ARTS ZINE May 2017 by Robyn Werkhoven

s t u d i o

L A

arts zine issue 20

May 2017

P R I M I T I V E

Morning Light, painting acrylic on canvas, 720 x1800 cm. Â© Jayde Farrell 2017.

https://www.jaydefarrell.com/ Issue 20 - May 2017

N Working Dog, coloured pencil and gouache on Fabriano paper, hand varnished 180 x 130mm, ÂŠ Susan Ryman.

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slp

G E O

studio la primitive

R G

EDITOR Robyn Stanton Werkhoven

CONTRIBUTORS George Gittoes

Brad Evans

Hellen Rose

Eric Werkhoven

Janis Lander

Lorraine Fildes

Susan Ryman

Maggie Hall

Donald Keys

Robyn Werkhoven

Debra Liel-Brown

Gallery 139

Natalie Duncan

Timelesstextiles

Jayde Farrell

Art Systems Wickham

G I

E S The Transparent Road, 152.5 x 198.5cm, Â© George Gittoes.

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INDEX Editorial………………………… Robyn Werkhoven

SLP Antics………... …………. E&R Werkhoven

Feature Interview …………… George Gittoes

8 - 45

Hellen Rose. Poetry……………………………Eric Werkhoven

46 - 47

Interview …...…………………. Janis Lander

48 - 61

Featured Artist………………….Donald Keys

62 - 83

Poetry ………………………… Brad Evans

84 - 85

Featured Artist …………………Susan Ryman

86 - 105

The Collector

Above: Guardians, Steve Lopes, 2005. Work from The Collector

Exhibition, Newcastle University Art Gallery.

………………..Maggie Hall

106 - 119

Featured Artist ……………… Jayde Farrell

120 - 131

Ezre,France …………………. Lorraine Fildes

132 - 151

Botanica ……………………… Debra Liel-Brown

152 - 167

Featured Artist …………………Natalie Duncan

168 - 177

ART NEWS…………………….

178 - 197

EDITORIAL Greetings to all our ARTS ZINE readers for May 2017. In this month’s issue we feature an exclusive, in depth interview with the dynamic artist and film maker George Gittoes and Hellen Rose, actor, singer and writer, talking about their art and life, the establishing of the Yellow House in Jalalabad,

Afghanistan.

This month’s artists’ interviews feature Sydney artist Janis Lander, and Donald Key’s forthcoming exhibition ART HEADS. From the Hunter Region NSW, Susan Ryman, Jayde Farrell, Botanica - a community Mural Project with Debra Liel-Brown and ceramic artist Natalie Duncan. Lorraine Fildes, our resident travel photographer and writer visits the village of Eze in France, the garden by Jean Gastaud and sculptures by Jean-Philippe Richard

Maggie Hall, artist and photographer presents an article on THE COLLECTOR. Don’t miss reading our new poetry, art news and information on forthcoming art exhibitions. The ARTS ZINE features 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 2017.

Deadline for articles - 15th JUNE for July issue 21 2017.

Email: werkhovenr@bigpond.com

Regards - your editor Robyn Werkhoven The publisher will not accept responsibility or any liability for the correctness of information or opinions expressed in the publication. Copyright © 2017 Studio La Primitive,. All rights reserved. No part of this magazine may be reproduced , in whole or in part, without the prior

permission of the publisher. Issue 20 - May 2017

E & R A N T I C S New Collaborative drawings - E & R Werkhoven ÂŠ 2017

www.studiolaprimitive.net Issue 20 - May 2017

GEORGE GITTOES & HELLEN ROSE INTERVIEW YELLOW HOUSE JALALABAD.

Left: Love is a Flame - Â© George Gittoes. Issue 20 - May 2017

GEORGE GITTOES & HELLEN ROSE. George Gittoes - is a celebrated Australian artist, an internationally acclaimed film producer, director and writer. In 1970 he was a founder of the Yellow House Artist Collective in Sydney. Gittoes is described as “simultaneously being a figurative painter, a modernist, a postmodernist, a social realist, a pop artist and an expressionist”. “Gittoes’ work has consistently expressed his social, political and humanitarian concern and the effects of injustice and conflict. - "I believe there is a role for contemporary art to challenge, rather than entertain. My work is confronting humanity with the darker side of itself." Since 1986 he has travelled to many wore torn areas, including the Philippines, Somalia, Cambodia,

Rwanda, Bosnia,

Bougainville, and South Africa. In recent years his work has especially focused on the Middle East, with recurring visits to Israel and Palestine, Iraq, and Afghanistan. In 2011, he established a new Yellow House, a multi-arts and education centre in Jalalabad, the second largest city in Afghanistan.” Gittoes has received many prestigious art awards including the Blake Prize for Religious Art (Twice) and Wynn Prize. His films have won many International Awards and can be accessed through SBS On Demand and in 2015 he was bestowed the Sydney Peace Prize.

Hellen Rose - George Gittoes partner is an indomitable actor, singer, writer, musician and passionately involved in the Yellow House Jalalabad - Assistant director at Gittoes Films PTY LTD, Music Director at Gittoes Films PTY LTD, Assistant Director at Buraq Films & Gittoes Productions.

The following pages contain an in depth interview with George Gittoes & Hellen Rose. Issue 20 - May 2017

George Gittoes in Jalalabad, Afghanistan.

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Interview with George Gittoes - Robyn Werkhoven. You have travelled to many perilous, hostile war zones, witnessing atrocious crimes perpetrated by humans, however through all this you have also perceived the “strength of the human spirit”, can you tell me more about this and what motivated you to establish the Yellow House in Jalalabad?

“When I was a kid growing up in Villiers Street, Rockdale there were only two Australian born families, ours and our neighbours, the rest were all refugees from post WW2 Europe. There was no TV or other entertainment, so I started doing puppet shows in the backyard and donating the money to the Red Cross. The feeling that I could make a difference through my art has never left me. Presently I am watching chemical attacks and bombings in Syria and feeling guilty that our group have been too slow to begin establishing a Yellow House there. Everything that I have done in war zones has been the result of a deep inner need to find a way to respond with physical help. I used to think it would be enough to make films and art in war zones and send it out to the world in the hope this would bring change. Over time I have lost faith in elected governments to react to the will of the people and take actions which those who are concerned would like to see happen. Instead I have watched our country follow America into disastrous and ill-conceived wars like Iraq and Afghanistan. I realized that the reason I have stayed sane is not because I have distributed my documentation to be consumed by the world media but because I saved real lives while I was there.

I have never chosen to take photos or film or draw when I could be helping the

wounded or getting people out of danger. The memory of the babies I was able to save in Rwanda is reason why I was not tortured by PTSD.” Issue 20 - May 2017

George Gittoes in his roof top studio, Yellow House, Jalalabad. Issue 20 - May 2017

â&#x20AC;&#x153;When I was doing the original Yellow House in Potts Point with Martin Sharp we agreed it would be a far greater contribution to do it in Vietnam. That was in 1971 and neither of us knew how to go about it. The idea of art in the place of war has been realized at our Yellow House in Jalalabad - a city where there were no theatres, art schools, film schools, music recording studios or a meeting place where male and female artists could mix and discuss their work in safety. The Yellow House serves all these roles as well as assisting street children to gain entrance to schools by being taught basic literacy before they apply. It cost one million dollars to have one Australian soldier in Afghanistan for one year â&#x20AC;&#x201C; the total was in the billions and nothing was achieved. The region where Australian forces were stationed had been reclaimed by the Taliban

and it is generally accepted that the Australians were only propping up corrupt individuals who were exploiting the general population of the province. Forty two Australian soldiers lost their lives and thousands of locals were killed and nothing achieved. The Yellow House has, however, gained the respect of all sectors of society in Jalalabad and is flourishing. All the funding has come from the sale of the paintings I have done while there. Art funding art. The stories of creative achievement we bring out of Afghanistan are good news and not the typically, hopeless and negative reporting of general media. We are saying that art can make a difference and have the film documentation to prove it.â&#x20AC;?

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Who are the other people - friends, fellow artists, performers involved in the Yellow House? “My main collaborator at the Yellow House is Hellen Rose. Hellen is ideal as she helped to found and run the Gunnery ,1985-91, an artist collective in Woolloomooloo similar to the original Yellow House I did with Martin Sharp and others in Potts Point in 1970 and since then Hellen has had a long history of running artist spaces . Both of us are able to cope with living within artistic collectives and doing our best work without being drained by the others around us. Hellen is an actor, singer and musician and runs the women’s workshops which are the most important aspect of what the YHJ does. Hellen is the only other Australian at the YHJ the rest of the artists, filmmakers, musicians, students and teachers are either Afghans or Pashtuns from the Tribal Belt of Pakistan. In 2006 I was invited to meet with the combined creative arts groups in Jalalabad. At the time I was working in Peshawar, Pakistan, doing an OXFAM funded project helping to keep the Indigenous Pashtun Language Film Industry after years of attacks from the Pakistani Taliban. My film Miscreants of Taliwood had documented the threat Fundamentalist Islam posed for all the creative arts in the region. In Jalalabad it was impossible to do theatre or exhibitions because of the fear of a suicide bomber and on the first day I arrived the last video store was bombed by the Taliban. There were no film, art, theatre or music schools where people could train so, our facilitation of a multi functional teaching ,meeting , performance and creative was essential to the whole artistic community of Jalalabad. The making of the Yellow House is all documented in our award winning film Love City Jalalabad. While making the film we discovered the talents of Neha Ali Khan and assisted her to direct her first movie drama ‘Simourg’. Since then Neha has been a partner to Hellen in progressing the women’s workshops just as Amir Shah and Waqar Alam have been my closest colleagues. In this gender divided society most activities have to be separate. Even at weddings women guests are not allowed to mingle with male relatives and friends. The workshops which Hellen and Neha give have to isolate the female students from the males at the Yellow House. It is a complicated process but we are gradually seeing the barriers come down and selected male teachers are beginning to be allowed to do specialist instruction, especially in the area of new technology.” Issue 20 - May 2017

Yellow House - family and friends, Jalalabad. Issue 20 - May 2017

What is a normal day like at the Yellow House?

“The Yellow House like the original in Potts Point Sydney has a rotating family of up to 16 resident artists and teachers. We have a cook, nicknamed Itchy, who caters for everyone including our many drop in visitors and street kids and the students who come for workshops. Hellen and I make our own food as saturated in oil – the fruit and vegetables from the local farmers are delicious and chemical free. The days are determined by the scheduled activities. If we are taking the Cinema Circus out it means an early morning wake up and everyone getting together to pack the tent on our blue circus truck and make sure all the props and equipment are ready for the show. I make sure our monkey Dali, is well fed and in good humour as he is our little Pied Piper who attracts the children in. If we are doing women’s workshops all the men have to

move to our second space as in this strict Pashtun society men and women are not allowed to mingle. I am seen, as so old I am beyond child making, so am allowed to participate along with the young boys who have not yet reached puberty. If we are making a documentary we prepare out cameras and meet to work out every aspect of the shoot. Once outside the gates we are in a war zone and every action has to be planned like a high level military exercise. If we are shooting a drama we will be swamped by colourful actors with all their eccentricities; learning and rehearsing their roles, putting on costumes and testing their props. At night we do a lot of computer related activities like capturing the film rushes from the day of shooting, writing scripts and editing. Electric power is intermittent so we have to crank up our very noisy generator. There is no hot water, so showering is with a plastic cup and bucket filled with water warmed on our gas stove. In the summer it is unbearably hot and the winter it is unbearably cold. Hellen and I both prefer the cold to the hot.”

Issue 20 - May 2017

Hellen Rose with their cook Itchy and friends, at the Yellow House, Jalalabad.

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What are the challenges for the Yellow House? The relationship with the local community?

â&#x20AC;&#x153;The great thing about the Yellow House is that every year we see remarkable progress and can pat ourselves on the back for being a contributing force for this positive change. Six years ago billboards were not allowed, especially if they depicted the human figure. Now there are billboards informing women they do not have to allow themselves to be forced into unwanted marriages and that they are entitled to leave abusive relationships and where to find shelter. At the beginning video stores were being bombed down to the closure of the last one. Now we are showing our films on an electronic billboard in the centre of the city for everyone to see and if they want to hear the dialogue they can purchase from mobile ice cream vendors who sell them from their carts. Women can buy them from over the back fence when purchasing sweets for their children. Our womenâ&#x20AC;&#x2122;s workshops continue to grow and former students now have their own radio and TV shows or are making films for festivals. Beyond the arts we teach at the Yellow House Jalalabad is a medieval city with flourishing trades and crafts. There are pot and tile makers, marble workers, elaborate furniture makers gardeners, iron and metal workers, carpet weavers and hundreds of tailors and associated fabric workers and embroiderers. These are skills that have been lost in our industrial society and generally exported to Asia. The people in Jalalabad can both teach us how to get back to the beauty of the hand made and export their beautiful handiwork. We would like to keep Jalalabad free of being swamped with cheap Chinese made goods and protect these ancient skills. Hopefully, entrepreneurs and business people from Australia and other countries will be able to stay as guests of the Yellow House and find ways to assist the local arts and crafts to get buyers around the world.â&#x20AC;? Issue 20 - May 2017

“What people find most surprising to hear is that nothing bad has ever happened to Yellow House or to anyone doing Yellow House Activities. I need to knock on wood when writing this but up to this point we have never been attacked or challenged. In the early days everyone told us the Taliban would shut the Yellow House Down and probably kill us in the process, but early on we were visited by the leadership of the local Taliban and were told they approve of our work, which they see as beneficial to the Afghan People and the YHJ was put under their protection. For the locals to just see the Taliban visit us and walk away smiling and with hugs and handshakes is enough for them to accept we are not a threat. IS or Daesh are another matter. There is continual fighting with IS only 3 kilometres outside the city – we can hear the canon, guns, bombs and mortars from the YHJ and can tell when battles become intense. The recent MOTHER OF ALL BOMBS, dropped on Donald Trump’s orders shook the Yellow House and cracked one of our computer screens. IS are philosophically opposed to most of the ideals the Yellow House stands for and we have to be extremely vigilant that they do not send a suicide bomber or men with guns . I am, however, happy to make the case for the YHJ to IS and the few I have spoken to when out filming have not shown any aggression to wards us. The local Jalalabad police and army, including their intelligence officers are regular visitors to the YHJ and have pledged all the protection they can give. Everyone knows we do not have armed security guards around our perimeter like all the foreign aid organisations in Afghanistan. We rely on the goodwill of our neighbours and the local community for our safety and security. For us, the Yellow House is a model which we have proven to work in an active war zone. This model can be an inspiration to others to attempt to do art in place of war in other conflict damaged communities. When meeting with local groups who are optimistic about the future of our Love City of Jalalabad there is always a proud soul who will say “Some day Jalalabad will be a cultural centre like Paris, London or New York . We know what cultural wealth Jalalabad has to offer and agree.” Issue 20 - May 2017

Hellen Rose

Issue 20 - May 2017

HELLEN ROSE INTERVIEW The Yellow House has as a slogan, “Declare love on war!!!!” tell me more about this. “George and I both believe that humanity has to realise that declaring war doesn’t ‘work’, it perpetuates horror and misery and many of the world’s problems can and could be solved using our great and creative minds to think beyond killing. Creative idea’s always shock and astound those who have never thought along those lines themselves. Many people thought we were ‘crazy’, and wondered why were weren’t full of fear. We declared love on Jalalabad and we also declared Art, Education, Theatre, Fun and Rock n Roll on Jalalabad and we have done more healing and bridge building than was ever achieved with bullets and bombs.”

Hellen Rose is deeply committed to the Yellow House and women’s education and workshops. “Being a teacher is the most revolutionary act in the world today not only in countries like Afghanistan but worldwide and it has been a great pleasure for me to bring together the Yellow House Jalalabad Women’s Team. When I first decided to run the workshops I had more students than I could cope with so I had to run several workshops. The very first day was the most challenging as the girls all arrived in their Chadoori’s (Bourqua is the Pakistani equivalent) and huddled together quite frightened not knowing what to expect . My appearance made them very curious and put them at ease. All the men at the Yellow House had to move over to the back lot as any mixing of genders at this stage would have been dangerous.” Issue 20 - May 2017

Young performers with masks, Jalalabad. Issue 20 - May 2017

“I had my wonderful friend and Yellow House core group member Neha Ali Khan with me. I am qualified as a Senior Drama and Art Teacher in Australia and I also teach Senior English. Drama is my passion however and it was so great to use this subject to bring the girls out of themselves and not only give them a lot of fun playing theatre sports every day for the first two hours but to see their confidence build. The young women created radio plays, mini documentaries, scripts and stories. One day I discovered that the word Niquab means mask, that was the eureka moment when I realised that mask workshops and the use of masks could allow the women to film each other without the fear of being exposed. George and I, on a trip to Norway, visiting our co producers, the Norwegian Company Piraya, had the fun of going into a huge store to purchase a whole lot of masks. George bought a bunch of scary monster masks for the boys and I found the most exquisite butterfly and ornate masks I thought the young women would enjoy. Once back at the YHJ I laid out all the

masks including George’s horror masks just to show them all the different types of masks available and then when It came time for them to choose a mask for their workshop they all rushed to the horror masks and squealed with joy running around the room frightening each other with them. They did eventually try on the prettier masks but they are all working on making horror fantasy short films at the moment. The daily advances made by these young women and their intelligence would be a joy to any teacher I know to work with. Often the women seem more mature and intelligent than the men who are so spoiled and praised without warrant merely because they are seen as the head of the family. The women have had to use their wits to negotiate their survival and to preserve what liberty they can. With the new President Ashraf Ghani and First Lady Rula Ghani the freedoms for women are coming along carefully but very surely.”

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Tell me about “Hellen goes to war”. “I am actually amazed that I have become not only George’s partner in life but his partner in his work and creativity in these dangerous places. There was no way I could bare staying in Sydney worrying that something might happen to him and that I wouldn’t know where to begin to help him get back if something did. I actually laid down the law and said, “I’m coming

too!”. I laugh to myself when I think of my first arrival in Pakistan to make a series of Pashtun films up in the tribal area’s in Abbatobad, Ayubia when Bin Laden was still alive and believed to be in Efftobad just down the mountain from where we were filming, (we think his hench men came to watch the night shoots while we were filming, as there were girls dancing and even a ‘foreign actress’, we discovered that this was how our crew manager advertised the event and had been selling tickets, the men all sat around outside the windows filming with Nokia’s). I actually thought to myself that I would turn up and somehow he would realise that he should not keep going back and just come and stay at home and paint. Well, nine years later and I have discovered the true fulfilment of being able to create art in the face of destruction and just how incredibly powerful that act really is.”

What was International Women’s Day 2017 like in Jalalabad? “International Women’s Day 2017 and Jalalabad was in high alert as First Lady Rula Ghani was travelling with her entourage to address a gathering of over 3,000 women. Where a woman was also going to sing live, the national song of the area, the first woman to do so in 80 years. IS or Daesh, as the local Jalalabadians call them, had directly threatened to bomb and kill all who attended, especially targeting the First Lady as well as the ‘singer’ and that ‘singer’ was me.” Issue 20 - May 2017

Hellen Rose and friends, Jalalabad. Issue 20 - May 2017

Hellen Rose singing on International Womenâ&#x20AC;&#x2122;s Day, Jalalabad.

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Hellen Rose and George Gittoes, Jalalabad.

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“A hospital had been bombed the day before mercilessly killing doctors and patients alike, as a warning of what was to come. I had been invited to sing at the occasion by the Head of Woman’s Affairs in Jalalabad and I had been working with local musicians on two songs, singing them in Pashto and in English. However very early on the morning on the day I was called by the organiser who informed me that I may not even go ahead with the song as the danger was so high, that the First Lady had been turned back due to the Kabul bombing and the IS threats. I was already dressed up to the nines in an incredible hand embroidered dress and scarf, a traditional dress decorated with little mirrors to deflect the evil eye and jangling charms called Taviss, meant to bring luck and good fortune. My shoes were diamante covered golden thong like slippers with kitten heels and I’d spent at least an hour on extensive showgirl make up, including peacock feather eyelashes to match the colours of the dress. I was rung again at 8:55, just five minutes before the event was meant to kick off, Z’s voice quavered, “Are you ready? We have to leave now, I’m sending a vehicle, the band can’t come and neither can George or Waqar”. “Ok” I said, I didn’t hesitate as I knew how much the girls had wanted me to do this. I threw my Bourqua over my head and was escorted to the front gate of the Yellow House. To my surprise soldiers with machine guns had blocked the entire street at both ends as I was hurriedly escorted to an armoured car. George and Waqar followed me onto the street, Waqar filming. I waved them goodbye as the car sped into the dusty streets with siren flashing and going down the wrong side against traffic of rickshaws, donkey and carts and sedans who all moved out of the way without hesitation, there was a gun turret on the roof of our vehicle and three soldiers with machine guns sat in the back.”

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“After going through many checkpoints I arrived in the Governors Palace and seated among the women dressed in extraordinary garments, most with veils covering their faces. There was still concern about whether I should sing or not but my friend from Woman’s Affairs came to me and held both my hands, looked into my eyes and said, “Please, please sing for us today, you are not afraid?” “ No I’m not afraid, I will do it”. And so I did. There were armed soldiers on either side of the stage while I performed who were ready to shoot machine gun fire into the audience if a threat came from there or anywhere in the room.” There was also a large number of men in attendance who were seated in an allocated area, I recognised a few as supporters of the Yellow House and knew that I would also have to say something at the end of the song but that I would have to be very, very careful what I said. I decided I would use body language throughout the song to show a bold and defiant

stance, swishing the great-decorated skirts to visual effect, an

incredibly daring manner to display in any situation as a

Pashtun Woman. At the end of the song I explained that I was honoured to be invited to the occasion and as an Australian and as a woman that I was there to stand by the Pashtun women in their struggle for liberation as well as the men who supported them. I delivered this in a very bold manner as one would expect of any Australian feminist and with a raised fist! There was a resounding gasp, a hush and then an explosion of applause. I stood for a little longer in my bold stance and then walked back to my seat with my heart pounding, the women near me grasping my hand and hugging me. “Thank you, thank you! Manana, manana. IWD celebrations go on for the whole week in Jalalabad and I sang and spoke at several other events after then as well.” - Hellen Rose © 2017.

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Glimpses of everyday life from the Yellow House Jalalabad.

Issue 20 - May 2017

Glimpses of everyday life from the Yellow House Jalalabad.

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Sufi Mohammad Saheed singing with Yellow House friends. Issue 20 - May 2017

George Gittoes - Interview. Maulana Haqquani, a Taliban leader, has supported your work, but in recent times has the Yellow House come under a greater threat from the more fanatical Islamic factions influence – Isis? “The local Taliban leader is Maulana Haqqani . He is highly educated and a good friend of the Yellow house to the extent of allowing his sons to do workshops. He is not even bothered by the news that none of his sons want to join the Taliban and all want to pursue higher education at University in Medicine and Engineering, to be able to contribute to the rebuilding of Afghanistan. In our Nyngahah Region the Taliban are fighting IS alongside Government forces and have supported democratic elections. Haqqani attended International Women’s day and complemented Hellen on her singing as did other powerful Religious Leaders. For this reason we were greatly saddened to hear a few days later that IS had attacked

Haqqani’s home and his brother had been killed in the fire fight. The news in Australia always paints the Taliban as the bad guys but this is not our experience in Jalalabad.”

What are you working on at present? Will it concern the persecution of the Sufi’s? The sole tragedy of the Yellow House was the murder of the Old Sufi by IS. The Old Sufi, Mohammad Saheed, was teaching traditional music and shaman magic at the Yellow House to the Kuchi children we jokingly call the Ghostbusters. Saheed was of Kuchi descent making him similar to a tribal elder in Australian aboriginal society. While incorporating the mystical traditions of Islam with his Sufi teaching he had much older knowledge that goes back to the indigenous people of Afghanistan. Issue 20 - May 2017

George Gittoes showing Sufi Mohammad Saheed his portrait by George.

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“At the Yellow House he was very happy to be able to pass on this ancient knowledge, mysticism and folklore. When Hellen and I came back to Australia for the Peace Prize Ceremony in Sydney, Saheed decided to take his teaching to the communities outside the protection of Jalalabad. He was playing his harmonium in a park to a delighted audience when IS militants approached, smashing his harmonium and admonishing him to his audience before cutting out his tongue and then beheading him. His loss hurt me deeply and affected everyone at the Yellow House. I processed my grief into a series of paintings of Saheeen in states of ecstasy – transforming the space around him with his mystical vision and ability to take people into another higher state of being. These works reminded me of what got me started painting in the first place. Like the Old Sufi I am a natural mystic. I have never taken mind altering drugs but have always been able to open doorways to visionary experiences beyond material existence. When I was a kid I never experienced a dark room at night. My darkness was always filled with colourful Paisley patterns and butterfly wings – like a dry aquarium surrounded by tropical fish. When I was eighteen I began a series of mystical paintings which blossomed out, by 1970, into the highly decorative puppet theatre at the Original Yellow House. This Christmas I moved from painting the Old Sufi to a large work called

‘Undark Room’ – trying to depict what I could see in my night bedroom as a child. I have continued with these mystical paintings and they have brought me a lot of joy and peace. It is time for Mystics to come out and declare themselves without fear of being called mad and laughed at. A world without mystics is unnatural – science only deals with half the truth and nothing is to be gained by dismissing those who can see beyond.”

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Your work in Jalalabad is very important – “making art in the face of the destroyer” – What are your future aspirations for the Yellow House?

“Hellen and I hope to make the Yellow House secure enough to continue long into the future.

As well as the creative centre which is large with theatrical stages , edit rooms, the Secret Garden Café and a music recording studio we have established a small guesthouse in the centre of the city which has two self contained apartments, an office and the rooftop studio. This enables visitors to stay in a more secure environment than the actual Yellow House. Both the Yellow House and the Guesthouse have limited tenant agreements and we could be asked to vacate at any time. Our aim formalise a Yellow House Foundation so donations can assist us to purchase permanent buildings . The local Jalalabad and Afghan Government are assisting us to find a path to making this possible. Banksy has recently opened the Waldorf Hotel in Palestine/Israel with similar ambitions to what we have been doing in Jalalabad since 2006. We can see a ART IN PLACE of war movement growing globally as creative people around the planet are tired of waiting for Governments to bring peace. Our most recently completed project at the Yellow House is a Virtual Reality film called FUN FAIR JALALABAD . It is the first VR film to my knowledge made in Afghanistan and is a sequel to our Award winning Feature documentary Snow Monkey. The street gangs of Snow Monkey (mobile ice cream vendors) , Ghostbusters and Gangsters of the film are now a couple of years older , so it was great to bring them together again to do something with this experimental technology.”

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â&#x20AC;&#x153;I lashed out and paid $8,000 to purchase an Omni GoPro VR camera rig because I believe it is important to let our Jalalabad artists work with the most advanced technologies and not feel technically inferior to more developed societies. For the same reason we brought a camera drone to the Yellow House during our last period there. Virtual Reality recording has a much more immersive impact than conventional 2D photography making it possible to take our world of Jalalabad to the outside world for others to experience without the risks of actually being in a war zone.â&#x20AC;?

The boys from Snow Monkey - award winning Documentary, proudly displaying the poster.

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“Blood Mystic”

– your book was released in 2016,

what an enlightening and emotional journey you take the reader on. An eyewitness account of the events in your life that have inspired your art – in painting, drawing and film and humanitarian achievements. The very life pulse of George Gittoes is revealed.

AFTER BLOOD MYSTIC THERE ARE THE NIGHT VISION

COMICS TO FOLLOW “My wonderful friend and editor at Macmillan, Angus Fontaine, was inspired by my visual diaries and my unpublished graphic novels to undertake to help me create very different kind of autobiography which became Blood Mystic. My series of black paintings, done at the Yellow House this year, illustrate a comic story 'WAR DOG' . My plan is to make WAR DOG my first published comic - being strongly visual and not totally reliant of literacy it will work for both Afghans and a world audience.”

http://gittoes.com/ Issue 20 - May 2017

“Since the early 90’s I have been writing an epic story which I refer to as my Night Vision books . This writing came from being alone in terrifying war situations with no one close to me to communicate with . Writing was like my invisible therapist. I invented an alternate universe where a unit of soldiers called Virus Squad lived through similar experiences to my own. Slowly , as well as events I was living through like the massacre at Kibeho Camp in Rwanda , the writing incorporated all of my back story since childhood which in a new distorted form become this of its main character , Corporal Night. A publishing agent in New York described Night Vision

as the most unusual autobiography she had ever read. The recent

publication of Blood Mystic by Macmillan Australia drew a lot from Night Vision . Now that task of putting many of my life stories down and illustrating them , is finished I am ready to undertake the much bigger challenge . All of my art illustrates the epic story of NIGHT VISION and will gradually be absorbed into the many publications to come . War Dog is a separate story to that of Corporal Night but this Kuchie dog belongs in the same Universe as the Virus Squad of Night Vision and sometimes they overlap and meet in comic time.”

“I am excited about this because I have known for years and years that my graphic novels are what hold everything I've lived and made art about, ‘together’. No one has ever wanted to publish them because they are not nice.”

My fictional character, Lance Corporal Day says it all in his opening introduction: If you do not like fucked up shit, you’re not going to like NIGHT VISION – it is stories snatched from a fucked up life by a seriously fucked up soul. Believe me because I know and back more times .....

Corporal Night we’ve been to Hell

Be warned not to try and go inside his head – not with what he’s seen and

done. And don’t complain if nothing makes sense because NOTHING MAKES SENSE. Issue 20 - May 2017

“Locking

Issue 20 - May 2017

â&#x20AC;&#x153;I am going to use my Face Book popularity to launch the publication . People will read and see the stories online and limited edition collectors editions will be printed on paper . The on line comics will be free while I build up an audience but later we might use a comic app to sell them to the digital subscribers.

In the past I have often summarized a period of work with etchings , printed with my sister Pamela - this goes back to the Hotel Kennedy Suite and includes the Crows Over Cane Fields Suite Empire State Suite and Heavy Industry. I wanted to do a Realism of Peace Suite and later an I Witness Suite but the process of making plates and editions by hand is too expensive and does not reach enough people. Artists started making prints to enable more people to be able to afford art but in this digital age this idea has become antiquated and precious

.Originally there was Durer , Goya and Blake

then great Modern printmakers like Eduard Munch, James Ensor ,Otto Dix and Pablo Picasso made amazingly powerful editions of prints which are still my inspiration.

I am not saying I am stopping print making - I still love to do it - but comics are something which still reaches the masses . The blockbuster movies that have the biggest budgets and attract audiences back to the cinemas are based on comics .

When flying in planes the onboard entertainment network has a separate section for Marvel . My favourite Japanese Anime - 'host in the Shell' has just been made into a movie with human actors and a ton of special effects - the imagery comes from the crazy German Artist ,Hans Bellmer's erotic dolls. The puppets I make are a 3D extension of my comic characters. Parallel with doing as series of 24 paintings from WAR DOG I am making someone new black puppets.â&#x20AC;?

http://gittoes.com/ Issue 20 - May 2017

George Gittoes working in his roof top studio, Yellow House, Jalalabad. Issue 20 - May 2017

Most recently a new series of Black paintings – tell me about this work.

WAR DOG “It took the winter atmosphere of the Yellow House in Jalalabad - painting the BLACK PAINTINGS on the roof to the sound of Mosque calls to prayer - attack helicopters and drones passing overhead and visits from the street kids - the Ghostbusters, Gangsters and Ice Cream Snow Monkeys to make me start on WAR DOG and become determined to finally start getting my comics out to the world. We had a Kuchie Pup which was killed by our rogue monkey . She was the cutest pup I have ever known and everyone at the Yellow House mourned her death/murder . That was when I began working on the story WAR DOG story - a way of keeping her spirit alive. The opening scenes of War Dog are based on a real experience. We took our Circus to Tora Bora and on the hill above where we pitched the tent was a house which had recently been hit by Hell Fire missiles . The family and all their animals had been killed but their bet dog had survived and would not leave the ruins - I tried to persuade it to come with us but it looked at me with huge black eyes and communicated that it was certain its family would return some day. It was emaciated with starvation but would not leave the ruined front door. That dog is in our film Love City. When people visited me while doing my BLACK PAINTINGS on the rooftop and asked what they were about I could easily let them know they illustrated a dog story and tell them bits of it. This worked a lot better than letting them know the paintings are about their constant war. This interpretation was even acceptable to Taliban visitors - Afghans love animal stories . There is a long tradition of animal stories for children in their culture. Illustrating a dog's story seemed the most natural thing I could be doing “. Issue 20 - May 2017

A warning to Trump - Black Lives Matter - Rappers and George Gittoes in Miami 2016.

Issue 20 - May 2017

America and Trump. “I became a documentary maker because I realized my paintings and writing would never reach the world audience that can be accessed through Television. Our trilogy of documentaries titled WHAT THE WORLD NEEDS NOW included Miscreants of Taliwood, Love City and Snow Monkey. All have achieved world audiences and many International Awards, giving our work in Pakistan and Afghanistan to the widest possible exposure. The other trilogy focuses on American and started with Soundtrack to War, then Rampage and now we are back in Miami shooting White Light. It is as important for us as artists to work with the race war and all the other negative social deterioration under Trump as it is to give time to the Yellow House in Jalalabad. Last November we were in Miami during the election shooting the first phase of White Light. For those who do not know about the first tow films please download them from SBS online. The music video we made ‘Ya All Don’t Hear Me’ by the group of street rappers from Brown Sub has already played on RAGE (ABC).

I started the kind of socially aware art I do when I was in the US in 1968/9 and began working

with the African American Civil Rights artist Joseph Delaney. The situation since then has only gotten worse with child soldiers being used by drug gangs in the poor areas of the US to do murder. Life in black American has become a nightmare and White Light will go to the heart of it, unflinchingly. We plan to open a Yellow House in the poorest area of Miami where there will be a recording studio for musicians and street poets and vast mural projects for the painters. Our Afghan camera man, Waqar Alam will be shooting with me and has already created bonds between the Afghan Yellow House community and the one in Miami. As time passes I am sure there will be an exchange with rapper poets going to Jalalabad.”

UNCHANGED Closer to the day in question Closer to the deep blue sky itself

Closer to the very essence of our being Alive or dead we are all in it For the moment to blossom For the moment to and speak

And say it were all possible, we would not have hesitated But itâ&#x20AC;&#x2122;s flawed We have perfected being flawed Being strange, being weird and wonderful And it is by these standards that we can gauge your participation and personal loyalty.

- Eric Werkhoven ÂŠ 2017 Issue 20 - May 2017

A Meditation You literally take my breath away. Send the ball rolling up and down the hill Prove a man can stand his ground, where the ground will swallow him up. Prove there is hope in these daily functions we must dutifully perform.

You literally take my thoughts away. As in shooting holes in the clouds. To join a long string of colourful shapes and balls together.

Prove that it is not unrealistic for equality to shine brighter.

You literally read it by the book, word for word.

- Eric Werkhoven ÂŠ 2017 Issue 20 - May 2017

JANIS LANDER

James Browne – oil on canvas 2006, 107 x 107 cm . – © Janis Lander Issue 20 - May 2017

JANIS LANDER Janis Lander - artist, author and lecturer. Her art is represented in collections in Australia and overseas . Janis accepts commissions of all kinds including figurative works, portraits, and landscapes. Media include oil on canvas, alla prima works on paper in charcoal and pastel, and a body of work in printmaking, using intaglio etching methods. Portraits by Janis Lander have hung in the Portia Geach Memorial Award, the Doug Moran National Portrait Prize, The WA Black Swan Prize, and numerous group exhibitions. In 2012 Janis was awarded a PhD in Art Education, College of Fine Arts, University of New South Wales. Her research is in

the domain of ‘spiritual art’, specifically referring to energy practices and developing consciousness. The thesis is titled “A Discursive Study of Art and Education in Contemporary Spiritual Systems”, available online.

Janis teaches a sessional lecture series – “Art and Philosophy of the Spirit” at the Centre for Continuing Education, Sydney University. (See the CCE website). The 2017 course dates are in March/April and September/October, 6.308.30pm, 4 x Tuesday evenings.

Janis is an editor of academic papers and theses. She has extensive experience as a curator of exhibitions, writing catalogues, and served on the executive team for the independent group Portrait Artists Australia 2002-2014. She was the editor of The Artists’ Book (2012).

http://janislander.com/ Issue 20 - May 2017

3 Karlissa in Beret Oil on canvas 2012, 103 x 66 cm ÂŠ Janis Lander Issue 20 - May 2017

JANIS LANDER - NTERVIEW Beginnings “ I was born and raised in Sydney except for 6 years during my early childhood. From the age of 18 months until I reached seven and a half my family lived in a NSW country town. My father was a successful lawyer but decided to quit the law and become a businessman, founding a regional brewery at a time of post-war beer shortages. Ultimately the brewery attracted the attention of larger Sydney brewers and was eventually taken over after a fierce battle that ended up before Parliament. Therefore we returned to Sydney, and my father to the law. But those 6 years were pivotal to my development as an artist and a writer.

My mother had been a well-known radio and theatre actress in Sydney before she married, and languished in the “backwaters” as she called it. She made regular trips on the Flying Boat to Sydney to stay with her family, visit the theatre and the opera, and the dressmaker. At home she played melancholy classical pieces on the baby grand, sang Italian arias,

and listened to the ABC. Every Sunday we went to Mass where I have no doubt she prayed for deliverance from her fate in the wilderness. My father had been raised in a Jewish household, so he did not accompany us. The town’s church was a handsome Gothic Cathedral style building in red brick and stucco, with a first class organ in the choir loft, and a spacious sacristy. I was fascinated by the tragic faces of Byzantine icons and the dramatic cruciform architecture. In context of the brutal elements of the town, the theme of suffering made perfect sense.” Issue 20 - May 2017

â&#x20AC;&#x153; I mention the details of this story because although I regard myself as a Sydney girl, my formative years were spent in a fairly rough environment where culture was a rarity. There was a very dark aspect to that town which featured in the 2014 Royal Commission Report into Institutional Responses to Child Sexual Abuse. To this day the teenage suicide rate remains high in the region. I was witness to incidents in that place that a small child should be spared and as a result I became introverted. My parents ignored the social problems of the town, they were preoccupied with business and tennis and golfing. They threw a lot of grand parties and we had a constant flow of witty houseguests from the city, so in a real sense I lived between two worlds, a sophisticated, elegant, cultured world, and a dark, stunted, violent world, and this vivid experience of moral dualism shaped the themes in my work. At the same time the rugged beauty of the Clarence area introduced me to the magnificent Australian bush, the teeming energy of nature, the sense of watchful presence within the palpable silence. Our property flowed down to the river and offered a fertile kingdom for a solitary child to explore, a pantheistic theme that dominates my landscape work and outback studiesâ&#x20AC;?.

Issue 20 - May 2017

“My mother was a supporter of the performing arts rather than the visual arts, but she collected coffee table art books that stimulated my imagination. There was no television - it did not arrive in that region until after we had left - therefore my early years were spent poring over narrative art on diverse subjects, both sacred and profane. A book of Norman Lindsay erotic watercolors was a great favorite. I didn’t know why the naked ladies were cavorting with gentlemen dressed up as pirates, but it looked like fun. There were also books on Egyptian art and the Renaissance masters. Mama bought me illustrated copies of Arabian Nights, Alice Through The Looking Glass, Wind in the Willows, Tanglewood Tales, A History of American Indians – all filled with beautifully crafted drawings and paintings.”

Right: Study for Trent Marden Charcoal and pastel and conté crayon, 74 x 51 cm

Trent Marden oil on canvas 2015, 122 x 80 cm Â© Janis Lander. Issue 20 - May 2017

Becoming an artist “ I showed a natural talent for drawing that developed quickly as I approached adolescence, making drawings of nature and of the people around me. The success or failure of capturing a likeness is immediate and necessarily develops a sharp eye for detail and for mood.

By the time I was about eleven I was good enough for my father to take me to his mother’s house to draw her portrait as a birthday present. It remains the most nerve-wracking experience of my artistic life. My father sat on the arm of my chair closely watching me make the drawing, correcting me if he thought I had mistaken the proportions. When I finished he was very pleased and presented it to Nana with the flourish of a proud parent. I could tell from her face that she hated it. “She’s made me look old”, was her comment. That was my first experience of a negative response from a sitter. I have since realized that it is important that the sitter feels some pleasure in the result.

When I was in my early teens I began to exhibit and sell from local art shows like the Royal Easter Show. I had a cool art teacher in the senior years, Yvonne Rogers. My HSC artwork was featured in the Sydney Morning Herald in Art Express, and much to my surprise someone bought it. Everyone thought I was headed for a spectacular career in art. But I won a Commonwealth Scholarship to university, leaving home shortly after I left school, and followed my heart to distant places. I had an adventurous time in my twenties with detours into music and film and theatre, and although I kept on painting, I didn’t take up a serious art career until I was divorced, with children to support, and in my late thirties. At that mature age

I enrolled in the Julian Ashton Art School for a Diploma in Art, to kick-start my career and catch up on missed time.” Issue 20 - May 2017

How important is drawing as an element? â&#x20AC;&#x153;All my paintings are based on preliminary drawings. Drawing is the intellectual side of art making. It provides the basis for any future paintings, and contains in gestural strokes the composition, the feeling and tone of the work, and encapsulates the theme. If I add colour it is only to elucidate the themes contained in the drawing. I like working in pastel because not only are the colours rich and subtle, but it is both a drawing and a painting medium. When I travel into the outback I fill A4 books with drawings in contĂŠ crayons, pastels, compressed charcoal. These alla prima studies of weather conditions on terrain are complete in themselves and I had an exhibition of them in 2006. However they can be used as studies for larger studio paintings.

I make drawings in many different mediums. I love the simplicity and the dense blackness of Chinese painting, which is drawing in a fluid medium rather than a dry medium. The brush is loaded with a hand made black gluey paint, and then the stroke is deliberately made on the absorbent rice paper. It is intensely gratifying to wrestle with such an unforgiving medium. I studied printmaking in the early 2000s with Michael Kempson of Cicada Press UNSW. The dramatic effects of black and white in intaglio etching techniques are wild. I began with simple etched drawings on zinc plates, with deep bitten crosshatching, and then began to play with tonal values via spit biting and other aquatint methods. Sugar lift drawing employs a fluid medium very like Chinese painting. The range of tonal values achieved via an aquatint over a sugar lift drawing is very exciting and can be used in portraits and in landscapes.â&#x20AC;?

Issue 20 - May 2017

Michael Kempson

Sugar lift etching on Hahnemühle paper 27 x 23 cm © Janis Lander 2004

Issue 20 - May 2017

Dry river bed - charcoal and pastel and conté crayon on paper 2012, 21 x 29 cm

Terrain - charcoal drawing on paper 2016, 21 x 29 cm

Study for Red Earth - charcoal and pastel and conté crayon on paper 2014, 21 x 29 cm .

Sheep – charcoal drawing on paper 2016, 21 x 29 cm

Issue 20 - May 2017

Sunset – charcoal and pastel and conté crayon on paper 2010, 21 x 29 cm - © Janis Lander.

Issue 20 - May 2017

The present -

“I am continually inspired by the Modernist artists. Modigliani’s portraits combine the abstract gestalt with individual features, the sacred and the profane, in a contemporary manner inspired by stylized Byzantine icons, very difficult to achieve. Another artist who achieved that balance was Richard Diebenkorn, whose career moved between figurative and abstract views, spectacularly resolved in the Ocean Park series. I aim to fit somewhere in that mode.

At the moment I am working on a few portraits. They take a long time to complete from the initial sitting to the finished work. My approach to oil painting has changed over the years from stylized flattened compositions to more naturalistic

studies and more vigorous brushwork. Although the composition is still based in drawing, the medium of oil paint exerts a viscous, sensuous presence, and I take great pleasure in scumbling, dragging the paint across the canvas, and in playing with hard and soft edges to create effects of light. At some point the paint takes over and the drawing gets buried in subtext.

I am inspired by the many Australian artists (both Indigenous and non-Indigenous) who are working with abstractions of landscape. The genre is rich and poetic and I am currently working on a series of oil landscapes based on studies from annual trips to the semi-arid desert around Broken Hill. If I can finish 30 works I’ll have an exhibition in 2018.” All rights reserved on article and photographs - Janis

Ranges - oil on canvas 2015, 61 x 91 cm. - Â© Janis Lander.

http://janislander.com/ Issue 20 - May 2017

DONALD KEYS ART HEADS EXHIBITION Interview

Issue 20 - May 2017

DONALD KEYS Born 1958, in the coastal town of Bulli, Donald is an artist who is heavily influenced by the juxtaposition of his hometownâ&#x20AC;&#x2122;s heavy industry and beaches. He started working in the advertising industry back in 1976, where he honed his drawing skills in the pre-digital-graphics era. In 2005 he walked away from a lucrative career in commercial art to focus on what he believes is the more emotionally satisfying profession of fine artist. Donaldâ&#x20AC;&#x2122;s paintings are figurative works, in a contemporary impressionist style. He paints using vibrant

colours that are

quintessentially Australian, employing quite visible brush strokes to enhance texture, which give his paintings a tactile quality. His 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 his paintings that suggests humour may be another saving grace to our challenging times besides art. By creating images of people and nature, infused with everyday suburban objects, Donald hopes to chronicle modern life through.

For the past two years Donald Keys has been working on a series of portraits of contemporary Australian artists. This current crop of artists make a unique contribution to the Australian art scene â&#x20AC;&#x201C; enriching our culture. They pay homage to their cultural heritage yet make their work intrinsically Australian artist.

www.donaldkeys.com.au Issue 20 - May 2017

Left :Portrait of Mertim Gokalp, synthetic polymer on canvas, 152 x 101 cm, Donald Keys ÂŠ 2017.

Right: Mertim Gokalp beside his portrait of Donald Keys.

www.mertim.com.au Issue 20 - May 2017

ART HEADS - NTERVIEW WITH DONALD KEYS By Robyn Werkhoven

For the past two years Donald you have been working on a series of portraits of contemporary Australian artists, the works are now completed and the exhibition ART HEADS will open in the Shoalhaven Regional Art Gallery on the 20th May 2017. What inspired you to start this project?

“In September, 2014, I was fortunate enough to meet and talk to Mertim Gokalp, and that’s when the Art Heads project began. Mertim had started a portrait project to commemorate the one-hundred year anniversary of the battle between the ANZACs and Turkish at Gallipoli. The exhibition was to feature portraits of Australian and Turkish descendants of those who participated in that 1915 WWI campaign. I qualified as a candidate as my grandfather Samuel Keys (spelt Keyes on his military papers) was in the 25th Battalion deployed to Gallipoli. When I sat for the portrait, adorned with my grandfather’s service medals, I asked Mertim if he would be willing to sit for

me. Much to my surprise he said, “Yes.” In October 2014, when Mertim saw my portrait of him, the conversation turned to artistic projects and themes. A series of portraits of the current crop of

artists was discussed, and I said, “That’s a great

concept; I think I’ll run with that.” Mertim then said, “That’s what an artist does - works on a theme.”

Issue 20 - May 2017

Left: Portrait of Carlos Barrios Synthetic polymer on canvas, 152 x 101 cm, Donald Keys ÂŠ 2017. Right: Carlos Barrios and Donald Keys. www.carlosbarrios.com.au Issue 20 - May 2017

Why did you choose the particular artists? “These twenty portraits capture just a few of the many working artists I have managed to meet over the past four years. They are artists who I admire as individuals and for the culturally valuable work they

produce. In paying homage to

their styles, I got a feel for their work, and now have a greater appreciation of their creativity. I am deeply grateful for the

time they afforded me and truly thankful for their guidance.” What were some of the challenges organizing the sittings with the artists? “Each artist I approached indicated that they liked the concept, so it was a relatively easy task to arrange the sittings. I made sure to fit in with their schedule, and I came to their studio, which consumed less of their time. There was a bit of

traveling though… some of these artists live a thousand kilometers from my home.” Visiting the artists’ studios & homes, would have been a rewarding experience, tell me something of these events. “These artists are unique, and so too their workspaces. I was surprised how different each studio I visited was. Studio space varied from painting areas inside the family home to full-fledged commercial studio spaces. Each artist gave me a

warm welcome and proceeded to show me their art practice and methods. It was quite an education. The artists worked in different mediums from each other - marble, brass, some worked with oils, some in acrylics, and a couple utilize found objects. It’s was a rare insight that I feel incredibly privileged to have experienced.

Issue 20 - May 2017

Right: Portrait of Donwang Fan, Synthetic polymer on canvas, 152 x 101 cm, Donald Keys ÂŠ 2017. Left: Donald Keys working on the portrait in his studio. https://www.janetclaytongallery.com.au/dongwang-highlights/

Issue 20 - May 2017

The paintings are big and bold, tell me about your choice of technique and size. “Strong colour saturation is a recurring technique in my paintings, yet I still wanted to remain fairly true to the artist’s style I was paying homage to. Large works appeal to me; also, I wanted to paint the artists

larger than life to capture their re-

spective characters. A neat looking wall of art with visually aligned pieces appeals to me, or suggests an exhibition has been carefully planned, or perhaps I simply have issues with aesthetics - not sure which - so the portraits are uniform in size, 152 x 101 cm (or 60 by 40 inches). They are painted in my favoured medium - synthetic polymer… the fancy name for acrylic.”

Why have you chosen to include glimpses of many of the artists’ works in the background or surrounding the artist?

“I endeavor to capture the sitter’s character and pay homage to their work. In order to achieve that, each piece features the artist represented in my style, layered or wrapped in a representation of their style. The end result is not really a true representation of either of our work, however, the painting does chronicle a meeting of contemporaries. Many people love the work of these particular artist, however, are not familiar with how they look. This project also attempts to visually marry the artist with their work; at times literally wrapping them in it, so the viewer may get a sense of connection to their art.”

How does it feel to see the project finished? “I’m not sure if the project is complete… there are so many other artists I would love to meet and paint. It is very rewarding connecting with other creative people, not just for the comradery, but also for my education. There is something I have learned from every contact that has enriched my life and improved my art.” Issue 20 - May 2017

Right: Portrait of Matthew Quick, Synthetic polymer on canvas, 152 x 101 cm, Donald Keys © 2017. Left: Matthew Quick and Donald Keys, in Matthew’s studio. https://matthewquick.com.au/ Issue 20 - May 2017

How do some of the artists feel about their portrait? “For accuracy, that is a question that you will have to ask them, however, I have enjoyed watching their

reactions. It is

confronting seeing a portrait of oneself. Sometimes the painting is not very flattering, and the sitter can’t help but show

their true emotion. Faces tend to reveal what’s floating in the owner’s head. Overall the responses were very favourable. Didn’t see a frown or knitted forehead.”

Do you have particular favourite portraits? “There is no particular favourite portrait, however, some were more fun to paint than others. The artists who employed styles far removed from my own interested me the most, as I was forced to expand my knowledge and technique in order to pay homage to it. Some of the paintings work a little better than

others in composition and colour. I do favour bright

vibrant colour and simple compositions… so perhaps the simple, colourful portraits are the ones that please me the most.”

Do you have any plans for the exhibition after the Shoalhaven Regional Art Gallery? “At this stage Art Heads will conclude on Sunday July 9, 2017, however, I am hoping it may get a run in another regional gallery. If anyone reading this can help to bring that to fruition, I would be very grateful for your guidance, or assistance.”

Issue 20 - May 2017

Left: Portrait of Arja Valimaki Synthetic polymer on canvas, 152 x 101 cm, Donald Keys ÂŠ 2017. Right: Arja Valimaki and Donald Keys beside the portrait. http://arjavalimaki.com

Issue 20 - May 2017

What are you working on after this exhibition? “There is more to coastal life than the waves... there’s also industry. My next major project will be focusing on Wollongong’s steel industry. There is a dynamic contrast between a factory landscape and that of the sand and sea, yet I find both fascinating. This yet-to-be-named project will take a year or two, and incorporate around twenty paintings that will include one or two major works. I’ll keep you posted.” - Donald Keys © 2017.

www.donaldkeys.com.au

Issue 20 - May 2017

Left: Portrait of Robyn Werkhoven Synthetic polymer on canvas, 152 x 101 cm, Donald Keys ÂŠ 2017. Right: Donald Keys and Robyn Werkhoven, in the Werkhoven home.

www.studiolaprimitive.net Issue 20 - May 2017

Left: Donald Keys and Richard Claremont beside the portrait of Richard. Right: Portrait of Richard Claremont. Synthetic polymer on canvas, 152 x 101 cm, Donald Keys ÂŠ 2017. http://www.richardclaremont.com/ Issue 20 - May 2017

Right: Portrait of Edmond Thommen Synthetic polymer on canvas, 152 x 101 cm, Donald Keys ÂŠ 2017. Left: Donald Keys with Edmond Thommen beside the portrait. www.thommenart.com.au Issue 20 - May 2017

Right: Donald Keys working on the portrait of Filippa Buttitta. Right: Portrait of Filippa Buttitta, with Judy Cassab. Synthetic polymer on canvas, 152 x 101 cm, Donald Keys ÂŠ 2017. https://buttittaart.wordpress.com/ Issue 20 - May 2017

Portrait: Christabel Blackman, synthetic polymer on canvas,152 x 101cm.

Portrait: Eolo Paul Bottaro, synthetic polymer on canvas, 152 x 101cm.

http://www.christabelblackman.com/

http://eolopaulbottaro.com/ Issue 20 - May 2017

http://www.sallyryanartist.com/

https://www.justinpearsonartist.com/ Issue 20 - May 2017

Portrait: Mia Oatley, synthetic polymer on canvas, 152 x 101 cm. - Donald Keys ÂŠ 2017.

http://www.miaoatley.com.au/

Portrait: Auguste Blackman, synthetic polymer on canvas, 152 x 101 cm.

- Donald Keys ÂŠ 2017. angelatandorifineart.com/collections/auguste-blackman Issue 20 - May 2017

Portrait: Anita Larkin, synthetic polymer on canvas, 152 x 101 cm.

- Donald Keys ÂŠ 2017.

www.anitalarkin.com

Portrait: Christine Webb, synthetic polymer on canvas, 152 x 101 cm. - Donald Keys ÂŠ 2017.

http://christinewebb.com/ Issue 20 - May 2017

Portrait: Paul Miller, synthetic polymer on canvas, 152 x 101 cm.

Portrait: Vince Vozzo, synthetic polymer on canvas, 152 x 101 cm.

- Donald Keys ÂŠ 2017.

http://kedumba.org.au/paul-miller/

http://www.vozzo.com.au/ Issue 20 - May 2017

ART HEADS Portraits of contemporary artists by DONALD KEYS 20th May - 8th July Launch: 20th May 12 - 2pm

Shoalhaven Regional Art Gallery 12 Berry St, Nowra, NSW 2541

http://www.paulryan-artist.com/index.html Issue 20 - May 2017

the disease straight after he died they converged. they took his: saws, planes & hammers (power drills were a favourite) they even unscrewed the g-clamps from the benches and used his remaining tools to remove the heavy lathe bolted to the concrete floor. I walked into the house later after they'd all gone, looked at my grandmother standing there.

"Go on" she said. "Everybody else has!" She pointed to a chest of drawers and said: "get something from there." I walked slowly over & pulled out the bottom drawer (the one where he kept his socks) I paused & looked back at her. "I don't need anything", I said again. She walked over and chose a chequered, grey pair before she offered them to me: "Here, he'd've wanted you to have something." ** ** What she chose for me was not really my colour but I've kept those grey socks

her eyes looked sad and deeply hurt, she looked at me before she said quietly: "Well, why aren't you taking something?" "I don't need anything, Nan" I told her.

for over 20 years now. - Brad Evans ÂŠ 2017 Issue 20 - May 2017

that last poem I can no longer remember, although it was written only a short while ago they come and they go these things that are fuelled by music, tragedy and smiling faces, of those events that confirm a continual fucking up of what some call civilisation. I thank you for my life for letting me bear witness to the tragedies, the atrocities, and those few lighter moments that make my existence worth its momentary flicker But if they offered me immortality those gods of my imagination: a forever life without a thinking second

I would rather decline and let go just like that last poem I can no longer remember.

- Brad Evans ÂŠ 2017

Issue 20 - May 2017

SUSAN RYMAN

Issue 20 - May 2017

SUSAN RYMAN - INTERVIEW Susan Ryman I was born late 1955 in Marrickville, well before it became a part of the fashionable Sydney’s inner west. I completed a Diploma in Art Education at the National Art School and Alexander Mackie CAE in Sydney from 1975 – 1971 and a decade later, successfully completed the Graduate Diploma in Art at Newcastle College of Advanced Education. The usual balancing act of teaching, family, working in arts administration, travelling and maintaining a visual arts practice with consistent solo, group and touring exhibitions in various NSW Regional Galleries as well as commercial galleries in Sydney and Newcastle, shaped my life. “From mid-2008 I was afforded the opportunity to challenge the parameters of my practice technically and conceptually through Post Graduate research at the University of Newcastle. Consequently, all my inescapable life experience, influences and knowledge feed a fully ripened and intensely personal visual form”.

What attracted you to the world of Art? “Probably until well into my 30’s, I was scared to the ridiculous point of knee shaking terror, of the art world at large. Consequently, I lacked any confidence to promote myself as a practising artist. This could have been a result of going through art school which was at that time dominated by teachers who believed in abstract expressionism and nil else. As such, I seem have developed a habit of scurrying home and working in a completely figurative way – all in isolated secrecy. The sheer bliss of privately making as such has always been a driving force. Now I just follow where the work takes me.”

Image on page 62 L – R Couple overall dimensions 840 x 444mm, Why go? overall dimensions 840 x 592mm,

Fish Out of Water 1,overall dimensions 840 x 444mm coloured pencil on Fabriano, hand varnished © Susan Ryman.

Issue 20 - May 2017

When did your artistic passion begin? “As far as I can remember, I was identified as ‘the artistic one’ in the family. Mind you, this labelling led to my parents buying me a set of Derwent coloured pencils in primary school. This in turn led to many a happy time blissfully overdecorating well researched title pages for my Social Studies

I do by necessity and

largely

part

of an

attempt to make sense

of an often, chaotic

world

book and various other projects which required visual content.”

Have you always wanted to be an artist?

“It’s probably more a matter of who I am and what I do by necessity and largely part of an attempt to make sense of an often, chaotic world.”

Describe your work? “Meticulous

and

detailed.

Three Flashcards 2008 –

Can

brooch

uncomfortable

subjects, spaces or places. Can be melancholic or even humorous depending on the viewers’ impulsive associations. Is a product of close observation, technically laborious

2012, Coloured pencil, ink, gouache on rag paper, hand varnished, Each 120mm x 105m © Susan Ryman

application and a rampant imagination.” Issue 20 - May 2017

“Frail minutiae, people, moments and things hiding in the shadows and conversely banal objects that are often overlooked find their way into my work.”

Lace fragment Coloured pencil on Fabriano paper, hand varnished 100 x 300mm © Susan Ryman.

“Depictions of moth eaten tapestry, ancient mosaics, fruit bursting with ripeness, fish, feathers, houses, rubbish such as used bread tags all dance out of context with each other often under brooding skies. The images are precisely drawn in new worlds that are entirely imagined.”

Flashcards, coloured pencil, ink, gouache on rag paper, hand varnished each 120 x 105mm © Susan Ryman.

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Unravelling panels 2, coloured pencil on Fabriano, hand varnished 280 x 760mm, © Susan Ryman.

“The artist Louise Bourgois has claimed that if life has any meaning it is through memory...and our senses. It is acknowledged that art appreciation is a subjective experience, often affected by personal memory. By using close observation with

traditional drawing techniques and materials, I attempt to interpret the contemporary world to this end.”

Hunters on the Horizon panels 1 and 2, coloured pencil on Fabriano, hand varnished, each panel 285 x 760mm, details and research images, © Susan Ryman. Issue 20 - May 2017

Do you have a set method of working? “Very much so. I always work on at least 20 works at the one time with a range of scales, more often smallish to get through a greater volume of work in a small working space. All works have been produced using traditional tools and techniques. I collect thousands of objects, images of events, people and places and my own observations then cross - reference them in diarised thumbnail sketches resulting in a

personal archive of memories that is the basis of my visual vocabulary as an artist. The evolution of this archive has always fed my creative output. This visual information is translated to a final image using layers of coloured pencil, in tight contours to construct various surface textures and tensions directly onto rag papers. As for all dry pigment, the colour is mixed directly on the paper rather than firstly on a palette and then applied.”

Left: The Oyster, Middle: Floating About details and working diary research images, Right: The Ribbon, coloured pencil on Fabriano, hand varnished © Susan Ryman Issue 20 - May 2017

“The drawings have all been sealed with varnish to stabilize the surface, to prolong the life of the work and enhance colour and detail. This technique was largely experimental for me from the first (mid 1990’s) so that the viewer wasn’t distanced from the artwork by a sheet of glass.”

Five Flashcards 2008 – 2012, coloured pencil, ink, gouache on rag paper, hand varnished, each 120mm x 105m, © Susan Ryman.

In the wind panels 1 and 2, coloured pencil and gouache on Fabriano paper, hand varnished, each panel 220 x 480mm, © Susan Ryman.

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Why do you choose this material / medium to work with? “Using the precision of dry pigment suits my obsessive way of working. I used to think I knew for sure when a drawing was finished when the paper couldn’t take any more. Now I sand back into the varnish and push some works even further.”

Left: Face It, coloured pencil on Fabriano, hand varnished 120 x 80mm, © Susan Ryman.

Homecoming 1 and 4, coloured pencil on Fabriano, hand varnished 2 panels each 295 x 630mm © Susan Ryman.

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How important is drawing as an element to your artwork? “It’s everything. From the small thumbnail sketches in my diary to pushing the medium to ‘flesh out’ forms. Even when I use a brush I draw.”

Bill Watching the Storm Approaching (detail) Coloured pencil on Fabriano, paper hand varnished 455 x 355mm © Susan Ryman.

Is there a particular reason for your choice of style / genre? “I honestly don’t think there was any specific choice in the matter, rather a part of the creative journey.” Issue 20 - May 2017

What inspires you? “The following recollection at age 17 in 1972 explains my life -long obsession with the stories that objects and images from everyday life can tell.” ‘I walked into my grandmother’s kitchen in the big old house in Marrickville. She had always lived with us - or we with her. There was an array of utensils, cups and plates on the sink. Some were washed and stacked; others awaited her attention. They sat, suspended by the energy of her life. I was transfixed. They were no longer just objects, but now loaded with meaning as her belongings, a testament of her life, soon to disappear. She had suffered a stroke in the early hours of that morning and never returned to her kitchen’.

In all of my works, implied narratives are purely visual. Words take a subordinate role, only appearing as an unde-

fined whisper within the drawings. Without offering any lengthy explanatory text, viewers are free to explore their own associations. A deep reverence for the ghosts of European art openly collaborates with closely observed elements of the immediate natural and urban environment in which I live.”

Same Old Fight, coloured pencil and gouache on Fabriano

paper, hand

varnished 250 x 200mm, © Susan Ryman.

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Letter to Dallas Coloured pencil on Fabriano, hand varnished 3 panels each 500 x 175mm ÂŠ Susan Ryman

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What have been the major influences on your work? “The world around me, from natural and beautiful forms to banal urban rubbish. My love of European art history and discovering its power through travel, particularly in Italy. The study of Natural History Illustration and the disciplines’ respect for keen observation, adaptability of materials and technical prowess has struck a chord with me as a practitioner.”

What are the challenges in becoming an exhibiting artist? “Timing, administration, installing, recording the work……best to enjoy the making of work then just try to watch it all from a distance and hope it finds a life of its own while you are bringing sense to the next lot of chaos.”

Name your greatest achievement, exhibitions? “Certainly, the most demanding was my PhD exhibition Collecting Identity at the University Gallery, University of Newcastle in 2013. Its scope was massive and involved years of work exhibited in excess of 900 drawings.

The following links on the next page are to the DVD recording of the exhibition itself, the Power Point Presentation that was included and explains the survey undertaken, and the stills of the show. “

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Susan Ryman - Collecting Identity 1 - DVD

http://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/

uon:16708/ATTACHMENT03 link ref; http://hdl.handle.net/1959.13/1061225

Susan Ryman - Collecting identity - Power Point Presentation http://novaprd-lb.newcastle.edu.au/vital/access/manager/ Repository/uon:16708/ATTACHMENT04 link ref; http://hdl.handle.net/1959.13/1061226

Susan Ryman - Collecting Identity - Still Images.pdf http://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/ uon:16708/ATTACHMENT05 link ref; http://hdl.handle.net/1959.13/1061231

Installation view – Stories without words panels, University Gallery, University of Newcastle., © Susan Ryman

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Stories without words – Hanging in the balance (3 panels) 2009 coloured pencil on Fabriano paper, hand varnished 500mm x 700mm , © Susan Ryman

Left / middle: Stories without words – Fish tales (detail) 2009 coloured pencil and gouache on Fabriano paper, hand varnished 40 panels: each 175mm x 500mm detail from photograph by Roger Hanley Right: Noon (detail) coloured pencil on Fabriano, hand varnished total dimensions 355 x 1000mm, © Susan Ryman

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“Collecting Identity was presented in three parts to reflect the research undertaken throughout the doctorate. Firstly, Stories without words, which were the multi-panelled artworks fundamental to both my practice and the development of the Flashcards. Secondly, all of the original Flashcards alongside a boxed published set such as those used for testing, and finally all 20 PINcard games, representing the survey, and its findings, each participant being identified by age, gender and discipline. On the whole, all of the works were unobtrusive and suggested narratives as an undefined whisper that viewers were free to explore without the hindrance of lengthy explanatory text. Unspoken places were hinted at – places of fear, pain, joy… the whole potential gamut of viewer’s perceptions and experiences were tapped. Questions were raised rather than statements given.

The Flashcards as a specific entity were a prism for all the different categories of work I had been intuitively exploring for years. Each of these small original coloured drawings was for me a sort of annoying memory trigger. Exhibited on mass, they lay in wait to snare some corner of the imagination and memories of others. All of the originals have been kept together (now with swollen ranks), and were presented as such for this exhibition.

It was interesting to recognise that I was part of one of the first generations to share childhood and indeed life with a television screen, making it difficult to avoid the thousands of images that flow through and past us every day. This explosion of multi media images in our world was reflected in the thematic and stylistic variation used in the Flashcards. There was nothing high-handed about them – they were eclectic by their own nature. This made, and still makes them accessible. However, the most important dimension is what can be done with them.”

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Selected Flashcards 2008 â&#x20AC;&#x201C; 2012, coloured pencil, ink, gouache on rag paper, hand varnished, Each 120mm x 105m Susan Ryman

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ÂŠ

“By publishing high quality multiple copies of the Flashcards, I investigated how different people found different meanings in my artwork. Any selection of images could be made, and arranged and reorganised. New meanings were flexibly and continuously explored using all of the cards presented in a box such as that exhibited. The printed and varnished images were taken, shuffled, displayed or returned for another day are exciting with the potential of being almost endless. Continued participation, changing of contexts, extension of memories all ensured the life of these Flashcards would not be static. n all, this got artwork off the walls and into the viewer’s hands to play with, and potentially situated the viewer of this artistic production as the co-creator of its meaning. In other words, we could all bring our own identities to a new form of visual game play. The survey found them to be quite the little truth pill.”

Flashcards (installation detail) coloured pencil, ink, gouache on rag paper, hand varnished 432 units each 120mm x 105mm overall dimensions

1080mm x 5040mm Photograph by Roger Hanley © Susan Ryman

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What are you working on at present? “After the award of my PhD, the freedom of working with creative integrity outside the rigours of academic research with gallery directors who are very good at what they do, was been a high point for me. I am truly excited to be currently working on shows in October and November at Art Systems Wickham and Gallery 139, both in Newcastle. I am pushing myself to work with large strong single images rather than interrelated panels. I have also begun to load more images publicly as I exhibit – please check at susanryman on Instagram.”

Skull, coloured pencil on Fabriano, hand varnished 200 x 250mm, © Susan Ryman.

Doggy 3, coloured pencil on Fabriano, hand varnished 202 x 152mm, © Susan Ryman.

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What do you hope viewers of your art works will feel and take with them? “To have unexpected associations prompted by their senses. Hopefully this might lead to their perceptions being reconfigured, and their preconceived notions of aesthetics and/or taste challenged. To lure then deliver the sting to open people’s lives and minds is my hope.”

Urban Goddesses coloured pencil on Fabriano, hand varnished, 210 x 148mm, © Susan Ryman .

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Your future aspirations with your art? “That my drawings will continue to act as triggers which reflect on the immediate world in all of its magnificent and contradictory forms.”

Flotsam, coloured pencil and gouache on Fabriano paper,

Some Things Never Change, coloured pencil and gouache on

hand varnished 420 x 297mm, © Susan Ryman.

Fabriano paper, hand varnished 180 x 130mm, © Susan Ryman.

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THE COLLECTOR

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THE ART OF COLLECTING EXHIBITION Held at Newcastle University Art Gallery - 22 March to 8 April 2017

The art of collecting presented a survey of works produced in the Newcastle region over a period of almost twenty years. Drawn from the personal holdings of a Newcastle-based collector, the exhibition offered a unique snapshot of the regionâ&#x20AC;&#x2122;s visual arts sector over the last two decades. The Newcastle University Art Gallery was delighted to profile such a unique and diverse collection, featuring well-known names in contemporary art alongside a number of emerging and unknown artists.

Guided by personal interest and taste, this collection has been gradually built up piece by piece, layer by layer, drawing parallels to art practice as it has informed our region. The art of collecting examines the nature of collecting, the impulses that drive collectors to gather works over many years, and the

ways in which collections can be rich interpretive sources for social, visual and local histories. - Newcastle University Art Gallery ÂŠ 2017.

https://www.newcastle.edu.au/community-and-alumni/arts-and-culture/the-university-gallery Page 84 : The Collector, in front of a Mal Cannon painting - 2016. Issue 20 - May 2017

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THE COLLECTOR Interview by Maggie Hall

Roughly how much of your collection is going into the exhibition at Newcastle University Gallery? Approximately a quarter of the collection. Will you donate or sell any of your works? I won’t be donating them . . . bugger that.. Music is important to you, do you like listening to your music while admiring your art collection? I’m usually writing a letter. When did you start teaching art, and where? New Zealand, Christ Church . . . after a while I gave it up to concentrate on other things. What was the reason you gave up teaching? I hated the school I was at and so I did other things, but I won’t go into that. I worked at a hospital as a night porter for a year, and then worked in hotels. I worked at an advertising agency and then kitchens on the weekend. When I had made enough working in hotels ‘the plan’ was to get enough money for a fair, to get out of the country

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The Collector, exhibition at Newcastle University Art Gallery. Issue 20 - May 2017

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What did you do in England? I didn’t get there till 40 years later . . . England didn’t happen . . .until later, on two brief visits. Where did you visit? London and South England, where I’ve got relatives. Will you go back? I’d like to, there’s so much more to see. When did you start collecting? You’re just a born collector . . . I bought two cowry shells when I was about four, I thought they were pretty . . .

I was just merely colleting them. My fathers a gambler. For you, is collecting art an addiction? It’s a passion. Are there any artists that you like to collect? Well . . . If the price is right and it’s saying something, it doesn’t have to be particularly pretty, I’ll buy it. Peter Gardiner is one of the better, I always thought he would hit the jackpot. Then there is Ben Kenning and Olivia Parsonage . . . there are quite a few others who are on the up and coming. John Moroney, I’ve got a bit piece of his that’s going into the University exhibition, quite a large piece . . . and 5 small pieces. Ben Kenning . . . It was a very good show, for a young man about 30. Issue 20 - May 2017

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2 views of works in THE COLLECTOR exhibition at Newcastle University Art Gallery. Issue 20 - May 2017

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What do you think of Kennings works? Well . . . the best of it . . . I like the calligraphic energy in some of his earlier works.

Do you think that when an artist becomes too repetitive and commercial there is a fear of losing the essence of individuality and emotive thought in their works? Coburn did the same thing 30 or 40 years . . . very polished, very neat . . . if you know his work, it is very designy . . . When he moved into using a traditionally recognised aboriginal palette, the browns and the ochres, he just lost it. They weren’t as good, in my view.

In your opinion, do you think that some artists give up their integrity, for the sake of the pay? A lot of galleries insist they keep doing what sells. Ben Kenning has found that, at a certain gallery. He’s just, not going to do what they want. Peter Gardiner has explored so many different themes, and so often the galleries try to dictate. I won’t name them but ‘boof head art’ doesn’t appeal to me. He was with a big gallery in Sydney, and was very successful for 20 years, I hope he moves on. A good printmaker.

Do you like to make art, are you an artist in your own, right? On a good day . . . there’s nowhere to work . . . if it’s a good day, I just do doodles . . . little more than doodles now.

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Mountain Study, by Peter Gardiner 2010, work in The Collector exhibition, Newcastle University Art Gallery. Issue 20 - May 2017

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Are you aware of the works that will go into your ‘Collector’ exhibition? What they’ve taken out: sculptures, wall – hangings/fabrics, prints, paintings, glass art etc. It’s totally up to the gallery what work they choose to include in the exhibition, what and how they wish to display the art is out of my hands.

The gallery sent somebody over to choose the works? No, just what was easy to get out first.

Do you know when you’ll be able to view the selected works in the gallery? Once they’ve hung it I’ll go and have a look, I’ll name the pieces that they don’t know, or I’ve forgotten.

How does it feel when works are moved, unearthing others you may have forgotten about? I’ve found things that I’ve forgotten about and couldn’t get to. It’s just a relief to get the stuff out of the house . . . it is in chaotic clutter.

Do you have a favourite style or medium? No, none. if a work is saying something, it doesn’t have to be pretty or sometimes it could be rather ugly, but if the price is right and it’s got some sort of energy I’ll buy it.

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A glimpse into the collectorâ&#x20AC;&#x2122;s world. Photgraph: ÂŠ Maggie Hall 2017. Issue 20 - May 2017

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Will you sell your works? If people want them then I may as well let them go, if the price is right, in my favour.

What are your thoughts on the art scene in the Newcastle? I’ve been here for fourteen years and really don’t know as much about the Sydney scene, but the prices here are sometimes the tenth of the cost of Sydney prices, depending on the gallery . . . so it’s been very good for buying contemporary art here in, Newcastle. I bought a beaut piece from, Lesley at ‘TAP’ gallery, Sydney . . . Narcissus, it was in black and white, Narcissus was looking at his reflection in the water, but what he was looking at was a skeleton. He had a daffodil, that I had painted yellow . . . as it should be. Narcissus . . . Jonquils and Daffodils are all named after him. Music, reading and writing . . . as I listen to the music I may look upon the art works that I can see while dozing off to sleep. The music complements the art, I know more about music than I do art. The more you learn, the more there is to know.

Did you want to be a musician, or conductor? I studied singing for years . . . acting, singing, the arts . . . failed artist, failed actor, failed singer . . . Nowadays an art collector and a heart critic . . .

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Left: Silenus, 2004, wood, 180 x 94x 50cm, John Barnes.

Right: Works featured in The Collector exhibition, Newcastle University Art Gallery.

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If you were to choose to go anywhere in the world, to view a collection, where would you go? Museo del Prado, the Burrell collection, NEUE Galerie . . . I’d want to go back to New York to see that again. I do want to see the ‘Taj Mahal’ before I’m wheelchair bound. The collection is more important than the collector, though without the collector you wouldn’t have a collection. It will be interesting how many people will go to the exhibition, how many will go to see if they have been hung, or hanged . . . I’ll keep on buying more . . . there will always be something that’s available at the right price, when you’re on a very limited budget. What I’ve got anyone on a modest salary, who own their own home, don’t have children to worry about, could have. There are not that many collectors about. Each time I see your home works of art have changed, or been interchanged with other works, almost like a galley itself . . . a moving gallery . . . it’s quite beautiful Probably only because the works have been taken out, and then, what has been hidden is revealed - underneath or behind.

Thank you for your time and keep collecting, the beautiful and the beastly.

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Paul Bentley - Horror Wedding 1970

Section of work (sleeping child) by Michele Guerin.

Oil on Masonite, 47 x 57cm

Oil on canvas, 151 x 130cm Issue 20 - May 2017

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JAYDE FARRELL

Into the Wild, acrylic on canvas, 840 x 1730cm, Â© Jayde Farrell 2017. Issue 20 - May 2017

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Jayde Farrell. Transcriber of Negative Energy. An eclectic artist who uses a broad range of mediums and style .

Right: Beneath Surface, drawing watercolour on cotton paper, 470x670 ÂŠ Jayde Farrell 2017. Issue 20 - May 2017

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Images drawn in pen, ink. The incredible detail allows the eye to wander over the drawing, each time seeking out something new.

Left: Vibrations of the Past Pen on paper 470 x 670cm ÂŠ Jayde Farrell 2017.

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JAYDE FARRELL - INTERVIEW.

When did your passion for art begin?

“ I first picked up a pen at age 4-5 after watching my father, an artist, draw and sculpt in our living room or kitchen, most nights sitting watching TV, with a blanket and a beer, carving what I thought were the best artworks I'd ever seen. I mostly copied images from within Dads work until one day I had access to a Piano, at our local bowling club. My Grandparents used to maintain the Bowling Club and Green, and I used to wait, for hours, entertaining myself. One morning I sat at one end of a Piano and slowly struck the keys. At first the sound was to deep and low, but it lured me to continue to explore, then all at once, I felt what I was playing! The strangest thing was occurring, I could see an image in my mind with every strike of the key. I was getting visual stimulation through the keys being played. This is how I believe my imagination was ignited. I can still remember the image that I could see whilst playing on that piano... it was a massive tiger, walking through the grass, and its eye was looking right at me. And so began my relationship with art inspired by sound.”

Have you always wanted to be an artist? “After watching my dad create large sandstone carvings from nothing, and tell me stories of giant ants that ate humans, my mind was well prepared to become an artist, although as everyone finds you always seem to question if you are what you think you are.” Issue 20 - May 2017

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Emotional Communication, acrylic on canvas, 1080x1383, Â© Jayde Farrell 2017. Issue 20 - May 2017

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“After not finding much in the way of encouraging response to my decision to be an artist, I decided to make others happy by joining the army, which then led to a scandal that saw me in prison for a period of 4 years. During this time I was forced to reconnect with my artistic side, after years of not paying much attention to it. Now I had all the time in the world, and after a few months of feeling sorry for myself I decided to use this time the best I could and restarted my artistic journey, which I believed saved my soul in the process. It enabled me to rise above the constraints that prison can inflict on the human spirit.”

Describe your work? “Artists, I feel, don't like this question as we are not writers, we are creators, but in a few words I would describe my work as new, intense, free, evolving and from that subconscious place that people have been taught to leave behind.”

Do you have a set method / routine of working?

“ I like to do a few different types of work – painting, drawing, and mixed media, meaning using everything from aerosol, brush, pen, pencil and pastel. Recently I have been using a masking method that creates a print-like effect. I'm happy with this method as I can use it to represent images from my sketch book.”

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My Heart Before Acrylic on cotton 470 x 670cm Jayde FarrellÂŠ 2017

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Why do you choose this material / medium to work with? “The masking method is quite time consuming at first but once the painting begins, it mean I have complete control of the image, mainly line work within the painting. This make it very hard to lose the initial design and makes it easier to experiment with color.” How important is drawing as an element to your artwork? “Drawings fill my sketch books, mainly "thumbnail" sketches, which I carry with me everywhere I go, normally having 2-3 books in use at the same time. I find inspiration in reflections and shadows, other images and artwork, at a moments glance. I'm always looking for those in-between moments that provide something not usually seen.” Is there a particular reason for your choice of style / genre? “My style, I feel, is what I see as the most current type of style, because I use everyday, 2017 components in my work. Strong color is something that is prominent through my work. I feel it is the art movement that speaks to everyone and the people who say they don't understand it, just look at the colors and relax, its not that serious, visual stimulation is sometimes all it is.” What inspires you? “Freedom, color, love, life, pain, fear, loss, human beings, my subconscious mind, letting go in a world that is so controlled. My work is about letting go, or trying to at least.” Issue 20 - May 2017

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Jayde Farrellâ&#x20AC;&#x2122;s exhibition at Gallery 61 Revisited, Hunter Street, Newcastle, NSW.

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What have been the major influences on your work? “Major influences have been my fall into prison. It forced me to reconnect with my artistic self, it helped to sharpen my spear to a point and brought my skills forward several years that would not have occurred in the same period outside of

prison.”

What are the challenges in becoming an exhibiting artist? “ I recently did my debut exhibition Into the Wild which was a collaboration of my own work, mostly done during my stay at Long Bay Correctional. It was my final chapter in that terrible time of my life, and it was the first time sharing those paintings with my family and friends. It was my first chance to share with them all that work done alone, in the dark, with that day somewhere in my mind. The exhibition was a way of showing my family how grateful I was for the way they had raised me and to show them I was still the person they all loved and that I did my best, given the circumstances. The Gallery 61 Revisited was basically gifted to me for 4 months, so I decided to promote my first exhibition. The biggest problem I see is advertising, the market is flooded with everyone selling something, so you need to have a standout, whatever you’re selling, to catch people’s eyes”.

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Name your greatest achievement, exhibitions? “Into the Wild has been my first exhibition and I has so much substance in it. It will be challenging to beat. It has parts of me that I can’t even begin to explain how important those paintings are. They saved me and helped me to believe in myself again. The work I did during that period is unbelievable”.

What are you working on at present? “Fast forward to my new works and I'm now starting to paint with more resources, color, mediums, bigger and more intense than ever. It is an overwhelming sense to explode

with the added resources and change of environments. My new studio is first class and it’s hard to leave”.

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https://www.jaydefarrell.com/

Right: Morning Light, Acrylic on canvas, 720 x 1800cm, Â© Jayde Farrell 2017. Issue 20 - May 2017

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The village of Eze in France featuring the garden by Jean Gastaud sculptures by Jean-Philippe Richard

- Lorraine Fildes Issue 20 - May 2017

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The village of Eze in France - featuring the garden by Jean Gastaud and sculptures by Jean-Philippe Richard. The medieval village of Eze has been described as an “eagle's nest” because it is built on a cliff 427 metres above sea level on the French Mediterranean coast. My tour bus dropped me at the bottom of the village – there are no cars, motor bikes or pushbikes in Eze – only foot traffic. The whole medieval village itself is entirely pedestrianised.

The streets in Eze are narrow, winding, cobbled and lined with flower-covered stone houses with orange-red terracotta tiled roofs. The small alleyways are picturesque and at every step there is a wonderful photo opportunity. Most of the old homes have been converted to shops - smart boutiques and artists' studios. Near the top of the cliff of Eze there is a huge cactus garden containing the sculptures of women by Jean-Philippe Richard. The stone steps are uneven and steep, but the 360 degree view of the valley, coastline and historic church (Notre Dame de l’Assomp-

tion) below is amazing and worth the climb. Eze has become a tourists’ village but the charm and beauty of the stone houses, garden, sculptures and magnificent views make up for the loss of it being a village where people actually live.

Page 132: Melisande, sculpture, Jean-Philippe Richard.

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The cactus garden at the top quarter of the cliff was created in 1949 on the ruins of the ramparts of a medieval fortress. Jean Gastaud, who designed the exotic garden of Monaco assisted in the creation of the garden at Ă&#x2C6;ze, bringing to the garden many of the ideas he put into place in Monaco â&#x20AC;&#x201C; principally, the acquisition of the rarest exotic plants that would grow on the top of a rocky, wind and sun exposed area. Hence the garden contains a great

collection of cacti and succulents originating from countries around the Mediterranean Sea, Africa, and the Americas. These plants are adapted to arid climates and hence find the rocky outcrop of Eze suitable.

In 2004 the garden was given a complete makeover and the sculptor Jean-Philippe Richard created a series of statues of Goddesses or Graces to embellish the garden. He strategically placed the sculptures in the most beautiful spots. The sculptures give an added poetic dimension to your experience as you wander through the garden. These sculptures draw upon contemporary fashion design graphics but also recall Classical Greek statues. Each sculpture has its own identity, is given a name and defined by a short poem written by the artist himself. The poem, which was written in French, also has an English translation next to it. Ancient poses, modern clothing and hair styles are

intertwined to give artistic uniqueness. The female figures all have an upright stance and appear to be looking out towards the sea or the sky; they have serene faces, thin bodies and arms restrained by a draped fabric. The base of each sculpture reverts to rock. In this way, Jean-Philippe Richard gives us contemporary figurative sculptures with some of the feel of ancient statues.

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When I left the garden and walked back down through the village I visited the church of Notre Dame de lâ&#x20AC;&#x2122;Assomption. This church was rebuilt between 1764 and 1778 on the foundation of a former sanctuary that was falling into ruin. The bell tower was added in the 19th century. Contrasting with the very plain facade built in neo-classical style is the interior of the church - which displays a rich baroque decoration with altarpieces and many large religious paintings. The church was listed by the State as a Historic Monument in 1984.

At the base of the village is a map showing all the roads and how they lead up to the garden and sculptures at the top of the cliff.

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Following are photos of the winding, cobbled stone paths and stone cottages which are now mainly shops and artistsâ&#x20AC;&#x2122; studios.

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A magnificent display of cacti in the Eze garden. Issue 20 - May 2017

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View of the Mediterranean from the fort at the top of the Eze garden. Cacti and one of Jean-Philippeâ&#x20AC;&#x2122;s sculptures can

be seen as well as some of Ezeâ&#x20AC;&#x2122;s orange-red terracotta roofed stone cottages.

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Isabeau Le sol me retient, Et alors?

dâ&#x20AC;&#x2122;ai la tete au ciel

Though I stand on the ground my mind is in the heavens.

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Margot Suivez-moi, jeune homme Et vous connaitrez

tous mes secrets… ou Presque. Follow me young man And you shall know

all my secrets… almost.

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Melisande Qui m’a revee? Qui m’a creee”?

A qui ai-je dit oui? Who has dreamt me? Who has created me? To whom have I said yes?

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Rose Promesses silencieuses De je ne sais quel Bonheur, Je te regarde et cela suffit.

Silent promises Of I know not what happiness I look at thee and that suffices.

Anais Deesse, je nâ&#x20AC;&#x2122;ose

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Barbara Le vent me colle a la peau quâ&#x20AC;&#x2122;important ces meches folles, je suis fille dâ&#x20AC;&#x2122;EOLE.

The wind clings onto my skin These stray locks matter little, I am daughter of AEOLUS.

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Barbara standing next to the remains of old fort at the top of Eze. Issue 20 - May 2017

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Looking down on NotreDame de lâ&#x20AC;&#x2122;Assomption from the fort at the top of the Eze garden.

The church was built from 1764 - 1772 and has a relatively plain neo -classical facade. The bell tower was added in the

19th century.

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Contrasting with the relatively plain neo-classical faĂ§ade, the interior of the church displays a rich baroque decoration with altarpieces, many religious paintings and large ornate chandeliers.

Lorraine Fildes ÂŠ 2017. Issue 20 - May 2017

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BOTANICA Raymond Terrace Public Art Project Debra Liel-Brown

Jewellery shop arcade, 28 William St, Raymond Terrace. Open 8 to 5.30 Mon to Fri, 8.30 to 2pm Saturdays.

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Botanica Mural, Public Art Project. Marvel at the colours of Botanica that reflect the personalities who created it. We also challenge you to spot the creatures that lay embedded in the art work. Botanica, a series of panels, is the first community public art piece in Port Stephens. It started with a vision to bring colour and enjoyment to the Raymond Terrace community, and succeeded in a unique Port Stephens Council partnership between a local commissioned art director, Debra Liel Brown and long standing Raymond

Terrace business owner, George Prosczkowiec. Funded by Council, it has been conceived by local people volunteering their talents to create their own piece of natural beauty. Each artistâ&#x20AC;&#x2122;s individual contribution has been cleverly tied together to form a public mural that recognises and celebrates the various artistic styles.

This project is the first of many improvements to Port Stephensâ&#x20AC;&#x2122; public places, not just with murals but by making places for people to be able to enjoy and reflect through creative art, sculpture or furniture. This arcade is an example of how a space can be transformed with the involvement and passion of local artists with support from Council. Issue 20 - May 2017

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Botanica Mural - Debra Liel-Brown This mural has been an enjoyable project to work on. I was commissioned by Port Stephens Council as the art director on the first public art project which was viewed as a test case. My goal for the mural was to create an uplifting, feel-good experience for visitors who come to town to do their shopping. I wanted the artwork to be both beautiful and fun, especially for kids. The mural is about 20 metres long running through an arcade from the main shopping street to a carpark and supermarket beyond. It is locked up at night and protected by security cameras. The mural project started as a response to living in a small town where locals are wary and weary after years of not feeling safe. Up until the time of the 2,000 Olympics, the town of Raymond Terrace was one where people left their doors open when they went out. Then, 4,000 public housing commission tenants were moved from Redfern and Waterloo to regional areas. In Raymond Terrace, older Airforce family housing was sold to private buyers or transferred to the Housing Commission. Overnight the town became a hostile environment. Now in 2017, the violence, intimidation and gangs have settled down. There are women and kids in the streets again and a friendlier community is waking up.

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At the beginning of the project, I submitted a design to the Council which was accepted. However, I knew the design would change during the painting because there were 20 artists working on it. The design was used as a starting point so we all had a direction in mind. My second in command was an ex-student of mine - Molly Tooth, who did a great job. Nineteen volunteers gave their time and talents over 6 weeks. These were not the usual volunteers as they all had to be able to paint or draw realistically. Most were working full time or running businesses, only 2 volunteers were retirees. Each had a personal connection to Raymond Terrace and wanted to be involved in creating something beautiful for the community.

The mural was painted on exterior grade Wethertex boards. I supplied about 400 reference images of flowers and foliage. Each artist chose the images they thought were beautiful so it was a happy workplace. There were two painting shifts 10-4pm and 7-9.30pm Monday to Saturday to accommodate the full-time workers and we were given the free use of a 3 bedroom flat where we could work in comfort indoors.

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My job was marrying 20 individual painting styles into a consistent artwork. To help with this, everyone used the same shading colour - Paynes Grey, and surrounded their piece with a Paynes Grey outline. By using this method, colourful flower designs could be stylistically connected to traditional soft still-life works. Then, the large floral pieces were unified with flowing designs, paisley-like patterns, fast texture techniques, pressed-on leaves and stencils. After about 6 weeks, the volunteers work was finished, and Molly and I spent a further 3 weeks refining, and tightening to a crisp finish.

I have wanted to do this project for 10 years. Finally, the opportunity came about thanks to the Councilâ&#x20AC;&#x2122;s desire to transform public spaces through art. I was able to submit a detailed proposal and budget because of my professional experience. In my art career, I have been commissioned to do numerous large commercial murals, where I have been the art director, main artist and job manager steering the trade painters, scenic artists, carpenters etc. I would usually go in with the architect or business owner when the building was a shell, then do the design based on the clientele demographics and the proposed interior layout. The murals covered every wall surface to create a complete environment for businesses such as night clubs, spas, gambling rooms etc.

- Debra Liel-Brown ÂŠ 2017.

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Detail: from left side of Panel 7 Botanica Mural.

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Middle row standing from left to right are -Allan Steane, Cory Jones, Ileana Clarke, Sue Hall-Thompson, Debra Liel-Brown, Alexis Nicholas, Michelle King and Julie Reid Lower front row â&#x20AC;&#x201C; Molly Tooth and Stephanie Gobor. Issue 20 - May 2017

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ARTISTS & CONTRIBUTORS ON BOTANICA. Molly Booth

Peter Goldman - is a long-standing friend of George and kindly volunteered his time doing odd jobs and helping out throughout the painting process.

Stephanie Gobor Jasmyne Renes

George Proszkowiec “What a journey. From a conversation several years ago with Council’s

Barbars Peacock

Community Development team, a concept has become a reality. I have

Alexis Nicholas

lived in RT since 1960 and our family business has operated since

Julie Reid

will form a big part of our birthday celebration. We are very proud to be

Bev Upton Michelle King Alan Steane Cory Jones Ileana Clarke Susie Hall-Thompson

1967, so this year it’s our 50th birthday, and this community art project able to dedicate an area in the centre of Raymond Terrace so there is a space and point of focus for all to share. A statement of calm, colour, nature and wonderful art both in concept and execution. The fact that Council has also seen the merit of this great concept is very visionary and a bit out of the box, which makes it all the better.”

Debra Liel-Brown “When I tell people that I live in Raymond Terrace, the response is

often negative, which I think is unfounded. So, I wanted this mural to

Michell Hogan

reflect the creative and cheerful nature of Raymond Terrace locals. My

Jana Skinner

goal for the mural was to create an uplifting, feel-good experience for

Chad Styles

beautiful and fun, especially for kids. I want to thank the talented local

Sally Walker

artists who have volunteered to join me in this project. We enjoyed

visitors who come to do their shopping. I wanted the artwork to be both

painting it and we hope you enjoy it too.”

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Mural Panel 1 Issue 20 - May 2017

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Mural Panel 2 Issue 20 - May 2017

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Mural Panel 3 Issue 20 - May 2017

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Mural Panel 4 detail. Issue 20 - May 2017

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Mural Panel 5 detail. Issue 20 - May 2017

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Mural Panel 6 detail. Issue 20 - May 2017

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Mural Panel 7, detail Issue 20 - May 2017

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Mural Panel 8, detail.

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NATALIE DUNCAN

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Natalie Duncan Natalie Duncan is a ceramic artist whose current practice investigates everyday narratives from the perspective of the eavesdropper. Natalie was a fine art student at UNSW and in a previous life was a qualified Combat Photographer in the Australian Army.

“I was drawn to ceramics at university and have since developed a most unhealthy obsession with this medium.

I am intrigued by the memory that surrounds ceramics, how the clay records the artists hand, how the minerals and molecules of the clay align uniquely every time so that each vessel is different."

2016 Meroogal Womens Art Prize Finalist 2016 Arc annual Emerging Artist and Design Award Finalist, Kudos Gallery, Sydney 2016 Sydney Royal Easter Show Highly Commended 2017 Fresh Perspectives, Kerrie Lowe Gallery, Newtown

Natalie Duncan holding one of her fabulous ceramic vessels, Memory Jug , 2015.

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Kimmy K Artamidae Agates, found magpie feathers, glass beads, underglaze, glaze, gold

lustre,

decals,

enamel,

epoxy, glitter. Natalie Duncan ÂŠ 2016 Issue 20 - May 2017

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Natalie Duncan - Interview.

“Last week I had to fill out a form that required my occupation, I can’t write student anymore as I have finished my degree, I thought, “shit… do I write unemployed?” Then I thought, “well you’ve just completed a degree in fine art, perhaps you might like to write Artist. Because that’s what your $20, 000 university debt is for anyway.” Heaven knows I need to get some mileage out of it, as an income still eludes me. The point of this anecdote is: most of the time I feel somewhat fraudulent when I say that I’m an artist, except when I’m making work… and assessing my wardrobe. That small sense of legitimacy when I’m making work doesn’t come from my $20,000 university debt, which, incidentally, only seems to provoke severe bouts of fury. I feel authentic when I’m making, because my works are inspired by something that intrigues me. Sort of wish I had have worked that out prior to accumulating the $20,000 debt, 15 kg of essay writing stress fat and a respectable red wine habit. I digress.”

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“In 2015 I read a book called When God Was a Woman by Merlin Stone. I read it three times and I still refer to it frequently, especially for my work. The

book tells of a time in our history when God was a woman, known as the Goddess. The religion that she inspired was, in my eyes, everything that a religion

015 I read a

should be. It was a matriarchal religion, as opposed

to the patriarchal western religions we know today; you know how it goes - God made man in his own image and women started out as a spare rib. Good times. Not only that, but we are also responsible for

being evicted out of the garden of Eden and the damnation of people, for pretty much, forever. No biggie.” Right: Ms Sheila Na Gigg, - Agates, faux fur, glass beads, leather, underglaze, glaze, gold lustre, decals, enamel, epoxy, glitter. - Natalie Duncan © 2016. Issue 20 - May 2017

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“Think of the religion of the goddess, as Christianity’s much older, gentler, wiser, forgiving Nana. Not weaker, just better. It’s tempting to think of this as a primitive religion, however, people had the metallurgy skills to make “progressive” instruments of war, but instead made art and shrines. The Earth was the church, nature was worshipped, and women were treasured as life givers. This also made us dominant in the social structure at that time. In this matrilineal culture children had their mother’s name, and women had children with whomever they wanted. All children were treasured, boys and girls. Because it was an egalitarian society, war was avoided; after all, what mother would willingly send their children to war. I can only imagine what our society would be like now, if the corner stone of our civilization were still based on this matriarchal religion and not the warring patriarchal religion that destroyed it.”

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“I don’t know why the book has had such a profound effect on me, perhaps it was my time in another very patriarchal culture, the Australian Army, maybe it has something to do with how society devalues my role as a mother, but this book agitated something within me, and my work. I now have many books on the Goddess; Buffie Johnsons’ Lady of the Beasts and Marija Gimbutas’ The Language of the Goddess are

beautiful works and all of them richly influence the ceramic works I make.”

“In my vessels you will see vagina like crystal caves that reference Paleolithic sculptures with exaggerated vulvas, tributes to the goddess. I love to use glitter and beads and colour, all those things that we align with

the feminine, and coincidentally are referred to and devalued as kitsch. Some of them wear fascinators or headdresses; some are swathed in faux fur. All of my vessels are female; dimpled curves, swollen bellies and stretch mark narratives are part of their ceramic skins. I admire artists like Jenny Orchard, who inspires me, Cybele Rowe’s monolithic sculptures wow me and Fiona Foley constantly challenges me. That’s

Page : Left: The Loathly Lady, - Agates, amethyst skull, faux fur, glass and metal beads, underglaze, glaze, gold lustre, decals, enamel, epoxy, glitter. Right: Freyja, BRT, Geodes, quartz, found magpie feathers, glass beads, underglaze, glaze, gold lustre, decals, enamel, epoxy, glitter. - Natalie Duncan © 2016. Issue 20 - May 2017

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Fuck You, - Earthenware, agate, glass beads, underglaze, glaze, glaze, enamel, epoxy. - Natalie Duncan ÂŠ 2016.

Just Forgive Me, - Earthenware, agate, quartz, glass beads, underglaze, glaze, glaze,enamel, epoxy. - Natalie Duncan ÂŠ 2016.

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Stalk Me, - Earthenware, spirit quartz, quartz geode, glass beads, underglaze, glaze, glaze,enamel, epoxy. - Natalie Duncan ÂŠ 2016.

Dirty Little Minx, Agate, glass beads, underglaze, glaze, gold lustre, decals, enamel, epoxy. - Natalie Duncan ÂŠ 2016.

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ART NEWS ART NEWS ART NEWS ART NEWS ART NEWS Anita Larkin: the Breath of Felt Breathing new life into the ancient art of felting

The works in ‘The Breath of Felt’ exhibition use felt as symbolic narrative in its association with collected objects. The ordinary object is transformed into something curious and loaded in Anita’s art practice. The works are familiar yet delightfully strange, made with meticulous attention to detail, and display a witty sense of humour.

10 May until 4 June 2017

Peripheral noise and pockets, Anita Larkin, Pivot.

Olivia Parsonage: Lumpy Sharing the Timeless Textiles stage with Anita is Olivia Parsonage’s Lumpy exhibition. Olivia’s work reveals bold experimentation with fabric as it mixes colours, textures and patterns.

www.timelesstextiles.com.au 90 Hunter St Newcastle East, NSW.

Faces: Olivia Parsonage

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EXHIBITION CALENDAR

OFF THE WALL

THE BREATH OF FELT

THREADBARE

Zac & Fiona Wright

Anita Larkin

Jane Theau

12 April - 7 May 2017

LUMPY

14 June - 9 July 2017

Olivier Parsonage

Opening 6 - 8 pm 15 June 2017

17 May - 11 June 2017 Opening 6 - 8pm 18 May 2017

www.timelesstextiles.com.au 90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm

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WET S H E LAG H LU M M I S 5-14 MAY

OPENING CELEBRATION SATURDAY MAY 6 FROM 4PM

for humans to be forever separated from the landscape rather than being connected to it".

40 ANNIE ST. WICKHAM, NEWCASTLE NSW.

Phone: 0431 853 600

www.art-systems-wickham.com/

Director: Colin Lawson Issue 20 - May 2017

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ARTSYSTEMSWICKHAM

May 5 - May 14

SHELAGH LUMMIS

May 19 - May 28

'TATTOO SHOW' - LOCAL TATTOO ARTISTS

June 2 - June 11

CARLY BRETT, MEGHAN GILLARD, SHELLY EVANS

July 7 - July 23

JOHN TURIER

www.art-systems-wickham.com/ Issue 20 - May 2017

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MAGGIE HALL 'THE BEACH' Solo ExhibitION

TAP GALLERY,

1st - 14th May

1/259 Riley St, Surry Hills, Sydney, NSW. Issue 20 - May 2017

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'Afterlife' 5th to 17th September 2017 painted sculpture and etchings by Ian Kingsford-Smith. Aro Gallery, 51 William Street, Darlinghurst, Sydney.

www.iankingsfordsmith.com Issue 20 - May 2017

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RED GOLD: THE CEDAR STORY BY HELENE LEANE 28 April - 14 May 2017 Official opening: Saturday 29 April, 2-4pm Through a series of monotype printmaking, Gallery 139 Artist, Helene Leane explores the history of the majestic Australian Red Cedar Tree.

AMBEDO Julia Flanagan & Matthew Tome 18 May - 4 June 2017 Official opening: Saturday 20 May, 2-4pm

ambedo n. a kind of melancholic trance in which you become completely absorbed in vivid sensory detailsâ&#x20AC;&#x201D;raindrops skittering down a window, tall trees leaning in the wind, clouds of cream swirling in your coffeeâ&#x20AC;&#x201D;briefly soaking in the experience of being alive, an act that is done purely for its own sake.

Gallery 139 Beaumont St. Hamilton, NSW

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BIG BAD LAND 20 July - 6 August 2017 Official opening: Saturday 22 July, 2-4pm

This landscape exhibition presents the Australian landscape in all it's many differing forms. From it's vastness, to it's rocky

mountains to it's still quiet vistas. Australia is one Big Bad Land.

Exhibiting artists: Sally Reynolds, Belinda Street, Libby Cusick, Catherine Grieve,

Laura Wilson, Malcolm Sands, Shelagh Lummis.

Belinda Street Nearing the Summit 2017 120 x 90cm

Gallery 139 Beaumont St. Hamilton, NSW

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Sydney: a bridged by DINO CONSALVO 31 MAY - 2 JUL 2017

Janet Clayton Gallery, Sydney Official opening: Friday 2 June, 6-8pm

Newcastle based artist Dino Consalvo traverses Sydney, painting the bridges that join the city together. From the iconic Sydney Harbour Bridge to the concrete arch of the Gladsville Bridge, Consalvo captures these structures from angles and through abstraction that will make the viewer question, ponder and fully appreciate the beauty of these modern architectural forms.

JANET CLAYTON GALLERY 406 Oxford St Paddington NSW 2021 Wed - Fri 10.30am - 4.30pm; Sat 10am - 6pm; Sun 11am - 4pm

Work in progress, en plein air gouache on board 2017

www.janetclaytongallery.com.au

Gallery 139 Beaumont St. Hamilton, NSW

www.gallery139.com.au Issue 20 - May 2017

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The PRINT Tommorow 29 June - 15 July 2017 Official opening: Saturday 1 July, 2-4pm

Exhibiting artists:

Jane Collins, Maddyson Haddon, Bree Rooney,

Anne McLaughlin,

Annemaree Hunter, Terri Brander, Gina McDonald.

Exploring printmaking in all it's different forms.

Jane Collins Nudes VE - 32x23cm drypoint, gouache & lino print collage on paper

Gallery 139 Beaumont St. Hamilton, NSW

www.gallery139.com.au Issue 20 - May 2017

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studio la primitive Eric & Robyn Werkhoven Contemporary artists E: werkhovenr@bigpond.com

STUDIO LA PRIMITIVE ARTS ZINE

www.studiolaprimitive.net

Click on cover to view the previous issue. Issue 20 - May 2017

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STUDIO LA PRIMITIVE ARTS ZINE Click on cover to view the previous issues. Issue 20 - May 2017

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Click on cover to view the previous issues.

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studio la primitive jewellery Dungog By Design - 224 Dowling St, Dungog NSW Hrs:Thurs & Fri 10 - 4

Sat & Sun 9 - 3 Issue 20 - May 2017

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57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm www.newcastlepotters.org.au Issue 20 - May 2017

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May 5 – May 21 “Harmony” Artists: Kara Wood and Holly Marlin

May 26 –June 11 “IlluminArti” Artists: Emilie Tseronis and Lynda Gibbins June 16 –July 2 “The Country Kitchen” Artists: Newcastle Studio Potters Inc July 7 – July 23 “Terra Obscura” Artists: Clare Tilyard, Lisa Battye and Jane Richens

57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm www.newcastlepotters.org.au Issue 20 - May 2017

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40 Fosterton Road, Dungog NSW. 0457063702 for enquiries. Issue 20 - May 2017

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The Bank Glass Gallery Novocastrian glass artist.

opened in February 2016, and is owner operated by Lee Howes, a

Lee and her husband Tim bought the premises and have converted the ground

floor into a studio and gallery and an upstairs residence. Lee operates her â&#x20AC;&#x153;Lee Howes Glassâ&#x20AC;? business form her studio and sells glass art and other hunter based artwork from the gallery space. The gallery is showcasing the work of local artists across a range styles. For more details visit:

http://www.leehowesglass.com.au/

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