan was asked to go further, working with individuals and groups in the community and school to help with their mental and emotional wellbeing. She says: The aim has been to help create physically, emotionally and spiritually healthy, happy individuals who have the ability to help themselves, no matter what life throws at them.
In addition to Conversations with the Mob, Lewis presented I’m Beautiful, a digital exhibition of recent photographs taken during playful sessions with Martu youngsters from Warralong Aboriginal Community. With the primary aim of having fun and boosting confidence, the children were presented with a box of dress-up clothes and invited to ‘be yourself’ – whoever that ‘self’ might be.
Note: "I’m Beautiful" has not been archived.
Megan Lewis is proudly supported by:
Still(ed)Life is an exhibition of still life Paintings and Works on Paper with Artists: Erika Beck | Margaret Bendit | Denis Clarke | Barbara Davidson | Angelika Erbsland | Anne Knowles | Graham Marchant
"Still Life as soul food remains as popular as ever."
The still life works of these seven Sydney artists are mysteriously beautiful, slowing down time, personal without being overbearing, meditative at times, and yet strangely familiar, like a home cooked meal.
What place do these mundane objects have in our houses where a basic need such as to eat is overshadowed by an all pervasive, corporate advertising driven, visual backdrop of television and radio shows that vie for the newest/oldest/simplest/complicated meal that a single person (with a staff of 20) can prepare in one area formally referred to as the kitchen?
To cook with passion is to consume, to paint with passion is to endure. We see a beautifully executed still life as food, not for the body, but for the soul.
To share a meal is to share a passion for momentary things, once eaten never quite recaptured. To share a painter’s vision of a moment observed, is to share that moment repeatedly, to recycle, each time with a more subtle joy in the beholding and sharing.
Artists, like foodies, are driven by a passion for excellence and sublime experience shared.
Still life is not dead, we cannot eat it or savour its aromas, rather it tantalises our soul with promises often overlooked. Promises of memory; moments of sunshine; joy; beauty; happiness; colour; things eaten; experience suddenly remembered.
Recipes make us forget that not everyone can cook. Recipes presume prerequisite knowledge. A work of Still(ed)life has no such presumptions. What is on offer is what we see.
Captured moments on canvas and paper remind us of our own experience, as casually glancing we realise; the life that is still ours is no longer a life we have any real control over and, for a moment, we are stilled.
Greg Hyde’s work is whimsical; definitely tongue in cheek, somewhat Leunig in nature, but without all the angst.
More of a constant chuckle than out right laughter, Greg’s comments on life, the universe and thanks for all the fish moments are positively satisfying. Humour that constantly and repeatedly amuses is rare.
This talent is Gregs´.
A wry smile, a quiet giggle, the odd snort of laughter quickly stifled – this is the response to Hyde’s work.
An unassumingly satirical "take" on the Twenty First Century, each work can be explored in the context of multiple interpretations.
Greg’s work has a depth of intellectualism, and a well-read vision, that suggests more, much more, than what is quickly observed.
Each quirky suggestion finds sympathetic resonance, with both adults and the young.
"A visual twitter that grabs attention, suggests more than it reads, and virally permeates within the mind as the subtlety of reference and meanings are revealed."
Greg Hyde’s works can be appreciated over and over with the same joy.
All is not immediately as it would seem.
Sydney Mix 2012 is a celebration of diversity, of hidden treasures & well known artists. Some long recognised, to be treasured anew, some artists borrowed & new artists emerging.
Works from contemporary artists & selected secondary market works offer an insight into the nature of collecting.
With Artists: Kerwayne Berry | Vanessa Batte | Denis Clarke | Greg Hansell | Idris Murphy | Terry O’Donnell | Desiderius Orban | Dan O’Toole (EARS) | Colin Parker | Tang | Madeleine Tuckfield-Carrano | David Van Nunen* | Salvatore Zofrea.
*Courtesy Rex Livingston
Shay Docking (1928-1998) is an icon of Australian Landscape Art and Art History, her work is found in every major public collection in Australia and internationally.
Shay’s husband Gil Docking said that she never exhibited her drawings during her life time but framed selected works and stored them in her studio. Shay never actually said what she was planning, but the intention was clear to have a major drawing exhibition at some point in the future…
The drawings on exhibition at Artsite Gallery are from the artist’s private stash, and many are featured in the Lou Klepac book Shay Docking drawings.
These fully realised works offer intriguing insight into the paintings that were developed from these drawings. Isolated tree forms, volcanoes with womb-like craters, sheer cliffs rising from the sea or plains, and rock formations - these contribute the core of her iconography as a landscape painter....
(Ref: Ursula Prunster, Shay Docking, The Landscape as Metaphor, AH & AW Reed Pty Ltd, 1983, Pg. 7)
Sheila White´s strong vibrant works are the result of over 50 years dedicated to painting the Australian landscape, sitting out under the sun or sketching swiftly from the car, often sweltering in extreme temperatures to capture the light and colour of the land at the moment of observation.
Sheila often returned to the same place to find a very different colour scheme to that of the previous visit be it a day or a month later. Australia’s constant and subtly changing light makes each visit unique...
In contrast, Sheila’s abstracted still life paintings from her studio in Holgate north of Sydney offer a rest from her travels and positively light up the space around them with her mastery of colour and texture.
Collector's Choice 2011 is Artsite Gallery's Annual Salon Christmas Exhibition featuring a superb exhibition of high quality works from local and internationally recognised Australian Contemporary Visual Artists, Artist Jewellers and invited guest Artists.
Historically a Salon exhibited paintings floor-to-ceiling and on every available inch of space. Artists and patrons jostled for attention amongst the Christmas cheer and collectors vied for purchase.
Collector's Choice 2011 is an a smorgasbord of selected artworks from artists that have exhibited at Artsite Gallery during 2011 with a tasty sampling of next year’s exhibition schedule and local artists the Gallery would like to introduce to our collectors.
Collector's Choice is a multi artist exhibition celebrating the long history of acquisition and collection. New collectors and the more established will have an opportunity to purchase the known, the unusual and the truly surprising works in all media by respected and newly establishing Australian artists.
Julie Ashcroft | Ros Auld | Graham Austin | Kristine Ballard | Eva Maria Barry | Erika Beck | Kerwayne Berry | John Caldwell | Ian Chapman | Madeleine Chalfant Yates | Mieke Cohen | Edith Cowlishaw | Barbara Davidson | Angelika Erbsland | Dorothy Erickson | Xavier Ghazi | Jennifer Gowen | Robert Gribble | Greg Hansell | Margo Hoekstra | Jess Hooley | Jude Hotchkiss | Greg Hyde | Deborah Jenks | Carmen Ky | Peter Lindon | Graham Marchant | An Morison | Bernhardine Mueller | Mo Orkiszewski & Rod Morgan | Joan Palmer | Vicki Parish | Victoria Peel | Venita Salnajs | Denise Scholz-Wulfing | Randall Sinnamon | Ross Skinner | Lindy Rose Smith | David van Nunen | Marilyn Walters | April White | Sheila White | Tim Winters | Catherine Zimdahl
Cinderella Stories - Fresh from London Design Week 2011, six Western Australian jewellers: Dorothy Erikson | Felicity Peters| Gillian Rainer| Brenda Ridgewell| Christel van der Laan| David Walker.
This Exhibition Accompanies the Sydney launch of "Gold and Silversmithing in Western Australia - A History", by Dorothy Erickson.
This exhibition showcasing the vibrant work of six internationally known artist jewellers has been arranged to coincide with the Sydney launch of the book Gold and Silversmithing in Western Australia: A History by Dorothy Erickson. The exhibiting jewellers, who are featured in the contemporary section of the book, are; Dorothy Erickson, Felicity Peters, Gillian Rainer, Brenda Ridgewell, Christel van der Laan and David Walker, each have had considerable success internationally, being collected by major art institutions in Europe, America and Asia.
Together their works make a strong statement about what it is to be a Western Australian jewellery artist practising in one of the most remote capital cities in the world.
Cinderella Stories derives from the colloquial name given to Western Australian during the discovery of gold in the 1880s – Cinderella of the South. Due to their remote location many of these exhibiting artists had to deal with the difficulties of having little manufacturing and technical support. This has engendered a sense of camaraderie among a group who are adaptable and self-reliant, most having been associated with Curtin University in its earlier incarnation as the Western Australian Institute of Technology and with the Western Australian chapter of the Jewellers and Metal smiths Group Australia.
The critic Ted Snell wrote in 2006:"Working away from the centres of Melbourne, Sydney, London and New York breeds self-reliance and resilience, characteristics that have resulted in a unique vision and a freshness of approach to problem solving. In tune with what is happening internationally and based locally, where fewer constraints makes everything seem possible, … a surprisingly large cohort of locally based practitioners have established themselves as significant figures in the international arena of contemporary jewellery."
"Living in Western Australia has exposed these artists to an environmental wonderland, but with the impact of global warming, conservation has become a common theme explore in much of their work. Despite the commonality within the artists’ works, each have crafted work unique to their own sense of place, with some dealing with their travels to distant places, and others showcasing a cerebral interpretation. "
Dorothy Erickson became entranced with steel cable in the late 1980s - when the wearer puts on the piece, the cable, weighted at the ends by either gold or semi-precious stones, sway and move kinetically in response to the movement of the body. Another Erickson theme is inspired by the Viennese painter,Gustav Klimt. These pieces feature multi-coloured sapphires and unusually cut stones set in 18ct gold. Additional pieces in this exhibition are based on Western Australia’s unique flora, in parts a response to her concern over global warming, remembrance of her mother, a noted botanist and historian, plus her personal involvement with Kings Park in Perth.
Gillian Rainer is fascinated by metal and patination as well as Australia’s natural heritage. In recent years she has travelled overseas investigating ‘high tech’ instruments to assist in construction and immersed herself in a study of the unique flora of Western Australia and the amazing structure of its parts, making immaculately fabricated works of art, which can be seen in the exhibition.
David Walker’s recent work addresses the interplay of structure and surface as a way of dealing with his experiences with the rural environment where he now lives together. Work for this exhibition is drawn from several themes. One is inspired by images of Thailand where fish traps and markets fascinated him and more recently he has created poignant works inspired by the tragic experience of bushfires and the hope with regeneration. His newest work reflects environmental concerns.
Brenda Ridgewell’s work features articulated, three-dimensional jewellery that encloses space around parts of the body. It explores the theories of ‘Proxemics’ and is intricately fabricated from many small sections of sterling silver rod and steel wire highlighted at times by a hint of 9ct gold or cubic zirconia. Recently there has been more emphasis on grids. The constructed spaces may appear empty yet are designed to retain or contain memories of intimacy; others are designed to delineate her own ‘space’. Many have moving parts and shimmer gently on the moving body.
Christel van der Laan, a relatively recent arrival on the international scene is an artist who has a fascination with ideas and structure. Her exquisite jewellery is fashioned from unlikely materials such as polypropylene price tags or ceramic soldering block combined with precious metals. She says; "Challenging notions of preciousness in conventional jewellery in a way that is gently humorous and sometimes ironic remains an enduring theme in my work".
Felicity Peters’ work often features Keum-boo, a Korean technique of fusing very thin 24 ct gold sheet to sterling silver, which she mastered in the 1990s. She says "the process is almost like meditating... Time slows and I immerse myself in this very old technique, adapting it to modern approaches." Her current work is inspired by the iconic Australian corrugated sheet, and her experiences in various cities round the world, particularly in Poland and Italy. Echoes of architectural details, landscape, or even personalities she has met can be seen in the work.
The Artist's Proof: 15 - 30 October 2011
An Exhibition of exemplary works from Australian artistsworking in the printmaking medium. Curated by Max Taylor AM.
PLACE: 24 September - 09 October 2011
Landscapes of the land and from the Land - featuring artworks by Australian Contemporary Artists, Tim Winters, Lyn Winters, Ros Auld.
Our cultural identity is determined in part by the soil we live on, the life we lead and the things we make.
These well respected Australian Artists are well known to collectors and have been exhibited in New South Wales Regional Galleries and are regular finalists in major Australian Art Award exhibitions.
Ros Auld is an Australian potter based in Borenore near Orange, in Central West NSW, specialising in slab-built, or thrown and manipulated, stoneware forms decorated with wood ash glazes and trailed and incised slips, coloured oxides and gold lustre.
Her sculptural and functional work is informed by the dynamic forces, surface textures and subtle colours of the Australian landscape.
Tim Winters "... my artwork is focused on the interpretation of the Australian landscape... the colours, shapes, textures; the interaction of man and land; fencelines, roads, scars, scratches... the diamond light and the stormy skies..."
Lyn Winters "... simple pleasures ...of the land..."
PLACE is an Official Selection of the Sydney Fringe Festival 2011
The Great Unknown 2011 :03 - 18 September 2011
An exhibition of Un(der)Represented local Sydney Artists - Curated by Alex Fensham, Ross Skinner, Abby Hundley.
With artists: Julie Ashcroft | Kristine Ballard | Kerwayne Berry | Gay Black | Julie Brunton | Rebekah Foord | Jennifer Gabbay | Jennifer Gowen | Jesse Hooley | Jude Hotchkiss | Clyth Hoult | Deborah Jenks | Peta Morris | Mo Orkiszewski | Jane Power | Jennie Pry | Lilly Tallula | Sophie Verrecchia | April White | Tony Williams | Jess Winch | Mark Wotherspoon.
The Great Unknown (GU11) is an Official Selection of the Sydney Fringe Festival 2011
Exhibition opened by Elizabeth Fortesque, Australian Correspondent for The Art Newspaper and Arts Writer, Daily Telegraph Newspaper.
Curated by Max Taylor AM, this is a superb exhibition of recent works by Sydney watercolour artists Graham Austin OAM, John Caldwell, Greg Hyde, Graham Marchant, Venita Salnajs, Brian Stratton OAM, and Marilyn Walters.
Inspired by our unique physical and cultural landscape, the exhibition showcases work considered to be amongst Australia's best watercolours.
I see the Australian landscape as hard, harsh and unforgiving, not necessarily always poetic. I fully appreciate the aboriginal use of spots while admiring the values of western art. Sometimes my work is interpreted as a mix of both. It has also been mused that I step in each value, which may suggest there are variations. I enjoy the visual fusion of complimentary and tertiary coloured spots fusing to make new colours and forming abstracted spaces, says Australian pointillist, Graham Austin OAM.
John Caldwell’s primary focus is the natural landscape where there is little or no evidence of human presence. The works in this exhibition capture the raw colour and monument presence of the landscape of the Ord River in the Kimberley Region of Western Australia.
In talking about individual works in this exhibition Greg Hyde’s take on our culture is unique:
"Armoire" ...It is a nicer word than 'cupboard' or 'wardrobe' and some clothes are more loved than others for sentimental reasons and in a way they are a part of the portrait of us...and if we wait long enough they are in fashion again, like us!....
"Jane Austen on her Mobile" ...I think Jane would have really enjoyed her mobile BUT she would probably have married Fitzwilliam D'Arcy and never written anymore and we would have missed out on all those BBC remakes….
"Bull Dragging his own China Shop" ...There are certain politicians and envoys who lack the required diplomacy necessary in world or local dialogue and they can create chaos instead of peace, harmony and understanding and this is one of those select few...
Graham Marchant’s work is a delightfully complex matrix of collected objects and fabrics set against the back drop of his studio and home gardens. The simplicity of the domestic or studio scene at first glance belies the incredible skill and intricate delicacy of the detail that is revealed as one moves closer to the actual work. His work is filled with light and colour.
Venita Salnajs abstract landscape capture the essence of our landscape in broad strokes complemented with selected details that capture the emotion of the experience of the Australian Landscape.
Brian Stratton OAM is best recognised for his hyper realist watercolours of stones and pebbles found along the tide lines of Australian beaches. You will want to reach out and pick up a stone or watch the wave recede to reveal glistening wave smoothed pebbles reflecting the light of a bright sunny day. A place for the soul to rest briefly and be renewed.
Marilyn Walters watercolours ripple with movement, as the surface of water moves so too do reflections of light and patterns change. Marilyn’s work invokes a mediative mood in the observer as the surface appears to move with the tides of light.
An exhibition that should not be missed... Max Taylor 2011
Barry Otto - A Romantic Obsession: 14 May - 05 June 2011
...an homage to classical beauty exemplified by the Pre-Raphaelite and Neo-Classical masters...
(Barry Otto 2011)
An Exhibition of Paintings and Watercolours by Australian Thespian and Artist, Barry Otto.
A Moveable Feast- Sculpture to Tantalise the Senses: 23 April - 08 May 2011
Sculpture by Tom Bass, Carol Crawford, Margo Hoekstra, Eilat Rabin-Rein, Julie Haseler-Reilly, Gunnel Watkins, displayed against a backdrop of Contemporary Painting, including works by Erika Beck | Sheila White | Hendrik Kolenberg | Peter Laverty | Geoff Harvey | Madeleine Tuckfield-Carrano.
Highlights include the 1.5 metre high Sculpture, "Tribute", shown in the Salisbury Road window at Artsite Gallery. This will be the only time that this work (conceived and executed by Tom Bass with Margo Hoekstra prior to his death in 2010) will be on exhibition prior to its permanent location on the grave of Tom Bass at Macquarie Fields.
This exhibition is unusual in that the majority of sculptures can be touched, and the exhibition title refers to the portable and interactive nature of sculpture that is often overlooked.
Sculpture should be able to be touched and relocated to new positions around the home, office or garden environment, to fully appreciate the joy and pleasure derived in collecting three dimensional objects.
N<R>ude Six Artists Working from Life 05 - 20 March 2011
Michael Willard | Ross Skinner | Judy Cassab | Vicki Parish | Randall Sinnamon* | Peter Baron
*Courtesy Robin Gibson Gallery
Max Taylor AM Invites: 12 - 27 February 2011
A personal selection of works from the studios of some of Australia's leading Contemporary Artists
Margaret Bendit | Angelika Ersbland | Hendrik Kolenberg | Peter Laverty | Randall Sinnamon* | Ross Skinner | Sheila White.
*Courtesy Robin Gibson
Collector's Choice 2010: 20 November - 05 December 2010
Showcasing high quality works by Gallery and invited Artists.
Artists include: Seraphina Martin, Sophie Verrecchia, Christina Cordero, Geoff Harvey, Xavier Ghazi, Madeleine Tuckfield-Carrano, Jane Lush, Robert Gribble, Terry Culver, Michael Willard, Madeleine Winch, Sally Kidall, Catherine Zimdahl, Lilly Tallula, Joan Palmer, Hugh Ramage, Ian Chapman, Lionel (Lee) Stewart Pederson, Geraldine Berkemeier, Tim Winters, David Urquhart, Jude Hotchkiss, Lynn Winters, Vicki Parish, Derek Whitehead, Peter Lindon, Brendan Lakin, Shine Ok, Lyndal Campbell, Maadi Einfeld, Sam Henning.
LOOK NOT,What you See - Is!: 30 October - 14 November 2010
Photography - Robert Gribble | Peter Lindon | David Urquhart
Sculpture - Terry Culver | Hugh Ramage
PRIVATE Journeys PUBLIC- Works on Paper: 09 - 24 October 2010
Charles Arnot | Christina Cordero | Terry Culver | Vicki Parish
COLOUR LOUDLY 18 September - 03 October 2010
Geoff Harvey* | Jude Hotchkiss | Hugh Ramage | Tuckfield-Carrano | David van Nunen** | Lynn Winters | Tim Winters | Madeleine Winch
*Courtesy Robin Gibson. **Courtesy Rex Livingston.
Artsite Galleries | 165 Salisbury Road Camperdown NSW 2050 | 02 80959678
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