Arts zine july2016

Page 1

studio la primitive

arts zine issue 16

July 2016


studio la primitive EDITOR

Robyn Stanton Werkhoven CONTRIBUTORS

Above: Through the Trees, 10x10cm , pencil on black card, - Nicola Bolton © 2011

Adrian Lockhart

Mal Cannon

Nicola Bolton

Yosua Aethyrin

Simone Turner Ryan

Brad Evans

Nigel Stokes

Eric Werkhoven

Helene Leane

Lorraine Fildes

Gallery 139

Art System Wickham

Nanshe Gallery

Robyn Werkhoven

Timelesstextiles Front Cover : Seven Bathers, mixed media on paper. H 100 x W 130 cm, Adrian Lockhart © 2009 Issue 16 - July 2016



Above: Artists’ Café I, acrylic on canvas, H 40 x W 30 cm Mal Cannon © 2016 Please do not copy articles in this magazine without written permission of the Editor. Copyright © 2016 Studio La Primitive, All rights reserved.

Editorial………………………… Robyn Werkhoven


SLP Antics………... …………


E&R Werkhoven

Featured Artist ………………… Adrian Lockhart

6 - 23

Poem …………………………….Eric Werkhoven

24 - 25

Poem ……………………………John O’Brien

26 - 27

Featured Artist ………………… Mal Cannon

28 - 33

Poem …………………………… Brad Evans

34 - 37

Featured Artist …………………. Nicola Bolton

38 - 51

Poem…………………………… Eric Werkhoven

52 - 53

Featured Artist…………………. Simone Turner Ryan

54 - 63

Poem……………………………. Brad Evans

64 - 65

Featured Artist ………………….Nigel Stokes

66 - 75

Shanghai ……………………….. Lorraine Fildes

76 - 85

Poem……………………………..Yosua Aethyrin

86 - 87

Exhibition………………………. Helene Leane

88 - 89

ART NEWS…………………….

90 - 110

Back Cover…………..

111 Issue 16 - July 2016


EDITORIAL Greetings to all our ARTS ZINE readers for July 2016. July issue 16 of STUDIO LA PRIMTIVE ARTS ZINE includes interviews with nationally and internationally recognised artists. Our leading article features Adrian Lockhart’s work. From the Hunter Region NSW, interviews with painters Mal Cannon, Nicola Bolton, Simone Turner Ryan and we meet blacksmith/ artisan Nigel Stokes. Lorraine Fildes visits Shanghai, China.

Don’t miss reading our new essays, poetry, art news and information on forthcoming art exhibitions. The ARTS ZINE features 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 2016.

Deadline for articles - 15th August for September issue 17 2016. Email: Regards - your editor Robyn Werkhoven

Issue 16 - July 2016


studio la primitive antics

The Parade - E & R Werkhoven (C)2010 Issue 16 - July 2016



Morning Sun, mixed media on paper, 150 x100cm, Adrian Lockhart © 2014

Issue 16 - July 2016


Adrian Lockhart - Interview Life through light and line. For me, making marks, started early in my life. “I was born in Queenstown on the rugged west coast of Tasmania in 1947. My father was transferred there as a teacher at the local High school. It was a tough town. There weren’t many teachers’ sons, but a lot of miners’ sons in the Queenstown area. And my three brothers and I were singled out for their aggression. My older brothers showed me how to defend myself but I hated fighting. I was a quiet and shy kid and it wasn’t in my nature. It was a place of rugged rawness. But there was also much beauty. The landscape was quite inspiring, even for a youngster like me. Although, another side to these mostly isolated places, could cause me anxiety and fear, with heights, emptiness and a wild, unknown horizon. My first memory of my passion to make marks is quite vivid. It was in kindergarten, when I first started school. I walked into a classroom that seemed to be full of easels, big sheets of paper, paint -brushes and pots of red, yellow and blue paint. I don’t remember painting. I was probably too engrossed.” Issue 16 - July 2016


There’s Burgundy wine down the front of my shirt. Woodblock print H 25 x W 20 cm Adrian Lockhart (c)2014 Issue 16 - July 2016


“But it was walking home through the streets of Queenstown that afternoon with my mum and my painting that I remember fondly. I felt so good and proud. It’s the same feeling I still get today after a day in the studio when all goes well. It would be good to still have that painting from that day, no matter what it looked like. Luckily, my Dad was transferred out of there to the big smoke of Launceston when I was 5.

After discovering the joy of mark making, no piece of paper at home was safe from my drawings. When mum went to make up a shopping list, her frustration at finding all her pads scribbled upon, resulted in a solution. I was given my own pads. It was the start of my sketchbooks, which numbers 246 today. Then it was the years of listening to the radio with its serials, radio plays and comedy that resulted in visual journeys of people and places. Drawing all the time. The Saturday matinee movies also took me on other journeys. On the walls of movie sets were paintings, sometimes classical, sometimes modern. I’d daydream of painting pictures like them in bed at night. One

film I remember well was Alec Guinness’s “The Horses Mouth” with bold expressionist works. I wouldn’t have seen “La Dolca Vita” with a Morandi in the background back then, but it’s an example of paintings on set walls. I did see “North by Northwest” and was impressed by the then modern architecture in the featured house.”

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Morning Drawings Acrylic on canvas H 134 x W 100 cm Adrian Lockhart © 2004

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“The years of schooling for me in Launceston weren’t very productive or successful. The most productive gain of knowledge for me at the time was the discovery of the Queen Victoria Museum and Art Gallery and its contents. With regular travelling exhibitions like the sculptures of Rodin, Australian painting like Boyd, Olsen, Dickerson, Tucker and with its own collection of colonial art of John Glover etc., I spent many hours there. I was about twelve when I started to paint. I was given a set of oils by my eldest brother who was studying architecture at the time, and painted on what ever I could find like old bed sheets, canite and Masonite, inspired by images from the gallery.

Things really started for me when I left school to work as an artist at the Launceston Examiner newspaper. Art-based career opportunities were very few in Tasmania and when my journalist brother came home one night and told me that an artist was leaving the paper soon, I jumped at the chance to apply for the job. My portfolio was my paintings and sketches. I felt awkward walking down the street and into the newspaper

office with a heavy load of canvases and folders under each arm. But the head of the art dept., Allan Langoulant was impressed with the content of my bundle, and I was in.”

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Sunbathers Acrylic & pencil on paper H 29.7 x W 21 cm Adrian Lockhart © 2015 Issue 16 - July 2016


“This was long before Nike grabbed “Just do it” as a commercial slogan. Actually Andy Warhol said something like that before it became Nikes’. He said, “Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.” Allan, my boss, was a great mentor. We did have time now and then to talk about art. I was required to enrol in night art classes at the tech college, where I did life classes from the nude model, and pencil drawings from plaster casts and still lifes under a single light source to study light and tone. My first lessons in light and line. Although, I wasn’t quite aware of the significance of this at the time.

Allan brought in art books like “Private View”, about what was happening in London, and we got the Time

magazine each week. It was about the time Robert Hughes become the art critic. I also discovered The Sunday Times colour supplement with its many articles on the international contemporary art world. Things were exciting in the sixties with London and New York being the centres of creative innovation. At the Examiner, I did editorial concepts and design, advertising ideas and all the drawings and photography that were required to execute them. Having these magazines and books kept me up to date on what was happening elsewhere. And I was learning quickly how to take advantage of this input. As it has been said, to beg, steal and borrow is a great way to learn. I was also told by Allan to “open the mind” and I’ve tried to keep my mind open ever since.”

Issue 16 - July 2016


The Piano has a Drinking Problem Charcoal, acrylic, crayon, collage on paper H 124 x W 60 cm Adrian Lockhart © 2014 Issue 16 - July 2016


“It was then time to move on to bigger things, and being a keen surfer, I left Tasmania in 1970 for Sydney where I thought I’d further my career and find more waves. Luckily I soon had a well paying job as an art director. However, I felt, like many before me, Lloyd Rees, Whitely etc., the need to paint vs. the need to make money. Fortunately for me, after a full day working at someone else’s agenda, I always found renewed energy to do my own thing at home. It meant I was soon able to exhibit my own work in art galleries. Some of my first shows were when I got involved with Billy Blue magazine. There were regular gatherings

with people who were being published in these pages. John Newton, Dean Thomas, Peter Carey and Ken Done. Ken was impressed with my work and asked if I’d like to exhibit in the gallery he had just opened in North Sydney. I showed in his gallery for a couple of years until Robin Gibson saw my work at a framers’ studio and asked

if I’d like to show with him. He had the likes of Brett Whitely, Tim Storrier and Bryan Westwood, in his stable. It seemed like a good move. At about this time I was working through the influences of David Hockney. Prior to this I felt, to progress and find my own mark, I should isolate myself and stop looking at other artists of reputation.” Issue 16 - July 2016


Three Bathers & Striped Towel Mixed media on paper H 150 x W 100 cm Adrian Lockhart © 2014 Issue 16 - July 2016


“I found out quite quickly that you can’t develop in a vacuum. I had to go back to the philosophy of beg, steal and borrow. And pit myself against the influential master. And, as Matisse said, if you’re good enough, and strong enough, you’ll come out the other side with your own mark and personality.

From then I would say my work is summed up as “Life through light and line”.

The figure has always been an important aspect of my work and when I met and married Caren, the muse walked into my life. In fact with our collaboration of her prose and my images, like “Bird Book” and

“Monotypes in Blue”, it’s been the artist, the muse, and the muses’ musings. It’s quite the romantic artistic story. And with an interest in photography, light, and artists like Chardin and Morandi, still life has also played a large part.

What has also come to interest me is the blend of figurative and abstract. Working on detailed figurative motives and then simplifying to the point of abstraction in others. And also at this stage, because of the subject matter of my work, still life, figure and landscape, I worked on my composite pieces.”

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Two Friends, acrylic & charcoal on paper, H 132 x W 173 cm, Adrian Lockhart © 2014 Issue 16 - July 2016


“I started to exhibit in other states in the 1990’s. Perth, then Brisbane, Melbourne, Hobart and Canberra. And in 2001, California.

Major exhibitions in Australia have been at the New England Regional Art Museum and four shows at the

Maitland Regional Art Gallery. The most recent being “Shorelines” about my love of water and surfing, and “Book Marks” about my artists’ books.

From the west coast of Tasmania to my studio in Sydney today, I’m always working at finding marks that say

something about life and to reflect on what I was told all those years ago -

“Open the mind”, “Just do it”, and as T.S.Eliott recommended, always be an explorer. - Adrian Lockhart © 2016

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Studio Figures, acrylic on canvas, H 100 x W 134 cm, Adrian Lockhart © 2005 Issue 16 - July 2016


Red Studio, acrylic on canvas, H 100 x W 134 cm, Adrian Lockhart © 2005 Issue 16 - July 2016


Beaker & Seascape Acrylic on canvas H 150 x W 100 cm Adrian Lockhart © 2007 Issue 16 - July 2016


Next exhibition: Frances Keevil Gallery 12 - 30 October, 2016

Beach Figures, acrylic on canvas, H 134 x W 100 cm © Adrian Lockhart

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Collaborative drawing E&R Werkhoven Š 2016

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READ ON AMON Eric Werkhoven To stay afloat in a world that seems so structurally sound. In the deployment of making life easier.

Among these lettered remains, therein lies the birth of something else. Crumpled like an old being with eyes of a deep pain. And all else adds to the fulfilment of a promise to love you regardless. For breath to hold its vigil, in rooms adjoining and places yet unearthed. For reason to grapple and jostle and burn our consciousness. To a line so well defined, that nothing else can stay there for long. Drifting into permanent schemes, to enforce among its followers a congenial anticipation. To instruct those most willing to undergo a test of their own making.

In these many waiting periods, we have plenty of time to absorb personal requests. Not to be mutually distracted. Alas, if it is to our benefit and enjoyment, not to desist! But read on Amon, Read on. - Eric Werkhoven Š 2016 Issue 16 - July 2016


Poem Heavy Reason - John O’Brien, award winning TV & film script writer . Collaborative drawings - E&R Werkhoven © 2016 Issue 16 - July 2016


Heavy Reason I saw a woman with a spider in her underpants. She was moving, she was dancing cos she had to dance. I saw a man who held his own upon a horny beast. I saw confusion, celebration and a colour feast. I saw their eyes, I wondered why, I felt them in my reach.

But what they offered was a heavy reason. I saw a god within the temple of a coloured stone. She was solid she was flying she was indisposed. I saw a war beneath a peace beneath a lucky eye. I heard ululation, exultation, laughing cries. I saw their eyes, I wondered why, I felt them in my reach. And what they offered were some heavy reasons.

-John O’BrienŠ 2016 Issue 16 - July 2016


Mal Cannon

Downtown, acrylic on canvas, 76 x76 cm Mal Cannon( C)2016

Issue 16 - July 2016


MAL CANNON - INTERVIEW - Barbara Nanshe Born 26 September 1945 Australia, Mal Cannon took up drawing at Julian Ashton’s Art School as he had an interest in drawing from a young age. At the time it was the only place available to full time workers as

classes were offered at night. It was a traditional art school based on old methods and rigorous drawing techniques of form and tone. The school provided him with a disciplined regime of drawing from life, from the model, still life, and the landscape. Mal’s love of drawing led him into painting. He started painting in 1983, studying the dynamics of form which lead him to his love of abstraction. Mal believes that classical painting is the basis or foundation to abstract painting. Without that discipline and training true abstraction could not be achieved. As with figurative painting, Mal re-lives the tensions of exploring form, in his abstract paintings.

Mal has been inspired by painters such as Ian Fairweather, Richard Deibenkorn, William De Kooning,

Jackson Pollack and Elizabeth Cunnings.


has had a long interest in the Eastern concepts of

liberation, freedom from limitations and concepts of self. This was reinforced when reading of the many great visual artists who were interested in painting from an inner consciousness without the interference from classical ways of seeing. “I am inspired by those and other great painters to try and match their achievements in my own limited way.” says Mal. Issue 16 - July 2016


Artist Café III, acrylic & ink on canvas, H 30 x W 40 cm, Mal Cannon © 2016 Issue 16 - July 2016


Mal felt he could express more through the distortions in abstraction and the flat picture plane than any other mode of expression in painting. “I find the landscape grid or topography a good basis to hold symbols and shapes together, hopefully in unity, a structural underlay to things. The painting is like a battlefield. Nothing stays the same, everything is subject to change. Things suggest themselves through gesture or form and one follows the suggestion, the tantalising trail. This usually ends in disaster unless the focus is very determined. This is when the painting tells the artist what it wants, what it demands to deliver. There is a relationship between the painter and the work which demands an honesty hard to sustain. A successful painting finishes suddenly, with no forewarning, its all over. The painting shuts you out, you are no longer in it.” - Mal Cannon.

Mal Cannon has had many very successful sell out shows in Sydney and Newcastle since the 1990’s. From 2012 to 2016 Mal has worked constantly to produce work for four successful solo exhibitions and eight group

exhibitions at Nanshe studio gallery. Exhibitions such as City Life, Territories’ Arcadia, and

Colour Rhythms have several elements in common- landscape, colour and abstraction.

“Landscape as Pattern” is his upcoming exhibition at Nanshe studio gallery from 27 July to 20 August 2016. Opening Event is on Saturday 30 July at 1pm to celebrate Mal ’s life and work.

- Barbara Nanshe © 2016 Issue 16 - July 2016


City Streets, acrylic on canvas, H 101 x W 101 cm, Mal Cannon © 2016 Issue 16 - July 2016


“Landscape as Pattern” exhibition at Nanshe Gallery from 27 July to 20 August 2016. Opening Event is on Saturday 30 July at 1pm to celebrate Mal’s life and work. Issue 16 - July 2016


sideswipe (forward gear) - Brad Evans when you have one you'll either know it or you won't.

When I had mine (and I've had a few now) I could see it coming a guy in a pickup running the red light all in slow motion. I felt no emotion And no fear within my tiny hatchback And I sensed that he would hit the passenger door behind me

and he did. My head hit the corner post And the car went sideways before it stopped. I managed to open my door and found my tools had flown out of the hatch Issue 16 - July 2016


And were now scattered all over a college front lawn, some students were arriving for their lessons. The pickup trucks arrived first Ahead of the ambulance Ahead of everyone When a policeman finally came,

He came for the details... The driver finally got out of his vehicle and tried a usual trick: blaming me for his own wrongdoing, but on that occasion luck was with me A solicitor stepped forward And reminded the luckless driver That red lights tend to exist For a reason.

Issue 16 - July 2016


For a reason. That red lights tend to exist And reminded the luckless driver A solicitor stepped forward but on that occasion luck was with me blaming me for his own wrongdoing, The driver finally got out of his vehicle and tried a usual trick: He came for the details...

When a policeman finally came, Ahead of everyone Ahead of the ambulance The pickup trucks arrived first some students were arriving for their lessons. And were now scattered all over a college front lawn, and found my tools had flown out of the hatch I managed to open my door

Issue 16 - July 2016


And the car went sideways before it stopped. My head hit the corner post and he did. the passenger door behind me And I sensed that he would hit And no fear within my tiny hatchback I felt no emotion all in slow motion.

a guy in a pickup running the red light I could see it coming (and I've had a few now) When I had mine you'll either know it or you won't. when you have one sideswipe (reverse gear) - Brad Evans Š 2016 Issue 16 - July 2016



Issue 16 - July 2016



Nicola Bolton is a painter and illustrator. She is very passionate about the Australian landscape, both coastal and rural. She gets inspiration for much of her work from her childhood home, a rural property in Goulburn NSW . Since moving from Newcastle to Bolwarra, near Maitland NSW in 2014, she is again in a rural environment and finds inspiration from the countryside around her. She completed the Advanced Diploma of Fine Arts at Newcastle Art School (TAFE) in 2011 and the same year had two of her paintings selected for the 2011 NSW Parliament Plein Air Painting Prize, won the 2011 Wollombi Valley Arts Council Emerging Artist Award and was a finalist in the Ford Grant at the Newcastle Art School. Nicola continues her art practice and exhibits her work in a

number of galleries in the

Newcastle area and her work is in private collections in UK, Japan, USA and Australia.

Opposite page: Evening at Bolwarra 1, oil on canvas, 30 x 30 cm Nicola Bolton Š 2014 Issue 16 - July 2016


Nicola Bolton © 2016 Issue 16 - July 2016


When did your artistic passion begin? “My earliest memories of my love for art and craft are from about three years old. . We had a babysitter who taught my siblings and I to make Xmas decorations. Being the youngest, my decorations weren't as impressive as my older sister’s, and I remember this overwhelming desire to want to do art for the rest of my life. Art was always my favourite subject from kindergarten, right through to year 12. I remember in kindergarten painting a picture of a tree full of autumn leaves. The teacher was so impressed with it that she made me go to show the year 6 class... A very proud moment. Funny thing is that I'm still painting trees. I was also very fortunate to have a truly wonderful and inspiring art teacher in high school who encouraged me to go to art school and I've never looked back.”

Describe your work. My paintings and drawings are predominantly romantic tonal landscapes. Growing up on a rural property outside Goulburn I have a great love and passion for the Australian landscape and most of my art is focused on the rural environment. I am happiest when I'm painting or drawing en plein air - sitting out in the bush. The scale of my work ranges from tiny detailed drawings right through to large bold paintings. I'm a keen photographer and printmaker, and I continually exploring new mediums and subjects. I’ve recently discovered ceramics, particularly the sculptural side of ceramics and this year I've joined a class with Newcastle' s Pablo Tapia, learning the art of portraiture.

Issue 16 - July 2016


Three Waratahs - dry point etching,

H 19 x W 25cm , Nicola Bolton © 2016 Issue 16 - July 2016


What inspires you? “In a word...nature! My waking moments are spent looking at the environment around me. Growing up in the country and now living in a semi rural environment I am constantly looking at the trees, the river and its reflections, the sky and its colours and the micro world of flowers and creatures in my garden. I am never without my camera and am forever photographing things that I can draw and paint for the next body of work. I am continually inspired by other artists. I try to do a workshop or class at least a couple of times year. I have been lucky enough to have done workshops with artists such as Wendy Sharpe, Jo Bertini, Elizabeth Cummings and recently Luke Sciberras. To learn from artists like these and to see how they practice and work is invaluable and very inspiring. “

Name your greatest achievement . “When I was still at art school ( Hunter Street TAFE) in 2011 I entered two paintings into the NSW Parliament Plein Air Painting Prize. Both were selected. To have my work hung in Parliament House, on the same wall as a Tom Roberts, and to be surrounded by so many wonderful Australian artists was not only exciting but it also gave me the confidence to continue with my art.”

Issue 16 - July 2016


The Birthing Tree, Larapinta Graphite on timber 30 x 30 cm Nicola Bolton Š 2013

Issue 16 - July 2016


What are you working on at the moment? “I have just completed a body of work for my next solo exhibition in July at Art Systems Wickham…. The gentle light of day. It is a series of graphite and charcoal drawings of the landscape at various locations between the Hunter and Canberra. I am now back to painting again and working towards the next

exhibition…. what that will be, I’m not sure yet.”

Your future aspirations? “To continue painting and drawing the things and places that move me, to exhibit my work and learn from other inspiring artists.”

Other interests? “I am a very keen gardener and have recently moved into a Late Victorian house that turned 120 years old last year. It has a beautiful, well established garden that is constantly needing attention. So between my art, family, friends, gardening and animals my days are joyous and full.”

Issue 16 - July 2016


Breath of Dawn - charcoal on paper, H 80 x W 100cm , Nicola Bolton © 2012 Issue 16 - July 2016


Afternoon Rain at Paterson, charcoal on paper, H 61 x W 40 cm, Nicola Bolton Š 2012 Issue 16 - July 2016


At the Bottom of the Garden, coloured pencil on black card, 10 x 10 cm

- Nicola Bolton Š 2011 Issue 16 - July 2016


Wooden Fence, coloured pencil on black card, 10 x 10 cm - Nicola Bolton Š 2011 Issue 16 - July 2016


Forthcoming exhibitions-

'The gentle light of day - Tonal landscape drawings at dusk and dawn ' at Art Systems Wickham, 40 Annie St Wickham, Newcastle

15-24 July 2016.

The official opening is on Saturday 16 July 3-5pm.

'The gentle light of day - Tonal landscape drawings at dusk and dawn ' “I render my tonal landscapes in charcoal and graphite, to capture the gentle, romantic light of dusk and dawn. These moments are enchanting; an air of quietness for the contemplation of time that has passed and of things to come. The magical moments of dawn, just before the shadow of night sky lifts, when the stars go out one by one and the world begins to stir. A soft grey light pushes away the darkness of night and a symphony of birds slowly wakes to sing sweet tunes, welcoming a new day full of vibrant colour and endless possibilities. My drawings also recall the breathless dusk, when the orchestra of the day falls silent and a curtain of grey gently settles over the landscape. Another day has come to an end. For some, a feeling of peace and fulfillment; but for others, a time of reflection and sadness”. - Nicola Bolton © 2016 Issue 16 - July 2016


'The gentle light of day - Tonal landscape drawings at dusk and dawn ' Art Systems Wickham, 40 Annie St Wickham 15-24 July 2016. Issue 16 - July 2016


ESSAY - ERIC WERKHOVEN A re-enactment for the idea to find a foot hold. A meteoric ride to fall head long in love with everything. Sobering up when it is time to fall apart and disintegrate, under far less loud protests of the self. Whose defeat is paramountly linked to victory, incurred by the losses of its ardent self control, despite all the finer details that see through us, to remain defiant.

Each sight, each pin cushion, of a finger touching a note on the key board

of letters and figures. To have felt the marbled promises of each other’s life, flow from one to each other in the wider world of compromises and cascading sounds, that bring the tears so close to our cheeks. Issue 16 - July 2016


For what lays at the epicentre of our happiness, remains half shrouded in mystery.

The act of moving on, without us, as if we are just passing through filled with the explicit findings. To connect on these briefest moments, that a photo can be made.

Our daily lives evolve around the hub and slump, of having seen it all, in all its endless variety.

Say, that in all these hedonistic spring board activities, the act of being here will surpass its expectation, for our own metaphysical analogies to hone in. - Eric WerkhovenŠ 2016

Issue 16 - July 2016



Tillegra Crossing, acrylic on board, H 39 x W 76 cm, Simone Turner Ryan © 2016 Issue 16 - July 2016



Simone Turner Ryan a contemporary photo realist, her work celebrates rural life. Born in 1972, Simone is the Fourth generation on both sides of her family to call Dungog, in the Hunter Valley, NSW, home. Inheriting her father’s ability to draw with attention to detail, Simone is otherwise a self-taught painter in acrylic and enamel. Her artistic passion began as a six year old, drawing kangaroos and flamingos at school. Later inspired by scientific illustrators Simone drew and painted in water colour, animal and plant specimens from the garden, bush and local areas.

Upper Chichester - Timberline, acrylic on board

- Simone Turner Ryan (C)2016 Issue 16 - July 2016


One of the youngest winners of Maitland Secondary Student Art Prize in 1986. She exhibited work at Sydney’s Royal Easter Show – Under 19’s Section in 1989.- 91.

In 1991 Simone left school to concentrate on commissioned paintings.

Simone describes her work as – “ Obsessive detail no matter what the medium.” She loves recording present day and local history in a traditional, realist style, valuing quality over quantity. Simone uses acrylic on wood, instead of canvas, for an archival advantage and enamel on wood or metal.

Left: Painted milk can - Simone Turner Ryan © 2016 Issue 16 - July 2016


‘Job: Dun”, acrylic on board, H 47 x W 61 cm, Simone Turner Ryan © 2016 Issue 16 - July 2016


Her inspiration - “Comes from rural life, growing up both in the bush, cutting timber and on the land surrounded by working and native animals”. “My Enamel Painting at present includes a dozen milk cans collected over the years from Munni, Quart Pot Creek Road and Bendolba, all once great dairies in our shire.

I wish to record the history of scenes from the relevant dairies on the cans or animals on others. At present I’m working on a commission of a 31 inch round saw blade depicting portraits of five horses and two dogs”. Selling through word of mouth, with fifty per cent of works been commissioned which include milk cans and saw blades. Forthcoming exhibitions, depending on commissioned works, I hope to exhibit at Singleton Art Prize in July, Dungog and Scone Art Exhibitions in September. Represented in private collections in Australia, Canada, Germany, United States and the Netherlands. Rural landscapes are her specialty. Simone’s painting are available at Dungog by Design Gallery / shop at 224 Dowling Street, Dungog NSW…..commissions welcomed. Issue 16 - July 2016


Dungog View, acrylic on board, H 67 x W 107cm, Simone Turner Ryan © 2016 Issue 16 - July 2016


Bendobla, acrylic on board, H 61 x W 91 cm, Simone Turner Ryan © 2016 Issue 16 - July 2016


Mernot NSW, acrylic on board, H 84 x W 113 cm, Simone Turner Ryan © 2016 Issue 16 - July 2016


Kimberley Ringers, acrylic on board, H 38 x W 58 cm. Simone Turner Ryan © 2016 Issue 16 - July 2016


Leaburn, acrylic on board, H 30 x W 76 cm. Simone Turner Ryan Š 2016 Issue 16 - July 2016


GARBAGE - Brad Evans walking along the footpath her B&W portrait left by the side of the road... I stop to take it all in and realise that what had been on her mantelpiece for most of her life was now waiting for the bin collection.

I look to my right her house now empty and up for sale.

Issue 16 - July 2016


I glance back at the portrait and see a young, beautiful woman in the photo her hair in 1940 buns

her eyes sparkling and full of life, hope, promises

and wishes. did she have a family or are they all gone now? I start walking again, my trivial thoughts stolen by her portrait now left by the side of the road now waiting for the bin collection.

- Brad Evans Š 2016

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Issue 16 - July 2016


Nigel Stokes, blacksmith and owner of Phoenix Forge at Glen Oak. “I am sometimes asked why and when I became a blacksmith and was it something I always wanted to be. I could make up a fantastic story but the truth is a little different. I came from a coal mining family going back

5 generations in the UK, so it seemed the natural thing for me to do. At the interview for the National Coal Board, which was scary in itself for a 15 year old, I was given the option of coal miner, fitter or electrician. To be honest none of those filled me with enjoyment and wonder, so I was thinking carefully about my answer when one of the interviewers mentioned they were starting a new apprenticeship called a Blacksmith/Plater/Welder so I thought “hey why not” and 2 weeks later I was all signed up and officially in the workforce.”

“Most coal mines in those days had blacksmiths, with the main work load being the forging of tools such as chisels, spanners, cold sets, brackets and pipe clamps among various other general items. Afternoon and

night shifts were the only times we could do foreign orders and fancy ironwork such as gates, hanging basket brackets and of course lots of fire tools, as everyone had coal fires in those days. I stayed in the industry for 7 years before deciding to have a change of direction which eventually brought me to where I am now.”

Issue 16 - July 2016


Two stunning metal holders by Nigel Stokes. Issue 16 - July 2016


“It was 1982 and I was still working in the mining industry for a major equipment supplier which took me to India the US and Australia. My first trip here was in 1985 to Lithgow in Winter, just like being at home, and then in 1986 to Wollongong in Summer,

now that’s more like it, but my next trip did not happen until 1994. Cutting the story short we immigrated out to Australia in 1995, still with the same mining

company for a brand new life. I had not picked up a hammer since 1982 and had not really thought about








demonstrating at the Newcastle show around the year 2003. After a short conversation I was invited

to join the Artist Blacksmiths Association of NSW who had their headquarters at Timber town in Wauchope. Eventually I became more involved with the group taking the position of President for a few years and currently Treasurer.”

Nigel Stokes at work. Issue 16 - July 2016


Nigel Stokes at work.

Decorative wall piece - Nigel Stokes. Issue 16 - July 2016


“So where am I now as a blacksmith? I set up my forge around 6 years ago in a small shed at home with just the basic equipment. This allowed me to produce traditional items, but nothing too big due to lack of space. When I did need the room I had to use the garage floor to lay things out so not the best option.

My next big step was and still is, going from traditional to contemporary and this is a challenge for me. I look at some of the Association members and they turn out some great pieces of artwork. For me it’s not the doing that causes the problem, it’s more around where the idea comes from. Is it left brain versus right brain and my engineering background hardly helps as I see in straight lines. I suppose art is whatever is in the eye of the beholder, so hopefully I am an artist in someone’s eyes. The Association did have an exhibition

of work at the Manning Art Gallery in Taree a few years ago titled “Force”. The piece I put in the exhibition was called “Gravity is a Myth” which actually had bends in it not just straight lines. It was good fun and we have been asked to exhibit again when time and floor space permits. I currently sell some of my work through Dungog by Design, which is a wonderful mixture of local artisans so I am hopeful that some of their artistic flair will stick to me.

Looking at the future, I am halfway through the planning of a new workshop/forge and this will allow me to work on larger pieces that will be more contemporary, but the power hammer may upset the neighbours. Let’s see what the future brings.” - Nigel Stokes © 2016

Issue 16 - July 2016


Book Stand - Nigel Stokes.

Wizard Head Hanger - Nigel Stokes. Issue 16 - July 2016


Poppy - Nigel Stokes.

Metal Stand with world globe - Nigel Stokes. Issue 16 - July 2016


"I enjoy many facets of the craft from traditional methods through to the modern art pieces and it is all about what your mind can perceive. Seeing a finished piece whether it is for home or a customer always brings a smile to my face."

Clock - Nigel Stokes. Issue 16 - July 2016


Nigel Stoke’s work is available at

DUNGOG BY DESIGN 224-226 Dowling St, Dungog. NSW. Mon - Fri 10am - 4pm, (closed Tues & Wed) Sat & Sun 10am - 3pm.

The Artists Association NSW is a group of amateur and professional blacksmiths who meet on a regular basis for hands on activities shaping hot iron. Check out their website Photos curtesy of Nigel Stokes (C)2016 Issue 16 - July 2016



This Pavilion, with highly decorative roof and walls, overlooks a large rockery and a goldfish pond.

Issue 16 - July 2016


Two Icons of Shanghai The Yuyuan Garden and The Oriental Pearl Radio & TV Tower The Yuyuan Garden This Ming Dynasty garden is set in a landscape style which has evolved over 3000 years. The aim was to create an idealized miniature landscape to illustrate the harmony that should exist between man and nature. A typical Ming Chinese garden is enclosed by walls and includes ponds, rockeries, trees and flowers, and various pavilions within the garden - all connected by winding paths. By moving along these

paths visitors see a series of carefully composed scenes, unrolling like a collection of landscape images. Yuyuan is a typical Ming Dynasty Garden. It was specially built by Pan Yunduan - a government officer during the Ming Dynasty (1368-1644) - for his parents as a place to enjoy a tranquil and happy time in their old age. Yuyuan means "Garden of Peace and Comfort". The garden was completed in 1577. Yuyuan is a maze of Ming Dynasty pavilions, elaborate rockeries, arched bridges, and goldfish ponds, all encircled by an undulating dragon wall. Occupying just 20,000 square meters (about five acres), it nevertheless appears quite large, and at every corner you view an entirely new prospect. The exquisite layout and the artistic architecture of the pavilions made this garden the highlight of my visit to Shanghai. Issue 16 - July 2016


In its 400 years of existence, Yuyuan Garden has undergone many changes. During the late Ming Dynasty, it became very dilapidated with the decline of Pan's family. In 1760, some rich merchants bought it and spent many years restoring the landscape garden and reconstructing the buildings. During the Opium Wars of the 19th century, it was severely damaged. The garden underwent a five-year restoration project in 1956. It was opened to the public in September, 1961. It was then again partly destroyed in the Great Cultural Revolution (1966-1976). During 1986-1993 the government restored the garden and buildings and this is what we see today.

Left: image: Both rockery and goldfish pond can be contemplated when sitting in this small but delightful outdoor pavilion. Issue 16 - July 2016


What a magnificent sight! Your eyes follow the beautiful flowering magnolia tree to the roof top where a warrior on a horse confronts a dragon. Issue 16 - July 2016


Taking a photo looking into the light results in a wonderful silhouette composition of the tree branches and decorative roof. Issue 16 - July 2016


Each end of the dragon wall enclosing the Yuyuan garden is topped with a magnificent dragon head - looking savage enough to prevent evil spirits from entering the garden. Issue 16 - July 2016


Taking a photo looking into the light results in a wonderful silhouette composition of the tree branches and decorative roof. Issue 16 - July 2016


The Nine Lion Study looks out onto a small stream and tree lined pathway. Issue 16 - July 2016


The Oriental Pearl Radio & TV Tower

Shanghai was once known as the "Paris of the Orient", it is now the shining star of China's thriving economy. I arrived at The Bund at night and the lights were amazing. I was standing on the old side of

Shanghai – the section that had been built by foreign powers and named The Bund. I was looking across the Huangpu River to the Pudong district, the new futuristic skyscraper area of Shanghai. The Oriental Pearl Tower imposed its presence on the area. It symbolizes the city's ambition to be part of the modern world. Construction was began on the Oriental Pearl Tower in 1991, and the tower was completed in 1994. At 468m high, it was the tallest structure in China from 1994–2007, when it was surpassed by the Shanghai World Financial Centre. The tower is brightly lit in different LED sequences at night. As you can see from the two photos of the Tower area all the buildings are brightly lit and often change colour. I was lucky enough to catch the moon on top of the Tower - it looks like a large illuminated globe attached to the


- Lorraine Fildes © 2016

Issue 16 - July 2016


The Bund at night – or rather the new Pudong district across the Huangpu River from The Bund. It was a delight to watch the changing colours of the buildings. At the top of the tower we were lucky enough to have the moon in place. Issue 16 - July 2016


Day Begins‌. Yosua Aethyrin In beetle black I pull up my socks I button my shirt I tie my tie

I wind my watch I fold my money paper I put my ink pen in its pocket. No time for leather lounges.

My day begins. Sativas strain And coffee drip

Black shellac And dragons blood. The cherry balm wood curled chips form The edges of this inferior instrument. Its gesso never meant for gilding Only meant for gilt. I tie my paisley tie in red and green Italian silk. My work begins


I pull up my socks


I tie my tie

Honeyed cherry tobacco pipe The knife twists in this pomegranates tears. The devils weed Obscures my work

I wind my watch I fold my money paper I put my ink pen in its pocket My book holds silence in its empty pages And the moon is black. Issue 16 - July 2016


Let us Begin.

This paged alter open to its fate

Cinnamon candies

Drip of pomegranate tears on its pages

And clove cigar

My knife abandoned My dog tags

Its work complete

Worn clean From a thousand wars Seven nation army....

War pigs.....roar This blackened Zippo lantern Light the way

Of infinities dance My pen aches For its destiny

Burn caldron copper black and red Malachite steam bubble Guava apple Curried coriander Peppered chilly crack Chicken bone Black for kitten Come here cat. - Yosua Aethyrin Š 2016 Issue 16 - July 2016


COAL DUSTED ~ printmaking and paintings of Carrington

by Helene Leane WED 10 AUG - SAT 27 AUG 2016 OPENING: Saturday 13 August 2-4pm

Gallery 139 Beaumont St. Hamilton, NSW Issue 16 - July 2016


HELENE LEANE Helene Leane is a full-time Newcastle artist who makes artwork which centres mainly on the natural environment. She mainly uses two mediums to

create her work, acrylic paint on canvas and gouache in a printmaking process, the monotype. Both mediums enable her to create sensitive landscapes which are often drawn from memory or the subconscious. She has a spontaneous approach to making.

With her

training in Art Therapy she realises the

importance of creativity in people's lives and through her artwork she hopes to evoke common human experiences. The awareness of these experiences, she believes can promote well being. This will be Gallery Artist, Helene Leane's second solo exhibition with Gallery 139. Based around the Coal Town, Carrington which Leane recently moved to. Helene Leane in her studio. Issue 16 - July 2016


THE SUBJECT WED 29 JUN - SAT 16 JUL 2016 OFFICIAL OPENING: Friday 1 July, 5.30 - 7.30pm The Subject is a group exhibition curated by the gallery to explore portraiture and figurative painting.

Dino Consalvo, Nick Ferguson, Christina Frogley, Lydia Miller, Damien Slevin, Pablo Tapia.

ABSTRACT + Anna, oil on board 80 x 85 cm, Dino Consalvo

WED 20 JUL - SAT 6 AUG 2016 OFFICIAL OPENING: Saturday 23 July, 2-4pm A gallery curated exhibition of sculpture and painting that build upon the theories of Abstract Art.

Exhibiting artists: Toni Amidy, Eira Chidgey, Justin Lees, Joanna O'Toole, Lisa Pollard, John Sorby.

Gallery 139 Beaumont St. Hamilton, NSW Detail of painting by Toni Amidy Issue 16 - July 2016


COAL DUSTED ~ printmaking and paintings of Carrington by Helene Leane WED 10 AUG - SAT 27 AUG 2016 OFFICIAL OPENING: Saturday 13 August 2-4pm This will be Gallery Artist, Helene Leane's second solo exhibition with the gallery. Based around the Coal Town, Carrington which Leane recently moved to.

Print, Helene Leane, 2016

Merewether ~ a transition: Dino Consalvo WED 21 SEP - SAT 8 OCT 2016 OFFICIAL OPENING: Saturday 24 September, 2-4pm First solo exhibition at Gallery 139 by Gallery Artist Dino Consalvo This exhibition is painted 'en plein air' around Merewether Beach from April - September 2016. Capturing the changing landscape and people who frequent Newcastle's most busiest and beautiful beach.

Merewether Beach 'en plein air' Sunday 17 April 2016, Dino Consalvo

Gallery 139 Beaumont St. Hamilton, NSW Issue 16 - July 2016


Tactile Explorations - Sachiko Kotaka 16 June - 10 July Timelesstextiles 90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm

Sun 10 am – 2pm. Issue 16 - July 2016


Tactile Explorations Sachiko Kotaka 16 June - July 10 Felt artist Sachiko Kotaka calls on her Japanese heritage and her 20 years of felt-making experience to create an inspiring new exhibition, Tactile Explorations . The exhibition incorporates two parts of Sachiko’s work – her latest creations and some older works from her personal collection – united by their use of innovative techniques and exploration of tacility.

inspired by the artist’s long-time passion, origami, including three pieces incorporating the origami flower mandala. Sachiko first developed this design for American fibre artist Barbara Morejon’s ‘Friendship Mandala’ project in the US last year. She uses origami designs in several of the exhibition pieces. Those works selected from the artist’s own collection celebrate her creativity and feature techniques she has evolved over many years, such as ‘calamari’ felt, ‘wild turkey’s nest, ‘orikiri’ and ‘weft’ felts.

“I am continually discovering new magic in felt-making, which allows me to take my visions into a wearable dimension,” she said. “I’ve been creating felts that are strongly tactile and three-dimenional since 1995.” Sachiko creates surface-multiplicity through folding, appliqueing, needle felting, as well as hand stitching.

“The hand stitchings are not only a valuable addition to the complexity of these felts but they can enrich and enhance surface tactility,” she explains. “Sashiko stitchings are an innovation incorporated into my current works, as is nunofelting, which also creates amazingly textured surfaces.” The Tactile Explorations exhibition embraces designs Issue 16 - July 2016


Life in the Universe: Lanny Bergner (USA) Exhibition 20 July- 14 August. Life in the Universe will be opened by Brett Alexander 6-8pm 21 July

Image - Life in the Universe (detail) : Lanny Bergner Issue 16 - July 2016


Lanny Bergner - International artist brings mesh to life Renowned US artist Lanny Bergner’s amazing metal mesh creations will challenge perceptions in a new exhibition, Life in the Universe, opening at Newcastle’s Timeless Textiles Gallery in July. Created using industrially-woven bronze, brass, aluminium and stainless steel mesh, silicone and wire, the works in Life in the Universe seem to float ethereally, mimicking living organisms. Lanny says that biomorphic forms, such as those found in plant biology, micro-organisms and viruses, inspired the making of the suspended screens and wall installations in Life in the Universe.

His recent work employs pyrography techniques to ‘flame paint’ abstract imagery onto stainless steel mesh using a propane torch, which he then turns into sculptures and multiple-forms wall and room installations. Lanny says that biomorphic forms, such as those found in plant biology, micro-organisms and viruses, inspired the making of the suspended screens and wall installations in Life in the Universe. “Musings about extra-terrestrial life and cosmology also informed the work,” he explains. “They engage the viewer with

glimpses into a world where nature and man-made material coalesce and celebrate the mystery and wonder of it all.” Lanny, who was born in Anacortes, Washington in 1952, has been creating biomorphic and geometric constructions and installations out of metal mesh since 1983.


90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm

Sun 10 am – 2pm.

Issue 16 - July 2016


Issue 16 - July 2016


BLACK HARVEST Andy Devine and Peter Tilley 1 July - 4 September 2016 Manly Art Gallery & Museum

West Esplanade Reserve, Manly

Hrs: 10am - 5pm Tues - Sun

Issue 16 - July 2016


STUDIO LA PRIMITIVE ARTS ZINE Click on cover to view the previous issues. Issue 16 - July 2016


STUDIO LA PRIMITIVE ARTS ZINE Click on cover to view the previous issues. Issue 16 - July 2016


studio la primitive Eric & Robyn Werkhoven Contemporary artists

Studio visits by appointment

Ph: 02 49389 572 E: Issue 16 - July 2016


Richard Claremont

Lightscapes Saturday July 9 - Sunday July 10 Opening drinks 2 - 4pm Saturday July 9, 2016 L1 Studios 1/377 Little Bourke St,

Melbourne Victoria. T: 0422895298 Hrs: 10am - 6pm Issue 16 - July 2016



Phone: 0431 853 600 Colin Lawson Issue 16 - July 2016


ARTSYSTEMSWICKHAM - exhibition calendar 2016 July

1 –10


July 15 – 24


Aug 12 – 21


Aug 26 – Sep 4


Sep 9 – 18


Sep 23 – Oct 2


Oct 7 – 16


Oct 21 – 30


Nov 4 – 13


Nov 18 - 27


Dec 2—18

XMAS SHOW Issue 16 - July 2016



JULY 1- 10





Landscape as Pattern July 27 - August 20 2016

Mal Cannon

Opening and celebration - Saturday July 30 1pm

The Life and Work of Mal Cannon Nanshe Studio Gallery, 148b Beaumont St, Hamilton, NSW. Hrs: Wed - Fri 9am - 5pm, Sat 9am - 3pm

Ph: 0477 505 332 Issue 16 - July 2016


Arkaroola Art Adventure 2016 Issue 16 - July 2016


Arkaroola Art Adventure 2016 It’s on again for the third year running... Join artist mentors, Peter Griffen, Densie Lithgow and Paul Macklin

for a

unique experience of studio,‘en plein air’, abstract and landscape, painting, drawing, photography and fabric mixed media in Australia’s premier, mountain desert reserve, Arkaroola Wilderness Resort, northern Flinders Ranges, South Australia.Arkaroola Art Adventure 2016 It’s on again for the third year running... Join artist mentors, Peter Griffen, Densie Lithgow and Paul Macklin for a unique experience of studio,‘en plein air’, abstract and landscape, painting, drawing, photography and fabric mixed media in Australia’s premier, mountain desert reserve, Arkaroola Wilderness Resort, northern Flinders Ranges, South Australia.

Saturday evening 3rd of September to Sunday morning the 11th of September, 2016 Bookings and further information... Paul and Sallie-Ann Macklin 02 4382 4411 or 0409 114 271 Peter Griffen and Denise Lithgow 02 95645828 or 0402 116818 Issue 16 - July 2016


For more information please contact Graham Murphy – Mob: 0416116009 email: Issue 16 - July 2016


“People and Places” photographic Exhibition A world of photographs by internationally acclaimed photographers will be exhibiting their work this coming September in our small rural village at Gresford. World class photographers, David Oliver and Peter Eastway will be there along with many other professional and amateur photographers. “People and Places” will bring the world, through photography, to Gresford. Not only will you see these incredible images, you will also get a chance to talk to the photographers as well, let them tell you about the story behind the photograph. David Oliver was one of the few photographers in the world to be invited back to Rwanda for the 10 year anniversary of the horrific genocide carried out in that country. The photos taken by David are amazing and confronting but it is the story behind these photos will bring you to tears. History is recorded through photography, we have all seen breathtaking scenery photos, wildlife photos and award winning photos, the Gresford Photographic Exhibition will be showing many of these. This is certainly one of those events you do not want to miss. General viewing is from Saturday the 24 th through to Sunday the 25th September 10am to 4pm daily.

The exhibition starts on Friday night the 23rd September with a Red Carpet Gala opening starting at 6.30pm.

For more information please contact Graham Murphy – Mob: 0416116009 email: Issue 16 - July 2016


The Inflation Project | Braddon Snape

Braddon Snape, Two Act Performance in Orange, Air formed welded steel, epoxy paint, 80 x 75 x 68cm

3 Sep 16 > 20 Nov 2016

The Hospital | Robyn Werkhoven

Robyn Werkhoven, The Dying Patient, drawing

10 Sep 16 > 20 Nov 2016

Maitland Regional Art Gallery, 230 High Street, Phone 02 4934 9859

Maitland NSW

The Art Gallery Hours: Tuesday - Sunday > 10:00am - 5:00pm

Issue 16 - July 2016



















N Abstract, acrylic on canvas, Mal Cannon © 2015

Issue 16 - July 2016


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