ARTS ZINE November 2017

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arts zine issue 23 november



there be unicorns out there e



















A Dream (detail) - Gaye Shield Š 2017.

18 nov - 16 dec Dungog by Design 224 Dowling St Dungog.

























E 3rd February to the 29th April 2018 Maitland Regional Art Gallery


studio la primitive EDITOR: Robyn Stanton Werkhoven


The Watcher, ‘Light installation Neon Scribbles' by Cerith Wyn Evans. London Tate, Britain. Photograph - Maggie Hall © 2017.

Michael Bell

Brad Evans

Ron Royes

Carlin McLellan

Ellie Kaufmann

Eric Werkhoven

Andrew Finnie

Lorraine Fildes

Marijke Greenway

Maggie Hall

David Rodriguez

Chris Priday

Jacquie Mather

Robyn Werkhoven

Gallery 139

Art Systems Wickham

Dungog by Design

Dungog Contemporary

Back to Back Gallery Issue 23 - November 2017


INDEX Editorial ………………. Robyn Werkhoven


SLP Antics………... … E&R Werkhoven


Feature Artist ….. …… Michael Bell

8 - 23

Poetry …………………. Carlin McLellan


Brad Evans


Feature Artist ………… Ron Royes

26 - 37

Poetry ………… ……… Eric Werkhoven

38 - 39

Feature Artist ………… Ellie Kaufmann

40 - 49

Jacob’s Ladder………

50 - 59

Maggie Hall

Feature Artist…………… Andrew Finnie

60 - 75

Poetry ………………….. Brad Evans

76 - 77

Feature Artist ………… Marijke Greenway

78 - 93

Borobudur Temple …… Lorraine Fildes

94 - 115

Feature Artist ………… David Rodriguez

116 - 127

Feature Artist …………. Jacquie Mather

128 - 135

Artist Exhibition ………. Dungog by Design

136 - 143

Gallery Interview …….. Dungog Contemporary

144 - 153

ART NEWS…………………….

154 - 179

Front Cover: Dogs in the Studio, oil on canvas, 80 x 80 cm Mysterious, water colour, Ira Morgan © 2017

- Michael Bell 2007. Issue 23 - November 2017


EDITORIAL Greetings to all our ARTS ZINE readers, our November issue is the last for this year, we will return in March 2018. We wish all our readers and contributors a Merry Christmas and a fabulous New Year 2018! This month’s issue features an interview with the indomitable Australian artist Michael Bell. Artist Marijke Greenway from the central coast, NSW, writes about her life and work. From the Hunter Region NSW, features include - artist and ceramic sculptor Ron Royes, artist and illustrator Andrew Finnie, the dynamic works of Ellie Kaufmann and from the Hunter wine district Lovedale, artist Jacquie Mather. Rural Dungog NSW, is fast becoming a hub for the Arts. Dungog by Design, artist collective writes about their forthcoming exhibition and we visit the new Dungog Contemporary gallery. Our international guest is Spanish photographer David Rodriguez. Maggie Hall, artist, writer and photographer presents ‘ Jacob’s Ladder’. Lorraine Fildes, our resident travel photographer and writer tours the magnificent Borobudur Temple in Indonesia. Don’t miss reading our new poetry, art news and information on forthcoming art exhibitions. The ARTS ZINE features articles and interviews with 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 2018.

Deadline for articles - 15th February for March issue 24, 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 © 2017 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 23 - November 2017


E & R A N T I C S Collaborative drawings - E & R Werkhoven Š 2017 Issue 23 - November 2017



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MICHAEL BELL Michael Bell is a well-known Newcastle based artist with a career spanning over 30

years. Bell has been hung in many group exhibitions including The Archibald Prize, The Sulman Prize and The Moet and Chandon Touring exhibition. He has designed various graphics for Triple J and the iconic surf label Mambo. Bell is represented in many collections including The Australian National Gallery,

Canberra ,The Newcastle Art Gallery and in numerous private collections.

Page 8: Dogs in the Studio, oil on canvas, 80 x 80 cm 2007 Right: Lambton Park, oil & enamel on board 120 x 180 cm 2014 Issue 23 - November 2017


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MICHAEL BELL - INTERVIEW What attracted you to the world of art? “I was a student at Art School almost 40 years ago. I loved it. I loved being around people making objects that somehow expressed something about themselves. This was in 1978. The Art School campus was then a shambolic, sprawling abandoned primary school in Union Street Newcastle, NSW Australia. It was listed for demolition within five years. We were told we could

be as messy as we liked. Perfect for an Art School. In the late 70s, Punk Rock was the music, fashion and attitude of the day and the DIY approach was alive and healthy with many of my fellow students. Loud music played in lots of studios and there was a fantastic energy to the place. It was a great time to be an art student. I studied for four years at this Art School majoring in painting before my first solo show in 1983 at the now defunct Gallery 62 in Newcastle. I showed paintings, screen prints and assemblages. Thankfully, the exhibition was a sell-out. This encouraged me to keep on going�. Page 10: Michael with drawings created in Paris, France 2007. Photograph: Claire Martin Issue 23 - November 2017


Dogs in the Studio, oil on canvas, 80 x 80 cm 2007. Michael Bell. Issue 23 - November 2017


“My hometown of Newcastle still provides me with plenty of subject matter for my artwork. I have produced many paintings based on The Dog Beach, the working harbour, various seedy hotels and the outlying suburban parks.”

Describe your work “My work is mainly about people in their environment. I don’t work from photographs and instead use my experiences, memory and imagination to generate my images. I tend to work out a loose idea on paper before starting an artwork.

I like my artwork to look deliberately hand made. This concept came originally from an exhibition I saw in early 1977 titled Ocker Funk at Newcastle Art Gallery. It was curated by Sydney’s Watters Gallery and featured very early work by Frank Littler, Ken Searle, Chris O’Doherty (aka Reg Mombassa) and others. The viewer was really conscious of the human hand in the making of these humble artworks. It was the exact opposite to Andy Warhol’s famous statement from that time, “I want to be a machine”.

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What have been the major influences on your work? “My artistic influences are from far and wide.

When at Art School, the Sydney Pop artist Martin Sharp (1942-2013) was a real inspiration. In particular, I admired Martin’s approach to collage and his jarring juxtapositions of imagery from the history of art. Many years later, I got to know Martin and visited him in his beloved crumbling mansion/studio Wirian in Bellevue Hills. Another influence is the African figurative sculptures from The Musee du quai Branly collection which I discovered while in Paris on 3 month residencies in 2007 and 2011 . I especially admire the Power Figures from the Congo and I have made my own crude interpretations of these sculptures over the years. And like many other painters, the late paintings of American artist Philip Guston (1913-1980) have been a big influence on me. These complex pictures are still a great inspiration.”

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Lambton Park, oil and enamel on board 120 x 180 cm 2014. Michael Bell Issue 23 - November 2017


Do you have a set method / routine of working? “I have had many painting studios all over the Newcastle CDB over the years. Before the current real estate/investment boom in Newcastle, studio spaces in under-utilized buildings were plentiful and cheap - particularly after the 1989 earthquake. My first studio was in a run-down Bond Store in the East End before it became converted into luxury apartments. Later, I had a studio in Darby Street. That studio is now a trendy Thai restaurant. And for 18 years, I rented the top floor of the Lucky Country Hotel - before it underwent a 6 million dollar refurbishment in 2014. I paid $30.00 a week for 18 years. Now my former old filthy studio space is a converted flash hotel room for $250.00 a night!

I now have a large dedicated studio space at the back my home in Lambton, a suburb of Newcastle.

These days, I work mostly at night for a few hours at a time. Never in silence, I have music playing as I work. I am currently listening to The Magnetic Field’s 50 Song Memoir - one song for every year of Stephin Merritt’s life.”

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Michael Bell working on woodcut prints in studio, 2012.

Each print 60 x 40 cm.

Photograph: Claire Martin Issue 23 - November 2017


Tell me about your exhibitions “I have exhibited my works a lot over the past 35 years and have been involved in a lot of different projects. For 20 years from 1993 I exhibited regularly at The Ray Hughes Gallery in Sydney -before the gallery closed shop in 2015 due to Ray’s poor health.

While working at this gallery, I met up with Berlin - based artist Menno Fahl. We formed a friendship that led to a collaborative woodcut show, first shown in Sydney in 2012. By air-mail between Berlin and Newcastle, we exchanged packs of woodblocks over a period of 11 months. We carved an image in response to the other. The wood blocks travelled between the two countries many times before a satisfactory result was decided upon. Some blocks journeyed over 65,000 kilometers before being printed! We titled the exhibition KRAZY KUNST.

The final 30 woodcut prints were rich in humour, German Expressionist drama and personal imagery. The show travelled to Berlin and Lubeck in Germany in 2013 and was shown again in Australia at Maitland Regional Art Gallery in 2015 and finally travelled to Megalo Studios in Canberra in 2016”.

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Michael Bell and Menno Fahl 2012, Das chinesische Bordell H60 x W40 cm woodcut.

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The Petting Zoo 2016 This painting The Petting Zoo depicts a group of children being handed a variety of small animals to nurse in a temporary fenced enclosure. The idea of a petting zoo is to teach children about kindness, gentleness and respect for other living things. In choosing this subject matter, I tried my hardest not to make my painting in any way sentimental or cute.

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Horseshoe Beach 2015 I have been painting different versions of Newcastle’s Horseshoe Beach, (or locally known as The Dog Beach) for almost fifteen years. The Dog Beach as a subject to paint has been always inspirational. I am drawn to the frantic energy of the dogs with their owners plus the humour and overall feeling of goodwill that The Dog Beach provides. It has been a rich source of imagery for me for a long time. I was at the Dog Beach recently with my dog Larry and watched as another dog did the most optimistic leap into air

to catch a stick. This little dog’s enthusiastic big jump was somehow life affirming. Issue 23 - November 2017


What are you working on at present? “My most recent solo exhibition was in March 2017 at Curve Gallery in Newcastle, NSW. This time I worked on small-scale relief constructions. I made forty five new works for this show. The imagery ranged from local landmarks – such as The Obelisk to a series of self-


As of October 2017, I am working on a new body of work for a solo exhibition in Sydney 2018.”

All Rights Reserved on article and photographs

- Michael Bell © 2017. Left: The Obelisk, Newcastle oil on Aluminium 24 x 20 cm 2017 Issue 23 - November 2017




Self portrait – before and after oil on aluminium 23 x 20 cm Michael Bell 2017.

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Saturday night collage club feels Does the year have meaning Under or overstated Sated Stationary but moving very quickly All things and their opposites Inversed with a little space in between

I had a coupla drags on a clove cigarette to get to this truth delicate lungs but this nice aura of calm Free and easy wandering all over the town Taking it really easy

Keeping it really real Complexion unadorned with anxiety dreaming every Night this is the best moment of my life Longing so bad for a dilapidated house with nothing in it

- Carlin McLellan Š 2017. Issue 23 - November 2017


and the good things that once were Whenever I pat him I'm taking him back to cosy times with his mum. He rubs up against my arm, nudges my hand with his head, prompts me into action ok, Leicester I rub the back of his neck and the purring begins in earnest something down the backyard distracts me and Leicester reminds me why I'm here and nudges my hand. ok, Leicester I watch his eyes relax once again and close slowly as I stroke his neck.

he sits there like a little man with head bowed thinks of childhood and the good things that once were.

- Brad Evans Š 2017. Issue 23 - November 2017



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RON ROYES Ron Royes is an Australian artist and ceramic sculptor.

His home and studio are based in Newcastle, NSW. Royes is deeply interested in humanity, exploring and portraying everyday life. Our dreams, desires and delving into the darker side of human behaviour.

In the recent years he has held solo exhibitions and won several awards for his ceramic sculptures. “I love the feeling and the forgiveness of clay. Clay has made my works more narrative and it allows me to tell my stories in a three dimensional way. The viewer can look under the sheets.”

Page 26: Kim’s Seat, ceramic 2012..

Right: Old Man, ceramic 2011. Issue 23 - November 2017


Mind Games



Ron Royes


Ron Royes Issue 23 - November 2017


RON ROYES - Interview Ron Royes writes about his art and life The passion to create and tell our own stories is in us all. As a child we are usually given the opportunity to

enjoy this and bring it to the surface, to live in one’s own imagination. We use this as both an escape and a form of social interaction. Drawing and role playing was a big part of my childhood, one thing remembered is a drawing book my Mother had made by sewing together cut pieces of coloured cardboard. Although I loved creating, making art for a living or as a lifestyle was not an option either at home or in my schools and by the time I’d reached my mid-teens I’d started to view the world in a more ‘Black and White’ way. Get a job, meet someone, raise a family and create a home and this was the life I lived for the next thirty five years. When I was forty nine something happened that made me view life more abstractly, my imagination was reawakened and I rediscovered this passionate need to create. I also discovered the fine arts; I started visiting Art Galleries, to look at the Art and not just as a ‘Tourist’. I started to go to libraries and study the Art Books and I started to draw. Now I was able to fully embrace this new found passion. I went to Ron Hartree’s drawing classes and it’s there , after a pivotal moment , that I realized I want to be and could be a working artist and I have been learning to be this artist ever since. Ron advised me to go to TAFE and

formally study the fine arts, which in 2001 I did. Issue 23 - November 2017


Nude Ceramic 2009 Ron Royes

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I left Hunter Street TAFE as a painter and continued in this field until I was reintroduced to clay about eight years ago. Running parallel to all this I also worked with mosaics. This started as a form of both mental and physical rehabilitation and I continued getting more and more creative as my understanding of form and colour grew. Around 2010 I decided I needed to make my own tiles and this led me to clay and ceramics. I had made a couple of clay sculptures at TAFE and I decided I was going to make a full size clay

figure to enter into an art prize but I thought I’d better first make a marquette and have been making them ever since. I love the feeling and the forgiveness of clay. Clay has made my works more narrative and it allows me to tell my stories in a three dimensional way. The viewer can look under the sheets.

I was initially intrigued by the surrealists, I couldn’t believe the freedom it provided, not just painting what one sees but also what one imagines. You have to realize that up to this stage I was under the impression it wasn’t real art if it didn’t have a gum tree or a mountain. While at TAFE I found oil paint and colour and Mark Rothko. I explored this for a few years until being reintroduced to clay. Since working with figures and creating more of a narrative style of work I have been interested in Australian artists like Garry Shead and

Salvatore Zofrea particularly his Psalms series. Since 2004 I have been volunteering at Maitland Regional Art Gallery (MRAG), primarily in the collection room and this has given me first hand access to different styles of art, artists and art lovers. Volunteering at the MRAG is one of my better decisions since starting on this creative journey.

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Barb’s Seat, ceramic mosaic, 2006 - Ron Royes.

Lovers, ceramic 2007 - Ron Royes Issue 23 - November 2017


Untitled, ceramic 2014 - Ron Royes. Issue 23 - November 2017


Marriage, 2009 Ceramic & wood Ron Royes.

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Empty Vessel Ceramic Ron Royes 2017.

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Refugees from Reality Ceramic Ron Royes 2017.

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Because of a lifetime of the discipline that comes with working regular hours I have continued this into my art practice. I start at 8.00am and finish around 5pm. Of course this can change and ‘overtime’ is quite common. I gather my ideas from what’s around me, what I see, what I hear, and what I feel. I go to the City and watch, I go to the library and read or I sit in a coffee shop and listen. People and their behavior have always interested me. I studied philosophy at University of Newcastle and I am continually stimulated by the

writings of the philosophers. The work I’m working on at present came about by the sight of the refugees snaking through Europe. Ruben’s Gates of Hell came to mind and I thought “leaving one hell for another”. Its working title is Refugees from Reality and it can be viewed in a range of concepts. I hope viewers of my works leave thinking. I don’t particularly want them to like them but I want them to be moved in some way.

I have won Art Prizes and have been shown in a public Art Galleries and have exhibited in and been represented by a Sydney Commercial Art Gallery but my greatest achievement is that I’m still here; I’m still making art after fifteen years. This is twice as long as any other job I’ve had in my life. If you had asked what rewards my art has given me I’d have to say “friendships”. Making art has introduced me to a whole

new world and to a whole new group of friends. They are one of the reasons that drive me to keep making art hopefully for quite a few more years. - Ron Royes © 2017.

All Rights Reserved on article and photographs - Ron Royes © 2017

A video of this conversation may be found at Issue 23 - November 2017


POSTERIOR REFLECTIONS To rise the levels of distress. God forbid we use it to manoeuvre out of our present situation, to compare notes and feel obliged to destroy them Crumple them up into balls, to be thrown into the fire.

Where do you come from, you must not get too distraught. Consult with your doctor, which medication may suit you A sun bath, to warm our innards. To float into this outer atmosphere, beyond ourselves ten minutes and then we are ushered back, abruptly with the speed of lightening.

You guessed it, we hardly remember a bloody thing. These gentle moods, are barely perceptible To be born again in this odious world, with all its inherited problems. Issue 23 - November 2017


Why waffle on, when it can be said simply and straight forward, accused of loving our own voice to captivate people’s attention. To play in this game no vital role, but that of a disgruntled listener.

Who cares, you would like to flee and seek shelter, where the people encourage you to talk. The heat is astronomical, it incubates a storm from within its uncharted centre.

Masses that are in perpetual motion feeding not only on the inner core but also on the Earth, plants and creatures. Manna for the undisclosed future, unto the generations and their gorgeous succulent flesh. The velvety substance of their dreams and feelings.

- Eric Werkhoven Š 2017.

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Ellie Kaufmann’s artworks deal with a reflection of everyday life in fibro and brick veneer suburbia exploring her very own ordinary backyard. She portrays characters that form a suburban bad girl gang; documenting real Australian women in their local surroundings, she depicts: sub cultured youth, home wreckers, trailer trash, desperate loners and bored house wives which all

pose in the backyards of 1950s suburbia. The use of bright expressive, pop art colours and the nostalgic out–dated homes she used as her subject matter add a sense of “trasho” expose. Her portraits of girls are set in raw situations often exposed and investigate the psychology of the subjects. Kaufmann’s work is sourced from immediate situations the artist may find herself in as well as an interest to portray a narrative using the everyday, mundane and the suburban setting she is surrounded in.

Page 42: Portrait of Caitlin, acrylic on board 2017, Ellie Kaufmann. Issue 23 - November 2017


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When did your artistic passion begin? “My interest in art started to turn into a passion after leaving high school and going to Tafe at Hunter St art school, I learnt so many skills there and I really enjoyed creating all kinds of art. After leaving art school my passion grew stronger as I was really determined to keep creating, do things on my own and improve my artistic skills”.

Have you always wanted to be an artist? “Yeh I guess, artist or something else creative in the art field. Being an artist kind of just happened”.

Describe your work “Australian / suburban / pop / punk / trashy / fun / retro / colourful portraits / everyday surroundings / sometimes humorous”.

Page 44: Zoe, Acrylic on board - 45x40cm - Ellie Kaufmann 2017. Issue 23 - November 2017


Keziah Acrylic on board 45x40cm Ellie Kaufmann 2017. Issue 23 - November 2017


Do you have a set method / routine of working? “If it’s for an exhibition I’ll usually plan how many works I’ll be doing (do a wall sketch plan with sizes & shapes), write a list of people who I could possibly do a portrait of, sketch ideas for models (Props? Location? Theme? Style?), find a suburban scene from my collection of photographs otherwise I’ll go out and take photos of something that will work, I then create a collage on Photoshop, once I’m happy with all the idea’s I’ll start the paintings. When I paint I listen to music and try to get in a bit of a zone and just sit there working until I get most of it done, if there is an exhibition coming up close I’ll usually paint from 10am to 11pm at night or until I fall asleep”. Why do you choose this material / medium to work with? “Acrylic has always just seemed quick and easier to use and I just really enjoy using it, plus it’s hard to find florescent coloured oils. I prefer to work on hard board as its strong, sturdy and versatile. I don’t have to paint on a square or rectangle I can cut the wood into whatever I like and curve the edges, I can be rough with the brushes and scratch

the surface if I want to; I always worry about breaking stretched canvas”. How important is drawing as an element to your artwork? “Drawing is important for my paintings in the beginning, I like to sketch out my artwork with a thin paint brush loosely and check that I am happy with the proportions of everything before I get too invested in the

painting.” Issue 23 - November 2017


Town Bike Acrylic on board 35x30cm Ellie Kaufmann 2017. Issue 23 - November 2017


Is there a particular reason for your choice of style / genre? “I like the everyday aspect in art and the honesty of portraying things that are actually a part of my life. When looking through art gallery’s I have always liked how paintings show the artists time here on earth; they portrayed the people they knew and the places they have seen / lived. My work came together when I started making the kind of art that I wanted to see. I want my art to reflect my time here and show the people I have met and think are interesting/cool or who I admire and the places I live/my backyard and surroundings.” What inspires you? “Walking or driving around looking at my surroundings and finding scenes that I think would be fun to paint. Cool style houses with something extra that may interest me, could be anything: colours / style / building / sky / mailbox / garden or even a garbage bin. Also being surrounded by and lucky enough to have many artistic likeminded friends and family; having people to talk to about art who get it, collaborating/planning shows, as well as just seeing how much others

are creating really drives me to get more art done.” What are the challenges in becoming an exhibiting artist? “Probably expenses, to begin with it’s hard to take the risk with finances for all the big and little things that go into putting on a show, but it’s usually all worth it.” Issue 23 - November 2017


Tropical Trash, acrylic on board, Ellie Kaufmann 2017. Issue 23 - November 2017


What are you working on at present? “Today I have started working on a portrait of my uncle Karl Kaufmann and his partner Samira. In the piece they are both sitting on an old ford falcon, Samira has high silver boots on and a 70’s orange jumpsuit and Karl is sipping a long neck wearing his cowboy hat, no shirt on and both showing off a lot of cool tattoos. This is a little different from my other works as I haven’t really painted many guys. This artwork will be exhibited in ‘Rockin’ the Suburbs’ (9th Nov – 26th Nov) at Gallery 139, Hamilton, NSW.”

Your future aspirations with your art? “Hopefully just continue to enjoy creating art and keep inspired to make more and more, also have others

enjoy it too. I’d like to exhibit in places I haven’t before as well as curate and organise some bigger group shows in different states”. Forthcoming exhibitions?

‘Rockin’ the Suburbs’ (9th Nov – 26th Nov), Opening night 10th November 6 - 8pm at Gallery 139 with artists: Peter Lankas, Dane Tobias, Jo Shand & Nadia Aurisch. -Ellie Kaufmann © 2017.

All Rights Reserved on article and photographs - Ellie Kaufmann © 2017 Issue 23 - November 2017



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JACOB’S LADDER - Maggie Hall

It’s a Good Friday, the Sun is out and the sky is clear. Mounting my Raleigh, we make way out of Seething Wells towards Surbiton Station. I feed the gate a ticket, stepping inside Via Crucis my pilgrimage begins . . . The train ladders and snakes, slipstreaming towards next stations exit. 1st stop climbs into 2nd and passes the 3rd with grace.

Stepping out of the carriage I thread from left to right, taking pictures by each worshipping grave. By the 4th cross, a church, entering I sit by an empty pew, 5th row, covered by black rosary beads, centre of the nave between the Frankincense and Damascus Rose. A lady

scolds me from behind, ‘get out of here, you do not belong, shame on you’. Clasping the beads tight I start to sing, the holy sacrament, the blessing, the prayer, the confession, I do not know what comes from my mouth, though I pray to the end, resonant and strong.

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Glorious energy, another flash . . . I almost felt ashamed. Six Plates are passed for donation, an offering to shed guilt and cleanse sin. The 7th sign is declared, we make line toward an altar, there a Priest and Nun wait to hand out communion.

I stand in turn before the nun. Not baptised I knew this to be a sin, but how could I deny this exchange. Moving towards the lady in black and white I open my mouth and place out my tongue, eager to accept his body into mine . . . As the nun considered my eyes and lowered the

Lamb to my tongue I noticed the look of shock and familiarity, a knowing. I quickly closed my mouth dissolving the sacramental bread and moved swiftly to the side, making my way out of the service, I wondered . . . did she see me . . . light innocent and pure, or the unbaptised sinner who dared take Communion without rite of passage.

The 8th Wonder, if God be the architect then Art be his church, a meeting of the three ladies, maiden, mother & crone, a Jerusalem shroud, lit by sun and shadowed through shards of coloured glass, in this temple so strange. Issue 23 - November 2017


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9 lives falling in trinity towards Charing Cross, exiting with rushes of emotion, lost, gained, and found, I am home. In the same moment, I am reborn, ascending into the light, St Martin waits for me in the fields, the Catacomb, a hidden place. 10 musicians stripped of clothes begin to play, Vivaldi Four Seasons, by candlelight; Mozart, Handel, Boccherini, an ensemble of light and beauty. Pinned eyes open . . . The first sign, 11 crows, a murder, dislocated and shocked I make way into the cafe in the Crypt . . . Taking seat on the stairs, the bell tolls 12 . . . A Public execution by stone steps, outside a child cries, I fall deeper . . . 13 minutes until doors open and the flag upon the mast is lowered, the changing of the guards begins. There before me awaits the 14th Station, my resting place, entombed in wait for the journey to begin again.

- Maggie Hall Š 2017. All Rights Reserved on article and photographs - Maggie Hall Š 2017 Issue 23 - November 2017


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ANDREW FINNIE Issue 23 - November 2017



A veteran of more than 50 group exhibitions, Andrew Finnie is a Newcastle based artist and illustrator. He works both with traditional media and in digital forms, specialising in 3D rendering techniques and post work that simulates hand worked images.

In February 2018, Andrew Finnie will hold an exhibition of his digital art work –

'The Enlightening Journey of Mr Hugo Ball’, at Maitland Regional Art Gallery. The exhibition runs from the 3rd

February to the 29th April 2018.

Page 60: The Boar’s Head – Ode to Paula Rego (detail).

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Feast in the Hanged Man’s House, homage to James Ensor. (detail), Andrew Finnie Š 2017.

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INTERVIEW - ANDREW FINNIE 'The Enlightening Journey of Mr Hugo Ball’ Exhibition. How did this exhibition come about? “The catalyst for this exhibition was an old sepia photograph of Hugo Ball, one of Dada's instigators – Dada being an early 20th Century art movement. The photograph shows him dressed in cardboard trousers, jacket and cape. On his hands are lobster-claw gloves and, on his head, an odd looking cardboard chef’s hat. The photo is significant because it was taken in 1916, at the Cabaret Voltaire, Zurich, the night Hugo Ball declared Dada’s

presence to the world with a sound poem entitled ‘Karawane’. The poem was made of meaningless words and began: jolifanto bambla o falli bambla großiga m’pfa habla. The audience was suitably dumbfounded when they heard it. Dada was a reaction against the carnage of World War 1. As such it was not just an anti- establishment movement, it was an anti-art movement. It discounted all that had gone before as irrelevant. It pulled away traditional supports and purposely left nothing but nonsense. Yet as Dada itself became more successful and main stream, it became anti-Dada itself. Weighed down by this incongruous juxtaposition, Mr Ball and Dada seemed faintly ridiculous. It was possible, I thought, that if Hugo Ball were still alive, he might benefit from a metaphorical art ‘education’. As part of his education I would take this odd fellow, still dressed in his stiff cardboard outfit, and place him in paraphrases of an historical selection of works by other artists.”

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Death Leading The Blind Men, (detail) After Hans Holbein. Andrew Finnie Š 2017

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“Of course the idea is as equally nonsensical as the Dada movement itself - so I felt the two would make good bedfellows. Initially I worked with the idea of an historical art journey, all the way from the Lascaux Caves through to 20th century movements such as Expressionism. But in making a paraphrase of Cranach’s Adam and Eve, changing Adam for Hugo Ball, and Cranach’s animals for Australian animals, I found that I was bringing nothing new to Cranach’s idea. The homage was quaint, but it was stale much like Marcel Duchamp’s appropriation of the Mona Lisa with an added moustache. So I started working with a different premise - 'that good art should make you uncomfortable'. It's a sweeping statement, but no less sweeping than premises such as 'good art is aesthetic', or 'good art lifts us to higher spiritual planes'. In following this premise, I chose artists who might take the viewer outside of their comfort zone. Several of these artists

are fairly incestuous – as far as influencing each other. In many cases it’s almost like a family tree - for example Velázquez begets Goya begets Balthus begets Paula Rego - with an intimate liaison with Francis Bacon and Hans Bellmer on the side. Not everything in the show is uncomfortable though. Amongst the works are homages to Van Gogh, Degas, Bosch, Breughel, Arnold Bocklin, Gustave Doré, Mondrian and William Kentridge. With some I had to step delicately - Balthus and Hans Bellmer especially, with their suggestive allusions to young girls in intimate positions. It appears that Balthus knew he was pushing the right buttons to make his work 'edgy'. With Bellmer, who worked with a life sized puppet dressed as a youngish girl, I'm not too sure - he seems more innately perverse. Interestingly he inspired Cindy Sherman's recent Sex Series of photographs - which make much of his work look tame.”

Issue 23 - November 2017


Ship Of Fools (detail), homage to Hieronymus Bosch, - Andrew Finnie Š 2017. Issue 23 - November 2017


What role does Mr Ball play in the images? “As well as a painter, I am an illustrator. One definition of an 'illustration' is an image that enlightens a narrative. So in this series Hugo Ball, as a common denominator, becomes a protagonist in that his presence suggests a picaresque narrative that connects many of the images. In other words Hugo tells the story. Hugo has many roles. Often he is the victim. For instance he is drowned in Bosch's Ship of Fools. In another Bosch he is the patient having the 'stone of insanity' removed from his forehead. In the Holbein/Brueghel homage he is blind. He is a potential suicide in the Hopper. In the James Ensor work, he is being eaten. In others he is an observer - passive in Fuseli's The Nightmare and in the Degas work, but an embarrassed observer in Balthus' Salon - as well he might be. For variety he plays not one, but two painters painting self portraits - Arnold Bocklin and Diego Velázquez. He visits Van Gogh in the Yellow House, hides amongst the soldiers at Christ’s Crucifixion and falls to his knees as Christ visits the Disciples post resurrection. All in all it’s a very busy and emotional time for Mr Ball.”

How do you work.?

“For these images I worked digitally in three dimensional virtual space. I sculpt imaginary forms that are made of thousands of digital points that are joined by edges, each group of four edges being joined by a plane called a polygon, each surface of polygons joined together to suggest a three dimensional form. To make an image, initially I often start by constructing the scene's environment. For example: Van Gogh’s bedroom in the Yellow House, the music room in the Vermeer work, the Castle environment in Las Meninas. These rooms are primarily digital boxes.” Issue 23 - November 2017


“Using modelling software I build the box geometry, including doors and windows and fittings, out of series of multi-polygon surfaces, then lay the surfaces flat in two dimensions - as if I am skinning an animal. I take the flattened boxes into Photoshop and paint textures on the walls, the ceiling, the floors etc. then apply these textures back to the original geometry. The textures have many different parameters. They can be shiny, reflective, translucent, transparent matt and heavily grained, all at the same time. We can make the shiny reflective surface of a metal ball, or simulate the subtle pink light passing through a translucent earlobe. The same modelling and texturing process happens with any furniture or trees, grass, mountains, cliffs – anything you see in the image. The more organic an object is, the harder it is to form.”

Left: Two Ballas Watch The Moonrise - After Casper Friedrich. - Andrew Finnie © 2017. Issue 23 - November 2017


“The next step is to take humanoid figures and morph them into the characters that I want – for example, a dwarf, a kindly old nun, a wise surgeon, a drunk, might all start with the same basic humanoid figure. I texture their skins the same way as I textured the rooms. Then it's off to the wardrobe department where I use a mathematically mature cloth simulator to drape the clothes on the figures in an attempt to simulate some of the fabric folds found in many of these homaged works. Once the characters are finished, everything is posed to fit in with the image’s narrative and composition. It's like an old fashioned tableau at this point.

Next comes the viewpoint angles and the lighting. The lights can have many different parameters and types of shadows. Likewise the rendering viewpoints can have various depth of field, focal lengths and perspectives. Because I am working in virtual space, I can move through the scene and, like a street photographer, 'shoot' from any angle. Once the rendering is done (ie converting it all to an image), comes post work editing in several software programs. I work with separate layers so I can isolate things like shadows, reflections, textures and ambient lighting. For this I use a Wacom tablet and several programs, among them Photoshop, Corel Painter, Rebelle and Oloneo HDR.

Working in three dimensional virtual reality is like working on a virtual film set. I am the stage carpenter, the backdrop painter, the cast selector, the wardrobe person, the lighting man, the director, the producer, the cameraman, the cook, the special effects chap, the editor - and the financial backer.”

Issue 23 - November 2017


Removing The Stone Of Madness (detail), homage to Hieronymus Bosch, - Andrew Finnie Š 2017. Issue 23 - November 2017


What have you learnt? “Well the title of the show is the ‘Enlightening Journey of Mr Hugo Ball’, but halfway through the project, as I studied the artists I was paraphrasing, I realised that it was myself who was being enlightened. This project has made me look much harder at artists than I normally would. Looking at folds in cloth, lighting, how different artists like Paula Rego treat negative space, examining the iconography but also looking past the narrative elements to see how the shapes relate to each other - it’s all been an educational experience.

It’s also been an education discovering how many artists have appropriated the works of others. Some openly, some not so openly. Manet for example was a serial appropriator of compositions. Balthus' most confronting image is The Guitar Lesson, in which a naked young girl lies provocatively in the arms of an older woman. Ironically Balthus has borrowed the girl's pose from Renaissance paintings of Christ's body when it is being lowered from the cross. Rego in turn borrowed Balthus' pose for several of her works. I guess the lesson is that we should never be reticent to learn from other artists, not just those who have gone before, but also from our contemporaries. Art is never made in a vacuum. It always builds on our own historical environment – whether we like it or not.

That said, the subject of 'homage' itself I find also a delicate matter. There is a fine line in some cases between the meanings of 'homage', 'copy', 'paraphrase', 'reference' and 'appropriation' – or 'misappropriation', as I like to call it.”

Issue 23 - November 2017


The Giant Pantagruel - after Gustave Dore ( detail), - Andrew Finnie Š 2017. Issue 23 - November 2017


Dante and Virgil , homage to William-Adolphe Bouguereau (detail), - Andrew Finnie Š 2017. Issue 23 - November 2017


What do you hope viewers of your art works will feel and take with them?

“One of the other premises of the show is to expose lesser known artists to the public. So many of the works are homages to artists who were once well known and have fallen from the public eye.

William-Adolphe Bouguereau for example was a famous 19th Century Salon painter who faded away once the Impressionist and later movements eclipsed his style of work. Yet his homaged painting Dante and Virgil is full of raw vigour and anatomical mastery that makes the viewer suitably uncomfortable. James Ensor is another case. He is famous in Belgium, had a major influence on many Surrealists and Expressionists but is little known outside his own country.

So one reason for this show is to encourage viewers to go back and explore some of these artists. Just because they are 'old' and have arguably been visually eclipsed by later artists, doesn’t mean they have nothing to offer. In a way we have been brain washed into thinking that the Fauves and the Expressionists and the Impressionists and other art movements have negated all that has gone before. It's a case where the Dadaist idea of the past being worthless has come back to haunt us.

The other 'take home' is the digital nature of the imagery. It’s encouraging to see forward thinking galleries like Maitland Regional Gallery exhibiting works in this medium and I'd like to thank them for generously giving me the opportunity to show the works.” - Andrew Finnie © 2017. Digital paintings are Pigment Prints on Hanemuhle paper in Editions of 10. All Rights Reserved on article and photographs - Andrew Finnie © 2017 Issue 23 - November 2017


Left: Mondrianopolus, after Mondrian, - Andrew Finnie Š 2017.

Issue 23 - November 2017


bolide (i) when you came in undetected

a sudden, retina-piercing intensity, easily upstaging the sunlight at dawn,

cctv footage from a range of countries appearing in almost >> :

that cold,

shadows mocking time-lapse

February morning

playing catchup across main thoroughfares

some thought that the missiles had finally been launched that it was the beginning of the end.

through various oblasts & provinces and then the shockwave - of windows being blown in, of office clerks scurrying under desks for shelter

a falling factory's wall, a feeling of heat reported,

Eyewitness accounts of the Tunguska Event

those muffled staccato sounds much like artillery fire -

appear almost identical -

360 degrees worth of reverberation

that sputtering light - an already ferocious engagement, yet barely enough to turn a driver's head

first in the distance and then all around as you kept proving the limits of our physics much like Tunguska.

And while our patchy, underappreciated quilt slowed you down

you were just a baby but you put on quite a show!

to a mere 30,000 km / hr the effort to bring you to a crawl brought its own consequences:

- Brad Evans Š 2017

Issue 23 - November 2017


Bolide (i), : watercolour, on A6 paper - Paula Conlon Š 2017. Issue 23 - November 2017



Issue 23 - November 2017



Marijke Greenway is an Australian artist living on the Central Coast

of NSW,

amidst stunning scenery from which she

gets her inspiration. She opens her studio most Sundays from 11 a.m. to 5 p.m.

Page 80: Kakadu Wetlands, Oil, H90 x W150cm - Marijke Greenway 2012.

Above: Ord River Reds, Oil, H80 x W90cm - Marijke Greenway 2012 Issue 23 - November 2017


Marijke Greenway at For Love Of Trees Exhibition.

Marijke Greenway painting at Cape Leveque, Western Australia.

Marijke Greenway on site painting Angophora Dance. Issue 23 - November 2017


MARIJKE GREENWAY - Interview Marijke Greenway writes about her art and life -

At the age of nine I was at a boarding school in a remote town in South Africa, within a few months of emigrating there from Holland. The nun drew a still life on the board which we were meant to copy and she was so thrilled with my version that the news spread through our little school that I would become an artist. It was a prophesy that I worked hard to fulfil, in fact it was only in my forties that I first put brush to paper. I had seen the book by Charles Reid on painting flowers in watercolour and from that day I was hooked. Watercolour became my forte and my life force. My husband and I and our 3 children emigrated to Australia during 1988 and opened a patisserie in Castle Hill. During my days off work I taught a very dedicated class of watercolourists for the next 11 years.

During l997 we came across Pearl Beach, a treasure of a village on the Central Coast, renovated a house we found and retired there a few years later. It was then that I truly realised my ambition to become a full time artist and joined a plein air painting group under the guidance of Harold Scott.

Issue 23 - November 2017


Choreography Oil H80 x W90cm Marijke Greenway 2012

Issue 23 - November 2017


For plein air I had changed to painting in oils and continually worked at loosening up. I guess I am still working on that. I soon realised that my favourite subjects were trees, specifically the amazing angophora trees that abound on Sydney sandstone and I soon became known as The Tree Lady. I drag my easel along the paths of Mt. Ettalong until I find a tree with a strong design and beautiful patterns, bright orange, pink and white. My friend Pim and myself traipsed up and down the Central Coast painting each beach, boat and headland that we saw. We needed to exhibit - so we rented our local Community Hall and held our first SHOWOFFS exhibition on the October long weekend of 2004. This has now become a tradition that in every second year we show off our new SHOWOFFS paintings to our community. During 2005 we spent three weeks holidaying on the Greek island of Leros, watercolours on board and came back with an exhibition in the making. After serious time in the studio I ended up with 65 watercolours in an exhibition at the Gosford Regional Gallery, called Greece Unbuttoned. The following year I took the unsold remnants back to Greece to the island of Leros for a follow up exhibition. During 2008 I felt that I needed an art space to show off my prolific work and so I applied to The Palm House in the Sydney Royal Botanic Garden. That first exhibition was titled For Love of Trees. Each year

now I work towards my Palm House exhibition and my next one will be from 1st April 2018 Issue 23 - November 2017


Charlotte Under Harbour Bridge Oil H30 x W30cm Marijke Greenway 2009.

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Dollar gums, Uluru Acrylic H90 x W80cm Marijke Greenway

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I was invited to join the Australian Society of Maritime Artists during 2008 and was one of the ten women Artists in Residence on the Heritage Fleet during 2012, which was followed by an exhibition on The James Craig where I was awarded the President's Medal. Going further afield, John and I set out to explore the great outback during 2011 and more specifically the Kimberley region and returned with 30 canvasses painted 'en plein air'. Longing to repeat that adventure, we set off again during 2015 and concentrated our travels on the red, hot, centre of Australia.

And so it

happened - a roll of canvas, a willing husband to drive and erect the tent, and an artist who loves the outback and you have a recipe for paintings that are imbued with the spirit of the land, the colours of the land and the immediacy of 'en plein air' paintings that truly reflect the land. On this trip I completed 27 new paintings en route. During 2016 I worked with the memories and moods inspired by the trip and completed another set of

paintings, much larger, using exaggerated and flamboyant use of colour as well as a different painting language than the first images. There are dots for rocks and blobs for trees, but it would be hard to miss the meaning and the presence of the infinite Australian outback. An article I wrote on this trip was extensively published in The Australian Artist. Page 88: Country of My Longing, Acrylic, H80 x W90cm - Marijke Greenway 2011. Issue 23 - November 2017


For Love of Trees Acrylic H80 x W90cm Marijke Greenway 2008.

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Paperbark Swamp Oil H120 x W120cm Marijke Greenway 2013.

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Gymea Palmerii Oil H100 x W96cm Marijke Greenway 2016.

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Travelling by train from Woy Woy to Sydney, I recognised the beauty of the ten minute journey from Woy Woy to Hawkesbury River Station and planned another exhibition for the Gosford Gallery. I worked mainly small as I had discovered two other mediums I had not used before, namely encaustic and oil pastel. The encaustic, which is melted beeswax mixed with pigment, has to be applied hot and sealed in layers with a heat gun. I padded the exhibition out with three long skinny paintings and realised I really like this size.

This exhibition was also featured in the Australian Artist magazine. The Gosford Art Prize is an exciting fixture on the Gosford Gallery calendar and I was happy to be a finalist in every year since its inception in 2003, only missing out for 2 years. Another fixture was RECONCILIATION which I entered each year and thrilled to win 1st prize in 2006, 2007, 2015 and 2016. I also entered the Sydney Royal Easter Show, winning prizes most years. Also entered Art Prizes nearer home with happy results. Much of my time, however, was spent teaching art workshops over 27 years and have now decided to give up that part of my life since the years are growing much shorter the older I get. Every Sunday that we are home I open my Garage Gallery and welcome visitors who happen to walk by. If no-one comes, I just carry on painting and enjoying my free time in this beautiful spot -painting wildlife has become my new passion. - Marijke Greenway Š 2017.

Issue 23 - November 2017


Spotted Gum at Shedding Time Oil H98 x W97cm Marijke Greenway 2015. Issue 23 - November 2017


Banksia Bouquet, Oil H60 x W90cm - Marijke Greenway 2014.

All Rights Reserved on article and photographs - Marijke Greenway © 2017. Issue 23 - November 2017



LORRAINE FILDES Issue 23 - November 2017


Close up of a Dhyani Buddha statue seated in a niche.

Issue 23 - November 2017



Borobudur temple is one of the most impressive monuments ever created. It is unique among Buddhist temples. Although there is no written record of who built the temple first, it is believed that Borobudur Temple was built between C.E. 780 and 840 when the Sailendra dynasty ruled the region. The Temple probably fell into neglect by C.E. 1000 and the jungle soon took it over. The building was abandoned for centuries and became buried beneath layers of volcanic ash from Mount Merapi.

In 1814, the British ruler of Java, Sir Thomas Stanford Raffles, appointed a team to investigate the site, believed by locals to house an ancient monument. They rediscovered Borobudur Temple, but it was not until 1835 that the entire area of the temple was cleared of jungle growth and even then it was only visited by a few intrepid travellers. It was not until 1907 that it was fully excavated and restored by the Dutch. This large scale restoration finished in 1911. The work was signifi-

cant and safeguarded the temple for some time. However, many individual pieces were not put back in their original positions during the restoration.

In 1956, another assessment was made by a Belgian expert, sent by UNESCO. His assessment concluded that water damage was significant, and would need to be stemmed if the temple was to have a long term future. Issue 23 - November 2017


The hill below the temple was eroding, the foundations were being weakened and also the reliefs were being eroded. Preparatory work began in 1963 and the scale of a restoration was assessed. The Indonesian Government submitted a proposal to UNESCO in 1968 outlining the works needed. UNESCO gave full support and commenced restoration work in 1968. Specialists worldwide came to assist in the dismantling and re-engineering of the site. Much work was also done developing procedures to prevent micro-organisms eating away the stone. Finally, UNESCO listed Borobudur Temple as a World Heritage Site in 1991.

Borobudur Temple was built on a large, square plinth upon which stand five terraces gradually diminishing in size. Running up the centre of each face is a long staircase; all four are given equal importance, but on site it is suggested that you walk up the east staircase, keep to the right and leave by the north staircase. The walls and balustrades are decorated with 2,672 fine low relief panels. There are 432 Buddha statues and this includes 72 openwork stupas, each containing a statue of the Buddha. A stupa is a mound-like structure containing relics, usually the remains of Buddhist monks, and is used as a place of meditation. In this temple the stupas contain sculptures of Buddhist monks.

The temple symbolizes a Buddhist transition from the lowest manifestations of life - the base, through a series of higher states, towards the ultimate condition of spiritual enlightenment at the summit. The visitors were meant to be enlightened as they climbed up the terraces of Borobudur.

Between the decorative relief panels are a hundred monster-head waterspouts to carry off the tropical rainwater.

- Lorraine Fildes Š 2017. Issue 23 - November 2017


My first view of the Borobudur Temple Complex . Issue 23 - November 2017


Instructions for visiting temple:

Borobudur Temple Plan as seen from above. 1.

Enter Borobudur Temple from East entrance.


Go up the stairway from East gateway and walk around in a clockwise

direction to the next set of stairs that will take you up to the next level. 3.

Depart Borobudur Temple

from the

North gateway.

Statues on Borobudur Temple There are 432 Buddha statues. The higher terraces have a smaller number of statues. Many of the statues are placed inside niches with details as follow: Terrace 1: 104 statues Terrace11: 104 statues Terrace 111: 88 statues Terrace 1V: 72 statues Terrace V: 64 statues

Issue 23 - November 2017


Looking back down the staircase that I had just ascended gives an excellent view of the jungle that surrounds the Temple. You can well understand how the jungle could soon creep in and completely obliterate the Temple.

Issue 23 - November 2017


Close up of a Dhyani Buddha statue seated in a niche. Issue 23 - November 2017


Buddha statues seated, but exposed to the elements.

This magnificent sculpture of a dog was found at the base of the Temple. Issue 23 - November 2017


Between the decorative relief panels, are a hundred monster-head waterspouts to carry off the tropical rainwater.

Issue 23 - November 2017


Back view 1 of an imposing Buddha statue . Issue 23 - November 2017


Back view 2 of an imposing Buddha statue. Issue 23 - November 2017


To the left are 4 of the 72 openwork stupas, each stupa contains a statue of the Buddha. Below is a photo

showing the foot of one of the Buddha statues that can be found in the stupas.

Issue 23 - November 2017


Close up of the superbly carved serene face of a Buddha statue. Issue 23 - November 2017


Following pages - are some of the beautifully carved reliefs that decorate each tier of the Borobudur Temple, Indonesia. Issue 23 - November 2017


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All Rights Reserved on article and photographs - Lorraine Fildes Š 2017. Issue 23 - November 2017


David RodrĂ­guez

Issue 23 - November 2017


Photographer David Rodriguez Photographer David Rodríguez lives and works in Spain. From an early age, he was attracted to the art world. His love for photography didn´t start until 2013, the year he bought his first reflex camera, and began to explore and capture the world through photography. Shortly afterwards, he began to train through several photographic courses, but is largely self –taught, during his studies Rodriguez discovered many new photographers. “I really like surreal photography and fashion photography. Among my references I would quote Man Ray, Erwin Blumenfeld and above all Guy Bourdin. At the moment I am working on a series of photographs where I want to pay homage to my photographic idols”. Photographer Guy Bourdin caught Rodriguez’s interest. He was fascinated and inspired by one particular image where a girl swam under the water with her eyes and mouth open.- “ I was enthralled with this image

instantly, and this is how I came up with the idea for the ‘Fresh’ series. Then, I did the shooting taking advantage of a summer day in which the sun was at its peak.” In the past two years David Rodriguez’s photography has be featured in many exhibitions, magazines and online publications. Page 116: NOSE, David Rodriguez © 2017. Issue 23 - November 2017


OUTCAST David Rodriguez © 2017.

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QUICKER David Rodriguez © 2017.

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STORM David Rodriguez © 2017.

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David Rodriguez - writes about his work. I like to photograph people, I feel very comfortable doing portraits, but I always try to go a little further. That is the reason why I try to look for risky compositions, with a touch of surrealism. Works like those of Man Ray, Erwin Blumenfeld or Guy Bourdin inspire me immensely. Each person inspires me a different sensation, so before I do the shooting, I imagine how I would like to portray him or her. Then, I create a concept and imagine a story. I do not like to get attached to reality. Instead, I like to transform it, challenging the model with unusual situations. I play with the model, making each session a culture encounter, but also an enriching and surprising experience for both of us. The use of the photography techniques I use, whether high speed, long exposure or others, is determined by the conceptual preconception I had in mind. I am especially interested in Pop Art. This is why all my works are in square format, as if they were the

cover of a vinyl record. In the future, I would like to explore the world of fashion photography. I may sound selfish, but I have a need for the photos I do. First, I believe in my works, so when I think I got something good, the feeling of sharing it with everyone else invades me. I like to transmit emotions with my art and to observe how spectators conceive it. A photograph, like a movie, or a novel has to convey some

meaning, and that is why I seek to transmit emotions. Issue 23 - November 2017


HOVER David Rodriguez © 2017. Issue 23 - November 2017


FLOWING David Rodriguez © 2017. Issue 23 - November 2017


Water has always been a source of inspiration for me. Series like ‘Fresh’ or ‘Drops’ are clear examples of this influence. It is possible that because of living in an island, it has always been a very common element in my life. However, I sometimes prefer to play with the imagination of the viewer, so I endow my photographs with a halo of mystery. This is the case of works like ‘Venus’ and ‘Memories’. In both, the technique of long exposure was applied to the portraits. The series ‘Venus’ is inspired by the painting of The Birth of Venus by Alexandre Cabanel (1863). In this set, we find a half-naked Venus emerging from the sea and rising as the goddess of love. The model of this session follows the canons of the typical beauty of that time. ‘Memories’ is a series composed of several black and white photographs. In these photographs, the memories of a summer love are shown. Each of the photos represents a different past moment in time. These photos are full of symbols. The protagonists of the story look blurred, representing the memories that with the passing of time are fading. Neat parts symbolize the pain that remains after the separation.

I think I have evolved a lot artistically in the last year, partly because of the good reception of the ‘Fresh’ series. It was definitely a turning point.

The series ‘Pool’ (2017) is the logical continuation of the series ‘Fresh’, 2016. About a year after, ‘Pool’ moves us to one of those summer days in which the sun and the heat reign. Issue 23 - November 2017


HEAD David Rodriguez © 2017.

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AFLOAT David Rodriguez © 2017.

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‘Pool’ is inspired by the paintings that David Hockney dedicated to the swimming pool, in which the different scenes are developed around one. In this series, the minimalist compositions predominate, the geometric forms and the luminous colours, where the water and its movement have a special stardom.

The scenes that are shown are quite daily, giving the photographs a certain costumbrismo. The characters that appear in them are totally unconcerned, and seem to be enjoying a quiet pool day. We see immersed, swimming and playing in an idyllic environment full of vivid colours in the purest pop art style.

My last project is ‘Fresh II’. This photo shoot is a series of dreamlike images, almost unreal. I could say that it is "the continuation" of “Fresh”. - David Rodriguez © 2017.

All Rights Reserved on article and photographs - David Rodriguez © 2017

Issue 23 - November 2017



Issue 23 - November 2017


Jacquie Mather Jacquie Mather, is passionate about sharing her love for the wilderness and art. Her inspiration often comes from the landscapes around her and she loves to pull on her boots and create unique art experiences around the properties. You can also join her in her studio on most days too. Jacqueline conducts art workshops for visitors who are interested in drawing and painting. Thirsty Palette cellar door and Wilderness Art Studio is located in the heart of Lovedale, amongst the Hunter Vineyards NSW.

Interview “I grew up in the beachside suburb of Merewether and developed a great love for the ocean and travel, I would sit on my surfboard and wonder what lay beyond the horizon as a teenager. I loved to learn so I left

for the University of NSW in Sydney after high school and studied a Bachelor of Arts/Law and then a Masters Degree in Adult Education, working at a number of universities in Australia, Sweden and Singapore until I returned to the Hunter Region in 2013�.

Page 128: Hunter Valley Viticulture, oil on canvas, 90 x 90cm. - Jacquie Mather. Issue 23 - November 2017


Pochard box painting in spring in the Hunter Valley, NSW.

Painting - plein air at Broke, NSW.

Issue 23 - November 2017


Have you always wanted to be an artist? “I have been interested in art since I won a prize in primary school for a poster I designed regarding recycling. I loved reading art books and particularly biographies, and my fascination with so-called ‘primitive’ societies led to a period working as a potter in North Queensland specializing in Melanesian hand-built ceramics. However I have always loved painting, even though it was declared a ‘dead art form’ in the 1970’s and people stated categorically that photography had ‘murdered’ painting. But I was not deterred: I recommenced my painting career in the early 2000’s whilst living and working in Singapore, and completed a Masters Degree in Painting which focused my professional practice”.

How important is drawing as an element to your artwork? “I consider drawing elemental to my painting practice as it assists with composition. I studied drawing at the National Art School in Sydney for two years and found this immeasurably useful, opening my eyes in a way that made ‘observation’ of the world around me an exciting adventure full of possibilities for art-making.”

What inspires you? “Inspiration for me comes from the work of gestural and expressive painters who interpret their world using idiosyncratic mark-making and those who use colour in considered ways. For example I have always loved Cezanne’s portraits, Lucian Freud and Jenny Saville’s nudes, and Sidney Nolan’s bold use of colour when

describing the Australian landscape”. Issue 23 - November 2017


Floral II Hunter Valley Gardens, oil on canvas H40 x W60cm. - Jacquie Mather. Issue 23 - November 2017


Wine Making Gear, oil on canvas, H60 x W40 cm - Jacquie Mather © 2017. Issue 23 - November 2017


'Wine making gear' 60x40 oil on canvas

Wine labels and bottle carriers I've made for cellar door sales.

Wilderness Art Studio at Thirsty Palette Art & Wine, 247 Wildernesses Road, Lovedale, NSW 2325.

M: 0417009912

Issue 23 - November 2017


Do you have a set method / routine of working? “When I paint in my studio I am transported to another world - one of form, line, colour mixing and so on and l love the creative challenge and the mental gymnastics this entails. However painting is a form of meditation too. When students come along to workshops and to drawing and painting classes at my studio I engage them in thinking about art and doing art, and taking a considered approach so they can begin a lifelong journey”. What are you working on at present? “Currently I am working on a series of oil paintings with a regional focus on the Hunter Valley. My studio -

Wilderness Art Studio - is situated in a vineyard next to a cellar door, (Thirsty Palette Art & Wine in Lovedale) and wine production and viticulture are of interest to me both visually and practically. My partner and I grow different varieties of grapes in our vineyards and we use some excellent local winemakers to produce some really fabulous wines, including a Methode Traditionale champagne to die for and excellent semillions, moscatos and reds. I hope viewers of my work can feel the energy, the intimacy and power of

the life cycle and weather that controls the experience of living in Wine Country. Making good art is no different to making good quality wine - it takes continual practice plus dedicated reading and experimenting to improve one’s approach to the art problem. I really love teaching students and I hope that in five years time I am still working in my studio producing paintings and have a busy schedule of classes to suit everyone”.

- All Rights Reserved on article and photographs - Jacquie Mather © 2017. Issue 23 - November 2017


Issue 23 - November 2017


In Dungog ‘There Be Unicorns Out There’ Dungog, an idyllic village nestled in an Arcadian valley at the foot of the great Barrington National Park, surely no better place to find the fabled unicorn? A group of artisans under the banner of Dungog Artisans is staging its first exhibition to explore this

intriguing question through differing representations of the local environment. In mythology the unicorn is a creature resembling a horse, with a single horn in the centre of its forehead. The magical powers of unicorns are legendary. Unicorn horns are said to be harder than diamonds and to be able to neutralize poisons. Unicorn tears can heal both physical wounds and sorrows of the heart.

A person with the ability to see a unicorn may have a wish granted as a reward. Exhibition coordinator, Natalie Duncan, explains that the works in the exhibition will feature a variety of interpretations of the Dungog landscape that respond to the mystical and enchanted oddity that is the unicorn.

‘There Be Unicorns Out There’ is a curated exhibition of selected works by members of Dungog Artisans. “The exhibition is a challenge of imagination for local artisans and a unique opportunity for visitors to experience some of the magic and mystery that surrounds the legend of the unicorn,” Natalie said.

Page 136: Man & Beast, Autoclaved aerated cement. Eric Werkhoven. Issue 23 - November 2017


Winged, (detail) mixed media assemblage,

Hidden Mysteries, (detail) mixed media, H50 x W60cm. Judy Henry © 2017

- Julie Fitzgerald © 2017

Issue 23 - November 2017


“Artists are encouraged to communicate their own interpretation of this brief and look further than just a literal landscape. “Dungog’s landscape can be many things: the people, the history, the future, the events, the environment, the stories or the imagined and like the legendary unicorn it can be universally beautiful, mysterious and difficult to capture or tame.” “It is this inspiration, one of an archaic, magical and enduring place that is the guiding theme of the exhibition,” she said. “There be unicorns Out There is a suggestion of whimsy, a tale, a prophecy. “The artists use this inspiration as a starting point to generate unbridled ideas, which not only challenge, but also contribute to their current practice,” Natalie said. This is the first exhibition for Dungog Artisans as a group, however amongst the group of 21 Artisans are award winning artists who have exhibited internationally. The exhibition officially opens on Sat 18th November 2-5pm for a duration of 4 weeks to

16th December at Dungog By Design, 224 Dowling Street, Dungog, NSW. The exhibition will be officially opened by Brigitte Uren, Cultural Director of the Maitland Regional Art Gallery. Performing at the opening - Djembe Drummers BIG BAM BOOM. Issue 23 - November 2017


Left: Silk Shawl/ wrap Shibori dyed.

Right: Silk Scarf Shibori dyed. Gerdi Schumacher © 2017.

Issue 23 - November 2017


Hill Rhythms Acrylic on canvas Helene Leane © 2017

Issue 23 - November 2017


There Be Magic! Aqua Graphite pencil / oil pastel on paper, H42 x W30cm Collaborative drawing E&R Werkhoven 2017.

Issue 23 - November 2017


Dungog by Design is a collective of artisans living and creating in the Dungog Shire, NSW Australia. Dungog By Design President, Donna Cavanagh said “The collective plans to hold future exhibitions on a seasonal basis at the Dungog By Design centre. Our long term goal is to develop a very diverse exhibition program that highlights the flourishing creativity of the area, and encourages art lovers to visit Dungog.”

- Chris Priday © 2017.


Photographs courtesy of Dungog by Design artists © 2017

Issue 23 - November 2017



Issue 23 - November 2017


Above: Wirragulla,

oil on canvas, H920 x W730cm, - Nicole Chaffey 2016.

Page 144: Gesture - Body in motion, hand cut copper and 2mm galvanised wire, 850 x 1000cm. - Sarah Crawford 2017 Issue 23 - November 2017


Dungog Contemporary gallery, interior scene. Photo courtesy of Gallery. Issue 23 - November 2017



What attracted you to the world of Art? “It has always been there, I can't recall a time in my life from a very early age onwards when I haven't been around people making artworks or being taken to galleries, it's never stopped. I went to a school with a really fantastic art department and my parents and their friends all worked in the arts, there has been a lot of osmosis.”

What inspired you to open an art gallery? “Both Sarah and myself have studied visual arts, I have worked in the arts all my life. We both like going to see as many shows as possible. I love the whole process, from meeting artists through seeing their work, the studio visits, selecting work and I particularly love setting up the gallery for an exhibition. I'm fanatical about placing work in order to make it all sing to our collectors. Opening this gallery was an obvious choice. The first time we met we got into a conversation about opening a contemporary gallery in the country! Sarah is from Dungog and when she brought me up here and we saw the beauty of the town, we looked at a couple of empty shops and couldn’t get the J.A. Rose building out of our heads. Now we are here in this incredible transformed space with the art of some really talented people hanging on the walls. We want it to be a destinational gallery, in that Dungog is a lovely place to visit and stay, it sits in a beautiful valley with a river meandering through it. As well as experiencing the beauty of Dungog Shire, we want Dungog Contemporary to be a place that people travel to and see exceptional art in all mediums and find incredible artworks that they just can’t live without.” Issue 23 - November 2017


What style / type of exhibitions or merchandise do you have available ? “We are a contemporary gallery, we work with emerging and established artists and curators, providing the Dungog region with a centre for creative learning, experiences and exchange. Our first show is fairly traditional in a sense that it is painting, sculpture, photography and jewellery. But we will show other more non traditional works down the track, such as video and VR. For example, we are talking with an artist who has made a lovely video work in Scotland and with a serious

collector in the local area who owns a significant Australian VR work, which they want to show to the public, so we won't always be ‘trad’ in that sense, sometimes we will show important works that are not for sale because they deserve an audience. Sarah even want's to get a bit controversial and have a "sealed section" show, which would present works that have adult themes and will be accessible by people over 18 only. As the gallery develops we will expand into art books and other creative and interesting merchandise. They will make great gifts and we will keep the selection eclectic.”

Your future aspirations for the gallery / shop? “We wish to build a stable of great artists, to work with and develop, to enable us to do that we have to build a stable of great clients/collectors! It's a lifestyle choice primarily, I'd like to always be meeting new artists, curating different shows and to keep on being able to do that would satisfy me. It is lovely being able to sit in a beautiful space surrounded by nice artworks every day and have interesting conversations with people, though we are very much a commercial gallery.”

Issue 23 - November 2017


Shoulder to Shoulder Mild steel plate and rod 545 x 785 x 275 Harrie Fasher 2017

Issue 23 - November 2017


Stephen are you an artist, what genre of the visual arts are you involved with? “I studied painting and photography at East Sydney before it became The National Art School and I went on to work for a very good commercial photographer in advertising and fashion. After this I branched out into document photography for artists and gallerists. I have now come full circle back into fine art photography. Sarah has a degree in design with a sub-major in advertising and marketing as well as a fine arts degree majoring in textiles, jewellery, object and indigenous

studies, she is a practising artist as well as having twenty plus years of experience in marketing, advertising and design.”

Stephen Hobbs describes his work “I love the New York minimalist period of the 50's, artists like Rothko. I work in camera large abstracted minimalist landscape photographs capturing the essence of the landscape. I don't want to take verbatim photographs of the landscape

rather, I want to put the viewer into the landscape to experience its fragility, to make people mindful of the environment and humanity's place within it. They're quite meditative works I hope”.

Forthcoming exhibitions at the gallery? “We are continually looking at artists, both local and from further afield. In fact we are picking up some lovely sculptures this week and in conversation with a local Newcastle artists about some paintings for our next show, it's all a surprise!”

Are you interviewing artists for forthcoming exhibitions? “We are always having conversations with artists, we keep an eye on the Universities and Art Schools as it's our job to be on the lookout for new and innovative work”. - Stephen Hobbs © 2017. Issue 23 - November 2017


Dungog Common Twilight #1 Archival pigment print on cotton rag paper 1130 x 1130 mm. Stephen Hobbs 2017

Issue 23 - November 2017


Mountain Kosciuszko Lookout Oil on canvas 1200 x 1200 mm Belinda Street 2017

Issue 23 - November 2017


Whispers in the kitchen, Modular sculptures - Jane Frances Reilly 2017

All Rights Reserved on article and photographs - Dungog Contemporary Š 2017

M: 0410 332 236 Issue 23 - November 2017







3 - 12 NOVEMBER 2017 OPENING : 4 NOVEMBER From 2pm Guest speaker Joe Eisenberg OAM

ARTSYSTEMSWICKHAM Blue Dog & Friends, graphite pencil /oil pastel / paper H42 x W30cm -E&R 2017.

ASW 40 Annie St Wickham NSW

Hrs: Friday, Saturday, Sunday 11 to 4pm


Issue 23 - November 2017


An Absurd Event, graphite pencil /oil pastel / paper, H42 x W30cm -E&R 2017.

Two Figures & Sculptures, graphite pencil /oil pastel / paper, H42 x W30cm -E&R

Issue 23 - November 2017


Cactus Cross Series, graphite pencil /oil pastel / paper, H30 x W21cm

I Forgive You Your Sins! graphite pencil /oil pastel / paper, H42 x W30cm

- Robyn Werkhoven Š 2017

- Robyn Werkhoven Š 2017

Issue 23 - November 2017


The past thirty years Eric and Robyn Werkhoven have lived and worked as a professional contemporary artists in the Hunter Valley. They have been involved in the visual arts for many years– including: performance/event art, painting, sculpture, textile design and management of galleries. Both are award winning artists and have been Finalists in major Australian art prizes. Their work has been selected for exhibitions nationally and internationally. In 2013 they established the successful Arts and Literary online magazine – Studio La Primitive Arts Zine. Eric & Robyn Werkhoven, together they exhibit under the title of Studio La Primitive, present an exhibition of drawings, paintings and relief sculptural assemblages. The exhibition titled COMEDY & TRAGEDY – explores their perpetual intrigue with the rituals, mysteries

and absurdities of existence. “Revealing the world of human caprice, with a sheer delight and a touch of irony”. The artist’s individual styles are evident in their collaborative works; Robyn’s passion for portraiture and figuration, and Eric’s stylised mythical beasts and human creatures, as is their shared attraction to bold

colour and line. Their styles come together in these works complementing each other and creating an exciting collection of new works. The exhibition also includes a series of paintings by Monique Werkhoven. Art Music by Michael from The Mermaids at opening. All welcome! - E&R Werkhoven © 2017. All Rights Reserved on article and photographs Eric & Robyn Werkhoven © 2017. Issue 23 - November 2017


Nude, Interior Scene, acrylic on canvas, H60 x W45cm,

Interior Scene with Two Figures, acrylic on canvas, H60 x W45cm

- Robyn Werkhoven 2017

- Robyn Werkhoven © 2017 Issue 23 - November 2017


Sculptural Relief Tiles, Autoclaved aerated cement, 20x20cm Eric Werkhoven 2017.


OPENING : 4 NOVEMBER From 2pm ASW 40 Annie St Wickham NSW

HOURS: Friday, Saturday, Sunday 11 to 4pm


Issue 23 - November 2017


‘Genius Loci’ 10 - 26 NOVEMBER

Tanya Matas Janet Steel

Jane Blackall Julie Batts and Shelagh Lummis

Back to Back Galleries Opening: Friday Nov 10th from 6pm

57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm Issue 23 - November 2017


Back to Back Galleries Presents

‘Genius Loci’ An exhibition in ceramics, textiles and paint and paper by:

Tanya Matas, Janet Steel. Jane Blackall, Julie Batts and Shelagh Lummis.

In this latest exhibition at Back to Back Galleries, five local artists are offering a collection of works using clay, fabric, paper and paint which demonstrate a highly personal approach to the concept of ‘Genius Loci’ (spirit of place). Tanya Matas and Janet Steele use their expertise with textiles and clay in making connections to family history and place, while Papercut artist Jane Blackall explores the traditional notion that ‘home is where the heart is’.

Julie Batts’ paintings show us that spirit of place is implicit in moments of human connection with nature and Shelagh Lummis’ views of local environs ask the viewer to find their own ‘genius loci’ within the ordinary and the familiar.

57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm Issue 23 - November 2017


Judy Henry CONECTIONS Paintings, Prints & Assemblages

During November 2017

At the Readers Café & Larder 1 Garnett Rd, East Maitland, NSW.

Opening Saturday 11 / 11 / 2017 3pm By Robyn Werkhoven Djembe Drummers BIG BAM BOOM.

Issue 23 - November 2017



Victorian Artefacts Series, Assemblages, mixed media, 2017.

“My home, ‘Valentia Lodge’ circa 1830’s is my sanctuary. The artefact’s I have collected from our property are from the Victorian period of its history. I really enjoy being able to create artworks that record the history of our home from objects and materials I have collected.”

Judy Henry Exhibition - during November at the Readers & Larder Café, 1 Garnett Rd. East Maitland, NSW. Issue 23 - November 2017


Gallery 139 at Janet Clayton Gallery, Sydney WED 15 NOV - SUN 17 DEC 2017

406 Oxford St Paddington NSW 2021

Left: Blossom ,2017 oil on canvas 56x56cm Matthew Tome

Issue 23 - November 2017


Andrew Shillam and Rindi Salomon

Art Systems Wickham 1st to 10th December 2017 40 ANNIE ST. WICKHAM, NEWCASTLE NSW. Issue 23 - November 2017




Phone: 0431 853 600

Director: Colin Lawson Issue 23 - November 2017



3 - 12 November

Eric & Robyn Werkhoven

17 - 26 November

John Heaney & Sandra Burgess

1 - 10 December

Andrew Shillam & Rindi Saloman

15 - 24 December

You’ll Fest 17 - Xmas Show.


Phone: 0431 853 600

Director: Colin Lawson Issue 23 - November 2017


Click on cover to view the issue.

studio la primitive Eric & Robyn Werkhoven Contemporary artists E: Issue 23 - November 2017


Click on cover to view the issue.

Issue 23 - November 2017


Issue 23 - November 2017


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 23 - November 2017




New work by Michelle Brodie and Jen Denzin 19 OCT - 5 NOV

ROCKIN' THE SUBURBS 9 - 26 NOV Exhibiting artists: Nadia Aurisch, Ellie Kaufmann, Peter Lankas, Jo Shand, Dane Tobias Peter Lankas victaman 2017 ipad drawing 37 x 25cm

Gallery 139 Beaumont St. Hamilton, NSW Issue 23 - November 2017


GALLERY 139 EXHIBITION CALENDAR 2017 GALLERY 139 presents A curated group exhibition

15 NOV - 17 DEC JANET CLAYTON GALLERY 406 Oxford St Paddington NSW

Convergence Giselle Penn, Susan Ryman, Prue Sailer 30 NOV - 10 DEC Susan Ryman Convergence #6 2017 coloured pencil on rag paper, hand varnished 13 x 18cm

Director's Choice 2017 Dec 14, 2017 – Dec 23, 2017

Gallery 139 Beaumont St. Hamilton, NSW Issue 23 - November 2017


20 October - 5 November “Elsie and Sue” Artists: Elsie Randall and Sue Stewart 10 - 26 November “Genius Loci” Artists: T Matas, S Luimmis, J Steele, J Batts & J Blackall.

1 - 17

December “Xmas Takeaway” Artists: Newcastle Studio Potters Inc.

57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm Issue 23 - November 2017


Flora & Fauna from Mississippi to Australia:

Kerr Grabowski 11 October - 5 November. Down the Creek Judy Hooworth

8 November - 3 December. Jan Clark 6 - 24 December.

90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm Sun 10 am – 2pm. Issue 23 - November 2017


Issue 23 - November 2017


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.

All proceeds from the sale of this book will go to the International Rhino Foundation. Rhino Images – Art and the Rhinoceros, First Edition, 2017. You may purchase the book from

- it is a Kindle eBook and costs $20 US. When you reach

the Kindle eBook section type in Rhino Images. Page : White rhino crash at Whipsnade Zoo, England. Image: Robert Fildes Š 2017. Issue 23 - November 2017


Issue 23 - November 2017


Unique timber furniture, jewellery & gifts. 40 Fosterton Road, Dungog NSW. Ed & Barbara Ramsay M: 0457063702 for enquiries. Issue 23 - November 2017































Y Gingko Biloba Autumn, oil, 95 x 95cm - Marijke Greenway © 2017.

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