ARTS ZINE March 2017

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s t u d i o


arts zine issue 19 march 2017



studio la primitive EDITOR Robyn Stanton Werkhoven CONTRIBUTORS

Above: “Clouds will Sing you to Sleep” Acrylic on wood panel, H83 x W66cm, © Ian Kingsford-Smith. Front Cover: “Viewpoint!” acrylic on canvas, 100x100cm, © Mel Brigg.

Mel Brigg

Brad Evans

Ian Kingsford-Smith

Eric Werkhoven

Linda Sok

Maggie Hall

Danielle McManus

Lorraine Fildes

Judy Henry

Monique Werkhoven

Gerdi Schumacher

Robyn Werkhoven

Gallery 139

Art Systems Wickham

Timelesstextiles Issue 19 - March 2017



Above: “Braving the rain” 50x70cm, charcoal/pastel on paper,

© Danielle McManus.

Please do not copy articles in this magazine without written permission of the Editor. Copyright © 2016 Studio La Primitive, All rights reserved.

Editorial………………………… Robyn Werkhoven


SLP Antics………... …………. E&R Werkhoven


Featured Artist ………………… Mel Brigg

6 - 25

Poetry ……………………………Eric Werkhoven

26 - 27

Featured Artist …………………. Ian Kingsford-Smith

28 - 55

Poetry…………………………… Brad Evans

56 - 57

Featured Artist…………………. Danielle McManus

58 - 69

Poem …………………………… Monique Werkhoven

70 -

Featured Artist ………………… Linda Sok

74 - 87

Opening Scene ……………….. Maggie Hall

88 - 93

Dali Museum, Spain…………... Lorraine Fildes

94 - 125


Featured Artist …………………. Judy Henry

126 - 137

Featured Artist. ………………… Gerdi Schumacher

138 - 143

ART NEWS…………………….

144 - 165

Back Cover…………………….. Danielle McManus

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EDITORIAL Greetings to all our ARTS ZINE readers for March 2017 and best wishes for a splendid year 2017. March issue 19 of STUDIO LA PRIMTIVE ARTS ZINE is our first publication for the year. This month’s leading artists’ interviews feature - the stunning paintings of Brisbane based artist Mel Briggs.

Artist, sculptor and printmaker Ian Kingsford-Smith, and Sydney installation artist Linda Sok. From the Hunter Region NSW, Danielle McManus presents her whimsical figurative paintings. Landscape artist Judy Henry talks about her travels as inspiration for her paintings and printmaking. Gerdi Schumacher talented textile artist who lives in rural Dungog. Lorraine Fildes, our resident travel photographer and writer features her visit to Salvador Dali’s Theatre-Museum in Figueres, Spain. Maggie Hall, artist, photographer and poet joins our team, presenting an article on the scene at art gallery openings. Monique Werkhoven, musician, artist, song writer, poet and environmentalist also joins our team. Don’t miss reading our new essays, poetry, art news and information on forthcoming art exhibitions.

The ARTS ZINE features national and international visual artists, poets and writers, glimpses into their world of art and their creative processes. Submissions welcomed, we would love to have your words and art works in future editions in 2017.

Deadline for articles - 15th April for May issue 20 2017.


Regards - your editor Robyn Werkhoven Issue 19 - March 2017


E & R A N T I C S New Collaborative drawings - E & R Werkhoven Š 2017 Issue 19 - March 2017



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Mel Brigg - Artist Interview Professional Artist, Mel Brigg, is based on the Sunshine Coast, Queensland, Australia.

Born in South Africa, Mel is self-taught and commenced his painting career in 1970. Migrated to Australia in 1992. Exhibiting in England, Portugal and Singapore, he has had numerous solo and joint exhibitions in South Africa and Australia. His work is represented in significant embassy, government,

corporate and private collections across the world.

Mel says - “I have always been moved by the complexities of the human condition and my paintings are reflective of turbulent times that the human race may endure in countries with

conflict. I also reflect on harmony and peace once pro-active personal change has occurred. Light is the core of my paintings, together with perspective, texture, structure and lyrically atmospheric colour. Combined, these culminate in evocative, emotive and empathetic works.” Opposite page: Seeking Guidance, H115 x W115cm acrylic on canvas, © Mel Brigg. Issue 19 - March 2017


Afternoon Influx H122 x W122 cm Acrylic on canvas © Mel Brigg. Issue 19 - March 2017


When did your artistic passion begin? “As a young child I remember drawing all the time, and on anything including the walls of the family home. At school I did well in art, and was encouraged by my art teacher to follow this path.

When I finished school I took up painting seriously, much to the disgust of my father, who believed I would die of starvation. So in 1970 I had my first show, and had also been sponsored by a gallery who saw potential in my work.”

What have been the major influences on your work? “In those early years I was very influenced by the expressionists, in particular Van Gogh, his sad life, determination to succeed, and his passion played a major role in my life. I worked like a demon possessed, every day into the early hours of the morning, drawing, trying new techniques with paint......and learning through trial and error. Coming from farming stock, it was natural that the landscape and its people would dominate my work. So over the years, I have nurtured the landscape, and tried to show the beauty of it ,as well as the harshness , the droughts, the rugged textures, and those of the people who live within that land, the

political as well as social issues they faced daily.” Issue 19 - March 2017


Meeting at the Gorge H102 x W102cm Acrylic on canvas © Mel Brigg.

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“My migration to Australia, brought new challenges

for me, a difficult separation from my African roots, with gave birth to my Exodus series, some ten years ago. Strangely we today see the migration of millions of displaced people fleeing their homelands in search of a new life .This ongoing series changes and

evolves with each day. So today, I have tried to make the viewers of my work, think a little deeper, to put themselves in the thongs of these lost souls, wondering through vast open spaces, through rugged gorges, and hostile, yet inviting coastlines! “

Artist Mel Brigg.

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Exodus, acrylic painting on canvas, H150 x W300 cm, © Mel Brigg. Issue 19 - March 2017


Why do you choose this material / medium to work with? “I choose to work in acrylic, as it dries quickly, and I work with multiple layers and textures, I travel widely and this allows me to transport dry works instead of waiting weeks for the oils to dry.”

What are the challenges in becoming an exhibiting artist? “ I think the biggest challenge for any artist, is to balance the honesty of ones work, with the need to survive financially, also to find good galleries that will promote you during the course of your career.”

Name your greatest achievement, exhibitions? “My greatest achievements have been…..the fact that I sell my work and can continue to paint, and have had great solo shows in many countries.

Your future aspirations with your art? “ I would like to continue painting works that are meaningful, touching on raw nerves, exposing poverty and hardships worldwide.” - Mel Brigg © 2017

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H53 x W53cm (with springbok skin) Acrylic on canvas © Mel Brigg.

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Chaotic Shoreline

H76 x W76cm Acrylic on canvas © Mel Brigg.

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Evening Flight H102 x W102cm Acrylic on canvas © Mel Brigg.

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The Dancer H 115 x W 115cm Acrylic on canvas © Mel Brigg.

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Coastal arrivals H100 x W100cm Acrylic on canvas © Mel Brigg.

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Escaping the Fires H122 x W122cm Acrylic on canvas © Mel Brigg.

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Tidal Influx H153 x W153cm Acrylic © Mel Brigg. Issue 19 - March 2017


Island Influx H100 x W100cm Acrylic on canvas © Mel Brigg. Issue 19 - March 2017


Coastal Walk H100 x W100cm (overlayed perspex) Acrylic / mixed medium © Mel Brigg. Issue 19 - March 2017


Boat People,

H915 x W1220 cm, acrylic on canvas, © Mel Brigg. Issue 19 - March 2017


The Elder, H61 x W78 cm, acrylic on canvas, © Mel Brigg. Issue 19 - March 2017

24 artists/mel-brigg/

Photographs of paintings curtesy of Mel Brigg.

Right: The Empty Bowl, H 71x W 56 cm, Acrylic, Mel Brigg

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A tight package of blossoming passion, jamming up against some of these logical explanations, that won’t go any further because they are weighted down.


Possibly that may be our luck and grace combined.


Keep it obscure, hide it underneath the rubble,



the demolition men have left behind. Hide it in the flower beds, along the wide esplanade dotted with folk strolling, as if there is not a care in the world. But usually it is more hectic, more of a rushed off our feet feeling. Where the “must be” common denominator, drives the wheels of progress, mercifully over the edge.


Just to still our hunger


Just to still our craving


The daily quotas are squared off like domino pieces slotted in, to duplicate and join the dotted line of a human life.

- Eric Werkhoven © 2017 Issue 19 - March 2017


Not quite outdated, to follow the trail to the garbage disposal unit.


Where it may or may not be fished out from among the discarded rubbish, at any functioning dump.

A kind of foul sweet smell wafts permanently through the air. Decaying corpses, plastic wrappings, paper school work, broken Christmas decorations, a twisted and bent bicycle wheel still wanting to turn out of habit. In fact it is a wealth of inspiration that you may want to tap in.

But you wouldn’t stand it for too long, due to the pervading smell that attaches itself to your hair and clothes. These are also the decaying sounds of our passions, curing the malice, that drew its breath before it actually struck out, it may be construed as a masterpiece.

Flotsam of a bygone era.

The prognosis of various renewal strategies, to combine our energies, into one plausible solution. Am I going to stop before it is actually finished, as if lured by a decoy. I hear a man shout – “ I want all that levelled by 11am, then report back to me for further instruction.”

- Eric Werkhoven © 2017 Issue 19 - March 2017


Ian Kingsford-Smith Issue 19 - March 2017


Ian Kingsford-Smith Interview “ I was born in London, England. My parents job and housing opportunities in London were limited, post war, etc, so we emigrated to New Zealand when I was 7 years old with my older brother. We lived in Palmerston North where I went to school. I did not do art as a subject in school. I have always liked drawing and post-school I attended art Summer Schools tutored by some of New Zealand’s leading artists, Colin McCahon, Michael Smither and Toss Woollaston. I enjoyed the creative process using oils and canvas.” When did your artistic passion begin? “ It started in primary school with illustrated projects on Maori culture and secondary school when studying

geography which involved drawing maps illustrating cities, crops, agriculture, ports, etc using colour, symbols, images, creating a narrative that explains a country.”

Have you always wanted to be an artist?

“ When I left school I got a clerical job and did my art at the weekends – dedicated a room to set up the easel, lay out the oils and turps and create. I left that job and started doing art full time but soon the money ran out, reality hit and I went back to painting at the weekends. I had exhibitions, solo and group during this time. The drive to create was always lurking.” Page 28: Lineage Exhibition 2016, acrylic / fibreglass, life size, © Ian Kingsford Smith. Issue 19 - March 2017


Ian Kingsford-Smith working on a sculpture. Photo curtesy of Ian Kingsford-Smith. Issue 19 - March 2017


Describe your work? “ My professional experience as television presenter, director, producer and interactive TV consultant has had a significant influence on my art practice.

In television storytelling sequences of events are selected and constructed with a beginning, middle and end so that the viewer is taken on a journey that will immerse them in the world of the subject. The constructed narrative is in a sequential linear form that is read by the viewer from start to finish over the duration of the

item be it a ninety second news item or of documentary length.

In my art practice, history, personal history, memory, family records, ambitions, fantasy, dreams, mythology and spirituality construct the visual narrative. They are image fragments in a non-linear representation of the subject that is both symbolic and spiritual. As with remembered memory, fact and fiction, these narratives are prone to be distorted, amplified, fragmented, morphed, disjointed, fractured, compressed in time and in juxtaposed locations or countries. Each standalone work whether an etching or painting uses this methodology to construct the visual narrative.�

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Dreams in Other Peoples’ Lives H83 x W66cm Acrylic on wood panel. © Ian Kingsford-Smith.

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Do you have a set method / routine of working? “ I constantly read articles, watch TV doco’s and write notes, thoughts, images into note books. If the idea resonates, grows in importance I then research it on the Internet, download articles, images and put them in

plastic folders for future reference. I cut images from magazines and newspapers and put them in folders – again, images that resonate. I usually have a number of idea strands in gestation running in parallel with the current work. My current work is strongly based on well researched ideas, direction, that has been well thought through in narratives, style, concept and medium. On a daily basis I usually start work at around 8.30am and work through to about 2.30pm – around this time I’m fairly drained so stop painting/drawing, usually seven days a week.”

Why do you choose this material / medium to work with?

“ I work in different mediums. I use a medium that suits/fits the required concept/idea. Some ideas are better as etchings, some better as 2D paintings, some better as 3D paintings on fibreglass bodies, some better as linocuts, etc.”

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Ferris Wheel Etching H32 x W40cm framed Š Ian Kingsford-Smith.

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How important is drawing as an element to your artwork? “ My drawing practise is very important as I use image fragments, juxtaposed to create a non-linear narrative. This narrative can be read and interpreted by the viewer to create their own story/understanding of the

work. Drawing is as important in my painting as it is in my etchings, linocuts, etc.”

Is there a particular reason for your choice of style / genre?

“ Over the last few years I have been very interested in medieval art. I like the way they use or don’t use perspective. They allow the viewer to see what’s on a table, who’s laying in bed by viewing that from above while the rest of the work is shown from a front-on view. I have been buying books and visiting medieval art museums, taking photos, etc. Another aspect of medieval art is that they use numerous scenes in a work of art to convey the overall narrative – narrative fragments, as I see it. They also use words/sentences woven

into tapestries to support the works’ narrative – I have started using this idea in my latest series of etchings. I like to challenge the way I view a narrative – the way the viewer is challenged by the work and it’s narratives – medieval art helps me with this.”

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Lineage Baby 1 Acrylic / fibreglass Life size Š Ian Kingsford-Smith

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What inspires you? Major life events, supported by history, family history and fractured memory, dealing with death in life have all recently inspired me.

‘Mappa Vitae (Life Maps)’ = individual life stories/ narratives/memory/recovered memory, etc. ‘Lineage’ = ‘We live in a culture where the perpetuation of family ancestral lineage and the family as a social institution are central. By making babies, we continue life's pageant. In children, we cheat death. Yet something seems fundamentally very wrong, or incomplete, with this idea as humans. To find

meaning only in child production seems an affront to human dignity and potential, individual differences, and personal choice’ And ‘Afterlife 2017’ = how we deal with death and prepare for the hereafter. Mappa Vitae 1, detail - acrylic / fibreglass, life size, © Ian Kingsford-Smith

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Mappa Vitae (Life Maps) (2015) provided an alternative representation of how a subject scripts themselves. The work represents the subject’s life narrative rather than focusing on their external appearance as traditional portraiture does. Mappa Vitae (2015) depicts the aspects of the sitter’s life that are the most

significant to them; key relationships, experiences, events, places, buildings, and animals. As with recollected memories, these narratives are distorted, amplified, fragmented, and often involve the compression of time and the juxtaposition of locations and countries. The hand- painted narratives provide insights into the subject’s inner world. The ‘Life Maps’ also offers an alternative form of portraiture. The sculptural figures’ represents the narrative of a subject formed out of the transformative process of memory and recollection. The conceptual and formal basis of the ‘Life Maps’ series were developed from the study of two historical precedents, which offered alternative ways of conceptualising the relationship between the visible and invisible dimensions of reality, namely, the Hereford World Map (1300 approx.) and upper Paleolithic European rock art. These disparate sources orientated the ‘Life Maps’ towards a symbolic vision of reality, within which sensory appearances are conceived as a medium through which higher concepts can be accessed.

Video of Mappa Vitae exhibition:

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Mappa Vitae 2 Acrylic / fibreglass Life size Š Ian Kingsford-Smith

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Lineage Man Acrylic / fibreglass Life size Š Ian Kingsford-Smith

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(2016) asked the question: So is making babies -- and having genes survive through the

generations -- the meaning of life and a quest for immortality? We live in a culture where the perpetuation of family ancestral lineage and the family as a social institution are central. By making babies, we continue life's pageant. In children, we cheat death. Yet something seems

fundamentally very wrong, or incomplete, with this idea as humans; to find meaning only in child production seems an affront to human dignity and potential, individual differences, and personal choice. Lineage poses questions such as these: Are we aspiring for life after death or immortality through the perpetuation of the lineage? Are we procreating so that we can live out our unlived lives through our children under the guise of giving children a better life? Does making babies provide the answer to life after death? In this exhibition I explore the complex reasons why people choose to bear children and challenges the assumption that the perpetuation of genetic bloodlines is the most meaningful form of human connection and lineage possible. The exhibition consisted of a male adult astride a chair with three babies positioned at his feet. One crawling, the other two sitting. The adult male stares into the void, a gaze that does not

acknowledge the babies at his feet. The exhibited works are composed with their life narratives and trace their common lineage. Lineage: ‘Man sitting on a chair’ was selected as a finalist in the Contemporary Arts Awards 2016. View exhibition at

Video of Lineage exhibition: Issue 19 - March 2017


Mappa Vitae 3 Acrylic / fibreglass Life size Š Ian Kingsford-Smith.

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2017 exhibition examines death and the hereafter. Spirituality and religion permeate history.

Most people have believed that at the end of life there will be an afterlife. This can take the form of heaven in Christian belief, for example, or as an after-life where the soul is to be guided on the path with the artefacts of the life lived, provided for this journey. Many cultures buried the dead with their personal effects,

weapons, pottery and food to guarantee nourishment for eternity. The grave or tomb was filled with goods considered important for the survival in the next world. In keeping with the pictorial strategies adopted in my previous works, Lineage, and Mappa Vitae (Life Maps), I have combined pictorial narratives associated both with the perspective of the individual and with those associated with collective understandings of ancestor worship and funeral practices. Each item in the installation is a repository of life narratives, historic myths, the cycle of life, ancestor worship, archetypal experiences (love, despair, faith, etc) and more personal levels of experience. These take the form of painted narrative fragments on each work. The themes depicted in this work reference life, death, and our connection to memory and the influence of

deceased relatives on the living. The figure acts as a representation of an individual’s life with the painted narratives tracing a life’s journey. The narrative is drawn from and juxtaposed with mythology, ancestral worship, and contemporary narratives as a way to connect the past, present, and future. By combining the old with the new, it allows the audience to play an active role in contemplating their own life, death and spirituality. Issue 19 - March 2017


Lineage Baby 3 Acrylic / fibreglass Life size Š Ian Kingsford-Smith.

What have been the major influences on your work? “As my art grows, it changes, distorts, with many different influences. Any significant influence is absorbed into my practise and work and new influences gathered and absorbed – a continuing process. Many years ago, in the early days I was influenced by other artists, by some of the greats, but then I got bored with seeing parts of their style, technique, structure in my work. So there was a period when no art was produced, a time for reflection and finding my own style, my own direction, my own way of painting, who I

am. I reverted to doing drawings only – this helped.”

What are the challenges in becoming an exhibiting artist? “ I think you need to have self belief in who you are, in the uniqueness of your work and be very positive. You’ll get lots of rejections, no responses to emails to galleries and indifference in person.”

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Name your greatest achievement, exhibitions? “All three works of the Mappa Vitae (Life Maps) exhibition in 2015 were sold, Mappa Vitae male 1 and 2 and Mappa Vitae woman. This is the first time I have had an exhibition sold out. The two male works sold to George Rosenthal, part of Hollywood royalty and owner of the Sunset Marquis hotel a monument to luxury and casual elegance, refuge for generations of rock 'n' rollers, actors, comedians, filmmakers, supermodels and moguls. George is the founder and chairman of real-estate development and investment company Raleigh

Enterprises on Melrose Avenue, Hollywood, next door to Paramount Studios. George built the Sunset Marquis from the ground up with the Raleigh portfolio encompassing dozens of subsidiaries, including an archival records-keeping firm, a rental provider for film and TV production equipment and a vineyard adjacent to Rosenthal's majestic vacation retreat four miles from the Malibu coastline.

The two Mappa Vitae works of art are now installed in the two entrance areas of the management offices at Raleigh Enterprises, 5300 Melrose Avenue, Hollywood, Los Angeles.� Mappa Vitae woman sold to a Sydney collector.

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Lineage Baby 2 Acrylic/ fibreglass Life size Š Ian Kingsford-Smith

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What are you working on at present? Afterlife 2017 exhibition examines death and the hereafter. Spirituality and religion permeate history. Most people have believed that at the end of life there will be an afterlife. This can take the form of heaven in Christian belief, for example, or as an after-life where the soul is to be guided on the path with the artefacts

of the life lived, provided for this journey. Many cultures buried the dead with their personal effects, weapons, pottery and food to guarantee nourishment for eternity. The grave or tomb was filled with goods considered important for the survival in the next world. In keeping with the pictorial strategies adopted in my previous works, Lineage, and Mappa Vitae (Life Maps), I have combined pictorial narratives associated both with the perspective of the individual and with those associated with collective understandings of ancestor worship and funeral practices. Each item in the installation is a repository of life narratives, historic myths, the cycle of life, ancestor worship, archetypal experiences (love, despair, faith, etc) and more personal levels of experience. These take the form of painted narrative fragments on each work.

The themes depicted in this work reference life, death, and our connection to memory and the influence of deceased relatives on the living. The figure acts as a representation of an individual’s life with the painted narratives tracing a life’s journey. The narrative is drawn from and juxtaposed with mythology, ancestral worship, and contemporary narratives as a way to connect the past, present, and future. By combining the old with the new, it allows the audience to play an active role in contemplating their own life, death and

spirituality. Issue 19 - March 2017


The exhibition will consist of a female adult in the foetal, crouched position with the head resting on a sleeping block. The adult female is surrounded by the personal effects of life and the artifacts required for the afterlife and her journey. The themes, composition, and techniques have been extended from my previous work Lineage (2016) and Mappa Vitae series (2015). Personal and ancestor narrative fragments of daily life, death, birth, myth, etc. are painted on the woman, her artifacts and personal effects (grave goods).

There will also be a series of etchings that will be hung around the exhibition walls in a similar way to Egyptian tomb paintings. These aquatint etchings represent ‘scenes from daily life’ of the tomb owner.

What do you hope viewers of your art works will feel and take with them? Viewers are able to read the images and construct their own reality, their own individual narrative from the work. In my art practice, history, personal history, memory, family records, ambitions, fantasy, dreams, mythology and spirituality all combine to create enigmatic narratives. They are detailed but do not tell one explicit story, rather they tap into the viewer’s imagination and evoke a multitude of possible storylines. Each

image evokes a larger story and meaning through the ability to play subtly with colour, line and scale. In the etchings, a finely developed sense of line gives each work a precise balance, although the situations being illustrated can assume an almost magical, hallucinatory character. In his paintings, intense reds, greens, blues and oranges add a level of energy.

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By combining the old with the new, it allows the audience to play an active role in contemplating their own life, death and spirituality. What one curator wrote: ‘Ambiguous, emotive, and intriguing, Ian Kingsford-Smith’s paintings offer what he describes as non-linear narratives. Kingsford-Smith paints on wood in both oil and acrylic, with a heavy,

aggressive palette. In his work, people dance, read, converse, and argue while around them buildings loom and pulse with colour. His figures are timeless in attire and actions, but they are precise in their emotional reactions. They are individuals in real, deeply-felt situations. There are many components to these wide-ranging narratives which aim to immerse the audience in a world rather than guide them by the hand. Everything from shared history, personal experience, memory, spirituality, and cultural mythology to invented things like dreams and fantasy come together to form an atmosphere. Many things happen within a single frame. Environments are juxtaposed with out-of-place people doing unexpected things. Perspective and scale is skewed and mixed up. Kingsford-Smith credits his background in television for giving him a sense of story-telling, and the knowledge of how to scramble timelines and events’.

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Swimmers Etching H32 x W40cm Dreams in Captivity 2013 Ian Kingsford-Smith

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Your future aspirations with your art? “ I will continue with 2D and 3D narrative painting, etchings and linocuts and continue to refine the direction and aesthetics of the works. The concept theme of a series usually defines the mediums I work in. Some concepts are better as a 3D object/s supported by etchings. The concept and the ideas define the mediums used in the series creation.”

Where do you see your art practice in five years time? “ I see my work as a diverse creative obsession so I am not sure where it will take me in five years time.....”

Forthcoming exhibitions? “ I am taking the ‘Lineage’ installation/exhibition to Melbourne in 2017 as well as debuting ‘Afterlife’ in

Sydney in the third quarter of 2017. The 'Afterlife' exhibition will be at Aro Gallery, Darlinghurst, Sydney in early September 2017'.

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First Ships, acrylic on wood panel, © Ian Kingsford-Smith.

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Other interests? “ I play the guitar and ukulele. Also, I’m a member of Brilliant! a three piece ukulele band that is out to challenge uke stereotypes. Our own material crosses music genres including country, urban and rock n roll. In 2010 we released our first CD EP ‘Totally Brilliant!’. The first EP showcases ‘Two Strangers’, ‘Small Town

Heartache Big City Blues’, ‘And She Said She Would’ and ‘Horoscope’. In 2011 saw the release of our second CD EP ‘Originally Brilliant’. The EP showcased four original tracks, ‘Winter’, ‘The Flood’, ‘Sugar Daddy’ and ‘You’re Nobody Till Somebody Kills You’. Brilliant! TV debut on ‘Song Writers Across Australia’ broadcast on Friday 18th February 2011 at 9pm on TVS (TV Sydney) channel. The half hour TV programme showcases Brilliant! their music, songs and chat with host Paul McQueen. Songs written by the band include ‘Hey Hitchhiker’, ‘Small Town Heartache Big City Blues’, ‘Great Western Plains’ and ‘And She Said She Would’. Brilliant! hit the radio waves. 2rrr 88.5fm Sydney’s alternative radio features Brilliant! in the ‘Song Writers Across Australia’ show. Paul McQueen, show host, interviews band member Ian Kingsford-Smith who

provides background to the songs and the other group members Brilliant! is Ian Kingsford-Smith-ukulele and vocals, Tim Bowman-ukulele and vocals and Wendy Bornholdt-ukulele and vocals. “ Check out:

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Photographs of artwork curtesy of Ian Kingsford-Smith.

Somewhere Over the Rainbow H83 x W66cm, acrylic on wood panel, Š Ian Kingsford-Smith

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he sleeps in a bag moved there 3 nights ago


but there are city rangers about they tell him to move on but move on where?


they wait for him to go & take a piss


with their brooms,


before they move in

empty wheelie bin & buckets of soap

first goes the bag then goes the BBQ foil tray (donated by a member of the public the night before) and they sweep, throw down the water & soap and scrub with a little emphasis before walking off with his bed and his few other possessions in their wheelie bin. they get the job done just as the shutters of all surrounding shopfront businesses roll upwards to welcome the first busload of tourists for the morning.

- Brad Evans Š 2017 Issue 19 - March 2017



running through the house as if playing in their orchard. still.

I watch them in silent awe as near the foot of the stairs they pause to catch no breath. Lit by a streetlight outside those delicate, darker shades & stripes


hinting of naval costumes - leached of colour


nearer to silver filigree than old sepia reel


absorbed by their moment of happiness, a moment long gone,


one of them looks up sees me gazing upon them from across the years and promptly runs away her friend in close follow.

S - Brad Evans Š 2017 Issue 19 - March 2017


Danielle McManus

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Danielle McManus - Interview Danielle McManus intertwines experiences from everyday life with her Maltese heritage to produce superbly whimsical artworks & ceramics, all in her own individual and colourful style, Danielle now works from her studio in Lorn, near Maitland, NSW. “Growing up I lived in Sydney and then Maitland. I studied a Bachelor of Arts (Visual Arts) at Newcastle University. Originally I wanted to be a children’s book illustrator. I have had a passion for drawing for as long as I can remember. I wasn’t very sporty so spent my time drawing and painting! I was inspired by writers such as May Gibbs, Beatrix Potter and Jill Barklem. Unfortunately, I didn’t have much confidence in interviews and meeting with publishers so I ended up just painting for myself on weekends and working as a graphic designer instead. It wasn’t until a friend of mine took some pieces to her Aunt who worked in a gallery that I actually began to exhibit my artwork in galleries. My work is figurative and usually tells a story. The colours are vivid and the style has been described as whimsical.” Opposite: “You and Me and a House by the Sea,” H100 x W100cm, acrylic on canvas, © Danielle McManus. Issue 19 - March 2017


“Imaginings” H120 x W120cm Acrylic / mixed media on canvas © Danielle McManus

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“My daily routine is to get up early to get a few hours work in before I have to get the kids ready for school. Once everyone has left I try and spend the whole day painting. Although oils would be a little easier to blend, I choose acrylics to work with as they are quick to dry. I am usually painting up until the last minute for an exhibition! Drawing is very important to my work. Even though my paintings are whimsical, perspective and detail play a major role in the design of the work. I think the reason I paint such narrative work probably stems back to my book illustration beginning. I find inspiration in a lot of things but I love nature, flowers birds etc. My children have always provided a steady stream of inspiration for my paintings. Aside from the illustrators from my childhood, I have definitely been influenced by artists I have admired over the years. Gustav Klimt, Arthur Boyd and Norman Lindsay, as well as many recent artists such as Regina Noakes, Del Katherine Barton and Melissa Egan.�

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“Immigrant’s Daughter” H100 x W120cm Acrylic on canvas © Danielle McManus

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“There are definitely challenges to becoming an exhibiting artist. Personally, I had to overcome my insecurities and shyness as well as the usual “cash flow” issues artists face! I certainly wasn’t comfortable being the centre of attention at the opening of an exhibition and having to give speeches!!

I think one of my greatest achievements as an artist Is the fact that I have rarely had to approach a gallery for representation. I have been lucky enough for galleries to offer to represent me and that is something I am both proud of and glad for (as I’m terrified to put myself forward!) I have also been very fortunate to be involved with reputable galleries that I have a great working relationship with. They make me feel very

comfortable and offer a lot of support which is imperative for someone lacking in confidence.

At the moment I am working on an exhibition for Red Hill Gallery in Brisbane in March and another in Sydney at Trafficjam Galleries in June. Each painting usually has a lot of detail and takes a long time to

complete so I need to work well in advance of the exhibition time.

I hope my works convey a story to the viewers; that maybe the paintings remind them of their childhood, their children or their own stories.”

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“ I feel like my work has improved so much over time and it hasn’t been until recently that I finally feel happy with the work leaving the studio. I feel a certain balance between my illustrative background and my desire to paint whimsy.

Over the next five years I am looking forward to being able to dedicate more of my time to my art as my children get older. There are still so many subjects I

would like to explore with my work.

Aside from my artwork I love spending time at home with my kids and pottering around the garden. I love having a garden full of flowers and birds and other wildlife -– probably an extension of my work!”

- Danielle McManus © 2017 Left: “Rise Above”, H100 x W120cm, acrylic / mixed media on canvas © Danielle McManus. Issue 19 - March 2017


“Backyard Beauty” H100 x W100cm Acrylic / mixed media on canvas. © Danielle McManus

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“A Little Bird Told Me” H50 x W50cm Acrylic / mixed media on canvas. © Danielle McManus.

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“Wish I Could Fly Like You” H100 x W100cm Acrylic / mixed media on canvas. © Danielle McManus.

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Left: “High Tea”, H100 x W120cm, acrylic / mixed media on canvas, © Danielle McManus. Issue 19 - March 2017


Photographs of paintings curtesy of Danielle McManus.

Left: “Wild Child”, H60 x W100cm, acrylic on canvas, © Danielle McManus. Issue 19 - March 2017


Greener Gardens A blank verse poem by Monique Werkhoven A bug, sitting still on a beautiful flower, Look, closely, for a moment of truth, What a glorious sight, tiny creature in sight, more fragile Or less fragile, No insecticide, I plead,

Surely, in this garden plants are growing big and strong Companion planting protecting one another, Soil enriched. With the compost, worm castings of the day,

Abundance of foliage, plant flowers for the bees And pollinate creation of new. We know With a little helping hand, as a blossom blooms

We stare into unfolding beauty, until petals fallIssue 19 - March 2017


The aromatic, alluring scent of a rose, The satisfying sprouting of those seedlings, The long, awaited emerging of bulbs,

Or the hint of fragrance of a scented herbAnd the comforting flux of memories Delicately lingers in the brain.

Foraging our gardens were the happy chickens then, And all the evenings hoping back to roost, And all the birds sang harmonies from all the trees.

All of the fruits upon the all the flowers! And bees! The best idea is Permaculture We never knew growing food could be so sweet.

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Do we care now? Oh, we should care, now I hate the supermarket all the food is dead Save me some tranquillity O Garden bed Growing seasonally, No waste its pickling time.

Is the World globalization really the best And for young children have we done enough? Ah! Stop pain! Suffer not to any, who are hungry It`s such a simple solution, corrupted economy, Pushed into cash crops full of spray,

Instant substances are being abused, Unfair treatment of small farms fairly, Often chemical warfare in food production, Facts Inedible to swallow, And consuming lives mean nothings left sacred. The natural world fades. The population rises. The Mess Grows bigger with more hunger. Issue 19 - March 2017


Help! Us think Answers have you? Not too late to be grateful for the Earth, Collaborative process, little steps little tree grows Bigger and bigger, greener and cleaner, The joy that we have access to is priceless, As all the prices soaring to the MAN!

To find a way to sustain ourselves, Newfound freedom working within nature,

And ecosystems like a plethora of life Searching community gardens near and far, All produce locally grown cared for, and all The better for the taste buds and the soul!

- Monique Werkhoven Š 2017

Monique Werkhoven is an accomplished musician / song writer, artist and environmentalist. Currently living in Newcastle, Australia after returning from living abroad for seven years in New Zealand and Europe., where she performed with bands Hissy Fit and Alison’s Birthday. Issue 19 - March 2017



S O K Issue 19 - March 2017


LINDA SOK Linda Sok is an artist whose works explore the concepts of storytelling, language and identity, particularly those associated with her Cambodian heritage. Linda is a second generation descendant of survivors of the Pol Pot Regime and uses her art to tackle this topic that has shaped her and her family’s lives. The concepts of storytelling, language and identity help her bridge the distance between the different generations (her parent's, her grandparents', and that of her own). As an interdisciplinary mixed media artist, sculpture is her main medium; however Linda has also worked

with performance in her practice. Linda's work often falls into one of two categories - works that address her cultural heritage, and works that focus on the materiality of the object. Linda works very closely with the object of concern, whether it be an object from her culture or otherwise. Her practice involves dissecting and investigating the properties of the object and working with them to produce an artwork. Not all of her works revolve around her Cambodian heritage. This exploratory way of practice leads to two seemingly

disparate art practices. However upon closer inspection, one can see the similarities between the two in their need to work closely with the object of interest through experimentation. This essay in particular addresses her artworks that deal with her Cambodian culture.

Opposite: Grandma's Shirt, Medium: calico, fabric paint, LED lights, H:520 x W:440 x D:20mm, Š Linda Sok 2015 Issue 19 - March 2017


Khmer Letter Blocks Medium: wood, polyurethane paint, marker H:270 x W:450 x D:290mm Š Linda Sok 2016

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Language is an important part of her practice, with works such as Khmer Letter Blocks (2016) and Krama/ Scarf (2016) in particular exploring the Khmer language as a method for censorship of the experience her family had endured during the Pol Pot regime. This second hand knowledge is of particular interest to her, as it reveals a tension between truth and what is displayed to her as truth.

Krama/Scarf , Medium: wallpaper, silk, cotton, paint, H:2400 x W:2600 x D:500mm, Š Linda Sok 2016. Issue 19 - March 2017


Khmer Letter Blocks

(2016) Medium: wood, polyurethane paint, marker H:270 x W:450 x D:290mm Š Linda Sok 2016

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Khmer Letter Blocks Khmer Letter Blocks (2016) explores the issue of identity, particularly that of Linda’s Cambodian heritage and that of her family’s. The work looks at the fading of traditions and language within her family home and is an attempt to reconcile the disappearing past of the Khmer culture and negotiate between her two identities. The work uses a child’s play alphabet block and investigates the stories that were difficult to translate and speak to a child about. Through the use of Khmer and English texts, these difficult stories are privately revealed. Words in Khmer are written so that when spoken out loud by a Cambodian person, the English speaker may understand the word or phrase. The words in English are done in a similar way so that English speakers may speak Khmer to a Cambodian person. Neither of the two will understand what they themselves are saying unless both languages are

understood. Linda remains in this liminal zone between English speakers and Khmer speakers, whilst simultaneously not belonging to either of the two groups.

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Grandma's Shirt, Medium: calico, fabric paint, LED lights, H:520 x W:440 x D:20mm, Š Linda Sok 2015 Issue 19 - March 2017


Grandma’s Shirt Her works also look at the events which transpire before a person becomes a refugee as an incredibly important episode that shapes their identity in their new home country. This in particular can be seen in her artwork Grandma’s Shirt (2015), a work that attempts to recognise the pain and trauma her Grandma endured before arriving in Australia. This work looks at the traumatic experience that her Grandma had endured during the Pol Pot regime, and how this is the reason for her having to flee to Australia and become a refugee. The work uses the everyday object, a Cambodian shirt made up of different compartments of fabric, and hides the pieces of gold, represented by flickering lights, that were hidden from thieves. Having to flee from her home, and stripped of her childhood, the work transcribes Cambodian children’s stories to reference these past experiences.

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What's in my Bag, Medium: High Definition Video, Size: Variable, Š Linda Sok 2016 Issue 19 - March 2017


What’s in my bag The artwork What’s in my bag (2016) parodies the YouTube trend “What’s in my bag” videos, where a

female Youtuber examines the contents of her bag, removing each item and justifying its importance. Linda takes on the persona of a Youtuber in this performance. However instead of revealing the contents of her bag, she lays out the belongings hidden in a Krama. The Krama is a Cambodian scarf and is a quintessentially Cambodian item used by the middle class. As the video continues, viewers discover that this is not your usual “What’s in my bag” video. The items that are revealed are not the beauty items often seen in these videos, but rather items that her parents used to survive the Pol Pot Regime. Items that were deemed “essentials” by the millennial are replaced with bare necessities carried round by the survivors of the Khmer Rouge. Through the use of humour, Linda deals with two aspects that shape her identity– that of her family’s experience with the Pol Pot regime and that of people of her own generation

creating videos on what is important to them. This juxtaposition of her two opposing identities creates humour over an otherwise difficult and often overlooked topic.

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Krama/Scarf Medium: wallpaper, silk, cotton, paint Size: H 2400 x W 2600 x D 500 mm Š Linda Sok 2016 Issue 19 - March 2017


The artwork Scarf/Krama (2016) arose from the use of the Krama in the previous work What's in my bag.

The Krama is shown as an incredibly powerful symbol of the Cambodian working class, as those most likely to have survived the Pol Pot Regime were the people who owned and regularly used these scarfs. People who had any education or power were executed. Within this work, Linda also addresses the loss of identity through the use of storytelling. The text on the artwork is written in Khmer and reads "They told stories of lions and rabbits and elephants, but nothing of their own". This line depicts the censorship her parents often

employed to hide the experiences which have shaped their identity from Linda as a child. The work also sparks conversation on the lack of education on the topic. Whilst the history of other genocides are taught in schools, (for example the Holocaust that occurred during WWII in Europe), the Khmer Rouge Genocides which occurred much closer geographically were omitted.

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What's in my Bag, Medium: High Definition Video, Size: Variable, Š Linda Sok 2016

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Linda Sok

Background Notes: Linda's art making practice began when she was young. She began with drawing and painting, but progressed to creating sculptures when she started her Bachelor of Fine Arts degree (honours) (BFA). Linda is currently completing her BFA with a major in Sculpture, Performance and Installation. Linda has featured in a variety of exhibitions, including What's the Meme-ing of this?! at the Casula Powerhouse Arts

Centre, BEAMS Arts Festival, and Refugeez at Hurstville LMG. Linda has co-curated a variety of events, including the BEAMS Arts Festival, and a number of events on Kensington Street including their Art, Design and Food Exhibition, Christmas Bazaar, and Twenty-Twenty Exhibition. Working with Destination Chippendale, Linda also curated the monthly Gallery Walking Tours. Linda also has a Bachelor of Science with majors in Psychology and History & Philosophy of Science which informs and influences her work.

Photographs of artwork curtesy of Linda Smith. Issue 19 - March 2017


The Opening Scene

Maggie Hall

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The Opening Scene – Maggie Hall

“Once inside, my eyes pass around the room like hidden scanners. I wondered about all the different reasons which might bring such a diverse group together . . . from near and far, they travel for free wine, food platters, conversation, to network, to collect, for a good gossip, to meet like-minded people and perhaps a future partner to travel with to the next opening show. A blue in every shade of purple, the sun orange yellow aqua to green, light reflecting unseen space and time tricking the mind to a vision of learnt realities. The euphoric state of visual pleasure; in colour or black and white; the calm that settles over the room full of restless bodies as the next show is opened.”

Opposite: “Unknown Entity” photograph by Maggie Hall.

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“Skull and Mask� Artist: Paul Maher Exhibition: Consalvo, Lankas & Maher 15th February -18th March The Newcastle University Gallery Issue 19 - March 2017


“Virtuous and proud they stand, distant bodies like centipedes’ quill, looking for a space to appear so to view their chosen work of art—let the admirations and criticisms begin. Resurrected themes and styles pretend to be new and fresh in competition with the next rising star. Angels of mercy gather as the first wine is poured. Softened cheese and warm grapes sit politely by the crackers waiting to be tasted. The opening speech is near . . . The gallery owner acknowledges the crowd and mentions the artists of the show, if the crowd are lucky they may hear the artists speak about their creations. There are those who choose not to attend for this very reason. If you are going to an opening just to see the works then it is best to wait until the crowds have dispersed; and if the artist is not doing a talk or meeting the visitors at the gallery, then why bother fighting the crowds . . . I go with the intention of documenting the works and connecting with artists and viewers alike. My job is to

document as many of these opening events as I can in the time I have been allotted. There are many lovers of art who are unable to attend or experience the excitement of an opening show. A clean sweep with my camera around the excited room captures moments that may otherwise go unseen and never experienced by the un-attending eye.”

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“Curlews and Mist” Artist: Nicola Henley Spirit in the Sky Exhibition 15th February - 12th March Timelesstextiles

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“There are certain politics in the art scene; a code of ethics and open arrogance that must be upheld and taken seriously within this group of artisans. The undesirable, fanatical, unique and eccentric are usually

scorned from a distance and left to their own devices. In the end, we are all travellers looking for a place to belong and here in the Newcastle and Hunter art scene there is a place for everybody. In a world of judgement & intolerance art is an important part of many people’s lives. I am myself shaped by art through sickness and conflict and I now dedicate the rest of my life to those who cannot see”. The Image of Art.

- Maggie Hall © 2017

Maggie Hall has joined the Arts Zine team. Maggie is an Artist / Creator / Photographer and Poet, currently living in Newcastle, Australia. Photographs curtesy of Maggie Hall.

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The Dali Theatre-Museum in Figueres, Spain

Salvador Dali and his Artistic Legacy Issue 19 - March 2017


Salvador Dali and the Dali Theatre-Museum - Lorraine Fildes What an unbelievable day I had in Spain when I visited The Dali Theatre-Museum in Figueres. This museum was created and donated by Salvador Dali to his hometown. “I want my museum to be like a single block, a labyrinth, a great surrealist object. It will be a totally theatrical museum. The people who come to see it will leave with the sensation of having had a theatrical dream.” Salvador Dalí was born in Figueres, Spain in 1904 and died in 1989. He is one of the most well known artists of the 20th century because of his amazing surrealist imagery and flamboyant personality. In 1961 the mayor of Figueres asked Dali to donate a painting to the local museum. Dali said not only would he donate a painting but an entire art museum. The site he chose for his museum was where the former Municipal Theatre of Figueres had stood. The theatre was where Dali had held his first exhibition when he was only 16 years old. The theatre had been burnt down during the Spanish civil war. From 1962 onwards Dali designed and planned his museum. It became his great personal project. Its collection of paintings, sculptures and installations enables the visitor to obtain a full understanding of breadth and creative genius of

Dali’s work.

Opposite page: Photographs - Variants from Dali’s mustache. Issue 19 - March 2017


The bell tower of the church of Saint Pere and the cupola and mannequins on the roof of the Dali Thearte-Museum at Figueres. Issue 19 - March 2017


The official inauguration of the Dalí Theatre-Museum was on 28 September 1974. Further areas have been purchased and added to the museum. In 1988 the Loggias Room section was added. This area, as well as housing some of the permanent collection also houses special exhibitions which highlight points of Dali’s creative works or even Dali himself.

To me The Dalí Museum in Figueres was a “once in a lifetime” experience. The building itself is considered to be the largest surrealist work of art in the world. It is a bold statement to Dali’s genius and brilliance. Its massive dome stands as a distinct landmark in Figueres. The museum cannot be explained logically – it is a surrealistic experience. Dalí created a set of works specifically for his Museum, such as the installations and sculptures in the courtyard, the paintings, sculptures and installations in the stage area which is covered by the cupola, the Treasure Room, the Mae West Room and the Wind Palace Room. On my visit to the museum there was a special exhibition called Variants from Dali’s mustache on in the Loggias Room so I have included some photos from this exhibition at the end of my article. My photos will take you for a tour around the outside of the museum and then some of the highlights that I saw in the museum.

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The façade of Dali’s Theatre Museum.

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The Façade of the Theatre-Museum.

This is the façade of the Theatre-Museum and the artist’s monument to the Catalan philosopher Francesc Pujols. The base of the monument includes the philosophers phrase “Catalan thought always reappears and survives in its deluded grave diggers”. The figure of Francesc Pujols is actually sitting on the roots from a hundred year old olive tree. He is covered by a white Roman toga and crowned with a golden egg that shapes the head supported on a hand, in a

similar pose to Rodin’s The Thinker. The piece also has a marble bust of a Roman patrician with a small bronze head above it. There are also 3 bas reliefs from the “Arts and Trades” series, produced for the 1900 Universal Exhibition of Paris...

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At the right hand side of the Dali Theatre- Museum are two sculptures: The tall thin one in the corner is The TV-Obelisk by Wolf Vostell and the other one is one of Dali’s own works – placed behind a glass display cabinet, containing the cardboard head of a monster, a gift from the painter Rafael Duran, which is supported by a stand made of an

egg, with small dolls that make the pupils of the eyes and the teeth and a television on the forehead. This installation is placed at the entrance to the hall that was once used as the fish market, which connects with what is now called , for this reason, the fishmongers’ room of the TheatreMuseum.

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Torre Galatea, an annexed building of the Museum, named thus in honour of Gala.

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Around the top of the building is a kind of crown of mannequins that take on different postures. They are art deco figures that Dali had moulded in synthetic material that was later gilded. The two

mannequins at the end of the central façade hold in their raised arms, the hydrogen atom, a constant reiteration of Dali’s passion for science. On the upper cornice there are the bodies of four white warriors with a loaf of bread on their heads. The next photo to the left is the balcony balustrade lower down where there are 4 women standing with loaves of bread on their heads, this time they can be differentiated by their

postures – all of

them holding the Dalinian crutch, and between them there is a diver in a diving suit. The diver is a symbol of the immersion into the depths of the subconscious that awaits the visitor to the Theatre-Museum.

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The open court yard, Dali Theatre Museum.

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From the main entrance you walk through the vestibule into the courtyard. This area is a garden exposed to the open sky and was the old stalls section of the Municipal Theatre of Figueres. The entire courtyard setting can be interpreted as a grand installation. As you enter the courtyard the first object that strikes you is the Cadillac called Rainy Taxi which has standing on its bonnet the sculpture of Queen Esther – a gift from the Austrian artist Ernst Fuchs. Inside the Cadillac are two mannequins and their chauffer and a complex system of piping that sets off an intermittent rain to satisfy the snails and greenery.

Further forward is a column of tyres which support a marble bust of Francois Girardon, a French sculptor, over which appears the Slave by Michelangelo, painted black and with a tyre crossing over the body, over this is a boat which has a sumptuous series of simulated drops of water hanging from the keel and at the very top is a black umbrella (sorry the umbrella is missing from my photo). Looking further forward you can see into the stage area of the old Municipal Theatre and also the cupola which now covers that area.

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Looking back at the entrance to the courtyard – you can see how the Cadillac and Queen Esther strike you as you walk into the courtyard. The central door is framed by two original street lamps from the Paris metro. On either side of the lamps note the washbasins that lead to the chorus of angels.

If you look up you can see the ends of the burnt beams of the old Municipal Theatre. There are 21 gilded mannequins set in many of the large courtyard windows. On the far right you can see a sculpture set in one of the lower windows. This sculpture - by Olivier Brice - is called Venus velata.

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I left the courtyard and went up the ramps to reach the old Municipal Theatre stage. This area is crowned by the stunning geodesic cupola. The first photo showed you this cupola from outside the theatre – now we are looking up at it from inside the theatre. Dali made sixteen plaster casts of figures to be placed around the

bottom of

the cupola. The figures are protective characters of the museum with gesticulating or heroic attitudes bearing trumpets, staffs or period clothing. See enlarged inset showing two of these plaster figures.

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As you can see from this small section of the

cupola area there are many installations, paintings, sculptures and tapestries in this area. One of the most outstanding oil paintings can just be seen in the archway to the right. There is a larger photo of this painting on the far right. It is a stunning photographic oil painting Gala Nude Looking at the Sea, which, at 18 Metres appears as President Lincoln. So all you have to do is keep moving away from the image and you will see it as President Lincoln.

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One of the Dalinian sculpture installations beneath the geodesic dome.

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Treasure Room –

is to one side of the stage up a few steps. This room is upholstered in red velvet and conceived like

a casket for keeping jewels. It contains many of the most important works in the Museum. The works in this room are presented with very little information and in no chronological order (this applies to the whole museum). Part of a statement that Dali made about the painting Galarina when it was exhibited in the Bignou Gallery in New York: “Begun in 1944, this work was completed in six months, working three hours a day. I called it Galarina because Gala is to me what La Fornarina was to Raphael.” I am sure you could also apply this statement to Gala Contemplating the Corpus Hypercubicus. Girl from Figueres was exhibited in his second one-man exhibition in Barcelona. It is a disturbing work due to the realist landscape compared to the lack of details given to the buildings and the girl who is the main focus of the painting. Just next to her hair on the far left is an advertisement for the Ford motor company.

Galarina 1945

Gala Contemplating the Corpus Hypercubicus 1954

Girl from Figueres 1926 Issue 19 - March 2017


Fishmongers’ Room – on the


side of the stage to the Treasure room, you go down a few steps and to the left and you have a large room that Dali called the Fishmongers’ Room because for a time when the Municipal Theatre had been in ruins, a large area, including this room, was used as the Figueres fish market. The Fishmongers’ Room has a series of works covering different periods of Dali’s life. Following are two amazing portraits that hang in this room.

Soft Self Portrait with Grilled Bacon 1941. A spectre full of irony, where an amorphous, soft face appears, supported by crutches, which

Dali called this his self-portrait. On the pedestal is a slice of fried bacon, a symbol of organic matter. Dali believed that the most consistent thing of our representation is not the spirit or the vitality, but the skin.

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Portrait of Pablo Picasso in the Twentyfirst Century (One of a series of portraits of Geniuses: Homer, Dali, Freud, Christopher Columbus, William Tell, etc.) 1947. Allegorical portrait of Picasso. He considered Picasso a genius and placed him in 21st century as he was so ahead of his time. The carnation, the goat’s horns and the mandolin refer to values such as intellectualism, the

exaltation of ugliness and

the sentimentalism present in the work of the Malaga artist, for whom he felt great


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Dali d’or Room

this is one of three rooms that face the

Fishmongers’ Room. This room has a series of medals,

numbered and mounted in pieces of goldsmith work. Each medal shows a double effigy of Dali and his wife Gala. From here enter Bramante’s Shrine and then into the crypt which is dominated by Dali’s tombstone.

From the Dali d’or Room you enter the replica of Bramante’s Shrine where more jewels designed by Dali are exhibited.

Dali’s tomebstone which is made from Figueres stone. The crypt falls directly under the cupola that caps the museum


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Left: Here are some jewels



designed by Dali in the 1970s and were on display in the Dali dรณr Room.

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The Mae West Room The Mae West Room – you take a flight of stairs from the area under the cupola to reach this room. This room has many installations, paintings and sculptures but the main feature is the face of Mae West. The photo below is taken at ground level and shows the lips, nose and eyes of her face, you may then climb a staircase and observe her hair and face through

This photo was taken from the top of the stairway that provided a view of Mae West’s hair and face, that you get from looking through the reducing


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Salvador Dali’s description of the Mae West Room: “Being Phoenician, instead of making a surrealist dream that you forget and which vanishes in just a quarter of an hour after waking, I have preferred to produce a dream that can be used as a living room. Therefore there is a

chimney, and a mouth that is

called saliva-sofa, where you can sit very comfortably . For the same price, we have enough space over the nose to place a clock of

extremely poor taste, the kitsch of Span-

ish art, and, of course, on both sides of the nose, the two eyes, which are nebulous impressionist images of the Seine in Paris”.

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In walking around the museum one of the pleasures you can enjoy is being able to look out the windows

into the court-

yard. Also you have fantastic doorway installations and amazing sculptures placed in any niches that are available, such as, the Venus de Milo with Drawers.

Two views of the court yard. Issue 19 - March 2017


Anthropomorphic face that leads to the Antoni Pitxot room.

Venus de Milo amb calaixos (Venus de Milo with Drawers) 1964 Issue 19 - March 2017


The museum also houses a small of works by other artists collected by Dalí, ranging from El Greco and Bougereau to Marcel Duchamp and John de Andrea. In accordance with Dalí's specific request, a second-floor gallery is devoted to the work of his friend and fellow Catalan artist Antoni Pitxot. Antoni Pitxot has been director

of the Dalí Theatre-Museum, as well as life patron and vice-president of the Gala-Salvador Dalí Foundation until the day of his death. Antoni Pitxot died on 12 June 2015.

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During the 1950s Antoni Pitxot’s work blended realism and expressionism. In the early 1960s he moved to CadaquÊs, where his family owned a holiday home, and here he turned for inspiration to the rocks of the

local shoreline to create

anthropomorphic and allegorical works. He built sculptures from the slates and pebbles that he collected, forming figures and scenes, before reinterpreting these in oil on canvas. His paintings had a striking geology theme that was usually executed in heavy impasto.

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Palace of the Wind

– This room is dominated by the impressive ceiling painting from which it gets its name. Dali ex-

plained that this work is a paradox because when people look up they see clouds, the sky and two suspended figures, whereas in fact, it is a theatrical special effect, since instead of the sky you see the earth, instead of the earth, the sea …… I leave you to look at the photograph below and decide what you see.

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You walk through from the room with the painted ceiling into the area of the bedroom. So many things to be noted in this room – snake-like support at the foot of the bed, the sea life bedhead, golden skeleton in the corner, timepieces in painting above the bed (see detailed photo to the right) and to the right of the bed there is a lottery advertisement (shown in the photo to the right below)

Fluidity of Time.

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Left: Imperial Violets 1938 Oil on canvas 100 x 142.5 cm Signed and dated: Gala Salvador Dali 1938

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Imperial Violets 1938 Oil on canvas 100 x 142.5 cm, Signed and dated: Gala Salvador Dali 1938 This was one of the few works of art that had any detailed information about when, where and why it was painted. Dali painted Imperial Violets at a time of great convulsion in Europe. The year was 1938 and the Second World War could be discerned on the horizon; meanwhile, Spain was immersed in the Civil War. To escape this conflict, Dali and Gala left

Portlligat for a fragile Europe, staying in the houses of various friends. This historical moment is manifested in the darkening of the colour range of Dali’s paintings. Imperial Violets reflects the fact that the Great Powers, with the technology to communicate with one another at their disposal, did not know how or did not want to use it. Perhaps for this reason, the telephone is disconnected, cut off, devoid of any informative function and thereby foreboding the approach of war.

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Loggias Room

– part of this

area was used to house the temporary exhibition - Variants from Dali’s mustache. This exhibition consisted of 23 portraits of Salvador Dalí by photographer Philippe Halsman for the project Dali's




published by Simon and Schuster (New York) in 1954. This exhibition only

included photographs

that were not

published in the

book. I was lucky enough to be there when this exhibition was on show in the Loggias Room. The aim of showing Variants from Dali's

Mustache was to give





presence of the artist in his own museum.

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All rights reserved on Dali article and photographs Lorraine Fildes Š 2017.

Photographs - Variants from Dali’s mustache. Issue 19 - March 2017


Judy Henry

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Judy Henry - Interview. Judy Henry, primarily a landscape artist, is an intrepid traveller, capturing the beauty and drama of the lands she visits in her paintings, drawings and prints.

“ Writing the text for Arts Zine Magazine is a bit like starting new art work ‘how and where do I start’ then realising I am procrastinating. Once I pick up the pencil I am off and wonder why it took so long to start. I live on a property in a small country town, Paterson, NSW and have my own studio, I love drawing, painting and printmaking amongst other things. The views from my studio overlook the paddocks, Paterson River when in flood and the train line on the other side below the hills.

I love drawing when I am travelling, especially while flying, I always ask for a window seat and it’s there in the sky looking down and out, I draw what I am observing, all the shapes, shadows and lines. I quickly draw while watching the landscape, this gives me a lot of freedom while drawing and lots to work with when I get home.” Opposite Page:

‘Fading Icebergs, Alaska” Miniature dry point etching, © Judy Henry 2016.

Issue 19 - March 2017


Left: Judy & Mal Henry, with Helicopter at Mt. White volcano, New Zealand. Centre: Mt White Volcano, NZ.

Right: Judy Henry drawing.

Issue 19 - March 2017


“ I travelled to New Zealand last year exploring both North and South Island at the time the earthquake hit. We had to change our plans around and I have lots more images in my head that I need to put into my works. While travelling by train on a return trip across New Zealand from Christchurch to Greymouth, I really enjoyed doing quick drawings looking through the window as the landscape flashed by. The materials I used were black watercolour pencils, small brush, water and watercolour paper pad. This all fitted into my

bag, the challenge of this trip was to minimise my materials. We flew by helicopter to the White Island Volcano about 30 minutes out to sea from Rotorua, South Island NZ, where we explored the inner crater of this active volcano. It looked and felt like we were on another planet. Lots of images will be created from this unreal and amazing experience.�

Issue 19 - March 2017


Dogs Best Friend, acrylic on paper, H70 x W84cm, © Judy Henry 2016.

Issue 19 - March 2017


“This year we are driving from home Paterson, NSW to Adelaide then across the Nullarbor Desert to Perth. I am looking forward to exploring, painting and drawing this harsh country with its brilliant colours and its elusive beauty. These works will be part of a group exhibition coming up at Gallery 139 from Thursday 31st

August – Sunday 17th September. Opening 2-4pm Saturday 2nd September 2017. I use Acrylics for painting and I love to collage, using all different kinds of fine paper I have collected over the years. The inner child comes out when I am gluing. The anticipation of working this way is what challenges me. I love experimenting with colours bleeding together wet on wet, whether it be on paper or collaged canvases, making their own impressions and guiding me into the next phase of the works. This is my dreaming time. The photo on the opposite page is of Peter and Artie, I don’t usually paint people or animals but this painting is of my son Peter and his beloved dog Artie.”

Issue 19 - March 2017


Kings Canyon from above, Northern Territory,

pen and pencil on paper, H21 x W28cm, Š Judy Henry 2017.

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“Printmaking is another medium I really enjoy working with. I like to make strong marks using Lino cut and Collage printmaking. Last year I worked on dry point etchings on Perspex, the drawings are from my

travels. I get surprised when images from previous travels reappear in my works, often years later. The images are from drawings I drew back in 2011 while flying over Lake Eyre and Wilpena Pound, South Australia.

- Judy Henry Š 2017

Photographs of artwork curtesy of Judy Henry.

Right: Judy Henry working at printing press in her studio. Issue 19 - March 2017


: 'Natures Geometry' Wilpena Pound, South Australia.

'Natures Personality' Wilpena Pound. South Australia

Miniature dry point etching, Š Judy Henry 2016

Miniature dry point etching, Š Judy Henry 2016 Issue 19 - March 2017


'Aerial Mosaic' Lake Eyre, South Australia, miniature dry point etching, Š Judy Henry 2016

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‘It's a Bit Dreamy’, mixed media, H51 x W60cm, © Judy Henry 2016. Issue 19 - March 2017


Judy Henry Forthcoming Exhibitions 2017

Gallery 139, 139A Beaumont St. Hamilton 2303 Title: THREE Date: 31 Aug– 17 Sept.

Dungog by Design – an artisan collective 224 Dowling Street, Dungog 2420 Thursday to Sunday Judy’s work in gallery all year round.

Opening: Saturday 19th Sept. 2-4pm Acrux Art Gallery, 123 Tudor St. Hamilton 2303 by members of The Newcastle Printmaking’s Workshop

Back to Back Gallery Bull St. Cooks Hill, Newcastle 2303

Title: TRACKS – something that has passed by members of The Newcastle Printmaking’s Workshop Date: 18 Aug – 3 Sept.

Date: 25 Nov - 10 Dec Solo Exhibition Readers Café 9 Garnett Road, East Maitland 2323 Title: Travelling through the Landscape Date: 1st – 30th Nov 2017 Issue 19 - March 2017


GERDI SCHUMACHER textile artist

Issue 19 - March 2017


Entangled in yarns and fibres The talented textile artist Gerdi Schumacher designs and makes elegant garments and accessories from felted fabric, they are available at Dungog by Design, 224 Dowling Street, Dungog, in the Hunter Valley, NSW.

Gerdi says: “I live in Dungog, looking out over rolling hills, listening to all the different tunes and songs from the birds, bees, frogs and who else is busy about their daily life. The beauty of all the different colours and shapes of the local vegetation inspire me and the tranquillity of the place gives me the urge to do and to make” “I have been knitting and sewing from when I was a child, but never felted. Mum was knitting and sewing all the time and we were part of those “activities” - in those days not very impressed by it – but learnt lots of

things without realising how useful they all will be one day…. and felting has become another hobby of mine which gives me enjoyment and satisfaction just as much as gardening and cooking…… “FOLLOW YOUR DREAM, THEY KNOW THEIR WAY.”

Issue 19 - March 2017


Left: Fabric by Gerdi, Middle: Gerdi Schumacher, Right: Clothing by Gerdi. Issue 19 - March 2017


“It was pure curiosity which made me attend a half day felting workshop in Dungog over three years ago – well, half a day wasn’t very much at all – however it was enough to let my enthusiasm grow and over the next few months I had some attempts to create “something”, but it wasn’t really to my satisfaction at all. But now I had this idea about felting and I needed to learn more about it. I then went off to do a few felting workshops, where I could learn lots about this magic way of making your own fabric and it’s never ending diversity. In the meantime I well and truly discovered the passion for felting – it takes me into another world and I enjoy immensely to work, mix and match with different fibres, different colours and different forms and shapes.” I enjoy using my hands – I love making and doing things – it may be planting flowers or trees or vegetables,

touching the soil with my hands gives me energy and makes me feel good. At other times my hands ask for soft fibres and yarns, that’s when I felt, stitch, sew and weave – sometimes I need some magical happenings and that’s when I dye fabric and yarn. Giving colour to a cloth just with natural ingredients is magic. - © Gerdi Schumacher 2016

Issue 19 - March 2017


Beautiful felt , hand made bags by Gerdi Schumacher, available at Dungog by Design.

Issue 19 - March 2017


Elegant clothing by Gerdi Schumacher, available at Dungog by Design. Photographs curtesy of Gerdi Schumacher.

Issue 19 - March 2017



40 Fosterton Road, Dungog NSW. 0457063702 for enquiries. Issue 19 - March 2017


studio la primitive jewellery Dungog By Design - 224 Dowling St, Dungog NSW Hrs:Thurs & Fri 10 - 4

Sat & Sun 9 - 3 Issue 19 - March 2017


57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm Issue 19 - March 2017


EXHIBITIONS CALENDAR MARCH - JUNE 2017 March 3 – March 19 “Interior Motifs” Artists: Debra Liel-Brown, Sally Walker, Helen Jackson March 24 – April 9 Are We There Yet? Artists: Athena Group

April 14 – April 30 “Ole” Artist: Anne Gazzard May 5 – May 21 “Harmony” Artists: Kara Wood and Holly Marlin May 26 – June 11 “IlluminArti” Artists: Emilie Tseronis and Lynda Gibbins

June 16 – July 2 “The Country Kitchen” Artists: Newcastle Studio Potters Inc

57 Bull Street Cooks Hill NSW

Hours: Fri Sat Sun 11am - 5pm Issue 19 - March 2017


Peter Berry: The Art of Collecting 22 March - 8 April

GS Building, University of Newcastle, University Dr, Callaghan NSW Hours: Wed to Fri 10am - 5pm Sat 12 - 4pm

Art Curator: Gillean Shaw

+61 2 4921 5255 Issue 19 - March 2017

154 Issue 19 - March 2017


Project D | Photographic works by Clare Hodgins

Wed 15 Mar - Sun 19 Mar 2017 Thurs- Sat 11 am - 4pm Sun 11am - 2pm

Gallery 139 Beaumont St. Hamilton, NSW Issue 19 - March 2017


Studio Life THURS 23 MAR - SUN 2 APR

Dino Consalvo Peter Lankas

Paul Maher An intimate exhibition of works rarely seen outside of the studio. Including artist sketchbooks,

experimental iPad drawings, printmaking and works on paper. Thurs- Sat 11 am - 4pm Sun 11am - 2pm

Gallery 139 Beaumont St. Hamilton, NSW

Paul Maher in his studio Issue 19 - March 2017




WED 5 APR - SAT 22 APR 2017 Official opening: Saturday 8 April, 2-4pm ARTIST TALK: Sunday 9 April, 10am

An exhibition exploring human mortality through the immortalisation of the last words spoken by 'famous' people using photography, machine embroidery & animated text.

Gallery 139 Beaumont St. Hamilton, NSW Issue 19 - March 2017


RED GOLD: The Cedar Story

Helene Leane Mar 22, 2017 – Apr 23, 2017 Official opening: Friday 31 March, 5.30pm


406 Oxford St Paddington NSW 2021 Wed - Fri 10.30am - 4.30pm; Sat 10am - 6pm; Sunday 11am - 4pm Issue 19 - March 2017


Hunter Arts Network’s first Art Bazaar at Warners Bay is being held on Sunday 2 April 2017 from 10am –

3pm. Warner Park is located on the Corner of The Esplanade & Lake St, Warners Bay, next to Lake Macquarie Performing Arts Centre. Warners Bay is a popular scenic lakeside suburb located at the northern end of Lake Macquarie. It’s Foreshore is the hub for recreational activity, specialty shopping, entertainment and dining.

Issue 19 - March 2017


Felt Stitch Dye Garden, Visit the Felt Stitch Dye Garden, where you will find distinctive handmade goods inspired by Nature.

70 Hooke Street Dungog NSW

0490 005 257 Issue 19 - March 2017


Aftermath: Flora Friedmann, Glenese Keavney and Meri Peach 90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm

Sun 10 am – 2pm. Issue 19 - March 2017





Nicola Henley

Anita Larkin

Till12 March 2017

LUMPY Olivier Parsonage


17 May - 11 June 2017

Glenese Keavney, Meri Peach, Flora Friedmann

Opening 6 - 8pm 18 May 2017

15 March - 9 April 2017 Opening 6 - 8 pm 16 March 2017



14 June - 9 July 2017

Zac & Fiona Wright

Opening 6 - 8 pm 15 June 2017

12 April - 7 May 2017 Opening 6 -8 pm 13 April 2017 90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm

Sun 10 am – 2pm. Issue 19 - March 2017



Phone: 0431 853 600 Colin Lawson Issue 19 - March 2017


ARTSYSTEMSWICKHAM - exhibition calendar 2017 Mar 10 - Mar -19


Mar 24 - Apr 9


Apr 14 - Apr 16


Apr 21 - Apr 30


May 5 - May 14


May 19 - May 28


Jun 2 - Jun 11



studio la primitive Eric & Robyn Werkhoven STUDIO LA PRIMITIVE ARTS ZINE Click on cover to view the previous issue.

Contemporary artists E: Issue 19 - March 2017


STUDIO LA PRIMITIVE ARTS ZINE Click on cover to view the previous issues. Issue 19 - March 2017


Click on cover to view the previous issues.

Issue 19 - March 2017


Art Curator: Gillean Shaw

+61 2 4921 5255 Issue 19 - March 2017
































“ Letting Go”, 120 x 90cm, Acrylic on canvas - © Danielle McManus.


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