Page 1


Contents

5 6 12 14 16 18 19 20 21 22 24 25 26 28 30 32 36 37 38 39 40 42 43 44 45 46 48 49 50

Director's Foreword Two Rivers Hawkesbury River Snake Rock – Hawkesbury River Blue Owl – Colo River Blue Mangrove – Hawkesbury River Blue Colo – Hawkesbury River Barrenjoey – Prayer For Rain Owl Of Protection – Hawkesbury River Barrenjoey Rain Motor Head Story Book Creek – Hawkesbury Owl of Protection – Hawkesbury River Mangrove Country – Mud Island Owl Of Guidance – Yeoman's Bay White Wood – Hawkesbury River Owl Trees Mangrove Country – White Snow Personality Owl Water Lilies – Pumpkin Point Colo Lillies – Hawkesbury River Bird Of Paradise Hawkesbury Owl White Gum – Castle Cove – Hawkesbury River Hawkesbury River – Blue Gums Black Owl – Black Moon – Colo River Carved Mangroves – Morning Bay N.2 Carved Mangroves – Morning Bay N.1 White Horse Creek Night Owl – Prayer For Prosperity

52 Oyster Leases – Juno Point 54 Mud Flats At Spencer – Hawkesbury River Mud Island – Hawkesbury River 55 Blue Bells – Hawkesbury River 56 Wood Owl 57 Wild Bird – Morning Bay 58 White Owl – Morning Bay 60 Yulong River 62 Bridge At Fuli 64 Land Beyond The River Temple 65 Little Man Sculpture – Yulong River 66 Blue Owl At Yangshuo 68 View From The Studio – Yangshuo 69 Midnight Lillies – Yangshuo 70 Blue Lillies – White Mountains – Yangshuo 72 Fertility Bird – Yulong River 73 White Moon Lillies – Yulong River 74 Blue Bird Mountain 75 View From Fenglou – Yangshuo 76 Red Temple – Yangshuo 77 Studio With Coffee – Yulong River Five Fingers Hill – Yangshuo 80 Prayer For Fertility – Yulong River 82 Wild Bird Mountain – Studio At Yulong River 84 Red Lantern – Yangshuo 85 Painting Fertility – Yulong River 86 View From Room 508 – Yulong River 87 The Day She Left – Yangshuo 88 CV 92 Acknowledgements


Director’s Foreword

The Cat Street Gallery is honoured to present Joshua Yeldham's first solo show in Hong Kong: TWO RIVERS: Hawkesbury River - Yulong River. Joshua Yeldham’s muse is a river. His most recent, and most stunning, paintings and works on paper are inspired by, created beside and partly made from the landscape surrounding the Hawkesbury River where he lives and paints; and also his travels and adventure on the Yulong River during his first visit to China. The Yulong River is the major tributary of the Li River, and it flows through some of the most beautiful Karst (limestone) scenery near Yangshuo. Local people use rafts as daily transportation up and down the river, and Joshua spent three weeks painting on his raft creating the magical works and immersing himself in the local culture amidst the villagers and rice paddies. His sculptures and panel carvings, depicting water currents, rock surfaces, slow winding creeks, rice paddies, mystical mountains, visions of owls who he pays homage to, oyster leases, animals and even energy lines, directly reference the landscape of the river but which are drawn into the artist’s rich, personal narrative. Joshua’s paintings bring all of his influences together in a homage to nature that blends elements of calligraphy, Eastern mysticism, Aboriginal dot painting and Western traditions of Australian landscape painting, using rich, earthy, yet luminous colours. The images are exquisite and almost unfathomable. This creative strategy twins the Hawkesbury and the Yulong, Australia and China, and East and West. When I first saw Joshua's work, I was overwhelmed by the magic and spirituality that seemed to emanate from the works. His work leaves you in no doubt that his understanding and above all, his love for the landscape, is inborn and a plea for us not to take it for granted. I have been passionate about his work ever since. To quote the words of Ashley Crawford: “Technically these works are truly unique, beautiful hybrids of craft and vision. They are the works of a youthful master.” Mandy d’Abo September 2011

5


Two Rivers Hawkesbury River - Yulong River Kate Bryan Gallery Director In 21st Century Hong Kong, and other major metropolises, there is scant space afforded for the contemplation of nature and ecosystems. Encounters with pure landscape are infrequent for most urban dwellers, a scenario that would be completely at odds with mankind’s experience of the world just 200 years ago. We only need to look at ancient civilizations to appreciate the intrinsic importance of the architecture of the natural world; in Chinese folklore Emperors were believed to become mountains after they died and the Greek and Roman Gods all swore oaths on the River Styx. Since the dawn of art, imagery of rivers and mountains has been plentiful and has underscored every major cultural tradition. Since ancient times rivers have continued to possess a mythical quality; every great city and region in the world depends upon one even today. Famous rivers such as the Nile, Amazon, Mississippi, Thames, Tiber, Mekong, Ganges and Tigris may all serve a very practical purpose, both at the hands of men and in the wider ecological order, but they are also potent vehicles for metaphor, symbolism and myth. Rivers are connective, life giving and supporting, cleansing and facilitate the movement of people, things and thought. We might not spend much time contemplating these ideas, but they are a precious source of inspiration for writers, poets and artists who translate these philosophies into creative endeavours. For a number of years the Australian artist Joshua Yeldham has lavished attention on the river of his hometown of Sydney. The Hawkesbury River has great presence in the region; it effectively acts as the unofficial city boundary line. Measuring some 120 kilometres, it encircles the metropolitan region of Sydney for its entire length. Despite its proximity to a large urban mass, the river finds itself meandering in increasingly rural areas and it is these that Yeldham has chosen to focus upon. Yeldham does not so much as render the Hawkesbury landscape than re-live it for us. In preparation for his work, the artist makes extensive field visits, literally living amongst the natural world. His relationship to his depicted environment is therefore much more than that of a plein air artist; he both physically and psychologically inhabits the terrain. Yeldham is an artist who is an innovator as well as being well versed in various cultural traditions. His aesthetic has a strong distinctiveness that sets him apart, yet is also subtly reminiscent of Primitive art, Symbolism, Japanese calligraphy, indigenous painting and Asian watercolours. One could argue that this is unusual for an artist working in the distant land of Australia, especially in light of some of the parochial tendencies of its art world. Even more surprising is that Yeldham has never made an extensive trip to Asia, moreover until recently he had not, save for a trip to Indonesia, visited the continent.

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No doubt this fact in part compelled Yeldham to turn his attentions to the landscape of Southern China in 2011. Rather than abandon the Hawkesbury, his great muse, the artist has introduced the Australian river to China, creating a two river show by pairing paintings made in Australia with new work inspired by the Guangxi region and its distinctive Yulong River. In the same fashion that Yeldham prepared for his work in Sydney, the artist lived amidst the landscape, taking in the new environment both on water and on land and observing its qualities at different times of the day. This creative strategy twins the Hawkesbury and the Yulong, Australia and China and East and West. In geographic terms there are enormous differences between the twinned rivers. The Yulong River is a quiet tributary of the Li River that runs for 35 kilometres between the picturesque town of Yangshuo and the city of Guilin. Unlike its counterpart in Sydney it has no motorized traffic and the sole means of transport is by bamboo raft. However, in the hands of Yeldham the rivers co-exist in the exhibition with perfect visual harmony. The works celebrate the distinctive qualities of each and draw parallels between the agricultural terrain and the human response to it. Yeldham has created a substantial body of work for this show, his first in Asia, and the feeling of walking through the exhibition is one of exoticism and richness with plenty of room for intimate contemplation. The artist’s imagery is ripe, complex and distinctive. The works are so potent we somehow feel we have seen them before - they have a disarming accessibility. Yet, closer inspection reveals them to be deeply complex, intricate pieces that both demand and warrant lengthy observation. On a technical level, Yeldham does not create paintings per se, his works are the product of carving on wooden boards, which are then painted with oils and frequently adorned with shells and other items such as bells. Laid down in a careful, often repetitive fashion, these materials are not embellishments but rather are intrinsic to both his intimate pattern making and larger vision for each work. Nothing in the show can be said to be truly two-dimensional; Yeldham either adorns the surface or carves into his paper, whether it be a black ink work on French paper or even a photograph. Yeldham’s work defies simple categorization; it is a potent hybrid between craft and fine art.

7


A key theme of the exhibition is fertility, something that Yeldham explores in great depth throughout the works. The artist suggests the ripeness of the scenery and its waterways in his verdant landscapes. However, Yeldham does not approach the genre in a typically Western way, avoiding the tradition of lush greens and single point perspective. Rather his colour scheme seems to be applied in a more emotional and atmospheric manner than a literal one. Water Lilies – Pumpkin Point (plate 17) is conjured in a red chromatic scale, lending the subject a pulsating vibrancy. Similarly unconventional is the rendering of the landscape that is at once seen from above as if charting a map from an aerial view, and also features a frontal view in some areas of the board. The use of varying perspective, and refusal to be bound to the laws of traditional Western landscape painting is a recurring feature of Yeldham’s imagery and is beautifully exemplified by the striated work on paper, Blue Mangrove – Hawkesbury River (plate 3). The fertile landscapes depict the distinctive terrains of the Hawkesbury and Yulong region in a style that references both Eastern and Western design and image making. There is something distinctively Eastern in Yeldham’s mystical artworks which have been described as dreams made solid, carefully rendered stroke by stroke. The notion of quiet, sustained engagement with an artwork recalls the slow, careful practice of Asian masters. So too does Yeldham’s use of blue and black ink on paper. It is perhaps in these works where the greatest Asian influence is felt (see The Bridge at Fuli for instance, plate 35). The colours and form recall Japanese woodblock work and also Chinese calligraphic paintings. However, in Yeldham’s hand these resonances become a tiny part of a large hybrid of form and style. A work that shares a similar treatment is another twin panel, Barrenjoey – Prayer for Rain (plate 5). In this diptych Yeldham lovingly renders the landscape across two scenes, allowing our eyes to roll over the rich terrain, marked out in small plots and fields, teeming with plant life and detail. The title references the harsh reality of agricultural landscapes that are dependent on rainfall and the benevolence of Mother Nature. This painting is in many respects a microcosmic representation of the ever-changing cycles of the natural world and the increasingly alarming threats to the environmental fertility of both Australia and China. Yeldham also tackles the subject of fertility from a personal and human perspective. His artworks are not solely creative endeavours; they have a totemic quality, recalling a tribal practice of making things to act as prayers or charms. As a younger man the artist spent time with the Blue People of North Africa and watching them make amulets, such as stone penises, had a deep impression upon him. These objects were imbued with a great desire and are seen by their creators as a means of requesting an outcome from the universe.

8


Whilst undergoing IVF fertility treatment with his wife two years ago, Yeldham recalled these primal practises. The sense of vulnerability, and of being caught somewhere between nature and modern science found its way into his artwork. He explored these ideas in the manner in which he had experienced in North Africa, or in Bali where he had seen objects blessed with holy water. Yeldham started to incorporate the notion of ‘offerings’ into his paintings; in some sense they became physical manifestations of a deep longing for a child. The owl in particular became symbolic of this struggle and found its central place in his art after the artist had spent time camping out on the Hawkesbury River, dreaming of his nightly companions. He created works that were both inspired by the owl, and on a subconscious level, were offerings to that owl, which had come to act as a metaphor for fertility. Time has passed and Yeldham is a father. Two Rivers is for him on a personal level a celebration of the birth of his son, Jude. The notion of fertility is taken to the next level in this exhibition, the owl is still present but its meanings are multifaceted. It appears in several works under different guises notably: Owl of Guidance – Yeoman’s Bay (plate 12), Night Owl – Prayer for Prosperity (plate 27), Owl of Protection – Hawkesbury River (plates 6 and 10) , Personality Owl (plate 16), Blue Owl of Colo River and also at Blue Owl at Yangshuo (plates 2 and 38), and in two devastatingly executed sculptural works, White Owl Morning Bay (plate 34) and Wood Owl (plate 32). In some respects, the owl is a metaphor for the natural world and our relationship to that world. For those who have admired Yeldham’s work for some time, it might even appear to be a symbol interchangeable with the artist himself, something close to an alter ego. More than many artists of his generation, Yeldham puts a great deal of himself into his work. He is not afraid of the spiritual connotations of his practice, nor the biographical approach he has taken. These artworks are not just creative accounts of a time and a place, they also record attitudes, feelings and thoughts. They are an intoxicating elixir of personal and aesthetic experience. The results are soulful, mystical and complex artworks that simultaneously offer up a very personal experience whilst also being able to transcend their specificity and lead viewers to make their own associations. “Along the Hawkesbury River there is a fortress of mangrove trees, a secret land beyond the river, if one chooses you can disappear and become alone. If you are willing to get covered in mud you can reach these lands that are barely touched by humans. When I travel up the river in my boat I am still again. In that stillness comes my creative voice. I make marks on board in order to move through time and I paint our land to know that I am not in control of anything as everything is collapsing, tumbling, eroding and growing in front of me. My mind wants to hold on and control what I see, it is a dance, a battle. After four days up the mangrove there comes a realisation that I can be alone again, that I can go out, paint nature and let go.” Joshua Yeldham, August 2011.

9


Hawkesbury River


14


Plate 1: Snake Rock - Hawkesbury River Shellac on carved cotton paper 100 x 200 cm 2011

15


16


Plate 2: Blue Owl – Colo River Shellac, bells, shells on carved cotton paper 153 x 101 cm 2011

17


1

2

1

Plate 3: Blue Mangrove – Hawkesbury River Shellac on carved French paper 153 x 101 cm 2011 2

Plate 4: Blue Colo - Hawkesbury River Ink and pigment on hand made French carved paper 37 x 27.5 cm 2011

18


19


1

2

1

Plate 5: Barrenjoey – Prayer For Rain Shellac on carved cotton paper 200 x 100 cm 2011 2

Plate 6: Owl Of Protection – Hawkesbury River (Series 1/30) Carved paper with pigment and shellac 153 x 101 cm 2011

20


21


22


Plate 7: Barrenjoey Rain Shellac on carved cotton paper 200 x 100 cm x 2 (Two panels) 2011

23


1

2

1

Plate 8: Motor Head Shellac on carved cotton paper 200 x 100 cm 2011 2

Plate 9: Story Book Creek - Hawkesbury River Shellac on carved cotton paper 120 x 97 cm 2011

24


25


26


Plate 10: Owl of Protection - Hawkesbury River Oil, cane and shells on carved board 204 x 153 cm 2011

27


28


Plate 11: Mangrove Country – Mud Island Oil and cane on carved board 159 x 219 cm 2011

29


Plate 12: Owl Of Guidance – Yeoman's Bay Oil on carved board 182 x 122 cm 2011

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31


Plate 13: White Wood - Hawkesbury River Pigment on handmade French carved paper 99 x 149 cm 2011

32


33


1

2

1

Plate 14: Owl Trees Hand stained and carved French paper montage 153 x 111 cm 2011 2

Plate 15: Mangrove Country – White Snow Hand stained and carved paper montage 115 x 98 cm 2011

36


37


38


2 1

1

Plate 16: Personality Owl Ink, plastic and carved French paper 153 x 101 cm 2011 2

Plate 17: Water Lilies – Pumpkin Point Oil and cane on carved board 92 x 121 cm 2011

39


40


Plate 18: Colo Lillies – Hawkesbury River Oil, cane, shells, instrument on carved board 159 x 219 cm 2011

41


1 2

3

1

Plate 19: Bird of Paradise (Series 1/30) Carved paper with pigment and shellac 120 x 97 cm 2011 2

Plate 20: Hawkesbury Owl Pigment on handmade carved French paper 37 x 27.5 cm 2011 3

Plate 21: White Gum - Castle Cove Hawkesbury River Shellac, cane and oil on carved board 30.3 x 30.3 cm 2011

42





44


1

2

1

Plate 22: Hawkesbury River - Blue Gums Shellac, cane and oil on wood 40 x 41 cm 2011 2

Plate 23: Black Owl – Black Moon – Colo River Black ink on carved cotton paper 119 x 192 cm 2011

45


Plate 24: Carved Mangroves - Morning Bay N.2 Pigment on handmade French carved paper 99 x 149 cm 2011

46


47


48


1

2

1

Plate 25: Carved Mangroves - Morning Bay N.1 Pigment on handmade French carved paper 54 x 74 cm 2011 2

Plate 26: White Horse Creek Pigment on handmade French carved paper 74 x 54 cm 2011

49


50


Plate 27: Night Owl – Prayer For Prosperity Oil, shells and cane on carved board 159 x 105 cm 2011

51


52


Plate 28: Oyster Leases – Juno Point Oil and cane on carved board 122 x 182 cm 2011

53


54


1

2

3

1

Plate 29: Mud Flats At Spencer Hawkesbury River Shellac, cane and oil on carved board 25.2 x 20.1 cm 2011 2

Plate 30: Mud Island - Hawkesbury River Shellac, cane and oil on carved board 20.1 x 25.2 cm 2011 3

Plate 31: Blue Bells – Hawkesbury River Shellac on carved cotton paper 119 x 192 cm 2011

55


1

2

1

Plate 32: Wood Owl (n.7 in series, each uniquely carved) Carved resin and cane 170 x 39 x 39 cm 2011 2

Plate 33: Wild Bird - Morning Bay (n.2 in series, each uniquely carved) Carved board, shellac, cane and resin 110 x 74 x 50 cm 2011

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Plate 34: White Owl - Morning Bay (n.2 in series, each uniquely carved) Carved resin and cane and wire 55 x 30 x 30 cm 2011

59


Yulong River


62


Plate 35: Bridge at Fuli Shellac on carved cotton paper 200 x 100 cm x 2 (Two panels) 2011

63


64


1

2

1

Plate 36: Land Beyond The River Temple Shellac and oil on carved board 25.2 x 20.1 cm 2011 2

Plate 37: Little Man Sculpture - Yulong River Shellac and oil on carved board 25.2 x 20.1 cm 2011

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66


Plate 38: Blue Owl At Yangshuo Oil on carved linen 203 x 45.5 cm x 2 (Two panels) 2011

67


1

2

1

Plate 39: View From The Studio - Yangshuo Shellac, cane and oil on carved board 40.3 x 30.3 cm 2011 2

Plate 40: Midnight Lillies - Yangshuo Shellac and oil on board 40.3 x 30.3 cm 2011

68


69


Plate 41: Blue Lillies - White Mountains - Yangshuo Shellac on carved cotton paper 116 x 103 cm 2011

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72


1

2

1

Plate 42: Fertility Bird - Yulong River Shellac and oil on carved board 25.2 x 20.1 cm 2011 2

Plate 43: White Moon Lillies - Yulong River Shellac and oil on carved board 25.2 x 20.1 cm 2011

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1

2

1

Plate 44: Blue Bird Mountain Shellac and oil on carved board 40.3 x 30.3 cm 2011 2

Plate 45:View From Fenglou - Yangshuo Shellac, cane and oil on carved board 30.3 x 30.3 cm 2011

74


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2 1 3 1

Plate 46: Red Temple - Yangshuo Shellac and oil on carved board 71 x 30.3 cm 2011 2

Plate 47: Studio With Coffee - Yulong River Ink on handmade French paper 57 x 41 cm 2011 3

Plate 48: Five Fingers Hill - Yangshuo Shellac, cane and oil on carved board 40.3 x 60.6 cm 2011

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Plate 49: Prayer For Fertility - Yulong River Oil and cane on carved board 196 x 122 cm 2011

81


Plate 50: Wild Bird Mountain - Studio At Yulong River Shellac and oil on carved board 25.2 x 20.1 cm 2011

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1

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1

Plate 51: Red Lantern - Yangshuo Shellac and oil on carved board 30.3 x 30.3 cm 2011 2

Plate 52: Painting Fertility - Yulong River Shellac, cane and oil on carved board 25.2 x 20.1 cm 2011

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1

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Plate 53: View From Room 508 - Yulong River Ink on handmade French paper 33 x 25 cm 2011 2

Plate 54: The Day She Left - Yangshuo Shellac and oil on carved board 25.2 x 20.1 cm 2011

87


CV 1970 1989-1993

SOLO EXHIBITIONS

2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 1999 1998 1997 1996

GROUP EXHIBITIONS

2010

2009 2008 2006 2005

88

Born Sydney, Australia Bachelor of Fine Arts, Rhode Island School of Design

Two Rivers | Hawkesbury River - Yulong River, The Cat Street Gallery, Hong Kong River Song, Art House Gallery, Sydney River Music, Scott Livesey Gallery, Melbourne Child Of The Moon, Hawkesbury River, Scott Livesey Gallery, Melbourne Hawkesbury River, Motherland, Art House Gallery, Sydney Hawkesbury River – Death Bird Series, Scott Livesey Gallery, Melbourne Hawkesbury River, Melbourne Art Fair, Art House Gallery Hawkesbury River, Art House Gallery, Sydney Bird Nest Diaries, Scott Livesey Gallery, Melbourne Bird Nest Diaries, Art House Gallery, Sydney The Clay Brothers - A Prayer for Fertility, Scott Livesey Gallery, Melbourne A Prayer for Fertility, Sydney Art Fair, Fox Studios Solitude’s Bride Series, Art House Gallery, Sydney Solitude’s Bride Series, Melbourne Art Fair, Melbourne Eucalyptus, Art House Gallery, Sydney Colo River, Art House Gallery, Melbourne Solitude & Prayer, Art House Gallery, Sydney Paradise is a Bird, Art House Gallery, Melbourne Paradise is a Bird, Art House Gallery, Sydney The Hunger Artist, Art House Gallery, Sydney Viola and the Emu Catcher, Art House Gallery, Sydney

ART HK 11, The Cat Street Gallery, Hong Kong Salon des Refuses - S.H. Ervin Gallery, Sydney Salon des Refuses - Tweed River Art Gallery, NSW Zoo Air, Taronga Zoo Artists in Residence Plein Air, University of Newcastle, NSW Wynne Prize, Art Gallery of New South Wales In Paradise, Artists of the Northern Beaches, Manly Art Gallery & Museum, NSW Group Show ‘08’, Scott Livisey Galleries, Melbourne, VIC Sulman prize, Art Gallery of New South Wales Flaming Youth, Orange Regional Gallery, NSW Selected, Mosman Art Prize, New South Wales


GROUP EXHIBITIONS

2003

2000 1999 1998 1997

1996

AWARDS & PRIZES

PUBLIC & CORPORATE COLLECTIONS

BIBLIOGRAPHY / PUBLICATIONS

2011 2010 2009 2006 2005 2003 2002 2000 1998 1995 1995 1993

BiennialleSydney Art on Paper Fair, Sydney Selected, Mosman Art Prize, New South Wales Ned Kelly Framed, The National Trust of Australia, S. H. Ervin Gallery Art House Gallery, Biennial Melbourne Art Fair, Melbourne An Affair to Remember, Art Sauce, Singapore Sulman Prize, Art Gallery of New South Wales A Taste in Art: Next Generation of Great Australian Artists, Sotheby’s Sydney Zoo, Art House Gallery, Sydney Westpac Art Awards, Skeggs Redlands, Sydney Tattersall’s Landscape Art Awards, Brisbane, Queensland Australian Artists Exhibition, Cranbrook School, Sydney Teresa Burns Exhibition of Australian Artists, Westpac , Sydney

Wynne Prize, Finalist, Art Gallery of New South Wales Salon des Refuses, Finalist, S.H. Ervin Gallery, Sydney Wynne Prize, Finalist, Art Gallery of New South Wales Sulman Prize, Finalist, Art Gallery of New South Wales Mosman Art Prize, Finaliast, New South Wales Mosman Art Prize, Finalist, New South Wales Universities and Schools Club Prize, Sydney Australian Stock Exchange Commission, Sydney Sulman Prize, Finalist, Art Gallery of New South Wales Australian Young Achiever Awards, New South Wales State Finalist, Career Achievement Award (Arts Division) The Queen’s Trust Award Alumni award for outstanding achievement, Rhode Island School of Design, USA

Mosman Art Gallery / Manly Art Gallery & Museum, NSW / University of Wollongong / Australian Stock Exchange / BHP Biliton Collection / Mirvac Collection / Hawkesbury River Regional Gallery (on loan) / Autore Pearl Collection ACP Collection

2010 2008 2007 2006 2002

River Song, Catalogue, Art House Gallery Motherland, Catalogue, Art House Gallery Death Bird Series, Catalogue, Scott Livesey Gallery Hawkesbury River, Catalogue, Art House Gallery, Sydney Yeldham, Joshua, Solitude’s Bride, Art House Gallery, Sydney. (Limited Edition Artist Monograph)

89


BIBLIOGRAPHY / ARTICLES & REVIEWS

2010 2009 2008

2006 2004

2003

2002

2001 1998 1997 1996

1995 1994

90

Victoria Hynes Joshua Yeldham, Artist Profile Magazine, Issue 13, pp 70-75 Dylan Rainforth An Artist’s Prayer to Nature, The Age, 16 Jun ABC TV, Artists at work, Joshua Yeldham Willian Yeoman, Fertile Blend of Disciplines, West Australian 18 August John Macdonald, Return of the Natural Order, Visual Art, SMH 6 Dec Elissa Blake, The Hot Seat, The Sydney Morning Herald(‘Spectrum’), 13 Dec Kirsty De Garis, Right Now Who, Belle Magazine, Nov Annemarie Lopez Joshua Yeldham - Motherland The Sydney Magazine, SMH, Nov Kelsey Munro, Hawkesbury River, in Sydney Morning Herald Victoria Hynes, Art: Joshua Yeldham-Bird’s Nest Diaries, SMH Lenny Ann Low, Bird’s Nest Diaries, The Sydney Morning Herald(‘Spectrum’), 21Aug Emma Nicholas, Desert Diary Unfolds,The Wentworth Courier Yeldham Family Looks to New Horizons, The Sun-Herald, 9 May Janet Hawley, The new Kelly gang, The Age (‘Good Weekend’), 1 Mar, p38 Verghis, Sharon, Fringe arts fight for crumbs beneath sponsors’ table SMH 8 Aug Walker, Pam, Art for everyone, in The Wentworth Courier, 23 Jul, p.18 Arts & Culture Around Australia: Solitude’s Bride, in The Bulletin, 11 Jun Brown Penny, Solo man, The Weekend Australian, 23-24 Nov Frank, Lillian, Ghost of a chance, The Herald Sun, 12 Oct Hill, Peter, Exhibitions: critic’s picks, in The Sydney Morning Herald (‘Metro’), 8-14, Nov, p.27 Low, Lenny Ann, Grave intentions, in The Sydney Morning Herald,(‘Metropolitan’), 16-17 Nov Thomas, Brett, Future Force: The Artist- Joshua Yeldham, in The Sun-Herald, 9 Jun Ranken, Bill, Out there..., in The Eastern Herald, 16 May A Conversation With Joshua Yeldham, Australian Style Guinness, Daphne, On a Bus, in the fast lane, The Sydney Morning Herald, 2 Sep Trust Makes Desert Bloom, The Sunday Telegraph, NSW Film Maker On Track To Win, The Daily Telegraph Mirror, NSW Film-maker and painter, The Wentworth Courier, NSW Hilferty, Tim, On The Road To Stardom, The Sydney Morning Herald Zion, Lawrence, Celluloid Rising, JJJ Magazine Barber, Lynden, Joshua Is Ready to Make the Climb, SMH Coppleson, Patricia, Journey to Higher Ground, Cafe Magazine Dell’oso, Anna Maria, The Sydney Morning Herald Kay, Shelley, Time For Changing: Short Film Awards, Film News Australia O’Shea, Margaret, Wise Young Guy, Film News Pomeranz, Margaret, Extraordinarily Accomplished First Film, Gold Coast News, QLD Rogers, Jenny, Cranbrook Old Boy to Soar to Top, The Wentworth Courier Zion, Lawrence, Australian Directors: The Next Wave in Rolling Stone (Australia) Variety, Feb 18, - The Academy of Television Art & Sciences has selected it’s Annual College Award Winners


FILMOGRAPHY

1993

1989 1982

FILM NOMINATIONS & AWARDS

1995

1994

1993

Frailejon ( Colour, 65 minutes) Producer, Director, Writer, Co-DOP, Co-Editor. Filmed on location in the Venezuelan Andes, New York & Sydney Silver Threads Among The Gold Platform Children of Haiti Sauvinance

Frailejón, Best Feature Film, Heartland Film Festival, Indianapolis, USA Frailejón, Original Concept in Film (Winner), Best Director & Best Screenplay St. Kilda Film Festival, Victoria Frailejón, Innovation in Film Award, Best Australian Short Film (Nominee), Australian Teachers of Media Awards, Sydney Frailejón, Best Australian Short Film, Film Critics Circle of Australia Awards. Frailejón, Best Short Film & Innovation in Film (Nominee), Best Screenplay (Nominee, Joshua Yeldham), Australian Film Industry (AFI) Awards Frailejón, Emmy Award, Best Student Film, Academy of Television Arts & Sciences (ATAS), USA Frailejón, Academy Award (Oscar), Best Dramatic Student Film. (Nominee), Academy of Motion Picture Arts & Sciences, USA Frailejón, Best Student Film (Winner), Eastman Kodak Awards, USA Frailejón, Dendy Awards, Sydney Film Festival.

DISCOGRAPHY

1993

Producer of Frailejón - Journey to higher ground, Original Motion Picture Soundtrack

MEDIA & PUBLIC APPEARANCES

2003

The Today Show - Channel 9 - SOLITUDE’S BRIDE - Yeldham talks about his desert paintings. Artist Talk, Biennial Sydney Art on Paper Fair, Byron Kennedy Hall, Fox Studios, Sydney, 2 Aug Catalyst For Renewal Lecture Series, “Spirituality and the Arts”, (with Dr.Colette Rayment), Paddington, 7 Apr Accidental Hero, story by Caroline Jones for “Australian Story”, ABC Television, 24 May Frailejón Wins Prestigious Emmy, for the “Today Show”, Channel 9 The Movie Show, story by Margaret Pomeranz, SBS Television Arts Show, story by Peter Castaldi, ABC Television Creatures of the Spot Light for JJJ Radio

1999 1997 1994

91


Book Acknowledgements Catalogue Design The Antithesis 1 Pak Tze Lane, Central www.theantithesis.net

Exhibition Acknowledgements This book was published to accompany an exhibition of the same name “Two Rivers. Hawkesbury River – Yulong River” Thursday 29th September - Saturday 22nd October, 2011

222 Hollywood Road, Sheung Wan, Hong Kong T: +852 2291 0006 www.thecatstreetgallery.com

Disclaimer French Carved Paper: It should be noted that hand carved cotton paper may produce small fibres on the frame. All sizes are estimates of art work only. Painting images and Photography remain the copyright of Joshua Yeldham.

Photo Credits Painting Photography - Max Taylor Location Photographs - Jo and Joshua Yeldham, CC Herbert, Ted O'Donnell


Joshua Yeldman  

Joshua Yeldman

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