ARTS ZINE SEPTEMBER 2022 by Robyn Werkhoven

arts zine issue 48 September 2022

studio la primitive

S E I GA R M A M I seigar.wordpress.com

H A H O A R T CHRIS DUFFY art/https://www.hahoart.com/abouthaho

G R A H A M W I L S O N http://www.carvedgreenman.com Bust of Anne Von Bertouch Wollombi Sandstone. 800mm x 600mm Graham Wilson.

P U R E F O R M Japanese Sculptural Ceramics page 84 LORRAINE FILDES

MICHELL E ORBDIE PAGE 118 Harriet the Plucky Oil on plywood 750 x Michelle600cm.Brodie 2022.

STUDIO LA PRIMITIVE MADMOMENTS ERIC & ROBYN WERKHOVEN MONIQUE WERKHOVEN CANCELLED TILL 2023 ART SYSTEMS WICKHAM GALLERY www.studiolaprimitive.net

slp studio la primitive CONTRIBUTORS Graham Wilson Chris Duffy George Gittoes Michelle Brodie Lorraine Fildes BradSEIGAREvans Reese North Peter J JenniferBrownRobertson Michael Collins Eric Werkhoven Robyn Werkhoven Helene ArtBarbaraLeaneNansheSystemsWickham Gallery Timeless Textiles Newcastle Potters Gallery Dungog by Design Studio La Primitive HC R UDSIF F Y SELF PORTRAIT OF SORTS Acrylic board Installation view. Chris Duffy.

INDEX Editorial Robyn Werkhoven 10 Studio La Primitive …… E & R Werkhoven 11 Feature Artist ……….. Graham Wilson 12 - 37 Poetry ……………….. Brad Evans 38 41 Feature Artist ………… Chris Duffy 42 - 67 Poetry ………………… Peter J Brown 68 69 Feature Article ……….. George Gittoes 70 81 Poetry ………………… Eric Werkhoven 82 83 Feature Article …………… Lorraine Fildes 84 111 Poetry Jennifer Robertson 112 117 Featured Artist …………. Michelle Brodie 118 139 Poetry Reese North 140 143 Feature Artist …………… SEIGAR 144 - 157 Poetry Michael Collins 158 159 ART NEWS………………. 160 - 183 FRONT COVER : Mimbi Caves Golden Light, Hand Carved woodblock. Oil and acrylic on Birch. 1540 x 400. Graham Wilson. Wild Africa, H90 x W60cm. Acrylic on canvas E&R Werkhoven 2019.

for NOVEMBER issue

Arts Zine presents two new poets Jennifer Robertson and Michael Collins. Don’t miss out reading new works by resident poets Brad Evans, Reese North, Peter J Brown, and Eric Werkhoven.

15th

Talented Newcastle based artist and stone mason Graham Wilson presents his vibrant, vast landscape paintings and wood carvings.

The publisher will not accept responsibility or any liability for the correctness of information or opinions expressed in the publication. Copyright © 2021 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.

EDITORIAL Greetings to ARTS ZINE readers.

Chris Duffy aka Ha Ho Art, Australian Pop and Street Art artist writes about his art and life. ”He is both passionate & excited to be a part of the "new" art movement Street Art!”

Deadline

Lorraine Fildes, our resident travel photographer and writer features Pure Form: Japanese Sculptural Ceramics, A Revolution in Clay Art Gallery of South Australia, Adelaide 2022. International Spanish artist and photographer SEIGAR includes a series of collages MAMI, a tribute to his mother.

2022. Email:

Internationally renowned artist and film maker George Gittoes includes his latest dispatch and photographs direct from Peshawar, Pakistan, as he journeys to Afghanistan.

Michelle Brodie has been a professional artist and a Fine Art teacher at Newcastle Art School (TAFE) since 2000. Brodie presents a collection of colourful and lively paintings.

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September Arts Zine features a collection of animated and accomplished Australian and international contemporary artists, photographers and writers.

ART NEWS and information on forthcoming art exhibitions.

Submissions welcomed, we would love to have your words and art works in future editions in 2022. for articles OCTOBER 49 Regardswerkhovenr@bigpond.com your editor Robyn Werkhoven

L A P R I M I T I V E www.studiolaprimitive.net S T U D I O Detail from FUN AND FOLLY Fabric paint on cotton E&R Werkhoven 2020. Issue 48 September 2022 11

GRAHAM WILSON Issue 48 September 2022 12

GRAHAM WILSON

Page 12 : Sunrise Warrumbungles, Hand Carved woodblock. Oil and acrylic on Birch. 1540 x 610. Graham Wilson. Right : The Deafening Silence, Hand Carved woodblock. Oil and acrylic on Birch. 900 x 1540. Graham Wilson. 2022

Artist Graham Wilson was born in Gunnedah, New South Wales. He presently lives and works in the city of Newcastle, NSW. He has studied Armidale TAFE 1984 - 86, Hunter Street TAFE 1987 ( Art Certificate), The University of Newcastle 1990 - 92 ( Bachelor of Arts Visual Art), and 1993 (Post Graduate Diploma )... all majoring in GrahamPrintmaking.then studied Stonemasonry at Miller TAFE 1997 - 99. He has participated in numerous exhibitions within Australia and overseas. When he is not carving stone Graham can be found painting, drawing, sculpting, acting, writing plays, designing stage sets and posters, singing, pointing at clouds, daydreaming, inventing things and teaching Graphic Design and Art.

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Calling My Bluff Hand Carved woodblock. Oil and acrylic on Birch. 900 x IssueGraham1540Wilson.48September 2022 14

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I don't know if I could say that I wanted to be an artist per se. I was just making art with everyone else at primary school. I remember a big turning point being my first day at High School. Like everyone else, I was nervous and excited. We were assigned our classes and then we stood together in our very first Assembly. We went through all the usual formalities, and just when I thought the Assembly was about to end, the Deputy Principal (Mr Willoughby) said that he wanted to make one final announcement. He said... "Now, where is Graham Wilson of 7B?" I shook in my boots. I was certain that there had been a mistake and I was going to be asked to leave High School and return to Primary School.Unbeknownst to me my 5th Class teacher (Miss Campbell) had entered a drawing, I had done for her, into an art prize. I had drawn a picture, using wax crayons, of a black kitten against a green lawn. Just when I was expecting to be escorted from the school I heard Mr Willoughby "Grahamsay...

GRAHAM WILSON - INTERVIEW

I firmly believe that all humans are artists. It is one of the first subjects we do at school. We all start by painting, drawing, sculpting, singing, dancing, storytelling, and eventually writing. It is only later that the school systems begins to direct us toward specific areas, this is partly because a child may show a particular propensity, but also because schools still follow an echo of the format set in the industrial revolution. We are essentially being trained for labour within industry. I would say that it is hard to say when my passion began, but perhaps the question could be met with another question. I could say to someone "When did your artistic passion wane?" Have you always wanted to be an artist?

When did your artistic passion begin?

Wilson. Your teacher, Miss Campbell, from Gunnedah South Primary School, entered your drawing in an art competition and your drawing has won 1st Prize. Graham Wilson, please come up to the front to collect your Prize " (It was an art book). I was in shock. I walked up to the front and Mr Willoughby said... "Everyone, Please give a big round of applause to Graham Wilson, a talented young artist!" I remember distinctly thinking... 'Gee I must be an artist' and so I have continued on since then.

Grotesque Nidaros Oil on Board 203 x Graham254Wilson. Issue 48 September 2022 16

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My work is generally about the natural and built environment. My woodcuts are currently about the natural landscape, though I can also include buildings and sometimes people and animals. If I include people, or animals, it tends to be part of a narrative or an allegorical message. My work can be taken as representational, though it is always an abstraction or my own artistic interpretation of a natural space. The landscapes are a way of showcasing the natural beauty around us, but they are also meant to initiate feelings and discussions of the fragility of nature and the absence of indigenous people. Many of my works are from areas that are now National Parks. National parks are intended to preserve landscapes, but they are generally places where human habitation has been limited or removed altogether. I hope that people think about presence and absence.

Describe your work?

It is hard to describe my work because I use a range of media. I have a variety of subjects that I focus on over time. At present I am producing large scale woodcuts and oil paintings. I also produce computer illustrations and I am trained as a stonemason so I occasionally carve stone.

My most recent work has been, and continues to be, large scale landscape pieces.

What is the philosophy behind your work?

Do you have a set method / routine of working?

I trained at TAFE and University where I majored in Printmaking. It was whilst I was at Uni that I began to produce large scale woodcuts. Initially I did print them. In my final year of my Bachelor degree I began a multi panel series about Newcastle and the Green Man. The images were carved in a medieval style. I was intending to print them, but half way through producing the work, I decided that I liked the look of the wood more than the print so I have been exhibiting the woodblocks themselves ever since then.

I spend time out in the landscape. I will focus on certain areas. I document my experience through sketches, photographs, and memory. When I feel that I have collected enough source material I will then take the time to process what I have seen and then select certain views. I concentrate on trying to reproduce what I have felt or seen rather than a strict representation. I use photography as a tool, but the majority of the image comes from my memory. Photography can be limiting when it comes to capturing a sense of scale and is often highly inaccurate when capturing the colour, that is why I prefer to rely on my memory. Depending on the type of image I am producing, I usually begin with broad areas of colour and then I work by adding details and refining colours, shadows, and highlights as I go along.

I will often sketch out ideas before I begin a piece. I sometimes do drawings in the field. I use photographs as a starting point with my large scale works, but I still rely on drawing to add in the details before I commence carving or painting. If I am working with stone I will do preliminary drawings, scale models, and I will also draw directly onto the stone. What inspires your work / creations?

Why do you choose this material / medium to work with?

I prefer to work with birch plywood for my woodcuts. It is strong, has a beautiful light colour, and has less flaws then other plywoods. When I am producing oil paintings I prefer to paint on board rather than canvas. I like the flat resistance. When I produce stone carving I usually work with fine grain sandstone, though I also like to work with slate and limestone. How important is drawing as an element to your artwork?

I would say that nature and the built environment are my two biggest inspirations. Sometimes it is the beauty of nature by itself and at other times it is the juxtaposition of the built environment in relation to nature. I am also fascinated with the human condition and my work often has figurative elements, though these can often lean into the more surreal interpretation. What have been the major influences on your work?

I am heavily influenced by the history of traditional printmaking, in particular the various methods of producing detailed illustrations using wood carving or engraving techniques. The Gothic period had a big impact on my early style and this led to me training as a stone mason. The carving of stone can be a complimentary process to the 2D world of wood carving. What are some of your favourite artworks and artists?

I have always been inspired by the elaborate woodcuts of Albrecht Durer, and the wood engravings of Gustave Dore. I also took early inspiration from the powerful woodcuts used in the wordless novels by the Flemish expressionist Frans Masereel. I love the moody and atmospheric works of Clarice Beckett, and the native plants depicted in Margaret Preston’s work.

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Piece carved for Rose Window Nidaros Cathedral, Hand carved Norwegian Soapstone. GrahamIssueWilson.48 September 2022 19

Rose Window Nidaros Cathedral, Hand carved Norwegian Soapstone. The window has recently been re installed in the refurbished King’s Entrance in Nidaros Cathedral.

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Graham Wilson carved the pieces that are circled.

Graham Wilson’s stone is in the bottom left corner of this photo. This gives you a sense of scale.

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Being named the champion in the 2012 European Stone carving Festival in Trondheim. Going on to work in Trondheim on the incredible 900 year old cathedral of Nidaros. Having my woodcarving ‘Dove Lake Dawn’ in the final selection of the 2021 Wynne Prize at the Art Gallery of NSW. How has the COVID 19 Virus affected your art practice?

I always hope that my work helps people appreciate the beauty within a landscape and allows people to re-engage with their environment. I will often sneak in an allegorical element to my work that may initiate a philosophical discussion of the state of the environment.

The financial cost is probably the biggest challenge, quickly followed by trying to get a gallery to support you. It is also challenging to fill a space or to meet the requirements of an exhibition theme.

When I am doing my woodcuts, I take inspiration from the general style of wood block printing and wood engraving throughout the history of printmaking. In my stoner carving, i am inspired by the Gothic, Renaissance, Art Nouveau, and Art Deco periods. When I am doing computer graphics I am inspired by Mid Century poster and advertising graphics. What are the challenges in becoming an exhibiting artist?

Initially it did not change things too much. I have always had a focus on large scale woodcuts and images that try to capture the beauty of nature. The pandemic has meant that my focus has solely been on the Australian landscape and travelling within the restrictions at the time. I tend to work alone in my studio so the periods of lockdown and isolation have not been that different. What are you working on at present?

Any particular style or period that appeals?

I am continuing with a series of works inspired by my recent travel to the Kimberly region of WA. What do you hope viewers of your art works will feel and take with them?

Name your greatest achievement, exhibitions?

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Odin Hand carved Tasmanian Graham633DetailSandstoneofaheadstonex1230x110Wilson. Issue 48 September 2022 23

Your future aspirations with your art? I hope to continue making work that celebrates nature and draws people’s attention to the need to nurture and protect the natural world. Ultimately I would like to be in a position where I can continue to afford to travel and be able to focus on my art full time. Forthcoming exhibitions? I have been working towards a solo exhibition at the newly launched Straitjacket Art Space. The exhibition opens on the 10th of September this year and continues until the 25th of September. After that? I will just have to see where life leads me. - Graham Wilson © 2022.. http://www.carvedgreenman.com Right : On Earth as it is in Heaven, Hand Carved woodblock. Acrylic on Birch. 640 x 1200. Graham Wilson. Page 25 : Dove Lake Dawn, Wynne Finalist 2021 AGNSW. Hand Carved woodblock. Acrylic on Birch. 4800 x 1200. Graham Wilson. Issue 48 September 2022 24

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GRA H WMAI L OS N G A RELL Y Issue 48 September 2022 26

Page 26 : Uluru Looming Hand Carved woodblock. Oil and acrylic on Birch. 850 x Graham1200.Wilson. Left : Crater Bluff and Tonduran Spire seen from Lugh's Throne Hand Carved woodblock. Oil and acrylic on Birch. 1200 x IssueGraham1540Wilson.48September 2022 27

Detail - Dove Lake Dawn , Hand Carved woodblock. Acrylic on Birch. 4800 x 1200. Wynne Finalist 2021 AGNSW. Graham Wilson. Issue 48 September 2022 28

Detail - Dove Lake Dawn , Hand Carved woodblock. Acrylic on Birch. 4800 x 1200. Wynne Finalist 2021 AGNSW. Graham Wilson. Issue 48 September 2022 29

Ascending Mount Kaputar, Hand Carved woodblock. Acrylic on Birch 600 x 1540. Graham Wilson.Issue 48 September 2022 30

The Lost Country, Hand Carved woodblock. Oil and acrylic on Birch. 1540 x 610. Graham Wilson.Issue 48 September 2022 31

GRA H WMAI L OS N Issue 48 September 2022 32

Page 32 : Glimpsing Belougery Spire, Hand Carved woodblock. Acrylic on Birch. 600 x 900. Graham Wilson. Above : Balansere Bødalsbreen, Hand Carved woodblock. Acrylic on Birch. 1200 x 265. Graham Wilson.Issue48 September 2022 33

Chink of light Echidna Chasm, Oil and acrylic on Birch. 900 x 1540. Graham Wilson. Uluru Skylight, Hand Carved woodblock. Oil and acrylic on Birch. 640 x 1200. Graham Wilson. Issue 48 September 2022 34

Yawuru BroomeNagulagun Oil on Board 203 x Graham254Wilson. Issue 48 September 2022 35

Scenic drive Vector Drawing Adobe Illustrator Digital print 420 x Graham594WilsonIssue 48 September 2022 36

http://www.carvedgreenman.com All Rights Reserved on article and photographs Graham Wilson © 2022. Left : Parkway Deco Vector Drawing Adobe Illustrator Digital print 420 x Graham594Wilson. Issue 48 September 2022 37

‘

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There were so many tomatoes

Some of them ended up beneath the black, hot rubber tyres.’

‘

‘You

‘Do

‘

Uncle Harold was a tall, good-natured, elderly man and quite handsome with eyes that were brown and lively. His daughter was Aunty Jean.

RB A NDEVA S tomatoes we need to buy more tomatoes? It looks like we still have plenty.’ ’ll be surprised how quick I’ll go through them’, she said. I’ll order more tomatoes’. I said. You can never have too many tomatoes!’ She said. I should’ve taken you to Uncle Harold’s farm’, I said. ‘Where you would’ve seen 10 year old kids Driving tractors slowly and carefully, like old men.

Brad Evans (C 222.

Where are you now, Aunty Jean? you dead, like Uncle Harold? you in a nursing home with slop in the corner of your mouth?

I was shy around Jean, but my eyes were fixated on her.

Are

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Or are you still out there on your motorcycle thundering along roads only to be seen by boys with hungry eyes on wet, cold nights?

Are

Aunty Jean didn’t wear denim. But she did have seductive, sexy eyes Spoke in a husky voice and rode a motorcycle. She wore a dark, leather jacket.

RB A NDEVA S teenagers' love song

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Time passed & brought change, my mate left school - along with all the others towards destinations of colleges, work, or decay. I swapped town for a city, worked a job I hated & then returned after 4 months, brought back Failure as my companion. You came around soon after, looked for me under bedsheets and found yourself with a stranger old times had abandoned. -

I was in a daydream playground with a mate when you stood in front of me & pressed the stop button. Your first glance was not at my faceweighing me up with your puberty eyeballs, you made a cocky inspection up my shorts (and were being daring with a friend). My mate and I laughed at your pervy joke (My ice was wetting to the touch) and the four of us sat & talked & grew acquainted... We did everything together as first loves & shared our morsel secrets on a tray of growing pains. Floating on an innocence untempered by gossip, your confidence seemed worldly & supreme (I bore an old soul carrying very little). You woke me with your kinks opened an unfamiliar world and milked me between the soles of your feet...

for “Jack” W. H. "Jack" Barrett was a Fenman who could recite folk stories - having learned it while sneaking into the pub as a young lad to listen to the older men tell their stories.

and tall tales were told blown in by soggy breath & myth beyond the darkly deepening oceans of booze to the faraway rooms of the Ship Inn, distant & dimly-lit in the round minds of old men. In youth, you resembled an uncle carried me with your talesthose salty lines unhurried me into the past, with song of words your own life, like a worn fable, was not immune to tragedyburying a girl at 5 losing another to war… when last I saw an old, raw Fen road I saw into a wherepastanold Dutchman parted the waters like Moses but like Moses could only part them briefly. - Brad Evans © 2022.

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CHRIS DUFFY Issue 48 September 2022 42

He has exhibited extensively throughout his career in both solo & group shows, has won many awards plus admirers both here in Australia and internationally since embarking on his artistic journey. , Acrylic on canvas 376 x H187cm. WANT MORE Acrylic & metallic leaf canvas, H152 x W102

…

AUSTRALIAN POP &

Right : I

Page 42 : TO ME, TO YOU!

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Chris Duffy's art is bold & colourful! Paintings in Acrylic on canvas but also on board which are then 'cut out' using a jigsaw as an alternative display option. He is both passionate & excited to be a part of the "new" art movement Street Art! You will find several of his hand painted street art, murals & paste ups in & around Bendigo's CBD under the name Ha Ho Art as well as other regional Victorian towns & overseas.

STREET ARTIST

CHRIS DUFFY

Born 1966 in Melbourne Australia Chris Duffy aka Ha Ho Art migrated to London's East end in the UK where he remained & educated from 1970 onwards. Returning to Australia in 1988, presently living between Bendigo, Victoria and the seaside town of Hastings East Sussex UK where he has a studio.

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Page 44 : MEANWHILE

When did your artistic passion begin?

CHRIS DUFFY

- INTERVIEW

Have you always wanted to be an artist? Growing up in the East End of London I would often find myself ‘Wagging' school & 'Hanging out' in the national galleries & museums. This was my initial foray into art…I always remember being in absolute awe of the genius of the great masters on display, the sheer audacious, brilliance, size & in particular the smells! I had no clue how they were made or even what they meant but I knew they must’ve meant something important & I had to do that too. I was always sketching & drawing on whatever I could find as a child. Describe your work? I feel that I am an old school painter or picture maker. My work is hinged on the narrative with strong compositional methods and traditional techniques. I love the style of the pop art genre it is cool, vibrant and colourful but I do not consider myself a ‘Pop Artist’ as such, it is a brilliant visual language to convey narrative as something that is instantly recognizable and accessible’ but that all being said, I certainly do enjoy painting, Pop! … Acrylic on linen canvas, W100 x H60cm. Chris Duffy.

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Do you have a set method / routine of working?

My method in starting a painting is always the same these days… I am a self-professed “image vulture” I use the computer or tablet much like others would a sketchbook, trawling the internet for images that I then combine into a final design. Once that design is ‘sketched up’ usually on the iPad I project the drawing on to the canvas or board & very loosely trace it on, to save time more than anything. I draw it in loosely for freedom to change my mind or chop n change as inevitably happens when creating a painting, a process that I self-deprecatingly call “elaborate colouring-in”. But of course, the process is far more complex than that of simply combining images & projecting them. First, I dream the image or sketch it in my mind and once I know I want to paint that image (which happens quite quickly to be fair) then it’s a complicated system of searching, adjusting, making colour notes, sketching freehand, scanning, tweaking the composition… so on & so forth whatever it takes within the realm of picture making principles & practices really. I never use stencils I did for a little while but only now for the font in my work & the occasional mural life’s too short! All my paintings are very much hand painted and ‘old school’ skilfully made… It’s important for me to honour that great tradition because we have actual proof that this is what stands the test of time not just physically but culturally too. Why do you choose this material / medium to work with?

I love oil paints! I love how they feel, the smell, the way they seem to breathe & trap light, in a way oil pants have ‘soul’ But unfortunately my body is unable to tolerate the fumes, so I made the decision to switch to Acrylics only some 15 years ago. Acrylic paint is flat by nature, so I try to honour that ‘flatness’ rather than attempt to make the appear to be an oil painting always striving to make them look & feel as beautiful as possible in their own unique way. : COVID DESIRES, Acrylic on linen canvas, W200 x H145 cm. Chris Duffy.

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ROCKETMAN!, Acrylic & Posca pen on board, W90 x H46cm. Chris Duffy. Issue 48 September 2022 48

…

I have far too many favourite artist or artworks to list. But right now, I am loving the contemporary street art scene, modern Pop Art and as always 1960s Pop Art - especially that from the UK. However, I am currently a devotee of the American artist, critic & writer, David Salle. His work, philosophy on art and recent book – How To See, play a significant role in how I approach my own work these days. Also digging the art history docos hosted by Waldemar Januszczak for the YouTube channel, Perspective. Documentaries are easily my favourite things to watch Even before binge watching became a thing!

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What inspires & influences my work? Everything & anything but mostly great art past or present, love, failed relationships, the human condition, fear, desire, nostalgia, Childhood memories continue to inform my work, particularly the sights and smells from holidays spent at seaside towns like Margate & Clacton on Sea. The “Kiss-me-quick hats, penny arcades, rock candy: these are the colours I use today; my colour palette should look good enough to lick. More recently the state of the world & our environment has become a massive influence on the subject matter I paint. We are on the brink of extinction & need to fix it now! It is important that art & artists have a role in this too. What are some of your favourite artworks and artists?

How important is drawing as an element to your artwork?

Drawing is everything! It is fundamental to all that I do creatively… I am constantly drawing in my mind, sketching, or simply just playing around with collage style scenarios. Positive & negative space is paramount to good composition and the basis of all good drawing. I find that I am becoming less reliant on line’ over the years & more on the design principles of drawing as I increasingly become more focused on creating a ‘painterly’ vibe on the canvas. What inspires your work / creations?

My greatest achievement, exhibitions? I am still working on that & always will be. I trust the process. What are you working on at present?

What are the challenges in becoming an exhibiting artist?

Page

Being a professional exhibiting artist & muralist is an absolute privilege! A lot of hard work & expense but, no real hardship to speak of. Name your greatest achievement, exhibitions?

Currently I am collaborating with an amazing Bendigo artist, Bridie O’Toole who creates delightful small digital prints and drawings. My role in this collaboration is basically to grab the ones that speak to me the most and turn them into larger painted versions. Sometimes I simply attempt to replicate her image on to the canvas other times (such as the current work in progress, Sistas) I will combine 2 or 3 of her figures and along my own sensibilities design a new piece. There is a kind of banter that is now naturally occurring from the process or a toing and froing of ideas if you like that makes me very excited for the near future, artistically. I love it when all I want to do is jump out of bed in the morning and hit the studio running! Art can be a great humiliator (and often is…) But for me at least, it can also be literally a life saver! I don’t know where I would be without art and the people it attracts, the connections it has allowed me to make… I feel truly blessed & lucky to be alive! 51 : COSPLAY BUTTERFLY – HALLOWEEN, Acrylic on hand cut board (Approx.) W120 x H 90cm. Chris Duffy.

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What are you working on at present? I want to hold off exhibiting for a while, solo shows at least (after a very hectic last 6 months having worked on 2 solo exhibitions simultaneously) I am going to focus on getting my studio practice back to how I like it & murals to pay the bills. One mural that I am excited about is painting David Bowie in the outback! A large mural as part of the Let’s Dance Carinda Festival in outback NSW at the end of September 2022. What do you hope viewers of your art works will feel and take with them? Your future aspirations with your art? I want viewers of my artwork get a sense of joy or even wow! I hope they connect with the passion that I have for art. Importantly I want to have an immediate impact but also reward prolonged viewing. The more you look, the more interesting the painting becomes and upon returning to the starting point, the viewer may then rewrite the narrative as they Ichoose.wantit all to withstand the test of time.

Chris Duffy 2022.

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Chris Duffy - Studio shot. Photograph courtesy of artist. Issue 48 September 2022 53

G A L L E R Y C H R I S D U F F Y Issue 48 September 2022 54

Page 54 : GIRL WITH EX REB DRESS, Acrylic on canvas, W150 x H90 cm. Left : Design for a outdoor table top art ‘For Smokers, Tokers & The Occasional Puffers Only’ Acrylic & Spray paint (logo) on pine timber Diameter 60cm. Chris Duffy 2022. Issue 48 September 2022 55

JOKER CAN KISS Acrylic on linen canvas H60 x W45cm. Chris Duffy 2020. Issue 48 September 2022 56

FOLLY OF DOUBT Acrylic on linen canvas H60 x W45cm. Chris Duffy 2020. Issue 48 September 2022 57

KAPOW! & THEY’RE GONE… Acrylic on board H92 x W92 cm. Chris Duffy 2020. Issue 48 September 2022 58

THE ADVENTURES OF NURSE BETSY 3 ‘FLASHBACK! –INTENSIVE CARE’ Acrylic on H105 x W105 cm. Chris Duffy. Issue 48 September 2022 59

C H R I S D U F F Y HE’S NOT THE MESSIAH… JUST A VERY NAUGHTY BOY! Acrylic & on canvas tarpaulin & Installationboard view Chris Duffy. Issue 48 September 2022 60

BUT… BUT ROY CAN’T BE DEAD! Acrylic & spray paint on PVC banner & ChrisInstallationboardviewDuffy. Issue 48 September 2022 61

AUDREY… SPLAT! –BUBBLEGUM POP Chris Duffy. Issue 48 September 2022 62

UNTITLED – WHEN WORDS FAIL Acrylic IssueChrisInstallationboardviewDuffy.48September 2022 63

SHUT UP & KISS ME! 2 Acrylic on canvas H193 x W172 cm. Chris Duffy. Issue 48 September 2022 64

MUFFLED SCREAM Acrylic on canvas H120 x W105 cm. Chris Duffy. Issue 48 September 2022 65

SHUT UP & KISS ME! 1 Acrylic on canvas H120 x W105 cm. Chris Duffy. Issue 48 September 2022 66

https://www.hahoart.com/about-ha-ho-art/ Allhttps://www.instagram.com/p/CdchNboLqxd/?igshid=MDJmNzVkMjYRightsReservedonarticleandphotographsChrisDuffy©2022. Left : POPCORN, Acrylic on canvas, H150 x W92 cm. Chris Duffy. Issue 48 September 2022 67

REEPT J B R WON

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In a time that I remember when my life turned sour like wine, one spoke of great philosophies and how the sun did shine; one fell in love at twenty, one went to bed at ten; one wore a pretty motley, and coin was freely spent. One did not count the hours, one loved universally; life was full of longing, arrows to a tree. The time that I turned twenty I’ll never live again; I went down to the madhouse And saw the state that you were in. They say that Law can be empowering, that hanging gives you peace, that nunneries are full of song in which one finds release. The bell that strikes for freedom is like a funeral bell, cracked up in the Kremlin, miscast in Concord. I’ll tell you how I loved you, I’ll tell you time again, not long ago at twenty, midnight sailing in on winds exposed to winter, chill wild and severe. I went down to see you and I saw you standing there, bashed up, locked in, gasping for air.

After Kierkegaarde For Clarice

When I’m dead and my skull is bleached white, and all my skill has brought me to the grave, who will remember your fine breasts as I do, with an exotic tenderness and sense of deliverance, or your brown eyes which were pools of delight, mysterious wells of joy, glimpses of a metaphysic dreamed of by de Chirico? Your nakedness was wonderful, deeply I loved you, gladly you delivered me from numbing despair, and now you are gone, at such a young age, with so few lovers, so little fruit, except some remembrance of mine of your keen mind, your quiet voice (a wonderful thing in a woman, some patriarch said), your love warm, your shelter adequate one rainy Autumn; your Roman dignity, your biology, your madness, your suicide, with not a single child to suffer from it; family and some lovers suffer, your warmth gone out of their lives; sorrow distilled into some attitudes and some lines on the page; glimpses of paintings, naked and metaphysical.

When I am dead and my skull is bleached white, and all my skill has brought me to the grave, who will remember you as revolutionary and greenie? Who will remember your fine breasts as I do, with an exotic tenderness and sense of deliverance, or your brown eyes which were pools of delight, mysterious wells of joy, glint of a metaphysic dreamed of by de Chirico? Your nakedness was wonderful; deeply I loved you.

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GEORGE GITTOES Issue 48 September 2022 70

Internationally acclaimed artist and film maker George Gittoes left Australia for Pakistan in early August and will continue his journey back to the Yellow House in Jalalabad, Afghanistan.

The following article contains his latest in-depth dispatch and photographs from Peshawar, where he has been working on editing films with Khuram, Waqar and Ashid.

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BORDERLESSNESS PESHAWAR George Gittoes - Dispatch August 2022.

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I left for Islamabad knowing I was ‘going out on a limb’ - that it could ‘all be for nothing’ and I may have to return to Australia not having been able to enter Afghanistan if I could not obtain a visa. The Afghan Embassy in Canberra had ceased giving visas without explanation and we were advised I would need a ‘No Objection Letter’ from the Australian Government, something our Government is unable to give. Waqar has worked on all my films for the last 16 years, starting with Miscreants of Taliwood and more recently on No Bad Guys in Southside Chicago. We woke early from our Islamabad Guest House and headed to the Afghan Embassy. A large group of Pakistanis with long beards and typical dress were already waiting in the garden for life to appear in any of the five shoe box size reception windows in the front wall. Good humoured Pakistani Security guards, in blue uniforms with two handguns stencilled in white on the back of their shirts and trouser legs, managed the crowd. As people were jostling for a position on the one window that was open Waqar, and I were directed to the fifth window which had a thick piece Perspex covering it and roughly drilled holes to enable the exchange of conversation to be heard. A laughing, obviously Taliban, guy appeared with a big beard. I opened my palm and pressed it to the Perspex with a smile and he reciprocated with a laugh. A large sliding metal door was pulled aside, and we were invited up to it and frisked for weapons, before entering. This was special treatment. We handed our phones to a desk clerk and were guided downstairs to the office of the Consul. As we sat on comfortable lounge chairs in a cool air-conditioned space (Outside had been insufferably hot.) Waqar raised his eyebrows and said, “It seems we are going to meet the Consul, himself!” Things were either looking up or we were about to be cross examined and refused assistance.

The Consul was very bright and eye contact was everything. He is from Pincher which I know well from working with Medicines Sans Frontiers in Gulbahar. The other seven embassy staff who moved in and out of the meeting were all from Jalalabad, so I was able to validate my stories with the names of people they know. His first comment was that I looked like a Taliban and that they used to have long hair like mine as well as the beards. It was his way of saying “We feel comfortable with you.”

The Consul had everything about me on his phone from my Wikipedia pages to his own internal intelligence files. It became clear very quickly that there was nothing worrying him, and he asked what kind of visa I would like. I explained I will be needing to come and go over a long period of time and he had no problem with offering a multi entry visa. He joked about me having a much younger and very beautiful wife when I handed him my business card with her picture on it. He knew from one of his reports that she was a singer and could speak Pashto. He said there would be no problem getting Hellen a similar visa. The meeting went for a couple of hours. The Consul was brilliant at what he does. While his manner was relaxed, I sensed he was building a complex and detailed picture of me and nothing would be confirmed until he was totally convinced. He was in constant conversation with the senior Taliban leader who is the Ambassador. The final decision would be between the two of them and his young and well educated staff. The tipping point came when he turned his head and said, “Can you hear that?” I could not hear anything I am almost deaf and asked him what. He said, “It is the sound of rain – the monsoon has broken, and this terrible head will be over, at last.”

Then he looked intently into my eyes and said something wonderful that made my eyes well up with tears “Afghans do not forget those who have helped them, and we will always do all we can for true friends like you.” He told us to return at 4pm and our visas would be ready.

As we danced up the stairs Waqar and I were almost levitating with the surprise of this unexpected good fortune. We drove to the biggest shopping mall in Islamabad and treated ourselves lunch at its upper floor top restaurant.

Walking us to the door I was visibly ecstatic, and he could see how happy he had made me.

Back at the Embassy there was a meeting going on which kept everyone anxiously waiting for their passports and visas for over one hour. Waqar got a text message from the Consul apologising for the delay and the big steel door was slid open for us again. This time it was a twohour conversation with cups of Afghan tea and cakes. Our passports arrived and I watched as the Consul personally pressed the final raised stamp onto it with an ancient looking device that I had mistakenly thought was a microscope. The consul and our new friends in his staff walked us to the street exit with hugs and kisses and many offers of support.

We will face a Jalalabad where girls are no longer allowed to attend school above year 6 and life must conform to Sharia Law. Our belief that art and creative collaboration can bring positive social change where the military fails will be tested to the limit. Our return will coincide with the anniversary of the first year since Taliban forces entered Kabul City during the chaotic American withdrawal.

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The car headlights illuminated the wall, and it was perfectly the way I had left it. Untouched and proudly brazen. My very close friend, the Club Manager, Shahid had gone home along with my other very close friend the receptionist Aktor. But all the staff love me as well, so there were many long hugs in a prolonged return embracing. This is part of my Peshawar family.

The Yellow Submarine Peshawar is where Waqar and I based ourselves during the making of Miscreants of Taliwood in 2007 and it is still functioning as our Studio. My one, remaining, small worry was that the large Yellow Submarine Mural I had painted when we created a refuge for artists nervous about the Taliban take over, last year, could have been painted over or vandalised. It was painted on a public wall and is unprotected, I thought, if it is OK then I know this project will truly succeed and we will have nothing to worry about. My friend Martin Sharp once said to me ‘Synchronicity is the way God speaks to us’. I have always followed the signs. The Yellow Submarine Studio is part of the SS Club. Over the last 16 years the location has deteriorated into a dirty and desperate looking slum. Beggars, gypsies and addicts occupy the rubble and uncollected garbage at the approach.

As we rounded into the corner off University Road and began weaving our way to the maze of lanes that leads to the SS Club, I began holding my breath and crossing my fingers in the hope the mural would be OK.

The SS Club has been my base since making Miscreants of Taliwood 2006 to 7. I’ve lost track of the number of times we have been back. And there have been dangerous times here, such as when Hellen and I received death threats including one offering to ‘remove my face from my body’.

Although I had let Shahid know, in advance, that I was arriving our rooms looked like they had been kept locked since Hellen and I were here last year. Dirt had collected everywhere; the sheets were grimy and thousands of large ants were eating the wooden walls.

It was peak hour in Islamabad, as we left the Embassy, but the roads were uncharacteristically clear of traffic as we passed thousands of fluttering green and white flags being sold from roadside stalls in preparing for Pakistan’s National day which was the upcoming weekend.

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The story is that the SS Club was owned and run by the Nazis during the early days of WW11. There is a club room with a shooting range in the basement that is like a time capsule. Signed copies of Mein Kompf and gold-plated Mauser handguns in gift sets. The glass eyes of the stuffed animal trophies come alive with ferocious glares at you, as you enter. My room has a large mirror over a fireplace in European style carved wood which Hellen believes has been exported from Bavaria. There are curtains concealing a huge one way mirror. This makes it is possible to sit in the other room and view what is happening on the large double bed without being seen.

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Ashid standing in front of mural Yellow Submarine. Photo courtesy of George Gittoes.

It is a perfect time to arrive in Pakistan in a couple of days it will be 14th July their National Day green and white flags flutter everywhere with the crescent moon and star. For the children it is like Christmas , they blow plastic trumpets and dress up with face paint or masks.

Motor bikes and cars have gigantic green and white flags, furling off poles, as they speed by, to the sound of trumpets and cheers from the Needingpassengers.torespond to events in Ukraine cut our work on the Afghan Film short, but I am sure it is all part of the invisible plan.

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I've been out on the street taking stills of the children with face paint and masks, even green fairy wings. It is beautiful. Up to four kids on a motorbike with their dad at the handlebars and mum on the back. There is a street vendor selling these items on the corner outside the lane that leads to the SS Club. There is really magic in the air. Many of the masks are the V for Vendetta Masks normally used at protest rallies when people want to hide their identities (Hong Kong etc), but here they are painted green and white, and it is simply a matter of recycling.

FIRST DAY BACK AT THE YELLOW SUBMARINE.

The edit of ‘Artist War Ukraine’ has picked up pace. Khuram pressed me to rethink the beginning. In typical Gittoes ‘shock style’ I had a farmer being dug up from a shallow grave after trying to stop Russians from raping his daughter. We now have Easter Mass inside St Michael's Cathedral at the beginning. It is mystical and sombre and rich with Ukraine art and culture. We will intercut the prayers and beautiful choir music with scenes of Russian destruction and death. But for now the Church is beautiful and unfractured by the war outside.

War between countries is getting suicidal with Nuclear Destruction being threatened daily. Artists are a community of people who have a common history, the history of art, making a single united tribe. The film we are editing in Peshawar is titled ‘Artists war Ukraine’ and the film we are presently shooting is titled ‘Yellow Submarine to Taliwood’.

MANIFESTO-STATEMENT FOR SYDNEY UNDERGROUND FILM FESTIVAL 2022 “ am in Peshawar editing the Ukraine Film. I have stopped thinking of being an Australian or Ukrainian or American or Pakistani or Afghan. I have always belonged to another country which is Art. Living in Art is much more real to me than Australia. Our films are a Manifesto of Borderlessness . Shooting in Ukraine with a Ukrainian, Kat Parunova on camera, Co-directing with Hellen Rose and editing in Pakistan with Khuram Shebzad while shooting another film in Afghanistan with Waqar Alam and our Yellow House Crew. And our film NO BAD GUYS from Southside Chicago is screening at Sydney Underground Film Festival while May Block Chicago is watching through live streaming. We are spread around the world but feel we are in one place, Planet Earth.

Let’s use art to end war and end divisions.”

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DAY THREE

It no longer feels strange to be editing Ukraine in Peshawar - doing it during these patriotic celebrations has, somehow, created an emotional Ibridge.justgot the great news that our film NO BAD GUYS will be screened by the Sydney Underground Film Festival at Event Cinemas along with Hellen’s short film HAUNTED BURQA. Chicago and Jalalabad back-to-back on the big screen! As I will be in Afghanistan for the event, I have written a statement which Hellen will read before she does the Q & A.

At least a dozen skeletally thin street cats live outside the edit room. One mother cat has four kittens. She is so emaciated I do not know how she can provide milk but she does. Like the youngest of the street kids, the kittens, two ginger and two grey striped, are unaware of the life ahead and are playful and happy.

My room at the SS CLUB has no windows, so it is impossible to know if it is day or night. I have to go to the door and open it to check for sunlight. The heat outside is like an oven. Five minutes out there and my cloths are dripping wet like I have taken a shower in them contradicting the temperature, a cold shiver goes up my spine with the slightest breeze.

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The walk to Khuram's edit office has me passing dozens of beggars of different kinds. There is a bald mystic in the alleyway who has stopped putting his hand out for money from me. Ashad told him I am a Sufi - so I now get a nod, as a fellow traveller. He is like a character from Herman Hesse's book Siddhartha. Then there are the gypsy women who squat in a group with a dozen or more dirty babies. Sometimes they have a dead baby in swaddling cloth - hard to ignore and not give some paper money.

The edit 'took off' yesterday. Regardless of all the distractions Khuram is fast and brilliant.

Then there is a nice man who sits cross leg with two small girls and about 16 eggs which he tries to sell. He has not sold a single egg in the four days I have been passing him. By now the heat would have sent them off. He has got my 'number' and gives me a broad smile and wave each time I Everyonepass.on my walk either remembers me from the past or has gotten to know me now. I have melded into the community and feel at no risk, although these are desperate times with starvation and many bandits and kidnappers forced into that life by the broken economy.

Photographs from Peshawar, Pakistan courtesy of George Gittoes. Issue 48 September 2022 79

George Gittoes

AUGUST 19 FRIDAY PRAYER DAY Editing stopped so everyone could attend Friday Prayer. There is only one small mosque nearby which cannot contain the number of worshipers. As we round the lane into University Road there are, at least, a thousand men praying on the footpath and spilling out onto the road. The heat is extreme as I skirt around them on my way back to my Yellow Submarine Studio. The characters I mentioned earlier, the Egg man with his two kids and the bald mystic beggar have gradually become friends. I have been drawing beggars and street people since 1968 when I took my pencils to Washington Square Park to sketch with my mentor, the great African American artist Joe Delaney. I can add these drawings to the ‘Legless Bike’ and ‘Lot’ in Cambodia and ‘Mirrow and Awliywa’ in Somalia and the Gangster, Ghost Busters and Ice Cream boys of Jalalabad who featured in our film Snow Monkey. My own precarious existence makes me feel closer to these people than I do with those who live a life of comfort. How they make enough to eat always fascinates and worries me. Like little Gulmina, the recycler with her big bag of aluminium tins in Jalalabad, there are very young kids here who forage for bits of plastic in the garbage. They are too feral to have made friends with, yet, but they have been standing at a distance watching me draw the others, fascinated. With a day or two they will ask me to draw them, as well. While the city is in prayer, I will be finishing these street drawings to add to the stack of art that has built up over the years. My portrait of Shahid is hung proudly behind the SS Club reception and the view of the garden wall, at the front entrance, has my mural of a fox chasing a Inrabbit.afew days the edit will be sufficiently advanced for us to be able to head to Afghanistan. I am hoping for the art in and around our Yellow House Jalalabad will have remained protected and is OK. Hellen and I dream of being able to afford to buy our Yellow House in Jalalabad and the Yellow Submarine in Peshawar and leave them to the people as functioning art centres with much of our artwork remaining here.

"I believe there is a role for contemporary art to challenge, rather than entertain. My work is confronting humanity with the darker side of itself."

As an artist Gittoes has received critical acclaim including the Blake Prize for Religious Art (Twice) and Wynn Prize. He was awarded an honorary Doctor of Letters by the University of NSW. His films have won many International Awards and in 2015 he was bestowed the Sydney Peace Prize, in recognition of his life’s work in contributing to the peace-making process. www.gittoes.com

Gittoes’ work has consistently expressed his social, political and humanitarian concern and the effects of injustice and conflict -

George Gittoes is a celebrated Australian artist, an internationally acclaimed film producer, director and writer.

GEORGE GITTOES

REI C WERKH O EV N CYCLE A mirror image….. to make up a song. Barbed wire and all, and sweet cakes to make up. Strange packages, flowers from beyond the grave. Waves of the sea, flowing beneath the land. Continuing to whisper in the shells Continuing to whisper in woman’s bodies. Eric Werkhoven © 2022 Issue 48 September 2022 82

Even the usually messy chicken coop, seems like an oasis of order. Imagine we can be a part of these hanging gardens, between the earth and the light.

THE GARDEN A kind of picturesque deep sleep, overwhelms my weariness.

Everything moves on the wind of transparency.

Warming up to plant more words proudly showing what we have done, and made on a contemporary level of creating dialogue. We need to water and nurture these living and growing projects, to encompass not the particular, but to go on an age old pilgrimage.

Able to re-create it brick by brick and the toil within our being, heralds a response from the gods.

Alas something very sluggish keeps us grounded. I am taking a break, it takes a longer time to write. When does it hit the response button, the intuitive aspects of our rehabilitation.

Eric Werkhoven

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Pure Form: Japanese Sculptural Ceramics A Revolution in Clay Art Gallery of South Australia, Adelaide 2022

‘

Pure Form’ brings together over 100 Japanese sculptural ceramics to highlight the change that took place in Japanese ceramics in the aftermath of the Second World War. Past certainties were challenged and an avant-garde group began to create abstract sculptural forms. They discarded the idea of functionality as a guiding principle, along with the primacy of the wheel, instead they took a creative approach, and advocated clay as a medium for personal expression.

‘Pure Form’ also highlights the work of Japan’s female ceramic artists who were largely unrecognised prior to the war. These female ceramicists were unfettered by the weight of history and hence injected a vital new energy into their sculptural ceramics.

I have selected 23 of the sculptural ceramics and of those 23, all but 1, were created in the 21st Century. None of the 23 I have selected could be considered utilitarian ceramics. For many of the sculptural ceramics I have included information about the techniques used to produce these very exquisite pieces. Much of this information was provided by the Adelaide Art Gallery. : KISHI Eiko, Nõ form #2 (Nogata#2) (2009, Kyoto). Stoneware, inlaid frit, glaze

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Born Koishiwara, Japan 1984 Kai (Turn) VIII (2020, Koishiwara) Stoneware, glaze. Proposed acquisition by the Art Gallery of South Australia Foundation Collectors Club. Kanjiro is an example of the next generation of ceramicists in Japan, who embrace the power of sculptural forms through innovative techniques. His most recent series Turn (kai) utilises wheel-turned vessels that are cut (kiritsugi) and glazed before bisque-firing. The individual parts are then attached with glaze and fired, fusing them together. The sculptures are then drenched in white, black and metallic glazes and fired in a gas kiln, resulting in works capturing the sense of movement that first created them.

MORIYAMA Kanjiro

SAKIYAMA Takayuki

Stoneware, sand glaze Collection of Raphy Star Takayuki draws inspiration from the place of his birth in Shimoda city on the Izu Peninsula. His carved, spiralling double-walled vessels evoke the rhythms of the rugged coast and the waves of the Pacific Ocean. He creates them by seamlessly joining the interior and exterior portions, which are covered in a unique textured sand glaze developed by him to highlight the intricate carved clay.

SAKIYAMA Takayuki

Born Shimoda City, Japan 1958 Vessel with Incised Lines (c.2000, Ugusu City)

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TANAKA

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TANAKA Yū Born Japan 1989 Yellow Sculpture in the Shape of a Furoshiki (c.2018, Kyoto) Stoneware, matt glaze Collection of Raphy Star Yū is a third-generation female ceramicist whose distinctive sculptures appear to be wrapped in evocatively coloured cloths and is inspired by the prominent art of furoshiki in Japan. To create her mysterious bundles, she uses coils of pliable Shigaraki clay, applying a sponge to ensure a smooth surface. To achieve the distinctive colours, she applies two coats of pigment before the initial firing, repeating the process up to four times.Yū

URANISHI Kenji

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Born Nara, Japan 1973 Clouds Across the Sea VIII (2022, Brisbane) Slip-cast porcelain, bluish-white glaze (seihakuji) Collectionglaze of the artist. Kenji’s perforated porcelain sculptures coated in bluish-white (seihakuji) glaze are reminiscent of the geometric patterns found in nature and architecture. Kenji works predominantly with porcelain to explore ideas of nature and the built environment, place and belonging. He is also intrigued by the patterns he sees in architecture, nature and everyday life, the engagement between them, and how they change over time.

At Kyoto Saga University of Arts he learnt about the art of throwing, which ultimately resulted in these easily identified forms, created using coils of clay, to which slip is applied to the surface. These are then scraped and filled with iron.

Born Kyoto, Japan 1976 Shell (kara) (c.2007, Kyoto) Stoneware, overglaze Collection of Richard McMahon. Shinya’s fragile, shell-like forms are punctuated by deep-blue recesses, which the artist associates with eggs, the ocean and the birth of life.

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TANOUE Shinya

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TSUMORI Hidenori

Glass, CollectionstonewareofRaphy Star Hidenori has stated that he seeks ‘to express the passing of time through the fossilisation of glass, to transform the inorganic into the organic’. To achieve these stunning sculptures, Hidenori uses the innovative technique of firing glass with clay, which captures the fragility of both mediums. This rigorous process requires multiple steps and firings.

Born Tokyo, Japan 1986 Quickening (Taidō) (c.2019, Tokyo)

SUIZU Kazuyuki Born Hagi, Japan 1960 Vessel (c.2019, Hagi) Stoneware, overglaze Collection of Raphy Star Kazuyuki’s works are steeped in the ceramics culture of the city of Hagi. Hagi ware is fired slowly at comparatively low temperatures in climbing kilns, meaning that the pottery is softer and hence more porous. The crazing or fine cracks, is determined by the rate of shrinkage when fired.

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FUTAMURA Yoshimi Born Nagoya, Japan 1957 Untitled (c.2005, Paris) Shigaraki clay with porcelain, natural ash glaze Collection of Raphy Star. Yoshimi’s sculptures appear at once geologic in their creation and sensual in their expression. To create her collapsed, rounded forms – her signature works Yoshimi uses a blend of stoneware clays, along with fired and raw granulated porcelain, which is then partially thrown on a wheel and turned inside out. These forms are some times encrusted with feldspar and enhanced with cobalt and iron oxide glazes on the interior, which are iridescent.

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IZUMITA Yukiya Born Rikuzentakata City, Japan 1966 Layers of Accumulation

(Both ceramic sculptures have the same name and were produced in 2016 at Noda.) Both are of stoneware with overglaze. Collection of Raphy Star. The delicate layers of Yukiya’s accumulation reflect the beauty and rustic qualities of the landscapes which surround his seaside studio in Iwate prefecture. To create his fragile sculptures, he begins by making forms from paper, which are then replicated in clay collected from the salt -rich field near his studio. According to Yukiya, ‘paper and soil represent a synergy’. Paper gives him infinite shapes, while clay shows him an abundance of forms.

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SHINGU Sayaka Born Osaka, Japan 1979 No. 3, Erosion (c.2020, Kyoto)

Mixed clay, glaze and slip Collection of Raphy Star. Most of Sayaka’s pieces resemble fragile dried flowers. She does not make sketches for her pieces but visualises the piece in her mind and this way she can allow for significant changes while working on a piece. She mixes clay with black pigments in varying proportions in order to create a monotonic palette of colour. She constructs many ‘petals’ out of very thin black clay, and while doing this she keeps in mind the need to express various shapes of the individual petals. She makes hundreds of small needle size rods to form the centre cluster of ‘stamens’ of the flower. After the first (bisque) firing, she adds either white slip or occasionally glaze and then fires a second time. She is deeply moved by the life force of flowers, and tries to express this energy in the flower forms.

Yasuhisa fires his unglazed sculptures at least twice to achieve the subtle colours and effects on the surface often associated with Shigaraki and ancient sueki ware, a natural ash-glazed stoneware made between the fifth and twelfth centuries.

Born Shigaraki, Japan 1936 Wind (Kaze) (2004, Shigaraki) CollectionStonewareof Raphy Star. Yasuhisa’s sculptural ceramics appear to capture the atmospheric conditions and ‘flavour’ of the renowned clay of the historic Shigaraki area. He builds his sculptures with clay coils, which are sculpted using a wire until they are precisely balanced.

KOHYAMA Yasuhisa

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KANESHIGE

KANESHIGE Kosuke Born Bizen City, Japan 1943 Saint Garment (c.2005, Bizen City) Collection of Raphy Star. Kosuke’s sculptures are created by draping sheets of refined clay over a box and this reveals the distinctive qualities of Bizen clay. The hand-formed and thrown elements are then assembled and fired.

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KISHI Eiko Issue 48 September 2022 100

Eiko is best known for her geometric sculptures, which are inspired by the basic movement patterns (kata) of the elegantly dressed actors of the Nõ theatre. The planes of the sculptures capture the play of light on the dramatic angles of their garments referred to as ‘moving scenery’. Eiko’s sculptures, as well as her vases and tea wares, use a technique developed by her called ‘coloured inlay’ (saiseki zogan). This painstaking process requires Kishi to knead together a mixture of Shigaraki clay and small fragments of crushed coloured clay, known as grog or fire sand, creating a mosaic-like surface. After this, she meticulously scores or ‘pricks’ the surface with hundreds of small holes with a needle and then fills the surface with coloured slip before spraying with a thin glaze.

KISHI Eiko Born Japan 1948 Nõ form #2 (Nogata#2) (2009, Kyoto) Stoneware, inlaid frit, glaze Hamilton Gallery, Victoria.

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KANESHIGE Kosuke Born Bizen City, Japan 1943 Tall Sculptural Form (c.2006, Bizen City) CollectionStonewareof Raphy Star. Kosuke’s distinctive sculptures are created from a dark reddish brown clay found in Bizen. Bizen is one of the Six Ancient Kiln Sites known for their tea utensils, these being appreciated by tea masters of the sixteenth century for their rustic appearance. Issue 48 September 2022 102

KATO Takahiko Born Shigaraki, Japan 1952 Scaled Vase (c.2000, Shigaraki)

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Takahiko was born into a well-known family of ceramicists in the historic area of Shigaraki.

Stoneware, glaze Collection of Richard McMahon.

Takahiko has a fondness for the gritty Shigaraki clay and it is from this clay that he has made his most radical ceramic sculptures.

TSUBOI Asuka, Untitled (c.2005, Osaka) Stoneware, clay slip, enamels. Private collection Melbourne TSUBOI Asuka Issue 48 September 2022 104

TSUBOI Asuka Born Osaka, Japan 1972 Spring and Fall in Kyoto (c.2005, Osaka)

Stoneware, clay slip, enamels Purchased by Hamilton Art Gallery Trust Fund Hamilton Gallery, AsukaVictoria.had three ceramic pieces displayed in this exhibition. She is one of the first and most prominent of the pioneer female ceramicists in the post war period. She established the influential Women’s Association of Ceramic Art in Kyoto in 1957, the group that paved the way for a generation of female artists who injected ceramics in Japan with a new and vital energy. Her early ceramics were often criticised for their overt sexuality and reference to the female body, while her later works, (her three exhibits in this show are later works) are noted for the sculptural forms elegantly decorated with designs referencing textiles, handbags and the history of opulently decorated ceramics in her adopted home of Kyoto.

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TSUBOI Asuka Kyoto Dance (c.1988 Osaka) Stoneware, clay slip, enamels Collection of Yael Star. Issue 48 September 2022 106

SUGITANI Keizo

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Born Osaka, Japan 1959 Shadows Crossing (2018, Osaka) Stoneware, glaze Collection of Raphy Star. Keizo’s sculptures are elegantly hand-built and crafted with the utmost care. He blends a base of white clay, and then begins the process of hand-coiling his sculptures smoothing and sometimes carving the surfaces. He then bisque-fires the work, and finally uses an electric drill to chisel the fired work. After drilling his works he applies an original glaze that is rich in copper, and after a final firing in his gas-kiln, imbues his works with the distinctive patina of rusted metal.

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AKIYAMA Yō

Born Shimonoseki, Japan 1953. Metavoid 32 (2016, Kyoto) Unglazed stoneware with rusted iron coating. Collection of Raphy Star. Yō is one of the most important ceramicists in Japan. He is imbued with a spirit of avant-garde experimentation. He disrupts the symmetry created by a potter’s wheel by breaking off portions to reveal interior construction and by inverting sections to create internal tension. Yō’s sculptures invite close inspection and intimate engagement with the surface textures carefully shaped by the artist’s hands.

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MISHIMA Kimiyo

Born Osaka, Japan 1932 Box Batter-17 (2017, Oska) Stoneware, silk screen prints Collection of Raphy Star. Kimiyo’s vibrant pieces are a like pieces of pop -art for the craft world. They are intensely fun. She began her career as a painter, pottery became her canvas for silk-screen printing, where she transfers printed matter such as magazines and newspapers, often with a political message intended to provoke the viewer. Ever sensitive to the current state of the environment and the overwhelming flow of information in today’s world, Mishima hopes that her work will compel viewers to take notice and even action.

I could lie in this cocoon forever

Folded in warmth like sacred tobacco Banana leaves with gentle folds

Jennifer Robertson 2022 Issue 48 September 2022 112

Bring me home to velvet kissed with sunlight

My lips, hands and fingertips my nails, my eyes, my eyelashes and my toes even my tail feels warm wrapped in the gold blessing of light

Filled with rice, ember dusted coals

A sarcophagus turning to dust

This feeling reaches from my cells to the tips of my hair strands

Sunpatch

Sealing golden ether into my flesh from my skin into my bones

‘til all within me soaks with golden pleasure

I measure my movement in greater stretching expansion

The tension melts from my body. Like warm milk and custard Warmth like the healer's hands

J E N N I F E R R O B E R T S O N

I feel the colour of the surface of my soul change like a chameleon

You stop I Ansinkold orchard is where you come.

ISABELLA Charcoal, waterfall veil of hair falls down your back kisses your hips Eyes of Angelic,Mysteriousquestionstaredemonic, crimson lips. You notice not insignificant men their jaws gape as you pass You move on likecarelesslysharpfingernails down a pane of glass. To where, I wonder, your beauty goes like an elegant, haunting ghost I find myself curious at least dying to know, at most. I decide to follow your provocative trail to see where it is you go. I may not understand the reason you go there but at least where it is, I'll know. Over a hill, through the woods, past a pond, from which you drink I follow your wild, cat like tread

You smile and laugh and dance. As I discover your secret joy I dare to take the chance . . . From bordering bushes, I throw myself onSacrificialhandsand knees You curiously smile and confront me like a blissful, stinging breeze. You kiss me Putsoftlymy hands upon your hips then strangely, sweetly push a wild grape between my lips. You run from me, disappearlaughing, far away The bitter sweetness of the grape tells me I'll never see you again.

Jennifer

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J E N N I F E R R O B E R T S O N ROCKPOOL In a rockpool I see it all: the TheAllAllseaweed,Green,TheswimPastuniverseandpresenttogethereverythingblue,silverripplesmiraclesbeautyandtruthpalmofourmother holds the secrets of eternity the wisdom of simplicity In one allliestherepoolsmall Whyofrulesnaturedowe fear to call her mother? Frightened of our own belonging? We close our ears scared to hear the songs of grief, love, joyall that we are in the eyes of our mother and only in her hands we live In a rockpool she shows us all the answers Our own TheImaginationreflectiondeceitof complication Aabundantminisculeporthole to eternity Jennifer Robertson 2022 Issue 48 September 2022 114

Silver spoons reflect the moon; a luminous sphere of rock. Clock in the window refracts the light tick tock - tick tock. A baby in its cradle rocks from side to side He cries and cries silently upon the cradle's ride. Two lovers fall asleep folded in each other's arms. Like two wild dogs on heat their energy has made them calm. The hens and roosters in the barn nestle in the hay waiting for the pink sunrise when they'll fly away. A hungry fox scuttles by slyness in his eye. His tangled fur, dripping wet grass surrounding, dry. The sun throws a spear through the moon's cold heart, strikes a ray into the sky. The light in the clock shatters apart and stops the baby's cry. The lovers wake, kiss some more help each other through the door put the spoons back in the drawer. The hens and roosters in the shed thanks to the sly little fox are dead.

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SILVER SPOONS

You, the sweet rose caught me briefly But you turned to thorns threatening and forbidding which slowed my way I cannot stay Perhaps I am a gypsy

Practicalities blind my way

Forgive me -

You told me I am a gypsy today Please forgive me –I cannot stay anywhere with anyone I am alive I feel alive like a wild, poisonous vine or a restless river, searching There is so much to do Even a lifetime is not long enough to allow me every experience that pesters my fiery soul I sleep each day

You told me I am a gypsy today You hurt me I cried

Yet

Gypsy

I am not willing to stay

For you, I wish I could stay but my freedom will not be compromised Now I am a gypsy I will leave

Jennifer Robertson 2022 Issue 48 September 2022 116

My name is Jennifer (Caramel) Robertson, from Newcastle, Australia. For me, singing and writing are like breathing – I have done both for as long as I can remember and I can’t imagine life without them. I feel a deep connection with nature and the beauty I see around me (having lost and mostly regained my eyesight), inspires me to write. I have suffered and found beauty in some of the darkest places. I find adventure, humour and a story in every experience. I celebrate two birthdays and dance like I have a tail. I write for the art of it, to express my thoughts and feelings and hope to bring joy, insight, connection and compassion, through my choice of words and sharing of experience.”

“

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J E N N I F E R R O B E R T S O N

MICHELLE BRODIE Issue 48 September 2022 118

Artist Michelle Brodie presently lives and works in Newcastle, NSW. Brodie grew up in the eastern suburbs of Sydney and later studied art at Gymea Technical College, Canberra School of Art and also completed a Bachelor of Arts majoring in philosophy at UNSW. As well as being a professional artist since 2000 Brodie has been a Fine Art teacher at Newcastle Art School (TAFE) since 2000 and has held multiple solo and group exhibitions. Her work is currently showing in Female Drivers at Maitland Regional Art Gallery, NSW and in Spring at The Owens Collective in Newcastle. Brodie was asked to be a Mentor for the Newcastle Art Space Artist Mentorship Program in 2022/23 which she gladly accepted. 118 : Waiting, oil on plywood, 35 x 50cm, Michelle Brodie 2022. Above : Anaesthesia, oil on plywood, 50 x 45cm, Michelle Brodie 2018. September 2022 119

MICHELLE

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Lost at Sea, 35 x 40cm, oil on plywood, Michelle Brodie 2018. Issue 48 September 2022 120

MICHELLE BRODIE - INTERVIEW

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Have you always wanted to be an artist?

I didn’t know what being an artist was, but I was good at art, in primary school it was noticed. There were other moments such as deciding with a girlfriend around age 12, to paint her backyard cubby house and she got sick of it quickly and I stayed and painted and painted, we had red, black and white paint and I kept at it, painted inside, painted outside, I remember just loving making decisions about painting what with which colour and the desire to see the finished product.

Also as a young working woman I had a keen eye for expensive and unusual clothing (I owned three Flamingo Park cardigans) so it was being expressed that way. During this period, I consumed Vogue, Cleo, Cosmopolitan magazines and spent my time meticulously cutting out images and pinning them to very large boards and you couldn’t stop me doing that either. But I found myself unfulfilled and so I left office work and enrolled in the art and design certificate at TAFE. On day one we had to draw something nearby, so taking a pencil with manicured red nails I drew my snakeskin wallet and I remember it as clear as today I thought ‘this is it, I’ve found it’ and here I am. Describe your work? My work is primarily symbolic and figurative. I mine imagery from a range of sources; the media, snapshots and fleeting scenes from travels that I mix up in the paintings to create narratives that are oblique. The bust has been a more recent motif with its capacity to express history, human emotion, solitude and the symbolic. I use the bust as a type of Platoean ‘form’, an ideal but also one that can carry story and play a symbolic role. Experiences tend to emerge in my paintings in a non-linear poetic way with a dark undercurrent. Portholes are something that interest me of late, as a way to create space in which to place the figure and into which the viewer becomes a voyeur into a sliver of memory.

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Page 114 : The

Instrumental. Drawing is an important step in the process, I always work from a drawing at the start and I often refer to that drawing during the painting process. If a problem emerges in the painting at any stage, I will draw the painting and resolve the problematic area of the composition through this drawing. Then I return to the painting with a possible compositional resolution and continue. Mirror, oil on plywood, 45 x 50cm, Michelle Brodie

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Yes. I use working-drawings for composition. I tend to work on the complete body of work from the beginning and there are usually up to 15 paintings lining the walls of the studio. When painting, I work close to the picture and I let my mind make colour decisions subliminally of its own accord. I lay down the paint, return to the palette, get the colour, walk to the picture without really looking at it, over and over and over. I don’t want to make thinking choices at this stage. I work like this for a while until I get a sense of building the picture and if I make one more mark, I am just filling it in consciously, so I stop, sit, look and let it breathe and I don’t work on it again for weeks until I can see what I have done objectively. It’s quite nice really, it’s experiential, doing then thinking. All that changes when they get close to completion, then I play a game where I know what should be done but I keep questioning myself such as ‘…are you sure the problem isn’t the area next to what you think should change?’ Then a time emerges where I immediately and spontaneously pick the painting up and work on it, knowing I am in a particular frame of mind for that painting. How important is drawing as an element to your artwork?

Do you have a set method / routine of working?

- Michelle Brodie 2022. Above : The Passenger, oil on plywood, 50 x 45cm, Michelle Brodie 2021. Page 125 : Black Island, oil on plywood, 45 x 50cm, Michelle Brodie 2017. September 2022 124

Artists’ influences can be many things. Some of my influences are Philip Guston, Henri Matisse, Paula Rego. Topping the list of natural influences are the moon and the sea. Novels such as The Sea, The Sea by Iris Murdoch, Moby Dick by Herman Melville. Any songs by Nick Cave and the Bad Seeds and the Go-betweens. Unforgettable films like Herzog’s Aguire, The Wrath of God, Wender’s Wings of Desire and Lars Von Trier’s Melancholia. Recently, The story of Film: an odyssey, by Mark Cousins, I could watch the series over and over, so comprehensive, poetic, soul-enriching and influential.

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What inspires your work?

My work is inspired by many different factors; history, portraiture, the past, the sea, music, poetry and film. All of these and more have an enduring influence. What have been the major influences on your work?

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G A L L E R Y MICHELL E ORBDIE Issue 48 September 2022 126

Page 126 : Weathered Soul, oil on plywood, 40 x 35cm, Michelle Brodie 2017. Above : The Mystery, oil on plywood, 45 x 50cm, Michelle Brodie 2022. Issue 48 September 2022 127

Ancient Rubble Oil on plywood, 40 x Michelle35cm,Brodie 2017. Issue 48 September 2022 128

Ancient theatre, oil on plywood, 35 x 40cm, Michelle Brodie 2018. Issue 48 September 2022 129

The Harbour, oil on plywood, 35 x 40cm, Michelle Brodie 2017. Issue 48 September 2022 130

The Journey, oil on plywood, 45 x 50cm, Michelle Brodie 2016. Issue 48 September 2022 131

Recollections Oil on plywood 40 x Michelle35cm.Brodie 2016. Issue 48 September 2022 132

Gate to the Sea Oil on plywood 20 x Michelle20cm.Brodie 2018. Issue 48 September 2022 133

MICHELL E ORBDIE Icon Oil on plywood 50 x Michelle45cm.Brodie 2017. Issue 48 September 2022 134

The Campanile, oil on plywood, 40 x 45cm. Michelle Brodie 2017. Issue 48 September 2022 135

Lilian the Ingénue Oil on plywood 750 x Michelle600cm.Brodie.2022 Issue 48 September 2022 136

Bridget the Wanderer Oil on plywood 750 x Michelle600cm.Brodie 2022. Issue 48 September 2022 137

Fanny the Invincible Oil on plywood 750 x Michelle600cm.Brodie 2021. Issue 48 September 2022 138

You struggle to awaken and cast-off sweaty sheets. You know it’s just a nightmare but you have to go and check. The light is purple the breathing easy. Your daughter’s Angel stands nearby. You leave the room to sit alone and paint their future with your eyes.

SINGLE MOTHER

The evening fades to candle flames. The crackle snap of bacon fat at half past 6. Raindrops slap the steamy streets where paper flowers and orange streamers rotate in the breeze, where your children play ‘til 8 o’clock and then the colours of the moonbeams the closing of the doors and eyelids curl into purple dreams. Midnight. The chiming of the Town Hall clock. The full moon illuminates the rooftops and ripples like a river to the corners of your street where it streams in through your window and seeps into your dreams where a thousand faceless omens plague the playground of your children.

Early morning –a magnolia flower begins to blossom in the middle of the garden a sundial casts its dawn shadow a openssparrowitsbeak and sings a song of innocence I open my eyes and look around at the beauty in my world.

SURROUNDINGS

All the leaves have fallen from the wild Magnolia tree, its winter flowers are coloured deep pink and shaped like a champagne flute. Patches of soft green decorate its bough. Soon the flowers will brown and fall upon the earth. In Spring it blooms again with intoxicating beauty that attracts the labour of beetles and bees and poets like me.

OLDER THAN BEES

R E E S E N O R T H

EVENING – speaking to silence

The sun sinks behind the mountains: after a walk, I sit in my garden. Grey clouds streaked with crimson stretch above the valley deep in shadow. Once again, the new moon is red and there are rumours of war. Now I am old, and no longer needed in this world: Shall I try and speak wisdom to the young?

S E I GA R M A M I Issue 48 September 2022 144

Mami by Seigar

This collage series is my tribute to the most beautiful soul I have ever known: mi Mami. She taught me the two most important things in life: to love and to enjoy. She was always full of happiness and energy. She was a free person, acting out of any convention. She just followed her own rules, from her soul and heart. She was also unique and strong. And she would be glad if I say she was quite pretty, feminine, and chic. She keeps on being the most generous and powerful person I have met, and the one that has influenced and inspired me the most. During the work process, I felt both inspired and calm, like I totally made peace with her goodbye. I'm sure you are still smiling wherever you are. This is my little present from the earth and from my heart. Thanks for everything, your strength lives inside of me. Love you Mami.

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Seigar is a passionate travel, street, social-documentary, conceptual, and pop visual artist based in Tenerife, Spain. He feels obsessed with the pop culture that he shows in his works. He has explored photography, video art, writing, and collage. He writes for some media. His main inspirations are traveling and people. His aim as an artist is to tell tales with his camera, creating a continuous storyline from his trips and encounters. He is a philologist and works as a secondary school teacher. He is a self-taught visual artist, though he has done a two years course in advanced photography and one in cinema and television. He has participated in several international exhibitions, festivals, and cultural events. His works have been featured in numerous publications worldwide. His last interests are documenting identity and spreading the message of the Latin phrase: Carpe Diem. Recently, he received the Rafael Ramos García International Photography Award. He shares art and culture in his blog: Pop Sonality. Webpage: Blog:Galleries:Instagram:seigar.wordpress.cominstagram.com/jseigarflickr.com/photos/theblueheartbeat/albumspopsonality.blogspot.com

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SEIGAR

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SEIGAR Webpage: seigar.wordpress.com Instagram: instagram.com/jseigar Galleries: flickr.com/photos/theblueheartbeat/albumsBlog:popsonality.blogspot.com Issue 48 September 2022 157

'there'... Totally!

And

Your mother told us she wanted us to weed the garden... There was no garden... Weeds? Yes. Garden? No. Now she is dying and asking for you... But you yourself have been killed in a car crash... swerving to avoid some animal ... Or so Vischia said: and she should know... She was with you. So the garden-that-isn't has weeds no more and we are just laughing at the dirt... and the clouds... and the sky... and... the man who came to sell us life insurance... who smiled a lot, but could not see the joke... and who did not particularly want to ride with us in the Four Wheel Drive Toyota Landcruiser

drive

Absolutely... Both

us...

is... nothing... Or

...

faces! We

Five hundred acres of gum trees and scrub... all we have to do almost nothing: around in a Four Wheel Drive Toyota Landcruiser; keep an eye on the chickens and cows... It is a farm and we have just dropped some acid A shot of Mindfulnessthough nobody called the state we were in that... not back then. Stoned... Completely... of without a question of doubt... off our were

Five Hundred Acres Issue 48 September 2022 158

“Being a rich 'people funded retiree ', I have ample time for self-absorption, to the point of mental and physical stagnation. I find such a state makes for quite good poetry. My Muse is the last woman who even as much as looked at me sideways” . Michael Collins.

Michael Collins aged 68 is a long time member of Newcastle’s Poetry at the Pub and enjoys Zoom poetry meetings. Collins has several CDs of poetry out; and is collaborating with two other Newcastle poets on a book, which should be available in the New Year 2023. Originally from Newcastle, he has lived in Sydney, Mudgee, and Dubbo, NSW at various times. Collins likes the idea of writing as therapy, and therefore expects neither fame nor fortune from his poems.

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No-one blamed him for that... He smiled (again) and left. Now she sees you and it is her turn to smile! Your sister says: 'Only the dying see the dead'. But I have since learned that that is not necessarily so ... It was an internment-for-two. Another weed gets plucked (there is always another weed)

MICHAEL COLLINS

And we drink copious amounts of water And read bits of books, and lament that the flood destroyed so much... And drop more acid when the time is right ... to drop more acid. (In memory of my friend Tony Cockcroft and his mother, Joy). - Michael Collins 2022.

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STRAITJACKET 222 Denison St. Broadmeadow NSW 2292 https://straitjacket.com.au/ STRAITJACKET Straitjacket Gallery is an art partnership run by two artists: Dino Consalvo and Ahn Wells in Newcastle, NSW Australia. They present curated solo, group and represented artist exhibitions; artist workshops and one-off art events. Mimbi Caves Golden Light, Hand Carved woodblock. Oil and acrylic on Birch. 1540 x 400. Graham Wilson. Issue 48 September 2022 162

20 August - 4 September Leslie Fitzsimmons Gallery 1 Jo Dyer Gallery 2 & Project Space 10 - 25 September Dylan Jones Gallery 1 Graham Wilson Gallery 2 & Project Space 1 16 October Peter Lankas Gallery 1 Belinda Street Gallery 2 & Project Space 22 October 6 November Isabel Gomez Project Space 12 - 27 BenjaminNovemberGallagher Gallery 1 Michelle Teear Gallery 2 & Project Space EXHIBITIONS CALENDAR https://straitjacket.com.au/ Issue 48 September 2022 163

STUDIO LA PRIMITIVE ARTS ZINE PREVIOUS ISSUES

Arts Zine was established in 2013 by artists Eric and Robyn Werkhoven, now with a fast growing audience, nationally and Theirinternationally.extensivemailing list includes many galleries, art collectors and art lovers.

The Zine is free, with no advertising from sponsors. “It is just something we want to do for the Arts, which has been our lifelong passion.” We have featured many national and international artists, photographers and writers including Wendy Sharpe, George Gittoes, Matthew Couper, Seigar, Kathrin Longhurst, Nigel Milsom, Marcus Callum, James Drinkwater and Kim Leutwyler and many more. In 2017 it was selected by the NSW State Library to be preserved as a digital publication of lasting cultural value for long-term access by the Australian community.

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Click on cover to view the issue. Issue 48 September 2022 165

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POETRY& SCULPTURE The publication includes a collection of poems written over recent years, penetrating and profound observations on life. And a selection of Eric’s dynamic and prolific sculptures. Enquiries contact: E: werkhovenr@bigpond.com Page : Left - Front cover, The Fall, Autoclaved aerated cement / cement / lacquer, H32 x W46 x B38cm. Eric Werkhoven 2013. Right : Collaged sculptures. Photograph by Robyn Werkhoven. Right : Eric Werkhoven. Photograph by Robyn Werkhoven. Issue 48 September 2022 171

ART SYSTEMS WICKHAM 40 ANNIE ST. WICKHAM, NEWCASTLE NSW. www.art-systems-wickham.com/ Phone: 0431 853 600 Director: Colin Lawson Issue 48 September 2022 172 ARACCBREE T H

AUGUST 26 SEPTEMBER 4 - DANNY GILES SEPTEMBER 9 18 …… REBECCA RATH SEPTEMBER 23 OCTOBER 2 …… JOHN BARNES OCTOBER 7 16 ……… THE CIRCLE GROUP OCTOBER 21 NOVEMBER 6 ……… LAYERSVarelle Hardy, Pat Davidson, Margaret McBride, Sue Stewart , Janette Kearns Wilson ,Faye Collier. NOVEMBER 11 – 27 SUSAN RYMAN DECEMBER 2 18 … ANNUAL XMAS GROUP SHOW You'll FEST 2022 40 ANNIE ST. WICKHAM, NEWCASTLE NSW. www.art-systems-wickham.com/ ART SYSTEMS WICKHAM CALENDARDANNY2022GILES Issue 48 September 2022 173

Gallery Gift Shop at Home An online store featuring a variety of wearable artworks bracelets, scarves and earrings as well as homewares. https://timelesstextiles.com.au/product-category/gallery-gift-shop/ Issue 48 September 2022 174

E X H I B I T I O N CA L E N RDA 2022 United Tribes… gathering Susan Doherty 09 August 18 September An Elephant in the Room 20 September - 30 October Showcasing your favourite fibre artists DistantNicolaHorizonsHenley 4 January - 12 Febuary 2023 GALLERY WILL RE-OPEN FROM 3 NOVEMBER - 90 Hunter St. Newcastle, NSW. https://timelesstextiles.com.au/ SUSAN DOHERTY Issue 48 September 2022 175

B GOKCATBACKALLERIE S E X H I B I T I O N C A L E N D A R 57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm www.newcastlepotters.org 2022 CALENDAR August 19 - September 4 3 Alchemists Patricia Luck, Janette Bickley & Helen Jackson September 9-25 View 3 - Intersections Revisited Keith Nesbit, Paul Foley, Chris Buller September 30 - October 16 Habitat 2: Pollinators Hunter Valley Artists October 21- November 6 Eclectica Emilie Tseronis, Colleen MacSween, Hannah Matilda Issue 48 September 2022 176

57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm www.newcastlepotters.org UACRAPTIIL C K J NAE T KCBETILEY Issue 48 September 2022 177

Barbara Nanshe Studio https://nanshejewellerystudio.com/ Shop 1-3 The City Arcade, 120 Hunter Street, Newcastle, NSW 2300 Issue 48 September 2022 178

Barbara Nanshe Studio Online Shop Handmade. Ethical. Bespoke. Unusual. Original. Individual https://nanshejewellerystudio.com/ Shop 1-3 The City Arcade, 120 Hunter Street, Newcastle, NSW 2300 Issue 48 September 2022 179

GALLERY ON DOWLING Helene Leane Jeanne Harrison Spring Valley 1# - Helene Leane. 120 Dowling St. Dungog NSW. www.heleneleane.com Issue 48 September 2022 180

DUNGOG BY DESIGN GALLERY / SHOP 224 Dowling St Dungog, NSW. https://www.facebook.com/DungogbyDesign ARCNRHACTEIE I G Issue 48 September 2022 181

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Rhino Images – Art and the Rhinoceros, First Edition, 2017, is available for download at The Rhino Resource Centre web site. Link : http://www.rhinoresourcecenter.com/index.php?s=1&act=refs&CODE=ref_detail&id=1518479271 : White Rhino crash at Whipsnade Zoo, England. Image: Robert Fildes © 2019.

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.

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 Theseanimal.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.

Rhino Images - Art and the Rhinoceros

Direct

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H A H O A R T C H R I S D U F F Y RISE! Acrylic on canvas, 210 x 200 cm. Chris Duffy.