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s t u d i o

L A

arts zine issue 11 july 2015

P R I M I T I V E


slp

studio la primitive EDITOR

Robyn Stanton Werkhoven CONTRIBUTORS

Above: Detail - The Dear Leader, Omnipresence and the Innocent, Lachie Hinton © 2015 Front Cover : Lhasa - Lachie Hinton © 2015 Please do not copy articles in this magazine without written permission of the Editor. Copyright © 2014 Studio La Primitive, All rights reserved.

Lachie Hinton

Carlin McLellan

Robyn Werkhoven

Brad Evans

Lorraine Fildes

Eric Werkhoven

Nigel Nerd

Anne Kempton

Andrew Finnie

Max Howe


INDEX Index…………………………………………………… 3

Editorial………………………..Robyn Werkhoven

4 - 5

Studio La Primitive Antics……E&R Werkhoven

6 - 7

Poem ………………………….Carlin McLellan

8 - 13

Featured Artist ……………… Lachie Hinton

14 - 29

Poem………………………..

30 - 31

Eric Werkhoven

Barbara Hepworth……………Lorraine Fildes

32 - 45

Poem…………………………. Brad Evans

46 - 49

Not News…………………….. Nigel Nerd

50 - 51

Seven Painters……………….Andrew Finnie

52 - 63

Featured Artist……………… Robyn Werkhoven

64 - 75

Poem…………………………..Max Howe

76 - 80

Timelesstextiles……………….Anne Kempton

81 -

87

Art News………………………………………………. 88 - 101 Margaret Sivyer OAM. 50 x 40cm oil/acrylic on canvas

Back Cover……………………………………………102

National Trust Portrait Project Maitland 2008. - Robyn Stanton Werkhoven © 2015 Issue 11 - July

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EDITORIAL Greetings to all our ARTS ZINE readers, and SLP

would

like to thank all contributors .

Unfortunately yesterday the heavy “right wing” hand of CENSORSHIP led us to remove Internationally acclaimed photographer Ric Woods feature. Due to no nudity allowed, hence these artistic, beautiful and surrealistic photographs are not in this July issue. If you would like to view and read this feature please email at :werkhovenr@bigpond.com The July / August issue 11 of ARTS ZINE features interviews with painter

nationally and internationally recognised

Lachie Hinton travels to North Korea and Robyn

Stanton Werkhoven - portraiture. Andrew Finnie introduces us to Newcastle’s Seven Painters

Childrens’ Pool, Newcastle - Andrew Finnie © 2015

group.

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Lorraine Fildes travel writer and photographer visits Barbara Hepworth’s Museum, at The Tate St Ives Gallery, England. Nigel Nerd , International Artistic Correspondent who joined our team last issue with an interview with the Russian artist Vlad Putin,

this time closer to home Nigel caught up with

artist Tony Monk in Canberra.

Don’t miss reading our new essays, poetry, art news and information on forthcoming exhibitions.

The ARTS ZINE features professional Hunter Valley, national and international visual artists poets and writers, glimpses into their world of art and their creative processes.

Submissions welcomed, we would love to have your words and art works in future editions in 2015 and 2016.

Deadline for articles - August15th for September issue 12. Email: werkhovenr@bigpond.com

Lanscape Newcastle Beach - Jennifer Finnie © 2015

Regards - your editor Robyn Werkhoven

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E & R A N T I C S STUDIO LA PRIMITIVE (C)2015 - ANTICS by E&R Werkhoven collaborative drawings

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E & R A N T I C S STUDIO LA PRIMITIVE (C)2015 - ANTICS by E&R Werkhoven collaborative drawings

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Let Yr Light Shine Thru - Carlin McLellan Let yr inner light shine thru After a day at the library staring into space you just have to remember that Being distracted ALL THE TIME is a total blessing it's the way we are meant to be each time you glance at your phone you are fulfilling the frenetic dreams of your cross-disciplinary ancestors Dear grandma have you seen my resume lately? It's brimming with infographics which convey highly effective truths about my dreams and deep desires Let yr highly effective light shine thru When you go out into the good night Be sure to drink just a little bit less than way too much Issue 11 - July

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so that you can really luxuriate in each and every hangover contentedly waiting for that redemptive headache; The sick spurt of adrenaline which spurs you into being a slightly better person Oh father, I am saved from being as boring as batshit Oh Lord, I am saved Let yr intoxicated, intoxicating light shine thru Carry around with you always a book of poems by Frederico Garcia Lorca Because you feel that he was onto something Even if you're not completely sure of what that something is. You want to be on it You want to be in on it. You want to know the exact distance from the biggest blackest black hole to the earth, or more specifically the distance from Alpha Centauri to Tempelhofer Feld Issue 11 - July

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Let ye blinding inner light shine thru And it is not true that You are not a truly a part of the gang Until you've Sucked Allen Ginsberg's cock & endless balls Suck whatever you want to suck Let your angel-headed Queer light burst thru Be you Be you No matter what The dumb stares are probably confused adoration mingled with longing Let your gender-fluid incandescent light shine thru

Be grateful Be grateful for the spasmodic strobe light which is yr heart Be grateful Even though you are always forgetting the things you need to remember And remembering the things you need to forget Issue 11 - July

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When you leave yr guitar at the supermarket by accident and you've caught the bus most of the way home before realising you forgot the fucking thing And when you're then catching the bus back to the supermarket praying to God that the guitar is still there crossing your fingers and your toes Tell yourself that You are enough Because You are enough & you ask the checkout assistant “Sprechen Sie Englisch?” And she says “Ja, a little bit” And you say “Ummmmmmmmmmm. I think I left my guitar here” and she smiles and pulls it from behind the counter and you are very, very glad And you say to the checkout girl, “Danke Schöne” But really what you wanted to say was “Right now, I love you with all my heart and I'd marry you in an instant. But it's kinda complicated, you see, I'm in a long term committed relationship with myself and I don't want you screwing up the works.” Issue 11 - July

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Let yr forgetting inner light shine thru And hey, it's certainly possible that when you were catching the bus back and the cold rain was hitting you in the face and you told yourself I am enough Maybe that was true Maybe you are more than enough Let your highly effective, intoxicating, blinding, angel-headed, queer, incandescent, gender-fluid, forgetting, immense, true light shine through.

- Carlin McLellan Š 2015

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Outdoors 15 x 15cm Acrylic/ canvas E&R Werkhoven Š 2015 Issue 11 - July

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LACHIE HINTON

The Dear Leader, Omnipresence and the Innocent, 2015

oil on canvas 334 x 170 cm (triptych) Issue 11 - July

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LACHIE HINTON - INTERVIEW BACKGROUND: “ Having moved to Lilli Pilli in Sydney’s south at the age of four from Denistone in the north west, I’ve spent most of my life surrounded by national park and coastlines. I used to commute a few hours a day to my high school in Summer Hill in the inner west, which introduced me to metropolitan life. Summer Hill was abundant with multicultural restaurants and my school was largely multicultural, so it was a real eye opener that broadened my perspective. I undertook visual art at school but it wasn’t until first year of university

studying media that my art interest grew when I began creating my own illustrations and artworks.”

“For as long as I can remember I’ve been drawing. It was my favourite past time as a kid, and I’ve always had a particular expression of figuration that has stuck throughout the years. I nearly completely abandoned drawing for most of high school, only to return to it with a newfound passion during university. I can recall the moment when I created a large figurative illustration inspired by a Ralph Steadman sketch one night and it sparked what has become a great desire to create.”

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Gardeners of Pyongyang, 2015 oil on canvas 213 x 153 cm Issue 11 - July

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“My work is primarily realistic figurative drawing and painting that deals with contemporary society, culture and issues. I represent the world around me in an attempt to convey thoughts and ideas about the human experience, and I intend to offer insights into varying conditions of life and the fundamentals of human nature. Often working with a mixed media of oil, charcoal, ink and graphite on canvas and paper, my work seeks to highlight attitudes, movements or issues regarding sexuality, identity, politics and social justice.”

“My art is largely concerned with the emotional experience of people and places. The stylistic element of figuration and form in my drawing is a highly emotive expression of the physical. It was an expression that came naturally to me as a kid, and I’ve maintained drawing as a consistently core part of my art. Developing

compositions from sketches and photographs of various subjects or concepts, my images seek to analyse aspects of humanity.”

“ I’m inspired to communicate ideas and stories through my subjects. Storytelling is integral to my art, and I’m drawn to issues and aspects of society that have real life impacts on people. Whether they encompass goodwill or inhumanity, I’m motivated to document the forces and processes that shape particular conditions of life, cultures and peoples. This is at the essence of my imagery, and it encourages me to keep an open perspective through my art.”

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Pyongyang, 2015

oil on canvas 240 x 180 cm Issue 11 - July

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“Having an interest in experiencing and capturing diverse civilizations and issues, I’m often inspired to travel to encounter the confronting, provocative or unusual. These motivations lead me abroad to observe and

document contrasting societies and cultural values. This often involves getting out of my comfort zone, but in doing so I’m able to learn a lot more about my subjects and myself.”

“My greatest artistic achievement has been my project ‘Welcome to Pyongyang’, which I exhibited at Gaffa Gallery in Sydney in April this year. The project involved travelling to North Korea in August of 2014 to gather information and document conditions of life in and around the capital Pyongyang. On return to Sydney I developed the material into a series of large-scale oil paintings and drawings. I created the work over about four months, from frame building to canvas stretching and painting, and it was a very testing period as I was spending about fifty hours a week at the studio whilst working part-time. It was an ambitious idea from the start that took a lot of negotiating and sensitive handling, so to have a great turn out at the opening and positive feedback from the show was incredibly satisfying.”

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“I’m currently in the early stages of developing a new body of work based on the suburb of Kings Cross in Sydney. Drawing inspiration from contemporary issues in Kings Cross, I’m looking to illustrate the current

collapse of strip club business, prostitution, reckless party culture and decadent appeal that have contributed to the notorious image of the suburb since the seventies. Illustrating the impact of current gentrification and politics on the suburb, the body of work will explore how neon-lit bars, clubs, alcohol and adult-oriented stores are deteriorating while a shift in demographics, social attitudes and trends occurs. Exploring social interaction and cultural history of the suburb, the paintings and drawing will deal with

themes of identity and sexuality within Sydney’s crumbling red light district.”

Your future aspirations with your art? “ I intend to keep on creating art for as long as I’m passionate about doing it. There’s a lot of the world that I still want to travel to, and for as long as I’m actively looking to document and tell stories about humanity I’ll be creating art. I have a growing interest for international affairs of conflict, oppression and social issues, and feel my motivations to create art are moving in this direction.”

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Kyonghung Bar, 2015

oil on canvas 240 x 180 cm Issue 11 - July

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Forthcoming exhibitions? “ I am planning to exhibit my body of work on Kings Cross as my second solo show next year at Gaffa gallery, although a date is yet to

be set! “

Other interests? “ I work as a freelance videographer and I

have a particular interest in film and video. I’m also passionate about playing, composing and experiencing music and travelling. Other interests include writing, motorsport, snow sport and rugby.”

- Lachie Hinton © 2015

Lachie Hinton Photo by Christine Pike.

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Construction Kids, 2015 oil on canvas 92 x 120 cm Lachie Hinton (C0 2015 Issue 11 - July

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Soldier, Korean Demilitarized Zone (DMZ), oil on canvas 89 x 119 cm Lachie Hinton Š 2015 Issue 11 - July

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Soldier, Korean Demilitarized Zone (DMZ), Lachie Hinton Š 2015

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Show Girls oil & charcoal on canvas 200x 120cm diptych

Lachie Hinton Š 2014 Issue 11 - July

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Study for Show Girls, 107 x 79 charcoal on paper

Lachie Hinton Š 2014 Issue 11 - July

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Citizen I graphite on paper 41 x 61 cm Lachie Hinton (C0 2015 Issue 11 - July

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www.lachiehinton.com

In the Shower sanguine oil lead on paper 28 x 35 cm Lachie Hinton Š 2015 Issue 11 - July

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Untitled poem

- Eric Werkhoven Š 2015

Ever closer and yet we wait for love and happiness to mature and ripen in our hearts. The psychology from within takes on the battle,

at an often remarkable pace. But don’t be in too much of a hurry. Guess there is a lot to contend with and allow ourselves

to express some outrage. As we are barking against the same tree where many of our doubts hang in transparent bladders on these dark looming trees. Issue 11 - July

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“Love” Collaborative drawing E&R Werkhoven © 2010 Issue 11 - July

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BARBARA HEPWORTH

LORRAINE FILDES Issue 11 - July

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Barbara Hepworth Sculpture Museum and Garden and the Tate St. Ives Gallery England. Lorraine Fildes. I walked around the pedestrian friendly streets of St. Ives and then uphill to the Barbara Hepworth Museum and Sculpture Garden. Dame Barbara Hepworth (born 1903, Wakefield, England - died 1975, St. Ives, Cornwall) was one of the greatest sculptors of the twentieth century. Barbara Hepworth’s earliest works were naturalistic with simplified features but as she matured she concentrated on the problem of the relationships between mass and space. Her sculptures became totally abstract. In 1945 Hepworth purchased The Trewyn Studio and garden at St. Ives, and during the 1950s she started

using metal and bronze. This led her to create works on a more monumental scale, for which she used the garden as a viewing area. The bronzes are in the garden environment for which they were created - usually in the positions which the artist herself placed them. Opposite page 54: Stringed Figure (Curlew) Version II - Barbara Hepworth. Issue 11 - July

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The Barbara Hepworth Museum and Sculpture Garden at Trewyn Studio in St Ives is unique. As a ‘studio museum’ it has changed very little since Hepworth lived there. In her will she asked her executors to consider ‘the practicality of establishing a permanent exhibition of some of my works in Trewyn studio and its garden’. She envisaged her studio being shown, as in her lifetime, with small works in the house and a few large works in the garden. After Hepworth’s death, the Museum and Sculpture Garden were opened to

the public. Hepworth's daughters and the executors of her estate, following Hepworth’s own wishes, gave the Museum and its contents to the nation in October 1980. Sculptures are on display in the Museum and Garden, along with paintings, drawings and archive material. 'Finding Trewyn Studio was a sort of magic', wrote Barbara Hepworth; 'here was a studio, a yard and garden where I could work in open air and space'. The photos that I took in 2014 as I walked through the museum and garden will give you some idea of the feel of Barbara’s “garden studio”. When I left Barbara Hepworth’s sculpture garden I found a place to dine overlooking Porthmeor Beach and St Nicholas Chapel. The original Chapel was built in the 15th Century. Falling into disuse the chapel was used for several years for storage by the War Office, who, not realising its historic significance, partially demolished it in 1904. A public outcry led to the restoration of St Nicholas Chapel in 1911.

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The downstairs room which you enter

directly

from

the

street

houses what is an autobiographical history of Barbara Hepworth’s art, her achievements and recognition

of her as one of the great sculptors of the 20th Century.

This photo

shows some of her unfinished wood carvings and the tools that she used. From the downstairs autobiographical room you then go upstairs to what was first used as a workroom and then eventually became a

sitting room. This room has a magnificent collection of Barbara’s Entry room to Hepworth Museum.

more delicate marble and wood sculptures and drawings.

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After lunch I visited Tate St. Ives Gallery which overlooks Porthmeor Beach and St. Nicholas Chapel. Tate St. Ives opened in 1993 to celebrate the town’s international artists’ colony. The gallery has a programme of changing exhibitions that show the best of international modern and contemporary art. Tate St Ives also manages the Barbara Hepworth Museum and Sculpture Garden.

The Tate St. Ives building is a modern piece of architecture set amongst buildings which do not harmonize with its unique appearance. But when you step inside, only one word can be used to describe it - magical. The number of different angles that you can view the sea from are amazing. Head up to the terrace café and the view over the town of St. Ives - Porthmeor Beach on one side and the Harbour on the other side and the wonderful rooftops of the St. Ives houses are absolutely stunning. I was fortunate on the day I visited the Tate as they had an excellent exhibition “International Exchanges: Modern Art and St. Ives 1915 – 1965”. This exhibition traced some key connections between the art of St. Ives and the rest of the world. I saw works by Wassily Kandinsky, Jean Arp, Ben Nicholson, Amedeo Modigliani, Henri Gaudier-Brzeska and Barbara Hepworth just to mention a few of the artists represented in the exhibition. However, photography was not allowed as many of the exhibits were from private owners. This exhibition was a superb way to finish a visit to a village that has become an artist’s haven.

- Lorraine Fildes © 2015 Opposite page 58: Oval with Two Forms 1971 - Barbara Hepworth Issue 11 - July

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Infant -1929 Burmese wood Barbara Hepworth Issue 11 - July

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Single Form - 1961 Barbara Hepworth. Issue 11 - July

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After looking at the pieces in the museum I moved out into the sculpture garden. What an absolute delight – the sculptures harmonised beautifully with the flowering plants and trees.

Figure for Landscape 1959 - 60 Barbara Hepworth. Issue 11 - July

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Hollow form with Inner Form 1968 Barbara Hepworth. Issue 11 - July

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Four Square Walk Through 1966, River Form 1965, Two Forms (Divided Circle) 1969, Core - Barbara Hepworth. Issue 11 - July

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Conversation with Magic Stones - Barbara Hepworth Issue 11 - July

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Sea Form - Barbara Hepworth. This is the plaster from which an edition of seven bronzes was cast. It may have been painted this bronze-like colour when shown in St Ives Guildhall in 1968. This exhibit is in the garden conservatory. Issue 11 - July

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View from Tate St Ives Gallery Entrance. Issue 11 - July

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NATURAL LAW - Brad Evans Somebody taught Hudson how to throw a punch And so, every lunch time, We'd hear about some new kid in the playground Who'd just got the shit beaten out of him.

There was no doubt about Hudson's ability to throw one, that was quite evident with the growing casualty list, it's just that he wasn't that quick at winning over hearts & minds with this new-found talent: It always seemed to be a weaker kid or somebody much shorter than he. In fact, one might say there was something chicken shit with his approach. Issue 11 - July

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The tipping point came when he punched out 'Little Red'. 'Little Red' may have been shorter & weaker than Hudson but he was a real character - a popular kid that was when some of the other guys decided to sort out Hudson. The campaign started & the taunting began, a group of guys began following Hudson around during lunch-times, waiting for him to choose his next target, but Hudson was quite shrewd and backed off awhile, biding his time. they then began to starve him out they emptied his school bag, tore into his books they found his lunch box and squashed his sandwiches underneath piles of bricks (some of them could still be seen under those bricks many years later looking all green, flat and grubby)

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It was a few weeks later, thinking he was in the clear, when Hudson made his next move -me! Spotting me in the playground, He started pushing me around, trying to provoke,

While this was happening, I saw a brief flicker of movement behind him - aiming straight for him. I tried not to be distracted by the movement, I didn't want him to know what was coming his way

And just as he was making his move on me I heard the impact - the rush of air as Ryan knocked Hudson arse-over-tit! He got up quickly and shouted: FUCK OFF, HILLSTOP! And Ryan screamed back:

DON'T YOU EVER PUSH MY FRIEND AROUND AGAIN!! Issue 11 - July

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Not waiting for a response, Ryan turned around and walked away, knowing that Hudson wouldn't take it any further. Hudson did something intelligent that day -he walked away. now suddenly on my own I was left standing there trying hard to think of a time

when Ryan & I had done things together, something that would hint of a friendship, an alliance of some sort or even something owing to me. But I couldn't. - Brad Evans Š 2015

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N O T

N I G E L

N E W S

N E R D Issue 11 - July

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NOT NEWS

By Nigel Nerd

Coming home after interviewing Vlad in Russia, Nigel heard of a new art star in Canberra. Nigel arranged an exclusive interview with Tony Monk, who is making a dramatic impression among artists both in the A.C.T. and right across Australia. Nigel asked Tony about his most recent artistic creation. “I believe art, like the media, should be the message – or is it massage”, he pondered. “Anyway, my latest creation, a series of four black squares, gives everyone messages (or massages) on several different emotional and intellectual levels”. “Black means so many things – hence the four black squares. Firstly, being in the black means having a surplus – which I want so much, like all other Australians who hate red. The second black square represents my absolute despair at not being in the black – I am displaying my deepest emotions here. The third black square is also emotional - it represents the future of Australia unless the climate change believers are wiped out. The fourth black square represents my unbounded joy with mining – coal, coal seam gas, oil and uranium – all these fantastic Australian minerals, many of which are black. Hence my series of all black paint creations.

But note, Tony said firmly, my all black masterpieces are not for sale to New Zealanders”. Nigel asked how sales were going. “Wonderfully, Tony replied, Liberal party members are queuing up to get them and I have had big orders from mining companies and banks. Four black squares in every mining company office and bank branch will, I am sure, make my messages crystal clear as well as increasing my personal financial surplus. I just love to be in the black both in the figurative and practical sense”.

Nigel asked Tony if he enjoyed music. “Yes, said Tony, I get my artistic inspiration from the Rolling Stones. I just love SATISFACTION, but my favourite is PAINT IT BLACK. Nigel came away from Canberra marvelling at Tony’s artistic genius, deeply held emotions, sales acumen and musical appreciation. He is an artist in the broadest possible way, as we should all be. - Nigel Nerd© 2015

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SEVEN QUESTIONS WITH THE SEVEN PAINTERS How did The Seven Painters start? In the late eighties several of us met at Newcastle TAFE where we were doing a Fine Arts Certificate at night time. There we were blessed with having such fine teachers as Paul Pulati, Jill Orr, Ted Prior, Ruth Chapman. At the end of our studies we even managed to stay on for an extra year - until The State Government decided that training artists was a waste of time and cancelled our course. Then, in the late nineties, we all went back to TAFE and basically did the same course. There we were taught by the

wonderful Bob Birch and the talented Dallas Braye.

At the end of our final year we decided to stick together and formed a group of eleven painters. For several years we hired the Newcastle Community Arts Centre's casual access area on Tuesday nights. It was a mission lugging our gear up and down the stairs but we all stuck together. A few teachers from the TAFE were kind enough to give us master-classes. We had our first show later on in the year.

Eventually we managed to move into a full time studio at NCAC. We have been meeting in NCAC every Tuesday night for fifteen years now. Issue 11 - July

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Cliff Street Shepherd’s Hill Andrew Finnie © 2015 Issue 11 - July

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So eleven painters initially, but how did the name The Seven Painters come about?

The initial eleven dwindled to five, then jumped back up to eight, then down to seven, so we decided that we'd call ourselves The Seven Painters regardless of how many were showing. It

does cause a little confusion occasionally. But that's fine, because people might not recognise our individual names, but they recognise the group.

Consequently

we've

been

fortunate

enough to build up a very good following of

people who collect our work. Our core group is Michael Bateman, Jennifer Finnie,

Patricia

Williamsz,

Andrew

Finnie,

Malcolm Sands, Neville Cottee, and our newest Single Fin Surfer Nobby’s - Andrew Finnie Š 2015

member, Sarah Knights. Issue 11 - July

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Next Door to Auntie Wendy’s Andrew Finnie© 2015 Issue 11 - July

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What are the advantages of being in a group?

Not just motivation to work and support each other, but we also learn from each other's approaches and each other's influences. Often one of our group will expose the others to a brilliant artist that they might not have heard of.

At the end of a session we critique each other's work. Quite often a painter might not be able to see the beauty or the 'ugliness' in their own work that others do. So working with other painters means that you have access to an objective viewpoint of your work. I think that that shows in the way our paintings have matured over the years. Remarkably, even after so long, each of us has their own style, and it's quite obvious whose work is whose,

because we each have different subject matter and temperaments that are reflected in our work.

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Moonrise, Newcastle Beach - Michael Bateman Š 2015 Issue 11 - July

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How has your work changed over the years? Technically our work has matured in leaps and bounds as we find our palettes and our individual way of applying paint. The subject matter, for most us, has been a natural progression, all of our works are figurative or have some figurative jumping off point.

That said, as we as we mature I think that we are learning to seek the essence of our subject matter. To quote Degas, 'Art is not about what we see, but what we make others see." So, as we mature, I think that our work is becoming more suggestive of detail. We are trying to create an impression or an emotional response in the viewer's eye that is individual to the viewer - to involve the viewer more and more in the creative process.

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Landscape Jennifer Finnie Š 2015 Issue 11 - July

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How important has Newcastle Community Arts Centre been to How important has Newcastle Community Arts Centre been to the group? Having a home base had been a remarkable boon to our group and has been of essence in keeping us together. Being in the Centre means we can use our studios at any time of day. We are also exposed to many successful artists, like John Morris, Peter Lankas, The Strutts, Rachel Milne, Pablo Tapia . We've

become friends with many of these people and see how they work and learn from their sense of professionalism and their amazing talents.

In the future NCAC will be seen as an historically important hub of major art making for Newcastle.

Unfortunately the building that houses the centre has been sold and we are yet to find another place. It's very sad because Newcastle doesn't know what an incredible institution they have in their own backyard. It will be a black day for Newcastle if we ever lose NCAC.

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Landscape - Sarah Knight Š 2015 Issue 11 - July

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What advice would you give to aspiring artists? People make art in all sorts of ways. People make gardens, make children, decorate their houses. The creative urge exists in all of us, and to suppress it makes our life less emotionally significant.

But 'artists' themselves are different. As artists, when we make art, there is something existential going on. It's important to our spiritual self. Not only are we making something that says 'Look, I existed!', but we are also making something that exists on its own.

So my advice to aspiring artists is to listen to your inner self, to not let criticism wear you down, to have self belief because you are channelling something from the universe that once it is made, is no longer yours. Imagine your work where it will be in the future, how much joy it will give to others, and that it will live on as its own entity.

When is your next Exhibition? Our next show is called The First Fifteen and is at Newcastle Art Space. Opening night is Friday 10th July at 6.00 pm. It runs until 26th July. NAS is at 246 Parry Street, Hamilton East. Gallery Hours are Thursday to Sunday, 12-5pm.

- Andrew Finnie Š 2015 Issue 11 - July

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Pittwater - Patricia Williams Š 2015 Issue 11 - July

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ROBYN STANTON WERKHOVEN

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ROBYN STANTON WERKHOVEN BACKGROUND: Born in 1952 at Penrith, NSW, and coming from an old farming dynasty, Robyn has always loved the rural country and the serenity of the bush. “ From very young I wanted to be a ballerina, by eleven years old, I knew this was not going to happen. One day my sister came home with a wonderful surprise, she gave me a set of oil paints, brushes and canvas, and said - “why don’t you become a painter!” ever since I have passionately been involved in the world of the Arts.”

Robyn commenced her professional career as a Graphic Designer and artist in Sydney in the seventies. Specialising in silk screen designs for clothing and textiles, designing for various Sydney clothing businesses and later opened her own business “Armin Design” in Wollongong. Robyn has been involved with Fine Arts for many years – from Performance Event art, painting, sculpture, jewellery design and management of galleries. The past twenty six years Robyn and her husband, sculptor Eric Werkhoven have lived and worked as professional artists in the Hunter Valley, with many galleries exhibiting their work in Newcastle and Sydney. Robyn is also represented in Europe.

Opposite page 86: Self Portrait in Studio - Finalist Portia Geach Award for Portraiture 1998 Issue 11 - July

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Susana Enriquez In Her Studio H76 x W76 cm Oil/acrylic on canvas Finalist Portia Geach Award 2013

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Portraiture is a keen interest, with celebrities and dignitaries included in her portfolio. Her portrait of Jenny Kee, iconic fashion designer was a Finalist in the Portia Geach Award for Portraiture 2011. Six times portraits have been Finalists in the Portia Geach Memorial Award for Portraiture, Sydney. Robyn was one of nine artists, who painted portraits of local Hunter identities for the National Heritage Trust

Project, Maitland, 2006 - 2008. Since November 2009 Robyn is an exhibiting member with Portrait Artists Australia. Exhibiting in Federal Parliament House, ACT and Sydney Parliament House and the Australian Embassy, Washington DC, USA. “Since early childhood I have been fascinated with drawing or painting the human figure, especially the face. This led me to exploring and expressing the dynamic and delicate nuances of the human form and psyche. My paintings maybe called ‘contemporary figurative’, deploying vivid colour and strong line. In recent years I have started painting the Hunter Valley landscape, but always I need to return to my figurative works, obsessively fascinated with portraying the expressions, antics and absurdities of the human race. I enjoy working with challenging and provocative themes such as an exhibition of drawings and paintings at Maitland Regional Art Gallery, exploring the world of human caprice. An exciting high light of my artistic career is the unique collaborative work with artist / sculptor

Eric Werkhoven.” Issue 11 - July

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Jenny Kee with Waratahs H76 x W76cm Oil on canvas Finalist Portia Geach Award 2011 Issue 11 - July

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Forthcoming exhibitions for 2016 are planned for Maitland Regional Art Gallery, Art Systems Wickham Gallery, Nanshe Gallery and Gallery 139,Newcastle, exploring the world of Cabaret and Family.

A parade of colourful, exotic characters and the absurdities and antics of every day life.

www.studiolaprimitive.net

Right: John O’Brien - award winning film and TV script writer. H120 x W 60cm oil/acrylic on canvas Issue 11 - July

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At present Eric & Robyn’s studio and home are in East

Gresford a rural village in the

Hunter Valley NSW, Australia. Since October 2013 Robyn established and is the Editor of the Online Arts and Literary

magazine STUDIO LA PRIMITIVE ARTS ZINE (at www.issuu.com). She also contributes artists’ interviews to the Hunter

Professional

Arts

Magazine

and

Gresford Monthly News. - Robyn Stanton Werkhoven © 2015

Letitia & Harry Tseng H90 x W60cm Oil/acrylic on canvas Portrait Artists Australia exhibition Sydney Parliament House 2013 Issue 11 - July

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Rhianna Griffith Actress & artist H120 x W 90 cm Acrylic / oil on board Finalist Portia Geach 2004 - Robyn Stanton Werkhoven Š 2015 Issue 11 - July

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THE HOSPITAL In 2014, after an accident, Robyn spent seven months in hospital and rehabilitation, during

this time she produced 500 drawings in a daily visual diary. In 2016 Maitland Regional Art Gallery will present an exhibition of selected drawings portraying hospital life, the dramas and humorous situations Robyn experienced

every day during her long and arduous recovery. “Only due to my love for art, reading, writing and technology ,did my sanity survive. I found refuge in my imagination and began to

obsessively draw each day – producing over 500 drawings of many different themes, but the hospital experience kept recurring as a prominent subject in my visual diary, 60 or more drawings.” - Robyn Werkhoven © 2015 Issue 11 - July

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Michael Winchester - actor and film producer H76 x W 56 Oil/acrylic on canvas 2011 Issue 11 - July

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Robyn Stanton Werkhoven - artwork can be viewed at:

www.studiolaprimitive.net

Artist John Turier H76 x W56 Oil/acrylic on canvas 2008 Issue 11 - July

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Some thoughts -

Max Howe

Then of course there is “for the right reasons” which leaves

so many interpretations open.

John Farnam left the stage crying on the first As for my own arrogance, I can assure you I no longer

night he performed. When I hear “Burn For You’’

have a fixed view on anything, much less in anything I

I can see the world would be a lesser place

would expect others to take seriously. I do know that I

without that song and so he deserves all credit

don’t know much and as such prefer to take on board

due for having fought the battle.

other people’s ideas and evaluate them for any glimpse of wisdom that may hidden in there but the pursuit is mostly futile. I must suggest to you that care needs to be exercised in

Some words have real impact like -

repeating some sayings.

“Nurse a mug and they will die in your arms” (Australian)

For example the next 3 are first year uni student sayings.

“Never give a sucker an even break” (American)

Van Gough is my soul brother. The whole adds up to more than the sum of the parts. Those who can do it and those who teach it.

“Once you drop you’re easy shooting” of a flock of birds)

( Think

“Easy come easy go” “Don’t lead with your chin” “Loose lips sink ships” Issue 11 - July

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I wrote the following out in one burst one night. Some of them are uselessly weird but some I think could have a use.

Everything works to some advantage.

Difference, appropriated, enriches.

Reality explained, blurs distinctions.

Good ideas excite nostalgia.

Flames of conscience become embers of justification.

Youth reverberates in a joyful exuberance of life.

Youthful purity is mitigated by social alienation.

Bureaucracy is a powerful survival tactic.

Capitalism is sustained by those who don’t take it seriously.

Music speaks most clearly of reality, and is then gone.

Self restraint reduces ecstasy.

Caring for each other can be like peeling an orange before eating it.

Trends are flimsy as a drunk’s argument.

Right and wrong is eternally debatable.

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 

The past composts the future. Successful plans accommodate reality.

Ideas, like flames, disintegrate if unfuelled.

Friends wash away like waves in a storm leaving only ripples.

Intent should be a criminal offence.

Action necessitates preparation.

The world is really only tangible as an instant.

Love is endless pure joy experienced in a split second.

Children divert horror.

Birth energizes and exuberates life.

Ego destroys equality.

Personality attempts to exonerate responsibility.

Love is irrational.

Generosity is self-justification.

Hatred is unconsummated revenge.

Unclean is a social perception.

Reality is tested by consequence.

Regardless of kudos humans que.

Is madness taking stock of reality.

Wrong and right reside in the same place. Issue 11 - July

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Piety is self delusion.

God is within and without. (think I have heard that before)

Love bridges loneliness.

Insecurity makes you lonely.

The last flicker of life should be as graceful as birth.

Life is an awkward journey of ultimate embarrassment.

Money is a lubricant for the poor and a curse for the unhealthy.

Wisdom disappears when stated as wisdom.

Real generosity is afterlife.

Laziness is luxurious.

Education is an inadequate trap.

Communication is an external and internal puzzle for the unwary.

Talk is wasted.

Creativity is spiritual efficacy.

Beauty is in the eye of the consumer.

Flatulence is fun.

Love is a blissful exaggeration of the essence of existence.

Hate is irrational fear of your own potential.

Sharing is a feeble attempt at being at peace with oneself.

Viewed at a distance, greed is hilarious. Issue 11 - July

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The young are greedy for experience and disdainful of wisdom.

Wisdom is a distillation of experience and knowledge.

Warfare is men’s business.

Peace is forgetting yourself.

Romance kindles love.

To forgive is to rise above the other.

Equality is essentially inequitable.

Distrust is mischievous.

Fidelity is fear of reprisal.

Laughter is a gift.

Crying is a gift.

Laughter is at midnight, crying best done with a lover in the afternoon.

Lovers kiss best.

Shopping is like commercial t. v.

Heroin is the jewel in the crown of death.

The media is the voice of our future.

Thinking is a convoluted process of discrimination.

Being drunk is a sad joke.

The computer chip is greater than the machine.

- Max Howe © 2015 Issue 11 - July

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This next lot were written out on the same day. 

We see. I don’t.

We know I know you better.

There are things only we know.

I don’t see what you want me to see because it is not there.

When we know nothing is worth knowing then we may begin to see how much we did not know.

When we both see the same thing at once, it is a precious and delicate moment of knowing love.

I know everything you knew would not be worth knowing.

Everything I know is known.

We both see, both know, and although it’s different we are sure we know what we both see.

If we all knew at once the world would change. (very 60’s. T.C.M.)

Seeing is an emotional experience. Knowing is an intellectual experience. Faith is for gamblers.

I am blinding.

I am more blind now.

Change is hardest for most.

Just some thoughts. Mostly I am overwhelmed. I have a friend who uses Heroin to contain and subdue all that happens in the universe of his mind. I paint. It’s not special. Max Howe © 2015

www.georgcello.com/loumax.htm Issue 11 - July

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Inside Outside H73 x W73 cm Acrylic/oil on canvas Max Howe (C0 2015 Issue 11 - July

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The End - oil / 0n canvas H105 x W155 cm

Max Howe Š 2015

www.georgcello.comloumax.htm Issue 11 - July

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A R T

A R T

N E W S

N E W S TIMEtopography with Tricia Flanagan Issue 11 - July

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TIMEtopography opens from 6-8 pm on July 16 and runs until16 August 2015. Hong-Kong based artist Dr Tricia Flanagan makes the passing of time and its effects on our bodies visually accessible in a new exhibition, TIMEtopography, opening at Newcastle’s Timeless Textiles Gallery in July.

The exhibition explores the geography of the body and its tempo-spatial relationship to systems that surround it. Tricia has created textile-based systems in her works that archive life’s journey. “I see my role as akin to that of a cartographer, creating tangible social objects that act as maps to help interpret our culture in motion,” she said. “I wanted to evoke moments of sleep, long walks and biological

expressions of time through DNA.” In the artwork BODYecology, for instance, the rhythms of sleep determine the depth of colour of a handspun merino lambs-wool thread, which is drawn at a constant rate across a portable dyeing machine. When the artist is sleeping soundly the thread dives deeply into the indigo dye bath, when lightly sleeping or stirring it is drawn through the shallows or skims the surface. In the day the resulting variegated coloured

thread is woven into a blanket, a physical embodiment of the ontological experience of sleep. TIMEtopography is built around four themes that inspire a search for ontological equilibrium, where time sleeping becomes productive, the expressive quality of walking is visually harnessed and generational time is reflected upon. Time is presented as an accumulation of stories captured in social objects and invested in material culture and practices. Issue 11 - July

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Dr Tricia Flanagan has been exhibiting internationally since the mid 1990’s and is represented in private and public collections in Australia, Ireland, Germany, Canada, Italy, Japan and China. She is a multiple award winner and her work has included four CASP-funded Public Art commissions and a UGCTD Grant to develop PIPA. She was a representative for Oceania at the Tournai Contemporary Textiles Biennial Belgium, a recipient of the Australian

Postgraduate

Scholarship

Award,

winner of the Max Fabre Foundation Award for Environmental Awareness and CeMoRe Visiting Fellow at Lancaster University in 2015. Tricia has completed a PhD in Public Art at the

University of Newcastle and a Master’s of Visual Art at Bauhaus University Weimar. She established the Wearables Lab at the Academy of Visual Art at Hong Kong Baptist University in 2009 where she currently works as Assistant Professor. Issue 11 - July

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CONTACT TIMELESSTEXTILES P 0408 483 913 E anne@timelesstextiles.com.au

String theory (and practice) workshop with Tricia Flanagan String is a basic material structure that is capable of binding things together and is embedded into many things that surround us in our everyday lives. It is hard to imagine a world without string. Flanagan visualises string as the basic building block of our universe, one that represents an alternative to long-held beliefs in particle-based theories. Her workshop teaches hands-on understanding of techniques to make string – exploring materials, properties and techniques in the first half of the workshop and introducing techniques to complete constructed material in the second half.

Dates: 3 days over two weeks, 18-19 July and 25 July 2015 (9.30 am – 4.30 pm) Issue 11 - July

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E Detail: Tribute to Nature—Robyn Werkhoven

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Laman Street Art Prize established in memory of the figs Hunter residents are invited to participate in the second bi-annual Laman Street Art Prize

established to remember the Laman Street figs. Theme: ‘Celebrating

Nature’

Prizes: Two Best-of-Show prizes ($2,500 each); Emerging Artist prize ($1,000); and People’s Choice prize ($1,000). Mediums that can be used: drawing, printmaking, clay, wood, fibre, metal or a combination of these. (There is no painting or photography.) The work must not measure more than 600 x 600 x 600 mm.

Exhibition dates: 22 January to 7 February 2016. Exhibition gallery: Back to Back Galleries, Bull Street, Cooks Hill. Deadline for receipt of entry forms: Monday, 30 November 2015 Entry forms contact Gallery: Back

T: 49 293 677

to Back Galleries

57 Bull Street Cooks Hill

NSW 2300

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FAN DONGWANG Shifting Perspectives: paintings 1995 - 2015 A twenty year survey of unique paintings by Chinese born artist Fan Dongwang. This exhibition explores the shifting borders of Asian and Australian cultures through a series of dynamic, large format paintings that use colour and motif to shift cultural perceptions in art. The works exhibit a refined attention to detail while exploring the global experience of shifting boundaries in this Asian century.

Exhibition 12 August - 5 September

The University of Newcastle

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

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Dawn Patrol

Dino Consalvo, John Earle and Peter Lankas Exhibition: 5 - 22 AUGUST , 2015 OFFICIAL

OPENING:

Saturday 8 August, 2pm

“Since late 2014, Newcastle artists Dino Consalvo, John Earle and Peter Lankas have been meeting mother nature before she breaks. They have been

ritually checking the paper and

arranging days in advance when and where they will meet with their paint brushes, canvas' and sketchpads before dawn. They set-up in the low light before the sun raises itself above the far horizon ready to capture in paint the first rays of the day

on the edge of the ocean�.

GALLERY 139 Newcastle sunrise - Peter Lankas oil on canvas 30x30cm

139A Beaumont St Hamilton NSW 2303 m 0434 886 450 Issue 11 - July

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2015 ADORNMENT 3 -

WILD Issue 11 - July

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2015 ADORNMENT 3 -

WILD

Artists! Following a successful exhibition in 2014 an invitation is extended to you to join this group exhibition at cstudios in 2015 from 5th September to 26th September

OFFICIAL OPENING Saturday 6th September 2.30 to 4.30 CSTUDIOS ART GALLERY, Shop 1/738 Hunter St, Newcastle NSW 2302 Director Jo Chisholm-Ray, Gallery open 12-4pm Wednesday –Sunday P: +612 4023 8927 m: 0407 107053 Or email Ann Sutherland : email: elizann53@hotmail.com

http://cstudiosartgallery.com.au/ https://wwwfacebook.com/cstudiosArtGallery Issue 11 - July

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EXHIBITION CALENDAR 57 Bull Street, Cooks Hill, Newcastle NSW

Ph: 49 293 677

10 - 26 JULY

31 JULY - 16 AUGUST

WINDOWS, DOORS and

THE TABLE

DOGS of VENCE

(ceramics)

Nicola Bolten & Linda Greedy

Sue Stewart, Sandra Burgess, Ali Sobel-Read,

(works on paper)

Karen Wood, Helen Stronach, Sue Jones

Anne Gazzard (ceramics)

June Wheen, Nicola Purcell, Pam Sinnott Issue 11 - July

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21 AUG - 6 SEPT

23 OCT - 8 NOV

AL FRESCO

FEAST

NSP Members’ Exhibition

Denise Spalding, Barbara Greentree,

(ceramics)

Anne Gazzard, Heather Campbell, Joan Robinson, Grant Keene, Nicola Purcell (ceramics)

11 - 27 SEPTEMBER

The Last Farewell, Von Bertouch

13 - 29 NOVEMBER

Gallery Revisited.

CANVAS & CLAY

Newcastle PrintMakers

Gary Boote (ceramics)

Workshop Miniprint Exhibition

Merran Kilgour (painting)

(printing & clay) 4 - 20 DECEMBER

2 - 18 OCT

Christmas Takeaway

LAND FORM MEMORIES

NSP Members’ Exhibition

Robyn Outram (ceramics)

Work can be “taken away”

Lara Seresin (painting)

Once purchased.

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Not As It Seems Dates: 19 June – 4 July Back to Back Galleries presents an exhibition by The Athena group. The group includes Jeanne Harrison, Helene Leane, Varelle and Amanda Hardy, Faye Collier, Sue Stewart, Pat Davidson, Bronwyn Greive, Sandra Burgess and Julie-Anne Ure. These artists work in a wide range of media, ceramic and textiles, printmaking, photography, painting and sculpture. None of the group is afraid to step into another media if it suits their exploration of a theme. The Artists write: Some of the themes explored relate to media, others focus on a personal or social issue and some develop both simultaneously. The works play with deception: of scale, perspective, the juxtaposition of objects, media which appears to be, or becomes, something else. Themes range from landscape, including the hidden beauty of ordinary insignificant places, to the distortions created by water in tiled swimming pools. The issues embraced are diverse. The real cost of cheap clothing, the protection of our land in the Coal Seam Gas fight, even the transient and personal nature of perception.

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Back to Back Galleries 57 Bull Street Cooks Hill

NSW 2300

T: 49 293 677

www.newcastlepotters.org.au Issue 11 - July

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STUDIO LA PRIMITIVE Contemporary artists

ERIC WERKHOVEN

& ROBYN WERKHOVEN

ARTS ZINE available at

www.studiolaprimitive.net

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Profile for Robyn Werkhoven

Arts zine july2015  

Arts and Literary magazine, featuring artists' interviews, exhibitions, poetry, essays and art news.

Arts zine july2015  

Arts and Literary magazine, featuring artists' interviews, exhibitions, poetry, essays and art news.