AUSTRALIAN CREATIVE EXCHANGE INC. 2015
“WAR & PEACE”
A GROUP EXHIBITION BY TURKISH, AUSTRALIAN & NEW ZEALAND ARTISTS
“WAR & PEACE” 21st March to 19th April 2015 Gold Coast Art Gallery Bundall, Queensland Australia.
A GROUP EXHIBITION BY TURKISH, AUSTRALIAN & NEW ZEALAND ARTISTS
List of Participating Artists: Turkey: Husnu Dokak Cebrail Otgun Ismail Ates Hasan Kiran Zuhal Baysar Serap Emmungil Havva Altun Engin Esin S. Mehdi Saadati Nil Koken Ozan Bilginer Mehmet Ors Asli Isiksal
Australia: Lainie Cooper Tony Dowers Michaela Kloeckner Dieter Kloeckner Antone Bruinsma Margaret Huebner Judy Anderson Maddeline Hodge Stephen Baxter Robert Todanai Christian Halford
New Zealand: Dean Cogle Lynette Harvey Amelia Batchelor Mark Wilson
australiancreativeexchange.com Page 2
“WAR & PEACE”
To co-inside with the100th year anniversary commemoration of the ANZAC landing in Gallipoli, the Australian Creative Exchange Inc. has organised their new exhibition “War & Peace” . We are honoured to have distinguished artists from Hacettepe University in Ankara, Turkey joining with New Zealand and Australian artists in this friendship exhibition. With peace comes the opportunity not only to enhance our understanding of each other’s culture and lifestyle through the medium of art but also for the Gold Coast Community to experience the cultural diversity this exhibition will bring. The Australian Creative Exchange Inc. was formed in recognition of the immense benefiﾞts to artists from the fiﾞrst hand experience of international art practice and also the opportunity to promote their work regionally as well as internationally, in professional and prestigious art spaces, while fostering intercultural artistic exchange. Lainie Cooper: President. Australian Creative Exchange Inc.
INDEX
www.australiancreativeexchange.com
1. Cover :War and Peace. Featuring “LYNCH” by permission of the artist: Professor Husnu Dokak. 2. List of participating artists and details of exhibition. 3. Index and Australian Creative Exchange Introduction. 4. Foreword by Professor Husnu Dokak , Hacettepe University Ankara Turkey. 5. Foreword by Mayor of Gold Coast His Honour Councilor Tom Tate. 6. Foreword by John Walsh, Gallery Manager , Gold Coast City Gallery. TURKEY 7. Husnu Dokak 8. Cebrail Otgun 9. Ismail Ates 10. Hasan Kiran 11. Zuhal Baysar 12. Serap Emmungil 13. Havva Altun 14. Engin Esen 15. S.Mehdi Saadati 16. Nil Koken 17. Ozan Bilginer 18. Mehmet Ors 19. Asli Isiksal AUSTRALIA 20 Lainie Cooper 21,Tony Dowers 22. Michaela Kloeckner 23. Margaret Huebner 24. Dieter Kloeckner 25. Miryung Muir 26. Antone Bruinsma 27. Judy Anderson 28. Maddeline Hodge 29. Robert Todanai 30. Stephen Baxter 31. Christian Halford NEW ZEALAND 32. Dean Cogle 33. Lynette Harvey 34. Amelia Batchelor 35. Mark Wilson SPONSOR 36. Dr Peter Ochsenbein, The Mudgeeraba Foundation.
37. ACE 2013 Exchange “Meeting Place” The Asian Century : Photos
Page 3
“WAR & PEACE”
Professor Husnu Dokak Director of Hacettepe Art Museum Ankara, Turkey
Peace at Home Peace in the World I have resolutely accepted the invitation from Ms. Lainie Cooper for the ‘War and Peace’ exhibition that is organized for the remembrance of the 100th year of Gallipoli War, because the casualties and sorrow of two countries living in peace for a century despite of the war in Gallipoli, appear to be exactly the same. I perceive contributing the commemoration of the war victims with an exhibition in Australia, as an essential task of humanity. All of the academician artists in Hacettepe University Faculty of Fine Arts which is a corporate participant of this remembrance activity have wished to take role in this meaningful organization, however the geographical distance between two countries precluded this dream by giving opportunity only for 13 artists to be participants. In spite of its commemoration concept, this activity should be perceived as a part of the cultural cooperation of Australia, New Zealand and Turkey; and considered as the Pirst ring of the chain of future activities. Therefore, I wish the ‘War and Peace’ exhibition to be a trustworthy bridge of friendship between people who were in war with each other 100 years ago. Wishing that 18th March -‐the day the war has ended-‐ would be the beginning of an endless peace for our countries, I offer my eternal gratitude to Ms. Lainie Cooper, all the artist members of ‘Australia Creative Art’ and ‘The Gold Coast City Gallery’ executives who provide signiPicant contributions to the realization of our exhibition. Besides, I want to thank to Hacettepe University Rectorship for their valuable physical and intangible supports for materializing this exhibition in Australia. 24.02.2015 Husnu Dokak Director of Hacettepe Art Museum
Page 4
“WAR & PEACE”
Message from the Mayor of the City of Gold Coast, His Worship Cr Tom Tate It is with great pleasure that I welcome you to this year’s Australian Creative Exchange Exhibition. The 2015 exhibition is entitled “War and Peace” and will again showcase the Gold Coast as a world class cultural identity. This exhibition highlights two important areas for our city – the development of cultural identity and the importance of international knowledge sharing. The Australian Creative Exchange develops strategic partnerships with other international art communities, while also promoting and showcasing the artistic talent of local Gold Coasters. I’m pleased to see more arts and culture events like this occur across the city, as we implement our Culture Strategy 2023. The centre piece of the City’s Culture Strategy will be the Cultural Precinct, a development which will fulfil a moral obligation by giving our city’s spirit a place to live and thrive. Like all worthwhile cultural and artistic endeavours, our Strategy is a product of vision, revision and fearless critique. Through the Australian Creative Exchange Exhibition I believe we can further the Gold Coast’s arts culture and together we can deliver a city where creativity creates opportunity and a city that stirs ‘Our Culture. Our Soul. Our Pride.’ As Mayor, I welcome the opportunity for the visiting artists and Gold Coast community at large to experience the cultural diversity that will be showcased throughout the exhibition. Mayor of the City of Gold Coast, His Worship Cr Tom Tate
Page 5
“WAR & PEACE”
John Walsh Gallery Manager . Gold Coast City Gallery
The obvious product of any international exchange project may well be the exhibition that will engage viewers from different countries. However, the potential and perhaps the more poignant product will be a deeper understanding of each others’ culture. We are constantly investigating the processes through which art is created and it is within this investigation that we may find a greater appreciation for the more fundamental differences and similarities that make up our identity. Art is at its best as a means of communication that is universal. Good art is like a conduit between the artist and the viewer whereby the many factors surrounding its creation are explored and exploited. In a year that marks a century passed since the Gallipoli landing we acknowledge a shared history. I have no doubt that all the artists involved in this cultural exchange share many similar hopes, fears and desires that inform their creative process. So too there will be many differences, including external factors such as location, tradition and history. It is through this type of exchange that we gain more insight into the complexities that make up our existence in the global community. The development of this opportunity to enhance our understanding of each others’ culture is to be commended. While our engagement with the world often takes place in a commercial and economic sense, this cultural connection serves more fundamental human need for communication. Ironically it is possible through the initial connections made through exchanges like this that future business and economic benefits may transpire. It is important to remember that each country, state or region is made up of people. Artists are often able to remind us of this fact and allow us to share our identities across boundaries and beyond the constructs of the physical world.
John Walsh Gallery Manager Gold Coast City Gallery
Page 6
TURKEY
“Lynch” 2014 Mix technic on paperboard, 25 cm x 35cm
Husnu Dokak: Artist’s Statement:
“ My artwork was on invisible social violence . In the country which is not believe democracy, everybody wants to punish guilty itself. If violence becomes to social stance, it becomes a kind of social trauma. This is my idea, and I believe that isn't binding for modern society.” Husnu Dokak
Page 7
TURKEY
‘Spoils of Chaos” 2014 Sawdust, Acrylic on Canvas 100 x120 cm
Cebrail Otgun: Artist’s Statement
“ To create, to fulfil a creative act is to become someone else, someone you have never been up to now. What is valid for life is also valid for this process. Your experiences carry you to a certain point. Your perception of life at that point determines many things. How do you look at things? Through what you live? Why are you here? I consider and perceive life as bodies of time-space-memory. Memory is somewhere between what is remembered and what is forgotten in time and space, it is at the limit. At that limit you identify an attitude and you attribute a meaning to it. This line is your limit. Everything is in movement and balance. Other lives come one after Cebrail Otgun
the other and memory creates in my works the remains of what is left.”
Page 8
TURKEY
“RED” 1195 x 300 Acrylic and Oil on canvas
Ismail Ates : Artist’s Statement:
The Paintings of İsmail Ateş are the constructs of spritual space. Even if these spaces includes geometrical shapes, color palets and the color surfaces which reflect shadow,express eternities, continuities, openings which deny to be described by borders and objects. In this respect they represents liberty and realm of existence which are characterized by colors that symbolise sensations. Generally, the character which makes abstract painting far from being popular, only relates to painting, we have only pictorial and visual parameters to understand and to depict an abstract painting. It is imposible to use words. In this regard, even if abstract painting actually includes universal perception parameters, human’s habitation of using the word to understand everything makes it getting harder. However mostly, words compose obstacle which are put between world and us. In this respect, the paintings of İsmail Ateş include music of silence, quiet, smooth and not refer to objects. Ismail Ates
In today’s noisy objects world, it is so nice and important that becoming free and speaking a universal language with colors. Jale N. ERZEN 2009
Page 9
TURKEY
“Cycle” Woodcut 120 x85 cms
Hasan Kiran: Artist’s Statement: Cycle defines mys,c and primi,ve aspects of mythic thoughts, growing into new ways of expression in the realm of images; myths growing into expressive visual statements. ‘Cycle’, ‘Catalhoyuk’, ’Urartu’, ‚Ritual’ series incarnate myths into contemporary thought, through image. Images, legends or a manuscript transform to sketches to become artworks. Engravings and prin,ngs make use of the natural texture, experience and relief effect of wood. Even chips and sawdust are u,lized. The influence of a sign, or a story told should be natural, original, construc,ve and dynamic. This could lead to a spontaneous work. The impact of a Hasan Kiran
fact from past days could be significant. Yet, revealing that fact does not have a merit by itself. By the touch of the ar,st, that fact disguises and appears before us through images Page 10
T h e o b v
TURKEY
“Inner Self” 35x50 cm, oil on canvas, 2015
ZUHAL BAYSAR: Artist’s Statement :
“Water” is the metaphor of a shelter for spiritual comfort and serenity, protec,on and peace. It is a place for self-‐realiza,on. It is a kind of temple. When I am pain,ng water or using the plas,c proper,es of the water paPern, I indirectly paint the human being as a living, breathing, feeling and self-‐ conscious existence. Here the ontological meaning of human comes to surface: The human being with the inner reali,es. Wrapped up ,ghtly by the water, the human being is the subject of a ritual of catharsis with its weightless and secluded existence. “ Zuhal Baysar www.zuhal.info
Page 11
TURKEY
“Landscape with Cats” 50x35 cm, Acrylic on canvas, 2015. Serap Emmungil: Artist’s Statement:
Serap Emmungil
“The nature with it’s unity and with it’s elements offers human images which give a visual pleasure and offers an opportunity to intellectual expression. I can not imagine anything, which I want to show and I want to express, can be disconnected from the nature. The image of the landscape, which I think that I can evaluate directly the rich source of the nature, in my artworks sometimes exists as a metaphor of all the texts of narration as a fairy tale, a story and a novel; sometimes exists as a symbol of a vicious circle between the agenda and the nature. And sometimes reflects a stack for the purpose of being able to carry the existential to the future. But, the most important thing in my artworks is always the self representation of the natural elements before anything else. “ Page 12
TURKEY
“ Bang”, 2014 79x59 cm, pa7erns on papers which ar<st adds texture through low-‐relief method.
Havva Altun: Artist’s Statement:
“ Bang”, pa7erns on papers which ar<st adds texture through low-‐relief method, 2014 She was born in Ankara in 1980. She graduated from Gazi University Faculty of Education and Department of Painting in 2003. She completed Hacettepe University Institute of Social Science Master of Fine Arts at Department of Painting in 2007 and she completed Hacettepe University Institute of Social Science Programme of Proficiency in Arts in 2013. She has participated many national – international exhibitions. She held two solo exhibitions and she has won two prizes. She has been working as a research assistant at Hacettepe University Faculty of Fine Arts. Havva Altun
Page 13
TURKEY
“Tug of War” 2015 Digital Printing 50 x40 cms
Engin Esen; Artist’s Statement.
Engin Esen
“This work has been inspired by the Australian propaganda posters which were distributed during the WWI with the aim of call to arms. Different from its former purpose, this poster now invites the young males not to the battlefields but to a tug of war. Along with its focal images, the work underlines the longing of antimilitarism and disarmament through a naïve rivalry instead of emphasizing the warfare, chaos, destruction and suffering.”
Page 14
TURKEY
“Untitled” 20 x 20 cm, ( each one), Mixed Media on Board, 2015.
S. Medi Saadati: Artist’s Statement: “As Heidegger says: Truth in a work of art is in the work of art itself. Like world itself, two sides of Truth lay in any work of art: Self-Concealment and Openness of Truth. Art is one of the possible ways which provides a bed for Openness of Existence. Work of art clearly illuminates characteristic specialties of being-in-the-world (Dasein): Being-with-others and also being-unto-death. At the same time, objectness of work of art silently conceals facts about Dasein. In the horizon of Dasein, transcendental views of existence, can be religious or not; but in the both sides of standing, human being acts a tragic role in the play. By heroically accepting his fate, he can explore something about Truth; but there is no hope to set free from worldliness of the world.”
S. Medi Saadati
Page 15
TURKEY
“Listening” 55x40 cms Aqarelle on Paper 2015
Nil Koken: Artist’s Statement:
“The nature is a source of inspira,on, a mother sustaining and watching over life, a messenger breathing words with symbols, a close friend who is saving the intangible quali,es of existence which may easily skip away in the daily life. So that we may come face to face with the soVness of our hearts, depths of our souls, our own darkness and brilliance and sublimity once again in her presence.” Nil Koken
Page 16
TURKEY
“Lacking” 60x85 cm, 4 color (CMYK) silkscreen print on paper
Ozan Bilginer:Ar.st’s Statement
“The work is influenced from a “wall carpet”, part of Anatolian culture, which
Ozan Bilginer
tells a story of an uncertain ,me where there is abundance and harmony; the nature is untouched, animals are healthy… The original of the image symbolizes the patriarchal system as there is a strong deer standing on the front, protec,ng his family. The work is printed with silk screen prin,ng technique to reproduce the original image without the sexist symbol; male deer to call aPen,on to gender inequality in our society.”
Page 17
TURKEY
“Spaces” 73 x 80 cms Mixed Media
Mehmet Ors: Ar.st’s Statement: “City; the grounds of intensity, chaos and injus,ce. Metropols, formally, rise as a pile of unbalanced and disharmonious architectural en,,es. The rela,onship between architecture and art is giving the fight of existence, bearing both conjunc,on and struggle with the rela,onship between architecture and city. Art is making its presence felt in the architecture of the city, on one hand by its scale and its interven,on in public space. On the other hand, it also lives through works of some architects who have their marks on our visual culture as much as ar,sts. As a part of social structure the ar,st lives along with the already exis,ng and ongoing things surrounding him, whether he likes them or not. In this context, the city structure and the architectural environment shaping the city affects him. Architecture is a mandatory body, framed with lots of rules such as “weight balance” or “equilibrium”. But ar,st can dodge such mandatory rules or obliga,ons and intervene the architectural structure of the city by freely using architectural elements and images in his works. Freedom versus limita,ons; this dilemma Mehmet Ors
creates a tension between the rela,on of ar,st with the city much like the tension seen in the rela,onship between art and architecture, which creates a cap,va,ng aPrac,on point for the ar,st. City calls the ar,st, some,mes with its limits and liber,es, other ,mes its imbalance and
injus,ce.”
Page 18
TURKEY
“Distance” Mixed media on paper, 60 x 80 cm, 2015
Asli Isiksal: Ar.st’s Statement :
Asli Isiksal
“I wish I could escape and shelter in a different ,me, where reality and dream are not too distant from each other, friendships are not covered with ashes, and evil does not affect us deeply every ,me. Moving into the ,mes where the humanity is blessed altogether, quietness becomes addic,ve, and even the sounds coming from the void are familiar.” Page 19
AUSTRALIA
“The Unknown Soldier” Oil on Canvas , 35 x40 cms
Lainie Cooper: Artist Statement “ The ‘Unknown Soldier” is a remembrance to those who fought and died at Gallipoli in 1915, the Australian, New Zealand and Turkish soldiers who sacrificed their lives, for the freedom and peace their children and grandchildren enjoy today and hopefully peace for future generations to come. My body of works for this exhibition looks at the humanness of war. ”
Lainie Cooper lainiecooper.com
“Those Heros that shed their blood and lost their lives, you are now lying in the soil of a friendly country, therefore rest in peace. There is no difference between the ‘Johnnies’ and the ‘Mehmets’ to us, where they lay side by side here in this country of ours... You the mothers, who sent their sons from far away countries, wipe away your tears, your sons are now lying in our bosom and are now in peace. After having lost their lives on this land they have become our sons as well.” ATATURK. 1934 Page 20
AUSTRALIA
“How to Lubricate Your War Machine” Oil on Canvas: 60 cm x 90 cm
Tony Dowers: Artist’s Statement: “The cogs represent the war machine that politicians talk about and it takes money to lubricate this machine. But my painting suggests that human blood is the lubricant since people always die in war. The two hands collecting the blood represent the two opposing sides in the war. The falling leaves are the soldiers and civilians who die and wither and fall during wars.”
Tony Dowers
Page 21
AUSTRALIA AUSTRALIA
“Beyond the Call of Duty” Combination of wheel thrown and hand built stoneware clay
Australian slouch hat (ceramics), horse bit and bridle and sand.
Michaela Kloeckner: Ar.st’s Statement: The slouch hat became a famous symbol of the Australian figh,ng man during World War One and it con,nued to be worn throughout World War Two. Its use since that ,me has made it a Na,onal symbol of today, with the puggaree of 7 pleats, which is a band worn around the hat, one for each state and one for the Australian Territories. Too many human beings lose their lives during war ,mes and conflict. Michaela Kloeckner www.kloeckner.com.au
We must learn from history and find peaceful solu,ons!”
Page 22
AUSTRALIA
“A Time to Heal -a Time to Reflect” Oil on Board,
700 x 500 cms
Margaret Huebner: Ar.st’s Statement:
Margaret Huebner
“This pain,ng is my reflec,on on an old German saying about allowing ,me to heal wounds, to forget pain and soVen our memories. The wild red poppies symbolise young mens' blood spilt upon the Earth, which is wai,ng to receive back to itself these flowers of our collected fallen youth, along with their dreams and ideals. Gallipoli -‐ A Time to Heal. A Time to Reflect. A Time to remember our first ANZACS.
Page 23
AUSTRALIA
“IMPACT” Synthetic polymer on Canvas 900 x600 mm
Dieter Kloeckner – Artist’s Statement: “Experiencing world war two as a child in Berlin has turned me into a pacifist. I reject violence in any form. War and terror leave an impact on every aspect of life for generations and forever changes the world. Unfortunately violence seems to be part of the human genetic makeup.” Dieter Kloeckner www.kloeckner.com.au
Page 24
AUSTRALIA
‘War Horse Spirit” Ceramic Bronze Glaze 52x 19 cms
Miryung Muir: Artist’s Statement: Originally from South Korea , a country invaded and defended over the centuries, Miryung, who has been an Australian citizen since 1982, has a deep understanding of of the ravages of war and the joy that peace can bring. ‘War Horse SpIrit “ emulates the fighting spirit of the Korean and Australian people.
Miryung Muir
Only five years after the end of WW2, Australia became involved in the Korean War and in 1951 the RAAF flew Mustangs, six of these pilots were killed, in all 17,000 Australians served during the Korean War with a total of 340 killed and 1500 wounded.
Page 25
AUSTRALIA
“ ECHOES” Black Imperial granite from South Australia (and a small amount of red paint in the mouths) each sculpture is two and a half metres in length.
Antone Bruinsma:Artist’s Statement:
Antone Bruinsma www.stonesculpture.com.au
"Echoes" is the poetic expression of a spiritual battle cry from ages past which is still felt and heard today, and is ongoing. The synergistic figurative and organic leaf forms combine to depict a continuing wave motion of a connection in time. They are fallen leaves from humanity's tree of life - no race, colour, religion or nationality. Just souls plucked prematurely from their journey. And even though they may seem scattered on the ground, it is difficult to ignore their pleas. This sculpture was inspired by a call of remembrance. And this may come in a variety of ways to different people, each with their own stories. There are times when we recall somebody who has come into our lives, sometimes for a brief period and sometimes for a lot longer, but when they're gone, that sense of loss is profound. And the effect is like a rock thrown into a pond, initially the ripples will disturb the surface of the water and then disappear.Yet the rock is now at the bottom of the pond, quietly altering life there - a place changed forever. For me, that loss has changed the way I look at life and relate to people. It is not always easy, however I am deeply grateful for that time shared. This work, in a subtle way and for a brief moment, asks the viewer to acknowledge the way that they may have changed, on a personal level. And perhaps also how our society has been touched by the servicemen and women answering the call of their nation. The echoes can still be heard. Page 26
AUSTRALIA
“All That Remains” Wax encaustic medium, oils, ink , thread, collage, fabric, porcelain fragments
Judy Anderson : Artist’s Statement:
“All That Remains” is about loss and retrieval. What can be salvaged or mended from brokenness? Conveyed through processes such as erasure, layering and embedding beneath the surface, a sense of body, object and place are woven together with memory…suggesting embodiment as well as qualities of landscape. Their source remains obscure, representing spaces in-between… memories of imagined fields…still and silent. The shattered porcelain objects have been lovingly, tenuously mended to offer a fragile metaphor for courage in the face of futility, and the human capacity to live with overwhelming loss. My grandmother lost her husband and brother in the second World War, leaving her alone with small children; the eldest, my mother. For you, Edna May.” Judy Anderson
Page 27
AUSTRALIA
“Young Grandfather George” Acrylic on canvas ,1x 2mtrs
Madeline Hodge :Artist’s Statement: “ George Hamilton Grahame was a local Gold Coast Aboriginal man who fought and was killed in action in WW1. He grew up on the banks of the Nerang River and is remembered with other Yugambeh men and women on a memorial at Broadbeach on the Gold Coast.” There were over 800 known Aboriginal soldiers that fought in WW1,over 30 fought at Gallipoli, 4 being buried there.
Madeline Hodge
Page 28
AUSTRALIA
“The Light Horsemen” Oil on primed hardboard 36cm × 55cm
Robert Todanai: Ar.st’s Statement
“I am a ar,st from the Tweed Valley of Northern NSW and have been pain,ng all my life. My professional career as a painter spans about 35 years. I like to work in a narra,ve impressionist style, usually in oils on stretched canvas or board, and paint landscapes, historical and figura,ve work. My subjects usually are about Australian myths and legends that historically have served to shape images of Australian iden,ty, such as the Australian Outback. An important part of this Australian story is that of the Anzacs, who fought during the Great War. Some years ago I read the book 'The Desert column' by Ion Idriess, which was his personal diary of his experiences in Gallipoli and Pales,ne. The day aVer I finished reading the book, I was contacted by The Bradford Exchange, who were enquiring about whether I would be interested in pain,ng a series of artworks depic,ng the Heroes of Gallipoli, which I accepted. Robert Todonai www.todonaiart.com
I greatly enjoyed the process of researching the history of these wars and crea,ng the artworks. The accounts of the individual soldiers involved in this campaign have been very moving and have inspired me to paint many artworks depic,ng their bravery.” Page 29
AUSTRALIA
CONTENTS
“The Endless Bummer. “ Archival Inkjet print on Canson Rag Paper H90 x 65 cm
Stephen Baxter: Artists Statement:
“ Looking back on growing up in Australia during the 1960’s and 70’s with the Vietnam War as the background soundtrack. I remember being anxious at the prospect of, and possibility, that family members may have been required to participate. I remember reoccurring nightmares about war and during play invented various weapons’ that would protect us from the enemy. My parents would assure me that all was good however that didn’t stop the anxious worry of a small child influenced by what was on the TV and radio. Today, the thought of all the conflicts over time and the number of people killed, maimed and mentally damaged is appalling. “War what is it good for!” is an installation / video that references some of my past and present thoughts on the subject of War and Peace.
Stephen Baxter www.stephenbaxter.biz
“The Endless Bummer” (print) has been appropriated from, “The Endless Summer”, poster from the movie of the same name. John Van Hamersveld, the man behind the poster designed it in 1964, I was 2. In my version of the poster the surfers are looking out to the explosion of a nuclear bomb. What was once a romantic prospect of the endless wave has been transformed to Innocence lost forever.” Page 30
AUSTRALIA
‘Angelus’ 2015 50 x 38 cms. Oil on Canvas
Christian Halford: Artist’s statement Painting is a language of life and a reaction to experience.It allows me to take risks, trust, intuition and feel excitement. I paint in an expressive way that captures the feeling and humaness of my subject. The tactile nature of paint is also part of my work.It’s process wrestles the analogy between reality and abstraction to find vitality.Between the dialogue of underpainting and overpainting I am interested in creating works that ignite deeper complexities. Christian Halford www.christianhalford.com
The Angelus is a painting of a young girl praying. It represents ‘hope’ and the quest to bring peace to humanity. It is inspired by the Jean-‐°©-‐Francios Millet Painting ‘TheAngelus’ (1935). Page 31
NEW ZEALAND
“ At Peace “ (2015) 610mm x 760mm wide Acrylic on canvas
Dean Cogle: Artist’s Statement:
Dean Cogle Resident Artist Hinge Gallery Dust Temple
Utilised images are relative both to recent travels to the Solomon Islands, where props and war relics lay semi-submerged, and a 1960’s family photo upon Lake Rotoiti, NZ. The combination seemed compatible with Wars fought in the past (by ANZACS) ensuring Peace in our time. Flashpoint however is everpresent. Page 32
NEW ZEALAND
"Blue" Water Color: Size 52x42:
Lynnette Harvey: Artist’s statement: “My paintings are of ‘Dreams and Thoughts’ of the soldiers’. One can never fully comprehend the complexity of their thoughts during those dark hours in the field. Longing for home and loved ones, comfort and release, must have never been far from their thoughts.
Lynette Harvey
In “Blue” I portray an Angel of Peace, rescuing them from the ravages of war and taking them to their loved ones. “ Page 33
NEW ZEALAND
“Think before you fire'” Mixed medium sculpture: 30mm x 30mm diameter x 700mm height
Amelia Batchelor: Artist Statement: “Amelia has been a practicing visual artist for more than 20 years and owns a small Art House Gallery in the Northern NSW Region. Working on my 'War and Peace' artwork was thought provoking and I began thinking of what goes through the mind of a soldier in any war, in any country, no matter what or who we are fighting for - we all have a mind full of thoughts - loved ones, family, memories, hopes and dreams. soldiers head covered only by a flimsy metal helmet which is supposed to 'protect' the beautiful mind of a soul from death. Amelia Batchelor
www.mealiart.com
I wanted the bird of peace, the Dove, to fly from the mind of the soul behind the uniform, to symbolise the thoughts of freedom and escaping the ridiculousness of war.” Page 34
NEW ZEALAND
“Anzac Cove” Acrylic on Canvas 760 x 610
Mark Wilson: Artist’s Statement:
“A depic,on of the iconic Gallipoli Peninsula beach where the Australian and New Zealand Army Corps landed on April 25th, 1915. It was the beginning of a gruelling eight-‐month campaign against the Turks during the First World War. Using a fresh, lively plain-‐air style reminiscent of early Australian ar,sts, Mark conveys the now peaceful and serene cove as a contrast against Gallipoli's trauma,c history. The only reference to this being the blood red poppy delicately painted in the foreground. This pain,ng gives a deep sense of reverence in any viewer who understands the great sacrifice our brave young men paid 100 years ago on this fateful beach.”
Mark Wilson
The pain,ng will also be displayed in a beau,fully restored 100-‐year old frame.
Page 35
Mudg Pty/Ltd is the Trustee (or Trustee Company) for the foundation. Its director is Dr Peter Ochsenbein, a Swiss pensioner who is also founder and sole owner. He migrated in 1992 (Tallai) and received Australian citizenship in1997. In 1999 he bought a vacant corner block at Regency Place in Mudgeeraba, created a charitable foundation and lodged an application to build a recreation centre. Re-zoning to commercial School St caused some delays but in 2004 the “Mudgeeraba Foundation Centre” (MFC) was opened. Carl Rountree moved in as resident caretaker, also working 100% voluntarily and living for free in his apartment.. Peter’s working place is his home office in Tallai from which he manages the Foundation and administrates the Centre. His private charitable trust fund, named The Mudgeeraba Foundation, consists of bank assets and two real estate properties. The main income is his superannuation (the full sum of which is transferred into the fund by his former employer), also the full net rent payments from a residential property in Tallai (bought in 2012 by Mudg Pty Ltd), the fees paid by MFC Users and bank interest. Peter’s private income (pension from the Swiss old-age insurance + rent payments from 2 privately owned houses in Tallai) is kept strictly separate. The Mudgeeraba Foundation doesn’t do any fundraising or accept private donations. That’s why it needs no direct advertising but a mention is always welcome. It also highly appreciates the generous Council support (MFC rates & water/wastewater). It has an ACN & an ABN and is registered with the ACNC (Australian Charities and Not-for-profits Commission) as a small charity. All work being done voluntarily and without employees, expenses consist only of hard/software needed for office work, telecommunication cost (incl. Internet), (rare) legal/paralegal & tax advice, and (regular and special) cost in connection with the 2 buildings. Peter has no more overseas property of any type. However, the above fully Australian based structure leaves considerable money for building up a reserve and for direct and indirect support of the local and regional community as follows:. A: With donations (or sponsorships If continuing over several years) to registered organisations/institutions active in the main areas 1) art & culture, 2) health & environment, 3) education & sport. The terms are broadly defined: “health” e.g. includes social services for disabled & elderly people; “sport” includes recreational activities like bridge and chess etc. Donations began in 2001 and are tied grants, i.e. the use of the support must be known. The total annual amount has been increasing since 2004 (MFC completed). B: By offering the MFC to community groups and organisations for a low fee ($10/h, unchanged since 2004) for various activities in connection with the above areas 1) -4). Strict regulations and schedules facilitate administration and the venue is mostly booked out by close to 20 regular Users. The spectrum is broad: from yoga classes to meditation, from ballet to dance, from bridge to chess. There is no commercial advertising. All works via word by mouth and there is a waiting list. The income by fees indicates how much money Users save by not using halls with often higher fees but lower quality facilities (maintenance, floor, foyer, undercover parking). The total of direct charity money given to the community in the financial year 2013/14 was $48,500 for 19 donations/sponsorships to 14 beneficiaries. The total of indirect charity money in 2013/14 to MFC Users can be estimated to be $25,000-50,000. Whilst there is no intention to raise the fees (although the MFC’s hall & foyer have been completely renovated in Dec 2014) the total of donations and also the reserve (there are no private or bank debts) may well be increased in view of the healthy fund. (P.O. 19/02/2015)
Peter with Claudia and Heidi, ex ballerinas and now teachers at Prudence Bowen Atelier, regular MFC User (date 10/01/15) The artists of ACE acknowledge and thank Dr. Peter Ochsenbein for his support
ACE logo?
AUSTRALIAN CREATIVE EXCHANGE INC. EXCHANGE EXHIBITION 2013 A group exhibition by Korean, Chinese, Indonesian, Japanese, Thai and Australian artists.
“MEETING PLACE” The Asian Century.
“WAR & PEACE”