ARTS ZINE May 2018

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arts zine issue 25 may








DUNGOG by DESIGN 224 Dowling St Dungog NSW

ben kenning

On the Corner at the Circle, acrylic, oil stick and ink on paper, H 70 x W150cm. Ben Kenning Š 2015.


Judo House part II, Oil on linen H85 x W130 cm. Nigel Milsom 2009.

slp studio la primitive EDITOR: Robyn Stanton Werkhoven CONTRIBUTORS

Jardin Tuilleries, 2017, Acrylic & collage on canvas, 40 x 30cm.

Madeleine Cruise Š 2018.

Kathrin Longhurst

Mark Elliott-Rankin

Madeleine Cruise

Eric Werkhoven

Mark Widdup

Lorraine Fildes


Maggie Hall


Robyn Werkhoven

Edmond Thommen

Gallery 139

Lori Cicchini

Art Systems Wickham

Alix Sharma-Weigold

Back to Back Gallery

Philippa Graham

Dungog by Design

Brad Evans

Dungog Contemporary

Maggie Hall


INDEX Editorial ……………….

Robyn Werkhoven


SLP Antics………... …

E&R Werkhoven


Feature Artist ….. ……

Kathrin Longhurst

10 - 31

Poetry ………………….

Mark Elliott-Rankin

32 - 33

Essay ………………….

Mark Elliott-Rankin

34 - 37

Feature Artist …………

Madeleine Cruise

38 - 53

Poetry …………………

Eric Werkhoven

54 - 55

Cooks Hill Gallery ……..

Mark Widdup

56 - 65

Alix Sharma-Weigold …

Maggie Hall

68 - 83

Poetry ……………………

Brad Evans

84 - 85

Feature Artist …………

Marie-Therese Wisniowski

86 - 103

Cairns Botanical Gardens…Lorraine Fildes

104 - 133

Poetry ……………………….Brad Evans

134 - 135

Exhibition ………………….. Edmond Thommen

Lori Cicchini

136 - 141

Sculpture on the Farm……..Philippa Graham

142 - 151

ART NEWS…………………….

152 - 173

Front Cover: Into the Unknown, oil on linen, 91 x 91cm, Fish Dinner II, graphite / oil pastel, Robyn Werkhoven © 2018.

Kathrin Longhurst © 2018.

EDITORIAL Greetings to all our ARTS ZINE readers, we have a splendid line up of

From the rural Hunter Region NSW, sculptor Philippa Graham’s

dynamic artists ,and poets this month.

interview about the forthcoming art prize & exhibition - Sculpture

In case you missed our great news, Arts Zine was selected by the NSW State Library to be preserved as a digital publication of lasting

cultural value for long-term access by the Australian community.

on the Farm. Maggie Hall, artist, writer and photographer, during a recent trip to Germany, interviewed German artist Alix Sharma-Weigold .

The May issue features an interview with the phenomenal figurative /

Lorraine Fildes, our resident travel photographer and writer visits

hyperrealist artist Kathrin Longhurst. Today Kathrin is fast becoming

the Cairns Botanical Gardens, Queensland. Lorraine presents

one of Australia’s prominent stellar artists.

a series of

Mark Widdup gallery director of Cooks Hill Gallery, Newcastle , writes


stunning photographs of many exotic flowers and

about his gallery and daily life as an art director and dealer. Hunter artists - Master Print maker Marie-Therese Wisniowski and

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

contemporary painter Madeleine Cruise, write about their art practice

forthcoming art exhibitions.

and careers.

The ARTS ZINE features articles and interviews with national and

Mark Elliott-Rankin, contemporary artist and writer, features an essay

international visual artists, poets and writers, glimpses into their

on the 1979 riots in Newcastle NSW, accompanied by photographs of

world of art and their creative processes.

the night by Bernadette Smith.

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

Deadline for articles - 15th June for July issue 26, 2018.


Regards - your editor Robyn Werkhoven The publisher will not accept responsibility or any liability for the correctness of information or opinions expressed in the publication. Copyright © 2018 Studio La Primitive. All rights reserved. No part of this magazine may be reproduced , in whole or in part, without the prior permission of the publisher. Issue 25 - May 2018


E & R A N T I C S Studio La Primitive drawings - E & R Werkhoven Š 2018 Issue 25 - May 2018



L O N G H U R S T Issue 25 - May 2018


KATHRIN LONGHURST Kathrin Longhurst, German-born Australian painter, known for working in the Figurative and Hyperrealist style.

Kathrin was born in 1971 and grew up in communist East Berlin, ‘behind the iron curtain’. A classically trained figurative artist, she began life drawing classes at the age of fourteen. Aspects of Socialist Realism and Communist propaganda art influences her work. In 1987 Kathrin and her family escaped the communist regime and re-settled in Sweden. “This jarring transition from a totalitarian regime to a democracy sparked Kathrin’s passion for exploring the concepts of freedom of speech and expression, concepts that continue to thread through her work today”. She spent a decade in Scandinavia visiting galleries in Denmark and Sweden as well as a year in Belgium. Kathrin travelled extensively throughout Europe, Asia and America, to finally settle in Sydney with her

Australian husband Anthony in 2000. Kathrin’s work reflects her diverse cultural background, having lived in many European countries.

Page 10: Pilot Girl Revisited IV, oil on linen, 92 x 92cm , Kathrin Longhurst © 2018.

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Pilot Girl Revisited VIII Oil on Linen 92 x 92cm Kathrin Longhurst © 2018

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An indomitable and prolific artist, she held her first solo exhibition in 2004, becoming known for her paintings of glamorous, ‘strong female figures who challenge us’, ‘scantily clad women in military attire, draped with symbols of communist propaganda.’

‘Extensive travel provided Kathrin with a unique perspective on the role of women in the media, her

more recent works referencing not only communist propaganda but also the power of advertising in our lives under a capitalist system. Her skilfully rendered subjects layer themes of sexuality and freedom, both seducing and challenging the viewer with their ruby lips, luminous bare skin and confronting gaze to illustrate her message that: ‘Propaganda is all around us. It’s not specific to a period of time, a country or a regime…’s every-

Hero, oil on canvas, Kathrin Longhurst © 2018

where’. – Kathrin Longhurst. Issue 25 - May 2018


Tereshkova Legacy Oil on Canvas 180 x160cm Kathrin Longhurst © 2018

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Mea Culpa as Jet Girl Oil on canvas 180 x160cm Painted in 2012 and hung in the Portia Geach Prize that year. Kathrin Longhurst Š 2018 Issue 25 - May 2018


Drawing - Meluxine , Kathrin Longhurst © 2018.

Sketch - Meluxine, Kathrin Longhurst © 2018. Issue 25 - May 2018


KL Army Girl, H80 x W60 cm, print on Perspex, Kathrin Longhurst © 2018

Helmet Girl with Bullets, H80 x W60 cm, print on Perspex,

Kathrin Longhurst © 2018 Issue 25 - May 2018


Jet Girl Revisited Oil on linen 91x91cm Kathrin Longhurst Š 2018.

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Pilot Girl Revisited VII Oil on linen 92cm x 92cm Acquired for the Bennett Collection of Women Realists, USA. Kathrin Longhurst © 2018

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Exhibition: Forging of a Human Spirit - March 2017 Excerpts from artist statement ‘My vision was to focus on asylum seekers and refugees, but my criteria grew to include other traumas such as surviving natural disasters, the loss of loved ones, bullying and other life-changing events. The choice of colour, compositional poses and painting style are all deliberate and symbolic. Referencing the hero images from my youth in Communist East, I wanted the faces of the children to tower over the

viewer as larger than life heroes and idols—like monuments or sculptures, untouchable and strong. Leaving part of the faces as raw background symbolises the loss they have experienced, or the sacrifice they had to make. I deliberately chose to leave out the darkest areas of their faces as it is their darkest memories they are leaving behind. I opted for soft, subtle, earthy colours that almost dissolve into the background, to remind us of the children’s fragility and softness. My goal is for the project to be a positive experience for the children and their families alike and that the focus on them will make a difference to their lives.’ – Kathrin Longhurst 2017. Page 20: Maia at twelve and a half, oil on linen, 1m x1m, Kathrin Longhurst © 2018. Issue 25 - May 2018


Age of Defiance Oil on canvas 180x180cm Kathrin Longhurst © 2018.

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The Young Boxer Oil on canvas 180 x 180cm Kathrin Longhurst (c) 2018

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Flinders Lane Gallery - Exhibition ‘Into Thin Air‘, March - April 2018. Falling Girl: A Reflection on the work of Kathrin Longhurst (Excerpts from Essay by Professor James Arvanitakis) “Years travelling after the fall of the Iron Curtain and decades in Australia has seen her influences change and alter – but that edge of propaganda art remains. Kathrin’s figures are portrayed in different poses: sometimes staring into the distance and other times directly at us; sometimes standing firm on the ground and at other times floating through the air. Regardless, these are women who are part of a larger movement: challenging, confronting, defying and

defiant. Art has a unique role in our society, it always has. Like their predecessors, today’s artists are our conscience – mirroring the things we should be proud of, the things we find challenging, and sometimes, reminding us of things that we would prefer to forget. Kathrin’s work simultaneously falls into each of these categories. We are reminded of the power and defiance of the women that her work represents, as well as the suffering that women have endured, and continue to endure, as they fight for justice. This exhibition captures defiance and power: true feminine and feminist qualities. It is for this reason that Kathrin’s work has never been more important, both visually and philosophically”. Issue 25 - May 2018


Pilot Girl Revisited VI Oil on linen 92 x 92cm Kathrin Longhurst Š 2018 Issue 25 - May 2018


Dance me to the Edge of Reason Oil on linen 180 x 180cm Kathrin Longhurst © 2018 Issue 25 - May 2018


Into Nothingness, Oil on linen, 180 x180cm Kathrin Longhurst Š 2018

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Today Kathrin is fast becoming one of Australia’s prominent stellar artists. Her work is collected widely in Australia and internationally. A well-respected member of the Sydney arts community, Kathrin served as vice president for Portrait Artists Australia and the founder and director of the innovative Project 504, art space, in Sydney. She has been a finalist in numerous awards including the prestigious Portia Geach Award (2017, 2015, 2013, 2012, 2011), the Doug Moran Portrait Prize (2017), the Sulman Prize (2012), the Mosman Art Prize (2016), the Shirley Hannan National Portrait Prize, the Korea Australia Arts Foundation Prize and the WA Black Swan Prize.

The Power Within, oil on linen, 91 x 91cm Kathrin Longhurst Š 2018.

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Pilot Girl Revisited Oil on linen 92 x 92cm Kathrin Longhurst Š 2018 Issue 25 - May 2018


Kathrin Longhurst in her studio. Photo by Bernadette Myers Š 2018 Issue 25 - May 2018


Forthcoming Exhibitions.

April 2018 “Animation Reimagined” Modern Eden Gallery, San Francisco, Group Exhibition

June 2018 Nanda Hobbs Contemporary, Solo Exhibition October 2018 Gallery One, Gold Coast, Solo Exhibition

All Rights Reserved on article and photographs curtesy of - Kathrin Longhurst © 2018.

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TIGERS FIGHT - Mark Elliott-Rankin © 2018. Issue 25 - May 2018


SIGNATURE Mark Elliott Rankin © 2018

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NEWCASTLE CALLING - Mark Elliott-Rankin In the late 1970’s the Clash released ‘London Calling’ a song that was a call to arms for anyone who dreamt of changing the world. Much like Dylan’s “The Times they are a-Changing” we who lived through this period

perceived a need to challenge the powers of repression that propelled all of us to uncertain presents and dystopic futures. On 19th September 1979 Newcastle went calling, the Star Riot let the world know there was unrest in the colonies and the antipodean young were prepared to challenge any & all authority. The police were not amused especially when the rioters burnt their cars and paddy-wagons as well as driving the them from the streets, at least for a short while. The riot was not a victory yet things were defiantly

different after this, a political message resonated and history changed. Despite the media joined by the local luminaries who could jump on the bandwagon condemning the rioters you could tell…they where sweating.

I wasn’t there that night I’m not a Newcastle boy, though the northern beaches of Sydney are just a southerly extension of the same geo-culture. But while this white boy son of the bourgeoisie watched the riot on TV, my partner Bernadette was there the night of the riot and her grainy, stark, black and white photos reveal a before and after of tense drinkers in the infamous back bar, burnt paddy wagons and shocked police after the event. A situationists dream Debord would have thought, a little bit of 1967 burning

Paris transported momentarily to the antipodes. Issue 25 - May 2018


Burnt Out Paddy Van 1979 Photo - Bernadette Smith Š 2018 Issue 25 - May 2018


And this is the point, this event was not an isolated one, Australia does not have a quiet history, blood has stained the wattle and its not all defeats either. Who remembers Darwin where twice workers uprisings forced out the government men onto waiting navy ships and as recently as the eighties a pitched battle occurred between police, politicians & workers on the steps of the old legislative assembly and for that one I was there, in the middle of it. For a while the workers won and changed history but its suppressed, a secret history of resistance and struggle that can produce victories, the greatest of which is to remain standing.

Greil Marcus in his ‘Lipstick Traces A Secret History of the Twentieth Century’ charts the roller coaster progressions of dissent and direct action across the cultural, social and political spheres. From Café Voltaire to the Situationists to S11 and Punk anarchy it’s been in the air we breathe of the last two centuries. Direct action, Spanish Civil war popular fronts name it what you will, resistance and what Debord called ‘constructed situations’ of disruptive possibility that change histories and challenge the thin skins of reality are still around us even in today’s dreary materiality, 9/11 and Occupy showed us that reality. Raoul Vaneigem in his book of dreams and strategies of occupation says that ’daydreaming subverts the world’. So did the Star, just for a moment acting as history’s hinge and it was Newcastle calling.

- Mark Elliott-Rankin © 2018 All Rights Reserved on article and photographs - Mark Elliott-Rankin & Bernadette Smith© 2018 Issue 25 - May 2018


Police Chiefs Car, 1979 Photo: Bernadette Smith Š 2018. Issue 25 - May 2018



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MADELEINE CRUISE Madeleine Cruise is an emerging artist who lives and works in Newcastle NSW. Her painting practice explores the role of ritual and habit in everyday life and the way these practices contribute to personal identity and purpose. Her work is inspired by iconography and the performance associated with her experience of religious and cultural festivities. Through painting, Madeleine aligns these practices with secular activities in her everyday life, giving holiness to routine, to community engagement, aesthetic orderliness and ornamentation. Madeleine studied a Bachelor of Fine Arts with a major in Painting at the National Art School Sydney. As a student of the Reg Row Art Scholarship she graduated in 2009 with First Class Honours and the Fraser Studios Residency Prize. Her ongoing practice has been supported through studio residencies with Firstdraft, The Bundanon Trust, The Banff Centre Canada and Marrickville Garage. Her work has been exhibited in solo and group shows in Australia and Canada. Madeleine has been a finalist in the Waterhouse, Mosman and NSW Parliament En Plein Air art Prizes and in 2017 she was a finalist in the Brett Whiteley Travelling Art Scholarship. In 2013 Madeleine co-founded NANA contemporary art space in Newcastle, a not for profit gallery that she directed for three years. Madeleine’s work is part of private and public collections including Artbank Australia. - DUNGOG CONTEMPORARY GALLERY . Page 38: The Heart of the Matter, 2017, acrylic on linen, H110 x W100cm. Madeleine Cruise Š 2018. Issue 25 - May 2018


Call to Saint Marti 2017 Acrylic on canvas H85 x W60cm. Madeleine Cruise © 2018.

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MADELEINE CRUISE - INTERVIEW Where did you grow up ? What attracted you to the world of Art?

I was born in 1987 in Camden NSW, which at the time was still very much a country town. I am the eldest of two children and I grew up playing (and fighting) with my sister, who was and still is quite different to me. We spent our Primary school years in Camden, walking to school, riding bikes in empty car parks and scaring friends who came over to play by taking them on ghost tours of the cemetery that was behind our house. When I was twelve my family relocated to the Southern highlands, where I went to Chevalier College for High School. Again, this was a rural area, with many surrounding farms, national parks and escarpments. When I was sixteen I was given the opportunity to undertake extension art for the HSC. It was an extra unit of study that you completed as a block course in the school holidays at The National Art School in Sydney.

At the time The Board Of Studies supported students from regional areas to complete the program by putting you up in a Sydney Hotel for the duration of the course. As a sixteen year old naĂŻve country kid living on Oxford Street in Darlinghurst for a week was like being on another planet ! It was a tremendous experience, a culture shock and a and real coming of age period of my life. It was during my time at Summer School that my painting teacher suggested applying to Art School and so I felt encouraged and

applied a couple of years later. Issue 25 - May 2018


Corn Flower Afternoon 2017 Acrylic on canvas H60 x W40cm. Madeleine Cruise © 2018.

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When did your artistic passion begin? My passion for the arts began at the preschool craft table, when I discovered pasta, paper and straw threading so as to make mobiles. I loved that activity, the colours, textures and tactility of the task. I had to be dragged away form the table at the end of the day and needless to say there was never a hook, fan

blade, door or curtain rod free of a mobile in my home. Everything was adorned.

Have you always wanted to be an artist? I think I have always been an artist; it was not a decision I made but rather an instinctive path I have followed. Applying to Art School could be considered a major decision that I made in pursuit of artistic career, but at 18 I was just following my interests, doing what I loved and not thinking too much about the future. Perhaps it would have been a good idea to consider my career options, but I think that if I knew what I know now, or had done too much research into the reality of an artistic life, I might have been scared off and not even tried. Describe your work? My art practice uses drawing, collage and painting to explore everyday rituals and their contribution to personal identity. I am inspired by emotional connections with place and derive imagery from the landscape and interior so as to make painterly compositions that hover between abstraction and representation. Issue 25 - May 2018


Glorious Descent 2017 Acrylic & oil pastel on canvas H60 x W40cm. Madeleine Cruise © 2018.

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Do you have a set method / routine of working? I rarely begin a painting with a clear direction of ‘what’ it is to be or how it will look. My paintings, whilst often belonging to a series and are connected through a theme or time frame, are rarely pre meditated,

they instead evolve during a process of cause and effect and abstract attention to form and colour. Working quite fiercely, often in fear of destroying valuable elements of a work, I follow a gut instinct until I discover the essence of the work and its core structure. As the composition emerges so does my appreciation for the memory or sensation it is connected to, and so my understanding of the work grows and my strokes become more intentional.

Why do you choose this material / medium to work with? I had an instinctive attraction to paint as an art student, and I still love the immediacy of creating a mark

and being able to quickly articulate an idea or sensation. Equally so I love the slow burn of a painting and the relationship you slowly build with each layer. Painting is hard; sometimes I feel like I am wrestling a beast and I am not in control at all. It’s tormenting. Perhaps I am a stickler for punishment or perhaps it is the struggle that makes it so fulfilling when you get it right?

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Land Ornaments 2017 Acrylic on canvas H110 x W100cm. Madeleine Cruise © 2018.

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How important is drawing as an element to your artwork? Like painting I equally love drawing for its immediacy and as an artist who gathers a lot of information and source material from travels and working en plain air, it makes sense that drawing is a practice I take

everywhere. I use more for its observational quality and practicality, as an idea developer or a problem solver. It is my practical friend that supports my painting practice. Some of my most treasured possessions are sketchbooks from overseas travels. No photo ever compares to the sensation you get from looking back at a drawing you made in some far away place, on a bridge in Florence or at some derelict roadside cafĂŠ in the middle of nowhere. You can be instantly transported.

What inspires your work / creations? I am inspired by the experience of new places and culture, in particular the iconography and performance

associated with religious and cultural festivities. I equally adore the magnificent sculptures that adorn Saint Peter’s Basilica in Rome and the Country Women’s association cake display at Newcastle Show. Traditions of adornment and display in all forms, high and low, fascinate me.

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Janitzo Island 2017 Acrylic & collage on canvas H60 x W40cm. Madeleine Cruise © 2018 Issue 25 - May 2018


Street Romance 2017 Acrylic on canvas H80 x W60cm. Madeleine Cruise © 2018

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Starry Night 2017 Acrylic & collage on canvas H40 x W35cm. Madeleine Cruise © 2018. Issue 25 - May 2018


What have been the major influences on your work? A year after I finished art school I was feeling pretty run down and disillusioned by the art career I was trying to pursue. The joys of art school were over and I was working a mindless retail job in Sydney and feeling quite isolated from any artistic community. I was also experiencing a lot of social negativity toward my identity as an Artist. I felt like the lowest rung on the ladder, untrustworthy and pitied. Whenever I told anyone I was an artist everyone wanted to know what I really did for a job. Eventually I got sick of it and

bought a one way ticket to Mexico ! Travelling throughout Mexico was my savior, I felt such an affinity with the culture, the expression the colour, the community spirit. Plus Mexicans from all walks of life wanted to know who I was and what I did and everyone was impressed and interested when I told them I was artist. It was such a different experience to the life I had been leading in Sydney. Mexico gave me strength and inspiration. I drew and painted everywhere and went on to have a show of my work in Montreal. My time in

Mexico encouraged me to paint bravely and be proud of my identity as an artist. It is an experience that influenced not just my work but has had a lasting positive influence on my attitude toward life and art.

Issue 25 - May 2018


Madeleine Cruise in her studio, photo curtesy of artist. Issue 25 - May 2018


Name your greatest achievement, exhibitions? One of my career milestones was establishing a not for profit art gallery named NANA in 2014. As the director I was able to provide exhibition opportunities to emerging artists, improve the visibility of contemporary art in Newcastle and build my connection with the art community. This project lasted three years and was a big learning experience that proved fruitful in the friendships I made and the later

employment opportunities it provided. It also gave me strong understanding of the role and responsibilities of artists and galleries and has made me a more informed and consciences artist. All Rights Reserved on article and photographs Madeleine Cruise Š 2018.

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USHERING THROUGH Not quite as consistent to give it as many chances Having had the experience, out of an infinite number

Moments chasing one another in a fruitless effort But I don’t mind, as if I have an equal amount of tricks Basically, there is order and patterns and I fill my head with hypotheticals to amuse me.

Somewhere along the line at the threshold the incredulous nature of our interpersonal constellation, will reveal each element, each colour, each sound in a spectrum, in a powerful sprung bow of super human effort. Where spectators marvel and all sorts of totem animals embrace the mid night sky, in the empty halls of fame We will need to live, up and along that single connection and speed on regardless into the distant future.

- Eric Werkhoven Š 2018 Issue 25 - May 2018


Amazon Woman Eric Werkhoven Š 2018. Issue 25 - May 2018




Life as an Art Dealer: Contemporary Art and the Collectable at Cooks Hill Gallery. CHG and MARK WIDDUP, who we are and what we have to offer.

My name is Mark Widdup and I have been owner-manager of Cooks Hill Galleries (CHG) since 1975. 2018 celebrates our 43rd year in business! I began life as a gallerist at 22 years of age, and the art appreciation learning curve I embraced, was

considerable. Plus, surviving as a new business was a feat in itself. During the early years, the galleries’ emphasis was honed to focus on Contemporary art exhibitions, changing monthly. CHG has retained this focus, and after the first decade in business, I augmented it with the re-sale market. Initially focusing on a local, Newcastle market, and then offering nationally. The re-sale market included our represented artists and soon extended to include established, recognisable artists such as; Brett Whitely, Sidney Nolan, John Brack, Charles Blackman, Jeffrey Smart, Norman Lindsay, Rupert Bunny, Russell Drysdale and many more. Page 56: Cooks Hill Gallery, photo curtesy of Mark Widdup. Issue 25 - May 2018


This aspect of the business, as I realise more than ever, is a point of difference for CHG and myself. Art dealers with a breadth of knowledge spanning the Modern, Impressionist

and Colonial eras of Australian art are few and far between in 2018. The exhaustive knowledge and experience I have been able to amass in over 40years in the business makes me a rare breed.

My ‘eye’ has been refined over time through my exposure to a diverse range of art and styles, perhaps totalling a million individual artworks, and has developed into a consistent foundation for comparing, reviewing or assessing artworks. The unmatched experience accessible through myself and CHG has allowed the galleries’ to develop an ‘individual vision’ for each exhibiting artist, and allows for insights and awareness not possible through other galleries or gallerists.

Mark Widdup talking with clients. Photo curtesy of Mark Widdup. Issue 25 - May 2018


Our Clients Clients at CHG are able to make use of our unique services. We offer art guidance and advice, an ‘art selector’ service – building confidence in selecting the right art, and help to clarify motivations to buy. We also offer valuations – for market or insurance, art assessment and appraisal, art research, art representing – display and hanging assistance, art insurance, art monitoring, art collection management, art finance, and art investment. Most importantly CHG is approachable for any art

enquiry, whether a quick question or

long-term advice.

Our newly launched Art Buyers Group (ABG) is an additional feature which we know our clients will be

happy to take

advantage of, with exclusive access to the CHG Director’s art skills and decades-long experience.

Our Location Cooks Hill Galleries is located in Newcastle’s art precinct. Significantly, CHG is quite literally ‘over-the-road’ from the home where famous Australian portrait and landscape painter, William Dobell, was born. Newcastle is also home to other significant art buildings including Newcastle Art Gallery, Newcastle Library, and a property once owned by prolific Australian artist Margaret Olley. These are all within a short, walking distance radius of CHG.

The original structure of CHG’s building is dated at over 100 years old. Several transitions have occurred over the years as the business has grown. In 1979 a renovation was undertaken, allowing for an extension to the galleries’ right-hand side. This resulted in the incorporation of an inner courtyard and maximised the depth of the block. Soon after, in 1983, the neighbouring property was purchased, which allowed for an amalgamation of the two properties, providing today’s five gallery rooms.

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The Business of CHG CHG’s reputation extends nationally. Regionally based, the galleries’ reputation was enhanced in the 1980’s and continues to offer art services to locals, artists and clients spread throughout Australia.

Each week, we are conscious of both interstate, and international art visitors that complement the rurality of the setting and the population of Sydney’s fascination with the area. A constant migration appears to be creating a new norm. CHG has welcomed significant artists and dignitaries through her galleries including; Sir Sidney Nolan, Brett Whitely, Charles Blackman, Margaret Olley, and Ken Done.

CHG has an established online and social media presence, developed over the past five years, which results in an advantageous art market presence with followers reached per annum, in the millions. “Alice” by Australian artist Charles Blackman. Issue 25 - May 2018


Mark Widdup in Cooks Hill Gallery. Phot curtesy of Mark Widdup. Issue 25 - May 2018


“Painting of a Group Photo” - Ben Kenning.

On the Nose, bronze, H 180cm. Steve Glassborow © 2017. Issue 25 - May 2018


Island, oil pastel on paper, 102 x 68cm.

Prehistoric Stockhorse, acrylic enamel on stretched canvas, 100 x 100cm. Si

Susan Weaver © 2017

Adam Cullen © 2009. Issue 25 - May 2018


Art Dealing vs Gallerist. The assumption. CHG has an active exhibiting program of contemporary artists. A constant flowing series of individual, dual, or mixed artist exhibitions with both 2D and 3D artworks. Showcasing both mid-career professional and emerging artists. Art dealing applies more to established artists’ reputations, living or dead, and well-known Australian contemporary artists. It involves placing art into public and private collections, by buying, selling, upgrading and refining. It requires an

established knowledge of the 150 years that Australian art has been acknowledged, observing and intuiting market trends, demands, and fluctuations, and being able to recognise a quality artwork vs the banal!

Daily Life of a Gallerist. This is a snapshot of my last week at CHG:

1 Exhibition Preparation – conversing with the exhibiting artists regarding art subject(s), content and pieces. 2 Phone Calls – enquiries relating to artworks’ authenticity, significance, and provenance. 3 Referrals – received from another gallery/gallerist. 4 Off-site Visit – artist studio, collection valuations, art inheritances. 5 Concerns – addressing artist’s disquiet relating to poor weather and artwork storage.

6 Interstate – enquiry relating to identifying original art vs manufactured print. 7 On-site – partial re-hang of gallery works, planning new exhibition layout, gallery walk-ins, out of hours enquiries, stock assessment, photography, art writing, artist profile development. 8 Sales – follow-up with an art enquiry and achieving a sale, online queries. 9 Administration – accounting, book-keeping, data entry, e-mails, post, and telephone calls, filing, writing,

proofing and researching. Issue 25 - May 2018


The day-to-day running of a gallery is complex and the ability to juggle all needs is integral in the role of gallerist/dealer. Sourcing sound art advice is challenging. Biases, lack of knowledge, and the accessibility of less than optimum art experience mediums, for example, the internet, adds to this challenge. It often astounds me that potential art buyers don’t seek professional art advice more often, as it is often dispensed at no cost, and can be invaluable prior to purchase.

Looking to the future, CHG is constantly revising and reviewing. CHG continues to establish new events, openings, artists, and addresses broadening client enquiries. We are in a growth and consolidation phase after rolling out many new initiatives throughout 2017-18.

- Mark Widdup © 2018. 67 Bull Street, Newcastle, NSW, Australia, 2300

All Rights Reserved on article and photographs curtesy of - Mark Widdup © 2018.

Issue 25 - May 2018


Never go back (a virtual tour) It was that same tree where, as a teenager, I’d struggled to cut down the largest lemon I touch down onto my old street

I’d ever seen in my life.

Turn 90° to the left

Right at the top, where the biggest fruit

Find the familiar address

always seemed to grow.

My old bedroom still looks the same (From the outside anyway)

Attaching a knife to a long pole

Front yard now showing plants

I reached up, pressing the blade

That look sub-tropical - a little out of place.

Against the stem I tried to work the knife

Around the back, the old pool is there

And with each slip

With that flannel flowers’ design

I watched that elusive fruit

decorating the bottom

Dance around – twisting, swaying and rocking

And the spa - they’ve still got that!

to the rhythms of the knife.

(Never seemed to work when we had it.) And is that the lemon tree - standing there!

With each bite and fresh niche

I hope so, it looks bigger than when I last saw it.

I would cut & cut

No surprise, really…

and when that lemon finally dropped

I excitedly opened it and discovered one inch thick of zest! Issue 25 - May 2018


But that was thirty years ago.

While I, standing in the darkness

And thirty years on I still look around

of my parents’ unoccupied bedroom,

there but not there –

Listening to that ebb of distant music

A scope of various emotions

Looking out through the window

Bubbling away in some thick & cloudy

Incarcerated in shyness…

post-adolescent stew - steeped in rich nostalgia, feeling around as if I could recall every single formative night and day

People have said to me Never go back

Living there... But Remembering those Friday nights of school socials’ disco music -

I still do.

Ike & Tina’s Nutbush City Limits –

- BRAD EVANS © 2018.

caught eternal on a drifting summer breeze.

Issue 25 - May 2018


Alix Sharma - Weigold Issue 25 - May 2018


Alix Sharma-Weigold During a recent trip to Germany,

Australian artist & writer

Maggie Hall

interviewed artist Alix Sharma-Weigold.

Alix Sharma-Weigold, MA (born in New York, 1966) is an

artist and art

historian. She works as an art educator (Staatsgalerie Stuttgart, Schauwerk Sindelfingen), author,

curator, and art

lecturer (University of Stuttgart,

JuKuS). As a copyeditor and translator she has worked on over 100 art book projects. As an artist, her work has been featured in collections in North America and

Europe. Sharma-Weigold attempts to capture the magic and power of nature in an increasingly virtual world. Page 68:

Zeitgeist II, Acrylic on wood, H20 x W30cm. Alix Sharma-Weigold Š 2018. Issue 25 - May 2018


Alix Sharma - Weigold Interview by Maggie Hall What inspired you to start practicing art? I am very much influenced by my family and upbringing, my grandfather was an artist, he studied here at the Stuttgart Academy. The sad thing was that he died when I was six years old, but I remember him being in his studio, my mother was a water colour artist and, so she picked up on the talent, so to speak. That is why from a very young age I had a connection to art, as it was all around. At the age of eighteen, when I finished school I wanted to go to the academy to be an artist, though I was a bit chaotic and so did not at that point decide to attend and instead took an apprenticeship with Bosch as a secretary. I ended up work-

ing there for seven years. This job was completely not me and I knew this, my father said that I needed work that would ground me. During my apprenticeship, and work, I would take all kinds of courses and training with artists from all different backgrounds and disciplines, from watercolours to acrylic, drawing and calligraphy. At one point I knew that it was time to become an artist. I was not ready to go the normal route, so I sent a few of my works directly to a professor at the academy. This is not how to do it. I should have done it the correct and acceptable way. You must do a year preparation to get all your drawings and paintings together, and with that compilation you apply. This is the standard way. Of course, I wasn’t accepted. Since art was still my focus and my attempt to go to the Academy did not turn out the way I naively had

hoped, I thought of doing the theory of art and so I started to study art history at the age of twenty six. Issue 25 - May 2018


Longing for the Highlands, 2014, acrylic on canvas, H60 x W80cm. Alix Sharma-Weigold © 2018. Issue 25 - May 2018


Today I find I am better off not being shaped by an academy as I wouldn’t be painting like I do, so this is truly my work. I was able to do my own thing because my portfolio is based totally in the arts. I can not only teach, paint, or write, I need to be kept stimulated artistically by different types of work in the field. I edit and translate art books with my husband, to date we have done about 130 books.

Books on Picasso, Cézanne, books with the major galleries around the world, it is a huge portfolio, we work together as copy editors and translators. For instance, the next exhibition that will take place in the Kunsthaus Zürich, called Fashion Drive, will include a catalogue solely translated by us. Finding out and researching all the subjects we work on and with is of constant fascination and interest, you never stop learning or being inspired. Is there an artist you admire and find your work reflects this choice? I am influenced very much by the Expressionists. What appeals to me is the expression of the colours. I am a positive person and I couldn’t paint dark depressive images. I need the energy that goes into an Expres-

sionistic painting, and that which comes out of it. Some of the paintings, compositions, are influenced by such artists as, Gauguin or the German Expressionist painter Gabriele Münter, Kandinsky’s fiancé for a while, who painted in Bavaria. I understand the landscape and how she simplified it, how she used her colours. This is what I try to do too. Landscape and the country inspires me a great deal, my aim is to take that energy I get from the landscape around me and put it into my paintings, then for that same feeling to

come out of the paintings and to the onlooker. Issue 25 - May 2018


Pink Blossoms, 2014, acrylic on canvas, H50 x W100CM. Alix Sharma-Weigold © 2018. Issue 25 - May 2018


Blessed Day, acrylic oncanvas, H80 x W100cm. Alix Sharma-Weigold © 2018. Issue 25 - May 2018


Circulation, acrylic on canvas, H80 x W100cm. Alix Sharma-Weigold © 2018. Issue 25 - May 2018


Your works look like sunlit stained-glass windows, is this a purpose?

The black outlines in Gauguin’s works fascinated me, the so called Cloisonnism; he wanted his works to

look like stained glass windows, Gabriele Münter also painted in this way. I like the style very much because it has an effect of a drawing, a strong linear style about it, not just painting. Floating lines I also like as I am a calligrapher. I find myself drawn to strong lines, though at a certain point I felt I had to change this because I started finding the stark black lines too harsh. Critics have made comments about my work “why are your skies so free and the landscapes so full of lines, like two different paintings” . . . for me it was never about two different paintings. I never saw it that way, it has to do with character. I’m often torn between a generosity and free hand while on the other end, more secure and controlled, this shows in my paintings.

I would like for my landscapes

to feel enchanting, like a fairy tale. In 2015 when my father passed (we had a very close relationship), my

painting style changed. The skies started to melt into the land, and in turn created a stronger connection between the two. Perhaps a reflection of my changing emotions through this loss. At around that time I also started to paint a lot of sections of my paintings, for instance of the sky, only with my fingers without a brush or anything, a very intuitive and direct approach.

Issue 25 - May 2018


Midday in a Quiet Town, 2014, acrylic on canvas , H80 x W100cm. Alix Sharma-Weigold © 2018. Issue 25 - May 2018


What is it about the calligraphy that attracts you? That it has different aspects. It is a passion, I love the elegance of the lettering and the meditative effect it has during the undertaking. I worked for a few companies by hand lettering for them. As you get into the lettering you start to feel like a monk in a cloister, a truly meditative effect. If you write your own poems or

words in your own handwriting, there is something sacred and special about the text that adds to the final work. If you look at the skies in my later works you will see that I am one step away from integrating writing in the sky. Behind writing is literature, to take something that speaks to your heart and write that in your own handwriting. There are so many aspects to writing, this is what fascinates me.

Your studio is a part of a collective group of artist studios, how does this work for you? It is a beautiful thing here, some of the artists in this collective have other jobs and not all are full time artists. We meet here and prepare and curate exhibition’s from outside artists together, we offer art courses, we hang out and sometimes look at and discuss the other colleagues’ work. You have some creative exchange which is really great about having this artists’ house.

Issue 25 - May 2018


Saalbach Morning, acrylic on wood , H20 x W30cm, Alix Sharma-Weigold © 2018. Issue 25 - May 2018


Do you find the art scene in Germany to be supportive?

I am in-between, I use the social media, but I am not so good at marketing. I have a dislike and a fear of technology. There

is a huge change that is going on and it is not very healthy for a lot of artists, especially those who are more conservative and do not work comfortably with the media. I don’t think as an individual you can do much about it, and I don’t see a solution. We are not moving forward; the time has come that we must go back. To make a change I can only do what I am doing, to hold workshops, my need to pass knowledge onto others. Going back to the basics without

the internet, without technology. Meeting in the studio, sitting around and having a coffee or a glass of wine, and writing calligraphic letters while talking face to face. Getting people together, to paint, to play cards, together like we did in the old days. My father left me a cottage in the country side, it includes a vineyard and is overlooking a valley. There is no electricity and only a small woodstove and it has a dump toilet, so it is super basic. This is where I go when time permits, to get rid of technology, away from everything. If I could afford it, I would live there and only paint. That is all I would do. We need to step back from this media, from this availability of everything, and we should go back to use our hands in a creative way, to inspire and create, to feel and not just to see. - Alix Sharma-Weigold Š 2018. Issue 25 - May 2018


Retreat, 2012, acrylic on canvas , H60 x W80cm, Alix Sharma-Weigold © 2018. Issue 25 - May 2018


Highland Glow, 2014, acrylic on canvas, H40 x W60cm, Alix Sharma-Weigold © 2018. Issue 25 - May 2018


Follow the Clouds, 2014, acrylic on canvas, H50 x W100cm. Alix Sharma-Weigold © 2018.

Forthcoming Exhibitions 2018 Kultur am Kelterberg, Stuttgart Art Atelier 21, Böblingen Galerie im Druckhaus, Waiblingen Wasserschloss, Bad Rappenau.

All Rights Reserved on article and photographs - Alix Sharma-Weigold © 2018. Issue 25 - May 2018


full moon céilidh

There's a broke turnpike left alone by the centuries

When the mid-winter moon is a full, ripe peach

There's a barn that once stood down a dead, country lane

When a gentle breeze blows through the trees

With a lonely old man now dancing…

Where a motorist drives past without knowing

An old man wanders down a dead, country lane Past a turnpike - left broke by the centuries

So, take me! Take me! Take me! To the full moon céilidh

He looks for those he no longer knows -

Where the farmers light their fires

His memories blown to fragments by the years.

On the fields of seasons' past.

There's a barn down a dead, country lane Where strings can be heard 'midst the cheers...

Where the ladies can't stop laughing And the men just can't stop grinning

Take me! Take me! Take me!

While the drunken poets roar away the night!

To the full moon céilidh

Where the farmers light their fires

An old man wanders up a dead, country lane

On the fields of seasons' gone.

Past a turnpike - left broke by the centuries He looks for those he no longer knows -

Where the ladies can't stop laughing And the men just can't stop grinning

Where dancing can be heard 'til the dawn...

His memories blown to fragments by the years…

- Brad Evans © 2018 Issue 25 - May 2018


Note of explanation (background to the piece): The poetic form of full moon céilidh is a ballad which honours the traditional social gathering (or céilidh). After studying céilidh dances on YouTube and using a diagramof-movement chart I have tried to replicate the rhythms and cadence of the actual dance with this poem. In content, the bittersweet poem is about an old man with a middle stage of dementia who wanders about, dishevelled and disoriented, until he reaches a disused country lane where a derelict barn can be seen on a field. On stepping into the barn, he looks around the inside of it and powerful reminiscent memories (from when he was younger) are triggered - as shown in the refrains of the piece. He starts to 'hear' the music from the past coming back and can also 'see' people gathered for the social dance and so he starts to dance inside the derelict barn itself a symbol of his tattered memories…... Brad Evans. full moon céilidh, pen sketch, Robyn Werkhoven, © 2018. Issue 25 - May 2018


Marie-Therese Wisniowski

Issue 25 - May 2018


A Mapping of Anthropogenic Change

She has conducted workshops and lectures on these and other techniques, which she tutors at international

Marie-Therese Wisniowski

and national conferences, forums, textile/print groups

Marie-Therese Wisniowski works full time as a studio artist, researcher, author, curator, speaker & tutor and is the Direc-

tor of Art Quill Studio, The Education Division of Art, Quill & Co. P/L at Arcadia Vale in New South Wales, Australia. She is the author of the books, ‘Not in My Name’ and ‘Beyond the Fear of Freedom’. Her written works have appeared in journals such as ‘Literature and Aesthetics’, ‘Craft Arts International’, ‘Surface Design Journal’, ‘Textile

and in university courses. Her ArtCloth works and installations, artist printmaker books and works on paper have been featured in books and journals such as the authoritative reference books ‘Textiles: The Art of Mankind’ by Mary Schoeser and ‘The Pattern Base’ by Kristi O’Meara. Her current work explores contemporary environmental, post-graffiti and socio-political issues.

Fibre Forum’, ‘Fibreline’, ‘Embellish’, ‘Down Under Textiles’ Her ArtCloth, artist printmaker books and works on

and ‘Quilting Arts’.

paper have been widely exhibited nationally and internaShe specialises in the area of ArtCloth, artist printmaker books and limited edition prints. She has techniques





created signature



“Multiplexing” and “Low Relief Screen Printing (LRSP) in her

tionally and are held in major public and private collections in Australia, Canada, England, Hong Kong,

Ireland, Netherlands, Scotland, Sweden, Thailand, United Arab Emirates and the USA.

silk screened works on natural fibres and “MultiSperse Dye

Page70: Veiled Curtains: Benazir.

Sublimation” (MSDS) in her ArtCloth works using disperse

Technique and Media: The artists signature “Multiplexing” silkscreen technique on Stonehenge stock.

dyes on synthetic fibres.

Size: H76 x W56 cm . Issue 25 - May 2018


Veiled Curtains - Aung San Suu Kyi. H 76 x W 56 cm. The artistʼs signature ʻMultiplexʼ technique. Photo Courtesy: The artist.

Issue 25 - May 2018


A Mapping of Anthropogenic Change Marie-Therese Wisniowski I have always been attracted to the humanities rather than to the sciences. Somehow science passed me by, when

simultaneous equations needed to be solved. It seemed so mechanical and years later that proved to be the case when computers solved equations that humans could only propose. I read ferociously as a child though to my adulthood - from Herman Hesse to Natsume Soseki to Leo Tolstoy to Simone de Beauvoir etc. - don’t worry I have on occasions read a Mills & Boon! When I left school I gained employment as a graphic designer. In those days on-the-job training and industry based courses were all that were available. I worked for some of the largest advertising agencies in Melbourne. Unlike most graphic

designers in the 1970s I was very hands-on and so interacted with the printers operating the commercial

lithographic/offset presses, rotogravure presses, letter presses and silkscreen presses - to name a few! I gained a lot of practical knowledge from them. In 1984 my husband and I moved to Lake Macquarie in New South Wales. In 1998 I announced to my husband that I was going to elevate him to the lofty heights of being an art patron, and promptly gave up my job as a senior graphic designer, illustrator and art director. I enrolled in a fine-arts degree at the University of Newcastle and became a full-time artist. Whilst I had always dabbled in screen-printing on textiles as a hobby, during my undergraduate degree I concentrated on two areas of artistic expression: limited edition prints on paper and ArtCloth. Issue 25 - May 2018


Made to Order IV. Technique and Media: Multi layered silkscreen print employing sixteen colours on Stonehenge stock. Size: H 70 x W 55 cm Photo Courtesy: The artist. Issue 25 - May 2018


Limited edition prints on paper began in the late 19th Century when the printing press became mechanized. It has a timehonored tradition from Cheret to modern-day masters. One of my signature techniques for prints on paper I have termed "Multiplexing". It involves careful application of resists to numerous color plates, transparent color glazes, multiple layering of printed images and accurate registration. It is an extremely complex and time intensive technique, which works "best" on paper. One of my earliest works was titled: “Veiled Curtains”. It consisted of the leaders, Aung San Suu Kyi (1945 - ), Indira Ghandi, (1917 - 1984) and Benazir Bhutto (1953 - 2007). The series has been exhibited in Australia and Internationally and has been privately collected. The commonality of the series lay in the three women leaders changing the course of their nation’s histories - a political change that transformed the national interests of their countries for decades to come.

The next limited edition prints on paper I wish to discuss are my "Made to Order" series. These prints utilize my multi-layered silkscreen techniques for prints on paper. This series of four prints on paper addresses the dilemma of genetically modified food. These prints do not just present foods that are genetically modified, but take on a stance that all genetically modified food should be labeled since this is what these prints are in fact doing – they are labeling a selection of plants that have been modified and then identifying the genes that have been inserted. Once again my agenda is to spotlight human intervention but this time in pre-determining evolution. Increasingly during my degree I was taking a greater interest in using cloth as an art medium. Decorating cloth is such a womanly experience. My mother was a well-known seamstress and an artistic knitter of some repute in Melbourne. At school and to this day, I have no patience in following these pursuits, rather printmaking and layering was what I loved as I had always dabbled in the field from when I was a young child - finger painting and block printing were all the rage at

kindergarten! I also started to learn about dyeing and printmaking on cloth as I progressed my artistic endeavors. Issue 25 - May 2018


Autumn Bolt (The Four Australian Seasons – Bolt Series).

Technique and Media: Hand painted and heat transferred employing disperse dyes on synthetic fibre. Size: H2.2 x W1.5 meters. Photo Courtesy: The artist.

Issue 25 - May 2018


Hence “The Four Australian Seasons” series (Winter Bolt, Spring Bolt, Summer Bolt and Autumn Bolt) was born whilst I was at University. Here anthropogenic change is at the forefront, with the width of the liquid bolts representing the sun and the heating effects due to the explosive growth of the human population affecting our environment. Whilst I was developing my own style I needed to become aware of various techniques using cloth as an art medium. Jane Dunnewold (an American artist well recognized in this field) came to the rescue. I attended one of her master

classes in

San Antonio, USA and in no time ArtCloth became my obsession and my prints on paper were placed on the backburner for a while. Once I graduated from the University of Newcastle I was free to pursue my artistic passion. I curated the first international

ArtCloth exhibition in Australia featuring such renowned artists as Norma Starszakowna, Joan Truckenbrod, and Jane Dunnewold - just to name a few! My contribution to the exhibition - “ArtCloth: Engaging New Visions” - was the diptych “Sequestration of CO2”. In the work I was highlighting that as we were clearing the natural sinks of green-house gases, due to the need to feed, clothe and shelter an explosive human population, climate change will be our undoing by producing a runaway green house gas disaster - as it is on the lifeless planet of our neighbor - Venus!

My “Environmental Art” took up this theme with a vengeance and over the next decade and a half ArtCloth works taking up this theme surfaced at too many national and international exhibitions to list here. Perhaps one of my favorite pieces in this genre is - “Flames Unfurling”.

Issue 25 - May 2018


Sequestration of CO2 (Parts 1 and 2 of a diptych). Technique and Media: The artists signature MultiSperse Dye Sublimation (MSDS) technique employing disperse dyes, native flora and low relief items on delustered satin. Size: H 3 meters x W 60 cm. Statement: Diurnal patterns of photosynthesis (left artwork) and respiration (right artwork) in an Australian ecosystem. Below: detail views of Sequestration of CO2. Statement: Detail of diurnal pattern of photosynthesis (left artwork), detail of diurnal pattern of respiration. (right artwork).

Issue 25 - May 2018


Anthropogenic change not only affects the natural environment we live in, but also affects the human designed environment that we are forced to live in. A revolution occurred in New York, which spread worldwide, seeking to change a decayed environment into an artistic expression of grief and/or hope - graffiti art, street art and paste-up emerged. My post-graffiti ArtCloths are a reaction to Graffiti Art - they are not meant to be a replacement! The “Cultural Graffiti” series interprets the work of Hong Kong based graffiti artist Tsang Chou-Chou who, at 85, was still writing black and white Chinese characters on public surfaces..

My working methodology normally starts by doing a “rough” before I begin the final artwork, since it gives me an idea of the techniques I should use and how the design elements in the work will come together. A rough is usually completed on an A4 or A3 sheet of paper, sometimes using watercolors, as my ArtCloth pieces can be 3-4 metres in length by 1-2 metres in width. When I originally designed my “Winter Bolt” ArtCloth work, I had six wavelets flowing down the ArtCloth. None of these appeared in the final piece since, when I was in my “Zen” like trance whilst doing the artwork, it just appeared wrong (see for a more lengthy explanation).

After considerable research, when I work on my finished artwork, I free myself of all of the pre-planning, I then set about producing the first stages of my ArtCloth in a “Zen” mode; that is, the Zen Masters - as outlined by D.T. Suzuki - have felt that: “Man is a thinking reed, but his greatest works are done when he is not calculating or thinking”. In other words, I let all my research seep into the body of my sub-consciousness and do my artwork in a non-thinking, but reactive mode. It is important to note that a "no mind" state is not a mind that is in a coma. It is a reactive state of intuitive feel rather than conscious thought. You often hear sports people confess that on a particular day they were in the "zone"; that is, they were in a "no mind" state. Issue 25 - May 2018


In my "no-mind" mode, the critical but unconscious questions that seem to come back to me from time-and-time during reflective pauses in the stages of the “implementation� period are as follows: (i) What assumptions am I making about the artwork unfolding before me? (ii) What should be known and/or not known to the viewer about the concept? (iii) Is the artistic framework becoming too dogmatic in the viewers mind and do I want to transmit this? (iv) Is there a strong focus within the piece? (v) Are the techniques delivering my intention? (Note: this may not be my original intention but instead my Zen "no-mind" intention). (vi) Are the colors working and interacting the way I want them to? (vii) If the colors are not interacting, do I desire such an imbalance? (viii) Is there a balance between objectivity and subjectivity in the piece? (ix) Is the composition becoming over crowded, too simplistic and/or imbalanced? (x) How does the integrity of the piece hold from a different viewing point? For example, I often view my very large ArtCloth pieces (4 metres x 1.5 metres) some 3 metres above the piece itself. These questions are not consciously imposed or addressed. Rather they encapsulate how my "no-mind" reacts to my artwork as it slowly unfolds before me. Let us just say that these are streaming responses that are fleeting in nature and so do not take hold on my consciousness in a forceful manner, but imperceptibly and incrementally influence my "no-mind" reaction to my artwork. After all, is not the sub-conscious mind just a series of streaming thoughts that are so diluted that they cannot take a strong hold onto our conscious state? Issue 25 - May 2018


Flames Unfurling (detail). Technique and Media: The artists signature MultiSperse Dye Sublimation (MSDS) technique employing disperse dyes, native flora and low relief items on delustered satin. Size: H 120 x W 60 cms Photo Courtesy: The artist.

Issue 25 - May 2018


Art - whether on paper, canvas or cloth - is an imprecise communication system. No matter how it is defined in your mind, when your artwork births into reality it no longer becomes yours. It is now an entity in its own right that others who engage it, may view differently from yourself and so give it a greater breath of life than what you have originally scripted.

My artistic expression will continue to meander in and around anthropogenic change and it will do so with “intent”; that is, intentionally developing an idea and transposing it on cloth or paper. What my art practice will never do is to create thousands of digital images and then selecting one to progress, since this is an “effect” searching for a “cause”. My art is always done with intent; that is, a “cause” creating an “effect”! It is always about the concept.

Artists will always be proud of exhibiting their works - whether in local, national or international exhibitions. It is important for artists that their works have been engaged and so tasted (not necessarily appreciated) by the viewing public. A higher form of engagement is that your work has been collected - whether by individuals, small galleries, or artistic public and private institutions is often immaterial. Sure “collection” means payment, but for an artist it also implies the work has a greater

longevity. Many of our most famous artists - such as Margaret Olley - have donated their artworks to galleries for that reason. I have been fortunate that some of my artworks have been collected and I hope that these artworks will enjoy a greater longevity than what I could never breathe into them!

Issue 25 - May 2018


Cultural Graffiti I (detail). Technique and Media: Dyed, over-dyed,

stamped, the artist’s signature matrix formatted silkscreened prints employing dyes, metallic foils and transparent, opaque and metallic paints on cotton. Size: H1.25 X W2.5 meters Photo Courtesy: The artist.

Issue 25 - May 2018


Marie-Therese silkscreen printing in her Art Quill Studio at Arcadia Vale, NSW. Photo curtesy of artist. Issue 25 - May 2018


Jandabup Wetlands. Technique and Media: The artists signature MultiSperse Dye Sublimation (MSDS) technique

employing disperse dyes, native flora and low relief items on delustered satin. Size: H55 x W45 cms Collected by: Private Collector, Australia. Photo Courtesy: The artist.

Issue 25 - May 2018


Global Warming – Surviving Remnants. Technique and Media: The artists signature MultiSperse Dye Sublimation (MSDS) technique employing disperse dyes, native flora and low relief items on cathedral satin. Size: H20 x W20 cm. Collected by: The Americas Biennial Exhibition & Archive Collection, University of Iowa, Iowa, USA. ( Work of Distinction). Photo Courtesy: The artist. Issue 25 - May 2018


Forthcoming Exhibitions: Marie-Therese has been invited to be a 'Feature Artist' at the '2018 CrossXpollinatioN' exhibition, which is themed 'Journey's'. Her ArtCloth Installation 'Timelines: An Environmental Journey' will be exhibited at the Colac Otway Performing Arts & Cultural Centre, Colac, Victoria from the 7th - 29th July 2018. The installation will feature works employing her signature MultiSperse Dye Sublimation (MSDS) technique

on synthetic fibres.

For more resource information, art essays, student workshop outcomes and samples, art and exhibition

reviews and more examples of her own work see Marie-Therese’s blog site —

All Rights Reserved on article and photographs - Marie-Therese Wisniowski © 2018. Issue 25 - May 2018


Issue 25 - May 2018


Cairns Botanic Gardens Rainforest Boardwalk and Centenary Freshwater Lake Lorraine Fildes The Cairns Botanic Gardens has one of the best exhibitions of tropical plants in Australia. The Rainforest Boardwalk offers a rare view of what the coastal area around Cairns once looked like before European settlement - and the Centenary Freshwater Lake shows the beauty that can come from careful human intervention to an inhospitable area.

Cairns Botanic Gardens I

spent most of my time in the section known as the Flecker Gardens. This garden is home to a broad group

of plants ranging from shade giving trees and palms to tropical plants of all descriptions. The plants come from across the world's tropical regions such as South East Asia, South America, Africa and, of course, Far North Queensland. Within the gardens is the Watkins Munro Martin Conservatory. This building houses a magnificent collection of tropical plants, aquatic plants, orchids, carnivorous plants and butterflies. If you stand still for a short time you will even have one of the beautifully coloured butterflies land on you. It can become quite crowded in the conservatory and luckily it features a one-way walking path that winds through

the botanical displays. Issue 25 - May 2018


Rainforest Boardwalk Cross the road and start your boardwalk. I was by myself and met only one other person on the boardwalk. I started out in a relaxed manner enjoying the plants, wildlife, towering paperbarks and massive strangler figs that inhabited this remnant of coastal swampland. Much of the coast line near Cairns would have been like this before settlement. As I continued along the boardwalk I began to feel an eeriness as the jungle growth was thick and only a little light filtered through the trees, and the swamp like conditions below the wooden planked boardwalk made me worry about what may inhabit the swamp like area below. An amazing walk but I don’t recommend you do the walk by yourself. I then crossed a bridge over a saltwater creek that emptied into a salt water lake. I kept walking straight ahead and arrived at the Freshwater Lake.

Freshwater Lake Freshwater Lake was established in 1975 to celebrate the Cairns City Council centenary. It was created

from a three hectare freshwater swamp that originally existed on the site. This lake has a number of water-lily areas which provide cover and a home for several species of frogs, fish and turtles. The lake is also home to many bird species. I mainly saw pelicans, ibises and ducks. The grassed area around the lake makes it ideal for family picnics.

Issue 25 - May 2018


Red Torch Ginger Flowers are widely grown as landscape ornamentals throughout the tropics. Issue 25 - May 2018


Pink Torch Ginger Flowers are also used as tropical landscape ornamentals. Issue 25 - May 2018


Pink Torch Ginger Flower – there are many mosquitos around the gardens so beware!

Issue 25 - May 2018


This flower belongs to the ginger family and is commonly called 'Black Tulip

I was unable to identify this flower but have decided to call it ‘Red Tulip Issue 25 - May 2018


Commonly called Beehive Ginger - it is a species of



Southeast primarily


Asia. grown






West as an ornamental plant,




been used in South-East Asia as a medicinal herb. Issue 25 - May 2018


Indonesian Wax Ginger is native from MalIndonesian Wax Ginger is native from Malaysia to Queensland, Australia. They will reach up to 2 meters tall

This ginger species is often called Red Buttons or French Kiss. It is native to Central America.

with dark green, soft leaves arranged spirally around bamboo-like stems.aysia to Queensland, Australia. They will reach up to 2 meters tall with dark green, soft leaves arranged spirally around bamboo-like stems. Issue 25 - May 2018


This plant belongs to the ginger species. It is partly buried in the ground and arises from creeping rhizomes. Issue 25 - May 2018


This plant belongs to the ginger species. It is partly buried in the ground

Blue Ginger

and also arises from creeping rhizomes. Issue 25 - May 2018


The common name for this




Rainbow Curcuma. The flower bracts can range

from white through all shades of pink and red to violet blue. It is native to Southeast Asia, southern China, the Indian Subcontinent, New Guinea and northern Australia. Issue 25 - May 2018


Heliconia mariae is a native to Central America

Issue 25 - May 2018


The Cannonball Tree. This species is native to Trinidad and the northern regions of South America. The massive trunk is intertwined with a mass of thick long stalks bearing large showy flowers and large rounded fruits, with the latter looking very much like cannon balls. This is unusual as most trees bear their flowers and fruits on the branches, rather than along the trunk. The flowers are bisexual, about 12 cm across, fleshy, waxy and fragrant. Fruits develop in 18 months, remaining on the tree for a year or more before they fall with a thud. They are greyish brown and about 25 cm diameter and look like cannon balls. The fruits are filled with a smelly and soft red pulp.

Issue 25 - May 2018


Left – this photo shows bright red leaves with a blue centre seed. Below - Blue Quandong - this is a fast growing Australian rainforest tree bearing distinctive blue edible fruits. Old leaves turn bright red to scarlet in colour before falling, making the tree's appearance quite striking.

Issue 25 - May 2018


Brownea macrophylla, a tropical leguminous shrub with large, showy red blossoms that develop on the main trunk and limbs. Issue 25 - May 2018


Corpse Flower One of the world's largest and rarest flowering structures, the corpse flower is a pungent plant that blooms rarely and only for a short time. While it is in bloom, the flower emits a strong odour similar to rotting meat or, aptly, a decaying corpse. Issue 25 - May 2018


Close up of Corpse Flower reproductive organs. Issue 25 - May 2018


A large variety of blooms were flowering in the conservatorium. The orange flower above reminded me of coral. Issue 25 - May 2018


Red and purple Peace Lilies. Issue 25 - May 2018


Issue 25 - May 2018


Page 124 & 125: Orchids – a large variety of colourful orchids were in full bloom in the conservatory. Issue 25 - May 2018


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Page 126: Male Cruiser Butterfly Male Cruiser Butterfly (top left) Monarch Butterfly (lower right). Issue 25 - May 2018


Female Cruiser Issue 25 - May 2018


Swallowtail. Issue 25 - May 2018


Tropical Pitcher Plant These plants are carnivorous and can grow in very nutrient poor soils, as they catch their own food. The pitchers, which are modified extensions of the leaves are coloured and scented to attract insects. Insects lose their footing on the slippery surface and fall into the pitcher. Once inside they quickly sink and drown in the viscous fluid, which is a mixture of water and digestive juices secreted by the pitcher.

The aerial pitchers trap flying

insects such as flies and mosquitoes.

Issue 25 - May 2018


Rainforest Boardwalk The boardwalk curves around large paperbark trees.

Light filters down through the thick rainforest growth.

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As I walked along the boardwalk I saw a large number of

After leaving the Boardwalk I crossed a bridge over the

Strangular figs twined around many of the swamp trees.

Saltwater Creek which feeds the Saltwater Lake. Issue 25 - May 2018


Finally – The Freshwater Lake This lake offered a quiet and beautiful place to sit and reflect.

All Rights Reserved on article and photographs - Lorraine Fildes Š 2018. Issue 25 - May 2018


Mulli I named you as a brother, And while you slept

That wild, mischievous look in your eyes.

My mother placed A clock beside you

And I still remember that time when,

Where I heard you whimper

In mask and snorkel,

each nightmare away.

I paddled out to a small, rocky point

To look for life in the sea, The language we shared Was partly unspoken

And tired of chasing the waves,

Where, without a sound,

You swam out and found me.

I could raise my arm From a distance And you would come running -

- Brad Evans Š 2018.

Issue 25 - May 2018


the old man My journey

There were maps and some guides he needed

he said

before I watched him leave...

will take me to all the places I once shared.

he was an old man like so many,

It was summer... but this old man

And looking out the window behind me,

was preparing himself

where I worked, for a slow, final journey I'd only just thought of how fine the day actually was before he arrived

A journey to all the places he had once shared

and so I helped him to find

with her.

what he was looking for.

- Brad Evans Š 2018 Issue 25 - May 2018


Lori Cicchini & Edmond Thommen Issue 25 - May 2018


Lori Cicchini & Edmond Thommen present

Tela Umana - Human Canvas

Tela Umana (Human Canvas) a contemporary visual exploration of the female human form by two independent photographic artists, both uniquely designing their visions by combining the elements of raw beauty in nature from capture to print. Associated exhibitors at the hEAd oN photo festival in Sydney 5-20th May 2018.

9 - 22 MAY 2018 M2 Gallery 4/450 Elizabeth St Surry Hills, Sydney, NSW. Official Opening : Thursday 10 May 6 - 9pm Issue 25 - May 2018





I Issue 25 - May 2018


Lori Cicchini

Lori Cicchini is an Editorial Fashion, Beauty and Fine Art photographer. Driven by her interest in the arts,

Lori pursued formal studies in photography, completing a Bachelor in Photography at the Canberra Institute of Technology. In 2017, for the third consecutive year, Cicchini was awarded the AIPP ACT Illustrative Photographer of the Year. She achieved her Associate honour and in 2017 was awarded her Masters honours. In 2015, Cicchini was appointed as a member of the ACT Australian Institute of Professional Photographers (AIPP) Council and continues service to date on both the Commercial and State councils.

Cicchini's photography work has been described as "emotive" and "narrative", some of which can be "dark

and provoking� yet at the same time "peaceful and beautiful". Her work has received numerous industry awards and accolades, and has been published in various art and fashion magazines both nationally and internationally. All Rights Reserved on article and photographs - Lori Cicchini Š 2018. Issue 25 - May 2018




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Edmond Thommen Edmond Thommen describes himself first, and foremost, as a Photographic Artist. For him the magic starts with the camera and his photographs.

His artistic expression is a testament to years of careful observation in photography, composition, lighting and design. His skill-set allows him to work with light and shades, play with compositions and absorb these into his new creations.

The female figure forms the basis of his artworks. They may soften or highlight the body’s outline by blending it into several layers of images he superimposes on the figure. Sometimes the figure seems to disappear behind a barrage of organic materials or man-made structures until the viewer’s eyes start to actively search for the lines that in his or her mind “must be there” behind the

image. All Rights Reserved on article and photographs - Edmond Thommen© 2018. Issue 25 - May 2018





































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Sculpture on the Farm 2018 824 Fosterton, Dungog, NSW Australia

Official Opening Cocktail Party – Friday 28 September 2018 5pm – 7pm

Exhibition - Saturday 29 and Sunday 30 September 9am – 5pm Monday 1 October 9am – 12 noon Issue 25 - May 2018


Sculptor, Philippa Graham in her studio. Photo curtesy of artist.

Issue 25 - May 2018



Philippa tell me about Sculpture on the Farm. Sculpture on the Farm is a new sculpture exhibition to be held in the glorious foothills of the Barrington Tops National Park on our family’s cattle property at Fosterton, Dungog. It will display both indoor and outdoor works over the 2018 October Long Weekend exhibited by sculptors from all over New South Wales and

beyond. The event will be run as a not for profit venture under the direction of Sculpture on the Farm Inc.

Philippa you are a sculptor, what inspired you to do this project? When did you start this project? The inspiration for Sculpture on the Farm came from experiencing Sculptures in the Gardens at Mudgee, which was initiated by my friend Kay Norton Knight in 2011. I have dreamt about staging such an exhibition in the Dungog region for some years but I started the planning in earnest last November.

Issue 25 - May 2018


View from Sculpture on the Farm property, Fosterton, Dungog. Photo curtesy of Philippa Graham.

Issue 25 - May 2018


Is there a lot of hard work in planning such an event? Yes. As each day passes I discover more challenges or as I like to think of them, opportunities, that have to be mastered. We have put together a very enthusiastic and capable committee of people from the Dungog Shire, to oversee all aspects of this new venture.

What are the challenges of staging such an event? The challenges range from simple logistics and marketing to compliance and insurance matters, whilst we have also set about mastering the forum of social media. Of course the most important element for me personally relates to the enjoyable task of contacting sculptors and inviting them to participate in this new and exciting event.

How important are art prizes to the artists? Substantial art prizes are very important because they provide not only significant recognition and exposure for artists, but especially for sculptors, prizes provide meaningful incentives, which may cover factors such as the cost of transport to the exhibition. To get things started my husband and I have donated $10,000 to establish an Acquisitive Prize. One of the important objectives of Sculpture on the Farm Inc is the progressive acquisition and public display of sculpture in the Dungog Shire for the benefit of the local community and the visitors to the region. Issue 25 - May 2018


View from Sculpture on the Farm property, Fosterton, Dungog. Photo curtesy of Philippa Graham.

Issue 25 - May 2018


What does an art event such as this contribute to the community of Dungog? Sculpture on the Farm will provide an opportunity for the local community to engage with sculptural art works, in a rural setting with which they are familiar. In particular I would love the children of the community

to be able to learn about sculpture so that their outlook on art will be broadened. The acquisitive prize will ensure that a piece of sculpture will be sited within the Dungog Shire for locals and visitors alike to be able to appreciate and enjoy.

Dungog has a growing artist community, with many artists’ homes and studios nestled in the glorious rural landscape. Is Dungog becoming a Mecca for modern art? The Dungog region has been emerging in recent years as an important incubator for the arts. Many artists are making Dungog their home, which is evident from the flourishing Dungog Artisans who exhibit at

Dungog by Design and the well-established Dungog Arts Society. Dungog Contemporary Gallery on the main street of town is a commercial art gallery established by Stephen Hobbs and Sarah Crawford. Both are practicing artists as well as art world entrepreneurs, working hard to position Dungog as the destination for art and culture in the Hunter.

Issue 25 - May 2018


How important is it to bring modern art / culture to rural areas? What do you hope viewers of the art works will feel and take with them? I’m a great believer in securing opportunity for the communities in which I live. Sculpture on the Farm will expose this rural community to the fine arts and in particular sculpture of our time. So often artists explore issues of societal importance which people in rural areas will now be invited to share. The challenge of considering different artistic outlooks ensures that we live in a richer society. I hope that visitors to Dungog

for the October Long Weekend will be challenged, delighted, reassured, puzzled and excited by the range of sculptural works that they will see at Sculpture on the Farm.

- Philippa Graham Š 2018.

Issue 25 - May 2018


Sculpture on the Farm - expressions of interest. The inaugural Sculpture on the Farm exhibition will be held in the gardens of “Fosterton” a picturesque cattle property on the outskirts of Dungog in the Hunter Valley, NSW. Set aside the 2018 October Long Weekend - Exhibition: Saturday 29 and Sunday 30 September 9am – 5pm

Monday 1 October 9am – 12 noon for this exciting new sculpture exhibition of both indoor and outdoor works, large and small.

Sculpture on the Farm is seeking expressions of interest from sculptors for both indoor and outdoor works to be exhibited at the rural property "Fosterton" Dungog . We are thrilled to announce the $10,000 Sculpture on the Farm Acquisitive Prize and a $500 People’s Choice Award. Further prizes will be announced soon. Sculpture on the Farm is a not-for-profit exhibition, which will direct any profit to the promotion of public sculpture, including the possible acquisition of public sculpture for the town of Dungog; thus enhancing the experience of rural life for residents and visitors alike. Sculpture on the Farm will be held in conjunction with the renowned Dungog Festival, which celebrates the arts, local food and rural life.

Official opening Cocktail Party - Friday 28 September 2018 5pm – 7pm ($65 a ticket and free for exhibiting artists - tickets will be available online through the Dungog Festival website,) All information for interested sculptors is available on the website or by

contacting Philippa Graham by email on Issue 25 - May 2018


Click on cover to view the issue.

studio la primitive Eric & Robyn Werkhoven Contemporary artists E: Issue 25 - May 2018


Issue 25 - May 2018


Issue 25 - May 2018


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

Sat & Sun 9 - 3 Issue 25 - May 2018




Phone: 0431 853 600

Director: Colin Lawson Issue 25 - May 2018



MAY 11 – MAY 27……




JUNE 22 – JULY 8 …………….. ANOTHER SKIN - DAN NELSON Issue 25 - May 2018


April 20 – May 6 In Pursuit of Meaning Heather Campbell & Naomi Wild May 11 – May 13 Somewhere in Time Tsui-Yun Hung (Imp)

May 18 – June 3 Flora and Fauna Kara Wood, Holly Martin & Mel Pegg

June 8 – June 24 Pattern Play Nicki Bates, Ellie Hannon Jen Lanz & Rosie Turner June 29 – July 15 Jubilee – 50 Years 50 Clay Pots

57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm Issue 25 - May 2018



In Pursuit of Meaning April 2- to May 6 2018.



New works by

Heather Campbell & Naomi Wild

& C A

Artists Campbell and Wild similarly invite us into layers of dialogue about the changing nature of the human condition.



L Issue 25 - May 2018


Back to Back Galleries Presents

Somewhere in Time

Tsui Yun Hung 11 – 13 May Official Opening May 11th at 6.00pm.

International Artist Tsui Yun Hung (Imp Hung) has brought her latest ceramics from Taiwan and is exhibiting at Back to Back Abe in Boat, Tsui Yun Hung.

Galleries for a very limited time. Don’t miss this opportunity to witness Hung’s rabbit

57 Bull Street Cooks Hill NSW

‘Abe’ as he carries you through his emotive adventures. Issue 25 - May 2018


Tsui Yun Hung Hung’s stoneware and paperclay sculptures of ‘Abe’ will guide you through the secret garden, recording Hung’s life and emotions, through a wonderland of imagination. “When I begin a piece I let ‘Abe carry a heart’, as I think every heart has a different story.” Abe adventures through famous artworks allowing a different viewpoint for the audience. The mood of each piece is decided by the audience, when you

feel happy it looks like Abe it is wearing a smile, if you feel sad, he will also accompany you to drop tears.

Hung holds an Advanced Diploma of Graphic Design and a Bachelor of Fine Art from Taiwan, Certificates

in Aboriginal Arts and Cultural Practices, Visual Arts and Contemporary Craft, Ceramics, and a Diploma of Abe on Bridge, Tsui Yun Hung


57 Bull Street Cooks Hill NSW Issue 25 - May 2018


GALLERY 139 EXHIBITION CALENDAR 2017 Love and Friendship by JOHN HEANEY May 3, 2018 – May 20, 2018

EMBEDDED by Caelli Jo Brooker, Alison Smith, Ahn Wells

May 24, 2018 – Jun 10, 2018

Gallery 139 Beaumont St. Hamilton, NSW Issue 25 - May 2018


GALLERY 139 EXHIBITION CALENDAR 2017 The Great Outdoors THURS 14 JUN - SUN 1 JUL 2018 Linda Greedy, Michelle Tear, Sally Reynolds, Malcolm Sands, James Murphy, Catherine Tempest, Jane Richens. Left: Malcolm Sands Wollemi Landform Rylstone

DRAWN OUT THURS 5 JUL - SUN 22 JUL 2018 Ben Gallagher, Cherie Wren, Jane Collins, Maddyson Hatton, Jill Orr.

Gallery 139 Beaumont St. Hamilton, NSW Issue 25 - May 2018


DUNGOG CONTEMPORARY FIONA BARRETT-CLARK 14 APRIL - 20TH MAY Fiona's distinctively Australian landscape paintings





board giving them a unique grainy texture reminiscent of old photographs or slides. Barrett-Clark's paintings give the impression of the enormity of the Australian landscape,

void of people but not of human presence.

146 - 150 Dowling Street, Dungog, NSW

https:/ Image (detail) - curtesy of Dungog Contemporary Issue 25 - May 2018



18th APRIL- 26th MAY Newcastle University Gallery Issue 25 - May 2018


DUNGOG BY DESIGN handmade & inspiring

224 Dowling St Dungog NSW Issue 25 - May 2018


EDGE OF NATURE Unique timber furniture, jewellery & gifts. 40 Fosterton Road, Dungog NSW. Ed & Barbara Ramsay M: 0457063702 for enquiries. Issue 25 - May 2018


Brooching the Subject #2 – hand-made

90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm Sun 10 am – 2pm. Issue 25 - May 2018


Broaching the Subject #2 exhibition, showing for one week only between 7 and 13 May. Opening night is from 6 to 8pm on Wednesday 9 May and all brooches will be for sale. Artists from all over Australia and the world are vying for prize-money and selling their creative wares in the second Brooching the Subject #2 exhibition, to be held at Newcastle’s Timeless Textiles, Australia’s only

commercial textile gallery.

Brooch made by Icelandic felt maker Anna Gunnarsdottir.

Copyright © 2018 Timeless Textiles, All rights reserved.

90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm Sun 10 am – 2pm. Issue 25 - May 2018


Issue 25 - May 2018


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

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

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

Page 184 : White rhino crash at Whipsnade Zoo, England. Image: Robert Fildes Š 2017. Issue 25 - May 2018


Hunter Arts Network is excited to have Art Bazaar Pop Up returning to Maitland Aroma in 2018! The Aroma Coffee and chocolate Festival will be held on Saturday 11 and Sunday 12 August 2018.

In addition to 60 Hunter Arts Network stallholders on both days enjoy coffee from the best local coffee roasters, a delectable range of chocolates, local wine from the Hunter Region and great street food. The festival will also feature live music performances as well as roving performers, demonstrations, interactive activities and much more. Issue 25 - May 2018

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E The Muses, acrylic on canvas, 60x60cm. Madeleine Cruise © 2018.

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