Arts Zine July 2018

Page 1

studio la primitive

arts zine issue 26

july 2018



“A Private Place in a Public Life" Oil on Linen Finalist, Portia Geach Memorial Portrait Prize 2014
























N Orchid, digital print, Joerg Lehmann Š 2017.






















In Search of Peace, Sculptural assemblage - found ceramic, lead, timber, H51 x W51 X D4.5 cm

- Peter Tilley © 2018. Represented May Space





























E Detail: Cry Havoc, Recycled Timber, cast bronze, Michael Garth © 2018.



studio la primitive EDITOR: Robyn Stanton Werkhoven




White Dove, Black Crows, Digital Render on Canson Etching Paper H 120 x W90cm. Andrew Finnie © 2018


Concerning Peace -

Maggie Hall


Exhibition Artists

Eric Werkhoven


Denise Lithgow

Lorraine Fildes


Joerg Lehmann

Robyn Werkhoven

Bernadette Meyers

Gallery 139


Vicki Sullivan

Art Systems Wickham


Ken O’Regan

Back to Back Gallery


Judy Henry

Dungog by Design


Kristen Lethem

Dungog Contemporary


Brad Evans


INDEX Editorial ……………….

Robyn Werkhoven


SLP Antics………... …

Robyn Werkhoven


Feature ….. ……

Concerning Peace Exhibition

10 - 31

Poetry ………………….

Brad Evans

32 - 37

Feature Artist …………

Denise Lithgow

38 - 51

Poetry …………………

Eric Werkhoven

52 - 53

Feature Artist …………

Joerg Lehmann by Maggie Hall

54 - 71

Exhibition Feature …….

Vicki Sullivan

72 - 83

Feature Artist …………

Bernadette Meyers

84 - 99

Palace of Knossos & the Museum of Heraklion …..

Lorraine Fildes

ART NEWS…………………….

Detail: Rescue Dove, photographically transferred monotypes 65 x 65cm. Helene Leanne © 2017

Front Cover:

100 - 139 140 - 171

The Blindfolded Leading the Blindfolded

Oil on canvas, H 198.5 x W 578 cm. George Gittoes © 2007– 08.

EDITORIAL Greetings to all our ARTS ZINE readers, we have a marvellous line up of vibrant artists ,and writers this month.

Maggie Hall, artist, writer and photographer features a fascinating in depth interview with Newcastle based photographer Joerg Lehmann.

The July magazine includes a preview of the forthcoming exhibition

Lorraine Fildes, our resident travel photographer and writer visits

Concerning Peace at Maitland Regional Art Gallery 25 August—25

Palace of Knossos and the Archaeological Museum of Heraklion

November 2018.

Leading Australian artists

express, interpret and

explore their belief for world peace. A powerful show not to be missed.

Other interviews with Sydney artists include - the dynamic Textile artist Denise Lithgow. Artist and photographer Bernadette Meyers writes about her work.

on the island of Crete. Glimpses into the past - ancient ruins, pottery, jewellery, weapons and ‘the world of the dead.’

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

The ARTS ZINE features articles and interviews with national and international

Realist portrait / figurative painter Vicki Sullivan writes about the exhi-

visual artists, poets and

writers, exploring their

world of art and creative processes.

bition ‘Women Painting Women 2018’ at the Burrinja Cultural Center in Upwey Victoria from Saturday 21st July until Sunday 19th August. Some of Australia’s best Realist painters are in the show.

Submissions welcomed, we would love to have your words and art works in future editions in 2018.

Deadline for articles - 15th August for September issue 27, 2018.


Regards - your editor Robyn Werkhoven The publisher will not accept responsibility or any liability for the correctness of information or opinions expressed in the publication. Copyright © 2018 Studio La Primitive. All rights reserved. No part of this magazine may be reproduced , in whole or in part, without the prior permission of the publisher. Issue 26 - July 2018


WAR PARTY WAR PARTY WAR PARTY WAR PARTY WAR Drawing graphite / oil pastel on Fabriano paper - Robyn Werkhoven © 2018 Issue 26 - July 2018


CONCERNING PEACE 25 AUGUST - 25 NOVEMBER 2018 MAITLAND REGIONAL ART GALLERY Maitland Regional Art Gallery 230 High Street Maitland NSW 2320 Issue 26 - July 2018



George Gittoes

Peter Gardiner

Mertim Golkalp

Kathrin Longhurst Bernadette Smith

Susana Enriquez

Peter Tilley

Edmond Thommen

Andrew Finnie

Debra Liel-Brown

Michael Garth Lachie Hinton

Helene Leanne

Sue Stewart Pablo Tapia

Roger McFarlane

Eric Werkhoven

Donald Keys

Carolyn McKay

Robyn Werkhoven

Natalie Duncan

Christine Pike

Shirley Cameron-

Ric Woods Mark Elliot- Ranken Maddyson Hatton

Roberts Issue 26 - July 2018



Left: Concerning War, Recycled Timber, recycled steel, resin, H180 x W80 x D40cm. Michael Garth © 2018. Issue 26 - July 2018


Twenty seven visual artists express, interpret and explore their belief for world peace. The exhibition was conceived in response to the present hostile world events. We all want a peaceful world, is it possible?

Is humanity spiralling into insanity?

“The war mongers thrive Led by great greed and lethal Gods Since dawn man has fought Ignorant and foolish hearts Rare is peace and love.” - Robyn Werkhoven © 2014

The exhibition will include all genres of the visual arts – painting, drawing, sculpture, printmaking, photography, ceramics, film and video installation. The following pages include a selection of artists from Concerning Peace Exhibition. Issue 26 - July 2018




S Issue 26 - July 2018


The Blindfolded Leading the Blindfolded - George Gittoes. George Gittoes Australian artist, film producer, director and writer. In 1970 he established the Yellow House Artist Collective in Sydney. Gittoes’ work has consistently expressed his social,

political and humanitarian concern at the effects of

injustice and conflict. In 1986 he travelled to Nicaragua, and since then the focus of Gittoes’ work has been largely interna-

tional. He has travelled to and worked in many regions of conflict, including the Philippines, Somalia, Cambodia, Rwanda, Bosnia, Bougainville, and South Africa. In recent years his work has especially centred on the Middle East, with repeated visits to Israel and Palestine, Iraq, and Afghanistan. In 2011, he set up a new Yellow House, a multidisciplinary arts centre in Jalalabad, Afghanistan. Among many prizes, Gittoes has twice been awarded the Blake Prize for Religious Art and in 2015 he was bestowed the Sydney Peace Prize. At present he is working on establishing South Side Yellow House and a new SuperDoc in South Chicago, USA.

‘The painting The Blindfolded Leading the Blindfolded was made from drawings in my diaries at the time of the Siege of the Red Mosque in Islamabad. A group of Al Queda fighters had been trapped and arrested, their heads were covered with bags and they were hobbled together. To humiliate them, their cords and belts had been removed from their trousers. They knew they were on their way to Guantanamo Bay or worse places of torture and imprisonment. Filming these men stumbling in front of my camera was not enough to express the empathy I felt for them, so I made drawings that developed into the painting. The reason I work in a variety of media is that none of them are adequate to fully express the depth of experience, especially at the front line of human suffering.’

Page 12: The Blindfolded Leading the Blindfolded, right panel, oil on canvas, H198.5 x W289 cm. George Gittoes © 2007– 08. Issue 26 - July 2018




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Past, Present and Future - Kathrin Longhurst. ‘With this painting I am reflecting on the notion of peace and the legacy that we are leaving behind for our children. A disassembled gun references my past growing up in militarised East Germany. Being born in 1971 in East Berlin I spent my childhood during the height of the cold war, which came to be a direct

consequence of the territorial segmentation of Germany after the horrors of World War II and Germany’s defeat. The gun pictured was used by the Gestapo and would invoke terrible associations for many minority groups that were prosecuted in Germany during the Nazi regime. But the gun also alludes to the volatile environment we are currently experiencing with military conflict being in focus again. The binary code references our present love-hate relationship with social media and how our lives are currently intertwined with technology which has had positive but also negative consequences when it comes to fighting misinformation the spread of propaganda and the rise of conspiracy theories favoured by extremist groups, cyber warfare and more. My daughter represents my future. It will be her generation that will inherit this planet. I am projecting my dreams and wishes on her as I am trying to raise her. She is part of me but also her own person and she will eventually have to deal with the legacy that we leave behind.’ - Kathrin Longhurst © 2018.

Page 16: Past, Present and Future, oil on linen, H184 x W 184cm. Kathrin Longhurst © 2018.

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Lachie Hinton Idomeni Riot and the Call for Peace Lachie Hinton is an Australian figurative artist based in Sydney. His work explores the fundamentals of human nature through the social and political forces that shape it. Examining the human condition across contemporary societies and cultures, he characterises his subjects through an expressive interpretation of experience. Through painting, drawing and elements of photojournalism, Hinton’s stylized imagery oscillates between crisis points and the quotidian moments of everyday life. Hinton’s art spans themes from human rights to social issues, sexuality and identity. He is no stranger to zones of tension, having travelled to North Korea to capture daily life in the isolated nation in 2014 and following the route of refugees through camps in Turkey and Greece during the European refugee crisis of 2016. Hinton is inspired to communicate stories and ideas through his subjects often in adverse environments, illustrating social structures and frictions at play.

Page14: Idomeni Riot and the Call for Peace, H 1.4 x W 2mts, oil on canvas, Lachie Hinton © 2016. Issue 26 - July 2018


D O N A L D K E Y S “Just Another Government Program” - Donald Keys. Homage to Francisco Goya’s “The Third of May 1808” (also known as El tres de mayo de 1808 en Madrid). H101 x W152cm, synthetic polymer on cotton canvas, painted September 2017. Issue 26 - July 2018



When Enough is Enough plays on the premise that one day such an event will come to pass.

Whilst battles rage, equality is hijacked and a dog watches on impartially, and the ancient dust stretches onwards across the entire earth.

Detail: When Enough is Enough Autoclaved aerated cement / cement. H60 x W60 x D70 cm. Eric Werkhoven Š 2018.

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D E L U G E Issue 26 - July 2018


DELUGE - Bernadette Smith This assemblage of photographic and found objects serves as a metaphor for climate crisis and threats to

global peace inviting the viewer to contemplate the need for water sustainability. Australia’s recent scandals in the Murray Darling Basin involving water security and conflicts between states around distribution remind us that we live in the driest continent on Earth and this can no longer be ignored. Drought in the Middle East for example has led to war and destabilisation while low lying Pacific islands are becoming uninhabitable due to rising sea levels. The World Bank forecasts that: "Changes in water availability and

variability can induce forced migration and ignite civil conflict ... episodes of droughts and floods have generated waves of migration and statistical spikes in violence within countries." Closer to home my own parents became flood refugees who moved to Newcastle as a result of the 1955 Maitland Flood. They brought Maitland soil for their new garden to grow the best roses and gardenias in our street.

Page 20: This installation called Deluge consists of an hourglass, face mounted photograph on acrylic (40 x 40 cm), plinth covered in digitally printed SAV (110 x 40 x 40 cm) and polyester fabric print (264 x 224 cm).

Issue 26 - July 2018


CHRISTINE PIKE The Wrecking Machine War

My painting expresses my hope for human good to prevail over human evil. Haunted by the death, loss, fear, homeless-

ness, hopelessness and most recently the ghastly gassing of innocent civilians I see on the television. I am painting the lives of many I will never meet.

Left: The Wrecking Machine War Size: H152 x W122cm Medium: Acrylic & Mixed Media on Linen by Christine Pike Š 2018.

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EDMOND THOMMEN Médailles de paix (Peace medals) 'Edmond Thommen describes himself first, and foremost, as a Photographic Artist.

For him the magic starts with the camera and his photographs. His artistic expression is a testament to years of careful observation in photography, composition, lighting and design. His skill-set allows him to work with light and shades, play with compositions and absorb these into his new creations. The female figure forms the basis of his artworks. They may soften or highlight the body’s outline by blending it into several layers of images he superimposes on the figure. ‘Sometimes the figure seems to disappear behind a barrage of organic materials or man-made structures – until the viewer’s eyes start to actively search for the lines that in his or her mind “must be there” behind the image.’ Left: Peace Medals, digital photograph, H90 x W60cm. Edmond Thommen © 2018. Issue 26 - July 2018



EVE A single handbuilt ceramic vessel (approx. dimensions H1200mm W650mm D650mm) using the coil and slab technique. - Natalie Duncan Š 2018.

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EVE- Natalie Duncan Key Words: Patriarchy, War, Creation story, Eve Our consciousness stems from our awareness of our existence; to achieve peace we need a drastic rethinking of our consciousness. The effects of a patriarchal god on the consciousness of a culture cannot be overstated; even those who would contend they are not religious exist with the ripple effects of a patriarchal god: the institution of marriage, gender roles that are reinforced in our education systems, and legal structures, all nurture these ideals. These effects foster a patriarchal psychology that can never nurture equality, and, has strong connections to aggressive fundamentalism enforced by a rigid and unchanging dogma. One of the greatest chapters in this rigid doctrine is the creation story of Adam and Eve. Children indoctrinated in western religions are taught Eve was created after Adam, after the animals, from Adam’s rib, as his helper

in the Garden of Eden. We are told in this case, despite our knowledge of reproduction, woman comes from man. Further to that, woman is responsible for the eternal expulsion from this paradise. This subjugation of women has laid the platform for a religion that bases its very foundations, its creation story, in inequality. It has fostered a patriarchal entitlement that can rationalise and justify war in the name of its god. Artist Statement This is Eve. She is responsible for the downfall of humanity. She thinks a lot about the fact that she was created as an afterthought, from a rib bone, to be a helper. Eve is curious and adventurous. She is brave, she talks to snakes. She feels in her soul something is not right in this paradise. What if she doesn’t want to be a helper, what if she doesn’t want to be with Adam. What if she has children, what happens to them if they break the rules? What if they don’t love who they are ordered to love? What happens if they don’t worship who they are told to worship? Eve decides to eat that fucking apple

and tear the joint down. - Natalie Duncan © 2018. Issue 26 - July 2018


WAR PARTY - collaborative drawing, graphite pencil / oil pastel on Fabriano paper, H80 x W125 cm.—E&R Werkhoven Š 2018 Issue 26 - July 2018


WAR PARTY The exhibition curators, artists Eric and Robyn Werkhoven are well known in the Hunter Valley, NSW, for presenting powerful, thematic art exhibitions with social political, ‘cutting edge’ or controversial content.

For the Concerning Peace exhibition the Werkhoven’s collaborative drawing WAR PARTY further explores their perpetual intrigue with the rituals, mysteries and absurdities of existence. This exhibition was conceived in response to the present hostile world events. War Party - combat ready with plans to blow up a path to the citadel, for the mind to be subjected and turned around on its heels, by the rhetoric of the propaganda machine. The primal beat for waging war has existed since the dawn of civilization, led by greed and lethal Gods.

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Dr. Mark Elliot- Ranken PEACE IS LUMINOUS, peace is the light that illuminates all the possibilities of what could be before us and it is an echo of this luminescence I have attempted to create. The luminescence of

peace allows us to apprehend the opposite. The horror of war and its negation of hopes and dreams allowing the horses of the apocalypse free rein across a landscape





Luminous 1700 x 1700mm Acrylic on canvas.

Mark Elliott-Ranken Š 2018. Issue 26 - July 2018


CONCERNING PEACE 25 AUGUST - 25 NOVEMBER 2018 MAITLAND REGIONAL ART GALLERY Maitland Regional Art Gallery 230 High Street Maitland NSW 2320 Official Opening : SATURDAY 8th SEPTEMBER 3.00PM.

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FORGIVE US OUR SINS! - triptych, graphite pencil, oil pastel on paper, E&R Werkhoven. Š 2013.

The following pages contain poems of hostile world events by Brad Evans. Issue 26 - July 2018


over bomb craters the pain in Baghdad is there and everywhere and real as all day and night the news reporters report it: on the faces of tired civilians and soldiers fed up with Basra, trying hard to find new reasons for being where they now are. Bush walks across the backyard grass to play with his favourite pooch Blair sips his coffee, they smile,

they negotiate and bid, promise freedom, while they await the anticipated carve-up of Iraq.

and they await... to steal the oil that Saddam had once stolen, and to plant diseased fast food stores over bomb craters just like everywhere else in the world. - Brad Evans Š 2018.

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his mother’s guitar

and when she did

for Victor Jara, President Allende, and all the other thousands of freedom fighters brutally murdered during the Chile military coup from 1973 onwards...

and held her guitar

just a boy, he would look at the instrument in the corner of the room, unplayed, covered in Santiago dust,

as his mother worked long hours

he wept and remembered what she sung and he played he played the notes that became chords he played the chords that became songs and he played the songs that spoke of the real Chile and young Victor played them for his mother for all the times that she couldn’t play while anchored to that market and he played them for all those like her wasting away in their own workplaces

at the local market

a stone’s throw from death

long hours

he played for the miners

that consumed her time

away from young victor away from her guitar

he played for the young children living in squalor the peasants he played for all ordinary working people

and away from the songs

and he then played for a man who, in 1970, was to help make Chile

in a workplace like that one it took little time

so advanced,

for his mother to die

that even the cia would pay attention.

so progressive,

Issue 26 - July 2018


and with song and sweat

and they came back for money

those who wanted change

and they came back for blood

changed their society and began to develop it in such a way that class gaps began to narrow and while the poor now worked for better food and an education

and after his final speech they sent out the jets to murder Allende’s government and at the Chile stadium in Santiago in ’73

the multinationals were given the arse.

came ONE dark record for humanity and a great one for fascism

and mines became nationalised

as the CIA and the blind military lackeys

and workers got better conditions

marched the people around in blaring light and sound and confusion

and unions thrived

and then came culture and from the defeated grew seeds of hope and a proper life.

while victor got his final poem down, handed it to a comrade

and by this time

and the sound of the machine guns echoed around the stadium for days

victor’s songs were aired all over the country and beyond,

and this golden period would

as the bodies began to pile up and the rest of the world turned its back once again

eventually end

in the same way it did in the ‘30s

with the return of the multinationals and the CIA

and at every other time.

and Pinochet and the armies of darkness

- Brad Evans © 2018. Issue 26 - July 2018


StormFront ( Barcelona, Summer of '36 )

"...I had come to Spain with some notion of writing newspaper articles, but I had joined the militia almost immediately, because at that time and in that atmosphere it seemed

the only conceivable thing to do... It was the first time that I had ever been in a town where the working class was in the saddle..."

What is this that I can hear? The Spanish people are setting an example to the rest of the world What is this that I hear? Revolutionary Songs amidst sounds of thunder The principles of Anarchy made clear Democracy no longer a myth caught between a dictionary and the lying lips of the careerist politician Marxist theory leaping off the dusty page penetrating this port city!

- George Orwell, 'Homage to Catalonia'

Flags - all Red & Black draped over storefronts. Vehicles driving past in early summer heat Commandeered by workers All on equal pay. Issue 26 - July 2018


I see no salutes, I see no superiors, No racial inequality, Women and men respecting each other No privilege or seniority, Waiters who look you straight in the eye and who do not shy away from you No scuttling for your orders, fearing the boss's degrading reproach. No men in business suits, no landlady barking for rent no banker hounding you for mortgage-mortgage nor the mailshot they consider necessary.

Taking over the key industries Eradicating land ownership Class distinctions being destroyed for the sake of freedom The birth of Revolution now evident A real future for all - becoming viable and wholesome... Factories owned by workers Ending capitalist dogma Increasing production with a new and real morale And the armchair lefty, sipping the last of his coffee, his purpose made clear

What is this that I hear now?

Making his way to the Saragossa Front To assist in the struggle to end all struggles:

The Unions are actually led by the workers? A perfect unity, supporting the truest of causes:


- Brad Evans Š 2018. Issue 26 - July 2018



Issue 26 - July 2018


Denise Lithgow Denise Lithgow lives and works in her warehouse studio in Leichhardt, Sydney.

Denise specialises in Felting Sculptural Vessels and jackets. She also creates 2D paintings using machine embroidery with mixed media, including fabric. ‘My textile practice revolves around free flowing design and bright, vibrant colours. This approach is dispersed into different areas including silk painting, dying fabrics, machine embroidery and felting.

Once I was introduced to felt I was captivated by its tactile qualities, rich range of colours and the magical meshing of fibres which then can be manipulated into forms and shapes to create exotic wearable art.’ Issue 26 - July 2018


Gathering Vessels, Felt, 34 x 34 x 16cm, Denise Lithgow. Issue 26 - July 2018


DENISE LITHGOW - INTERVIEW I work with 3D sculpture felt vessels and 2D textile art, also using felt combined with free machine embroidery and found objects, building up the layers with colour and texture. My medium is dry colour, not wet. I also work with enthusiasm, dedication and passion.

As a child I lived on a sheep property in rural South Australia where the landscape of the Mallee country was an everyday experience. Some would say this is harsh country, but the subtleties of it contours must have instilled in me a love of shapes and shadows, of textures and tones. I did not recognize this at the time, but perhaps in all of us, childhood sows the seeds. I remember that my mother would gather beautiful seedpods and a twig to fill wide shallow bowls as table decorations, and so I learned that what is abundant in nature is also available to art. If so many of my felt works speak of seeds and pods and vessels, then some of this must have come from those long off places of my youth. The ever-present sheep of course meant that it was not surprising that I embraced wool as a natural and sustainable medium for my work.

More recently time spent in the desert has enhanced the inspiration I get from landscape. Arkaroola is a favourite spot where the natural colours, forms and textures inspire the inventive use of whatever is to hand, be it wool, scraps of recycled cloth, leaves and rust for dyeing, sticks, stones and bark. While my 2D textiles represent and interpret landscape, the vessels I create make links to one of the oldest human art forms where these traditional pottery containers, used to store life-giving water, or precious oils or the ashes of the dead are transformed using felt, one of the oldest known textiles. Issue 26 - July 2018


Felt Vessel Collection Denise Lithgow Photo by Peter Griffen. Issue 26 - July 2018


I also like working tonally using black, greys and whites with strong, simplistic lines, which give the work strength. Pieces like sea anemone have come from my observations as I walk along the beach and absorb my surroundings. I wouldn’t say that I have always wanted to be an artist, but as my world became slowly enmeshed in the world of formal art, through living and supporting the work of my artist life husband, Peter Griffen and through travel and study across the

art world I have been influenced by people such as the French textile artist Louise Bourgeois and the felt sculptures of the USA’s Pamela McGregor and Australia’s Catherine O’Leary.

Working with wool requires technical knowledge and patience. The finished work must inspire, but the work studio must be well organized. Behind the beauty of the finished product there is careful washing of the fleece, dying with natural dyes,

carding and correct storage in properly sealed bags or plastic tubes. Felting is a non-woven cloth that is produced by matting, condensing and pressing woolen fibers. To date I have mostly used merino wool, but recent forays into using other types of wool is teaching me new skills. Although most of my work to date has used merino wool, I am beginning to experiment with the fibers from other breeds, and I am discovering that this can lead to new understanding of how the medium works.

I do not impose too much preconception on my work beyond the broad idea of what I wish to achieve. No piece is ever created until it is finished, and sometimes the final work will be quite different from the original conception, as the wool takes you by surprise. I aim to produce work that is inventive and sculpturally interesting, and I react intuitively to what feels right when I am working on a piece. I know it is good when I feel it is recognizably ‘me’.

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But apart from all this, there are two practical strands to my practice as an artist. The first is to work at it constantly. There is no simple way of encapsulating how a thing is created, but there can be no doubt that constant attention to the work makes it better. There can be no switch off button. The second way in which I work is to remain open to learning from others, through participation in workshops and spending time with other artists, and through teaching. The discussion with fellow artists about art and the way we work has had an important impact on me as a member of the Untethered Fibre Artists group. This group is increasingly important in spreading the ideas and the creative discussion between its members, to everyone’s mutual benefit. Gaining insight into how others work improves my own practice. I teach workshops locally and internationally, and sharing knowledge with others, especially new students, constantly keeps me examining my own weaknesses and strengths.

Page46: Denise Lithgow in her studio. Right: The Link, Felt, 75 x 38 x 38cm, Denise Lithgow. Published Worldwide Colours of Felt. Photos by Peter Griffen. Issue 26 - July 2018


My Mud Map Machine Embroidery 87 x 66cm Denise Lithgow. Photo by Janet Tavener

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A Magpies Call Machine Embroidery 30 x 30cm Collective Stitch Exhibition. Denise Lithgow. Issue 26 - July 2018


Oyster Pot, Felt, 36 x 50 x 50cm, Denise Lithgow.

The Lily,Felt, 107 x 30 x 34cm, Denise Lithgow Issue 26 - July 2018


Distant Hills, machine embroidery, 20 x 28cm, Denise Lithgow.

Arkaroola, machine embroidery, 46 x 59cm, Denise Lithgow.

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Seed Pod Collection, Felt, Hand Dyed Silk, & Cane, - Denise Lithgow. Issue 26 - July 2018


I am represented in galleries throughout Australia and internationally and I regularly exhibit my textile art and sculpture. My sculpture ‘The Link’ was selected for inclusion in Ellen Bakker, ‘Worldwide Colours of Felt’, Netherlands, and my work is included in Andra Stanton’s ‘The Dimensional Cloth, Sculpture by Contemporary Textile Artists’, Schiffer Publishing, 2018. I have exhibited widely, including, currently at Chateau de Gizeux, Loire Valley France, Collective Stitches exhibition through out UK and Europe,

and in 2018 Untethered Fibre Artists, “In Transit”, Tuggeranong Arts Centre, ACT, “Earth Poetry” Red Poles Gallery in McLaren Vale, South Australia and The Space in Between, ATASDA exhibition at the Palm House, Royal Botanic Garden, Sydney. My solo exhibitions have included Muswellbrook Regional Art Gallery and The Design Gallery, Terrigal. In 2017 my sculpture was selected as a finalist in Scythia 8th International awards, Ukraine and my works have been included in the prestigious “World of Threads Festival” Oakville, Canada. The Embroiderers’ Guild NSW have invited me to exhibit in the Festival of Machine Embroidery, Queen St Concord West this September and the Untethered Fibre Artists will exhibit “Synthesis” at Gallery One 88, Katoomba July

I regularly teach felt workshops, including, Portugal, London with the International Felt Association, Arkaroola Art Adventures, again this September and ArtEst Art School, Leichhardt and the AGNSW.

- Denise Lithgow © 2018. All Rights Reserved on article and photographs curtesy of - Denise Lithgow © 2018. Issue 26 - July 2018


Endless Suppositions What is applicable under these circumstances, to recoil from any more damage. When it comes to putting the pieces togetherFor a murmur to attract worldwide attention, alive to speak of thoughts to come. So strong are these feelings, worked out in the minutest detail. To make its debut on the stage of endless suppositions, more to the point that you should be there.

But it is not to be only in my imagination, that it seems to reverberate into the further most regions. Where hence I haven’t been before, but implore you to be my guide, for the sky to trace these images onto the screen. Better to remain cautious, to retain a sense of personal unfathomability. Where a cry is heard in its most complete imperfection.

Listen instead, walk back to the starting point, To unravel from these skeins, a complete vest to cover your nakedness.

- Eric Werkhoven Š 2018. Issue 26 - July 2018


RAMROD - autoclaved cement / paint, Eric Werkhoven © 2108. Issue 26 - July 2018

























N Issue 26 - July 2018


JOERG LEHMANN Photographer Joerg Lehmann born in Germany, now living and working in Newcastle, NSW, Australia. Lehmann also works as

an accomplished profes-

sional in medical physics in the field of radiation oncology. His love for photography started from young and now as a professional photographer explores his passion for lighting, upon his subjects. Artist, writer and photographer Maggie Hall presents

an in depth interview with Joerg Lehmann.

Page 54: M in Stripes, digital print, Joerg Lehmann Š 2013. Right: Portrait - Joerg Lehmann. Photo Maggie Hall Š 2018.

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Joerg Lehmann - Interview by Maggie Hall At what point did you decide to begin your work in

The Lehmann Method

photography as a professional and fine art photograHow do you look at your photography, is it fetishised or a part of your personal studies and experimentations into the

body and its anatomy?

pher, outside of your work in medical physics? I got my first camera at the age of about 6, and I’ve always taken photos. It runs in the family. My father was

I love photographing people. With my fine art photography I

and is an active photographer and he also filmed with 8

hope to create work that lasts and shows beauty. The

mm film in the days before digital. My grandfather was a

depiction of the body, most often the female, goes back

serious hobby photographer. I’ve been taking photos all

centuries. It has always been one of the things that has

my life. Going beyond the usual snapshots I began with

appealed to artists and viewers of the art. It is one of the

portraits fairly early, annoying people with my lens

harder things to do, especially with photography because

constantly in their faces.

the expectations are very high. These days there are many excellent images out there with new ones coming daily. The challenge to create something unique and outstanding is steep.

My professional work started about eighteen years ago when I worked in California and met other professional photographers. This is where I joined a professional

organization and began improving my skill level while at

I love lighting. I work purposefully with lighting to create

the same time learning the necessities to run a

images that are simple, not overly complicated to the viewer.

successful photography business.

There might be a lot of thoughts and efforts going into like to create



my image

post-processing to a minimum.


camera keeping


Page 56: The Ladies Entrance (The series - The White Beauty Case) 11 x 14 ins. silverhalide print, Joerg Lehmann Š 2014. Issue 26 - July 2018


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How do you balance your time between work as a medical physicist and researcher/ Professor at the hospital and universities with your work in the studio as a photographer?

It’s not easy. I try to be efficient, I don’t take (long) breaks and I eat some meals while

working. I don’t sit round much, watching TV or playing games (although both are worthwhile activities at times). I’ve been trying to combine Medical Physics and Photography with somewhat limited success. They are both dealing with different wavelengths of radiation, but I don’t think that is the main crossover.

Clearly a good understanding of physics helps to take better

images. On the other side, I incorporate a lot of photos in my scientific work. It improves communication in writing and in teaching. And for research reports, good photos of set ups and the end results can be very helpful. Other than that I’ve co-founded a photography competition called ‘Photography in Medical Physics’, PiMP Now in our 5th year, we annually invite medical physicists to submit photos that showcase the workings of the profession. Many of them turn out to be rather humoristic. I ask professionals from both medical physics and photography as well as gallerists to judge the images. Last year, in addition to giving out trophies to the winners we also auctioned off some of the images, nicely printed in high gloss on aluminum, to raise funds for Medical Physics support in developing countries. Page 58: Molly Waiting (Series: The White Beauty Case), 11 x 14ins. Silverhalide print, Joerg Lehmann © 2014. Issue 26 - July 2018


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Being, not to long ago one of the subjects of your photography, I did notice there is a strong presence of observation from your position as the photographer, from an observational standpoint, curious to the reaction of the subject under the certain given conditions which present themselves during the photoshoot; through the light manipulations and the constant changing environments, as a scientist and a photographer would you say that this is an extension of your studies and research into, radiation, physics. Is it conscious or sub-conscious?

I don’t think it’s a conscious extension, in my creative work, I definitely often operate from an observational standpoint which can be the reason for some sessions to take longer. I develop an idea of what I want to do but I don’t work out the details religiously to the end. I have a starting point for the lighting and I have the set-up. Obviously in your case you brought some of your own props which greatly enhanced the effect and gave us a much greater variety. In general I have the concept in mind though not necessarily the final look. Often the best photo from a session comes from an unexpected change. I incorporate the models into the process. Starting with what I have or what I bring in to the set up I observe and give the model room to express herself and contribute in their way. I know other photographers, masters that I look up to, have exactly in mind what they want to do with the model and put them precisely in the position that they envision, and that’s their photo. I admire this method. But I don’t / can’t work that way. I think I’m too curious to explore what else can be done then to plan and execute a creative shoot in every detail. Very often the input from the model even if subtle changes the initial concept and improves the final image.

This is, obviously different for commercial work, where details need to be planned and

plans need to be followed.

Page 60: Maggie Hall in Stripes, digital print, Joerg Lehmann © 2018.

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Many of the greatest directors of all time use this method, each have qualities they look for in the subjects before them, do you have certain requirements that the sitter must come prepared with onto the shoot? The requirements depend on the specifics of the situation and the type of shoot. For creative fine art work I will discuss the concept and the vision beforehand with the model. Those will determine any preparations. I hope that they are followed and additionally, I just require the basics: be on time and have clean fingernails.

Why clean fingernails?

Unless it is a specifically themed shoot or documentary work, I think fingernails should be decent; they can be painted or not painted, long or short, but they should just look decent. It seems such an obvious thing, but unfortunately it is not for everybody; and no amount of great hair and makeup will compensate for poorly done or half chipped-off nails. I generally give images to my models and I have encountered budding fashion models who didn’t consider this and then asked me to retouch their chipped nails in post-production. Now, I’m generally a nice guy, but that is not a great way to spend my time. Trying to be proactive (and remain the nice guy), I now ask models in advance to please come with clean fingernails. It does sometimes create follow-up questions, like from you, but that’s a decent conversation starter and much better than spending hours in image retouching. Page 62: Shot ( Series: The Ballerina), 11 x 14ins. Silverhalide print, Joerg Lehmann © 2012. Issue 26 - July 2018


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Where are you moving towards within your photographic practice over the next few years? That is hard to say. I’m constantly learning and discovering new aspects and subjects. I like working with other creatives, for instances in the Film Noir type photography telling a story. About 6 months ago I have started a black and white portrait series of people around a food service for homeless people on Friday nights. . I would like to expand upon that. I’m still looking for a good place to get the images published and shown once completed. I will continue to develop my studio work, looking into more experimental lighting set ups. I think portraiture in the wider sense is an area where you can never stop improving your craft.

I also enjoy teaching photography. I teach whole day workshops at Finite Gallery in Caves Beach and I use my studio here at NAS for teaching. Together with my studio partners Stuart Marlin and Niamh Fitzsimons we will be teaching a 12 week course with 2 hour sessions once a week covering starting in a few weeks. The course will cover many aspects of photography and will end with an exhibition of the students’ work here at the NAS gallery.

I find working with students very rewarding. It is not only good to pass on knowledge, but you learn so much while teaching. I have taught photography (and Medical Physics) throughout my whole career. The input from curious and gifted students can be extremely valuable and inspiring.

Page 64: The Elixir ( Series: Murder & Detective), 11 x 14 ins. silverhalide print, Joerg Lehmann © 2013. Issue 26 - July 2018


C In The Box Digital print Joerg Lehmann © 2012.

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Feet Up Digital print Joerg Lehmann © 2015 Issue 26 - July 2018


Left: Zebra Kate Digital print

Joerg Lehmann Š 2013.

Page 69: The End ( Series The Ballerina) 11 x 14 ins. silverhalide print Joerg Lehmann Š 2012. Issue 26 - July 2018


Where does your interest in Film Noir stem from; is it linked to the old movies or does it come from your continued interest and study in physics and medicine ? It started with a suggestion from a friend. Knowing my keen interest in lighting, she wanted me to teach a workshop of

photography in the Film Noir style as part of her Renegade Photography group in San Francisco. I’ve always done a lot of black and white photography, but this required some homework. I watched segments of the classic movies and looked at film stills in books. I really liked the lighting and figured out how it was done. I enjoyed the drama in the look of the people in the more formal wear as well as the elegance in the positions. Working with teams of very talented people I have had the chance to create a number of short “story series” in the Film Noir style. These series are sequences of 5 to 20 images which tell a short story. They mainly live from the visual aesthetics, we also try to make the stories fun. Themes are generally those of the Film Noir movies involving murder, gangsters, femme fatales, and love triangles. Issue 26 - July 2018


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Do you see photography changing because of the technology we now have available. How do you see these changes effecting the industry? Phones are definitely taking over the everyday photography and people produce incredible work with them. They are fast becoming more skilled using them and phone cameras have dramatically advanced in their technology. I believe there is still going to be room for the more complex and traditional digital cameras. The bar is being set higher, but I think you can tell the difference when you see a really good photo. It jumps out at you and there is a clear quality difference in a well done photo with a high end camera. While I would argue that for many situations now the skill is more important than the tool, for some things you need the high quality lens, the fast autofocus and the larger sensor. The gap is getting smaller, and a lot of great and enjoyable images are being created with fairly inexpensive cameras. I think that’s great on many levels. But photography is always going to be a field of study and profession. There may be fewer professional cameras and they might change from one format to another. Sometimes interest in the old cameras and techniques comes back. The other day I had the chance to take a portrait of a friend on a tinplate using the setup, camera, preparations and chemicals of a very kind local colleague, and it was a fantastic experience. Things might change but good photography will continue to bring joy for many more years to come.

Associate Professor Joerg Lehmann thank you so much for your time, I know it is precious. - Maggie Hall © 2018

All Rights Reserved on article and photographs curtesy of - Joerg Lehmann © 2018.

Page 70: Hotel Hallway ( Series: L.A. Noir), 11 x 14 ins. silverhalide print, Joerg Lehmann © 2015. Issue 26 - July 2018


2018 Women Painting Women

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2018 Women Painting Women - Vicki Sullivan In 2015 I saw on the Internet some of the Women Painting Women exhibitions happening in the USA. It occurred to me that the idea was terrific and could be a great way to showcase both Realist figurative painting and Women artists here in Australia. As a portrait artist I had quite a few friends who had work which had been entered in shows and perhaps only seen once and so quite a few of us had some work ready to go. I called each one and told them that I was going to try and find a venue and if I could find the right place I asked if they would be interested in being involved. The response was a positive YES.

Soon after I was asked to judge an art show and one of the judges was JD Mittman the curator of Burrinja Cultural Centre, we got talking and I ran my idea by him.

JD loved the concept and the first Australian Women Painting Women show was born, pardon the pun. We also decided to add sculpture to the mix and Heather Ellis’s bronze sculptures added such a wonderful three dimensional feel to the show. The 2018 WPW will showcase more of Heathers work and also some of Dagmar Cyrulla’s sculptures. Page 46: Verismo Deborah Cheetham, oil on linen, H150 x W100 cm, Vicki Sullivan © 2018. Issue 26 - July 2018


Justice Betty King QC , Raelene Sharp © 2018.

Self Portrait The Painter, oil on canvas, Raelene Sharp © 2018. Issue 26 - July 2018


Women Painting Women is a major exhibition of figurative Realism in oil painting and bronze sculpture. Curated by JD Mittman the show will be held at the Burrinja Cultural Center in Upwey Victoria

from Saturday 21st July until Sunday 19th August. The Exhibition presents seven award winning realist artists from Victoria, New South Wales and

South Australia including Fiona Bilbrough, Dagmar Cyrulla , Raelene Sharp, Sally Ryan, Vicki Sullivan , Megan Roodenrys along with sculptor Heather Ellis. Taking its inspiration from the Women Painting Women exhibitions in the United States, this is the second Australian instalment of the Women Painting Women phenomenon which celebrates contemporary realist

painting and sculpting and the talent of female artists. Honouring the human spirit and exploring the complexity of being a woman today. Featuring well known Australian women as subjects such as Yorta Yorta Opera Singer Deborah Cheetham, former Australian of the year Rosie Batty, actor Sigrid Thornton and founder of youth without borders Yassmin Abdel Magied along with self-portraits of the artists and portraits of family and friends,


exhibition highlights the power and insight of women painting women and situates the artists’ work within the broader art historical context. “Women Painting Women" explores how contemporary women painters are handling women as subjects. The movement was founded by three contemporary women artists from the USA, Alia El-Bermani, Diane Feissel and Sadie Valerie, and has spread across the USA , the UK and Australia. Issue 26 - July 2018


Kelly Vincent MLC with the Heads of State in the Corridors of Power Oil on Belgian Linen 198 x 168cm Megan Roodenryks © 2018 Issue 26 - July 2018


Anti-domestic violence campaigner Rosie Batty Archibald Prize entry Fiona Bilbrough Š 2018

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Rowena Lee Former Principal Sydney Grammar Preparatory School, St Yves . Oil on Linen Sally Ryan © 2018. Issue 26 - July 2018


Yassmin Abdel-Magied Oil on linen H115 x W80 cm Semi-finalist Doug Moran, National Portrait Prize 2017 Sally Ryan Š 2018 Issue 26 - July 2018


Sigrid Thornton, H40 x W30 cm. Oil on linen , Vicki Sullivan Š 2018

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Doing what a girl has to I II III, Oil on linen, H122 x W91 cm. Dagmar Cyrulla © 2016.

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LLeft: After the Swim, Bronze, H90 x W11 x B14 cm. Right: Bronze Dancer , Heather Ellis © 2018. Issue 26 - July 2018


The Australian Exhibition will also have a public program of Portrait demonstrations and Artist talks. Details and websites of the artists are found on the links below - All Rights Reserved on article and photographs curtesy of artists and Vicki Sullivan Š 2018. Issue 26 - July 2018



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BERNADETTE MEYERS Freelance artist, photographer and teacher. Bernadette creates works on paper with photography, watercolour, mixed media, printmaking and encaustic. Bernadette is the creative force of Breeze Photography based in Collaroy, NSW.

‘My father was a photographer and picture-framer, so from as early as I can remember, I have been surrounded by pictures.

After leaving school, I studied fine art, majoring in printmaking, design and photography.’ Bernadette presently lives in Sydney's beautiful Northern Beaches with her husband and their daughter who is a ballet dancer. ‘Our life is filled with art, nature and dance’.

Page 86: Tree of Life. Water colour, H56 x W76cm. Bernadette Meyers. Left: Venice Afternoon, photographic print, H60 x W60cm. Bernadette Meyers Issue 26 - July 2018



At the end of last year, I spent a couple of months sorting my photo library of over 50,000 images into collections by theme. It was a fascinating process to reflect on years of picture making and see the

common threads. I’m continually drawn to the narrative of the circle of life. The theme of “passage” recurs over and over. Passage of time and

passage in the sense of way or journey, both physically and

metaphorically. I tend to focus in on one detail and let everything else fade into insignificance. This is true of the art I make on paper as well as my photographic art.

I think I was always destined to be an artist, I was one of those school kids who got in trouble for decorating the pages of my maths book instead of doing the work. My projects were always about presentation rather than content and I began training in Ceramics and Fine Arts when leaving school. After 4 years of ceramics, I studied a further 3 years of Fine Arts, majoring in Printmaking, Design and Photography. Since 1995 I have been exhibiting and teaching. I work mostly on paper with printmaking, photography, water colour, collage, encaustic, artist books and installation. Last year, I moved back to my home town of Sydney after living in and travelling to many different places in Australia, UK and Europe over the years. Everywhere I live or visit, I create artwork in some form and am

influenced by the surroundings. Issue 26 - July 2018


Home is somehow safe and comforting, on the other hand, I crave the adventure and novelty of new places and the challenge of what I can

create in my style at that particular place. The beauty of creation is a huge influence in my work over the years. Personally, I’m awestruck by grand vistas such as dramatic coastlines and mountain ranges, however, I don’t have any real way of depicting them in my art other than in series. I’m always drawn to details. To a single feather, leaf, seedpod, fern frond, fungi, shell, piece of seaweed etc. Or to the colours and textures of a place or thing. It is all the little parts which come together to tell the story for me. Dragonfly, Mixed media collage, encaustic, H12.5 x W 12.5cm. Bernadette Meyers. Issue 26 - July 2018


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Another life-long love is books, calligraphy, letterforms and illuminated manuscripts. When visiting art exhibitions I much prefer intimate works on paper to large canvases. There is something appealing about their ephemeral and personal nature. My favourite part of any retrospective, is the collection of sketchbooks and drawings, usually at the end of the show - where one can see the artist’s thoughts and process. I also find

the practice of keeping sketchbooks and journals essential to my life and work. I enjoy filling them and looking back through them years later. People talk about getting into the flow when they are creating art. I find this experience two pronged. Much of my time is spent collecting reference material in sketch books or with the camera. Mostly I don’t really know what I will use the images for, I’m simply exploring some beautiful aspect of nature or a place, knowing that I will use it later. This stage is almost like a form of meditation for me. I allow myself to get completely lost in whatever it is, whether it is the tulip gardens in Holland, or the bronze relief sculptures on the door of Gaudi’s La Sagrada Famillia Cathedral in Barcelona. I have no agenda, just wide eyed wonder and an explorer’s heart. Then there is the art creation stage, when I’m actually producing a piece of work for an exhibition. I have a lot more purpose and direction when I’m in that process and I find it much more physically and mentally taxing although time still goes into a warp of some sort.

Page 90: Songbird Cage, photographic print, H40 x W60cm. Bernadette Meyers.

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Life can be huge and overwhelming and I find that I need to screen a lot of things out of my world in order to survive emotionally. By doing that, I intentionally look for the beauty and good around me and find it everywhere, every day. It is so easy to be overcome by the exquisiteness of the details of a feather if you stop and take the time to draw it for half an hour. The main reason that I create my art is to draw attention to the wonder that is right in front of us each day and to hopefully bring extra joy and peace into the viewers world when they come in contact with my work.

Detail - Succulent artist book, mixed media, 25 x 7cm. Bernadette Meyers

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The Secret Place, photographic print, H40 x W60cm . Bernadette Meyers. Issue 26 - July 2018


Nature’s Song Series Photographic prints Each image 50 x 50cm Bernadette Meyers.

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Recently I had an exhibition with two other artists called The Creative Spirit. For my part, I made photography and installation work based on six of my creative friends, examining their creative processes and our relationship. This series is called Nature’s Song and is based on Christine Moussa, a singer and songwriter

who is influenced by nature. She has been a dear friend to me for over twenty years and I’ve seen the strength of her creativity run deep. She hears the song of nature in plants, flowers, water and wind. These images speak of her connection with nature and music. Chris is tough and strong in spirit, yet it is her incredible kindness and gentleness that is her strength. When she sings, a huge voice comes from a tiny frame. She loves beauty and she is beauty itself, so this series had to be beautiful. Her friendship is infinitely precious to me, so the artwork had to have a sense of preciousness. She has a soft, sweet heart and I wanted to convey that aspect. We have been through many seasons of life together, so I chose images from nature which represent different seasons, stages and times. For the installation, I used silver paint to write lyrics from the words of one of Chris’s songs “Hope” on watercolour paper and hung them as vertical scrolls. The paper has been dipped in encaustic wax to preserve it. I also used other natural elements feathers, gilded with silver leaf and driftwood pieces as the hangers as well as crystal beads. Everything is linked together with silver motifs such as feather, butterfly, dragonfly, leaf, tree and flower pieces hung from silk seam binding and wire.

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I photograph creative people for their websites and these photos of Mirre Van Dalen are from her performance installation artwork at Eramboo last year, which was Part 2 of Zwarte Bloem, a project she first started in 2009 in the empty rooms of the former mental hospital in Rozelle. In the initial artwork, Mirre wore a calico toile of a wedding dress while she dipped coloured flowers into black paint. The flowers represented the lives of people with mental health issues and the black paint, the difficulties they have experienced. In this second act, Mirre once again wore the toile and dipped the black flowers in white paint - bringing hope to broken lives. I also created an installation in response to Mirre’s work, based on my auntie’s long journey of recovery from alcoholism as part of The Creative Spirit exhibition. My beautiful auntie came to the exhibition opening and stood in front of the installation weeping. She said that she could see herself in the artwork and told me something I didn’t previously know - that she had been in that hospital 49 times before she begged the nurses to keep her until she was sober. That was 20 years ago and she hasn’t touched alcohol since. Left: Mirre, photographic print, H60 x W40cm. Bernadette Meyers. Issue 26 - July 2018


Bloem Series Photographic prints Each image 50 x 50cm . Bernadette Meyers.

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This year I have had two exhibitions and am now working on a coffee table book with a client. It is her concept, and my part is the photography, watercolour art and book design, layout and web design. With this major project, I have decided not to have any more exhibitions until at least the end of the year. When I packed up my studio at Martins Creek to move to the UK a few years ago, I had to put my etching press and other equipment into storage. Since then, I have worked increasingly with the camera because it is portable. I offer portraits, headshots and other commercial photography, however, I consider myself primarily an artist rather than a photographer. The camera is one of the many art mediums I choose to work with. My initial training was with film and I process my digital images with filmic looks and print on matt, fine art papers reminiscent of the etching process. People often ask me what the work is and are surprised that they are simply photographs, not etchings.

I’m currently working toward putting some of my tens of thousands of photographic images into collections on my website for sale as fine art prints with the aim of creating a suitable portfolio to approach property stylists, interior designers and architects. My long term plan is to continue to create art in mixed media and work more with creative people documenting them working at their art. - Bernadette

Meyers Š 2018.

Page 99: Mr Darcy’s Visit, photographic print, H40 x W60cm. Bernadette Meyers.

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CambrĂŠ Photographic print 50 x 50cm. Bernadette Meyers.

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98 All Rights Reserved on article and photographs curtesy of - Bernadette Meyers Š 2018.

Kathrin Longhurst at Work, photographic print, H60 x W40cm Bernadette Meyers. Issue 26 - July 2018



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My visit to the Palace of Knossos and the Archaeological Museum of Heraklion on the island of Crete - Lorraine Fildes

Palace of Knossos This year I visited Crete and toured the Palace of Knossos and the Archaeological Museum of Heraklion. First I will take you to the Palace of Knossos. The architecture and art work that I saw at the Palace of Knossos seemed familiar to me, and on reading about the excavations and reconstructions done by the

archaeologist Sir Arthur Evans I understood why. Many archaeologists wanted to excavate areas in Crete but it was British archaeologist, Arthur Evans who secured the rights to excavate and on 23 March 1900 broke the ground at the site of Knossos. It was Evans who uncovered the Knossos Palace and brought to light an unknown civilisation, possibly the oldest in Europe. Evans designated the building at Knossos a “Palace� and named the civilisation that had built it the Minoans, after King Minos of Greek mythology. Three other Minoan palaces have been uncovered on Crete: Phaistos, Malia and Zakros, but Knossos was by far the largest. Also many cemeteries and caves have since been uncovered and these have provided a wealth of information about the early inhabitants of Crete.

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These were not ‘Palaces’ as we know them – where the royal family and their entourage reside. The Minoan Palaces of Crete appeared to serve many purposes: residence for the royal family, seat of administration and justice, commercial and manufacturing centres and control of the economic and productive activities of the surrounding area. Religious elements were found throughout the Palaces and the west wing is believed to have been dedicated to the cult of the Mother Goddess. As Evans excavated the Knossos site he discovered that it had been occupied long before 3000 BCE – a well established Neolithic culture had existed there. He found that Knossos had been destroyed and rebuilt a number of times. The first Minoan palace - the ‘Old Palace’ - was first built about 1900 BCE and then destroyed about 1700 BCE (possibly by earthquake) and then was magnificently rebuilt only to be destroyed again about 1400 BCE, possibly by an earthquake or by invaders from the Greek main land, or both. This marked the end of Minoan culture.

It is the Palace that was gradually built between 1700-1400 BCE, that we mainly see at the archaeological

site of Knossos today. The need for conservation of the Palace was obvious from the first years of excavation. The fragile materials from which the Palace was built proved susceptible to weathering. It was necessary to restore the great staircase, for example, otherwise it would have collapsed onto the workmen. During the first phase of their restoration attempts in 1905, Evans and his colleagues confined themselves to protecting the ruins.

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Evans was struck by the familiar nature of the Palace architecture and decoration to Art Nouveau (1890 to 1910) in England. He even compared a fresco fragment from Knossos to a wallpaper design done by William Morris (one of the founders of Art Nouveau). The Art Nouveau architects readily employed new materials and painted in bright colours as did the Minoans. The Art Nouveau architects and artists were inspired by nature – flowers, animals and natural forms and so were the Minoans. Like the practitioners of Art Nouveau the Minoans were fond of mixing materials, and decorating walls from floor to ceiling. Minoan pottery is richly ornamented with paint or clay paste, often in the curling, intricate designs that so appealed to the Art Nouveau artists. The theory of Art Nouveau, influenced Evan’s understanding and interpretation of the Minoan Knossos Palace. In 1925 Evans started large-scale restorations at the Palace of Knossos. Because Minoan art seemed so like the Art Nouveau of his time its restoration posed no particular problems to him. Evans was encouraged to fill the void left by the absence of textual sources from the Minoan period and to repair the damage into which the Palace of Knossos had fallen, relying to a degree on this sense of familiarity to guide him in his

choices, rather than on strict scientific method. The result is part reconstruction, part fanciful reinvention.

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We should not criticise what Evans did back in the early 20 th Century as archaeologists of his time did not have today's scientific approach to archaeology. We should be pleased that he sunk so much of his personal fortune into the excavations and restorations at Knossos. The restorations performed by Evans are inaccurate, and there is a feeling that many of the details were made using "educated guesses". For the

visitor, such as me, the restorations helped me to visualise some of the magnificent features of the Palace. A visit to an unrestored archaeological site can be uninspiring - many ancient sites can appear to be piles of unorganized stones, broken columns and other fragments. The beautiful, although often


restorations of architecture and wall paintings by Evans evoke the elegance and skill of Minoan architects and painters. The ‘restored ruins’ captured my interest and helped me to have a much better understanding of the site than without any reconstruction.

The reconstruction impose Evans’s ideas as well as the

aesthetics of his age on the ‘restored Palace’.

Evans’s reconstruction of the Palace has become an

intricate part of the Knossos Palace and its history. I took many photos at the Palace of Knossos, but it was the architectural and fresco reconstructions that Evans had done that gave me the best understanding of the Minoan civilization.

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West Court, West Faรงade of the Palace We entered the Palace of Knossos via the West Faรงade. This photo shows the West Court and side of the Palace. The Palace faรงade is constructed of massive gypsum blocks set on a plinth. The faรงade is indented or protrudes corresponding to the interior arrangement of space.

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The Reconstructed South Propylaeum Next we went to the ‘South Propylaeum’. It was reconstructed by Evans and has a Mycenaean look to it, and this is because Evans at first thought he was excavating a Mycenaean Palace. Evans put up an ‘embellished copy’ of the ‘CupBearers’ fresco here. The wall painting depicts men holding libation rhytons. (Libation is a drink poured out as an offering to a deity and a rhyton is a container from which the fluid is poured.)

Left: detail, full image page

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These pithoi or large storage jars were on the east side of the Propylaeum. They are from 1450 – 1100 BCE.

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‘Horns of Consecration’ The horns in this photo are located near the South Propylaea. They are the great limestone ‘horns of consecration’. The horns appear to have been restored

with cement. Different depictions of horns of consecration can be found throughout Minoan culture, overall, the bull was considered to be a sacred animal in ancient

Crete, playing a large role in religious rituals.

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South Entrance, Corridor with the ‘Prince of the Lilies’ Fresco The section of the corridor closest to the Central Court is reconstructed. A few fragments of a fresco were found here. From these fragments it was possible to make out a figure wearing jewellery in the shape of lilies. Evans called the fresco ‘Prince of the Lilies’. The original fragments are now in the Heraklion Museum. Evans had an ‘embellished copy’ of the fresco painted here. Note the red cement column – originally it would

have been a wood column painted red.

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East Wing The Grand Staircase of the East Wing at Knossos has four stair flights, descending to the ‘Veranda of the Royal Guard’. The reconstructed pillars of cement are painted red and the shield fresco In the background is an ‘embellished copy’ of the fresco fragments that are in the Heraklion Museum.

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Central Court and Entrance to the Throne Room The Central Court (dimension approximately 50 x 25m) is an architectural element common to all Minoan palaces. The Court connects the different wings with one another. This photo shows a section of the Central Court and the entrance to the anteroom which leads to the Throne Room.

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The West Wing and the ‘Throne Room’ The ‘Throne Room’ is in the West Wing of the palace and is a level walk from the Central Court yard. It is the most famous room unearthed by Evans. It was separated from the Central Court by an anteroom. When I entered the ante-

room you could look into the ‘Throne Room’ - there was an oppressive quality about it due to its low ceiling and lack of windows.

If you look at my photo you will see that the

throne is placed along a side wall facing across the room. The throne is probably the oldest known throne in Europe. On either side of the throne there are stone benches and in front of the throne a stone ‘bath’. On the wall behind the benches is a fresco depicting plants and griffins, (mythical beasts with a lino’s body and bird’s head). This painting is an ‘embellished copy’ - the restored fresco is in the Heraklion Museum. The throne looked directly at an area cut by a

low wall and brightly painted columns. This area has a sunken floor. Evans thought this area was used for purification ceremonies. It seems unlikely to have been a ‘Throne Room’ in the modern sense of the word. Some have argued that it was not in fact a throne room used by a king but an area used for religious cult practices. Issue 26 - July 2018


The ‘Hall of the Double

Axes’ The ‘Hall of the Double Axes’ was so named by Evans due to the double-axe signs engraved on the walls of the light-well at its rear. I was unable to photograph the double-axe signs. The Hall of the Double Axes was a double chamber with an inner and an outer space. The inner space could be closed off by eleven sets of double doors to give privacy. The photo below shows the reconstructed columns in front of the ‘Hall of the Double Axes’ and the reconstructed timber frames of the doorways.

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‘Queen’s Megaron’ Near the ‘Hall of the Double Axes’ is





arranged and richly decorated. Evans thought that it must have belonged to the Queen. Fragments of frescoes with dolphins and dancing ladies were found. The room is largely restored and copies of the wall paintings have been put up on the walls. The original fresco fragments are in the Heraklion Museum.

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North Entrance – North Pillar Hall An open air passage linked the Central Court with the North Entrance. It was paved but very narrow. Right and left were two raised colonnades known as ‘Bations’. Arthur Evans reconstructed the ‘Bation’ on the west side. He also placed an ‘embellished copy’ of a restored relief fresco of a bull there. The wall painting may have formed part of a hunting scene. The original fragments of the fresco are in the Heraklion Museum.

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The Royal Road’ and ‘Theatral Area’ ‘The Royal Road’ is one of the oldest roads in Europe. As it approaches the Palace, the The area shown in the photo below was called the ‘Theatre’ by Evans because its shape

roads divides into two. One road goes to

reminded him of later theatres. ‘The Theatral Area’ is a paved and about thirteen metres by

the ‘Theatral Area’, while the other road

ten. Around it is an L-shaped area of steps which would offer standing room for about 500

leads to the West Court. Along the road

people. This is a small area for the large size of the palace. Evans believed that the court

were town houses with workshops on the

was used for ceremonies watched by standing viewers.

ground floor and residential areas on the upper floor. Imagination is needed to picture it as it would have originally been because today it passes along a deep, tree -lined trench.

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The Archaeological Museum of Heraklion After our visit to the Palace of Knossos archaeological site we headed to the Archaeological Museum of Heraklion. This museum is one of the largest and most important museums in Greece. It houses representative artefacts from all the periods of Cretan prehistory and history, covering a chronological span of over 5,500 years from the Neolithic period to Roman times. Its extensive Minoan collection, is the most comprehensive in the world and includes everything from sarcophagi to fresco wall art. As I had just visited the Palace of Knossos I concentrated my time on the Minoan civilization art. My photos of the Minoan pottery, carved stone objects, seals, small sculptures, sarcophagi, funeral items and fresco wall-paintings will give you some idea of the magnificence of the Minoan collection held by the museum. Most of the information about the artefacts in the Museum are from the labels that were placed next to the items. The two vases below are examples of Neolithic pottery found on Crete. They were just too magnificent not to photograph.

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This and the next pages show photos of fine wheel produced pottery made by the Minoans. This pottery was called Kamares ware. Fine clay, thrown on the wheel, permitted precisely





covered with a dark-firing slip and exuberantly painted with slips in white, reds and browns in fluent floral designs, of rosettes or conjoined





Designs are repetitive or sometimes freefloating, but always symmetrically composed. Themes from nature include octopuses, shellfish, lilies, crocuses and palm-trees, all

highly stylized. The entire surface of the pot is densely covered, but sometimes the space is partitioned by bands. The pottery was named after finds in the cave sanctuary at Kamares on Mount Ida.

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Large Jars Elaborately decorated large jars have been found in the Minoan palaces, urban houses and peripheral centres. They were used to store and transport liquid commodities such as wine and olive oil. Their decoration with religious symbols, such as double axes and bulls’ heads made these vessels valuable display objects.

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The ‘Snake Goddesses’ and other Miniature Objects from the Temple Repositories of Knossos The most important cult objects from the Knossos Temple Repositories are the figurines of the ‘Snake Goddess’. They are named after the snakes twining around the body and arms of the larger figure, and the two snakes that the small figure holds in her upraised hands. The snakes symbolise the chthonic (relating to or inhabiting the underworld) character of the cult of the goddess, while the feline creature on the head of the smaller figure suggests her dominion over






garments, consisting of a long flounced skirt, an embroidered apron and a close-fitting bodice that exposes the large breast, symbolic of the fertility of women, the goddess and, by implication, nature itself.

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Bull shaped rhyton – libation vessels. The painted red covering the body of one, and the cut horns with rings, refer to the

capture of the wild bull intended for sacrifice. Phaistos, 15001450 BCE.

Left are two plaques depicting a cow and a female wild goat

suckling their young. They were found in the KnossosTemple




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Clay bull’s head rhyton – libation vessel. Mochlos, 1500-1450 BCE.

Bull’s-head libation vessel and figurines of female worshippers, one of which is particularly naturalistically rendered. Phaistos-palace and houses, 1700-1600 BCE. Clay bull’s head rhyton – libation vessel.

Palaikastro, 1500-1450 BCE. Issue 26 - July 2018


Stone bull’s head rhyton, left side of head and horns restored. It is a masterpiece of Minoan art, worked with great precision to render the natural features of the real animal. The snout is outlined with and inlay of white seashell, while the preserved right eye is inlaid with rock crystal, with rim and iris of red jasper. This vessel would have been used for libations, as indicated by the hole in the neck for filling and the corresponding hole in the snout for pouring out the liquid. Knossos Palace, 1600-1450 BCE.

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The ‘Poppy Goddess’ The largest of the figurines from Gazi, this is the only one crowned with models of opium poppy fruit. The symbol of opium, a hallucinogen known for its sedative and healing properties, conveys the message the goddess relieves pain and heals her worshippers. 1300-1200 BCE.

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The Phaistos Disc The




Phaistos Disc takes pride of place in the history of Cretan scripts. It bears forty-five pictorial signs, arranged in different combinations into sixty-one groups, separated by incised lines, presumably representing words. The signs were stamped on both sides of the disc. Experts have not yet deciphered the Cretan scripts. The repetition of certain combinations of signs provides the most persuasive evidence that the inscription is a hymn or a text of magic character. (1700-1750 BCE.)

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Stone vases are amongst some of the earliest surviving artefacts from the Minoan civilization with examples from the early Minoan phase between 2500 and 2000 BCE. The design and material were matched so that elegant forms brought to the fore the natural colour variations of the stone

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Wine Production Wine played an important role in

religious, economic and social life. Evidence of wine consumption is provided by the large numbers of storage, pouring and drinking vessels. Wine making is indicated by clay vessels for treading grapes and collecting the juice. They consist of a clay basin with a spout at the base, and a collector placed

below the basin.

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Jewellery of gold and rock crystal, pins with floral finials, necklaces, bracelets, bands attached to clothing, rings, earrings and pendants. Mochlos, 2600-1900 BCE Issue 26 - July 2018


Arkalochori Cave A large assemblage of metal objects, used for religious rites and as votive offerings, was found in a small cave at Arkalochori in central Crete. The assemblage

includes large bronze votive double axes, and a wealth of miniature double axes in gold, silver and bronze and pieces of gold foil. The reason the objects were place in such a small cave is unknown – may be a hoard of valuable metal objects hidden due to imminent danger. (1700-1450 BCE.)

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Weapons and Authority Symbols A large number of luxurious swords and daggers were found at Malia Palace. These objects were intended for display rather than use. Gold was often used to decorate the handle of the swords and sometimes finished with a large pommel of elephant ivory as shown in the photo. All these objects were status insignia, emblems of rank, office and authority for members of the Palace hierarchy (18001600 BCE).

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Clay larnakes or coffins were used for burial by the Minoans. There were two types of larnakes as you can see from the photos below. The first is in the shape of a chest with a gabled lid, while the second resembles a bathtub. The deceased was placed in a foetal position, perhaps signifying the symbolic return to the beginning of life in the primeval womb. The larnakes are decorated in the same style and technique as the frescoes on the walls of the Palaces. Iconographic themes are mostly inspired by the plant, animal and marine worlds. These themes depict an abstractive version






creatures symbolise the sea across which lie the isles of the blessed dead and the Elysian Fields (the final resting place of the souls of the heroic and the virtuous). This other world of peace and eternal spring is indicated by trees, plants, birds and animals painted on the larnakes sides (2600-1900 BCE). Issue 26 - July 2018


Athletes and Acrobats – Bull-leaping An important aspect of Minoan public life was the organised spectacles at which trained athletes engaged in contests of strength, endurance and skill. The most spectacular Minoan acrobatic sport was bull-leaping, in which young, trained athletes made a dangerous leap over the horns and back of a charging bull. Athletes of both sexes took part. The contests would have been held in outdoor spaces or in the courts of the palaces. The spirit of competition and excellence first

cultivated by the Minoans was revived centuries later in the Olympic Games of ancient Greece whose establishment was linked by mythological tradition to Crete.

The bull leaper (c.1500 BC), an ivory figurine, part of a bull-leaping composition, from the palace of Knossos. The elongation of the limbs indicates the tension and direction of the leaper’s efforts. This is thought to be the first attempt to render the instantaneous, free rotation of a carved figure in three-dimensional space. It is assumed that thin gold pins were used to suspend the figure over a bull.

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As you can see from my photos of the frescoes that Evans had painted on the walls of the Knossos Palace and the following original fragments of the frescoes that were found at the site – Evans has had the frescoes greatly embellished.

This fresco decorated the wall of the ‘Queen’s Megaron’.

This fresco decorated the wall of the North entrance hall.

Looks familiar to you? I showed you earlier the copy Evans had

Looks familiar to you? I showed you earlier the copy

painted on the reconstructed wall at the Knossos

Evans had painted on the reconstructed wall at the

1450 BCE.

Palace 1600-

Knossos, Palace, West Bastion of the North Entrance Passage. 1600-14500 BCE.

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A bull-leaping scene vividly depicting how the spectacular sport was performed. There are three participants, two white-skinned women and a brown-skinned man. One of the female athletes is restraining the bull by the horns to reduce its speed and hence help the leaper performing the dangerous backwards somersault. The second female athlete, behind the bull, is waiting with outstretched arms to catch the leaper as he lands. The fresco was found on the east side of the palace of Knossos, together with fragments of others depicting different

stages of the same sport. Knossos-Palace, 1600-1400 BCE.

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This fresco decorated the wall in a corridor of the South entrance. Looks familiar to you? I showed you earlier the copy Evans had painted on the reconstructed wall at the Knossos, Palace, South entrance corridor 1600-1450 BCE

All Rights Reserved on article and photographs curtesy of - Lorraine Fildes Š 2018.

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Ken O'Regan Ondine Seabrook June 30 - Aug 19 2018 Saturday June 30th, do join us for drinks from 3pm onwards to view the works.

146 - 150 Dowling St, Dungog, 2420 N.S.W. Issue 26 - July 2018


Ken O'Regan

is a mid-career Australian artist

from Newcastle who has developed a sculptural

practice combining found object assemblage with an environmentally conscious theme. Left: Ken O’Regan in his studio.

Ondine Seabrook is an emerging artist from Sydney. A painter who graduated from The National Art School in 2017, Ondine Seabrook is represented by China Heights Gallery in Surry Hills.

Left: Ondine Seabrook "Driving Past New River" 2018 Oil on Canvas 31 x 46cm Issue 26 - July 2018


Ken O'Regan June 30 - Aug 19 2018

146 - 150 Dowling St, Dungog, 2420 N.S.W. Issue 26 - July 2018


Ken O'Regan Ken O'Regan is a mid-career Australian artist from Newcastle. Over the last fifteen years artist Ken O’Regan has developed


practices that combine found object assemblage with environmental themes. His practice has involved producing large

installations that visually echo

museums, stained glass windows, mandalas and neon signage. His work frequently uses light to make these references and this has extended his practice into the area of sculptural lantern making. Ken O’Regan’s practice is based on both the use of waste

materials as art

media to create large assemblages for exhibition, or on the use of bamboos

and cane to create large scale installations for events. His work is strongly concept driven but it still remains immediately connected to the physicality of the materials and to the processes necessary to convert them to his aesthetic needs. Ken O'Regan's work is held in the collections of the Newcastle Art Gallery,

Wallsend District Library, The University of Newcastle and in many important private collections. Issue 26 - July 2018



All of JULY -at the Readers & Larder , 1 Garnett St. East Maitland , NSW Opening Saturday 7 July 2- 4pm by Kim Blunt Gallery Curator, Maitland Regional Gallery. The De Factos - vocals & vibes from Donna Cavanough & John O’Brien. Issue 26 - July 2018


JUDY HENRY Artist Judy Henry’s studio and home is in Paterson, situated in the rural Hunter Valley NSW. Judy began her career as a Photographic Colourist in 1960’s -1970’s. Judy went on to study Fine Arts, at Hunter Institute of Technology Newcastle 1980’s and Visual Arts at the University of Newcastle 1990’s.

Judy says of her latest exhibition Childhood Memories “In this exhibition my artworks came from my childhood memories, While sitting in my studio I was reflecting on what I liked doing when I was child.

I remembered cutting images from anything I could cut up and also I loved to experiment by mixing coloured tissue and crepe paper in bowls of water to see what colour’s can be created. This is what inspired these works for this exhibition”. Page 140: The Vase & the Bee, mixed media on paper, Judy Henry © 2018. Cescent Flowers, mixed media on paper, Judy Henry © 2018. Issue 26 - July 2018


After Gauguin, Mixed media on paper, Judy Henry © 2018. Issue 26 - July 2018


The Race is On, Mixed media on paper, Judy Henry © 2018. Issue 26 - July 2018



Upcoming Exhibition Vista at Art2Muse Gallery 10 – 23 July 2018 Issue 26 - July 2018


“ My work is primarily about landscape and aims to explore patterns within the environment, formed as a result of the Interplay between topography, vegetation and by extension shadow and light. Each landscape has a pattern unique to itself, this pattern resembles a topographical script, which in turn, informs the characteristics of each individual landscape. I use a restricted palette to help articulate

this concept to the viewer, to draw them into the work and allow them to focus on this idea of pattern forming script and then developing into the language of a landscape. Recently I have extended my enquiry to include the exploration of mans impact on these environments and the subsequent interruption and disruption of the topographical script.”

Kristen Lethem © 2018.

Glendawarra, acrylic, ink , intense pencil on board, H53 x W63cm. © Kristen Lethem. Page 148: Impromptu II, acrylic on board, H25 x W32cm. © Kristen Lethem. Issue 26 - July 2018



The inaugural Sculpture on the Farm exhibition will be held in the gardens of “Fosterton” (824 Fosterton Road)

a picturesque cattle

property on the outskirts of Dungog in the Hunter Valley, NSW. Set aside the 2018 October Long Weekend - Saturday 29 and

Sunday 30 September 9am – 5pm Monday 1 October 9am – 12 noon for this exciting new sculpture exhibition of both indoor and

outdoor works, large and

small. Sculpture on the Farm will be held in conjunction with the renowned Dungog Festival, which celebrates the arts, local food and rural life.

Official opening Cocktail Party - Friday 28 September 2018 5pm – 7pm ($65 a ticket and free for exhibiting artists - tickets will be available


online through the Dungog Festival website,) or by


Philippa Graham by email on Issue 26 - July 2018


Testa Dura II Vince Vozzo In this exhibition, Sydney-based artist Vince Vozzo explores his Italian-Australian heritage and shows how it has inspired his art practice. Vince’s father Domenico arrived in Sydney in 1927, but was interned at Hay, NSW, for five years during WWII. He was then sent out to work as a Prisoner of War in different parts of Australia, including Alice

Springs, Northern Territory and Butlers Gorge, Tasmania. This is a personal history of first generation ItalianAustralians during WWI and WWII.

5 JULY - 26 AUGUST 2018

Mildura Arts Centre 199 Cureton Avenue Mildura Image: Vince Vozzo, Tatlin's Tower or Shock of the New, Paper pulp, oil paint, cardboard box. Issue 26 - July 2018


Issue 26 - July 2018


Rhino Images - Art and the Rhinoceros Lorraine Fildes and Robert Fildes. Art and the Rhinoceros - There are over three hundred Rhino images in this book.

Whether in the ancient past or in the present the rhinos are always represented as huge, powerful and solitary animals. The book includes paintings, drawings, woodcuts, etchings, rock carvings and sculptures of the rhino all depicting the power of the animal. These images of the rhino range from early civilisations such as in China, Roman Empire, Indus civilisation in Pakistan/ India area and from Southern Africa down to current day images of paintings and sculptures produced by modern day artists. The text indicates where you may find these wonderful images as well as the websites of the artists concerned, the caves where the rhino images have been found and the places where posters use the rhino image. There are very few of these magnificent wild animals left in the world, so unless they are protected and managed, artistic images will soon be the only viewing option.

Rhino Images – Art and the Rhinoceros, First Edition, 2017, is available for download at The Rhino Resource Centre web site. Direct Link :

Page 184 : White rhino crash at Whipsnade Zoo, England. Image: Robert Fildes Š 2017. Issue 26 - July 2018


Click on cover to view the issue.

studio la primitive Eric & Robyn Werkhoven

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Click on cover to view the issue.

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Click on cover to view the issue.

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STUDIO LA PRIMITIVE JEWELLERY Dungog By Design - 224 Dowling St, Dungog NSW Hrs: Wed 10 - 3 Thurs & Fri 10 - 4

Sat & Sun 9 - 3 Issue 26 - July 2018




Phone: 0431 853 600

Director: Colin Lawson Issue 26 - July 2018



JUNE 22 – JULY 8


JULY 13 - 29


AUGUST 3 -12


AUGUST 17 – 26


John Sorby - Red Landscape with Green - oil on canvas Issue 26 - July 2018


GALLERY 139 EXHIBITION CALENDAR 2018 DRAWN OUT Experimental drawing exhibition.

THURS 5 JUL - SUN 22 JUL 2018

Ben Gallagher, Cherie Wren, Maddyson Hatton, Jill Orr, Bruce Roxburgh.


Andrew Shilham, Judy Hill, Belinda Street, Frank Murri, Justin Lees, Ainslie Ivin-Smith.

Gallery 139 Beaumont St. Hamilton, NSW Issue 26 - July 2018



GARDEN STATE Paintings and ceramics JO DYER THURS 16 AUG - SUN 26 AUG 2018


Rieteka Geurisen, Em Warren, Lydia Miller, Ros Elkin, Sharon Taylor, Barbara Nanshe, Jane Collins, Kayo Yokoyama

Gallery 139 Beaumont St. Hamilton, NSW Issue 26 - July 2018


June 29 – July 15 “Jubilee – 50 Years 50 Clay Pots” Artists: Central Coast Potters Society Inc & Newcastle Studio Potters Inc July 20 – August 5 “Ethereal” Artists: Helen Jackson, Sally Walker & Kylie Foley August 10 – August 26 “Joanne Searle Ceramics” Artist: Joanne Searle August 31 - September 16 “Natural Belonging” Artist: Patricia Luck

57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm Issue 26 - July 2018



Issue 26 - July 2018




90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm Sun 10 am – 2pm. Issue 26 - July 2018


Subterranean The





Charlotte Sehmisch, Anne Kempton, Anita Larkin, Giselle Penn, Sachiko Kotaka, Jessica Forster, Olga Finkel, Catherine OLeary, Pam Hovel and Pam de Groot. Artists dig deep for Subterranean exhibition Nine Australian textile artists have produced remarkable works in felt to honour the work of innovative German feltmaker Charlotte Sehmisch for Subterranean, a new exhibition opening at Newcastle’s Timeless Textiles on 12 July. 'On This Side and Beyond' Charlotte Sehmisch Wall hanging

90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm Sun 10 am – 2pm. Issue 26 - July 2018


‘Glacial Shift’ Giselle Penn

‘The Cloud Within Me' Anita Larkin

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Sehmisch studied architecture in Weiner, Germany, before studying fashion in Halie. Since 1998, she has worked as a fashion and hat designer, created stage outfits, including hand-made felt hats and dresses, and taught at various European colleges. Her highly original sculptural techniques have attracted attention, with her work widely exhibited in Germany and France.

Sehmisch has worked with felt, other textiles and even building materials during her career to create her amazing work. She has used techniques such as lamellae, cracks, chambers and helixes to create architecturally based felt structures. Her approach is based in geometric designs. “I presume my love for sculptural surfaces, three dimensional objects and geometrics has its origins in my

architecture studies,” says Charlotte of her approach. “I am a huge fan of Bauhaus.”

The feltmakers invited to respond to Sehmisch’s work for the Subterranean exhibition were given the freedom to apply their own interpretation and felt-making techniques. - Anne Kempton © 2018.

90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm Sun 10 am – 2pm. Issue 26 - July 2018




FANCY ‘Eclectic smooth grunge with vibes (occasionally), three-piece fun band with excellent musical taste and a unique sound. Donna Cavanough on vocals, Lenny Burgess the engine on guitar, John O'Brien playing

vibraphone and all manner of other instruments’.

A tribute to the exhibition and artists for There Be Unicorns Out There, an exhibition at Dungog By Design in November 2017. All the artworks appear, though not all the artists (only whoever was around on the day!). I'm very proud of the way I've honoured them and their work. This is Fancy's first official music video. The song is available on most platforms - buy it and we'll love you forever. Vocals Donna Cavanough. Guitars Lenny Burgess. Backing vocals & synthetics & production John O'Brien. Lyrics John, music John & Donna. Video produced by John O'Brien. Page 168: FANCY performing at Maitland Regional Art Gallery, photo by Natalie Duncan.

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DUNGOG BY DESIGN handmade & inspiring 224 Dowling St Dungog NSW Issue 26 - July 2018



I L Y A R D Clare Tilyard ceramics at Dungog by Design, 224 Dowling St. Dungog, NSW.

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E Equality, Leading the People, oil on canvas, H150 x W 200cm. Mertim Gokalp Š 2018.