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s t u d i o

L A

arts zine issue 18 november 2016

P R I M I T I V E


slp

studio la primitive EDITOR Robyn Stanton Werkhoven CONTRIBUTORS

Above: “Rob Candy” Watercolour on paper 100 x 85cm , Dee Jackson Front Cover: Mystics Beach, oil on board, 50 x 60cm

Richard Claremont

Brad Evans

Dee Jackson

Eric Werkhoven

Dawn Oelrich

Yosua Aethyrin

Pamela Priday

Lorraine Fildes

Lynn Jenkins

Magpie Springs Gallery

Ed & Barbara Ramsay

Robyn Werkhoven

Timelesstextiles

Art Systems Wickham

Gallery 139

Richard Claremont © 2016 Issue 18 - November 2016

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INDEX

Above: Bowl, timber - Ed Ramsay © 2016

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

Editorial………………………… Robyn Werkhoven

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SLP Antics………... …………. E&R Werkhoven

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Featured Artist ………………… Richard Claremont

6 - 23

Poetry…………………………… Brad Evans

24 - 27

Audain Art Museum …………… Dawn Oelrich

28 - 31

Featured Artist …………………. Dee Jackson

32 - 47

Poem …………………………… Eric Werkhoven

48 - 49

Aomori, Japan…………………

Lorraine Fildes

50 -75

Poem……………………………. Yosua Aethyrin

76 - 81

Textile Artist …………………… Pamela Priday

82 - 87

Photography …………………… Lynn Jenkins

88 - 97

The Edge of Nature …………… Ed & Barb Ramsay

98 - 101

Post Card Exhibition ……………Avril Thomas, Magpie Springs Gallery ………

102 -105

ART NEWS…………………….

106 -127

Back Cover……………………..

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EDITORIAL Greetings to all our ARTS ZINE readers for November 2016 and best wishes for the festive season. November issue 18 of STUDIO LA PRIMTIVE ARTS ZINE is our last publication for the year, but we will return next March, with many great surprises for our readers.

This month’s leading artists’ interviews feature - Wollongong based landscape artist Richard Claremont, who has not long returned from a painting holiday in Hong Kong and France. And Sydney artist Dee Jackson, who is well know for her emotive water colour portraits. From the Hunter Region NSW, articles on textile artist Pamela Priday, photographer Lynn Jenkins and the

new studio / gallery Edge of Nature by Ed and Barbara Ramsay. Lorraine Fildes, our resident travel photographer and writer features Aomori, Japan. Don’t miss reading our new essays, poetry, art news and information on forthcoming art exhibitions. The ARTS ZINE features national and international visual artists, poets and writers, glimpses into their

world of art and their creative processes. Submissions welcomed, we would love to have your words and art works in future editions in 2017.

Deadline for articles - 15th February for March issue 19 2017. Email: werkhovenr@bigpond.com Regards - your editor Robyn Werkhoven Issue 18 - November 2016

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E & R A

N T

I C S Collaborative drawings - The Vulnerable - E & R Werkhoven Š 2011

www.studiolaprimitive.net Issue 18 - November 2016

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RICHARD CLAREMONT Issue 18 - November 2016

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Richard Claremont

oil paint underneath that clip on to my handlebars, but usually I just whip out pen and

Richard Claremont is an Australian artist who was

paper to scribble the crucial lines.”

born in 1965 in Sydney. He presently lives in the coastal town of Shellharbour, NSW.

He attended a Steiner school, where a creative environment is provided for students. By high school, his interest in art and English language led him to consider a career in graphic design and advertising.

Richard’s artwork juxtaposes the natural and synthetic worlds, oftentimes blurring the lines between the two. His unique talent in capturing the simplicity of a subject whilst simultaneously commentating on its inner

However, in 1982 when Richard completed his HSC,

fragility and beauty continues to resonate

he made the decision to study Visual Arts instead of

with audiences and critics alike.

Graphic Design. From 1983-1985 he completed a degree at Sydney College of the Arts, majoring in painting.

Richard’s artwork is represented in collections both locally and internationally and he has been a finalist in many major art prizes. A

In 1988, to supplement his income, Richard became

practising artist for 30 years, he is a regular

a postman. He finds the time spent delivering the

exhibitor in both Australia and Europe,

mail to be a good opportunity to think and plan his

including the Galerie Mona Lisa in Paris.

next painting. “I carry an old cigar box that opens up to be a mini

- Richard Claremont. Opposite :Gipps Road, Wollongong, oil on board, 30 x 40cm

easel with a 10cm x 14cm canvas and a few pots of Issue 18 - November 2016

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Afterglow Oil on board 35x45cm Richard Claremont

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Richard Claremont - Interview.

When did your artistic passion begin? 


“Much of my current art practice can be traced back to my education at a Rudolf Steiner School, which placed a great emphasis on creativity and the development of the child. There were lessons about the Norse myths, ancient civilisations and old folk tales. It was a rich environment that developed an interest in

drawing with crayons and painting in watercolour. I discovered a love of mechanical things. I would draw endless conveyor belts and pie-making machines with little attendants – there was something about factory automation which appealed to me, the idea that we were all somehow tiny cogs in a huge machine.”

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Intertide Oil on board, 50 x 60cm Richard Claremont Issue 18 - November 2016

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Describe your work “The joy of discovering things close to home, the excuse to get out for a good walk, the impression of a remembered landscape… these are the elements I have added to my painting this year. Typically a painting will begin with a few rudimentary sketches hastily scrawled on the back of an envelope, breaking the landscape down into a few core elements… a triangle for a headland, an S-curve for a shoreline, semi-circles for rocks, and so on…

With my paintings, I try not to plan too far ahead… I like the paint to tell its own story… every paint glob and dribble seems to speak something about the process. The joy of mixing paint is one I have discovered later

in my career as an artist. I love the feel and smell of the oil paint - a partially mixed paint cluster has its own little universe of spots and stripes and streaks just waiting to splatter itself onto the canvas… there is something almost mesmeric in waiting to see what’s going to happen next.

As I mature, I notice that my work is becoming increasingly “impressionistic”… I am always looking to simplify, reduce, to see what else can be taken out… at times I seem powerless to resist a headlong plunge into complete abstraction. When I am going full throttle in my studio I am thinking of Monet’s masterful treatment of light, I am recalling Bacon’s brutality and Whiteley’s exquisite curves… the American painter Childe Hassam and his eerie urban snow scapes… these are the painters who inspire and motivate me.” Issue 18 - November 2016

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Remembered Landscape Near Lithgow Oil on canvas, 122 x 122cm Richard Claremont

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What inspires you?

“Working quickly and freely, I am equally comfortable painting the industrial imagery of the south coast, or a

sunset, or a soft drink can. My work skirts the boundaries between representation and abstraction, blurring the natural world with the synthetic world. I am intrigued by the interplay between man and nature… the shimmery horizon line where a power plant ends and where a sunrise begins, the way a container terminal imprints itself on the sea, everything that the eye fills in and assumes in the intervening space… these are the things that fascinate me.”

Name your greatest achievement, exhibitions:

“Winning the ANL Maritime Prize in 2015 was a career highlight. I have also been a finalist 3 times in the NSW Parliament Plein Air Prize, the Mosman Art Prize and the Calleen Art Prize.”

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Autumn at Lake

Annecy Oil on board 30 x 40cm Richard Claremont

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What are you working on at present?

“I tend to work on several bodies of work concurrently. Over the last 12 months my principal body of work has been my Remembered Landscapes series… exploring the countryside around Bathurst from the fragments of my memories.

Sometimes in summer I would get up before sunrise and ride my bike way out into the Bathurst hills. I would ride and ride and ride. I loved the sound of the rubber tyres on the road as the first rays of light crept over the horizon. On weekends my parents loved going to all the antique shops in the towns around Bathurst. I didn't much care for antiques so I lost myself in the rolling hills as the landscape sped by...I used to count the telegraph poles and wonder how electricity could be invisible…”

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Cherry Blossom in Shinjuku Garden, Japan, oil on board, 35 x 45cm, Richard Claremont. Issue 18 - November 2016

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Your future aspirations with your art?

“I have always loved to travel and increasingly my art draws on my experiences overseas. In the last 3 years France has become my “home away from home” so I intend to continue painting my beloved Paris

rooftops and also venturing out into the countryside with my pochade box. I have been fortunate to have exhibited in Paris and Hong Kong so next year I would love to take my work to either London or New York as I have quite a following there…I love that in today’s world it is possible to combine both my love of painting and my love of travel…it really is a great age in which to be an artist! Some overseas and local workshops may be on the cards too as I have received numerous invitations for

these and I would love to help my fellow painters in the best way that I can. I am in the process of writing a book too which talks about my experiences of producing and marketing my work in the digital age.”

Forthcoming exhibitions? I will be showing my work at Depot Gallery in Sydney in December 2016 and in Melbourne in July 2017.

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Kiama Headland Oil on canvas 85 x 85cm Richard Claremont Issue 18 - November 2016

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The Crossing Oil on canvas 85 x 85cm Richard Claremont

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Georges Plains Oil on canvas 85 x 85cm Richard Claremont Issue 18 - November 2016

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Untitled Landscape Study Oil on board 50 x 60cm Richard Claremont

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Remembered Landscape Near Bathurst Oil on canvas 121 x 122cm Richard Claremont Issue 18 - November 2016

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Photos curtesy of Richard Claremont Š 2016

http://www.richardclaremont.com/ Issue 18 - November 2016

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looking for home Brad Evans something is killing him something I know not it's none of my business so I don't ask but I can see his face showing the last leg and looking tired of life‌

I remind him of his cafe how good it was to go there. His face lights up and he says: "You remember it?" And I tell him of those nights When the philosophers came to talk and drink wine and eat the crepes he used to make over the round hotplate.

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I tell him I passed on the talking but enjoyed the drinking and got so drunk one night I became lost while looking for home

I tell him that I remembered walking along a country road and seeing an airport at one point with 737's parked on the tarmac seeing those still, silent planes made me feel even more lost... And he laughed at my story and I smiled knowing that for just a brief moment he'd forgotten what it is that's killing him. -Brad Evans Š 2016

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handball Brad Evans lunch hours to tea breaks primary school to high school driving my father insane with the number of shoes I went through: wearing out my inner step year after year. on wet, windy days our passionate hands bright red from the play driving that ball heavy and damp.

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some bent them but we all knew the rules: "winner serves" "double" "full" "play on" but that was decades ago...

I now teach my girlfriend that game as if in mock reassurance that it wasn't all just a dream. - Brad Evans Š 2016

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AUDAIN ART MUSEUM – Whistler, BC Canada Dawn Oelrich

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AUDAIN ART MUSEUM – Whistler, BC Canada

In Australia we already have privately-funded, world-class art museums – MONA in Hobart, White Rabbit Gallery in Sydney and the newly opened David Roche Foundation Museum in Adelaide. Private

collectors throw their doors open to the public to see their passion: personal art collections. So it was with delight that I visited British Columbia’s (BC) first privately owned art museum, the Audain Art Museum, in Whistler, BC, Canada when it opened in March this year. At over 5000 square metres, the Audain Art Museum houses the collection of philanthropists Michael Audain and Yoshiko Karasawa. The collection is not huge but is varied and significant in that it consists almost

exclusively of works by BC artists. There are stunning examples of First Nations’ masks and carvings, contemporary and traditional; a select and important collection of works by Emily Carr (think Canada’s Margaret Olley with giant trees and landscapes); paintings by early 20th C and post- war artists such as Fred Varley (foundation member of the Group of Seven), EJ Hughes and Toni Onley. Contemporary artists include world recognized Jeff Wall and Takao Tanabe amongst others.

For collectors, it is an issue of what to do with a private art collection once it has reached a certain size. Heirs do not necessarily share their relative’s passion. Public institutions groan under the weight of existing collections and although we curators might love them, it is a funding battle to care for and ensure collected

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A gift might be swallowed up by the larger collection or simply go into storage. In the late 1950’s, William Randolf Hearst’s mansion(s) at San Simeon, now a US National Historic Landmark, was carefully considered and nearly rejected before the donation was accepted by the Legislature of California. This was due to the prohibitive and ongoing costs of maintaining the site and art collection. In my own career, I have been involved with absorbing several sizeable donations into public collections including the Kathleen and

Leonard Shillam Collection (Redcliffe, Queensland Art Collection, 2001) and the John Mainwaring donation to the University of the Sunshine Coast in 2012. The Shillam donation represented nearly 70 years of art-making and collecting, gifts exchanged between artists and students. John Mainwaring’s collection represented extensive travel to remote areas of Australia including the western desert and Arnhem Land.

Absorbing a gift of multiple works is a process of months of meetings with the donor and the accepting institution; justifying a policy; seeking funding approval and developing a conservation budget; cataloguing, photographing, auditing and insuring – and complying with the ATO’s rules and regulations if it is gifted through the Commonwealth Government’s Cultural Gifts Program. In both cases the enormous generosity of

the donors, in gifts and of their time, made the process a wonderful and rewarding experience and both institutions benefitted greatly from the donations. In the case of Audain and Karasawa, the decision to build a museum in Whistler came about after looking at several options, including donations and then opting to build a museum.

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Then came the issue of a location and a ski resort may seem like an odd location. In an interview with journalist Kevin Griffin (Vancouver Sun, 26 January 2016) Mr Audain said they knew they wanted to build an “intimate facility” in “a natural setting with indigenous landscaping”. They were prepared to fund the building but wanted the site to be donated. After consideration and discussion, the Mayor of Whistler, Nancy Wilhelm -Morden was able to convince them to build in Whistler Village, 120 km outside of Vancouver. Whistler has

become much more than a ski resort in recent years especially after it came to world notice after the 2010 Winter Olympics. Now it offers year-round events and reasons to visit such as festivals, golf, hiking in nearby Garibaldi National Park, mountain-bike riding, fine dining and more. Simply, it is beautiful there. There has also been a push toward increasing cultural tourism including planning concerts with the Vancouver Symphony Orchestra and the Emily Carr University of Art + Design summer school. The new museum is an architecturally designed, purpose-built gallery with full time curatorial staff. An annual exhibition program offers selected works from the collection as well as touring exhibitions from other collections. - Dawn Oelrich © 2016

Dawn Oelrich

is a free-lance curator and art museum worker who lives in Queensland. She was the

former Director of the University of the Sunshine Coast Gallery and prior to that was the Coordinator of the Redcliffe City Art Gallery.

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DEE JACKSON

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DEE JACKSON - INTERVIEW

“Although Australian based, I have spent several years living in Southern Africa and New Zealand. Watercolour is my great love - it is the fluid spontaneity that attracts me. As a medium, watercolour, lends itself to the softness and curves of the human form. It allows the artist great freedom. My watercolour

portraits have been commissioned throughout Australia

as well as in United Kingdom, USA, Sweden, South Africa, New Zealand, Singapore and Vietnam.�

Opposite page: Portrait - Riley Lee_The Path of Least Resistance - Watercolour - 120cm x 85cm Dee Jackson 9C0 2016

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Portrait - Ilanga, watercolour 40cm x 55cm, Dee Jackson © 2016 Coal & Allied 2016 Singleton Art Prize,

“People’s Choice Award” for my painting Ilanga. Issue 18 - November 2016

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When did your artistic passion begin? “If a child, growing up in Adelaide SA, can have an epiphany or “light bulb moment” then I did. I remember the revelation of sitting in a classroom at Walkerville Primary School when I was 6 or 7 years old and

realising that I could draw. Strangely enough, I even remember the class-room and the crayon drawing – an orange and green still life: teapot and teacups. That revelation was life-affirming, as I knew from then on that I was an artist”.

Where did you study? “I have always studied in the evening at TAFE/UTS throughout my working life. Sculpture: In Adelaide, I studied sculpture with German-born sculptor Thea Bluhm. I produced busts of Thea’s young son and her husband (also a sculptor) . Oil & Drawing: In South Africa I studied in Durban, South Africa with artist Wendy Amm

Watercolour: Studied in Sydney, Australia at Ku-Ring-Gai Art Centre with Watercolour Artists Madeleine Szymanski, Rob Candy, and Malcolm Carver. Madeleine taught me the love of watercolour and the way of looking at light and shade. Both Rob and Malcolm have instilled in me the techniques of composition and perspective.”

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Portrait - Charles Watercolour 55 x 50cm Dee Jackson Š 2016

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Dee describes her work. “As a Watercolour Portrait Artist, I usually work on commission. Although always based on a good drawing, watercolour lends itself to the softness and curves of the human form and allows me great freedom. Portraiture by its very nature is an intimate experience. When I create a portrait, I am aware of that almost

seamless link we have with our past or future, our hopes, joys or sorrows.

Preoccupied as we often are,

perhaps from very different backgrounds, there is always a human connection. Especially with families and children I see the love a parent for their child and it is that individual passion and character I hope to portray.

Most often my portraits commissions are sourced through the Web. Mostly I do not meet the

subject to be painted and work from photographs or digital images - however, if I am lucky enough, I always prefer to meet the sitter and sketch from life.

Portraiture gives me the great privilege of being able to

closely study each sitter – and as the artist, it is a charming and wonderful experience.”

What inspires you? “The true attraction for me has to be people and their amazing faces. I love painting watercolour portraits. It is the way the watercolour medium ebbs and flows and creates its own mark. I may guide the paint, but often I feel that my portraits create themselves.”

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Portrait Judy, watercolour, 55cm x 75cm, Dee Jackson © 2016 Issue 18 - November 2016

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What are your greatest achievements, exhibitions?

Being involved in the USA exhibition “Iconic Collection of works by 23 of Australia’s Finest Artists” Exhibition – Jun/Sep 2014” PAA Exhibition at The Embassy of Australia, Washington DC. USA. Doug Moran National Portrait Prize - Semi-Finalist 2014. Black Swan Prize for Portraiture - Finalist 2012.

Australian Federal Parliament House, Canberra – PAA “Celebrating Innovators” Exhibition 2012 and “Unsung Heroes” Exhibition 2009, NSW Parliament House, Sydney – PAA “Multi-Cultural Australia” Exhibition 2013; “The Face of Australia” Exhibition 2011 and “Parliament Objects” Exhibition 2009. Blacktown City Art Prize – Finalist 2015, 2012. Hunters Hill Art Prize - Finalist 2016, 2015, 2014, 2013 .

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Portrait - Tony Bonner - In The Frame Watercolour 120 x 85cm Dee Jackson Š 2016

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What are you working on at present? “I am about to start working on an animal portrait commission (of a much loved doggie). I have just completed a commissioned portrait of 3 women - inspired by the client’s trip to northern Africa.

In the past three months I have also completed a commissioned portrait for a 40th birthday celebration - for a client living in Singapore. As well I have completed a commissioned portrait of an 18 month old baby girl”

Future aspirations with your art?

“I would like to continue with watercolour portraiture as I love the way the paint flows and I am always excited to see what will happen when starting on a new painting.

As well I have been thinking about

creating a series of 10 or 12 portraits - based on a theme that I am mulling over at the moment.

I have

also had an idea for a simple illustrated book which has been in the back of my mind for about 7 years. Perhaps it is time to make that a reality. “

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Tony Kentuck Simply Observed watercolour 87 x 75cm Dee Jackson © 2016

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Forthcoming exhibitions? “As I am the Publicity Officer for the Combined Art Societies of Sydney (CASS), the main focus throughout the year is the annual “Art of Sydney” Exhibition held in the Australian Maritime Museum over the Australia Day long weekend (5 days).

In September I held an Open Studio exhibition with fellow artists Susan Smart and Jemma O’Regan – as part of the CASS Art Direct art trail event – “September is Art Month”.

Other interests? “Whenever possible I try to attend a Portrait Group in Epping which helps with drawing skills. Although I am not really a landscape painter, I try to get away 2 or 3 times each year camping. Last year I loved touring the Victorian High Country and in July, this year, I spent 3 weeks in the Birdsville/far southwestern Queensland region. The simplicity of living closer to the land is a great source of inspiration. As well the sense of space, colour and light is amazing.

In March, this year, I toured South Africa. Again this was inspirational in that it added to my memory bank - which is almost filled to the brim with the wonderfully diverse and strong faces of the people I met. I can’t wait to start painting; just for me this time i.e. not as a commissioned piece, which gives me greater freedom! “

- Dee Jackson © 2016 Issue 18 - November 2016

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Portrait Sweet Baby, watercolour, 30 x 40cm, Dee Jackson © 2016 Issue 18 - November 2016

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Portrait - What Fun, watercolour, 40 x 55cm, Dee Jackson © 2016


Portrait - Uh Oh , watercolour, 30 x 40cm , Dee Jackson © 2016

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Right Image: Ku-Ring-Gai Art Society Exhibitions, Sydney: Inaugural Members’ Choice Prize Award – 2013 Judges’ Comment: “This is a beautiful example that you do not have to finish a work. The magic comes from

leaving a little mystery.” 1st Prize Watercolour – 48TH Annual Awards Exhibition 2013

www.deejackson.com.au Issue 18 - November 2016

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UP THE HILL ERIC WERKHOVEN Come up with something new, now that I made the effort to get here, to gaze into the gentle sloping terrain and feel the better for it. To spend some time just being here, to write and sing, if that’s an intrinsic part of this riveting complexity of our understanding, an objective to work on.

How wonderfully cool is the sweetness of the wind, blowing across this view of waving grasses and scattered trees. Some of us live in the village, where the sounds of encroaching industry

and heavy traffic seems like an infringement. I did try to sing a few of my poems, but it didn’t feel as liberating and I didn’t want to play the saxophone with its intrusive sounds.

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So coming here satisfies my need for peace and quiet. Above all it lifts me up and inspires me. And for two hours the great sky is my blanket.

May I be grateful and keep these powerful, negative forces down. Since by all accounts I woke up feeling angry and ready for a fight. So in taking time out you don’t need to go that far.

We are given all these difficult aspects of life, some of them turn us upside down. Some compel us to dance and practice a particular style of dancing. Some compel us to work and earn enough money. To repeat the Mantra, I come here to rest awhile longer. - Eric Werkhoven Š 2016

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Aomori, Japan

Lorraine Fildes Issue 18 - November 2016

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Port of Aomori for a shore excursion to Hirosaki Lorraine Fildes From the port city of Aomori, I went on a shore excursion to Hirosaki. My first visit of the day was to a museum devoted to housing the illuminated carnival floats used each year in Hirosaki’s annual Neputa festival. We were shown in to Hirosaki Neputa-no-Yakata Museum’s main auditorium to see the floats of previous years. Modern Neputa floats are made of Japanese paper supported by a wire frame, lighted from the inside with

hundreds of light bulbs. The paper is beautifully and painstakingly hand-painted. The colours and the detail are exacting. The craftsmanship that goes into each and every piece is of the highest order. The interior of the museum is dimly lit so you can appreciate the full splendour of the floats. The lanterns feature swarthy, evil-looking painted warriors on one side of the enormous drum-shaped floats, coupled with demure maidens on the reverse side. In the actual festival, the floats are pushed along by people. Each float is accompanied by teams of taiko drummers, flute and hand cymbals players, and dancers. The Hirosaki Neputa Festival is held from 1st to 7th of August. It has the largest number of floats among all nebuta/neputa festivals. In 1980, Hirosaki Neputa Festival was designated as one of the Important Intangible Folk Cultural Properties of Japan. Opposite image: Front of Lantern - male. Issue 18 - November 2016

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Back of Lantern - female.

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Hirosaki’s Neputa is a more traditional and sombre festival compared with the Aomori version held at the same time (but confusingly called Nebuta). Both are derived from a word in the local dialect meaning drowsiness. The tradition began 400 years ago when rice farmers, fearing accidents that followed summer drowsiness,

made little lanterns they would float downstream to carry their sleepiness away and ward off evil spirits. Over the centuries the lanterns grew larger and more decorative. Now, during Neputa, up to 60 enormous lanterns can be paraded on purpose-built carts around Hirosaki’s streets. The Museum also has a Japanese-style garden - Yokien - attached to it. The garden was established between 1880 and 1914 with methods unique to the Tsugaru District. The garden has been designated a

green space to be preserved by the city of Hirosaki. There are many trees over 400 years old. Wooden structures are placed over the trees in winter to prevent their destruction from the heavy snowfalls that they have in Hirosaki. The photographs I took of the garden showing the wooden structures and the snowcapped mountain in the background added to my knowledge of the havoc that climate can cause in

some countries. These structures will be removed in the next few weeks when spring assures the Japanese there will be no more heavy snow falls. Our third stop on the excursion was at Hirosaki Castle. This castle was constructed in 1611, but was struck by lightning in 1627 and burned to the ground. The castle was rebuilt in 1810, and as you will see from the photos still retains an aura of its ancient past. Issue 18 - November 2016

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Neputa Lantern. Issue 18 - November 2016

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Hirosaki Castle Hirosaki Castle is one of only 12 traditional castles left in Japan. The three-storey wooden tower is listed by the Japanese government as “an Important Cultural Property”. The Castle is surrounded by a 121-acre park and looks towards the high mountain range which surrounds the area. There are 2600 cherry trees in the park and the castle and the cherry trees are among Japan’s most photographed objects during the last week of April and the first week of May. As I was there in late March I have photographed the bare branches of the cherry trees and the snow-capped mountains behind the castle.

Seibi-en Japanese Garden. Our final stop on the excursion was at the Seibi-en Japanese Garden. This garden is listed as a National Scenic Spot. It is said to be typically showing the essence of the Bugaku-ryu style garden. It originated from a Kyoto-style garden made by a court noble in the Edo period (1603-1867). Here I was to see fountains, waterfalls, pagodas, shrines all peacefully co-existing together. Unfortunately,

the water was not flowing and the trees were still covered with wooden structures to protect them from the snow. I did however manage to capture some very picturesque scenes in the garden. There was what they were calling a treasure house in the grounds – it housed “Dainichi Nyorai” – an image of Buddha. The building was constructed combining Western and Japanese styles of architecture. - Lorraine Fidles © 2016 Issue 18 - November 2016

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Hirosaki Neputa-no-Yakata Museum Japan.

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Neputa Lantern

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Neputa Lantern.

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Neputa Lantern

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Drawing of Japanese Lady playing Flute.

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Drawings of Japanese Women. Issue 18 - November 2016

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Drawing of Japanese Lady with fan.

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Drawing of Japanese Lady.

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Drawing of Japanese Man.

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Drawing of Japanese Lady. Issue 18 - November 2016

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Hirosaki Castle with snow capped mountain in background. Issue 18 - November 2016

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Hirosaki Castle with cherry tree in front, view I. Issue 18 - November 2016

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View from Hirosaki Castle. Issue 18 - November 2016

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Hirosaki Castle with cherry tree in front, view 2. Issue 18 - November 2016

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Wooden structures protect the trees from the heavy snowfalls . Japanese garden - Yokien style. Issue 18 - November 2016

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Seibi-en Japanese Garden done in Bugaku-ryu style

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Small pagoda in Seibi - en garden.

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Small shrine in Seibi - en garden

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Japanese garden – Yokien style

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House in Seibi-en garden

Photographs -all rights reserved Lorraine Fildes Š 2016. Issue 18 - November 2016

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Star shine Out of the white – Yosua Aethyrin Star shine Out of the white I tie my tie. I pull up my socks. And I learn to sit in leather lounges. I Think of a happy times when I wanted an absinth or saw the grass overgrown from farmers lands. I wonder why I am here.

and too close to the skin like an unwanted hug. Clingy and wet. I think. Hm. May be this man here knows why I am here so I sip my absinth and lean over. He says. the grass is good. And the muggwum drips. The sun sets and I pass out in another back alley with the broken pieces of my OS X I tie my tie.

I pull up my socks. And the cow said.... the grass is good. I like the shiny stone and glass walls and the feeling of the air being warm

I put my ink pen into its pocket and I wonder why I am here.

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This man seems to know who I am so I ask him and he says.... the grass is good

Her name written in the broken keys I cast between my toes

They die I don't think they even care, but by nurture or nature they deserve it and by nomenclature are called unto their maker. They hear the sirens song tonight We are all called to come together

She knows Yes and no

we are all called to die

a thousand binary affirmations on the great hard drive in the sky

We are all called unto the anvils strike. The demon hot.

But only one thousand She lied

Strike fast the makers clamour. Strike true the smithies chord

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As her denim jeans slip low upon her hips as her undies rise another morning glorious sun and another blood spattered twilight sky.

And a thousand maidens swoon to maggies ambered wallo. And he comes again into the light. She cast gaze again and still he rise.

Good day sunshine

She blink and still he smile upon her as though he refuse to vanish.

Shine

And she shut up again her breath a moment and inhale.

Her breath Soft Warm Pure

He smiles. Her bosom swell.

fresh cotton And the cotton jin turn And the spokes wind. An thousand thousand black seeds stripped of their treasures and shucked of their armour.

He's soft as down and flax straw. Firm as willows bend and forgotten roads soft as tomorrow.

And she goes again He rise. He rise again but only to see her smile and she turns. Issue 18 - November 2016

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And again she turns away awhile. And then she turns to go. And she goes again.

She never Stood before him To talk of herself Or her feelings Of her floating insecurities Of her empty places And the shadow of twilight

Good day sunshine Shine

She wanted to be held

And if the sun refuse to shine I will still be loving you Mountains crumble to sea There will still be you and me

The fluted gortex straps with the honeycomb and lacing , the pressure and the tug, remind her of the empty place beside her.

She never stood In front of him For dressing herself in the morning or doing her hair.

The steel and lace binding as his arms used to hold her. Around her shoulders or resting on her belly.

She never stood Before him To arrange her bags Or put on her gems

When you look into the mouse. The mouse looks into you Is that where the cheese went?

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Methuselah’s promise and the twilight messenger. Her voice, Her love, so perfect. Why? How can you not. Even to waste away in thirst on the border of the waste land for want of a drop, a drip or drink. What opium vision so great as the tough of the godhead. What vision so wasted as the dust of your skin in a bloody sunset of the death of god. There is a crack in everything. That's how the cheese gets in. That's how the cheese gets in Cheese is good bait. For cats. I tie my tie. I wind my watch. I put my ink pen in its pocket. I pull up my socks.

I ride a bus through the city.

I think to myself I will eat Chinese. Its My excuse to do some food shopping. I tie my tie . I wind my watch. I put my ink pen in its pocket I fold my money paper. My tie is Italian silk. Its blue and red fine floral but mostly green for St Patrick. I think I may have a whisky but I change my mind. After lunch I sit in a hotel lounge and I Think of where I am and what conversation I might have with what woman may also lounge in hotel furniture.

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I think I dress well and am good to converse. I think I am decoration and a fashion accessory. I wonder what woman’s shoes may match me. I tie my tie I wind my watch. I fold my money paper. I push up my glasses

He waits for her In hotel lounges They hadn't met in a year and he wasn't sure if he would remember her smile or her manner but he knew He knew that he would remember the smell of her even if she had changed her perfume.

and I catch a bus home and sleep in the afternoon. I Wake and treat myself with myrrh and make a cheese sandwich.

They were supposed to meet for coffee Maybe lunch But he was nervous so he orders a scotch And he waits.

Its humid.....almost monsoon. I shower and chat with a distant friend. She likes to ignore me

I tie my tie, I wind my watch, I fold my money paper, I put my ink pen in its pocket, I wear my ring.

I tie my tie, I wind my watch, I fold my money paper, I put my ink pen in its pocket, I wait I wear my ring For her And fade To black.

- Yosua Aethyrin Š 2016 Issue 18 - November 2016

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PAMELA PRIDAY

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Textile Artist - Pamela Priday Pamela Priday creates unique hand-dyed and printed fabric. Employing various techniques including the use of fibres, natural fibres, paints, and textile-art media to make art to wear and adorn the home. Dyeing

cotton for garments and silk for scarves is a favourite obsession of hers. Another interest is the creation of beautiful, elaborate art quilts.

Formerly Pamela lived in Adelaide in South Australia, her career in personal injury rehabilitation created

the adventure of relocation to Sydney, New South Wales. A move in 2012 to Dungog in the Hunter Valley, provided space, quietness and beauty near the Barrington Ranges.

Pamela says, “Retired now, I have time to express my lifelong artistic passion and enjoy time with people who love art and design.

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“Don’t you just love the feel of pure silk? Dyeing silk is a delicious activity and Shibori techniques are always so enjoyable for their surprise element. My love affair with dyes and silk continues. folds in silk fabric.

I just love the way colour is transported serendipitously to the

Also allowing the dye colours to travel to form abstract shapes. Anything that moves

away from realism attracts my hand and eye”.

(Shibori is a Japanese manual resist dyeing technique, which produces patterns on fabric. There are an infinite number of ways one can bind, stitch, fold, twist, or compress cloth for shibori, and each way results in very different patterns.)

Pamela also explores many dyeing and printing techniques, including natural plant dye methods in addition to contemporary stitching and felting with fibre.

“Membership of Dungog by Design an artisan collective, refreshes my creative spirit and passion to continue making art to wear and for the home, art and craft to love”.

Pamela Priday’s work is available at Dungog by Design, 224 Dowling St. Dungog, NSW

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“Creating lovely silk scarves continues

to be a passion of mine. Here I have worked intuitively allowing my hands to direct

the

paintbrush.

Curiously,

I

always enjoy the outcomes that result from a freewheeling approach.

I feel

that the warmth of black (my colour mix) provides a moody contrast to the application of strong warm & cool colours.

And the shapes seem to

injection spontaneity.� - Pamela Priday

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Textures of the Landscape - Pamela Priday “Living in The Upper Hunter close to the Barrington ranges floods my eyes and mind with a myriad of colours, textures and moods from the landscape. I feel this piece of work (just finished) is a subconscious effect of being surrounded by the land and its

beauty. My felted wall hanging was made using wool & silk rovings, yarns, and fibres, then embellished with hand stitch. This is the morning view from our back yard ….. It is never the same, even though it always is!

Today the colours were so so soft, caused by diffused sunlight and a gentle smokey haze due to farmers burning off their land before summer arrives.” - Pamela Priday © 2016

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Pamela Priday www.craftyquilting.wordpress.com Photographs cutesy of Pamela Priday © 2016 Issue 18 - November 2016

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Lynn Jenkins Photography

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Lynn Jenkins - Photography Born “into” the British Army, Lynn spent the first 20 years of life moving from one country to another which has given her a broad perspective but no real roots. She came to Australia in 1979, eventually settling on

her farm in 1995. Lynn lives on the picturesque Fosterton Loop on the outskirts of Dungog, along with her husband, photographer Dick Jenkins, their dogs, cat, chooks, cattle and most importantly (well after Dick) the herd of horses. A lifetimes ambition was finally realised – being surrounded by horses and being able to gaze at them from

every room of the house. Tashkent Friesians breeds Friesian and Friesian cross horses and incorporates the herd into Horsanity. Horsanity employs the unique attributes of the horse-human bond to build self-awareness in individuals and teams in order that they can become their best selves; realising their innate gifts. Despite this final settling down, the wanderlust continues and Lynn and Dick travel frequently, cameras in hand. Whilst they both have a particular interest in nature photography, the inspiration that underlies Lynn’s work is capturing the essence of what she sees and feels, the spirit, of her subjects.

Opposite image: “Me and my shadow”

Canon 6D, printed on 210 gsm fine art paper, Lynn Jenkins © 2016

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“Kissing Cousins “

Canon 6D, printed on 210 gsm fine art paper, Lynn Jenkins © 2016

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“Ma Belle Sittella “ Canon 6D, printed on 210 gsm fine art paper, Lynn Jenkins © 2016

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“Mares just want to have fun “ Canon 6D, printed on 210 gsm fine art paper, Lynn Jenkins © 2016 Issue 18 - November 2016

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New Life Tokena Canon 6D printed on 210 gsm fine art paper. Lynn Jenkins Š 2016 Issue 18 - November 2016

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“The Bamboo Man “ Olympus OMD Mark 5 II, printed on 210 gsm fine art paper, Lynn Jenkins © 2016 Issue 18 - November 2016

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“Shanghai Night in the Secret Garden” Olympus OMD Mark 5 II , printed on 210 gsm fine art paper, Lynn Jenkins © 2016 Issue 18 - November 2016

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“End of An Era” Canon 6D, printed on 210 gsm fine art paper, Lynn Jenkins © 2016 Issue 18 - November 2016

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“Vast” Canon 6D, printed on 210 gsm fine art paper, Lynn Jenkins © 2016

Lynn Jenkin’s photography is available at Dungog by Design Gallery 224 Dowling St. Dungog, NSW

Hrs: Thurs – Fri 10am – 4pm Sat – Sun 9am – 3pm Issue 18 - November 2016

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40 Fosterton Road, Dungog NSW.

Dungog, New South Wales

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THE EDGE OF NATURE – Ed and Barbara Ramsay Ed and Barb Ramsay have been highly creative individuals since childhood. However it has been in the past 17 years together as an artistic team that they have produced some incredible work. Having grown up around woodworkers and traditional old timber fellers, Ed’s primary role now is that of timber engineer and chainsaw sculptor. Ed has produced many beautiful timber pieces for commissions, from king size four poster beds in the

vineyards to a cosy bench for two on a verandah in the city. He is known for his extremely soft finish to the indoor furniture. Barbara has studied Fine Arts and Architecture and has worked as a freelance designer for the Historic Houses Trust Sydney and The National Trust (NSW).

She developed a love of wood through Ed’s work ,and now designs and produces fine timber jewellery of Australian Flora and Fauna. The Edge of Nature Gallery is the materialisation of this dynamic couple’s creative force and invites you to enter a quirky little space filled with unique and unusual gifts.

Open from mid Oct 2016.

Ph 0457063702 for enquiries. Issue 18 - November 2016

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MOUNTAIN CEDAR Barbara Ramsay designs and produces beautiful fine timber jewellery from wood sourced sustainably on land in the foothills of World Heritage Barrington Tops National Park. Barbara’s designs highlight the grain of some rare species, particularly red cedar. She takes her inspiration from the surrounding

diverse flora and fauna and actively encourages protection and conservation of rare and endangered species. Barbara has studied Art, History of Art, Photography and Architecture and has always used art in many mediums as an outlet for her creativity. Barbara is a member of Dungog by Design an artisan collective. Barbara and Ed Ramsay

Email: mountaincedar48@gmail.com Issue 18 - November 2016

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The Edge of Nature 40 Fosterton Road, Dungog NSW. Photographs curtesy of Ed & Barbara Ramsay © 2016 Issue 18 - November 2016

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A SMALL WORLD - a Postcard Exhibition An International Open Exhibition of small works held at Magpie Springs Gallery, South Australia

Exhibition Opening 13th Nov 2016 2pm Exhibition Concludes 15th Jan 2017 5pm The Exhibition Opening will be held on the Sunday 13th November at 2pm. As artists we can share our works and make connections never before possible every day with each other on social media. We often see our artist friends works but the chance to see or even own an original from that artist is perhaps slim, especially if they are on the other side of the world. This is your chance to take part in an International show, purchase, via online auction, an original piece from your favourite artist and support cancer research - it’s about making connections through art. Register for auction at -

http://magpieexhibitions.com.au/ Issue 18 - November 2016

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Hope you can come/join in 200 PROFESSIONAL artists from round the world are participating – Established /mid-career/emerging This is the launch of a worldwide auction a drive for Cancer Research - BID on a work - worldwide online auction launch is Nov 13th register NOW on the auction website!

http://magpieexhibitions.com.au The show is on till Jan 15 in South Australia at Magpie Springs Help us spread the

word

let’s

make

something

big

happen

for

EVERYONE

https://

www.eventbrite.com.au/e/a-small-world-international-art-show-for-cancerresearch-tickets-28242789945?aff=efbneb

Photographs curtesy of Magpie Springs Gallery © 2016

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Brian Busch

Evert Ploeg

Gerhard Ritter

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ART NEWS ART NEWS ART NEWS ART NEWS

All sorts Peter Lankas Nov 2 –19, 2016

Glimpse 2016 oil on board 25cm x 31cm Issue 18 - November 2016

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PETER LANKAS Peter Lankas is a mid-career Newcastle based artist who is fascinated with the everyday, specifically suburbia, exploring the formal visual feasts and subtle narratives on offer inside the ordinary. His painting practice extends from the studio to the outdoors, exploring the ‘en plein air’ tradition of painting out in the landscape. This direct approach to painting has led him to adopt the ‘alla prima technique’ in the studio, mostly completing paintings in one session, which enhances the concept of capturing a brief moment in time. Peter's fascination with traditional painting techniques and processes has led to his research into working with nonsolvent oil painting methods of the Old Masters, adopting these methods into his art practice. Drawing is an essential part of Peter's art practice and it is the mark and gesture that brings the drawing process into the forefront of everything that he makes. Peter received his Diploma in Visual Art from Alexander Mackie CAE, Sydney in 1980 and a Masters in Fine Art (painting) from the University of Newcastle. Peter has been a passionate dedicated teacher of painting and drawing for almost 20 years. His beginnings in Newcastle were at the Ron Hatree Art School and he

has continued Ron Hartree's tradition, teaching life drawing classes for the past 15 years. Peter currently teaches at Newcastle Art School, Hunter TAFE and private classes at Newcastle Community Arts Centre. - Ahn Wells, Director Gallery 139.

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Detail "brown suit in candy land" from Allsorts a solo show next month at Gallery 139 , Peter Lankas Š 2016

"Sunday Luncheon" oil on board , Peter Lankas.

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PETER LANKAS 2 - 19 NOV 2016 OFFICIAL OPENING: Saturday 5 November, 2-4pm

This is Peter's first solo exhibition in the gallery as a Gallery 139 Artist.

Gallery 139 Beaumont St. Hamilton, NSW

www.gallery139.com.au Issue 18 - November 2016

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Cormac O’Riordan

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Cormac O’Riordan Cormac O’Riordan has created a body of new work that examines the local landscape.

His interest

in our local coastline is once again apparent in this suite of images. O’Riordan has also turned his eye to the diverse dwellings that surround us and impact on the landscape.

In some of the works, O’Riordan employs drone technology to create aerial topographies that bring altered perspectives and viewpoints. From the photographic images that inform O’Riordan’s initial research, he then develops his images through the processes of drawing, Cyanotype and Argyrotype printing techniques as well as traditional silkscreen processes.

O’Riordan's work in recent years has focused on the notions of existence, presence and actuality. The concept of “who we are, and where we live “ are always questions asked of the viewer. Cormac O’Riordan is a Visual Arts Teacher at St Francis Xavier’s College Hamilton and has been teaching Visual Arts to students for over 20 years.

MCMLXV a selection of works by

Cormac O'Riordan & Jacqueline McCoy

November 4 - 13, 2016

Artsystemswickham 40 Annie St Wickham NSW, www.art-systems-wickham.com/ Issue 18 - November 2016

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ART NEWS ART NEWS ART NEWS ART NEWS

studio la primitive Eric & Robyn Werkhoven Contemporary artists

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

www.studiolaprimitive.net Issue 18 - November 2016

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Susan Hotchkis

www.timelesstextiles.com.au 90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm

Sun 10 am – 2pm.

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TIMELESSTEXTILES EXHIBITION CALENDAR Felt: Collage and Wrap the Body The Nature of Things (elements) nceata

7 - 13 Nov 2016

January 2017 Being Contained: Petra Hilsen 13 Nov - 4 Dec 2016

Novocastrians in Stitch: Tanya Matas Me, Myself and I Bryany Duguid Family 18 Jan - 17 Feb 2017

Susan Hotchkis (UK) 17 Nov - 11 Dec 2016

Spirits in the Sky: Nicola Henley ( Ireland)

FINDS: Anne Leon & Liz Powell

15 Feb - 12 March 2017

14 - 24 Dec 2016

www.timelesstextiles.com.au 90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm

Sun 10 am – 2pm. Issue 18 - November 2016

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ARTSYSTEMSWICKHAM 40 ANNIE ST. WICKHAM, NEWCASTLE NSW.

Phone: 0431 853 600 Colin Lawson

www.art-systems-wickham.com/ Issue 18 - November 2016

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ARTSYSTEMSWICKHAM - exhibition calendar 2016

Nov 4 – 13

CORMAC O’RIORDAN & JAQUELINE McCOY

Nov 18 - 27

AHN WELLS , ALISON SMITH & CAELLI JO BROOKER

Dec 2 - 18

XMAS SHOW

www.art-systems-wickham.com/ Issue 18 - November 2016

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

70 Hooke Street Dungog NSW

0490 005 257 https://www.facebook.com/TheFeltStitchDyeGarden/ Issue 18 - November 2016

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Forthcoming Exhibitions 139A Beaumont St Hamilton NSW

PETER LANKAS 2 - 19 NOV 2016 OFFICIAL OPENING: Saturday 5 November, 2-4pm

This is Peter's first solo exhibition in the gallery as a Gallery 139 Artist.

www.gallery139.com.au Issue 18 - November 2016

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Feed The Monsters Of Love (The Slow Post) SODAMOLLY 23 NOV - 3 DEC 2016

Kristian Glynn & Colleen Hoad

Director's Choice 2016 7 - 24 DEC 2016 OFFICIAL OPENING: Saturday 10 December, 24pm This exhibition is a collection of works that have previously been exhibited in the gallery during 2016. Selected and curated by the Director for the annual Director's Choice exhibition. Ode to Daughters, Julia Flanagan

Gallery 139 Beaumont St. Hamilton, NSW

www.gallery139.com.au Issue 18 - November 2016

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STUDIO LA PRIMITIVE ARTS ZINE Click on cover to view the previous issues. Issue 18 - November 2016

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Click on cover to view the previous issues.

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https://www.facebook.com/DungogbyDesign/ Issue 18 - November 2016

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Non Solvent Oil Painting Techniques of the Old Masters Workshop with Artist Peter Lankas

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Peter Lankas will be hosting a Non Solvent Oil Painting Techniques of the Old Masters Workshop Newcastle Community Arts Centre, Sat 19 November 10am to 3pm. Materials provided. Cost $85. Learn how to achieve a beautiful result oil painting, totally without solvents like the Old Masters. The workshop will cover the simple methods of oil painting without solvents, cleaning cold pressed oils,

making painting mediums, glazes and natural varnishes. The process of making paint will be demonstrated. This process will suit anyone wishing to use a non solvent approach to oil painting even if using commercial oil paint and oils. The workshop will provide a chance to experiment with and get a taste of this remarkable ancient process.

Bookings are essential and numbers are limited so email Peter at the address below.

When: Saturday 19 November Time: 10am – 3pm Where: Studio 11, Newcastle Community Arts Centre Cost: $85 inc materials Enquiries Email: peter.lankas@gmail.com

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s t u d

L A P R I M I T I V E

i o “An Event” - Small World Postcard Exhibition, acrylic on card, H10 x W15cm E&R Werkhoven © 2016 Issue 18 - November 2016

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Profile for Robyn Werkhoven

Arts Zine November 2016  

Art & Literary online magazine, featuring artists' interviews, exhibitions, art news, poetry and essays.

Arts Zine November 2016  

Art & Literary online magazine, featuring artists' interviews, exhibitions, art news, poetry and essays.