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s t u d i o

L A

arts zine issue 15 may 2016

P R I M I T I V E


slp

studio la primitive EDITOR

Robyn Stanton Werkhoven CONTRIBUTORS

Above: Provincial Gothic, oil on canvas, 104 x 63cm Paul Maher © 2014 Front Cover : Narcissus 2.0 after Carravaggio oil on linen

Sally Ryan

Yosua Aethyrin

Paul Maher

Brad Evans

Barbara Nanshe

David Graham

Naomi Wild

Eric Werkhoven

Dungog by Design

Melanie O’Dell

Lorraine Fildes

Robyn Werkhoven

Gallery 139

Edmond Thommen

Autumn Fest

Len Metcalf

Art Systems Wickham

Chris Meredith

110 x 80 cm, Winner Kennedy Prize 2014, Sally Ryan © 2016 Issue 15 - May 2016

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INDEX

Kenneth Reed AM, oil on linen 120 x 85cm, Finalist Black Swan Prize 2015, Sally Ryan © 2016

Editorial………………………… Robyn Werkhoven

4

SLP Antics………... …………

5

E&R Werkhoven

Featured Artist ………………… Sally Ryan

6 - 19

Poem …………………………… Brad Evans

20 - 21

Featured Artist …………………. Paul Maher

22 - 33

Poetry…………………………… Josua Aethyrin

34 - 41

The Kiribati Project…………… Lorraine Fildes

42 - 53

Poem……………………………. David Graham

54 - 55

Poem……………………………. Melanie O’Dell

56 - 57

3+1 Exhibition………………….. Edmond Thommen

58 - 65

Poem…………………………… Eric Werkhoven

66 - 69

Party Exhibition………………… Barbara Nanshe

70 - 73

Creatives Abroad………………. Barbara Nanshe

74 - 85

Kustom Karz & Kulture……….. Autumn Fest

86 - 95

Dungog By Design ……………………...

96 -101

ART NEWS……………………. Please do not copy articles in this magazine without written permission of the Editor. Copyright © 2015 Studio La Primitive, All rights reserved.

102 -117

Back Cover……………………… Kim Wanless Issue 15 - May 2016

118 3


EDITORIAL Greetings to all our ARTS ZINE readers for May 2016. May issue 15 of STUDIO LA PRIMTIVE ARTS ZINE includes interviews with nationally and internationally recognised artists. Interviews include the award winning portrait artist Sally Ryan talking about her work, and Newcastle artist Paul

Maher. Lorraine Fildes presents Tungaru - The Kiribati Project, a personal story about identity, climate change and threats to traditional cultures. Artists Barbara Nanshe and Naomi Wild talk about their forthcoming exhibitions in Europe - Creatives Abroad.

Don’t miss reading our new essays, poetry, art news and information on forthcoming art exhibitions. We introduce two poets to our Zine, Melanie O’Dell and Yosua Aethyrin. The ARTS ZINE features professional Hunter Valley, national and international visual artists, poets and writers, glimpses into their world of art and their creative processes. Submissions welcomed, we would love to have your words and art works in future editions in 2016.

Deadline for articles - 15th June for July issue 16 2016. Email: werkhovenr@bigpond.com Regards - your editor Robyn Werkhoven Issue 15 - May 2016

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E & R A

N T

I C S Eve of April Fool, E&R © 2011

www.studiolaprimitive.net

Friday 13th, E&R © 2011 Issue 15 - May 2016

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SALLY RYAN

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SALLY RYAN - INTERVIEW Portrait Artist - Contemporary Realist.

Sally Ryan is an Australian artist living and working in Sydney. She has been the recipient of many prestigious art awards. “Sally has a strong commitment to classical drawing and her work reflects a fine tuned sensitivity to the drama of light and shade, and the heightened effects of photorealism.”

“I paint because beauty matters. Every person on this earth is undergoing, or has undergone, their own brand of turmoil of which few may understand. Whilst it is impossible for a portrait artist to simply step into a sitter’s shoes, through the careful scrutiny that a realist work requires, I seek to unveil the essence of a person’s being and represent it in a way that recognises the

beauty inherent to the human condition.” - Sally Ryan

Opposite page: Story Lines, portrait Michael Caulfield, oil on linen 54x42cm Sally Ryan © 2016

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California Dreaming Oil on board 54 x 42cm Finalist Mortimore Prize Sally Ryan Š 2016 Issue 15 - May 2016

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“I grew up and was educated in Sydney. I have always gravitated toward creative pursuits but my attraction to the world of Art has come mainly from a life long enjoyment of drawing, colour and design.

The catalyst that brought me to the road I’m on today occurred in 2008. At the time I was teaching art to boys at Sydney Grammar Prep School in St Ives. My son, 16, suffered an aneurysm bleed, was hospitalised and underwent brain surgery. A genetic link was suspected and scans revealed an aneurysm in my brain

and almost as soon as my son had recovered, I underwent surgery too. It was a difficult year. Whilst recovering from my operation I discovered the Julian Ashton Art School in the Rocks. It was like coming home. I felt I was meant to be there. All thoughts of returning to teaching quickly disappeared.

Apart from teaching I had also worked in graphic design and as a ceramic artist. Figurative art has always been of interest to me, and after a period of intensive study and a scholarship year at Julian Ashton I began working full time as a portrait artist.”

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Greste’s Mother Waiting for Peter Oil on linen Sally Ryan Š 2016 Issue 15 - May 2016

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“Although I also paint still life and the occasional landscape my work today is predominantly portraiture and I describe myself as a contemporary realist. With a grounding in classical drawing and painting techniques, it’s my aim to represent my subjects faithfully.

The incredible talent of other artists, past and present, excites me and I continue to be motivated by the daily challenge that painting brings. It is also wonderful to feel part of the long tradition of classical painting. One of the loveliest aspects of portrait painting is meeting interesting people. I have felt especially privileged to paint a number of such people, including Professor Michael Morgan – leading neurosurgeon Michael Caulfield – author, historian and film producer, Kenneth Reed AM – philanthropist and art collector, Lois Greste – who campaigned for over a year to have her son Peter released from gaol in Egypt and, in particular, Dr Catherine Hamlin AC– whose life long dedication to improve the lives of women in Ethiopia following childbirth injuries is so recognised and admired around the world that she was nominated in 2015 for the Nobel Peace Prize.” Issue 15 - May 2016

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Frances Nies Oil on linen 61 x 84cm Sally Ryan Š 2016 Issue 15 - May 2016

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“My painting of Dr Hamlin AC, which was a finalist in the 2013 Archibald Prize, is perhaps my most notable achievement but since 2010 I have been a finalist in a number of national portrait prizes, including the Doug

Moran, Portia Geach, Shirley Hannan, Black Swan and the Kennedy Prize, which I won in 2014. Internationally I have twice been a finalist in the international ARC Salon and was also honoured to have a portrait hanging in the Australian Embassy in Washington as part of an exhibition with Portrait Artists Australia in 2014.

2015 continues to bring new people and new paintings into my studio. I currently have a commission with the Victorian Parliament, painting the former premier Ted Baillieu. I also have a number of other portraits on the go that includes both drawings and paintings as well as children and a kitten. Each painting involves considerable hours of work to reach completion but as one is finished the process of a new one is begun and added to the group of paintings I am working on.�

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Dr. Catherine Hamlin AC Oil on linen 105 x 78cm Finalist Archibald 2013 Sally Ryan Š 2016

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“My main goal with art is to paint as often and as long as possible, whether it be portraits, still life or landscapes. It is my intention, for the foreseeable future, to be painting portraits and it is my hope that I will continue to meet and paint interesting people. Landscape painting offers challenges for the future and I cherish the moments I get to take myself outdoors with my brushes.

It is also important to me to encourage and support other artists. Painting can be a lonely activity and it is easy to feel discouraged at times. Painting days with a model and fellow artists in my studio are a lot of fun

and provide a sense art community as well as valuable time painting from life. I enjoy other artists’ exhibitions and occasionally buy art I admire when I can. Promoting the skill and beauty of classical painting is also a goal and I feel so encouraged by the growing number of Classical Ateliers around the world that are attracting and producing very talented young painters.�

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The Defendant Oil on canvas 44 x 54cm Finalist Doug Moran 2012 Sally Ryan Š 2016 Issue 15 - May 2016

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Rob Mansfield Oil on linen 40 x 30cm Sally Ryan Š 2016 Issue 15 - May 2016

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This year I will have paintings in two exhibitions. The first will be in Melbourne, opening May 1 at the Burrinja Gallery. The exhibition is titled ‘Women Painting Women’, and includes portrait works of seven female artists. The second exhibition will be in Sydney in June at the Danks Street Gallery with

the Shades of Reality Art Group. This will be the fourth annual exhibition for this group.

http://www.sallyryanartist.com/ Opposite page: Dr Rashpal Singh

oil on board, 124 x 94cm , Finalist Shirley Hannan 2012, Sally Ryan © 2016

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delly -

Brad Evans

when blame was in the air we'd all turn to delly. Don't ask me why, he wasn't a bad bloke, it's just that mud stuck to him somehow: "DELLY!" We'd all shout and delly would start his protest and turn to the teacher: BUT SIR, IT WASN'T ME! And we'd all shout back: YES IT WAS, DELLY! WE KNOW IT WAS YOU! JUST OWN UP, DELLY, DON'T DENY IT! Issue 15 - May 2016

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And then he'd slam his schoolbag on the desk and shake his head muttering to himself about another lunch on detention.

I guess he saved teachers the hassle of having to find out who really was at fault

whenever shit went down.

- Brad Evans Š 2016 Issue 15 - May 2016

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PAUL MAHER

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PAUL MAHER - ARTIST INTERVIEW

Paul Maher has exhibited in the Hunter since 1988, punctuated by an exhibition in Paris in 1999. Following the 1989 earthquake, Maher’s work was included in Shifting Grounds at the Art Gallery of NSW. Represented in the Newcastle Art Gallery collection, his mosaics form part of the Lake Macquarie City Art Gallery Sculpture Park and feature on Beaumont Street, Hamilton. Paul was a finalist in the Kilgour Art Prize exhibited in Newcastle Art Gallery in 2015.

“Paul Maher is a Newcastle-based artist whose practice centres on suburban landscape painting and drawing. Paul is a compulsive sketcher, who habitually fills A5 art journals with drawings of suburban Newcastle life. Through daily drawing expeditions, Paul captures his changing built environment, the antics of people and their pets in parks within a urban coastal setting. Paul aims to translate the directness of his drawing style and a familiar Australian landscape into his paintings and iPad drawings.” - Ahn Wells, Director at Gallery 139.

Opposite page : A Room of One’s Own, mixed media on paper, 58 x 37 cm, Paul Maher © 2015. Issue 15 - May 2016

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Silken Girls Bring Sherbet Oil on canvas 130 x 130cm Paul Maher Š 2015 Issue 15 - May 2016

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When did your artistic passion begin? “I always loved drawing from a very young age. It was the thing I did and it often got me out of trouble. I

changed high schools in Year 11 to do Art because in those days not all schools offered it as a subject. From there I went straight from school to art school”. Describe your work? “I believe as participants in culture we need art to stimulate our minds before our senses. As an artist I try to trigger something from our collective memories or personal experiences before engaging or disturbing the senses. My art could be categorised as figurative expression. Primarily it is 2 dimensional: - painting, drawing and printmaking and contains elements of naivety in terms of representation and traditional pictorial conventions. In spite of formal training, this aspect of my work has become more prominent in my recent work.”

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Up and Under, oil on canvas, 163 x 143cm, Paul Maher Š 2015 Issue 15 - May 2016

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What inspires you? “What has consistently kept art-making fresh for me over the past 20 years is the energy in my work that comes from drawing from life.

Whether it’s the figure or the landscape, my work seems to retain a

spontaneity by drawing from what’s in front of me. It leads to mistakes and invention because I’m trying to get things down quickly before it or my vision changes. I’m also attracted to spaces and structures on a grand scale. Like the harbour from a high viewpoint or the hillside in my recent work which dramatizes the scale of the urban landscape”. Name your greatest achievement, exhibitions? “Probably my biggest achievement is to be still making art 35 years after first going to art school. That’s probably the hardest thing, to stick to it regardless of competing priorities. Some of the high points over that time are taking a large body of work to exhibit in Paris in 1999 through the l'Association Culturelle Franco-Australienne. It was also great for my work to be made part of the Newcastle Art Gallery’s collection in 1998 and to be hung as a finalist in the Kilgour Prize last year.”

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A Room of One’s Own Oil on board 182 x 81cm Paul Maher © 2015 Issue 15 - May 2016

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What are you working on at present? “I am making a number of larger paintings that have grown out of recent works on suburban coastal landscapes. They are also derived from social observations I’ve made from visiting and drawing in the public space and they look at the psychological implications of the lone figure verses the group in the landscape.” Your future aspirations with your art? “I want to make good images that are relevant to our time. I also want to make well-constructed images; that’s both compositionally and by way of painterly technique. I would also like to be able to keep doing this for some time.” Forthcoming exhibitions? “I am currently working on an exhibition scheduled for May at the Depot Gallery in Waterloo with two other Newcastle painters, Peter Lankas and Dino Consalvo organised through Ahn Wells at Gallery 139. It is great to be included in this show with such adept painters.” Issue 15 - May 2016

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Hatchback Headland Oil on canvas 126 x 83cm Paul Maher Š 2014 Issue 15 - May 2016

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Other interests? “One of my interests is listening to podcasts in the studio. I painted some of the central paintings from my last show at Gallery 139 in November last year listening to podcasts about the Royal Academy’s summer exhibition on Diebenkorn. Not that these podcasts influenced my work stylistically, but it’s instructive to listen to discussions about how an artist struggled with the art making process. I like that it connects me to what is happening in another part of the World. I listen to a lot of Guardian short story podcasts too. My favourites at the moment are The Centaur by Jose Saramago and The Beauties by Anton Chekhov.”

- Paul Maher © 2016

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Provincial Gothic, ceramic H 35cm, Paul Maher Š 2014

Samantha Armytage, ceramic H 35cm, Paul Maher Š 2014 Issue 15 - May 2016

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Paul Maher in his studio - photo courtesy of Ahn Wells

http://paulmaherart.com/ Issue 15 - May 2016

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Yosua Aethyrin Yosua Aethyrin, poet and humanitarian.

Yosua’s poetry has strong social and philosophical content, with penchant for the irreverent and the surreal.

He has been published in Canada, America and Australia and the UK in magazines and E-zines and

limited production booklets

published from 1990s through up until 2006.

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Gold - Yosua Aethyrin For so long I grasped for understanding.

In time the tension had relaxed into some sad ache. I would hold her calm consider contemplate and quest. I have maps of consciousness, flow charts of considerations and an index of related emotions and events arranged in rainbow flavors and ascending order of engagement

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It remained folded pressed packed and ready for some mysterious departure. The latches worked and I had oiled the hinges and waxed the leather but the contents were dry and bundled like stone newspaper with faded engrams of echoes, of past, of foreign scripting, and obscured with a delicate fine brown wax paper and vinegar.

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There were some curious odds and ends between the neat rows but the bulk of the sun sepia pressed and flattened wardrobe of these pasts were never anything but dream images of a fathers acknowledging gaze, notions of patriarchal concerns, a scorned forlorn downward turned

blinkered frown of the sunlight, and an impossible riddle of contempt and self denial or loathing. A mothers tears. A maidens pillow, and an impossible passable Demeter of a metronome heartbeat.

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Azure skies would wrent and tremble with the shuddered quiver of her tears Of her denial, Of her avoidance, and the waltz of tea cups in garish Halloween sun bleached bone china Christmas teacups for every season. A pipe. Cherry red a smoldered ember of the dying dreams of war to swing time anthems , big band floozy woozy woo hoo hoosies blues. Thunder crash this tower into an thousand crystal shards.

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This impossible princess , No more. Too late. Too much. Too tired. Too sick. Too totally wiped out so that every concern, every missed gesture of kindness, every unseen thought of loving compassion, every pure motive, was lost missing to the wayside of some war to end all wars superhighway, Throbbing with a cabaret snare drum slur and resounding with a trombone wha wha wha ,

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I love Lucy with her one chance at the big show and the funky wonky bugle boy of company G or the honky tonk bordello craps alley of the piano man that didn't start the fire. No smoke on the water. No purple haze. No floating mountains with their faces in the sun. No credence and never again a clear water revival. This torrent, this flash flood off the red desert has to come and wash away our burning beds. She folds the sepia stone newspaper wardrobe back into its tasteful cherry leather suitcase and rests her foggy head upon it

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in the levy gutters by the shrubs and bushes , on the wayside of this rusty ironed bloody flood. She'll be right. She'll Be right. Hush.

Don't be afraid. She'll be right. Mother Mary. Mother of god. Sweet Jesus. Sweet lord, She'll be right. Shhh

- Yosua Aethyrin Š 2015

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Tauranga Art Gallery Tungaru: The Kiribati Project

Lorraine Fildes Issue 15 - May 2016

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Tauranga Art Gallery Tungaru: The Kiribati Project A personal story about identity, climate change, and threats to traditional cultures. The Kiribati Project is a collaboration between contemporary New Zealand artists, Chris Charteris and Jeff Smith. The show incorporates sculpture, photography and interactive video. Tungaru is the pre-colonial name for Kiribati. Travel always offers up surprises and on my last trip, a cruise around New Zealand, did just that – I saw an exhibition relating to Kiribati. We know that climate change is causing sea levels to rise and this is affecting low lying islands and the nation of Kiribati is the most affected by this. Kiribati will probably not be visible in the next century – it will be submerged. I will give you a brief history of the islands that make up this nation and also a map to show where the islands are situated. From this you can understand why it is important that projects like Kiribati have been promoted. It is one way in which the culture of this island nation may be carried into the future - perhaps in the territory of another nation. Opposite page :The mat is woven with pandanus leaf and decorated with designs made up of lines of small circular discs of coconut, interspersed between others made of glittering pearl shell. Issue 15 - May 2016

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Curving its way above and below the equator, the Republic of Kiribati (keer-É™-bahss) comprises 33 coral islands divided among three island groups: The Gilbert Islands, the Phoenix Islands, and the Line Islands. All of the islands are atolls (ring-shaped islands with central lagoons) except for the island of Banaba in the Gilbert Islands which is a raised limestone Island. Of the 33 islands of Kiribati, 21 are inhabited. They have a total land area of 800 square kilometres and are dispersed over 3.5 million square kilometres. Their

spread straddles the equator and the International Date Line, although the Date Line is indented to bring the Line Islands in the same day as the rest of the Kiribati Islands. The permanent population is just over 105,711 (July 2015 est.) over half of whom live on Tarawa Atoll. Most of the population is concentrated in the Gilbert Islands and only one of the Phoenix Islands (Kanton Island) is inhabited and only three of the Line Islands are permanently inhabited. The capital of Kiribati is Tarawa, an atoll in the Gilbert Islands.

Map of the Republic of Kiribati Issue 15 - May 2016

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Now it is time to examine the works in the exhibition. First we will look at the contemporary works of sculpture and applied art by Chris Charteris, created with materials and techniques inspired by the traditions of his Kiribati heritage. The largest and most impressive of his works is called Te Ma. It is a curving palisade construction of 8,000 Ringed Venus shells collected from his local beach in Coromandel, New Zealand. Kiribati communities built monumental heart-shaped coral fish traps in their lagoons and this is what Chris first saw on his flight into Kiribati. Issue 15 - May 2016

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Kiribati was first settled by early Austronesian-speaking peoples long before the 1st century A.D. Fijians and

Tongans arrived about the 14th century and subsequently merged with the older groups to form the traditional Kiribati Micronesian society and culture. The islands were first sighted by British and American ships in the late 18th and early 19th centuries, and the first British settlers arrived in 1837. A British protectorate since 1892, the Gilbert Islands became a Crown colony in 1915–1916. Kiritimati (Christmas) Atoll became a part of the colony in 1919; the Phoenix Islands were originally under the care of the USA but were added to the British colony in 1937. The Line Islands, a chain of eleven atolls were claimed by the USA under the Guano Islands Act. But eventually eight of the islands were given by the USA to form part of the Republic of Kiribati, while the other three islands remained the territory of the USA. The Republic of Kiribati, became independent on 12 July 1979 but it was not until The Treaty of Tarawa was signed shortly after independence and ratified in 1983, that the USA relinquished all claims to the sparsely inhabited Phoenix Islands and those of the Line Islands that are part of Kiribati territory.

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“Yes, maybe someday” Photo by Jeff Smith The heart shaped coral fish trap is what Chris Charteris would have seen from the air and incorporated into his sculpture “Te Ma”. Issue 15 - May 2016

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These mats are woven with pandanus leaf and decorated with designs made up of lines of small circular discs of coconut, interspersed between others made of glittering pearl shell. Issue 15 - May 2016

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Tarawa Atoll and others of the Gilbert group were occupied by Japan from 1941 to 1943 during World War II. The expulsion of the Japanese in late 1943 involved one of the bloodiest battles in US Marine Corps history. Marines landed in November 1943 and the Battle of Tarawa ensued. Further military incursions into the

colony occurred in the late 1950s and early 1960s when Christmas Island was used by the USA and Britain for nuclear weapons testing including hydrogen bombs. These Island people have had a hard life and now their very existence is threatened by the increased sea levels resulting from climate change. In June 2008, Kiribati officials asked Australia and New Zealand to accept Kiribati citizens as permanent refugees. From what I have read refugee status at present has been refused. Kiribati is expected to be the first country to lose all its land territory to global warming. In June 2008, the Kiribati President Anote Tong said that the country has reached "the point of no return." He added, "To plan for the day when you no longer have a country is indeed painful but I think we have to do that.“ In early 2012, the government of Kiribati purchased the 2,200-hectare Natoavatu Estate on the second largest island of Fiji, Vanua Levu. In April 2013, President Tong began urging citizens to evacuate the islands and migrate elsewhere. It is hoped that projects like the one I saw in Tauranga Art Gallery in New Zealand will help this nation keep their culture alive even if they lose their islands to sea inundation. - Lorraine Fildes Š 2016. Issue 15 - May 2016

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Middle photo: Coconut is a material used strongly throughout the project, a fibre that binds Kiribati culture together. This explains the title of a circular wall work “Te Nii” – the giver of life. It is comprised of half coconut shells, stripped of their hair but for central stripes, and linked by coconut fibre string . Left photo: Te kaibangaki te kora – coconut fibre string cross. Right photo: Another object particular to Kiribati culture is the shark tooth-edged coconut wood sword. Charteris has created his own version of the sword employing fan palm, called “Bwebwerake”, meaning new growth. Issue 15 - May 2016

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Film maker and animator Jeff Smith documented their time in Kiribati and has created digital works with interactive elements. At the bottom of the left hand photo you can see 3 of my fingertips. As I moved my hand over the machine in front of the video screen it caused fish like images to move across the screen and explode in beautiful colourful formations. Issue 15 - May 2016

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The above photos: Another interactive work by Jeff Smith - In Te tia Buaka ni Kiribati, Smith has animated Charteris’s uncle Baia and friend Unnang, wearing traditional Kiribati suits of armour. When visitors move in front of the projected images, the warriors mimic their actions. This photo is by Sam Hartnett and was on the following website http://www.tautai.org/tungaru-the-kiribati-project/#prettyphoto[group]/5/ Following are two photos showing me interacting with the suit of armour. My arm is up in both as I am taking the photos. Issue 15 - May 2016

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Left photo: “Te Mauri” (Good Health) Coconuts play an incredibly important part in the Kiribati society, hence you could say good health depends on the bountiful supply of coconuts on the islands. Right Photo: “ I-Tungaru” (People of Tungaru) The Christian church played an important part in the colonial history of The Gilbert Islands and now in the life of the Republic of Kiribati. The first schools were started by the churches but are now being taken over by the Government. Photographs courtesy of Jeff Smith © 2016. All Rights Reserved Issue 15 - May 2016

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Succulent - David Graham

gramercy this morning plant on the sill the winds are waning an older soldier’s singing signs of delay only a second the buildings have shaken neighbours have left gain demolished their home

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and at the foundation layers of past exhumed for the moment the steamroller rumbles plowing pinpricks sowing families the sun also rises birds are crying dust falling glumly

but you just keep growing still and silent plant in the window - David Graham Š 2016

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Melanie O’Dell Melanie O’Dell is a poet and writer from Newcastle “ I began writing mid last year. It all began with writing poems

to

entertain

and

make

people

laugh.

I performed live at stand up comedy nights locally in Newcastle and poetry reading nights such as Word Hurl Anti-slam. Since then, my style is progressively moving towards shedding light on how society operates and how desperately some aspects of 'humanity' need to change.” - Melanie O’Dell © 2016. Self portrait - Melanie O’Dell

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‘You look nice’ It's time, time for a shift. Celebrate your fellow females present them with a gift; a gift of gratitude rather than a measly 'you're pretty' comment... It's time we praised intelligence - that's damn certitude.

- Melanie O’Dell © 2016

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3+1 Photographic Exhibition 3 - 22 May 2016 Opening Night Saturday 7th May 4-7pm

@ gallery one88 fine arts Katoomba • 188 Katoomba Street

CHRIS MEREDITH

LEN METCALF

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3+1 Three photographers, one model one photoshoot. Three Sydney photo-artists, Chris Meredith, Len Metcalf and Edmond Thommen invite you to view “3+1� an exhibition of images from an art-nude photoshoot with three photographers and one model.

The shoot took place on a sunny Monday morning in December 2015 near Cronulla with an internationally acclaimed fine-art model. The three took turns to direct the model and create their work - sometimes calling on each-other to assist or advise on a particular set-up. Whilst the three had never worked together in this way before, they all knew each-other and had worked individually with the model, so there was a relaxed and supportive atmosphere throughout. Photographers normally prefer to work alone but chose to collaborate on this occasion so that they could encourage and push each-other creatively both on the shoot itself and during the post production process. The exhibition reveals that the three photographers represent their subject in vastly different ways. The images cover the full spectrum of styles from monochrome fine-art through to contemporary almost abstract interpretations of the female form. The artists hope that visitors will enjoy not only the images and the spectrum of creative styles but also challenge themselves to consider how they choose to portray their subject when they take a photograph.

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CHRIS MEREDITH

http://www.christophermeredith.com.au Issue 15 - May 2016

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Chris Meredith Natural Curves Meredith takes his inspiration from the natural patterns and shapes that occur in nature and the curves of the female form.

Figure nude studies are combined with semi-abstract close-ups of waves, ripples, rocks etc to generate images that are designed to be both instantly pleasing and challenging at the same time. When working alone, Meredith works with his models underwater, so as to achieve shapes and poses that wouldn’t normally be achievable on land. As this was a collaborative project and very much on-land, many of the figure studies have been paired with patterns of ripples or waves to maintain a sense of natural fluidity and movement. Comments Meredith “I want viewers to explore my images and find something new each time they return. For me, the perfect result is when I’ve created an image that delivers a new dimension that goes beyond the combined effects of patterns from nature and curves of the body” Previous exhibitions by Meredith include “H2O” (Underwater nudes) and “Mermaids of Balmoral” (which reveals the results of a fantasy scientific study into the mermaids that inhabit the skies above and waters below Balmoral beach).

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Len Metcalf Naked Landscapes

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Len Metcalf

Naked Landscapes relationships with nature

Flesh and stone. Nude, naked, stripped bare. Natural untouched environments. Humanity respecting and worshiping Gaia. Humility for our bountiful, yet threatened mother nature. In these works Len Metcalf explores our spiritual connection with the natural world. He finds great peace and spirituality from this connection. Fearful of humanity’s loss of connection with nature, he searches for reconnection. Exploring beauty in its purest forms. Finding peace again in mother nature. Len has been photographing for as long as he can remember. Creating paper based works of art is his passion. Len teaches photography and continues to immerse himself in incredible natural vistas, camera in hand, in search of beauty.

http://www.lensschool.com Issue 15 - May 2016

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EDMOND THOMMEN Blended Nudes

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Edmond Thommen Blended nudes Edmond Thommen describes himself first, and foremost, as a Photographic Artist. For him the magic starts

with the camera and his photographs. The female figure forms the basis of his artworks. They may soften or highlight the body’s outline by blending it into several layers of images he superimposes on the figure. Sometimes the figure seems to disappear behind a barrage of organic materials or man-made structures - until the viewer’s eyes start to

actively search for the lines that in his or her mind “must be there” behind the scene. His work is “layered” and is visually and intellectually demanding on the viewer to find the form. In doing so, viewers delve beyond the surface. Indeed, Edmond’s photographic artworks encourage us to look; and, if we look properly, ‘to see.’

http://www.thommenart.com.au Issue 15 - May 2016

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Collaborative drawing Eric & Robyn Werkhoven Lovers with Sculpture. Issue 15 - May 2016

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ERIC WERKHOVEN POEM Drawing Together.

We draw these pictures of people. We draw these lovers floating in a blue sky. Gestures where the hands drop gifts. And eyes not clouded over from the wear and tear of the struggle, which is both an earthly and cosmic dance. Where two lovers meet, and love one another intimately, like drawing water out of a deep well, for the children to drink. Raise up to the many tunes of creativity and passion that lays submerged, because love needs to be protected.

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Collaborative drawing Eric & Robyn Werkhoven Lovers with Skull. Issue 15 - May 2016

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We draw these people to fill one page after the other. Some afternoons the floor is covered with their celebrations.

And we graciously collect them, to work on them later. Lovers caught in an embrace, seeking shelter in the murmuring heartbeat. Stroking the paper skin.

No need to erase all those lines, but for a few smudges of labour that reconnects us to the piquant world. Our love flowing out towards these joint stages of becoming whole,

to prolong the gesture where two hands touch each other. - Eric Werkhoven Š 2016

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THE PARTY EXHIBITION 4 - 28 MAY

NANSHE GALLERY 148b Beaumont Street, Hamilton, NSW. Opening Hours: 9am - 5pm Wed to Fri

9am - 3pm Sat or by appointment ph.0477 505 332

http://nanshestudiogalleryshop.com.au/ Issue 15 - May 2016

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THE PARTY EXHIBITION The Party is an exhibition celebrating the beginning of the 5th year at Nanshe studio Gallery at 148b

Beaumont Street, Hamilton. The exhibition, like all others in the gallery, celebrates the work of local artists. They include both emerging and established artists as well as a Novocastrian now living in my birthplace of Tasmania. The figure, which seems to have made a recent comeback in popularity, fits easily in all styles and modes of expression-classical to post modern, realism to abstraction and pop. The figure will be the main subject of “The Party” . The artists Mal Cannon, Robyn Werkhoven, Lydia Miller, Kim Waneless, Tony Langford, Maureen Smythe and Christine Frogley all have their different styles which should prove to be a good mix to express the feelings of the group phenomenon. We have all experienced The Party whether or

not we enjoyed the event. There is something which attracts us to images of the

human experience, the

human condition. It excites me that there will ultimately be a connection to the image because people can't help to relate and associate with the experiences that the artist brings to us about ourselves.

- Barbara

Nanshe © 2016. Issue 15 - May 2016

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THE PARTY EXHIBITION 4 - 28 MAY

Mal Cannon

Robyn Werkhoven Lydia Miller Kim Wanless Tony Langford Maureen Smythe Christine Frogley The Send Off, acrylic on canvas 30x 30 ins, Mal Cannon

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Gather, ink scraffito on chromololux card 42 x 29 cm, Kim Wanless Š 2016

THE PARTY - Official Opening - Thursday 5th May 5.30pm NANSHE GALLERY 148b Beaumont Street, Hamilton, NSW. Opening Hours: 9am - 5pm Wed to Frid

9am - 3pm Sat or by appointment ph.0477 505 332 Issue 15 - May 2016

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Creatives Abroad Barbara Nanshe and Naomi Wild Creatives Abroad -Barbara Nanshe and Naomi Wild-Under the Dreaming Newcastle. London. Berlin.

Barbara Nanshe and Naomi Wild are local entrepreneurs, business women and artists who have organised 3 exhibitions of their work this year of mixed media images; sculpture and Jewellery. The exhibitions will begin on the 27th of April for one week in Newcastle at Nanshe studio gallery. The second on the 30th of August for one week in London at The Chelsea Gallery; and the third on the 7th of September for two weeks in Berlin in Neukolln at Reuterstrausse 53. The artists have built a crowd funding campaign through the Australian Cultural Fund. The campaign is active to raise money for the

transportation of the artists and their work abroad, until June 2016. They are hoping to raise $8,000 and form a community interested in their journey and connections abroad.

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Community Engagement Since the Earthquake of 1989 and the closure of BHP in 1999, Newcastle has struggled under the weight of derelict buildings and mass unemployment. The artists feel akin to Berlin as even though the experiences of devastation are quite different, the outcomes have been very similar. Art has become the language of a community rebuilding and redefining itself. Individual creativity is the microcosm of that definition. Both artists have involvement in the rebuilding and enriching of their local community through art practise. Barbara Nanshe has founded an art space in Hamilton for local emerging and established artists to exhibit their work. As the artists build their individual art language, they make place for other artists to build and engage in their own. Through the proposed exhibitions and workshops and by transporting their individual creativity abroad Nanshe and Wild will contribute to the language of others and immerse themselves in a vibrant art culture to inform, contribute and experience firsthand, art that has allowed another community to thrive. The immersive nature of their engagement allows them to share their vision and expertise through a residency style platform and connect Newcastle’s art movement to other parts of the world.

Under the dreaming Women have dreamed for centuries of a place in their own land. They are the creators yet have worked traditionally within the parameters of male centric cultures. This body of work draws upon the strengths of women and how they are aligned with the spirit of creation. Under the Dreaming speaks of preparedness, via a visual medium, to conjure strength for what is to come and honour for what still remains. Barbara Nanshe and Naomi Wild draw from universal symbology; the wild earth; the sky and the psyche to produce powerful work that speaks to men and women alike. Workshops will be offered abroad to engage the community. The workshops presented by Nanshe and Wild will facilitate a place to belong through exploration of the self with use of symbolism and the weaving technique. Many of the references will come from the artists’ work in the Exhibition.

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Barbara Nanshe Barbara Nanshe is an artist who uses sculpture and jewellery design to speak of her interest in the environment and the human condition. Under the Dreaming umbrellas the use of symbols to form a language that speaks of the attachment of psyche and environment, connectivity through existence and expenditure of energy. Barbara makes reference to the natural world, women’s anthology and the power of the elements in much of her work. Weaving is an ancient art often carried out by women in the presence of other women for the community. Barbara believes that community cohesion can be produced through communal activity. This belief is represented by her use of the technique to make divining dolls and spirit forms from recycled copper and silver wire and enamelled copper wire. Barbara includes semi - precious stones, crystals, wood and natural animal based materials of shell, bone and coral to place and anchor each energy represented. Drawing with wire Nanshe defines space, and represents place. She symbolically positions the spirit within the environment for the conductivity of energy to begin. Since energy is her focus each spirit doll can be removed from place and worn against the skin. Adornment plays a big role in connecting the environment with the psyche. Barbara builds on this concept by combining her Deva Dolls with

beads and other objects to create pieces which can be readily worn for empowerment and presence.

Left: Earth and Water Copper, Crystal, Enamelled copper 2015 Right: Dancing Through the Cosmos Copper, horn, Crystal, Jasper, Carnelian, Magnesite, New Jade, recycled glass Sterling Silver 2015

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Barbara Nanshe – Under The Dreaming

Deva Dolls -

Barbara Nanshe 2015/16

Made from recycled copper wire, with Enamelled copper wire, Swarovski Crystal, Vintage brooch parts, Garnet Smallest 3cm wide by 6 cm tall Largest 6cm wide by 13cm tall Issue 15 - May 2016

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Barbara Nanshe – Under The Dreaming

Left: Atlantis Washed by Sea

Wall Piece 2015 Made from recycled copper wire, Magnesite (dyed), Chrysoprase, Azurite 24cm wide by 30 cm tall

Right: Doll from Look Within Made from recycled copper wire, Magnesite (dyed), Telecommunications wire Enamelled copper, Vintage Button and Swarovsky Crystal 6cm wide by 13 cm tall.

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Naomi Wild – Under The Dreaming

‘Warrigal Dance’ Mixed Media- Eucalypt & indigo dyed textile, shibori resist, ochre paints, lino print, free machine stitching. 2015 Issue 15 - May 2016

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Naomi Wild Naomi Wild is a mixed media artist whose creative work is an extension of the relationship she has with the land. Her work draws upon plants for dyes and rocks and minerals for paints, all of which she

collects herself. Her imagery is full of references to native Australian wildlife and the symbolic relationship between the creatures, land and spirit of the artist. Each piece is a rich textural experience as the layers of dyed and painted natural fibres are then overprinted with lino and ‘drawn’ on with free machine stitching. This very unique collaboration of

techniques is the pulling together of Naomi’s artistic career. She returns to a symbiotic relationship between her inner and outer landscapes, always exploring the

personal myth amongst ancient story and

even more ancient country. Naomi works from a Jungian perspective, always using the creative process to explore, enhance and where needed, to heal her human experience. The formation of each work is heavily imbued with these processes and the works themselves seem to impart some of this medicine to the viewer. There is a shamanic flavour to the work that has the ability to connect the audience with the energy from which it is made.

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Naomi Wild – Under The Dreaming

Wattlebird

‘Peace’

Mixed Media- Eucalyptus & indigo dyed textile, ochre paints, lino print, free machine stitching. 2015

Mixed Media- Natural Fibres, Eucalypt & indigo dyes, Hand ground ochre paints, free machine stitching. 2015 Issue 15 - May 2016

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Naomi Wild – Under The Dreaming

Breathe of Kianga

Kookaburra Healer

Mixed Media- Eucalyptus & indigo dyed textile, ochre

Mixed Media- Eucalyptus & indigo dyed textile, ochre

paints, lino print, free machine stitching. 2015

paints, lino print, free machine stitching. 2015 Issue 15 - May 2016

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Nanshe and Wild barb@nanshestudiogalleryshop.com.au naomiwild@gmail.com

Media: www.creativesabroad.squarespace.com www.instagram.com/creatives_abroad/ www.facebook.com/Nanshe-Wild-CreativesAbroad-431720050286251 www.nanshestudiogalleryshop.com.au www.instagram.com/nansheandgallery/ www.facebook.com/nanshestudiogallery/ Issue 15 - May 2016

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Please join our campaign.

Barbara Nanshe and Naomi Wild, photo courtesy of Nanshe Gallery.

Crowd Funding Campaign: https://australianculturalfund.org.au/projects/under-the-dreaming/ Issue 15 - May 2016

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FRIDAY NIGHT MAY 6TH, SATURDAY MAY 7TH & SUNDAY MAY 8TH

2016 MAITLAND SHOWGROUND MAITLAND, NSW

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DAVID LOZEAU at AutumnFest Muertos Down under Tour 2016

HOT ROD WALT at AutumnFest Meet Walt and get your favourite piece Pinstriped

Walt has been Gretsch Guitar approved and will available to create something special for you!

GAV BLACK - art Issue 15 - May 2016

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DAVID LOZEAU

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David Lozeau David Lozeau is an American artist and children's book writer who has achieved media recognition principally for his paintings and exhibits relating to the Day of the Dead.

Based in San Diego, California, Lozeau is part of a modern art movement that depicts skeleton characters as if they were alive. His paintings also pay tribute to cars, motorcycles, and guitars which have led to collaborations with Harley-Davidson and Fender Guitar Company. Lozeau's representations of vintage cars and motorcycles align with the Kustom Kulture movement which celebrates mid-century American design. His work has been featured in Disney Parks' Wonderground Gal-

lery, and he has twice been a Disney Parks artist-in-residence. He is a guild member of the Spanish Village Art Center in San Diego. “It’s been four years since Chop Top Promotions introduced me to Australia and I’m thrilled they’re bringing me back in 2016. Last time around, I met rockers, pinups, and gearheads from Melbourne to Newcastle, and I can’t wait to see my old friends, explore different cities, and just be a part of this amazing Kustom Kulture scene once again. I have a ton of new art to share and am even painting a few special pieces that are inspired by the land down under.” - David Lozeau All photos and articles courtesy of Fitzy - Chop Top Promotions. Issue 15 - May 2016

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HOT ROD WALT - WALT RICHARDS

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HOT ROD WALT - WALT RICHARDS Hot Rod Walt" - Walt Richards, was born in 1966. Lived the first half of his life in the very rural town of

Beemerville New Jersey. Moved to North Port Florida in 1989. In 2006,moved to the Atlanta area where the music scene is huge and the southern hospitality is overwhelming.

He plays guitar and sings in the

Psycho-DeVilles, but also works on custom cars and motorcycles, Walt does hand pinstriping decorating really just about anything you can imagine on a car or bike. He has just hand pinstriped over 160 special edition "Hot Rod Walt",Gretsch Guitars. Walt Richards is an authorised pin striper for Gretsch Guitar's.. Hot Rod Walt and the Psycho DeVilles formed in 2002. They have released 7 CDs... "Out of the garage and onto the street", "Psycho Cadillac", "Supercharger", "Night Prowler", "Rockabilly Rodeo", "Country Gold" and "Rock N Roll Life".... He takes pride in recording only original music and has about 200 original songs to his name.

All photos and articles courtesy of Fitzy - Chop Top Promotions.

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GAV BLACK

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GAV BLACK Mad about drawing from an early age, Gav Black was raised in Newcastle , Australia on a diet of Revell model kits and ‘Scanlens’ Ratfink bubble gum cards. From the age of ten he and his step dad would go to

hotrod shows fuelling his thirst for custom cars, hotrods and chrome. When Gav left high school he began working at a automotive kustom shop where he would marvel at the local airbrush guru Gary Pocket lay down his craft on a daily basis on panel vans of the time. This is when Gav Black was exposed to “Ed Roth’ and his Ratfink characters and started collecting the T-shirts and bubblegum cards. For many years doing the usual labouring jobs, all the while he was drawing and painting on friends motorcycles , cars and surfboards. After a short while his talent was recognized and he was soon invited to take up a position in a tattoo studio after a friend took some of his art to show his tattooist friend . Moving around from shop to shop in Australia for many years and later moving to the UK in 96 to live and tattoo for a year. He remained a tattoo artist for 20 odd years but always wanted the freedom to paint and draw monsters and hotrods at his own leisure.

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Paintings - Gav Black Š 2016 Issue 15 - May 2016

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Back in Australia he was trying new mediums and he was starting to paint on canvas with paint pens and also surfboards in his favoured ‘lowbrow’ style., People started to notice and soon he was selling his pieces . He lists his influences as Ed ‘Newt’ Newton , Robert Williams , Ed Roth , Boo, Von Franco and Dirty Donny to name a few.

While playing around with his lowbrow art he always wanted to learn the art of pinstriping. He was always heavily involved the car scene, owning many custom rides over the years. So to pinstripe was a natural progression. Pinstriping now for around 6 years he is still learning and considers himself a novice of the art. Gav Black

likes big colourful pieces but will paint, draw or stripe pretty much anything that will stay still long enough.

Contact Gav at GEARDADDY.COM.AU or Gav Black on face book.

All photos and articles courtesy of Fitzy - Chop Top Promotions.

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DUNGOG BY DESIGN - Artisan Collective - YARN BOMBING

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DUNGOG BY DESIGN This month we take a look at Dungog by Design’s latest creative project— YARN

BOMBING

“Yarn bombing, yarn storming, guerrilla knitting, kniffiti, urban knitting or graffiti knitting is a type of graffiti or street art that employs colourful displays of knitted or crocheted yarn or fibre to decorate mundane public objects and places. The new art form brightens up cold urban environments and brings a smile to the passer byes”. It has developed with crews yarn bombing worldwide, sometimes the installations may have peaceful protest messages with political statements. Houston USA artist Bill Davenport was creating and exhibiting crochet-covered objects in Houston in the 1990s. The movement has been attributed to Magda Sayeg, from Houston, USA, who says “she first got the idea

in 2005 when she covered the door handle of her boutique with a custom-made cozy”. Sayeg’s accidental yarn bombed creation, triggered off a global community of yarn bombers, with yarn bombing crews founded across Europe, North America and Australasia. One of the most active groups in Australia is “Knitting Nannas Against Gas”.

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Misha Bevan at work on a bench, photo courtesy Dungog by Design Issue 15 - May 2016

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Dungog by Design textile artist Misha Moon (Bevan) and her crew – Lorraine, Dawn, Kat and Jen have been busy decorating the benches around Dungog. The first bench to be covered is in front of the Dungog

by Design shop/ gallery Dowling Street. “The bright and striped yarn bombed seat that makes everyone smile”. “Locals and visitors are frequently photographed seated outside the gallery on the covered seat which was created by many hands on the vintage knitting machine loaned by artist Misha Moon.” Dungog Shire Community Centre benches are now adorned with colourful knitted striped covers. Local Living Dungog donated $100 towards the cost of yarn for this project. “We are very happy to support creative work that builds on a vibrant Dungog community” – says Jo New of Local Living Dungog. “Come and enjoy the comfort and colour, and help us thank the wonderful workers at the centre for all their efforts especially after the ‘big storm’. Dungog by Design is pleased to be able to create and give something that makes people smile.”

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Misha Bevan who lives in East Gresford in the Hunter Valley NSW, “Is a whiz with the knitting machine and created over 30mts. of knitted snake that was then stitched and hooked onto the slats of the bench seats”. Misha is a talented artist who has exhibited her textile creations and installation work in curated exhibitions in Newcastle in recent years. Her stunning knitted Gothic sculptural work

for the Adornment – Wearable Art

Exhibition at Newcastle Art Space Gallery, received much praise from the public and fellow artists.

Left: Misha Bevan installing her work at Adornment Exhibition, Newcastle Art Space in 2013. Issue 15 - May 2016

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Dungog by Design – original, handmade and inspiring. “Dungog by Design is an artisan collective with over twenty creative members who live and work in the surrounding

Dungog district, in the beautiful Hunter Valley. Exhibiting and selling their own contemporary designs, the artists are a diverse group of talented people. Including ceramics, textile and fibre art, hand bound books, jewellery, Handmade 100% natural fibre rope bags by Carol Gehrig.

hanging work in ink, oils, watercolour and print, clothing and homewares, the shop is a treasure trove of original pieces. Address: 224-226

Dowling St, Dungog. NSW.

Monday - Friday 10am - 4pm, (closed Tues & Wed) Saturday, Sundays, 10am - 3pm.

Enquiries email:dungogbydesign@gmail.com www.facebook.com/DungogArtisansCollective/?rc=p Cedar brooches - Barbara Ramsay Issue 15 - May 2016

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Gallery 139 presents CONSALVO | LANKAS | MAHER at The Depot Gallery, Sydney 24 May - 4 June 2016

2 Danks Street Waterloo, NSW. Issue 15 - May 2016

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Gallery 139 is committed to developing the professional art practice of it's Gallery Artists outside of Newcastle. This exhibition is scheduled for 24 May - 4 June 2016 at The Depot Gallery in the Danks Street complex is the first of many exhibitions, Gallery 139 plans to present around Australia.

Consalvo, Lankas and Maher

have been asked to exhibit together because while their painting

styles are distinctively different, their art processes and subject matter often overlap which will inevitability form a cohesive and relevant group show together. This exhibition will be curated by Gallery Director, Ahn Wells.

An exhibition opening is planned for Saturday 28 May in the afternoon. If you would like to receive an invite to this event in Sydney. Please contact the gallery on info@gallery139.com.au

and ask to be

added to the mailing list for this event. The artists and gallery greatly appreciate support from our local community.

Official opening 28th May 3pm The Depot Gallery

2 Danks Street Waterloo, NSW 2017

Gallery hours: Tuesday - Saturday 11am - 6pm

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Exhibition 6th May – 22nd May

BACK TO BACK GALLERIES Official Opening: Friday 6th May at 6pm. 57 Bull Street Cooks Hill

NSW 2300 T: 49 293 677

Open Friday, Saturday, Sunday 11am-5pm Issue 15 - May 2016

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FROM THE GARDEN - EXHIBITION Back to Back Galleries Presents new work from Newcastle’s Athena group of Artists: Faye Collier, Helene Leane, Jeanne Harrison, Julie Anne Ure, Pat Davison, Sandra Burgess, Sue Stewart, Varelle Hardy and Bronwyn Grieve. “A garden to walk in and immensity to dream in-what more could he ask? A few flowers at his feet and

above him the stars.” ― Victor Hugo, Les Misérables A defining feature of our group is its diversity, both the variety of media its members work with and, consequently a broad range of approaches. In the Exhibition “From the Garden” Athena artists explore a range of ideas inspired by gardens, interpreted through a variety of 2D & 3D works including ceramic works, collage, painting, printmaking, soft sculptures and works using fabric and wax.

www.newcastlepotters.org.au

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ART NEWS Re-opening of SOAG Art Gallery at 15 Elizabeth Street, Tighes Hill.

soag.gallery@bigpond.com Issue 15 - May 2016

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We are pleased to announce the re-opening of SOAG Art Gallery at 15 Elizabeth Street, Tighes Hill. We will be offering exhibition hanging space which will be managed by the exhibiting artists. The School of Arts Gallery (SOAG) has two hanging spaces downstairs measuring 120 sqm. There is one large room upstairs measuring 60 sqm. The building is 107 years old. It was purpose built for the original use of education and training as a pre-curser to the TAFE colleges. The architecture is Victorian / Italianate and it has a large garden courtyard with off street parking available. Artists will gain the opportunity to curate, manage, promote, design, hang and market their artwork. This will be an invaluable opportunity for artists to experience the business side of the art world. The gallery will also be hired out for functions such as: weddings, naming ceremonies, corporate presentations, music recitals, wakes and receptions. The downstairs exhibition space costs $720.00 per week and the upstairs rental cost is $350.00 per week. There is a minimum 2 week exhibition rental period. Hanging equipment and 3 dimensional plinths are provided by the gallery. Exclusive art buyer mailing list, eftpos, wifi and catering packages are available on request.

To book your exhibition now call Diana Middleby or Stanley Wollen Mobile; 0425215295 Mobile; Email;

0425215289 soag.gallery@bigpond.com Issue 15 - May 2016

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A R T

N E W

S 3+1 Photographic Exhibition 3 - 22 May 2016

CHRIS MEREDITH LEN METCALF EDMOND THOMMEN Opening Night Saturday 7th May 4 -7pm

186 - 188 Katoomba Street, Katoomba, NSW 2780 Blue Mountains, Australia.

Hours: Tuesday - Sunday 10:00am - 5:00pm Telephone: (+61 2) 4782 0188

www.galleryone88finearts.com Issue 15 - May 2016

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BEYOND COLOUR WED 27 APR - SAT 14 MAY 2016 OFFICIAL OPENING: Saturday 30 April, 2-4pm The gallery curated exhibition, Beyond COLOUR reveals the different way in which the four exhibiting artists capture and remove colour in their practice.

Matthew Tome, Sieglinde Battley, John Heaney, Lynette Bridge. Lynette Bridge blush 2015 mixed media on board 922 x 1200mme 2015

RUMINATION - FLYNN DORAN WED 18 MAY - SAT 4 JUN 2016 Rumination is about the process of deconstruction, removing all unnecessary elements of a design. The works are inspired by the poetry and the personal debris we leave in the wake of life. Layers of history occupy the sculptures fasacde. The forms become expressions of life, unencumbered by the necessity of traditional construction.

Gallery 139 Beaumont St. Hamilton, NSW Rumination - Flynn Doran

www.gallery139.com.au Issue 15 - May 2016

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FINE DRAWING Exhibition 8 - 25 JUNE 2016 Melissa Bull Sarah Cockroft Christina Frogley Vanessa Lewis Tanya Matas, Susan Ryman, Greg Slevin, Robyn & Eric Werkhoven Gallery 139 Beaumont St. Hamilton, NSW Susan Ryman 2016 coloured pencil on paper, varnished

www.gallery139.com.au Issue 15 - May 2016

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STUDIO LA PRIMITIVE ARTS ZINE Click on cover to view the previous issues. Issue 15 - May 2016

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STUDIO LA PRIMITIVE

www.studiolaprimitive.net

ARTS ZINE Click on cover to view the previous issues.

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studio la primitive Eric & Robyn Werkhoven Contemporary artists

Studio visits by appointment Ph: 02 49389 572 E: werkhovenr@bigpond.com

www.studiolaprimitive.net Issue 15 - May 2016

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EXHIBITIONS MAY - JUNE 2016

6 - 22 May

27 May - 12 June

17 June - 3 July

From the Garden

Ripple Effect and the Human Condition

Blue on White

Amanda Hardy, Bronwyn Grieve,

Helene Leane, Pat Davidson, Julie-Ann Ure, Sandra Burgess, Varelle Hardy & Sue Stewart

Mojgan Habibi, Dawn Perry, Sharon Ridsdale.

Members of Newcastle Studio Potters Inc. (clay)

(clay)

(various mediums)

57 Bull Street Cooks Hill NSW

Hours: Fri Sat Sun 11am - 5pm

www.newcastlepotters.org.au Issue 15 - May 2016

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ARTSYSTEMSWICKHAM 40 ANNIE ST. WICKHAM, NEWCASTLE NSW.

Phone: 0431 853 600 Colin Lawson

www.art-systems-wickham.com/ Issue 15 - May 2016

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ARTSYSTEMSWICKHAM - exhibition calendar 2016

May

6 – 15

BREONY DELFORCE

May 20 – 29

MATTHEW TOME

June 3 – 12

MELINDA AVERY

June 17– 26

DAN NELSON

July

ALDONA O’BRIEN

1 –10

July 15 – 24

NICOLA BOLTON

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S Always Profile, ink scraffito on chromololux card 42 x 29 cm, Kim Wanless Š 2016

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Profile for Robyn Werkhoven

Arts zine may 2016  

Arts and Literary online magazine, featuring artist & writers interviews, exhibitions, poetry, essays and art news.

Arts zine may 2016  

Arts and Literary online magazine, featuring artist & writers interviews, exhibitions, poetry, essays and art news.