{' '} {' '}
Limited time offer
SAVE % on your upgrade.

Page 1

studio la primitive

arts zine issue 6 july 2014



studio la primitive




Robyn Stanton Werkhoven



Ben Kenning

Portrait Artists Australia

Joshua White

Janis Lander


Shelley Cornish

Lorraine Fildes


Judy Henry

Carlin McLellan


David McLeod

Eric Werkhoven


Ann Sutherland

Robyn Werkhoven

Ewen Sutherland

Alex Sutherland


Front cover -

Please do not copy articles in this magazine without written permission of the Editor. Copyright Š 2013 Studio La Primitive, All rights reserved.

Issue 6 - July










Studio La Primitive Antics…….. E&R Werkhoven


Featured Artist………………… Ben Kenning

6 - 13

Robyn Werkhoven

Essay…………………… …… Eric Werkhoven

14 - 15


Featured Artist …………………Shelley Cornish

16 - 25

Poem ……………………………Robyn Werkhoven

26 - 27


BLOOD Exhibition…………….. Robyn Werkhoven

28 - 45


Featured Artist…………………..David McLeod

46 - 57

Postcards From Barcelona…… Lorraine Fildes

58 - 71

Artist Interview

72 - 83


………………. Judy Henry

Portrait Artists Australia……….. Janis Lander

84 - 97

Poetry ………….. ……………

Carlin McLellan

98 - 99

Artist Interview………………… Ann Sutherland

100 - 107


Artist Interview…………………..Ewen Sutherland

108 - 113

Artist Interview ………………… Alex Sutherland

114 - 121


Art News…………………………

122 - 129


Issue 6 - July



EDITORIAL Greetings to all our ARTS ZINE readers .


The July issue features interviews with nationally recog-


nised artist Ben Kenning, and singer / artist / actor David


McLeod .

Don’t miss reading our new essays, poetry and art news. The ARTS ZINE features professional Hunter Valley, national


and international visual artists poets and writers, glimpses


into their world of art and their creative processes.


Submissions welcomed, we would love to have your words


and art works in future editions.

SLP would like to thank all contributors .







Submit articles to email: werkhovenr@bigpond.com Regards - your editor Robyn Werkhoven

Issue 6 - July



E &


N T I C S STUDIO LA PRIMITIVE (C)2014 - ANTICS by E&R Werkhoven collaborative drawings . www.studiolaprimitive.com Issue 6 - July




Issue 6 - July



Ben Kenning by Joshua White “In 2005 I was a longhaired arrogant art student. I was attending Hunter St. Tafe with many other wanna be artists.

Through the crowd of hipsters, hippies, old ladies and a small number of Goths I saw a short-

haired baby-faced boy.

He was quiet and gentle looking. I would later find out that his name was Ben

Kenning, he wanted to be a painter and he worked at an insurance call centre at night. We were both in the same painting class together and that’s where we had our first interactions.

“Hey man.” I said “Hey.” He said in return, in an unexpectedly deep voice. Class continued and we both started to paint, for the first time. I asked him “How do I do this?” His reply was simple and honest “I have no idea.” Ben studied art at a point in his life when he was into drugs.

Not just losing his mind within them but

exploring facets of his brain that wouldn’t normally be reached. DMT, mushrooms, acid, all the gametes of psychedelics were vehicles to these places.”

Opposite page: Artist Ben Kenning beside recent paintings. Issue 6 - July



“I don’t use drugs to create art, but I have drawn from those experiences. These experiences have come to inform my work on a fundamental level. Stimulating creativity and gaining access to non-ordinary realities, is what I have tried to do. I opened myself up to being an artist. I am now away from the 9 to 5 grind, just slaving away. Tafe, Uni and other artists have facilitated my sense

of place, identity and where I belong.

It was the beginning, I entered into a new, natural state of being.”

“Nine years later and he looks different now, he has changed. His he’s grown into his baby face and his body is inked with tattoos, acquired from travel and youth. I have noticed something within Ben today; he is much calmer and more content. He has more of a purist’s approach to life and his artistic practice: having daily routines, mixed with meditation and treating art like a job, in some ways, are a reflection of his growth. From having ‘no idea’ to forming a skill set of how to handle paint and also a very clear and concise way of verbalizing his concepts, techniques, and where his work is drawn from.”

Issue 6 - July



Painting - Ben Kenning (c)2014

Issue 6 - July



He lives now with his two cats within the walls of a two bedroom unit. There have been many times we have sat up late smoking cigarettes, drinking and talking art. Ben can never not be an artist. Everything revolves around art. “Art is just as much an idea, a philosophy, a way of living.” I ask him “Define what art is in one sentence.” There is a long silence. “Art is creativity and imagination. As much mental as it is physical.”

He has seen me living in a bus, living with a psychotic partner, as a friend, as an artist, as a father to my daughter, as a drunk and overall as nothing more than a man. A man like him. He has a constant deepness. Never judging just always searching and travelling.

Finding things and trying to communicate those things

back - back to anyone who will listen. Never worrying if you completely understand or even if you like it.

Issue 6 - July



Painting - Ben Kenning (c)2014 Issue 6 - July



I wonder why our friendship and journey through art has continued together and is so strong. We are on completely different plains, but I have seen him at his best and I have seen him when he is down and out. Bankruptcy, failed relationships, inner turmoil and life’s complications have never pushed us too far apart. It is totally irrelevant whether he is successful in life or art – it’s all about the next chapter.

“The problem with being an artist is that you’re destitute, destined to be poor.” he says, before adding; “Only in a material sense.”

- Ben Kenning & Joshua White (C)2014

BEN KENNING – BACKGROUND INFO Ben Kenning is a Newcastle based artist who studied at Newcastle Art School and completed his Bachelor of Fine Arts at Newcastle University. In 2011 Kennings hard work was recognised when he was interviewed and filmed by the Australian Broadcast Commission to be telecast on ABC Televisions Sunday Arts Program. Ben has focused on delivering large scale paintings of which this, according to Kenning, has been a challenging and refreshing process. In 2010 Ben spent 5 weeks travelling throughout South East Asia in Vietnam, Thailand and Cambodia and was greatly influenced by the marked contrasts in environment. Ben attended an artists in residence program at "Red Gate Gallery" in Beijing, China before returning home to consolidate on the experience.

In the near future he will travel to Berlin to further his artistic aspirations. Issue 6 - July



Painting - Ben Kenning (c)2014 Issue 6 - July



ESSAY – ERIC WERKHOVEN© 2014 Like an anchor not lost at sea. To gather about us these intricate designs, that reconnect us to the ancestral tree. In the shimmering translucency of another sun rise.

In the shimmering translucency of another sun set. In waking up and doing everything we possibly can. And in falling asleep, to become aware of our great subconsciousness. Never quite directly to the heart, mind and spleen.

But in a roundabout journey, we amass the capacity to reinvent ourselves. It’s all on deck, to gather the fruits of our labour. We gather these intricate complexities to plug up the holes in our many insecurities, albeit we manage to look complete (whole).

We gather the many beautiful fruits from our ancestral tree. We need to delve deep to realise how important it is. This birth in the blue sky brings us home. Where the dreaming arches itself over us, nestling in the warmth where love reaches us. Issue 6 - July



Blue Sea - Eric Werkhoven www.studiolaprimitive.com Issue 6 - July




Who Let the Dogs Out II ? © Shelley Cornish 2014 Issue 6 - July



SHELLEY CORNISH INTERVIEW Shelley Cornish - Background. “ I lived for 17 years in the Newcastle region and have just recently moved to Byron Bay area to be near family now that my kids have all grown up. As a child my family moved around a lot. Consequently this transient life instilled a little ‘gypsie’ in me. I have no fear at relocating. I kind of find it exciting. Like an adventure. I like change. So when things stay the same for too long it feels a bit ‘ho hum’. Due to an unfortunate home life I had minimal schooling and had to leave at age 14 to work and then made my way to Sydney at the age of 16. I had a large family of my own (5 children), and it wasn’t until the youngest was in high school that I was able to start thinking about me and the rest of my life and where I might go with that. That was kind of like being reborn. I felt like I was just staring out all over again and I could choose anything (within reason). So after a divorce I went to university at age 42 studying Education and then onto TAFE to learn computers, graphic design and finally Fine arts. And there the greatest journey began.”

Issue 6 - July



Party at Mine—mixed media on canvas Shelley Cornish © 2014 Issue 6 - July



Shelley when did her artistic passion begin?

Shelley describes her work -

“My artistic passion began at TAFE whilst learning

“Honestly there is nothing really deep about what

how to use a computer. I was at the printer one day

I paint and I describe as ‘very varied’. I swap

and found something that had been left behind. I told

and change all the time. I go off on tangents for

my teacher that I wanted to do that kind of thing and


she said that it was ‘graphic design’ and that I should

sometimes go elsewhere.

enroll in that course.

about myself. I don’t get bored that way.

I did just that. One day we







That’s what I like

were given paint to play with and I told my teacher I

It’s all about color though, that’s for sure. I’m

loved playing with paint and she said I should go and

exploring mark making in a whole new way at the

do ‘fine arts’ and I did. I realized I could draw, and

moment. I love patterns, I always have doodled

very well too. And that’s when my life really changed.

in patterns so I am experimenting with that love

It’s good doing something that comes easily and its

in my new work.

easy to do something you’re good at.

abstractive gradually.

I have an amazing work ethic.

That’s simply be-

cause I am in love with what I do. I can’t get enough

Also becoming more Abstractiveness goes

against my natural grain so I have to work hard at it.”

of it. I’m happiest when I’m being creative. I love the solitude and the natural high I get from it.” Issue 6 - July



Family Love - mixed media on board 90 x 120 cm Shelley Cornish Š 2014 Issue 6 - July



What inspires you?

Name your greatest achievement, exhibitions?

“Mostly I inspire myself, and no I didn’t flog that from

“My greatest achievement hasn’t happened yet.

Matthew McConaughey. What I mean is that when I

But my first solo exhibition after one year of

throw caution and inhibitions to the wind and I do

painting was extremely successful. That was an

something that’s outside my safe square, something

amazing boost for me on a personal level. I knew

unexpected and something fresh, I get motived, self-

I was really onto something.”

inspired and excited about where it could go. It’s so

What are you working on at present?

easy to keep doing what you know and what comes easy and what feels safe. And breaking away from those things is not easy because its fraught with danger in that it could fail and you can loose time and motivation.

“At the moment I have just completed 3 large

commission works. I’m now working on emulating and borrowing from one of my favorite artists Bundit Puanthong, a Thai artist based in Melbourne. I found him accidently whilst cruising

But apart from that I’m inspired by many different

the Internet and I can’t stop looking at his work.

things. Sometimes an image, sometimes an idea or

I stare at it and stare at it. That’s a good sign.

even simply a color. Oh, and of course my favorite

So I’m literally pulling apart his work in my mind

artists. These are Anthony Lister (Australian) and

and breaking it down to fundamentals and then

Bundit Puanthong (Melbourne based Thai artist)”.

stealing the crap out of it.” Issue 6 - July



T-Shirt by Mickey Mouse - mixed media on canvas 91cm sq

Shelley Cornish Š 2013 Issue 6 - July



Red Horse - mixed media on canvas 1 m sq Shelley Cornish (C)2014 Issue 6 - July



Bird With a Gift Wrapped Wing - mixed medium on canvas 90 x 100 cm

Shelley Cornish Š2014 Issue 6 - July



Future aspirations with your art?

Other interests?

“Regarding painting, a good friend once told me….

“I’m a very active person.

‘the more you do the better you get’ and I believe in

and web design at the moment. I’m a graphic

that. So I plan to keep painting prolifically and push

designer and photographer so web design is just

myself to paint in the style I dream about. And if I

another medium to dabble in.

know what that is, and I do, you would think would be

multiple skills is vital to me.

easy wouldn’t you?. Also a favorite teacher of mine

extensively when I’m creating art. I would be lost

named John Morris once said - “It’s not what you

without it.

paint but how you paint it”.

explore ideas digitally first sometimes.”

These two pearls of

I’m studying music

Having these

I use Photoshop

It saves a lot of time and paint to

wisdom have become my mantra.” Forthcoming exhibitions?


“I am having a little exhibition at Nanshe Gallery in Newcastle in November this year but with exhibitions comes ‘pressure’ and ‘outcomes’ and my goal at the moment is just to get lost in the paint for at least 6 months.”

Issue 6 - July




Issue 6 - July



Metamorphosis To fly beyond the white clouds Half bird, half human

Expanding the mind Ancient myths are born Lusting for new life To taste the taboos Magical visions and dreams Finely honed senses Arms evolve to wings To catch the breeze and rise high Merge into the sky. Poem & drawing - Robyn Werkhoven Š 2014 Issue 6 - July



Issue 6 - July



BLOOD EXHIBITION July 10 – 27 2014 Newcastle Art Space - 246 Parry Street Hamilton South NSW 2303

Exhibition Dates: 10 – 27 July 2014 HOURS: Thursday – Sunday 12 noon – 5pm An exhibition exploring artists’ personal concepts of – Curators: Eric & Robyn Werkhoven Co-curator Ann Sutherland

Official Opening: Saturday 12 July 2pm onwards - public welcome Special performance by Ryan Burrett actor / singer

The exhibition features: painting, sculpture, photography, installations and printmaking.

Exhibiting artists include: Ric Woods Maree Nichols Judy Henry Katherine Sullivan Andrew Finnie Laura Jefferson Peter Ronne Laraine Palmer Dawn Thompson Christine Pike Josh McGregor John Wilks Ann Sutherland Ewen Sutherland Helene Leane Ros Elkin Misha Moon Diana Middleby Sue Stewart Sherrel Oakey Margo Dugan Linsey Gosper Eric Werkhoven Robyn Werkhoven

Issue 6 - July



BLOOD EXHIBITION This is the fourth year for Hunter Valley artists Eric and Robyn Werkhoven to curate a dramatic and provocative themed exhibition. Twenty five professional Hunter Valley artists have been invited to face another challenge, this time to create an artwork interpreting and exploring the subject BLOOD. The theme has produced an

amazing exhibition of many diverse and emotional artworks by the artists; from the gory

and bizarre to the beautiful and spiritual. The word BLOOD immediately invokes multiple imagery: the fluid of life, red the colour of passion, danger, power, anger, fear, war, and beauty. “The average adult contains approximately five litres of blood, flowing through vessels such as arteries and veins. It contains living cells – blood is alive. Blood transports oxygen from the lungs to body tissue and carbon dioxide from body tissue to the lungs. Blood is the fluid of growth, transporting nourishment from digestion and hormones from glands throughout the body. Blood is the fluid of health, transporting

disease fighting substances to the tissue and harmful waste to the kidneys for removal.” Without blood, the body perishes. Throughout history mankind has been fascinated and in awe of blood. It has been deemed the food of the gods, and the core of the soul and wisdom. Before many ceremonies concerning blessings from ancestors

or gods, blood is shed. Issue 6 - July



Blood rituals feature throughout history. Ten thousand years ago human sacrifices to the Mother Goddesses took place. The Egyptians sacrificed humans or their best bulls to appease and honour the Gods. The ancient Incas’ of Peru and the Aztecs of Mexico performed ritualistic, violent death ceremonies of a human for their Gods. The chosen victim was first honored as a demi god, then put to a gory death.

Blood rituals are practised in many of our religions. Following tradition, in the Old Testament, Abel sacrifices the first born of the herd to God. Other concepts the artist may investigate for the exhibition – Vampire culture, magic, blood lines and family heritage, and what drives humanity to wage war.

Artists who have worked with actual blood – Ron Athey in the 1980’s created “Pleading in The Blood”. He has been a crucial artist in the development of performance art, body art, live arts and experimental theatre. Jordan Eagles a “New York artist who preserves blood to create works that evoke the connections between

life, death, body and spirit.” “ The following pages contain images and statements from some of the exhibiting artists in BLOOD, an exhibition well worth a visit by art lovers.” - Robyn Werkhoven (C)2014.

Issue 6 - July



LARAINE PALMER Newcastle installation artist and painter.

“The blood vessels in our body would cover a distance of approx. 96,500 Km.

This knitted red wool which is sewn into a tube represents the

blood that flows through the veins in our bodies. The words in blue stitched onto the red tube represent the outer casing of our veins which is blue in colour. The knitted splatter on the floor represents words that involve the spilling or taking of blood as well as a description of types of blood.�

Issue 6 - July



“Our blood runs through our bodies in veins that are blue even though our blood is red and is unique to each person and blends together when our children and their children are conceived this formulates our physical structure as we know it. Although red blood flows through the veins in our bodies we are all different.

Our blood is grouped into different

classifications and that is the ABO system and the Rh type system. There are four blood groups are ‘A’, ‘B’, ‘AB’ & ‘O’. Each blood group is either Rh-positive or Rh-negative. A person’s blood

type is called ‘Rh type’. Some blood groups are not compatible with other blood groups. The mixture of our blood can give us some amazing surprises. Coloured people can conceive white children and white people can conceive coloured children. It is truly amazing that our blood can create this jigsaw puzzle with every piece generating a new picture.” In my art work I have embroidered some words that reflect our blood lines and heritage: Haemoglobin, Plasma,

Vital fluid, Heart, Veins, Cells, Pedigree, Parentage, Lineage, Blood line, Ancestry, Breed, Fore-

bear, Heritage, Forefather, Lineage, Origin, Race, Pedigree, Foremother, Genealogy, Ancestor, Descent, Kin, Family, Grand Parents, Cousin, Relative, Siblings & Nephew.

When blood is spilt either on purpose as in an operation or slaughter, I have also included some of these words on the floor: Haemophilia, Corpse, Cadavers, Remains, Carcasses, Stiffs, Deceased, Essences, Bloodshed, Carnage, Killing, Slaughter, Bloodletting, Violence, Wound, Juice, Claret, Gore, Cruor, Sanguine fluid, Scar, Extraction, Operation, Wound, Stab & Cut. “

- Laraine Palmer (C)2014. Issue 6 - July




Andrew Finnie is a Newcastle Artist and Illustrator. You can see more of his digital imagery at andrewfinnie.com or by googling 'andrew finnie artist'. He is proud to be represented by Anna Olswanger, senior literary agent at Liza Dawson Associates Literary Agency, NY.

The Death of Goldilocks The earliest known manuscript of The Three Bears was written and illustrated by Eleanor Mure in 1831. But Mure's The Three Bears isn't quite the same as the tale we know today. In Mure's original story, 'Goldilocks', instead of being an innocent young girl, is an unnamed "The Death of Goldilocks" - Andrew Finnie 2014, Digital Illustration, 16 by 20 inches, Pigment Print on Epson Watercolour Paper. Edition of 10.


ill-tempered old woman who intentionally

breaks into the bears’ home, steals their food

and trashes their house. Issue 6 - July



On the bears return, shocked by the trail of broken

In 'The Death of Goldilocks', I have morphed the

furniture and dirty dishes, they discover the old

modern Goldilocks and The Three Bears with

woman hiding in a closet.

Mure's version, transforming the old woman into

After unsuccessful attempts to both burn her alive


and drown her, the bears take revenge and impale

The image describes the moment where the

the unrepentant old woman on St Paul's church stee-

three bears contemplate the consequences of


what they have done. Goldilocks' body lies

In Mure's own words, the story ends this way:

bleeding at their feet yet, as a 'nod' to the postGrimm sanitised folk tale form, both her hair and

On the fire they throw her, but burn her they couldn’t;

her dress are not dishevelled - even after her fall

In the water they put her, but drown there she

from the church steeple.


Around them, "nature', in the guise of various

They seize her before all the wondering people,

animals (e.g. chickens, rabbits, squirrels), looks

And chuck her aloft on St Paul’s churchyard steeple; And if she’s still there, when you earnestly look,

on as a witness, both shocked and accusatory. - Andrew Finnie (C)2014

You will see her quite plainly...my dear little Horbook! Issue 6 - July



Babushka Sandstone sculpture Peter Ronne Issue 6 - July



PETER RONNE Newcastle sculptor.

Ronne’s statement about his sandstone sculpture Babushka - Бабушка

“Before the taking of blood there must be the sharing of blood. Thus there is this piece, Бабушка (Grandmother), an attempt at capturing something of the mood of the im-

pressionist artist Mary Cassatt’s insightful pictures of mothers and children. Beyond their Madonna like poses is the tension where an embrace is a pushing away. The infant, a new ego, reaches out beyond its source and turns back in for refuge from that huge coldness. In this piece that coldness may have consumed too much and grandma is left holding the bag. Between the BLOOD what is the story? Could it be desertion, death, a stinking tropical concentration camp, or a simple trip to the shops? No, folks, it’s only a rock given a form by tools with some moss growing on it and some moss scraped away. Meantime, back in the real world”…. Issue 6 - July



The Unknown and the Known No 3 - Photo Transfer Print Helene Leane (C)2014 Issue 6 - July




Slaves on a stony farm, goes mad in the end,

Newcastle artist painter and printer, has presented

Or conquers all but his memories and struggles

a series of six photo transfer prints for the exhibition.

all night

“This series is a reminder of those who die in war.

While the gunfire roars in the no-man's-land of







soldiers. Those who can be identified may receive a headstone in a war cemetery, standing in line, straight, in perspective, just like a column of marching soldiers. Douglas Stewart wrote a poem about

The Unknown Soldier dies in every war. He is the stone man crushed by the wheel of history,

the Unknown Soldier – a reminder of death in any

He is the green man feeding the roots of the



Sonnets To The Unknown Soldier (excerpt)

He is the warm man, lover and father of children,

“Whether they bury him under a slab of granite

And by his endurance the world rolls on to the

With the poets and kings in the Abbey, whether they leave him One meaningless X in a million crosses in France, Whether he lives and sings in the streets for


light And the grass comes up in the spring and children laugh, And, dead and forgotten, he lives in their laughter for ever..” Issue 6 - July



Dawn Thompson Hunter Valley artist.

‘Bloody Mess’ Book, 30cm X 15cm, “Photographs of blood soaked linen fabric were manipulated and then printed onto different papers. These papers were wax dipped and bound. Pictures of what is repulsive to many

have become

unrecognisable, swirls

of colour and texture, tactile pieces of paper. “ Detail from book ‘Bloody Mess’ - Dawn Thompson (C)2014

Issue 6 - July



SHERREL OAKEY Newcastle artist. "Give A Little - BUT - Know and Understand your own Blood Pressure Levels!!"

“For years I've been a blood donor. Despite the many visits to the clinic, I always feel a sense of

anxiety - and a sense of the bizarre. Over the last three months my life has become quite surreal and been totally turned upside down. I've spent more time in doctors surgeries

and hospitals than I have done in my entire life. To give blood has really impacted on me on a personal level - I see so much need.�

Issue 6 - July



JUDY HENRY For the BLOOD exhibition in July at the Newcastle Art Space (NAS) I knew that the subject was going to be the connection I have with my BLOOD relations who

all live overseas. I visualised a sculptural instillation using bird wire, and stones, to symbolise the connection I have with them. The title of my works is ‘Blood Links’ While visiting my relations during overseas trips in

1997, 2011 and 2013, I collected the stones from the family homes and these represent the material connection I have to my relatives. The stones come from Scotland, England, Canada, America and Africa. The bird wire is our blood interconnection.


installation is also symbolic of the Human Circulatory System. The stones represent the heart and the wire repreJudy Henry in her studio, working on sculpture

sents the Arteries, Veins and Capillaries.

for BLOOD exhibition. Issue 6 - July



ROS ELKIN Newcastle artist & printmaker.

“Roses are ancient symbols of love,





Blood roses are also

called beautiful black, red rose, almost black, scarlet, burgundy,

carmine and purple red. My painting is of a rose taken from my garden and their velvety petals represent the heart.�

Size: H1.35 x W1.53cm

Issue 6 - July






THE BLOODY BATTLE. Bloody battle is waged Senseless soldiers fight till death

Torn bodies and minds Wounded warriors Can you smell the blood? Can you hear the screams? The war mongers thrive Led by money and great greed Lethal Gods will win

Since dawn man has fought Ignorant and foolish hearts Rare is peace and love. - Robyn Werkhoven Š 2014 Issue 6 - July




Issue 6 - July



DAVID McLEOD David McLeod Background: Some artists are hard to define or pigeonhole into one specific genre or label. David McLeod is a case in point both in the visual and music medium. Born in 1960 in Sydney David grew up on the south coast outside of Kiama near Joneses Beach. This was a time when the farms ran down to greet the ocean and the old blue metal quarry’s held reptiles, caves, bats and old cattle bones to be dug up as treasure. Heavily influenced by this environment David’s art and music still reflect these elements to this day. The ocean being a constant recurring source of inspiration.

David left home in the early seventies and went to art school for two years at Wollongong Technical College. It was here he met artist Robyn Werkhoven and lived with her, helping with screen printing and fabric design whilst studying fine arts.

Art, Music Mediums and influences: “Acrylic on canvas has been the main medium though sometimes the use of use pencil or aquarelle augment’s the process. There was a small period in the early eighties where I used chalk pastels but the dust of it played havoc with my voice. Sharing a studio with a friend in 1995 for a year and painting ceramics also proved problematic with the dust. “ Opposite page: David McLeod in Chess - Theatre Royal, Sydney. Issue 6 - July



“Fabric and Label design have come into play and recently I have been exploring resin, treating dead insects found on walks and incorporating them into glass and plastic jewellery, but again the pull back to paint on canvas is calling. Some visual artistic influences that have pressed my buttons have been Russo, Freda Kahlo, Dali, Bret Whitley, Monet and Mark Ryden. Musically I have been influenced by Joni Mitchel, Donny Hathaway, Aretha Franklin, Ray

Charles, Terresa Teng and James Taylor. “ David has exhibited and sold his pottery at "Designed and Made" in the Rocks Sydney around 1997 and was a featured artist in the "Doubly Gifted" exhibitions for jazz musicians from 1993 -1996.

Ceramic plates by David McLeod

Currently his work is available for sale on his website and five paintings are on display at The Print and Framing gallery - Mitchell Park - Unit 21/22 Hudson

Ave Castle Hill N.S.W. Issue 6 - July



After finishing Art School in 1978 David moved to Sydney began singing and writing music full-time, all the while continuing to paint and draw. He worked the piano bar circuit across Australia and halfway around the world. By the mid-eighties David had moved away from the piano and was fronting bands as lead vocalist. He worked steadily fronting his own bands such as “McLeod 9” and “The David McLeod Quartet”, backed

by some of Australia’s best jazz musicians and playing venues such as the Basement, Don Burrows’ Supper Club, Soup Plus, The Bacardi Club, ABC’s Livewire, and a variety of jazz festivals and corporate events. As a soloist, David appeared regularly on TV, performing nationally on “Good Morning Australia”, “Tonight Live with Steve Vizard”, “Hey, Hey it's Saturday”, and over ten years on the “Midday


David McLeod performing at Zenith Theatre Issue 6 - July



His voice has also been featured as a studio vocalist for radio and TV jingles and as a backup singer for artists such as Renee Geyer. He released two albums in the 90’s “Am I

Blue” an album of original songs and art work followed by “The Blue Lounge Sessions “ an album of obscure jazz and blues covers but no control over the art work. David’s acting credits include the lead role of “The American” in “Chess” - The Musical followed by “Godspell” (for which he received a MO award nomination as best supporting actor in a musical), and Bard on Broadway for the

Bell Shakespeare Company, plus the Australian classic “Dimboola”, in the role of Dangles, the best man. David McLeod as the American in Chess Theatre Royal, Sydney 1990 Issue 6 - July



His TV credits include roles in “A Country Practice” and a guest role on channel 7’s popular drama “All Saints”. More recently David played Detective Clifford in “The Suspects” for channel 7 and portrayed Mark Standen in an episode of “4 Corners”2011 and recently played Herman Rockerfeller in “Behind Mansion Walls” 2012.

2014 has seen David play roles in “Deadly Women”, “Facing Evil” and Behind Mansion Walls for Beyond Productions

as well as

featured voice over work for the ABC’s 4 corners.

David McLeod in Godspell

(Sydney Opera House) Issue 6 - July



Storm Light David McLeod (C)2014 Issue 6 - July



Amy Bay - David McLeod (C)2014 Issue 6 - July



“The Moon The Heart The Journey”

The original cover art work “Mermaid Sky” 2012 is acrylic on canvas (C)David McLeod The EP is available digitally on iTunes and CD Baby film clips to the tracks can be viewed on You Tube Issue 6 - July



David McLeod’s Latest Project - “The Moon The Heart The Journey” Though semi retiring from performing around 2003 to concentrate on education in music the project “The Moon The Heart The Journey” has been a labour of love for about three years and David first release in over 10 years. With family ties to the Chinese and an ongoing journey with the language it was no surprise that something like this would eventuate. The original cover art work “Mermaid Sky” 5ft/2ft 2012 is acrylic on canvas. Falling in love with the song the “Moon Represents my Heart” and the story behind the singer Deng Lijung

(Teresa Teng) that helped make it famous were the ingredients that unexpectedly fuelled the affair that became the EP “The Moon The Heart The Journey” The fact that I am a white Caucasian did not cross my mind much during the inception and early stages, though as I moved through the process I found that there was some reaction and interest from native Mandarin speakers as well as Westerners.. I had been writing some other pieces some bi lingual and some in Mandarin and four of these ended up on the project. The track “Coincidence” was written after watching Peter Chan’s wonderful movie “Comrades: “Almost a Love Story” as it contained a sub plot involving Teresa Teng as well as featuring some of her music. The story touched me so much I wrote the song “Coincidence” shortly after. I had to get it out so fast that I wrote it in English with only a small section of spoken word in Mandarin. Issue 6 - July



Photograph - David McLeod (C)2014 Issue 6 - July



WEB SITE www.davidmcleodaustralia.com FILM CLIPS "Thank You" 谢谢你 http://www.youtube.com/watch?v=mdbvXd4LjHE&list=UUrS-P5ymgAloZE_hwh5FBqQ

"The Moon Represents My Heart" 月亮代表我的心 http://www.youtube.com/watch?v=QERTAVjIOKU&index=3&list=UUrS-P5ymgAloZE_hwh5FBqQ

"You Take My Heart" 我心随你 http://www.youtube.com/watch?v=bWM6fNUCUjI&list=UUrS-P5ymgAloZE_hwh5FBqQ&index=5

"You and I" 我和你 http://www.youtube.com/watch?v=4t_KZOfa5-s&index=4&list=UUrS-P5ymgAloZE_hwh5FBqQ

"Coincidence" 巧合 http://www.youtube.com/watch?v=OFOsphcr478&index=2&list=UUrS-P5ymgAloZE_hwh5FBqQ

Issue 6 - July




Issue 6 - July



Postcard from Barcelona Lorraine Fildes A day in Barcelona must mean seeking out Gaudi’s buildings. Antoni Gaudi is one of the world’s most famous architects. International recognition of Gaudi’s contributions to the field of architecture and design culminated in the 1984 listing of Gaudi’s key works as UNESCO World Heritage Sites. Whilst in Barcelona I visited four Gaudi architecture projects: Casa Batllo, Casa Mila, Guell Park and Sagrada Familia - all unlike any architecture I have ever seen.

Casa Batllo One of Gaudi’s most striking works is the Casa Batllo (1904–1906). The facade is made of sandstone covered with colourful mosaics. This building has always been known as “The House of Bones”. Balconies

of the lower floors have bone-like pillars, those on the upper floors look like skulls. According to some authorities the roof tiles and curved roof line suggest a dragon, the small turret with a cross would symbolize the sword of St. George stuck into the dragon. (Sorry the roof turret is not shown in the photo.) Casa Batllo’s subject is thought to be a homage to Catalonia’s patron saint, St. George. The skull balconies are the dragon’s victims, and the bony columns have been picked clean by the dragon. Issue 6 - July



Casa Mila

Another of Gaudi’s most admired works is the Casa Mila, (1906– 1910). This building is popularly known as ‘La Pedrera’ (the stone quarry), its facade is thought to resemble an open quarry. Others think it reminded them of a cliff wall in which cave-like dwellings had been dug out – or perhaps an undulating beach of sand. To me the whole building is an enormous sculpture that seems to have been moulded from a beige clay. The top floor, though, is covered in white tiles. The roof supports a number of surrealistic sculptures that are in fact chimneys and air ducts. Each wrought iron balcony is unique, working within the general theme of washed-up sea weed left hanging on the Casa Mila’s rock- like ledges. Issue 6 - July



Parc Guell

Parc Guell (1900–1914) was commissioned by Eusebi Guell.

He asked Gaudi to design

a privately financed garden suburb, a gated community as we now call it in Australia. Gaudi had to turn fifty acres of dry, stony, hilly terrain into a garden suburb. He succeeded in producing a fantastical, magical The project though was an economic failure - of the 60 plots created only one was sold. Despite this,

the park entrances, enclosing wall, roads, pathways and service

areas were built. The

park displays Gaudi’s genius at putting into practice innovative and structural solutions. In 1918 the city of Barcelona acquired the property and in 1922 it was opened as a public park. The site is surrounded by a light brown undressed stone and glazed-ceramic wall which follows every twist and turn in the hilly

terrain. Issue 6 - July



The main entrance to the Parc Guell has a pavilion on each side, intended as a porter's lodge and an office. These pavilions seem to be taken out of a Disney Fairyland,



curved with

roofs brightly

coloured tiles and orna-

mented spires. In this photo of the pavilions I am looking down on them over the city of Barcelona and to the Mediterranean Sea. It gives you a good idea of the height of Parc Guell.

Issue 6 - July



A monumental flight of stairs leads from the entrance pavilions in Parc Guell. The stairs are flanked by niches of mosaic designs and in the middle with mosaic covered fountains. Issue 6 - July



This staircase leads to another famous

feature of the Parc Guell - the Hypostyle Hall, which is constructed of eighty-six large Doric columns. On my visit there we were lucky enough to have a classical guitarist playing Spanish music.

Issue 6 - July



Above this hall is a large plaza in the form of a Greek theatre, with the famous undulating, colourful ceramic covered bench. The whole platform is supported by the Doric columns of the Hypostyle Hall. Issue 6 - July



The buildings in Parc Guell are connected by paths that are often supported by tree-like columns. Gaudi planned the roads in twists and turns to avoid any levelling of the hills. He had pillars made of brick to match the landscape. The slanting pillars are very sturdy, even though they appear fragile. The pillars also provide shelter from the rain and





nature’s forms were adopted in the architecture. Gaudi paid a great deal of attention to preserving the natural landscape – the result could serve as a model in our times.

The architecture of

Parc Guell not only conforms to the landscape - it appears to have grown out of it. Issue 6 - July



Sagrada Familia Sagrada Familia is the most well-known of Gaudi’s buildings. Jose Maria Bocabella initiated the building in the mid-19th century. The church was to be devoted to the child Jesus, the Virgin Mary and Saint Joseph, hence the church was named the Temple Expiatori de la Sagrada Família (Expiatory Temple of the Holy Family). It has always been an expiatory church (built from donations). On 11/07/2010, the Sagrada Familia was consecrated by Pope Benedict XVI and elevated to the status of a basilica. The architect Francisco de Paula del Villar offered to design the Sagrada Familia. Villar designed a gothic church, but was forced to resign due to disagreements with Bocabella. Antonio Gaudi took over the work in

1883, changing the design drastically to his modernist style, which was based on forms found in nature. What did Gaudi plan for the Sagrada FamĂ­lia? The temple was to be 95m long and 60m wide, able to seat 13,000 people. When completed, the Church would have three grand facades: the Nativity, the Passion and the Glory. The church would have eighteen

towers symbolizing the twelve Apostles, the four Evangelists, The Virgin Mary and Christ.

The one

representing Christ would be the tallest and would stand 170 meters high, crowned by a large cross. He intended the interior to resemble a forest, with inclined columns and branches reaching the ceiling. Each of the facades would have four towers, each tower would represent one of the disciples.

Issue 6 - July



What part of the Sagrada Familia did Gaudi complete? He completed the Apse, in Gothic style, the Natavity Façade and the first bell tower of the Nativity Façade.

This is all that Gaudí lived to see

built, since on 10 June 1926 he died as a result of being hit by a tram. Gaudi left few designs and

models and many of these were destroyed in 1936 during the Civil War, so the actual details of the basilica built since his death are the result of interpretation by other architects. In most cases these architects have tried to keep to the overall spirit of Gaudi’s ideas.

Issue 6 - July



The Nativity Facade was finished by Gaudi himself and is ornamented in a Baroque fashion with motifs of animals and plants.

The Nativity facade celebrates the birth of Jesus.

Issue 6 - July



In 1954 construction started on the Passion

Façade - it represents the pain, the sacrifice and the death of Jesus. There was a public outcry in 1987 when the sculptures depicting the crucified Jesus Christ were added. The abstract figures were in a totally different style from Gaudi's.


of the Glory Façade started in 2002 – it will be the most monumental of the three. It will represent one’s ascension to God. I have no

photos available of this Façade.

Issue 6 - July



Inside the basilica: the central nave soars to 45 metres, and is designed to resemble a forest. The slender, branching columns draw the eye upward to the ceiling and each branch helps support the ceiling. The columns are made of different types of rock. The longest and thickest columns are made of red porphyry, a hard volcanic rock. The dark, somewhat smaller pillars are made of basalt or granite or a

relatively soft rock from the mountain of Barcelona, Montjuic. The very large, tall windows, some of which contain beautifully coloured stained glass, light

up the basilica. The shimmering coloured light they allow in adds to the feeling of being in a forest .

Lorraine Fildes(c)2014 Issue 6 - July



JUDY HENRY Issue 6 - July



Judy Henry “How time goes around. First born generation from Scotland I was born in Tea Gardens in a little cottage in Main Street. My parents

sailed from Scotland 1951 and we lived on the banks of the Myall River at ‘The Pines’ upstream from Tea Gardens. We moved to Newcastle when I was a toddler and later moved to Maitland when I was thirteen. I left school just before my 15th birthday to study secretarial at Technical College, Maitland. While at Tech. a position for a Photographic Colourist apprenticeship was advertised and this really appealed to me, good

bye secretarial and hello Model Studio, in High Street Maitland. During my time as a photographic colourist, coloured photographs were being introduced and replacing the black & white, sepia and hand coloured photographs. While working as a colourist I studied Showcard and Ticket writing at Technical College, Maitland two nights a week for three years. Art has always been part of me, in one form or another. Marriage and family came along, and in 1973 my husband and l, 2 babies packed up and bought a little round wooden caravan and an iridescent green Ford Falcon station wagon and took off up the east coast of NSW and Queensland on a working holiday for a year. This was a great experience, not much money but plenty of fun and lots of great stories.” Opposite page: Myall River “view from the tinnie” Mixed media on watercolour paper - Judy Henry (C)2014 Issue 6 - July



Judy Henry - Sketching in the tinnie studio on the Myall River. Issue 6 - July



“When I was in my late thirties my daughter Kimberley was studying Fine Arts at the Hunter Institute of Technology, Newcastle. This ignited my dormant passion for art. I enrolled the next year at Hunter Institute of Technology, Newcastle, and then continued at Newcastle University, part time for 3 years. My work is always evolving and I am seduced by the contrasts, colours and reflections of the landscape and

water seems to be the link in my work. I have always felt a connection to water and the environment, being born at Tea Gardens and living on the banks of Myall River, and later on we spent most of our family recreation time camping and boating at the Myall Lakes. The first painting I painted and sold was of Mungo Brush at the Myall Lakes, I had entered into the Mattara Festival in the early 1980’s. I thought I had hit the big time, 30 years later I am thinking mmmm maybe that was one of those lucky days, it isn’t that easy. We live in Paterson and our family home is on a knoll with a billabong surrounding the front of our home with the Paterson River flowing behind our property. During times of floods the river spills into our land and the billabong. This really inspires me and just makes me appreciate nature and how it is always changing

and we have no control over it. My favourite room is on the front veranda overlooking the billabong and the surrounding rainforest.”

Issue 6 - July



Red Gum on the banks of the Billabong - Mixed media on watercolour paper - Judy Issue 6 - July



“Currently I am exhibiting at the Maitland Regional Art Gallery; my exhibition is titled ‘Reflections of landscape and life’. For this exhibition I had been working en plein air along the Myall River and in our billabong from aboard my aquatic studio (the 10’ tinnie) and also in my land based studio. My works are mixed media, collaged paper onto paper, drawing with charcoal and oil stick, I love collaging.

This brings back memories when I was a child and sick in bed, mum would bring in bowls of water and I would cut coloured paper up (I think it was tissue paper) I would dip the paper into the water and mix the colours up to see what would happen. Whereas now, I am pouring the paint onto the collaged paper. I love the mystery; the end result is always different. Drawing on the Myall River for this exhibition, has brought back many memories of trips to Tea Gardens, travelling along gravel roads and crossing rivers by punt. Each trip was a major event in the family car called, ‘Old Betsy’. The little cottage I lived in is still on the banks of the Myall River, although I was too small to remember living there I feel a strong sense of connection. After I had titled my exhibition for Maitland Regional Art Gallery – ‘Reflection of life and landscape’ I came across this quote by

Thomas Henry Huxley (1825-1895) on reflection: Is it “Reflection in” what you see? Is it “Reflection of” our own life?”

Issue 6 - July



Autumn day on the Billabong - Mixed media on watercolour paper - Judy Henry (C) Issue 6 - July



“In the last couple of years my husband and I travelled overseas to Europe, Scotland, England, Africa, Alaska and New York. I took every opportunity to see as many galleries as possible, to be able to see the original art work of the masters such as Miro, Kandinsky, Monet, Matisse, Vincent van Gogh just to name a few, it was truly inspiring and made me realise just why they are the ‘Masters’. We also travelled to South Australia to the Flinders Rangers, Painted Hills, Lake Eyre and Cobber Pedy which completely changed my impression of the Australian landscape. I am looking forward to our next trip in September travelling to Darwin, Alice Spring and Uluru. I admire Australian artists such as John Wolseley, John Olsen, Euan Macleod, Salvatore Zofrea and Graham Kuo just to name a few.”

“ I am excited to see where my next work takes me as I know I don’t have any say in the end. I just want to keep on creating. My family, friends and socialising are important to me, also I love to play the Djembe Drum - West African music, with the group called Big Bam Boom, and we meet once a week. I love reading Biographies,

especially those of artists, visiting art galleries and travelling.” - Judy Henry (C)2014

Issue 6 - July



Mangroves on Myall Lake - Mixed media on watercolour paper - Judy Henry (C)2014. Issue 6 - July



Mungo Brush on the banks of the Myall River - Mixed media on watercolour paper - Judy Henry (C)2014. Issue 6 - July



After a storm on the Billabong - Mixed media on watercolour paper - Judy Henry Š 2014 Issue 6 - July



“REFLECTION OF LIFE AND LANDSCAPE” Maitland Regional Art Gallery Exhibition date: 4th July – 14th September 2014

Opening celebrations: 3pm Saturday 19th July 14 230 High Street Maitland NSW

Issue 6 - July






The Embassy of Australia, Washington D.C. is pleased to present a selected exhibition of 23 Australian portraits by member artists of Portrait Artists Australia. The exhibition includes a wide range of subjects and celebrates Australia’s rich cultural diversity. DATES: 12 MAY – 2 SEPTEMBER 2014 Teresa Keleher -Director Cultural Affairs Embassy of Australia Bree Picking -Cultural Project Manager and Embassy Gallery Manager MEDIA ENQUIRIES: Janis Lander (6 +1) 0425 353 790, Nafisa (6 +1) 0404 036 303 Principal Sponsor - John Sample



www.portraitartistsaustralia.com.au Issue 6 - July



PORTRAIT ARTISTS AUSTRALIA - BACKGROUND NOTES This is the second exhibition Portrait Artists Australia has held at the Embassy of Australia in Washington DC, (the first was in 2005) and it gives us the opportunity to meet and exchange ideas with the international artists’ community, and to showcase the robust Australian portrait culture to an international audience. When Portrait Artists Australia was formed twelve years ago in 2002 we had no idea how long the organisation would survive, because it is run by professional artists whose main focus must always be their own studio practice. As it turned out, the core of artists who started PAA have remained active in the organisation, and at the same time have produced substantial bodies of work which in turn reflect on the

whole group and add to the vitality and the strength of this independent artists’ initiative. During the course of each year our members are selected as finalists in national and international prize exhibitions, and on this occasion the curators at the Embassy of Australia have made a selection of 23 ‘finalist’ and ‘winner’ paintings for this exhibition.

Portrait Artists Australia is an incorporated, non-profit, national association of professional artists, dedicated to representing and promoting the art of Portraiture in Australia and overseas. Since its Launch in October 2002 by Andrew Sayers, (then Director of the National Portrait Gallery, Canberra), PAA has organised 20 members’ exhibitions in major venues, free to the public.

Issue 6 - July



IAs well as our Annual Exhibitions, we have put on Fundraising Dinners for charities such as Legacy, art

demonstrations, Special Exhibitions and art events, promoting and celebrating the joy and the skill of the genre, which demands of artists both technical skills and conceptual ingenuity. Portrait Artists Australia published a limited edition coffee table book, The Artists’ Book, a celebration of 10

years of exhibiting history of our members in Australia and overseas. The longevity of this Artists’ Initiative is largely the result of the professionalism and generosity of the volunteer committee over the years. We acknowledge the patronage Paul Delprat, artist and Director of the celebrated Julian Ashton Art School and we express our gratitude to John Sample, the principal sponsor of this 2014 exhibition.

Janis Lander, President Portrait Artists Australia On behalf of the committee: Nafisa (Founder and first President) Judith Stevens (Honorary Secretary) Jeanette Korduba (Vice President) Sally Robinson, Jules Sevelson, Peter Smeeth, Sally Ryan, Mertim Gokalp. Webmaster Kathrin Longhurst.

The following pages include a selection of the portraits and artists’ statements in the exhibition in Washington DC at the Australian Embassy. Issue 6 - July



MARCUS CALLUM SUBJECT: This is my second attempt at a self-portrait and is painted entirely from life. It is a stylised image without a lot of excess detail, and rather than a portrait executed over only one or two sittings, this is an image created over a long period. Each day’s work added another layer, in effect creating a collage of my thoughts and feelings during that time. I see a lot of my father in this self-portrait. I had to use a small area of my bedroom to create this piece. It was particularly challenging as being positioned so close to the wardrobe mirrors created a number of distortions. My grip on the paintbrush is perhaps a sign of my determination to keep painting regardless of the difficulties.

Self-portrait FINALIST: 2012 Archibald Award Dimensions: H 104 x W 77 cm, oil on canvas

Issue 6 - July



HELEN EDWARDS SUBJECT: Claudia Chan Shaw is a Sydney-based Australian -born fashion designer and television presenter. Her elegance

and distinctive good looks provided me with much inspiration and she was happy to play along with my idea to depict her with reference to Gustave Klimt’s ‘Emilie’ - gold leaf and all! The dress she wears Is based on one of her mother’s designs and the multi-textured background represents

Claudia’s busy and colourful life.

Claudia FINALIST: 2012 Black Swan Portrait Prize FINALIST: 2012 Archibald Salon des Refuses Dimensions: H 200 x W 100cm, oil on canvas

Issue 6 - July




: James Browne

is a Set & Costume

Designer based in Sydney. He has designed in all Facets of the field in theatre, TV, film and events,

in Australia and overseas. Over the years he has worked for the Sydney Theatre Company, the Sydney Dance Company, NIDA, Opera Australia, The Sydney Opera House, and the Australian Institute of Music. We managed to find time for two three-hour sittings he had just completed designs for 600 costumes for Q Theatre in Penrith, and he was due to leave Sydney for a three-month stint with the Singapore Theatre Company. My concept for the portrait was to paint him the morning after an Opening Night, still in his tuxedo, disheveled after the night’s celebration, already working on ideas for his next project.

Opening Night – James Browne FINALIST: 2007 Doug Moran National Portrait Prize FINALIST: 2006 Portia Geach Memorial Award Dimensions: H 107 x W 107 cm, oil on canvas Issue 6 - July



NAFISA SUBJECT: Glenn A. Baker is a three-time winner of the BBC’s Rock Brain Of The Universe title, though he possesses a knowledge of music well beyond rock, owning one of the most extensive music

was described

archives in the world. He

by Rolling Stone magazine Music Editor

David Fricke as: “Not just Australia’s top pop scholar but a world class rock journalist who writes with the enthusiasm of a true fan”. He has written 15 books on music and is a a nationally syndicated radio and television presenter. He is the compiler and/or annotator of more than 500 highly acclaimed album anthologies and writes for more than 200 publications (in Australia and internationally). He was the Australian Editor of Billboard for more than 20 years.

Glenn A Baker FINALIST: 2010 Archibald Portrait Prize – Winner of The Packers Prize

Dimensions: H 250 cm x W 150 cm, mixed media on watercolour paper on board under Perspex Issue 6 - July



SALLY ROBINSON SUBJECT: Margaret (Joyce) Robinson – artist. This portrait is a landscape of my mother’s face as age and illness took their toll, and after chemotherapy had robbed her of her beautiful hair. The mountains & valleys have been laid out on a mapping grid. Over broad areas of flat colour, I have used stencils to build up the detail and tonal modelling. These stencils produce a regular texture of dots, dashes or in this case short lines which when painted over each other give a pixellated effect which echoes the way we see the world in print, on computer screen or TV. The image of Mum is both personal and general. It is my view of her stoicism, good humour and bravery, as well as being a comment on old age and illness. How age makes us invisible and androgenous and how illness make us vulnerable and frail. The Artist’s Mother WINNER: 2012 Portia Geach Portrait Memorial Award Dimensions: H 152 x W 106 cms, acrylic on canvas 2012 Issue 6 - July



VICKI SULLIVAN SUBJECT: John Waters is a highly respected actor and singer. Born in England, waters moved to


tralia at the age of twenty, and his career spans four decades in dramatic theatre, musicals, TV, film and

music. known as one of Australia’s most


character actors, his roles have included a criminal, a radio shock jock, a policeman, a politician, a soldier, a vampire, an ancient Roman, a priest, a womaniser, a doctor, a dad, a hard-living rock musician. An

accomplished musician, Waters has toured many times since 1992 with his one-man Show “Looking Through A Glass Onion”, a tribute to John Lennon. The show ran for 6 months in London’s West End, and Yoko Ono has given Waters permission to take it to New York in 2015.

John Waters, Glass Onion FINALIST 2013 Black Swan Portrait Prize Dimensions: H 120 cm x W 90cm plus frame, oil on Belgian linen. Issue 6 - July



ROBYN STANTON WERKHOVEN SUBJECT: Jenny Kee is Australia’s iconic Fashion designer and artist, who, emerging in the 70s in Sydney, became famous for pioneering Australian fashion design and knitwear, using the vibrant colours and motifs of the Australian native animals and flowers.

Jenny Kee with Waratahs FINALIST: 2011 Portia Geach Memorial Award Dimensions: H 76 x W 76 cm, oil on canvas framed.

Issue 6 - July



SHEN JIAWEI SUBJECT: Self Portrait. Shen Jiawei is portrayed with a Russian Red Army cap, and a second Jiawei with an Australian cattleman’s hat, together representing the two stages of Jiawei’s career as an artist, first in China and then in Australia. Reflected in Jan van Eyck’s (c. 13901441) Arnolfini mirror is the Muse of History, the same model the artist has used throughout his

career of history painting. The Muse of History has been borrowed from Jan Vermeer’s (c. 1632) masterpiece, Painter in his Studio. The third Jiawei is a rat, because he was born in the Year of the Rat.

Tri Selves WINNER: 2007 Archibald Award Salon de Refuses, People’s Choice Award Dimensions: H213 x W 183 cm, oil on canvas Issue 6 - July



JAN WILLIAMSON SUBJECT: Nancy kunoth Petyarr is an elder and senior artist of the Iylenty people at Utopia and a custodian of the Mountain Devil Dreaming represented in her work. Her paintings are also based around ‘awelye’: sacred ceremonial body decorations used by ancestors and women today in ritual ceremonies. Her work is held in national and international collections including the Art Gallery of NSW and the National Gallery of Australia “To me, her face and stance portray the pride and respect she is given in her community. I was particularly taken with her hands and wondered at the lifestyle she had led, which is so foreign to most Australians.” Nancy Kunoth Petyarr FINALIST: 2009 Archibald Award Dimensions: H 183 x W 137cm, oil on canvas

Issue 6 - July



JEANETTE KORDUBA SUBJECT: My daughter Zoë inspires me with her grace and her courage.

Zoë Hagarty FINALIST: 2010 Portia Geach Memorial Award

Dimensions: H 76cm x W 61cm, oil on linen

Issue 6 - July



Spiralling between Chekhov & mostly real life - Carlin McLellan. On certain nights I throw myself into certain distant

shorelines: Empty beaches, talking to teenage trees tripping over roots, thoughtlessly following tracks Soft sunshine streaking through cracks in the sycamores.

& then I'm lying on the living room floor of our two bedroom apartment, The smell of frying mushrooms and the late night shopping traffic

hurtling back to the suburbs. Issue 6 - July



We played rummy and left the dishes til morning, Falling into bed discovering

pale while flesh and sleepless dreaming haiku

ocean breeze through the window. After she falls asleep I get up and photocopy the midnight sky, hastily glueing greyscale constellations to the palms of my hands

There's no such thing as wasted years, but if there were we'd all be fucked. Issue 6 - July




Issue 6 - July



ANN SUTHERLAND - INTERVIEW Ann Sutherland Background: “I grew up on a dairy farm at Willina on the edge of the Wang Wauk forest, NSW. We were fairly isolated as young children and life was basic, no electricity, except the diary generator for the lights at night time. Life was very hard for my parents but as children we weren’t aware and enjoyed a life with the farm animals and nature and roaming wild in the surrounding bush. We only had tank water and baths were a luxury we couldn’t have. Mum had to wash by hand boiling the copper once a week. Our primary education was spent in a one teacher school at a near by district, and as mum never learnt how to drive and dad had to

milk the cows at school time we had to walk long distances or ride our bikes on gravel roads. Our idyllic life was disrupted once we reached high school age and we had to board away from home .. this was a homesick time for me and I had to do a lot of growing up without my mother and big sisters to lean/on. I attended Maitland girls High School and then Taree High school. I completed my Diploma of art at Newcastle Hunter St TAFE in 1974 and then my Bachelor of Visual Arts at Newcastle university. I completed my Teaching degree at Newcastle university and have worked as an art teacher in primary schools for the past 20 years.” Issue 6 - July



Boat People paintings - Ann Sutherland (C)2014 Issue 6 - July



“My oldest sister Suzie Startin was my biggest inspiration to be an artist. She attended Newcastle teachers college to become an art teacher and when I was in high school I visited her in Newcastle in the heady of the 60s.. and met a lot of her arty friends! My work varies but at present it combines screen printing and painting using acrylics on canvas. I majored

in printing making at TAFE. I also dabble in a variety of medias including fabric printing and knitting. The natural world and my family are inspiration for art works. I am also inspired by the political world and I think art can play a strong role in making statements about issues which concern me.”

“At present I am working on a exhibition to be held at 4 Point Gallery in Hunter St Newcastle West. This is a Renew Newcastle gallery run by 4 women artists. The exhibition Three at Sea includes myself my son Alex Sutherland and my husband Ewen Sutherland. The theme is based on people and the sea and some of my works are about Boat People, which is a current political issue I feel strongly about. My daughter is married to an Australian Chinese man and both his parents were refugees from the war zone of Vietnam in the 1970s. His mother had fled China to Vietnam and then had to flee Vietnam. She stowed away on a boat from Vietnam to a Malaysian refugees camp and from there she was taken as a legal refugee to Australia, but her family were still in Vietnam so she had to

work to re unite them all again. “ Issue 6 - July



“My husband's family have a strong connection to the sea, being boat builders and fishermen. My husband, his brother and my son work a

family fishing trawler built together with their father, from Newcastle. A number of other fishermen they work with are a community of Vietnamese refugee descent fishermen and this is has also been an inspiration for some of my works. My mother and father also have a strong connection to the sea, dad was a surf life saver at Hallidays Point and mum was a great swimmer and body surfer. Dad spent many hours beach fishing. “

Painting - Ann Sutherland (C)2014

Issue 6 - July



“The term "Boat People" was coined in 1976 and the sales of 1,092,{ the recorded number of boats since 1976 to 2013 } individual origami boats will be donated to Penola House in Newcastle to support refugees in our community. Unfortunately the Abbott government does not see fit to inform the Australian public of more recent refugee boat attempts. I am presently working on a painting for the BLOOD Exhibition showing in July 2014 at Newcastle Art Space. I will be organising and curating an exhibition of wearable art Adornment at NAS in 2014.

One of my greatest achievements was directing NAS for 3 years in which the Community Art gallery NAS

was strengthened and its profile lifted. During this time I secured a grant for 4 Balinese artists to come to Newcastle and exhibit at NAS and to share their culture with students in primary schools. I held the position of volunteer Director at Newcastle Art Space, 246 Parry St Hamilton West from 2011 to 2014.�

- Ann Sutherland (C)2014

Issue 6 - July



Boat People painting - Ann Sutherland (C)2014 Issue 6 - July



Painting - Ann Sutherland (C)2014 Issue 6 - July




Issue 6 - July



EWEN SUTHERLAND INTERVIEW Ewen Sutherland Background: “I grew up in Tuncurry a small fishing village with a total of 64 students in the High School which only went to Year 10. We moved to Newcastle when I was in third year at High School. My sister had started University.

Fishing had become harder to survive on, Dad started working in Shipbuilding and I started my apprenticeship as a Shipwright and Boat builder at Carrington Slipways on Throsby Creek and attended TAFE at Hunter Street in amongst the students doing Art.” I always had a passion for the Arts, Theatrical, Fine Arts, Music and Dance.

I learnt Classical Piano as well as Highland Dancing( the best kept secret). My year at school evolved around the yearly concert. My mother was a great Artist but her father would not let her move from home to go to Art School. Some of her drawings at 14 would stand up in any great figure drawing class . Describe your work? I hope my work creates a atmosphere for the person viewing it. I want them to be drawn into it to have a feeling they are there. Most of my works at this stage evolve around the Ocean. When your whole life is connected to the Ocean it’s natural for your Art to come from there .” Opposite Page: Painting - Ewen Sutherland (C)2014 Issue 6 - July



Painting Ewen Sutherland Š 2014

Issue 6 - July



What inspires Ewen’s artwork? “The Ocean and my wife the closest person to nature I have ever encountered. Ewen’s greatest achievement and exhibitions? CONDA for the Best Male Amateur Actor Mentor for the Australian Apprentice of the Year Being involved with my children with theatre and the Arts I have never been able to find the time to get a exhibition together before At present Ewen is working on: “Oil Paintings surrounding the sea and a few sculptures.” Your future aspirations with your art? “Sculptures-I have about six on the go at the moment.”

Forthcoming exhibitions? “In July with my wife Ann Sutherland and my son Alex Sutherland.”

THREE AT SEA 3rd - 20TH JULY 4 Point Gallery in Hunter St Newcastle West.

Issue 6 - July



Ocean painting - Ewen Sutherland (C)2014 Issue 6 - July



Ocean painting - Ewen Sutherland (C)2014 Issue 6 - July




Photograph - Alex Sutherland (C)2014 Issue 6 - July



PHOTOGRAPHER ALEX SUTHERLAND - INTERVIEW Alex Sutherland Background: Born in Forster NSW 1979, the family moved to Waratah, Newcastle in 1989. I was Dux of Waratah Primary School and went to Merewether High School, where I completed the HSC in 1997.

Studied Bachelor of Communication Studies at University of Newcastle (Photography, Video & Journalism), and graduated in 2000. Later I lived in Sydney for a couple of years after University, working for ABC TV, then spent the past 8 years living on the Mid North Coast, returning to Newcastle at the beginning of 2014. “Newcastle has always felt like my home town/city – everything you want in a city and a thriving arts & music scene but without the crowds and arrogance of Sydney!” When did your artistic passion begin? “During my last few years of high school at Merewether High I began taking photos of the local punk underage music scene and skateboarding. Learned to develop my own films and prints and began working towards a career in photojournalism.”

Alex describes his work: “Originally I mainly photographed live music, theatre and skateboarding as well as some portraiture and night landscapes. These days the majority of my work is based around landscapes/seascapes which I have the opportunity to photograph during my work in the marine industry. But I am also getting back into live music photography and night & storm landscapes.” Issue 6 - July



Photograph - Alex Sutherland (C)2014 Issue 6 - July



What inspires Alex: “The beauty of the world around us, live music, people and their inspirational stories, the wonders of the Natural world.” Name your greatest achievement, exhibitions? “The first exhibition which I held in 1997 a few weeks before I sat for my HSC exams which covered three years of the local underage music scene. I developed, printed and framed all the prints – had an excellent opening and good public attendance. My second solo exhibition held at Newcastle Art Space Gallery in 2012 with a collection of sunset/sunrise images taken whilst working on my family's trawler. Sold 30 prints and had great review in The Newcastle

Herald as well as interview with Carol Duncan on ABC Radio Newcastle.” What are you working on at present? “Difficult task of choosing a small collection of my favourite photographs from the large number of images I have captured while working on the high sea and waterfront around Newcastle for a group exhibition with my parents Anne & Ewen Sutherland in July.”

Your future aspirations with your art? “Continue capturing memorable images on the ocean and waterfront and also develop my skills in other areas of photography such as live music and portraiture. Improve my writing skills and hopefully get work published as a photojournalist and travel the world!”

Issue 6 - July



Photograph - Alex Sutherland (C)2014 Issue 6 - July



Alex’s other interests include: “Surfing, Swimming, Playing Guitar, Singing, Communicating with friends around the world, Speaking Japanese & German and improving my knowledge/skills in other languages, social justice issues, working on boats and on the waterfront/ocean, playing with my four legged kids (2 dogs).”

Forthcoming exhibition: Group Exhibition “Three at Sea” with Anne Sutherland & Ewen Sutherland at 'four point gallery' 681 Hunter St Newcastle from 3rd July-20th July

Opening night Saturday 5th July 4 - 6pm

Issue 6 - July



Photograph - Alex Sutherland (C)2014 Issue 6 - July



Photograph - Alex Sutherland (C)2014 Issue 6 - July



Issue 6 - July



Dr Janis Lander is an artist and writer, based in Sydney. She has been a finalist in

many curated exhibitions in Australia and overseas. She completed a doctoral thesis in 2012 on Spiritual Art and Art Education and a book based on the research was






depth look at current spiritual practices - in a secular,



non-denominational environment, through the vivid lan-

Books, in the series Routledge Advances in

guage of art. The 2014 classes will be covering some

Art and Visual Studies.

different material as well.

Short courses, open to everyone.




Sydney University Centre for Continuing Education July 1,8,15,22 - Tue 6:30 pm - 8:30 pm Room 201 (Lecture Room 2), Centre for Continuing

ENROL NOW Call 02 8999 9608

Education Issue 6 - July



Issue 6 - July




A R T N E W S Issue 6 - July



Issue 6 - July



Issue 6 - July



Issue 6 - July





A R T N E W S Issue 6 - July






















Profile for Robyn Werkhoven

Slp arts zine july 2014  

Art and Literary magazine. Including artists interviews, exhibitions, essays, poetry and art news.

Slp arts zine july 2014  

Art and Literary magazine. Including artists interviews, exhibitions, essays, poetry and art news.