arts zine sept 2015
DESCRIPTION
Arts & Literary online magazine, featuring artists & writers interviews, exhibitions, poetry, essays and art news.TRANSCRIPT
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E arts zine issue 12 september 2015
EDITOR
Robyn Stanton Werkhoven
CONTRIBUTORS
Susana Enriquez Carlin McLellan
Edmond Thommen Brad Evans
Ahn Wells David Graham
Leslie Duffin Magdalena Ball
Shirley Cameron Roberts Damien Passmore
Marika Osmotherly Eric Werkhoven
Dane Tobias Robyn Werkhoven
Ann Sutherland
slp studio la primitive
Above: Detail - Efrain, Huerta’s poem - Susana Enriquez © 2015
Front Cover : Perplexit - Susana Enriquez © 2015
Please do not copy articles in this magazine without written permission
of the Editor. Copyright © 2014 Studio La Primitive, All rights reserved.
Index………………………………………………… 3
Editorial………………… Robyn Werkhoven 4
SLP Antics………... E&R Werkhoven 5
Featured Artist ………… Susana Enriquez 6 - 21
Poet………………………Magdalena Ball 22 - 25
Featured Artist…………..Edmond Thommen 26 - 47
Poem…………………… David Graham 48 - 49
Not News……………… Nigel Nerd 50 - 51
Artist…………………… Shirley Cameron Roberts 52 - 57
Artist……………………. Marika Osmotherly 58 - 63
Author………………….. Damien Passmore 64 - 69
Essay………………… Eric Werkhoven 70 - 71
Artist / gallery………….. Leslie Duffin 72 - 81
Poetry………………….. Carlin McLellan 82 - 83
Architecture Latvia……...Lorraine Fildes 84 - 101
Poetry……………………Brad Evans 102 - 103
Artist…………………… Dane Tobias 104 - 107
Adornment - WILD ……..Ann Sutherland 108 - 131
Artist / gallery……………Ahn Wells 132 - 137
Exhibition……………… Back to Back Gallery 138 - 139
ART News……………….. 140 - 149
Back Cover…………… Edmond Thommen 150
Je Adore la Fille de Fleur - Edmond Thommen © 2014
Issue 12 - Sept. 2015 3
EDITORIAL Greetings to all our ARTS ZINE readers, and SLP would like to thank all contributors .
The September / October issue 12 of ARTS ZINE includes interviews with nationally and internationally recognised
painter Susana Enriquez and photographer Edmond Thommen.
We are featuring interviews with writers and gallery directors.
Author Damien Passmore talks about his life and book Premortal.
Writer/poet Magdalena Ball joins the Zine this month, check out her Compulsive Reader blog.
Artists and gallery directors, Ahn Wells and Leslie Duffin, tell us about their art practice and why they chose to open art
galleries.
Lorraine Fildes presents a delightful article on Art Nouveau Architecture in Riga, Latvia.
Our intrepid interviewer Nigel Nerd has been and luckily returned from North Korea after an audience with Kim Pong-un.
Don’t miss reading our new essays, poetry, art news and information on forthcoming exhibitions.
The ARTS ZINE features professional Hunter Valley, national and international visual artists poets and writers, glimpses
into their world of art and their creative processes.
Submissions welcomed, we would love to have your words and art works in future editions in 2015 and 2016.
Deadline for articles - October15th for Nov/Dec issue.
Email: [email protected] Regards - your editor Robyn Werkhoven
Issue 12 - Sept. 2015 4
STUDIO LA PRIMITIVE (C)2015 - ANTICS by E&R Werkhoven collaborative drawings www.studiolaprimitive.net
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Issue 12 - Sept. 2015 5
SUSANA ENRIQUEZ Issue 12 - Sept. 2015 6
SUSANA ENRIQUEZ - INTERVIEW
BACKGROUND:
“I was born and bred in Mexico city.
The fondest memories of my childhood are visiting my grandmother in her farm, in a green valley in the cen-
tral part of Mexico, where we used to spend holidays when we were very young. Later on, as teenagers we
spent our holidays in Acapulco, a city on the Pacific Ocean. I was an introverted child so I enjoyed very
much just to contemplate nature, I filled my memory with green valleys and the ocean. The contact with
both landscapes left a mark on me.
Between the desire to be an artist, ones destiny and reality, countless contradictions are established.
The first memories I have of myself are singing, I was about five years old when I began to sing a full song,
my father used to record my voice as soon as I began to sing, that is how I knew later that I was always
singing. Since that age I remember that I was fascinated by classical music, I thought that the musicians
were angels…wondering how they could produce such marvellous sounds with those objects (instruments).
I always wanted to be a musician. At the first opportunity in primary school I became part of the choir all
the way till secondary school. I enrolled at the music school at seventeen, studying transverse flute and
percussions.”
Opposite page: Candlelight - © 2014 Susana Enriquez Issue 12 - Sept. 2015 7
Homenaje a Bartok Susana Enriquez © 2015
Issue 12 - Sept. 2015 8
“When I was a little girl I liked to draw, but I had a bad experience in my first year at school: I was six years
old, I remember I always drew while the teacher was talking. One day, I did not notice that she was walking
towards me while I was doing my drawings; she stood next to me and yelled! I closed the notebook, she
took it, opened it, and then she put a big cross on my drawings and hit the palm of my hands with a
ruler….”this way you will learn to pay attention in class” since that day I stopped drawing….until I went to
Berlin, where I used to do sketches at the museum.
I became a member of the School of Music Percussion Players Group and I began to be part of the concert
community, not very glamorous to be playing the bass drum and the triangle at the beginning, but I was
happy playing in a band, which was dedicated to play contemporary concert music.
In this period being a music student, I realised that I could see colours when I was listening to music, I
though that everybody could see them as I did.
Mexican composer and violin player, Manuel Enríquez, he was one of the top musicians, very well known in
Mexico. I was a music student when I met my late husband, so I felt overwhelmed to be with such a nice
musician and I felt insecure as a music performer, so I began to think about giving up music.
At that time my late husband won a grant as a composer to live in West Berlin for six months in 1982. There,
I began to study the German language and spending all my time visiting museums in west and East Berlin, I
think it was at that moment when I fell in love with painting. I began to read about art history and I wanted
to paint.”
Issue 12 - Sept. 2015 9
Quo vadis
Oil on canvas
Susana Enriquez
© 2011
Issue 12 - Sept. 2015 10
“After one year in Europe we went back to Mexico and I changed from the music school to the Drama and
Literature Faculty at the National University, I was there for one year. But I wanted to learn about art history
and painting. I applied to the National Art School at the University and I was accepted. After five years I got
a bachelor degree in Visual Arts Majoring in Painting and Printmaking.
In the art school I was lucky to be close to one of the most knowledgeable men in painting techniques, the
renowned Mexican-Japanese artist, Luis Nishizawa. For one year I was his assistant at the painting tech-
niques class. He taught me all the traditional painting techniques such as the Venetian, the Flemish, as
well as the use and preparations of different egg tempera painting as it was used in the antiquity. I also
learnt the encaustic technique and all the steps to prepare different groundings, for your wood support or
canvas; different recipes to get different textures and flexibility. This artist who passed away last year at
ninety-three years old, he was the last master who knew and taught all these classic painting techniques
“the kitchen of painting” as he used to say…
In 1991 my late husband was invited as visiting professor at UCLA, University of California in Los Angeles,
where I enrolled for six months in a figurative painting course.
In 1998 I got a master degree in painting from the Mexico National University UNAM.
In 2001, I came to Australia with two international scholarships to obtain a PhD degree in Fine Arts, which I
got in 2006.”
Issue 12 - Sept. 2015 11
Intromission
Susana Enriquez
© 2014
Issue 12 - Sept. 2015 12
“My abstract painting moves between subtle and dramatic, between action painting and dripping, however
the accident and the spontaneous gesture are combined with a well planned idea where all formal elements
will meet; sometimes those spontaneous accidents culminate in complex structures of form and colour.
In my work I connect the worlds of colours and music.
My painting is always a journey into oneself; a journey in which the composition of a painting comprises a
series of experiences of different hues, reflecting falls, mistakes, successes and uncertainty that lead to a
lifelong quest.
In my work, the configuration of a composition is based on mental images that serve as a basis on which
elements of rhythm, colour, structures and sometimes symbols reveal to the observer the spiritual life of the
creator and a predisposition to an honest and thoughtful state of mind.
In the making of the painting, the technique is very important to me.
Since I was young I learnt to keep all emotions inside me; with painting I discovered I was able to express
myself and to free my spirit. Painting is the best companion even in the worst solitude. Painting saved me
from depression.”
Describe your work:
Issue 12 - Sept. 2015 13
Introspection
Susana Enriquez
© 2014
Issue 12 - Sept. 2015 14
What inspires you?
“Dreaming, because observing your dreams is a path of discovery.
In a concrete way I would say; what inspire me is: My personal experiences, the music, colours of nature,
poetry, but over all listening concert music.”
Name your greatest achievement exhibition:
“My exhibition at the University of Newcastle gallery, to obtain my PhD degree - 1996
The exhibition at the Modern Art Museum in Toluca, MUARMO 2011
The photographic portrait exhibition and launch of my book Migration: Identity and Memory, in Sydney,
Australia - 2014
And finally, to have been selected as part of an exhibition called Latin-American Masters of Imagination in
New York city, in a commercial gallery in Chelsea this year. September 2015.”
Issue 12 - Sept. 2015 15
Motionless in the
Light but Dancing.
Susana Enriquez
© 2014
Issue 12 - Sept. 2015 16
What are you presently working on?
“At the moment we are living in France and I do not have a proper studio to work, therefore I have been
reading books about art and XX century artists that I had been wanting to read, but no time to do so. I just
began to do small paintings, drawings and sketches of ideas for future projects, One of those is about
Monet gardens.
At the end of July I will be in Venice to visit the Venice Biennale as well as the Botegga del Tintoretto where
I will do an intensive workshop in drawing and watercolour, which is just the excuse to know the organiza-
tion of this Printmaking workshop and gallery run by artists.”
Your future aspirations with your work?
“I wish my art activity would not end just as a “nice” object… As an artist I want that my work reflects the
actual time I am living, expressing experiences of different hues that we all live: reflecting falls, mistakes,
successes and uncertainty.
On the other hand I would like very much to use my knowledge of painting techniques to teach young art
students. Also, I would like to help in our community with art making therapy, for instance, working with
children with cancer. Last, but not least, to be able to sell my artwork in a good market.”
- Susana Enriquez © 2015
Issue 12 - Sept. 2015 17
Spring Light
Susana Enriquez
© 2014
Issue 12 - Sept. 2015 18
Resonancia II
Susana Enriquez
© 2014
Issue 12 - Sept. 2015 19
Sunset Reflections
Susana Enriquez
© 2015
Issue 12 - Sept. 2015 20
Forthcoming Exhibitions:
Latin American masters of Imagination - New York. September 2015
www.agora-gallery.com/invite/Susana_Enriquez.aspx
Little treasures - Boloña, Italia: - October Nov.2015
Modern Art Museum Toluca, Mexico MUARMO 2016
http://susanaenriquezart.com/english/
Issue 12 - Sept. 2015 21
MAGDALENA BALL
Background Notes:
Magdalena Ball was born in New York City, where she grew up. After gaining an honours degree in English
Literature from the City University of New York (CCNY), she moved to Oxford to study English Literature at
a postgraduate level. After a brief return to the US, she then migrated to NSW Australia, where she now re-
sides on a rural property with her husband and three children. While in Australia she received a Masters de-
gree in Business from Charles Sturt University and a Marketing degree from the University of Newcastle.
Magdalena runs the well respected review site The Compulsive Reader.
Magdalena Ball is the poetry and fiction editor of the Compulsive Reader compulsivereader.com. She is
the author of several novels (Black Cow, Sleep Before Evening), poetry books and chapbooks
(Repulsion Thrust, Quark Soup, Sublime Planet), and a nonfiction book (The Art of Assessment). Her work
has been shortlisted for a number of poetry and fiction awards, translated into several languages and she
has been involved in a number of anthologies and collaborations.
Find out more about Magdalena at www.magdalenaball.com.
Issue 12 - Sept. 2015 23
Dark Matter Wants to be Alone
Magdalena Ball
How far would you go
In the darkness
slowly towards the end of the road
where the path splits
to parallel lines, one leading away
beckoning towards
somewhere icy and free
the other crunching leaves beneath
bare feet
bird songs you recognise
smells to say
you’re heading home.
Is it wrong to want warmth
to choose the safer route
stuttered into paralysis
a quiet so deep it cancels thought
reaching for stolen protection
butter knife and china plate
the mother-urge; motherlode
and everything that pulls
like gravity, against
your resisting body.
Issue 12 - Sept. 2015 24
Relief comes in bursts of sunlight
short-lived, curated, absorbed
and lost, returning again to
this fork in the road.
The solemn unknown
inferred rather than observed
sliding invisibly, exerting
the slightest of pressures
molecules interact with air
night breeze sinks against rising
heat
isolation’s hidden valley
reaching into the silence
to touch those spaces
that remain open, bleeding
an animation visible only
through its missing electrical charge.
As dark matter’s mysterious ghost
I inhabit two worlds
feed two hearts, hedging bets
just in case one proves to be real
the beater; the keeper.
Madalena Ball © 2015
Issue 12 - Sept. 2015 25
EDMOND THOMMEN
Issue 12 - Sept. 2015 26
EDMOND THOMMEN
Swiss born photographic artist and designer living in Sydney.
“I have always had an interest in creating fascinating blends of body shapes with naturally
organic and man made elements, starting with compositing black & white negatives in the
darkroom.
Today I embrace the best in computer software, self publishing products, museum-grade print
technology and custom framing materials to realise the best possible output from these images.
I have spent over 30 years as a professional graphic designer, which has helped me to achieve
creative and intriguing works with my blended nude images.”
Opposite page : Tortured by Confusion & Indecision - Edmond Thommen © 2014
Issue 12 - Sept. 2015 27
EDMOND THOMMEN - INTERVIEW
BACKGROUND:
“Growing up in Switzerland in the 60’s with their world famous graphic poster and design background must
have had some influence on me. I still have quite a large collection of graphic and advertising posters from
those times.
Arriving in Sydney with my parents in 1969 and finishing school in a foreign country with a foreign language
presented itself with many, mostly positive, challenges.
During the HSC year, I spent most time in the library going through all the Graphics and Photographic
books available.
After school I went to art school to study 4 year full time Graphic Design, which also involved my favourite
subject, photography.
After college I started freelancing in various Art Studios eventually ending up with my own Art Studio.
During those times I used my photography skills more in the advertising field, but always in the background
shooting art nude models and textures to create my ‘blended nudes’.”
Issue 12 - Sept. 2015 28
‘mujer espumoso’ Edmond Thommen © 2015
Issue 12 - Sept. 2015 29
When did your artistic passion begin? “I started with the visual concept of blending art nude poses with textured background( blended nudes) in
1975 @ Art College.
My career as a graphic designer took precedence over my photographic art ambitions, it also paid the bills
with a wife (Gaby) & 2 boys (Oliver & Daniel).
I loved going through all kind of photo books & graphic/photographic artists & designers for inspirations
but , always came back to creating my own type of blending of various man made & natural elements, in
pre computer/digital times all this work was done in the darkroom with black & white negatives and lots of
guesswork.
The digital age has permitted me to create a piece of photographic art from the idea to the finished work
much the way I imagined and more accurately.”
Issue 12 - Sept. 2015 30
Mistress of the Ashes.
Edmond Thommen
(C)2015
Issue 12 - Sept. 2015 31
My Naked Form Unseen
Edmond Thommen
© 2015
Issue 12 - Sept. 2015 32
Describe your work?
“I describe myself first, and foremost, as a Photographic Artist. For me the magic starts with the camera and
the images created.
My artistic expression is a testament to years of careful observation in photography, composition, lighting
and design. My skill-set allows me to work with light and shades, play with compositions and absorb these
into new creations.
The female figure forms the basis of my photographic artworks. They may soften or highlight the body’s
outline by blending it into several layers of images I superimpose on the figure. Sometimes the figure seems
to disappear behind a barrage of organic materials or man - made structures - until the viewer’s
eyes start to actively search for the lines that in his or her mind “must be there” behind the scene.
(see google search: blended nudes).
The work is “layered” and is visually and intellectually demanding on the viewer to find the form. In doing so,
viewers delve beyond the surface. Indeed, my photographic artworks encourage us to look; and, if we look
properly, ‘to see.’ “
Issue 12 - Sept. 2015 33
Otra Hoja Verde
Sensual
Edmond Thommen
© 2015
Issue 12 - Sept. 2015 34
“As one newcomer to my work stated: “I don't usually pay that much attention to this kind of art but this
makes me want to stop and look at it until I think I’ve seen every detail and every possible meaning”.
I have captured an amazing array of images over the years, images I use to find new expressions of an old
theme, the female body. I apply these images, sometimes to highlight, sometimes to protect her from view,
depending on my mood when developing the photographic piece of art. The viewers’ impression may also
change, depending on their mood when examining the particular artwork.
To me the camera is a means to an end. In the same way that painters use acrylics or oils, or sculptors use
marble or steel. I employ the camera as part of my artistic practice.
To be unique in the art world involves an unflinching commitment to one’ own visual language.
Issue 12 - Sept. 2015 35
Dark Red Skin like a
Blushing Bride
Edmond Thommen
© 2014
Issue 12 - Sept. 2015 36
From an introductory speech about my work.
“ The visual language that Edmond has derived is born not just from his unique sense of aesthetic, but from
a genuine passion for his subject matter, as well as what I see as his intellectual rigor – to constantly
explore ways to unite the alluring elements of the female form with the most unlikely of textured surfaces:
wood, recycled steel, broken concrete, graffiti, lichen covered granite, windblown leaves, even, for
goodness sakes – octopus tentacles!!!.... Incongruous in theory but compelling beautiful within the process
of Edmond’s unique ‘artistic practice’.
One of my many followers on social network sites & art sites once described what I do in the following
terms: ‘'His vision crosses over between photography, painting, and graphics to form wonderful new
expressions.'
I though this one sentence sums up my practice pretty accurately.”
Issue 12 - Sept. 2015 37
What inspires you?
“ Inspiration is all around me, but usually I see textures wherever I go, contacts with steel recycling plants,
decaying industrial sites, nature’s textures, whether it be a rock surface or tree trunks, when I see the ‘right’
texture I already envisage a pose that might suit that texture as background or foreground. The same goes
for the art nude poses, most of the time I have the 2 elements that make up the final ‘blend’ in my mind.
Then when it comes up on my desktop the idea either works or it doesn’t. Sometimes with some refinement
the work can be achieved with adding other software to achieve what I have in my mind.
Other artists can inspire by creating collaborative works with them. I also like to create ‘blended nudes’ with
themes such as a series only involving leaves/ wet leaves/ autumn leaves etc. or only rock surface which
can distort the many art nude poses quite amazingly.
I’m working on a series with street glass tiles and another with musical instruments.
I get inspired by a friends poetry Mariko Gray) and, with her permission, and I use her words to bring mean-
ing and an explanation to some of my works. “
Issue 12 - Sept. 2015 38
Set Free my Darkest
Wishes
Edmond Thommen
© 2014
Issue 12 - Sept. 2015 39
Name your greatest achievement, exhibitions?
Holding 2 Solo Exhibitions and selling limited editions and unique editions of my photographic art on
different sizes and materials (Dec 2012 to march 2013 and June 2015) is great for the experience of having
a go at showing my work to a wider audience, also a great exercise in the business side of being a photo-
graphic artist such as marketing and public relations, media coverage and getting professionally written
blurb about yourself.
Having one of my images as semi finalist in the Doug Moran Photographic competition in 2012, being a
finalist in the Waverley Art Prize 2012,2013, 2014. Semi finalist Head On Photo Festival 2012 and
numerous Group Exhibitions (Blackheath in June 2015).
What are you working on at present?
Being part of a Group Show coming up in Rome, Italy in November 2015.
Having my portrait painted by artist Brad Robson for the Archibald Prize 2015 was an interesting creative
collaboration.
Being part of another Group Show ‘Swiss+Oz Art Expo at the Bondi Pavilion in November 2015.
Issue 12 - Sept. 2015 40
Meluxine Humide
(Wet Meluxine)
Edmond Thommen
© 2015
Issue 12 - Sept. 2015 41
Your future aspirations with your art? “Continuing being recognised as a photographic artist with his own unique art practice and style, that of
‘blended nudes’. (Already being recognised when you google the term or my name).
Showing my work is on numerous art websites, including my own @ thommenart.com.au, and such sites as
Saatchi online, be hance, Artstack.
Through social art, business networking sites (Facebook, Linkedin, Instagram, my photographic art can be
spread all over the word (as of June 2015 followers from about 45 countries see my work on a regular
basis. I enjoy the interaction with people from around the globe.
My work can also be seen and purchased at the Art2Muse Gallery site
http://art2muse.com.au/gallery/edmond-thommen
I also self publish my work on blurb http://www.blurb.com/user/store/etdesigns
I’m also planning more Solo exhibitions, always aiming to eventually being shown at a highly respected
Gallery anywhere in the world. “ - Edmond Thommen © 2015
Issue 12 - Sept. 2015 42
Le Violin de Brad avec
des Feuilles.
Edmond Thommen
© 2015
Issue 12 - Sept. 2015 43
An Unbearable Silence - Edmond Thommen © 2015
Issue 12 - Sept. 2015 44
Autumn Leaves #24 - Edmond Thommen © 2015
Issue 12 - Sept. 2015 45
Autumn Leaves Series
Edmond Thommen
© 2014
Issue 12 - Sept. 2015 46
www.thommenart.com.au
The Shadows draw me in - Edmond Thommen © 2014
Issue 12 - Sept. 2015 47
The lady with the dulcimer A damsel with a dulcimer In a vision once I saw: (Coleridge, Kubla Khan)
The lady with the dulcimer
idly strums the strings,
staring at the stream go by
and watching what it brings.
She’s thinking of an old time love
longing for his beard,
his matted hair and flashing eyes –
the one all must fear.
The night he died, the naiads say,
the moon was silver-blue
and without a trace he was absorbed
into the river’s hue.
Issue 12 - Sept. 2015 48
The maiden sings to that same moon
reflected in the stream
in the shadow of the pleasure dome
lost in lonesome dreams.
Swimming in the watery deeps
Enbilulu hears her cries,
reminded of the one he loved
who left him for the skies.
He rises to the river’s edge
as a roaring wave.
The maiden starts in mortal fear,
falling to her grave,
plunged into the watery depths,
sinking deeper down.
The water closes on her chest
pressing ‘til she drowned
and once she lost her mortal light
he took her to the land
where submarinal fires burn bright
upon the pure white sand.
Back on the shore the dulcimer lies.
Its strings kiss the dew.
Longing for the maid it loves
that the river slew.
- David Graham © 2015
Issue 12 - Sept. 2015 49
“I knew that ARTZINE had become world famous but I was surprised to receive an invitation to visit North
Korea and meet the supreme leader – Kim Pong-un (locally known as Pong).
In an exclusive interview Pong explained that he was the leading art patron in his country, with North
Korean artists specializing in portraits and sculptures. “Artists need direction, said Pong, and we have
more than 50,000 artists at work. They all produce portraits and sculptures of their supreme leader. No
other image is permitted. I have a committee of military men who approve each artistic production and
arrange for them to be exhibited in halls specially built on top of hills and mountains throughout my
country.”
NOT NEWS by NIGEL NERD
Issue 12 - Sept. 2015 50
Nigel asked what happens if a portrait and/or sculpture is deemed unsuitable.
“They are then all eliminated” replied Pong. “Both portrait and sculpture?” asked Nigel.
“No, both portrait and sculpture and the artists concerned.”
“Pong went on to say that he believed in sustainable art development and display. Each state sponsored
artist gets a bowl of porridge a day, while the display hall building workers get half a bowl a day. “We only
do what we can afford, as our military arms output takes priority, as I am sure you will understand.”
“Yes, yes”, said Nigel hurriedly, for the guards surrounding Pong’s large raised throne like chair were
waving their sub-machine guns about, and Nigel was getting nervous.
Nigel asked if North Korea exported art. Pong said “it was difficult to find export shipping space, particularly
as the nation’s main ship, PONG SU (named after his sister) had been impounded in Australia some years
ago as a result of some ridiculous claims that the vessel had been carrying drugs. You come from Australia,
I believe.” Nigel began to feel nervous again.
On leaving the country Nigel marvelled at the powerful Pong. Nigel also marvelled that he was able to get
out of North Korea alive.”
- Nigel Nerd © 2015
Issue 12 - Sept. 2015 51
SHIRLEY CAMERON ROBERTS
Refuge
ART SYSTEMS WICKHAM
OCT 23 to NOV 1 2015
N-
For the Surefooted (detail)
Issue 12 - Sept. 2015 52
TREES
What am I doing?
Where am I going?
Is it aimless?
TREES
Limbs reaching - all encompassing
Homes for birds and myriads of insects
Nectar for bees
Bark for nests
Camouflage!
Playgrounds for possums
Shade in summer heat
Fuel for the fire in winter
Timber for homes
Something to climb if you are young or agile
Beautiful or awkward
Weeping or twisted
Leaves – narrow, squat, gnawed
Food for some, homes for others
This is the material of my work.
My home
The sweep of the landscape
A refuge and diversion
A love of trees!
Shirley Cameron-Roberts © August 2015
Issue 12 - Sept. 2015 53
Nightfall #3 - Shirley Cameron Roberts © 2015
Issue 12 - Sept. 2015 54
Shirley Cameron Roberts
BIOGRAPHY:
Shirley Cameron-Roberts has been exhibiting her work since1988 when she left a career in management
and accounting to pursue a lifelong love of drawing and painting. Initially her work and exhibitions were
concerned with the human form and relationships. Then in 1999 she began to explore the natural world
through portrayal of the landscape and the creatures that are part of it. Her subsequent environmental work
has been greatly influenced by her early years on a wheat and sheep property on the Murray River at
Boundary Bend in Victoria. She has had twenty-one solo and five joint exhibitions and been included in
numerous group and selective exhibitions. Collections include the Art Gallery Collection, the University of
Newcastle, the Maitland Regional Gallery and the Swan Hill Regional Art Gallery. Her work is held in many
private collections.
www.shirleycameron-roberts.com
Issue 12 - Sept. 2015 55
Banksia (detail) - Shirley Cameron Roberts © 2015
Issue 12 - Sept. 2015 56
Shirley Cameron Roberts - Artist Statement.
“As a child, in times of trouble, I would seek out the shade of the river red gums on the bank of the Murray
River. Sitting on the large twisted roots you could observe the blue wrens flitting about in the lignum and
listen to the warble of a magpie in the tree’s canopy. It always helped. Somehow seeing other creatures
going about their daily life made me feel I could cope with my problems.
It was my father who taught me to love and care for trees. He had worked in the Gippsland forests as a
young man and was granted a Soldier Settlement property when he returned from WW1. We were lucky
that the property’s northern border was situated on a very beautiful stretch of the Murray River with its
magnificent river red gums. In working the land my father knew that the trees should be conserved and
treated with respect. He had to cut down some to make a living but he was very careful and selective about
the trees he felled and in those days it was manual work and not so destructive as modern mechanized
methods.
I still live in the country. Now I am surrounded by gently rolling lightly wooded hills not far from rainforest in
the Hunter Region of NSW. The trees are varied, magnificent and an inspiration for my painting. The past
year has been very difficult for me. My husband and love of my life, the painter Brian Roberts, died in
January from pancreatic cancer. It did not surprise me that as I started painting for this exhibition, with no
conscious intent on my part, trees became the most important element in the new works. Just as they
helped me deal with difficult problems as a child now each day as I walk from the house to the studio I find
great comfort in the beauty of the trees and the creatures that depend on them.”
- Shirley Cameron Roberts © 2015
Issue 12 - Sept. 2015 57
MARIKA OSMOTHERLY
CATHARSIS
ART SYSTEMS WICKHAM OCT 23 to NOV 1 2015
Issue 12 - Sept. 2015 58
MARIKA OSMOTHERLY
Biography:
Marika Osmotherly was born and raised in the Netherlands. After finishing her Bachelor of Science in
Amsterdam, she moved to the U.K. in 1988 where she practiced as a physiotherapist for 6 years. In 1994
she migrated to Australia and settled in Newcastle, NSW. After taking time out to raise her two daughters,
she commenced her undergraduate studies in Fine Art at the University of Newcastle in 2001. Her practice
initially consisted of figurative sculpture but during her postgraduate studies she started to develop an
interest in philosophy, with particular focus on phenomenology and the sublime as elements of her
expression of existential angst.
Marika finished her postgraduate degree (Master of Philosophy) in 2013 and she was employed as a casual
academic at the University of Newcastle in the discipline of sculpture from 2009 - 2013.
She exhibits both nationally and internationally.
http://www.marikaosmotherly.com/
https://www.facebook.com/marikaosmotherlyartist
Issue 12 - Sept. 2015 59
Sculpture detail - Marika Osmotherly © 2015
Issue 12 - Sept. 2015 60
Studio practice:
“My studio practice is based on some intensely personal events that have influenced my life to a great
extent in recent years. After the death of one of my closest friends and the fallout of a partner’s major
illness, my interest has been drawn to the philosophical premise of the fragile human condition and the
attempt for us as human beings to overcome our feelings of fragility and insignificance. I explore the
importance and relevance of existence on a personal level, not just from a migrant’s point of view in one
place or another, but more so in an existential sense. The aim of my studio practice is to communicate the
metaphysical notion of human existential significance or lack thereof and to translate this into
three-dimensional form. ‘Lightness of Being’ was the title of my 2013 research thesis, and this concept still
resonates with me now.
My practice mainly consists of sculpture, but I regularly use drawing, painting and photography as a
supportive medium and to document work done in the field. Since my early days as a practising artist I have
been preoccupied with the human form, which relates directly to my previous career as a physiotherapist.
My investigations into the existential, conceptual and literal notions of weight and lightness and the way
these concepts impact on our life, have translated into human figures that carry various loads. Recently
these figures have partially transformed and grown imperfect wings. A more abstract expression of the
same concept has also evolved from these figures. “ - Marika Osmotherly © 2015
Issue 12 - Sept. 2015 61
Sculpture detail - Marika Osmotherly © 2015
Issue 12 - Sept. 2015 62
Issue 12 - Sept. 2015 63
DAMIEN PASSMORE - Author
INTERVIEW
“I was born in Durban, South Africa my family and I
emigrated to the northern beaches of Sydney when I
was four years old. Ever since that time I've lived
within two hours of Sydney and currently I reside
with my wife and four children in the Hunter Valley.
Writing a novel was not something that I always
wanted to do, occupying an ever present place upon
my personal bucket list. Rather, the impression to
write a book came upon me all of a sudden and it
felt as though it was something that I simply must
do.
I think it is just as well that the impression came to
me in that manner as I'm not sure that 'I might write
a novel' or 'I'd like to write a novel' would have been
sufficient to bring me to this point.”
Issue 12 - Sept. 2015 64
“My occupation as a financial adviser was by no
means a natural breeding ground for authors.
However, a love of reading and of books, coupled
with business writing and the composition of
professional articles did at least prove semi fertile
soil.
Ever since devouring 'The Hobbit' and 'Lord of the
Rings' in my early teens, my favourite genre has
always been fantasy fiction and it seemed natural to
commence my writing in a genre that I felt so
passionate about.
The plot of 'Premortal' captures a classic struggle
between good and evil and is based on the idea that
the beginning of 'life' for each of us was not the point
of our mortal birth. Rather, we had a whole other
existence prior to that time, one that we have no
recollection of at all, but which was crucial to our
future on earth.” Character: Dujas
Issue 12 - Sept. 2015 65
Character: Sarah Character: Jezebel
Issue 12 - Sept. 2015 66
I'm afraid that I cannot lay claim to the exquisite cover artwork. Although art is not a talent of mine, the
cover, and also the wonderful character artwork featured on the website premortal.net, constitute a
key component of the overall marketing strategy for the premortal series. Utilising the skills of talented
graphic designers, I was able to capture in these designs the light versus darkness theme that is so crucial
to the series, as well as presenting a visual of the major characters to my readers.
My vision from the outset has been not only to entertain but also to deliver a message and experience to
the reader. As so many of us prefer to take in information visually, the artwork is critical to delivering that
message and experience.
Once the novel was published, I thought that I might enter a few competitions to see how well the book
stood up to a review by independent judges. The feedback that I'd received from family and friends had
been positive, but you never know if they are simply being kind. Accordingly, I entered the novel in the
fantasy fiction division of the 'Los Angeles Book Festival'. Certainly I was hopeful, but I didn't really know
what to expect in my first competition and was absolutely thrilled to receive an 'honourable mention' in an
international book festival of that calibre.
Issue 12 - Sept. 2015 67
This initial success inspired me to enter several other
international book competitions and I'm grateful to
say that after a series of 'honourable mentions' I was
thrilled to take out the fantasy fiction division of San
Francisco's 'Beach Book Festival'.
'Premortal' is the first of five books in the premortal
series and presently I'm working on the second novel
in the series (The Fall) which will be released next
year.
At present my sole vision for my future writing career
lies in the completion of the five novels in the series.
Beyond that I've thought of potentially preparing the
series for screen or even a musical (a lofty goal for
someone who still has a lot to learn about music).
Whether my writing career continues beyond the
premortal series remains to be seen. Certainly
though, I'm enjoying the journey thus far! Character: Ethan
Issue 12 - Sept. 2015 68
ESSAY - ERIC WERKHOVEN (c) 2015
Folded over each other, wrapped up over each other.
We are there for each other, longing to be re united.
The light of the betrothed one, who speaks for us all.
What kind of songs will you be singing this morning?
Perhaps or less undoubtedly so, do we pass this time now.
To stand there on the bridge, engaged in checking the instruments,
from within the bowels of this vessel
Our bodies roll over to one side.
Where we may welcome you personally and seek to talk to you.
The will undoubtedly tainted by the choices and decisions we have made.
And then back to the plank, the scaffolding, the corridors, the work bench, the bureau,
to specifically ask for a window view, if we are to be chained, but not gagged.
Slaves to the system of no return, we welcome you personally.
Have you been here before, have you sat in that seat?
Have you been fully inducted, given the green light by your superiors?
Issue 12 - Sept. 2015 70
The fragrance of the morning, in Spring, that joyful light step.
When we feel nothing is impossible, as if for one moment we
can walk the other way.
As if we walk along this split plank, as if our bodies have disintegrated,
becoming not just one, but multiple breathing particles.
And all in due time, will be explained in simple laymen terms,
to take us through the whole procedure again and again.
In the end we will turn summersaults, in the end our dreaming will be reality
and reality will embrace our dreams and visions.
Tell me what has changed?
Tell me what has finally come through and gained
from deep within itself - compassion?
Yes extreme caution to tread lightly, in creating a mandate for change.
So tell me has that dialogue not shifted from the usual mooring?
- Eric Werkhoven © 2015
Issue 12 - Sept. 2015 71
FINITE GALLERY INTERVIEW - LESLIE DUFFIN, Artist and Gallery Director
Issue 12 - Sept. 2015 72
LESLIE DUFFIN - INTERVIEW
BACKGROUND:
“I grew up in Warner’s Bay, and except for a short period while studying, have always lived in Newcastle.
My father, Neil Stein, is an artist and I grew up thinking that painting and drawing were things that everyone
did. It was common for me to accompany him on painting trips and to workshops with the Society of Artists
(Ncle). I still have a watercolour painting that I completed en plein air when I was 7yrs old. It is on the back
of one of my father’s rejects.
My mother is also very creative and has tried nearly every craft in existence from cake decorating to quilling.
The house always had a ready supply of materials for creating.
After finishing school, I gained a scholarship to study Early Childhood Teaching in Sydney.
During my first year of study I was invited to have a small exhibition at Seaview Gallery, Redhead.
Because I was painting more than completing assigned college tasks, I was asked to assess my career
choice. It was then that I decided to stop painting and concentrate on my studies.
After finishing Teacher’s College, I returned to Newcastle and took up ceramics; first at night school, then
part-time at the TAFE. I completed my Certificate of Ceramics in 1990. My daughter Rachel was born during
the four year course so it is not surprising that she has followed an art career.”
Issue 12 - Sept. 2015 73
Entwined
Oil on canvas
90 x 80cm
Leslie Duffin © 2015
Issue 12 - Sept. 2015 74
As a member of Newcastle Studio Potter’s group I exhibited in a number of ceramic exhibitions and my
work was selected for an International Ceramic Conference in Perth.
I became involved in art projects with my children’s school and in 1998 completed the first of many art pro-
jects at Floraville Public school (a mosaic mural, 3mx3m). These projects led to me working with Lake Mac-
quarie City Council, the Department of Housing, and other primary schools in the area. I have completed
more than 20 community art projects since that first one. One of the most memorable involved over 10,000
plastic bottle tops!
I had returned to part-time teaching when my daughter began school, but when she began studying Fine
Art at Newcastle Art School, it was hard to hide my longing to do the same.
I started at Art School (Hunter St TAFE) in 2010, and was in the first year of the course when my daughter
was in her third and final year.
While I consider myself to be primarily a painter, I still work with clay, enjoy drawing and dabble in photog-
raphy. For more than 4 years I have also been making Puzzling Jewellery from recycled jig-saw puzzles.
My most notable achievement to date would be co-winning the inaugural Laman Street Prize in 2014.
And then came the Gallery…….
Issue 12 - Sept. 2015 75
The Faceless Men - porcelain & found leaves, Co - Winner Laman St. Art Prize 2014, Leslie Duffin © 2014
Issue 12 - Sept. 2015 76
After graduating with an Advanced Diploma in Fine Art in 2012, I was determined to find a studio space
from which to work. I knew from past experience that I needed to ‘go to work’ away from home to avoid the
distraction of domestic demands.
I was fortunate in renting an industrial shed in Hamilton Nth to as my first studio space.
It was during a conversation with owner David Saddington, that I mentioned that I would have liked to
combine a teaching space in my studio to offset the costs, however due to the industrial nature of the
space this wasn’t possible.
A couple of weeks later, David asked if I knew anyone who would like to use an old building as an art
gallery, or as a venue for art classes. It was an opportunity worth pursuing.
Early in 2013 I contacted his brother Bill, and went to look at the disused service station at Caves Beach
which became the first home for Finite Gallery.
The building had been used for storage and building a boat. There were cobwebs and cockroaches
everywhere. There were knee high weeds in the driveway and the windows were all broken and boarded
up.
I hadn’t really considered owning an art gallery, but I could see the potential and with only hard work and a
little capital investment required, I decided to give it a go. The doors of Finite Gallery opened on 20th April
2013.
Issue 12 - Sept. 2015 77
Coastal Platforms
Acrylic on canvas
90 x 100cm
Leslie Duffin (C)2014
Issue 12 - Sept. 2015 78
To suit the nature of the locality, the gallery does not have set length exhibitions, but operates as a continu-
ally changing group exhibition, with a diversity of subjects, styles and materials. As work is purchased, it is
taken immediately, and while this poses a curatorial challenge, it also means that there are always new
things on display.
Classes for both adults and children have also proved popular, with tutors John Morris and Lezlie Tilley
providing their expertise and inspiration for the adults, while my daughter Rachel (now a qualified Art
Teacher) and I run the children’s classes.
During May each year, the gallery has been given over to an exhibition raising funds to assist those living
with Multiple Sclerosis. The Kiss My Arts exhibitions have been very successful and have raised approxi-
mately $4,500 for MS Australia to date.
I have had great support from the local community and the artists who have entrusted their work to me, but
due to redevelopment of the site, Finite Gallery had to close its doors at the end of June. After a generous
offer from the owners of a commercial space across the road, the gallery will re-open in early September –
bigger and better than ever!
The new gallery will offer even more classes and workshops, with a permanent teaching space allowing
visitors to view the gallery and observe the creative process as well. Weekend workshops are also on the
agenda and I welcome suggestions for classes or workshops that would be of interest.
Artists working in all mediums are welcome to submit work for consideration for the gallery, and proposals
for “Featured Artist” exhibition space are also welcome.
Issue 12 - Sept. 2015 79
Bagged
Porcelain & brown paper
Leslie Duffin © 2014
Issue 12 - Sept. 2015 80
Please contact the gallery via email if you would like to be added to the mailing list and kept up to date with
exhibitions and workshop news. For all class and workshop details contact Leslie -
Finite Gallery 60 Caves Beach Rd, Caves Beach NSW 2281 Open Fri – Sun & Public Hols 10am -4pm. P: 0419471660 E : [email protected] Issue 12 - Sept. 2015 81
Did You Know
You can make brownies in a microwave
You can do Tai Chi with a fractured scaphoid
You can trust
Your impossible heart
Spluttering with ultimatums
This / that
One or the other
You can either have
Humanfriends or
Poemfriends.
All / nothing
One or another
You have to decide
Whether you want to
Fade away into oblivion or
Fade away into oblivion - Carlin McLellan © 2015
Issue 12 - Sept. 2015 82
In the Bath
Ruthlessly chillaxin'
Drinking a shandy
of epsom salts and not giving a fuck
The pizza will be delivered to my doors
any minute now
Just bring it right in, mate
Don't worry
about this incomprehensible body
Aimlessly flopping about
Don't mind sopping pages
of The Brothers Karamazov adorning
the bathroom floor and walls
In aching clusters
Maximum contentment
Leeches into my pores
As I remember how it feels to feel - Carlin McLellan © 2015
Issue 12 - Sept. 2015 83
ART NOUVEAU ARCHITECTURE - RIGA, LATVIA
Issue 12 - Sept. 2015 84
Art Nouveau Architecture in Riga, Latvia
Lorraine Fildes
Art Nouveau was an art and architecture movement at its height from 1890 to 1910. Art Nouveau, was a
reaction against the cluttered designs and compositions of Victorian-era decorative art. Nowadays it is
viewed as an important bridge between Neoclassicism and modernism. Art Nouveau put forward the idea
of art and design as part of everyday life and that artists should not overlook any everyday object, no matter
how functional it might be. This aesthetic idea was considered to be quite revolutionary and new, hence its
name - New Art - or Art Nouveau.
The Art Nouveau architects readily employed new materials and did not turn their backs on mass-produced
or machined surfaces. They were inspired by nature – flowers, animals and natural forms. Although the
movement made the doctrine that "form should follow function" central to their ethos, some designers
tended to be lavish in their use of decoration, and the style began to be criticized for being overly elaborate.
In a sense, as the style matured, it started to revert to the very habits it had scorned, and a growing number
of opponents began to say that rather than renewing design, it had merely swapped the old for the
superficially new.
Image page : 4 Alberta Street (close up)
Issue 12 - Sept. 2015 85
Why did this happen? When art nouveau was at the height of its popularity, Riga just happened to be in a
financial boom, resulting in an incredible era of construction. The buildings in Riga survived because the
boom had gone and the cost of demolition and reconstruction was too high for this struggling Russian satel-
lite country. Hence the large number of Art Nouveau buildings left standing in Riga.
Being faced with elaborate, flamboyant fauna and flora motifs and gargoyles and satyrs and masks of hu-
mans and animals means it is most likely an art nouveau building. Art Nouveau buildings can be found all
over the old city of Riga, but there is an amazing concentration and outstanding examples around the
streets of Alberta, Elizabetes, and Strelnieku. On my travels I visited Riga and undertook a guided tour of
the Art Nouveau buildings. Seeing buildings designed by Mikhail Eisenstein, Konstantins Peksens, Frie-
drich Scheffel and Heinrich Scheel - just to mention some of the most prolific Art Nouveau architects – was
very worthwhile.
The Art Nouveau style has been said to end in the work of Charles Rennie Mackintosh (1868-1928), a key
figure in the Glasgow School of Painting. As a painter, architect and designer, he was initially attracted by
the creative freedom of Art Nouveau and its encouragement of the fanciful, but he used a less decorative
style, more streamlined and orderly. I am spending a week in Glasgow this year and will have images to
show you how restrained but beautiful were his building designs.
Issue 12 - Sept. 2015 86
2A Alberta Street. Riga
Photos of Riga buildings
“I hope my photos will enable you to
enjoy the magic of Riga - the decora-
tive elements that adorn the facades of
these buildings - human masks and
masks of exotic animals, lions and
dragons, sphinxes and atlases, female
figures and figures of ancient gods and
helmeted warriors from Spain and
South American Indians, devilish goat
skulls and robotic styled masks and
flamboyant fauna and flora motifs of all
descriptions.”
- Lorraine Fildes © 2015
Issue 12 - Sept. 2015 87
2A Alberta Street Some architects told his-
torical stories in the façades of their buildings.
In 2A Alberta Street Mikhail Eisentien told the
Spanish story – Top relief sculptures show the
helmeted heads of the conquistadors who
conquered the South Americans followed by
vertical rows of red tiles that indicated the
blood that flowed and then the heads of the
native South Americans who were defeated –
then two female sculptures of peace. Set on
the pavement are two Egyptian Sphinxes –
the sphinxes are to protect the entrance of
the building.
Issue 12 - Sept. 2015 88
4 Alberta Street M. Eisenstein
designed this most elegant and artis-
tically most original eclectically deco-
rative art nouveau building in 1904.
The eye is drawn to the three Medusa
heads placed above the cornice with
their mouths agape in the middle of a
scream.
The façade is scattered with figures of
eagles and lions and reliefs of winged
lions. The winged relief of a woman’s
head at the centre of the building
symbolises the sun and protection.
Issue 12 - Sept. 2015 89
8 Alberta Street Many of Eisenstein ’s
building like this one at 8 Alberta Street
have a Wedgewood-blue and white colour
scheme façade. This façade is decorated
with a large number of female heads and
floral motifs. At the top in the centre is a
large lion’s head symbolising power.
Issue 12 - Sept. 2015 90
13 Alberta Street On this
façade Eisenstein has given
centre place to two large human
masks with their mouths agape.
Each first floor window has a
goat’s head mask above it and
geometric decorations in be-
tween.
Issue 12 - Sept. 2015 91
10A Elizabetes Street The façade of this Eisen-
stein building at No. 10A Elizabetes Street is
dominated by a large oval window with a balcony.
The building is also decorated with floral motifs and
lions’ heads which are a symbol of power.
Issue 12 - Sept. 2015 92
10B Elizabetes Street Eisen-
stein’s building at No. 10B has
a Wedgewood-blue and white
colour scheme and two in-
credibly long faces at the top.
It is one of the most photo-
graphed buildings in the city. It
is richly decorated with human
and animal masks, stylized
birds, geometric and floral or-
naments.
Issue 12 - Sept. 2015 93
33 Elizabetes Street The building at No.33 is also Eisenstein ’s creation. It has many atlas figures
holding up the balconies, a large number of human heads and lions’ heads symbolising power.
Issue 12 - Sept. 2015 94
4A Strēlnieku Street This building, like a
number of Eisenstein’s facades, has a Wedge-
wood-blue and white colour scheme, and an
over-the-top ornamentation of female figures
combined with atlases at the top supporting
decorative pedestals and robotic-style masks
over the doorways near the main entrance.
Issue 12 - Sept. 2015 95
Detail:
4A Strēlnieku
Street
Issue 12 - Sept. 2015 96
2 Smiles Street Built in 1902, this
red brick building is an early example
of Konstantīns Pēkšēns conversion to
art nouveau. The naked figures of an
Atlas-like man and woman growing out
of tree trunks prop up the centre of the
façade. The façade is also adorned
with an image of a peacock, one of the
other symbols used to represent beau-
ty in art nouveau.
Issue 12 - Sept. 2015 97
Photos 12 and 13: 12/14 Skunu Street This
striking art nouveau building completed in 1902
was designed by the Baltic German duo of Frie-
drich Scheffel and Heinrich Scheel. Unfortunately,
most people don’t even notice it because the
street is so narrow. Its best features including the
watchdog at the top of the façade are most
appreciated from Amatu Street.
Issue 12 - Sept. 2015 98
12/14 Skunu Street
Riga.
Issue 12 - Sept. 2015 99
Photos 14 and 15: 10 Meistaru Street All Ri-
ga tourist guides will take you to 10 Meistaru
Street. This 1909 building is designed in medi-
eval architecture style with some elements of
Art Nouveau. The blueprint comes from archi-
tect Friedrich Scheffel. The building has two cat
sculptures on its roof, with arched backs and
raised tails.
The guides maintain that the house owner
wanted the cats to show their tails turned to-
wards the Great Guild house nearby, as he
held a grudge against its members. The Great
Guild found this disrespectful and had the
council order the owner to turn the cats to face
the guild house.
Issue 12 - Sept. 2015 100
Detail:
10 Meistaru Street
Riga
Nouveau Architecture
Riga, Latvia
Lorraine Fildes © 2015
Issue 12 - Sept. 2015 101
Look at that Frog!
I don't know about you
but one of the best recollections
I have about eating at McDonalds
As a child
Was watching Jarrod
Pull a gherkin from out of his cheeseburger
Flick it up on the wall behind him and say:
"Look at that frog!"
- Brad Evans © 2015
Issue 12 - Sept. 2015 102
handball
lunch hours to tea breaks
primary school to high school
driving my father insane
with the number of shoes I went through:
wearing out my inner step
year after year.
on wet, windy days our passionate hands
bright red from the play
driving that ball
heavy and damp.
some bent them
but we all knew the rules:
"winner serves"
"double"
"full"
"play on"
but that was decades ago...
I now teach my girlfriend that game
as if in mock reassurance
that it wasn't all
just a dream.
- Brad Evans © 2015
Issue 12 - Sept. 2015 103
DANE TOBIAS
Issue 12 - Sept. 2015 104
DANE TOBIAS - ARTIST INTERVIEW
When did your artistic Passion begin?
“My artistic passion started when I was about 4 or 5 years old. I have always loved drawing.”
ARTIST
Describe your work…
“My art responds to myself having a photographic memory of places I have been, rooms I have been in and
the homes of friends and relations. My works are somewhat autobiographical as they reflect the past and
present suburban environments and the intimate spaces of friends and relations. The colours used in my
works reflect my emotional involvement at any given moment.”
What inspires you?
“My inspirations are derived from what I see in everyday life, from both imagination and photographic
memory, as well as what is seen in real life. My paintings and drawings are carefully and deliberately
planned based on spontaneous pen-and-ink drawings in sketchbooks, which give a unique glimpse into a
private world.”
Issue 12 - Sept. 2015 105
Interior
Dane Tobias
© 2015
Issue 12 - Sept. 2015 106
Name your greatest achievement.
“Having my first ever solo exhibition two years ago, ‘Suburbia Abstractica’ @ Newcastle Art Space.”
What are you working on at present?
“Iam working on my third solo exhibition, for which I have branched out into watercolours and mixed media
for some of the works. It focuses on interior spaces and patterning of these suburban environments.”
Your future aspirations with your art?
“To continue to exhibit my work and explore ways of capturing my vision.”
Forthcoming exhibition ?
“Next exhibition ‘Technicolour Homespace’ at Cstudios Art Gallery
738 Hunter street, Newcastle West. 6-27 September, opening on Sunday 6 Sept. 2 - 4 pm.”
- Dane Tobias © 2015
Dane Tobias is mentored by Susan Porteous arts facilitator for ConnectAbility and Peter Lankas a local artist and educator.
Issue 12 - Sept. 2015 107
2015 ADORNMENT 3 EXHIBITION
Exhibition 5 to 27 September 2015
CSTUDIOS ART GALLERY, Shop 1/738 Hunter St, Newcastle , NSW.
WILD
Issue 12 - Sept. 2015 108
Body art like any other art form ranges from the frivolous to
the serious.
It is the rebellion against the mundane where artists and the
viewer enter a world of dreams and fantasies that go
towards the creation of extraordinary visions of art. A place
where the human body is decorated with paint or garments
designed from the sublime to the ridiculous.
Humans innately hold a fascination with enhancing and
showing off their bodies.
The exhibition is titled WILD includes art works of any media
on the subject of human body adornment inspired by
animals, wings, horns, claws, bones, feathers, fins, fur, hair,
fangs, patterns are just some animal traits which have
influenced human adornment from very early times.
- Ann Sutherland © 2015
Andrew Finnie
Varelle Hardy
Carolyn McKay
Barbara Nanshe
Maree Nichols
Judy Henry
Ann Sutherland
Robyn Werkhoven
Naomi Wild
Marleen Yhang
Issue 12 - Sept. 2015 109
Those were the Days…. Jet, cornelian & agate with copper & sterling silver Barbara Nanshe © 2015
Issue 12 - Sept. 2015 110
BARBARA NANSHE
Barbara Nanshe is an artist who tells stories via the medium of
Jewellery!
Nanshe’ s jewellery is broadly influenced by the natural world- she loves
animals, plants and patterns- yet because of her love for all things
1920’s, Barbara has joyously made chokers influenced by that era.
There is nothing like a choker to temporarily restrain the wild passion
within!
Look closely and you will also see the Middle Eastern influences
behind much of her work.! www.nanshestudiogalleryshop.com.au
Issue 12 - Sept. 2015 111
Protected by my
Green Heart
Aventurine &
Sterling silver.
Barbara Nanshe
© 2015
Issue 12 - Sept. 2015 112
Flash
Red coral & sterling
silver.
Barbara Nanshe
© 2015
Issue 12 - Sept. 2015 113
Tattoo Mandala 1 - Carolyn McKay © 2015
Issue 12 - Sept. 2015 114
CAROLYN McKAY
Tattoo Mandala 1, Tattoo Mandala 2
MEDIA: digital photomedia on acrylic lightbox
SIZE: each 420 x 594
Carolyn works with video, audio and photomedia, Carolyn’s practice engages with historical
criminal justice records and contemporary criminological issues.
www.carolynmckay.com
Issue 12 - Sept. 2015 115
Tattoo Mandala 2 - Carolyn Mc Kay © 2015
Issue 12 - Sept. 2015 116
These images originate from my video installation ‘Writing the Body’ exhibited in ‘A
very fine river: convict stories from the Hunter’ at Lake Macquarie City Art Gallery,
2014. In these still and illuminated images, the act of tattooing is abstracted into
organic mandala patterns that entwine the tattooist’s long hair and rubber gloves with
the freshly tattooed flesh of a young man.
www.carolynmckay.com
Issue 12 - Sept. 2015 117
ANN
SUTHERLAND
Issue 12 - Sept. 2015 118
ANN SUTHERLAND
Chameleon Cape:
Wool and cotton knitted and croqueted .
Chameleon Helmet:
Cotton croqueted.
Reggae knitted and croqueted cotton and beads
Inspired by the patterns and intricate designs chameleons
create using dye sacs to adapt to their environment. There
are many knitting patterns which reflect the repetitive
patterns and textures found in reptilian life. Sutherland
enjoys the freedom of Knitting and croqueting cotton and
wool to create sculptural wearable art works to fit the
human body. Experimental pieces evolve into Hand made
individual clothing. Humans continue to be inspired by
animals and nature in creating their body adornment.
Issue 12 - Sept. 2015 119
MAREE
NICHOLS
Detail: Opposites Attract.
Issue 12 - Sept. 2015 120
MAREE NICHOLS
"Opposites Attract"
Exploring the dynamic connection between two partnering entities that compliment each other
in a non-traditional way, the garment modelled is made completely of plastic bags and was
inspired by the striking beauty of the Zebra . The opposition is highlighted by the light and
shade spilling over the model as well as her bold hairstyle celebrating both the human body in
it's barest form juxtaposed with manipulated and precise styling. Posed to emphasise the
skeleton, the image has been captured to celebrate beauty but gently suggests a similarity
between human and animal.
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ROBYN
WERKHOVEN
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ROBYN WERKHOVEN
WILD WOMEN NECKLACES
Robyn has presented a range of individual hand painted
pendants, of man and beasts frolicking and dancing to
life’s music. Combined with a mix of beautiful beads to
create necklaces to adorn WILD WOMEN or WILD MEN.
The label Studio La Primitive was established by Eric and
Robyn Werkhoven in Sydney in the nineteen eighties,
producing a collaborative series of individual Art brooches.
Robyn’s passion for jewellery and art, especially
portraiture, has led to a collection of unique necklaces.
Featuring an original miniature, hand painted scene or
portrait, on wood, inspired from traditional cameos and
miniatures.
Currently the necklaces are available in galleries in
Australia. They are in private collections in Europe and
USA.
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JUDY
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Judy Henry (nee Gray)
Scottish Adornments
I chose felting as the medium for this Adornment
Exhibition.
Felting is a very old medium and has been used in
Turkey, China, Russia, Asia, and Korea for thousands
of years.
My heritage tartan on my father’s side (Gray) is the
‘Ancient Stewart of Appin Tartan.’
My parents came from Scotland 1951, they were
involved in Scottish Country Dancing here in
Australia, my dad’s kilt and my mother’s evening sash
were made in Scotland from the ‘Stewart of Appin
Tartan’ and this is the tartan I used to create my wall
hanging.
The leather sporran was made by my father in
Scotland and was shown at the 1938 Empire
Exhibition Glasgow. The broach is adorned with
6 Scottish stones.
I made the box after my trip to Scotland in 1997.
NAOMI
WILD
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NAOMI WILD Fire Bird Mixed media- textile, painting, Lino print, free machine stitching.
Fire bird is largely inspired by the Australian Wattle Bird and it's symbolic representation. The bird itself is
not remarkably coloured or eye catching like some yet feeds on the blossoms that are like sun bursts, fol-
lowing it's innate rhythms.
This work is an exploration of the way we feed our essential natures and how regardless of what we look
like to the worlds value system, we can still be a powerful force. That said, I also love a good tribal costume
and have also celebrated my love of feathers and all things light in this piece.
I used plant dyes got the fabric and ochres for paint as a tribute to this great land.
Soulskin
Mixed media wearable art
Textile, feathers, found objects, paints, free machine stitching.
This work celebrates all things animal in it's appearance and how we are drawn to these attributes in re-
sponse to our own wildish natures. Perhaps these totemic symbols also allow us to role play our instinctual
desires.
The snakes skin detail here is made using eucalyptus leaves for dying and a shibori technique to induce a
scale like pattern. http://www.naomiwild.com/
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Soulskin - Naomi Wild © 2015
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ADORNMENT 3 - WILD Exhibition 5 to 27
September 2015
OFFICIAL OPENING: Sunday 6th September 2.00 to 4.00 pm
CSTUDIOS ART GALLERY, Shop 1/738 Hunter St, Newcastle NSW 2302
Director Jo Chisholm-Ray, Gallery open 12-4pm Wednesday –Sunday
P: +612 4023 8927 m: 0407 107053
http://cstudiosartgallery.com.au/
https://wwwfacebook.com/cstudiosArtGallery
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GALLERY
one3nine
About Gallery 139
Gallery 139 is an independent art gallery located at 139A Beaumont St, Hamilton, an inner-city
suburb of Newcastle, Australia. Featuring regular gallery-curated, open and solo exhibitions by
emerging and established Newcastle artists. It also includes a small retail section specialising
in art books, art journals and independent press.
The gallery was established in 2015 by Newcastle-based artist and curator, Ahn Wells.
The intention of the gallery is to support and showcase the high quality art making in this city. It
aims to create a space that not only supports artists by providing a professional gallery in which
to exhibit and sell their artwork, but also to produce exhibitions that challenge, explore and
investigate contemporary ideas and themes.
- Ahn Wells © 2015.
http://www.gallery139.com.au/
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INTERVIEW - GALLERY 139 Director AHN WELLS
BACKGROUND:
I grew up in Lake Macquarie, about half an hour drive from Newcastle. I was born in South Korea and was
adopted to Australia when I was 9 months, I've been back to Korea on a holiday but only for a week when I
was 31 years. I attended Newcastle Art School, Hunter St TAFE NSW from 1997-99 and then went onto the
University of Newcastle to complete a B.Fine Art in 2000 and I did my Honours from 2002-July2003. As
soon as I started Hunter St TAFE I started to exhibit outside of art school and have continued to exhibit reg-
ularly ever since.
What inspired you to open an art gallery?
The gallery was established in 2015 with the intention to support and showcase the high quality art making
in Newcastle. It aims to create a space that not only supports artists by providing a professional gallery in
which to exhibit and sell their artwork, but also to produce exhibitions that challenge, explore and investigate
contemporary ideas and themes.
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Gallery 139 - TEXT ME Exhibition - March 2015.
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What style of exhibitions?
Gallery 139 features 3 week gallery-curated, open and solo exhibitions by emerging and established New-
castle artists. It also includes a small retail section specialising in art books, art journals and independent
press.
Your future aspirations for the gallery?
I hope to make the gallery into my full-time job as well as maintain my own art practice.
Forthcoming exhibitions at the gallery?
The next exhibition is PAINT LIKE BILL from 16 Sept – 3 Oct 2015, opening on Saturday 19 Sept, 2-4pm
and then Flynn Dolye's first solo exhibition in the gallery as a “represented artist”.
Are you interviewing artists for forthcoming exhibitions?
Artists can fill out an online application on the website to be considered for gallery curated exhibitions.
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Are you an artist, what genre of the visual arts
are you involved with? Eg. Painting, Describe
your work.
“Yes, I am a practicing artist. I work in the mediums
of works on paper and soft sculpture, combining the
traditions of craft work found in the home with the art
vocabulary of minimalism and abstract art learnt
during formal art study. I like to use both traditional
materials such as paint, pastels, drawing materials
with non-traditional materials such as plastic string,
copper wire, acrylic wool to explore ideas of repeti-
tion, order/disorder, surface manipulation and pattern
formation.”
http://www.gallery139.com.au/
Ahn Wells & Coco.
Photos courtesy of Ahn Wells © 2015
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The Last Farewell, von Bertouch Gallery Revisited
Ann von Bertouch - portrait by Shirley Cameron Roberts, Newcastle University collection.
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The Last Farewell, von Bertouch Gallery Revisited
The von Bertouch Galleries were an essential part of the artistic landscape of Newcastle for 34 years (from 1969 to 2003). This year, as the gallery building is about to be sold and possibly re-invented, a group of thirty artists from the Newcastle Printmakers Workshop and Newcastle Studio Potters have visited the old galleries to gain inspiration for new artworks. Anne von Bertouch set up her original gallery in 1962 in Cooks Hill, Newcastle. This is believed to be the first commercial gallery outside a capital city. Well known artists who exhibited at the galleries include Jon Molvig, Bill Dobell, John Passmore, George Lawrence, Fred Williams, Lloyd Rees. This exhibition honours Anne von Bertouch O.A.M (1915-2003) and her gallery.
“People like coming to this gallery. It is a favourite place. It has become part of the community life of Newcastle. Creative people get fresh impetus. Children are at ease. The elderly are back home. Dropouts are at peace. Travellers are surprised. Artists continue to show throughout a lifetime. A living spirit of past and future pervades it.” – Anne von Bertouch, 1990.
As part of the show the von Bertouch Galleries were opened to artists in June by Jeannie Little who was then residing there. Over 20 printmakers (Newcastle Printmakers Workshop) and 5 ceramic artists
(Newcastle Studio Potters) attended and have developed work to be presented at Back to Back Galleries, Cooks Hill, from 11-27 September 2015.
The exhibition will be opened on Friday 11 September from 6-8pm by Gael Davies, former curator and manager of von Bertouch Galleries.
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PAINT LIKE BILL
16 SEPT - 3 OCT
Works that have been influenced by William
Dobell's life and paintings, from "appropriations" of
his works, to a portrait of Bill himself to a visit to
visiting to Dobell House at Wangi Wangi to draw-
ings and/or photographs from his window out to
Lake Macquarie.
gallery one3nine
Bill’s Solace - Sally Reynolds 2015
139A Beaumont St Hamilton NSW 2303
http://www.gallery139.com.au/ Issue 12 - Sept. 2015 140
REFRACTED
FLYNN DORAN
7 - 23 OCTOBER
Flynn Doran is an emerging artist, based in Newcastle,
Australia. This will be his first solo exhibition at Gallery
139.
IN THIS CITY’S SIDE
PAUL MAHER
28 OCT - 14 NOV
First solo exhibition in Gallery 139 by gallery artist,
Paul Maher.
139A Beaumont St Hamilton NSW 2303
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NEWCASTLE
EMERGING
ARTIST PRIZE 2015 EXHIBITION DATES: 12 - 27 SEPTEMBER 2015
Newcastle Community Arts and Newcastle Art
Space would like to invite you to the
Exhibition opening of
The 15th Annual Newcastle Emerging Artist Prize
Saturday 12 September, 6pm
Gallery Hours: Thurs - Sun 12 - 5pm
W: ncac.org.au/neap Overall winner 2014– Michael Randall
Laman Street Art Prize
Hunter residents are invited to participate in the second bi-annual Laman Street Art Prize
established to remember the Laman Street figs.
Theme: ‘Celebrating Nature’
Prizes: Two Best-of-Show prizes ($2,500 each); Emerging Artist prize ($1,000); and People’s
Choice prize ($1,000).
Mediums that can be used: drawing, printmaking, clay, wood, fibre, metal or a combination of
these. (There is no painting or photography.) The work must not measure more than 600 x 600
x 600 mm.
Exhibition dates: 22 January to 7 February 2016.
Exhibition gallery: Back to Back Galleries, Bull Street, Cooks Hill.
Deadline for receipt of entry forms: Monday, 30 November 2015
Entry forms contact Gallery: Back to Back Galleries 57 Bull Street Cooks Hill NSW 2300
T: 49 293 677 www.newcastlepotters.org.au
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ART NEWS
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EXHIBITION CALENDAR
57 Bull Street, Cooks Hill, Newcastle NSW Ph: 49 293 677
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21 AUG - 6 SEPT
AL FRESCO
NSP Members’ Exhibition
(ceramics)
11 - 27 SEPTEMBER
The Last Farewell, Von Bertouch
Gallery Revisited.
Newcastle PrintMakers
Workshop Miniprint Exhibition
(printing & clay)
2 - 18 OCT
LAND FORM MEMORIES
Robyn Outram (ceramics)
Lara Seresin (painting)
23 OCT - 8 NOV
FEAST
Denise Spalding, Barbara Greentree,
Anne Gazzard, Heather Campbell,
Joan Robinson, Grant Keene,
Nicola Purcell (ceramics)
13 - 29 NOVEMBER
CANVAS & CLAY
Gary Boote (ceramics)
Merran Kilgour (painting)
4 - 20 DECEMBER
Christmas Takeaway
NSP Members’ Exhibition
Work can be “taken away”
Once purchased.
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