ARTS ZINE JULY 2021

Page 1

s t u d i o

L A

arts zine

issue 42 JULY 2021

P R I M I T I V E


Entwined with Purple, W28 x H19cm. Etching, 1997 Jeanne Harrison.

PAGE

106

JEANNE HARRISON


S E I G A R

seigar.wordpress.com instagram.com/jseigar

flickr.com/photos/theblueheartbeat/ albums


R O S

E L K I N www.roselkin.com.au


GAVIN VITULLO page 32 Wasteland' - Ciment Fondu, Steel & Wood Dimensions Variable - From My Exhibition 'Natural ‘Causes' At The Lock-Up Art Space , Newcastle.

- Image by Dylan Oakes 2020


JENNA – ROSE

ORCHER page 64 Ocean and Communication, W20 x H20 cm. Acrylic on canvas. Jenna-Rose Orcher 2021.


DAVID MCLEOD bigbreathproductions.com

"Lady" Acrylic on canvas W60.96 x H76.2 cm . - David McLeod.


slp studio la primitive CONTRIBUTORS

Circle series based on Nature. Diameter 24cm. Acrylic on Arches paper. Marea Kozaczynski-McCaig

Rosa Fedele

Robyn Werkhoven

Gavin Vitullo

Art Systems Wickham Gallery

Maggie Hall

David McLeod

Jenna-Rose Orcher

Helene Leane

Marea Kozaczynski-McCaig

Barbara Nanshe

Jeanne Harrison

Art Quill Studio

Roslyn Elkin

Timeless Textiles

Lorraine Fildes

Newcastle Potters Gallery

SEIGAR

Gloucester Gallery

Brad Evans

Sculpture on the Farm

Reese North

Port Stephen’s Community Arts

Eric Werkhoven

Dungog by Design


INDEX Editorial …………

Robyn Werkhoven

10

Studio La Primitive ……

E & R Werkhoven

11

Feature Artist ………..

Rosa Fedele

Poetry ………………..

Eric Werkhoven

30 - 31

Feature Artist …………

Gavin Vitullo

32 - 49

Poetry …………………

Brad Evans

50 - 53

Feature Artist ………...

Maggie Hall

54 - 63

Feature Artist …………… Jenna-Rose Orcher

64 - 77

Feature Artist ………..

Marea Kozaczynski - McCaig

78 - 93

Poetry …………………

Reese North

94 - 97

Feature Artist …………… SEIGAR Jeanne Harrison

106 - 121

Feature Artist …………..

Roslyn Elkin

122 - 141

Feature …………………

Lorraine Fildes

142 - 183

FRONT COVER: ALISON feat. 1960 FB Holden Image by Edwina Richards from their collaboration 'Exposure Series' 2020.

98 - 105

Featured Artist …………

ART NEWS……………….

'Pacific (Reclaimed)' - Stone & Seagrass - Gavin Vitullo.

12 - 29

Oil on Canvas, H61 x W61cm. Rosa Fedele.

184 - 219


EDITORIAL

Artist and printmaker Jeanne Harrison presents her colourful and

Greetings to our July ARTS ZINE readers.

Artist Roslyn Elkin’s article highlights her passion for photog-

contemporary works, inspired by the landscape and nature.

We again in this month’s issue wish to stress the importance of the Visual Arts , Music and Literature, in these demanding times with COVID 19, to

the intricacies of the natural world. Lorraine

keep creative and stay positive. The July Arts Zine presents a diverse and vibrant

raphy, presenting a gallery of unique botanical images, exploring

Fildes, our resident travel photographer and

writer features Art Deco Buildings in Sydney NSW. group of contemporary

artists, photographers and writers. The dynamic artist and author Rosa Fedele writes about her journey in the

International Spanish photographer SEIGAR features Pride (featuring Kirian Rodríguez). A celebration - LGTBIQ+ pride, gives visibility, and fights for equality.

world of painting and literature, and her passion for vintage cars. Gavin Vitullo is an award winning, multidisciplinary Hunter based Artist;

Don’t miss out reading new works by resident poets Brad Evans,

recognised for his environmental, earth focused sculptures.

Reese North and Eric Werkhoven.

Maggie Hall artist and poet writes about her latest explorations with art videos and Paraclaustic Poetry which is created through multi-layering soundscapes.

ART NEWS and information on forthcoming art exhibitions. Submissions welcomed, we would love to have your words and art works in future editions in 2021.

Jenna-Rose Orcher is a Gamilaraay woman whose artwork reflects her exploration of identity and place within her culture. Inspired by the natural

Deadline for articles 15th AUGUST for SEPTEMBER issue 43, 2021.

environment and the political injustices of Indigenous people. Email: werkhovenr@bigpond.com Marea Kozaczynski-McCaig is a Hunter based artist, illustrator and art

Regards - your editor Robyn Werkhoven

tutor. Marea possesses a love of vibrant colour and intricate design.

The publisher will not accept responsibility or any liability for the correctness of information or opinions expressed in the publication. Copyright © 2021 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.

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Adoration to an Ancient God H90 x W 60cm., Acrylic on canvas

www.studiolaprimitive.net

S T U D I O

L A P R I M I T I V E

E&R Werkhoven 2019.

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ROSA FEDELE

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ROSA FEDELE Artist and author Rosa Fedele writes about her journey in the world of painting and literature. Rosa’s painting themes are diverse from intimate portraiture, still lifes to urban scenes and vintage cars.

“Her preferred medium is oil, her style a blend of figurative and modern realism, indulging in the dramatic use of light and colour.” “Taking a leap from creating pictures with a brush, Rosa transitioned to conveying images with words, publishing two illustrated suspense novels, both set in Sydney of the past. Both Rosa’s art and writing is sumptuously decadent and wickedly eccentric: blurring the line between reality and truth, she challenges the viewer and the reader to suspend their disbelief and enjoy the melodrama”. The Red Door interweaves a story with pictures and draws the reader into an enchanting world, published in 2015.

The sequel is a gothic mystery, The Legacy of Beauregarde was published in 2018. “For me, every painting and every book is a new adventure, started with a thrill of excitement and anticipation.” MURPHY feat. 1958 Austin Healy Bug Eyed Sprite Page 12 : RED SHOES II feat. 1956 FJ Holden,

Oil on Canvas, H91.5 x W91.5cm. Rosa Fedele.

Oil on Canvas, H30.5 x W40.7cm. Rosa Fedele.

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ERICA feat. 1963 EH Holden (Detail) Oil on Canvas W91.5 x H122cm. Rosa Fedele.

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ROSA FEDELE - INTERVIEW Daughter of Italian migrants to Australia, I was born and raised on the Northern Beaches, Sydney. From the outset,

artistic

pursuits

were

scorned,

derided,

forbidden; I can still clearly remember the lack of any drawing paper or pencils in the house. So powerful was my need to draw that I even turned to using scraps of toilet paper. I can still remember bringing such a sketch into school when I was around eight years old and my classmates laughing at me. Although all I wished was to be an artist and a writer, real life had other plans. I fled home and started working at 14, so it wasn’t until the ripe old age of 29 that I was able to formally begin studying art. The day I

crossed the threshold into the Julian Ashton Art School in The Rocks, Sydney, I knew that I had finally found my tribe and realised I had been suppressing the most elemental and intrinsic part of myself since childhood.

SHOTGUN III feat. 1954 FJ Holden Ute, Oil on Canvas, H76 x W76cm. Rosa Fedele.

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Why vintage cars? Unconstrained by any expectations my work is utterly

I’m passionate about preserving these wonderful old

genre-defying. I will draw and paint everything – portraits,

beasts on canvas, as soon there will be very few left.

still life, bird life – but inevitably always return to what I enjoy

Each painting is a new challenge: depicting reflections

most: the nostalgia of vintage cars. And, more recently, Ital-

and sunshine flashing off seductively curvaceous

ian

chrome, capturing the patina of old duco, bumpers

scooters.

wrapped lovingly around old steel bodies, the layers of My love of classic cars started long ago when an early

colour and texture, and, of course, delicious red rust.

employer turned up in a rosy pink convertible, proudly parking his beautiful new machine in front of the offices.

I paint for the “every man”; my work is welcoming and

I was 17 and had never seen such a work of art, for that’s

joyful, accessible and affordable.

what she was – a stunning 1966 Mercedes 230SL – all flashing chrome and gleaming paintwork. This car spoke to

My clientele now include collectors of cars, aeroplanes

me and I was instantly besotted.

and scooters, and it is intensely gratifying and affirming when a viewer not only appreciates the subject

In 2009 I was approached by a Mad Max aficionado asking if

depicted, but shares memories of why the painting

I would recreate a series of scenes from the movies. It was

resonates with them on a personal level. There is

seriously the most enjoyable project, and from that moment

nothing profound or mystical in what I do, I don’t attempt

I’ve never looked back.

to analyse or overthink the process … I simply paint for the absolute joy of it.

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MAD MAX AND GOOSE (the painting that started it all), Oil on Canvas, H61 x W76cm.

THE WINEMAKER feat. 1948 FX Holden, Oil on Linen, H76 x W76cm.

- Rosa Fedele.

- Rosa Fedele.

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BARNEY feat. 1954 MG TF, Oil on Canvas, H91.5 x W122cm. Rosa Fedele.

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TWO COWKIDS AND A CHRYSLER feat. 1962 Chrysler Valiant S, Oil on Canvas, H30.5 x W40.7cm. Rosa Fedele.

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Why illustrated novels? The first reaction I encountered at the announcement of my first novel was: "Why did you decide to write a book?" The question was usually accompanied

by

the

scratching

of

heads,

and

incredulous

or

uncomprehending looks. Well, is it such a leap from creating pictures with a pencil or brush, to conveying images with words? "But, is this something you've always wanted to do?" they would persist. Funnily enough, when first I started to write, I had no idea what I was doing. In fact, I was so embarrassed that I started the project in secret, waiting until the house was empty and I was sure to be completely alone. But, quite simply, yes. I have always known I would write and illustrate my own books. My solitary childhood led to immersing myself in reading, borrowing every single book the school library had available. One of my favourites was a little known work by Australian artist Norman Lindsay, "The Flyaway Highway".

Lindsay had a wonderfully silly side,

unapologetically writing jolly and nonsensical stories, generously laced

ELANORA from THE RED DOOR Pastel on Paper, Rosa Fedele.

with illustrations and innuendo. Issue 42 - July 2021

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THE RED DOOR and THE LEGACY OF BEAUREGARDE- Book Covers

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Why mysteries? Well, the thing is: I love creepy old houses. Sometimes my heart aches profoundly at the sheer beauty of a building and I will stop and stare dumbly at the shimmering tarnished Gothic copper roof of a turret, the sun flashing off stained glass windows or the swirling ochres and russets of a Sydney sandstone wall, wishing desperately for the owner to appear at the door, smile and welcome me in for tea and biscuits. One day, I was strolling through Glebe, one of the oldest suburbs in Sydney, admiring the old mansions, and I happened upon one house in particular. But it was more than a house; the magnificent old building riveted and mesmerised me and in

the following weeks I was drawn back to the site over and over. The mansion is fronted by a brightly painted door, a glossy façade, and I imagined what the door might mask and what it could have concealed over the last 150 years: nasty, shameful secrets, possibly a poor family’s misfortune and tragedy, rotten crimes and heaven knows what other unholy messes ... and a story began to form. I researched the origins of the house. I drafted thumbnail sketches of my first protagonist and her beautiful new home, and she slowly came to life. The main character of my stories is always a strong, if troubled, female. From the outset I had a definite idea of her character, her appearance, her weaknesses, her deepest hurts.

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From there I built a surrounding cast, along with their interrelationships, secrets, schemes and desires. This was fun: I love basing my characters on personalities I’ve come into contact with, whether at parties, conferences, workplaces or in the street. I’m almost always “recording”; taking in mannerisms, inter-personal dynamics, the tilt of a head, a finger rubbed nervously across a philtrum. And sometimes, outrageous words and opinions uttered can be infinitely quotable! I became deeply connected to my characters, creating a “universe” for them, carrying some from the first book to the second. I always had a basic idea of the plot but, of course, when writing the pesky critters soon take over and do what they damn well please – it’s like having a colony of unruly children in my head. Writing those books was a challenging and emotional period in my life: we had moved house (twice), I was managing the family business and our daughter’s burgeoning music career while juggling painting commissions … and also dealing with the grief of losing several people in my life. Several years later, at great personal expense and with many setbacks and rejections, I eventually published two novels: THE RED DOOR and THE LEGACY OF BEAUREGARDE. The books begin fairly innocently, however you can imagine the chaos that can ensue when you bring together a cast of damaged or neurotic people whose stories inevitably entwine. The books are eccentric, decadent, immersive: I call them Australian Noir. I believe these novels are my greatest personal achievements, surprisingly even more so than being hung in prominent art exhibitions. Both are semi-autobiographical, but only those closest to me know what is fiction, and what is fact.

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“My portrait of Adriano Zumbo epitomises my love of fantasy and magic.” 2012.

THE WHIMSICAL WORLD OF ZUMBO Oil on Linen H137 x W96.5cm. Rosa Fedele.

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INSANE IN THE MONTAIGNE (Self with singer/songwriter Montaigne), Finalist - 2017 Portia Geach Memorial Art Award, Oil on Canvas, H122 x W122cm. Rosa Fedele.

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Something exciting: GORDANA IS GOING TO THE MOON! Last year one of the illustrations from Legacy “GORDANA” was curated by physicist Dr Samuel Peralta to “Shelter”, an exhibition in collaboration with 33 Contemporary Gallery and Poets Artists platform in direct response to the global

pandemic, seeking works that evoked shelter, solace, safety. To my great delight I recently learned that this painting will be travelling to THE MOON! It will join a stellar cast of 76 worldwide artists in the LUNAR CODEX NOVA

COLLECTION

Time

Capsule

headed for the Nova-C lander launching via SpaceX in January 2022. PORTRAIT OF GORDANA from THE LEGACY OF BEAUREGARDE, "She palpated the cold iron, running each

key between her fingers one by one." Oil on Linen, H40.7 x W40.7cm. Rosa Fedele.

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FIRENZE (with Rosa Fedele), Oil on Canvas, H91.5 x W122cm. Photograph courtesy of artist.

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What’s next? Following the overwhelming response to my April exhibition at Bowral Art Gallery, I am bringing my vintage darlings to Sydney in September. The exhibition will be hosted by Sandy Symeonides at his fabulous emporium of all things Vespa and Lambretta, SCOOTER MECCANICA. Whimsical, playful and nostalgic, DREAM MACHINES is a vibrant and joyful collection of new works celebrating vintage cars, Italian scooters and romantic beauties from the

silver screen. Sumptuously decadent and wickedly eccentric, I blur the line between reality and truth, challenging the viewer to suspend their disbelief and enjoy the melodrama. DREAM MACHINES Primavera will take you on a heartwarming and nostalgic ride through the countryside in your favourite classic convertible, Italian silk scarf billowing in the breeze and faithful hound by your side. - Rosa Fedele © 2021.

SAN GIMIGNANO I feat. 1961 Vespa 150, Oil on Canvas, H26 x W20cm. Rosa Fedele.

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DREAM MACHINES Primavera Scooter Meccanica 252 Mitchell Road, Alexandria, NSW.

2-5 September 2021

www.rosafedele.com Right : VANNA (Detail), Oil on Canvas, H91.5 x W46cm.

All Rights Reserved on article and photographs Rosa Fedele © 2021.

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RUMBLINGS

E R I C

It’s been a bit slow, not much writing being done. It is pending, but mean while I have to wait and fill my time with other interests. I had hoped to incorporate and weave the written word, throughout our daily events.

Not quite what it seems, as if there is a gap between where we really need to be, which has widened and only rare glimpses can be perceived.

W E R K

Unstable longevity, small tremors nervously twitching, nervously remembering to put it back into place. I imagine reality to be a work in progress. A waiting game that says – you still here!

To make these characteristic references more widely known as in patience and empathy, and to carry this pain to the highest peak

H

and to recognise some of the beautiful flowers and birds, to meet the lenses of our eyes.

O

arches trembling, arms out stretched, became a part of my Yoga.

V E

Click, click, click, that is when an old photo of some Koori dancers on the beach enlivened my imagination, those shaking knees,

This has always been a part of mankind. And the thunder will remain the overlord of all our mechanisation, the rumble and roar, may well frighten at such close proximity, but it will empty out into the vast open spaces – ruimte. ( Dutch).

N - Eric Werkhoven © 2021. Issue 42 - July 2021

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MORNING Cold Wintery day on this side of the globe, I allowed to ease myself, into this formless mould. Just sit there, in a shape of a block, roughly cast off on its long unmovable journey.

Is it on top of my list to basically know nothing, yet assume so much! There is a bang and a drop, at the end of the spectrum where the ultimate seems to be played out along the roads, for self- sacrifice to be a tree that grows upside down,

two halves inseparably entwined, for love to be so tremendously rewarding.

- Eric Werkhoven © 2021. Issue 42 - July 2021

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GAVIN VITULLO

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GAVIN VITULLO Gavin Vitullo is a multidisciplinary Hunter based Artist; he studied Fine Arts at TAFE and completed a Bachelor of Fine Arts through the University of Newcastle. Vitullo is most recognised for his work in the discipline of sculpture, having accumulated numerous awards and accolades over his career thus far, including; honours in the Newcastle Emerging Artist Prize consecutively and the Sculptures in the Vineyards prize for his contemplative Earthworks, Breathe and Monument to the Fallen. Vitullo’s practice is both poetic and economical in nature as he consciously implements

the

use

of

reclaimed,

salvaged

and

sustainable materials; this is evident through his first public sculpture Undercurrent, which was installed in the Lake Macquarie area where he grew up. In 2020 Vitullo was honoured with a major solo exhibition with the contemporary, art space, The Lock-Up Gallery, Newcastle. The exhibition titled Natural Causes further demonstrated his growing

philosophies and commitment to mindful practices through his minimal footprint and Earth focused art. His affinity with the natural world is ever present as he harmoniously combines concept and craftsmanship.

Page 32 : 'Breathe' - Concrete, Wood, Bronze, Organic Matter & Ficus Rubiginosa - Image by the Lock-Up Art Space from my exhibition 'Natural Causes' 2020. Gavin Vitullo.

Afterlife & Sculptor - Wood & Hessian - Gavin Vitullo. Image by Edwina Richards 2020.

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A LOVE LETTER TO EARTH - GAVIN VITULLO Friday, 18th June 2021 I sit here gazing out my window at the swaying trees on the hill in the distance, pondering what words shall fall from my tongue and onto the empty paper below. A blustery, southerly wind undulates the ripe green foliage in rippling rhythms. My memory returns to last time, the final time. I immersed my senses wholeheartedly into the landscape. I feel a sadness enter me, grief like that of the dearly departed. It is me that has departed, from the land I love and ultimately from myself. It has been one week to the day since my treating doctors delivered the words I knew were coming, yet did not want to hear. "Your time Sir, amidst the tree's, has come to an end." I will explain more in depth as we proceed.

To first understand me though and the deep seated nature of my sentiments, one realises that I have grown into being, more nature than nurture, more Earth than Earthling, more at peace with the deafening silences of open space than any conversation can hold. I recall as a boy no older than five, filling the front pockets of my tiny grey school shorts until the zippers were bursting wide open. Sticks, stones, leaves, all of nature's humble wonders I gathered as I wandered the playground on my own at recess, tears welling within my soul at the simple beauty of all living matter. I wished to keep them with me, close to me, as part of me, perhaps anticipating this very moment of not being able to return into the world that has consumed me since such a tender age? To think thirty-five years later that my love affair with nature would lead me to this very point in time... For these hands have touched the Earth and have gathered and have formed. Rivers of Stone & mountains of Wood as my scarred

and weathered knuckles testify. Issue 42 - July 2021

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But it is time to say fare thee well, for our love has turned toxic, deadly and parasitic. You consume me now and change me forever, as you course your way through my blood like meandering streams of shape, shifting water. Like all great loves, this pain lingers throughout every sense of my being. My bones ache... still for you. My muscles tremble... still for you. My heart throbs... still for you. My mind escapes... because of you. Only the question remains, how can something I love so much cause so much pain? For we were one, you and I. You spoke, and I listened, you are speaking still; as the mountain stands still... I hear you... It is time to shift this salty gaze on a broader horizon, one of time and tide and perpetual change, to submerge these wounds into healing waves and quench my curious nature once more. I throw myself into the unknown, like the deep blue abyss within the very heart of you.

Eternally yours, Vitullo. Issue 42 - July 2021

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GAVIN VITULLO Gavin Vitullo is an Earth Artist whose life has recently been altered by a series of chronic tick-borne illnesses, accumulated from his time spent immersed in the Australian bush. Vitullo faces a long arduous road to recovery under the supervision of leading experts. Because of the serious nature of these diseases and consequential implications he can no longer re-enter the landscape which has shaped his career.

Vitullo resides on The Hill in Newcastle, NSW and has evolved his contemplative Earthworks to the surrounding seascapes near his home. If you would like to see more of Gavin's work and support him in his recovery, you may contact him directly via @vitulloart on Instagram or through his studio at The Creator Incubator.

Left : Sky, Stone, Wood, Water, Earth - Stone & Wood -

Gavin Vitullo.

Image by Edwina Richards from our collaboration 'Exposure Series' 2020 .

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'Cornerstone' (Echo) ,Stone, Grass & Clay - Gavin Vitullo. Image by Edwina Richards from our collaboration 'Exposure Series' 2020.

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'Cornerstone' (Echo) Stone, Grass & Clay - Gavin Vitullo Image by Edwina Richards from our collaboration 'Exposure Series' 2020

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'Inferno' (Breath of Life) - Stone, Wood & Fire - Gavin Vitullo.

'Inferno' (Breath of Life) detail - Stone, Wood & Fire - Gavin Vitullo.

Image by Edwina Richards from our collaboration 'Exposure Series' 2020.

Image by Edwina Richards from our collaboration 'Exposure Series' 2020.

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'Ascension', Wood & Marble - Gavin Vitullo. Image By Edwina Richards 2021.

'The Essex & The Whale', Stone & Wood. - Gavin Vitullo. Image by Edwina Richards 2020.

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G A V

I N

V I

'Re-Enactment' Salvaged Boat Timber - Gavin Vitullo Image by Edwina Richards 2020.

T

U L L

O Issue 42 - July 2021

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'Monument to the Fallen' - Stone, Wood, Organic Matter & Casuarina Glauca - Gavin Vitullo. Image by the Lock-Up Art Space from my 'Natural Causes' Exhibition 2020.

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'The Silent One' detail - Wood - Gavin Vitullo. Image by the Lock-Up Art Space from my 'Natural Causes' Exhibition 2020.

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'Internal, External' - Oil, Graphite, Steel, Hessian on Salvaged Ply - W490 x H590mm.

‘Salvaged Landscape, Menindee' - Oil, Steel, Grass & Hessian on Salvaged Ply

- Gavin Vitullo 2021. Image by Gavin Vitullo.

- Gavin Vitullo 2014. Image by Gavin Vitullo.

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'Passage I II III' (Triptych) - Oil, Graphite & Gesso on Salvaged Ply

'Composition, Tone' - Charcoal, Gesso & Collage on Paper - W550 x H790mm.

- Gavin Vitullo 2014. Image by Edwina Richards.

- Gavin Vitullo 2014. Image by Edwina Richards.

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'Guardians' - Wood, Sisal Rope & Sea Water - Gavin Vitullo. Image by Lee Illfield - Living Cultures Exhibition, MAC Museum 2017.

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'Undercurrent' (public sculpture) - Reclaimed Railway Sleepers & Steel - Gavin Vitullo. Image by Lee Illfield 2013.

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G A V

I N

V I T

'Aftermath, 2020 Vision'

U

Wood, Shellac & Fire

L

H1200 x W1200mm.

L

Image by Stuart Marlin.

(Diptych)

on Reclaimed Ply.

- Gavin Vitullo.

O Issue 42 - July 2021

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'A Thought Is A Ripple' (detail) - Gavin Vitullo. Wood - An Earthwork Created In Conjunction With Sculpture On The Farm, Funded By Create NSW. Image By Gavin Vitullo 2021.

All Rights Reserved on article and photographs Gavin Vitullo © 2021.

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B R A D

The Wellbeing Portal.

Advice will be freely available, four week self-help programmes and

I’ve been given

mini-health checks will be provided

the Wellbeing Portal.

where required…

They tell me that my wellbeing is important to them

I do feel that I really should thank them for their thought and consideration

and want me to access some linked virtual therapies - tried and tested

but I don’t quite know what to say?

(who they tested them on they didn’t say?).

E V A N S

being out of that workplace Furthermore,

after 12 years

they have asked me to keep an eye out and now for common concerns,

in isolation

namely: I’ve never felt better stress

in my

diet fitness

entire

and life-style.

working life. - Brad Evans © 2021 Issue 42 - July 2021

50


Bryce was our host Bryce was our host and he served us oddments: chocolates with beer I’d just sat down and already I was expecting trouble… the night wore on slowly, I kept repeating the host’s name to myself over and over and the party was either

We left later heading west into a cold night,

staggered back towards the homes of our parents I watched your drunken progress along the way, one driveway at a time,

puking your guts out… and although the party had been uninteresting, he had been a generous host, but we never went back there and I never saw Bryce again.

full of the shy or just plain, dead shit. - Brad Evans © 2021 Issue 42 - July 2021

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B R A D

no phone on earth It’s been just over a week since you went my days are numbered and yours have ended there’s no phone on earth that can reach you now. It’s been just over a week since you went

shadows at night make futile companions

E V A N S

I watch them climb the walls in the bedroom they near the ceiling and then fall away

a car passes outside on a dark street my days are numbered and yours have ended there's no phone on earth that can reach you now. - Brad Evans © 2021 Issue 42 - July 2021

52


the big, empty building day becomes night in the big, empty building as there is work to do and be done. furniture sits stacked in the big, empty building where people once walked. in the big, empty building a loner looks down and watches 3 mechanical, giant penguins bellowing Xmas carols wholeheartedly

into an empty an empty arcade.

- Brad Evans © 2021 Issue 42 - July 2021

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MAGGIE HALL

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MAGGIE HALL A multi-disciplinary artist based in Newcastle NSW where she lives with her daughter and three companion animals. Maggie has authored and contributed images to several publications and regularly exhibits her work. Her choice of medium covers; photography; automatic writing; painting and printmaking. Armed with an astute visual memory and thorough observational

skills,

her

practice

enlists

the

application of pattern and behaviour through various mediums of visual, mixed media, and performance art. View Videos by Maggie Hall at link: https://www.youtube.com/channel/ UCHbuvwP0_KxFLFDsg1vT7zQ Page 54 and right : Detail - Digital images from videos. Maggie Hall 2021.

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I

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N

N

T

T

E

E

R

R

V

V

I

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W

W Digital image from video .Maggie Hall 2021. Issue 42 - July 2021

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MAGGIE HALL - INTERVIEW Where did you grow up? I was born in Paddington London England and we immigrated to Australia in the early 70’s. When did your artistic passion begin? It was in pre-school when my love of creating began being expressed. According to my family and teachers, I loved to splash paint. Have you always wanted to be an artist? I wanted to be a ballet dancer. I was five when my mother took me to see The Nutcracker. It was the beginning of my first obsession. Describe your work? An abstract expressionist. I became interested in electronic art later as my experimentation evolved. What is the philosophy behind your work? There is no preconceived intentional imagery behind the form or medium I choose to express myself through. Do you have a set method or routine of working? No. I am not a disciplined artist, nor am I as an individual. Technique is not an important element in my type of creation. W hat is important comes through creative energy, which is for the most part instinctive and immediate. Why do you choose this medium to work with? I do not choose the medium, it chooses me. Often, I use material which is closest or more available at the time of creating. How important is drawing as an element to your artwork? Drawing is not an important element in my working method. I like to use willow charcoal as an initial mark. This gives me a base image to

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What inspires your work / creations? I am largely inspired by the lines and patterns in nature. Art was the one subject I did well in during my HSC studies. The rest was never really taken seriously. What have been the major influences on your work? The first image I remember being drawn to was a painting by Uccello, St George and the Dragon that lives in the National Art Gallery of London. My mother bought me the postcard of it at the LNG shop. I kept it with me on person for a long time. Going back to the gallery in 2018 as an adult, as with all things it was much smaller than my child’s eye saw. Yet no less affective. Ucello’s painting may also have inspired ‘The Jabberwock’, illustrated by John Tenniel and possibly, A. Fanthorps poem, ‘Not my best Side’. My parents would regularly take me to art galleries and museums, and this must have had some effect on my early artistic development. I was so taken with the speared dragon painting that on one occasion I had to reach out and touch it. I was swiftly reprimanded by the guard in the gallery. Other influences that come straight to mind are: Pink Floyd/Astral Weeks/The Beatles. Classical music/The Ballet. View Master. Henry Miller/

Gerald Durrell/C. S. Lewis/J. R. R. Tolkien/ Richard Adams/Dr Zeuss/Roald Dahl/Oscar Wilde/E. B. White. What are some of your favourite artworks and artists? Currently I am reflecting a lot on Kandinsky’s art and writings. One of the projects I am currently working towards is a book of ekphrastic poetry responding to a collection of Kandinsky’s works. I am particularly drawn to the work of German Expressionism. Any style or period that appeals? I am drawn to the romantic period of the pre-Raphaelites. When did you first realize you were going to be a writer? When a child I liked making up stories about important moments in my life. Stories about my toys and the I would mostly accompany the stories with pictures and would write them into little

adventures they would go on.

adventure books, writing on pieces of paper that would

later be stapled together to look like a book. it wasn’t good enough to be on a loose piece of paper. I liked it to ‘look like a book’. Issue 42 - July 2021

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Digital image from video .Maggie Hall 2021. Issue 42 - July 2021

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P O E T R Y

PARACLAUSTIC Issue 42 - July 2021

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Paraclaustic Poetry Through performance expectations and online reading time restraints I have evolved through experimentation. During this period of change and challenge I’ve largely been focused on my poetic craft and accompanying media. During the past 7 months while performing online at different poetry events I have come to create my own style of poetic verse. Paraclaustic Poetry is created through multi-layering soundscapes. The verse is read straight from original text, from start to close. As it is read the voice is recorded. The recording is placed into layers, just as you would write text to form lines in a book. The recording follows to fit the

corresponding media. The length should be no more than 4 minutes. Transgressive poetry. A form of verse that does not follow traditional rules, or poetic norm. This style pushes boundaries and crosses lines stylistically, re-creating the sense of poetic expectations. “Translative Verse”. Translating traditional verse, without applying academically accepted or traditional methods. Your future aspirations with your art? To transcend expectations. Walking into an art gallery for the first time and capturing that moment. Being transfixed and taken into a different place of being. To facilitate an experience between the art and viewer in ways that challenge expectations and create new ways of seeing and believing. These following attached works I have put together by combining early written verse with modern day technologies. This allows writing that may otherwise be lost or forgotten in time to be experienced in ways that otherwise would not be possible. A multi layered continuous reading of "The Lady of Shallot". A lyrical ballad by English poet Alfred Tennyson. First published in 1833, of 20 stanzas, a revised version was published in 1842, of 19 stanzas. The revised version with a different ending was rewritten to suit the Victorian standards of the day. The ballad was originally written as inspired by the 13th Century short prose text 'Donna di Scalotta', it tells the tragic story of Elaine of Astolat, a young noblewoman stranded in a tower up the river from Camelot. Now recreated as one total sensory experience that may answer the original's riddles and mysteries, thus creating the next version of a timeless classic. As a wordsmith I have married two expressionistic art forms into one. I am terming this style "Paraclaustic Poetry". Page 60 : Digital image from video .Maggie Hall 2021. Issue 42 - July 2021

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The visual media is created to enhance the viewers experience by forcing a stimulation of every sense into one rushed moment. An overstimulation to confuse the minds ability to breakdown expected patterns. This forces the audience to let go of thoughts control and experience each moment in raw format. Everyone has a unique experience. This should evoke the imagination and raise personal and spiritual awareness though a style and method of meditative speech and mediumship. A multi layered continuous reading of "The Raven". A narrative poem by American writer Edgar Allan Poe. First published in January 1845. It speaks of a spirit raven's visitation to a lost love while following the slow descent into madness. A lover lamenting the loss of his love, Lenore. And an interpretation of Samuel Taylor Coleridge's Christabel & Kubla Khan. I have taken this through reading over an edition of Christabel & Kubla Khan: A Vision in a Dream, e-artnow, 2018. Contents edited and interpreted: Cristabel conclusion part 1 & part 2, Kubla Khan; A Vision in a Dream. I have taken the liberty to do a straight reading from the three and put them together to form one verse. A forbidden love story told in three parts. Coleridge was an English poet, literary critic, philosopher and theologian. Along with William Wordsworth and his sister Dorothy they were an undivided and indivisible trinity. The bond between these three persons was spiritual. 'three persons and one soul," Coleridge rightly called them. Together they discussed and philosophized: When Dorothy was with them, they saw and felt. What she gave to her brother she also gave to Coleridge. (The Atlantic, George Malla, December 1950 Issue). - Maggie Hall © 2021.

View Videos by Maggie Hall at link:

https://www.youtube.com/channel/UCHbuvwP0_KxFLFDsg1vT7zQ

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Digital image from video .Maggie Hall 2021.

All Rights Reserved on article and photographs Maggie Hall © 2021. Issue 42 - July 2021

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JENNA – ROSE

ORCHER

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JENNA - ROSE ORCHER Jenna-Rose Orcher (Tamworth, NSW) is a Gamilaraay woman who paints traditional Aboriginal artworks that reflect her exploration of identity and place within her culture. Every stroke within these paintings confirms the strength of Indigenous culture’s past, present, and future. They are largely inspired by themes of the natural environment and the political injustices of Indigenous people. Jenna uses earthy tones as a method of connecting herself to traditional styles of Aboriginal art. This is in contrast with artworks where the artist uses bright paints to explore story-telling. The artist uses poetry in accompaniment with her paintings to extend the story-telling process. This is the intended viewing of the artworks as it completes the exploration and delivery of her message. These artworks are incredibly special to the artist, revealing her own identity as an Indigenous person living in this country. The artist believes these pieces are extremely important for white Australia to see. As they are insights into the original story-telling and connections being shared from the oldest living culture that we all stand on today. It is essential for the artist to reflect that as a culture, Indigenous people are still here and thriving. As this always was and always will be Aboriginal land.— Gloucester Gallery. DOTS FROM MY HEART - exhibition by Jenna-Rose Orcher till 11th July at Gloucester Gallery NSW. https://gloucester-arts.com.au/art-gallery.html Page 64 : Habitual Bloodline Tampering, H40 x W 40 cm. Acrylic paint on canvas. Jenna-Rose Orcher 2021. This piece provides a comment on the colonisation of our land and in particular the prostitution of our sacred sites. As a young girl, I felt the pain associated with that sad reality, however I was not aware of the extent to which colonisation has impacted our traditional culture. As I have grown older, I have come to understand in more detail just how much our people, lands and waters have been exploited. Yet, putting understanding aside, this painting expresses that indigenous people do and always will feel the pain of our oppression. Our hearts and souls are so intrinsically connected to this land in a way that transcends age. It transcends understanding. Even through all the pain of colonisation, there is nothing that will destroy that connection. Issue 42 - July 2021

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The Speech – Another Angry Blak Woman and The White Audience H 1.25 x W 60 cm. Acrylic Paint / Oil Pastels on canvas. Jenna-Rose Orcher 2021.

This piece is directed at the indifferent white audience. One of the many hardships faced by First Nations people is a lack of interest in hearing our voices and our messages. Despite my people consistently putting themselves in vulnerable positions when addressing the issues we face in our own country, there is still a fundamental lack of compassion at the core of our struggle to be heard. Throughout my life, I have even received more sympathy from white people of other nations than the white people of my own. This piece is intended to highlight this issue and remind the white people of so-called Australia that indigenous voices are important and need to be considered and respected.

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JENNA - ROSE ORCHER - INTERVIEW When did your artistic passion begin? The true passion began when I was twenty five, it was the start of the six months that I lived in Sydney. I was surfing everyday with the fellas when one day we had a broken board in the house and some paint I had been travelling with, when

I got told from one of the boys to paint it for him. I saw what I was capable of and got an overwhelming reaction from the guys that I ended up painting all of their boards and then I painted even our neighbours boards and since then I’ve had the true itch.

Have you always wanted to be an artist? ALWAYS!!! Before I could even walk I had a marker or a brush in my hand and was making my mark on something. I’ve been painting my whole life.

Describe your work? My work is a straight up paint vomit from whatever is brewing in my life or the stuff I see and feel. My work is not only about me, my work is a voice for the people who aren't able to describe their issues.

Do you have a set method / routine of working? Something that I've done since before I even became a serious painter is wearing a hat (or beanie). It's strange actually saying it out loud ha-ha but it's for total comfort and that my ideas don't fall out of my ears. Issue 42 - July 2021

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Why do you choose this material / medium to work with? When I started painting I didn't have a great deal of money, I bought cheap acrylic paints and got so comfortable that even with my career making money and being more stable I still buy cheaper paints for consistency and to remember where I came from.

How important is drawing as an element to your artwork? I'll be frank, I can't draw for shit.

What inspires your work / creations? My life has totally been a rollercoaster, I’ve seen racism, violence, on-going genocide. I also have been in-love just a handful of times, I have people in my life who make me feel safe. My strength gets me through it all, my pride inspires me, all of these have played a role.

What have been the major influences on your work? I never had anyone in my family or my surrounding doing indigenous art around me ever. For this upcoming exhibition I'd say Gordon Bennett and Tony Albert have been great influences.

What are some of your favourite artworks and artists? My hands down favourite artist of all time would be Yayoi Kusama. She is a Japanese artist with schizophrenia. I’ve

followed her for years and was lucky enough to see her sculptures and installations. Issue 42 - July 2021

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Red Bark , W40 x H30 cm. Acrylic Paint, on canvas. Jenna-Rose Orcher. The presence of trees has a profound healing effect on me. Walking through a forest is the only time when my mind is able to completely switch off. I believe in the power of trees to help us separate from our everyday realities and embrace a deeper relationship with the land we live on. Issue 42 - July 2021

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Ancestral Touch W45 x H 60 cm. Acrylic Paint / Oil Pastels on canvas Jenna-Rose Orcher 2021. Frequently in my life I have felt the presence of my ancestors guiding me. This piece is a visual representation of the feeling I get in these moments. The spirits of those that have lived in the past through my bloodline are always with me and around to help me reveal the answers that I need to hear. There is no understating the importance and impact of ancestral connection in the life of an indigenous person. Our culture is still alive today as a direct result of the sheer power of our ancestors.

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Spilt Blak Blood W30 x H 40 cm. Acrylic Paint on canvas. Jenna-Rose Orcher 2021.

This is a representation of all the indigenous blood that has been slaughtered on aboriginal land since the start of the genocide. This will always be aboriginal land, there is ongoing cultural outcast, unacceptance and neglect from political figures and community including racist work environments, racist social interactions and the education system

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Any Particular style or period that appeals? Painting about colonisation and existing issues because of colonisation. I also paint about my role in the history of evolving through indigenous trauma to decolonize ourselves.

What are the challenges in becoming an exhibition artist? Convincing yourself you're good enough and that you deserve this, the fear of rejection will eat you alive if you let it.

Name your greatest achievement exhibition? Having an opening night for ‘Dots from my Heart’ on the 11th of June. Twenty people sat in a space I created in my own home and we all one by one went through the ten pieces I have been painting for the past six months. What planned to be a 1-2 hour event ended up going until 1am., while we all open heartedly spoke our minds, hearts and souls about colonisation, existing cultural issues, the challenges this country has accepting we are living on stolen Aboriginal land, pieces that are my own personal journey and more... much, much more. The bond that all twenty of us now share is something I can’t put into words or will ever know how to describe. This by far was the biggest day in my artistic career. Also Assisting Tony Albert for his exhibition at UQ Museum this year. Having my biggest exhibition in June 2021. I've spent six months painting ten pieces.

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Moonlight Hunters, H30 x W 60 cm. Acrylic Paint / Spray Paint / Turmeric / Beetroot. Jenna-Rose Orcher 2021. Untouched and un-colonised land, free from disease and addiction. This is where they thrive, the moon is beaming her power to the people and the land, giving strength to all living things in the night. As we are living today, Indigenous people have major health issues after having the introduction of Alcohol and drugs and more. In saying this, those introductions perhaps inevitably would be introduced in the time we are now. Around 1 in 8 Indigenous Australians suffer from diabetes because of the introduction of sugar. This painting is showing a time where we were purely ourselves, untouched from what was brought to our country. Issue 42 - July 2021

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Bigger than the Unknown (Page 74) W45 x H45 cm. Acrylic paint on canvas Jenna-Rose Orcher 2021. This is a self-portrait from a photoshoot I did in my studio at home from photographer Luara Cardoso. This is me at 28 years old in my own space, outgrown my youth of racist kids in school, outgrown the life I had with my mother. I have lived independently for 12 years after successfully escaping my home town and built myself to be the young woman I am today. I carry trauma around, some dealt with and some not. Dealing and facing these traumas have let me see things in my own way, and it has taken some time and that those kids in school were just kids, the education system teaches us about subjects that will help our careers in our adulthood but neglect to teach children how to treat each other and that the way we treat people only reflects on how who we are as a person. Some kids don't know why they are doing and saying things, these traits are taken into adult life when they are recognised and many adults will have these ways for the duration of their lives. This is to show softness to my mother. She was 25 when she had me and had 3 children already and was single. She has 4 children with 3 different fathers. She herself was dealing with her own trauma with her own family and mother and being a full-time mother she never took any time to heal that trauma in the time I lived with her. Whatever happens can not be undone, somethings can not be forgiven or forgotten, this painting is my proof that i have strength to break this generational trauma so i can be the woman i am capable of being for myself and be the mother i would want for my children so they can be the parents i will be proud of for their children. As individuals it is our right to do this

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Our Skin Imprints W40 x H80 cm. Acrylic Paint on canvas Jenna-Rose Orcher 2021 This piece was created with the help of indigenous man Reece Bowden, who provided the body silhouette. It serves to comment on the nuances of identification with and recognition of indigenous heritage, particularly when it comes to the colour of a person’s skin. The first point to make clear is that it doesn’t matter whether your skin is pale or dark, if you’re black you’re black. However, there are many difficulties that come into play. For example, a dark-skinned person will be more likely to have racial abuse directed at them based on what they look like, but they will also be more likely to be accepted as an indigenous person based on that same factor. On the other hand, a light-skinned person may find a layer of protection against racism due to the fact that they ‘don’t look aboriginal’ but might also find that they have to work harder to ‘prove’ that they are in fact indigenous.

Even inside indigenous communities it is not uncommon to find this happening. Discriminatory remarks made from one aboriginal person to another such as ‘too black’ or ‘not black enough’ can be equally, if not more damaging. This painting represents to all people across our country that being aboriginal has nothing to do with the colour of our skin. It has everything to do with our bloodlines and our ancestors.

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How has COVID 19 Virus affected your art practise? I actually made a business from home when the lockdown began. In the first month I was selling three canvases a week and in the first four months made just under $7k.

What are you working on at present? I am actually just working on my last canvas for my June exhibition, I know I've left it until the last week. I am an artist, not perfect.

What do you hope viewers of your art works will feel and take with them? Art is an emotion, if you like or hate my paintings I can go to bed knowing I would have done my job correctly.

Forthcoming exhibitions? My next exhibition will be in Melbourne at the end of 2021 and then in the south of France in 2022. I'm hoping to move around Europe afterwards with Berlin being next. - Jenna-Rose Orcher © 2021.

Instagram : https://www.instagram.com/gamilaraay_girl_art/ All Rights Reserved on article and photographs Jenna-Rose Orcher © 2021.

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MAREA KOZACZYNSKI–McCAIG Issue 42 - July 2021

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Marea Kozaczynski - McCaig Marea Kozaczynski - McCaig is a Hunter based

artist, illustrator and art tutor. Marea combines her love of colour, intricate design and vibrant imagination to create her stunning artworks. She has won many awards in her career as an

artist including those from the Newcastle Show, the Maitland Art Prize and the Singleton Art Prize . For over twenty one years she has taught art to many students at her East Maitland studio.

Page 78 : Beyond, W54 x H40 cm. Acrylic ink on Arches smooth paper.

Right : My Blue Willow Series : Blue Birds , H40 x W30 cm. Acrylic ink on Arches smooth paper. Marea Kozaczynski - McCaig.

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Nanna’s Garden. About H56 x W 56 Acrylic inks On smooth Arches paper. Marea Kozaczynski - McCaig.

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Marea Kozaczynski-McCaig - Interview

When did your artistic passion begin? As a child my grandparents who lived close to the beach encouraged me. They gave me the spare room which was the sewing room, lots of pencils and pads. They also gave me old English magazines to look at and to copy. These were full of amazing fashion and pictures. Have you always wanted to be an artist? My earliest recollections, suggest ‘yes’. As I recall sitting on my Nanna’s floor with lots of pencils and colours and paper. I was always encouraged to draw things for my Grandparents. Always with lots of praise for whatever I had produced. The seed was sown and it never left me. I would say art is just an extension of my personality, part of my life.

Describe your work – My work is of an illustrative nature. Some of my pieces are highly decorative as I love design. I also have a great passion for the Australian bush plants and flowers. Our garden plays a big part of some of my work. I am a visual story teller and use my imagination to create. That is what I was encouraged to do as a child. At times my work holds a message and I often write secret words in my paintings and drawings an example is ‘save our trees.’ Issue 42 - July 2021

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What is the philosophy behind your work? To encourage the viewer to become more aware of the beauty and fragility of nature and the environment. Also to appreciate the most simple and ordinary things.

Do you have a set method / routine of working? Yes I try to go into my studio and paint every day. If I am totally inspired I have been known to start at four in the morning. At times I need a break – just to recharge.

Right : The Protea Lady H56 x W45 cm. Acrylic ink and pen on medium Arches paper. Marea Kozaczynski - McCaig.

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Why do you choose this material / medium to work with? I use Arches smooth 640 grams paper, made in France. A truly beautiful paper, very giving and doesn’t buckle, so therefore will take a lot of water etc. I use Faber Castell Pitt Artist pens and acrylic inks. They suit my needs well. I just love the feel and textures you can achieve with these materials and mediums. I enjoy the end results.

How important is drawing as an element to your artwork? ‘Very’ – it’s the foundation of almost everything I do.

Right : Serenity, H 40 x W30 cm. Pen and acrylic ink on Arches smooth paper. -Marea Kozaczynski - McCaig.

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What inspires your work / creations? A thought / a deed or an experience. Maybe something seen or unseen. An example is I collect Blue Willow China and have a fascination for willow landscape and the story. So I let my imagination flow and created my Blue Willow Series. The ladies are almost swallowed up in the blue willow landscape. However I am often inspired by the landscape and have a love of our beautiful trees and would like to see them saved from so often being chopped down. Growing up near the beach, I love the coast line.

What have been the Major influences on your work? My Grandmother –her love of the garden and the beach. Reading and drawing from old English magazines. I loved the pen illustrations and fashion. Also our school My Blue Willow Series : Blue Willow Dreaming, H56 x W40 cm.

magazines and my college days.

Acrylic ink on Arches smooth paper. Marea Kozaczynski - McCaig. Issue 42 - July 2021

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My Blue Willow Series : Blossom Time H40 x W30cm. Acrylic ink on Arches smooth paper. Marea Kozaczynski - McCaig.

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What are some of your favourite art works and artists? There are so many I couldn’t name all of them. But to name a few, I love Louis Buvelot, who I studied in

college. Norman Lindsey for his imagination and pen illustrations. Lloyd Rees, I was blessed to be included in some mixed exhibitions with him many years ago. As a child I loved May Gibbs. One of my favourite painters was Reinis Zusters, especially loved his painting ‘Still Life in the Bush’. I loved his textures. Brett Whiteley – brilliant imagination. Really enjoy his ‘Head of Christie’ 1964. My other favourite is William Dobell – I love all of his work, especially ‘Mrs South Kensington’. And of course Margaret Olley – who I had the pleasure to meet. Sea Shells on the Sand, H40 x W30 cm. Pen and acrylic ink on Arches smooth

paper. Marea Kozaczynski - McCaig.

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She Sells Sea Shells H76 X W 56cm. Pen and acrylic ink on Arches smooth paper. Marea Kozaczynski - McCaig.

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Any particular style that appeals? I enjoy all styles of work. Personally for me I enjoy pen drawing, design and tonal works. But I am open to all styles of work.

What are the challenges in becoming an artist? Not to paint to please everybody. You must create to please yourself and if people like what you have created it’s a bonus. So many challenges but you can overcome many of them as long as you keep going.

Coastal Walk, W56 x H 76cm. Pen and Acrylic ink on Arches smooth, Marea Kozaczynski - McCaig

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Name your greatest achievements. My greatest achievement is having taught so many talented young children over the many years. Many of them have gone on to make art their career, for example Ebony Hyde and Todd Fuller. Working for the Newcastle Sun Newspaper, drawing cartoons (was fun) for two years.

Having my painting featured on the cover of Australian Artist Magazine. I was invited to send work to an exhibition in Ube, Japan. Exhibiting at Anne Von Bertouch Galleries for many years. And exhibiting with the Maitland, Cessnock and Manning River Regional Art Galleries.

Marea Kozaczynski - McCaig in her studio. Photograph courtesy of artist 2021.

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Circle series based on Nature., Diameter 24cm., Acrylic ink and pen on Arches smooth paper . Marea Kozaczynski - McCaig.

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From the GARDEN SERIES , Diameter 16 cm. , Acrylic ink and pen on Arches smooth paper . Marea Kozaczynski - McCaig.

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What are you working on at present? I am working on a piece for an exhibition to be held at the end of June at The Hunter Artisan Gallery, in Melbourne St. East Maitland. For an exhibition that will be about the darker side of life.

My picture is called ‘Beyond’ – and it shows with beauty often comes pain. It has roses with thorns.

What do you hope the viewers of your art works will feel and take with them? A memory. An emotion be it of happiness or inspiration. More than a fleeting glance.

Your future aspirations with your art? To keep learning and improving. To always try new techniques and to keep an open mind.

In Hiding, This highlights my love of Australian flora and birds. H56 x W45cm.

Pen and acrylic inks on Arches smooth. Marea Kozaczynski - McCaig.

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Forth coming exhibitions? No exhibitions booked for this year. I am enjoying painting and taking part in an occasional mixed exhibition. I have been exhibiting in 2021 with CStudio -

Newcastle Station. Hunter Artisan Gallery, East Maitland where I have been conducting a few workshops. - Marea Kozaczynski - McCaig © 2021.

All Rights Reserved on article and photographs Marea Kozaczynski - McCaig © 2021.

SPRING TIME, Part of my Four Seasons series, H56 x W 40 cm. Mixed media on

Arches smooth paper. Marea Kozaczynski - McCaig.

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R E

SKY GOD

E

Night folds 'round

S

shadows touches

E

a cavern deep inside the rocks, a giant Sky God

N

painted in red ochre

O

on smoke dark walls

R

his ancient visage sharpened

T H

by countless custodians whose hands shape the Artist

Time. Reese North 2021 Issue 42 - July 2021

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THE EDGE I saw the love behind your eyes today, you were never good at poker face and hiding tears.

I know what they did to you

when you were a kid, and all the poverty that ground you down 'til you slashed your wrists at 18 and tried again.

But you're still here, and have me wonderin' how am I gonna get to you before you do it again now your kids are gone and your Mum who died from frost and fear.

One more time: hullo in there you're welcome to come walk with me

and watch the fisherman hold the line down by the sea.

We both know it's up to you babe we agreed; but all the same

what can I do?

Who can I be for you.

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NOMAD

R E E S E

Silent light of the Evening Star rises behind a blue moon. Beneath the warm mystery of a gypsy night

a town

enshrouds itself in cold neon.

Inside the streets streams of faces caught within their visions: bag-ladies bunch in the mouth of an alleyway pass a bottle

and stare into an empty dream.

N

An industrial sun at midnight blazes across the delta,

O

passes into a world of starlight.

R T H

at the edge of town a quiet traveller He follows a heart of stone-age wisdom and listens to the harmony of timeless creation. He follows a silence that waits in the core of a violent earth to compose the song of humanity. Reese North 2021 Issue 42 - July 2021

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THE LONGING The afternoon is wet and grey. I lie in my room. The light coloured the darkness of my age. A wind blows carrying echoes of my childhood when my blood sang the vitality of Spring, when my Mother's eyes filled with joy at my awakening. Flowers opened under her green touch in a time when smells of evening primrose kept us safe

in our tired hours.

All these echoes belong to ghosts. I lie in my room while shadows dance on the walls. Reese North © 2021 Issue 42 - July 2021

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S E I G A R

P R I D E Issue 42 - July 2021

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PRIDE Featuring Kirian Rodríguez by Seigar This series shows a trans man wearing a rainbow necklace as a way to celebrate LGTBIQ+ pride, give visibility, and fight for equality. Kirian Rodríguez is a straight-oriented trans man who is also a hairdresser and model.

He is

wearing an exclusive necklace created by the amazing hand

-made jeweler Paola Back Liñares. The prism makeup was created by the MUA artist Ángel Hernández, who is also known as the drag Candy Porcelain. We also worked with the help of Amy Truj, who is Kirian's girlfriend. The connection of this team was possible thanks to an online beauty contest called Mister Canarias Online with an inclusive philosophy. This series is related to identity which is one constant in the work of the visual artist Seigar. The diverse artists involved in this series believe in equality and are ready to fight for it through art and to keep on the revolution of love. Issue 42 - July 2021

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SEIGAR Seigar is a passionate travel, street, social-documentary, conceptual, and pop visual artist based in Tenerife, Spain. He feels obsessed with the pop culture that he shows in his works. He is a fetishist for reflections, saturated colours, curious finds, and religious icons. He has explored photography, video art, and collage. He also writes for some media. His main inspirations are traveling and people. His aim as an artist is to tell tales with his camera, creating a continuous storyline from his trips, encounters, and experiences. His most ambitious projects so far are his Plastic People, a study on anthropology and sociology that focuses on the humanization of the mannequins he finds in the shop windows all over the world, and his Tales of a City, an ongoing urban photo-narrative project taken in London. He is a philologist and also works as a secondary school teacher. He is a self-taught visual artist, though he has done a two years course in advanced photography and one in cinema and television. He has participated in several exhibitions and his works have been featured

in many publications. He has collaborated with different media such as VICE and WAG1. He writes for Dodho, The Cultural, Red Hot Monde, Intra Mag, and Memoir Mix tapes about pop culture. Lately, he has experimented deeply with video forms. His last interest is documenting identity. Recently, he received the Rafael Ramos García International Photography Award.

Team credits: Creative director and photographer: Seigar @jseigar Model and hairdresser: Kirian Rodríguez @kirian_rb93 Online Inclusive Beauty Contest: Mister Canarias Online @mrcanarion Jeweler: Paola Back Liñares @kunstarte_paola_back_linares MUA: Ángel Hernández @porci.muah @iamcandyporcelain Assistant: Amy Truj @amy_love_baby26 Issue 42 - July 2021

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seigar.wordpress.com : instagram.com/jseigar : flickr.com/photos/theblueheartbeat/albums

All Rights Reserved on article and photographs SEIGAR © 2021.

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JEANNE HARRISON

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JEANNE HARRISON Artist and printmaker Jeanne Harrison has a long a long history of exhibiting in Newcastle and the Hunter Region NSW. Jeanne’s colourful and contemporary works are inspired by the landscape and nature. Jeanne is an active member of the Newcastle Printers Workshop. ‘The printmaking techniques used are collagraphs and monotypes, and have an expressive, colourful quality that intrigue the viewer.’

Page 106 : Forbidden Landscape,H76 x W50cm. Collagraph, 1990's. Right : Colour Study, H45 x W35cm. Oil on canvas, 1982. Jeanne Harrison.

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Moonspell with Bird, H50 x W76 cm. collagraph, 2005, Jeanne Harrison.

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JEANNE HARRISON - INTERVIEW I was born in 1932 in Cessnock and can recall, at an early age, sitting at the kitchen table drawing and colouring in patterns.

I attended Cessnock High School but I didn’t study art there, and instead studied the sciences and maths. I received my Leaving Certificate in 1949 and went to Sydney to work in an industrial factory, whilst studying for a Chemistry Degree. However, I was offered a Teaching Scholarship and decided to take that up instead. I enrolled at Newcastle Teachers College. I gained my Diploma and taught for the next forty years, including two years in London in the 1950’s.

I was always painting in my spare time, mainly

landscapes and still lifes. When I did a course at the WEA with Rae Richards in Newcastle she introduced me to the palette knife. I won my first art prize in 1974. Renis Zusters also encouraged me in my painting using the palette knife when I visited his studio in the Blue Mountains.

I joined the Society of Artists in Newcastle and won a scholarship to attend an art workshop at Armidale University. This was a turning point in my art career. Andrew Sibley was my tutor and he introduced me to modern, contemporary art. I attended a second workshop with Fred Cress and he developed my love for abstract art. I learnt how to spray huge canvasses with an electric compressor using stencils. Other tutors who influenced me were Alun Leach-Jones and David Fairbairn. Issue 42 - July 2021

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Orient Dream, H50 x W76cm. mixed media on paper, early 1990's, Jeanne Harrison.

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In 1997 I joined Newcastle Printmakers Workshop and learnt etching and collagraph techniques. It was the collagraph, however, that absorbed me and I went on to conduct workshops for beginners, travelling as far as Wee Waa and Gulagambone. I then bought an etching press and installed it in a mud-brick, off-grid house in the forest. This became my printmaking studio.

The last 20 years I have been involved with Zen Buddhism and have stayed in a Zen monastery in Japan. My love for the gestural mark led me to include these marks in my painting technique.

I also attended a Japanese calligraphy course at Newcastle University. Robert Grieve was definitely an influencer in this respect.

Studio with etching press. Photograph courtesy of Jeanne Harrison.

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Garden, H76 x W50cm. watercolour, Jeanne Harrison 1990's.

T E C H N I Q U E S

PAINTING Painting is, in some ways, an act of eliminating. A line here, a brush-stroke there, making

adjustments and correcting relationships as I go, until the image feels complete and whole. Strokes, textures and colours become the subject,

each

colour

harmonising

or

contrasting with the one brushed before.

Space is important, and light and dark areas. Sometimes in losing control I gain strength, the direct flow of my personality appearing in my work. The final image exists for its own sake, which obeys its’ own rules and discovers the internal necessity of the harmony established within. This is the essence existing for its’ own sake.

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Trees Dancing, W1m x H70m, oil on board, Jeanne Harrison 1974.

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Passage, W1.2 x H1m, Acrylic on canvas, late 1990's Jeanne Harrison.

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Still life with Apples, W50 x H40cm. Oil , mid 1980's Jeanne Harrison.

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P R I N T M A K I N G

Water on the Moon, Collagraph 2019 Jeanne Harrison.

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PRINTMAKING When I discovered printmaking a new world of making opened up for me.

There are so many

different techniques – etching, lino, drypoint, monotypes, but it was the collagraph that I loved. Working on cardboard plates I carved, tore, added texture. Surfaces were built on layers of print. Fine transparent paper and texture all fused into a delicate web.

Jill Stowell wrote: “Jeanne Harrison is a painter who brings to her printmaking an eye for the mysteries of colour. Using a cardboard printing plate, incised and textured, she creates a range of lyrically abstract images by adding collage elements or altering colour and emphasis. It is a journey of exploration and discovery, finding poetry and symbol as a

by-product.”

Present, Past, Future, H76 x W50cm. Collagraph and linocut, 1998 Jeanne Harrison.

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Aftermath, W20 x H15cm, Etching, 2010 Jeanne Harrison.

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Symbolic Journey H76 x W50cm. Collagraph Late 1990's Jeanne Harrison.

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During the last 10 years I have been a member of an all-female art group called the Athenians.

We meet each

month and discuss our art. We organise

exhibitions and our most recent one is at Back to Back Galleries in Newcastle in April. In May we are exhibited at Miss Porter’s

House

and

this

exhibition

travelled to the Newcastle Museum. It focused on femininity in an historic house.

Belonging to this group has

sustained me in my art journey.

I continue to print but have also rediscovered my love for painting.

It

has been a true full circle of life. At the age 89 I can still enjoy my practice. Nasturtiums, W30 x H30cm. Acrylic on board, 2021 Jeanne Harrison.

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My daughter, Helene, and I have opened our own gallery in Dungog. In October this year we are having a retrospective of my art called, “Timeless”.

I’m really

looking forward to seeing my whole life mapped out on the gallery walls. The opening will be on October 23rd at

midday. Everyone is welcome – 120 Dowling Street, Dungog, NSW.

www.heleneleane.com

Jeanne Harrison 2020. Photograph courtesy of artist.

All Rights Reserved on article and photographs Jeanne Harrison © 2021.

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ROSLYN

ELKIN Issue 42 - July 2021

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ROSLYN ELKIN Artist Roslyn Elkin lives and works in Newcastle NSW . Her art practise crosses over diverse areas including ceramics, sculpture, printmaking photography and painting.

Roslyn was a feature artist in March Arts Zine 2019. The following

article highlights her passion for

photography, presenting a gallery of unique botanical images, exploring the intricacies of the natural world. “My work revolves around the nature of things that surround me. Whether it be mountains at Gloucester or the creek that runs through my property, the flowers in the breeze all is a virtual feast.”

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ROSLYN ELKIN - INTERVIEW. Juggling family life and being creative can be daunting, but living with the abundance of nature surrounding us, one has to appreciate life forms in all their glory. I am inspired by the sections of a flower, a fleeting streak of light and shadow. My basis for design is to capture a semi-abstract view of the subject instead of the overall. My preferred medium is photography for these studies. Magical moments of sunlight burst onto flowers or leaves that stir the imagination. It is immensely engaging and rewarding whilst photographing such delicate objects. One forgets about time when exploring the visual details. Early morning sun rays dance across an array of colour in the garden. Raindrops suspended in time cast beautiful shadows and give depth to delicate petals. Cloudy conditions create softness and give a sensual ambiance to the subject. I intend to use these studies to create large scale paintings. Expect to see a new body of work, large, strong and vibrant. The paintings will create an impact and make the viewer think about the importance of details. I am blessed with the ability to work across many mediums of creativity – including printmaking, drawing, ceramics,

photography and painting. - Roslyn Elkin © 2021.

You can view all my work on Instagram: roseelkin and my website:

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PHOTOGRAPHY GALLERY -

ROSLYN ELKIN

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The photography gallery includes a selection of digital images by Roslyn Elkin.

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www.roselkin.com.au

All Rights Reserved on article and photographs Roslyn Elkin © 2021

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Art Deco Buildings in Sydney’s CBD

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Art Deco buildings in Sydney’s CBD Lorraine Fildes Art Deco derived its name from the exhibition Exposition Internationale des Arts Décoratifs et Industriels Modernes held in Paris in 1925. It was a design aesthetic which started in Europe and spread to America and then to the rest of the world. It influenced the design of buildings, furniture, jewellery, fashion, cars, trains, ocean liners, and everyday objects such as radios and vacuum cleaners. It symbolised a new mechanical, streamlined age, utilizing new man-made materials such steel and plastic. The optimism at the end of World War 1 and the advancements in technology launched the Art Deco style. It flourished in the inter-war years 1925-1939 with the streamlined designs continuing right through to the 1940s. From its outset, Art Deco was influenced by the bold geometric forms of Cubism and the bright colours of Fauvism. Everything from flowers to the human form became angular. Shapes became bolder and simpler as geometry took over. Examples of Art Deco symbols include firstly; the sunburst with its clearly defined circle surrounded by radiating lines was often used as a bas-relief in metal or plaster over an entry foyer. Secondly, flat roofs with parapets, spires, or tower-like constructs to accentuate a corner or entrance. Thirdly, doorways are sometimes surrounded with elaborate pilasters and pediments. Finally, a finishing touch to many buildings was the typography used to announce the building owner’s name along the exterior façade. New technologies in manufacturing and mass production of new materials (chrome plating, stainless steel, plastic especially Bakelite, aluminium and decorative opaque plate glass - vitrolite) meant architects and designers of the 1930s had a wide range of new materials that

gave them the ability to decorate large numbers of buildings in numerous designs and colour variations much quicker than they could previously. Glazed tiles in bright colours were used extensively as decorative highlights to contrast against the earthy colour of the exposed exterior brickwork. Art Deco design was immensely practical in execution. Visual interest could be enhanced by stretching linear forms horizontally and vertically throughout the building. This was frequently done with bands of brick and coloured glaze terracotta tiles. I hope you enjoy the Art Deco buildings that I found in the CBD of Sydney. I have given the address of the building plus the name that the building is often referred to in Art Deco books. Issue 42 - July 2021

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T R A N S P O

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Transport House formerly Railway House Address: 19-31 York Street, Sydney Architects: H. E. Budden and Mackay. Built in 1936. Sitting directly over Wynyard railway station, this 12storey building combines both the modern horizontal lines of the skyscraper with the vertical lines of the Art Deco tower. Externally the building is faced with polished trachyte rock at the ground level and above with green toned terracotta tiles. Windows are set in bronze and the building features, decorative quality metalwork such as wrought iron balustrading and metal window louvres.

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Metropolitan Water, Sewerage and Drainage Board

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Metropolitan Water, Sewerage and Drainage Board Address: 339-341 Pitt Street, Sydney Architects: H. E. Budden and Mackay. Built in 1939. Following the success of “Railway House” the same architects were used to design the MWSDB. This 7-storey building is faced with cream-coloured faience tiles, set at times on very tight curves running vertically up the service core. The remainder of the building has a streamlined ‘horizontality’ with bands of bronze and copper. The windows curve smoothly around the corner. The base of the building makes an extensive use of red granite, and a colonnade of curved black granite piers. Above the entrance in Pitt Street are three bas-relief sculpture panels by Melbourne artist Stanley Hammond. They depict the water industry’s progressive use of technology. Issue 42 - July 2021

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A W

A B

U I L

D I N

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AWA building Address: 45-47 York Street, Sydney Architectural firms: Robertson, Marks & McBride with D. T. Morro & Gordon. The building was completed in 1939. This 12-storey office building is clad in reddish pink

“Colortex” bricks that rise above a polished trachyte base. It has projecting vertical ribs and parapet decoration in the form of a Pegasus in bas-relief, sculpted by Otto Steen. When the lattice steel communication tower was added to the top it became the tallest structure in Sydney for some decades.

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The Mutual Life

& Citizens Building

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The Mutual Life & Citizens Building Address: 42-46 Martin Place, Sydney. Architects: Bates, Smart & McCutcheon. Construction was completed in 1938. This building has a ground floor clad with red granite forming a base above a polished granite plinth; the rest of the building is clad with Hawkesbury sandstone. By recessing the window bays between uninterrupted

vertical piers your eyes are drawn up to the tower on the south eastern corner. The spandrel panels beneath the windows were formed from a new material of the time; porcelain enamel finished corrugated steel. The relief sculptures on the tower and over the entrance foyers depict the company’s logo “Strength in Unity” a man attempting unsuccessfully to break up a bundle of rods. Issue 42 - July 2021

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Former City Mutual Life Building

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Former City Mutual Life Building Address: 60-66 Hunter Street, Sydney. Architect: Emil Sodersten 1934-36 This Art Deco building has a strongly modelled facade to Hunter and Bligh Streets with a tower element at the corner. The building is clad externally in polished red granite to

first floor level. The entrances are finished in polished black granite with sculptured relief panels finished in copper (over plaster). The decorative sculpture over the main entrance is by Rayner Hoff. The 2nd floor level to 11th floor level are finished in Hawkesbury sandstone. The zig-zag window treatment was designed to allow as much light as possible into the building and reduce heat load. Issue 42 - July 2021

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B R

Y A N T H O

U S E

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Bryant House Address: 80-82A Pitt Street, Sydney. Architects: Emil Sodersten in association with T. W. Hodgson and Sons. Built in 1939. This 14-storey Art Deco building features an unusual serrated facade of textured face brick above a polished granite plinth. The unusual vertical window design is similar to what Sodersten used in the Former City Mutual Life Building (see the previous page). The brick parapet decoration is over a storey wide and has three brick finials pointing towards the sky.

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L E

H O

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Kyle House Address: 27-31 Macquarie Place, Sydney. Architect: Bruce Dellit. Construction completed in 1931. Kyle House is a 14-storey building in Macquarie Place.

The facade is clad in synthetic stone and dominated by a colossal arch. The upper floors are of textured brick work that is tonally graded from light at the base to dark at the summit. The gigantic scale of the ground floor arch is notable, and found also in Delfin House (see the next page), the other surviving office building by this architect.

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Delfin House Address: 16 O’Connell Street, Sydney. Architect: Bruce Dellit.

Construction completed in 1940. This building has a 4-storey high (18m) colossal arched entry made of polished Red Tarana granite stone, not synthetic stone, like Dellit used in Kyle House (see previous page). Recessed within the arch is a bronze framed glazed wall featuring chevron motifs, set above a granite portico. The portico has a carved stone bas-relief

frieze

incorporating

the

narrative

Sunrise Over The Pacific and a Land of Plenty. Above the portal rises the main tower clad in Bondi sandstone. The stepped pinnacles at the top of the building epitomise the Art Deco style.

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Manufacturer’s Mutual Building

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Manufacturer’s Mutual Building Address: 12 O’Connell Street, Sydney. Architects: A. H. Buchanan & Cowper. Construction completed in 1935. The base of the façade of this 9-storey building is granite and the upper floors are clad with Wunderlich’s ‘colortex’ bricks.

The entrance foyer has Art Deco metal bas-relief decorations either side. These geometric designs symbolise the sun and sun rays. The top of the building is emphasised by its use of lighter toned bricks plus texture in the highest spandrels. The façade is modulated horizontally by the means of containing the central window bays between narrow bays of windows. Issue 42 - July 2021

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C E B U I L

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Grace Building Address: 77-79 York Street Architects: D T Morrow and P J Gordon. Construction completed in 1930. This building is a hybrid of fusing perpendicular Gothic with the machine manufactured glazed tile of Art Deco.

The building is sheathed in cream glazed terracotta tiles with details picked out in green. Decoration is limited to the summit and lower portion of the building. The prominent ‘Gothic’ corner tower is complete with flying buttresses, which are capped with glazed yellow terracotta tiles, and pointed windows. The street level façade and first floor is clad with polished granite and the metal awning remains intact with its pressed metal ceiling. Issue 42 - July 2021

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S U

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Sun Building Address: 60-70 Elizabeth Street, Sydney. Architect: Joseph Alexander Kethel. Built 1929. This building was constructed for the Sun Newspaper. In 1929, the sphere sited on top of the building was painted gold, as it was the

symbol of the Sun Newspaper. At ground floor level the exterior of the building was clad with red granite and emerald pearl granite around the large arched windows. Above these levels it was clad in grey Benedict Stone. This stone was manufactured from crushed, washed stone mixed with a special cement. It was then poured into moulds.

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British Medical Association (BMA) House Address: 35-137 Macquarie Street, Sydney. Architects: Fowell & McConnel. Construction completed in 1930. BMA House is a 12-storey Sydney ‘skyscraper’ designed in the Art Deco style and embellished with ‘Medieval’ and ‘Gothic’ decoration. The building is clad with cream glazed terracotta tiles. There

is an intricate woven terracotta design to the bay windows and spiral cords. A variety of sculptures and medical iconography embellish the facade. Six full-sized medieval knights (holding medical symbol shields), four lions (holding medical symbol shields), two Australian koalas shown from the back and six sculptures resembling gargoyles looking down over the entrance foyer. The façade has inset wide pilasters between the window groups and protruding pilasters between each window and the top of the building is stepped and these structures combined

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Australian Catholic Assurance Society Building

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Australian Catholic Assurance Society Building Address: 66 King Street, Sydney. Architectural firm: Hennessy, Hennessy & Co. Construction was completed in 1936. This 14-storey building is clad in a material called Vibro Stone, which is graded in tone from

a dark pink hue at street level to lighter shades at the parapet. The tower indicates that the main entrance of the building is on King Street. The typography used to announce the building’s name is modern sans serif. The simplified letters have straight lines running through them to give a more geometric feel.

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Australian Provincial Assurance Building

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Australian Provincial Assurance Building Address: 53-63 Martin Place in the Sydney Architect: David W. King. Construction completed in 1937. This 12-storey building has a set back 12th floor with a tower floor, housing the lift motor room. The facade is polished red granite to the first floor with a combination of moulded and extruded light cream tone splattered with white glazed terra-cotta blocks to the exterior of the upper levels. At the roof parapet level there is a triple row of deep green glazed terracotta bands. Every three metres is a pilaster, which runs in an unbroken line from the balconies on the 2nd floor to the 12th floor.

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A S B

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Asbestos House Address: 65-69 York Street, Sydney. Architectural firm: Robertson and Marks in association with John Reid and Sons. Construction completed in 1936. This building sits on a grey granite base while the rest of the exterior has brick walls that have been cement rendered. The main entrance and the parapet are decorated with yellow glazed terracotta. Asbestos House was owned by a James Hardie company. The building is lined throughout with ‘Fibrolite’, best known as "fibro". Workers mixed a slurry of asbestos and cement and rolled out fibro sheets. These fibro sheets were cut to size by builders and fitted as cheap cladding for houses. Asbestos products are banned in Australia. Its microscopic dust results in the dreadful disease mesothelioma. James Hardie company denied this for many years and are now paying out huge workers compensation bills.

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H O F

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Hoffnung House Address: 153-159 Clarence Street, Sydney. Architects: Samuel Lipson, Robertson, Marks and McCredie. Built in 1937. This 9-storey building combines both the modern horizontal lines with the vertical lines of an Art Deco ‘tower’. The building’s façade is characterised by long, unbroken lines of steel-framed windows separated by long, narrow brick spandrels. The central chevron shaped windows, angled at 45o to the street, gives a strong vertical treatment to the entrance. The façade of the ground floor has a black granite finish with five column bays at ground floor and expressed columns up to the second floor level. The first 8-storeys are level face brick with a recessed ninth floor. There is an original decorative copper clock.

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Challis House Address: 4-10 Martin Place

Original architects: Robertson & Marks with Walter Liberty Vernon, the NSW Government Architect 1906. Reconstruction architects: Hennessey & Hennessey 1936. The original building was constructed by Sydney University in 1907. The building was reconstructed in 1936, resulting in an Art Deco façade. Challis House is a 12-storey building. The façade consists of a ground floor of polished red granite, the rest of the façade is smooth finished 'yellow block' ashlar sandstone At ground level there are large shopfront windows with bronze panels below to the pavement.

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Museum of Contemporary Art

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Maritime Services Board now Museum of Contemporary Art Address: Circular Quay West, The Rocks Architects: W. H. Withers and D. Baxter. Constructed 1947-52. This office building has exterior brick walls clad

with Maroubra yellow rock sandstone and detailed with polished Rob Roy granite. There is a central stepped tower with protruding pilasters that take your eyes to the clock near the top of the tower. Above the main entrance is a relief sculpture by Lyndon Dadswell. This sculpture depicts the different activities of a port. In 1984 the building was offered to Sydney University as a Museum of Contemporary Art.

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C R I

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Criterion Hotel Address: 260 Pitt Street, Sydney Architects: Copeman, Lemont & Keesing. Building completed in 1936. One of the more unique Art Deco hotels in the city is the Criterion. There are hints of Gothic influences in its design.

This 3-storey hotel is clad with a grey spotted blonde brick. Green terracotta tiling is used in detailing above the windows. Vertical brick ribbing, which rises above the parapet, is capped at the top with yellow terracotta tiles that combined with the small balconettes along the façade give it an almost castle like appearance. The ground floor exterior is fully tiled. The doorways on the ground floor have transoms (windows) of stained glass with stylish Art Deco designs. Issue 42 - July 2021

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The Civic Hotel Address: 388 Pitt Street, Sydney. Architects: R.A. Provost and Associates. Building completed in 1940. The Civic Hotel is a 3-storeyed brick structure, with a flat concrete roof and a fully tiled ground floor exterior. The architectural style is known as P. & O. Ship Style because of its similarities to ocean liner forms. The corner tower has two sections: The first one finishing at the circular section of the tower and which has a strip of blue glazed tiles up it and inserted into this strip are three portholes; the

second section of the tower is rectangular and has a blue glazed tile finial inserted into it. A very stylish Art Deco tower.

All Rights Reserved on article and photographs Lorraine Fildes © 2021.

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NEWS Issue 42 - July 2021

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SCULPTURE ON THE FARM 2021

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SCULPTURE ON THE FARM 2021 Sculpture on the Farm 2021 Dungog presents an extended 10 day exhibition of contemporary sculpture,

1 - 10 October. This year you will be able to explore the indoor works in the galleries of Dungog and then discover the

wonderful treats

that can be found in the many new shops and cafes in town. The outdoor garden and paddock works will again be displayed on the rural cattle property of ‘Fosterton’, only 8.24km from the main street of Dungog. Sculptors - Applications for entry will open mid March via the Sculpture on the Farm website

www.sculptureonthefarm.com Watch out for the Sculpture Dinners and Lunches which will be held in the wonderful Dungog restaurants during the exhibition. Sculptors will be the guest speakers on these occasions, a wonderful opportunity to learn about the various sculpture styles and practices.

Of course the James Theatre will be screening films and of course there will be a feature film on sculpture. Prizes again will be generous and Sculpture on the Farm will be acquiring a work to donate for public display in Dungog. Page 186 : Left to right “Nothin’ but Sky” by Braddon Snape located in Lioness Park at the entry to Dungog “Theatre of the Shadow” by Peter Tilley to be situated outside the refurbished Dungog Library. “A Thought is a Ripple” by Gavin Vitullo. An ephemeral piece located in the Dungog Common in a natural footing in the creek bed.

“Entwined” by Bob Teasdale located in the Dungog Common. Photographs courtesy of Sculpture on the Farm.

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PORT STEPHEN’S COMMUNITY ARTS CENTER

PORT STEPHENS COMMUNITY ARTS CENTRE : Shoal Bay Road, Nelson Bay, NSW. HRS: Mon - Sat Shoal Bay Road, 10am - 4 pm Sun 10 - 1pm.

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Till - 27th July “What’s on Your Plate?” and “Pastels” All things deliciously edible – realistic, interpretive, futuristic. Wandering through our gallery, you will find many gastronomic delights. Pastel is one of the most versatile and beautiful materials in the history of art. The variety of works demonstrating the beauty of Pastel medium are on display. Feature Artists: 18 June Lyn Grigor spinning and weaving, 16 July Bev Henry abstract artist. Our Gallery contains unique handmade items such as jewellery, pottery, knitted goods, cards, bonsai, fusion, patchwork, embroidery, spinning & weaving, woodwork & mosaics all items make interesting

gifts. Garden Cafe will open for business on Saturdays only 10am – 2.30pm

PORT STEPHENS COMMUNITY ARTS CENTRE : Shoal Bay Road, Nelson Bay, NSW. HRS: Mon - Sat Shoal Bay Road, 10am - 4 pm Sun 10 - 1pm.

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L Y

N G

R I G O R Woven scarf – woven with Kinu silk 2021 Lyn Grigor .

Woven scarf – woven with Tencel 2021 Lyn Grigor.

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Lyn Grigor Feature Artist Lyn has practiced the art of Spinning for 24 years. She describes it as the process of drawing out fibres from a mass and twisting them together to form a continuous thread or yarn. Before they are spun, fibres are loose and coarse. They are usually prepared for spinning by cleaning them, removing foreign matter, and straightening the individual strands. During the spinning process, the fibres are drawn, twisted, and smoothed into usable yarn. The preparation of usable yarn takes hours and this takes place before the yarn is knitted into a usable item, Lyn took up weaving 15 years ago. Weaving is the interlacing of two sets of threads or yarns, usually at right angles. The lengthwise yarns are called the warp; the crosswise yarns are called the weft, woof, or filling. Very simple weaving may be done by hand, Lyn usually does her weaving on a hand loom. Her weaving process involves tying a long thread over the top of the loom with the balance of the yarn being placed into milk bottles to maintain the tension. Lyn especially enjoys weaving silk. Lyn has a wide variety of knitting patterns and mostly knits at night. It usually takes her three weeks to knit an item.

Spinning and Weaving

keeps your hands busy, promotes creativity and keeps you young. Lyn has been a volunteer at Port Stephens Community Arts Centre for 25 years enjoying the company of like-minded creative community members. Lyn’s work features at the Gallery till 27th July.

Knitted scarf – the wool was hand spun Merino and silk 2021 Lyn Grigor .

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B E V

H E N R Y Impressions, Acrylic on canvas, W260 x H76cm. Bev Henry 2021.

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Bev Henry - Artist Profile Bev has always been passionate about art. In 1972 while my children were young, I joined the Royal Art Society in Sydney where I was lucky enough to be tutored by Frederic Bates who was known for his landscape subjects. Bates has won many art awards, including the 1965 Wynne Prize. Bates taught me the beauty of using oils and to appreciate our magnificent landscape. Wanting to broaden my experience I took up water colours with Lindsay Sever, who was a traditional impressionist painter of landscapes and cityscapes. Under Sever’s tutorship I developed a love of plein air painting. Through plein air painting which I practiced for over 30 years I was fortunate enough to be tutored by Allan Waite who specialised in oils and water colour. Allan Waite was the co-founder of “Australian Artist’ magazine. As a member plein air painter’s, I was fortunate to be able to travel all over NSW and beyond. A memorable trip, with Lindsay Sever was to the Himalayas in Nepal. Each participant took a suitcase of art supplies to tutor the children who had never seen art materials before. Bev attended a Willoughby workshop by Tony Taper for abstract modern art and found her niche. Putting things down simply one line means a lot. Bev was a member of city of Ryde Art Society for 40 years. She has held many exhibitions. Bev has Won a number of art prizes the most exciting was winning the Royal Easter show prize. Bev spent about 40 years traveling to enjoy as well as present art classes memorable trips were spent in Dubbo, Foster, and Nelson Bay. During this time Bev taught water colour and plein air. She has taught people paralysed from neck down at Forestville Community Arts Centre to paint. A Highlight of her teaching was the thrill when a paralysed pupil won an award.

Bev Moved to Nelson Bay in 2006 travelling back to Sydney frequently to paint. Bev Always knew about Port Stephens Community Arts Centre. Work commitments prevented joining eventually 2 years ago she bit the bullet and joined. To her delight she found a wonderful welcoming community. She is proud to be a member of this amazing community filled with first class talent, facilities and has made many like-minded friends. Bev’s work is on exhibition till 27th July at Port Stephens Community Arts Centre.

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B E V

H E N R Y Impressions, Acrylic, H160 x W76cm. Bev Henry 2021

Figurative, Acrylic, W60 x H76cm. Bev Henry 2021.

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Rosebud, Acrylic W60 x H76cm. Bev Henry 2021.

Impressions 3, Water colour, Bev Henry 2021.

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ART SYSTEMS WICKHAM G E O F F R

Y B R E

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40 ANNIE ST. WICKHAM, NEWCASTLE NSW.

Phone: 0431 853 600

www.art-systems-wickham.com/

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ART SYSTEMS WICKHAM CALENDAR 2021

JULY 2 – 11 …………

CHRIS & FRANCES FUSSELL

JULY 16 – 25 ………… GEOFFERY BREEN JULY 30 – AUGUST 8 … FEATHERS, FLOWERS & FINGS JACQUELINE IMMENS McCOY AUGUST 6,7,8

………

AUGUST 13 – 29 ………

IGN ART FAIR SUSAN RYMAN

SEPTEMBER 3 – 19 …. METAMORPHOSIS PETER RONNE & ANDREW SUTHERLAND

JACQUELINE IMMENS MCCOY

40 ANNIE ST. WICKHAM, NEWCASTLE NSW.

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2021 CALENDAR June 18 – July 4 I am …. (Newcastle)

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Earth Works

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Nicola Purcell Tracie Bertram Elizabeth Treadwell Joanna Davies

Mike Moore & Jeff Lees

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Aug 20 – Sept 5

July 9 – 25 EARTHBOUND Jacquie Garcia Kathryn Grushka Miranda Lawry

Environs

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Anne Gazzard Judy Hill

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Gwendolin Lewis Debra Ansell

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57 Bull Street Cooks Hill NSW

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Hours: Fri Sat Sun 11am - 5pm

www.newcastlepotters.org.au

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57 Bull Street Cooks Hill NSW

Hours: Fri Sat Sun 11am - 5pm

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Gloucester

Gallery hosts

an

exciting

program of quality monthly exhibitions presented by visiting and local artists and community groups. The gallery is a much loved and inviting space for artists and art lovers alike.

GLOUCESTER GALLERY 25 Denison Street, Gloucester NSW. https://gloucester-arts.com.au/art-gallery.html Issue 42 - July 2021

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GLOUCESTER GALLERY CALENDAR 17 June - 11 July 2021 Dots From My Heart Jenna-Rose Orcher

15 July - 8 August Pix From The Stix 2021

12 August - 5 September Gloucester High School Visual Arts 2021 PHOTOGRAPHIC COMPETTITION & EXHIBITION

GLOUCESTER GALLERY 25 Denison Street, Gloucester NSW. https://gloucester-arts.com.au/art-gallery.html Issue 42 - July 2021

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Barbara Nanshe Studio

https://nanshejewellerystudio.com/ Shop 1-3 The City Arcade, 120 Hunter Street, Newcastle, NSW 2300 Issue 42 - July 2021

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Barbara Nanshe Studio Online Shop Handmade. Ethical. Bespoke. Unusual. Original. Individual

https://nanshejewellerystudio.com/ Shop 1-3 The City Arcade, 120 Hunter Street, Newcastle, NSW 2300 Issue 42 - July 2021

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Gallery Gift Shop at Home An online store featuring a variety of wearable artworks - bracelets, scarves and earrings as well as homewares.

https://timelesstextiles.com.au/product-category/gallery-gift-shop/

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E X

2021

H I B I T

21 June - 01 August Quiet Reflections Amanda Charge 2 August - 12 September This Ain’t the Archies

Group Exhibition

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20 September - 24 October

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and beyond:

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Journeys the Silk Road Judy Hooworth

C A L E N D A R

Mending, Handmade paper, various material, silver, thread, coral, silk - Mark making, ink saturation, threading. 445mm x 445mm. Amanda Charge.

GALLERY - EXHIBITION OPEN - 90 Hunter St, Newcastle East . NSW.

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A R T S Z I N

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STUDIO LA PRIMITIVE ARTS ZINE

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Arts Zine was established in 2013 by artists

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nationally and internationally. Their mailing list includes

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Eric and

Robyn Werkhoven. Now with a fast growing audience, many galleries, art collectors and art lovers.

The Zine is free, with no advertising from sponsors. It is just something they wanted to

do for the Arts, which

has been their lifelong passion. Featuring artist’s interviews, exhibitions, art news, poetry and essays. In 2017 it was selected by the NSW State Library to be preserved as a digital publication of lasting cultural value for long-term access by the Australian community.

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Click on cover image to view previous issue.

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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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Click on cover to view the issue.

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Click on cover to view the issue.

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Life’s Balancing Act

H 70 x W50cm. Acrylic on canvas. E&R Werkhoven.

P R I M I T I V E

www.studiolaprimitive.net

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POETRY & SCULPTURE The publication includes a collection of poems written over recent years, penetrating and profound observations on life. And a selection of Eric’s dynamic and prolific sculptures.

Enquiries contact: E: werkhovenr@bigpond.com

Page 212 : Left - Front cover, The Fall, Autoclaved aerated

cement / cement / lacquer, H32 x W46 x B38cm. Eric Werkhoven 2013. Page 212 : Embraced I & II, Autoclaved aerated cement / adhesive cement / lacquer, H66 x W28 x B28cm. Eric Werkhoven 2018.

Right : Eric Werkhoven at Studio La Primitive Photograph by Robyn Werkhoven. Issue 42 - July 2021

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Art Quill Studio Marie-Therese Wisniowski

http://artquill.blogspot.com/

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M A R

NURA NURA. Hand printed employing the artist's signature Multi-Sperse

Dye

Sublimation

(MSDS)

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technique using disperse dyes, native flora

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and low relief items on delustered satin.

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H55 xW45 cm.

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Private Collection, Lake Macquarie, NSW.

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Marie-Therese Wisniowski

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Gondwana Memories (page 214) Technique and Media: The artist’s signature MultiSperse Dye Sublimation (MSDS) hand printing technique employing disperse dyes,

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native flora and low relief items on satin

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substrate.

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H23 x W13 cm.

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Marie-Therese Wisniowski

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GALLERY ON DOWLING Helene Leane

Jeanne Harrison A Purple View, Acrylic on canvas H60 x W60cm. Helene Leane.

120 Dowling St. Dungog NSW.

www.heleneleane.com Issue 42 - July 2021

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DUNGOG BY DESIGN

GALLERY 224 Dowling St Dungog, NSW.

https://www.facebook.com/ DungogbyDesign Detail of Artwork by Tara Mann , 2021.

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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 218 :

http://www.rhinoresourcecenter.com/index.php?s=1&act=refs&CODE=ref_detail&id=1518479271

White Rhino crash at Whipsnade Zoo, England. Image: Robert Fildes © 2019. Issue 42 - July 2021

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