Hazelhurst Art on Paper Award 2019

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Margaret Ackland | Samara Adamson-Pinczewski | Suzanne Archer Nicole Barakat | Lee Bethel | Patrizia Biondi | Joshua Boerma Anthea Boesenberg | M Bozzec | Matthew Bromhead | Leah Bullen Penelope Cain | Elaine Campaner | Joshua Charadia | Louisa Chircop Tracey Clement | Kathryn Cowen | Tori de Mestre | Matthew de Moiser Ben Denham | Shoufay Derz | Mark Dober | Adrienne Doig | Lucy Donovan John A Douglas | Christine Druitt-Preston | Peter Dudding | Tatjana Este Robert Ewing | Julia Flanagan | Hayley Megan French | Todd Fuller Yvette Hamilton | Mark Hislop | Anna Hoyle | Amber-rose Hulme Kirrily Humphries | Amanda Izzard | Lisa Jones | Locust Jones | Roslyn Kean Deborah Kelly | Nicole Kelly | Simon Kennedy | Martin King | Maria Kontis Belem Lett | Michael Lindeman | Tania Maria Mastroianni | Kevin McKay Ceara Metlikovec | Dale Miles | Stephanie Monteith | Louise Morgan Damian Moss | Sarah Mufford | Ramesh Mario Nithiyendran | Eva Nolan Natalie O’Connor | Lillian O’Neil | Elena Papanikolakis | Philjames Izabela Pluta | Emily Portmann | Monica Renaud | Mollie Rice Sarah Rodigari | Nick Santoro | Douglas Schofield | Peter Sharp Liz Shreeve | Kim Spooner | Kylie Stillman | Sherna Teperson Kerry Toomey | Kate Vassallo | Gary Warner | Jodie Whalen | Paul White | Cleo Wilkinson | Amanda Williams | Paul Williams Jeffrey Wood | Heidi Yardley | Zuza Zochowski | Tianli Zu

Hazelhurst Arts Centre acknowledges the Dharawal speaking people, traditional custodians of the land on which it is situated, and pays respect to elders past, present and future.

AWARDS $15,000 Hazelhurst Art on Paper Award sponsored by Tradies $5,000 Young & Early Career Artist Award sponsored by Tradies $5,000 Local Artist Award sponsored by the Friends of Hazelhurst Four Week Artist Residency Award awarded by the Hazelhurst Preparator team $1,000 People’s Choice Award

principal sponsor



INTRODUCTION The works in the Hazelhurst Art on Paper Award 2019 demonstrate the materiality of paper, its versatility and the possibilities of paper as a medium. Held every two years since 2001, the Hazelhurst Art on Paper Award is a significant national exhibition that aims to elevate the status of works on paper while supporting and promoting artists working with this medium. This year marks its tenth exhibition. This year entries were received by over 800 artists from across the country and were of an extremely high calibre. The final selection of 86 artists’ works includes painting, drawing, collage, photography, printmaking, papercuts, sculpture and video. The works are exhibited throughout Hazelhurst, in the Regional Gallery, the foyer and the Broadhurst Gallery. Thank you to Grahame Kime, Art Centre Coordinator at Hazelhurst, and artists Michelle Cawthorn and Spence Messih, who along with myself formed the selection panel and went through an enjoyable yet challenging and lengthy process to select for the 86 finalists. Thank you to artists Idris Murphy, Joan Ross, and Oliver Watts, Head Curator of Artbank, for undertaking the difficult task of selecting the award recipients. Congratulations to all of this year’s award winners and finalists. Hazelhurst would like to acknowledge the generous support of Tradies who sponsor the major award and the Young & Early Career Artist Award, and the Friends of Hazelhurst who sponsor the Local Artist Award. In addition, thank you to the Sutherland Shire Council and Create NSW for their ongoing support of Hazelhurst. CARRIE KIBBLER CURATOR

AWARD WINNERS Robert Ewing Choas and Consequence 2017 Winner: Hazelhurst Art on Paper Award 2019 Belem Lett Mountains of Madness 2019 Winner: Young & Early Career Artist Award Kerry Toomey Mundhuii 2019 Joint Winner: Local Artist Award Paul Williams Painting ongoing 2017-2019 Joint Winner: Local Artist Award Kate Vassallo Chance Forms 2018 Winner: Four Week Artist Residency Award

SPECIAL MENTIONS Highly Commended: Overall Award Anna Hoyle my brain, another sparse white minimalist interior 2018-19 Heidi Yardley The black veil 2019 Highly Commended: Young & Early Career Artist Award Matthew Bromhead A Royal Seal (My Word) 2019 Kate Vassallo Chance Forms 2018

2019 JUDGES Idris Murphy, Artist Joan Ross, Artist Oliver Watts, Artist and Head Curator, Artbank



This is a portrait of my mother at 96. It is a study of her grace in the final stages of her life.

Shadowlands 2019 watercolour on paper 150 x 70 cm



Study for Sainte-Bernadette 5 explores the relationships between geometric abstract painting and architecture, with a focus on innovative uses of acrylic, iridescent acrylic and florescent acrylic paint materials on irregularly shaped and folded Arches paper to create ambiguous pictorial space.

Study for Sainte-Bernadette 5 2017 acrylic, fluorescent acrylic and iridescent acrylic on paper 56 x 62 cm framed

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The mask as an adopted persona or reflective image of one’s various identities has always fascinated me from primitivism to the exposÊ of the subconscious renderings of the disturbed personality in the art of the insane. I have made many works in different media inspired by this subject and the investigation of various explorations of my Self. Most recently, I have collected and repurposed many cloth bags using them as raw material to create masks for an installation with the addition of a sound piece. These 3D drawings of Messenger Masks are a direct and natural development of these concerns. When I decided to investigate how I could examine and challenge my drawing practice and bring it in line with those most recent sculptural pieces I decided to use my favoured drawing media but to transpose it onto Arches watercolour rough 300 gsm paper that I have crudely shaped to reflect the random prop of the found bag as a starting point.

Messenger Masks 2018 paper, ink, charcoal, chalk pastel, graphite, acrylic paint, metal 90 x 150 x 50 cm

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NICOLE BARAKAT We transcend time and place embodies my reconnection with objects from my ancestral homelands in the South West Asia and North Africa (SWANA) region The work is a manifestation of my practice of intuitively listening to displaced, often stolen, objects held within the collections of the Louvre and British Museum. To by-pass the gatekeepers and breach the vitrines, I reclaim my pre-colonial, non-linear, receptive forms of knowing that are often devalued and dismissed by colonial and patriarchal institutions1 - coffee divination, dream-work and deep listening. My work critically considers connections between the violence of colonialism (under which many museum objects were acquired) and the current states of violence in the SWANA region. The volume of objects within the British Museum and the Louvre closely corresponds to the British and French presence in the region post-WW1. Our homelands still suffer the impacts of the French and British mandates, the carving up of our lands and the creation of nation states and new colonial occupations. Reconnecting with these objects enables me to re-gather my ancestral ways of knowing in this critical time. When we remember the old ways, we remember the strength of who we are, the knowledge of our ancestors and our infinite relationship to our lands. When we restore our original wisdom2, we reclaim our power and ability to transform and heal collective pain and suffering for ourselves, our communities and our lands. Feghali, Layla Kristy Regather our Ancestors: reclaiming our indigeneity, re-membering our original medicines, http://www.riverroseapothecary.com/swanaproject/ (24/1/2018) 2 ibid 1

We transcend time and place 2017 hand-cut found paper 130 cm diameter

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This work examines how humans direct evolution. I use historic floral patterns based on hybrid plants to show a constructed aesthetic and how botanical domestication appeals to our need to control and contain nature. This interpretation of nature has a cautionary function and highlighted in the piece is a quote by the Persian poet Rumi referring to the folly of hubris.

Hybrid 2019 watercolour on hand-cut paper 200 x 115 cm

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PATRIZIA BIONDI Patrizia Biondi’s intricate, quasi-architectural constructions, built out of salvaged cardboard, arise from her interest in the relationship between identity, the economy and consumer culture. By recovering discarded resources and transmuting them into objects which are then purchased, brought into people’s homes and, therefore, given significance, Biondi seeks to question what we value and why. The focus of this dialogue is to unpack the connection between the current global crisis of empathy, our disconnection from the environment, and the neo-liberal principles of aspiration and individualism. Specifically, as contemporary values of freedom and democracy are equated to the individual’s right to gain affluence, aspiration to wealth is becoming a cultural standard. Consequently, the humanistic ideals of solidarity and compassion, which were once considered indispensable and most valuable above all - the connective tissue of society - are gradually losing relevance. Our lack of priority in addressing the present environmental emergency is part of this dialogue, as Biondi’s discarded cardboard objects lyrically emphasise the criticality of the issues at hand and plead that they be acted upon in earnest. The resources employed are integral to the narrative, as packaging inevitably infers consumerism, storage, global transport, aesthetic appeal, obsolescence and, ultimately, the global economic structure. Hence, the detritus employed retains all the characteristics that it was found in, as the marks, the rips, the packing tape, the delivery labels and all the elements that form the lexicon of commerce are left visible or only partially covered by the paint, documenting the entrenchment of economy and consumerism within culture and turning the objects into anthropological relics. Terms and Conditions Apply to Sale Goods 2019 cardboard and paint 133 x 86 x 25 cm

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This is a multi-layered print work on paper. Stencil relief, monoprint, another stencil and then screen print. It continues my interest in image, surface and the (re)presentation of information. There is the suggestion of objects whilst playing with the illusion of an apparently flat pictorial plane.

Five 2018 relief, monoprint and screenprint 106 x 130 cm

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There are over a thousand holes in this one sheet of paper. It is very fragile. It was fragile in the making, too. A moment’s hesitancy, a gust of wind, and it might all have gone up in flames during its construction. Or the paper could easily have torn, being so thin to begin with, and now perforated so many times. The work is about weakness and strength, fragility and resilience.

1000 days 2019 burnt paper 56 x 40 x 4 cm

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M Bozzec’s work examines the use of language, and its relationship to found, photographic images. Using a precise drawing technique, the artist pushes the humble coloured pencil to the limit. Phrases gleaned from popular idioms are set against backdrops that accentuate their inherent ambiguities. Dirty Linen’s illusory, photo realistic fragments allude to the ultimate in deceptive surfaces – clothing. Often viewed as a frivolous subject, fashion is the seductive icing on the very strange cake of human identity. It is another skin on top of the skin, a symbolic display, a language of signs made in cloth. Clothes speak silently of status, gender, and power. Clothing is also a readily available form of instant transformation. It may be used to make one fit into the herd or stand out from the crowd. Identities can be created and subverted through its subtle force. The fact that there is such a long list of idioms making reference to clothing only serves to illustrate the insidious way that fashion, and the language around it, has permeated our lives. Fashion is a source of endless change, and the list of idioms inspired by it continues to evolve. The Emperor’s new clothes. Clothes maketh the man. Dressed for success. Dressed down. Fast fashion. One may make a fashion statement, or be a fashion victim. Clothing is flesh remade as armour, an ever - changing array of ideal selves, to be donned & divested of at will.

Dirty Linen 2018 coloured pencil on paper 92 x 103 cm framed

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These works were produced during a recent residency at KRP studio in Ubud, Indonesia. By using layers of drafting film to work from complexity toward simplification, I am interested in the idea of repetition breeding clarity; the only way to truly know something, is through a repeated, layered experience.

A Royal Seal (My Word) 2019 charcoal, ink, pastel on drafting paper overlaid on cotton paper 79 x 112 cm


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Wunderkammer explores the garden as a site that approximates the natural world. The garden acts as a model through which to explore how we visualise, experience and consume the spectacle of nature more broadly within contemporary culture.

Wunderkammer 2017 watercolour, gouache and monotype on paper 120 x 165 cm

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During the Permian mass extinction event 250 million years ago, 80% of plant life went extinct, including the large Glossopteris spp. forests covering the Sydney basin, in the Gondwana megacontinent. The coal currently being mined and burned from the Sydney basin seam was formed from Permian-era vegetation, formed to a large degree from Glossopteris leaf-litter, and is topped by sand that washed over the basin after the mass vegetation die-out. These works are part of an ongoing series drawing on Glossopteris fossil specimens held in archival collections, sourced from each of the six modern continents that formed Gondwanaland, to propositionally recreate the ancient forest, post-extinction, in acknowledgement of the contemporary climate changes and possible future fifth extinction. Each image in the series is based on a fossil specimen held in a different museum collection, and montaged to reflect on a unique life-sustaining function shared by both forests and individual bodies.

Post-Extinction Proposition for a Gondwana Forest (Circulation Australia & Respiration Antarctica) 2019 GiclĂŠe print on rag paper, edition 1/3 100 x 94 each

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Elaine Campaner photographs transient dioramas of found objects. She plays with the spatial relationships between objects, discovering evocative connections, visual illusions and conceptual complexity. Works such as this represent certain types of environmental and political imagery that ‘seeps’ into the artist’s domestic life. Potent symbols and forms re-emerge in the miniature world of everyday things: control towers in coffee pots, cooling towers in saltshakers. Campaner compares her photography to painting, explaining that the object merely replaces the brush. Her eye and imaginative powers are focused on the formal qualities and metaphorical possibilities of objects, and the ways in which they might interact to make an image with its own internal visual coherence and narrative.

Contemporary Chapel (Sunday school Camp 1978): Prius, toy-light fitting, blu-tac, miniature goblet, matchsticks, embroidery thread paper) 2019 pigment inks on 100% cotton rag, edition 1/3 + 1 AP 83 x 55 cm

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Peripheral View 22 is part of an ongoing series in which I take industrial scenes, photographed in passing, and render them in the ‘slow’ mediums of oil paint and charcoal. Through drawing I afford time to these usually fleeting images of shipping containers and terminals, and hope to make visible what can often go unseen. Ubiquitous yet overlooked, these objects are containers of capital: vital cogs in the unceasing machine of globalisation and chess pieces in an indifferent global market place. The softness of willow charcoal allows me to create a sense of movement, whilst exploring the subtleties of light and atmosphere. The result is a feeling of secrecy and ambiguity in the image. With this I invite the viewer to question their passive perceptions of these anonymous objects and, with discerning eyes, become more aware of the complex processes at work all around us every day.

Peripheral View 22 2019 willow charcoal on Hahnemühle paper 107 x 78 cm

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This work began its evolution at Bundanon Trust while I was artistin-residence last year. I recently developed and completed the work in my studio after my return from Bundanon. The first stage of the drawing began as a purely observational drawing in watercolour and gouache. The second involved developing the work using the subconscious, sifting and the sticking of photomontage, responding to memory and experience. The image depicts a vast panorama of the shoreline and tidal zone along the Shoalhaven River – the site contains a primeval energy and life force. Everything is drawn to the river, representing a place Fright and Delight – Bundanon 2019 watercolour, gouache, water-soluble markers, water-soluble pencils, magazine on Arches paper 330 x 74 cm framed

where thoughts sink and rise with the movement of the tide – a place that is seeped with layered history. I felt invited by the river to explore my own alien presence. Similarly, like Boyd, I was prompted to think about the movement of native and foreign things. Visiting the river daily became an essential part of my creative thinking. It had become a medieval backdrop for a narrative interplay, a conundrum representing the concept of the afterlife, heaven, purgatory and hell (as if out of a Bosch painting), and a stage where foreign and native motifs exist in constant battle and harmony. All this I discovered one early morning when I confronted my very own footprints which had mingled with the delicate sneaky footprints made by the foxes that had arrived before me to scavenge dead carcasses along the shore.

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Mix and Match City (mixed dozen) is a mini-metropolis that deliberately draws on the inherently aspirational symbolism of architectural models. All architectural models represent an idea, a vision for the future made manifest in miniature. They are real, but not fully realised. Infused with potential, they are liminal zones tinged with hope. The twelve little buildings presented in Mix and Match City are a mixed dozen, an eclectic range of styles that were nonetheless all made from a selection of just six basic shapes. In this model city structures resembling classic art deco skyscrapers from New York or Chicago, Aztec pyramids, adobe masterpieces from Timbuktu, Persian towers, panAsian pagodas and suburban Aussie bungalows all coexist harmoniously. And if they can, maybe we can too? Mix and Match City (mixed dozen) is a mini utopia, a hopeful vision of a better future.

Mix and Match City (mixed dozen) 2019 laser-cut recycled cardboard, gaffa tape 80 x 80 x 200 cm

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Reality is what we take to be true. What we take to be true is what we believe. What we believe is based on perceptions. What we perceive depends on what we look for. What we look for depends on what we think. What we think depends on what we perceive. What we perceive determines what we believe. What we believe determines what we take to be true. What we take to be true is our reality. David Bohm 1977 Theoretical Physicist

A Field Guide To Reality 2018-19 pencil, ink, acrylic and posca pen on paper 21 x 29.7 cm each (12 pieces) 125 x 155 cm installation

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A scroll of time; layered experiences and interwoven memories. Painted and printed papers from past and present series of works, cut, reconstructed through weave and stitch.

Altered States 2019 painted and printed paper, acrylic, oil, cotton thread 500 x 30 cm

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There is beauty in conformity but horror as well. Subdivision no.2 is a hand-cut photographic collage made from over 300 aerial photos of suburban houses.

Subdivision No.2 2019 hand-cut photographic collage on watercolour paper 98 x 75 x 3 cm

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This work combines an exploration of resonant patterns that emerge from the electromagnetic functioning of stepper motors (the spiral forms) with the translation of a short piece of audio into marks that are offset and repeated to create the line work linking the two spiral forms.

Light Wave (electromagnetic entities) no.3 2019 445nm laser on paper 70 x 140 cm

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In her recent Australia Council Career Development Grant travels, Shoufay Derz has explored monumental eroded landscapes to create what she calls ‘luminous voids’, a visual poetry of the unknown. By reflecting on the presence of the past in the present, this new work asks us to contemplate intimacies of the unknown, as well as the ruptures between our experience and knowledge of the world. Fragile landscapes, images of eroded sites, disappearing cliffs, are for the artist wordless poems and material representations of absence; terrains

Via Negative 2018 pigment print on rag paper 130 x 162 cm each

of emptiness that retain traces of geological scar, forms that are no longer there, subjects of periods of drought and flooding. Via Negative is a panoramic landscape of the Badlands National Park in South Dakota, USA. It is named for a philosophical mode of alluding to, or describing ‘what is not’. Derz seeks terrains both physical and psychological – internal landscapes that are at the intersection of memory and triggered by traces and inescapable transcriptions of the past in the present

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Nymphaea (winter) was made in the Melbourne Botanical Gardens. I have sought to convey a feeling of calm, a quiet and reflective beauty, and a sense of being present to this place. It is winter, and the branches are bare and the water lilies will only make their appearance in the coming spring. I have sought to vary colour, mark making, and the materials used so as to convey both the particularity and difference of each element of the scene, as much as an “all over� harmony. A patterning is apparent - a symbolic representation of the tactile, atmospheric and spatial qualities I perceive in this place.

Nymphaea (winter) 2018 watercolour, gouache, oil pastel and oil stick on paper 112 x 152 cm

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Via the medium of paper dolls these figures capture my day to day life. Each figure represents a moment of activity or an incident in my day. The cut out cardboard format allows me to quickly record my routine but also to depict myself from both the front and back creating an allrounded picture. This work is a random selection of figures taken from a larger ongoing project. Viewed together, the intimate and sometimes banal activities of everyday create a sense of theatre. The dolls are a diary, a story, an impression of me.

More About Me 2019 cardboard, paint variable dimensions further installation on next page

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Adrienne Doig More About Me 2019 cardboard, paint variable dimensions

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LUCY DONOVAN This work is a large-scale drawing project exploring how the broad spectrum of LGBTQ+ identity is written and presented within serial television programs. Additionally, this work interrogates the concept that the presentation of LGBTQ+ characters often follows a reoccurring narrative pattern or ‘trope’; that often sees Queer female characters meeting a violent, gruesome or untimely death. This trope has come to be known as the ‘Bury Your Gays’ phenomenon. Taking or acquiring a freeze-frame surrounding death or final onscreen moments, Donovan has re-drawn and catalogued 165 stills as ballpoint pen drawings. All other visual clues of time, place and origin have been removed, leaving the character surrounded only by the whiteness of the paper, in order to increase the sense of trauma and loss. Accompanying the drawings is a box of handwritten index cards that catalogue each drawing, allowing the viewer to identify and place each scene within its original context. Fictive television shows have historically provided queer female characters for the male fantasy or their token diversity. Often conforming to subtropes of evil, promiscuous, or mentally unstable, relief would come to the audience when the queer woman met their death. More recently, young audiences cling to the more developed and likable queer female characters as representation, only to die suddenly for the “plot twist” of the show. Donovan hopes that her exploration of the ‘Bury Your Gays’ trope through her drawing practice offers further context for analysis and reflection, not only for herself, but also for a broader audience.

Bury Your Gays 2018 ballpoint pen on paper 42.9 x 607.5 cm (165 pieces) full image on next page

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Lucy Donovan Bury Your Gays 2018 ballpoint pen on paper 42.9 x 607.5 cm

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The Vascular Surgeon depicts a woman (musician and artist, Celeste Aldahn) in stylised costume, bearing ancient surgical instruments, looming over the supine wax figure of the Anatomical Venus from the Museo di Palazzo Poggi in Bologna, Italy. This digital collage references the idealised anatomical body of baroque Italy that draws upon the sacred iconography depicted in medical diagrams of the period. The strangely macabre wax Venus by Clemente Sussina takes us back to a time when science was also metaphysics that sought to unravel the mysteries of life and death. Typically, the anatomical surgeon from this period is presented as a male figure who holds mastery over bodies that are presented as perfect human forms. However, in this contemporary rendering we see a woman claim the space of male power that serves as homage to the renal vascular surgeon who conducted a lifesaving organ transplant on the artist. This retelling of medical histories alludes to contemporary myth making and the metaphysics of a life extended by organ transplantation. Acknowledgements: Museo Palazzo Poggi, Bologna, Italy for permission to photograph in situ Clemente Susini’s anatomical wax venus, Venerina, 1782. Costume and props: Yiorgos Zafiriou Kate Scardifield, University of Technology Sydney, Australia This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. This project is supported by the NSW Government through Create NSW.

The Vascular Surgeon 2017 archive pigment print on HahnemĂźhle cotton rag, edition 1/5 60.5 x 78 cm

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This lino block print is inspired by a drawing of the Margaret Olley home studio re-creation made during my residency in the Nancy Fairfax Artist in Residence Studio at Tweed in March 2018. Unlike the carefully arranged compositions of Margaret Olley’s still life paintings my work responds to the unedited, multi-layered, cluttered and visually fascinating room that was Margaret Olley’s kitchen in Duxford Street, Paddington. As the repository of so many objects, this room is the ultimate still life.

Olley Land - Not an ordinary kitchen 2018 lino block print on Wenzhou paper, edition 3/5 60 x 170 x 4 cm

‘…. with a house full of carefully arranged still lifes, tidying up was problematic. So, too, was cooking in her kitchen, where palette resides in a baking tray and paint brushes and turps have made a home among cooking utensils and washing up.’ – Joyce Morgan 2012 The editions for this work were made with the assistance of Sydney-based printmaker Brenda Tye.

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Witnessing the work and working method of artist Peter Dudding has been like a hard slap to the face, or a good deep belly laugh, a smelly fart or a burp after a good meal - it’s real and it wakes you up. It’s many pages of musical colour, brutal scrawls and dancing marks is the outpouring of the inner workings of a man who has developed a rich personal language. His wild and uninhibited use of colour has been one of the most exciting things I have had the privilege to witness in a long time. When looking at Peter’s work I think of others who have worked in such ways; Jean Michel Basquiat, Cy Twombly, Jean Debuffet and in the now - Joshua Smith. Peter has an enormous body of work with a rich catalogue of personal iconography that he can pull forward when he chooses; pig dog, Heartbeat and/or Phantom of the Opera. In recent years with painting, we have seen a return to a kind of muddiness, a ‘non-image’, the abject, a kind-of riffing off of painting’s recent history and a strong sense of play, joy of mark-making and the material presence of paint. Within this context, Peter definitely holds his own. - Artist Paul Williams

Happy Birthday 2 2018 oil pastel and colour pencil on Arches paper 78 x 58 cm

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Bound - Anima Inverted investigates notions of psychological repression and the shadow self – our internal critic. Referencing Rorschach inkblots, the work is composed of images derived from the artist’s bound hands, embodying this unpleasant companion via multiple ‘faces’.

Bound - Anima Inverted 2017 pigmented ink on paper 77 x 50 cm each (12 pieces) full image on next page

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Tatjana Este Bound - Anima Inverted 2017 pigmented ink on paper 77 x 50 cm each

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Chaos and consequence presents a real and imagined landscape in the context of a theatrical stage setting. Populated with organic and anthropomorphic shapes, combining and colliding with changing elements, the artwork seeks to engage the viewer in an intimate dialogue of association to a changing landscape.

Chaos and consequence 2017 coloured pencil on cotton paper 140 x 250 cm



Unstructured and playful, my drawings begin with random placings of small geometric shapes. These form the bones of the piece and enable me to compose the drawing through connecting pencil lines. My fascination with pattern and colour stems from a background in textiles making and design. The pieced-together shapes of colour and patterns within my drawings allude to the many scraps of material found in my studio and reference the decorative arts, in particular the Gees Bend quilt makers and shapes and patterns I see in my daily travels through my suburban environment. The repetitiveness of the mark making and pattern painting. My interest is in creating a sense of harmony within colour arrangements, looking at how colours can relate to one another, vibrate and glow. Working in an improvised way, I seek to create pieces that are whimsical, quirky and joyful. More than anything, I thrive on playing with different colour combinations.

Everything there was 2019 Posca paint pens and pencils on paper 63 x 53 cm

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I make paintings of where I live. This work comes from ongoing attempts to connect with place, and home, underpinned by ideas of landscape and its connection to power structures, modes of selfformation and identity in Australia. Two views of my backyard uses the blues and greens of the post-war fibro houses that populate the Western Sydney suburb in which I live. These works describe the strange yet familiar demarcation of the backyard in suburban spaces. The colours are a locating device, creating the intimacy and comfort that is representative of the modes of life that arise within and in relation to our backyard.

Two views of my backyard 2019 acrylic on paper 30 x 42 cm each

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Overlooking Shelly Beach in Port Macquarie sits the iconic Harry’s Lookout. The site is known for its picturesque view and for the man whom it is named after. From 1959, until his death in 2000, Harry Thompson was the unofficial caretaker, a citizen of the year and later appointed Mayor, of Shelly Beach. In To see the ocean for the first time, Todd Fuller reimagines this iconic local story. Harry and his wife arrived in a caravan they purchased after winning the lottery. Getting bogged on the beach, that van would become their family home. Many locals remember Harry for his eccentricities, keeping the beach safe and clean, as well as disagreements with local authorities, while holidaymakers remember his festive installations such as the ‘thong tree’ for lost possessions. Fuller’s animation is a vehicle for those memories. Drawn and painted by hand, it traces Harry’s story. Completed during Glasshouse Port Macquarie Artist Residency.

To see the ocean for the first time 2018 digital video: chalk, charcoal and acrylic animation on paper, edition 1/8 4:27 minutes

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In Luminous Capture, photographic paper was exposed to the light of the Buchan Ness lighthouse on the east coast of Scotland where I stayed during a raging storm. The coded message of light thrown out by the lighthouse was captured using a lumen printing process during an 8-hour long overnight exposure. This camera-less analogue process involves making a paper negative, and the work shows both the negative and positive image. Whilst a lighthouse throws light out into a space, a photograph is a catcher of light and by showing the negative and positive image, the work aims to speak of the symbiotic exchange inherent in this relationship. Due to each lighthouse having its own unique light patterning, the coded message of this lighthouse is collapsed into a durational portrait, the message of its light captured, but encrypted by time, into an abstraction.

Luminous Capture #9 2019 archival pigment prints, lumen printing process (camera-less photographic technique), edition 1/3 + 1 AP 97 x 120 cm each

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Clarice Lispector is described as a writer who “fills the time with thoughts of death and God and hell and nothingness and language and murder” - some list. Her stories sought a state without language, a literary contradiction of sorts, evoking the meaning of things without the contamination of language. My punctuation is my breath approaches Lispector’s mystical legacy through drawing. Comprised of 13 parts (she considered 13 titles for her final work) the work animatedly moves from form to formlessness, contradictorily invoking the writer’s breath through the process of erasing the drawing itself.

My punctuation is my breath 2019 graphite on paper 23 x 390 cm

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my brain, another sparse white minimalist interior builds on my longstanding interest in suburban, and my own, anxieties, as well as everyday habits, consumer goods, trends and advertising. I am interested in the aesthetics of text with image via the painting of book covers. I love the inanity of making and faking books for researching or reading about something useless or ridiculous like ‘boosh pig eyebrows’; I love a poetic, musical play with words. I enjoy the irony of making How To books, in an age when How To or research is commonly resolved by the speed of light Internet search, not a book. Reference tomes are threatened. I love to play with the books’ purported seriousness and ‘believability’ in an age of self-help, advice, information, misinformation. my brain is a random collection whose ‘covers’ may relate aesthetically or conceptually. As a reflection of ‘my thinking’ and my ‘unthinking’; our society, media and trends it seems reasonable to paint book titles that are shonky, unreadable, or absurd. My painted foibles become my true fictions.

my brain, another sparse white minimalist interior 2018-19 gouache, pencil, collage on paper, mounted on wood 220 x 200 cm



Neglected. Walls originally created to passively shelter and witness the activities they contain, now the unwitting blank canvas for many voices not their own. Their faces scarred by a network of words imposed on them, irrevocably altering their surface. It is only with time that these walls find themselves again, as graffiti gives way to the cracks and texture of the buildings natural face, integrating into its character. In the silence, left alone to reflect, do these walls find themselves, a portrait marked and shaped by time and experience. Now they rest. I’ve chosen to use a medium not often associated with street art and found that traditional pastel on paper allowed me to emphasise the textures in the images. The feeling of the dry pigment beneath my fingers somehow reminiscent of running my hand along the walls themselves.

Silent Echo 2017 pastel on paper 122 x 84 cm framed

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I become quietly absorbed in the solitary exploration of architectural space. In my isolation I feel a heightened sense of physical presence, an amplified sensory awareness. The excited terror of exploring a space forbidden or unknown intensifies this experience, presenting a realm for fantasy, anticipation and unfolding narrative. Based on my expeditions within contemporary ruins, I paint moments of sublime revelation, found in their distinct phenomenological and psychological experience. In these desolate interiors I confront my anxieties, my fears of destruction, and the transience and brevity of human legacy.

GNH Interior XII 2017 oil on Arches Huile paper 35.5 x 28 cm

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Quiet sentinels resist the pull of the moon over the constant ebb and flow of the oceans. Weathered, layered resilience. Unspoken markers of man’s chequered history along this coast. Duplicity; beauty in the moonlight, danger in the shadows. Equally surveyed and sung into existence.

Moonlight behind Camel Rock 2018 copperplate etching on Arches paper, unique state 80 x 150 cm

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Residual #otherworlds 6 is a drawing revealing a tactility of drawingas-sculpture. The work explores the parallel impressions of maps, networks and systems with the random markings of nature’s imprint on the built world. It reflects aspects of the systemisation of human beings; physiologically, intellectually, geo-physically and juxtaposes these traces with environmental influences.

Residual #otherworlds 6 2019 graphite, gesso, paper and papier-mâché 50 x 60 x 60 cm

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LOCUST JONES The work is produced by bamboo applied ink on two layers of glassine paper mounted on opaque acrylic and backlit with LED panels. I made the first layer in 2018 when Jamal Khashoggi, who was a Saudi Arabian dissident, author, columnist, for the Washington Post was tortured and assassinated at the Saudi consulate in Istanbul on 2 October 2018 by agents of the Saudi government, after they had allegedly used Israeli spyware to hack his cell phone. A revenge killing ordered by the crown prince Mohammad bin Salman for criticism levelled at Saudi Arabia and particularly the crown Prince by Khashoggi. On 11 December 2018, Jamal Khashoggi was named Time magazine’s person of the year for his work in Journalism along with other journalists who faced political persecution for their work. Time magazine referred to Khashoggi as a ‘Guardian of the Truth’. My drawings often begin by referencing a particular news story from around the world and this was a story that moved me. The subsequent layer depicts news stories about Rhino poaching, the movement of refugees, and marathon runners. The light box format allows me to pileup images and text on top of each other, mimicking the layers and complexities of news stories and media structures. The title Back up the Horse refers to my desire for us to slow down, reassess and reverse some of our political decisions - in a way I’m hoping my work can somehow facilitate this to happen.

Back up the horse 2018-19 ink on glassine paper in LED lightbox 160 x 140 cm

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The work is created through complex layering of printed woodblocks, a metaphor for patterns of change in both agriculture and culture as our communities evolve with the arrival of immigrants. Weaving actual fabrics or working the lands in patterns for growth both have a cultural past. The formal organisation of the land often resembles the structure of the carpet we walk on or boxed and packages produce we consume. Patterns of change weave our cultural future.

Weaving Ancestral Voices II 2019 woodcut hand-printed from 35 blocks: relief printing inks, Japanese handmade Bunko paper, edition 2/5 110 x 128 x 6 cm framed

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The Gods of Tiny Things is an experimental collaborative collage animation considering life in peril. As the planet heats, all creation is threatened. We made these characters and landscapes in grief and warning, using obsolete images cut from old magazines and abandoned encyclopaedias. The animated entities were devised by collage camp participants Joanne Albany, Alana Ambados, Kate Andrews, Justin Ashworth, Kathryn Bird, Karen Golland, Amanda Holt, Kath Lim, Lex Lindsay, Megan Rushton, Rie Tamaoke and Anna Tregloan. The sound design and score was created by Justin Ashworth, using an original composition for prepared piano by Lex Lindsay.

The Gods of Tiny Things 2019 paper collage animation, single channel, edition of 5 5: 25 minutes

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Fairweather’s Chang-lao in flames is a work made in response to Ian Fairweather’s translation of The Drunken Buddha, an old Chinese Ch’an Buddhist novel that explores the aesthetic sensibility and the religious, spiritual or ethical dimension.

Fairweather’s Chang-lao in flames 2019 gouache on paper cut-out 187 x 198 cm

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A driving concern throughout Simon Kennedy’s art practice has been to capture a particular quality of light: a light that gleams best in dark places. This light is silvery, almost ultraviolet, like the light in the South Island of New Zealand. It is eerie, iridescent and slightly gothic. It is the light that shapes the world of the Dutch Masters, and which helps sculpt the faces of a Man Ray. For the last twenty years Kennedy has pursued this strange quality through painting, drawing, and photography.

Mrs Nina 2019 charcoal and watercolour on paper 57 x 48 cm framed

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recess II is part of a series of work that fuses aspects and representations of Australian land-scape. Images from early colonial depictions of fauna, 19th century paintings of landscape including those by William Strutt and Eugene Von Guerard reappear as contemporary visions of a mixed up world.

recess II 2018 graphite on drafting film, watercolour and pigment on paper 125 x 185 cm

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This drawing is based on an old photograph. Almost everything is erased. Only two figures remain and the space between them is transformed or remade by separating them onto two sheets of paper. There is something joyous in this moment. Time stands still as the boy floats above his father.

Everything right now 2017 pastel on velvet paper 56 X 76 cm each

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This work refers to HP Lovecraft’s novella At the Mountains of Madness in which explorers find a hidden alien city in the North Pole. The explorers navigate chambers, decorated with base relief cartouches. This work reflects upon speculative decorative histories and platform based games.

Mountains of Madness 2019 mixed media on paper 150 x 110 cm



Michael Lindeman’s work is a complex exploration into his own identity, a burrowing into the realm of institutional critique, and an exercise in bypassing culturally sanctioned principles. In the large text-based sculpture titled and forming the word Thanks, Lindeman focuses on the repackaging of bad debt. Crafted from clear vinyl material hand cut into a disquieting, deflating three-dimensional font, the sculpture is filled with crumpled copies of rejection letters that Lindeman has collected for the past twenty years. Anxiety-ridden and with a confessional bent, Thanks proposes the idea of failure as a possible artistic strategy, while splitting open the art world’s system of inclusion and exclusion. Michael Lindeman’s work sets out to activate repressed impulses, embody alienation, disrupt convention and invert structures of power with a certain self-deprecating humour. In direct contrast to the notion of artist as genius, Lindeman’s wilful idiocy goes out on a limb, through this work he risks his neck to propose a sculpture that is a mismatch with any current fashionable aesthetics.

Thanks 2018 rejection letters, clear vinyl 170 x 720 x 24 cm

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I began this watercolour series when I had to stay in bed, but I couldn’t stop painting. I created a Fellini-esque world of folk, fables, allegory, popular culture and monstrous others. With more than a dash of Italian Catholicism, magic(k) and conspiracy theories, the work initially appears naive, yet in reality is quite complex. I consider my work contemporary, but it also sits somewhere else on the art history timeline. A bit medieval, a bit folky and a bit punk, too. There are strong autobiographical elements in my work and also more fantastical ones. Unless you know me very well, you will probably never really know which ones are fact and which ones are fiction. Other people have called my work “edgy” and “risqué” while others have said I’m “...a truth speaker who provokes our inner Eros, and at the same time making us think about social justice and the pathetic things humans do to feel good about themselves.”

POX-O-RAMA 2018 collage using watercolour, ink, pencil, felt tip pen, iridescent medium, pearlescent pigments, metallic powder, water based glue, 300gsm Arches paper 60 x 80 cm

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A moving van frequently catches my eye on the sweeping approach to Tom Ugly’s Bridge. Its graphics contrast with the subtle tones of the art deco house and dark organics that frame this space, providing an exchange between stillness and transience on the verge between the Shire and beyond.

Moving Van 2019 black and walnut ink on paper 56 x 76 cm

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Through patience and repetition I have observed my lines evolve. I decided to turn off the noise in my head, and use line as a vehicle to record something below the surface, a vibration which I feel is our truest self. Unseen, but known.

Maya 13, July 2018 2018 graphite on Fabriano paper 150 x 105 cm framed

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The work is a manifestation of the processes that I use to create my sculpture. It always starts as a drawing and then the sculpture is seemingly drawn out of the page into three dimensionality while still holding onto some of the laws that govern drawing.

Extruded Thought 2019 paperpulp, gesso, hydrocal, timber, silverpoint, graphite 12 x 50 x 28 cm

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The Essayist is a colour pencil work on paper depicting a skeleton writing. The drawing allegedly illustrates a common activity. In reality, what is described is an unlikely arrangement of inanimate objects. In such a way, a mundane activity is transformed into a ridiculous moment of focus.

The Essayist 2019 coloured pencil on paper 30 x 30 cm

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Earthscapes (Terraformed) examines the condition of Earth. Topographical drawings derived from satellite imagery of landscapes manipulated by humans are juxtaposed with areas considered ‘wild’ or natural. The entities, environments, ecologies, systems and ‘resources’ that make up what we consider as ‘nature’ are intrinsically entangled with our societies’ health, cultures, economies and politics. With the declaration of the Anthropocene comes the need to reject the notion of ‘nature’ as separate from humanity and replace it with the reality of entanglement. The term terraform (‘earth-shaping’) comes from what is often a utopian science-fiction theory of engineering an extra-terrestrial planet or moon to support Earth-like life. The processes involved are the manipulation of atmosphere, temperature, surface topography and ecology. Unwittingly, we have already committed the process of terraforming on Earth – however, the result is far from utopian and to the demise of much life. Earthscapes (Terraformed) maps the scope of our species’ impact on a planetary scale. The act of mapping helps us understand the relationship between ourselves and the world. Though not a literal or accurate map the work serves as a guide to seek connectivity and our place and power as entangled beings on Earth.

Terraformed (Earthscapes) 2018 laser-cut paper variable dimensions details

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Central to my drawings are a series of juxtapositions: the precision of the grid and the random nature of each perforation; the mechanical and the hand-made; the analogue and digital; and the macro and micro. The composition for Celestial Cartography No. 14 begins with a grid, which provides pictorial structure while allowing for endless variation. Each mark is made by perforating the layer of ink with a pin or etching scribe to reveal the intersection of a horizontal and vertical line. The thousands of perforations are individual gestures defined by geometry, creating a tension between the mechanics of the grid and the individuality of the mark. This process of ‘mapping space’ attempts to make visual the infinite and the infinitesimal. Celestial Cartography No. 14 is part of a series in which each image shares a common structure but reveals its own unique cartography.

Celestial Cartography No.14 2019 ink on perforated Hahnemühle paper 110 x 94 cm

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Biomorphic Dissolve is a work on paper contrasting gesture, intuitive process and labour-intensive lyrical geometry. My practice focuses on deconstructing geometric stereotypes and exploring spatial relationships within the confines of the picture plane. Pattern and matrices are superimposed and embedded so that no one element dominates – a prime formal strategy underpinned by research undertaken in India, Iran and Southern Spain.

Biomorphic Dissolve 2018 India ink, pigmented ink, graphite and polymer gesso on paper 140 x 128 cm

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This work is a meditation on hyper-masculinity and patriarchy as it manifests in my life and societies at large. Three versions of myself are transcribed in different shades of brown in a pseudo-religious triptych form. They float amongst a large collage of hundreds of muscular, slick and hairless bodies cut from a range of magazines, including DNA and Men’s Health. This provides aesthetic counterpoints to the paintings, in an effort to parody the worshipping of idealised images of men.

Trio of Selves at the Proverbial Gym 2018 collage, paper, cardboard, hologram, acrylic, oil, resin, acrylic and plywood on board 123 x 203 cm

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Eva Nolan’s creative practice resides at the intersection of analogue and digital approaches to drawing. Her current research has explored the role of taxonomies in natural history illustration and their influence on our perceptions of the natural world. The artist’s graphite drawings represent speculative, biodiverse ecosystems which synthesise diverse organic habitats. The Pinned Moth Cannot Fly has been developed by digitally dissecting and schematising Nolan’s drawings to produce a kaleidoscopic environment structured upon a Linnaean sequence of nested hierarchies. The animation references methods of specimen collecting and systematisation to demonstrate organic entropy that can result from imposed systems of artificial order. Nolan’s work is a subtle critique of the colonial and capitalistic origins of taxonomies and examines the environmental implications of operating on a hierarchical set of relationships separating people from nature.

The Pinned Moth Cannot Fly 2019 4k digital animation, edition 1/8 15:11 minutes Audio courtesy of Tarun Suresh

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The Gol Gol Layer Colour Observations investigate the changes of time and the behaviour of red coloured artists’ pigment as a response to the red oldest layer at Mungo. They are classified into three groups: Warm Reds, Cool Reds and Earth Reds; an organisation that reflects the direction of my current PhD research. The 24 dry state sheets of paper evidence the effects of each red pigment in Winsor & Newton watercolour from the time-based installation, Gol Gol Layer Colour Observation #5, in 2018/2019. Each was submerged in vessels with the pigment for 2000 hours. During the Hazelhurst Art on Paper Award exhibition, Gol Gol Layer Colour Observation #6 will be observed on a smaller scale in test tubes. These pigments also correspond to the 24 large sheets of paper displayed. Throughout the exhibition, the behaviours of each pigment will be observed and documented.

Gol Gol Layer Colour Observation #5 (dry state) 2018/2019 Gol Gol Layer Colour Observation #6 (wet state) in progress 24 red pigments on paper, glass test tubes 55 x 77 cm each paper

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I work with analogue photographic material from pre-digital archives to create large-scale collages. Shadow Drop is made from photographs collected in Tokyo while on residency at Youkobo Artspace.

Shadow Drop 2019 collage and inkjet prints on Awagami Washi paper 105 x 87 x 4.2 cm

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The longest kiss in history describes the convergence of two parts of the Nile River. A meeting point of elemental forces. The work is an enlarged book page with two found images collaged together and united via painted interventions. The text of the original page has been digitally erased and replaced, while the original font style, page format and paper characteristics are maintained. The work is an exploration of format, presentation and communication via the relationships between text, image and context. The longest kiss in history conjures notions of union, longing and love whilst referencing the act of collaging itself – transforming parts to whole through imagination and connection.

The longest kiss in history 2018 acrylic on collaged pigment inkjet prints on HahnemĂźhle paper 118 x 88.8 cm

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I love TV. My visual language and approach to making is fuelled by nostalgia and the TV I’ve digested through the course of my life, particularly as a child. I remember waking up and eating cereal during school holidays wrapped in a doona with my brother and sister watching cartoons. It was the best. Using a family photo from my childhood as a starting point, The General Lee presents TV as a delivery mechanism for propaganda. Watching Dukes of Hazard as a kid, I remember wanting that car when I grew up. I wanted to be a hero, a rebel – just like Bo and Luke Duke. I would throw around the name ‘The General Lee’, blissfully unaware of the man behind the moniker, or the meaning of the flag that was emblazoned on top of it. The ‘idea’ of TV and its delivery of mixed messages is how I reanimate and repurpose the tropes of popular culture in my work. Art and entertainment: beautiful, playful, engaging, sinister.

The General Lee (Saturday Night), 1984/2018 2018 oil on archival pigment print on cotton rag 107 x 159 cm

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Paper, stone and permutations offers a spatial and temporal narrative across a set of material investigations generated through a process of ‘gleaning’ landscapes and forms which explore traces, inscriptions and erosions pertaining to measuring time via the medium of photography.

Permutation 1+2 2017 photo rag pigment prints on aluminum 110 x 220 cm

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Phallic Gestures II is a reinterpretation of the Impressionist La Toilette paintings, wherein the viewer becomes voyeur. These works depict women bathing and readying themselves, caught in a private moment made public for the enjoyment of the viewer. Recontextualised in today’s “Me Too” culture, Phallic Gestures II takes a tongue in cheek approach to the La Toilette paintings, as the female figure depicted (myself), navigates this new public viewing of private acts whilst reclaiming sexual identity and power back to the body depicted. Phallic Gestures II nods to feministic ideals and contemporary realities; there are aspects that are humorous and aspects that are concerning, uneasy. Using my own hair, collected as a by-product of grooming routines, the figure emerges from a series of embroidered stitches, in which the hair is repeatedly threaded through paper to give form through variation of tone.

Phallic Gestures II 2018 human hair embroidered on Arches paper 101 x 72 x 4 cm

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Monica Renaud’s new works on paper originate as a single iPhone image taken during everyday domestic rituals. She transfers these palm sized pictures into distorted large-scale realms before gently hand manipulating the photographic data. Colour, line, composition and space inform these painterly abstractions from the artist, who says she “finds solace amongst the valleys and folds” of the digitally generated landscapes. The meditative process of transforming something presumed artless or banal into a complex, multilayered, parallel Universe, Renaud says, “acts as metaphor for her experience of being born into Motherhood.” This project has been supported by Arc @ UNSW Ltd under their 2019 Art & Design Grants scheme.

Untitled (some like it hot) 2019 hand manipulated and collaged photography printed on textured 320gsm fine art paper, edition 1/3 133 x 103 cm

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Worlds above and worlds below is one of a series of layered drawings informed by site visits to the Domain in Sydney. On site I use sensory engagements such as active listening and blind drawing as exploratory tools. In the studio I draw in response to the sound scores and visual traces collected on site with an aim to amplify the complexity of place, not as a view but instead as felt, seen, heard, experienced. During the process of drawing, the lyrics of a Crowded House song built in my ears and influenced the title of the work.

Worlds above and worlds below 2019 graphite and gesso on Stonehenge paper 63.5 x 90 cm

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Composition for Eight Voices (Withdrawal) was commissioned for the exhibition OK Democracy: we need to talk at Campbelltown Arts Centre in May 2019. The work is composed from eight walking conversations conducted in Paris, Sydney and Melbourne over a six-month period with an anarchist, a poet, a political economist, a journalist, a choreographer, a dancer and a critic. The conversations have been abstracted into a polyphonic score addressing ideas of work, strike, protest, democracy, voice and representation. Four of the prints are presented as C, M, Y, K colour separations to represent a specific tone of conversation (discourse, diatribe, debate and dialogue). These in turn create four distinct poems, which also double as scores for a four-channel sound installation where each speaker sounds the voice of an assigned colour. The fifth print, combining the C, M, Y, K separations, brings all the voices together visually in full colour, and also audibly to produce a polyphonic soundscape in the gallery. Text: Sarah Rodigari with Esther Anatolitis, Elizabeth Humphrys, Erik Jensen, Myriam Lefkowitz, Sabrina Soyer, Kai Simon Stoeger, Beth Weinstein, and Joel White Graphic Design: Ella Sutherland This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Composition for Eight Voices (Withdrawal) 2019 offset lithograph prints 84.1 x 59.4 cm each

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Goya Soda takes its name from French Pop group Christine and the Queens’ song of the same title. I discovered Christine’s music whilst traveling through Europe in late 2018. During this time I made many drawings on restaurant placemats collected in Italy, Germany, Austria, Sicily and France. I thought these humble placemats were a good place to reposition, collate and pictorially reflect on the experience of travel and how sights, art, music and food are consumed in this transient state where senses are heightened by the excitement of exploration. The work functions as a journal, encapsulating imagery manifested over the ten weeks of its creation. Half empty felt pens from bag bottoms were utilised to give Goya Soda a sense of immediate yet precise execution. Sauce and oil stains exist ever so faintly as messy remnants of delicious meals shared reminding viewers that this drawing was once the site of a feast.

GOYA SODA 2018 pen on restaurant placemat 32 x 43 cm

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Douglas Schofield’s practice looks at gardens as sites of curated Nature. He considers these manipulated and contrived spaces as curious interactions with the natural world. His abstract, mark-focused works conjure an atmosphere of gardens where the rambling habit of plants and the awkward clunking of human intervention are at play. In Garden Antics an ambiguous narrative flows top to bottom, left to right, presenting the undulating tendencies of gardening practice (life to death to life again).

Garden Antics 2019 watercolour monotypes on BFK Rives paper 150 x 150 cm

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Peter Sharp has been making prints with Sydney-based printmaker Brenda Tye for over fifteen years. The subject matter is the ubiquitous Eucalypt tree, but by monoprint layering and using stencils new forms and arrangements are created that show the Australian icon in new abstracted ways.

Give and Take, Eucalypt 2018 monoprints on four sheets of paper 90 x 280 cm

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This work was inspired by observations of the colours of posters in shop windows. Unlike pigments in artists’ watercolours and inks, printing inks fade in strong light turning something brash and gaudy into a thing of subtle beauty.

The Persistence of Blue 2019 ink on cut and folded paper on paper 100 x 200 x 2 cm

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This drawing belongs to a series of six which references traditions of realism and the diverse interpretations of what realism can mean. I choose historical and contemporary paintings that have elemental and everyday subject matter and translate them into drawings. I alter their compositions into squares – out of respect to Kazimir Malevich’s Black Square – and, using charcoal, make continuous meandering lines – slowly transforming the painted surface into drawing. I also replace elements from the original with metaphors from my own art practice and challenge conventions of perspective and visual narrative by breaking the ‘fourth wall’. Long After Cotan invites the viewer to question the scale and perspective of elements in my drawing, as some sit outside the frame of the window sill on which some of the objects are placed. My drawing is deliberately slow in process. In some ways it is an act of defiance – in defence of traditional skill-based drawing, presenting an argument that tradition and concept are of equal relevance. My medium is the basic element of charcoal, drawing continuous meandering lines, translating the surface quality of a painting into a drawing.

Long After Cotan 2019 charcoal on Saunders cotton rag 350gsm 180 x 180 cm

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Early Riser is a work continuing the artist’s interest in using everyday materials and hand crafted methods to produce sculptural work. This interest is directly connected to Stillman’s background in domestic craft. She learnt to sew and construct garments from a young age and has been influenced by the memory of laying fabric flat and working with a pattern. This has informed a practice that explores what it means to show three dimensional forms in a two dimensional plane. In Early Riser we observe the delicacy of a spider web caked with frosty dew drops. As the title suggests, this exquisite sight can only be witnessed during the hours before the morning sun evaporates the pearly molecules that render the web visible, once the air temperature rises the web returns to its day-ready, barely visible state. Early Riser is carved out of a stack of discarded books, a medium almost synonymous with Stillman’s practice. Her deft scalpel work removing tiny cuts layer by layer plays with notions of visibility and presence. This removal of form creates the image. The shadows that fall, and the tone that the cut edge of text leaves, reveals her web. This leads us to contemplate a presence, created by an absence and ultimately to a questioning of what ‘naturally’ exists.

Early Riser 2017 hand-cut paperback books on timber base 20 x 23 x 14 cm

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A tree pulped into cardboard boxes cut back to a tree

a dwelling for its amaranthine soul.

Tree house for the soul 2019 recycled cardboard moving cartons, PVA, palladium leaf, gold size, mild steel plate 73.5 x 37 x 32 cm

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Mundhuii is a mixed medium work that consists of 30 individual pieces made from tissues and small pieces of culturally significant items such as echidna quills, emu feathers and burning patterns interwoven into them. Each shoe represents a connection to my Gamilaroi culture and history.

Mundhuii 2019 mixed media including tissue paper, emu feathers, echidna quills, lace 10 x 100 x 100 cm



My art practice focuses on process-orientated repetition. In making Chance Forms, I completed a series of self-designed, materially driven systems to generate drawings. Using instructions and systems, I wanted to play with the idea of control by narrowing the space available for artistic decision-making in the studio. The systems used to make this work incorporate both chance-based elements and controlled mark making. Each of the 18 drawings started as a scatter of sunflower seeds on paper. Where the seeds fell became points to start building up geometric forms, by carrying out different instructions. These coloured pencil drawings are constructed with fine, straight, ruled lines. The repetitious drawing action is like a form of timekeeping; marks become a visual record representing time and labour. The forms that emerge can be seen like geometric versions of a tree’s growth rings or geological strata. Though a relatively restricted way to make artworks, each new system I design for myself is like a personal challenge. When making art, I try to test my ability and limitations, both mentally and physically. These drawings look almost digitally pristine from a distance. When viewed closely however, you can see fluctuations in pressure, lapses in concentration and the physical limitations of a human body forming an intricate and uncontrolled texture on the surface of the paper.

Chance Forms 2018 coloured pencil on paper 130 x 188 cm (18 pieces)



An Ecology of Aleatoric Drawings is a significant composition on paper comprising 50 unique drawings created by a series of machine assemblages each driven by a small modified turntable. Variables in each assemblage ensure each drawing is unpredictable to the artist.

An Ecology of Aleatoric Drawings 2019 various inks on paper (and drawing machine) 150 x 800 cm paper size

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Filled with liminal spaces – unresolved relationships, broken geometry, personal ritual and transitory moments. This work is created for personal contemplation and inward reflection for the audience. Love and Grief are reoccurring motifs. Ritual, repetition, copy and process – are common themes.

Sky Chamber I 2018 photomontage/collage on photographic pearl rag, edition 1/2 + AP 150 x 100 x 5 cm

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Fools gold (Like life on Mars) is a drawing made from a photograph I captured in Broken Hill. Broken Hill was formed and is sustained through the availability of its mined resources. As a result it is surrounded by large voids in the ground, created from this still-active mining. Human intervention has disfigured the landscape making it appear alien and highlights the effect our material needs have. It makes you wonder how long the earth can cope with the abuse. My work is informed by the role the landscape plays in popular culture; films from Australian history including Mad Max and Wake in Fright have used Broken Hill as a backdrop presenting the landscape like a character in itself, this desert wasteland that is represented as both vulnerable to and defenseless against human intervention, as well as hostile and uninhabitable.

Fools gold (Like life on Mars) 2018 pencil on paper 100 x 130 cm

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Nursing an image out of its black womb into light has a primordial spiritual magic. I try to emphasize the singularity silence and loneliness of a form – transforming it from ordinary to something more profound – into the realm of dreams and poetry; to translate the emotion and atmosphere around it. I explore stillness, silence, simplicity, quietude – a moment to stop and pause. In the stillness and the silence – that is where objects often get their power. I think of myself as a person who makes objects that just happen to be prints. I like to suggest not prescribe – what is missing in the shadows and is suggested provides the greatest potential for me. The mezzotint print technique remains unchanged for the last 300 years it achieves tonality by roughening the metal plate with a rocker to produce a rich black creating a high level of tonal richness then painstaking burnishing of the plate and many trial printings to create the image .The tiny dots created on the plate by the roulette are the ancestor of the Pixel.

Vestiges 2018 mezzotint print, edition 29/50 56 x 42 cm

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AMANDA WILLIAMS This work is part of a new series documenting key sites within Kosciuszko National Park NSW. The work engages with and contributes to the history of representations of landscape, acknowledging the traditional owners and ongoing custodians of this land, a land that was never ceded. The hand printed gelatin silver photograph was made with expired Ilford film and as such being analogue and material as opposed to digital, ‘it has a shelf life’ after which time the reaction of light falling on the film emulsion becomes unpredictable. ‘The analogy of an afterlife rather than a death is relevant here, with the suggestion of spirit that this implies’.1 The result of this expired film can be seen in the sky of the photograph, a marbling effect and shift in tonal range approaching the look of an early 19th century charcoal drawing. The work however remains distinctly photographic, referencing the tradition of Pictorialism in photography, an example of drawing with light and time.

A Rowell, Peace Altitude - Nabilah Nordin, Salote Tawale, Amanda Williams, 2019, https://thecommercialgallery.com/artist/amanda-williams/biography 1

Goobarragandra Wilderness Kosciuszko National Park/Wolgalu Country 2019 unique gelatin silver photograph on fibre-based paper from expired Ilford film, version 1/2 + AP 108 x 136 cm Wesfarmers Collection, Perth

The artist would like to acknowledge the Wolgalu people who are the traditional custodians of the lands on which this photograph was taken. We pay our respects to their Elders past and present.

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This selection of work is part of a series of paintings on paper that assist in warming up, exploring ideas, images and colour in a loose and casual way. Some of the works selected here touch on themes of the body, gardens, urban architecture, moving through the landscape, sleep and dreams.

Painting ongoing 2017-2019 acrylic, ink, gesso, collage and cloth tape on newsprint 350 x 300 cm installation



Monty’s name is derived from the material that went into making it: Montval watercolour paper. I made Monty as if it was a real robot with over 200 moving parts. Robots are pervasive in the modern world and Monty is a response to that revolution taking place and its impact on the living.

Monty the paper Robot 2017-2018 Montval watercolour paper 200 gsm, PVA glue, toothpicks 41 x 21 x 12 cm

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This drawing is from my recent series The thin veil. The title refers to a liminal space - a meeting place for the physical and spiritual realms - conceived to be the threshold between life and death. This work was made after the recent passing of my mother.

The Black Veil 2019 charcoal on primed paper 110 x 84 x 5 cm



Patchworked fragments of memory and imagination to form a narration of ambiguous occurrences. Vivid colours and strange skies allow for a feeling of unrest yet the signs point to the direction of the Gladioli. A tranquil moment indicating the true realities of a quiet suburban locality.

Russell Vale Scene I, II & III 2019 watercolour and acrylic on cotton rag 76 x 57 cm each

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I created this work based on my residency at the Hazelhurst Arts Centre in 2015. As I dreamed out of the depth of my experiences intertwined with childhood memories, I often frightened by the stories in my dream, but I indulged in the illusions of real – dream is a manifestation of unconsciousness.

My favourite nightmare 2019 Chinese ink on mulberry paper with hand-cuts 330 x 100 cm

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Hazelhurst Art on Paper Award 2019 21 September - 17 November 2019 © 2019 Hazelhurst Arts Centre 782 Kingsway Gymea NSW 2227 Australia T: 61 2 8536 5700 E:hazelhurst@ssc.nsw.gov.au www.hazelhurst.com.au Project team: Curator: Carrie Kibbler Curatorial assistant: Naomi Stewart Arts Centre Coordinator: Grahame Kime AOP 2019 Finalist selection panel: Carrie Kibbler, Grahame Kime, Michelle Cawthorn, Spence Messih AOP 2019 Judges: Idris Murphy, Joan Ross, Oliver Watts Exhibition installation: Gilbert Grace, Spence Messih, Jenny Tubby, Paul Williams, Chris Zanko Hazelhurst team: Director: Belinda Hanrahan Curator: Carrie Kibbler Arts Centre Coordinator: Grahame Kime Education & Public Programs Coordinator: Kate Milner Public Programs & Education Officer: Samantha Relihan Marketing Coordinators: Andrea Merlak, Viola Soliman Administrator: Caryn Schwartz Administration Co-ordinators: Sophia Egarhos, Vilma Hodgson, Cameron Ward ISBN: 978-1-921437-50-2 Cataloguing-in-Publication entry is available from the National Library of Australia: http://catalogue.nla.gov.au

Full spread image details: page 4-5: Julia Flanagan Everything there was 2019 Posca paint pens and pencils on paper page 28-29: Leah Bullen Wunderkammer 2017 watercolour, gouache and monotype on paper page 50-51: Robert Ewing Chaos and consequence 2017 coloured pencil on cotton paper page 74-75: Deborah Kelly The Gods of Tiny Things 2019 paper collage animation, single channel

Hazelhurst Arts Centre acknowledges the Dharawal speaking people, traditional custodians of the land on which it is situated, and pays respect to elders past, present and future. All images courtesy of the artist, except those by silversalt photography including pages: 11, 15, 17, 19, 21, 23, 41, 43, 45, 47, 50-51, 52-53, 58-59, 61-63, 77, 117, 143, 151, 155, 159, 165, 173, 193 Page 158: image by Document Photography All images and text are copyright of the artist.

page 96-97: Lisa Jones Residual #otherworlds 6 2019 graphite, gesso, paper and papiermâché page 118-119: Louise Morgan Terraformed (Earthscapes) 2018 laser-cut paper page 140-141: Sarah Mufford Biomorphic Dissolve 2018 India ink, pigmented ink, graphite and polymer gesso on paper page 162-163: Kate Vassallo Chance Forms 2018 coloured pencil on paper page 184-185: Paul White Fools gold (Like life on Mars) 2018 pencil on paper opposite page: Tianli Zu My favourite nightmare 2019 Chinese ink on mulberry paper with hand-cuts

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