165 Salisbury Road
Camperdown Sydney 2050
(02) 8095 9678
11am-5pm Wednesday-Sunday During Exhibitions
..it was in Australia that I gained my first impressions of the beauty of the world, and it was the Bush that taught me.
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.
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.
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. All About Eve (1950) – Addison DeWitt (George Sanders)
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.