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w il l a n d r a three rivers

“My thoughts were all about the landscape - the vastness, the space, the colours of the earth.” TREAHNA HAMM

foreword NSW boasts an amazing array of National Parks, taking in

with other artists, by the intensely immersive process of living and

rainforests, mountain ranges, coastal landscapes, and then also

working remotely at Willandra. We also believe all have now been

the broad flat plains of the Western region (such as those bounded

encouraged to think more critically about the connections between

by Willandra National Park). All of these landscapes inspire and

local natural environments and their own artistic practice.

challenge us in different ways. Yet sometimes it is the artist’s eye

A secondary aim of Willandra Three Rivers was to promote the

that really brings the curious beauty of these landscapes to our

specific and often intangible allure of Willandra National Park

direct attention.

(hopefully encouraging further ethical visitation), to be achieved with the outcome of a stunning visual exhibition. The pages of this

Willandra Three Rivers was developed with one main aim:

catalogue now evidence that outcome. We hope the work inspires

to bring artists from different areas of regional NSW together

you to make your own voyage to Willandra National Park, or

to work alongside each other and to learn from each other.

indeed one of the many other National Parks in NSW.

During 2015/16 participating artists (all based in the area of NSW bounded by ‘three rivers’, the Lachlan, Macquarie and

Australian artists have always been retreating to seek inspiration

Murrumbidgee) travelled to the Willandra National Park for a

from non-urbanised landscapes and Willandra Three Rivers has

number of residencies, staying at the old Willandra Homestead.

simply been a facilitated extension of that impulse. Artists from

While there they talked, roamed, and made new work.

regional NSW are producing work of an amazing quality and when they are brought together new conversations, new networks, and

The Willandra Three Rivers artists – Melanie, Treahna, Chris,

new ideas develop.

Gabriella, Kerri, Cory, Robert, Jack and Jo-Anne – all came to the project with different backgrounds and approaches to making

Derek Motion

art. Some live close by and have visited the National Park before; some are from further afield and were encountering the stark

On behalf of project partners: Western Riverina Arts, the Griffith

landscape for the first time. But all were influenced by close contact

Regional Art Gallery, and NSW National Parks and Wildlife Services.

OF EDGES AND CENTRES: PROVINCIAL BLINDERS Regionalism and originality: these terms are invariably cemented

Germany, Brazil, England, France, Japan, Australia, etc.,

into opposition in the minds of arts writers and administrators.

stand in a provincial relationship. They are making art

Regionalism is seen as being both small in mind and in subject

indistinguishable from that of the majority of New York artists,

matter; preoccupied with the parochial genres of skeletal gum

but their art needs to funnel through New York before it has a

tree painting and orange sand. To be deemed ‘provincial’ had

chance significantly to “change the culture”, even the culture

been in Australian art by the 1970s to be consigned to being a

back home.

local interpreter of current dominant international styles – and it is a cultural cringe we eagerly dived into in response to one key

The Two Decades of American Painting exhibition in 1967 (at

exhibition brought to Australia in 1967. Making pallid copies of

the National Gallery of Victoria) elevated the stature and direct

the tropes of British art was of course perpetuated here throughout

influence of these contemporary American Field painters, inevitably

the 19th century, but by 1967 gained a new impetus towards aping

disseminating their stances and creating a field of second-rate

the New York movements in abstraction. Aspects of this ‘provincial

imitators here, yearning to work in ‘the style’ that appeared

debate’ initiated some fifty years ago were brought flooding

international rather than towards any local intent. According to Jan

back into my thoughts by this current exhibition of works made in

Senbergs, reflecting on these imported New York stars, “overnight,

response to the Willandra area; in terms of revisiting what it is that

everyone became a colour field painter.” Yet our discussion of

‘regional art’ can and should constitute today.

why we are “making art indistinguishable from that of the majority of New York artists” has shifted diametrically in the intervening

It enacts the rituals of uneven cultural exchange of which Terry Smith

fifty years. The debate surrounding ‘the provincialist bind’ has

wrote in 1974; in reference then to the impact of the Two Decades

continually inflamed Australian art discourse since the 1970s,

of American Painting exhibition brought here from America in

reflecting as it does upon our various supposed tyrannies of distance

August 1967:

from centres.

New York remains the metropolitan centre for the visual

The ‘provincialist bind’ that Terry Smith indicated for Australian

arts, to which artists living in the rest of America, in Holland,

artists lies in the tension between “a defiant urge to localism (a

claim for the possibility and validity of “making good, original

Innovative curatorial mandates have manifestly emerged from

art right here”) and a reluctant recognition that the generative

regional centres. In 1977 and 1978 the Perth International Survey

innovations in art… are determined externally.” That we have, in

of Drawing exhibitions, under Lou Klepac’s guiding intelligence, set

effect, no control over the provincial location and nature of our art-

the agenda in the field for years to come, defining drawing activity

making – the concepts of provincial relationship are imposed from

in a contemporary, national and international context. In textile,

outside; but only if we choose to acquiesce to concepts of centres of

Ararat and Tamworth in the 1980s - 90s initiated the leading edge

art; albeit New York, Rome, Paris, London... or Sydney, Melbourne

exhibition focus in fibre/textile through successive biennials. Recent

and Canberra for that matter. A ‘centre’ always being that which we

history points to ‘regional’ areas exercising exactly the kind of

see ourselves nestling in the shadows of.

curatorial leadership and will from which critical debate emerges; as much from Perth, Adelaide, Tasmania, Castlemaine, Newcastle,

Blinders prevent us from seeing sideways, or any peripheral thinking,

Wagga Wagga, Kedumba, Broken Hill, Mildura or Griffith.

as we enter the art racetrack where we (Australian artists) try and keep pace with New York, or London, or even Canberra in the

Regionalism (as a nation) had always been determined by our

perceived race to relevance. I obviously like this analogy a bit too

consciousness of an imposed metropolitan dominance. Three

much, so I’ll let it go at that. But the double-meaning of ‘blinders’

Australian artists (Mike Parr, Imants Tillers and Ken Unsworth) were

is also of an excellent, inspiring performance... where something

exhibited in America in an exhibition entitled An Australian Accent

truly extraordinary in art, sport, or another unprecedented activity is

in 1984. However, it might well have been appropriately dubbed

pulled off. The outstanding, long term attainments in Australian art

“Australians speaking with an International accent”, so fully did they

have often been blinders generated from the so called sidelines, the

distance themselves from any local frame of reference. In Daniel

relegated regions of Australia, rather than from its centres… where

Thomas’s curatorial essay, the attitude that “these three artists are in

assuaging views of a metropolitan audience flirt constantly with

fact conspicuously disinterested in Australian nature” is forwarded

cringing internationalism.

to seemingly legitimise the metropolitan and international scope of their art rather than there being any parochial taint to their art aesthetic; they are locked into the very bind Smith had flagged, of

disowning any local or regional characteristic within the work lest it

relationship – If Australian art (in its watered-down Europeanised

be considered ‘of the provinces’ and second-rate.

forms) has developed as an image-scavenging one, dependent

Imants Tillers wrote in 1982 regarding changes to the debate about

on simulacra, and the trickle of second-hand artists and images

parochialism in art by saying that there was a critical optimism

through magazine reproduction wending its way here from Britain or

arising about the role of Aboriginal art, and that this would:

America, then it is this very distance which ensures that our ‘copies’ of European models will be so distant as to allow them to find an

Reflect the change in critical attitudes towards ‘regionalism’,

independence and originality.

a word which now has ascendancy over the formerly popular and derogatory expression, ‘provincialism’. For today we

This is the modernist backdrop against which we necessarily

believe that ‘remarkable work is as likely to arise in Cracow,

consider the context of a group of artists loosely coalescing towards

Turin, Dusseldorf, Vienna, Paris, London or Amsterdam as in

a project such as Willandra Three Rivers, immersed in directly

New York.’ Why not Sydney or Melbourne as well?

working at a specific regional location, to see what germinates in response to site. What emerges in their works is a strong advocacy,

By 2016, the word ‘regionalism’ has not only overtaken the

of the validity of ‘regional’ engagement – art made in Australia

‘provincialist bind’, but been reclaimed: it has come to represent the

which is both in and of place. None of the work is intimidated by

type of defiantly local, haptic reconnection to landscape generated

pandering to ‘internationalism’ or the need to somehow disguise the

here in Willandra Three Rivers – whereby place is not a backwater,

vernacular Australian art accent.

but harbinger of genuine, lived experience. Tillers also offered one of the more incisive reflections we can have regarding where we

Logically, the only claim to authentic art produced in Australia

stand today in relation to presupposed centres; either of culture,

is indigenous art. But Australian art has always thrived on loose

politics, or economy – namely that “In Australia we are protected

knit collectives of artists working together; whether the Heidelberg

from the original.” It is not a casual comment, but a rather concise

School, of Australian Impressionist camping trips in the 1880s, or

articulation (and reversal) of the Australian postmodern parochial

the Angry Penguins bunkered down at Heide outside Melbourne

in the 1940s, or the Papunya desert artists. Mentioning individual

Every artist in this exhibition shares a focus on what it is that

artists in a group exhibition is always invidious, but I will briefly

Willandra meant then and what it means now; of time collapsed.

identify some different strategies of working in the country. Melanie Baulch in Spirit of Willandra – Amongst the Black Box Trees provides

Dr Neill Overton

its own Mondrian echoes of abstraction, (or rather extraction), of

Associate Head of School

charcoal drawing directly culled from walking along the billabong

Senior Lecturer in Art History and Visual Culture

edges. In her Spirit of Willandra – Gathering Place she uses local

School of Communication and Creative Industries

flora around the Willandra Homestead for plant dye imprints on

Charles Sturt University

paper. It is deeply suffused in new materialism’s collaboration with

Wagga Wagga, NSW

nature itself as co-conspirator in generating the artworks, rather than retinal art alone. By contrast, Treahna Hamm’s Willandra

National Park is a teeming ovoid; everything unfurls in an abstract, simultaneous view – her work Billabong Life is all blue gems of pools and ponds of contemporary indigenous iconography; the macrocosm always present. Robert Moss’s Willandra Shearing

Sheds are history excavations. The shearing shed rigidly aligns in each of his canvases, like a modernist lighthouse squatting squarely on the horizon line. Below, the mud brown land slips languidly into a time-lost archaeological tar-pit, of digging down through the recent past of Willandra as pastoral property… containing shadow foxes, hares, and all the suggested scars of a longer history.

Terry Smith. Art Forum, Vol. 13, No. 1, September 1974, pp. 54-59. Interview with the author. 3 Terry Smith, op. cit. 4 Neill Overton, PhD thesis, Icons and Images in Australian Drawing, (2004). 5 Daniel Thomas. An Australian Accent, catalogue essay, John Kaldor Pub., 1984, p. 11. 1 2

Imants Tillers, from Art and Text 6, Winter 1982, in Rex Butler’s What is appropriation? An anthology of Critical Writings on Australian Art in the 80s and 90s, Power Publications, 1996, p. 141. 7 Tillers, ibid. 6

Melanie Baulch Melanie is a contemporary artist who lives and works in Beelbangera, New South Wales.

the local natural environment into colourful abstract examinations of the landscape.

Melanie studied at Julian Ashton’s Art School, National Art School and Charles Darwin University in Alice Springs. She has held two solo exhibitions, many group exhibitions and been shortlisted in the Alice Prize 2008 and a finalist in Casella Art Prize 2008, 2010.

Melanie has visited Willandra National Park a number of times and enjoys walking quietly alone through the Black Box trees lining the billabongs, water depressions and along the edges of Willandra Creek and out onto the plains where she seeks to be at one with nature and open to the spirits of the land.

Since 2011 Melanie has been employed in the Riverina arts field, holding and facilitating numerous art projects and workshops for adults and children. She currently takes Art Experience classes and is developing her own arts practice from Studio 2703A at Beelbangera. Through her arts practice Melanie continually strives for a deeper understanding of life and its complexities. Considered a colourist, her signature works transform

‘My artwork aims to portray the Spirit of Willandra. The stillness, wildlife, earth, sky and solitude and the ever presence of the spirit of ‘others’.

Spirit of Willandra - Along the Nilla Yannagalang Billana Walking Track Acrylic on Linen, 101.5 cm h x 60 cm w

Melanie Baulch

Spirit of Willandra Gathering Place 91 cm h x 122 cm w

Spirit of Willandra - Out on the Plains Acrylic on Canvas, 910cm h x 122 cm w Melanie Baulch

Spirit of Willandra - Along Willandra Creek Acrylic on Canvas, 91 cm h x 122 cm w

Melanie Baulch

Spirit of Willandra - Flora around the homestead Plant print on paper, 30 cm h x 50 cm w

Spirit of THE Local flora around Willandra Homestead Plant dye imprint on paper, 35 cm h x 73.5 cm w

Melanie Baulch

Willandr a

T h r e e r i vSpirit er ofs

Spirit of Willandra - Amongst the Black Box Trees Charcoal and acrylic on paper, 50 cm h x 70 cm w

along Willandra Creek‌ And there the flowering Black Box Full cream in good health And a tingle down my spine with pricking tears And guilt for aboriginal lives Lived here Long gone Treated as nobodies.

Corrugated iron 44 gallon drums Atlantic Fuel 1960 Beer Bottles Broken bricks Mangled wire A shingle back lizard Flies

Tumbled down in tangled wood Dark tree trunks spreading limbs striated Pardalotes calling spread-eagling cultures Them – us - myths

Melanie Baulch

Spirit of Willandra Poster 100.5 cm h x 75 cm w

Treahna Hamm Melanie Baulch

Treahna Hamm Treahna is an internationally renowned artist who is celebrating thirty years as a practicing Indigenous Artist. Her works are composed with multi-layers of stories garnered from her Yorta Yorta experiences of living by the Murray River in Northern Victoria and southern NSW. Treahna’s practice includes contemporary printmaking, painting, photography, public art, sculpture, possum skin cloaks, murals and highly individual fibre weaving. She works with abstract forms as well as traditional designs from her Indigenous heritage.

Treahna has exhibited in New York, South Korea, Hawaii, New Zealand, Paris, Belgium, Germany and the United States. Her vibrant works are in national and international collections. During the last decade, her dedication towards rejuvenating, revitalizing and retelling oral history through her own life experiences in Victoria has been a foundation to the collective experience of a new generation of visual indigenous artists of South Eastern Australia.

Willandra Possum Skin Cloak Acrylic and Ink on Canvas, 153 cm h x 102 cm w

Treahna Hamm

Willandra National Park

Rain on the Horizon

Acrylic and Ink on Paper, 60 cm h x 76.5 cm w

Ink on Fabriano Paper, 60 cm h x 76.5 cm w

Treahna Hamm

Celestial Journey

Of Art & Life

Encaustic on Wood, 22 cm h x 22 cm w

Encaustic on Wood, 22cm h x 22 cm w

Spiritual Landscape

Possum Skin Cloak’ Encaustic on Wood, 22 cm h x 22 cm w Treahna Hamm


Acrylic & Ink on Canvas, 102 cm h x 153 cm w

Collective Wisdom

Acrylic and Ink on Canvas, 102 cm h x 153 cm w

Treahna Hamm

Billabong Life

Ink on Fabriano Paper, 60 cm h x 76.5 cm w

Treahna Hamm

Chris Kunko Born in Adelaide, Chris Kunko moved to the Gold Coast in 1999 as a surfboard artist. He graduated from Queensland College of Art with a Bachelor of Fine Art in 2010. In 2013 he moved to Dubbo responding to a new and unfamiliar landscape while completing commissions as resident artist at the Fire Station Arts Centre managed by Orana Arts. Kunko has since shown paintings in 8 group exhibitions and 2 solo shows, most recent ‘Family Gold Pass’ at the Western Plains Cultural Centre Dubbo 2016. Primarily my works are influenced by the Willandra creek that houses a weir, within the Willandra National Park this is where I spent hours drawing, paddling and swimming. I found solace in this body of water which naturally carves

through this landscape, a landscape that features a radically low and mesmerising horizon line. Thick scrub and many species of wildlife hug the creek’s vein for survival until drought moves them on. I was hyper sensitive to abstract stories in my mind of the many people who left footprints in the muddy banks of the Willandra Creek. Chris Kunko was working on his major works as this catalogue went to press. The studies viewed are immediate visual responses to his 2015 residence in Willandra National Park.

Flat Hull on Bank

Passage away from Weir

Oil on marine ply, 18 cm h x 19 cm w

Oil on marine ply, 18 cm h x 19 cm w

Still Willandra 3 Rivers Oil on marine ply, 18 cm h x 19 cm w chris kunko

Gabriella Hegyes Gabriella studied fine arts at Wollongong, the National Art School, University of Western Sydney and Monash University. She has participated in numerous solo and selected group exhibitions around Australia and overseas. Â Curated several exhibitions and developed and coordinated a number of community public art projects in NSW. Her 25 years of teaching experience include fine art and design at tertiary level as well as facilitating a diverse range of workshops for communities, regional galleries and arts organisations.

She combines conventional forms of sculpture, printmaking and traditional crafts with computer manipulated images to create installations. Â Her work is inspired by memory/place/identity

Stitched transparencies in a shape of sheep carcasses

The Meat House 201 6

Three stitched transparent images of the landscape and text in the form of sheep carcasses, Each: 150 cm h x 40 cm w x 40 cm d

Gabriella Hegyes

Rubbings from the Shearers Dining room floor

Stories of a shearers Cook.

Gabriella Hegyes

The Meat House Proposed forms of sheep carcasses

Meat house installation collaboration with Rob Moss 2015

Gabriella Hegyes

Along the creek and past the shed Detail

‘Along the creek and past the shed’ 2016 Polyester chiffon, fabric dyes, rust stains from found objects, thread, timber, 5 pieces each 240 cm h x 10 - 15 cm w , 10 - 1 cm d

Along the creek and past the shed 201 6

Gabriella Hegyes

Gabriella Hegyes Gabriella Hegyes

Kerri Weymouth Kerri is a self-taught artist who has been making art all her life, her art is inspired by an eclectic blend of her connection with the Australian Bush and her love of nature from rust to textiles, fabrics, threads, beads and laces. Her chosen medium depends on the ideas she is exploring at the time, but because of her love to experiment, mixed media is often favoured, she finds it very rewarding to find new life for found and rejected objects that have passed their first life. Kerri feels that her time spent at Willandra, and with one of those times being rained in for a week, gave her a small insight to how the early pioneers and settlers would have felt, the sense of isolation and vulnerability is quite over whelming, but then she feels there is this quiet sense of calm and beauty that permeates the soul.

Kerri was particularly drawn to the shearers quarters where they would etch their names and messages beside where they would lay their tired bodies at night after a hard day’s work in some of the most extreme weather conditions. She wondered how hard it must have been for the shearing teams being so far away from family and loved ones, and how mothers would have felt having to wave her young teenage son off, knowing she would not see him for months at a time, with little or no contact, with a bunch of older toughened men. Kerri had Grandparents that worked on stations for most of their lives with seven children. This project has given me an increased appreciation and respect for my forbearers, the early pioneers and settlers, the hard and lonely life a lot of them lived, to have given us the life we have now.

Willandra 1

Acrylic and Ink on canvas

Willandra 2

Acrylic and Ink on canvas

Triptych ‘Mud and Dust’ Acrylic on Canvas, 153 cm h x 102 cm w x 3

Kerri Weymouth

Willandra 3

Acrylic and Ink on canvas

Stitched Time 1

Stitched Time 2

Mixed Media, Plant printed paper and cloth, 78 cm h x 53 cm w

Mixed Media, Plant printed paper and cloth, 78 cm h x 53 cm w

Kerri Weymouth

daily living

Plant printed Fabric coiled and stiched, 13 cm h x 20 cm w

Branch of Time

Ink on Paper, 56 cm

Willandra shearing Artist Book

Kerri Weymouth

Respect 1

Respect 2

Screenprint, 79 cm h x 49 cm w

Screenprint, 79 cm h x 49 cm w

Kerri Weymouth

Willandra Tracking 1

Willandra Tracking 2

Willandra Tracking 3

Etching, Acrylic Paint & plant Print on 500 gsm paper 35 cm h x 25 cm w x 15 cm d

Etching, Acrylic Paint & plant Print on 500 gsm paper 35 cm h x 25 cm w x 15 cm d

Etching, Acrylic Paint & plant Print on 500 gsm paper 35 cm h x 25 cm w x 15 cm d

Kerri Weymouth

Cory McKenzie Cory was born in Griffith and is a Wiradjuri man and has spent his childhood in the bush helping his father Allan gather timber for didgeridoos and the various artworks Allan has created over his time. At an early age Cory, with the help of his father, began producing didgeridoos. It was through this connection that Cory’s artworks developed. Helping his father has allowed Cory to develop the same vast knowledge of working with metals, and paints. He respects the land and its wildlife he lives amongst and this adds to his inspiration for painting. Cory considers Artwork can be a major part of Aboriginal culture and likes to see the troubled youth of today use it to express themselves and the way they feel. When he is not painting, Cory works with indigenous youth in much the same manner as his father. They take pride in teaching the

younger generation how to get in touch with their heritage and how to be proud of their indigenous background. Cory, like his father, is also very involved with Father Chris Riley’s “Youth Off The Street” program. Participation in this program balances with the teaching of indigenous youth in a way that brings a great sense of accomplishment to Cory. Painting and Art to Cory is a relaxing way to reflect upon the ideas that come to him during his times in the bush. During a 5 day stay at Willandra dark coloured moths were drawn to the lights at night and Cory took inspiration from these for his works.

Willandra Moth Dreaming 1 Acrylic on canvas, 61 cm h x 76 cm w

Cory McKenzie

Willandra Moth Dreaming 2 Acrylic on Canvas, 91 cm h x 122 cm w

Cory McKenzie

“Willandra National Park is a place of ancient cultural remains, striking wildlife and natural land formations that sit alongside the substantive ghosts of its recent past as a pastoral property. � ROBERT MOSS

Robert Moss Robert Moss is a visual and performing artist based in the Riverina NSW. For more than ten years he has been involved in a number of solo and group exhibitions, worked as a facilitator for art projects and privately taught both art and music. His art is represented in private collections throughout Australia and internationally in the USA and Italy. ‘Willandra National Park is a place of ancient cultural remains, striking wildlife and natural land formations that sit alongside the substantive ghosts of its recent past as a pastoral property. I am interested in how it is we relate to our local landscape and how that relationship effects

our use, and physical forming of this landscape. Our environment also greatly informs and helps to mould our cultural attitudes. Our understanding of this region and how it is we fit into it is continually evolving. My technique consists of layering media on the canvas to form up a visual representation of the landscape; sometimes scratching back or wearing away layers to reveal what is underneath.’

The Ram Shed and the Sepia Sheep 152.5cm h x 101.5 cm w, acrylic and mixed media on canvas

Robert Moss

Willandra Shearing Shed

152.5 cm h x 101.5 cm w acrylic and mixed media on canvas

The Fox and the Hare

122 cm h x 91.8 cm w, acrylic and mixed media on canvas

Robert Moss

Willandra Old Pump Shed

60.8 cm h x 76.4 cm w, acrylic and mixed media on canvas

Robert Moss

“I think artists can be by nature solitary creatures, and working with a team has reminded me of the importance of a nurturing cultural environment. We’ve developed new friendships and new respect.” JACK RANDELL

Jack Randell In 2008 Jack had a major solo exhibition of video/ paintings at Carriageworks in Sydney following a residency at Artspace. His work has been selected in several major prizes including Sunshine Coast Art Prize, Kilgour Prize and Hazelhurst Works on Paper. Following a residency at Ashfield Council in 2010, Jack had a solo exhibition at Gaffa, Clarence Street, Sydney. In 2012 Jack produced collaborative artworks in Germany and Spain that were included in a solo exhibition in

Barcelona. His most recent international collaboration “Ota juku (after Hiroshige)”was first exhibited at the Minokamo Culture Forest Museum in Japan in February 2014.   “My pictures are hybrid; ideas finding value between blurred boundaries in a post-digital age”. JR 2015 

This background and sky of this canvas (Willandra East) was painted at the Willandra Station shearing shed. Digging into the notes, photos, sketches and memories of the Willandra Three Rivers residencies, I completed these works in studio as a post-digital memoir. The surface of the plane in this landscape is like a biological photo-generative negative, responding to and resisting change by air, rain, sunshine and humans.

Willandra East 201 6 acrylic on canvas 152.5 cm h x 101.5 cm w

Jack Randell

Willandra West 201 6

acrylic on canvas 152.5 cm h x 101.5 cm w

Jack Randell

Willandra South 201 6

Willandra North 2016

acrylic on canvas 76 cm h x 61 cm w

acrylic on canvas 76 cm h x 61 cm w

The canvas (Willandra West) was first painted at the Willandra

horizon- flat, permanent and ever present. The weight of time bears

Station shearing shed. Through a fairly robust process I was

on the mind, the whimsy of human presence gives rise to fantasy

addressing the bio-patterns of the surrounding plane, the busy

and speculation. In the haze of space and time what stories persist?

absence of flat patina, dominated by the overbearing presence of

‌or are they always, always transitory?

atmosphere. The primary geometry of this epic landscape is the

Jack Randell

“This project has given me an increased appreciation and respect for my forbearers, the early pioneers and settlers, the hard and lonely life a lot of them lived, to have given us the life we have now.� KERRI WEYMOUTH

Jo-anne Southorn Jo-anne left a career as an administrator/manager to follow her lifelong passion for art spending a number of years in the TAFE system completing an Advanced Diploma in Fine Arts majoring in print making. Jo-anne then purchased a retail art supplies store which she ran successfully for 4 and a half years. She now works part time for Griffith Regional Art Gallery enabling her to devote more time to her art practice. Having stayed at Willandra several times I have experienced it in all seasons from hot and dry to cold and wet, very wet. Being of the land I am used to ‘isolation’ but not being trapped by impassable roads. Many farming families have had to cope with this for weeks on end, this year in particular, so even though transport now makes it much easier these days they still have to be provisioned for extensive periods of time. Knowing it was

quite likely that our second 7 day residential would be under conditions such as these made careful planning a must. It all worked out though and knowing that no one could come in was very nice and we all had a lovely time making art. It was the thick dark vegetation along the creek which most captured me particularly in contrast to the wide open shrubby flat plains. On two of my visits it has rained and the curtains of water and damp bark with mosses and fungi were beautiful. My works for this exhibition have incorporated natural dye and the impressions from the vegetation at Willandra. The birdlife is wonderful from tiny little Chats to Emus to Raptors to Water birds adding life, colour and movement and I could not but include them.

Wet Willandra with Emus 1 Oil on Canvas 94 cm h x 69 cm w

Wet Willandra with Emus 2 Oil on Canvas 94 cm h x 127 cm w

Wet Willandra with Emus 3

Oil on Canvas, 94 cm h x 49 cm w

Jo-anne Southorn

Wind Blown

Willandra Leaf Prints and plant dye on Fabriano. 71cm h by 89 cm w

Black Box Beauty

Etching and Plant Print on Stonehenge, 90 cm h x 88 cm w

Extracts of Willandra

Plant Printed Silk and Bones, 9 lengths = 1530 cm h x 1053 cm w Jo-anne Southorn

Spotted Pardalotte

Square Tailed Kite

Linocut on Plant Printed paper, 74 cm h x 55 cm w

Linoprint on plant dyed paper, 90 cm h x 55 cm w

Jo-anne Southorn

Willandra Three RiveRs - Stains from the Past’ Artist Book, 19 cm h x 180 cm w

Willandra Three Rivers - Along the creek and from the Garden Artist Book, 16 cm h x 201 cm w

Jo-anne Southorn

Acknowledgements First Published 2016 To accompany the exhibition Willandra Three Rivers First shown at the Griffith regional Art Gallery 22 October – 20 November ISBN: 978-0-9924046-3-5 Copyright Notice All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any forms or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. © Western Riverina Arts © Of essay remains with the author © Of artworks remain with individual artists. For Western Riverina Arts Derek Motion Regional Arts Development Officer Miriam Rystedt Communications Officer For the Griffith Regional Art Gallery Raina Savage Manager, Griffith Regional Theatre & Gallery Raymond Wholohan Gallery Coordinator Jo-Anne Southorn Projects / Education Officer For NSW National Parks and Wildlife Service Allan McLean Ranger David Eagan Ranger Christopher Howse Field Officer Photography: Derek Motion / Jo-Anne Southorn Layout/Design: Jenna Knowles – Cover Image: Derek Motion – Willandra Dusk

w il l a n d r a three rivers 2016

Profile for Western Riverina Arts

Willandra Three Rivers Catalogue  

Catalogue to accompany the exhibition 'Willandra Three Rivers', first shown at the Griffith Regional Art Gallery between 22 October - 20 Nov...

Willandra Three Rivers Catalogue  

Catalogue to accompany the exhibition 'Willandra Three Rivers', first shown at the Griffith Regional Art Gallery between 22 October - 20 Nov...