tag:blogger.com,1999:blog-15867376702732380172024-02-21T06:01:17.361+11:00sixtoeight.netAnonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.comBlogger489125tag:blogger.com,1999:blog-1586737670273238017.post-20012250175943347022018-06-28T20:55:00.000+10:002018-06-28T23:32:29.309+10:00Sheffer Gallery - Impromptu<iframe width="560" height="315" src="https://www.youtube.com/embed/UtvMTwvBVTQ" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe><br />
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A casual stroll to Darlington from Redfern Station to view a show for my very first review for the famous Sixtoeight.net and what a stroke of luck running into it’s founder recently as I have almost read the entire Blog. Have enjoyed it immensely since stumbling across it early one morning.<br />
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This show is a collection of magical moments, a whirlpool of emotions that follow contentment within each separate practice but enveloping each other to create an incredible sense of being. Standing in front of the turneresque cloudscapes, I felt a whispering in the wind, immediately imaging Grafton Artist Bernadette Trela standing on a hill with wind swept hair and a cold brisk air gently patting her face and a deep rumbling of the darkest clouds on the distant horizon. These paintings all in a row are mesmerizing, a snapshot of each cloud in our sky communicating their heavenly existence with us mere mortals.<br />
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From ethereal to stark abstraction, the bold and glorious meshing of monochrome and vivid, these paintings by Orange Artist Larissa Blake are intent to subdue the viewer with their pools of colour and dripping paint. Reflecting upon the architectural landscape can I be so daring and say that this artist my be our next Elisabeth Cummings with a hint of Dale Frank.<br />
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The wonderful colour studies and reflective repetition which plays a big part in the works of Sydney Artist Julieanne Mills, stencils of magic retro landscapes, the colour wheel has been reinvented. The flatness of the paint has that mid-century quality of Robert Motherwell and the brilliance of colour coordination from today’s Artist Louise Tuckwell.<br />
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Petite, polite, unassuming and sublime, Sydney Artist Craig Rowlands ceramic ornamental jars are a wonderful sense of definite sensibility. From the organic to the downright playful, they suggest we look closely at the varying dimensions, the mix of techniques and temptation to touch. More playful but also very delicate brush strokes of Kandos Artist Fleur MacDonald’s doily paintings, a constantly wandering mind of recycling and re purposing the humble wooden monkey pod, reminding us of the lost art of embroidered doily’s which our dear Mother and Grandmother hand stitched and showed off around the house. Ones that were popular in the 70’s which came in different sizes and shapes like leaves and pineapples marvelously renewed into objects of desire.<br />
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Best show so far this year!!!<br />
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Florian Bernardo<br />
Guest Reviewer<br />
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20th June - 30th June 2018<br />
<a href="http://www.sheffergallery.com/">www.sheffergallery.com</a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com1tag:blogger.com,1999:blog-1586737670273238017.post-55891191525068389392018-02-15T00:30:00.000+11:002018-02-15T00:30:44.801+11:00The Slab - Postcards from Laika<div class="separator" style="clear: both; text-align: center;">
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What a wonderful exhibition, perfect for the ‘Year of the Dog’ although a little sad regarding the theme for the show. ‘Postcards from Laika’ the first dog to go unwittingly into space and to have a heart attack before leaving Earth’s atmosphere. But forever remembered for her bravery!<br />
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23 Artists from the Blue Mountains and beyond were invited to contribute a work primarily A5 in size to go into a silent auction to raise funds for equipment for The Slab, a fledgling ARI based in Hazelbrook and run by Miriam Williamson & Brad Allen-Waters.<br />
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Contributing Artists are: Pam Vaughan, Judith Martinez Estrada, Chia Moan, Fiona Davies, Ian Milliss & Wendy Carlson, Fleur MacDonald, Sarah Breen Lovett, Billy Gruner, Caroline Wilde, Vivienne Dadour, Beata Geyer, Fi Kanera, Emma Rooney, Brad Allen-Waters, Graham Davis-King, John Prendergast, Jacquelene Drinkall, Anne Hughes, Miriam Williamson and Ivy Frechtling, Pearl Frechtling and Tallulah Costa.<br />
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The opening of this show was fabulous, with an amazing sound performance by Brad Allen-Waters and Jon Drummond, Brad on his hand made Aesthetiscope (a formal kinetic sculpture “The Aesthetiscope” expressing the physics of optics, the essence of early to mid 20th Century design and analogue electro mechanics) This thing blew my mind, Brad has made a unique piece of Sound Art out of found objects sourced from everywhere. It is a thing of mesmerizing beauty and if ever you get a chance to see it perform then do not hesitate to see it.<br />
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Oh there was cake too, Miriam is a fantastic cake maker, a Sputnik Cake and a CCCP Cake and they were Sooooo delicious!<br />
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The beauty of silent auctions is that you don’t know who did what, it’s also a great way to start a collection as these works are affordable. So many great and gorgeous works to choose from such as No.7 ‘Saint Laika, Patron Saint of Unwilling Martyrs’ mixed media, you can see it’s made with love with strings of pearls as stars in the sky and the surface of a planet, the tiny dog face peering out of the small window of the pressed and thin cut tin.<br />
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The painfully sad No.6 ‘Let Me Out’ it’s as if Laika was tearing at the inside of her ship to get out, demonstrated in the torn canvas. No.3 ‘USSR Dog in Space, clearly written here in painted Russian. No.1 ‘With Love to Laika’ Dry point etching oozes a love for all dogs. The woven work No.21 ‘Laika’s Dream’ made with stainless steel, silk, cotton, metallic thread and copper, it’s gorgeously luxurious. No.18 ‘signal in an Orange Universe’ watercolour, is a little ripper with it’s vibrant orange background and sensitive green.<br />
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No.15 ‘In space no one can hear you bark’ acrylic & pencil, a silent sensitive work in mainly black and white, dark sky, white dog quietly reflective. A cat amongst the dogs, No.12 ‘First Cat in Space’ sharing it’s true story in all it’s colourful glory. Oh to be a dog, No.11 ‘Doggie in Space’ watercolour, I think it’s title references that movie with Michael Hutchence, but the painting is oh so sweet.<br />
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If you need more information or want to see this show then hurry as it closes 20th February, the silent auction closes mid night 19th February and you can register to be a bidder via <a href="mailto:miriam@southernphone.com.au">miriam@southernphone.com.au</a> or message the Facebook page The Slab. There are Rules as in minimum bid $20 with a minimum raise of $5.<br />
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I’m hoping I can come home with one so don’t miss out!<br />
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Fleur MacDonald<br />
20th January - 20th February 2018<br />
<a href="https://www.facebook.com/The.Slab.12/">www.facebook.com/The.Slab.12/ </a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-81592922284583351492018-01-27T23:20:00.000+11:002018-01-27T23:20:58.519+11:00Gallery 47 - Damian Castaldi<div class="separator" style="clear: both; text-align: center;">
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“Our Town” a collection of portraits of some of the inhabitants from Kandos and Rylstone, a cheeky look at the different characters that make up the two towns. Damian took the happy snap approach, sometimes unawares but mostly with his recipients permission. The portrait of ‘Deb No.14’ has the air of contempt, her eyes giving Damian that sly sideways look as if he is about to be roused on. I remember the event well as it was a hot sunny day in the backyard of a Kandos local.<br />
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‘No.6 Bruce’ almost with an eerie quality, captured between blinks and before his passing, may he rest in peace.<br />
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Another Kandos local ‘No.5 Cowboy’ with his faithful dog has been given the painterly affect, the boldness of the red dirt enveloping the figure while the dog hides in the shadow, the gorgeous mountain basking under the wide blue sky.<br />
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‘No.1 Colleen & Caroline’ looking like two tourists snapped while holidaying on the French Riviera, but alas they are in Kandos and happy to be photographed by the wonderful Damian.<br />
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It was great turnout for the opening in Rylstone at the popular Gallery 47 with delicious wine from the local Naked Lady Winery.<br />
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Fleur MacDonald<br />
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6th - 29th January 2018<br />
<a href="https://www.facebook.com/gallery47rylstone">www.facebook.com/gallery47rylstone </a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com1tag:blogger.com,1999:blog-1586737670273238017.post-52608659710165430582017-09-20T10:39:00.000+10:002017-09-20T10:39:26.409+10:00Noosa Regional Gallery - Nicola Moss<div class="separator" style="clear: both; text-align: center;">
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Nicola Moss’ exhibition, ‘Life on the edge’ at Noosa Regional Gallery sets the tone for the region’s Floating Land Festival which celebrates the natural beauty of Noosa, the river foreshore and surrounds.<br />
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The show ponders the question, ‘What value does a healthy environment have for you?’ and Noosa’s Biosphere Reserve presents a unique ecology for the artist to work within. She sees the region as being dedicated to people and place where lifestyle balances environment, economy and social well-being. With this in mind Nicola Moss set out to explore the value of healthy environment to local communities and visitors to the region.<br />
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The dedication of volunteer bush carers; numerous energetic lifestyle activities and the forest symphony of birds resonate strongly with this artist. Her own experiences in the region, including walking in nature reserves, sitting beside creeks painting, quiet observation along National Park trails, hugging giant hoop pines, sailing across Lake Cootharaba and visiting tree farms have contributed to reflections on place in the featured artworks.<br />
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Over the year of creating work for ‘Life on the edge’, a theme developed highlighting relationships between trees and water, and how these contribute to healthy ecosystems. Clean waters are a key quality throughout the Noosa Biosphere Reserve, from hinterland creeks to Noosa Spit dog beaches it is evident.<br />
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‘Life on the edge’ presents the results of papers carried on site to be stained with tree bark rubbings, charcoal burnishing or adorned with tiny individual brush drops of watercolour. These are melded with numerous conversations and observations. She has also created in the studio with layering processes of cutting, interweaving and collaging of elements. The resulting artworks harbour countless stories of place, identity and human interaction.<br />
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Floating Land is a five-week arts festival of exhibitions, events and workshops in nature about nature, the highlight of which are the sculptures created in outdoor natural settings. Its aim is to leave no mark on the environment but only to make an impression on the people who visit.<br />
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Nicola’s show and the festival continue until 15 October.<br />
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Nicola will also be running workshops at the Gallery. For more information go to <a href="http://noosaregionalgallery.com.au/floatingland">noosaregionalgallery.com.au/floatingland</a><br />
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Guest Reviewer<br />
Amy Clarke<br />
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8th September - 15th October 2017<br />
<a href="http://noosaregionalgallery.com.au/">www.noosaregionalgallery.com.au </a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-68679920981812915592017-03-29T14:53:00.001+11:002017-03-29T14:53:44.615+11:00Fleur's Q & A for Cementa Co-Directors 2017<div class="separator" style="clear: both; text-align: center;">
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1. <i>Can you outline how the Cementa festival has had a positive effect on the town of Kandos over the years since its inception?</i><br />
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In terms of a festival, the four years of our operation is a very small time frame and it is a little premature to make pronouncements about the ‘positive effect’ we have had on the town. The effect of a festival that occupies only four days over two years, will not really be known for a number of years yet. I can say anecdotally that at least nine people have moved up. How many have bought? ……. people have and bought houses in Kandos and Rylstone as a direct result of Cementa. I do also think that the festival has put Kandos on the map for a lot of people in Sydney and has promoted the natural beauty of our area as great reason to visit and even settle here. We have begun to shift perceptions about Kandos and given a lot of people a reason to come up and pay us a visit.<br />
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2. <i>A key element of the festival is the invitation for the Artists to spend time in Kandos on a residency. However the word ‘Artist’ can be difficult to define for some members of the community.. How has Cementa engaged with the local residents to help break down any preconceived ideas?</i><br />
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I don’t think ‘artist’ is difficult for people to define. For people who aren’t used to contemporary art, it can come as a bit of a surprise to see installation, sound or video art when your concept of art prior to that is painting and sculpture. It will always come as a bit of a shock, but it’s really not that large of a leap and people here, like anywhere else, have made it easily. That doesn’t mean they are going to immediately like the new art, and they certainly don’t have to. <br />
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I think this kind of engagement can be the most interesting – at times yielding responses that are far more significant than the well rehearsed repetitions that circulate in the art world. An artist at the first festival reported my favourite anecdote. The artist had asked an older gentleman what he thought of the art. His reply was that he didn’t like the art very much, but he loved the ideas. It’s a response you just would not get out of the art world. Perhaps the other side of this question is to ask, how will the challenge of addressing art to a non-art audience change how we think about and make art?<br />
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Not to avoid the question, we have thought a bit about this. Asking artists to visit the town and make work that addresses the social, historical, cultural and environmental context of Kandos is central to our strategy for engaging the local and regional audience. It occurred to us that even if this audience is not familiar with the language of contemporary art, if the work addresses the town as its subject matter, this gives them a position from which to approach it. It gives them a way into the work, from an understanding and familiarity with the subject matter that means they do not need to depend on a familiarity with the conventions of contemporary art in order to feel comfortable or confident about their own experience of a work.<br />
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We have also hosted a number of art works that engaged directly with locals, like Karen Therese’s “The District” in Cementa15, which was a conversation between locals from different backgrounds that festival visitors could participate in. Cementa15 also hosted 3 projects that directly involved engagements from high schools. We have also hosted a number of workshops in the practices of visiting artists to local kids and as a part of the development of Cementa17 we had an exciting engagement between two artists with disabilities and kids from the special education unit at Kandos High School. <br />
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That said, we are aware that we are only scratching the surface and are working to further deepen our relationship and engagement with community. Community engagement will be a focus of Cementa19 and we are already planning a number of activities to better involve a larger section of the community but also to examine community engagement as an artistic practice. I think we have an exciting opportunity to look honestly at the role that community engaged art can take.<br />
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3. <i>The number of Artists for each festival seems to be growing and growing and for 2017, includes an exchange program with artists in New York, but are local artists being invited or overlooked? </i><br />
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We have included as many local artists who have been willing to participate by hosting a local painting salon. We give this exhibition our prime venue at Kandos Projects and even host it with its own opening. This is a great event for us because it is where all the local artists and visiting artists get to meet and hang out on the first evening of the festival. We also have a number of local artists that have participated by contributing work to the general festival every year that it is on. We also endeavor to bring in as many regional artists as possible. Engaging regional artists is a priority for Cementa, which gives opportunities to artists living across regional NSW an opportunity to participate in a major, mainstream art event. This is one of the chief challenges that any artist living in the regions faces and we are proud to have helped so many brilliant regional artists connect to the broader arts community.<br />
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Beyond this, we have welcomed and promoted local ceramicist Debbie Stone to host her ceramics event, Ceramica at every festival and also the local painting group exhibition at the CWA.<br />
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4. <i>Cementa is a free four-day cultural event and festivals like these cannot function without major financial support. Can you give us a little insight on where this festivals funding goes?</i><br />
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As you say, the festival is free. We don’t charge money for entry, and frankly we aren’t really sure how it would go if we attempted to charge entry into a town, which is what we would have to do since the festival is held across the town. Thankfully, we live in a country where the arts are supported and the public funding we receive allows us to offer a vibrant contemporary arts festival in Kandos that is open to everyone, regardless of their economic situation. 90% of Cementa funding comes from State and Federal arts funding. This funding is earmarked for the arts and distributed through a highly competitive process of selection. It predominantly goes to the cities. Cementa brings some of this funding to our area. We endeavor to hire locals and use local services wherever possible. We also require artists to complete a residency at Kandos in order to make their work, which also means that all the artists contributing to the local economy while they are here.<br />
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We have recently begun to attract private funding contributions and are working to grow this part of our support base. In addition to these forms of support, over the last four years Cementa staff and artists have contributed in unpaid labour, almost as much as we have received in funding.<br />
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Thank you to Ann Finegan, Christine McMillan and Alex Wisser<br />
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Fleur MacDonald<br />
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Cementa17<br />
6th - 9th April 2017<br />
www.cementa.com.au Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-63962943327146374872016-10-06T10:49:00.000+11:002016-10-06T10:49:41.393+11:00Wollongong Art Gallery - Visions of Utopia<div class="separator" style="clear: both; text-align: center;">
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Currently showing at the Wollongong Art Gallery is Visions of Utopia curated by long time artist, educator and commentator Andrew Christofides. The show comprises of work spanning over sixty years of Australian non objective art incorporating inspired and unexpected inclusions. The show bursts with the sense of purpose and commitment to exploring the formal elements of picture making orchestrating the aspects of abstract visual phenomena to create a purity of image that is evocative and poetic without the limitations of drawing reference from the physical world.<br />
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Colour, composition, pattern and texture all come into play as vital ends in their own right where decisions are made through a predefined process and/or an instinctive in the moment response the last mark made.<br />
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This show asserts that there is precedent and tradition within the chronology and a reverence to their historical predecessors.<br />
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From Ralph Balson, a stunning Grace Crowley and a scene stealing Hector Gilliard right through to an array of current non objective and reductive artists of varying profiles each work has a standard that showcases the form in an exceptional light individually and collectively. The breadth of the show illustrates the infinite options of visual elements that have been explored over the last half century.<br />
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Within the flow of the show works by Louise Blyton, Susan Andrew and Chris Firmstone are hung together to illustrate the possibilities of shapes as the works rather than just shapes within the work. John Aslanidis, William Rose and Leonard Crawford are grouped as works that have a sonic or musical /auditory premise. David Serisier and Suzie Idiens sit alongside each other emphasizing contrasting approaches to surface, density and application and along with Blyton’s the intense expression of pure colour.<br />
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The essential thing here is to approach this show with an open mind. Allow the visual interplays to engage you as you would an evocative piece of music. To feel and absorb the deliciousness of the orchestration of colour, tone, texture, shape and rhythm in an almost subconscious state of mind is as rewarding as art viewing can be.<br />
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A good selection of other currently practicing artists that I’ve known and followed over the years is here. Lynne Eastaway, Sandra Curry, Stephen Wickham, Virginia Coventry, Syd Ball whose practice links the generations from the sixties to the present and of course Andrew Christofides himself .<br />
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Visions of Utopia is currently showing at Wollongong Art Gallery till the 20th November before travelling to the Penrith Regional Gallery.<br />
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Glenn Locklee<br />
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3rd September - 20th November 2016<br />
<a href="http://www.wollongongartgallery.com/">www.wollongongartgallery.com</a> Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-38368495376202211682016-09-16T21:50:00.000+10:002016-09-17T08:07:31.635+10:00Gallery 47 Rylstone - Leo Cremonese<div class="separator" style="clear: both; text-align: center;">
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Since moving to Kandos in June this year I have been fortunate to see some amazing diverse work by mid western artist’s and it’s quite exhilarating. So in continuing my trek through the region there is this amazing show by Leo Cremonese, a COFA graduate and a student of Charlie Sheard. We saw Leo’s work previously in Terry Burrows ‘In Bed Together’ at Kandos Projects appearing with his lovely wife Libby Varcoe. Although there was only one painting in that show that more so reflects the same energy as his current show it’s plain to see it’s vibrant and passionate and I’ve been a bit spoilt as I am currently working in the café ‘Coffee Concrete’ which shares the gallery space so I get to spend a bit of time with the exhibition.<br />
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My favourite piece is ‘From Death Springs Life’ oil on linen, sadly my camera didn’t do it justice but the colours really pop in this one, particularly the bright teal blue almost electric. Maybe I noticed that colour more as my sweater on the day was matching in hue.<br />
Eye popping colour palette like something you would see traveling through space on a Starship.. I’m seeing mostly space infractions in this show, I can so imagine space to be like these paintings!..<br />
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Second favourite is ‘Untitled’ oil on linen, 76x66cm it has the blood red chunky eye of a supernova star confronting it’s not so future self and imploding to form a black hole, but showing a glimpse of it’s former self in the bright yellow glory of futures end.<br />
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And reluctant third is ‘Untitled’ oil on linen, 122x90cm, reveals that luscious dark green which is present in some of the other works pushing darker base colours to come alive and I would like to hope, in creating new planets and or star systems.<br />
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Fleur MacDonald<br />
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3rd September – 30th September 2016<br />
<a href="http://www.facebook.com/Gallery47rylstone/">www.facebook.com/Gallery47rylstone</a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-77957817818115546002016-09-14T00:04:00.001+10:002016-09-14T00:04:36.671+10:00Gallery 47 Rylstone - Gus Armstrong<div class="separator" style="clear: both; text-align: center;">
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Gus’s subject for this series of photographs is a wild and wonderful creative spirit in Peter Brooks.<br />
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It’s what one man can produce out of accumulated stuff and turn it into art, changing one’s whole perspective of art from stuff and making into his life surroundings.<br />
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Gus has captured Peter Brooks at his best, recreating his character into this amazing series of photographs, challenging us to view his persona and himself as his life work.<br />
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Fleur MacDonald<br />
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14th August – 29th August 2016<br />
Gallery 47 Rylstone
47 Louee Street, Rylstone<br />
<a href="http://www.facebook.com/Gallery47rylstone/">www.facebook.com/Gallery47rylstone/</a>
Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-88125709278186527522016-09-13T23:14:00.000+10:002016-09-17T08:13:58.543+10:00Kandos Projects - In Bed Together<div class="separator" style="clear: both; text-align: center;">
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The gallery was packed to the rafters on the night of the opening, a brilliant turn out for such a sweet little town.
Coming back from a trip to Sydney one night I glanced at the shop front of Kandos Projects and then glanced again as something caught my eye, the door sized work of Mr and Mrs Brown, ‘Zygosis Hyperacumulator: Phase 1-4, mixed media installation
was glowing in the dark, so so cool!!<br />
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‘Adventures Unknown’ chalk & graphite on paper, dimensions variable by Libby Varcoe & Leo Cremonese, I found this work strikingly gorgeous, it attached itself to the softest part of my heart and I fell head over heels in love with it. I’m a big softy and gush for realist work but don’t get me wrong it’s not the only one I gushed for in this show. Intimate snapshots of a beautiful landscape captured perfectly in graphite and chalk, with hints of blue sneaking into the cloudscapes creating moments of rapture. Takes up a big chunk of wallspace but needs it as they are intersperced with fragments in word to help the viewer see through the Artist’s eye.<br />
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Absolutely loved ‘Drawing Through the Picture Plane’ A, B, C & D, ink & chalk on cotton rag by Georgina Pollard & Alex Wisser where they spent the day in the Clandulla National Park and created these 4 fabulous musings of the natural environment. I found myself transported to a place of natural quiet.<br />
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Ok, so the work ‘Untitled’ by Kat Brown, acrylic and aerosol on board was suppose to hang horizontal but you didn’t hear that from me, although I kinda like it vertical as it has a more ergonomic floral approach to it, an alien flower floating against a colourful mist. The choice of colours help it to pop right off the canvas leaving a lasting impression in the viewers subconsious.. Which works beautifully with ‘Dancing In the Wild’ scraperboard by Na Lan, a delicate piece of creative wonder.
Next to it was a joint effort by Na Lan’s partner Reginald Buckland, ‘Cradle’ mixed media. Another work of wonderment breaming with life as we know it!<br />
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‘He is and we are<br />
It’s not the whole story but then it is.<br />
Each word within it must fight its way<br />
and once out it may not sound the same.<br />
Formed soft or hard depending on its destination.<br />
There is a moment when we are all joined.<br />
We can begin or end to begin again.<br />
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It’s a race.’<br />
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I love this, this moment of clarity, the words from the work ‘Work Follows Form, Form Follows Work’ acrylic on canvas by Virginia Handmer & Geoffrey Payne.
It follows through to the beginning to the end, offering a chosen silence and putting up a wall to procastination.
I guess ‘Ven. Choden’ was the perfect choice to hang next to Virginia and Geoffrey’s work as it follows through to the affect of being one with the work. It’s a wonderful painting of a young monk, his serene face offering calm and serenity to all.<br />
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Love Damian Castaldi and his enthusiaism for movement, he and Solange Kershaw make a great team.<br />
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And last but not least the wonderous shimmering beauty hanging in the window ‘Lightly’ acrylic glitter on pvc by Georgina Pollard tempting you to look upon it’s loveliness while it shimmers in the moonlight!<br />
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But before I head off there is also a mention to Terry Burrows who put this show together and if you are ever to find yourself in Rylstone while Gallery 47 is open then pop in and check out his Back Book, pretty damn awesome!<br />
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Fleur MacDonald<br />
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5th August - 28th August 2016<br />
Kandos Projects, 18 Angus Avenue, Kandos, 2848Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-11491559968553376592016-07-02T12:18:00.000+10:002016-07-08T09:44:16.440+10:00Casula Powerhouse Arts Centre - Glenn Locklee<div class="separator" style="clear: both; text-align: center;">
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The work of South West Sydney artist, Glenn Locklee, observes two societal phenomema: the increasing redundancy of small business and domestic manufacturing; and the proliferation of high-rise, high –density living as house and land ownership become increasingly unattainable.<br />
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The burgeoning demand and ease of access to imported commodities has governments and businesses scrambling to claim new expanses of riverside land for development. Such voracity has resulted in an ever-changing physical environment and a desired lifestyle of material aspiration and human disconnect.<br />
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Such issues currently threaten Casula Powerhouse Arts Centre and it’s pristine surroundings. Locklee presents three new commissioned works that contemplate the history and architectural character of the Casula powerhouse building and it’s capacity as an arts centre to recollect and respond to local stories in the rapidly growing region of South West Sydney.<br />
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Locklee’s paintings are not overtly political, nor do they carry an agenda of protest. They stand as silent witnesses to change; evocative peripheral images that conjure up subliminal memories and reflection of the industrial environments of South West Sydney where the artist grew up. This is evident not just in the subjects of these works, but also the poetic architecture and process of making these works. The sparse geometric construction and layers of tertiary colours play off against the expressionist rendering of surface and portrayal of light. The use of aluminium as a canvas – known to be a common building material – complements the surface texture, but also reveals the very material of our being.<br />
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3rd April - 3rd July 2016<br />
<a href="http://www.casulapowerhouse.com/">www.casulapowerhouse.com</a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-1468351748386836002016-04-07T13:02:00.000+10:002016-04-07T13:02:23.757+10:00Vale Kerrie Lester 1953 - 2016<div class="separator" style="clear: both; text-align: center;">
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photo courtesy of Australian GalleriesAnonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-25814533603130542762016-03-21T00:13:00.000+11:002016-03-21T23:46:36.444+11:00Artsite - Sydney Printmakers Celebrating 55 years<div style="text-align: left;">
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Printmaking, like drawing, is often seen as the poor cousin to painting and sculpture. And I have as yet to work out exactly why that is. With all it’s wonderful techniques and the endless richness of it’s textures and wonderful ‘surprises’ in execution, printmaking has given us some eye-popping artifacts over history. Picasso loved it, so did Miro and Warhol.<br />
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The current show at Camperdown’s Artsite – Sydney Printmakers Celebrating 55 years – makes it even harder for me to understand the poor cousin attitude. As part of the 2016 celebrations of the Australia Print Council’s Year of Print, curator Madeleine Tuckfield-Carrano has put together sixty works by Sydney artists that span the range of printmaking, conceptually and technically.<br />
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From Neilton Clarke’s lovely surreal ‘Agikawa Spinner (33rpm)’ through Prue Crabbe’s smoke-fragile ‘Sublunary Diversions II’ to the brusque rust textures of ‘Landfall 1’ and ‘Landfall2’ by Anthea Bosenburg, the range is breath-taking. It is all I can do to not reach out and touch these works – print has that effect: the colours and textures, although aiming for the relatively flat, have a tactile, almost erotic attraction. Faint indentations, raised shallow welts, creases and almost imperceptible waves across the surface all draw us in subtly.<br />
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Though, flat is not all – Laura Stark’s ‘Totems’ stand as printed paper cylinder’s, tracing paper squares lean out and threaten to fly off the surface of ‘The Space Between’ by Robyn Waghorn. Tuckfield-Carrano’s ‘Autumn Rain’ has fabric stitches across the pigment.<br />
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The range of techniques – a couple had me groping for Google – is smartly covered here as well; it is one of the joys of printmaking that it’s techniques go from roughly stamping the paper with hard woodblocks through to gluing elements across the plate as in a collograph, or the relative caressing it with other approaches, such as aquatint. <br />
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Rew Hanks’ ‘Peaches and Cream’ (relief print) has that perfect graphic hard edge while the linocut ‘Scratching for Bugs’ by Joanne Gwatkin-Williams shows a charming vaguery of line.
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Poor cousin? Bah. These pieces are all as exquisite as you will find, speaking with maybe a quieter poetry that their oil-painted relatives, but powerful poetry nonetheless.<br />
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John Hardaker<br />
Guest Reviewer<br />
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5th March – 27th March 2016
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<a href="http://www.artsite.com.au/">www.artsite.com.au</a><br />
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Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-42003111111160678542016-03-18T22:24:00.000+11:002016-03-18T22:24:49.505+11:00Ben Roberts Gallery - Jane Lennon<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/RAmPTXxurjs" width="560"></iframe>
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I’m all for a bit of recycling and even better when it’s made into Art as there is more of a guarantee that it won’t go to landfill. The process of making your own paper requires considerable patience and in Jane’s case years to half a lifetime to create her objects and sculptures. One day when I visited her at her home I was fortunate to view inside of her studio, I was aghast at what laid before my eyes, floor to ceiling shelves stored tightly with works all made from paper making her studio an entire work in itself!
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‘Biophilia’ at Ben Roberts Gallery in Lawson, Blue Mountains plays heavily on the organic whimsical, emanating like stars in our universe but at the same time keeping our feet firmly on the ground.<br />
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Chairs, tables, mirror’s and a coffin, yes that’s right a ‘coffin’ ‘Carrying conviction-Six Feet Under’ paper and acrylic, 60x176x62centimeters of recycled paper. A pink coffin supported with 6 dark red feet, a perfect gift for that person with everything or one that just wants something a bit different to go out in.<br />
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Even the 3 tiered food stand was made from paper but thankfully not the really yummy home made dip. Adding to the whimsy were scattered around the top of the table and on top of the coffin were a series of ‘Rodents’ and not all the same, they helped infuse the humour and seriousness of what this work was all about.<br />
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Fleur MacDonald<br />
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5th – 17th March 2016<br />
Ben Roberts Gallery, 10 Benang Street, Lawson, Blue Mountains
Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-4019053018603277992016-03-15T00:00:00.000+11:002016-03-15T09:07:36.745+11:00Chrissie Cotter Gallery - Dirk Kruithof<div class="separator" style="clear: both; text-align: center;">
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Q&A – Dirk Kruithof<br />
Dirk Kruithof is a Sydney artist whose work really zinged my eye the first time I saw it. I was struck by the raw emotion coming off the, I loved their Punk skin. There was a directness which lay over (or under) the layers of possibly poetry's in the works – a directness that called for a response by city dwellers to their urban environment, just as Kruithof responds to his. It was real.<br />
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Prior to Kruithof’s first solo show in a while – ‘City of Illusion’ at Chrissie Cotter Gallery on April 6, I asked him six questions.<br />
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John Hardaker: Dirk, your work strikes me as being highly reflective of your environment, with signs and buildings and graffiti-like scrawls, the urban environment.<br />
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Dirk Kruithof: That’s a pretty accurate reading - A big part of my work has that urban environment theme going on: I go for walks around my area (Darlinghurst) and surrounding suburbs and get ideas for paintings - sometimes I’ll take a photo or 2 to remember ideas, or I just see things and keep it in my mind ‘til I get back home to paint. Something as simple as liking the combination of textures and colours on a wall that’s been graffitied, or seeing a real-estate sign with ludicrous text like: ‘Exclusive authentic warehouse living, only $900,000.’ This sparks many ideas for me. I take this everyday imagery which I then recycle and recombine in my paintings. If I wanted to sound more pretentious I could describe myself as a Flaneur, wandering poetically around the city getting inspired. I ofter find physical material on these walks too, boards, paint, canvases etc on the street which I take home to use. So thematically and physically it all comes from the street, images and materials, which is a neat little circle. Hey I may even get a grant going with that angle.<br />
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The other element to the work (which still relates to the urban environment) is that I use consumerist symbols - (bar-codes, QR codes) and icons from online and social media. They all become architectural elements I use to ‘build’ the painting.<br />
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JH: Would you say it has a Pop sensibility - are you heavily influenced by Pop artists past and present – or are you reacting as an individual set of eyes, ears and nerve endings?<br />
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DK: I’ve described my work as Abstract-Pop/Post-grunge/Signwriter Expressionism (!!) and yes I owe quite a debt to Pop Art. Perhaps the more messy or anarchic American and European pop artist have influenced me: Kippenberger and Polke, Rauschenberg, Wool, Basquiat and earlier artists like Schwitters. I share the same love-hate relationship to culture and advertising that Pop has, plus the use of text. The collage technique of taking things from here and there – hoarding and re-combining images is a classic Pop technique, all the way.<br />
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I feel like I’m increasingly ‘commenting’ in the work now, analysing or critiquing these things that I’m taking from here and there.<br />
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JH: There seems to be anger among the playfulness in your work. What makes you angry?<br />
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DK: The anger in my work and in particular in this show ‘City of Illusion’ is mostly to do with the stresses and frustrations of daily city life, often related to how expensive or restrictive things are (that’s Sydney for you). Perhaps my heckling, griping or gonzo commenting is more a quizzical or bemused confused anger than rage. To give an idea: in this show there’s a painting called ‘Big bad rent tiem’ (pretty self-explanatory really!). Another that has ‘Billion dollar sunset over re-development city’ written on it, and another ‘Connect, complain, entertain’ which is like an inspirational/motivational quote for cynics.<br />
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Another piece ‘Welcome to Sydney’ is an oblique comment on the anti-culture sentiment Sydney seems to be undergoing - lock out laws and noise complaints. In that painting I’ve used beer-bottle tops for a frame.<br />
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I’m railing against what appears to be the increasing attempt to tame this cities vibrancy. I think we should have an event called ‘Art Year’, art all year round, every year. One viewer said of my work ‘It’s political but I’m not sure what It’s saying’. I like that ambiguity too. I hope I’m not preaching too much in the work. Ultimately the painting has to work as an interesting image, regardless of my intentions of meaning. The anger is a bit of a front or persona I like to exploit in my work too, I’d like to be the Mark E Smith of painting.<br />
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JH: You told me that someone viewing your work once said you should have been a signwriter. Why the text?<br />
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DK: Ha ha, yes that’s right! Some of the work in this show I’ve stripped right back to painting just text and nothing else so they are kind of ‘signs’. Why text? Well I can’t be the ONLY contemporary painter not using text!!! But I’m allowed to because I invented text-art back in the year 2000 at art school. Seriously though, being a huge fan of serial texters Basquiat and Christopher Wool really influenced my work. Also whilst studying I became interested in the work of Adam Cullen who would often have bits of text sprayed alongside the creepy figures in his paintings - seemingly unrelated text and image that you’d then create your own connection between.<br />
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Sometimes he’d use a quote or a song lyric or title, something out of context against the image. I really liked this strange collage-like effect, it was kind of like the text was a separate disembodied voice commenting on the image at times. These influences as well as advertising and now increasingly social media, where you get bombarded with things like a picture of a sunset or rainbow with some inane inspirational/motivational quote over the top. This combination of things has got me hooked on persevering with making my own word pictures.<br />
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JH: Dirk, is your show at Chrissie Cotter a significant one for you?<br />
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DK: Yes this show is significant for me, it’ll be my biggest show to date. I ’m really looking forward to getting my new work out there and getting everyone’s feedback. I’m building on artistic themes and momentum that has been slowly gathering for me over the past 5 years or so. I participated in ‘The Other Art Fair’ in Sept last year and this is my first show since then, and my first solo show in 2 and ½ years so I’m rearing to go.<br />
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Chrissie Cotter is a great gallery because it’s a large community-minded space and is not probititively expensive like so many art galleries in inner Sydney.<br />
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JH: What can we expect to see at CITY OF ILLUSION at Chrissie Cotter?<br />
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DK: ‘City of Illusion’ is the culmination of several years’ work exploring the theme of the urban environment, about 25 mixed media paintings in all, many of them using recycled/reclaimed for found materials. A few of the works feature the use of textas/markers but mostly acrylic paint, oils and enamels are the mediums used. A large number of the works feature extensive use of words and bright colours. There will be a short live music performance on opening night, and drinks. All works for sale reasonably priced. Everyone welcome. Mention ‘Art Month’ and you can pay double for any artwork.<br />
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John Hardacker<br />
Guest Reviewer<br />
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<a href="http://wordsaboutmusic.wordpress.com/">wordsaboutmusic.wordpress.com</a></div>
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6th April - 17th April 2016</div>
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Chrissy Cotter Gallery, Pidcock Street, Camperdown</div>
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Gallery Hours: 11am - 4pm Thursday to Sunday</div>
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<a href="http://www.marrickville.nsw.gov.au/chrissiecottergallery">www.marrickville.nsw.gov.au/chrissiecottergallery</a></div>
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Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-39395345077438969172016-02-26T11:33:00.000+11:002016-02-26T11:33:41.642+11:00Grafton Regional Gallery - Highlights<div class="separator" style="clear: both; text-align: center;">
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A long way from Sydney, in a regional gallery not near you.<br />
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The eminent ebullient Wendy Sharpe opened this show with a lively dialogue on women in art and society.<br />
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The highs and lows. The reasons why it’s easy to be a woman artist working in obscurity, the brilliance of the Gorilla Girls and the resilience of woman artists. Who wouldn’t be a woman artist when there is such inspiration to just keep going! <br />
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The Postcard show, a little gem on a few walls exposing a nice array small beguiling works! I’d go for the GW Bot, Ken Done and Wendy Sharpe of course but it’s a silent auction so don’t tell anyone. It’s only a phone call away to place a silent bid and assist in fundraising for the marvellous Jada sssshhhhh !<br />
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Photography meets feminism with the outstanding Carol Jerrems and her intimate and iconic photographs. I can never get enough of her enigmatic photos of everyday people in a decade she has defined. Pat Brassington is another wonder for me! I have only mentioned two photographers to get this little article out there. Many of the works are drawn from the MGSs national collection of Australian photographers.<br />
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Check them out!<br />
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Bernadette Trela
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Guest Reviewer<br />
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3rd February - 12th March 2016<br />
<a href="http://www.graftongallery.nsw.gov.au/">www.graftongallery.nsw,gov.au</a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-67650204662859439992016-02-12T05:58:00.000+11:002016-02-12T05:58:55.695+11:00Art Gallery of New South Wales - The Greats<div class="separator" style="clear: both; text-align: center;">
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When was the last time you saw a great painting, especially one that was painted way before you were born. A painting which viewed for the very first time in a fleeting moment then realising you have to stand firmly in front of it studying it’s every detail.<br />
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That painting for me is ‘Reverent Robert Walker Skating on Duddinton Loch’ Medium oil on canvas, 76.2x63.5cm by Sir Henry Raeburn c1795. Although I know some of you may have thought I would have chosen a more flouncy floral type of work but hell no this is the one that gave me goosebumps on my forearms and the hairs on the back of my neck to stand up, this is the one that struck me with a lightning force and sent my eyes into a mad scurry searching for detail.<br />
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The slight of hand detail around the knees and upper thighs to the off white cravat, the blade scarred ice set against a soft turneresque background. The steadfast stare to the effortless pose. The serenity relaxes the viewer into submission.<br />
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The perfect end to a perfect exhibition.<br />
<br />
Fleur MacDonald
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24th October 2015 - 14th February 2016<br />
<a href="http://artgallery.nsw.gov.au/">artgallery.nsw.gov.au</a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-49487041420530834872016-02-01T23:19:00.000+11:002016-02-01T23:19:51.963+11:00Casual Powerhouse & Hazelhurst Regional Gallery <div class="separator" style="clear: both; text-align: center;">
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A couple of summer holiday shows on at two Sydney regional galleries well worth a visit. Patternation at Hazelhurst and Outer Space at the Casula Powerhouse are substantial but very differently curated exhibitions. One explores the formal aesthetic and conceptual possibilities presented by the largely abstract device of pattern making. The other addresses the phenomena of technology and the zeitgeist effect each event had on our culture eg space travel, satellite images…<br />
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Patternation at Hazelhurst, John Aslanidis, Cathy Blanchflower, Mark Booth, Gary Carsley, Helen Eager, Sophia Egarchos, Benjamin Forster, Heath Franco, Rochelle Haley, Natalya Hughes, Eveline Kotai, Melinda Le Guay, Al Munro, Brian Robinson, Liz Shreeve, Jason Sims and Djirrirra Wunungmurra. <br />
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Patternation, curated by Carrie Kibble, is a vibrant show that draws attention to the perception of art as something of a higher purpose as opposed to being purely decorative. In this show we are presented with works that undertake a deeper investigation of the concept of pattern. Pattern in this context becomes the structure that binds the scientific, natural and aesthetic world. It is the invisible phenomenon that forms our cellular structure and the engineering that holds our skyscrapers together. It is also the most potent device used in great art, music, poetry and prose whether it be figurative or abstract. So we are informed by this show that pattern is not merely ornamental but is an inspiration of mathematical movement and rhythms that reflect the building blocks of life itself.<br />
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The space allows for ambitious large scale works that at times overwhelm. John Aslandis’s amazing sprawling work takes on a slightly different interpretation in each venue it is exhibited, the last at Gallery 9 earlier in 2015. Liz Shreeve’s delicate paper cut piece is spectacular in its uncharacteristically huge format and Natalya Hughes’s Panic Room is an installation that buzzes with anxious discord that is unsettling but compelling. Wunungmurras’ indigenous pieces bring a quiet spiritual evocation of living symbiotically with the earth and video work from Pompom artists Heath Franco and Rochelle Haley provide a less formal and more conceptual utilisation of the exhibition’s parameters.<br />
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Outerspace at Casula Powerhouse, Anotinette J. Citizen, David Haines & Joyce Hinterding, Peter Hennessey, Christina Lissman, Alasdair Macintyre, Adam Norton, Liam O’Brien, Mira Oosterweghel Sylvia Schwenk, Vernon Treweeke, Liam O’Brien, Wanderlust.<br />
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Outerspace addresses space, the void between the earth’s atmosphere and the planets and stars. The pondering of space as positive rather than negative is an endeavour of artists metaphysically and compositionally – the space between. This show showcases installation, performance art, paintings and video traversing science fiction, popular culture and space technology as a vehicle to express the complexity of the human condition and it’s revaluation in the context of constant change to our terrestrial and extraterrestrial environment. The impact I felt was strangely nostalgic, a reminder of the eventfulness of every technological advancement from man walking on the moon to the mind bending special effects of Star Wars compared to the current day where we seem to be desensitised to the wave after wave of technology and media.<br />
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Also there is an opportunity to pay homage to the late Vernon Treweeke with a selection of works.<br />
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Finally emerging artist Veronica Habib’s show Tracking Security is occupying the Marsden Gallery. This thoughtful work is an extension of her graduate work started in 2012 that explores the perception of safety and compliance in contemporary city living. The themes are prophetically more relevant now than perhaps at their inception.<br />
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Both shows close February 7th.<br />
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Much of this show looks at technological advancement and popular culture during the era of the space race and its jettisoned aftermath. It has been covered by paintings, installations, video and performance.
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<br />
Glenn Locklee<br />
Guest Reviewer<br />
<br />
5th December 2015 - 7th February 2016<br />
<a href="http://www.casulapowerhouse.com/">www.casulapowerhouse.com</a><br />
12th December 2015 - 7th February 2016<br />
<a href="http://www.sutherlandshire.nsw.gov.au/Community/Hazelhurst">www.sutherlandshire.nsw.gov.au/Community/Hazelhurst</a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-20673192743936955702016-01-30T20:03:00.001+11:002016-01-30T20:03:05.775+11:00SPOT81 - Braddon Snape & Glenn Locklee<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Jtq9WmbSepM" width="560"></iframe>
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Ooh my first visit to SPOT81 in Chippendale where I walked through it’s rather tall and beautiful big wide ornately carved wooden doors and was welcomed by the gorgeous huge high wooden factory ceiling, stepped onto the wonderful enormous wooden tiled floor inviting you to do a twirl. The space is an amazing temple to Art. <br />
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Felt I had to pucker up to Braddon Snape’s glossy steel sculptures as they were so so shiny and lip smackingly good although some of the work looked like they’d just had a hug as with ‘Single Act of Performed Materiality’ air formed welded steel, 80x60x35cm. And with it’s larger version ‘Performed Materiality (The Lockup)’ 238x114x30cm on which lured guests and photographers to capture moments with it’s highly reflective surface (does my bum look big in this).<br />
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Down the other end of the gallery hangs work by Glenn Locklee, with landscapes showcasing the shimmering outer workings of factories and industrial sites. ‘White Bay’ and ‘Indrustrial Landscape Enfield’ both oil on aluminium composite and 42.5x47.5cm are my 2 favourites, I love how the use of the surface is incorporated into the work allowing the aluminium to catch the light as you move past while studying it. Giving the subjects a more fluid face and allowing the colours used to represent sun blistered building exteriors.<br />
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Excellent work young men!!<br />
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Fleur MacDonald
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20th - 31st January 2016<br />
<a href="http://spot81.com/">spot81.com</a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-54337748166856927282016-01-20T12:35:00.000+11:002016-01-20T12:35:29.384+11:00Newcastle Art Gallery - Kilgour Prize 2015<br />
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Well I’m back. In what capacity only time will tell. It’s the Kilgour Prize that’s lured me. And perhaps a deep desire to get back to writing and acknowledge that I love art and its ability to inspire the seeking of an aesthetic, understanding that this too is an ever evolving part of me.<br />
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Yesterday I ventured into the Newcastle Art Gallery for the third time to see the Kilgour but this time to persuade my “financial backing” to part with some cash. “Horseshoe Beach 2015” by Michael Bell was the bait. Some smaller versions are available at Gallery 139 in Hamilton at the moment and owning one would be superb. But alas…<br />
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However there was another reason to return to this worthy exhibition. I was browsing through the Newcastle Herald on Saturday and came across an article about The People’s Choice Award for the 2015 Kilgour and I was astonished that I didn’t recognise the work as part of the exhibition. Obviously I didn’t vote for it and obviously I peruse an exhibition seeking works I find aesthetically pleasing. This work was clearly not visible to me though it is a beautifully rendered painting. However I enjoyed reading the article about the inspiration and the layer hidden beneath the painting that without the artist’s insight would remain invisible to the viewer. It’s a gentle reminder that every art work produced has value regardless of its visual appeal and the artists’ skill with materials and composition.<br />
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Today I’ve chosen three works from the exhibition that I was drawn to and hopefully can explain why. The first is of course Bell’s “Horseshoe Beach”. I admit that when I began taking an interest in art many years ago I found Bell’s art ridiculous. I was beginning my journey and admired only those works that fostered realism, showed talent with the brush and a clear understanding of visual representation. In other words I wanted to see on canvas what I could see with my eye. Forget acknowledging that there’s an imagination in there, a desire to delve into the depths (pardon the alliteration) and produce work with character, personality and quirk. I didn’t get what the word “edgy[1]” meant and for that matter I did not want to. These artist’s that spoke in their fancy shitty language annoyed me. They didn’t know what they were talking about. Give me a painting that showed a perfect execution of a thing and I’d give you an artist. I was still unaware that perhaps the artist had transcended realism. Oh how knowledge and a good deal of art watching has changed me.
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Bell’s work successfully demonstrates the naive. It’s the guileless antics of dogs so blissfully unaware of anything other than their own need at that one little moment to have fun. It’s the microcosm of utopia, that place that does not exist but in the imagination. A dog, a stick and a human to throw it is all that matters. But although there is frenetic energy, bustle and crowding there is peace in this image, a meditative nod to the slow life movement. Apart from the character of this work and the artist’s profound ability to see and impart that information, is the strength in regards to the application of paint. A careful look at the sand shows so many colour gradations. Lighter hues are confidently used to highlight dog snouts and darker hues saturate beneath a person’s arm and between chin and shoulder bringing the head to the person to the foreground. It’s an exercise in sureness. Also wonderful are the outlined images. These spontaneous drawings assist in breathing movement and validity to the impression of the work.<br />
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The second piece is the work by artist Tom Phillips titled “Between the clock and bed 4”. I was drawn to this work purely owing to the bed. This bed is drawn and painted so well I know I would be enticed even if it were the only character in the composition. There is a distorted appeal to the way it has been sketched but it’s the vintage style that takes me back to holidays as a child in an old home by the beach. The lazy afternoons laying on the bed wiling away the time reading is a delightful nostalgic memory. The tonal quality of the entire painting is rich and wild with highlights of pure white and is extremely adventurous. The paint is fiercely applied and mimics the anxiety of the work. I admit to being attracted to strange looking dogs in work but oh how accomplished this painting is.<br />
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Lastly is the artist Diane Ingram with her work titled “Look here”. Abstraction is the basis of the painting with delicate line work signifying to me our loss of power to the will of fate. I find the notion powerful in the face of this subjection. Any interference is just part of that fate. Giving up to the universe and observing the consequence is a beauty so wonderful and shocking and in art sublime. So in this piece it is a philosophy as well as the artist’s response to the materials that appealed. The figure of the girl emerges seemingly by accident. But its innocence is as fleeting as the will of the butterfly. Perhaps ascribing the sublime to this painting is a step too far but regardless there is so much to enjoy in this work.<br />
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Irrespective of whether this regional gallery gets a makeover it’s a peaceful space and I do so love the idea of observing art in this environment. I hope you get to see the 2015 Kilgour Prize which is on exhibit until 7th February.<br />
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<a href="https://thelaymanreviewer.wordpress.com/maitland-and-upper-hunter/kilgour-2015/#_ftnref1" name="_ftn1" style="border: 0px; color: #9f9f9f; font-family: 'Open Sans', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 24px; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;">[1]</a><span style="background-color: white; color: #444444; font-family: 'Open Sans', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 24px;"> Perhaps this word was overused a little.</span><br />
<span style="background-color: white; color: #444444; font-family: 'Open Sans', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 24px;"><br /></span>
Kerri Smith<br />
Guest Reviewer<br />
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14th November 2015 - 7th February 2016<br />
<a href="http://www.nag.org.au/">www.nag.org.au</a><br />
<a href="http://thelaymanreviewer.wordpress.com/">thelaymanreviewer.wordpress.com</a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-31317745578803189962015-12-26T13:15:00.001+11:002015-12-26T13:15:03.382+11:00Fleur's Christmas Message 2015<iframe width="560" height="315" src="https://www.youtube.com/embed/WIVkgE7_aY0" frameborder="0" allowfullscreen></iframe>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-7280073206501132122015-11-25T16:06:00.001+11:002015-11-25T16:18:54.058+11:00Folonomo Gallery - Fleur MacDonald<iframe width="560" height="315" src="https://www.youtube.com/embed/ifucIw0tHA8" frameborder="0" allowfullscreen></iframe>
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Fleur MacDonald's "ECHO' at Folonomo reverberates through Bourke St. Surry Hills.<br />
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30 years of working on wood and paper, this 6-8 lass can certainly choose her palette. The bowls acting as frames for pencils are little pools of pigment, wishing wells for the idea of drawing.<br />
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Solidified, practiced and still ready for the job, the pencils ( of the working class kind ) have settled in a blaze of colour, awaiting the twilight zone of retirement....or have they? One can only speculate and be drawn into the heat of 'hot lips ' or 'yellow fever' and so on… <br />
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Then the bread boards, psychedelically optical demonstrations of the ART of home decoration, a complete set of inverse home entertainment, the sandwich of home truth and abstraction, the ever so subtle reference to the Bauhaus, always welcome in my books. <br />
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We swing across to the 50 colour plaques, interesting! Can't work them out, start counting... 12 Green, 8 Carmine, 12 Yellow, 3 Orange, 5 Purple, 5 Black ( ish ), 2 Ochre, no Blue….<br />
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Enfin, the red dots, the penguin, all very finely tuned surreal intimations of the parellel existence.<br />
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To Fleur MacDonald, a very fine selection of 30 years of 'Living the Art', Congratulations and WELL DONE!
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Jelle van den Berg<br />
Guest Reviewer<br />
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6th October - 15th November 2015<br />
<a href="http://www.facebook.com/folonomogallery">www.facebook.com/folonomogallery</a><br />
<a href="http://fleurmacdonald.blogspot.com/">fleurmacdonald.blogspot</a><a href="http://fleurmacdonald.blogspot.com/">.com</a><br />
<a href="http://fleurmacdonald.com/">fleurmacdonald.com</a><br />
<br />Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-35731566098564702792015-11-24T22:23:00.000+11:002015-11-25T17:07:51.707+11:00Metro Arts - Denise Reichenbach<div class="separator" style="clear: both; text-align: center;">
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'Challengers of the Unknown'<br />
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Born in 1980 in Wolfsbehringen, a small rural village in then still communist East Germany, artist Denise Reichenbach arrived in Australia in 2008. After travelling the country for two years Reichenbach chose to settle. The following five years she spent in Gladstone, Queensland, a formal requirement necessary to obtain her visa. This period proved an exile of sorts and laid the ground for gestating new developments in her work.<br />
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Reichenbach speaks of her feelings then, of entrapment with regards to her painting. Eventually crystallization occurred when her drive to create grew and her resolve strengthened. In this exhibition we observe an emerging artist overthrowing the restrictions of the tradition of painting. Reichenbach's contrasting histories inform her work. The way in which she negotiates time and space is reminiscent of contemporary German painter Rauch. Also Gaugin, particularly when he spent time in Martinique his paintings changed, as the light in Australia has changed everything for this artist. Collage, comic books, drawing and mixed media convey graphic qualities in her new work; raw primitivism and the drive for looseness deliver semi figuration via abstract means. The formal practice of painting comes with many rules in terms of doing things in specific ways. There is immediacy which alternative materials and methods afford the artist to assist in breaking up the picture plane. Reichenbach has consciously embarked on her journey utilizing techniques associated with working on paper as devises to renegotiate her original discipline of painting. She takes an organic approach allowing the work to begin to make itself; the work and the process have become one. Juxtaposing comic book references with remnants of the classical figure she refers to the 'layers of layers' and what can happen when the unknown is challenged.<br />
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'Challengers of the Unknown' is Reichenbach's considered attempt to extract her work from the German painting tradition. She acknowledges this profound influence, 'If I look at what the Germans did there was always a presence of a higher force, without sounding cheesy. It's like they tapped into that, they talked about 'the nature' of something'. Reichenbach engages stream of consciousness as a means to undertake her work, she is not interested in what's fashionable right now in art circles, she is more interested in her own possible perceptions. It is this process which has led her to rediscover her own connection to nature; her own spirituality in a contemporary context.<br />
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After a residency at Bigci situated just outside of Sydney in the Blue Mountains in March this year Reichenbach became immersed in nature. In the Australian bush she made the connection between formal constructs and a personal journey. One of the defining aspects of the female artist is the struggle with the public and private. Reichenbach is looking at human relationships, sexuality, and ambivalence by focusing on the figure, the power of the body and how we relate to one another. Energy sensations and auric vision have come into play where she uses the figure as a narrative devise to convey otherworldly experiences. Here, within all the figurative work, there is a relationship to the higher being or guide and the notion that every character in the dream is a facet of the self.<br />
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The strangeness of new places can often generate an overwhelming sense of self, as Reichenbach in her own words stipulates ‘When the father leaves the room, the child steps up’.
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<br />
Meaghan Shelton<br />
Guest Reviewer<br />
<br />
19th November - 21st November 2015<br />
<a href="http://www.meaghanshelton.com.au/">www.meaghanshelton.com.au</a><br />
<a href="http://www.denisereichenbach.blogspot.com/">www.denisereichenbach.blogspot.com</a><br />
<a href="https://instagram.com/denise__reichenbach/">https://instagram.com/denise__reichenbach/</a><br />
<a href="http://www.metroarts.com.au/">www.metroarts.com.au</a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-21998742782308552232015-11-24T10:50:00.001+11:002015-11-24T13:17:43.881+11:00Gympie Regional Gallery - Artists of the Atelier<div class="separator" style="clear: both; text-align: center;">
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If identity is found through desire then the work of artist Charmaine Lyons, a self taught fine art photographer, explores this journey to the letter. ‘Artists of the Atelier’ is Lyons first solo show, marking a pinnacle in her professional career. This exhibition presents her most recent body of work undertaken over the period of the past twelve months. Her work for Artists of the Atelier is testament to the integrity of her project. Lyons views the world through the lens of the female photographer. Meticulous in her attention to detail she seeks to understand and embrace her own identity as an artist through the observation and immersion in the processes of her peers.<br />
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Lyons has specifically chosen the word ‘atelier’ over ‘studio’ for its allusion to a sense of mystery and the intrigue we hold for the artists’ work space; the inner sanctum. The experience of viewing an artists work, particularly those we are moved by often inspires awe and fascination… the wish to know more. This artist’s intrigue for other artists has led to her invitation to enter the private space of the studio of each of her muses to document their inner worlds. The collage components of the work portray the individual artist’s unique approach to their practice. It is the uniqueness and difference of each artist and their atelier which is the focus of Lyons' work.<br />
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As a photographer Lyons struggles with day-to-day portraiture and emphasises there must be an underlying, gutsy reason to take a photograph. She looks for a message behind everything she does, to take the work beyond the personal to the universal. Her focus on the process allows for the evolution in the work to show itself, rather than fixating on the outcome. It is most apparent this project has been undertaken with the utmost care and respect for her fellow artists. The honour for her subject, which this artist holds, is evident in the open countenance of each of her subjects. Be assured the artists involved would never have opened their doors as widely if this had not been the case. There is a special unspoken language between artists; much is communicated between them with just a glance. We as viewers are invited to enter this private domain.<br />
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At the outset of the project twenty-two artists were approached and photographed, Lyons’ criteria being artists who are based in the region. This artist’s intensely undertaken dedication to producing a body of work of the level of excellence presented here, has been developed via a long period of engagement. Lyons' expertise allows her to transform gruelling technical skills for editing and selecting purposes. Her use of light and attention to the formal constructs of her images at times lends an almost painterly element to the work.<br />
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Her process has resulted in the paring down of material and the honing of her concept. The language of which has been revealed to her only through her absolute surrender to her investigation. As we come face to face with the artists presented in ‘Artists of the Atelier’, intrigue leads us to wonder at the intimacy and immediacy portrayed here. Perhaps it is the artist herself made visible through her own desire for identity?<br />
<br />
Meaghan Shelton<br />
Guest Reviewer
<br />
<br />
17th November 2015 - 2nd January 2016<br />
<a href="http://www.gympie.qld.gov.au/gallery">www.gympie.qld.gov.au/gallery</a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-54814269792224862292015-11-09T11:10:00.000+11:002015-11-09T11:14:07.785+11:00Coffs Harbour Regional Gallery - The Eutick Memorial Still Life Award 2015<div class="separator" style="clear: both; text-align: center;">
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The 9th Annual Eutick Memorial Still Life Award 2015 brings still life, to life.<br />
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Varied responses to the genre create a unique semblance to the melody of still life. Sometimes symphonic, sometimes pop, a little bit of jazz and perhaps a nursery rhyme or two. Collectively they share harmonious chords, and their resonance hums in the quiet contemplation of frozen moments embedded in canvas.<br />
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There are flowers, there are dolls, there are objects of love and desire, mystery and death. Like racehorses in the Melbourne Cup the painting titles convey a stratum of cognition - 'Happy Whale Interior' ; Pantone Belief System'; 'The history of how contemporary art saved the world part 1, still life with flowers, iPhone and a hare'; 'The Fragility of Dreams'; 'Still life cloud arrangement'(sixtoeight guest reviewer Bernadette Trela); 'Maelstrom'; 'Heartland; 'The Conversation’ - and the winning title - 'Instant Crush'.<br />
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Yes the Winner of the 2015 EMSLA is Jonathan Crowther, with 'Instant Crush'. It is an oil painting with a dimension of 183 x 137 cm, and is of a crushed instant takeaway container.
"What was made for a purpose became discarded, no longer useful. It was found, given a new purpose and the cycle of life continues", the artist statement cites.<br />
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Art Critic John McDonald and Director of the Grafton Regional Gallery Jude McBean were the esteemed judges. In announcing the winner John told the anticipatory crowd that the decision was not easy, but the painting kept drawing them back, and the decision was made.<br />
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Like the drapes and folds of table linens from times before, the crumpled remnant of our disposable and restless life has become a symbol for stillness, serenity, beauty and contemplation.
And so it is.<br />
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A painting of excellent technicality and dimensional reality, it's composition is tonally calming and harmonious. As a chord it is a C minor, carrying past joy with a helping of melancholia. As the name of a racehorse, Instant Crush, it is a favourite.
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As the 2015 Winner of the EMSLA it is resplendent. Congratulations Jonathan Crowther!<br />
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The prize for Best Regional Artist was given to Polly Wells, 'Indigo and Lemons'.<br />
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A Highly Commended was given to Peter O'Doherty for 'In the Sink'.<br />
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The EMSLA is a festival of not only still life, but also of fine musical and vocal performances held in the Gallery during the weekend.<br />
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A very worthy exhibition, visitation highly recommended.<br />
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Until next time,
Happy Art Loving
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Tammy Mills-Thom<br />
Guest Reviewer<br />
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<a href="http://www.coffsharbour.nsw.gov.au/">www.coffsharbour.nsw.gov.au</a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0tag:blogger.com,1999:blog-1586737670273238017.post-18814827247329386962015-10-09T22:33:00.000+11:002015-10-09T22:33:09.254+11:00The Hughes Gallery - Nick Collerson<div class="separator" style="clear: both; text-align: center;">
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Currently on at the Hughes Gallery is Nick Collerson’s latest outing “Everything Must Go”<br />
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Collerson is an instinctive, compulsive painter and drawer who is currently a lecturer at the National Art School. He practices Vipassana Meditation, dabbles in music and poetry and is a certified skateboard nut. Worth mentioning because his surroundings, history and street culture essentially inform his work.<br />
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It is in Collerson’s urban sensibilities that find humour and sophistication within cult movies, alternate music as well as expressionist figurative art. The sensitivity to all of these observations contributes to the peripheral view imagery in his painting. The everyday quirky scenes evoke unrelated memories, not necessarily our own, by subliminal association.<br />
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The freshness of his work comes from the palpable sense of allowing the painting to lead him, responding in the moment and not relying on a formula of any sort. The paintings feel right, intentionally mixing ordinary domestic scenes, occasional pop culture references and continually surprising at each corner with unpredictable context. Some of the spare tonal compositions like ‘Freezer’ and ‘Drain’ were highlights for me.<br />
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The paint is thin, translucent and unfussed with elaborate detail giving the works a sense of immediacy. He has developed a definable style that combines at times obscure narrative with a strong formal structure. “Everything Must Go” continues till the 27th of October at the Hughes Gallery.<br />
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Glenn Locklee<br />
Guest Reviewer<br />
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1st October - 27th October 2015<br />
<a href="http://www.rayhughesgallery.com/">www.rayhughesgallery.com</a>Anonymoushttp://www.blogger.com/profile/06530228076309791844noreply@blogger.com0