Thursday, April 23, 2015
Dabee Road Nursery located on the edge of Kandos outside an old rustic tin shed and on first sight contains a varied array of farm machinery which could or maybe hold the key to culturally significant agriculture history and or / an OH & S disaster but ideally situated for ‘Blood on Silk price taker, price maker’ by Fiona Davies.
This work explores the continuation of the Blood work that we have all grown to appreciate and expect. A wall of polystyrene boxes containing what we think is Blood for sale, slotted into the front of boxes are some monitors showing blood types and ICU readings and a catalogue of labeling. The market caller was given a small script as Fiona says but has added brilliant ablibing to make it all the more real.
Thankfully there is no physical evidence of the sacret red stuff for this squirmish reviewer but the idea was confronting as it created the scary illusion of Blood sold on the Black Market.
Out through the somewhat exotic or ideal indoor/outdoor plants for sale nursery and around the corner to the other side of this rustic shed lies the work of Hill End artist Genevieve Carroll. ‘We Just Want to Throw Flowers At The World’ boldly proclaimed from high up on the front of the shed. It’s pink frontage with red shadowing set against the weathered exterior summons rose petals to soften the constant depressing blows from the daily onslaught of reported bad news.
9th - 12th April 2015
Monday, April 20, 2015
Meaghan Shelton won first place in the Portraiture category of the Kenilworth Trophy Art Prize last year, and exhibits throughout Australia. Shortlisted for the ANL Prize in Victoria as well as the Clayton Utz Prize, in Queensland.
Also a graduate of RMIT majoring in painting, and now works from her Imbil studio and is the newest committee member of Mary Valley Arts Link, the cultural group which coordinates the artspace at Kandanga Country Club, and will curate a program of on-going exhibitions at the club.
The two piece cigar box blues arrangement Eb n Flo created the perfect backdrop for the opening which was on Friday 17th April.
A two-pronged move by Mary Valley Arts Link - to make art accessible to the general public and to promote the works of its member artists. The renovated club provided the perfect backdrop to the original artworks and offered a professional hanging system to make it a great local exhibition space.
If you are an artist and would like to feature in an exhibition, contact Meaghan Shelton on
17th April – 15th May 2015
Monday, April 6, 2015
Yet again the Lovett Gallery is showing a fascinating exhibition. Appealing to children on an illustration and story book level is a phenomenon this gallery has achieved before. But the artistic integrity of the works on display makes the exhibition a very worthy addition for the gallery wanderers out there. There is much variation in the realm of book illustration which is a lovely way to expose children to artistic difference. In this exhibition titled “ANZAC Illustrated” the assortment is outstanding demonstrating the diversity and integrity of art that children’s picture books reveal. Craig Smith is a much loved illustrator whose pictures are fun with their comic roundness. Smith’s illustrations are the accompaniment for “I was only 19” by Redgum’s John Schumann which is an apt combination of talent. And what a wonderful way to introduce children to these mesmerising lyrics that although not strictly ANZAC, are a powerful testimony to youth and its defencelessness when it comes up against the commanding doctrines of the state.
The working drawings and research behind the scenes is an important part of this exhibition. Being able to flick through a portfolio displaying rough drawings, snippets from newspapers and magazines and brief notes is an example of the depth required to comprehend and effectively communicate pictured responses to a scribe. The working drawings by the artist Greg Holfeld for ANZAC Tale by Ruth Starke show how the pictures are worked up into the final stage drawing. But the highlight for me was the ink and pencil drawings by Brian Simmonds for the book Light Horse Boy by Dianne Wolfer. Quick yet with precise tone and contour these little sketches demonstrate the skill required to illustrate. Another favourite for its atmosphere and enigma was The Poppy by writer and illustrator Andrew Plant. A verdant valley warm and welcoming is shrouded by a menacing sky while a single poppy petal floats in the manipulative dance that is fate.
Certainly this picture says it all. ANZAC Illustrated is a beautiful exhibition for children and indeed adults. It’s pertinent and sad but also reflects the wonderful attributes of artist as illustrator.
At Lovett Gallery above Newcastle Library until 2nd May 2015.
13th March - 2nd May 2015
Saturday, March 21, 2015
Alexander Cooke, Amelia Toelke, Bridie Lander, Helen Mok, Jose Marin, Melinda Young, Rachel Timmins, Regina Middleton, Rhonda Dwyer, Teresa Milheiro.
This exhibition will put forward scenarios and propositions regarding possible futures. It raises questions about how our bodies, our society and our environment will change as we continue to develop advanced technology.
In the past 50 years we have seen advances in technology that are incredible and previously unimaginable. And in all likelihood we will see in the next 50 years a continuation of these advances. We move towards the use of cloning, genetic modification, nanotechnology, robotics, computer augmentation, environmental engineering and so on. Some of these technologies are already being used or are very close to being implemented. There may be other technologies afoot that are as yet unknown.
It is not clear yet whether the mood of this exhibition will be dark or light. Perhaps it will be a combination of both. Perhaps this uncertainty in mood is a reflection of the greater uncertainty that looms over us regarding what is going to happen during our life times and beyond. We are often hearing tales of doom and gloom about the future, particularly with respect to climate change and environmental destruction, as well as weapons and conflict between nations.
Despite this, we continue with our lives and things seem to go along pretty well as normal. As a crisis point is reached, will there be a motivation to transform the way that we live using transcendent and amazing solutions? As time continues on, will we see disintegration and disaster OR new beginnings and ways of living?
Curated by Michelle Genders
Sponsored by: A & E Metals and Eckersley’s Art and Craft
19th March – 30th March 2015
Closing this weekend is an exhibition by two accomplished printmakers at Newcastle’s Forsight Gallery. Both are graduates from the Newcastle Art School and both produce work sophisticated yet accessible. The natural environment is sensitively portrayed in the show making contemplation imperative.
Reflection is central in Carolyn Phillips body of work. The serenity emanating from the delicate landscapes is created with an abstracted quality. Colour is central producing the softness and beauty inherent in the work. Complimenting these artworks are Gina McDonald’s mesmerizing etchings. The haunting delicacy of the nest is a study of isolation and uniqueness. Not surprisingly her work was recently selected for the 43rd Muswellbrook Art Prize. There is definitely a disarming complexity being explored at present in her practice. An inclination for the punchy is generally my preference but as a visitor to this exhibition, aptly named “A Deeper Silence”, I have been made aware of the allure of stillness.
6th March – 22nd March 2015
On Saturday I took a journey to the Upper Hunter enjoying the rural scenery occasionally dispersed amongst the great gaping bowls of dirt that at present are allowing our economy to limp along. Despite my torpid reverie at the lengths humans will go to annihilate an environment I was very much anticipating the selection of fine art that would greet me at the 43rd Muswellbrook Art Prize. And after the 2 hour drive disappointed I was not!
The three sections in the prize allow for a diverse exhibition which challenges the curator I would think. Works on paper hang easily beside paintings permitting a varied and stimulating show. Ceramics are randomly placed throughout the space. My only criticism would be that some works were hanging forward which certainly didn’t permit easy viewing.
To begin with I’ll explain that in an exhibition such as this making the cut is of significance so the artist is somewhat of a winner from the outset. Some standouts though include artist Dorothy Wishney’s work on paper titled “Watagan Cliff”. The dedication to detail in a medium so rewarding for its ability to create great loose drawings makes Wishney’s ability to subtly gradate charcoal acknowledging the varying tones in the natural environment a skill to be recognised. Helen McCullagh’s oil on board titled “Fleuriste” demonstrates that beautiful and enviable quality paint, brush and a great quantity of talent can achieve regardless of the subject matter. A simple vase of flowers is given freedom of movement and luscious colour exemplifying technique. Kristen Lethem also intrigued with a very different style of painting using mixed media titled “Orange”. In sepia tones the hillside is made an object of wonder. I achieved a similar sense of awe when viewing Joseph Rolella’s ink and charcoal on paper titled “Careel”. The ceramic section had me admiring Anna Culliton’s “Blues in the bottle” however Vicki Hamilton’s “Party Animals” were tricky and humorous and I declared this piece the winner of the section.
These selected exhibitions are a platform for recognition and for the viewer such as me a means for discovering new talent and watching careers progress. The choice of finding that one exceptional talent is an unenviable task but to choose a winner is necessary. Especially when capitalism prevails and money in this industry is of the slim picking variety.
The 43rd Muswellbrook Art Prize is on exhibit until the 19th of April.
Just as an aside and not at all related to art I thought I’d add there is a great restaurant located up the road a bit in Denman called “Gerrard’s Place” Yum!
1st March - 19th April 2015
Friday, March 13, 2015
Sallie Moffatt’s latest show The Loaded Line is currently on view at A-M Gallery in Newtown.
This beautiful show is an assertion that the best things result from simplicity. There is nothing superfluous in these drawn observations where every mark exists for a reason. Armed with just paper and traditional drawing materials Moffatt leaves herself nothing to hide behind but her substantial intuitive abilities to observe and draw.
What’s evident in this work is a highly evolved combination of intense observation and a visual language of marks and lines that evokes rather than illustrates the natural environment. To isolate a portion in each work you would find an unrecognisable section of abstraction. As a whole the landscape is clearly on view. The result is a more sensory experience of the landscape that elevates it beyond pictorial mimicry. For me these drawings succeed first and foremost as considered cohesive works of art implementing the landscape as their vehicle of expression.
The Loaded Line is on until the 28th March at A-M Gallery - 191 Wilson St Newtown
3rd March - 28th March 2015
Saturday, March 7, 2015
The exquisite attention to detail displayed by the four artists in Vignettes at the Art Gallery of Ballarat is nothing short of extraordinary. Their meticulous observation of their subject matter fits strongly within the tradition of natural history illustration, however these are more than merely beautifully crafted botanical or scientific studies. They move beyond a literal interpretation into more metaphysical territory, reflecting upon themes of fragility, transience, growth and decay.
Amanda Ahmed’s ghostly leaf studies in graphite are tinged with melancholy. Deliberately off-centre, creating a certain dynamism between the subject and the negative space, and giving a sense of floating or falling. Her titles – Of Memory, Of Solitude, Of Anticipation – are inspired by the musings contained within Martin Farquhar Tupper’s Proverbial Philosophy, a book published in 1836 which once belonged to her great-great-grandfather. The humble, ubiquitous leaf, dried, twisted, and isolated from the tree whence it came, becomes a metaphor for the human condition and the transitory nature of perception.
Mali Moir’s studies are more empirical. Arising directly from her participation in field expeditions to locations including Wilson’s Promontory, New Guinea, and the Australian desert, they transport us into the minute world of barnacles, crustaceans and seabirds. Working with pencil and watercolour on vellum, Moir adheres to a centuries-old tradition that is the very antithesis of high-resolution macro photography, and yet one could argue that it actually offers a greater immediacy and intimacy than the latter more instantaneous medium. The time and care taken to record a specimen with accuracy, the commitment to absolute verisimilitude, and the extraordinary ability to convey the delicacy of a subject matter that can only be properly observed under a magnifying lens offers us a privileged connection with the artist that a camera cannot possibly convey.
John Pastoriza-Piñol also works on vellum, which brings a lushness and translucency to his fine watercolours. His work explores the delicate shift between permanence and impermanence, a juxtaposition of seemingly disparate elements: constructed social identity and botanical documentation. His portrays selected plants in their growth stages progressing from late summer to autumn, a time when that which has once bloomed radiant now slowly withers and fades, the shadows grow longer, and twilight comes sooner. Emerging beneath the superbly painted botanical studies are images derived from tattoos, and the male names attached to the works give them a poignant intimacy, revealing a private symbolism, the significance of which is only known to the artist and the individuals to whom they refer. The age of the vellum itself plays a role, as the series begins with younger and smoother skin, and ends with more thickened, mottled skin, the clarity of the tattoos slowly diminishing until they can barely be seen at all.
Finally, Sandra Severgnini’s watercolours focus on form and structure. Her compositions, somewhat unconventional in more traditional botanical art, convey a thorough understanding of nature’s complex architecture. But they also stimulate the other senses beyond the visual, the way things feel, smell and even taste – a walnut, dissected down to its lumpy, gnarled anatomy, has me anticipating the tasty harvest to come from my tree in another month or two. Texture and hardness, moisture and sweetness, fragility and decay are portrayed – another particular favourite of mine is Network, a delicate interweaving of spider’s eggs and bird excrement; an unlikely but perfect collaboration.
The painstaking care that every artist displays extends beyond the artwork itself. Everything about Vignettes demonstrates a depth of thought and a clarity of vision – from the consistent size and number of the works from each artist, to the interrelatedness of the themes each one explores, to the design and layout of the exhibition (including the stunning wall colour!) It all combines to bring together one of the most cohesive and carefully considered group exhibitions I’ve seen in a long time. Stepping into the subdued light of the gallery with its dark blue walls is like being transported into another world; a quiet, secret, almost reverential space that invites contemplation and close-up examination of the work. One needs to spend time not only to appreciate the detail, but also to uncover the many layers of meaning that reside within.
The exceptional skill and care take one back to a time before digital technology and the short attention span spawned by social media, it forces us to slow down and take joy in the extraordinary process that takes place between eye, hand, brush and page. Conceptual art, with its smugly obscure intent, and instagram with its special filters transforming everything mundane into an “artwork” appear clumsy and hopelessly amateur by comparison. It is heartening to know that there is still a place for “slow art”, and that patience, dedication and technical skill still exists.
I leave the show with the lines from William Blake’s lines from the Auguries of Innocence running through my mind:
“To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And Eternity in an hour.”
31st January - 15th March 2015
Newcastle Gallery Collective Inaugural Exhibition 2015 Artists: Kelly Barlin, Michelle Brodie. Mal Cannon, Frances Fussell, Jackie Gooring, Paul Maher, Barbara Nanshe, Jill Orr, Joanna O’Toole, Matthew Tome, Ahn Wells, Meredith Woolnough.
A hot Sunday afternoon is not the ideal time to wander through the many galleries about Newcastle but I’m happy I made the effort. Yesterday was the final day to see Small Medium Large, an exhibition incorporating the efforts of 12 local artists and 4 local galleries. The energy required to coordinate an exhibition so extensive is to be commended. But more importantly witnessing small galleries working collaboratively is beneficial to the art community of Newcastle who tend to go a long way in supporting one another. This is an extension of that social cohesion.
I began the hop at Nanshe Gallery in Beaumont St. The premise of the exhibition where the artist was to present small, medium and large works to the four galleries worked well in this small gallery. Many large works were hung thoughtfully but I must admit my attention was diverted to a work by Michelle Brodie. Previously documented is Brodie’s exploration into imagery representing her imagined self. And further studies are evident in this suite of paintings. More appealing for me however was the enticing application of paint. Subject matter seemed superfluous. On to Newcastle Art Space where large acrylic paintings by Joanna O’Toole on the back wall of Gallery 2 became evident. With titles such as “Cast into the ocean” and “Jellyfish” it is apparent where the inspiration for these abstract paintings comes from. In Gallery 1 artist Paul Maher used thick oil paint in high key to represent the path along Scenic Drive. Roughly painted the gesture is quick, deliberate and intriguing.
Next stop C Studios in Hunter St where again I had my favourite. This time the artist Ahn Well’s captured my attention with wonderful colour and shape. Line and form appeared quite masterful in its abstract quality. Also Kelly Barlin’s amazing photograph’s on glass bricks were captivating.
And last but certainly not least is Four Point Gallery. What can only be described as a stunning painting by Frances Fussell greeted me on arrival. Although works such as this are generally not my preference I must acknowledge the beauty and wonderment that an image such as “Pink Orchids” holds. The work of Matthew Tome toward the rear of the gallery was my highlight however. These small oil on canvas paintings seem simple in structure and technique but the complexity of layering and contrast is evident.
For all the art enthusiasts in Newcastle this collaborative exhibition can only be described as a treat. Wandering from one gallery to the next, anticipating what will be discovered and how the works progress and inform is new and hopefully going to recur for many years to come.
Tuesday, February 24, 2015
It’s not often I see an exhibition and feel a genuine sense of excitement. Yes we’re told the art work we should appreciate, the art work that stimulates and transcends. But so often this work speaks only to a chosen few. And although I try it doesn’t always speak to me. On Sunday I had the pleasure of taking a drive to Maitland Gallery. Of course the Archibald Prize was finishing up and the gallery was awash with people but in a small alcove away from the hustle was a suite of paintings more tempting than even the most brilliant painting in the popular competition. “Spin” is the title of the exhibition that allows the viewer to wander about sideshow alley without the noise and dust but with all the enthusiasm and anticipation of the spectacle.
The artist plies oil paint in juicy sweeping strokes allowing colour to peek through underlying layers. This is notable in negative space where the use of paint in this manner can so quickly turn murky and unworkable. Because of the dexterity with the brush however these spaces become as important as the subject matter. Also of brilliance is juxtaposition, the point in the painting where positive space meets negative or put simply where objects meet air. That space is deliberate and vivid with contrast affecting a sublime quality. It’s a moment precious in painting and often not considered. Where fine line is allowed definition and clarity by the cutting in of contrasting oil is exquisitely effective in these art works.
Regardless of the subject matter the quality of the painting is paramount in this exhibition. However Linda Greedy resolves form with technical skill and allows the movement of a sideshow to be frozen in that single moment of time before being rapidly relegated to the past.
7th February – 12th April 2015