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s t u d i o


arts zine issue 27 september 2018






Maitland Regional Art Gallery 230 High Street Maitland NSW 2320


The Huntsman's Daughter , acrylic on canvas, H44 x W100 cm. Scott McDougall © 2018.

Jane Frances Reilly


O’ R E G A N



Wonky- metal,leather,shoes,underfelt,socks 650x35

slp studio la primitive EDITOR: Robyn Stanton Werkhoven CONTRIBUTORS

View from Concerning Peace Exhibition, Maitland Regional Art Gallery. The Blindfolded Leading The Blindfolded, George Gittoes.

Sculpture When Enough is Enough, Eric Werkhoven.

Pennie Pomroy

Eric Werkhoven

Ken O’Regan

Lorraine Fildes

Scott McDougall

Robyn Werkhoven

Maggie Hall

Gallery 139

Jackie Gorring

Art Systems Wickham

Bernadette Meyers

Back to Back Gallery

Alexandra Wade

Dungog by Design

Ian Kingsford-Smith

Dungog Contemporary

Brad Evans


INDEX Editorial …………

Robyn Werkhoven


SLP Antics………... …

E & R Werkhoven


Feature Artist …………

Pennie Pomroy

12 - 31

Feature ………………..

Concerning Peace II

32 - 55

Poetry …………………

Brad Evans

56 - 59

Feature Artist …………

Ken O’Regan

60 - 79

Poetry ………………….

Maggie Hall

80 - 85

Feature Artist …………

Scott McDougall

86 - 99

Poetry …………………

Eric Werkhoven

100 - 101

Feature ……………….

Bernadette Meyers

102 - 115

Feature ………………

Lorraine Fildes

116 - 133

Feature Artist ………….

Jackie Gorring

134 - 147

Feature Artist ………….

Alexandra Wade

148 - 157

Feature ………………..

Dungog by Design

158 - 165

Feature Artist ………….

Ian Kingsford-Smith

166 - 169

ART NEWS…………….

170 - 195

Front Cover: Lead me to the Dawn, oil on canvas 90cm x 90cm. Pennie Pomroy © 2018. Textile Sculpture (detail), Julie Fitzgerald© 2018.

Back Cover: Atropos and the Cutting of the Thread

what’s my scene? exhibition, Dungog by Design, 224 Dowling St Dungog,

acrylic on canvas, H50 x W50 cm. Scott McDougall © 2018.

NSW. 27 Sept - 25 Oct 2018.

EDITORIAL Greetings to all our ARTS ZINE readers, this month we have another great line up of dynamic artists and writers. The September magazine includes Part II of the exhibition Concerning Peace which is now opened to the public at Maitland Regional Art Gallery, 25 August - 25 November 2018. Leading Australian artists express and explore their belief for world peace. A powerful and inspiring show not to be missed. Interviews with Sydney artists include: Figurative, realist artist Pennie Pomroy who writes about her art, featuring sumptuous paintings of beautiful women, often adorned with abundant flowers in surreal settings, perfect subjects for the Spring edition of Arts Zine. Scott McDougall fills our pages with his powerful realist paintings, also featuring his latest works for “Playing with Fire” to be exhibited in September in Brisbane.

From the Dungog, in the Hunter Valley, NSW, we focus on artist Alexandra Wade and the forthcoming annual exhibition by Dungog by Design Artisan Collective, “what’s my scene?” Maggie Hall, artist, writer and photographer features Butterfly, written after attending a recent opera performance of Madame Butterfly by Puccini.

Lorraine Fildes, our resident travel photographer and writer visits William Morris’s Red House. Morris was one of the founding members of the Arts & Craft Movement in England 1885. 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, exploring their world of art and creative processes. Submissions welcomed, we would love to have your words and art works in future editions in 2018. Deadline for articles 15th October for November issue 28, 2018.

Printmaker extraordinaire, Jackie Gorring’s work contains humour and often text. She says “I focus on the ordinary stuff of life.” Artist and photographer Bernadette Meyers writes about seeing the beauty in everyday life around us.

Email: Regards - your editor Robyn Werkhoven

Newcastle based artist Ken O’Regan, shows us his world of recycling the old into new wondrous objects and art works. The publisher will not accept responsibility or any liability for the correctness of information or opinions expressed in the publication. Copyright © 2018 Studio La Primitive. All rights reserved. No part of this magazine may be reproduced , in whole or in part, without the prior permission of the publisher. Issue 27 - September 2018


E & R A N T I C S Studio La Primitive drawings - E & R Werkhoven Š 2018 Issue 27 - September 2018



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PENNIE POMROY Pennie Pomroy is a Sydney based artist who exhibits her works locally and through out regional New South Wales, in both commercial and public art galleries. Pennies work is characterised by her capacity to engage the viewer in imaginative worlds. The consistent theme of representations of women throughout her paintings is no surprise - she is one of five sisters and has enjoyed the inspiration and mentoring from her print - making and sculpting mother Philippa Graham and her great aunt, renowed artist Inge King.

Throughout her life, she has maintained a strong connection to the land west of the Great Dividing Range. The big skies and one’s relationship to the land continue to influence her creative processes. Pennie was most recently recognised as a finalist in the Ravenswood Australian Women’s Art Prize. She has won many art awards and been finalist in dozens more including the Kogarah, Mosman and Waverly Art Prizes. “I hope for my works to reflect a certain purpose and mirror both a sentiment of, and testament to ‘the woman’. I ask you to accept belonging in not belonging, to find solace and comfort in a state of figuring things out and ultimately not to grow apart from your own imagination.” Page 12: Birds of a Feather, oil on canvas, H90 x W90 cm. Finalist, Waverley Art Prize 2012 Highly Commended, Kogarah Art Prize 2013, Pennie Pomroy © 2018. Issue 27 - September 2018


The Offering Oil on canvas H90 x W90 cm. Pennie Pomroy © 2018

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PENNIE POMROY INTERVIEW What attracted you to the art world? Art has a magical, immersive quality. Both in the making and experiencing it is easy to lose and find

oneself. I find that I am always happy when I am making art.

Have you always wanted to be an artist? I have always had art as a part of my life. Except for six months at the beginning of my Bachelor of Arts

degree at Sydney University, art has been a constant. During those six months where upon leaving school I thought there might be other things: philosophy, Italian and politics for me to explore, I quickly realised that I could not live without art in my life and promptly enrolled into every art course I could within the bounds of my BA. I immediately followed this up with a Bachelor of Fine Arts at the National Art School and then studied at the Slade Institute in London whilst travelling. Being an artist however is a totally different and somewhat intimidating thing. Saying to your self and the world ‘ I am an artist’ is a daunting prospect. Luckily I have always been supported and encouraged to pursue my artistic career.

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When did your artistic passion begin? From the age of two years old according to photographic history. I was poised with paintbrushes in both hands, determined to

cover the easel in paint.

The Journey Oil on canvas H120 x W90 cm. Finalist, Ravenswood Australian Womens' Art Prize 2018. Pennie Pomroy Š 2018.

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Describe your work? My paintings are a journey that often has varied destinations. The wonderful thing about artists that everyone brings their own history, their own imagina-

tions to each work, thus often taking them to a completely different conclusion. I paint mostly with oil on canvas. My works are often whimsical and rich in colour. They encapsulate the joy to be found in the ridiculous framed by the everyday. They refer to genre paintings of the past whist questioning the role of women in the landscape. Traditionally women appeared in the landscape to beautify whist the men stood in dominance over the land. I bring together disparate elements that at first glance may seem foreign







My figures are of the land ; they are poised, soft, vulnerable and powerful.

The King and I, oil on canvas, H76 x W61 cm . Pennie Pomroy Š 2018.

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Odette Oil on canvas H61 x W51 cm. Pennie Pomroy © 2018.

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Do you have a set method or routine of working? A big misconception about artists is that they wait for inspiration. One of my favourite quotes is by Chuck Close “ inspiration is for amateurs.” as an artist it is important to go to work every day regardless of whether I am feeling inspired. When I feel that painting is not working I draw, take photographs or research new works and take time to be inspired by other artists’ exhibitions. This being said, procrastina-

tion does happen and being the mother of two young girls can be quite diverting so I find it good to have exhibitions to work towards a way of bringing me back to the studio. In the year leading up to my solo show ‘Wonder Land’ at the Broken Hill Regional Art Gallery, I was ‘mum’ from 6.30 am until 7pm and ‘artist’ from 8pm until 3am, needless to say it was an exhausting year and there was no time to wait for inspiration.

Delphine, oil on canvas, H61 x W51 cm. Pennie Pomroy © 2018.

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Free as a bird (self portrait) Oil on canvas 1H20 x W90 cm. Pennie Pomroy © 2018.

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Why do you choose this material / medium to work with? Oil paint is fabulous to work with, as it can be both delicate and expressive. I love that I can layer the paint as a glaze to create a rich surface, more heavily so you can only see snippets of the under colour or

obliterate it completely. I tend to work on several paintings at once for a variety of reasons. Sometimes you just have to let the paint dry and sometimes you have to walk away before you do something destructive. So often I will have eight or nine paintings on the go and the new works sometimes influence the direction of the early works in unexpected ways. While I spend a lot of time preparing for each painting with photos, sketches and collaged ideas I like working out problems on the canvas and consequently my works can go through radical changes, one minute they are blue, the next red with pink flowers. As a result I constantly take photos of the works as they develop so that I can look back to see where I

might like to reintroduce certain elements that through the layers have been lost. It is fun to make animations of the transformation once they are complete. It is a mini history of the painting.

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What inspires your work? Inspiration comes from everywhere: colour makes


the way it




different colours interact, a field of wild flowers, patterned fabric,





obscure animals, a sense of discovery, a desire to find meaning, the

Australian landscape, an

intangible thought I had at 2am.

The Protectors, il on canvas H90 x W90 cm. Pennie Pomroy Š 2018.

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What have been the major influences on your work? Coming from a family of five girls and having wonderfully strong female role models throughout my family I can’t help but be drawn to paint women. When my Grandmother turned 100 she received letters from a female Monarch, a female Prime Minister, a female Prem-

ier, a female Governor and a female Governor General. This was extraordinary in both her and my life time, and it was a catalysing

moment in my art. It led me to my investigations of the role of women in both life and art. Left: Suspended Animation II, oil on canvas, H120 x W90 cm. Finalist, Blacktown City Art Prize 2012

Finalist, Hornsby Art Prize 2013.- Pennie Pomroy Š 2018. Issue 27 - September 2018


Flight of Fancy Oil on canvas H40 x W40 cm. Finalist, Hornsby Art Prize 2013. - Pennie Pomroy © 2018. Issue 27 - September 2018


What are some of your favourite artworks and artists? The French artist Vuillard and Bonnard. I remember finally seeing one of my favourite artworks by Bonnard in the flesh at Musee D’Orsay, Paris and spending at least half an hour

ogling it, trying to commit to memory every detail and the way the paint

glanced the canvas only to be told -

“Mademoiselle please step away from the painting” by a guard who thought that my 5mm distance from the painting was a tad too close. This was not the first nor the last time I will be asked this! Art is meant to be consumed. Australian artists Anna Platten and Wendy Sharpe ( under whom I was fortunate to study at the National Art School) have been inspirational and influential to my art making.

What is your greatest achievement and exhibition? Being a full time artist and a full time mother. Florence, oil on canvas, H61 x W51 cm. Pennie Pomroy © 2018.

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Spring Fox Oil on canvas H40 x W40cm. Pennie Pomroy © 2018.

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From Russia with Love Oil on canvas H40 x W40cm. Pennie Pomroy © 2018.

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The Antipodeans Oil on canvas H120 x W90cm. Pennie Pomroy © 2018.

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The Birdwatcher Oil on canvas

H120 x W90cm. Finalist, Women on Boards International Womens' Day Art Prize 2014. Finalist Hunters Hill Art Prize 2015. Pennie Pomroy © 2018.

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Parlour Games Oil on canvas 1H50 x W120cm. Finalist, Kogarah Art prize 2012 Finalist, Mortimore Art Prize 2013 Allens Linklater Collection. Pennie Pomroy Š 2018.

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What are you working on at present? Recently the New York Times started printing obituaries for women whom they had historically ignored. ‘Overlooked’ addresses the fact that so many women had been disregarded either by happenstance or as a purposeful omission. While many women were not household names and perhaps the mark they made on

the world wasn’t recognised until decades after their deaths, more surprising were some blatant omissions of those who had achieved a measure of fame in their lifetime, like the poet Sylvia Plath, the writer Charlotte Bronte and the photographer Diane Arbus. In my latest body of work I am investigating the way in which we see women. The layers that have to be peeled back in order to find a hidden truth, the idea of histories being lost and found, and never being certain that you can ever see the whole truth.

What do you hope viewers of your art works will feel and take with them? A sense of joy and discovery, that they haven’t seen everything yet and might just have to have another look to find that chameleon. 

Pennie Pomroy © 2018. Issue 27 - September 2018




25 AUG - 25 NOV 2018 MAITLAND REGIONAL ART GALLERY Issue 27 - September 2018



Twenty seven visual artists express, interpret and explore their belief for world peace. The exhibition was conceived in response to the present hostile world events, by Eric & Robyn Werkhoven.

We all want a peaceful world, is it possible?

Is humanity spiralling into insanity? SAT,


“The war mongers thrive Led by great greed and lethal Gods Since dawn man has fought Ignorant and foolish hearts Rare is peace and love.” - Robyn Werkhoven

The exhibition includes all genres of the visual arts – painting, drawing, sculpture, printmaking, photography, ceramics, film video and installation. Powerful works expressing the plight of the human condition and the strength of the human spirit. The following pages include part two of a selection of artists from Concerning Peace Exhibition, and photos of the installation of the exhibition at Maitland Regional Art Gallery. Issue 27 - September 2018



George Gittoes

Peter Gardiner

Mertim Gokalp

Kathrin Longhurst Bernadette Smith

Susana Enriquez

Peter Tilley

Edmond Thommen

Andrew Finnie

Debra Liel-Brown

Michael Garth Lachie Hinton

Helene Leane

Sue Stewart Pablo Tapia

Roger McFarlane

Eric Werkhoven

Donald Keys

Carolyn McKay

Robyn Werkhoven

Natalie Duncan

Christine Pike

Shirley Cameron-

Mark Elliot- Ranken

Ric Woods Maddyson Hatton

Roberts Issue 27 - September 2018


ROGER McFARLANE Peace Constrained My sculpture “Peace Constrained” is representational of how there are limitations on the chances of peace being achieved. In my sculpture Peace is blindfolded, strapped in and embedded in a prison of stone. There are always

impediments to peace. Such things as politics, ambition, global influences and greed. But from time to time peace does breakout, however not everywhere at once, just pockets of peace and hope. It is said that “there will always be wars and rumours of

wars” it is the human condition. - Roger McFarlane © 2018.

Peace Constrained, white Marble from Chillagoe North Queensland. The plinth is made from sheets of marble, H46 x W30.5 x B30cm.

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M E R T I M G O K A L P Equality, Leading the People, oil on canvas, H150 x W200 cm. Mertim Gokalp © 2018.

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Equality, Leading the People Mertim Gokalp I find human form very exciting, figurative work enables me to explore a vast array of emotions, stories and personalities. I believe art always urges the audience to look beneath the surface; it is the same for me. I always want my audience to see the story, the struggle, and the sacrifice behind the visual. I aim to challenge and confront the viewers with their deepest feelings. My portraits are not literal representations of

people posing or sitting. These are subjective portraits of the psyche. All portraits reveal something about the subject, but they are open to many interpretations as they are enigmatic most of the time. My portraits are a celebration of the human form. “Equality, Leading the People” is a painting inspired by the famous painting of Delacroix, “Liberty Leading the People” with a modern twist. Referencing to the marriage equality movement, the painting attempts to invite viewers to think about the history of the LGBTI battle. Now that the marriage equality is a reality in Australia, the painting is a celebration of this achievement as every step taken is one closer to World Peace

and Equality. Issue 27 - September 2018




To live in peace prepare for war. Some Roman general said that. It seems about right. That's everyone's argument. .... they can be the mother of all peace or the mother of all war. Consider this. Peace cannot be secured through demilitarisation.

Polaris /dove, drawing on paper, H160 x W140 cm. Peter Gardiner Š 2018.

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CAROLYN McKAY In Casting Shadows, I reflect on a visit to the Hiroshima Peace Memorial with my two young sons. Using a combination of time lapse and stop motion techniques, and created with paper cut-outs and charcoal and pastel drawings, I relate my memories of that visit. Appropriating the shadow as my central motif, the video focuses on how, at 8:15am on the 6th August, 1945, thousands of people were incinerated by

the intense blast of the ‘Little Boy’ atomic bomb dropped on Hiroshima from the US bomber ‘Enola Gay’. All that remained were eerie silhouettes and faint traces of humanity etched into walls, floors and the ground. The Peace Memorial serves as a sombre reminder of the horrors of war

and nuclear weapons.

Casting Shadows Left: Details from Looped video installation with audio, 4min 20 sec. - Carolyn McKay © 2018. Issue 27 - September 2018



MADDYSON HATTON This work is an exploration of the multiplicity of the spectatorial, seeing a





observed to the observed blatantly 1 AND

staring. The mechanism’s viability is hindered on the multiple for it cannot work without unity. In this state it is caught in its own administrative quandary; it is not the onlooker but the overseen.

Mechanical obverse (The machine facing the observer) Southern ice porcelain, acrylic, digital print. H1.4 x W2 mts. Maddyson Hatton Š 2018.

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SUE STEWART It is unimaginable how the victims of war survive. The loss of family, friends and community along with the stability of a dwelling, practical utilities, inherited and

collected pieces would be devastating. The long exodus to a ‘safe’ camp where overcrowding and poor conditions can last for decades is inconceivable and then waiting for a country to accept you would be physically and mentally exhausting. Add to this the wicked conditions some genuine refugees are kept in with little to occupy themselves with, it really is tortuous.

Most wars are avoidable – a quote from the United States Marine Corps Major General Smedley D. Butler 1935 is perhaps most famous for his post-retirement speech titled “War is a

Racket.” “War is a racket. It always has been. It is possibly the oldest easily the most profitable, surely the most vicious. It is the only one international in scope. It is the only one in which the profits are reckoned in dollars and the losses in lives”. Go Back to Where You Came From, Stoneware and Porcelain clay & oxides, MDF board, paint, H35 x W40 x B40 cm. Sue Stewart © 2108. Issue 27 - September 2018




P I A King Pig chased by his Dogmen, Oil on oil paper panel, H28 x W 35.5 cm. Pablo Tapia Š 2018. Issue 27 - September 2018


King Pig chased by his Dogmen. A Personal Affective Symbology I believe our main mission in life is learning to love in all its forms as much as possible; hopefully

becoming wiser and more caring as we get older. Painting in a way helps with this task as an act of self reflexion, and also as a powerful vehicle to share and express emotions, knowledge and experience. When asked to contribute to the Concerning Peace Exhibition I wanted to touch on the opposite aspect of what I consider to be a state of peace as things and concepts can be defined as much by their contrasting aspects as by themselves. What generates conflict and violence perhaps starts with a lack of seeing ourselves in others; a lack of empathy or being unable to find our common connections and shared humanity; an absence of affection and generosity. Using characters from my personal mythology on a barren landscape I wanted to portray how negative aspects like greed generates animosity, and a disregard for our environment with the

reactive effects which ultimately affect everyone. With the strong chiaroscuro I hope to remind the viewer that there is always hope no matter how dramatic things might be. To maintain a state of peace we constantly have choices to make between the light and the darkness. -

Pablo Tapia Š 2018.

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Death of a Forest, Acrylic, ink, paper and gel medium on cotton duck, H101 x W152 cm. Shirley Cameron-Roberts Š 2018. Issue 27 - September 2018


SHIRLEY CAMERON – ROBERTS Death of a Forest When we talk of war and peace we usually relate our thoughts to our own species. But the impact of war is so much more invasive. The destruction of the environment through the impact of gunfire, bombs, heavy equipment and large numbers of soldiers is devastating. As is the loss of life. We write about that - especially the numbers of people killed in the path of war. But what about the animals, birds, trees and myriads of small creatures destroyed? Strangely, even aside from wars between people, we destroy whole swathes of forest to grow plants or trees for our joint own purposes, or we build whole towns and cities to house our own species. This is another kind of war. The kind of war that really concerns me. How horrific for birds animals, trees and forests to

have their homes and way of life destroyed in a day or two without any care or planning for their wellbeing. My painting is concerned with this massive problem. Not just for the birds and animals but for all of us. We need biodiversity. That is what makes this planet work. I want peace for the small creatures. I am concerned that they should have a right to live in their homes without the constant threat of destruction.

- Shirley Cameron - Roberts Š 2018. Issue 27 - September 2018


MEDITATION, Painting - Acrylic on paper, H101 x W134 cm. (framed), Debra Liel-Brown © 2018. Issue 27 - September 2018


DEBRA LIEL-BROWN Meditation Meditation works for me. My goal is peace of mind that can't be shaken by the world's ups and downs. When my life is in conflict, I tend to become trapped in a whirlpool of circular thinking. I squander my happiness wanting to be right, being afraid, angry, a victim or wanting to get even. In meditation, my thinking slows down into gentle, alert observation. It feels spacious, clean and loving. The

confines of the body are gone, and I experience myself as mind in mind. As I return to the world, my discipline is to hold my thinking in the now, which maintains my happy calm for days. When I was younger I thought peace was boring. Now I am older, my bullshit detector is finely tuned and causes me friction. I have never found any peace in the world, at best, there are short periods of respite that

make me smile. I stopped looking for peace in the world. - Debra Liel-Brown Š 2018.

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White Dove, Black Crows Random Thoughts Concerning This Piece


Crows. Raucous birds. I once heard they were really Ravens in Australia. But I was misled. Ghastly grim and ancient Crow wandering from the Nightly shore— Tell me what thy lordly name is on the Night’s Plutonian shore!” Quoth the Crow “Nevermore.”*

Poe’s ‘The Raven’ stanza with inserted ‘Crow’ almost holds together regardless. On the other hand, concerning Doves and Pigeons, the descriptors are interchangeable. It follows that in White Dove, Black Crows, Good Sister becomes Evil Sister.


Both Sisters have dark hair - Henry James would call them villainesses a like. One has a name: Nepra the River Goddess. Nepra has set her Crows free. Ironically the Good Sister still clings to her Dove of Peace. She will not let go for fear of becoming her twin. In doing so she becomes that what she fears most. (I’d) Rather be a Crow.

- Andrew Finnie © 2018. White Dove, Black Crows, Digital Render on Canson Etching Paper

*(Altered excerpt from ‘The Raven’, E.A. Poe d.1849)

#1/15 H113.4 x W85.4 cm. Andrew Finnie © 2018. Issue 27 - September 2018


HELENE LENE Rescue Dove The lifejacket has become a symbol of war and human displacement for European and Middle Eastern countries. By combining the symbol of war with Picasso's symbol of peace I am hoping for balance to be restored.

Photographically transferred monotypes H65 x W65 cm. - Helene Leane Š 2018.

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This works on paper summarise their purpose : To have fun with simple lines and colours. For the maker to entertain the own curiosity and

sense of playfulness. I aim to have a simple life making things grow In the garden and have a inspiring time at the studio

This suit of works on paper are part of it.

A simple Life, 18 works on paper, H180 xW126 cm. - Carlos Barrios Š 2018.

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SUSANA ENRIQUEZ Peace is not a thing! I want to discuss peace in the negative and accept that peace is not a thing may make it easier to categorize. We cannot see it. This

expectation implies passivity and leads to a general misperception that we do not have to do anything to create peace. Waiting for peace to passively manifest and happen without assistance further lends itself to a view of peace as impossible to achieve. However, once we realize that peace happens with our participation, we can make creating peace actionable. In this painting I have chosen to use music and sport images as metaphor for peace, dealing with the idea of “the other” as a manifestation or element of the Self. The purple colour refers to spirituality and yellow to the energy of action. The music collage refers to one fragment of “Ode to joy” from Beethoven’s 9th symphony “towards a world with no guns”.” - Susana Enriquez © 2018. Peace is not a thing! Acrylic and collage on board, H120 x W110 cm. Susana Enriquez © 2018. Issue 27 - September 2018




















Unique Digital photograph, Ric Woods © 2018.

Enmity "I don't think there will ever be world peace, nor do I think we will be able to return the earth to a pristine state. There will always be the "Haves" and the "Have Nots” We will continue to fence or mark our properties and territories and be suspicious of people who look different to us, or practise a different religion or belief system. The media will always be 'owned' and they will do their job putting a calculated "spin" on its delivery. This work pays homage to the millions of broken hearts created by this lack of peace".

- Ric Woods © 2018. Issue 27 - September 2018



Cry Havoc The noun havoc was once a command for invaders to begin looting and killing the defenders' town. Shakespeare so used it in

Julius Caesar (3:1): “Cry 'Havoc' and let slip the dogs of war.” We should just let sleeping dogs lie.

Recycled Timber, cast bronze, expelled 303 shell casings, H160 x W45 x D30 cm. - Michael Garth © 2018.

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All Rights Reserved on article and photographs - by Concerning Peace artists. Š 2018. Issue 27 - September 2018


all of these, and more

as the night whips the petals

I will remember

into buds


as the flame

all of

chews into your candle


I will remember

as a crab gives way


to a plastic bag


as rimbaud is freed

of these

of his cancerous leg

as the nights of passion are cooled by memory as the street bears the weight of a beggar with a broken mind as the ghosts of failed armies as the bombs are now

wander and wander as pound is pulled free

being lifted

of his kennel I will remember these,

as castro tears me with

all of

a speech of perfect rage


as the tills ring

I will

in crescendo


all of these as the beetle struggles with its overturned shell

- Brad Evans Issue 27 - September 2018


The War Mongers Thrive! Collaborative drawings, graphite pencil and oil pastel on paper, Eric & Robyn Werkhoven Š 2012. Issue 27 - September 2018


today’s ancient romans with love of country today’s ancient romans are drilled

from birth

from birth to death and are fed

into believing that their

continuous love


from the television

is the centre of the universe

from the big screen

today’s ancient romans see difference

to each other.

in isolated parts

today’s ancient romans

of the world

choose carefully

and amass

their enemies of tomorrow,


their power enables them

to smash it.

to find quick, shallow reasons to kill and maim

today’s ancient romans

and ignore the pleas of any united bodies

are charged

aiming for world peace. Issue 27 - September 2018


today’s ancient romans

today’s ancient romans

today’s ancient romans

lust for their own shedding of blood


lust for the blood of others.

and carry the symbols of deities long dead

wage war before thought and have proven

and conformed as they are, their only strength is in their number.

and exhausted of worship.

in their brief history

how a 2000 year span can show

today’s ancient romans, and today’s ancient romans

with their currency,

breed for the sake and the status,

thrive on global agony -

they are powerful enough

through deserts

to sidestep any other

through clouds

lone nation

through forests;

and will destroy you


destroy themselves

on all 4 paws of the globe

destroy anybody

they preach their blindness

who shows any difference

to those who fear them.

very little progress.

- Brad Evans

or cares.

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O’ R E G A N Issue 27 - September 2018


Ken O'Regan Ken O'Regan is an Australian artist from Newcastle, NSW. Over the last fifteen years artist Ken O’Regan has developed sculptur-

al practices that combine found object assemblage with environmental themes. His practice has involved producing large installations that visually echo museums, stained glass windows, mandalas and neon signage. His work frequently uses light to make these references and this has extended his practice into the area of sculptural lantern making. Ken O’Regan’s practice is based on both the use of waste


as art media to create large assemblages for exhibition, or on the use of bamboos and cane to create large scale installations for events. His work is strongly concept driven but it still remains immediately connected to the physicality of the materials and to the processes necessary to convert them to his aesthetic needs. Ken O'Regan's work is held in the collections of the Newcastle Art Gallery, Wallsend District Library, The University of Newcastle and in many important private collections. Page 60: Blue Spiral (1999), recycled media, Ken O’Regan © 2018.

The Wishing Trees, Honeysuckle, Newcastle, NSW. Issue 27 - September 2018


The New Temple 2000

Lancet Window I (2000)

The New Temple was an installation in the Long room of Watt Space Galleries in 2000, that explored a number of connections with history, consumerism, the nature of belief systems and recycling. Reused steel innerspring mattress, plastic shopping bags, recycled copper wire, reused plastic toys and objects, reused plastic waste, uorescent lighting.

Issue 27 - September 2018



What attracted you to the world of Art?

I am attracted to the long history of art and to the way that it anchors us socially and historically. Art is one of humanity's longest traditions, being rooted in the deep past.

The tradition connects us with artists

through the centuries which I think is important in a society so young and dislocated as modern Australia.

When did your artistic passion begin? I have always made drawings, paintings, and objects. When I left school I did a two years course at TAFE which was wonderful.

Have you always wanted to be an artist? As a child I remember wanting to be a writer which is similar. Then I was interested in marine biology and linguistics. When I left school I found an affinity with other artists at TAFE and realised that it was possible to have a career as an artist.

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Describe your work? My work is actually quite diverse but hinges on the use of certain materials, techniques and processes.


have made many works by using found coloured plastics and other largely domestic objects. I also create community artworks with diverse groups combining found materials or working with cane structures. My studio practice has been centred around creating architectural installations with found object assemblages: churches, museum, art gallery. I have also received commissions. Do you have a set method / routine of working? My process involves developing proposals, collecting materials, production, installation and documentation. I try to vary activities I do as I move through the day to mix things up a bit. I find it's easier for me to work to a deadline. Why do you choose this material / medium to work with? I use found and recyclable materials because I feel that our detritus tells a lot about us as twenty-first century humans. I use coloured plastic as a metaphor for glass and stained glass in particular. I’ve used old wooden drawers to make faux-museological specimen cases.

Issue 27 - September 2018


Left: Mandalas 2002, Reused steel innerspring mattress, plastic shopping bags, recycled copper wire, reused plastic toys and objects, reused plastic waste. Right: The Mandala of Ronaldmcdonald, H1430 x W1430 x D16 mm. Reclaimed materials - steel, various plastics, copper wire. 2000 - Ken O’Regan Š 2018.

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How important is drawing as an element to your artwork? I use drawing to plan artworks and to test out ideas. I often make collages in photo shop to get a sense of an artwork or to work out different designs. What inspires your work / creations? My work is inspired by history, ecology and the current state of the world. I find that reading is often inspiring as is looking at the work of other artists. I’m also inspired by travel. What have been the major influences on your work?

Study & research. Travel. At university I was influenced by the work of artists using materials from everyday life such as the nouveau realistes and arte povera. I was also influenced by artists engaging with social and environmental themes in their work. When a student at TAFE I was drawn to the vibrancy of post impressionist colour and Dadaist found

objects. Living in Sydney in the nineties I was influenced by gritty, post punk aesthetics and grunge. Then travelling in South east Asia for three months showed me a superabundance of brightly coloured plastics in Vietnam and an attendant superabundance in the environment that shocked me. It was from seeing this that I began working with plastics. Issue 27 - September 2018


Something lost something found 2006 Reused plastic objects, recycled copper wire, old wooden drawers, lighting, wooden table, paper, pencil. - Ken O’Regan Š 2018. Issue 27 - September 2018


Creatures of the Plasticene Epoch 2004 Reused wooden drawers, chipboard speaker cases, plywood TV case, reused plastic toys, glues, digital prints, acrylic paint, ocking materials, reused ďŹ shtanks, gesso, glass, acrylic sheet. Issue 27 - September 2018


Incursions 2011 Oil in-painting on acquired paintings, found frames, salon-hang installation, dimensions variable. - Ken O’Regan Š 2018. Issue 27 - September 2018



Oil in-painting on acquired painting, found frame, Ken O’Regan Š 2011. Issue 27 - September 2018


Incursions “Ken O’Regan’s installation Incursions plays havoc with convention. By subverting our expectations of a traditional salon hang of landscape paintings, he issues a warning to be more alert to our changing world.”

Materials Oil in-painting on acquired paintings, found frames, salonhang installation, dimensions variable.

A Day Out , (from Incursions), Ken O’Regan © 2011. Issue 27 - September 2018


In the sanctuary of objects, Ken O’Regan © 2009.

Baubles, Newcastle, NSW.

Reused plastic bottles and objects, cable ties, steel wire, timber, light.

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What are you working on at present? I'm currently producing lantern sculptures for a community event being put on my Maitland City Council.

This project involves design and construction and will also encompass a community workshop to cover and decorate the lanterns. What do you hope viewers of your art works will feel and take with them? I mostly want to provoke a thoughtful pondering on the part of the viewer. I used to want to influence the viewer to contemplate environmental themes or to recreate a sense of awe or wonderment through scale and light. Now I am interested in creating more ambiguous works, that allow the viewer to interpret the work more subjectively.

- Ken O’Regan © 2018. Ken O’Regan, Newcastle, NSW. Issue 27 - September 2018




I T Y The Wishing Trees installation draws on the Druidic tradition of the sacred grove to create a “magical� space. Cane, paper, bamboo, wire, lighting. Pacific Park, Newcastle, NSW. Issue 27 - September 2018


Everlastings, community project 2007.

Originally installed at Newcastle Art Gallery, NSW. Reused plastic bottle-tops, reused plastic objects, galvanised steel wire Issue 27 - September 2018




I T Y Harmonic Forest has been developed from The Wishing Trees installation, Memorial Park, The Entrance, New South Wales, 2017. Issue 27 - September 2018


Honeysuckle Winterheat Parade, Community art project with students from local schools, Newcastle, NSW, Winter 2013. Issue 27 - September 2018


In the sanctuary of objects 1 Reused plastic bottles and objects, cable ties, steel wire, timber, light. - Ken O’Regan. Issue 27 - September 2018


Rose Window II (2000) - Ken O’Regan. All Rights Reserved on article and photographs - Ken O’Regan © 2018. Issue 27 - September 2018



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Baptized in the skin of milk, another land break’s dawn beside winters stolen breast. He will return to me, I know this from a promise of silken clay by nights folded light. As winds bend my knees faith alone will be my guide.

Passing ships master no reply, expecting presence hushed plight, renounced lands whisper memory long by side reclined sight.

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I walked in 30 minutes late . . . Ushered to my seat before the stage I gaze into a pit of orchestral air. He held the wand allowing Madame’s first breath,

fathers silver blade reflected lies off the false man’s tongue. Looking my way by distraction as if I had hit a flat note without staged command. A disruption conducting energy away from his being and position beneath footlights edge.

Butterfly enters stage left veiled by white dress in invisible lace. Last of circle she weaves her innocence, silent before this Castles Centre floor, Pinkerton gazes in gravid pause . . .

When the robin builds his nest, I shall return. Issue 27 - September 2018


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Intermission . . . By conquest they run to me, Tragedy and Desire . . . Where have you been? We waited until first stroke of Bells wand, young child do not forsake your father . . . he will come . . .

To the front of stage I wait for him, hidden behind a mass of doves nestled in sleep fire cursed his misleading intent.

She will wait for me, my Sun, this I know as real as my own breath . . . I will speak her name . . .

Butterfly. All Rights Reserved on article and photographs - Maggie Hall Š 2018. Issue 27 - September 2018


SCOTT McDOUGALL Issue 27 - September 2018


Page 86: Nemesis - Goddess of Retribution, acrylic and gold leaf on canvas, H50 x W53cm. Scott McDougall © 2018.

Above: Bitter Harvest, acrylic on canvas, H80 x W130 cm. Scott McDougall © 2108. Issue 27 - September 2018


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SCOTT McDOUGALL contemporary realist painter Born in 1953 in Ayr, Queensland. McDougall’s paintings reflect his passion for colour, texture and formal composition, and the excitement of travelling to new countries. He is interested in the dislocation of European architecture to foreign lands and the dramatic contrasts between the buildings, both grand and humble, and the people that inhabit them. Page 88: On These Fragile Wings, acrylic on canvas, H41 x W61cm. Scott McDougall © 2018. Right: Ellyce in the Red Chair, acrylic on canvas, H90 x W66cm. Scott McDougall © 2018.

Scott McDougall - Interview I have been chasing beauty in one form or another for most of my painting life. I find it in the smallest of things - a curling arabesque of flaking paint, the soft fold of fabric, colour slowly leaching from an ancient wall, fine cracks lacing a rendered wall, verdigris, scrapes and scratches. It's all scar tissue that stand witness to moments in time and history. Using this as a starting point I weave a narrative into my paintings. I'm traditionally an urban and rural landscape painter but have wanted to paint fabric and figures for many years. My problem has been finding a context for them in a contemporary style. Since high school I've

admired the handling of fabric by Jean Auguste Dominique Ingres, Singer Sargent and the Pre-Raphaelites. Fashion has moved on - the casualness of low slung pants and T-Shirts lacks the elegance I am seeking as a painter. A year and a half ago I took up a month long art residency in Vietnam, sponsored by Chula, a Spanish

fashion house based in Hanoi. Owners and designers Diego and Laura work in beautiful silks and I wanted to try to tie in beautiful fabrics and the vibrant colours of Vietnam as a theme for the residency and subsequent exhibition. The project has opened up new door for me and I'm very excited about what has evolved. The project wasn't easy, especially with the lack of local language and access to the most simple of art materials that we take for granted back home - not to mention trying to stay focused during the 40

degree days with just a fan in the Hoi An studio! Issue 27 - September 2018


I love the way life can throw you a challenge that can lead you somewhere completely unexpected. The inspiration that has come from taking up the art residency has now become a theme for a series of figurative paintings. Most recently I have become fascinated with fire and flames and so have moved my figures to a new location, the huge cane fires that light up the Tweed Valley at this time of year. These towering walls of flame make a very dramatic backdrop for my new narratives. I have also changed my painting medium from acrylics to oils as I needed to achieve much more subtle blending for both flesh and flame. I have painted in acrylics for 40 years and now have to re-skill to tackle oils as the chosen medium for these paintings. The new challenge is to capture the twisting arabesque of flames, the translucence of fire and it's terrifying ferocity.

My upcoming exhibition -

“Playing with Fire� September 5 - 26 2018 at Lethbridge

Gallery, 136 Latrobe Tce. Paddington, Brisbane. Issue 27 - September 2018



Ave. Italia, Havana Acrylic on canvas H111 x W92cm. - Scott McDougall © 2018.

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Esperanzas y suenos (hopes and dreams). Havana, acrylic on canvas, H92 x W137cm. Scott McDougall © 2018. Issue 27 - September 2018


Defiance, acrylic on canvas, H101 x W152 cm. - Scott McDougall © 2018. Issue 27 - September 2018


Chasing Beauty, acrylic on canvas, H90 x W132 cm. - Scott McDougall © 2018. Issue 27 - September 2018


Pegasus Rising Oil on canvas H35 x W40cm. Scott McDougall © 2018.

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The Burn Oil on canvas H90 x W90cm. Scott McDougall © 2018.

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Firebug Oil on canvas H150 x W150 cm. Scott McDougall © 2018.

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Left: O, oil on panel, H40 x W35 cm. Scott McDougall © 2018.

All Rights Reserved on article and photographs Scott McDougall © 2018.

Issue 27 - September 2018


WINTER FIRE A natural force? To compile notes, to sit in the sun, whilst it is still cold and even chilly. Fires rage Threatening homes Questioning the cause, to be deliberate or just some controlled back burning going out of hand, jumping containment lines and flaring up into the groves of shrubs and Eucalyptus trees Flaring up going whoosh, like loud cracking whips. Cries, wailing, lamenting of creatures dying in the all - consuming flames. Leaving ash and stumps and blackened wire, like a trail across and around gullies.

Where a lonely call of a survivor can be heard, bemoaning the loss of its habitat, the favourite branches, the various hiding spots. Grit your teeth, check if you can still hop and fly.

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Are there survivors over the next hill? Have some areas been miraculously spared? We have been in the news The men in yellow gear have tried to save the bush. The sirens were screeching, driving back the flames, mustering courage and hope – black smudges on their faces Their shouts were meant to check up on their mates. And then the aftermath of eerie silence seems to grip the land. It is ideal for a tracker, to find foot prints leading up to the headland, to get a better view for miles across.

- Eric Werkhoven Š 2018. The poem Winter Fire was written in response to the August bush fires in NSW, Australia.

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I opened the door of the Victorian terrace and looked eastward down the street - not a tree, shrub, flower, leaf, bird or blade of grass in sight. My heartfelt about as grey as the sky above as I longed for the abundance of nature I had left behind on our acres of paradise in Australia. This was my new home in the centre of England for a few years. It was time to search for a new kind of beauty because if you open your eyes, you will find beauty in every place. So I turned to the west and at least there were some trees down the other end of the street. I’m a nature lover so I made it my mission to seek out nature in this very urban environment. A place that seemed to have been felled and paved and bricked all over about two hundred years ago. I collected leaves during all seasons, went out with my camera like a mad woman in the middle of winter photographing frost and snow, took treats in my bag to befriend the squirrels who lived in the churchyard and spent many a day walking in the ‘common and woodland’.

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Moss, lichens and fungi are old favourites with their beautiful colours, textures and forms and they all grow frighteningly well with the lack of sunlight! It was strange walking through unfamiliar trees and vegetation, it took a while to realise that they are not weeds - they are only weeds in Australia because they are introduced! But I did manage to get stung on more than one occasion by rearranging what I thought was a

pretty frond to photograph and find out in no uncertain terms that it was a nettle. Issue 27 - September 2018


Issue 27 - September 2018



One Saturday, I led a photo walk as part of a SEP 1

worldwide charity event. When the photos went online, one of the locals who had grown up in the town commented that I had made her ‘boring’ town look amazing and beautiful and

that she had never seen it that way. I think that was simply because I approached it with fresh eyes. It is something I’ll try to remember when I start to feel stale or lacking inspiration - to try to look at the familiar as an outsider.

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Most people don’t need convincing that there is beauty in history. Patina and the unspoken story behind the

visual effects of the ageing process seems to be universally appealing. Europe is a perfect place to pursue history. Everywhere you turn there are old, worn things or beautifully crafted pieces from days gone by. You have to wonder about the many lives of those whose boots trod the stone steps and left their impression. Of course, there are millions upon millions of artefacts carefully stored in museums. The very famous ones are visited by crowds daily, but most are sitting waiting to be discovered by you and me. Issue 27 - September 2018




Untamed nature will always draw me, but I have learned to appreciate the cultivated fields and gardens of Europe and England. There are still some ancient trees left standing and the advantage of long, cold winters, is that people make an effort to celebrate Spring with mass plantings of happy flowers. Hedgerows contain an entire world within them and stone walls are beautifully crafted, but it is the details of the garden that capture my attention when I visit. Who can resist a weathered gate, an unusual latch, a collection of

Victorian cloches or even some hand thrown terracotta pots? Issue 27 - September 2018


There is something heartwarming about the process of hand creating objects that I wish I could bottle. Last year, back in Australia, I was able to visit the Lost Trades Fair at Toowoomba and photograph some of the talented workers there. It was sad to see some of the older generations who didn’t have any young

apprentices to pass their huge amount of skills and knowledge onto. Issue 27 - September 2018


Perhaps because of the lack of nature around my English home, I often bought flowers and because it is so cool, they lasted a long time. Every bunch of flowers that came into my home, I photographed with the

macro lens. It is a perfect opportunity to slow down and appreciate the artistry of nature. The closer you get, the more you magnify the petals, the more you see other worlds - landscapes. Georgia O’Keefe said “When you take a flower in your hand and really look at it, it’s your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not.” Her work is fascinating because it is so simple, yet she created it from

a place of looking deeply at the details. Issue 27 - September 2018


It is even more satisfying to take the macro lens outdoors and photograph plants in nature especially when the sun is shining. Leaves and seedpods reveal their delicate skeletons when the light shines through them, so I am always on the hunt for that perfect light.

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Do you notice the many different ways that light sparkles on water? I think it is a very underrated phenomenon. So often, we see millions of tiny diamonds sparkling on leaves, or blades 1

of grass, or the ocean, or a pond. Have you stood at the beach early in the morning, watching the waves curl over, one after the other with the sun shining through from behind, and simply admired the turquoise transparent, glassy looking water? And if sunlight sparkling on the ocean is something wonderful to behold - what about the moonlight on the waves? It is

breathtaking! Sometimes I like to defocus the lens a little and create another world, one a bit more dreamy, more like the one I experience than the one I see with my eyes.

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The other day, I was standing on the headland, watching a pod of dolphins splashing and having quite a wild feeding frenzy. A young Japanese girl was extremely excited to see the dolphins and the young man she was with made a very casual remark which I found quite tragic. He said, “I’ve seen plenty of dolphins before.” It took everything in me to keep quiet. I wanted to reply that I’ve seen thousands of sunrises, but I will never take one for granted, I’ve hatched countless chicks and ducklings and will always feel the wonder

of seeing each new life emerge and I will never lose the excitement of spotting a pod of dolphins. SAT, SEP


I’ve been back home in Australia for more than a year now. The texture of our bush, beaches and landscape are familiar and comforting, but no less full of wonder to me than the grandeur of Swiss Alps or the crumbling history of Venice. It doesn’t matter where you travel on this incredible planet, there is something beautiful and interesting to experience if we keep our hearts and eyes open. So whether you find yourself in the city or the country, by the ocean, in the forest or on the mountaintop, don’t forget to stop for long enough to breathe in and appreciate the beauty that is all around. - Bernadette Meyers © 2018.

Bernadette Meyers - Freelance artist, photographer and teacher, creates works on paper with photography, watercolour, mixed media, printmaking and encaustic. Meyers is the creative force of Breeze Photography based in Collaroy, NSW .

All Rights Reserved on article and photographs - Bernadette Meyers © 2018. Issue 27 - September 2018

114 Issue 27 - September 2018



Lorraine Fildes Issue 27 - September 2018


WILLIAM MORRIS - THE RED HOUSE Bexleyheath in Southeast London, England.

Lorraine Fildes Beautiful and inspiring was my visit to the Red House. It was the only house that William Morris, one of the founders of the Arts & Crafts Movement in England, had built. In 1858 Morris asked his close friend and architect, Philip Webb, to ‘Build me a house very medieval in spirit’ and Webb’s first sketches of the Red House were made. Morris and Webb had found inspiration for the design of the house whilst travelling down the Seine valley in France during the summer of 1858, sketching medieval buildings along the way. That influence shows clearly in the look of Red House, with its steep roof and Gothic spires, gables, irregular windows of many sizes and shapes, pointed arches and a beautifully, turreted wishing well in the garden. The Red House was Webb’s first major commission, and Morris saw it as the chance to build, in collaboration with a kindred spirit, a family home that would embody his taste and ideals and a place that would also be a social hub and creative focus for the lively artistic circles of which he and Webb were part. The National Trust has described the architecture of the house as "a complex fusion of Morris's romantic utopianism and Webb's practical common sense“. The Red House was designed to an L-shaped plan, with two stories. The large-hall, dining room, library, morning-room, and kitchen were located on the ground floor, while on the first floor were situated the main living-rooms, the drawing-room, the studio, and the bedrooms. Windows were positioned to suit the design of the rooms rather than to fit an external symmetry and this is why various of different window types appear. The external design of the house had no ornamentation - it depends for its effect on its fine proportions. This was somewhat radical at the time, as most contemporary buildings were very ornamental.

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The house is not packed with Victorian clutter, artefacts and furnishings. Most of the following original features such as the stained glass windows, fireplaces, tiled floors, brickwork and the staircase to the second floor are still there as intended. However, very little of the original furnishings remain and only since the purchase of the property by the National Trust in 2003 are the original decorative elements that adorned the walls and ceilings being slowly restored by the National Trust. They are still discovering William Morris hidden gems under the surface of many layers of paint and wallpaper that had been applied by its numerous owners. The Red House is a work in progress. For example Morris had Persian carpets covering the red tiled floors throughout the interior but these had all been removed, possibly taken to Morris’s new home when he left the Red House. A bequest to the National Trust of a large number of similar Persian carpets means that you are now able to see the floors decorated as they would have been in Morris’s time. I was taken on a conducted tour of the house. We entered the house by way of an arched porch, from which you emerged

into a beautiful wide entrance hall and here was a blue settle (cupboard based on a medieval design) Morris had decorated with illustrations from the medieval German epic Niebelungenlied. A Persian carpet covered some of the red tiled floor. Unfortunately the stained glass in the original heavy, wooden, medieval door had been replaced. Also on the ground floor is the dining room, which features a large red settle designed by Philip Webb and an exposed red-brick fireplace, its bricks laid in herringbone pattern, and decorated with blue-and-white Delft tiles. Opening from the left of the entrance hall there is a passage lined along one wall with windows that are among the earliest examples of Morris’s stained glass. We then went up the ‘Gothic’ staircase and visited the drawing room which houses a settle designed by Morris and stunning wall paintings by Burne-Jones. We then visited the room that had been Morris’s studio and this room contained samples of Morris’s wallpaper designs and plates that were used to produce the designs. Of course the wallpaper production did not start until after Morris had left the Red House – so these samples are just to remind you of his later achievements.

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From the studio we visited what had been Morris and his wife Jane’s bedroom, the National Trust conservation team have uncovered a painting which depicts five biblical characters, and is designed to resemble a hanging tapestry with the illusion of folds. Another wall in this room had been covered with a blue serge daisy embroidery – a USA group have made an embroidered copy and this now hangs in the bedroom, covering part of the wall.

We then wandered through the garden by ourselves. The trust has done a wonderful job on the garden, filling it with plants that inspired Morris’s designs. The original garden was unique in its design, with Morris insisting on integration of the design of the house and garden; the latter was divided into four, small square gardens by trellises on which roses grew. The flower beds were bordered with lavender and rosemary

while lilies and sunflowers had also been planted in the garden.

White jasmine, roses, honeysuckle and passion

flower were planted to climb up the walls of the house. Of course the various

owners of the house made changes to

the garden layout but the National Trust is aiming to bring the garden back to its original state.

Wonderful views of the garden may be seen from the many

windows that adorn the home. Issue 27 - September 2018


Back view of the Red House showing the turreted well.

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History of William Morris and the Red House: William Morris left university in his early twenties but was unsure of what he wanted to do with his life. His family wanted him to follow a safe and respectable career in the church, but Morris refused; in the end he wanted to become an artist.

Morris tried his hand at architecture, oil painting, calligraphy, embroidery and wood-carving, as well as writing poetry. He eventually hit on his future career as a designer almost by accident. He and his university friend, the artist Edward BurneJones, moved into lodgings in London. Since they had no furniture Morris began designing his own. It was the beginning of a lifelong obsession with interior design. In fact one of the cupboards – settle – he built here was dismantled and moved to the drawing room of the Red House – this is one of the pieces of the original furniture that remains in the house. Morris was painting murals in the Oxford University Union when he first saw Jane Burden. He and his artist friends, Edward Burne-Jones and Dante Gabriel Rossetti, asked her to model for them. Morris fell in love with her and they were married in April 1859 and moved into the Red House when it was completed in 1860. Their marriage was happy at first. They had two daughters, Jenny and May, and Jane flourished, becoming fluent in French and Italian, a talented musician and embroideress. She is best known today for her embroidery, eventually managing the embroidery department of Morris, Marshall,

Faulkner & Co. a company that was formed in 1861 by Morris and his friends. Morris and Jane’s relationship was strained by Jane’s affair with Rossetti, but they remained married until Morris’s death in 1896.

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In the 1860s the house was out in the country and it was here that Morris, his wife and their closest friends including Webb, Edward and Georgiana Burne-Jones, Charles Faulkner and his sisters, Rossetti and his wife Lizzie Siddal, gathered on many weekends and contributed to Morris’s ambitious decorative schemes for the interior of the house. Many of the paintings that covered the walls and ceilings were completed by his array of artistic friends. They filled the house with a rich palette of colour – in both geometric designs and figurative paintings. In the five short years that Morris actually lived in the Red House the place was a centre of social and artistic activity. Morris decided to sell the Red House in 1865 due to emotional, health and financial reasons. Morris moved his family to a flat in Queen Square, Bloomsbury taking only those pieces of furniture which could be easily moved and those which proved too difficult were left in the Red House, three pieces which are still present today. Morris tried to sell the property. He was unable to find a buyer for Red House, and so began renting it for £95 per annum in 1866 and then eventually sold the property in 1879. It was then sold a number of times and remained a private residence for various individuals from 1866 to 2002, the architecture of Red House has not been significantly altered, but many of the original wall paintings had been covered with paint or modern reproductions of wallpaper designs that Morris produced after he left the Red House. Only minor alterations were made to the interior design of the house. In 1950 it was designated a Grade I listed building by English Heritage. From 1952 to 1999 the architect Edward Hollamby lived at the House, initiating attempts at preservation and establishing the Friends of Red House charity in 1998. It was the Hollamby children that sold the Red House to the National Trust in 2003.

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The Red House's gardens today reflect the many different owners that have lived at Red House but the National Trust is now working to return the garden's to Morris' original design. Issue 27 - September 2018


The Red House is entered through a large wooden door that leads to a rectangular hallway. The painted front door is undeniably medieval in character; the stained glass window panes are not original. The original dark red tiles cover the floor, the Persian carpet is similar to what originally adorned the hallway. Issue 27 - September 2018


A blue settle Morris decorated with illustrations from the medieval German epic Niebelungenlied stands majestically in the hallway.

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Opening from the left of the entrance hall there is a passage lined along one wall with windows that are among the earliest examples of Morris’s stained glass. The figure in the stained glass window to the left depicts “Love” and the figure in the window on the far right depicts “Hate”. Issue 27 - September 2018


The dining room contains the original hutch designed by Philip

The exposed red-brick fireplace, its bricks laid in

Webb. It is lacquered in a striking ‘dragon’s blood’ red and

herringbone pattern, was later to be echoed in

topped by a decidedly Gothic-looking three-gabled canopy.

numerous Arts and Crafts interiors, right through

The walls in the dining room are covered in a green Morris wall

to the 1930s. The fireplace is decorated with the

paper, but this is not an original feature as no wall paper was

blue-and-white Delft tiles that Morris loved.

used on the Red House interior – walls were either covered

There are no mantelpieces in the Red House.

with paintings,

embroideries or tapestries. Issue 27 - September 2018


Morris took his painted settle from the Red Lion Square flat and had it transported in pieces to the Red House, where it was reassembled in the centre of the south wall of the drawing room. The ladder at the side and the structure at the top of the settle were added by Webb, creating a little minstrels’ gallery and, at the same time, giving access to the loft door. (A minstrels' gallery is a form of balcony, often inside the great hall of a castle or manor house, and used to allow musicians, originally minstrels, to perform.) The upper section of the drawing room wall near the settle was painted with floral designs by Burne-Jones. Also the murals on either side of the settle were painted by Burne-Jones.

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Above are close-up of Burne-Jones’s murals that are found next to Morris’s settle in the drawing room. The murals depict wedding scenes from the medieval romance of Sir Degrevaunt. The royal bride and groom are recognisably William and Jane Morris, and the surprising presence of a wombat under a chair, in the third close-up, suggests that Rossetti – who owned a pet wombat, and even wrote a wombat poem – might have had a hand in the work. Below the murals are daisy designs with the following motto: ‘Qui bien aime, tard oublie’. The motto translates as ‘who

loves best forgets slowly’. Issue 27 - September 2018


Issue 27 - September 2018


In what was Morris’s studio is a display of some of his wallpaper designs and plates from which the wallpapers were printed. On the left is a plate showing a daisy design – note the large gaps in the plate do not print as you can see from the printed wallpaper sample on the right. The gaps were necessary as when loaded with paint the metal expanded and the gaps ‘disappeared’.

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The bedroom wall painting shown in the photo to the above had been hidden for years behind a fitted wardrobe and covered with wallpaper and until just recently only two indistinct figures were visible. Conservation has uncovered






painting, by


metres. The painting depicts five Biblical characters: the figures of Adam and Eve (with the serpent), Noah (holding a miniature ark), Rachel and Jacob (with a ladder) and is designed to resemble a hanging tapestry with the illusion of folds. Experts believe William Morris and friends, all of whom

were important Pre-Raphaelite artists, painted the different figures.

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Jane found indigo serge in a shop and embroidered on it a daisy cluster pattern designed by Morris. This tapestry originally covered one of the walls in their bedroom. The wall hangings were removed to Burne-Jones’ home and later pieces of the embroidery were found lining a dog box at Kelmscot Manor which became the

final home of Morris. A Morris support group in the USA embroidered a new daisy pattern wall hanging and donated it to the Red House – unfortunately it was not large enough to cover the wall.

All Rights Reserved on article and photographs Lorraine Fildes Š 2018. Issue 27 - September 2018



Issue 27 - September 2018


JACKIE GORRING Printmaker, mixed media, sculptor. Born 1953 in Maitland, New South Wales, Australia. Currently Gorring lives in Victoria. Her work is held in collections including: the National Gallery of Australia, Canberra, ACT. Parliament House, Canberra, ACT. The Museum and Art Gallery, Canberra, ACT, and the Print Council of Australia, Melbourne, Victoria.

“I make relief prints sculpture and drawings . I focus on the ordinary stuff of life and remain open to experiences which influence and inform my work. On my walks I observe the rituals and habits of people and notice there homes, yards and pets and farm animals, all of which translate onto paper. I like to use humour and text . Past works are of my travels in Asia and

artist residencies in Nepal and India. These cultures are so crowded so overwhelming that I focus on the simple things such as signage, little offerings, food.” - Jackie Gorring.

Page 134: Laurence Wanders Around, relief print on fabric and paper H76 x W50cm. Jackie Gorring © 2018.

Issue 27 - September 2018


Toaster of Vindication, relief print on paper H70 x W110 cm. Jackie Gorring Š 2018. Issue 27 - September 2018


JACKIE GORRING - INTERVIEW Where did you grow up ? I grew up In Maitland NSW a smallish country town in the Hunter Valley. I left school at the end of year 11 and did one year of general nursing at Newcastle Hospital then left to go to Newcastle art School. What attracted you to the world of Art? No idea, just born with the obsessive drive to make stuff. When did your artistic passion begin? Probably began with my earliest memory of using plasticine aged four. Have you always wanted to be an artist? Well I don’t remember ever thinking that I wanted to be an “artist”. I just knew that I needed to make stuff from a very early age. And I never use the “artist” to

describe myself . If asked I say that I “make things.”

Kevin Quietens Chloe, relief print on paper H76 x W56 cm

© Jackie Gorring © 2018. Issue 27 - September 2018


Describe your work? My prints are in relief on paper or fabric or canvas. I make very small editions and I work very fast so as to get my ideas out freshly with mostly all the planning in my head. This goes for my sculpture as well. I recycle materials as well as construction pieces with found objects or combination of carved wood/plaster. My subjects are usually the human form interacting with their animals or going about their daily rituals or observations of strange yards, signage text of overheard words. The figures in my work are usually my neighbours –from a small rural

village, full of misfits and odd balls and broken souls. I include myself in this way as well, (well I am not broken ) I fit right in and I love the community the strange and Lovely Country Women, relief print on paper, H76 x W50 cm.

curious and the very real honesty.

Jackie Gorring Š 2018. Issue 27 - September 2018


What is the philosophy behind your work? I can only think to write some quotes here “Art enables us to find ourselves and lose ourselves”. - Thomas Merton. “The arts are not the way to make a living. They are a very human way of

making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow.” - Kurt Vonnegut “Art washes away from the soul the dust of everyday life” - Pablo Picasso “Creativity takes courage.” - Matisse.

Do you have a set method / routine of working? Sort of have a routine which consists of random bursts of creative energy –this is when I don’t have a specific deadline for an exhibition. But when I have an exhibition deadline then I will work most days in

studio, usually mornings

until 1pm then perhaps again after a big break. Really there is no rigidity or much structure as I prefer to be very loose and free with it. It also depends greatly on what is happening with loved ones and any dramas impact greatly on me which means I find it impossible to make things until the crisis is over!

Issue 27 - September 2018


Sick and Tired of Poachers, relief print on paper, H70 x W110cm. Jackie Gorring Š 20118. Issue 27 - September 2018


Why do you choose this material / medium to work with? I use Styrofoam as a printing block for its spontaneity, immediacy, randomness, texture ease of cutting, and it is free. Also very portable and often is already scratched and marked when I find it. For sculpture I love the freedom found objects bring so many possibilities and I love the challenge of fitting

bits together. I am interested in recycling objects as well. I was given an enormous barrel of cream Bermuda socks. Hence the pelicans the llamas and rabbits. I hate waste. I used to carve wood a lot, but not so much now as my wrists hurt.

How important is drawing as an element to your artwork? Not so important to me. I prefer the surprise element. I usually roughly draw onto the Styrofoam but that’s it. I don’t want the finished work to look contrived. As for sculpture I may draw the donkey or the horse in the paddock nearby and use it as reference but mainly I draw in my head. Mainly observe my neighbours bodies in various working positions. If I get stuck I will ask a family member to model for a minute.

What inspires your work / creations? Colour, texture, everything really. Issue 27 - September 2018


Lone Hand Honesty Box Relief print on paper H70 x W110 cm. Jackie Gorring Š 2018.

Issue 27 - September 2018


What have been the major influences on your work? My Mum and Dad -creative skills and work ethics they gave me, Artist friends, Artists family, museums galleries everything hard to whittle it down.

What are some of your favourite artworks and artists? Alexander Caldor , Jon Pylypchuk , Judith Scott, all the people at Australian Art Project in Melbourne, all the people at The Museum Of Everything , Possum trot – Calvin Black, William Kentridge, Also German expressionist Sculptors, Naïve Art, African/Indian /Sth East Asian Art and Architecture. And many many more.

Any particular style or period that appeals? Yes, namely raw, naïve or unintentional art. Art that is real, fresh and art that doesn’t follow a trend, art that is primitive, gutsy and fearless, bold ,moving and doesn’t comply, has no regard for conformity or rules, that’s what I love.

What are the challenges in becoming an exhibiting artist? I would say finding the right gallery. This means for me, a coming together of all the elements – space, lighting ,proximity, gallery director, costs of rental, opening, commission, travelling the work to and from a

gallery , advertising. Issue 27 - September 2018


Henders Rabbit, felt,beads,metal,plastic, H25 x W15cm.

Daily llama 1, brick, socks, metal, pipe cleaners H40 x W45 cm.

Jackie Gorring Š 2018.

Jackie Gorring Š 2018. Issue 27 - September 2018


Name your greatest achievement, exhibitions? Greatest exhibition- being invited to have a solo show at Swan Hill Regional Gallery. Also being in collection at Parliament House and Canberra Museum and Gallery and many other collections .Represented In “Australian Printmaking in the 90,s” By DR Sasha Grishin is also a highlight. Seeing my kids make their own art.

What are you working on at present? I am making prints for a family show in Cooma NSW. Also working towards a 4 person show travelling from Victoria to South Australia and then Nepal in 2019. Also thinking of sculptures for a small space in 2019 at Tacit Gallery in Melbourne.

What do you hope viewers of your art works will feel and take with them? I make the work totally for myself and hope that the viewer will be moved , made to smile or laugh , feel the joy, strength and the exhilaration I have while I am making something. I want my pieces to touch someone deeply to change some ones’ life for the better to help even in small ways.

Your future aspirations with your art?

Strive to keep it simple, keep it fresh and gutsy and honest and real and strong. Issue 27 - September 2018


Smythe Corner Donkey, fabric found things, H45 x W12 cm

Henders Hill , metal, flashing, felt, H25 x W12 cm.

Jackie Gorring © 2018.

Jackie Gorring © 2018. Issue 27 - September 2018


Where do you see your art practice in five years time?

Well I hope to still have good health in 5 years- therefore more exploring evolving and experimenting I guess and more shows, anywhere ,everywhere.

Forthcoming exhibitions? A son, daughter -in - law and daughter exhibition in Cooma NSW in September –October 2018 called E=M J cubed ie Exhibition = Minna, Jesse, Jo, Jackie.

Wilcannia Scoop, socks, steel, fabric, thread, H500 x W500 Jackie Gorring © 2018.

All Rights Reserved on article and photographs Jackie Gorring © 2018.

Issue 27 - September 2018



Issue 27 - September 2018


Alexandra Wade - Illustrator. After graduating from Sydney’s City Art Institute, I studied design at Billy Blue College for a year which fostered my love of Graphic Design which led to different jobs for ad agencies and then on to book illustration.

Drawing is an essential part of my life. Being able to draw from an early age has always allowed me to express myself and record my ideas and surroundings. When I discovered chalk pastels at art school,

they opened up a whole new world of possibilities and I found I was freer to express myself with this medium. Water Dragon, acrylic on canvas, H10 x W15 cm. Alexandra Wade © 2018. Page 148: Dog in Yellow, acrylic on canvas., - Alexandra Wade © 2018.

Issue 27 - September 2018


On our living room wall when I was growing up was a lithograph by bird illustrator Neville Cayley, and I believe that his work inspired my love of birds and the natural world. I started painting birds when I was fifteen and today I not only paint birds but rescue them also. I work in gouache, chalk pastel and acrylics, depending on my mood and the subject matter. I believe that the arts should be for everyone, and I love to teach all aspects of drawing and painting techniques with people of all ages. I write my own lesson plans based on the experiences and knowledge I have acquired throughout my lifetime, teaching not only art techniques but observation skills. I currently run adult art classes once a week at Bandon Grove School of Arts. Growing up near the coast, I love the smells, sounds and colours of the ocean. Now I live surrounded by bushland, trees and exotic animals, but I always make the time to visit the seagulls by the sea.

Being part of Dungog by Design has opened up the opportunities for me to exhibit my work and one day I hope to have a studio at home where I can explore different mediums and new ideas. I feel as though I am only just getting started! - Alexandra Wade Š 2018.

Issue 27 - September 2018


Kookaburra Gouache on paper Alexandra Wade © 2018.

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Nude, pastel on paper, - Alexandra Wade Š 2018. Issue 27 - September 2018


Bottoms, chalk pastel, - Alexandra Wade Š 2018. Issue 27 - September 2018


Pet portrait. Chalk pastel on paper. Alexandra Wade Š 2018.

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Nude Chalk pastel on paper. Alexandra Wade Š 2018.

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Belly Dancer, pastel sketch on paper, - Alexandra Wade Š 2018.

Black and white illustration for children's book, - Alexandra Wade Š 2018. Issue 27 - September 2018


Alexandra Wade with Ocean Landscape, acrylic on canvas. All Rights Reserved on article and photographs - Alexandra Wade © 2018. Issue 27 - September 2018



Dungog by Design presents

what’s my scene?

h A t’ S


Y S C E n E


Feminine Landscape, Acrylic on canvas, H120 x W85 cm. Helene Leane © 2018. Issue 27 - September 2018


Dungog by Design presents what’s my scene? SATURDAY 29TH SEPTEMBER at 2PM You are invited to join them for their annual exhibition and opening at the Dungog by Design gallery,

224 Dowling Street, Dungog, NSW. Brad Franks, Director of Muswellbrook Regional Arts Centre is guest speaker. As a partner activity at the 2018 Dungog Festival the wonderfully talented members of Dungog Artisans Inc. will express themselves via this year’s theme what’s my scene? - producing extraordinary works in: CERAMIC – PAINTING – SCULPTURE – METALWORK – FELTING – FASHION – WEAVING Please drop in and meet some of our artisans and their work while enjoying the energetic atmosphere and

refreshments provided. Inspiring works by Helene Leane, Natalie Duncan, Eric & Robyn Werkhoven, Judy Henry and Gaye Shield Ira Morgan and many more artisans from the collective will have work in the exhibition. The exhibition is free and will be open for one month in conjunction with their normal gallery schedule. Issue 27 - September 2018


w h




















My Space, Gouache on paper, H68 x W54 cm. - Gaye Shield © 2018. Issue 27 - September 2018





Habitat, watercolour, H68 x W54 cm. - Ira Morgan Š 2018. Issue 27 - September 2018



m Ceramic vessels by Natalie Duncan

Y S C E n E

? Issue 27 - September 2018


JUDY HENRY Aerial Ants, Mixed Media on 100% cotton paper, H44 x W88 cm. - Judy Henry © 2018.

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Pathways, hand made felt with wool and silk, framed piece is 26 x 26 x 4cm. Pamela Priday © 2018.

Riverbed Musings, felt, H52 x W 52 cm. Pamela Priday © 2018.

Issue 27 - September 2018


w h A t’

Dungog by Design presents


what’s my scene?




at 2PM


224 Dowling Street, Dungog, NSW.

C E n

Landlines - 20 Images, (detail) mixed media, Robyn Werkhoven © 2018.


? Issue 27 - September 2018






S M I T Issue 27 - September 2018



Ian Kingsford-Smith’s latest exhibition Votives at the ARO Gallery, Sydney, consists of painted offerings in

the form of bowls, plates, arms, legs, statuettes, heads, etc that may be offered with a prayer to a saint, sacred being or god.

The votives are inscribed with narrative paintings that represent imagined life journey’s. 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 worship, 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.

The gallery installation of votive objects are surrounded on the walls by thirteen wood engravings that allude to the theme of sacred offerings and the dilemma of viewers in contemplating their own spiritual

beliefs Issue 27 - September 2018


The tradition of votive objects were a ubiquitous part of medieval pilgrimage. As part of the 'economy of salvation,' votives represented a gift-exchange with the sacred. The essence of the vow is a transaction, "Help me and I will do this for you." Almost always the vow was made to a specific saint and a specific place where their relics resided, and recorded medieval miracles made it clear that the saint's help was contingent on a vow. In more modern times a candle is lit, a prayer is made and the smoke takes that prayer up to heaven. - Ian Kingsford-Smith Š 2018.

The exhibition runs from Tuesday 4th to Sunday 16th September at the ARO Gallery, 51 William Street, Darlinghurst, Sydney NSW. Gallery hours: Tuesday to Friday 12.00 to 6.30pm, Saturday and Sunday 12.00 to 5.00pm.

Issue 27 - September 2018


Issue 27 - September 2018


The Realism of War: Works of Humanity by George Gittoes 6 September to 18 November 2018

At Museum of the Riverina’s Historic Council Chambers, Wagga Wagga NSW. Issue 27 - September 2018



MITCHELL FINE ART Fortitude Valley Brisbane QLD

Caryatid, Jean & Modigliani, (artist & model), oil on linen, H122 x W92 cm.


- George Gittoes © 2018.

Issue 27 - September 2018




MICHAEL GARTH Issue 27 - September 2018


The inaugural Sculpture on the Farm exhibition will be held in the gardens of “Fosterton” (824 Fosterton Road)


a picturesque cattle

property on the outskirts of Dungog in the Hunter Valley, NSW. Set aside the 2018 October Long Weekend - Saturday 29 and

Sunday 30 September 9am – 5pm Monday 1 October 9am – 12 noon for this exciting new sculpture exhibition of both indoor and

outdoor works, large and

small. Sculpture on the Farm will be held in conjunction with the renowned Dungog Festival, which celebrates the arts, local food and rural life.

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



Philippa Graham by email on Issue 27 - September 2018




Issue 27 - September 2018




Issue 27 - September 2018


Studio La Primitive Eric & Robyn Werkhoven

Click on cover to view the issue.

Issue 27 - September 2018


Click on cover to view the issue.

Issue 27 - September 2018


Click on cover to view the issue.

Issue 27 - September 2018


STUDIO LA PRIMITIVE JEWELLERY Dungog By Design 224 Dowling St, Dungog NSW.

Issue 27 - September 2018



Art exhibition featuring painting and photography

Jack Barnes, Ellie Kaufmann & Lauren Horwood. 31 Aug to 16 Sep 2018

ART SYSTEMS WICKHAM Issue 27 - September 2018


August 31 - September 16

“Natural Belonging” Artist: Patricia Luck

September 21 - October 7 “Celebrate” / “Let us Eat Cake” Artists: Newcastle Studio Potters Inc celebrating 50 Years 12 - 14 October “The Environment with Elegance” Artists: Peter Austin & Helen Austin 19 October – 4 November “Harmony” Artists: Anne Gazzard & Erica Sayers

57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm Issue 27 - September 2018



Rieteka Geurisen, Em Warren, Lydia Miller, Ros Elkin, Sharon Taylor, Barbara Nanshe, Jane Collins, Kayo Yokoyama

The Lady in the Boat

Dino Consalvo SHEFFER GALLERY WED 29 AUG - SAT 8 SEP 2018 Sheffer Gallery , 38 Lander Street, Darlington, SYDNEY.

Gallery 139 Beaumont St. Hamilton, NSW Issue 27 - September 2018



- curated by Clare Weeks

THURS 20 SEP - SUN 7 OCT 2018 An exhibition of female photographers exploring and representing the female body from a female perspective. Exhibiting artists: Peta Lumley, Liz O’Brien, Justine Cogan, Lucy Maher, Jade Miller, Kelly Barlin, Chloe Hey, Maisie Neale. Lucy Maher

GALLERY 139 ARTISTS at ARO Gallery, Sydney. WED 19 SEP - SUN 30 SEP 2018 Dino Consalvo, John Heaney, Peter Lankas, Helene Leane, Paul Maher, Lydia Miller, Olivia Parsonage. Helene Leane, River path 2018

ARO Gallery, 51 William Street, Darlinghurst, SYDNEY NSW.

unique gouache monotype 50 x 95cm

Gallery 139 Beaumont St. Hamilton, NSW Issue 27 - September 2018



PETER LANKAS Oct 11 – Oct 21, 2018 Official opening: Sat 13 October

2 - 4pm Winter Swim 2018 oil on board 40 x 50cm, Peter Lankas © 2018.

Gallery 139 Beaumont St. Hamilton, NSW Issue 27 - September 2018



ANZAC WALK by PAUL MAHER Oct 25 – Nov 4, 2018 Official opening: Sat 27 October

2 - 4pm Anzac Walk - lowdown 2018 oil on canvas 85 x 125 cm

Gallery 139 Beaumont St. Hamilton, NSW Issue 27 - September 2018


Place – Stitched Masterpieces Cathy Jack Coupland 5 to 30 September 2018 Experimentation with colour is a feature of a new exhibition of textile art by Cathy Jack Coupland, on show at Newcastle’s Timeless Textiles Gallery in September.

In the Place – Stitched Masterpieces exhibition Coupland tries to capture her emotional response to the world around her. The resulting works are a vibrant and complex tribute to Sydney suburb of Breakfast Point 90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm Sun 10 am – 2pm. Issue 27 - September 2018


3 - 28 OCTOBER 2018 90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm Sun 10 am – 2pm. Issue 27 - September 2018


JANE FRANCES REILLY Issue 27 - September 2018


DUNGOG CONTEMPORARY GALLERY During the Dungog Festival the Dungog Contemporary Gallery features Jane Frances Reilly - Object and jewellery artist. Jane is a Melbourne based artist who works with familiar domestic objects making pieces that speak of her experiences in life. Jane Frances Reilly’s new body of work takes on a combination of sculptural and painterly techniques while still examining the themes that underpin her practice. Many of these new pieces can be hung like paintings or displayed freestanding as they function aesthetically from both directions. She applies similar techniques to her fine art jewellery and small scale modular sculptures in she works and experiments

with scale in this direction especially created for her solo exhibition at Dungog Contemporary which opens during the Dungog Festival 4.00 pm 29th September and runs until the 18th November. Jo Katsiaris a Sydney based artist working across the mediums of painting, drawing & installation. Through her art practice, she explores a particular interest in issues of transience and temporality, in partic-

ular the human relationship to land and our environment. Jo's solo show opens at Dungog Contemporary 4 pm on the 29th September during Dungog Festival. Her exhibition runs in the gallery until the 18th November. Further information at Issue 27 - September 2018


Jake Clark 23 AUG - 23 SEPT Jake Clark is a Melbourne based graffiti artist who uses mixed media to subversively depict iconic pop culture characters and landmark destinations. Centring around the themes of money, power and capitalism, Jake had his first

solo exhibition in 2016 in Richmond, Victoria. He has subsequently shown in London, New York and Los Angeles.

Left: New England Lobsters, spray paint, acrylic and resin, 100 x 100 cm.

- Jake Clark Š 2018

Dungog Contemporary 146 -150 Dowling Street, Dungog NSW Issue 27 - September 2018


Madeleine Cruise Theatre Of Objects 23 AUG - 23 SEPT Madeleine Cruise's new exhibition, “Theatre Of Objects” is the latest body of work from this emerging Newcastle artist. Through a series of still life paintings





between domestic tasks and the trials and tribulations of life. Like protagonists on a stage, familial forms gather in painterly debate so as to enact conundrums and seek resolution. “Theatre Of Objects” is a wonderfully refreshing collection of works from this artist with a strong reputation. Left: “Things We Hold Dear” Acrylic on canvas, 120 x 110 cm

- Madeleine Cruise © 2018.

Dungog Contemporary 146 -150 Dowling Street, Dungog NSW Issue 27 - September 2018












Pamela Priday



Textiles at













Dungog by Design 224 Dowling Street, Dungog NSW.

Issue 27 - September 2018


DUNGOG BY DESIGN handmade & inspiring

224 Dowling St Dungog NSW Issue 27 - September 2018


Issue 27 - September 2018


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

Whether in the ancient past or in the present the rhinos are always represented as huge, powerful and solitary animals. The book includes paintings, drawings, woodcuts, etchings, rock carvings and sculptures of the rhino all depicting the power of the animal. These images of the rhino range from early civilisations such as in China, Roman Empire, Indus civilisation in Pakistan/ India area and from Southern Africa down to current day images of paintings and sculptures produced by modern day

artists. The text indicates where you may find these wonderful images as well as the websites of the artists concerned, the caves where the rhino images have been found and the places where posters use the rhino image. There are very few of these magnificent wild animals left in the world, so unless they are protected and managed, artistic images will soon be the only viewing option.

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

Page : White rhino crash at Whipsnade Zoo, England. Image: Robert Fildes Š 2017. Issue 27 - September 2018






























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