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.
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."
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.
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.
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.
In January 2016, the Minister for Small Business and Assistant Treasurer Kelly O'Dwyer, in reply to a question from the Member for Macquarie made on behalf of one of our gallery artists wrote,
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 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
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
Last Light, "Anybody who has tried to paint a landscape on site will quickly become aware that everything around them is changing as they work. Breezes come and go, tides ebb and flow, the position and energy of the sun can be felt and all of that is slowly but surely changing the landscape itself.
Heraclites said that you can’t step into the same river twice. Our awareness of climate change has brought this to our attention in an unprecedented way.
This, and the ongoing beauty of the natural world is what I’m trying to show in my studio and plein air paintings."
Rhett Brewer 2017
The Lie of the Land, "Being at home in the landscape is a painter's solace, and painters have long felt the need to observe and re-create the natural world.
The big skies and rolling vistas of the Monaro and Limestone Plains are the landscapes that give me that sense of belonging. I find the rapid changes of sunshine and shadow chasing across this part of world wonderfully stirring. The open smooth barked forests seem benign and welcoming.
It has given me the imagery for this exhibition The Lie of the Land which developed as a result of a different approach for me. I began most of the paintings en plein air followed by work in the studio in which memory, depiction and interpretation were shaped together."
Kerry Johns 2017
Artsite Galleries | 165 Salisbury Road Camperdown NSW 2050 | 02 80959678
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