ARTS ZINE september 2017

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s t u d i o


arts zine issue 22 september






Resurrection in Sonic Halos Assemblage 85x76x54cm Dominic Kavanagh 2016. Issue 22 - September 2017



Kobe Pastel, H76 x W50cm Hugh MacKay. Issue 22 - September 2017



studio la primitive EDITOR: Robyn Stanton Werkhoven CONTRIBUTORS Gordon Elliott

Brad Evans

Michael Eyes

Eric Werkhoven

Dominic Kavanagh

Lorraine Fildes

Sue Stewart

Robert Fildes

Hugh McKay

Maggie Hall

Varelle Hardy

Robyn Werkhoven

Ira Morgan

Ian Kingsford-Smith

Gallery 139

Art Systems Wickham

Timelesstextiles SEE RED, Collage H30 x W20 cm. Varelle Hardy. Issue 22 - September 2017


INDEX Editorial………………… Robyn Werkhoven


SLP Antics………... … E&R Werkhoven


Feature Interview …… Elliott & Eyes Collection.

8 - 25

Poetry & Essay………

Teapot: Winner Sydney Teapot Exhibition 2007. Stoneware: clay, matt copper glaze. H20 x W15 x D8 cm. Sue Stewart.

Eric Werkhoven

26 - 29

Feature Artist ………… Hugh MacKay

30 - 47

Poetry ………… ……… Brad Evans

48 - 49

Feature Artist ………… Sue Stewart

50 - 65

The Lotus Pond……… Lorraine Fildes

66 - 87

Poetry ………………… Brad Evans

88 - 91

Artist Interview ………… Dominic Kavanagh

92 -111

Book Interview ………… Lorraine & Robert Fildes

112 - 121

Feature FETISH …...

Maggie Hall

122 - 135

Artist Interview……….

Varelle Hardy

136 - 149

Artist Interview ………….Ira Morgan

150 - 157

Artist Exhibition ………. Ian Kingsford-Smith

158 - 161

ART NEWS…………………….

162 - 179

Front Cover: Regalia (Teal Fade), Reko Rennie, 2013. Acrylic and ink on linen. 150 x150cm. Elliott & Eyes Collection. Issue 22 - September 2017


EDITORIAL Greetings to all our ARTS ZINE readers for September our Spring issue 2017. This month’s issue features an interview with art collectors Gordon Elliott & Michael Eyes, who talk about the opening of their splendid art collection to the public. There is an in depth interview with artist Hugh MacKay and we visit the world of installation / performance artist Dominic Kavanagh. From the Hunter Region NSW, features include, ceramic artist Sue Stewart, collage / assemblage artist Varelle Hardy and water colourist Ira Morgan from rural Dungog. Maggie Hall, artist, writer and photographer presents an amazing article FETISH, from her recent trip to England. Lorraine Fildes, our resident travel photographer and writer features nature in all it’s glory with a stunning series of photos - ‘The Lotus Pond’. We are proud to include interviews with Lorraine and Robert Fildes, talking about their latest book “Rhino Images” - Art and the Rhinoceros. 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 2017.

Deadline for articles - 15th October for November issue 23, 2017.


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 22 - September 2017


E & R A N T I C S Collaborative drawings - E & R Werkhoven Š 2017 Issue 22 - September 2017



Issue 22 - September 2017



The Elliott Eyes Collection of contemporary art is housed in a private Victorian terrace house in 7 Bridge Street, Erskineville, Sydney NSW. The collection of approximately 300 works (sculpture, painting and ceramics) focuses mainly on Australian and New Zealand art, but also includes work by German, Belgium, American, South African and English artists, all of which are on display. Four major outdoor sculptures extend the collection beyond the usual interior walls, tables, mantels and, in our case, even the floor of the house. The Elliott Eyes Collection is a private art collection that has taken 20 years to assemble. It's focus has of course changed over time but it's emphasis is on collecting selected artists in depth, across their career and their various media. Once an artwork becomes part of a private collection it is often out of sight and out of mind, lost to the

public, unless you are invited to come and view the works at their home. The collection will be able to the viewed as part of a guided tour by the collectors. They will give insights into the works, stories about how they were obtained and their place in the wider collection.

Page 8: Gordon Elliott and Michael Eyes peeking from portraits in the lounge room. Photo by Christopher Pearce. Issue 22 - September 2017


Interview with Gordon Elliott and Michael Eyes. What attracted you to the world of Art? “There was just something about the way art enhances your life. The range of works, styles, mediums were all new and exciting to me when I first started looking at art. It drew me in and made me look at things differently and opened a huge new world of galleries, artists and travel.”

What inspired you to start the collection? “When I purchased this home, my partner and I made a decision to only have ORIGINAL art on the walls. We were both interested in art but did not have a great deal of knowledge. This quickly changed and the experience gained over the past 20 years of collecting has been exponential. Art brings both joy and challenge into our life and it is amazing to live in a home filled with art.”

Left: 7 Bridge St Erskineville 2014, Sculpture - A Matter of Perspective , Terry


Image by Christopher Pearce . Issue 22 - September 2017


ADRIFT - FONAS Ceramic plate. 26.5cm diameter Todd Fuller 2012.

Issue 22 - September 2017


How long have you been collecting art works? “Starting off in a very small way with two beautifully painted ‘ships on Sydney Harbour’ the collection has grown quickly over the past 20 years. It has also undergone several major changes in its direction with both subject matter and the variety of works. Paintings were the primary focus of the collection at the start but once wall space ran out sculpture became a big focal point and now this has included major outdoor artworks”.

And now what instigated you to open your collection and home to the public? “Generally our feeling is that once an artwork goes into a private collection it is never seen.

This is such a shame as so

many wonderful works have such a limited viewing. Unless you are invited into the collector’s home you never get to see the works. One of our aims, is to see ALL the Vermeer works but the one that will be the hardest to view will be the one in the Queen’s collection – we only hope we get to see it one day but again it is a ‘private collection’. Also we are proud of our efforts and the collection and the direction it has taken over the years and are happy to share it with those that are interested. We also wanted to encourage others to collect art and live with it on a daily basis.”

Issue 22 - September 2017


Lounge room: Artworks Terry Stringer and Euan MacLeod. Issue 22 - September 2017


Issue 22 - September 2017


Is there a growing trend for private art collections to go public? “Over the past few years there has been an increase in private collections being open to the public. Some have had purpose built buildings or converted warehouse spaces for their collections to be viewed. This is such an amazing thing to

happen and can allow larger numbers to view the works. Unfortunately, our budget does not allow that so we have used our home as our collecting space and are happy for people to come and visit. If we had a lotto win we would be doing exactly the same – buy more art and build a private gallery.”

What art works and artists inspire you? “There are several artists that we really like which is shown in the number of their works in our collection. Rick Amor, Euan Macleod, James Gleeson, Terry Stringer, Alex Seton to name a few. These are all established artists and create exceptional works. There are others that we have which also challenge and inspire us such as Reko Rennie, Mark Whalen or Julian Meagher but for different reasons. Then there are young artists that show new directions and inspiration such as Adam Stone, Todd Fuller, Paul Snell or Clara Adolphs”.

Page 14: Boy on a Bathing Box, oil on canvas H25 x W41cm, Rick Amor 2007. Issue 22 - September 2017


Issue 22 - September 2017


Is there a particular reason for your choice of styles / genres? “Generally the collection is a “figure in a landscape” but as we are always learning about new artists and seeing more works we have added a diversity into the collection. Figurative work has always been an attraction as my background is in Physical Education. This has lead me to look at how the human figure can overcome the environment to achieve amazing feats. The extension of this is to see how the figure interacts with the landscape and the diversity of the landscapes that can be encountered. We also have a love for ‘dogs’ so they are part of the collection too”.

Do you include emerging artists in the collection? “Yes we look at a wide range of young artists and can follow their career for a while and then decide if they are a good fit for us and the collection. One good thing with the emerging artists is that their work tends to be more within our budget and if you get in early it is better. There are several artists in our collection that we managed to get very early on, Alex Seton and Michael Zavros which now command high prices for their works so it makes it harder to afford a new work but we keep trying.”

Page 16: This Charming Man, oil on Canvas, H110 x W150 cm. Michael Zavros 2006.

Issue 22 - September 2017


Issue 22 - September 2017


Do you both have favourite works, tell me about them. “This question is like saying ‘which of your children do you like best ?’ so it is very difficult. There are many works that we

love such as the Terry Stringer work we commissioned for the front of our home. The thought behind this work was not only to give us great pleasure but to be a gift for the community and for all those that walk past our house to enjoy. To pick one work is way too hard and we are lucky enough to enjoy all the works.”

What is it like to live in a home teeming with art works? “People find it hard to imagine living with a home filled with art but really it is very easy. We don’t bump into works or trip over them as we know where they are and it is just part of our life. It would be hard to think of our home without the art inside. I just wish we had more space for more art. Each time a new work comes into the collection it needs to ‘find’ its place which can sometimes cause a rehang of a large number of works. As works get moved and relate differently to each other they provide us with new ways of looking at them which energises them in a new light.”

Page 18: Sitting in Bedroom View, photo by Christopher Pearce. Issue 22 - September 2017


What are the challenges for an art collector? “LACK OF WALL SPACE !!! What do you do when you run out of walls ? Buy sculpture !! The biggest challenge for us is finance as there are so many works we would love to have but limited finds to get them. The galleries and the artists have been extremely helpful in us getting the collection we have. They have generously allowed us to pay off major works over a longer period of time making them affordable over this timescale. Without the support of the galleries and the artists we would not have been able to collect the works we hold.”

Has collecting art become an addiction? “DEFINITELY !! There is always a new work we are looking at and then the wish list gets longer. As we collect artists over their career and the various mediums they use there is always a work we are admiring (or paying off).”

Left: Gordon & Michael Triptych, oil on canvas. 240x100cm

Euan Macleod Commissioned 2008. Issue 22 - September 2017


Boogie Boarders, oil on canvas, H60 x W80 cm. Clara Adolphs 2015.

Folded T-Shirt COURAGE, Carara marble. H6 x W30 x D33 cm. Alexander Seton 2009.

Issue 22 - September 2017


Issue 22 - September 2017


What do you hope viewers of your collection will take away with them? “The main hope for those that visit would be that they can also collect and live with art in their life. You don’t need a huge budget to start with and you can gather a wonderful collection over time. You just need to start and then develop and eye for the works you like and gradually build up the collection over time. Also we hope that people can see that you can have a diverse range of works together and just be comfortable living with art each day.”

Your future aspirations for the collection? “The final outcome for our collection is to leave a legacy for those artists that will come well after we pass away. We both hope that ‘the ELLIOTT EYES COLLECTION’ would continue after we die and have started looking around for a suitable regional gallery to oversee the collection. We would be looking at donating 10 works as the basis for the regional gallery hosting the ELLIOTT EYES COLLECTION and then they would sell ALL our assets (home, art etc) and set up a scholarship or prize which would be given to an artist each year and at the end of that year they would produce a new work which would then be added to the ELLIOTT EYES COLLECTION at that regional gallery so the collection would still exist after we die but would also be evolving and growing with each new work and artist selected for the scholarship.” - Thank you Gordon Elliott & Michael Eyes for the interview. - Robyn Werkhoven © 2017. All Rights Reserved on article and photographs - Gordon Elliott & Michael Eyes© 2017.

Page 22: PULSE 201103, metallic print embedded in 8mm plexiglass, H120 x W120 cm. Lambda Issue 22 - September 2017


Maze Walking, mixed media on board, H120 x W135 cm. Mark Whalen.

Page 25: Teik as Ming Vase, oil on linen, H60 x W60 cm. Julian Meagher 2010. Issue 22 - September 2017






Y E S Issue 22 - September 2017



This question Who are we, in the scheme of things? I had a brief look in the garden, it’s one of my favourite pass times. Nice and cool and the dew has moistened all the leaves.

But it’s quickly lifting, clearing the valley floor, opening up the sky for the sun to dominate it’s presence.

All the relevant assumptions, you break my heart and spirit to get there,

As in being able to leap into the great Unknown. To nurture a sense of trust, that will also serve as a reminder, from one brief moment to the next, and I am here to jot down few particulars, anything really!

Issue 22 - September 2017


On reflection, on collusion, to back it up. The garden and the knowledge gained largely from inaction, only when it is absolutely necessary. Where the dividing line seems as bold as ever,

but spare me the excuses and theories and close the door on this chapter. Inept to strike a decisive blow, because these implements are an extension of my arm, of that same wilful, inane passion. Harboured to produce results, no doubt! It is as if I can’t trust myself to make the right decisions. But to tread the well worn path, all seeing and blind.

Not to leave you unchaperoned, but say to you, that these dramatic thoughts and observations, barely obscure, the most profound love for you. For the self to proclaim jurisdiction. An idea succinct to a distraction, in term undisclosed.

- Eric Werkhoven Š 2017. Issue 22 - September 2017


ESSAY: ONEROUS THOUGHTS - Eric Werkhoven What will today bring, to turn our lives upside down? The very cuisine of undertaking, to make us extra attentive. More to the point we will do everything in our power to traverse the endless chagrin into a positive adventure. The very essence of our downtroddeness will reflect in our strength. Nurturing the aesthetical qualities of mindful expectations. To fit it into a shoe box, our whole life comprising of some photos, a few interesting phrases of wisdom, a piece of string from the hem of Venus( whom we have secretly admired).

We have in our possession the thread of Adriane. The notion, an idea, a token gesture, a pin point on a map to illuminate the world in a golden aura. Give us our daily bread, that we helped make, and lead us towards the shimmering translucency of accepting our fate. Single and foremost imbedded on the rocky slopes, the dream time swallows us whole. The tempestuous beginning of each day will surely raise the dead out of their graves. So far this has not happened and can not happen we are told. By imitating the stoney surface, we may obliterate any sensation of the present, impenetrable sanctuary, hording it’s everlasting riches. Brittle bones turning to jewelled worlds of splendour.

Issue 22 - September 2017


Not to realise the tempestuous beginnings, that we would be ashamed. A great loss felt through all our lives. What can we do, when we are vaguely told what to do ? But can’t quite grasp the intricate meaning. We must listen more attentively, shedding all our prejudices, comprising of much what we personally believe in. Unfortunately we are too conceited to realise that we are blocking the view. The minds inability becomes the minds strong hold, alluding to it’s own entrapment. Bring us the sorrow of your imprisonment. Shuffling in line to be served, raising the dust until our eyes sting and become red and agitated.

Why persist in these unbearable circumstances, for want of the bare necessities, we come to depend on? You will try to convince me of all sorts of improbable things, just by leading a life no one can adhere to. Too capricious, too life threatening, too harsh on our refined life styles. By creating a vacuum that sucks us towards a strange and terrible vortex. Death defying to create such an abundance of life that we quickly forget. What lays at the centre? Gushing forth swirling streams, shots aimed directly, only to provoke a sense of incredulous consternation. A profusion so great, that we retreat within the confines of our own limitations.

- Eric Werkhoven © 2017. Issue 22 - September 2017



Issue 22 - September 2017


Artist Hugh Mackay Sculptor, Printmaker Life Drawer and Painter. Mackay’s





based in Melbourne. He has been exhibiting work since 1984.

Page 30; Race Day, pastel H76 x W50cm Issue 22 - September 2017


Ahead of You Pastel H76 x W 50cm. Hugh MacKay. Issue 22 - September 2017



When did your artistic passions begin ? “When I was four I painted a water colour of a red tractor. I remember it, and in particular the tread on the tires, I was quite impressed with the ability of it and the wonder of art making has never left me.”

Have you always wanted to be an artist ? “I have done other things but my love of art making is now my priority. Even when doing other things I was collecting ideas for later use. There is no wasted time for me. I use everything and I think cross training equips you for later on, it strengthens your repertoire.”

Describe you work ? “Abstract figures in pastel from live models.”

Issue 22 - September 2017


A Star Pastel H 76 x W 50cm. Hugh MacKay.

Issue 22 - September 2017


Method and Materials? “I use life drawing for making art rather than just practicing technique I have gone from life drawing to live drawing so to speak, real people in real- time; it’s the live aspect I like, the energy. It also works for me because of the techniques I use, to some extent I can duplicate printing and sculptural processes, such as aquatint and patina. Most of all I like the freedom, the process of making something more than I had realized. Drawing for me is dreaming in real-time”.

Why have you chosen the material / medium you work with? “Pastel on paper is my preferred method and I have produced a lot work in this format. It suits my tempera-

ment because pastels don’t require drying time or mixing with water and so on. Results are immediate, no fussing about. I like the speed aspect very much. I also polish and glaze. The result is a blend of hard edge with a soft and atmospheric surface. Pastels are pure pigments; that means the colours are permanent, and extremely vivid. What you see is what you get. I think they are a metaphor for love, pure, steadfast and alive.” How important is drawing as an element to your artwork? “Drawing is the seismograph of my soul. The faintest tremor of emotion or the most powerful expression can be captured and recorded with an honesty that shows what is going on below and above.

Drawing ? indispensable I would say.” Issue 22 - September 2017


John's Leg Pastel H76 x W 50cm. Hugh MacKay. Issue 22 - September 2017


Is there a particular reason you chose this style/ genre ? “The female has become prominent in my drawing but is not the subject of the work, it is simply the result.

This was determined by the process of making, not intention. This form is ideal as it expresses all the themes of my work, as a metaphor for the human condition. It is about great strength and great vulnerability combined. The female form is a fantastic subject for drawing as the line is there from the start, it is charged with

primordial meaning and symbol. Artefacts like Willendorf woman demonstrate the power and latent symbolism contained within this form. From a making point of view I am not concerned about anatomy, so I don’t care to draw every muscle and sinew. Nor do I care where the light falls other than to give something of the moment. I am more concerned

with the psychology of the model than the physiology, so keep it simple. Although I also draw men their strengths are generally more overt and obvious, which limits my range of response.�

Issue 22 - September 2017


Axone Radiance at Stringy Bark Track Acrylic on board H 930 x W 780 rs. Hugh MacKay. Issue 22 - September 2017


What inspires you?

“I love history, and the history of art is a major influence on me. In keeping with my love of history,

the time and place of making is an important aspect for me and is consciously built into the fabric of the finished piece. The finished work is in some ways ahead of my thoughts. It’s intuitive, and intuition is a technique that is very much a part of my process. I try to learn from history, and incorporate it into my artwork. The artists that I feel close to are the ones that feed me.

Dali really grabbed me early on, the mystery intrigued me. A man who could paint dreams commands respect. Themes I explore are adversarial love, peaceful conflict, and light's relationship with shadow in the physical and spiritual sense. How these values are born out of their opposites. My work is centred on the paradoxical nature and the interdependence of these relationships.

It is about resolution through process, and by process I mean revolution.”

Issue 22 - September 2017


Devine Jama Pastel H 76 x W 50 cm. Hugh MacKay. Issue 22 - September 2017


What are the major influences on your work ?

“I think I am standing still and everything else comes and goes. This idea has been a major influence on the way I approach my art making. Life drawing makes one aware of time and place in a most profound way as

the timed poses make for an almost meditative state of mind, where time perception can do strange things. The nude human form can also present a significant influence not just at a technical level but also artistically

What do you do when as a modern artist you encounter something like the nude which you had previously dismissed? My life drawing is a response to this question, and reflects to the viewer their particular view, be they artist, academic or novice. Some will see relevance where others see decadence. I like to challenge our thinking by combining materials or subjects that are not convenient or popular. In my view the intuitive view and the literal view can exist together, and if necessary the abstract may exist within a recognized form.

Symbol and metaphor are the abstraction, so that the form within my work is not

about gender, it is esoteric, neither male nor female, a host to which a non hierarchical meaning is as signed. It is a figurative rendition of abstract ideas. My life drawing is about the paradox of these relation ships so I am violating traditional technique and connecting to it simultaneously.� Issue 22 - September 2017


“I think that people are multidimensional; abstract in their own right. To be alive is to give shape and form to abstract meaning.

The combination of the figure

and abstraction is something that involves us all; the

figure therefore is always contemporary and abstract ion has always been with us. I feel that after technique, the only limiting factor for success is the prejudice of technique. Time of making, environmental influence and people are important for me. The idea of being where you are is an aspect that is key to my work, so the moment of being is a major part in what I do. In the final analysis my work is ahead of my understand ing, which is consistent with my process.�

Left: April fool pastel H 76 x W 50cm. Hugh MacKay. Issue 22 - September 2017


Name your greatest achievement , exhibition? “Art has always played an important role in expressing both simple and sublime truths. As culture and technology change around us the complexity of that change can be overwhelming, yet we may see within an artwork something that transcends all other endeavours.

Art contains a commonality that connects us through time and space. The connection that exists between us, this is for me where the power resides, so when I connect to some one through art, either mine or theirs, this is an achievement that I admire.”

What are you working on at present? “I have been applying my life drawing skills to outdoor painting. The power and immediacy of nature and our placement in it is the theme for works created in situ, usually in 1-2 hours and is an immediate response to the place and time of making. Sites are chosen at random from the Mornington Peninsular and the Dandenong Ranges and are not seen as an end in themselves but as a centring point of creative inquiry. The time factor adds an explosive factor to the work. When confronting the awesome power of nature in its raw state one can be easily overwhelmed . The idea being that I control the event at the core by being in the moment, what is important at this moment, as opposed to the formalities of rendering.” Issue 22 - September 2017


In Plain Sight, Pastel H 76 x W 50 cm. Hugh MacKay.

Issue 22 - September 2017


What are your future aspirations for your art? “I would like my art to find a place to exist and have a meaning beyond myself because it’s about all of us”.

Where do you see your art practice in five years time? “I am totally excited about the future and a bit terrified that I will not realise most of what I want to do. My list would include large scale sculptures and paintings and I would like to explore my love for printing techniques with some new processes I have been developing. Perhaps some large scale life drawing with multiple figures, a narrative on a grand scale. The ideas I have in mind would require a factory studio so to be in that situation is where I want to be”.

Right: Obsolete Necessity, bronze H 260 mm. Hugh MacKay. Issue 22 - September 2017


You Yang Woman, pastel, H 50 x W 76cm. Hugh MacKay.

Issue 22 - September 2017


Forthcoming Exhibitions? “Although I have been making and exhibiting my work for some time I have restricted access to the works in recent years because sculpture was my priority, and drawing it seemed to me was a less substantial practice, particularly life drawing. The word nude for example and the way it is presented can be off putting

to me as the work is not about that. The issue for me has been how to describe it? Its has made things difficult from an exhibiting point of view because of the definitions applied, is it Nude, Abstract, Figurative, Portrait, Sculptural ? Which category box do I tick? Perhaps in the future someone will figure it out and have a box marked all of the above. Also I have come to realise that I was being prejudicial to what appeared to be a less serious art. It was something I was doing waiting to do something more important! Ironically it now occurs to me that the important stuff was relocating into a new form. Necessity drives change. I would be happy to exhibit this work if anyone wants to see it”. - Hugh MacKay © 2017. All Rights Reserved on article and photographs - Hugh MacKay © 2017. Issue 22 - September 2017


SHADOWS - Sue Stewart Hi fiddily dada, hi fiddily dee Thoughts and shadows are playing with me The clocks are all melting The mouse has run down The tops at the bottom Time to bring in the clown Young soldiers take aim Their poor souls are dead For God and for country the machine must be fed Earth moans at the treason The greed and the rot There is really no reason Only a plot Issue 22 - September 2017


The times aren’t a changin’ we’re all still the same Plenty of excuses and all pretty lame Now owl and pussycat have sailed out to sea Nothing much left only shadows and me Shadows, like thoughts and a wave on the ocean Are as transient as life and lots of emotion Words have run freely but what have they spoken? The rhyme and the rhythm are merely a token …………and the dish ran away with the spoon. - Sue Stewart © 2017.

Issue 22 - September 2017



Issue 22 - September 2017


SUE STEWART Sue Stewart has been working with ceramics for over thirty years. Experimenting with various glazing techniques, she has built a repertoire

of styles. Her home and studio is based in Newcastle, Australia, Sue is strongly connected to the local art community.

Above: Vessel: porcelain, slips, underglazes, ceramic pencil, crawl and clear glaze, H18 x W22 cm. - Sue Stewart 2017. Page 50: Time and Tide: Keane’s Red Raku, white porcelain slip, Barium blue glaze,

sandstone base, H105 x W22 x D17cm . Photo: John Cliff. Issue 22 - September 2017


Platter with Ramekins: Keanes No 9 stoneware, Reduction fired Shino.

Platter, Keane’s stoneware No 9 clay, Carbon trap Shino and fat

H6 x W40 cm. - Sue Stewart.

crawl Shino. Reduction fired. H2 x W35 cm. - Sue Stewart. Issue 22 - September 2017


SUE STEWART - INTERVIEW When did your artistic passion begin? “Art education back in the 1960’s was very basic and uninspiring We did not have any specifically trained

High School art teachers in my home town of Dubbo, NSW. My passion for clay started almost as soon as I started a craft class when I was about twenty five. From that class I was encouraged to go on to a TAFE Certificate Design class in Ceramics. It was once a week for three years. On completion I set up part of the garage as a studio and held hobby ceramic day and night classes. I also started to exhibit my work. In 1988 I began a BAVA at The University of Newcastle specialising in Ceramics, followed by post-graduate

studies. This led on to part-time work teaching in the Ceramics department at the University of Newcastle as well as part-time TAFE teaching. In 1997 I did a teaching degree and worked between TAFE and high schools until retiring”.

Describe your work “Clay has remained my preferred medium and the work ranges across a broad spectrum of processes. I started out as a potter making domestic ware. I love the repetition, discipline and rhythm of wheel throwing. I still make some thrown domestic ware and one-off pieces. It is always nice to return to the wheel as a meditation. A range of Shino glazes I have developed remain a favourite of mine”. Issue 22 - September 2017


Masters 2003 – Social Capital, Terracotta clay, H14 x W 6 x D18 cm. Sue Stewart. Issue 22 - September 2017


“University was a turning point into more art orientated pieces and conceptual thought processes but the craftsmanship that I learnt from TAFE has remained a strong component of all my work. My first figurative exhibition set me off on a course of self-examination and looking at the complexities of relationships. This also became the subject for my Masters in Art (MA). Completing my MA in 2003 is

probably my biggest achievement. My paper was titled "Social Capital and the Domestic Image". Social capital can be likened to the social glue that keeps families and communities stable. It is very difficult to put a dollar value on it but it is incredibly valuable to a society. It is mainly about the family, day to day domesticity as well as the importance of work, community activities and cultural endeavours. Ideally it is about creating a culture that is inclusive with a fair go. Unfortunately, it feels like we may be moving away from that with the gap in distribution of wealth, the rise of homelessness and a growing prison population.

The artworks for this body of research were made up of small terracotta figures which follows a very long tradition of terracotta figures describing various activities in many societies. The figures are engaged in

ordinary everyday events such as sharing a meal, having a day at the beach or reading a book. Large hand-built pieces are another area that I like to work with. In the exhibition Time and Tide (Back to Back Galleries, 2012) John Cliff’s beach photos and my eroded forms complemented each other beautifully. I had often photographed the deep erosions in the sandstone along the beach and it was inevitable that it

would eventually have an influence on my work”. Issue 22 - September 2017


Masters 2003 – Social Capital. Terracotta clay. H31 x W21 x D23 cm. Sue Stewart.

Issue 22 - September 2017


Masters 2003 – Social Capital. Terracotta clay, Stone H21 x W22 x D23 cm. Sue Stewart.

Issue 22 - September 2017


Time & Tide, Memento Mori H 11 x W 42 cm. Sue Stewart.

Issue 22 - September 2017


“Various Public Art opportunities have led me into mosaic projects and the chance to work with a diverse range of people. The first such project was the arch on the corner of Donald and Beaumont Streets in Hamilton. The public were invited to make tiles of their choice reflecting their identity or culture. I made the sculptural piece on top that represents the journey and contributions that immigrants make. The concrete arch was a gift from the Masons. The next project was a group of totems made by Lake Macquarie primary students with the top pieces produced by selected secondary school students from Lake Macquarie. The totems were expressions of the many Aboriginal stories and other activities from around the lake. I was assisted by Dougie Archibald and John Cliff on this project. For another Lake Macquarie project, an indigenous group connected with Lake Macquarie Art Gallery proposed a meeting place for all. In collaboration, we designed a circular area with a seat that was decorated with mosaics and a bridge made up of spirit ancestors connects the three panels. A clay form

with embossed shells set in the ground represents the many middens from around the area. I had the privilege of working with a group of BHP workers that were using the Pathways job creation scheme after the closure of the BHP steel-works in 1997. They were given the challenge of making a mural on the concrete ‘flags’ in Birdwood Park. After researching the history of the park, they responded with

amazing enthusiasm and skill.” Issue 22 - September 2017


Bowl: Porcelain clay, Slips, underglazes and clear glaze. H 22 x W 44 cm. Sue Stewart. Issue 22 - September 2017


What inspires and influences your work?

“I have a problem with overload when it comes to inspiration. There are so many sources: nature is a big influence especially for the textures I use on sculptural pieces. Personal relationships and society in general

are a continuing stimulus for my figurative work.

My current work is being influenced by several abstract artists including Wassily Kandinsky and John Olsen among many others. I am really enjoying working in a subconscious way, meandering over the pot with colours, lines and shapes guided by my instincts. Listening to music while working plays a part in the initial rhythm of the image. The abstract designs are on simple forms that I use as my ‘canvases’. This has involved lots of testing of slips, underglazes and glazes to build up a palette of known results in an area that can go so horribly wrong.

I do have the luxury of creating work on my own terms with the process being the focus and hopefully the results will fulfil my expectations – never a guarantee until the final firing and the kiln door opens. These abstract, designed pieces are the future direction that I am hoping to build on. I also intend to make some figurative sculptures as the ideas to create social comment develop further. I am fairly disciplined in my ‘retirement’ and work in the studio as often as possible”. Issue 22 - September 2017


Tall Forms: Porcelain clay, Slips, underglazes, crawl and clear glaze. H66 x W30 x D18cm . Sue Stewart.

Issue 22 - September 2017


How important is drawing as an element to your artwork? “My drawing skills are basic but important in getting down ideas in very much a ‘working drawing’ manner.”

What has been a major influence with your work? “Newcastle Studio Potters (NSP) have played an important part in my development with members giving me much support in the early days. Being part of various NSP committees I have seen the continuing growth of the group, with a highlight being involved in the establishment of Back to Back Galleries twenty two years ago.

I have had many solo exhibitions but now prefer to be part of group shows, sharing both the work load and the companionship of several groups. Regular meetings with lots of food and laughter certainly adds to the pleasure of my chosen profession. Back to Back Galleries is my main exhibiting gallery and I continue to show in some of the members' exhibitions as well as with another group called ‘The Athenians’.”

What do you hope viewers of your art works will feel and take with them? “I hope that the viewers will appreciate the levels of craftsmanship in my endeavours that have taken years to achieve”. Issue 22 - September 2017


Ebony and Ivory. Stoneware Clay, Matt white & Charcoal black glazes. Timber Base. H42 x W123 x D 22 cm. Sue Stewart. Issue 22 - September 2017


What are your other interests? “Other interests include spending time with family and friends, gardening, reading and a little bit of travelling. I also love hunting out good ceramics in the second-hand shops and I have been rewarded several times with opportune finds.”

Forthcoming exhibitions? th

“The next exhibition I am involved in will be at Back to Back Galleries opening on the 20 of October. I will be sharing the space with an indigenous artist, Elsie Randall. Elsie is the Director/owner of Free

Spirit Aboriginal Art Gallery at Mayfield. My new body of work with abstract designs will be my focus. Elsie will be exhibiting her unique indigenous paintings plus some sgraffito designs on terracotta slipped vessels. I am also honoured to be a part of Concerning Peace in 2018 at Maitland Regional Art Gallery with a number of notable artists”. -

Sue Stewart © 2017. All Rights Reserved on article and photographs - Sue Stewart © 2017. Issue 22 - September 2017




D Issue 22 - September 2017


The “Lotus Pond” - Lorraine Fildes

The Lotus, Nelumbo nucifera, is one of the most beautiful flowers in the world and is revered in the East where it is a symbol of fertility, nobility, holiness and purity. Due to its display of all the stages of growth simultaneously: bud, flower and seedpod – the Lotus is also a symbol of the

past, present and the future. Lotus flowers are considered sacred in China, Tibet and India and the lotus flower is symbolic in both Hindu and Buddhist religions. It is the national flower of India and Vietnam.

Information from the Botanical Gardens Sydney. Page 66 : Lotus, image by Lorraine Fildes. Issue 22 - September 2017


Issue 22 - September 2017


SACRED LOTUS SCIENTIFIC NAME: Nelumbo nucifera Gaertn GENUS: Nelumbo – Sinhalese name

FAMILY: Nelumbonaceae SPECIES: nucifera

DISTRIBUTION Found throughout Asia from Iran to Japan and Australia. NATIVE HABITAT Warm-temperate to tropical climates, in a range of shallow (up to about 2.5 metres deep) wetland habitats,

including floodplains, ponds, lakes, pools, lagoons, marshes and swamps. Flowering from November to January. DESCRIPTION Perennial rhizomatous aquatic plant. The large leaves are attached at the centre by 1 to 2 metres long

stalks, that usually hold them above the water. The flowers are held on long flower stems, and are taller than the leaves. Flowers open for several days, but close during the night. The flowers contain 2 white outer sepals, 18 to 28 spirally arranged white, pink, or red petals and 200 to 400 stamens. In the centre of each flower is a large upside down cone shaped receptacle. When the seed pod matures, it bends downward to release its seed into the water. Issue 22 - September 2017


Issue 22 - September 2017


INFORMATION The lotus has been grown for culinary use for hundreds of years. The leaf stalks, young leaves, rootstock and seeds are all edible. The Lotus has the ability to regulate the internal temperature of the flowers (300 to 350 C) to attract insect pollinators. Lotus plants can be grown from seed or division of the rootstock. All lotuses prefer a water depth of 40 to 60 cm and need to be grown in full sun. Seeds can remain viable for many years and seeds over 1,300 years have been successfully germinated. These seeds were recovered from a dry lakebed in north eastern China.

Page : As you view the blanket of lotus in the pond, contemplate not only “where you have come from” but also “where you are going!”

Information from the Botanical Gardens Sydney. Issue 22 - September 2017





bud and leaf. Two whitish outer sepals, hold the spirally arranged



pink tinged petals together.

Issue 22 - September 2017


A white pink tinged lotus bud gradually opens

A pink red tinged lotus bud gradually opens Issue 22 - September 2017


Lotus buds opening up their petals Issue 22 - September 2017


Lotus buds almost fully open Issue 22 - September 2017


Lotus flower in full bloom. Issue 22 - September 2017


Petals of the lotus flower fully opened - exposing the seed case and stamens. Issue 22 - September 2017


Issue 22 - September 2017


Petals of the lotus flower and the stamens gradually fall away and leave the seed case on the stem. Issue 22 - September 2017


Seed case remains with a few stamens attached at the bottom. Issue 22 - September 2017


A mature seed case ready to start bending towards the muddy waters below and release its seeds.

Issue 22 - September 2017


Close-up of a seed case with all seeds still in place Issue 22 - September 2017


Lotus blooms and seed cases can be found side by side in the lotus pond Issue 22 - September 2017


Water hens use their huge toed feet to walk over the lotus leaves and not sink into the mud. Issue 22 - September 2017


Ibis looking for easy pickings in the mud of the lotus pons. Issue 22 - September 2017


Red dragon flies are often found around the lotus pond as they are looking for insects to eat. Many insects can be found around the pond as they are attracted by the lotus flower.

Issue 22 - September 2017


The lotus pond becomes a miserable looking sight by the end of February. The flowers and seed cases are gone – only dead and decaying leaves remain

All Rights Reserved on article and photographs - Lorraine Fildes Š 2017. Issue 22 - September 2017


the wasp and the sucker when I saw it hovering about I was with my wife who was deep in conversation with an acquaintance of hers so I obeyed the rule, you know the one, where you're meant to remain quite still and not create a fuss and that was when it landed

right on the back of my neck and I thought shit, don't move, don't breathe and don't even think of making any attempt to swat the damn thing just leave it be, okay, the way a hippy would. So I did I felt it moving over me slightly, you know,

and it was then I felt something sharp and sudden as the little fucker let rip right into the back of my neck a hot jolt of pain shot instantly through me but I didn't move or flinch and while my wife listened to the acquaintance flapping her gums I gave out no hint,

no gasp or intake of breath I just stood there, mute, with eyes...a tad moist and it was then I suddenly remembered a photo I once saw during a First Aid course I took where a woman had been stung in a similar way and in just under 30 seconds or so she looked just like something straight out of "The Thing" her eyes were swollen shut and her head became this large, purple balloon and so I tried not to think about that while my wife listened to some idiot jabbering on and on and I held my breath and waited‌

- Brad Evans Š 2017.

just a gentle traverse, as if repositioning itself and I waited, thinking it should get bored pretty soon and buzz off.

that's what the rulebook says. Issue 22 - September 2017


youthful memory In solitude On a cold, still night, A memory from childhood Enters my mind: Facing the slopes, I stand & look out of the kitchen window watch distant trees shimmering in sunlight, bending in dry, gusty winds from the West... This image, though simple, contains a familiar landscape which, from where I lie now, On a darker face of the world A youthful memory to lighten my mood.

- Brad Evans Š 2017. Issue 22 - September 2017


an old sailor sitting at Parker's Piece or cycling just beyond

"It's so functional, so horrible, it makes you want to run!"

one can hear the sound of a siren without waiting very long

he shook his head a little perplexed "they never sounded like that in my day,� he said

I sat there briefly once on a cold day full of Scotch mist

"whenever we heard a Siren

when an old sailor sat down beside me and looked towards that red

we couldn't run, my son,

box-shaped bloody thing howling down a black, wet road

we couldn't run". - Brad Evans Š 2017.

asked me what the din was I told him the name we gave it and grinned:

Issue 22 - September 2017


that last poem I can no longer remember, although it was written only a short while ago they come and they go these things that are fuelled by music, tragedy and smiling faces, of those events that confirm a continual fucking up of what some call civilisation. I thank you for my life for letting me bear witness to the tragedies, the atrocities, and those few lighter moments

that make my existence worth its momentary flicker But if they offered me immortality those gods of my imagination: a forever life without a thinking second I would rather decline and let go just like that last poem I can no longer remember.

- Brad Evans Š 2017. Issue 22 - September 2017



Issue 22 - September 2017


DOMINIC KAVANAGH Installation, assemblage and performance artist. Dominic Kavanagh grew up on a beautiful lush green property in the Hunter Valley NSW, in an area called Monkerai and he attended school at the nearest town of Dungog. After completing his Higher School Certificate in 1997 he moved to the city of Newcastle and enrolled at the Hunter Institute of Technology to study Fine Art. Dominic completed an Advanced Diploma of Fine Art at the H.I.T. and continued on to complete a Bachelor of Fine Art at the Newcastle University. In 2004 he graduated with first class Honours and a couple of years later moved to Melbourne. In 2008 he began a Master of Fine Art by research at Monash University Caulfield and graduated in 2011. Dominic continues to live in Melbourne with his partner and fellow artist Llawella Lewis, and their three year old daughter Sable. In the tradition of artists such as Robert Rauschenberg, Rosalie Gascoigne, Robert Klippel and Marcel Duchamp, Dominic’s practice shows the influence of Dada, Pop Art and Constructivism. However there is more of a contemporary sense of the ruin in his work. Like the blogs on abandoned Japanese theme parks that we often see in our Facebook feeds, or the Tugboat Graveyard in Staten Island, New York visited by Dominic on a research trip in 2009, his pieces are also fantastical, quirky, dystopic and playful. Like Hayao Miyazaki's film ‘Howl’s Moving Castle’, to which Dominic’s assemblage pieces are reminiscent; it is a world we want to run rampant in, where our childlike nature and imaginations can run wild. There are elements of ritual and magic in Dominic’s creative processes and the work’s alchemical forms. This is present in his ephemeral sculptures that are ‘re-animated’. Moving parts lie amongst the rubble, objects brought back to life as if through resurgence. Dominic ‘performs’ his sound sculptures that are presented theatrically, commanding the ‘spirit’ of the object, it groans and sings stories of its industrial past. - Linsey Gosper © 2014.

Page 92: Post Action Arrangement, Assemblage, H 85 x W 145 x D 36 cm. Dominic Kavanagh 2015. Issue 22 - September 2017


Sorcerer's Arms, Assemblage, H 99 x W158 x D 55 cm. Dominic Kavanagh 2016. Issue 22 - September 2017


DOMINIC KAVANAGH - INTERVIEW Have you always wanted to be an artist? “Yes, from a very early age .”

When did your artistic passion begin? “My passion for art has always been there.”

Describe your work? “I create discarded object installations and assemblages themed around ruination, regeneration, and transformation. My

work often comprises objects/materials collected from the ruins I encounter in my urban surroundings. Ruins by my definition can be anything from a small pile of timber off-cuts on the sidewalk to the grandiose ruins of a building. My assemblages are wall mounted, abstract, and composed entirely with found objects. They concern disciplines of painting and sculpture and are heavily influenced by surrealism, pop art and nouveau réalisme movements. My installations are the at forefront of my art practice. They are often ambitious projects that resemble large scrapheaps and calamitous landscapes; they are always site-specific, temporary, and created for traditional and non-traditional exhibition spaces. My installations experiment with movement, sound and light by incorporating flowing water, lighting effects, and flora. Sometimes over the course of an exhibition I transform an installation into a sound sculpture by installing sound equipment and microphones. The sound performances that follow feature cacophonous industrial inspired soundscapes.” Issue 22 - September 2017


Picnic at Phoenix Falls Found objects sculpture H155 x W240 x D120 cm. Dominic Kavanagh 2013.

Issue 22 - September 2017


Do you have a set method/routine of working? “I have a preparatory routine for installation projects. Because they are site specific, their success hinges upon a smooth complication free install. Usually I’m given just one to two days to install my work so I have to be super organised. My assemblage practice is comparatively slower paced. There is a set methodology I use which is inherently concerned with the very craft of assemblage. Here, my methodology involves specific rules or constraints that relate to the assemblage process. These constraints in turn authenticate my work with a signature technique”.

Why do you choose this material / medium to work with? “I have always enjoyed building. I find the tactile, physical nature of the installation / assemblage process cathartic and therapeutic. With my installations, I love creating illusive scenes; spaces your imagination can momentarily escape into. With assemblage, I love the alchemical notions of the process, where an object can be transformed from waste into visual gold. The serendipitous nature of searching for objects to work with is another reason I am drawn to this medium. I’ve always enjoyed the spirit of archaeological endeavour that comes with the search for materials. It’s the thrill of not quite knowing what I’ll be bringing back to the studio on any given journey, and the horror that I might overlook potentially critical to the success of an artwork”. How important is drawing as an element to your artwork? “Drawing has been the foundation of my art practice since childhood. Drawing used to serve as my go-to medium for creative expression; it began as a form of escapism where I could explore fantasy worlds and characters through illustration. My relationship to drawing has changed a lot over recent years. As I have become increasingly devoted to assemblage and

installation, drawing has taken the role of planning and illustrating ideas.” Issue 22 - September 2017


Duet, Installation, Dimensions variable, Dominic Kavanagh 2016. Issue 22 - September 2017


What inspires you? “Generally speaking, I am drawn to people who are driven and dedicated to their vocation, I’m often obsessed with knowing the mundane aspects of their day-to-day routines. I’m pretty sure I have a condition known as Ruinophilia, which means I have a strange irrational attraction to ruins. I find the thrill of exploring abandoned buildings or any form of architectural ruin exhilarating. My deep affinity for ruins is also about the meditative routine of observing and contemplating their entropic condition. These moments are often where inspiration takes hold; an idea will spring from the decay and I’ll take it back to the studio to explore.” What have been the major influences on your work? “Travel has been very influential. I ventured overseas for the first time in 2005 where I backpacked throughout Europe. During this period I got to view countless art works by many of the artists I followed as a student, it no doubt had a huge impact on me. In 2009 I travelled to New York City to explore its urban and industrial ruins for my Masters degree. The highlight was my visit to the tug boat graveyard of Staten Island, an old industrial port now used as a dumping ground for decommissioned

tugboats and barges. It was a wonderland of rotting boats and dockyard infrastructure, all weathered, rusty and collapsing into one another. This graveyard must have covered about one hundred meters of coastline and gone twenty to thirty meters out. This visit had a huge influence on my art practice. It was after this visit that I began pushing my sculpture beyond the realms of assemblage and into installation art.”

Issue 22 - September 2017


Issue 22 - September 2017


What are the challenges in becoming an exhibiting artist? “I have put together a rather jumbled list of challenges based on my perspective as an unrepresented artist. The biggest challenge I see for artists who are unrepresented (not to imply it as a bad thing) is being solely responsible for promoting and directing one’s career. Investing time and money to develop your practice. Having a clear career pathway. Balancing life and art practice. Finding a suitable studio. Not burning out. Staying positive and motivated. Maintaining physical and mental health. Staying

engaged with the art scene. Planning exhibition schedules. Budgeting. Writing proposals, grant applications and art prize entries. Promoting exhibitions. Maintaining a social media presence. Knowing when to move on from an artwork. Keeping an eye on the big picture. Maintaining job security and cash flow. Updating your website. Professionally documenting your work. Knowing your galleries.�

Page 100: Requiem for Urban Ruin, The Lock-Up, sound performance and installation, Dominic Kavanagh 2013.

Issue 22 - September 2017


The Beehive, Installation, Dimensions variable, Dominic Kavanagh 2014. Issue 22 - September 2017


Profit from the Well, detail - Installation, Dimensions variable, Dominic Kavanagh 2017. Issue 22 - September 2017


Name your greatest achievement, exhibitions? “In 2013 I undertook a residency at The Lockup Artist in Residence, Newcastle N.S.W. This residency was located in the old decommissioned (and apparently) haunted jail located in Newcastle’s CBD. I chose to create an installation in the court-

yard of the Lockup; a dingy, foreboding out door area allocated for the prisoners. It had some compelling graffiti and tags covering its walls too. My installation was titled ‘Requiem for Urban Ruin: The Lock Up’. It featured a large scrapheap made from two truckloads of scrap metal, old car tyres, wire, mesh, furniture components, and bottles that I’d sourced from a local rubbish dump. At the end of my residency I presented the installation in conjunction with a sound performance to an audience. The time was dusk and lighting installed within the scrapheap projected ominous shadows across the courtyard walls. I had transformed the scrapheap into a sound sculpture using microphones, transducers and looping pedals installed to capture and record the percussive sounds created as I hit, scraped and bowed various objects within it. As I slowly made my way around the scrapheap, the looping pedals began recording the sounds I made. Over roughly fifteen minutes a looped soundscape emerged which grew into a scratching, grinding and droning cacophony. In retrospect my performance felt conducive and invocative to the Lock-up’s dark history, teasing out the nightmares that

were embedded in the courtyard walls. I’ve had notable, more ambitious exhibitions since, but I haven’t had the pleasure of working in a more potent and haunting location.”

Issue 22 - September 2017


Requiem for Urban Ruin, The Lock-Up, Installation, Dominic Kavanagh 2013. Issue 22 - September 2017


What are you working on at present? “It has been a busy few months for me with a solo exhibition back in May at Anna Pappas Gallery in Prahran Melbourne. I travelled with my family to Queenstown Tasmania for a residency hosted by Qbank Gallery. I returned to have a solo exhibition at Rubicon ARI in North Melbourne. In early September I’ll be showing at Gallery 139, Hamilton in a group titled ‘Sanctuary’ curated by Ahn Wells. Presently, I’m enjoying the early stages of a new body of work and just seeing where it goes. My studio just had a makeover and has never looked so inviting.” What do you hope viewers of your art works will feel and take with them? “When people view my work I want to alter their perspectives and elevate their perception of everyday ruins. I hope to convey some sense of the sublime I encounter in their decay, whether it in the encroachment of nature on an abandoned building or the way water drips through the plaster of a collapsing ceiling”. Your future aspirations with your art? “I want to continue developing my career, take on bigger more ambitious projects, I aspire to be shown in significant contemporary art institutions as well as have my work in public collections. Maybe win a prestigious prize some day.” Where do you see your art practice in five years time? “My art practice has plenty of potential to develop and improve. I’d be happy in five years if I was as driven and inspired as I am now and creating work beyond my wildest dreams.” - Dominic Kavanagh © 2017.

Page 107: Dominic Kavanagh working in his studio. Issue 22 - September 2017


Issue 22 - September 2017


VIDEO LINKS - DOMINIC KAVANAGH - Eden's Hollow, Anna Pappas Gallery, 2017. - Requiem for Urban Ruin: The Lock-up, 2013. - credit Claire Watson, Bundoora Homestead Art Centre, 2016.

- The Beehive, Blindside gallery, 2014. - Monument to the last drop, Strange Neighbour Gallery, 2014. Issue 22 - September 2017


Eden's Hollow 2017 Installation Dimensions variable Dominic Kavanagh

Issue 22 - September 2017


Forthcoming exhibitions? I will be exhibiting some of my assemblages/ collages in the exhibition -

‘Sanctuary’ August 31st to September 17th. at Gallery 139, Hamilton, Newcastle, NSW.

Flowers in the Cellar Assemblage and collage H 74.5 x W 64 x 15cm Dominic Kavanagh 2016. Issue 22 - September 2017


They built a monument with all our bones, assemblage H92 x W141 x D19cm. Dominic Kavanagh 2015. All Rights Reserved on article and photographs - Dominic Kavanagh Š 2017. Issue 22 - September 2017


Issue 22 - September 2017


Rhino Images - Art and the Rhinoceros Interview with 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 22 - September 2017


Black rhino at Paignton Zoo in England Image: Robert Fildes © 2017.

© Robert Fildes

Issue 22 - September 2017


Interview with Lorraine Fildes and Robert Fildes. Rhino Images – Art and the Rhinoceros is a large and in depth publication on the Rhino, how long have you been working on the project?

“It took me well over two years to collect the material for the book. After seeing the rhino trail in Sydney, I started reading about the rhinos. Eventually I had many images and much information – what was I to do with it? Yes, collate the material into a book.”

What inspired you to produce the book?

“I never expected to fall head over heels in love, but that is just what happened as I was walking around Sydney in 2014. I loved the beautiful hand painted rhinoceros sculptures spread throughout the city - so I sought them out. I was in love with them. I just couldn’t stop seeking out more information and images of the rhino.”

Why did you choose this subject? “Curiosity – desire to know more. I started to find out just how far back in time these ancient animals went and how many different civilizations had admired their strength – just amazing to find out in how many different ways they were depicted.” Issue 22 - September 2017


White African rhino, Auckland Zoo, New Zealand. Image: Lorraine Fildes © 2017. Issue 22 - September 2017


Robert and you are travel photographers and writers, your love of travel influences your writing. How do you choose or are inspired to photograph and write on particular themes? “A lot of our travel is done by ship and I study the ports to be visited, look at shore excursions offered – my interest being art and photographing gardens – including the animals in the gardens. If in a foreign country I opt for the most suitable shore excursion, or

if in a place I have visited before I decide on the day – fine I go for gardens – wet I go for art galleries and museums.”

How do you research material for your writing? “A lot of my research is done on the internet and then supplemented with library visits and purchase of books when necessary.”

Black Rhino,female – Sita came to Paignton Zoo in 2002 from Berlin Zoo, where she was born in October 1990. She has a large pointed horn which she shapes herself by rubbing

it on rocks and logs. Issue 22 - September 2017


The Greater One-horned Indian rhino calf stayed close to its mother at Whipsnade Zoo . Image: Robert Fildes Š 2017. Issue 22 - September 2017


Robert you have other publications – Ships Worldwide, tell me about your passion for ships and photography. “ I have always been interested in transport – starting off with railways in the age of steam. Finding ships more challenging, both to learn about and photograph, my interest changed. There are two aspects of ship photography I find very attractive. Firstly, the locations where I take photos are often quiet, peaceful and most scenic e.g. North Head, Sydney and Kusu Island, Singapore. Secondly, one never knows what might turn up – or when – because ship scheduling is totally unreliable. Uncertainty is the norm. Also, while modern ships are sometimes quite ugly in appearance, they are much more colourful than, say, 70 years ago, when black hulls and yellow or black funnels predominated – just like uniforms for schoolkids.” What are you working on at present? “Having just published the e-book AUS-SHIPS 2017, I have to keep it up to date for future editions. Also I am working on a second edition of SHIPS WORLDWIDE, plus starting to prepare titles on AUSTRALIAN SHIPBUILDING and SHIP LIVERIES WORLDWIDE.’

Your future aspirations? “More cruises (this is where I get most ship photographs), more e-book titles and generally more good times!”

Issue 22 - September 2017


One of the Greater One- horned Indian rhinos at Whipsnade Zoo. Image: Lorraine Fildes Š 2017. Issue 22 - September 2017


Lorraine you feature a regular article on travel and art in Arts Zine, what attracted you to photography? “The digital camera overcame my problems with photography. I can take a subject from many different angles and then crop it for a better composition. I would like to use photo shop but feel I would never be off the computer. I take a large number of photos and it takes time to review them, select the best and then

crop them to get the best composition.”

What are you working on at present? “Firstly, writing another book “Tiger Images – Art and the Tiger”. Secondly, photographing plants and

animals to enter the “International Garden Photographer of the Year”. Thirdly, photographing and gathering information on interesting themes for travel items for Art Zine magazine”.

Your future aspirations?

“To keep writing and photographing and hoping that my books may make money which will help stop the extinction of many of our animals.”

Forthcoming publications?

“Tiger Images – Art and the Tiger” Issue 22 - September 2017


Issue 22 - September 2017





A L L Issue 22 - September 2017


FETISH - Maggie Hall

You walk in after being greeted by a darkly, well-dressed young man at the black door where you are invited to enter a narrow corridor, your first sent room is the kitchen which leads to the dining room, where there in the corner a black cat lye’s asleep upon a red, velvet seated chair, across from a family dinner left half eaten upon a table. The next, a meeting room full of forgotten trinkets with the only light a fading candle. Directed up the stairs you enter a bedroom aside the landing, followed by a study warmed by the cradling fire, slowly cooking the cut vegetables, in preparation of a meal or a cast in the next spell. Sitting opposite,

an old bed covered in ripped downing. Up the stairs again and into two more rooms. The first grand, probably the masters, his wife hung above the fire beside the two-caught fowl hanging by sides edge.

Issue 22 - September 2017


Issue 22 - September 2017


Up the last set of stairs, the last bedroom, less splendid and better worn than the ones below, leading to the final and most significant room, where the knitting of silk, fabric and cobwebbed strands, a forgotten sense of weaved longing and shame, a past lost by its positioned future, borrowed papers of collected history, one that may be lived again.

I descend the stairs while taking last note of each room in passing.

So much is the atmosphere that I feel more time honours each space, I leave with is a brief mention that a

candle was missing from the lower hallway stand.

There is no shop to greet you or see you gone. Just a small black note handed to you by the mysterious doorman in dark suit. He bows in respect of his visitors before opening the black door to your exit.

A strange lady approaches me outside, it’s quite an experience . . . my automatic words of reply . . . "The birds interested me�.

Issue 22 - September 2017


Issue 22 - September 2017


Growing up in California, Dennis Severs fell in love with the England he saw in old black and white movies. At 17 he came to London, looking for a home with a heart. In 1779 he found one - a rundown silk weavers

house in Spitalfields - over the next twenty years he transformed it into an enchanted time capsule, transporting all who would visit back to the eighteenth century. The original objects and furniture were sourced from local markets, he filled the home from cellar to roof, all lit by candles and chandeliers. He even invented a family to live there, the Jervis family, Huguenot webers who fled persecution in France in 1688, and bought the house in 1724. Sounds and scents bring them to life, always just out of reach and

sight. Floorboards creek, fires crackle, a kettle hisses on the hob. Visitors step through the frame of time, like entering an old master painting. Hogarth himself visits the room.

I make my way along the cobbled lane and head to where the light breaks an entry, there I turn left towards the station, still hearing echoes of the grandfather clock ticking and the low hum of conversation a distance away. The chirping of a bird, oddly sounds free and at peace, beside the crackling of a warm hearth lit by a lonely bed sitter, waiting to pass haunt into another sky.

Issue 22 - September 2017


Issue 22 - September 2017


The train moves towards its next Station, Euston Street, where 183 Euston Road, London awaits its next visitor. The Wellcome collection and its ‘Medicine Man’ . . . a collection of fetishes grouped, treasured and attained, shocking and profound of nature.

A dissection of antiquities acquired by Henry Wellcome, a master collector of man’s stranger creations and obsessions. A man of many parts: entrepreneur, philanthropist, patron of science and a pioneer of aerial photography.

Some captured items grotesque in their fascinations and others bearing witness of a

religiously ritual past. Each object rich in context and design, with many a story to tell, all depending upon the obsession of the viewer and their beliefs.

I mention only a few . . .

A tooth drawer concealing a dental key, used from the 1700s to the twentieth century to extract diseased teeth. (With no antibiotics extraction was often the only means of treatment).

Issue 22 - September 2017


An oil painting acquired in Stockholm, Sweden. Of a woman giving birth. Possibly the origin French 1800s. Issue 22 - September 2017


Left: The man behind Wellcome Collection Edited portrait - Maggie Hall. Sir Henry Solomon Wellcome (1853-1936): Pharmacist, entrepreneur, philanthropist and collector.

Page 127: Mummified male body

Chimu people, Peru, c1000-1470 CE Science Museum / Wellcome Collection This naturally preserved mummy is from the north coast of Peru, where the Chimu buried their dead in mummy bundles. The body would have been seated in an upright position (with the knees at the face). The body was then wrapped in layers of fabric and a false head attached to the bundle. It was then buried with personal possessions, ritual objects and food offerings, revealing a strong belief in a continuing existence after death. Issue 22 - September 2017


Mummified male body - Wellcome Collection. Issue 22 - September 2017


The Garden of Earthly Delights, Hieronymus Bosch, Dutch, 1450-1516 Century, European, 16th Century. One of three known sixteenth-century copies of the central panel of Hieronymus Bosh's triptych. Held at the Museo del Prado, Madrid. Scenes of sexual abandon suggest lust as the cause of man's downfall.

Issue 22 - September 2017


I find myself at a table for one, seated below and between Jeanne D'Arc & Bonnard, directly above, Matisse

and Van Gogh. Sitting opposite, a man on his computer searches for art works up for auction, I watch him closely in study, within minutes he is on the phone and makes his first purchase.

It is 10:21pm and there is still light in the sky, I choose my menu; Soup Froide Hispanisante - mozzarella, concombre, tomates, grenades, pignons , followed by a salad called, Billy; Chèvre pane, pomme, noix, figues, jambon de pays, tomates cruises, oignons rouges et mesclun.

As I embrace the last mouthful a rest is taken. Back to room 701 where I take rest, in peace until the breaking light of another day in paradise.

- Maggie Hall Š 2017.

All Rights Reserved on article and photographs - Maggie Hall Š 2017. Issue 22 - September 2017



BIRD’S ADVENTURE, Collage, H30 x W25 cm. Varelle Hardy. Issue 22 - September 2017


Bird’s Adventure II Collage H30 x W25 cm. Varelle Hardy. Issue 22 - September 2017


COUNTRY CALM Collage H45 x W60 cm. Varelle Hardy.

Issue 22 - September 2017



Varelle Hardy is an Australian artist based in Newcastle, NSW, she has been exhibiting her art work for over the past twenty years. Well known for assemblages and collages.

What attracted you to the world of art? “For as long as I can remember I loved to draw, and as a child was constantly scribbling little drawings on

scraps of paper and in exercise books .This was much to the annoyance of my Mother at times, the scraps of paper increased until she gave me a large chocolate tin and this started my collection of precious bits and pieces. I can still remember the absolute delight I felt when my Dad brought my first box of coloured pencils home for, a set of Lakeland pencils. It was a magic time for me. When asked what I wanted to be when I grew up, I would always say I wanted to draw and paint and wear

old clothes with lots of paint on them. It was never a conscious ambition to be an artist when I grew up, as I really wanted to teach and I became a primary school teacher then later retrained as a special Education teacher where I could always use my art and adapt it to suit the fine and gross motor skills of the children. When I finished teaching I continued my art studies which was the beginning of a wonderfully enjoyable art journey.� Issue 22 - September 2017


OFF TO TOWN Stiffened fabric,fly wire and cord Dress H50 x W30 Bag H30 x W15 cm. Varelle Hardy. Issue 22 - September 2017


Describe your work “I work mainly in mixed media creating 2D and 3D artwork. More recently I have been exploring collage and enjoy this style of art very much. I have a love of clay, wire, pressed metal and other materials and make dress sculptures and other 3D works. Often an exhibition theme will determine the material I use, such as textiles, where there is now a broad scope in Fibre art from soft fabrics to metal wire etc.

How important is drawing as an element to your artwork? “Often when I'm painting I draw in paint with fine brushes, however but when making collages I don’t draw as much. I roughly sketch the dress sculptures and other 3D work before creating them. I think drawing is still important not used quite so much and in different ways.

Is there a particular reason for your choice of style / genre? “I have always been interested in patterns and designs rather than realism. And I love art nouveau which influences decoration in my collages and in the dresses. Issue 22 - September 2017

. 141

FERTILITY Wire and clay H30 x W20cm. Varelle Hardy.

Issue 22 - September 2017


What inspires you? “I am inspired by many things - nature, colours in a patchwork quilt that would translate to a painting or a 3D form. Ideas can come up at any time in many places.” What have been the major influences on your work? “ I wasn't aware of what inspired me until I began my art courses at University, and this heightened my interest, exposed me to artists previously unknown to me and I took more notice of their work and styles. My other inspirations have been fellow artists and the latest art exhibitions locally and in other cities. I have always been inspired by Van Gogh, Sidney Long, William Morris and later Rosalie Gascoyne and a young

German collage artist Cordula Kaggeman.”

What are the challenges in becoming an exhibiting artist? “University Art Studies eased us into exhibiting in small steps, where we found a theme, came up with a

name, made work, set it up, evaluated the process during discussions and as we began to sell works we were further encouraged. Exhibiting is an unpredictable journey, sometimes you sell your works and other time not and at times you question yourself as to why you are doing this ,along with the frustration when a ceramic piece explodes in the kiln or you drop it at the last minute. This is all part of the experience, and you can't help but learn from it. If you love what you do you can only do your best ,and keep going.

A frustrating but exciting time.” Issue 22 - September 2017


CALM, Collage, H45 x W60 cm. Varelle Hardy.

CITY, Collage, H45 x W60 cm. Varelle Hardy. Issue 22 - September 2017


HER BEST DRESS, fly wire, Dress H100 x W45 cm.

OFF TO THE PARTY, fly wire and paper, Dress H45 x W20 cm.

Bag H20 x W15 cm. Varelle Hardy.

Bag H20 x W15 cm. Varelle Hardy. Issue 22 - September 2017


VILLAGE, assemblage, H15 x W50 cm. marble and timber, Varelle Hardy. Issue 22 - September 2017


Name your greatest achievement, exhibitions? “I won the Student Acquisitive 3D Art Award in 2000 and that was very exciting for me. In 2004 from an exhibition in McMahons Point, Sydney I sold one of my pieces from my Masters Exhibition to the owner of

Leeuwin Estate Winery in WA, and she put the image of my artwork on the 2004 Art Series Sauvignon Blanc wine label. The wine went to 50 countries and I was acknowledged on the label. The artwork is exhibited in The Leeuwin Estate Winery Gallery at Margaret River, alongside other Art series winners.”

What are you working on at present? “At the moment I am making collages for an exhibition at ACRUX gallery in Hamilton, Newcastle, with four other female artists, the theme is Dreaming in Colour.” What do you hope viewers of your art works will feel and take with them?

“Occasionally as artists we get feedback about a particular artwork that someone has bought, and about the joy and happiness it gives them. What could be more satisfying, pleasing and encouraging for an artist”.

Issue 22 - September 2017


Varelle Hardy working in her studio.

Issue 22 - September 2017


Your future aspirations with your art? “I need to keep learning, adapting and making artwork that first of all pleases me and hopefully others, as it is fulfilling, healthy and purposeful. I want to keep an open mind regarding innovative ideas, and continue the sheer joy and pleasure of creat-

ing.” Forthcoming exhibitions? “At present I am planning an artwork to submit for the 2018 Laman Street Art Prize, Newcastle, and I feel most of my work is done in the thinking process.”

Other interests? “My family is a huge part of my life and so important to me, we catch up regularly with birthdays or no particular reason or sometimes to just have a coffee and a chat. There is nothing nicer than to meet with my good friends for coffee and a catch up, and if they live away to catch up by phone or email -such a happy time. Our Art group Athena has 9 other artists who meet once a month at each other's homes for show and tell of our work, a chat about art and other things and of course have lovely food . Reading has always been special to me, and as an only child it was like having lots of friends in my home. Fiction books, Art books and food related articles are my main reading”. - Varelle Hardy © 2017. - All

Rights Reserved on article and photographs Varelle Hardy © 2017. Issue 22 - September 2017


IRA MORGAN Issue 22 - September 2017



Water colourist Ira Morgan was born in Newcastle, New South Wales, at present her home and studio are in rural Dungog. Ira began painting in 1985, she has extensively travelled throughout Australia, and most of her paintings are plein air (painted outside) style. Self-taught in drawing and art from a young age, Ira relished looking at many artworks in books,

she had never attended an art gallery, but had seen Michelangelo’s work in the Sistine Chapel when she was nine. At the age of fifteen, her parents gave Ira a set of oil paints and brushes. “I tried to paint a portrait of my grandmother as a gift, and being very optimistic but with no clue on how to use the product, it was difficult, in the end it turned out reasonably well.”

Page 150: Landscape painting - Ira Morgan. Issue 22 - September 2017


Melbee Target, painting - Ira Morgan.

Water colour - Ira Morgan Issue 22 - September 2017


Ira's fascination in water colour was started by her father-in-law, Roy Morgan, a plein-air water colourist in Murrurundi. She then took lessons with a local tutor Gillian Hook. “I learnt a lot from Gillian and I remember her advising us to keep a record of our paintings and drawings so we could see how we have progressed. Looking back now on my old lessons’ exercises, which I still have, I can see how my paintings have progressed, but still have the same style”.

“I also attended Mitchell College of Creative Arts, Summer/Winter School at Bathurst University with various tutors, teaching traditional or creative techniques, as I had moved to that area and joined a very active art

group. We held regular exhibitions and workshops”.

“Water colour can be quite unpredictable at times, which triggers my imagination. The need to adapt to what has happened and good heavy quality water colour paper can be forgiving.

My greatest achievement would have been my first solo exhibition in 1991, I was so pleased that I sold nearly all of my framed works. In September 2016 my work was featured in Artists’ Palette Magazine”.

Issue 22 - September 2017


Shearing Shed, watercolour, Ira Morgan.

Black Cockatoo, water colour, Ira Morgan. Issue 22 - September 2017


“I love to travel Australia wide and enjoy plein-air painting, with such a diverse country side, lush green rainforest, red soil, flat plains, sandy beaches and so many other things. I always see so much that I can envisage, how you want to create the scene in front of you. Sometimes a quick sketch, or jotting down a note of what you have just seen will be enough to give you plenty to paint once your memory is jogged, an example - a tractor ploughing a dry paddock with the wind blowing or children splashing in a puddle. The list

is endless. I get intense satisfaction from creating my art work and paint what I want, whether it be birds, flowers, landscapes and portraits or a combination of things. I feel too restricted to paint only one subject.” “I also enjoy painting in acrylics but always handle it first like a water colour working from the back forward. When we moved to Dungog I joined the arts society which only had a few artists who exhibited at the annual show. From this we started painting plein air together. Painting with these artists was quite inspirational and we would critique each other’s work to learn and grow. Dungog Art Society has grown and we are a very large creative hub of fine artists. We have our own venue/gallery, located in Dowling Street, Dungog, which we open on Tuesdays and

Saturdays for people to come and watch us create.” - Ira Morgan © 2017.

Ira’s work is also available at Dungog by Design at 224 Dowling St Dungog. Web site: Issue 22 - September 2017


Landscape, watercolour, Ira Morgan.

Issue 22 - September 2017


Landscape, watercolour, Ira Morgan.

- All

Rights Reserved on article and photographs Ira Morgan Š 2017. Issue 22 - September 2017


'Afterlife' 5 -17 September 2017 painted sculpture aquatint etchings

Ian Kingsford - Smith Opening: Tuesday 5 Sept. 6 – 8pm

Aro Gallery, 51 William Street, Darlinghurst, Sydney.

0414 946 894 Issue 22 - September 2017


‘Afterlife’ Exhibition by Ian Kingsford- Smith. This exhibition consists of an adult female in the foetal burial position seated on a wooden block. She is surrounded by her personal effects and the artefacts required for her journey into the afterlife. Nineteen

framed aquatint etchings, titled ‘Scenes from daily life,’ line the gallery walls alluding to the ancient Egyptian practice of painting scenes from the life of the deceased onto the walls of their tomb. Both the female figure and her grave goods are inscribed with narrative paintings that represent the imagined life journey of the female figure and the collective understanding of the human condition associated with both ancient Egyptian and medieval European cultures. The sources of the narratives are highly

diverse and complicate the division between individual and collective memory. Kingsford-Smith combines narrative associated with fundamental dimensions of human experience (the cycle of life, love, despair, etc.), rituals associated with ancestor worship, burial, the impact of the dead on the living and mythological representations of the relationship between the earthly and heavenly realms. He also draws on contemporary narratives to draw out the lingering impact of ancient spiritual beliefs on present times. Signalling diverse cultural traditions associated with burial practices Kingsford-Smith seeks to create a vehicle for the viewer to reflect on their own relationship to spiritual ideas and their mortality. The interplay between historic and contemporary visual references forms continuities and also allows the viewer to be aware of the specificity of their beliefs by way of contrast or identification with past beliefs and traditions. The horizons of the other, is used to bring the horizons of the viewer into presence. Issue 22 - September 2017


‘Afterlife’ - Aquatint etchings, Ian Kingsford - Smith.

Issue 22 - September 2017


Ian Kingsford - Smith Biography Kingsford-Smith sees himself as a visual storyteller. “In my art practice,” he says, “history, personal history, memory, family records, ambitions, fantasy, dreams, mythology and spirituality” all combine to create

narratives. They are detailed but

do not tell one explicit story, rather they tap into the viewer’s imagination and evoke a multitude of possible storylines. Each of Kingsford-Smith’s images evokes a larger story and meaning through his ability to play subtly with colour, line and scale. Ian is a fulltime artist working in

Sydney. He has studied painting with a number of leading New Zealand painters

including Colin McCahon, Michael Smither and Toss Woollaston. Ian has had solo exhibitions at M2 Gallery, Sydney in 2016 (Lineage) view video: Sheffer

Gallery, Sydney in 2015 (Mappa Vitae – Life Maps) view video: GAFFA, Sydney in 2014 (Pilgrimage), Global Gallery in 2013 (Dreams in Captivity), 2012 (Australian Stories) 2011 (Dingoes) 2010 (Trees on Paper) and group exhibitions in painting and printmaking in Florence Italy, New York USA, Melbourne, Auckland NZ and Cairns, and as a finalist in the Australian Contemporary Art Award 2016. Previously he has had solo and group exhibitions in Auckland, Dunedin and Palmerston North, New Zealand. His work is represented in private and corporate collections in USA, Sweden, France, Germany, Wales, England, New Zealand and Australia.

- All

Rights Reserved on article and photographs Ian Kingsford-Smith © 2017. Issue 22 - September 2017




TRAGEDY STUDIO LA PRIMITIVE Exhibition 3 - 12 November 2017

Opening: Sat 4 Nov 2 – 4pm


40 ANNIE ST. WICKHAM, NEWCASTLE NSW. Phone: 0431 853 600 Issue 22 - September 2017



Present an exhibition of drawings, paintings & assemblages. Comedy & Tragedy - explores the rituals, mysteries and absurdities of existence. “revealing the world of human caprice, with sheer delight and a touch of irony”. Exhibition 3 - 12 November 2017

Opening: Sat 4 Nov 2– 4pm

40 ANNIE ST. WICKHAM, NEWCASTLE NSW. Phone: 0431 853 600 Issue 22 - September 2017


57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm Issue 22 - September 2017


August 18 – September 3 “Tracks” Artists: Members of Printmakers September 8 - 24 “Five” Artists: N Purcell, L Treadwell, T Bertrum, S Shaw & J Davies September 29 to October 15 “Alfresco” Artists: Newcastle Studio Potters Inc. October 20 to November 5 “Elsie and Sue” Artists: Elsie Randall and Sue Stewart November 10 - 26 “Genius Loci” Artists: T Matas, S Luimmis, J Steele, J Batts

& J Blackall December 1 - 17 “Xmas Takeaway” Artists: Newcastle Studio Potters Inc.

57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm Issue 22 - September 2017




Phone: 0431 853 600

Director: Colin Lawson Issue 22 - September 2017



Stockroom Exhibition.

Sept. 15 - 1 Oct.

Dino Consalvo

6 - 15 October

John Barnes

20 - 29 October

Susan Ryman & Glenn Henderson

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 22 - September 2017


Click on cover to view the issue.

studio la primitive Eric & Robyn Werkhoven Contemporary artists E: Issue 22 - September 2017


Click on cover to view the issue.

Issue 22 - September 2017


Click on cover to view the issue.

Issue 22 - September 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 22 - September 2017


GALLERY 139 EXHIBITION CALENDAR 2017 SANCTUARY THURS 31 AUG - SUN 17 SEPT Exhibiting artists: Giselle Penn, Gwynne Jones, Lisa Pollard, Dominic Kavanagh, Judy Henry, Andrew Dennis, Kerri Smith.

BENEATH THURS 21 SEP - SUN 8 OCT Exhibiting artists: Toni Amidy, Nina Battley, Penny Dunstan, Nathan Keogh, Mandy Robinson, James Murphy, Ainslie Ivin-


LYDIA MILLER Thursday, October 12, 2017 11:00am to Sunday, October 15, 2017 3:00pm

ROUGHLY THE SAME SIZE SOUVENIRS New work by Michelle Brodie and Jen Denzin THURS 19 OCT - SUN 5 NOV

Gallery 139 Beaumont St. Hamilton, NSW Issue 22 - September 2017


SANCTUARY THURS 31 AUG - SUN 17 SEP 2017 Opening: Saturday 2 Sept. 2- 4pm An exhibition exploring the places & objects

that provide sanctuaries. Homes, gardens and secret places. Exhibiting artists: Giselle Penn, Gwynne Jones, Lisa Pollard, Dominic Kavanagh,

Judy Henry, Andrew Dennis, Kerri Smith. Victorian Scullery Artefacts, assemblage, H20 x W 20cm. Judy Henry Š 2017. Issue 22 - September 2017


Nature’s Exuberance 13 Sept - 8 Oct 2017

Lois Parish-Evans Opening: 14 Thurs Sept. 6 - 8pm.

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

Issue 22 - September 2017


Nature’s Exuberance: Lois Parish Evans. 13 September - 8 October.

Flora & Fauna from Mississippi to Australia: Kerr Grabowski 11 October - 5 November. Down the Creek Judy Hooworth 8November - 3 December. Jan Clark


6 - 24 December.

90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm

Sun 10 am – 2pm. Issue 22 - September 2017


Issue 22 - September 2017


Unique timber furniture, jewellery & gifts. 40 Fosterton Road, Dungog NSW. 0457063702 for enquiries.

Issue 22 - September 2017


Issue 22 - September 2017


Fertile Ground Gaye Shield & Julie Hosking

29 Jul 17 - 22 Oct 17

Maitland Regional Art Gallery. 230 High Street, Maitland NSW. Gaye Shield and Julie Hosking, Fertile Ground, 2016, mixed media, H80 x W65cm.

Issue 22 - September 2017



















Y Victorian Kitchen Artefacts, Assemblage, H30 x W30cm. Judy Henry © 2017.

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