A Creative Journey – Selected Artworks by Joyce Hyam by Page Studio

A Creative Journey – Selected Artworks by Joyce Hyam Profile on Queensland female artist, Joyce Hyam, from 1960 to 2008 – Editor: Vivien Harris SELECTED ARTWORKS BY JOYCE HYAM

A CREATIVE JOURNEY

To savour Joyce Hyam’s artwork, come to it open-mindedly, eager to hear colours sing and to bathe in the talent of an artist who has explored many media, and many perspectives. Joyce states: “To me, artistic interpretation reaches from drawing, design, and colour, which culminated in my final two decades of art – textile art.” In describing her textile art, Joyce says: “Artistic expression is achieved by making choices amongst techniques, mediums and skills. I aim to produce work which sings and glows by using a limitless range of fabrics and threads as well as paints.”

SELECTED ARTWORKS BY JOYCE HYAM

Dedication This book is dedicated to Joyce’s loving husband Frank Hyam, who has encouraged, valued and supported Joyce’s artistry throughout her life.

Acknowledgements The following people have contributed their skills and expertise to the production of this book, and are greatly appreciated for their efforts. Vivien Harris: Curatorial research and project management Amanda Page: Graphic Designer Aaron Tait: Photographer Frank Hyam: Writer Greg de Silva: Curatorial research; interviews with artist, and essay used with permission Publisher: Vivien Harris, 83 Ludlow St, Chapel Hill, Q 4069, Australia Email: vivienharris01@gmail.com Ph: + 61 7 3378 1717 Printer: I.P.G. Print, Brendale, Q 4500, Australia Publication date: April 2014 ISBN 978-0-646-91646-0 Copyright © Vivien Harris 2014 Front cover image: detail, Hidden Secrets, back cover image: Mystique

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Contents The Creative Journey â&#x20AC;&#x201C; The Art of Joyce Hyam

Watercolours

Acrylics and Oils

Drawings and Mixed Media

Printmaking: Viscosity Etchings and Lithographs

Textiles

Alice in Wonderland Series

118

Joyce Hyam Curriculum Vitae

129

Index

134

SELECTED ARTWORKS BY JOYCE HYAM

A CREATIVE JOURNEY

The Creative Journey – The Art of Joyce Hyam Essay written for Joyce’s Retrospective Exhibition at the Royal Queensland Arts Society, September – October 2004, by Greg de Silva. The Visual artist during a lifetime travels many roads, some are easy and some are difficult. Some are dotted with obstacles, while others are rough or steep. Some are plain sailing, with just that hint of excitement of what one may discover just around the next bend. This creative journey has taken Joyce Hyam down many visual roads from drawing & painting, prints, sculpture, interior decoration, batik and finally textiles. It is fitting that this Retrospective Exhibition of Joyce Hyam’s work held at the Royal Queensland Art Society from the 25th September ‘til the 24th October 2004,1 will bring together for the first time, over 45 years of visual delight in one space. Never one to be tied down to one visual art form or technique,2 Joyce Hyam’s creative journey had humble beginnings. Born in Brisbane on the 18th January 1923, and eldest of four children to Ray and Gladys Anderson,3 her greatest inspiration during her childhood was the influence of her mother, Gladys Anderson (Keen).4 Of her mother, Joyce remembers: My Mother had been an artist when she was a girl. In those days in her family you either learnt music or painting. She did painting, and she was very good at it. She then went to England to study

art just before the First World War. However, the war cut short this study and she returned to Australia.5 She then studied in Brisbane under Vida Lahey,6 who was well known for her exquisite flower paintings, executed in watercolour.7 She then started training as a nurse, married and began a family. That was really the finish of her art. However when Joyce was a teenager, Gladys did attend pottery classes with L.J Harvey and his school,8 sometimes joined by Joyce.9 Joyce was educated at Clayfield/Eagle Junction State School and later at Brisbane Girls Grammar School. At Brisbane Girls Grammar her favourite subject was, of course art, and she excelled in that subject. The art teacher there was Miss Cottew, who influenced a lot of the girls, including Joyce. This was really her first formal art training.10 After her schooling, she enrolled at the Stott’s Business College, followed by a stint at the National Bank typing for ten tellers (a job she hated). She then worked for a brief period at a photographic studio, during the war years, mostly photographing service men and women. Joyce often became bored and needed to stimulate her passion to learn and experience new things. This took her to Melbourne where she commenced working as a secretary for the Y.W.C.A.11 Joyce maintains: That’s where my education really started.12

L-R Joyce Hyam c1945, Glazed earthenware vase, The Harvey School, Brisbane. Hand-built & carved earthenware oval bowl with feet, grey & blue glaze, The Harvey School, Brisbane. Hand-built & carved earthenware bookends featuring grapes; brown & green glaze, The Harvey School, Brisbane.

SELECTED ARTWORKS BY JOYCE HYAM

Joyce returned to Brisbane after the war and acquired a position as an Activities Secretary for the Y.W .C.A (Brisbane). She underwent and completed a one-year training course for professional staff. She later relocated to Toowoomba for a short period, and was appointed to the Board of Directors at the Y.W.C.A, Brisbane for two years.13 It was shortly after this that she met and married Frank Hyam, and the couple pooled their 50 Pounds and purchased a block of land at 21 Elkhorn Street, Enoggera, in Brisbane.14 They built a house and have been there ever since. On the 1st of October 1952 their daughter Vivien was born. Joyce began her serious art training (part-time) at the Central Technical College in George Street, Brisbane from 1959 until 1963, studying freehand drawing, colour study, general design, light and shade and painting.15 She studied with professional painters, Melville Haysom and Arthur Evan Read.16 Both artists had trained at the National Gallery School in Melbourne.17 Mel Haysom became senior instructor of painting and drawing at the Central Technical College. Arthur Evan Read went on to teach at the Royal Queensland Art Society, and in 1969 was appointed as a trustee at the Queensland Art Gallery.18 While Joyce was studying at the college, she was approached by Cyril Gibbs Chief Art Instructor) to conduct “Child Art” classes on a Saturday morning. These were a sheer joy, and Joyce adored them.19 She then took an Interior Decoration class, again at the suggestion of Cyril Gibbs. She later lectured to people taking Adult Education classes, which at the time were free. The pay was low, but the experience was great. Because there were no teaching books on interior decoration, Joyce wrote her own text book. The course was originally for a three year period, which she later designed and streamlined down to a one-year course.20 Joyce was keen to exhibit her work and liaise with other artists. She joined the Royal Queensland Art Society in the early 1960’s, and exhibited in their annual exhibitions and in the “Women’s Members” exhibitions. In the 5th annual RQAS Women’s Members exhibition in 1961 Cyril Gibbs noted: Joyce Hyam’s “Drift Wood is clean and crisp, with well handled opposing colour treatment.21 In the 1963 RQAS annual exhibition Joyce exhibited Towards Lands End and Industrial Derelicts. The latter work was commended by Dr. Gertrude Langer in the Courier-Mail. Joyce was now exhibiting with professional

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Joyce, 1972, with her book Interior Decoration for Australian Homes.

Queensland artists such as Herbert Carstens, David Fowler, Charles Ludlow, Peter Templeton, Dorothy McPhee and Caroline Barker.22 Contemporary art practices were being experienced in Brisbane in the late 1950’s and early 1960’s. This practice was instigated by private art teachers, such as Roy Churcher who was conducting private art classes at St Mary’s Studio at Kangaroo Point. He formed the Queensland branch of the Contemporary Art Society (C.A.S.) in September 1961. Churcher had trained in the Slade School in London, and brought with him new methods for teaching art.23 Joyce was a founding member of the C.A.S,24 and exhibited in their first exhibition at Hardy Brothers Gallery in March 1962. There were 47 exhibitors.25 Joyce exhibited Cracked Bowl in that exhibition, in company with John Aland, Milton Moon, Brian Hatch, Don Ross, Margaret Olley, Bronwyn Yeates and Roy Churcher.26 The Courier-Mail art critic, Dr. Gertrude Langer was overjoyed with the exhibition. She stated: The refreshing thing is that at last something is happening in this place, which for too long

has been a backwater.27Joyce exhibited with the C.A.S. from 1963 to 1967, as well as the C.A.S Red Cross and Spring Warana exhibitions of 1967.28 Although Joyce did not study with Churcher, she did have the experience of teaching with him at the art school.29 During this time Joyce was teaching (part time) at the Central Technical College; the Kindergarten Teachers College at Kelvin Grove and the Board of Adult Education.30 She furthered her studies with private teachers including: Andrew Sibley, Bronwyn Yeates, John Aland and Jon Molvig. She says: Molvig was an excellent teacher. He always had a model, and I learnt a lot from him as far as drawing was concerned. She considered his classes a valuable experience.31 She also attended the Vacation Schools at the Queensland University. These were arranged by Dr. Gertrude Langer during the school vacation, and art students could experience the teaching practices of Stan Rapotec, Desiderius Orban, Lawrence Daws and Charles Reddington. Hyam claims: Those were the artists that helped me. It was from these schools that my awareness of abstraction began.32

Joyce was also exhibiting in a variety of other venues, in order to get her work seen. She showed at Sylvia Monk’s gallery at Mermaid Beach, as well as the Quota Club in Brisbane, Hillsdon Kindergarten, the WaranaCaltex contest and the popular Redcliffe Art Contest. Her work was well received and she was hung along with her contemporaries: Rona van Erp, Mary Norrie, Ian Milton, Clarrie Ventnor, Joy Roggenkamp and William Robinson to name but a few.33 In the non-representational section of the 11th Annual Redcliffe Art Contest, her work Emergence caught the eye of the judge Sir William Dargie, which earned her a highly commended in the 1967 exhibition.34 The Wednesday Group was formed by a group of students, mostly from Roy Churcher’s classes, who were meeting at St Mary’s Studio at Kangaroo Point to paint. They had been using the studio since mid1961, and always meet on a Wednesday. All were members of the Contemporary Art Society, so the group was almost a sub-group of the parent body. The original members included Shirley Miller, Deidre Bennett, Beverley Budgen, Joy Hutton, Dorothy Akers, Rona Van Erp, Conty Robinson and Alison Coaldrake, who

Joyce, c 1970, teaching Interior Design at the Board of Adult Education. Photos: courtesy of The Courier Mail.

SELECTED ARTWORKS BY JOYCE HYAM

the Contemporary Art Society, which closed in 1973. As Elizabeth O’Neal stated: They left behind through their surviving paintings a record of their artistic activity by which we can see that the criteria for change did not arise from a vacuum, but from a rich and varied tradition of painterly investigations by artists working in Queensland.38

Joyce c 1962, at Nobby’s Beach, Gold Coast, with acrylic painting.

suggested the name. The group was officially named in August 1963. Irene Amos and Joyce Hyam joined that year, with Mona Gasteen joining in 1967.35 The group held the first of its five exhibitions in James Wieneke’s Moreton Gallery in July 1966.36The other four exhibitions were held at the Design Arts Centre in 1967, 1968, 1969 and 1972. Joyce exhibited in the 1966, 1969 and the 1972 shows. The group disbanded in the early 1970’s, with members going their own separate ways. Joy Hutton discovered printmaking, while Rona van Erp helped establish the Reid Gallery. Others were involved in the formation of the Institute of Modem Art in 1975,37 which continued on from

Joyce (right), Vivien Hyam (daughter), Pamela Mc Kay, Channel Nine Television presenter of The Home Show, c 1963 in which Joyce conducted a series of ten programs titled Keeping Children Contented focusing on art and crafts for young children. Photo courtesy of Channel Nine.

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In 1968 Joyce, Frank and daughter Vivien spent a year in Germany. They lived in Munich, and Joyce had private lessons from the inspirational Waki Zollner. His studio was always beautifully decorated, with a fresh rose in a vase every day. This was very different from the facilities at the art school in Brisbane. It was there she learnt the technique of batik, and her first batik work was done in Munich. During this time Joyce illustrated a book, written by husband Frank. The Dreaming Time was published in Munich in 1969.39 Some of the batik works that Joyce created in Munich were entered in the H.C Richards Prize of 1969 at the Queensland Art Gallery. The Richards Prize was a good drawcard and it attracted many artists from down south to exhibit here. These included names like John Eldershaw, Tom Gleghorn, Carl Plate and David Rankin. It also included works by respected Queensland painters such as Sam Fullbrook, Frank de Silva, Nevil Matthews and George D. Williamson. Joyce also exhibited a batik artwork of her husband Frank, at the RAQS 11th Annual Women Members Exhibition that year.40 The 1970’s brought new changes to the arts. Joyce was still teaching at the College of Art, which had taken over from the old Central Technical College around 1971. Commenting on her teaching at the old tech, retiring Chief Instructor of Art, Cyril Gibbs said: Mrs Hyam has an enthusiastic and appealing approach to her work and has contributed much to the success of her students.41 Melbourne artist and critic, Alan Warren became the new Principal of the College of Art, which soon relocated to the suburb of Morningside. The college officially opened in 1974.42 Joyce left the college in 1983, notching up 21 years. However she was still teaching art and crafts for the School of Dental Therapy, a position she held until 1987.43 During this decade, she would become a published author and would hold her first solo showings of her work. Her years of teaching and lecturing on interior decoration would evolve into Interior Decoration for Australian Homes published by Jacaranda Press in 1972. The book was written because such a book was requested, and one had not been done before.44

During the l974 Queensland Arts Festival, Joyce held the first solo exhibition of her work. The exhibition was held at the Abbott Gallery in Edward Street, from the 5th-12th May 1974, and was favourably reviewed. Dr Gertrude Langer said in the Courier Mail: Her watercolours based on flowers and organic growth, stress the fluidity of the medium and the best of them are the ones that are most free and sparse. However the most effective painting here shows a large petalled form, which radiates joy.45 The Sunday Mail critic Frederic Rodgers expressed: At one end of the variety are quasi-abstracts; at the other, a series of aesthetically conceived flower-based studies done in watercolour to which the artist has attached titles suggesting the evocation of names of female acquaintances. Rodgers continued: The exhibition reveals the artist as a competent operator with a distinct leaning towards romanticism.46 The following year she exhibited drawings at the Twelfth Night Theatre Club in Cintra Road, Bowen Hills. The exhibition was opened by Robert Cunningham, the Assistant Director of the Queensland Art Gallery.47 Speaking about her work Joyce says: My guiding principle is that through my hand and the tip of the pen flows something from the vast reservoir of accumulated knowledge - encompassing the principals of art, psychological awareness, and unconscious emotional sources. What I am “attending to” fluctuate at a rate faster than I could, or would control.48 Reviewed in the Courier Mail, Dr. Langer noted: Abstract and figurative elements intertwine fluidity in a rich play of line and colour - The works are crisp, joyous and full of charm.49 The Telegraph’s

Publication Interior Decoration for Australian Homes by Joyce Hyam, published 1972, Jacaranda Press, Brisbane.

Joyce on left, c1963, at her easel with fellow artist Alison Coaldrake; both members of The Wednesday Group, Brisbane. Photo courtesy of The Courier Mail.

Charmaine Cashel added: The exhibit is exciting while Frederic Rodgers from the Sunday Mail said: The work emerges as free, cheerful expressions of an idea that could be a constant stimulus to artistic thought in the mind of the viewers and the fortunate possessors.50 Joyce never really gained in the ‘big’ Art Prize arena, but did have success winning prizes from time to time. The first significant one was for the “ Josephine Jenyns Prize” for best traditional painting at the 83rd RQAS Annual Exhibition in 1972. The contest was judged the selectors, Raoul Mellish, Alan Warren and Brian Dean, who awarded the prize to Joyce Hyam’s acrylic Autumn.51 Art historian Keith Bradbury pointed out: Although the painting was representational in form, it was contemporary in effect. So numerous were the negative comments about it, that Joyce resigned from the society,52 but not permanently. Joyce had further success in the Bribie Islands 4th ‘Arts Alive Festival’ in 1980. It was held in conjunction with Australian Theatre SELECTED ARTWORKS BY JOYCE HYAM

Week and Arts Festival. Joyce collected the first prize in the ‘Bribie Island Scene’ section. The judge Wilson Cooper deemed her painting Pending Storm the best.53 Her work from the early 1970’s to the early 1980’s was entered in exhibitions such as Quota Club Arts Festival; Aspley Art Contest; Dalby Art Contest; Redcliffe Art Contest; Westfield Art Prize (Toombul and Indooroopilly) and the Royal National Association (RNA) art contest. Her work was prized and commended by popular judges: Dr. Gertrude Langer, David Galloway, Peter Abraham, Harold Lane, Arthur Evan Read, and Don Hamilton.54 By the end of the decade she had another solo exhibition in Canberra, as well as exhibiting in “Survey 79” at the Verlie Just Town Gallery. Joyce was a new exhibitor with Verlie, along with Wilson Cooper, Veda Arrowsmith and Ruth Faeber. They joined the gallery’s fine stable of Australian artists, including John Coburn, Margo Lewers, David Schlunke, Judy Cassab, Graham Inson, and John Rigby.55 Joyce already knew Rigby – both were colleagues at the Queensland College of Art. The following year, Joyce had a solo exhibition at Verlie Just Town Gallery and commenting on the exhibition, and commenting in the exhibition catalogue Joyce stated: To interact with me, my art, your own self, experiences and mystique, then you need to disengage each time you go from one painting to the next. Should you discover a “dotted line” connecting them in some way, perhaps this line is your own personal contour.56 Frederic Rogers said of her works in the Sunday Mail: All are handled with a certainty that underlines the artist’s versatility. Her exhibit is, in effect, a vade mecum for students of art who, it is to be hoped, would make a close study. The Courier Mail’s Dr. Gertrude Langer summed up: When I first saw Joyce Hyam’s work many years ago, I thought she would develop best along the lines of decorative designing.57

Joyce at sewing machine, Summer School of the Arts, Toowoomba, c 1985.

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Joyce (right) with Jan Irvine, Instructor of course Fabric air-brushing dyes on silk, Summer School of the Arts, University of Southern Queensland, Toowoomba, 1991.

From the early 1980’s Joyce was leaning towards textiles, because of the costs in framing.58 It was also another road that she would travel, and so find a new avenue for her creative talents. During the 1980’s and early 1990’s, Joyce exhibited textiles frequently with the “Half Dozen Group” of artists. In their 1993 exhibition she exhibited Wit Sun Days, a delightful work using satin stitch and machine appliqué techniques.59The work is an abstract impression using colour, pattern, line and plenty of imagination. This direction would be the future for Joyce Hyam. In talking about some of the techniques of textiles, Joyce explains: It is an interesting extension of the watercolour technique to paint on screens with fabric dyes instead of watercolours on paper. 60 Marbling crossstitch, machine quilting and even painting techniques on canvas were used by Joyce to create her textiles. Joyce continued her involvement in this field by attending workshops at the McGregor Summer and Winter Schools in Toowoomba. Her first rate tutors included Tori de Mestre, Pat Langford, Jan Irvine and Carol Wilkes. As a committed textile artist, Joyce discovers: As I experiment with new methods to achieve effects, sometimes the results are pleasing and exciting, which leads to future experiments and growth in techniques.61

Joyce (third from right) with Textile Art Group (TAG) c2003.

In 1993 she became a member of the “Textile Ten” group, with the aim of working together to promote textile arts through exhibitions. The group included: Pamela Hill, Tina Sutton, Judy-Anne Moule, Joan Apel, Rosemary Penfold and Pam Winsen. The group only ever had five members at one time. The thinking behind the name was ‘five women, ten hands, many pieces.’62 In the group’s 1994 exhibition at Narek Galleries, Canberra, Meredith Hinchliffe observed: Joyce Hyam is exhibiting three small pieces conveying the colours and movement of vibrant ocean life: “Deep Blue Sea 1, 2 and 3” “Pipe to the Spirit-After Dorrit Black” is quite different. Appliquéd figures in bright yellow move in a circle over a ground of purple/ mauve and pink/ blue. The quilting links the figures and forms shadow-like patterns.63 At the group’s showing at Verlie Just Town gallery in 1999, Joyce exhibited Seasons, which was later chosen by Bernina Australia for the ‘World Quilt Competition’ in North Carolina, USA in August 1999.64 Reviewing the exhibition in the Courier-Mail Jeff Shaw said: Hyam’s Seasons identifies leaf elements through a carefully considered exploration of colour and surfaces. This is by far her strongest and restrained work.65

Joyce beside her textile artwork at Textile Ten Exhibition, c1995.

SELECTED ARTWORKS BY JOYCE HYAM

Greg de Silva (left), John Rigby (centre) Joyce Hyam (right) at opening of Joyce’s Retrospective Exhibition, RQAS gallery, 2004.

Greg de Silva and Joyce Hyam, at her Retrospective Exhibition, 2004.

In 1996 Joyce created the outstanding “Alice” series, based on Lewis Carroll’s book and John Tenniel’s drawings. Joyce claims: I have used artistic licence in my interpretation. Of these works Kay Faulkner wrote: Lewis Carroll’s “Alices’ Adventures in Wonderland” come alive in a series of quilts by Joyce Hyam. Each a delightful interpretation of John Tenniel’s Illustrations, but only when viewed as a whole can they be fully appreciated.66 Frank Hyam added: Joyce has great joy in ‘fabricating’ those fabrications, in rendering them as material substance.67 Joyce has travelled many roads in her artistic life, knowing that she has created something beautiful for

A CREATIVE JOURNEY

the enjoyment of others. This talent has netted her some outstanding accolades such as first prize in the 1998 Dame Mary Durack Outback Award at the Queensland Museum. She was also invited to exhibit in the “Australian Bounty” Travelling Exhibition throughout Australia and Europe in 2000. Her work Aura Australis was very Australian in concept.68 In recent years she had work judged in Lansing and Greensboro USA in 2002 and started exhibiting with a new group of textile artists. The new group “Textile Art Group” (TAG), got together at the Royal Queensland Art Society in 2003. The group consists of Liz Heber, Elaine Campbell, Fran Robinson, Kay Faulkner, Cynthia

Morgan and Joyce Hyam.69 Speaking about her recent work Joyce says: Artistic interpretation reaches from drawing, design and colour, culminating in my present multi-media approach. I aim to produce work which sings and glows, by using a limitless range of fabrics and threads as well as paints.70 This creative journey has reached its pinnacle with this retrospective exhibition, which has given Joyce Hyam and the viewing public a lifetime of colour, imagination and sheer joy. In summing up on her diverse art form, Frank Hyam writes: To savour Joyce Hyam’s work, come to it open- mindedly, eager to hear colours sing, ingenuous laughter and sometimes, a sly undermining of the ground beneath the feet of the cognoscenti. The fountain of Youth is not somewhere else; it is within. All we need to do is keep it bubbling.71

“Joyce Hyam- Retrospective Exhibition RQAS” Textile Fibre Forum 75, 2004 p26

Joyce Hyam interview, Enogerra 2nd September 2004

Ibid; phone conversation Joyce Hyam, 3rd September 2004

Ibid

Joyce Hyam interview

Phone conversation with Joyce Hyam 3rd September 2004

See Battina Mac Auley: Songs of Colour. The Art of Vida Lahey. Queensland Art Gallery, 1989

Joyce Hyam interview; Joyce Hyam phone conversation

Phone conversation

Hyam interview

Ibid

Ibid; YWCA Training Course Certificate 29th September 1947 in Joyce Hyam scrapbook

Hyam interview

Department of Education, Examination of Technical College Arts Certificates in Joyce Hyam scrapbook

Helen Fridemanis, Artists and Aspects of the Contemporary Arts Society, Queensland Branch. Boolarong Press, Brisbane1991, p.135

Steven Rainbird Melville Haysom, Ipswich City Council Art Gallery, 1987, p.7; Max Germaine, Artists and Galleries of Australia and New Zealand, Landsdowne Press 1979.p.471

Biographical notes on Melville Haysom in Half Dozen Group of Artists 22nd Annual Exhibition Catalogue,10-24 September 1962; Steven Rainbird, op cit; p.37;Germaine op cit; p471; Caroline Nolan, Ribbons Beads and Processions: the foundation of Stuartholme, Stuartholme School 1995 p 150;Leading Queensland Painter dies in Kent, Courier Mail 12 August 1978

Hyam interview

Ibid

C G Gibbs, Better Display of Art, Telegraph, Brisbane 9th November, 1961, p49

RQAS 75th Annual Exhibition Catalogue 8-20 July, 1963; Dr. Gertrude Langer, Arts Society Show Courier Mail, 19th July 1963

Elizabeth O’Neal. The Dynamics of the Wednesday Group. Glen R Cooke ed. Art off Centre Placing Queensland Art, Queensland Studies Centre, Griffith University , P.161; Helen Fridemanis, Contemporary Art Society Queensland Branch 1961-1973 (exhibition Catalogue) Brisbane City Hall Art Gallery Museum 1991

Hyam interview

Glenn R Cooke, A Time Remembered. Art in Brisbane. 1950-1975

Contemporary Art Society (C.A.S) 1(Exhibition Catalogue) Autumn 1962

Dr. Gertrude Langer. Contemporary Art Body Puts on First Show. Courier Mail, 4th April 1962. P.2

Information of C.A.S. Exhibitions in Joyce Hyam scrapbook

Hyam interview

Joyce Hyam CV 2002

Fridemanis op cit p.135; Hyam interview

Hyam Curriculum Vitae; Hyam interview; O’Neal op cit p.161. August School of Creative Arts Program 1964

Quota Club Brisbane 1964; Warana-Caltex 1964 Redcliffe Art Contest 1963-64 (Exhibition catalogues)

Redcliffe Art Contest 11th Annual Exhibition (Exhibition Catalogue) 2-16 September 1967

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Glenn R Cooke, Women of the Vital Decade. A Contemporary Cast. A Homage to Women Artists in Queensland Past and Present. Centre Gallery, Surfers Paradise. 1988 p.17

Joyce Hyam CV Survey 79, Verlie Just Town Gallery 1979

Joyce Hyam quoted in Joyce Hyam (Exhibition Catalogue) Verlie Just Gallery Gallery, 1980

Ibid

O’Neal op cit. p.166

Ibid

Fredric Rogers, ‘Together Two Artists Strike Happy Medium’ Sunday Mail 3rd August 1980; Dr. Gertrude Langer ‘Iridescent Veils and Images’ Courier Mail 30th July 1980

Hyam interview; Betty Patterson Now She Paints in Batik. Sunday Mail, 19th January 1969

Joyce Hyam interview

Information in Joyce Hyam scrapbook; Half Dozen Group of Artists City Exhibition (Exhibition Catalogue) 19th -30th April 1993; information in Joyce Hyam file

H C Richards Memorial Prize for Painting 1969 (Exhibition catalogue) Queensland Art Gallery 1969; RQAS Women’s 11th Annual Exhibition, RQAS, 1969

Joyce Hyam, Why Textiles? Textile Fibre Forum, no. 24, 1989, p.31

Reference by Cyril Gibbs, 30th November 1971 in Joyce Hyam scrapbook

Hyam CV: artist’s statement in Hyam file

Down Under Quilts June-July 1998 p.12; Hyam file

Glenn R Cooke. John Rigby, A Career Revealed. The World of Antiques and Art, 66th ed. Feb-Aug 2004 p.105

Meredith Hinchcliffe, ‘Pursuit of Excellence in Textiles’ The Canberra Times, 17th July 1994 p.18

Hyam Curriculum Vitae

Textile Fibre Forum no. 56 1999 p.52

Ibid: Her Book Turns a House into a Home. Undated press cutting, 1972. Joyce Hyam scrapbook

Jeff Shaw, ‘Textile Ten Stitch up a Rich Fabric of Expression’ Courier Mail 28th April 1999 p.39

“Crusades” Near End, Courier Mail 29th April 1974: Dr. Gertrude Langer Courier Mail 11th May 1974 p.2

Fredric Rogers, Mood and Style. Sunday Mail 12th May 1974

The Alice Series – Joyce Hyam, Textile fibre Forum, no.53, 1998 p.40; Kay Faulkner ‘Contemporary Fibre Art, Ontario Hand Weavers and Spinners c. 1998 USA

Invitation and Exhibition Catalogue, Joyce Hyam Drawings. Twelfth Night Theatre Club. 14th July- 2nd August 1975

Frank Hyam ‘Inspiration in Colour and Stitch’ The World of Embroidery. Vol 48, no.2, March 1997 UK p. 150

Joyce, age 87, 2010, Brisbane. 48

Joyce Hyam quoted in ibid

Dr. Gertrude Langer. ‘Fluid Line Play’ Courier Mail 19th July 1975 p.2

Charmaine Cashel, Telegraph 16th July 1975; Fredric Rogers, ‘With a Little Help from IMA’, Sunday Mail, 27th July 1975

Invitation on this prize on back of invitation to 83rd Annual RAQS Exhibition, RAQS (Exhibition Catalogue) 18- 30 July 1972

Keith Badbury & Glen R Cooke. Thorns and Petals 100 Years of Royal Queensland Art Society. RAQS 1988 p.188

Win Davson (ed) Australian Theatre Week and Arts Festival Quarterly Bulletin, April 1980 p.12

Information in Joyce Hyam scrapbook

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Hyam CV; Australian Bounty Quilts Australiennes-Natura 2000 (exhibition catalogue)

Hyam CV; Focus on Fabric, exhibition invitation RAQS 2003

Joyce Hyam quoted in ibid

Frank Hyam, Artful Humour. Undated article in Joyce Hyam scrapbook

Watercolours Watercolours have been a much visited medium and passion for Joyce. Indeed several of her favourite works are watercolours, some of which include drawing as well. In her very early art career, Joyce enjoyed many days painting watercolours at Cribb Island * alongside her artist friend, Irene Amos. The two women would regularly visit Cribb Island during the 1960’s; set up their easels in quaint streets or lanes, most of which were still unsealed, and draw inspiration from the scenes before their eyes. The place was so quiet, with its own raw appeal, and afforded Joyce and Irene the opportunity to capture its essence. Two of Joyce’s watercolours are featured in this book, and many were exhibited in her Retrospective Exhibition at the Royal Queensland Art Society in 2004. * The original area of Cribb Island was populated in 1884 by a tribe of approximately 50 Aborigines who bartered their locally caught fish and mud crabs for bread and potatoes from the early European settlers. The entire area of Cribb Island (about 5 km long and 400 meters wide) was built on essentially a mud flat that faced Moreton Bay. The 1930s saw a severe economic downturn and from then Cribb Island became a haven for the poor. This demographic remained the status quo until the end of the suburb’s existence, when it was resumed in 1970 to build a run-way for the expanding Brisbane airport. Cribb Island was the childhood home of Bee Gees pop stars Barry, Robin and Maurice Gibb.

Amongst Joyce’s favourite watercolours are several she did whilst teaching art students at the College of Art, Morningside. Sometimes, she demonstrated techniques, other times she would paint alongside the students, including at the Queensland Museum where they painted and drew taxidermied fauna. Her watercolours often included drawing with pen and ink – a medium which complimented the delicate washes of the watercolour and brought life to the abstract ideas or representational subject matter. The appeal of the watercolour medium transcended into other art forms – mixed media of watercolour and charcoal/pen and ink; watercolour techniques were commonly employed in many of Joyce’s textile works, such as in the beautiful delicate textile work, Sensuality. The development of her watercolour skills over her artistic career is exemplified in her latest watercolours: Deep Secrets and Reef Magic.

SELECTED ARTWORKS BY JOYCE HYAM

The Quarry, Mount Cooth-Tha c1963 39.5cm x 53cm Watercolour

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Rockface 1963 42.5cm x 35cm Watercolour SELECTED ARTWORKS BY JOYCE HYAM

Cribb Island Shacks 1963 32.5cm x 39cm Watercolour

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Cribb Island Shed 1963 31.5cm x 52cm Watercolour

SELECTED ARTWORKS BY JOYCE HYAM

Rockface with Vine 1985 64 cm x 52cm Watercolour

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Flowerburst 1985 50cm x 31cm Watercolour SELECTED ARTWORKS BY JOYCE HYAM

Reef Magic 49cm x 63cm Watercolour

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Deep Secrets 49cm x 63cm Watercolour

SELECTED ARTWORKS BY JOYCE HYAM

The Hills are Alive 1978 83cm x 50cm Watercolour and ink

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Unconcerned 1978 64cm x 50.5cm Watercolour and ink SELECTED ARTWORKS BY JOYCE HYAM

Art Class 2 1978 63cm x 50cm Watercolour and ink

A CREATIVE JOURNEY

Through a Glass Darkly c1978 62cm x 49cm Watercolour and ink SELECTED ARTWORKS BY JOYCE HYAM

Acrylics and Oils From the early 1960’s and into the mid 1980’s, Joyce painted many works using acrylics, whilst at the same time continuing with watercolours and drawing. For a short period, she used oils, but preferred acrylics which were a new medium then, and dried a lot faster than oils did. One of the few remaining oil paintings Joyce owns is Lost Legends, inspired by motifs and colours from Australian indigenous Aboriginal culture. Some of her acrylic paintings were soft, representational works such as Loveliness Increases and Still Life, and the naked female forms in Demure and Nudes. Others were boldly vivid, expressive in their simplicity, and grand in size, such as Tectonic Drift and Via Satellite. Joyce shows her love of nature, especially gardens and delicate creatures, in the works Lovesome Garden, Wandering Lizard and Requiem for a Green Frog. These artworks, she said, would make wonderful illustrations for children’s books, since children would enjoy trying to find the little creatures within the myriad of flowers and foliage! Once Joyce commenced textile art, she continued to use the techniques that she used with acrylics - now painting on fabric with fabric paints, then working up the design with threads, appliqué, quilting, and other techniques.

A CREATIVE JOURNEY

Lost Legends 1967 50cm x 45cm Oil painting

SELECTED ARTWORKS BY JOYCE HYAM

Loveliness Increases c1969 75cm x 60cm Acrylic painting

A CREATIVE JOURNEY

Still Life c1970 44.5cm x 58cm Acrylic painting

SELECTED ARTWORKS BY JOYCE HYAM

Nudes 1987 35cm x 45cm Acrylic painting

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Demure c1970 72cm x 61cm Acrylic painting SELECTED ARTWORKS BY JOYCE HYAM

Boats - Tweed River c1964 59cm x 80cm Acrylic painting

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Via Satellite 1981 90cm x 107cm Acrylic painting

SELECTED ARTWORKS BY JOYCE HYAM

Subterranean Moods 1980 66cm x 61cm Acrylic painting

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Autumn 1978 60cm x 65cm Acrylic painting (1st prize RQAS Judge: Alan Warren, Principal, College of Art, Seven Hills, Brisbane) 1972

Lovesome Garden 1978 60cm x 76cm Acrylic painting SELECTED ARTWORKS BY JOYCE HYAM

Tectonic Drift 1982 96cm x 77cm Acrylic painting

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Venus Probe 1981 102cm x 84cm Acrylic painting SELECTED ARTWORKS BY JOYCE HYAM

Wandering Lizard 1987 59cm x 65cm Acrylic painting

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Requiem for a Green Frog 1979 85cm x 102cm Acrylic painting

SELECTED ARTWORKS BY JOYCE HYAM

Dreaming of Thee c1979 65.5cm x 60cm Acrylic painting

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Drawings and Mixed Media As with most artists, the ability to draw is critical to creating noteworthy art. During her art studies, drawing was viewed by her teachers as the most important subject, and by Joyce as well. This instruction taught Joyce skills that she has developed over her life as an artist, and that she used in all her artworks, no matter what the medium. Joyce produced many hundreds of drawings in pencils, charcoal, pen and ink, and pastels, and several of her drawings are included in this book. In Unconcerned; Art Class 1; Art Class 2; Hills are Alive, and Through a Looking Glass she used ink as the drawing medium, with watercolour complimenting the subject matter. In Whispering Wood, and Before the Rain, pastel is the medium of choice, giving these works both softness and vibrancy. Her bold, yet minimalist works Reclining Man, Disagreement, and Contemplation, illustrate how strong black lines can convey the essence of human emotional and physical states. In her printmaking years, drawing was also pivotal to her artmaking â&#x20AC;&#x201C; she drew on etching plates, and drew designs to produce her lithographs; she drew on sheets of glass covered with printing ink to produce mono prints. One sees that her drawing skills are perhaps best realised and illustrated in her textile art, where she uses free-form machine stitchery to draw. The detail achieved in the nudes in the textile artwork Mystique, is a wonderful example of how Joyce drew skillfully and artistically with thread, using a sewing machine rather than a pencil, ink, or any of the conventional drawing materials. Let me Touch 1999 28cm x 17cm Mixed media, collage, mono print

SELECTED ARTWORKS BY JOYCE HYAM

Before the Rain 1988 64cm x 48cm Pastel drawing

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Whispering Wood 1988 62cm x 47cm Pastel drawing SELECTED ARTWORKS BY JOYCE HYAM

Reclining Man 1979 33cm x 24cm Ink drawing

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Disagreement 1979 33cm x 24cm Ink drawing

Contemplation 1979 33cm x 24cm Ink drawing SELECTED ARTWORKS BY JOYCE HYAM

All that Jazz 1988 46.5cm x 24cm Watercolour, collage, printing

A CREATIVE JOURNEY

Art Class 1 1978 68cm x 50cm Ink drawing

SELECTED ARTWORKS BY JOYCE HYAM

Out There c1978 59cm x 43cm Ink drawing

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Printmaking: Viscosity Etchings and Lithographs Joyce always liked new challenges in her artistic development and expression, so it is not a surprise that she decided to explore the printmaking techniques, of Viscosity Etching and Lithography during the late 1970’s and early 1980’s. She produced some fine works in that period, and sold many prints at exhibitions and from her own private studio. Several are featured in this book. The art critic Dr, Gertrude Langer claimed that her work I know a Bank revealed great talent, artistry and sophistication. After a few years of working with etching plates, and using what Joyce considered were unpleasant inks, she ceased printmaking and turned her art-making passion to a new medium – textile art. Here she didn’t have to use etching plates, heavy printing presses, and inks, and also didn’t have to spend money on framing her artworks. She took to this new medium with passion and enthusiasm, and continued working for over 20 years developing her textile art skills.

Raindrops 1979 22cm x 30cm Viscosity etching SELECTED ARTWORKS BY JOYCE HYAM

Illumination 1979 30cm x 45cm Viscosity etching

A CREATIVE JOURNEY

SELECTED ARTWORKS BY JOYCE HYAM

Eon Icon 1980 22.5cm x 30cm Viscosity etching

A CREATIVE JOURNEY

SELECTED ARTWORKS BY JOYCE HYAM

Fawn Fire 1980 30cm x 22.5cm Viscosity etching

A CREATIVE JOURNEY

SELECTED ARTWORKS BY JOYCE HYAM

Raindrops 1979 22cm x 30cm Viscosity etching

A CREATIVE JOURNEY

SELECTED ARTWORKS BY JOYCE HYAM

Julie’s Garden 1980 30cm x 22.5cm Viscosity etching

A CREATIVE JOURNEY

SELECTED ARTWORKS BY JOYCE HYAM

Shall crowd into a Shade c1978 50cm x 40cm Lithograph

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Girlhood c1978 46cm x 33cm Lithograph SELECTED ARTWORKS BY JOYCE HYAM

Omega Alpha c1978 41cm x 50.5cm Lithograph

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SELECTED ARTWORKS BY JOYCE HYAM

Sleeping Nude c1978 37cm x 46cm Lithograph

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I know a Bank c1978 47.5cm x 34.5cm Lithograph SELECTED ARTWORKS BY JOYCE HYAM

Wise and Foolish Virgins 1979 53.5cm x 44cm Monoprint

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Textiles Author: Joyce Hyam

Why Textiles? “This art medium adds a new dimension to an artistic expression. It involves a number of skills – ie. Dyeing techniques, mixing the paste, screen printing and sewing techniques as well as artistic knowledge.” “It is an interesting extension of the water colour technique to paint on a screen with fabric dyes instead of water colours on paper, even though more time-consuming. The process consists of painting on a screen with fibre-reactive dyes... then using a squeegee and a screen printing paste with ‘Manutex,’ which transfers the dyes to the fabric.

Artist Statements: By Joyce Hyam (written in the mid 1980’s when Joyce redirected her artistic talents to textile art) “Central to my work is feeling, being conveyed through colour, line and form. Each work is a new experience for me, and, hopefully for the viewer. I am now working with a number of mediums, including painting on fabric, appliqué, and free stitchery using both silk and metallic threads. As I experiment with new methods to achieve effects, sometimes the results are pleasing and exciting, which leads to further experiments and growth in techniques. With a fine arts training on which to build my textile work, and artistic background in teaching and exhibiting drawings, paintings (oils, acrylics, watercolours) and print-making (etching, lithographs), I now find I can convey my knowledge through textile art.” Excerpts from Textile Fibre Forum, no.24, 1989 p.31

I sometimes use two layers of fabric (ie. cotton voile over cotton), so that one layer can be cut away for a special effect. The print is then dried for twenty four hours, washed and ironed. The work is completed with machine stitchery. When complete, the work is professionally stretched and framed. Excerpts from the Review section of Craftlink, Volume 7, no.2 March 1993, p.3. Author: Jeff Shaw “Landscapes and Illusions was an exhibition of the work of four South East Queensland textile artists, Joyce Hyam, Cynthia Morgan, Lois Skinner and Tina Sutton. It was mounted at the Arts Council Gallery from 10 to 27 November 1992.” “...these artists used the theme (Landscapes and Illusions) as a starting point for their own interpretations and emotions in an often startling exploration of the expressive and the emotive elements of their textile medium...” “While the work showed great variations in both technique and expression, some of the stronger pieces exhibited a dramatic visual impact more often associated with the work of painters, while others appealed through subtle placement and employment of colour surface.” SELECTED ARTWORKS BY JOYCE HYAM

Joyceâ&#x20AC;&#x2122;s textile artworks, c2002. Private Collection, Cugnaux France.

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Joyce’s textile artworks, c2002. Private Collection, Vancouver, Canada.

SELECTED ARTWORKS BY JOYCE HYAM

In describing her ’The Adventures of Alice in Wonderland’ series of textile wall hangings, Joyce wrote: “To me, artistic interpretation reaches from drawing, design, and colour, culminating in my present multimedia approach. Hence, artistic expression is achieved by making creative choices amongst techniques, mediums and skills. I aim to produce work which sings and glows by using a limitless range of fabrics and threads as well as paints. My present series, ‘The Adventures of Alice in Wonderland’ was inspired by Sir John Tenniel’s blackand-white drawings. It involves painting on canvas and embellishing the work with a range of textile techniques.” Excerpt from Down Under Quilts, September, 1997

Joyce’s textile artworks, c2002. Private Collection, Cugnaux France

“In general, the large works held most appeal and of those, Joyce Hyam’s ‘A Poem Lovely’ demanded the most immediate attention. Perhaps its appearance is in part atavistic, a call from a well remembered quilt of earlier years where colours, forms and textures always had an element of waking magic. Whatever the case, this piece presents as a sparkling mosaic with bands and variations of tone and colour endowed with pine trees and magical landscapes. Brilliant and enjoyable, the piece is described as ‘strip pieced, machine appliqué and quilting’ – but a pleasure in any medium. Still on an imaginative note, the Hyam work entitled ‘Everglades’ displays elements of stitchery which are a visual delight.” (Note: the works referred to are now in private collections) There is an advantage in working with people in different art/craft areas. Cynthia Morgan helped me with dyeing and machine stitchery, and I contributed my knowledge of watercolour techniques. Preparing for exhibitions of textile art, both in Brisbane and Rockhampton was a pleasant experience for us.”

A CREATIVE JOURNEY

Vivien Harris (center) and Ivor Harris (right) with visitor in front of ‘Alice’ textiles at Joyce’s Retrospective Exhibition, 2004.

Art Quilts Joyce Hyam describes her technique for marbling on silk: “After working in a wide variety of media for twenty-five years, the challenge of a new art form presented itself when I experimented with a marbling technique on silk. The process is to float fabric dyes on a carrageen moss gel. I make a tray using a sheet of thick plastic placed on a large table, with bricks making four sides. This provides a bath for the moss, should be about 5cm in depth. The Everfast dyes, which have a squirt of oxgall and 60% water are the medium which floats on the gel. The art is the manipulation of the dyes. When the pattern is made to my satisfaction, I need the help of a friend to lower the silk onto the surface of the gel. The silk is then pulled out of the bath, hung to dry, and ironed. It is washed to remove the gel. Joyce’s textile artworks, c2002. Private Collection, Cugnaux France

To present the machine-quilted hangings, I sometimes use appliqué technique and stitchery.” Textile Ten is the name of the original group of five textile artists formed in 1993 – Joyce Hyam; Pamela Hill; Judy-Ann Moule, and Pam Winson, who exhibited together many times during the ninetees and into the early 2000’s. The group met regularly to discuss their work, both technically and artistically, and membership of Textile Ten changed to include textile artist Tina Sutton who exhibited with Joyce, Pamela Hill, and Pam Winsen at the Rhythm and Blues exhibition held at Toowoomba Regional Art Gallery from 1st to the 27th January 1997. Ten refers to the ten fingers on the five hands of the women artists. Other exhibitions by the Textile Ten included: Diversity: Textile art by ‘Textile Ten’ was held at the Logan Art Gallery in July 1996; Textile Ten - five women, ten hands, many pieces from 23rd May to the 27th June 1998 at the Verlie Just Town Gallery, and Japan Room Brisbane. The group comprised Joan Apel; Joyce Hyam; Judy-Anne Moule; Rosemary Penfold; and Pam Winson. This latter exhibition is described in Textile Fibre Forum no.53, 1998, p.39

“Successful quilts must be more than a combination of skills, no matter how well executed. They must have vigour and excitement and breathe life.” “Joyce Hyam is exhibiting three small pieces conveying the colours and movement of ocean life: Deep Blue Sea 1, 2, 3. Pipe to the Spirit – After Dorrit Black is quite different. Appliquéd figures in bright yellow move in a circle over a ground of purple/mauve and pink/blue. The quilting links the figures and forms’ shadow-like patterns.”...” The colours are startling and there is barely constrained movement in the dancing figures.” “Quilted textiles are far more than pictures which hang on walls. They are three-dimensional, absorbing and reflecting light. The exhibition is an excellent chance to see what is being produced by a small group of textile artists from Queensland.” Down Under Quilts, Spring 1995, p.4

Later the women joined several more talented textile artists and the group Textile Art Group or TAG was formed to which Joyce belonged. Even though she ceased exhibiting with TAG around 2008, when she was in her mid eighties, Joyce continued her involvement as a textile art friend, and has followed the women’s works and exhibitions with great delight. She was awarded a Certificate of Life Membership of the Textile Art Group on the 10th November 2008 (pictured to the right). ‘Pursuit of Excellence in Textiles,’ The Canberra Times Sunday, July 17 1994, p.18 Critique of Textile Ten exhibition at the Narek Galleries, Cuppacumbalong, Nass Road Tharwa, ACT. Meredith Hinchcliffe of The Canberra Times wrote: “Textile Ten is a group of artists dedicated to the pursuit of excellence in contemporary textiles. Each artist (Joyce Hyam; Pamela Hill; Judy-Ann Moule, and Pam Winson) works as an individual exploring her own talents and inspirations with the joint aim of artistic expression. Most of the works in this exhibition involve quilt making and several related needlework techniques.”

SELECTED ARTWORKS BY JOYCE HYAM

Brisbane Convention Centre Craft Fair, October 2000 Divine Displays (publicity produced for the Craft Fair) “The Queensland Quilt Show, by the Queensland Quilters Inc. Is their annual quilt exhibition and will include both traditional and contemporary quilts in various sizes. In addition to member’s work, special features including:

Joyce (right) with daughter Vivien Harris at her Retrospective Exhibition, Royal Queensland Arts society, Brisbane, Sept – Oct 2004.

Around the Quilt World Australians recognised internationally Work selected for prestigious Fibrearts Design Book Five “Three Australian quilt makers have had their work selected for the prestigious Fibrearts Design book, to be released in October 1995, to coincide with the twentieth anniversary of publishing Fibrearts Magazine. Each of the 585 pieces included in the book, chosen from 6,000 artists from 34 countries, was picked on the basis of artistic integrity and technical expertise. The artists are Pam Hill and Joyce Hyam from Brisbane, and Alison Schwabe from Shelley in W.A. Alison’s quilt (entitled) “Undercurrents” ...Pam Hill’s (entitled) “Evensong”...and Joyce Hyam has made a quilted art hanging entitled “Pipe to the Spirit – after Dorrit Black”...It uses handdyed cotton fabrics, is machine appliquéd and machine quilted.” Art Quilt Magazine, Issue 7, 1996-7 This magazine features new works done by fibre-art artists and featured Joyce’s work, Australian Waters, in this issue. In describing her work, Joyce wrote: “A recent holiday in the Whitsundays inspired this work. Australian Waters is made of hand-dyed cotton fabric. The batik sea creatures are appliquéd with metallic threads, as are the fishes and other sea forms suing free stitchery. This work comes to life under a spotlight.”

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9 Contemporary Quilts by Joyce Hyam from her “Alice Series.” Joyce is an artist who only recently in the last 10 years developed an interest in textile art. Her quilts have been selected for display in Australian Quilts in Public Places (Melbourne 1997), the World Quilt Competition (Pasadena California 1998 and WinstonSalem, North Carolina, USA 2000), and National Patchwork Association, UK 1997. With these impressive accolades, we consider her quilts a special inclusion this year.

Joyce Hyam Aura Australis 125cms x 110cms Joyce Hyam Here Be Magic 129cms x 107cms “Here Be Magic” is my original design, inspired by the sparkling effect of sunlight on trees after rain. It is painted on canvas, the tree foliage being created by using small pieces of fabric and threads, held together whilst sewing using soluble fabric and gold metallic threads. The created shapes and patterned organza are appliquéd with invisible thread. The work is machine quilted. “Here Be Magic” has been selected to be judged at the WORLD QUILT COMPETITION in Pasedena, California USA, and will hang on display during the event from April 16-19, 1998.

Selected by Dijanne Cevaal, Quilt Artist and Curator, to travel with Australian Bounty, Quilts Australiennes Natura 2000. The quilts went to the following venues in 2000 and 2001: Gellilbrand Town Hall, Gellibrand Chatteau de Chassy en Morvan, Chateau-Chinon, France Galerie du Pontgirard, Galerie d’Art Contemporaine, Manceaux-au-Perche, France European Quilt Championships, Waalre, The Netherlands Autumn Fairs, Ardingly and Chilford, England Australian Embassy, Paris, France The Heights, Heritage House, Geelong, Australia New England Regional Art Gallery, Armidale, NSW, Australia Sydney Quilt Festival, Sydney, Australia Te Tuhi (formerly the Fischer Gallery) Auckland, New Zealand

SELECTED ARTWORKS BY JOYCE HYAM

Green Island c1985 63cm x 84cm Textile: (velvet appliquĂŠ; machine stitchery)

A CREATIVE JOURNEY

Via Satellite 2 c1985 91cm x 122cm Textile: (cotton pieced appliquĂŠ; machine stitchery)

SELECTED ARTWORKS BY JOYCE HYAM

Colour Zones c2000 86cm x 74cm Textile: (patchwork; appliquĂŠ; netting; machine stitchery; machine quilted)

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Come Into Being c2000 92cm x 80cm Textile: (patchwork; appliquĂŠ; machine stitchery; machine quilted)

SELECTED ARTWORKS BY JOYCE HYAM

Just Imagine 1992 81cm x 100cm Textile: (curved piecing; appliquĂŠ; weaving; bead decoration; machine quilted)

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Sneak Peek c1992 70cm x 50cm Textile: ( appliqué; machine stitchery; machine quilted)

SELECTED ARTWORKS BY JOYCE HYAM

Curiosity Masks c1992 55cm x 40cm Textile: (machine appliquĂŠ; weaving; beading; machine quilted)

A CREATIVE JOURNEY

Razzamataz c1993 74cm x 63cm Textile: (marbelling on fabric; appliquĂŠ; machine stitchery; machine quilted)

SELECTED ARTWORKS BY JOYCE HYAM

Silken Dalliance 1992 56cm x 41cm Textile: (marbelling on silk; appliquĂŠ; machine stitchery; machine quilted)

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Swirl 1992 122cm x 97cm Textile: (marbelling on silk; appliquĂŠ; machine stitchery; machine quilted) SELECTED ARTWORKS BY JOYCE HYAM

Bush Alert 1989 50cm x 36cm Textile: (hand-dyed cotton; appliquĂŠ; machine stitchery)

A CREATIVE JOURNEY

Western Sky c1990 56cm x 42cm Textile: (hand-dyed & painted cotton; machine stitchery) SELECTED ARTWORKS BY JOYCE HYAM

Vibes 1999 55cm x 43cm Textile: (machine stitched & layered slashed fabric; beading; machine quilted)

A CREATIVE JOURNEY

Seasons 1998 131cm x 131cm Textile: (hand-dyed cotton; slashed blocks; brocade; machine appliquĂŠd; machine quilted)

SELECTED ARTWORKS BY JOYCE HYAM

Green Gold Galaxies 1995 50cm x 50cm Textile: (screen printed; pieced; free standing motifs; machine stitched & quilted)

A CREATIVE JOURNEY

Nine Prancing Cats 2003 103cm x 84cm Textile SELECTED ARTWORKS BY JOYCE HYAM

Way Out c2000 122cm x 92cm Textile: (patchwork; machine stitchery; bias binding with free stitchery; machine quilted)

A CREATIVE JOURNEY

Lightning Strike c2002 107cm x 69cm Textile: (hand-painted cotton; organdie overlay; machine stitchery; appliquĂŠ; machine quilted) SELECTED ARTWORKS BY JOYCE HYAM

Soft Reef Current c2002 43cm x 58cm Textile: (hand dyed & painted cotton; machine stitchery)

A CREATIVE JOURNEY

Opalescence c2002 43cm x 58cm Textile: (hand dyed & painted cotton; machine stitchery)

SELECTED ARTWORKS BY JOYCE HYAM

Southland Sailboat c1996 124cm x 109cm Textile: (painted canvas; appliquĂŠ; machine stitchery; machine quilted)

A CREATIVE JOURNEY

Aura Australis c1997 125cm x 110cm Textile: (painted canvas; appliquĂŠ; machine stitchery over fabric pieces & threads; machine quilted)

SELECTED ARTWORKS BY JOYCE HYAM

Ocean Intrigue c1993 122cm x 86cm Textile: (marbelling on silk; reverse appliquĂŠ; machine stitchery; machine quilted)

A CREATIVE JOURNEY

Australian Waters 1996 105cm x 101cm Textile: (hand-dyed cotton; appliquĂŠd batik; machine stitchery with metallic threads; machine quilted)

SELECTED ARTWORKS BY JOYCE HYAM

The Stylist 1991 37cm x 32cm Textile: (air-brushing on silk; machine stitchery; machine quilted)

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There was a Green Hill 1991 46cm x 29cm Textile: (air-brushing on silk; machine stitchery; machine quilted) SELECTED ARTWORKS BY JOYCE HYAM

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Fleeting Moment 1995 55cm x 54cm Textile: (organdie overlays; reverse appliquĂŠ; gold metallic machine stitchery; machine quilted)

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Trees-a-Dancing 1995 44cm x 40cm Textile: (layered organdie over cotton-patterned fabric; glitzy fabric appliquĂŠ; machine stitchery)

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Mystique 2001 108cm x 90cm Textile: (painted fabric; machine stitchery over layered fabrics; appliquĂŠ; machine quilted)

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Hidden Secrets c2004 100cm x 61cm Textile: (hand dyed silk; appliquĂŠ; machine stitchery with wool & metallic thread) SELECTED ARTWORKS BY JOYCE HYAM

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Fabrication 1995 42cm x 40cm Textile: (layered organdie& commercial fabric; cut-away technique; machine stitchery)

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Still Life Recollected 1995 36.5cm x 30cm Textile: (layered organdie & commercial fabric; cut-away technique; machine stitchery) SELECTED ARTWORKS BY JOYCE HYAM

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Night Glow c2005 30cm X 25cm Textile: (appliquĂŠ & machine stitchery on dyed silk)

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Pipe to the Spirit - After Dorrit Black c1994 122cm x 86cm Textile: (hand -dyed cotton fabrics; machine appliquĂŠ; machine quilted) SELECTED ARTWORKS BY JOYCE HYAM

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Set of Miniatures c2002 39cm x 34cm Textile: (machine stitchery)

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Spirits of another Sort c2001 103cm x 82cm Textile: (painted fabric; machine stitchery over layered fabrics; appliquĂŠ; machine quilted) SELECTED ARTWORKS BY JOYCE HYAM

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Butterfly Haven c2005 30cm x 25cm Textile: (machine stitchery; fabric ornaments; appliquĂŠ)

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Into the Woods c2006 30cm x 25cm Textile: (machine stitchery of raised fungi motifs; machine appliquĂŠ & quilted)

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Ophelia â&#x20AC;&#x201C; Get thee to a Nunnery 2001 93cm x 78cm Textile: (painted fabric; machine stitchery; machine quilted)

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Sensuality c2002 58cm x 43cm Textile: (hand-dyed cotton; hand painted; machine stitchery)

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Arachnida c2003 70cm x 51cm Textile: (machine stitchery; appliquĂŠ; machine quilted)

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Nature’s Wealth 2008 51cm x 35cm Textile (machine stitchery; quilting; applique)(Joyce’s last artwork, age 85) SELECTED ARTWORKS BY JOYCE HYAM

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Alice in Wonderland Series their colourful attire and humorous stout bodies. ‘The Queen’s Gardeners’ pictures three comical cards of different ages and opinions. ‘Alice and the Duchess’ portrays a domineering powerful woman wearing rather odd clothes who contrasts the gentle elegance of Alice.

Inspiration in Colour and Stitch A Series of pieces based on Lewis Carroll’s Alice’s Adventures in Wonderland Author: Frank Hyam (1997) As a child, my wife Joyce was given a copy of Alice’s Adventures in Wonderland, containing black-and-white illustrations by John Tenniel. These have remained in her sub-conscious for over six decades, and inspired the interpretations that her art training enabled her to create.

The ‘Alice’ Series Author: Joyce Hyam (1997) Inspired by Lewis Carroll’s Alice’s Adventures in Wonderland, I adapted several of the images from the original illustrations by John Tenniel, using artistic licence to create the nine artworks in the series. I painted on canvas using a textile medium, and sculptured the scenes with selected fabrics including gold cord; netting, and lace. To further develop the artworks, I used invisible stitching (eg. to stitch the [playing cards around the perimeter); metallic threads; appliqué; free machine stitchery, and quilting. The ‘Looking Glass Garden’ extends from a massive tree in the left foreground through a pattern of flower-beds to a distant mountain on the horizon at right. ‘Tweedledee and Tweedledum’ capture the viewer’s attention with

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That Lewis Carroll’s inventions are famous is, in no small way, due to Tenniel’s sensitive and comic perception of a world peopled by anthropomorphic as well as quasi-human beings. They are engaged in interactions as enchanted as they are disturbing. Who would not be distressed about the possibility of drowning in her or his tears? Which child is unfazed by having to face predicaments of tininess, illogicality, and unfamiliar beings and situations? Joyce had great joy in ‘fabricating’ those fabrications, in rendering them as material substance. Painting and stitching together – literally as well as metaphorically – what comes from different universes was a great challenge. Because these pieces rest on Carroll/Tenniel’s inspiration, small variations lie within the artist’s province. While three gardeners try to re-colour roses in the story to deceive the queen, Joyce uses other blooms, which give a fresh view of their attempted deception. This secondary deceptive move is intended to underlie the gardener’s would-be guile.

Cartooning is, of course, at the heart of both Carroll’s and Tenniel’s artifice. Yet an artist seeks to work at a level beyond that of a cartoonist. Thus all characters receive their facial and body language, including their costumes and environments, from a world in which the principals of art are paramount. Our everyday language has abundant examples of ‘colour’ used in a non-visual sense. Colours are called ‘loud’ with no distinction made between auditory and visual perception. There are warm colours, cool colours and those that ‘shout’. The emotional dimensions of colour subtly affect viewers’ responses that are interactive and affect each other. Resonances are also set up by characters’ faces, costumes, backgrounds, stories and settings.

In the piece ‘Alice and the Duchess,’ the Duchess’s domineering character comes through in her features, her odd attire and her sheer size, which contrast so strongly with the far more demure personality that Alice presents. The appeal of ‘The Queen’s Gardeners’ stems from the age-range of the characters, plus their differences of opinion. In ‘Tweedledum and Tweedledee,’ the twins, as they seems to be, are the highlight of the work – Alice’s presence is of subsidiary significance.

Joyce Hyam beside her textile wall-hanging “The Looking Glass Garden” at her Retrospective Exhibition 2004.

SELECTED ARTWORKS BY JOYCE HYAM

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The Caterpillar and the Mushroom 1996 -1997 128cm x 125cm Textile: (painting on canvas; ‘sculptured fabric’ with invisible thread; machine stitchery; machine quilted)

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The Cheshire Cat 1996 -1997 99cm x 78cm Textile: (painting on canvas; ‘sculptured fabric’ with invisible thread; machine stitchery; machine quilted) SELECTED ARTWORKS BY JOYCE HYAM

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The Madhatter’s Teaparty 1996 -1997 82cm x 92cm Textile: (painting on canvas; ‘sculptured fabric’ with invisible thread; machine stitchery; machine quilted)

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The Queen’s Gardeners 1996 -1997 109cm x 92cm Textile: (painting on canvas; ‘sculptured fabric’ with invisible thread; machine stitchery; machine quilted)

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Off with her Head 1996 -1997 107cm x 97cm Textile: (painting on canvas; ‘sculptured fabric’ with invisible thread; machine stitchery; machine quilted)

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Alice and the Duchess 1996 -1997 127cm x 104cm Textile: (painting on canvas; ‘sculptured fabric’ with invisible thread; machine stitchery; machine quilted) SELECTED ARTWORKS BY JOYCE HYAM

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The Looking Glass Garden 1996 -1997 153cm x 97cm Textile: (painting on canvas; ‘sculptured fabric’ with invisible thread; machine stitchery; machine quilted)

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Tweedledum and Tweedledee 1996 -1997 106cm x 123cm Textile: (painting on canvas; ‘sculptured fabric’ with invisible thread; machine stitchery; machine quilted)

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Queen Alice 1996 -1997 108cm X 81cm Textile: (painting on canvas; ‘sculptured fabric’ with invisible thread; machine stitchery; machine quilted)

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Joyce Hyam Curriculum Vitae Artistâ&#x20AC;&#x2122;s Statement To me, artistic interpretation reaches from drawing, design and colour, culminating in my present multi-media approach. Hence, artistic expression is achieved by making creative choices amongst techniques, mediums and skills. I aim to produce work which sings and glows by using a limitless range of fabrics and threads as well as paints.

Studies My art study commenced in 1960 when I attended the Central Technical College, Brisbane. In 1968, I spent one year in Germany and attended the Waki Zollner Art School in Munich. This was followed by study tours in the U.K. and Europe, 1970 and 1975, Japan Arts and Crafts Tour in 1972, Bali in 1980, Taiwan in 1982 and three months in Japan in 1986.

Private Studies (Painting, Drawing, Etching) Andrew Sibley, John Aland, Bronwyn Thomas, Jon Molvig, Ysabel Hoyos 1978-79 1977 1974 1962-68

College of Art Nora Anson (Etching) Kelvin Grove C.A.E. Brian Dean (Lithography) Residential School, University of New England. John Olsen (Drawing) University of Queensland. Queensland Artsâ&#x20AC;&#x2122; Council August School of Creative Arts (Painting Tutors: Desiderius Orban, Stan Rapotec, Lawrence Daws, Louis James, Andrew Sibley, Robert Grieves)

Professional Development Workshops McGregor Summer School, Toowoomba (two weeks course: textiles) 1996 1991 1990 1988

Drawing - Design & Embroidered Textiles Curves in Quilts Stitch as a Design Element Creative Textiles

Celia Player Fiona Gavens Jan Irvine Tori de Mestre

Reversible Log Cabin Quilt Seminole Patchwork Nine Patch Colour-wash

Sharyn Hall Sigrid Sina Judy Turner

Textile Art 1993 1992

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Employment 1994 1974-87 1962-83 1965 & 1973 1963-72

Tutor, Quilt Experience, Toowoomba Subjects: Nine Patch Colour-wash Wall Hanging, Drawing & Design for Patchwork Art & Craft Lecturer, School Dental Therapy Subjects: Drawing, Painting, Poster-making, Puppetry Art Instructor, College of Art, Brisbane (part-time) Subjects: Child Art, Interior Decoration, Drawing, Design, Colour Study Art Lecturer, Kindergarten Teachers’ College, Kelvin Grove (part-time) Subjects: Painting, History of Art Lecturer, Board of Adult Education, Brisbane Subjects: Interior Decoration, Art Appreciation

Textile Exhibitions 2014

2008 2005 2004 2001 1997 1996 1995 1995 1994 1994 1993 1992

Creative Journeys: An Exhibition of Textile Art and Photography. Textile artist Joyce Hyam and Photographer, Vivien Harris. 29 April 2014-10 May 2014, Petrie Terrace Gallery, Royal Queensland Art Society Gallery, Brisbane Textile Art Group exhibition “Many Voices, Common Thread” Pine Rivers Regional Art Gallery, QLD Textile Art Group exhibition “Focus on Fabric” Royal Queensland Art Society” Gallery 419, Brisbane Textile Art Group exhibition “Art in Textiles,” Redcliffe City Gallery, Queensland Textile Art Group exhibition “Out of step,” Trevevan House Gallery, New Farm, QLD Rhythm in Blues, Toowoomba Regional Gallery Diversity, Logan Regional Gallery Warwick Regional Gallery, ABC Ferry Street, Brisbane Beauty Rich and Rare, Gallery on Five, David Jones, Brisbane Narek Gallery, Canberra AMP Place, Brisbane Landscapes and Illusions, Arts Council Gallery, November 1992: Artists represented: Joyce Hyam; Cynthia Morgan; Lois Skinner; Tina Sutton

Solo Exhibitions 2004 1993 1988 1985 1980 1978 1975 1974

Joyce Hyam Retrospective Exhibition, Royal Queensland Arts Society (Sept-Oct) Brisbane Stephens Gallery, City Hall (early & recent work) University of Queensland Staff & Students’ Club Stephens Gallery, City Hall (water-colours, textile art) Town Gallery (water-colours, graphics) Canberra Theatre Centre Gallery (water-colours, graphics) Twelfth Night Theatre Gallery (drawings) Abbot Gallery (oils, acrylics, water-colours)

Joint Exhibitions 1994 1987 1986

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Brisbane Stephens Gallery, City Hall (with Mary Norrie) Dabbles-on-Days Gallery (with Gary Field) Burnie Brae, Chermside (with Cynthia Morgan) Rockhampton Attic Gallery (with Cynthia Morgan) A CREATIVE JOURNEY

1962 to present Numerous painting and graphics group exhibitions, including: Wednesday Group of eight artists Royal Queensland Art Society Contemporary Art Society Half Dozen Group of Artists Ipswich City Council Regional Gallery, 1989 Queensland Quilters, Brisbane, 1990/91/92/93/94/95/96 Arts Council Gallery, Landscapes & Illusions, 1992 Mary Durack Outback Crafts Award, Queensland Museum, 1993/94/95/96

Selected to exhibit textile art: Quilts from Queensland National Patchwork Association (UK) One of twenty selected quilts to tour the United Kingdom and Europe, 1997

Selected to exhibit painting and graphics: Queensland Art Gallery Gold Coast Art Prize Royal National Association Crafts Council of Queensland Royal Queensland Art Society National Women’s Art Award, 1988, Gold Coast Brisbane Girls’ Grammar School Old Girls’ Exhibition, 1995 National Women’s Art Exhibition, R.Q.A.S. 1995

Awards First Prize 1981 1980 1978 1972

Chermside Quota Club Arts Festival (non-traditional acrylic) Bribie Island Arts Festival (water-colour) Westfield, lndooroopilly (water-colour) Redcliffe Art Society (water-colour) Royal Qld Art Society (acrylic)

Second Prize 1987

Brookfield Show (viscosity etching)

Highly Commended 1993 1982 1980

Gatton Arts Festival (viscosity etching) Westfield, lndooroopilly (viscosity etching) Aspley Art Contest (acrylic) Dalby Art Exhibition (drawing)

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Commended 1987 1980

Brookfield Show (watercolour) RNA Show (acrylic)

Represented Bribie Island City Council Art Collection School Dental Therapist Training Centre College of Art, Taipei Private Collections in Australia, Munich, Germany; Cugnaux France; Vancouver, Canada

Illustrator Hyam, F. The Dreaming Time, Max Hueber Verlag, Munich, (1969)

Publications in which Joyce’s art is featured Hyam, J.R. Interior Decoration for Australian Homes, Jacaranda Press, Brisbane Australia (1972) Australian Waters in Art/Quilt Magazine, Issue 7, (Houston, TX, U.S.A. 1996-7). p 45. Frank Hyam, Inspiration in Colour and Stitch in The World of Embroidery, Vol 48, No 2, (U.K. 1997), pp 100-101. The “Alice” Series: Joyce Hyam in Textile Fibre Forum, No 48, (1997), p 30. Textile Ten in Down Under Quilts, (Autumn 1997), pp. 20-21. Alice and the Duchess in Craft Arts International, No 38, (1996-1997), p. 115. Alice and the Duchess in Down Under Quilts, (Spring 1996), p. 51. Australians Recognised Internationally in Down Under Quilts, (Spring 1995), p. 4. Fibrearts Design Book 5 (1995), Editors: Batchelder, A; & Orban, N. Authors: Janeiro, J. & Larsen, J.L Publisher: Sterling USA, p. 218. Craft/ink Vol 8, No 7, (August 1994), front page. Hinchcliffe, M. Pursuit of Excellence in Textiles, Canberra Times (17th July, 1994), p. 18. Marbling on Fabric in Textile Fibre Forum, No 36, (1993), p. 48. Textile Art in Down Under Quilts, (Autumn 1993), p. 25. Shaw, J. Landscapes and Illusions in Craft/ink, Vol 7, No 2, (March 1993), p. 3. Marbling in Quilts in Patchwork Quilt Tsushin, Issue 44, (Tokyo, 1991), p. 7. Art Quilts in Down Under Quilts, (Sept. 1990), p. 34. Quilted Hangings in Textile Fibre Forum, No 30, (1990) p. 51. Art Quilts in Ita, The International Magazine for Women, (June 1990), p 128. Why Textiles?Textile Fibre Forum, Vol 8, Issue 1, No 24, (1989), p 31.M

Listed in: Artists and Galleries of Australia, Max Germaine, p. 258 . Keith Bradbury and Glenn R Cooke, Thorns & Petals; 100 Years of the Royal Queensland Art Society, pp. 126, 188 Helen Fridemanis, Artists and Aspects of the Contemporary Art Society, Queensland Branch, pp. 57, 67, 135. Glenn R Cooke, A Time Remembered- Art in Brisbane 1950-1975, (1995). Who’s Who of Australian Visual Artists (1995). Who’s Who of Australian Writers (2nd edn. 1995), p. 340. Fibrearts Design Book 5 (1995), Editors: Batchelder, A; & Orban, N. Authors: Janeiro, J. & Larsen, J.L Publisher: Sterling USA, p. 218.

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Index Artists, art teachers, art curators, and art critics with whom Joyce exhibited, studied under, and instructed with during her artistic career, and who are referenced throughout this publication.

Abraham, Peter

Dargie, Sir William

Akers, Dorothy

de Silva, Frank

Aland, John

6, 7, 129

de Silva, Greg

5, 12

Amos, Irene

8, 15

de Mestre, Tori

10, 129

Anson, Nora

129

Eldershaw, John

Apel, Joan

11, 73

Faeber, Ruth

Arrowsmith, Veda

Faulkner, Kay

12, 14

Barker, Caroline

Field, Gary

130

Bennett, Deirdre

Fowler, David

Bradbury, Keith

9, 132

Fridemanis, Helen

13, 132

Budgen, Beverley

Fullbrook, Sam

Campbell, Elaine

Galloway, David

Carstens, Herbert

Gasteen, Mona

Cashel, Charmaine

Gavens, Fiona

129

Cassab, Judy

Germaine, Max

Cevaal, Dijanne

Gibbs, Cyril

6, 8, 13, 14

Churcher, Roy

6, 7

Gleghorn, Tom

Coaldrake Alison

Grieves, Robert

129

Coburn, John

Hall, Sharon

129

Cooke, Glen

13, 14, 132

Hamilton, Don

Cooper, Wilson

Harvey, L. J.

Cottew, Miss

Hatch, Brian

Cunningham, Robert

Haysom, Melville

5, 13

Dawes, Lawrence

7, 129

Heber, Liz

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Hill, Pamela

11, 73, 74

Norrie, Mary

7, 130

Hinchcliffe, Meredith

11, 14, 73, 132

Olley, Margaret

Hoyes, Ysabel

129

Olsen, John

129

Hutton, Joy

7, 8

Oâ&#x20AC;&#x2122;Neal, Elizabeth

8, 13, 14

Hyam, Frank

12, 13, 14, 118, 132

Orban, Desiderius

7, 129

Inson, Graham

Penfold, Rosemary

11, 73

Irvine, Jan

10, 129

Plate, Karl

James, Louis

129

Player, Celia

129

Lahey, Vida

5, 13

Rainbird, Steven

Lane, Harold

Rankin, David

Langer, Dr. Gertrude

6, 7, 9, 10, 13, 14, 51

Rapotec, Stan

7, 129

Langford, Pat

Read, Arthur Evan

6, 10

Lewers, Margo

Reddington, Charles

Ludlow, Charles

Rigby, John

10, 14

Matthews, Neville

Robinson, Conty

Mc Phee, Dorothy

Robinson, Fran

Mellish, Raoul

Robinson, William

Miller, Shirley

Rodgers, Frederic

9, 10, 14

Milton, Ian

Roggenkamp, Joy

Molvig, Jon

7, 129

Ross, Dan

Moon, Milton

Schlunke, David

Morgan, Cynthia

12, 13, 69, 72, 130

Schwabe, Alison

Moule, Judy-Anne

11, 73

Shaw, Jeff

11, 14, 69, 132

Nolan, Caroline

Sina, Sigrid

129

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Sibley, Andrew

7, 129

Skinner, Lois

69, 130

Sutton, Tina

11, 69, 73, 130

Templeton, Peter

Thomas, Bronwyn

129

Turner, Judy

129

Van Erp, Rona

7, 8

Ventnor, Clarrie

Warren, Alan

8, 9

Wilkes, Carol

Williamson, George, D

Winson, Pam

11, 73

Yates, Bronwyn

6, 7

Zollner, Waki

8, 129

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A Creative Journey – Selected Artworks by Joyce Hyam Profile on Queensland female artist, Joyce Hyam, from 1960 to 2008 – Editor: Vivien Harris

A CREATIVE JOURNEY