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Issue # 6 April – May 2014



Contents - Issue #6



From the Editor


Draw Your Way to a Bright Future

10 Local Wood Artist Says, “I’m a Lucky Man.” 14 The Business of Being an Artist 18 Jason is Rapt about Raptors 22 Haiku Meets Art

28 Local Artists Throw Open the Studio Doors 29 Caloundra Friends of the Gallery Art Prize Now Open 30 Book Talk 31 Caloundra Gallery

Cover Photo — Down the Road, taken at Witta on the Sunshine Coast hinterland by Mary Barber. Articles and photos are by Mary Barber, unless otherwise attributed. Chris Postle’s art photos are contributed. Material may be used with the permission of the editor. PDF versions of the magazine are available by request. Every effort is made to accurately represent the people and their opinions in these stories. However, no responsibility is accepted for wrong or misleading information in any part of this magazine. Views expressed by the contributors are not necessarily those of Tamarind Magazine. The publisher will not be liable for any opinion or advice expressed in Tamarind Magazine. Information given is believed to be accurate and from reliable sources. However, factual errors may occur and can be corrected in the next issue. Please address any concerns to the Editor. Thank you,

Mary Barber Editor



Connect, create, celebrate, Caloundra From the Editor Hello readers, Well, here in Australia, the extremes of summer are over and the world outside is inviting us to get active, get social and create. Talking of extremes, in this issue, shows you how you can improve your artistic skills whether you’re trapped inside by heavy snows or living on a remote cattle station. The successful online program brings your tutor to you. For artists who are building their careers, Raelean Hall generously shares some insights about the business of being an artist. She’s done the journey.

There’s more inside, so start exploring. It seems Autumn is the time for local art events too, so check out what’s on offer. In June this year Tamarind Magazine will celebrate its first year in operation. After some reflection, I will be changing the frequency of the magazine. You will now get a new issue once a month. Originally, I wanted each issue to be as long as a cup of coffee or glass of wine. However, there are so many great stories to bring you and events to share, that the issues are getting longer. Monthly issues will be shorter. I hope this new format suits you. You’ll see the next issue in June, 2014. I will be adding a Letters to the Editor page, so please drop me a line. Tell me what you think of any of the stories in this issue. Let our other readers hear what you have to say. Thanks to everyone who shared their stories and talents for this issue. It’s not easy to be put on the spot about what you think and to speak into a microphone. I appreciate your honesty and frankness. You make the magazine grounded and real. Please send your comments to the editor. Bye for now, Mary Barber Editor TAMARIND MAGAZINE


Draw Your Way to a Bright Future Cindy Wider is a Sunshine Coast artist with the world at her feet. Through the online drawing and painting program that she developed with her husband, fellow artist Stuart Wider, Cindy is helping aspiring artists from Poland to the Canadian prairies. Tamarind Magazine talks with three local artists who sing the praises of DrawPj. Sunshine Coast artist Cindy Wider

Teaching with DrawPj in Bli Bli Lyn Donald studied DrawPj with Cindy Wider here on the Sunshine Coast. Lyn says, “I’d always painted. My drawings always looked stiff and therefore my paintings looked stiff.” Seeing the improvement in her own work, Lyn went on to complete an instructor’s course in DrawPj. She has now been teaching art classes at her Bli Bli studio for 5 years using the DrawPj method. Classes are held once a week for 3 hours. Some students have no experience at all. Others arrive with some skills and experience and want to improve. “They’re with me for 42 weeks. That covers all your drawing and painting techniques from a to z. We’ll do four units of drawing to start because drawing, we believe, is the brains of your artwork and the colour is your heart and soul,” Lyn explains. Students are taught tonal work in their early drawing lessons. Lyn explains, “Most

things look flat unless you get your tone correct. It’s the tone as well as the shape that makes things look 3D. Tone is the balance of light and shade.” “Within each unit, you’ll have 6 weeks of learning techniques and little mini-artworks to build those techniques. Sunshine Coast artist and DrawPj instructor Lyn Donald with her painting, Joyce’s Roses. TAMARIND MAGAZINE


Clockwise from top left: A Prayerful Life by Lyn Donald, Your Little Girl, graphite and charcoal drawing by Brigitte Back. Class exercise drawing of a shoe, completed by Sandy Price after 12 weeks in the DrawPj program. Photos contributed.



Students complete projects at the end of each unit. These form a portfolio of work that

students can take with them when they complete the course. Many of Lyn’s students go onto tertiary studies in visual arts. So does it work? “The results are outstanding. I never have a failure because if someone is struggling, it means I have to work harder. They’ve come to me for a success,” Lyn says without hesitation. “Almost everyone who comes to me lacks confidence. I’ve often got people who can get onto the technique fairly easily but lacking confidence can hold them back. Because Lyn has gone through the same program, she can honestly tell her students, “I know where you are at the moment. I was a student too once. Just remember that this is the best that you can do for now, but we will be building and growing on that.” Lyn Donald says the program works because “we’re building their skills to a very high level. They’ve got the notes. If they’re floundering, they can go home and check the notes.” She has one student who works at the mines and misses some classes. With the notes, he can follow that lesson and come along when he’s back in town. “The notes are written so clearly that you could follow it on your own.”

Georgianna’s Bouquet by Lyn Donald. Photo contributed. TAMARIND MAGAZINE


A Graduate’s View Sandy Price from the Glasshouse Mountains studied the DrawPj program from Lyn Donald in 2011. “It’s given me the confidence to try new things. I have the skill set to actually make it work or

know how to fix it when it’s not working,” she explains. “I haven’t looked back.”

Sandy Price with her painting of the Glasshouse Mountains and local produce, Ordinary Pleasures.

Sandy learnt patience. “For me it was about understanding that if I take my time and think

about what I’m doing, then I can achieve what’s in my mind.” “It was an absolute revelation to me that you don’t just draw a picture in 5 minutes. Most art takes a lot longer than I thought. “To get to the quality and level of realism that I wanted, I had to do layers of paint or layers of pencil and I didn’t understand that before I started the course.” Sandy found that the course brought up challenges. “They’re quite difficult tasks and [the instructors] do expect a high quality from us but we’re able to achieve that. It’s learning to trust that as students.” She has now joined the Glasshouse Mountains Arts Trail. This group of artists open their studios to the public on specific days. (The next open studio event is over the ANZAC Day weekend. See the notice in this issue.) Sandy has exhibited work with the Arts Trail and sold work in the USA and England through her blog.



Detail from Happily Just Cruising by Brigitte Back

An Online Perspective Brigitte Back was also trained by Cindy Wider here on the Sunshine Coast. Brigitte lives in Brisbane and is now an online instructor with DrawPj. Brigitte’s students are from Canada, the USA, Panama, Australia and Europe. She has 30

students at present. The online students work through the same notes and exercises as the face-to-face students in Lyn’s class. Students scan their work and email it to Brigitte. “I just spend time commenting and building up a rapport. It’s about training them to use their eye to be able to compare things all the time.” Brigitte has one student who is winning awards and home-schooling her four children. “She’s just very dedicated to her art.” Brigitte finds that the online format suits people who need that extra encouragement and one to one instruction and support. DrawPj is accessible for many people whose disabilities or medical conditions prevent them from getting out to a live art class. The course opens up new opportunities for learning. Finally, I asked Brigitte, Lyn and Sandy, “Can anyone draw?” The answer was unanimous, “Definitely.” You can find out more about DrawPj at their website, TAMARIND MAGAZINE


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Local Wood Artist Says, “I’m a Lucky Man.” If you drop into galleries around Maleny and Montville, you’ll be familiar with the delicate boxes created by John Tudehope.

Wood artist John Tudehope holds a piece of conkerberry which has a bright yellow colour when finished.

Perhaps, you have one at home. Here John shares his knowledge and love for his art.

John Tudehope lives in the quiet wooded hills behind Maleny. He’s been a wood artist for nearly 25 years and considers himself a lucky man. “I can walk downstairs, open my door and go to work. I don’t have to drive in the traffic. I

can work in a beautiful creative space and do something I love. And get paid for it,” he adds. “I mean, how many people do that in their lives?” John got his start when he saw an exhibition of Alan William’s work at Bungendore Woodworks, near Canberra many years ago. “He’s another box maker. I was quite blown away by it all. I was inspired by his shapes because they weren’t straight-cut square boxes. They were organic shapes.” He explains, “Having something that people can actually use, that in a sense becomes a

justification to actually buy it. It’s functional art.” After analysing how the boxes were made, he developed his own style. “I do a whole range of sizes. You’ve got to have choice.” John mostly uses timbers from north-western Queensland. He prefers to work with noncommercial species that are not well-known. “I use purple gidgee, flame she-oak and conkerberry. I use various other sub-species that I pick up here and there but they’re the main three.” TAMARIND MAGAZINE


A sculptural piece in purple gidgee by John Tudehope. Photo contributed.

To select a timber, John considers colour and quality. He’s found that the pinks, reds and yellow tones sell best. People don’t buy the browns and greys, no matter how good the craftsmanship. John makes single boxes, boxes with multiple drawers and sculptural pieces with drawers. His natural durable finishes bring out the colour contrast in the timber. John sources some of his timber from specialist suppliers. He also picks up wood himself on trips out west. “That’s the fun side,” he says. “A lot of it we pick up virtually sitting on the ground.” John says there’s confusion about the terms grain and figure when it comes to wood. “Grain is the actual cell structure of the wood. Wood can be coarse-grained or fine-grained. Figure is the actual patterning in the wood. The way the timber is cut brings the pattern out. Many people refer to the grain when they mean the figure, he explains. TAMARIND MAGAZINE


Works in progress: the box on the left is flame she-oak. The central piece and two pieces on the right are purple gidgee.

“Timber can look very very different just by the way it is cut. Over time, you understand

what’s in timber. I’ll cut to show the most spectacular part to the front.” Maleny Wood Expo, 2014 For this year’s Maleny Wood Expo, John will make some special pieces and show examples from the full range of his work. John calls the Wood Expo a meeting of like-minded people. “It’s all wood-based. It’s a totally different crowd to the market crowd because everyone who comes is interested in a particular type of wood, or something to do with wood or they’re creating something.”

There’s everything from raw materials to finished products, large and small. “The work is fantastic. You never know what you’re going to find,” John states with enthusiasm.

You can find John Tudehope’s boxes for sale at Montville Woods in Montville and at the David Linton Gallery in Maleny.



From left: small boxes in montana burl, purple gidgee and conkerberry made by John Tudehope.

It’s all here at the Maleny Wood Expo Woodworkers, toolmakers, chainsaw carvers, Maleny produce, timber millers, furniture and gifts and more. Go to the Maleny Wood Expo website for the full program.

WHEN: Saturday 3rd and Sunday 4th May, 2014 TIMES: 9am until 5pm ENTRY: $15 for adults. Under 16 years free. WHERE: Maleny Showgrounds Stanley River Road, Maleny 4552



Sunshine Coast artist Raelean Hall with her work Sea Bound which has been selected for the Rotary Art Exhibition in Brisbane this April.

The Business of Being an Artist Raelean Hall has journeyed from being a novice to a professional painter building a loyal following of customers and admirers in Australia and overseas. She is also a psychologist specialising in art therapy. Here Raelean talks about the business of being an artist. Having a work space “I think before it was even the shed, it was the kitchen table and you claim that. You claim your space and then you’ve got to move it off. The hardest part is to not have that space to go

back and forth to at will,” Raelean recalls. “Having a young family and chasing after two boys was energetic enough but I did somehow find that passion and motivation to do it.” Over time she moved her workspace into the garage. “That was another hard thing. I lived in suburbia with a garage facing the road and everyone who walked past popped in and chatted to me like I wasn’t working. So the distraction is the hardest part.”



Setting a schedule

Raelean works from 9 to 5 Monday to Friday in her studio at the front for her Sunshine Coast home. On the weekends, she takes her shift as artist-on-duty at Seaview Gallery in Moffat Beach. Presenting your work to a gallery “Usually a gallery will sense if an artist is sure about their work.“ Raelean notes that “it’s important to have a plan and a body of work before approaching a gallery.” She has often seen new artists present work only to have it rejected. “That rejection can be worn so hard on the artist that they give up.”

Instead, she suggests that new artists find a mentor who can encourage and advise them. Working alone “You need isolation to get the energy and the inspiration happening. Too much distraction can really bring an artist down. It can split their intention.” She recalls a passer-by who came up behind her and put their head on her shoulder when she was painting on location, saying “Oh, don’t worry, you’ll get there.’ They only see the part of the work that’s been done. They don’t anticipate the end and the artist is anticipating the end.”

Keeping learning and keep believing Raelean has always worked in different mediums and different styles. She continues to perfect her craft. She does life drawing and paints on location. She visits galleries and looks at what’s happening and what’s selling. She thinks that it’s easy for an artist to get stuck in a particular style especially if it sells well. Galleries can find it challenging to work with artists who change their work. “There’s a point where you’ve got to draw the line,” she comments. In her work as a psychologist, Raelean works with artists to find where that boundary line

is so that they continue to produce marketable work and stay true to themselves. Finding customers Most of Raelean’s customers are retirees from Brisbane. Some have beach houses here on the coast. She has her share of local and overseas customers as well. Being at the one gallery for over 7 years means that her customers know where she is. Seaview Gallery has lots going for it. “The position is everything. We don’t advertise much. It’s a beautiful beach, coffee shops down the street. It’s just this appreciated area.” TAMARIND MAGAZINE


Feeling the Elements , acrylic and oil on canvas by Raelean Hall. Photo contributed.

Marketing the work Raelean admits that marketing her work has been a long journey. It’s all about exposure and persistence. “It’s about getting your work out there.” She finds exhibitions valuable but has noticed that there are fewer opportunities here on

the coast than in the past. Making a living Raelean is known for her coastal paintings of beach pathways. These works, available in various sizes and prices, keep the rent paid. Some are watercolours. Others are oils. The small works are bought by locals and tourists who “just want a bit of the coast.” Although she has been doing this work for many years, each work is new and vibrant. “I’m always challenged by it. I think that I haven’t yet reached my peak with it. When I reach my peak, I move on. TAMARIND MAGAZINE


“I know that there’s a big market out there.

There’s the aesthetics of doing it because I’ve lived and been brought up on the coast. I’m always drawn to it. How can I do it better is the question that I ask.” In the early years, Raelean’s beach pathways were true depictions of specific beach access paths. “Now I think creative licence can be more entertaining for me and perhaps for the other

person.” She is sometimes commissioned to paint a specific access path and will remain true to that. For Raelean, most of her income comes from the original works. Prints sell for about an eighth of the price of the originals. “Prints are a really slow market. They’re not cheap because they’re limited edition. “I’m not part of that business. I just get royalties so that is beyond my control anyway. The prints help exposure of my work and who I am. That’s a big thing for an artist as well.” Detail from Rolling In by Raelean Hall. Photo contributed.

Find a welcome at Seaview Gallery

Raelean welcomes artists who drop into Seaview Gallery, “Whether it’s just to ask me one question about marketing or about an exhibition or whether they should be sharing costs with the gallery, all those kinds of odd things that I’ve navigated so many times. “I’ve had artists come in and bring their work in and ask me what I think, what would help lift their work, what’s missing or what’s great about it. I chat all day there, ” she says, with a smile. Check the artists’ roster on the Seaview Gallery website to find out when Raelean is working. Just call and double-check, in case she has other commitments. TAMARIND MAGAZINE


Rapt about Raptors

Jason Jordan from Raptor Vision takes Eclipse the barking owl out for some morning exercise in Beerwah.

Jason Jordan is a night owl. When he was setting up Raptor Vision, he’d come home from his day job and train his owls at night. Training a bird for demonstrations is about building up trust. Jason starts with handfeeding his birds when they are 8 days old. Then training can start from about 12 weeks. Training is linked with feeding time so the birds are keen to learn. Jason has been handling and showing birds for about 11 years now. “I worked at Australia Zoo for ten years in the Free Flight Bird Show. I’ve looked after everything and trained everything from herons to cormorants to exotic and native parrots, eagles, falcons, owls.”

He branched out and set up Raptor Vision two years ago. “I’ve always had an interest in things that fly. I’ve had parrots since I was eleven years old.” “I ended up getting a barn owl and just fell in love with the owls. In captivity, they’re good too because you can have them out in the daytime and the night time.” Eclipse is a barking owl. She’s about a year and a half. And yes, barking owls do bark, says Jason. “They sure do. Just like a woof-woof. People used to think that there’s a dog in the bush or a bunyip.” TAMARIND MAGAZINE


Wesley, an Australian masked owl, is out for some training and exercise.



“They were known as the screaming woman owl as well. People would hear this

terrible screaming in the bush and think someone has been murdered. Then they’d find these decapitated animals because a lot of times the barking owl will eat the head because that’s the most nutritious part. But they can’t fit in the whole animal, say a possum, so there’s a lot discarded. “Their habitat is woodlands and valleys, places where there’s a water source like billabongs. So that sort of goes with that [story].” Wesley is a male Australian masked owl. He’s about 5 months old now so he’s only just

learning the ropes. Jason is a licensed wildlife demonstrator. He and his staff take the owls out to school groups, functions, markets and “basically anywhere we can get around.” People can have their photo taken with an owl. For special jobs, Jason can fly the birds. “I won’t just fly them anywhere. It has to be an area that’s safe for the animal.” Jason and his partner Crystal plan to set up a birds of prey rehabilitation centre. He explains, “Basically, if a bird comes in injured, they get fixed up by the hospital [at Australia

Zoo]. They heal them and then generally they’ll go to a rehab. What a rehab will do is they’ll have different procedures, so if they don’t want the bird to move around too much, they’ll be in a smaller enclosure to heal properly. “Then, they go into larger enclosures for fitness. A couple of people do a small amount of rehab on the coast. A lot of the birds go to Currumbin Sanctuary, which is a great place for them to go but sometimes they’re full up.” The survival of owls is threatened by habitat loss. Jason says that in southern NSW and Victoria the status of barking owls is critical. “It’s like anything, if you tip the balance a little

bit, it’s going to affect everything.” “The main threat is people, starting from habitat loss. They lose their nest hollows and they can’t reproduce because they only nest in the hollows.” “Grasslands are really important. A lot of your owls will live in bushland leading onto open grassland. When the grass is up a little bit, there’s going to be field mice out there.”



Owls are also prey to secondary poisoning. People can put down rat poison at home and

a rat or mouse can eat it. “Then they’ll go out injured and sort of wander around aimlessly not thinking about predators. And then, they are an easy target for an owl.” It can take an owl up to a week to die after this type of poisoning. Poisons can also build up in their bodies over time and affect their breeding. Sometime owls are injured by flying into barbed wire fences or being hit by cars. Jason says that’s hard to avoid. “It’s just the way they fly. They fly very low.” Young birds are at risk from feral animals like cats and foxes. “What’ll happen is [the fledglings] go through the stage where they leave the nest hollow. It’s called branching-out.

They’ll branch around the trees and they can get a bit clumsy and maybe land on the ground and not be quick enough.” For Jason, Raptor Vision is his way of tipping the balance back a little.

Twilight is a regular visitor to street markets around the Sunshine Coast. Seen here with Angus at Caloundra’s Twilight Markets.

You can contact Raptor Vision on their Facebook page, Raptor Vision.



Haiku Meets Art Chris Postle’s The Gathering has delighted our readers and poets. Thank you for your haikus everyone. The art piece for our next haiku page will be posted on the Tamarind website. I’ll let you know when it’s online. Editor.

The Gathering by Chris Postle.

grey down of morning

mist among the reeds -

brilliant colours of nature

the swamp begins the day with

family meeting

cerulean blue

Margaret Glover

Val Barouch

purple moorhens’

I hear Tchaikovsky.. Dance of the Little Swans? No! Ballet of swamp hens!

conference at the swamp -

Anna Campbell

Vincent Van Ross




“When You Die, I Want That Painting.” Like most 16 year olds, my nephew doesn’t say much. He’s too busy with his phone or shooting hoops. But, when he saw a Chris Postle print hanging in my hallway, he was stunned into speech, “I want that painting!” “Chris Postle’s paintings are powerful. They make you stop and take notice,” says Sunshine Coast local, Mary Barber. Imagine owning an original artwork by this talented award-winning Sunshine Coast artist. And having the artist personally deliver your painting. Read on for details.

ABOUT THE ARTIST Queensland artist Chris Postle has been painting for over 25 years. He has won numerous awards throughout Australia for his seascapes, landscapes and nature studies. Chris exhibits his work at the Harbourside Gallery at Tewantin on the Noosa River and privately. Each year, he shows new work in exhibitions across the east coast of Australia. Sunshine Coast artist, Chris Postle at the Harbourside Galley, Tewantin.

Chris Postle says his role as an artist is to let people see the beauty that’s out there, “because a lot of people get caught up in the grind. They don’t see sunsets. They miss it all because they are so tied up.” Chris lives in the Sunshine Coast hinterland where nature is his backyard. He is well-known and respected in the Australian artistic community both as an artist and as an art teacher. Chris gives his time as a judge at art events in South East Queensland. This year, 2014, Chris Postle is submitting a portrait in the prestigious Archibald Prize conducted by the Art Gallery of New South Wales. TAMARIND MAGAZINE


The Egret Has Landed…..

Yes, You Can Afford Quality Original Art By One Of Australia’s Best. The Suncatcher By Chris Postle Is Priced To Sell Fast.

The Suncatcher by Chris Postle 900mm x 600mm oil

The Inspiration Behind The Painting Chris Postle says that this glorious bird visits the Harbourside Gallery most afternoons, sunning himself on the roof. Chris just had to paint him. He was taken in by his elegance and the way the light struck his feathers. “I just captured that moment, that nice sunny day with the breeze blowing his feathers up just a little.” TAMARIND MAGAZINE


Get The Suncatcher Delivered To Your Home Or Office By The Artist Himself. For buyers in Brisbane and the Sunshine Coast, Chris Postle will personally deliver The Suncatcher. He’d love to meet you and see his work settled into your home or workplace. The Harbourside Gallery on the Noosa River at Tewantin is where Chris Postle exhibits his work on the Sunshine Coast, Queensland.

Buy What You Love. Don’t Buy To Impress. People buy Chris Postle’s art for two reasons. FIRST REASON: It is technically well-executed. He says, “You can see the time and work that’s gone into it.”

SECOND REASON: Mostly people buy Chris’s work because they can relate to it. It means something. It gives them a feeling of serenity and a connection to nature.

The Suncatcher Will Appeal To Coast Dwellers And Coast Lovers. “The she-oak ties in with the coastal theme. The leaves droop like the feathers of the bird, adding to the composition’s unity,” says Chris. The Awards Keep Rolling In…. Sunshine Coast artist Chris Postle has racked up too many awards to mention. And being a humble sort of guy, he doesn’t always get around to listing them all on his website. Here’s a few. 2013 - Immanuel Arts Festival, Best Overall Artwork. 2011 – Mortimore Art Prize, finalist in the Landscape Section. 2010 - Immanuel Arts Festival, Highly Commended and People’s Choice Award. 2010 - Kenilworth Art Festival, 1st Place in the Landscape Section 2010 - Mortimore Prize, Finalist in the in Seascape section. TAMARIND MAGAZINE


“Royal... Majestic ... Regal” That’s’ what the haiku poets said about The Suncatcher when it featured in Issue # 4 of Tamarind Magazine Cautious sentinel warmed by sun, ruffled by breeze egret majestic Mary Ann Wright Caloundra, Australia

Can you see The Suncatcher gracing your home? Enjoy the power and majesty of The Suncatcher. You can call Chris Postle now on 0409 286 364 For international callers: +61 409 286 364 Chris Postle’s Email:

Art is Meditation. “One lady just gets up and sits in front of her painting every morning, just to start the day. It gives her that calm, relaxed feeling,” says Chris.

Take the Worry Out of Getting It Home. Chris knows, “It’s imperative that you package properly.” That’s why he packs his own artworks and only uses professional freight companies with an excellent track record in transporting his works. Chris can pack this work while you watch. He uses layers of bubble wrap and cardboard and places an mdf board over the painting for added protection. And with The Suncatcher, there’s no glass to worry about.

So, Is This Quality Artwork Affordable For You? The Suncatcher is priced at $2,200 but for Tamarind Magazine readers, it is offered at $1,500. That’s a saving of $700. Can you afford not to have such beauty in your life? TAMARIND MAGAZINE


Be warned. There’s only one Suncatcher. There are no prints of this work. This is it. By the way, customers at Tewantin’s Harbourside Gallery are also showing an interest in this work. If you want to see it for yourself, just call in. Chris is usually at the gallery on Thursdays. You can give him a ring and make a time to see The Suncatcher. Here’s a summary of this special offer for Tamarind readers. The Suncatcher Special Offer What’s Included


Your Investment

The Suncatcher, original oil painting by Chris Postle, 900mm x 600mm



White Beach Style Wooden Frame





Professional Packaging by the artist TOTAL VALUE



--$1,500. $890.

If you can picture The Suncatcher in your home or business, contact Chris Postle now. Chris Postle’s phone: 0409 286 364 For international callers: +61 409 286 364 Chris Postle’s Email:

Let The Suncatcher add beauty to your life, every day. The Suncatcher by Chris Postle 900mm x 600mm oil



Local Artists Throw Open the Studio Doors

Jewellery Wood carving Felt-making Artists in the Glasshouse Mountains are inviting you into their studios over the Anzac Day long weekend. You can see artists at work, have a chat and buy a local piece to bring home. It’s all part of the Open Studio days held by The Glasshouse Country Arts Trail,

a group of enthusiastic local artists. To plan your trip, start at the Glass House Visitors Information Centre on Bruce Street, Glasshouse Mountains and collect a map. Maps can also be downloaded from the Glasshouse Country Arts Trail website . Over the long weekend, suggested

routes will be sign-posted. Local cafes will be open for refreshments. Artists studios are open from 10am until 4pm on 25th, 26th and 27th April, 2014. Above left: Cleo by Sandy Price. Left: Wooden bowl by Ross Horne. TAMARIND MAGAZINE


Caloundra Friends of the Gallery Art Prize Now Open Local artists are invited to submit entries in the Caloundra Friends of the Gallery Art Prize: Local Artists - Local Content. Prize money includes: 

E.B. Fox Centenary Prize - $3,000

Second Prize - $1,500

Third Prize - $1,000

Fourth Prize - $500

People’s Choice - $500

Entries close on Tuesday 22nd April, 2014

Go to the Friends of the Gallery Art Prize page on the Caloundra Regional Gallery website for more information. TAMARIND MAGAZINE


Book Talk To Be Sung Underwater by Tom McNeal Reviewed by Graeme Bowden, The BookShop at Caloundra

This book came out in 2011 and has been one of our biggest and most consistent sellers. It is also a book which almost everyone loves, as a matter of fact I can only think of one person who said that she did not enjoy it thoroughly.

Tom McNeal has a beautiful style of writing. It’s easy to read, humorous and evocative. He is able to involve all your emotions.

The Story To Be Sung Underwater is the story of a couple, Judith and Malcolm, both successful in their careers but perhaps growing apart individually. Judith is not entirely happy with her lot in life and wonders what life may have been like if she had stayed in her small home town of Rufus Sage, Nebraska and continued her involvement with the boy who was her first love, Willy Blunt, the builder. The reunion of Judith and Willy after many years is handled with great sensitivity and humour by a master storyteller. The ending, which may not be what we would all want, is wonderful in my opinion.

The BookShop at Caloundra, 22A Bulcock St, Caloundra Website: The BookShop at Caloundra

Phone : 5491 4836

Tamarind Book Club Tamarind Book Club meets on the first Thursday of the month at a waterside cafĂŠ. To join us, go to Tamarind Book Club RSVP. TAMARIND MAGAZINE


Caloundra Gallery Featuring Golden Beach

Stilt at Sunrise by Anna Campbell. Taken at Golden Beach.



A Moody Day, Golden Beach. Shot by Mary Barber.



Fraser Park Jetty, Golden Beach., taken by Michael Phillips just after sunset using a long exposure.



SUBSCRIBE HERE I hope you enjoyed this issue of Tamarind Magazine. To be sure you receive future issues, subscribe now. Already a subscriber? Then how about sharing it with a friend. Use the forward button at the end of your email. As always, you are welcome to send suggestions or story ideas to the editor. Best wishes, Mary Barber Editor

“The pages of Tamarind are filled with life and energy.” Devin Harrison, Montreal, Canada

“So easy to read and interesting.” Lesley Hetherington, Canvas Printing Online, Caloundra

Finally, You Can Target Your Advertising to a Receptive Local Audience. Advertise in Tamarind Magazine, Online. 

Artists: Sell your work, promote your next workshop and exhibition.

Business owners: Share your knowledge and build customer loyalty.

Bring customers to your website or Facebook page with a hyperlink.

Choose from half-page or full-page advertising spaces.

Go to our Advertising pages for pricing details and distribution stats.

To be in the next issue, contact Mary Barber by 10th May 2014. Email: Note: There are only 5 ad spaces per issue, so act now. TAMARIND MAGAZINE


Tamarind Magazine - Issue #6  

Celebrating the arts, culture and people in seaside Caloundra.

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