SLP ARTS ZINE March 2018

Page 1

s t u d i o


arts zine issue 24 march








































L Three Friends, acrylics on fabric, 25 x 38 cm. Rebecca Cool.





















slp studio la primitive EDITOR: Robyn Stanton Werkhoven CONTRIBUTORS Wendy Sharpe

Brad Evans

Braddon Snape

Eric Werkhoven


Lorraine Fildes

Rebecca Cool

Maggie Hall

Claire Rydell

Robyn Werkhoven

Jennifer O’Brien

Gallery 139

Peter Ronne

Art Systems Wickham

Dino Consalvo

Back to Back Gallery

Peter Ronne sculpture and painting Andrew Sutherland - 2018. Figuration exhibition at Art Systems Wickham Gallery, Newcastle, NSW.

Photo curtesy of Peter Ronne © 2018.

Dungog by Design

INDEX Editorial ………………. Robyn Werkhoven


SLP Antics………... … E&R Werkhoven


Feature Artist ….. …… Wendy Sharpe

10 - 25

Poetry …………………. Brad Evans

26 - 27

Feature Artist ………… Braddon Snape

28 - 41

Fire Lake ……………… Maggie Hall

42 - 49

Feature Artist ………… Dino Consalvo

50 - 53

Naples National Archaeological Museum ………… Lorraine Fildes

Poetry ………………… Eric Werkhoven

80 - 81

Feature Artist…………

82 - 107


Feature Artist ………… Peter Ronne

108 - 111

Feature Artist ………..

112 - 129

Rebecca Cool

Feature Artist ………… Jennifer O’Brien

130 - 143

Feature Artist …………. Claire Rydell

144 - 163

Artist Exhibition ………. Dungog by Design

164 - 165

ART NEWS…………………….

166 - 189

Front Cover: Taylor Square, 125 x 100 cm, Selfie Cloud , Braddon Snape, 2017.

Photo Dean Beletich

54 - 79

oil on canvas, Wendy Sharpe, 2014.

EDITORIAL Greetings to all our ARTS ZINE readers, we start 2018 with amazing artists’ interviews and great news! Arts Zine was recently 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. This month’s issue features an exclusive interview with Australia’s iconic artist Wendy Sharpe.

Rebecca Cool writes about her art and presents a delightful series of figurative paintings. From the Hunter Region NSW, features include - Braddon Snape’s innovative, contemporary sculpture. Jennifer O’Brien - milliner extraordinaire Sculptor Peter Ronne and painter Dino Consalvo, write about their exhibitions. Our international guest photographers this month - Based in Spain the prolific photographer SEIGAR and American Claire Rydell captures a trip through, Germany, Austria and the Czech Republic. Maggie Hall, artist, writer and photographer presents Fire Lake, the article and photos are from her recent trip to Germany. Lorraine Fildes, our resident travel photographer and writer visits Naples National Archaeological Museum , Italy.

Don’t miss reading our new poetry, art news and information on forthcoming art exhibitions. The ARTS ZINE features articles and interviews with national and international visual artists, poets and writers, glimpses into their world of art and their creative processes.

Submissions welcomed, we would love to have your words and art works in future editions in 2018.

Deadline for articles - 15th April for May issue 25, 2018.


Regards - your editor Robyn Werkhoven The publisher will not accept responsibility or any liability for the correctness of information or opinions expressed in the publication. Copyright © 2018 Studio La Primitive. All rights reserved. No part of this magazine may be reproduced , in whole or in part, without the prior permission of the publisher. Issue 24 - March 2018


E & R A N T I C S Studio La Primitive paintings - E & R Werkhoven Š 2017 Issue 24 - March 2018



Issue 24 - March 2018


WENDY SHARPE Wendy Sharpe is one of Australia’s most awarded artists, she lives and works in Sydney and Paris. Major awards include winning, The Sulman Prize, The Marten Bequest Travelling Scholarship, The Portia Geach Memorial Award ( twice) and The Archibald Prize. Major commissions include , Olympic pool size mural for Cook and Philip Park Aquatic Centre , Sydney, A commission by the Australian War Memorial, as an Australian Official Artist to East Timor 1999 ( the 1st woman since WW2), and the Australian ballet. Wendy Sharpe travels extensively and has been awarded many residencies and commissions overseas. Including two residencies at the Cite International des Arts Paris , a residency at the Australian embassy residence in Egypt( as special guest of the ambassador), two

Antarctica residencies, and most recently a residency in Mexico and in

China. Other major projects include - SEEKING Humanity with Asylum Seeker Centre in Sydney and with The Australian Art Quartet at The Yellow House . Artist in residence with the famous Australian contemporary circus - Circus Oz and currently the New South Wales State Library in Sydney. Wendy Sharpe has held forty six solo exhibitions in Australia and internationally, both in commercial galleries and public institutions. A major retrospective of her work was organised in 2012 by S. H. Ervin Gallery, The National Trust, Sydney. She is currently represented by King St Gallery on William (Sydney), Philip Bacon Galleries (Brisbane), and Michael Reid Gallery (Berlin). Page 10: Circus Oz Triptych, 160 x 312cms, oil linen, Wendy Sharpe. Issue 24 - March 2018


Self portrait with Circus 96 x 102cm Oil on linen Wendy Sharpe

Issue 24 - March 2018


Wendy Sharpe Interview When did your artistic passion begin? “I have always drawn and painted at School. Most children start but I never stopped I was the illustrator for the school magazine and drama productions . At school I was an outsider, I was shy sensitive and picked on. I was only really interested in Art and English and didn’t do Maths or Science for the HSC. I had very supportive

parents. My father was a writer. I grew up on the northern beaches in Sydney.”

Have you always wanted to be an artist? “Didn’t really know you could be one (to make a living). Hardly any artists truly support themselves entirely through painting, so it is rare I believe, though being an artist is not really a choice”.

Right: Night Vision, Pastel, Wendy Sharpe. Issue 24 - March 2018


Self Portrait With Imaginary Friend - Wendy Sharpe

Issue 24 - March 2018


Can you tell me about your studies and teaching ? “I went to art school straight from School. I only wanted to do painting and drawing. I was a an art student for seven years straight (in various different art schools in Sydney) . I have never really done anything else, I have taught art at all levels from community centre hobby classes to Ph.D. assessments but only part time or casual. When I was a student I was also an artist model. I haven’t taught in art schools for 12 years.

I do occasionally teach a group, somewhere exotic I am interesting in travelling to. In 2018 I am taking a group to Morocco. And in 2019 my partner Bernard Ollis will be taking a group through France on a cruise with Renaissance Tours.

Describe your work? “I am an expressionist narrative painter. All my work is based around the human figure.”

Do you have a set method / routine of working? “People say you must work fast. This is a total miss understanding… I don’t work fast- I work all the time. I don’t do anything else I live in inner Sydney in Erskineville in a house with my partner artist Bernard Ollis. Our two enormous adjoining warehouse studios ( so lucky ! dream studios!) are in St. Peters, we walk there every day through Newtown takes about half an hour each way .

I am, there from around 10 till 6.30 every day ( including weekends) and usually

doing associated stuff back home too.” Issue 24 - March 2018


Folding sketch books, top 2 India, bottom Arles and Paris, - Wendy Sharpe. Issue 24 - March 2018


What is your chosen medium to work with and how important is drawing as an element to your artwork? “My work is founded in drawing.

I draw with paint too, I do draw occasionally from life but most is from memory and

imagination. I paint in oil but when I work on paper it is usually in charcoal, pastels or gouache. I also have made drawing installations, drawn directly on the walls of galleries and art spaces and have done drawing performance ( at City Recital Hall and at the Yellow House in Sydney ).”

Is there a particular reason for your choice of style / genre? “A lot of beginner artists talk of “ finding their style” this is a miss understanding. You just work at what interests you.”

How important is travel to you ? “I live part of every year in Paris ; I have had many international artist residencies. My love for travel started in my twenties when I first won the Marten Bequest Travelling scholarship to Europe, this led to my first trip overseas in 1987.

My residencies include two at Cite Internationale des Arts, Paris, and a residency as

special guest of the Australian Ambassador at the Australian Embassy Residence in Cairo, Egypt; two residencies to Antarctica. One was for six weeks on an icebreaker, the only artist among scientists. I had an artist residency in, Mexico during the Day of the Dead as well as a residency in China and two in Italy . As Susan Sontag said..“I haven’t been everywhere, but it’s on my list.” – I have held exhibitions all over Australia but also in the United Kingdom, Berlin, New Zealand, Paris and two major exhibitions in China”. Issue 24 - March 2018


Models with Trident and 70s Lamp Oil on canvas 136 x 122cm Wendy Sharpe

Issue 24 - March 2018


What have been the major influences on your work? “A wide range of mostly western painting for different reasons. At different times I look at different people . In terms of Australian art it would be Kevin Connor and Arthur Boyd.”

What are the challenges in becoming an exhibiting artist? “If you are supporting yourself ( you pay the rent or mortgage etc.) it is a very precarious life. It is also extremely expensive… materials , framing , studio, couriers, etc. If you are serious you have to give up a lot. Nothing is guaranteed.”

Above: Tales of Drawing and Imagination, 18 x 270 cm. Wendy Sharpe. Issue 24 - March 2018


Butt Naked Salon, Wendy Sharpe at the Yellow House. Photo by Steven Cavanaugh. Issue 24 - March 2018


Name your greatest achievement, exhibitions? “Hard to say . Probably to be able to live the life I have always wanted...To have a fabulous studio and to live part of each year in our place in Paris. The Archibald was the most publicity but that was a long time ago and there is a lot. Here is a few……….. 2015 International Artists Residency, Zhouzhuang, China 2014 Obracadobra Residency, Oaxaca, Mexico 2014 Winner Adelaide Perry Drawing Prize awarded by Edmund Capon 2013 ‘Manning Art Prize’, Manning Regional Gallery, Taree 2012 Antarctica Artist Residency Mawson Centenary – Mawson’s Hut Foundation 2008-09 Commission: The Arts Centre Victoria - The Australian Ballet's Exhibition 2008 Artist Residency Australian Embassy Cairo, Egypt

2006 Awarded tenancy Cite Internationale des Arts Studio, Paris, Art Gallery of NSW 2003 Portia Geach Memorial Prize Award S.H Ervin Gallery, Sydney, NSW 1999 Commission- Official Australian War Artist - East Timor, Australian War Memorial (1st woman since WW2) 1998-99 Commissioned City of Sydney - Olympic pool murals Cook & Phillip Aquatic Centre 1996 Archibald Prize Art Gallery of New South Wales, Sydney, NSW 1995 Kedumba Drawing Prize, NSW 1995 The Portia Geach Memorial Prize, SH Ervin Gallery, Sydney, NSW 1986 Awarded tenancy Cite Internationale Studio, Paris Art Gallery of NSW 1986 Marten Bequest, Travelling Art Scholarship (painting) 1986 The Sulman Prize, Art Gallery of New South Wales, judged by Albert Tucker Finalist, Sulman Prize –Art Gallery of New South Wales – 12 times Finalist, Archibald prize – Art Gallery of New South Wales – 6 times Finalist, Dobell Drawing Prize – Art Gallery of New South Wales – 12 Times Issue 24 - March 2018


Backstage Burlesque with Venetian Mask 140 x 150cm Pastel on paper Wendy Sharpe

Issue 24 - March 2018


What are you working on at present? “I am also artist in residence at the State Library of New South Wales, in Sydney.�

Forthcoming exhibitions?

Wanderlust ( solo Exhibition ) March 2018 Aarwun Gallery Canberra

Western Front ( WW1 group exhibition ) March 2018 starts at New England Regional Art Gallery and travels to Armidale, Bathurst and Sydney.

Secrets ( solo Exhibition ) May 2018 Maitland Regional Art Gallery.

Paris Windows ( solo Exhibition ) August 2018 King Street Gallery on William, Sydney.

There is also a few other things including a travelling Regional Gallery exhibition with Bernard Ollis called Elsewhere, Curated by Dr S. Samuel Bowker. Issue 24 - March 2018


Wendy Sharpe, Photo by Greg Weight Issue 24 - March 2018


Your future aspirations with your art? And where do you see your art practice in five years time? “I hope to be doing similar things to what I am doing now. I would like to do more with my work in the form of installation and would like to do more collaborations with theatre, especially set design etc.”

Other Interests? “I am interested in theatre of all kinds from Drag shows and Burlesque to the Australian Ballet and Opera ( where I have been commissioned to work with ) as well as drama and Circus ( I was recently artist in residence with Circus Oz ). I am obsessed with travel and am always planning a trip”. All Rights Reserved on article and photographs - Wendy Sharpe © 2018.

Issue 24 - March 2018


late bather Night air, dare I ask from where have you come? It is late, whose lips of fate have you crossed? Of lovers, like plovers, shut-eyed in their nest Or those whose mortalities you put to the test. I imagine your creation from dark-curled seas Where disgorged from foaming tongues you’re flung To pines that sigh from the side of a mountain, Into meadows that brush you with stiff fingers of grass. From fields to lanes to highways to towns And from there through a window to a bathroom Where still in misty silence, a man's hot face and breast Are soothed by the well-travelled chill of a guest And one can only guess to the places you'll go But night air, dare I ask to where have you gone?

- Brad EvansŠ 2018 Issue 24 - March 2018


the uninvited water On some absent-minded side of night over the worn crest of my egg-white pillow I rise - traversing - the dark staircase of sleepy steps Bearing my cup of cold, un-drunk water. Treading toward a familiar plane of backlit window Rounding the tip of the bathroom door I lean toward the toilet with my unremembered cup Where some gentle repulse reminds me I take my confusing back step into the kitchen Whilst remembering the old lore Of ghosts And uninvited water.

- Brad EvansŠ 2018 Issue 24 - March 2018



Issue 24 - March 2018


Pages 28 & 29: Performed Materiality, installation - Maitland Regional Art Gallery, 2016. Issue 24 - March 2018


BRADDON SNAPE Australian artist Braddon Snape has developed a practice over 20 years that encompasses sculpture and installation in a diverse range of media. Highlights include participation in Sculpture by the Sea seven times, a finalist in the McClelland Sculpture Survey and Award, the Woollahra Small Sculpture Prize, ISF Korea and numerous significant Public Art commissions that demonstrate a thorough understanding of materiality and site.

Braddon has earned a reputation for an astute understanding and sensitivity to materials that reveal a minimal aesthetic that is equally rich in content. Proficient when he employs any chosen material, his most recent work interrogates a dangerously exciting and new method of inflating steel. This performative process developed whilst researching for the PhD gives his

work a renewed freedom, where it reveals a delicate dialogue between control and chance that has been aptly described as Action Sculpture.

Page 31: Single fold propped, Braddon Snape, 2016.

Issue 24 - March 2018


Issue 24 - March 2018


BRADDON SNAPE - INTERVIEW When did your artistic passion begin? I was born in Belmont Hospital and I grew up

practically on the lake - in the Valentine, Belmont area. Sailing and surfing were omnipresent in my formative years and I believe heavily influenced my aesthetic as an artist.

Have you always wanted to be an artist? Maybe not always an artist but always someone who creates things. I thought I might be an engineer or an architect but as I learned more about those professions I believed the opportunity for freedom of creative expression were limited so the freedom of being an artist came to the fore. So I left High School late in year eleven to find my home at Art School. Newcastle Art School.

Performed Materiality, Braddon Snape, Maitland Regional Art Gallery 2016 Issue 24 - March 2018


Single fold hung n strung, Braddon Snape, Maitland Regional Art Gallery, 2016. Issue 24 - March 2018


Performed Materiality Braddon Snape The Lockup Newcastle, 2016

Issue 24 - March 2018


Describe your work? My work has grown and developed considerably over the years. My early student work focused on the abstracted female form. Many years and avenues of exploration have passed and now I am blowing up

steel! The inflated steel works explore the duality of the dialogue between space and matter. The inherent properties and materiality of steel. How it concedes (or not) to pressure when the force of compressed air is introduced.

Do you have a set method / routine of working? I certainly don’t have a regimented routine. Sometimes I wish I could work like that when I am juggling so many different aspects of my practice or associated work. Commitments to my studio/exhibition practice, Public Art projects, University lecturing, The Creator Incubator, family – oh and a PhD! (all with competing deadlines) insist on an organic approach. That said, there are always some set methods employed when creating in the studio but the exciting aspect of my exploration of this inflated steel process is the opportunity to continually push the method and embrace the unknown.

Issue 24 - March 2018


This is not a flotation device Braddon Snape, 2017 Photo: John Cliff.

Issue 24 - March 2018


Why do you choose this material / medium to work with? I have always gravitated to the field of sculpture. I guess because I like making things and getting my hands

on materials. I enjoy exploring the properties and possibilities of materials and processes. This is why the inflated steel process is so interesting and fun for me. The fun is important! Furthermore, there is a new sense of freedom in my work as a result of employing this method. As I am trying something new almost every time I never know completely how the material and its given profile will respond to the inflation. It’s a balance of control and chance. It is exciting every time! Invigorating.

How important is drawing as an element to your artwork? Drawing is integral to the development of my ideas. Almost every work is initially conceived at the very least as a thumbnail sketch in my sketchbook. Often those ideas are redrawn multiple times over time as the idea germinates, develops and refines. I then often moved to a drawing process with material in that I create cardboard mock-ups or models to realise the work in three dimensions, resolving it further.

Issue 24 - March 2018


Stropped strapped n dropped Braddon Snape, 2016

Issue 24 - March 2018


What inspires you? I am an inspired by many things. Form – form in architecture or industry and the form of landscape, of

space, of music, of the written word. I have always been inspired by the inherent nature/properties of material - materiality. How I can explore the possibilities of material and exploit it for my purposes is an ongoing interest. The steel inflation method is a prime example of this. How the metal shapes respond when subjected to the force of air in relation to their prescribed profiles and configurations.

What have been the major influences on your work? All those things I just mentioned are major influences on my work. Of course, the work of other artists and sometimes more so how other artists approach their work and not necessarily their artworks. Like any other

artist I suppose, my childhood and the experiences of my past have strongly influenced my work and my aesthetic. In particular, my life surrounded by water, the forms of water and of watercraft have informed my practice and my understanding of form and material.

Issue 24 - March 2018


Three Chamber Pop, before inflation, Braddon Snape 2017.

Three Chamber Pop, after inflation, Braddon Snape 2017. Issue 24 - March 2018


All Rights Reserved on article and photographs Braddon Snape Š 2018.

Left: Large device for a yet to be assigned purpose, Braddon Snape. Photo - Clare Hodgins 2016. Issue 24 - March 2018


F I R E L A K E Issue 24 - March 2018





Issue 24 - March 2018



- Maggie Hall

North, South, East & West . . . trees thin and stalk, anorexic, a Scots pine, Oak, Beech & Elm,

fern . . .

together they climb.

Gowns of velvet white, faery-lands of Absalom, snow capped mist, deep hidden fire, The Black Forest, a dark matter, oxygen deprived. Monks brew beer, building a Tuscan sun. Iconic horns see a beheaded Ram. A Nave crosses the asp, to the transparent East, Salem bound. Roman archers thrust spearheads of symmetric light Cathedrals fill with pigs, ripe to be sold. The flying Buttress bows to ‘Uta of Naumburg’ Militant, Romanesque figures watch as passers by The Rose Window . . . Issue 24 - March 2018


Issue 24 - March 2018


London via Singapore I choose a set movie, Total Recall. The dully dressed librarian sitting in the aisle seat before me watches, Thelma and Louise.

A darkly tanned man, balding with peppered hair, watches as I take my pill with the last sip of red wine.

I find myself in Berlin, Germany, a night club surrounded by underground punks, badly dressed with poorly coloured hair. The background music of nursery rhymes, at water’s edge, the last harping star Watches down to the closest exit, I take the next cab . . . The driver speaks to me in a language I don’t understand, monotone and direct, repeating himself several times, I come to realise it is a computer in my mind, my movie begins . . .

Issue 24 - March 2018


Issue 24 - March 2018


The fisherman has finished watching Dunkirk, I fall to sleep and dream of a lesbian operative that keeps watch by the isle. Moon Shine & a watch set with pre-programmed chimes. Books of gold imprinted lettering, a gay affair, Verlaine, Rimbaud . . . Last meeting, the destination Stuttgart. Arthur gave Paul a handwritten script . . . illumination of a memory, handwritten and unique.

We all recall a different story . . . there is no absolute, but for a conception, recognition, a great passion and love of imagination, of the truth. To write, draw, paint, or dream, a memory to create …... a new story, a new memory, an

adventure towards our next tale. - Maggie Hall © 2018.

All Rights Reserved on article and photographs - Maggie Hall © 2018. Issue 24 - March 2018


Photo by Maggie Hall Š 2018. Issue 24 - March 2018





O Issue 24 - March 2018


DINO CONSALVO Dino Consalvo grew up in Newcastle and started exhibiting as a teenager, he studied Fine Art at Alexander Mackie College in Sydney during the mid-1970s and completed a Diploma of Fine Art at Caulfield Institute of Technology, Melbourne in 1981. He lived and worked in Melbourne for over 30 years running his own business while continuing to paint, exhibit, complete public and private commissions and raising a family.

He returned to Newcastle in 2014 to paint full-time and to be closer to family. In 2014, he was included in the Salon des Refuses - NSW Parliament Plein Air Painting Prize and in 2015, he was a finalist in the Gosford Prize and Mosman Art Prize. In 2017 he was a Finalist in the Gosford Art Prize, Newcastle Club Painting Prize and Paddington Art Prize. His work is held in Artbank AU and private collections in Australia.


Page 50: Left-over, oil on wood , H50 x W54cm, Dino Consalvo 2018.

Issue 24 - March 2018


Work in progress in studio - Dino Consalvo. Issue 24 - March 2018


His landscape works start 'en plein air' in oil paint, sometimes he resolves the work completely on site other times bringing the work back into the studio, to deconstruct the scene and repaint. With portrait painting, Consalvo works completely from life and will complete a portrait after several sittings.

Dino Consalvo's is represented in Newcastle/Hunter area by Gallery 139. His first exhibition with the gallery was Merewether:a Tranisition in 2016. He has since exhibited with Gallery 139 at The Depot Gallery and The University of Newcastle Gallery. In 2017 he exhibited in Sydney at Janet Clayton Gallery and in the group exhibition THE PHANTOM SHOW curated by Peter Kingston and Dietmar Lederwasch at Newcastle Art Gallery. He will be exhibiting next in Sydney at Duckrabbit, 138 Little Eveleigh Street, Redfern from

11 - 22 April 2018. - Ahn Wells Š 2018.

All Rights Reserved on article and photographs - Dino Consalvo & Ahn Wells Š 2018. Follow on Instagram @dinoconsalvo

F Issue 24 - March 2018


Naples National Archaeological Museum

Lorraine Fildes Issue 24 - March 2018


Naples, Italy Naples is a modern Italian city, but it holds the history of the ancient Neapolitan way of life. The cities of Pompeii and Herculaneum were destroyed in the incredible eruption of Mount Vesuvius in 79 AD. The vol-

cano covered the cities with ash and mud and preserved the way of life of the early Neapolitans. You can walk through these cities and see all the shops, homes, goods and chattels and life style of the residents that lived there. The volcano causing the end of Pompeii and Herculaneum still hangs ominously over Naples. Climbing the volcano gives you a magnificent view of Naples and its harbour. Many of the most precious artworks excavated from Pompeii and Herculaneum are now in the National Ar-

chaeological Museum of Naples for proper conservation and protection. This Museum also houses another very famous collection of paintings and antiquities inherited by the Bourbon king Charles VII from his mother, Elisabetta Farnese. The museum is actually a 16th century palazzo, originally constructed as a cavalry barracks and later transformed into the University of Naples. It remained the seat of this university until the 1780s when the Royal Bourbon Museum was subsequently established by Charles VII. The museum opened to the public in 1801. On the unification of Italy in 1860 the Museum became state property and was renamed Naples National Archaeological Museum. Page 20: This photo is from the website It was impossible for me to get back far enough to include the whole building in the photo, but I felt it important to show the full image so you can see that it was built as a cavalry barracks, with plenty of space for horses at the back. Issue 24 - March 2018


While walking through the museum I saw large numbers of Roman marble statues. The greater part of the museum's classical sculpture collection largely comes from the Farnese Marbles, important since they include Roman copies of classical Greek sculpture. The Farnese Hercules fixed the image of Hercules in the European imagination. The Farnese Bull is considered the largest single sculpture ever recovered from antiquity. What surprised me was the number of ancient Roman sculptures (between 200 and 600 AD) that were copies of older still Greek sculptures (BC). And still more surprising were the number of “unrelated” heads that had been placed on unrelated bodies – had the old heads been taken or did they just decide to replace the “old” head? Because of the importance placed on the sculpture The Farnese Bull I have included information about its restoration. Finally, I reached the pieces that had been taken from the excavations at Pompeii and Herculaneum – this collection included frescoes, mosaics, jewellery, sculptures, everyday kitchen ware, plaster body castes of

Pompeiians and finally images from il Gabinetto Segreto (Secret Chamber). The Secret Cabinet is a part of the museum that houses objects that were considered “obscene” and thus for many years was reserved only for authorized visitors.

Issue 24 - March 2018


There were many unnamed Greco-Roman sculptures sitting among the colonnades that encircled the garden. Issue 24 - March 2018


Cuirassed figure with an unrelated head of Marcus Aurelius. Body: Claudian AD 41-54; head: AD 160170.

Figure in military uniform, with a modern head of Julius Caesar. Antonine-Severan (late 2nd - early 3rd century AD).

Portrait of Alexander Severus with idealized body of the ‘Diomedes Cuma-Munich’ type. c. AD 225.

Issue 24 - March 2018


Cuirassed figure with an unrelated head of Lucius Verus Body: AD 50 -75; head: AD 160-169.

Antinous-Bacchus Roman creation, 2nd century AD.

Hercules at rest Roman copy, end 2nd - early 3rd centuries AD, from a Greek original of second half 4th century BC. Issue 24 - March 2018


Roman statue of Artemis of Ephesus 2nd century AD. Artemis is the Greek version of the Roman

goddess known as Diana, the goddess of hunting, but Artemis has wider duties she is the goddess of the wilderness, the hunt and wild animals, and fertility. She is the helper of midwives as the goddess of birth. Her main characteristic is to

protect fertility.

Left: Female deity restored as a Muse.





Late 2nd century AD. (Copy of a Greek original of the second half of the 5th century BC.)

Issue 24 - March 2018


Roman statue of Artemis of Ephesus 2nd century AD. In this statue the Goddess Artemis is depicted rigidly upright and stretches out her arms; on her head she wears a crown in the shape of a tower with arched gateways, from the sides of which emerges a disc, decorated with four winged lions on each side. She wears a breastplate on which there are the signs of the zodiac, and a necklace from which hang acorns; the bust supports four rows of breasts as a fertility symbol or, in the opinion of other scholars, the scrotums of bulls which were

ritually sacrificed to the goddess. The tight-fitting dress on her legs is decorated at the front with images of lions, bulls and winged horses which jut out while, along the sides, it is decorated by winged sirens, rosettes, sphinxes and bees; the bees are also repeated in the lower part of the dress at the point where it opens to reveal the tunic below which opens fanlike to show her feet. The sleeves of the goddess are decorated with three lions. The face, hands and feet are made of bronze and the dress is of marble (or alabaster – I have been unable to track down this detail and from the photo it is not discernible). Issue 24 - March 2018


Marble relief with cupids about to sacrifice bulls, originally from the Temple of Venus Genetrix in Rome - early 2nd century AD. Issue 24 - March 2018


Eros with a dolphin 2nd century AD. Roman sculpture from the Farnese collection.

Issue 24 - March 2018



Farnese Bull

Issue 24 - March 2018


The Farnese Bull

Information on the historical restorations.

The Farnese Bull (Italian: Toro Farnese), formerly in

By 1579 the first restoration of the group had already

the Farnese collection in Rome, has undergone many restorations and it is believed that the sculpture

taken place, the work of Guglielmo della Porta and Giovanni Battista Bianchi. Working from a number of available clues, the artists set about restoring the

now includes around the base a child, a dog, and

figures, which had been found in pieces, adding missing

other animals not apparently in the original composi-

parts, often reworked from ancient marble.

tion. Their work was recorded in engravings. These restora-

This colossal marble sculptural group represents the myth of Dirce first wife of Lykos, King of Thebes. She was tied to a wild bull by the sons of Antiope, Am-

tions were damaged during the move from Rome to

Naples and thus were largely replaced by Angelo Brunelli at the end of the 18th century. Further damage occurred while the group was located in the Villa of

phion and Zethus, who wanted to punish her for the

Chiaia, and so in 1808 Andrea Cali undertook new

ill-treatment inflicted on their mother.

restorations. After the group was removed to the museum several parts of the restoration were found to show alarming signs of decay, possibly caused by the change in the microclimate. Thus it was necessary to make new additions, which were entrusted to the sculptor Angelo

Solari. Issue 24 - March 2018


Now we move onto the artefacts that have been removed from Pompeii and Herculaneum to the safe environment of the museum. Some of the photos were taken at the Pompeii exhibition held in the National Maritime Museum in Sydney 2017.

Nymphae or Bacchus Rite, Pompeii, 62-79 AD. Three nymphs full of grace



elegant garments, in the




female figure sitting on a chair on the right. One of the nymphs





leaves on her head. At the far left of the painting is a small image of the back of another maid. Issue 24 - March 2018


Three fountain heads Pompeii,

marble, 1st century AD. In private gardens, fountains were a dis-

play of the owner’s wealth. Shown above are



heads that were taken from gardens in Pompeii: a theatre mask, a young satyr and a woman.

Issue 24 - March 2018


Fresco of Narcissus, Pompeii, 1st century AD.

Fresco, outdoor drinking party, Pompeii, 1st century AD.

Narcissus seduced by his own reflection. His spurned lover Echo is sketched in the background.

Men and women taking part in a drinking party. The glass bowl on a metal tripod to the right is for mixing wine with water.

Issue 24 - March 2018


Mosaic of fish and ducks, Pompeii, 1st century AD.

Panther in a square mosaic, Pompeii, 1st century AD.

Mosaic of the wild food available around Pompeii – fish from the Bay of Naples and ducks from the marshes at the mouth of the river Sarno. This type of mosaic is called an emblema and was originally part of a larger floor decoration in a Pompeian house.

Panther with Dionysus symbols - In ancient Greek mythology Dionysus was the god of wine and merriment. In this mosaic he is represented by several symbols; the panther, a staff with pine cone, cymbals and ribbons attached and a horn (filled with wine?). Issue 24 - March 2018


The Secret Room (il Gabinetto Segreto) Erotic fresco paintings and sculptures are to be found in il Gabinetto Segreto. These paintings and sculptures are from Pompeii and Herculaneum. Right from the very first excavations of the cities, the work diaries had recorded with considerable embarrassment the discovery of increasingly large number of “obscene” objects, a circumstance that led them to be displayed in a “reserved” room, which could only be visited on request and with a special permit.

Until recent times, the “Secret Room” has had alternating fortunes depending on political events. In the years following Garibaldi’s entry into Naples, the collection was open to all males except children and, with special permission, to women and the clergy. However, it was again closed by the Savoy government which prescribed that permits were necessary for all visitors; this continued until 1931. Reopened in 1967 but closed again for restoration and maintenance work, the “Gabinetto Segreto” has recently been opened to the public once again. Since 2005 the collection has been kept in a separate room in the Naples National Archaeological Museum. Visitors under the age of 14 can tour the exhibit only with an adult.

Fresco from the “Secret Room”

Issue 24 - March 2018


Left: Frescos from the “Secret Room”

Right: Sculpture from the “Secret Room.”

Issue 24 - March 2018


Emerald and pearl necklace Pompeii, gold, 1st century AD. Emeralds were mined at Coptos in Egypt, the pearls were from the Indian Ocean and the gold usually came from Asturias in northern Spain.

Catena, a long gold body chain Pompeii, 1st century AD.

This chain was worn crossed over the shoulders or around the waist.

Snake bracelet Pompeii, gold, 1st century AD.

Gold bracelet Pompeii, 1st century AD.

Snakes were not malevolent creatures for the Neapolitans, but rather protectors.

This style of bracelet, with two rows of gold hemispheres, was so popular that it was copied in cheaper metal. Issue 24 - March 2018


Left: Tray supported by an old man. Pompeii, silver and bronze, 1st century. A witty way to serve appetisers at a banquet. Four of these were found in the House of the Ephebus in Pompeii.

Right: Drink warmer (samovar). Pompeii, bronze, 1st century AD. Vessel to serve warm liquids. Charcoal in the hollow centre of the vessel heated the water within the double wall.

Issue 24 - March 2018


Terra sigillata cup and dish - Pompeii, ceramic, 1st century AD. If you couldn’t afford metal or glass, ceramic cups and dishes were cheaper, although they also varied in quality and price. These are fine terra sigillata, possibly imported from Gallia Narbonensis, now southern France.

Clear glass dish - Pompeii, 1st century AD. The highest value, was believed to be placed on colourless, transparent glass – basically that which mimicked rock crystal.

Issue 24 - March 2018


Five cooking and food preparation items from Pompeii, bronze, 79 AD.

Funnel for decanting liquids from amphorae.

Casserole used for cooking stews.

Small two- handled pot.

Colander for straining liquids.

Heart - shaped mould for baking or for pates.

Issue 24 - March 2018


Archaeologists have discovered approximately 1150 bodies since excavations of the city began. Only 103 casts have been made. There are two reasons for this: 1 It is a very expensive and delicate process and 2 the plaster damages the skeletal remains of the corpses. The early excavators in Pompeii found a series of distinctive cavities in the lava, sometimes containing human bones. The reason for this was the heavy rain that fell after the eruption turned the ash of the pyroclastic flow into a kind of cement-like paste, which hardened around the body as it dried and preserved the details of clothes, face, and even fingernails in relief. As the body decayed over time, the hardened ash stayed firmly in place, creating a negative-space version of the person, with only dry bones inside. In 1860, Pompeii’s director of excavations Giuseppe Fiorelli developed a way to “bring the Pompeiians back to life” by creating plaster casts out of the voids left by the decay of organic materials in the hardened ash and pumice. By carefully pouring plaster of Paris into the spaces, the final poses, clothing, and faces of the last residents of Pompeii came to life. The re-creation of these ancient Romans in plaster caused a tremendous stir when it was first done in the mid-19th

Century. Family groups seemed to be brought back almost to life. The “protective” positions of the victims are the result of involuntary muscle contractions that seized their bodies as they died. The Pompeiians are not preserved as they were in life, but as they were literally at the moment of death.

Issue 24 - March 2018


Copy of a cast of a woman found in Pompeii. This is a copy of a cast made in 1875, showing the victim with her clothes forced up around her waist from the force of the pyroclastic surge.

Issue 24 - March 2018


Loaf of bread - carbonised in the eruption of Mt Vesuvius. - Herculaneum, 79 AD. Before the eruption someone had scratched onto a wall a list of purchases and prices made over eight days. Bread was purchased every day and was the biggest expenditure over the week. Three varieties were listed: ‘Bread’, ‘Coarse Bread’ and ‘Bread for the slave’. Olive oil and wine were the next two biggest purchases. Issue 24 - March 2018


Detail: Mosaic from the House of the Faun, Pompeii, 1st century AD. Mosaic depicting tragic masks, surrounded by fruits, flowers, and garlands.

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

Issue 24 - March 2018


EMBRACED Two more recent sculptures, greet us daily Standing on the round table on the verandah Not that it took me years to finally finish them But that they languished in the garden with no heads Beckoning me to make them whole That is why I look at them intently, as if I am grappling with the ideas of so many years lost in a haze Their beauty lays not in their perfection but, in these two separate couples being completed and as if to make peace with something

I started and never finished Something concrete lies in our interests, that makes us feel complete and that they touch our entire life, more profoundly if we let them.

- Eric Werkhoven Š 2018. Issue 24 - March 2018


EMBRACE D I & II - Eric Werkhoven © 2018

Issue 24 - March 2018





Because nobody imagined living here II, Seigar, Glasgow 2012. Issue 24 - March 2018


SEIGAR - INTERVIEW. Photographer Seigar is based in Tenerife, Spain. Seigar is an English philologist, a high school teacher, and a curious photographer. He is a fetishist for reflections, saturated colors, details and religious icons. He feels passion for pop culture that shows in his series. He considers himself a traveler and an urban street photographer. His aim as an artist is to tell tales with his camera, to capture moments but trying to give them a new frame and perspective. His three most ambitious projects so far are his “Plastic People", a study on anthropology and sociology that focuses on the humanization of the mannequins he finds in the shop windows all over the world, "Response to Ceal Floyer for the Summer Exhibition" a conceptual work that understands art as a form of communication, and his "Tales of a city", an ongoing series taken in London. He usually

covers public events with his camera showing his interest for social documentary photography. He has

participated in several exhibitions, and his works have also been featured in international publications. He writes for The Cultural Magazine about photography and for Memoir Mixtapes about music.

Where did you grow up? I grew up in La Palma, also called “La Isla Bonita” like the song of Madonna, in the Canary Islands, Spain. I studied my equivalents of GSCE and A- Levels there. Then, I got my English Philology Degree and the Master of Advanced Studies at La Laguna University, in Tenerife Island, becoming an expert in methodology of teaching English as a secondary language. I have worked as an English teacher at secondary schools in Spain since 2001. I started my journey in photography in 2009, since then, I have trained myself in this art. However, for the last two years, I have also been doing an advanced

course in photography in Los Realejos, Tenerife. Next year, I have the intention to do a cinema and television course. Issue 24 - March 2018


Issue 24 - March 2018


What attracted you to the world of photography and art?

I have had a creative mind since I was a child, attracted to music, cinema and art. I remember buying myself magazines instead of children stuff. I still love reading and collecting mags. At home, I would look through all the encyclopedias always looking at the art entries to see the images, I am a visual person. I was always a lover of music, music videos and lists. All

those audio visual worlds formed me. I would never miss the countdowns on the radio every Saturday morning or the video ones in TV shows. I would spend time writing music lists, stories, drawing female fashion din my notebooks at school and things like that. I also loved learning languages and communication. All these bonds created what Seigar is today. I was into the big icons from the 80s during the 90s. I refer to Madonna, Michael Jackson and Prince, all their iconography has influenced my personality. Their music, videos, films, concerts, their always transforming image and thoughts are the main and clearest art influences in my life as an adolescent. Years later, I watched all the cinema classics I could (Aldrich!). So films like Sunset Blvd., All about Eve, What ever happened to Baby Jane?, Hush‌Hush, Sweet Charlotte or Suddenly, Last Summer became my top picks. I enjoy the works of Lars Von Trier, Tim Burton, Tarantino and Michel Gondry. However, Alfred Hitchcock and Pedro Almódovar ended being my all-time favorite directors. They define my concept of passion, love, romance and life, from the light to the dark feelings. They have portrayed human nature the way I also feel it. As a curious and imaginative person, I finally focused myself in photography as a result of my love towards travelling. Travelling is my inspiration and it has opened the doors for me to photography. The thing I like most about life is travelling; visual stimulus brings happiness to my life. Then, add to this my inner willingness to be a contemporary recorder or a visual journalist. I always try to testify every single event I experience my way. All this curiosity made me the street and social photographer I am today. Page 84: With just a simple "memorable" is not enough, my battles from Gdansk. - SEIGAR. Issue 24 - March 2018


A hybrid between dwarf and gnome, the exclamations of Wroclaw - SEIGAR . Issue 24 - March 2018


When did your passion for photography begin? As soon as I got my first salary as a teacher, I started travelling, and this provoked the connection to photography to spark. I felt the need to record all my trips with a camera. Once home, I used to show the photos to my friends and family, and they seemed to be impressed with them. However, they also missed the typical postcards and the stereotypical images of

the places I was visiting. My photos weren’t what they were expecting. At the same time, there were common details and objects in all my images, no matter the city I was in; there would be recurrent elements. Travelling is my passion and it is my main source for my productions. Nevertheless, I’m interested in showing my own visions of the places, using my personal filter. Little by little, I realized the subjects were once and once again there in my photos and the vision was mine. These repetitions became my pop fetishism. My style was being formed almost unconsciously, just being intuitive and loyal to myself.

Have you always wanted to be a photographer? I would lie if I said yes, so the answer is “I haven’t”. I wanted to be a teacher since I was a kid. Due to my personality, adults would tell me “I see you as a politician or as a lawyer”. I was the kind of child who you could talk to like an adult.

Nevertheless, my creativity was always present. I’d say I was and I’m still a peculiar soul between discipline and freedom. I also love words and communication that is why teaching a language was my choice. I’m a social animal and I enjoy being surrounded by my people. I think both jobs involve life. I’m interested in portraying human nature in urban environments, not just people, but the objects that represent them too.

Issue 24 - March 2018


Describe your work? I’d describe my work as travel, urban, social and street photography. My images are full of reflections, saturated colors, shadows, abandoned objects, repetitions and pop references. I’ve become a fetishist of the plastic people I find in shop windows, they have become my main subject, and they help me to portray anthropological and sociological issues. Through these portraits I reflect people’s lives, their beliefs, their costumes, body awareness and other traits. On the other hand, reflections permit me to create richer and complex layers without the need to use the retouch programs. I’d consider my work free, out of the rules and conventions I’ve learned and that I’m still learning about photography. I’m not afraid of pushing boundaries or breaking rules. I’m more interested in enjoying and producing effects, in the transmission of feelings and emotions. I want people to feel my images.

Right: Tales of a City II - SEIGAR. Issue 24 - March 2018


Do you have a set method / routine of working? My production is connected to travelling. My main outcome belongs to my trips because that is when I feel more inspired. I matched my photos into series to depict/define a place. These series can become a project if my interest in the place gets

bigger, I would go back and shoot again to get a richer set, like my Tales of a City, the project about London city. While travelling, I always carry my camera with me. I’m an anxious hunter. I put my camera on when I leave the hotel after breakfast, and I take it off just when I go back at night. I’m always craving to record something unusual, that something that calls my attention, what I call “the photo”. I also take my camera with me in walks, when I go hiking, also to capture details. From this, I have come up with Explore, a

project that works as an invitation to know The Canary Islands and to get away from my comfort zone. It’s been a curious path I have taken recently. I won’t try to portray the islands in a spectacular way, and I could because the landscapes are impressive. Instead, I just want to show some details that have drawn my attention to become an invitation card for the viewers who do not know the islands. Every time I go to an opening of an exhibition, beauty or drag contests, music festivals, or any other social event, I also have the camera with me and try to get the mood of the celebration, the people and everything that catches my attention. Here my photos function as a social record, like trying to capsule instants and time. This shows my interest in social and documentary photography.

Issue 24 - March 2018


Tales of a City, London, 2014, SEIGAR. Issue 24 - March 2018


Reflection Valley XIV Tenerife, 2017 - SEIGAR

Issue 24 - March 2018


Issue 24 - March 2018


Is there a particular reason for your choice of style / genre? I like to show objects my way, from my perspective. I would define my point of view as both realistic and pop. I look for beauty. I prefer to present my subject matter from its most beautiful side. I don’t like ugliness. I don’t even understand how artists can create ugliness. I love weird, but I hate the ugly aesthetics. If I have to capture garbage, believe me I will try to do it nicely. It may sound naïve, but that is me. My urban photography looks for beauty, realism with a pop filter. I’m interested in saturated colors, geometry, shadows, lines, balance, unusual angles and harmony. I care about the frame, as a matter of composition, but not in the traditional sense, just following my intuition. I want this bit here or that bit there, I want this form to be in the middle or in the corner, I try to get everything placed where I want it in the moment I shoot.

What inspires you? Visiting a city for the first time is completely inspiring for me. I open my eyes and look around exploring every single corner looking for the image that tells me something. Travelling is as I said the main source of inspiration for my outcome. I’m a very active and passionate person, always on the move. Living life in this intense way helps me to be a prolific and never paused photographer. Social events and excursions help my production to get bigger. It inspires me a lot to enjoy a music festival, the opening of an exhibition at a museum or a café; I enjoy recording social life with my camera.

Page 92: Tale of a City - SEIGAR. Issue 24 - March 2018


Issue 24 - March 2018


What have been the major influences on your work? I would say that more than influences in my work, there are big names that have inspired me as a creator. From the threesome Madonna, Michael Jackson and Prince, the cinema makers Alfred Hitchcock and Pedro Almódovar, artists like Frida Khalo, Andy Warhol, Salvador Dalí or Pablo Picasso move my inside world every time I study them. They all show unique and strong visions about life. All of them share a hardworking sense of creating art. They mean pop for me. Pop for me having passion for expressing yourself. With respect to photography, I would divide them into two groups, some names who stand out in form, such as Man Ray, Diane Arbus or Cindy Sherman. I like the dark, unusual or weird side of their works. And if we talk about content, I would mention names like Vivian Maier, Sirkka-Liisa Konttinen, Thomas “Tom” Wood or Paul Graham, people who show interest in society. I’m attracted to social-documentary photography. There is a person that for me is above all photographers, and that is Martin Parr, I think he has the perfect balance of the photography that I like. He signifies colors and quirk, but he is also a good social recorder of changes, moments and life. He is the best photographer for me. I just adore him.

What are the challenges in becoming an exhibiting artist? Exhibitions give me pleasure. I find enjoyment to see my works printed on the walls of a museum, gallery or any arty café.

The main challenge may be found in the selection. My amount of works is vast; it is not easy to select, to choose what represents what I am doing. That is possibly my biggest challenge. Living in an island makes it a bit difficult to transport pictures to exhibit, or to get to new galleries. Though I wouldn’t say it is not possible, because with the Internet and social networks, we are all connected easily. The pleasure of showing my photography is bigger than any effort it may cost. Page 94: The pop portraits of La Palma corsairs, La Palma - SEIGAR, 2016.

Issue 24 - March 2018


Name your greatest achievement, exhibitions? In 2015, I showed “The Figurative Language of Figueras, reinterpreting Dalí” in FotoNoviembre, the photography biennal organised by the TEA museum. Some months later, Tales of a City, my project about London, was exhibited in a very prestigious institution with a great tradition which was curated in the 50s by Eduardo Westerdahl, in Puerto de la Cruz, big Canarian names exhibited there, so I can’t be more satisfied about this one. I was selected among 300 artists to be part of TEN-DIEZ Movement in 2016, a collective exhibition which has opened many doors into the world of art, and helped me get to know great artists. I have also had the chance to exhibit my works in Circulo de Bellas Artes frequently, and once, I even exhibit my works alongside Salvador Dalí, at an exhibition called “Naví- Dalí”, curated by Dulce Xerach. I have participated there in their Summer Exhibitions with two different projects, a Tribute to El Guincho (an internationally known Canarian singer) and My Response to Ceal Floyer for the Summer Exhibition (a conceptual work as a response to Ceal Floyer). I have been participating for The Cultural Crew, a project curated by Alex Letto. Working with this group got me into The Cultural Magazine in which I write about photographers. I must also mention my ongoing collaboration with arty cafés in the island, like Ecléctico Café, El Libro en Blanco or Cafebrería. There is a big movement right now in Tenerife with great artists like Raquel García, David Rodríguez, Elba Fragoso, Simona Peres, Lucilla Bellini, Nebras Turdidae, Unbekannten or Gara Acosta. Exhibiting connects artists.

What do you hope viewers of your art works will feel and take with them? I want viewers to feel my images. I want them to come with conclusions about why I am showing that. I would like people to guess which intentions I had. I want people to feel moved by my plastic people and to enjoy my street photography. I like transmitting emotions, feelings, sensations, everything connected with the inner world.

Issue 24 - March 2018


What are you working on at present? I’m working on the third series of the Tales of a City project. I’m in the selection and edition process, and I’m really enjoying this collection, everything has become solid about my photographs taken in UK. UK really inspires me. In 2016 I took a cruise to Norway, and I also a short trip to Paris, and I have recently worked on and released the Norwegian and Parisian Plastic People, so I must continue with the street photography I shot during my time there. This last summer, I also visited some towns near Madrid.

There is always something going on in my world. I want to explore other mediums of expressions, video art and installations. I have the ideas, but I need to work with techniques and learn more to be able to channel what I have in my mind. Your future aspirations with your photography? I would like to get commissions to visit cities, towns or countries and show them my way. I wish my social-documentary photography get more impact. I want to exhibit my Tales in UK. I’m ambitious, so I have lots of dreams to fulfil. Meanwhile, I will keep on working. My next step is to make a photobook compiling my Tales of a city. I have come up with three series from this project. So I think now it is a good moment to pause and show it to people in a book format. I also want to consider other places to explore and to document. I think Slovenia is possibly my next destination.

Forthcoming exhibitions? I’m working on ideas for the next Summer Exhibition and right now my work is exhibited at different art cafés in my island. I want to try new formats in my future exhibitions. I’m interested in conceptual contemporary art in all its forms, I want to experiment mixing them and find new ways to express myself.

Issue 24 - March 2018


Pages 98 & 99: El Phe Festival SegĂşn SEIGAR.

Issue 24 - March 2018


Issue 24 - March 2018


Above: Virgin Pop, Gran Canaria, SEIGAR.

Page 101: Ginger signs, Gran Canaria, SEIGAR. Issue 24 - March 2018


Issue 24 - March 2018


Tale of a City 94 - SEIGAR. Issue 24 - March 2018


Tale of Two Cities - SEIGAR. Issue 24 - March 2018


Rainy Triana Las Palmas - SEIGAR. Issue 24 - March 2018


Orange Light SEIGAR.

Issue 24 - March 2018


Tale of City II - SEIGAR Page 107: My Immaculate Collection - SEIGAR.

Issue 24 - March 2018

106 All Rights Reserved on article and photographs - SEIGAR © 2018. Issue 24 - March 2018


Sculptor Peter Ronne Opening Speech at exhibition FIGURATION PETER RONNE | ANDREW SUTHERLAND FEBRUARY 9 - 18 2 0 1 8 ARTSYSTEMS WICKHAM Gallery, Newcastle NSW.

Newcastle sculptor Peter Ronne, works primarily with timber . Huon Pine, Red Gum and Oak are carved and often combined to create unique sculptural pieces. The works are often imbued with humour and not unlike Andrew Sutherlands

paintings in this

exhibition, are based on observations of the everyday. - Colin Lawson.

Left: Mask, Eucalypt, Peter Ronne.

Issue 24 - March 2018


Opening Speech at exhibition FIGURATION Art is the foundation of the human experience. It was born in the dancing flames of the first cooking fires. Our ancestors were inspired to capture the essence and the beauty of their prey on the cave walls. They created music and narrative to entertain and pass on life’s lessons to the young. In reverence to the

creatures taken for their nourishment they endeavoured to design tools which were effective and beautiful so the souls of those animals would not be displeased at losing their lives. Here on this astonishing continent the world’s oldest continuous cultures still teach their law with art. Despite the terrorising efforts of a relentless urban patriarchy to destroy their way of life, they continue to paint and dance and tell the ancient stories. There is an attitude in capitalist society today that art is the province of elites. The working masses should be so busy making wealth for their bosses that art might only distract them or dangerously educate them that a better way is possible. Occasionally, among the puerile entertainments, word will come of some billionaire setting a new record at buying some dead guys painting. Art is mocked and set at distance from

what most folk might consider attainable. But art need not be marginalised nor artists tortured upon the rack of the ‘arket’. If politicians would stretch their imaginations beyond weaponry and their own pay packets, much might be achieved. In the meantime, your support is always appreciated. - Peter Ronne © 2018.

Issue 24 - March 2018


Idle Idol, Eucalypt, Peter Ronne.

White Shag, Huon pine, Peter Ronne.

Imprecator, Eucalypt & pine, Peter Ronne. Issue 24 - March 2018


Two views of gallery featuring Peter Ronne sculptures and Andrew Sutherland paintings.

All Rights Reserved on article & photos Š Peter RonneŠ 2018 Issue 24 - March 2018



Issue 24 - March 2018


Isabella’s Garden (written by Glenda Millard) is her first book and has received many



West Australian artist Rebecca Cool is inspired by the love of colour and patterns. Rebecca has been painting since the age of ten, when she

painted her first trademark face. Her work features much loved collected vintage


combined with strong, yet playful compositions and delightful subjects, reminiscent of European folk art. Rebecca is also known for her much loved and award winning

children’s book illustrations. Isabella’s Garden (written by Glenda Millard) is her first book and has

received many awards including Honour Book,

Picture Book of the Year category, Children’s Book Council of Australia Awards, 2010. Rebecca was also short-listed for the Crichton Award in 2010. She lives on a rural property with her artist partner Ross Miller and a menagerie of animals.

Page 120: Feeding the Chooks, acrylics on fabric, 152 x 92 cm

Girl riding a Cat, acrylics on fabric, 50 x 60 cm. Rebecca Cool Issue 24 - March 2018


Issue 24 - March 2018


REBECCA COOL - INTERVIEW I was born in Medina Western Australia, 1956 . My Parents are Dutch immigrants. I grew up in Western Australia. I left school at the age of fifteen, then went to Claremont Art School in 1973 and 1980 but never finished. My parents were always interested in art , my Mother paints.

When did your artistic passion begin? My artistic passion has always been there, I think encouraged by my parents. Have you always wanted to be an artist? I have wanted to be an artist from a small child ,it was the only thing I could do. Describe your work? My work is naĂŻve , colourful and I always paint the same face.

Page 122: Urban Scene, acrylics on fabric, H122 X W153 cm. Rebecca Cool Š 2018 Issue 24 - March 2018


Patchwork Girls, acrylics on fabric, H50 x W60 cm. Rebecca Cool © 2018 Issue 24 - March 2018


Do you have a set method / routine of working? I have worked out a technique where I paint onto old fabrics and I work everyday. Why do you choose this material / medium to work with?

I have collected fabrics for years and about 15 years ago decided to incorporate them into my work. I like to use the patterns and sometimes odd colours of the old fabrics as a starting point.

How important is drawing as an element to your artwork?

Drawing is very important to me . I enjoyed life drawing a lot as an art student . I often do working drawings and I “doodle� all the time while watching T.V.!

Is there a particular reason for your choice of style / genre? I paint the same face every time ,it is a face that I started painting as a child and it gives me a starting point when I paint.

Issue 24 - March 2018


Cats in the Garden, acrylics on fabric, H92 x W152 cm. Rebecca Cool © 2018 Issue 24 - March 2018


What inspires you? I am inspired by colours and patterns and their endless combinations. Also I am inspired by painting as this This leads to more ideas. What have been the major influences on your work? I am sometimes influenced by children’s art and so called primitive art. What are the challenges in becoming an exhibiting artist? Lately I have found it very expensive to exhibit in a gallery so I have been having an online sale on my work every month for the last 2 years on Face Book.

Name your greatest achievement, exhibitions? I was asked to paint the 1993 Festival of Perth Poster and I am very pleased with the 4 children’s picture books that I have illustrated. What are you working on at present? I am working towards the next Margaret River Region Open Studios with my partner Ross Miller also

an artist ,a big event in our year. Issue 24 - March 2018


Spring, acrylics on fabric, H92 x W152 cm. Rebecca Cool © 2018 Issue 24 - March 2018


What do you hope viewers of your art works will feel and take with them? I hope that people will like the colours and designs of my paintings.

Your future aspirations with your art? I hope to illustrate more children’s picture books. Where do you see your art practice in five years time?

In five years time I will still be painting! Forthcoming exhibitions? No exhibitions planned, as yet. Other interests? I love animals we have a menagerie of different animals.

Issue 24 - March 2018


Garden, acrylics on fabric, H122 x W152 cm. Rebecca Cool © 2018 Issue 24 - March 2018


Celebration, acrylics on fabric, H122 x W152 cm. Rebecca Cool © 2018 Issue 24 - March 2018


Bird Keeper

Birds in a Tree

Mother with sleeping Baby

Acrylics on fabrics ,80 x 40 cm

Acrylics on fabrics, H80 x W40 cm

Acrylics on fabrics, H80 x W40 cm

Rebecca Cool © 2018

Rebecca Cool © 2018

Rebecca Cool © 2018 Issue 24 - March 2018


Mother with two Daughters

Blue Cat

Acrylics on fabrics, H75 x W50 cm.

Acrylics on fabrics, H60 x W45 cm.

Rebecca Cool © 2018

Rebecca Cool © 2018 Issue 24 - March 2018


Cat with Birds, acrylics on fabrics, H60 cm x W50 cm. Rebecca Cool © 2018 Issue 24 - March 2018


Cat with Angel, acrylics on fabrics, H40 x W40 cm.

Rebecca Cool © 2018 Issue 24 - March 2018


Rebecca Cool in her garden. Photo curtesy of artist.

Issue 24 - March 2018


In the Park, acrylics on fabrics, H122 x W50 cm. Rebecca Cool © 2018 All Rights Reserved on article and photographs - Rebecca Cool © 2018. Issue 24 - March 2018


Jennifer O’Brien Issue 24 - March 2018


Jennifer O’Brien Newcastle based artist and milliner Jennifer

O’Brien creates

unique and adventurous

hats. O’Brien says -






colour, line, form and texture combine when I create a headpiece. This is what I love about millinery: it brings together all the skills I have as an artist.






sculptural than functional.

Page 130: Rachel in black wire top hat, - Jennifer O’Brien 2016

Above: Cluster of headwear, sinamay, wire, net thread, - Jennifer O’Brien. Issue 24 - March 2018


Issue 24 - March 2018


Jennifer O’Brien - Interview I was born in a small country town, Bingara, situated in northern New South Wales. Here my creative background began as a young girl when I developed the treasured skills of sewing and designing clothes for my

dolls. During this time my passion for textiles consistently grew. In the 90’s I studied Fine Arts at TAFE then Visual Arts at university, majoring in soft sculpture. Much later in 2007 when I casually enrolled in a millinery course at TAFE, my love for colour, line, form and texture found their perfect home. Now it is my passion to create beautiful and sometimes whimsical headwear. Increasingly my headwear is featuring in local exhibitions, art-wear displays and fashion shows.

Have you always wanted to be an artist? I’ve always been creative and have made art in some manner or form since I was young. I remember making stick figures, vege/fruit characters, clothes for my dolls and doing lots of drawings as a child. Millinery is a relatively recent development in my art practise; it followed on from my love of sculpture, drawing and textiles.

Page 132: Vinery, wire, leather and crinoline, - Jennifer O’Brien 2016. Issue 24 - March 2018


Issue 24 - March 2018


Why do you make art? Artmaking is a desire and also a necessity.

For many years I have suffered from depression; which I

manage quite well through an array of ‘tools’ I have learned and developed throughout my life. Art is one those tools, and I treasure its healing properties.

I prefer to make beautiful things as I consider there is

always room for more beauty in this world.

Do you have a set method / routine of working? I begin working by making a number of sketches until I hit upon the desired design. Usually I consider the materials I might use during this design process. When both these aspects are finalised I then decide on the techniques I will use to bring the design and the materials together into the finished product. Sometimes I make a few samples of particular design components. Otherwise I simply start the work.

Why do you choose this medium? That’s easy! Millinery allows me to make 3D works/sculptures from textiles.

Page 134: Left Jennifer in her studio, Photo by Jorg Lehmann 2017. Right: Leather Headpieces, leather, wire & leno, - Jennifer O’Brien 2016. Issue 24 - March 2018


Right: Hat Parade adjustments, Newcastle 2015.

Right: Black velvet retro hat. Velvet, ribbon, leno, fabric & thread. - Jennifer O’Brien 2015. Issue 24 - March 2018


What is the importance of your studio? The artistic support and opportunities presented to me via my small studio at Newcastle Art Space is integral to my artistic life. It also assists in validating my art-making, as does the joyful responses of clients and the creation of something beautiful. Feeling a part of a creative community enables me to plan and undertake significant artistic endeavours.

What are the challenges in becoming an exhibiting artist? I have not yet had a solo exhibition. I think some gallery owners consider Millinery a craft, not an art form. I really don’t mind this consideration. However, increasingly I see my hats as wearable artworks. I am not sure that exhibiting in a gallery is the road I will travel. Art prizes and textile competitions hold more appeal to me, as does the prospect of a celebrity or someone with a high profile donning one of my creations.

Name your greatest achievement? My greatest achievement is that despite Depression, I am able to make items of beauty that speak from my soul.

Issue 24 - March 2018


Issue 24 - March 2018


What are you working on at present? I am working on a white leather headpiece for a bride. For me, leather is really the material of the moment: It can be blocked on a hat block, stretched, moulded, manipulated and coloured.

What do you hope viewers of your art works will feel and take with them? I hope they will feel the strength of the design and the energy of the piece, along with an appreciation for the materials selected.

Where do you see your art practice in five years time? I aspire to a more distinctive hat-making style, predominantly using leather and wire whilst honing my skills and taking more risks; diving into my creativity for a unique product.

What works do you most enjoying doing? I love the process of making; sometimes it is so enjoyable and challenging that I don’t want the hat to be finished. Page 138: Unfurled - Leather, paint, fabric, leno and wire. Winner of Peoples Choice - Laman Street Art Prize, Newcastle,2018.

Issue 24 - March 2018


What inspires you? I am inspired by the beauty of Nature, especially flowers.

What is the main challenge you face when beginning a work? If it’s a commission, the main challenge is for the finished hat to suit the wearer’s face…and to ‘fit the brief’. Initially I do lots of sketches; playing around with ideas on paper. When the customer visits my studio to pick up her/his hat and has a look of elation at the sight of it, then I know my work is finished. Until then it’s still a work in progress.

What’s the best piece of advice you’ve been given? It’s not exactly advice, however sometimes I recall Alexander Calder’s statement that ‘above all art should be happy’. Admittedly I can see occasion to refute this, but in hat-making it works for me!

What are your other interests? They include Reiki, art-healing topics, music, gardening and swimming.

- Jennifer O’Brien © 2018. Issue 24 - March 2018


Floral Persuasion, sinamay, plastic, wire, fabric & leno.– Jennifer O’Brien 2016 Issue 24 - March 2018


Cloche, sinamay, wire and button. - Jennifer O’Brien 2015

Issue 24 - March 2018


F/book: just4juniper Instagram: juniper_o All Rights Reserved on article and photographs Jennifer O’BrienŠ 2018.

Left: Blooming, leather, thermofoss, wire, leno & thread, 2017. Issue 24 - March 2018


‘A Jaunt through Germany, Austria and the Czech Republic’. C L A I R

E R Y D E L L Issue 24 - March 2018


GERMANY - CLAIRE RYDELL The Frauenkirche (Church of Our Lady) in Dresden was destroyed during fierce Allied bombings in 1945 to retaliate for the German bombing of Coventry, England. The church sat in ruins for years until reconstruction

began in 1992. Much of the original stone was utilized like a jigsaw puzzle to recreate the church in its original form. In front of the church stands a statue of Martin Luther. I am amazed that no one has ever developed a Hollywood movie script about Martin Luther (1483-1586). As a young man, Luther was struck by lightning and cried out to Saint Anne that he would become a Catholic monk if he were saved from the terrible thunderstorm. Luther bade farewell to his friends and despite his middle class upbringing became a Catholic monk (most monks were either poverty stricken or bad rich boys.) Luther wasn’t really cut out to be a monk, grew discontented and pursued his education becoming a professor of theology. He was known by two nicknames, “The Philosopher” and, due his affection for beer, “the King of Hops.” Ever restless, Luther became disgruntled again and decided to take a walk to Rome, a long journey by any measure. He arrives to see Michelangelo painting the Sistine Chapel ceiling with Raphael around the corner working on their Renaissance masterpieces. Page 144: Dresden Church , Germany. Issue 24 - March 2018


Martin Luther Dresden, Germany.

Issue 24 - March 2018


To Luther’s dismay, Pope Julius II was raising money for the ornate new Vatican City by selling indulgences. I would imagine conversations such as “You’ve been extremely naughty, now give me a hundred million gilded kroner and I’ll guarantee that you’ll get into heaven.” No wonder Luther was horrified and angry.

Luther goes home to Germany, drinks a beer and hangs out with his amazing friends Lucas Cranach and Albrecht Durer. On Halloween, October 31, 1517, Luther nailed his 95 theses to the door of Wittenberg’s Castle Church beginning the Protestant Reformation. The Christian church has been divided ever since. Luther is excommunicated by the pope and gets into tons of trouble. Later, Luther helps a group of nuns escape from a convent by hiding them in herring barrels. There he meets his future wife Katharina von Bora whom he calls “my Lord Katie” and drinks another beer. They

have six children and thus begins the tradition that Protestant ministers can marry, unlike celibate Catholic priests. Luther completed the first translation of the Latin Bible into German decorated with woodcuts by Cranach. The book was widely disseminated due to Gutenberg’s printing press. Luther couldn’t sit still and wrote hymns such as “A Mighty Fortress Is Our God” and drank another beer. Unfortunately, he also wrote anti-Semitic rants before he drank his final beer.

Issue 24 - March 2018


Issue 24 - March 2018


The reconstructed Ishtar Gate in the Pergamon Museum, Berlin. The reconstructed Ishtar Gate in the Pergamon Museum on Museum Island is one of the highlights of a visit to Berlin, Germany. The gateway was an entrance to Nebuchadnezzar II’s ancient city of Babylon (modern day Iraq) and tradition says that the “Hanging Gardens” may have been located nearby. Glazed blue bricks dating to the 6th century B.C. are decorated with lions (symbols of the goddess Ishtar), dragons, bulls, cobra, eagle, scorpions, lotus flowers and fanciful designs.

The Pergamon Altar is in the same building as the Ishtar Gate. This temple comes from the Greek city of the same name and was constructed in the 2nd century B.C. It is probably modeled after the Acropolis in Athens and was excavated by German archaeologist Carl Humann about 1878 and reassembled in Berlin. The frieze moves across the vast temple landscape like a movie and tells the story of the epic struggle between the gods and the giants over who would rule from Mount Olympus. Don’t forget to visit the glorious

bust of Egyptian queen Nefertiti nearby in the same museum complex although you can’t get very close to see her majesty.

Page 148: IshtarGate1, Berlin, Germany. Issue 24 - March 2018


Berlin is a fascinating city rich with history. In 1961 the East German government erected a wall almost overnight and divided the city so no one from East Germany could escape to the west. The wall stood until 1989 and was a symbol of the tug of war

between western capitalism and Soviet style communism. US President Kennedy came to the area

in 1963 and, standing

near the wall,

professed “Ich bin ein Berliner” meaning that we are all Germans and stand with you against oppression. In 1989, President Reagan commanded Soviet President Gorbachev, “Mr. Gorbachev, tear down this wall.” You can still see some of the structure that was really two walls with a “no man’s land” in the centre. Sentry guards stood at attention ready to shoot anyone attempting to cross into the west. In all, 5,043 people escaped and 136 died trying. Top left: Ishtar Gate detail, Berlin. Bottom left: Berlin Wall, Germany.

Issue 24 - March 2018


Pergamon Altar, Berlin , Germany. Issue 24 - March 2018


Sparkasse Building, Germany.

Issue 24 - March 2018


Those of you who hate puerile humour, please scroll down a paragraph. Every German town wishes you a Gute Fahrt as you exit (snicker, snicker - it means have a good journey). That isn’t hard to do since you’ve probably just finished a plate loaded

with six kinds of sausage, sweet mustard and sauerkraut and washed it down with a half litre of freshly brewed slightly bitter Weisbeer. Every corner has a building called Sparkasse but really it’s a bank. We drove along Sparkassenstrasse to the Platzl Hotel in nearby Klaragasse street. So there you go. You can buy pretzels in Germany that resemble undergarments they are so big. German sweets are simply divine but even my husband, who loves to try all forms of junk food, was defeated by the dreaded

Schneeball (snowball). Did you

ever make a pie and have leftover pie crust and not known what to do with it? Roll it into a ball then dip it in nougat, amaretto,





erdbeer, vanille, puderzucker. Gag!

Issue 24 - March 2018


Rothenburg, Germany

Rothenburg ob der Tauber looks like a German Walt Disney fantasyland. Located on the Romantic Road, this medieval walled city is known for its Christmas Market and the picturesque charm of the wooden framed buildings. It is amusing and anachronistic to see solar panels throughout Germany even on 14th

century rooftops. Since 2014, more than half of Germany’s energy needs have been met by clean solar power. Two young schoolgirls were intent on practicing their English in the charming town of Rothenburg. Learning a second language is compulsory in Germany and English is a very popular choice. And so we bid a fond “Auf Wiedersehen,” goodbye, until we meet again.

Left : Clock Galerie, Rothenburg. Issue 24 - March 2018





Germany and English

is a very popular

choice. we





fond “Auf Wiedersehen,�

Rothenburg Hotel Arch

goodbye, until we meet again.

Rothenburg Tower

Rothenburg Christmas Market Issue 24 - March 2018


BMW Reflections, Munich, Germany. Issue 24 - March 2018


BMW Welt (World) is near the Olympic Park in Munich, Germany. The cloud shaped futuristic building showcases 90 years of automobile and motorcycle designs in displays that float in the air. You can also buy your next Beamer there. Issue 24 - March 2018


Hallstaat View, Austria.

Hallstaat Guesthouses, Austria.

Hallstaat is a tiny gorgeous Austrian town nestled between mountains in the Salzkammergut Lake District about thirty miles from Salzburg. “Salz” means salt, always an important commodity, and the region has been producing salt since about 800 B.C. Cobblestone streets and guest houses line the charming streets of this lovely town. Could that be Julie

Andrews singing in the distance --”The hills are alive with the

sound of music?”

Issue 24 - March 2018


Karlovy Vary River, Czech Republic.

Karlovy Vary Lacy Spa, Czech Republic.

Karlovy Vary, in the Czech Republic, was formerly known as Carlsbad and is famous for its spas and hot springs where ailing visitors can take “the cure.� Bottles to catch the salty waters are on sale everywhere but if you drink more than seven cups your teeth may be stained by the chemicals in the springs. Along the River Tepla, lovely buildings line the charming streets.

Issue 24 - March 2018


Main Square, Prague, Czech Republic. Issue 24 - March 2018


Prague - Czech Republic Despite forty years of communist rule Prague, in the Czech Republic, was never bombed as so many eastern European cities were. Cobblestone streets with lanes filled with beautiful 18th century architecture meander off from the magnificent Old Town which dates to the 13th century. Old Town Square in Prague is filled with merchants, restaurants, a memorial to the reformer Jan Hus (who condemned church corruption a century before Luther), the Gothic Tyn Church and the amazing astronomical clock. On the hour, Death tips the hourglass which opens the windows where 12 apostles parade until

the rooster crows and the hour is rung. Strahov Monastery, in the city of Prague, contains vineyards, a brewery and a beautiful Baroque library. Its ornate reading room with a decorated ceiling and lovely wooden cases contains mostly Latin texts, the language of the European elite. Many books were under lock and key since learning was controlled to a

large extent by the monasteries until the Age of Enlightenment. Prague is filled with art by artists such as Alfons Mucha (1860-1939). Not content merely to design wonderful Art Nouveau posters and illustrations featuring gorgeous models, Mucha’s work includes the vast Slavic Epic paintings as well as stained glass he created for St. Vitus

Cathedral. Issue 24 - March 2018


Tyn Church, Prague, Czech Republic.

Mucha St Vitus Church, Prague, Czech Republic.

Issue 24 - March 2018


Prague Clock, Czech Republic.

Strahov Library, Prague, Czech Republic.

All Rights Reserved on article and photographs - Claire Rydell © 2018. Issue 24 - March 2018


Community Circle - Happiness

Dungog by Design invites you visitors and local residents to come into the gallery to add a few threads to the communal artwork. 224 Dowling St. Dungog NSW. Issue 24 - March 2018


Dungog by Design - Artists Collective Dungog by Design – artists collective’s new gallery section exhibits exciting new works from local artists for 2018, including Helene Leanne, Judy Henry, Natalie Duncan, Gaye Shield, Eric & Robyn Werkhoven, Philippa Graham and Nigel Stokes at 224 Dowling Street, Dungog. Opening Hours: Wed / Thur / Fri

10am - 4pm Sat – Sun 9am - 3pm (closed Mon /Tues). Recently a new community art project was launched - Community Circle, by Julie Fitzgerald, Natalie Duncan and Eric & Robyn Werkhoven.

Artist Julie Fitzgerald arrived at the gallery toting a large circular metal rim stretched with a crocheted central base, proposing to tie threads of yarn, fabric or other wonderful baubles to the structure. Julie asked the few artists present if they would add to the work, this progressed to asking visitors who came into the gallery, hence the concept for Community Circle - Happiness was born, a spontaneous art event.

Dungog by Design invites you - visitors and local residents to come into the gallery to add a few threads to their communal artwork. The work will slowly evolve into a splendid textile sculptural piece from the collaboration and energy of many people. Issue 24 - March 2018






O N T H E F A R M Issue 24 - March 2018


Sculpture on the Farm 2018 Fosterton, Dungog, NSW Australia Exhibition - Saturday 29 and Sunday 30 September 9am – 5pm Monday 1 October 9am – 12 noon

Official Opening Cocktail Party – Friday 28 September 2018 5pm – 7pm Issue 24 - March 2018


“and…….Breathe” Bronze on wood base. Philippa Graham. Issue 24 - March 2018


Sculpture on the Farm - expressions of interest. The inaugural Sculpture on the Farm exhibition will be held in the gardens of “Fosterton” a picturesque cattle property on the outskirts of Dungog in the Hunter Valley.

Set aside the 2018 October Long Weekend for this exciting new sculpture exhibition of both indoor and outdoor works, large and small.

Sculpture on the Farm is seeking expressions of interest from sculptors for both indoor and outdoor works to be exhibited at the rural property "Fosterton" Dungog .

We are thrilled to announce the $10,000 Sculpture on the Farm Acquisitive Prize and a $500 People’s Choice Award. Further prizes will be announced soon. Sculpture on the Farm is a not-for-profit exhibition, which will direct any profit to the promotion of public sculpture, including the possible acquisition of public sculpture for the town of Dungog; thus enhancing the experience of rural life for residents and visitors alike. Sculpture on the Farm will be held in conjunction with the renowned Dungog Festival, which celebrates the arts, local food and rural life. All information for interested sculptors is available on the website or by contacting Philippa Graham by email on

Issue 24 - March 2018


GALLERY 139 EXHIBITION CALENDAR 2017 Mindscapes | LYDIA MILLER THURS 1 MAR - SUN 11 MAR 2018 In Mindscapes, Lydia explores the feelings and memories of places. Abstract representations of coastal lands visited by the artist become the subject matter for this exhibition.

Coastal Rocks II ,oil on canvas

50 x 50cm. Lydia Miller

Shore lines | PAUL MAHER recent works on clay and canvas

THURS 15 MAR - SAT 1 APR 2018 This will be his 2nd solo exhibition in the gallery, having previously exhibited solo in 2015 and participated in exclusive Gallery Artist exhibitions in Sydney and University of Newcastle Gallery in 2016 and 2017. Ceramic made with assistance from John Cliff.

Gallery 139 Beaumont St. Hamilton, NSW Issue 24 - March 2018


GALLERY 139 EXHIBITION CALENDAR 2017 Tell me a story group exhibition to coincide with Newcastle Writers Festival 2018

FRI 6 APR - SUN 8 APR 2018

Ahn Wells Memoir 1, 2017 tracing paper cotton 150x150cm

What Remains THURS 12 APR - SUN 29 APR 2018 Exhibiting artists: Jo Shand, Niomi Sands, Edward Milan, Clare Hodgins, Gina McDonald, Peter Read, Shelagh Lummis, Dino Consalvo. Dino Consalvo What Remains 2017 oil on aluminm 30x30cm

Gallery 139 Beaumont St. Hamilton, NSW Issue 24 - March 2018


March 9 – 25 Everyday Alchemy Artists: S Stewart, V Hardy, F Collier, J Ure, J Harrison, P Davidson & B Grieve March 30 – April 15 Writers Festival Artists: S Ray, A Hunter, J Downes, V Hardy, S Taylor & M Laury April 20 – May 6 In Pursuit of Meaning Artists: Heather Campbell & Naomi Wild

57 Bull Street Cooks Hill NSW Hours: Fri Sat Sun 11am - 5pm Issue 24 - March 2018


SHORE LINES solo exhibition by PAUL MAHER RECENT WORKS ON CLAY AND CANVAS THURS 15 MAR - SAT 1 APR 2018 Official opening: Saturday 17 March, 2-4pm

Shore lines references his collection of sketchbooks filled with drawings to produce a new series of painted works on clay in collaboration with Newcastle ceramicists John Cliff, Helen Dunkerely and Sean Nicholson. His new paintings continue to explore his immersion into suburban coastal life. Sean Nicholson bowls, decoration by Paul Maher, for the March exhibition Gallery 139 - Anzac walk and ridge line motif .

Photo curtesy of Paul Maher. Issue 24 - March 2018


EXHIBITION CALENDAR 2018 Sensitive Landscape: Anna Gunnarsdotir 14 February - 11 March Lexiconical: Lorne Crane 14 March - 8 April Stitched Up In Sydney 27 March -27 May @ 76 Queen st Gallery,

Concord West Barbara Schey 18 April - 6 May

Brooching the Subject #2 8 May-13 May 2018 Hope: Michelle Mckinney

90 Hunter St Newcastle East Hrs: Wed - Saturday 10am - 4pm Sun 10 am – 2pm. Issue 24 - March 2018


Newcastle history inspired exhibition in Sydney Newcastle’s Timeless Textiles Gallery will team up with The Embroiderers’ Guild NSW Inc. to present a new exhibition in Sydney in March. The Stitched Up in Sydney exhibition showcases the work of 19 contemporary textile artists in response to the history of the School and Reformatory for Girls. It brings to life the tragic stories of 193 girls sent to the school between 1867 and 1871, an era of poverty, hardship and discrimination. Thirty women from Timeless Textiles Gallery’s Wednesday Makers group stitched embroidered narratives of the girls’ lives in a nine-month long project. They created seven volumes of cloth books, each page dedicated to one of the girls or a family of sisters. The stitchers used local historian Jane Ison’s research to inspire their interpretations. Stitched Up in Sydney offers an opportunity to experience this fascinating part of Newcastle’s history. Alongside locally based artists, renowned fibre artists from Canada, Germany, the Netherlands, United Kingdom, Denmark and nationally across Australia contributed to the exhibition. It presents an extraordinary array of artistic works individually and collectively portraying stories of loss, betrayal, cruelty and endurance. Stitched Up in Sydney will be officially opened by Wendy Schmid, President of the Embroiderers’ Guild NSW Inc.. from 6 to 8pm on Tuesday

27 March at 76 Queen St Gallery Concord West. Wednesday's Children: Wilma Simmons

One Lost, Second Lost, Gone by Olivia Parsonage

Heartbroken Nancy Crawford

Issue 24 - March 2018


Click on cover to view the issue.

studio la primitive Eric & Robyn Werkhoven Contemporary artists E: Issue 24 - March 2018


Click on cover to view the issue.

Issue 24 - March 2018


Click on cover to view the issue.

Issue 24 - March 2018


STUDIO LA PRIMITIVE JEWELLERY Dungog By Design - 224 Dowling St, Dungog NSW Hrs: Mon & Wed 10 - 3 Thurs & Fri 10 - 4

Sat & Sun 9 - 3 Issue 24 - March 2018



CONTEMPORARY BROOD a peek into Newcastle's new Creative Incubator studios. Featuring

works by award-winning artists Braddon Snape Gavin Vitullo Sally McDonald

Till 13th March 2018 146 - 150 Dowling Street, Dungog, NSW

https:/ Image curtesy of Dungog Contemporary

Issue 24 - March 2018

























E Till the 29th April 2018 Maitland Regional Art Gallery Issue 24 - March 2018





























N 224 DOWLING STREET DUNGOG NSW Issue 24 - March 2018


Unique timber furniture, jewellery & gifts. 40 Fosterton Road, Dungog NSW. Ed & Barbara Ramsay M: 0457063702 for enquiries. Issue 24 - March 2018


Issue 24 - March 2018


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

Whether in the ancient past or in the present the rhinos are always represented as huge, powerful and solitary animals. The book includes paintings, drawings, woodcuts, etchings, rock carvings and sculptures of the rhino all depicting the power of the animal. These images of the rhino range from early civilisations such as in China, Roman Empire, Indus civilisation in Pakistan/ India area and from Southern Africa down to current day images of paintings and sculptures produced by modern day artists. The text indicates where you may find these wonderful images as well as the websites of the artists concerned, the caves where the rhino images have been found and the places where posters use the rhino image. There are very few of these magnificent wild animals left in the world, so unless they are protected and managed, artistic images will soon be the only viewing option.

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

Page 184 : White rhino crash at Whipsnade Zoo, England. Image: Robert Fildes Š 2017. Issue 24 - March 2018



Issue 24 - March 2018


MARGO HUMPHRIES ART BAZAAR Local Lake Macquarie artist Margo Humphries will be one of sixty Hunter Arts Network stallholders at Art Bazaar when it returns to the new-look Speers Point Park on Sunday 25 March 2018 from 10am – 3pm, near Speers Point Swim Centre. There will also be a traditional blacksmith artist sculptor demonstration, food, coffee and entertainment. Bring the family & enjoy the beautiful views of the northern shores of Lake Macquarie, The Lake Macquarie Variety Playground & Sal’s by The Lake Café & Kiosk. Margo's paintings and patterns are bright and vibrant. Visit Margo's website: View all of the stallholders here: Issue 24 - March 2018




Phone: 0431 853 600

Director: Colin Lawson Issue 24 - March 2018



FEB 23 – MAR 11


MAR 16 - APR 1



APR 6 – APR 22


APR 27 – MAY 6

NEW WORK WERNER NEUMAN Traveller, Eucalypt,

Peter Ronne 2018.

Issue 24 - March 2018


March 9 to March 25, 2018. Official Opening March 9th by Steve Williams at 6.00pm.

Lu Carson, Faye Collier, Pat Davidson, Bronwyn Greive, Varelle Hardy, Jeanne Harrison, Margaret McBride and Sue Stewart 57 Bull Street Cooks Hill NSW

Hours: Fri Sat Sun 11am - 5pm Issue 24 - March 2018


Everyday Alchemy Art forms include textiles/fibre, mixed media, collage, printmaking, ceramics and assemblage. This troupe of female warriors, the Athenians, have tackled the concepts and materials of the everyday transforming them into a visual language that should resonate with a wide audience.

Each with a unique approach to theme, Everyday Alchemy, some have creatively represented the commonplace images that we are so familiar with, while others have used the actual objects, re-contextualising their initial function to create new ways of viewing them.

March 9 - 25 2018 57 Bull Street Cooks Hill NSW

Hours: Fri Sat Sun 11am - 5pm Issue 24 - March 2018

























E Performed two chamber plop - Braddon Snape, 2016.

Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.