studio la primitive

arts zine issue 5 may 2014

slp studio la primitive

EDITOR

Robyn Stanton Werkhoven

CONTRIBUTORS

Debra Liel-Brown Philip Slack

Peter Griffen David Graham

Donald Keys Carlin McLellan

Lorraine Fildes Glenda Smith

Fiona Wright Eric Werkhoven

Timeless Textiles Robyn Werkhoven

Graham Murphy Please do not copy articles in this magazine without written

permission of the Editor. Copyright © 2013 Studio La Primitive,

All rights reserved.

Front cover - Cessnock copyright Debra Liel-Brown 2014

Punk Rider - sculpture by Eric Werkhoven

Issue 5 - May 2014 2

INDEX

Index…………………………………………………… 3

Editorial……………………….. Robyn Werkhoven 4

Studio La Primitive Antics…….. E&R Werkhoven 5

Featured Artist………………… Debra Liel-Brown 6 - 15

The Artist’s Husband……… Philip Slack 16 - 20

Artist Interview ………………. Peter Griffen 22 - 31

Poem …………………………….Glenda Smith 32 - 33

Featured Artist ………………….Donald Keys 34 - 43

Essay…………………… ………Eric Werkhoven 44 - 45

Poetry ………….. ………………Carlin McLellan 46 - 49

Rhino Safari …………………… Lorraine Fildes 50 - 59

Poetry ……………………… David Graham 60 - 65

Stitching Project ……………… Fiona Wright 66 - 71

Timeless Textiles ………………Jan Clark 72 - 75

3 Village Art Festival ………… Graham Murphy 76 - 85

Art News …………………………………………….. 86 - 92

SLP would like to thank all contributors .

Deadline for articles - June15th for July issue 6

Email articles to: werkhovenr@bigpond.com

Safari Party Rhino - artist Georgia Perry - at

Hyde Park South

Photograph © Lorraine Fildes 2014

Issue 5 - May 2014 3

EDITORIAL

Greetings to all our readers .

This is the first bi-monthly and much larger edition of ARTS

ZINE.

The May issue features interviews with nationally recog-

nised artists Debra Liel– Brown, Peter Griffen and Donald

Keys.

Lorraine Fildes , travel photographer and writer joins the Zine

and will feature a regular article in future issues.

Don’t miss reading our new essays, poetry and art news.

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.

DEADLINE FOR NEXT JULY ISSUE 6 - is JUNE 15TH

Submit articles to email: werkhovenr@bigpond.com

Regards - your editor Robyn Werkhoven

Organic Form - Eric Werkhoven

Issue 5 - May 2014 4

STUDIO LA PRIMITIVE (C)2014 - ANTICS by E&R Werkhoven collaborative drawings . www.studiolaprimitive.com

E

&

R

A

N

T

I

C

S

Issue 5 - May 2014 5

DEBRA LIEL-BROWN

Brumbies - mixed medium on paper Copyright Debra Liel-Brown 2014

Issue 5 - May 2014 6

I

“I was born into a Sydney family of stained glass window artists going back 4 generations. They produced

huge windows for churches and public buildings around Australia. The family property is made up of a large

factory workshop, shop and home. It was like living in a museum stuffed to the brim with antiques, tribal and

aboriginal artifacts, huge drawings of window designs, my father’s paintings in progress, vintage cars being

restored, new pieces of furniture constructed from numerous antique pieces, rare and interesting glass

objects and artworks, old books, inventions and antique restorations in progress. Even as a small child, I

was inspired by the mastery of craftsmanship in the antiques and artifacts.

The workshop has been used for stained glass window production since the late 1800’s and still has many

of the old machines from that time such as huge stone grinding wheels, a kiln / oven with multiple drawers to

bake the painted images (e.g. Jesus) onto the glass, stone cauldrons to melt lead to liquid for leadlight

casings. There are large windows where finished stained glass panels are displayed so that light streams

through in vivid colours. The main influence of my art has been this intensity of coloured glass and the clear

strong outlines of the lead casing and the baked on drawings in black. “

Debra Liel-Brown

Art practice and Influences

Issue 5 - May 2014 7

Tea Gardens - mixed medium on paper (Copyright) Debra Liel-Brown 2014

Issue 5 - May 2014 8

“When the family went on holidays we stayed at dairy farms and bush properties. In Sydney we lived near

the airport, so farm life in the company of plants and animals, was a world away. Since leaving home I have

mostly lived in small river-front communities that are surrounded by virgin bush, where the day to day

sounds are of passing boats and the antics of birds, rather than traffic noise - even right in the middle of

Sydney. Consequently, I have become a landscape painter with an addiction to painting water.

Waterfront living is soft on my senses and I’ve been lucky to live in some delightful river and beach homes.

On the Georges River, I lived in a boatshed cottage, built on stilts in the water. The sound of wavelets under

the floorboards was soothing. The lounge room had double garage doors that opened onto a pier which

went 50m into the river. On work days, men in their suits and ties, whistling and singing, would row across

to the opposite shore to catch the bus to work in the city. One of the benefits of living there is being able to

have a fishing line out from the lounge room balcony while cooking dinner.

I also lived at the edge of the Cronulla sandhills is a beach community of 17 fishing shacks called Boat

Harbour. The shacks are built on the sand at the edge of a small protected bay with the open ocean

beyond. It is off-the-grid living - there is no electricity or drinking water although there are landline phones.

The villagers use various power sources - wind and petrol generators, solar panels and gas bottles. To get

home, I had to 4 wheel drive through the sandhills, but once there it was surprisingly civilized and

comfortable. I had a flush toilet, bathtub, and a TV (although I often lost the end of movies due to the

generator running out of petrol). “

Issue 5 - May 2014 9

Bird Watching -

mixed medium on paper

(Copyright) Debra Liel -

Brown 2014

Issue 5 - May 2014 10

“The upside of living there is the dramatic changes in the environment due to the weather. The site is

exposed to harsh southerly winds that batter and rock the shacks about, sending sand whirling in through

cracks. Then there are the perfectly still summer nights where a silvery full moon follows you as you walk

up the beach. Whales can suddenly pop up only 30m offshore, but so too, the occasional drowned dead

body washes up. The downside was the amount of home brew and 4 wheel drivers hooning about.

I lived for 18 years in Maianbar and Bundeena, in the Royal National park between Wollongong and

Sydney which has had a huge influence on my artwork. At my front door; tidal sand flats, an island, bush,

beach and the Port Hacking River. At the back door; rainforest and a pristine estuary, mangroves and

beaches. Having immediate access to such environments, means I had the time to wander slowly and

study the intricate details of textures, light, colour and wildlife.

The artists who influenced me were Miro, Juniper, Picasso and Kitaj. Miro has had the main impact on me

since I was in high school. In particular his comments about how he chose the subjects for his art - he

waited for something to surprise and delight him. I like the clean honesty, joyfulness and innocence of his

art.”

Issue 5 - May 2014 11

Mist Rolling In - mixed medium on paper Copyright - Debra Liel-Brown 2014 Issue 5 - May 2014 12

“Zen philosophy and meditation have been dominant factors in my art. I used the Zen philosophy of “no

mind” honesty of action. I embrace accidents; I don’t concern myself with the finished result. I trust and

enjoy the journey – I don’t do the painting – the painting does me. Meditation is a life resource for me, but its

influence is clear in my artwork, as my paintings have a calming effect on the viewer. At first glance they

appear quite busy, but then the interlocking rhythms entice the viewer to travel through the scene, picking

out details, which is a process that slows down and stills the mind.

My paintings are a collage of memories of my journey, through an expansive landscape. They are also

about peak moments in time where the mind is fully present and calm.

I stopped painting for a period of 7 years due to illness. It was an intense, tough, interesting and rewarding

experience. I dropped everything in my life that didn’t involve recovery. When the body falls apart there is

only the mind to work with, so I concentrated on meditation as my ‘work’ for 7 hours a day, 6 -7 days a week,

for 5 years. During the illness my life shrunk to the barest minimum as I left behind friends, a social life, old

ideas and beliefs, - and my art. I stopped wearing the ‘identity’ of artist and became neutral and anonymous.

It felt like a loss to begin with, but then it became an enjoyable freedom. Underneath all that worldly clutter

of thought, I found clean, spacious peace that I could live in happily. When I began to paint again, it was a

joyful experience.

I have been lucky to have the opportunity to travel through Europe, US, Mexico and numerous trips through

Asia, especially Japan and India. My travels have set my creativity on fire.” Debra Liel-Brown(C)2014

Issue 5 - May 2014 13

Picnic - mixed medium on paper - Copyright Debra Liel-Brown 2014

Issue 5 - May 2014 14

Cessnock - mixed medium on paper Copyright Debra Liel-Brown 2014

Issue 5 - May 2014 15

The Artist’s Husband - photo Philip Slack and artist Debra Liel-Brown (C)2014

Issue 5 - May 2014 16

THE ARTIST’S HUSBAND -

Philip Slack is married to Debra Liel-Brown

“I’m often asked by visitors to my wife’s studio gallery if I am an artist too. I have my own passionate

obsessions, but I’ve never had time to add drawing or painting into my life.

Debra and I are similar in many ways and we understand each other’s need to follow our passions. We

share an interest in nature, but my passion is wildlife and birdwatching especially. When we visit a national

park, I’ll be listening and looking out for birds, while Debra, with her camera will be looking for subject

matter like close-ups of intricate patterns and textures on tree trunks or rocks. I will often see something

that I know she’ll be interested in, and I will make sure she sees it too.

Debra has a large collection of such photos that she may use at some stage in her work, as well as written

notes and sketches. Like any true collector, she has too much for her needs. In the end it is not about

acquiring only what she needs for her work, but the simple pleasure of observing and documenting

beautiful things. I should be grateful that her collection does not amount to a hoard of material that takes

over our house, or that my own hobby of observing birds and recording sightings is not the same as

collecting living birds. But when we see a true collector of objects who’s home is overflowing with precious

things, we understand where they are coming from.”

Issue 5 - May 2014 17

“Characteristic of Debra’s art, apart from the mastery of colour and the natural gift for drawing, are the

details in rich colour and form. To many people her work seems imaginative, however you only need to see

her reference photos pinned or scattered around her studio to comprehend that she is actually faithfully

attempting to reproduce nature, albeit with some exaggeration to accentuate a sensory experience. For

example, how can you convey how refreshed a cow feels while standing in a billabong on a hot day except

by colouring them green and pink? But getting back to detail, Debra sees details and recalls colour combi-

nations with her vivid full colour memory that most of us just overlook or just can’t retain in our memory.

I understand this in my own way because I can see and hear birds that most people don’t notice. But this is

true of everyone in that we all have.

Debra’s particular ability to observe nature and present it in art comes back to what the true value of art

actually is. It is in the acknowledgement that we all see the world differently, and through art we can share

together what we have seen, in both content and feeling. That sharing is not just about the content of the

observation, but also the sharing an understanding from the artist to the viewer of the techniques and

creative processes.

Debra’s particular method of presenting what she has seen in her art has a seemingly impossible degree of

difficulty that is immediately apparent to other artists. She creates a collage of memories of a particular

place, by incorporating many details that are spread throughout an overall scene in such as way as to draw

the eye gently from one detail to another. “

Issue 5 - May 2014 18

“It is meant to capture the joyful reverie of being in the landscape, and the pleasure of finding beauty. But

creating the diverse details while retaining an elegant overall composition, perspective and harmony of

colours requires great skill and patience. As a result, it takes around six weeks full time to complete one

painting because there is a constant revision and re-editing of her paintings. I get to see this process over

the weeks and am taken by her state of mind which allows her to purge or alter large parts of the work. She

may have completed a perfect detail, but stepping back it makes the overall perspective flat, so she may

well paint over that detail and start again, or adjust some other part of the painting to restore the

perspective. And so the process goes on until the completed work reveals itself, a mixture of deliberate

refinements and happy accidents.

The landscapes captured often incorporate the outlines of figures. Knowing her long family background in

stained glass window art, where strong drawn outlines frame vivid colours, it is actually a natural progres-

sion. It also reflects her love of drawing. Seeing her talk rapturously with other artists about the feeling of

having drawn the perfect line is always interesting, as I know that I can only get an inkling of what they

mean when a line comes to life.

Debra and I share an interest in peace and joy, and these are the themes of Debra’s art. Her unique style is

equally amenable to other themes, and I have been to the home of a collector who purchased an entire

exhibition of Debra’s on the moving theme of infidelity and rumour in a small town.”

Issue 5 - May 2014 19

“Sadness, complexity and distress are a valid part of fine art, as is indifference, but as I’ve discovered since

meeting Debra and visiting art galleries, serenity, joy or a playful sense of humour are the most common

themes of fine art, perhaps because we are all drawn to what makes us happy. Although I have not learnt to

draw or paint, whenever we look together at conceptual installation art, I often come up with amusing ideas

that makes Debra laugh and which we could create together. Art for me is now a stimulating and necessary

part of life.”- Philip Slack (C)2014

Debra welcomes visitors to her studio, please phone: 02 49877 947 for appointments.

Web site: www.debraliel-brown.com.au

Debra Liel-Brown’s next exhibition is “Landscape from Two Points of View” with

Peter Griffen at Cessnock Regional Gallery, from the 15th

of May to the 8th

of

June 2014.

Issue 5 - May 2014 20

Exhibition Dates: 15th May–8th June 2014

Opening celebrations : 2pm, Saturday 17th May

Cessnock Regional Art Gallery

16 Vincent St, Cessnock NSW www.crag.net.au

Issue 5 - May 2014 21

PETER

GRIFFEN

Issue 5 - May 2014 22

PETER GRIFFEN - INTERVIEW

Peter Griffen’s background -

Griffen was born in Adelaide, 1948, did teacher training, then went for two years National Service (1970-71)

followed by one year of art studies. Later he taught in Adelaide, Maths and Geography in secondary school

in 1970’s. During 1976-80 in Adelaide he owned and directed Flight Art Gallery. Then came the decision to

move to Sydney to paint full time. From 1984-87 Griffen studied painting, drawing and sculpture at City Art

Institute (now Cofa).

I asked Griffen when did his artistic passion begin?

“ In Grade 1 infant school, but I did not start painting with real commitment until the year of art studies after

National Service approximately 1971.”

Peter describes his work as -

“Colourful, abstract through to representational, expressive, mainly a response to the landscape.

Sometimes very textured, perhaps with found objects attached, other times highly glazed and carefully

executed over years.

In the studio, I like to start not knowing what I am about to do and find out as I go along, see my website for

my Manifesto.”

Opposite page: Cockburn Range - painting © Peter Griffen 2014.

Issue 5 - May 2014 23

Near Yepoon acrylic

on canvas 40x40cm

(C)Peter Griffen 2010

Issue 5 - May 2014 24

I have a paint sponsor, Derivan, and so use mainly acrylic paint but I have done many works in oil and with

whatever makes a mark…I love mixed media drawing and incorporating collage.I also enjoy en plein air,

responding directly to the landscape in a vigorous expressionist way, I consider that this is an important way

to learn about the world around me, en plein air is “note taking” I have painted en plein air throughout Aus-

tralia, in Paris, France, Italy, Greece, UK, New York, LA, NZ.

Peter is inspired by -

“The landscape (deserts, estuaries, mining sites), the work of many other artists eg Picasso, Matisse, De

Kooning, Vermeer, Miro, Kandinsky, Turner, Nolde , the CoBrA group, Nolan, Tucker, Boyd, Guy Warren,

the Surealists. I do enjoy responding to the human figure and to still life as well.”

I asked Peter what he considered his greatest achievement, exhibitions?

“Becoming a full time artist in 1980 with the help of my wife, Denise Lithgow

Exhibiting in Paris and London several times.

Teaching a workshop in Birdsville (see the link to ABC TV Landline on my website)

My best painting is of course my greatest achievement but I am not sure which one it is.

At present he is working on -

“Many, many paintings unfinished from the beginning of my career.

More specifically, right at the moment, watercolours and a large oil painting based on an Australian desert

salt lake”.

Issue 5 - May 2014 25

Bush Living, Tree

Sounds and

woody Sprites -

acrylic on canvas

61x51cm

(C)Peter Griffen

2010

Issue 5 - May 2014 26

What are your future aspirations concerning your painting? “Keep painting, searching for new ways, getting better, understanding more, appreciating more, learning”….

And forthcoming exhibitions?

May 2014 Exhibition with Debra Liel-Brown, Cessnock Regional Art Gallery, NSW.

May 2014 Exhibition with Denise Lithgow, “The Figure, Flowers and Felted Vessels” Painters Gallery,

Manly, NSW.

Other interests?

“Teaching workshops, see my website www.petergriffen.com, and face book, Peter Griffen Art, for more de-

tails

Main workshop this year, Northern Flinders Ranges, SA, Arkaroola Art Adventure (see its face book site) Au-

gust 22-28

Next year I will be teaching a two-week workshop in Portugal in September see “Art In the Algarve”

www.artinthealgarve.com<http://www.artinthealgarve.com

I also enjoy visiting our son, David, and his family in Cornwall and our daughter, Tracy in Edinburgh, UK

Denise and I enjoy good wine and food and entertaining in our Leichhardt warehouse studio/home.”

Peter Griffen(C)2014

Issue 5 - May 2014 27

Bungle Bungles - drawing acrylic on paper © Peter Griffen 2003

Issue 5 - May 2014 28

Now available, the book: peter griffen in and out of abstraction

Published by la Fabrique $44.95 www.petergriffen.com Issue 5 - May 2014 29

Blue Rider - oil on canvas 152 x 183cm © Peter Griffen 2004 Issue 5 - May 2014 30

By the River

Acrylic on canvas

© Peter Griffen 2014

Issue 5 - May 2014 31

Poem for Panda by Glenda Smith

Panda’s ghost-memory follows me

Down to the goats,

Or runs ahead

Flipping a stick with her nose.

Her familiar shape poses in the kitchen doorway -

Sphinx-like, composed,

Her front feet elegantly crossed.

Phantom Panda waits patiently for toast,

Or ferocious, sounds out her morning boundary.

The expectant greetings,

The reluctant goodnights

Still linger –

But it’s the absence that haunts. Issue 5 - May 2014 32

Glenda Smith is a Hunter Valley

poet and writer.

Panda - photo by Rowan

Staines

Issue 5 - May 2014 33

DONALD KEYS

Issue 5 - May 2014 34

DONALD KEYS INTERVIEW

“I was born 1958, in the coastal town of Bulli, so I was heavily influenced by the juxtaposition of my

hometown’s heavy industry and environmentally sensitive beaches. I started working in the advertising

industry back in 1976, where I honed my drawing skills in the pre-digital-graphics era. In 2005 I walked

away from a lucrative career in commercial art to focus on what I believe to be the more emotionally

satisfying profession of fine artist.

I guess my artistic passion began way back in primary school. It was fun covering my schoolbooks with

illustrations of cars and spaceships. It really annoyed the nuns too, which was an added bonus as far as

I’m concerned.

My paintings are figurative works, in a contemporary impressionist style. I paint using vibrant colours that

are quintessentially Australian, employing quite visible brush strokes to enhance texture, which give the

paintings a tactile quality. My works generally feature people enjoying their leisure time surrounded by a

mix of man-made structures and the natural beauty of the Australian landscape. There is a narrative

element to some of my paintings as I believe humour may be another saving grace to our challenging times

besides art. By creating images of people and nature, infused with everyday suburban objects, I hope to

chronicle modern life through the eye of an artist.”

Opposite page: “Levendi's" 30 x 40 cm acrylic on canvas - Donald Keys (C)2014

Issue 5 - May 2014 35

Sydney Eye Hospital - 41 x 51 cm acrylic on canvas, Donald Keys © 2013 Issue 5 - May 2014 36

What inspires Donald Keys?

“I tend to see things in an optimistic, and colourful light, and therefore have no desire to create images that

depict ugly and sad situations. Hopefully, when one views my paintings, they will see something better than

it is in real life. Growing up close to a coal mine, and just twenty kilometres from a steel works, I was often

asked by people in Sydney what it was like to live surrounded by big dirty industries. This amused me

greatly, as I was so used to virgin bushland, and clean beaches. Bulli is just seventy kilometres south of

Sydney, where the mountains meet the ocean, and has a wealth of natural beauty. It’s picturesque.”

“My last exhibition was in the Bondi Pavilion Gallery where I received more than two-thousand visitors. It

gives me great pleasure to know that I now have paintings hanging in private collections in Europe,

Canada, the USA and New Zealand.”

Donald is presently working on his next exhibition - “It will be a series featuring scenes of interesting places

in and around Sydney. At this stage the exhibition will most likely be in August. It will be my seventh solo

show in three years.

Future aspirations with your art?

“My goal is to be a competent modern impressionist that chronicles life in Australia.”

Website: www.donaldkeys.com.au

Issue 5 - May 2014 37

"Japanese Bridge" 101 x 152 cm acrylic on canvas - Donald Keys © 2012. Issue 5 - May 2014 38

"Farm Cove Walker" 101 x 152 cm acrylic on canvas - Donald Keys © 2014 Issue 5 - May 2014 39

"Lee and Me" 30 x 40 cm acrylic on canvas - Donald Keys © 2014 Issue 5 - May 2014 40

"Last Ferry Home" 41 x 51 cm acrylic on canvas - Donald Keys © 2013 Issue 5 - May 2014 41

“Goghed-up Street Light” 45cm x 61cm acrylic on canvas - Donald Keys © 2012

Issue 5 - May 2014 42

Artist Donald Keys in his studio - photo courtesy of artist.

Issue 5 - May 2014 43

OBSERVATIONS ALONG THE ROADSIDE.

Eric Werkhoven ©2014

Next to this bit of bushland, where the Whip birds live and make the bush resound

with their peculiar piping sounds. Then there is this quattering sound, like some birds

really busy with what they are doing. I have sat here on numerous other occasions.

It’s still a muggy day, but there is also a nice wind, with an effort to be cool, so it is

bearable and I even have some water to drink.

Along the other side a fire has raged, but the trees have not been too badly affected

by the flames that torched them and embraced them to make all life forms cringe and

scream.

But there are opportunists who scoop up the insects trying to fly away from the

smoke and heat. This part has been spared and that is where most of the birds are,

altogether creating quite a din.

Some old mattresses and a collection of bottles seek to remind us that this is litter by

the roadside; that the council workers avoid to look at, or even comment on, let alone

that they might be told to pick it up.

Issue 5 - May 2014 44

Spring

Sculpture by

Eric Werkhoven

Issue 5 - May 2014 45

This - by poet Carlin McLellan

This is pretty astounding

better than turning yr phone

off for an afternoon

better than a summer beer on a sunny balcony

better than clipped fingernails

and new glasses and a new

old haircut

better than a quiet lorikeet on

yr shoulder

T

H

I

S Issue 5 - May 2014 46

or a finished song

or a late night drunken

cactus buying spree

better than

embracing

better than uncovered coal trains

or a complete set of Charles Dickens

even better than a wilted strawberry

& better than drinking a bottle

of red wine (drinking it

from the bottle)

better than an unscathed car

Issue 5 - May 2014 47

or a cockroach on it's

back, giving

up

better than an anthology of

Newcastle poets

or fried eggs on toast

probably better than

good& evil not actually

existing

or a cute girl glancing at you

and smiling (actually, no, nothing

is better than that)

Issue 5 - May 2014 48

Okay, it is:

Collaging

& the lovely war we

seldom rage against

senselessness

because the universe reels

for us

& only us.

- Carlin McLellan(C)2014

Carlin McLellan lives in Newcastle and divides his time between his band

Moonsign, and staring at the sky and writing haiku.

Issue 5 - May 2014 49

“Rhinoceros Orchardos” - artist Richard Allen - at Pitt St. Mall, Market St.

Shooting Safari

in Sydney

by Lorraine Fildes

Issue 5 - May 2014 50

Rhino Shooting Safari in Sydney by Lorraine Fildes

A great day in Sydney getting rhino images! If only everyone would go shooting with a camera instead of a

gun. Beautiful hand painted rhinoceros sculptures are everywhere in Sydney at the moment.

Why? I visited the Taronga Zoo website to find out.

http://taronga.org.au/wild-rhinos

“In the wild, poaching is causing world rhino populations to collapse, pushing these animals towards

extinction. Right now, one rhino is killed every 11 hours by poachers. ‘Taronga Wild! Rhinos’ was a Wild in

Art event that brought businesses, artists and schools together to create a spectacular world-class

sculpture trail through the streets, parks and public spaces of metropolitan Sydney to country Dubbo. This

event was held from 2 Feb – 28 April 2014. The herd of 125 extremely colourful rhino and calf sculptures

formed a free public art exhibition to help raise awareness and vital funds for Taronga’s world leading Black

Rhino breeding program and in-situ conservation projects.”

I managed to capture (shoot?) ten of these Rhinos in Sydney CBD. I have given the artists name, the

rhinoceros’s title and the place where the sculpture was sited.

For more detailed information go to: http://taronga.org.au/wild-rhinos/artists

Lorraine Fildes is a travel photographer and writer, presently living in Sydney.

Issue 5 - May 2014 51

R - Bot 4000 artist - Joel Gregory Cameron - at Custom House Square. Issue 5 - May 2014 52

Camouflage - artist Hans Hulsbosh - at Martin Place. Issue 5 - May 2014 53

Porcelain Rhino - artist Rachel Chu - at Chifley Plaza. Issue 5 - May 2014 54

Rhino - All Patched Up - artist Lynley Kirkness - at Hyde Park. Issue 5 - May 2014 55

Rhino Survival & Golden Baby - Ken Done - at Overseas Terminal. Issue 5 - May 2014 56

People Takeover the Wild Rhino - artists Kevin & Paul Connor - at Opera House Issue 5 - May 2014 57

Sunrise - Wakeup With Friends - artists Channel 7 Sunrise crew - at Martin Place. Issue 5 - May 2014 58

“Put a Lid On It” artist - Jane Gillings - at the Sydney Botanic Gardens. Issue 5 - May 2014 59

Come Forth All You Romantics - David Graham

Issue 5 - May 2014 60

Come forth all you Romantics

the world is still yours

though we have passed from tecni-

colour dreams to the

minute stream of digital’s

glean there is still the

euphoric episode that

smarts the cells like a

battery acid sucked from the

stem of gods’ own plant

the old game of sun and moon

still swims with white and

red and on earth’s crust the broken

children still love

to writhe in death-throw folly

and deify the

pound of pants – explosion of

the willing naked

in the grass, pressed in by trees

their flowers sparking

Hear the Faun that skips to the

tune of Venus’ flute

it brings the bacchanal in

pills and tabs and leaves

us to expand cornea

and mind alike deep

in the cement and bricks of

our world that burns and

Issue 5 - May 2014 61

churns as Gomorrah once did

And so as poet

the line is drawn from all you

Romantics that came

before the data pulse rose

louder and busier

than rock and the avalanche

of coins changed tune to

binary’s rank call and I

must shout louder the

chant of forest and faery

dance from the rooftops

So Morrison’s ghost drums in

your ear and white

rabbit’s heresy comes cool

and slow long the

tree lined trail: Dransfield’s abode

Courland Penders. My

Courland Penders is the dome

of Kubla Khan on

a Bathurst hilltop where the

graves sprout like pubic

hair and inside the temple

light and art rain

to dazzle immemorable

in fresco as the

music booms speakerless and

the Russian priests bring

Issue 5 - May 2014 62

the crowd to an ecsta-

sea that washes the

shore of Byzantium, the

dolphins encircle

Avalon, risen Atlan-

‘tis with stars and night

I have the murmur deep with-

in the garbled screen

of my mind it coils like a

snaking wire that will

take on Rumour with meek love

and modesty, the

rampage like gonzo fumes that

rise to nostrils like

kava against the banal

and overwhelming

sense of everything at once

against the forces

only the urges can lead

us on to honey

and the ultimate way to

satisfaction is

to succour the fruits of our

humanity: Art

Come forth all you Romantics

the world is still yours.

Copyright David Graham 2014

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David Graham is a Hunter Valley poet and Editor of Word Hurl Anti -Slam online

Poetry magazine.

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Paintings by (C) Robyn Werkhoven 2014 www.studiolaprimitive.com

Issue 5 - May 2014 65

STITCHING PROJECT - FIONA WRIGHT

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Talking Needles - Stitching the Strip- Islington with Fiona Wright

Suburban Islington's shopping strip will be festooned with Hope Flags in May as part of a

cross-cultural art event that will raise funds to improve literacy amongst women in rural India.

The flags will be part of the Talking Needles: Hopes and Dreams exhibition at Timeless Textiles Gallery,

which showcases the work of much-loved fibre artist Fiona Wright, who returns to the Hunter from rural

India where she now lives.

For many years Fiona has been working with locals in her Indian community on the 'Stitching Project'.

A social enterprise dedicated to making fine textile products, the Stitching Project produces quality

hand-worked homewares, garments, and craft supplies, with a style that is a both ethnic and contemporary.

"I work with a group of people, mostly women, endeavouring to find a way to produce an income that will

feed both our bodies and our souls," Fiona explained. "Our business is a social enterprise that produces

benefits for all."

Fiona says “That the 'Stitching Women' who are part of the project take pride in their work, which is hand

stitched.”

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Block carver at work. Fiona Wright and pink Saris.

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"Sharing the finished pieces with them, and showing them pictures of foreign clients appreciating them, adds

to their satisfaction and encourages them in their involvement with the work and its quality."

The idea for the exhibition arose from the group's latest designs, a series called 'Hopes and Dreams', which

fits well with what the Stitching Project members want to share with the world. Fiona says “the designs gave

members a chance to demonstrate their creativity.”

The Talking Needles: Hopes and Dreams exhibition will showcase a collection of Hope Flags (similar to the

idea of Tibetan prayer flags) that have been block-printed in English and Hindi and stitched into using a

range of coloured threads and embellishments. Their themes are compassion, hope, peace, love, sharing

and dreaming.

The exhibition will include Hope Flags created in many places - in India by the Stitching Project; the local

fibre art group NCEATA, as well as those made at workshops held by Fiona at Timeless Textiles Gallery,

joining creativity across continents and cultures.

The gallery invites anyone who is interested to create Hope Flags with Fiona - listen to her wonderful tales

while you stitch - focusing on the themes of compassion; hope; peace; love; sharing and dreaming.

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Hope wooden carved blocks. More wooden blocks carved ready to print.

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Workshops will be held in May on: Monday 5th, Tuesday 6th, Wednesday 7th, Thursday 8th and Saturday

10th. Drop into Timeless Textiles Gallery any time between 10am and 3.30pm and create a Hope Flag.

The workshops are free, with a $5 charge for the hand-loomed cotton flags. 150 metres of stitched white

ribbon, created at an International Women's Day stitch-a-thon, will be used to hang Hope Flags, in the Talk-

ing Needles exhibition, opening on Sunday 11 May.

Selected flags, focusing on the unique, eclectic and unusual, will flutter along The Strip, Islington's vibrant

Maitland Road shopping strip, starting at Madame Mo's and rounding the corner to end up at Timeless Tex-

tiles Gallery.

The flags will be auctioned at the opening of the exhibition, from 6pm on Sunday 11 May. All proceeds will

be donated to create a library for the Indian Stitching Women, to help increase their literacy. Those flags

not sold will be returned to the Stitching Project and stitched together into a quilt.

Time: 9.30 anytime between 10 am and 3.30 pm

Venue: Timeless Textiles Gallery

7 Beaumont St, Islington

Newcastle. NSW

Free

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Sewing Surfaces:

Planting seeds with Jan Clark

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Sewing Sur faces: Plant ing seeds wi th Jan Clark

O v e r t h r e e d a y s w e w i l l l o o k a t t h e j o u r n e y i n v o l v e d w i t h m a k i n g

o r i g i n a l s m a l l f o r m a t q u i l t s . A t e x h i b i t i o n s t h e f i n i s h e d p i e c e s y o u

s e e a r e o f t e n t h e r e s u l t o f e x p l o r a t i o n s f r a u g h t w i t h i n d e c i s i o n a n d

d e s i r e . T h e s e r e n e f a c e o f t h e f i n i s h e d w o r k s h o w s n o n e o f t h i s .

Art quilts are built up in layers, physical layers and layers of meaning.

Stitching and collaging fabrics in a contemporary and painterly way will give participants

freedom to create.

Starting at the beginning with the first layer you will be encouraged to work towards a final

surface that expresses your personal creativity, some twists and turns on the way. This is a

playful workshop that combines the fun of free motion machine sewing with useful information

on design to make your work sing.

Experience with free motion sewing is required. If you have an Embellishing Machine we will

also explore the amazing potential of this tool to create unique surface embellishment.

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Lanscape II - Art Quilt by Jan Clark Wild Flower X - Viola hederacea by Jan Clark Issue 5 - May 2014 74

Dates: 9/11 May 2014

Venue: Newcastle Community Arts Centre

246 Parry St, Newcastle West (free park-

ing at back of venue)

Cost: $350 including delicious morning

tea and lunch.

BOOK IN NOW

Contact Us:

P 0408 483 913

E anne@timelesstextiles.com.au

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3 Village Art Festival – Graham Murphy

“It was said that it could never happen, the thought of having an art show in four locations over two days,

organised in such a short time was an impossibility. We have taken a dream and made it a reality. Local

Gresford resident Jim Doyle wanted to put this art show on as a tribute to his mother who was a tireless

worker for our community and a talented artist and photographer. Therese Doyle who so many people

loved and admired was taken from us tragically in a car accident nearly fifteen years ago. So was born the

Hunter Quarries 3 Village Art Festival with the Open competition aptly named the “Therese Doyle Award”

sponsored by Daracon. The Gresford Historical Society will have a display set up in Gresford Hall with a

tribute to Therese showing her art and many of her photographs as well as a long list of her achievements

and local activities.

We have a draft program that is growing everyday, we have artists from all quarters registering their

incredible range of art and photography. Our resident artist and Judge John Bradley, said in an interview

recently “I cannot recall seeing a response to an art exhibition like this before, I know a lot of Australia’s

leading artists and many of these will be showing at the 3 Village Art Festival”. Photography Judge David

Oliver also said “He was pleasantly surprised by the number and quality photographers who will be

participating in the festival”.

Everything is now set for one of the Hunters premier art events and the most exciting thing is, it is set in our

own backyard. All we need now, is to have our residents throughout our three villages to come along and

support this great event, knowing they are also supporting the Maitland Hospital Foundation and the local

Rural Fire Service Brigades who are the beneficiaries of the festival.”

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Our program covers something for everyone from children to the avid art lover and

entertainment for the whole family.

Weekend Program.

Official Opening Function

Friday night 23rd May Opening Function commencing at 6 to 6.30pm starts in the Main Hall at Tocal

Agriculture College. People who are interested must book by email stephigribble@gmail.com

or phone Graham Murphy on 0416116009 for catering purposes.

Finger food, Camyr Allyn Wines, Opening Ceremony by Maitland Mayor Peter Blackmore and Dungog

Mayor Harold Johnston. See all of the category winners who will be announced on the night. Lucky door

prize of a John Bradley artwork, incredible auction with original works donated by Artist John Bradley,

Natalie Jane Parker, Robyn Werkhoven and Photographer David Oliver. The total retail cost of these works

exceeds $10,000. This is great opportunity to get some magnificent art well below the retail value.

View one of the largest Aboriginal art displays ever held in the Hunter and you will see one piece of art and

photography from every artist participating in the festival. There will be over 200 pieces on display at Tocal

alone. Get in first at the opening to purchase one of the best investments you will ever make. Entertainment

and lots of fun will finish the evening.

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Saturday and Sunday the 24th and 25th May commencing at 10am – 4pm Look for the

signs and banners on the main road from Maitland to Gresford

Tocal – Tocal Road, Tocal.

Pick up your maps, programmes and brochures. Pick up the Children’s Art Rally forms,

Watch Aboriginal artist demonstrate their work, watch a traditional Aboriginal possum skin cloak

being made. View magnificent Aboriginal and non Indigenous art on display.

Go in the draw for a lucky door prize.

Buy from many of our local food producers and enjoy music from a range

of talented buskers as you enter the hall.

Leave Tocal and head for Paterson

Paterson School of Arts Hall – Duke Street, Paterson

View a range of beautiful works covering, Watercolours, Acrylics, Pastels

and Drawings.

Watch art demonstrations by Natalie Jane Parker throughout the weekend.

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Drawing by Cathy Varcoe

Paterson School of Arts Hall – Duke Street, Paterson

Visit Paterson Art Gallery next door for more artist demonstrations by Cath Varcoe.

Paterson Gallery children can register (now) to participate in art classes with Creative Art Space.

Enjoy buskers as you enter the hall.

Tucker Park will have Vintage farm machinery on Saturday and a great selection vintage cars on

Sunday,

Shop at a variety of market stalls on both days.

Paterson Rotary club will provide quick easy food or visit one of the cafés or restaurants in town for

sit down or take away meals.

Take a guided stroll around Historic Paterson.

Leave Paterson and head for Vacy

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(detail) Wild Land - 16 Images by Robyn Werkhoven

Early Morning - painting © John Bradley 2014

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Vacy School of Arts Hall – Gresford Road Vacy

View our photography section and see our local school exhibition and competition winner.

David Oliver will be giving photo taking demonstrations during both days.

Enjoy the street entertainers.

Enter the Vacy Hall lucky door prize.

Participate in the interactive RFS display

Take a helicopter ride

Pre book David Oliver to go up with you and get tips for the best aerial photographs.

Jumping Castle and amusements for the kids.

RFS BBQ, onsite catering van with a variety foods or eat in the local Historic Hotel of Cafés.

Enjoy a large range of market stalls.

Leave Vacy and head for Gresford

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Welcome The Rain

© Natalie Jane Parker 2014

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Gresford School of Arts – Park Street, East Gresford

View a range of works covering Oils, modern contemporary, local subject and see all of the Art Category

Winners.

Visit the Therese Doyle Exhibition.

Painting Demonstrations by renowned artist John Bradley during the weekend.

Be entertained by Buskers.

Enter the Gresford hall lucky door prize.

Meet at St Annes Church (Church Street Gresford) for Cemetery tours at 11am and 2 pm daily. See the

grave of a soldier who fought at the Battle of Waterloo against Napoleon

Shop at the extensive range of market stalls.

Buy quick tasty food from the Rotary Club of Rutherford Telarah Catering Caravan or from one of the

Restaurants and cafés in town.

Saturday afternoon finish off the day and relax with a visit to Camyr Allyn Winery for excellent

entertainment by Springtide, buy a bottle of quality wines, enjoy a BBQ and a jumping castle for the kids.

Enjoy beautifully restored cars displayed on Sunday

Sunday finish the day with a “ get back to the fifties” special guest entertainer and music at the

Beatty Hotel where all of the lucky door prizes and the children’s art rally winners will be announced.

We want everyone to come and visit, have a great time and enjoy the works of some of

Australia’s finest artists and photographers. Issue 5 - May 2014 84

Allyn & Paterson Valley © David Oliver 2014

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CRAFT NSW EMERGING ARTIST – CRAFT

AWARDS 2014

The Society of Arts and Crafts of NSW invites, NSW,

emerging craftspeople in any craft discipline to submit

entries for the first Craft NSW Emerging Artist - Craft

Award.

AWARDS

Emerging Artist - Craft Major Award: $2000 and an

invitation to exhibit work at Craft NSW for six months.

Emerging Artist - Craft Minor Award: $1000 and an

invitation to exhibit work at Craft NSW for six months.

Two Encouragement awards: $500 each.

Emerging craftspeople, from NSW, working in any area

of craft are invited to submit up to two entries for

consideration within a competitive selection process.

Entry is free.

For all the information you need:

http://www.artsandcraftsnsw.com.au/award.htm

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ART NEWS A

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N E W C A S T L E E X I T - till 4 MAY

M A R K B E R R Y M A N A N D R E W M A R L E Y

ASWexhibition space……. 40 Annie St Wickham 2293

M: 0431853600 Fri to Sun 12 to 4pm W: www.art-systems-wickham.com

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ART NEWS

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Cockburn Range - painting (C) Peter Griffen 2014