slp arts zine july 2014

studio la primitive

arts zine issue 6 july 2014

studio la primitive

slp studio la primitive

EDITOR

Robyn Stanton Werkhoven

CONTRIBUTORS

Ben Kenning Portrait Artists Australia

Joshua White Janis Lander

Shelley Cornish Lorraine Fildes

Judy Henry Carlin McLellan

David McLeod Eric Werkhoven

Ann Sutherland Robyn Werkhoven

Ewen Sutherland Alex Sutherland

Please do not copy articles in this magazine without written

permission of the Editor. Copyright © 2013 Studio La Primi-

tive, All rights reserved.

Front cover -

Issue 6 - July 2014 2

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INDEX Index…………………………………………………… 3

Editorial……………………….. Robyn Werkhoven 4

Studio La Primitive Antics…….. E&R Werkhoven 5

Featured Artist………………… Ben Kenning 6 - 13

Essay…………………… …… Eric Werkhoven 14 - 15

Featured Artist …………………Shelley Cornish 16 - 25

Poem ……………………………Robyn Werkhoven 26 - 27

BLOOD Exhibition…………….. Robyn Werkhoven 28 - 45

Featured Artist…………………..David McLeod 46 - 57

Postcards From Barcelona…… Lorraine Fildes 58 - 71

Artist Interview ………………. Judy Henry 72 - 83

Portrait Artists Australia……….. Janis Lander 84 - 97

Poetry ………….. …………… Carlin McLellan 98 - 99

Artist Interview………………… Ann Sutherland 100 - 107

Artist Interview…………………..Ewen Sutherland 108 - 113

Artist Interview ………………… Alex Sutherland 114 - 121

Art News………………………… 122 - 129

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EDITORIAL

Greetings to all our ARTS ZINE readers .

The July issue features interviews with nationally recog-

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

McLeod .

Don’t miss reading our new essays, poetry and art news.

The ARTS ZINE features professional Hunter Valley, national

and international visual artists poets and writers, glimpses

into their world of art and their creative processes.

Submissions welcomed, we would love to have your words

and art works in future editions.

SLP would like to thank all contributors .

DEADLINE FOR NEXT SEPTEMBER ISSUE 7 - is

AUGUST 15TH

Submit articles to email: [email protected]

Regards - your editor Robyn Werkhoven

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STUDIO LA PRIMITIVE (C)2014 - ANTICS by E&R Werkhoven collaborative drawings . www.studiolaprimitive.com

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BEN MARCUS KENNING


Ben Kenning

by Joshua White

“In 2005 I was a longhaired arrogant art student. I was attending Hunter St. Tafe with many other wanna

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

haired baby-faced boy. He was quiet and gentle looking. I would later find out that his name was Ben

Kenning, he wanted to be a painter and he worked at an insurance call centre at night.

We were both in the same painting class together and that’s where we had our first interactions.

“Hey man.” I said

“Hey.” He said in return, in an unexpectedly deep voice.

Class continued and we both started to paint, for the first time.

I asked him “How do I do this?”

His reply was simple and honest “I have no idea.”

Ben studied art at a point in his life when he was into drugs. Not just losing his mind within them but

exploring facets of his brain that wouldn’t normally be reached. DMT, mushrooms, acid, all the gametes of

psychedelics were vehicles to these places.”

Opposite page: Artist Ben Kenning beside recent paintings.


“I don’t use drugs to create art, but I have drawn from those experiences.

These experiences have come to inform my work on a fundamental level. Stimulating creativity and gaining

access to non-ordinary realities, is what I have tried to do. I opened myself up to being an artist.

I am now away from the 9 to 5 grind, just slaving away. Tafe, Uni and other artists have facilitated my sense

of place, identity and where I belong. It was the beginning, I entered into a new, natural state of being.”

“Nine years later and he looks different now, he has changed. His he’s grown into his baby face and his

body is inked with tattoos, acquired from travel and youth. I have noticed something within Ben today; he is

much calmer and more content. He has more of a purist’s approach to life and his artistic practice: having

daily routines, mixed with meditation and treating art like a job, in some ways, are a reflection of his growth.

From having ‘no idea’ to forming a skill set of how to handle paint and also a very clear and concise way of

verbalizing his concepts, techniques, and where his work is drawn from.”


Painting - Ben Kenning

(c)2014


He lives now with his two cats within the walls of a two bedroom unit. There have been many times we have

sat up late smoking cigarettes, drinking and talking art. Ben can never not be an artist. Everything revolves

around art.

“Art is just as much an idea, a philosophy, a way of living.”

I ask him “Define what art is in one sentence.”

There is a long silence.

“Art is creativity and imagination. As much mental as it is physical.”

He has seen me living in a bus, living with a psychotic partner, as a friend, as an artist, as a father to my

daughter, as a drunk and overall as nothing more than a man. A man like him. He has a constant deepness.

Never judging just always searching and travelling. Finding things and trying to communicate those things

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


I wonder why our friendship and journey through art has continued together and is so strong. We are on

completely different plains, but I have seen him at his best and I have seen him when he is down and out.

Bankruptcy, failed relationships, inner turmoil and life’s complications have never pushed us too far apart. It

is totally irrelevant whether he is successful in life or art – it’s all about the next chapter.

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

“Only in a material sense.” - Ben Kenning & Joshua White (C)2014

BEN KENNING – BACKGROUND INFO

Ben Kenning is a Newcastle based artist who studied at Newcastle Art School and completed his Bachelor of Fine Arts at

Newcastle University.

In 2011 Kennings hard work was recognised when he was interviewed and filmed by the Australian Broadcast Commission

to be telecast on ABC Televisions Sunday Arts Program.

Ben has focused on delivering large scale paintings of which this, according to Kenning, has been a challenging and re-

freshing process.

In 2010 Ben spent 5 weeks travelling throughout South East Asia in Vietnam, Thailand and Cambodia and was greatly in-

fluenced by the marked contrasts in environment.

Ben attended an artists in residence program at "Red Gate Gallery" in Beijing, China before returning home to consolidate

on the experience.

In the near future he will travel to Berlin to further his artistic aspirations.


ESSAY – ERIC WERKHOVEN© 2014

Like an anchor not lost at sea.

To gather about us these intricate designs, that reconnect us to the ancestral tree.

In the shimmering translucency of another sun rise.

In the shimmering translucency of another sun set.

In waking up and doing everything we possibly can.

And in falling asleep, to become aware of our great subconsciousness.

Never quite directly to the heart, mind and spleen.

But in a roundabout journey, we amass the capacity to reinvent ourselves.

It’s all on deck, to gather the fruits of our labour.

We gather these intricate complexities to plug up the holes in our

many insecurities, albeit we manage to look complete (whole).

We gather the many beautiful fruits from our ancestral tree.

We need to delve deep to realise how important it is.

This birth in the blue sky brings us home.

Where the dreaming arches itself over us, nestling in the warmth

where love reaches us.


Blue Sea - Eric Werkhoven

www.studiolaprimitive.com


SHELLEY CORNISH

Who Let the Dogs Out II ? © Shelley Cornish 2014


Shelley Cornish - Background.

“ I lived for 17 years in the Newcastle region and have just recently moved to Byron Bay area to be near

family now that my kids have all grown up. As a child my family moved around a lot. Consequently this

transient life instilled a little ‘gypsie’ in me. I have no fear at relocating. I kind of find it exciting. Like an

adventure. I like change. So when things stay the same for too long it feels a bit ‘ho hum’. Due to an

unfortunate home life I had minimal schooling and had to leave at age 14 to work and then made my way to

Sydney at the age of 16.

I had a large family of my own (5 children), and it wasn’t until the youngest was in high school that I was

able to start thinking about me and the rest of my life and where I might go with that. That was kind of like

being reborn. I felt like I was just staring out all over again and I could choose anything (within reason).

So after a divorce I went to university at age 42 studying Education and then onto TAFE to learn computers,

graphic design and finally Fine arts. And there the greatest journey began.”

SHELLEY CORNISH

INTERVIEW


Shelley when did her artistic passion begin?

“My artistic passion began at TAFE whilst learning

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

and found something that had been left behind. I told

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

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

enroll in that course. I did just that. One day we

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

loved playing with paint and she said I should go and

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

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

It’s good doing something that comes easily and its

easy to do something you’re good at.

I have an amazing work ethic. That’s simply be-

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

of it. I’m happiest when I’m being creative. I love the

solitude and the natural high I get from it.”

Shelley describes her work -

“Honestly there is nothing really deep about what

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

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

a while and sometimes come back and

sometimes go elsewhere. That’s what I like

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

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

exploring mark making in a whole new way at the

moment. I love patterns, I always have doodled

in patterns so I am experimenting with that love

in my new work. Also becoming more

abstractive gradually. Abstractiveness goes

against my natural grain so I have to work hard

at it.”


What inspires you?

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

Matthew McConaughey. What I mean is that when I

throw caution and inhibitions to the wind and I do

something that’s outside my safe square, something

unexpected and something fresh, I get motived, self-

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

easy to keep doing what you know and what comes

easy and what feels safe. And breaking away from

those things is not easy because its fraught with

danger in that it could fail and you can loose time and

motivation.

But apart from that I’m inspired by many different

things. Sometimes an image, sometimes an idea or

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

artists. These are Anthony Lister (Australian) and

Bundit Puanthong (Melbourne based Thai artist)”.

Name your greatest achievement, exhibitions?

“My greatest achievement hasn’t happened yet.

But my first solo exhibition after one year of

painting was extremely successful. That was an

amazing boost for me on a personal level. I knew

I was really onto something.”

What are you working on at present?

“At the moment I have just completed 3 large

commission works. I’m now working on emulat-

ing and borrowing from one of my favorite artists

Bundit Puanthong, a Thai artist based in Mel-

bourne. I found him accidently whilst cruising

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

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

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

and breaking it down to fundamentals and then

stealing the crap out of it.”


Future aspirations with your art?

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

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

that. So I plan to keep painting prolifically and push

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

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

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

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

paint but how you paint it”. These two pearls of

wisdom have become my mantra.”

Forthcoming exhibitions?

“I am having a little exhibition at Nanshe Gallery in

Newcastle in November this year but with exhibitions

comes ‘pressure’ and ‘outcomes’ and my goal at the

moment is just to get lost in the paint for at least 6

months.”

Other interests?

“I’m a very active person. I’m studying music

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

designer and photographer so web design is just

another medium to dabble in. Having these

multiple skills is vital to me. I use Photoshop

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

without it. It saves a lot of time and paint to

explore ideas digitally first sometimes.”

www.shelleycornishart.com.au


METAMORPHOSIS


Metamorphosis

To fly beyond the white clouds

Half bird, half human

Expanding the mind

Ancient myths are born

Lusting for new life

To taste the taboos

Magical visions and dreams

Finely honed senses

Arms evolve to wings

To catch the breeze and rise high

Merge into the sky.

Poem & drawing - Robyn Werkhoven © 2014


BLOOD

EXHIBITION July 10 – 27 2014

Newcastle Art Space - 246 Parry Street Hamilton South NSW 2303

Exhibition Dates: 10 – 27 July 2014

HOURS: Thursday – Sunday 12 noon – 5pm

An exhibition exploring artists’ personal concepts of –

Curators: Eric & Robyn Werkhoven Co-curator Ann Sutherland

Official Opening: Saturday 12 July 2pm onwards - public welcome

Special performance by Ryan Burrett actor / singer

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

Exhibiting artists include:

Ric Woods Maree Nichols Judy Henry Katherine Sullivan Andrew Finnie Laura Jefferson

Peter Ronne Laraine Palmer Dawn Thompson Christine Pike Josh McGregor John Wilks

Ann Sutherland Ewen Sutherland Helene Leane Ros Elkin Misha Moon Diana Middleby

Sue Stewart Sherrel Oakey Margo Dugan Linsey Gosper Eric Werkhoven Robyn Werkhoven


BLOOD EXHIBITION

This is the fourth year for Hunter Valley artists Eric and Robyn Werkhoven to curate a dramatic and

provocative themed exhibition. Twenty five professional Hunter Valley artists have been invited to face

another challenge, this time to create an artwork interpreting and exploring the subject BLOOD. The theme

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

and bizarre to the beautiful and spiritual.

The word BLOOD immediately invokes multiple imagery: the fluid of life, red the colour of passion, danger,

power, anger, fear, war, and beauty.

“The average adult contains approximately five litres of blood, flowing through vessels such as arteries and

veins. It contains living cells – blood is alive. Blood transports oxygen from the lungs to body tissue and

carbon dioxide from body tissue to the lungs. Blood is the fluid of growth, transporting nourishment from

digestion and hormones from glands throughout the body. Blood is the fluid of health, transporting

disease fighting substances to the tissue and harmful waste to the kidneys for removal.”

Without blood, the body perishes.

Throughout history mankind has been fascinated and in awe of blood. It has been deemed the food of the

gods, and the core of the soul and wisdom. Before many ceremonies concerning blessings from ancestors

or gods, blood is shed.


Blood rituals feature throughout history. Ten thousand years ago human sacrifices to the Mother

Goddesses took place. The Egyptians sacrificed humans or their best bulls to appease and honour the

Gods. The ancient Incas’ of Peru and the Aztecs of Mexico performed ritualistic, violent death ceremonies

of a human for their Gods. The chosen victim was first honored as a demi god, then put to a gory death.

Blood rituals are practised in many of our religions. Following tradition, in the Old Testament, Abel sacrifices

the first born of the herd to God.

Other concepts the artist may investigate for the exhibition – Vampire culture, magic, blood lines and family

heritage, and what drives humanity to wage war.

Artists who have worked with actual blood – Ron Athey in the 1980’s created “Pleading in The Blood”.

He has been a crucial artist in the development of performance art, body art, live arts and experimental

theatre.

Jordan Eagles a “New York artist who preserves blood to create works that evoke the connections between

life, death, body and spirit.”

“ The following pages contain images and statements from some of the exhibiting artists in BLOOD, an ex-

hibition well worth a visit by art lovers.” - Robyn Werkhoven (C)2014.


LARAINE PALMER

Newcastle installation artist and painter.

“The blood vessels in our body would cover a distance of

approx. 96,500 Km.

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

blood that flows through the veins in our bodies. The words in

blue stitched onto the red tube represent the outer casing of our

veins which is blue in colour.

The knitted splatter on the floor represents words that involve the

spilling or taking of blood as well as a description of types of

blood.”


“Our blood runs through our bodies in veins that are blue even though our blood is red and is unique to each person and

blends together when our children and their children are conceived this formulates our physical structure as we know it.

Although red blood flows through the veins in our bodies we are all different. Our blood is grouped into different

classifications and that is the ABO system and the Rh type system.

There are four blood groups are ‘A’, ‘B’, ‘AB’ & ‘O’. Each blood group is either Rh-positive or Rh-negative. A person’s blood

type is called ‘Rh type’. Some blood groups are not compatible with other blood groups.

The mixture of our blood can give us some amazing surprises. Coloured people can conceive white children and white

people can conceive coloured children. It is truly amazing that our blood can create this jigsaw puzzle with every piece

generating a new picture.”

In my art work I have embroidered some words that reflect our blood lines and heritage:

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

bear, Heritage, Forefather, Lineage, Origin, Race, Pedigree, Foremother, Genealogy, Ancestor, Descent, Kin, Family, Grand

Parents, Cousin, Relative, Siblings & Nephew.

When blood is spilt either on purpose as in an operation or slaughter, I have also included some of these words on

the floor:

Haemophilia, Corpse, Cadavers, Remains, Carcasses, Stiffs, Deceased, Essences, Bloodshed, Carnage, Killing, Slaugh-

ter, Bloodletting, Violence, Wound, Juice, Claret, Gore, Cruor, Sanguine fluid, Scar, Extraction, Operation, Wound, Stab &

Cut. “ - Laraine Palmer (C)2014.


"The Death of Goldilocks" - Andrew Finnie 2014,

Digital Illustration, 16 by 20 inches, Pigment Print on

Epson Watercolour Paper. Edition of 10.

ANDREW FINNIE Andrew Finnie is a Newcastle Artist and Illustra-

tor. You can see more of his digital imagery at

andrewfinnie.com or by googling 'andrew

finnie artist'. He is proud to be represented

by Anna Olswanger, senior literary agent at Liza

Dawson Associates Literary Agency, NY.

The Death of Goldilocks

The earliest known manuscript of The Three

Bears was written and illustrated by Eleanor

Mure in 1831. But Mure's The Three Bears isn't

quite the same as the tale we know today.

In Mure's original story, 'Goldilocks', instead of

being an innocent young girl, is an unnamed

and ill-tempered old woman who intentionally

breaks into the bears’ home, steals their food

and trashes their house.


On the bears return, shocked by the trail of broken

furniture and dirty dishes, they discover the old

woman hiding in a closet.

After unsuccessful attempts to both burn her alive

and drown her, the bears take revenge and impale

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

ple.

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

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

In the water they put her, but drown there she

wouldn’t;

They seize her before all the wondering people,

And chuck her aloft on St Paul’s churchyard steeple;

And if she’s still there, when you earnestly look,

You will see her quite plainly...my dear little Horbook!

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

modern Goldilocks and The Three Bears with

Mure's version, transforming the old woman into

"Goldilocks".

The image describes the moment where the

three bears contemplate the consequences of

what they have done. Goldilocks' body lies

bleeding at their feet yet, as a 'nod' to the post-

Grimm sanitised folk tale form, both her hair and

her dress are not dishevelled - even after her fall

from the church steeple.

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

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

on as a witness, both shocked and accusatory.

- Andrew Finnie (C)2014


Babushka

Sandstone sculpture

Peter Ronne


PETER RONNE

Newcastle sculptor.

Ronne’s statement about his sandstone sculpture Babushka - Бабушка

“Before the taking of blood there must be the sharing of blood.

Thus there is this piece, Бабушка (Grandmother), an attempt at capturing something of the mood of the im-

pressionist artist Mary Cassatt’s insightful pictures of mothers and children. Beyond their Madonna like pos-

es is the tension where an embrace is a pushing away. The infant, a new ego, reaches out beyond its

source and turns back in for refuge from that huge coldness. In this piece that coldness may have con-

sumed too much and grandma is left holding the bag.

Between the BLOOD what is the story? Could it be desertion, death, a stinking tropical concentration camp,

or a simple trip to the shops?

No, folks, it’s only a rock given a form by tools with some moss growing on it and some moss scraped away.

Meantime, back in the real world”….


HELENE LEANE

Newcastle artist painter and printer, has presented

a series of six photo transfer prints for the exhibition.

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

Battlegrounds become cemeteries of unknown

soldiers. Those who can be identified may receive

a headstone in a war cemetery, standing in line,

straight, in perspective, just like a column of march-

ing soldiers. Douglas Stewart wrote a poem about

the Unknown Soldier – a reminder of death in any

war.”

Sonnets To The Unknown Soldier (excerpt)

“Whether they bury him under a slab of granite

With the poets and kings in the Abbey, whether they

leave him

One meaningless X in a million crosses in France,

Whether he lives and sings in the streets for

pennies,

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

Or conquers all but his memories and struggles

all night

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

dreams,

The Unknown Soldier dies in every war.

He is the stone man crushed by the wheel of

history,

He is the green man feeding the roots of the

grass,

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

And by his endurance the world rolls on to the

light

And the grass comes up in the spring and

children laugh,

And, dead and forgotten, he lives in their

laughter for ever..”


Dawn Thompson

Hunter Valley artist.

‘Bloody Mess’

Book, 30cm X 15cm,

“Photographs of blood soaked linen

fabric were manipulated and then

printed onto different papers. These

papers were wax dipped and bound.

Pictures of what is repulsive to many

have become unrecognisable, swirls

of colour and texture, tactile pieces of

paper. “


Detail from book ‘Bloody Mess’ - Dawn Thompson (C)2014

SHERREL OAKEY

Newcastle artist.

"Give A Little - BUT - Know and Understand your own Blood Pressure Levels!!"

“For years I've been a blood donor. Despite the

many visits to the clinic, I always feel a sense of

anxiety - and a sense of the bizarre.

Over the last three months my life has become

quite surreal and been totally turned upside

down. I've spent more time in doctors surgeries

and hospitals than I have done in my entire life.

To give blood has really impacted on me on a

personal level - I see so much need.”


JUDY HENRY

For the BLOOD exhibition in July at the Newcastle Art

Space (NAS) I knew that the subject was going to be

the connection I have with my BLOOD relations who

all live overseas. I visualised a sculptural instillation

using bird wire, and stones, to symbolise the connec-

tion I have with them. The title of my works is ‘Blood

Links’

While visiting my relations during overseas trips in

1997, 2011 and 2013, I collected the stones from the

family homes and these represent the material

connection I have to my relatives. The stones come

from Scotland, England, Canada, America and Africa.

The bird wire is our blood interconnection. Each

installation is also symbolic of the Human Circulatory

System.

The stones represent the heart and the wire repre-

sents the Arteries, Veins and Capillaries.

Judy Henry in her studio, working on sculpture

for BLOOD exhibition.


ROS ELKIN

Newcastle artist & printmaker.

“Roses are ancient symbols of

love, beauty and romantic

passion. Blood roses are also

called beautiful black, red rose,

almost black, scarlet, burgundy,

carmine and purple red.

My painting is of a rose taken

from my garden and their velvety

petals represent the heart.”

Size: H1.35 x W1.53cm


THE BLOOD BATTLE Issue 6 - July 2014 44

THE BLOODY BATTLE.

Bloody battle is waged

Senseless soldiers fight till death

Torn bodies and minds

Wounded warriors

Can you smell the blood?

Can you hear the screams?

The war mongers thrive

Led by money and great greed

Lethal Gods will win

Since dawn man has fought

Ignorant and foolish hearts

Rare is peace and love.

- Robyn Werkhoven © 2014


DAVID

McLEOD


DAVID McLEOD

David McLeod Background:

Some artists are hard to define or pigeonhole into one specific genre or label. David McLeod is a case in

point both in the visual and music medium.

Born in 1960 in Sydney David grew up on the south coast outside of Kiama near Joneses Beach. This was

a time when the farms ran down to greet the ocean and the old blue metal quarry’s held reptiles, caves, bats

and old cattle bones to be dug up as treasure. Heavily influenced by this environment David’s art and music

still reflect these elements to this day. The ocean being a constant recurring source of inspiration.

David left home in the early seventies and went to art school for two years at Wollongong Technical College.

It was here he met artist Robyn Werkhoven and lived with her, helping with screen printing and fabric design

whilst studying fine arts.

Art, Music Mediums and influences: “Acrylic on canvas has been the main medium though sometimes the use of use pencil or aquarelle

augment’s the process. There was a small period in the early eighties where I used chalk pastels but the

dust of it played havoc with my voice. Sharing a studio with a friend in 1995 for a year and painting

ceramics also proved problematic with the dust. “

Opposite page: David McLeod in Chess - Theatre Royal, Sydney.


“Fabric and Label design have come into play and

recently I have been exploring resin, treating dead

insects found on walks and incorporating them into

glass and plastic jewellery, but again the pull back to

paint on canvas is calling. Some visual artistic

influences that have pressed my buttons have been

Russo, Freda Kahlo, Dali, Bret Whitley, Monet and

Mark Ryden. Musically I have been influenced by

Joni Mitchel, Donny Hathaway, Aretha Franklin, Ray

Charles, Terresa Teng and James Taylor. “

David has exhibited and sold his pottery at

"Designed and Made" in the Rocks Sydney around

1997 and was a featured artist in the "Doubly Gifted"

exhibitions for jazz musicians from 1993 -1996.

Currently his work is available for sale on his web-

site and five paintings are on display at The Print and

Framing gallery - Mitchell Park - Unit 21/22 Hudson

Ave Castle Hill N.S.W.

Ceramic

plates by

David

McLeod


After finishing Art School in 1978 David moved to

Sydney began singing and writing music full-time, all

the while continuing to paint and draw. He worked the

piano bar circuit across Australia and halfway around

the world.

By the mid-eighties David had moved away from the

piano and was fronting bands as lead vocalist. He

worked steadily fronting his own bands such as

“McLeod 9” and “The David McLeod Quartet”, backed

by some of Australia’s best jazz musicians and play-

ing venues such as the Basement, Don Burrows’

Supper Club, Soup Plus, The Bacardi Club, ABC’s

Livewire, and a variety of jazz festivals and corporate

events.

As a soloist, David appeared regularly on TV,

performing nationally on “Good Morning Australia”,

“Tonight Live with Steve Vizard”, “Hey, Hey it's

Saturday”, and over ten years on the “Midday

Show”. David McLeod performing at Zenith Theatre


His voice has also been featured as a studio

vocalist for radio and TV jingles and as a back-

up singer for artists such as Renee Geyer.

He released two albums in the 90’s “Am I

Blue” an album of original songs and art work

followed by “The Blue Lounge Sessions “ an

album of obscure jazz and blues covers but no

control over the art work.

David’s acting credits include the lead role of

“The American” in “Chess” - The Musical

followed by “Godspell” (for which he received a

MO award nomination as best supporting actor

in a musical), and Bard on Broadway for the

Bell Shakespeare Company, plus the Australi-

an classic “Dimboola”, in the role of Dangles,

the best man.

David McLeod as the American in Chess

Theatre Royal, Sydney 1990


His TV credits include roles in “A Country Prac-

tice” and a guest role on channel 7’s popular

drama “All Saints”. More recently David played

Detective Clifford in “The Suspects” for channel

7 and portrayed Mark Standen in an episode of

“4 Corners”2011 and recently played Herman

Rockerfeller in “Behind Mansion Walls” 2012.

2014 has seen David play roles in “Deadly

Women”, “Facing Evil” and Behind Mansion

Walls for Beyond Productions as well as

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

David McLeod in Godspell

(Sydney Opera House)


Storm Light -

David McLeod

(C)2014


The original cover art work “Mermaid Sky” 2012 is acrylic on canvas (C)David McLeod

The EP is available digitally on iTunes and CD Baby film clips to the tracks can be viewed on You Tube

“The Moon The Heart The Journey”


David McLeod’s Latest Project - “The Moon The Heart The Journey”

Though semi retiring from performing around 2003 to concentrate on education in music the project “The

Moon The Heart The Journey” has been a labour of love for about three years and David first release in

over 10 years. With family ties to the Chinese and an ongoing journey with the language it was no surprise

that something like this would eventuate.

The original cover art work “Mermaid Sky” 5ft/2ft 2012 is acrylic on canvas.

Falling in love with the song the “Moon Represents my Heart” and the story behind the singer Deng Lijung

(Teresa Teng) that helped make it famous were the ingredients that unexpectedly fuelled the affair that

became the EP “The Moon The Heart The Journey” The fact that I am a white Caucasian did not cross my

mind much during the inception and early stages, though as I moved through the process I found that there

was some reaction and interest from native Mandarin speakers as well as Westerners..

I had been writing some other pieces some bi lingual and some in Mandarin and four of these ended up on

the project. The track “Coincidence” was written after watching Peter Chan’s wonderful movie “Comrades:

“Almost a Love Story” as it contained a sub plot involving Teresa Teng as well as featuring some of her

music. The story touched me so much I wrote the song “Coincidence” shortly after. I had to get it out so fast

that I wrote it in English with only a small section of spoken word in Mandarin.


Photograph - David McLeod (C)2014

Issue 6 - July 2014 256

WEB SITE www.davidmcleodaustralia.com

FILM CLIPS

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

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

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

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

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


http://www.davidmcleodaustralia.com/

http://www.youtube.com/watch?v=mdbvXd4LjHE&list=UUrS-P5ymgAloZE_hwh5FBqQ





POSTCARDS

FROM

BARCELONA

LORRAINE FILDES


Postcard from Barcelona

Lorraine Fildes

A day in Barcelona must mean seeking out Gaudi’s buildings. Antoni Gaudi is one of the world’s most

famous architects. International recognition of Gaudi’s contributions to the field of architecture and design

culminated in the 1984 listing of Gaudi’s key works as UNESCO World Heritage Sites.

Whilst in Barcelona I visited four Gaudi architecture projects: Casa Batllo, Casa Mila, Guell Park and

Sagrada Familia - all unlike any architecture I have ever seen.

Casa Batllo

One of Gaudi’s most striking works is the Casa Batllo (1904–1906). The facade is made of sandstone

covered with colourful mosaics. This building has always been known as “The House of Bones”. Balconies

of the lower floors have bone-like pillars, those on the upper floors look like skulls. According to some

authorities the roof tiles and curved roof line suggest a dragon, the small turret with a cross would

symbolize the sword of St. George stuck into the dragon. (Sorry the roof turret is not shown in the photo.)

Casa Batllo’s subject is thought to be a homage to Catalonia’s patron saint, St. George. The skull balconies

are the dragon’s victims, and the bony columns have been picked clean by the dragon.


Another of Gaudi’s most admired

works is the Casa Mila, (1906–

1910). This building is popularly

known as ‘La Pedrera’ (the stone

quarry), its facade is thought to

resemble an open quarry. Others

think it reminded them of a cliff

wall in which cave-like dwellings

had been dug out – or perhaps

an undulating beach of sand. To

me the whole building is an enor-

mous sculpture that seems to

have been moulded from a beige

clay. The top floor, though, is

covered in white tiles. The roof

supports a number of surrealistic

sculptures that are in fact

chimneys and air ducts. Each

wrought iron balcony is unique,

working within the general theme

of washed-up sea weed left

hanging on the Casa Mila’s

rock- like ledges.

Casa Mila


Parc Guell (1900–1914) was commissioned

by Eusebi Guell. He asked Gaudi to design

a privately financed garden suburb, a gated

community as we now call it in Australia.

Gaudi had to turn fifty acres of dry, stony, hilly

terrain into a garden suburb. He succeeded in

producing a fantastical, magical The project

though was an economic failure - of the 60

plots created only one was sold. Despite this,

the park entrances, enclosing wall, roads,

pathways and service areas were built. The

park displays Gaudi’s genius at putting into

practice innovative and structural solutions. In

1918 the city of Barcelona acquired the prop-

erty and in 1922 it was opened as a public

park. The site is surrounded by a light brown

undressed stone and glazed-ceramic wall

which follows every twist and turn in the hilly

terrain.

Parc Guell


The main entrance to the

Parc Guell has a pavilion on

each side, intended as a

porter's lodge and an office.

These pavilions seem to be

taken out of a Disney Fairy-

land, with curved roofs

covered with brightly

coloured tiles and orna-

mented spires. In this photo

of the pavilions I am looking

down on them over the city

of Barcelona and to the

Mediterranean Sea. It gives

you a good idea of the

height of Parc Guell.


A monumental flight of stairs leads from the entrance pavilions in Parc Guell. The stairs are flanked by

niches of mosaic designs and in the middle with mosaic covered fountains.


This staircase leads to another famous

feature of the Parc Guell - the Hypostyle

Hall, which is constructed of eighty-six

large Doric columns. On my visit there

we were lucky enough to have a classi-

cal guitarist playing Spanish music.


Above this hall is a large plaza in the form of a Greek theatre, with the famous undulating, colourful ceramic

covered bench. The whole platform is supported by the Doric columns of the Hypostyle Hall.


The buildings in Parc Guell are connect-

ed by paths that are often supported by

tree-like columns. Gaudi planned the

roads in twists and turns to avoid any

levelling of the hills. He had pillars made

of brick to match the landscape. The

slanting pillars are very sturdy, even

though they appear fragile. The pillars

also provide shelter from the rain and

bright sunlight. Wherever possible,

nature’s forms were adopted in the

architecture. Gaudi paid a great deal of

attention to preserving the natural land-

scape – the result could serve as a

model in our times. The architecture of

Parc Guell not only conforms to the

landscape - it appears to have grown

out of it.


Sagrada Familia

Sagrada Familia is the most well-known of Gaudi’s buildings. Jose Maria Bocabella initiated the building in

the mid-19th century. The church was to be devoted to the child Jesus, the Virgin Mary and Saint Joseph,

hence the church was named the Temple Expiatori de la Sagrada Família (Expiatory Temple of the Holy

Family). It has always been an expiatory church (built from donations). On 11/07/2010, the Sagrada Familia

was consecrated by Pope Benedict XVI and elevated to the status of a basilica.

The architect Francisco de Paula del Villar offered to design the Sagrada Familia. Villar designed a gothic

church, but was forced to resign due to disagreements with Bocabella. Antonio Gaudi took over the work in

1883, changing the design drastically to his modernist style, which was based on forms found in nature.

What did Gaudi plan for the Sagrada Família?

The temple was to be 95m long and 60m wide, able to seat 13,000 people. When completed, the Church

would have three grand facades: the Nativity, the Passion and the Glory. The church would have eighteen

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

representing Christ would be the tallest and would stand 170 meters high, crowned by a large cross.

He intended the interior to resemble a forest, with inclined columns and branches reaching the ceiling. Each

of the facades would have four towers, each tower would represent one of the disciples.


What part of the Sagrada Familia did Gaudi

complete?

He completed the Apse, in Gothic style, the Na-

tavity Façade and the first bell tower of the Nativi-

ty Façade. This is all that Gaudí lived to see

built, since on 10 June 1926 he died as a result

of being hit by a tram. Gaudi left few designs and

models and many of these were destroyed in

1936 during the Civil War, so the actual details of

the basilica built since his death are the result of

interpretation by other architects. In most cases

these architects have tried to keep to the overall

spirit of Gaudi’s ideas.


The Nativity Facade was finished by Gaudi

himself and is ornamented in a Baroque

fashion with motifs of animals and plants.

The Nativity facade celebrates the birth of Je-

sus.


In 1954 construction started on the Passion

Façade - it represents the pain, the sacrifice

and the death of Jesus. There was a public

outcry in 1987 when the sculptures depict-

ing the crucified Jesus Christ were added.

The abstract figures were in a totally

different style from Gaudi's. Construction

of the Glory Façade started in 2002 – it will

be the most monumental of the three. It will

represent one’s ascension to God. I have no

photos available of this Façade.


Inside the basilica: the central nave soars to 45

metres, and is designed to resemble a forest.

The slender, branching columns draw the eye

upward to the ceiling and each branch helps

support the ceiling. The columns are made of

different types of rock. The longest and thickest

columns are made of red porphyry, a hard

volcanic rock. The dark, somewhat smaller

pillars are made of basalt or granite or a

relatively soft rock from the mountain of

Barcelona, Montjuic.

The very large, tall windows, some of which

contain beautifully coloured stained glass, light

up the basilica. The shimmering coloured light

they allow in adds to the feeling of being in a

forest .

Lorraine Fildes(c)2014


JUDY HENRY Issue 6 - July 2014 72

Judy Henry

“How time goes around.

First born generation from Scotland I was born in Tea Gardens in a little cottage in Main Street. My parents

sailed from Scotland 1951 and we lived on the banks of the Myall River at ‘The Pines’ upstream from Tea

Gardens. We moved to Newcastle when I was a toddler and later moved to Maitland when I was thirteen.

I left school just before my 15th birthday to study secretarial at Technical College, Maitland. While at Tech. a

position for a Photographic Colourist apprenticeship was advertised and this really appealed to me, good

bye secretarial and hello Model Studio, in High Street Maitland. During my time as a photographic colourist,

coloured photographs were being introduced and replacing the black & white, sepia and hand coloured

photographs. While working as a colourist I studied Showcard and Ticket writing at Technical College, Mait-

land two nights a week for three years. Art has always been part of me, in one form or another.

Marriage and family came along, and in 1973 my husband and l, 2 babies packed up and bought a little

round wooden caravan and an iridescent green Ford Falcon station wagon and took off up the east coast of

NSW and Queensland on a working holiday for a year. This was a great experience, not much money but

plenty of fun and lots of great stories.”

Opposite page: Myall River “view from the tinnie” Mixed media on watercolour paper - Judy Henry (C)2014


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


“When I was in my late thirties my daughter Kimberley was studying Fine Arts at the Hunter Institute of

Technology, Newcastle. This ignited my dormant passion for art. I enrolled the next year at Hunter Institute

of Technology, Newcastle, and then continued at Newcastle University, part time for 3 years.

My work is always evolving and I am seduced by the contrasts, colours and reflections of the landscape and

water seems to be the link in my work.

I have always felt a connection to water and the environment, being born at Tea Gardens and living on the

banks of Myall River, and later on we spent most of our family recreation time camping and boating at the

Myall Lakes. The first painting I painted and sold was of Mungo Brush at the Myall Lakes, I had entered into

the Mattara Festival in the early 1980’s. I thought I had hit the big time, 30 years later I am thinking mmmm

maybe that was one of those lucky days, it isn’t that easy.

We live in Paterson and our family home is on a knoll with a billabong surrounding the front of our home

with the Paterson River flowing behind our property. During times of floods the river spills into our land and

the billabong. This really inspires me and just makes me appreciate nature and how it is always changing

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

surrounding rainforest.”


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


“Currently I am exhibiting at the Maitland Regional Art Gallery; my exhibition is titled ‘Reflections of land-

scape and life’. For this exhibition I had been working en plein air along the Myall River and in our billabong

from aboard my aquatic studio (the 10’ tinnie) and also in my land based studio.

My works are mixed media, collaged paper onto paper, drawing with charcoal and oil stick, I love collaging.

This brings back memories when I was a child and sick in bed, mum would bring in bowls of water and I

would cut coloured paper up (I think it was tissue paper) I would dip the paper into the water and mix the

colours up to see what would happen. Whereas now, I am pouring the paint onto the collaged paper. I love

the mystery; the end result is always different.

Drawing on the Myall River for this exhibition, has brought back many memories of trips to Tea Gardens,

travelling along gravel roads and crossing rivers by punt. Each trip was a major event in the family car

called, ‘Old Betsy’. The little cottage I lived in is still on the banks of the Myall River, although I was too small

to remember living there I feel a strong sense of connection. After I had titled my exhibition for Maitland

Regional Art Gallery – ‘Reflection of life and landscape’ I came across this quote by

Thomas Henry Huxley (1825-1895) on reflection:

Is it “Reflection in” what you see?

Is it “Reflection of” our own life?”


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


“In the last couple of years my husband and I travelled overseas to Europe, Scotland, England, Africa,

Alaska and New York. I took every opportunity to see as many galleries as possible, to be able to see the

original art work of the masters such as Miro, Kandinsky, Monet, Matisse, Vincent van Gogh just to name a

few, it was truly inspiring and made me realise just why they are the ‘Masters’. We also travelled to South

Australia to the Flinders Rangers, Painted Hills, Lake Eyre and Cobber Pedy which completely changed my

impression of the Australian landscape. I am looking forward to our next trip in September travelling to

Darwin, Alice Spring and Uluru. I admire Australian artists such as John Wolseley, John Olsen, Euan

Macleod, Salvatore Zofrea and Graham Kuo just to name a few.”

“ I am excited to see where my next work takes me as I know I don’t have any say in the end. I just want to

keep on creating.

My family, friends and socialising are important to me, also I love to play the Djembe Drum - West African

music, with the group called Big Bam Boom, and we meet once a week. I love reading Biographies,

especially those of artists, visiting art galleries and travelling.”

- Judy Henry (C)2014


“REFLECTION OF LIFE AND LANDSCAPE”

Maitland Regional Art Gallery

Exhibition date: 4th July – 14th September 2014

Opening celebrations: 3pm Saturday 19th July 14

230 High Street Maitland NSW


PORTRAIT ARTISTS

AUSTRALIA

AT THE EMBASSY OF

AUSTRALIA,

WASHINGTON DC.

AN ICONIC COLLECTION OF

AWARD-WINNING WORKS

BY SOME OF AUSTRALIA’S FINEST ARTISTS


The Embassy of Australia, Washington D.C. is pleased to present a selected exhibition of 23 Australian portraits by member artists of Portrait Artists Australia. The exhibition includes a wide range of subjects and celebrates Australia’s rich cultural diversity.

DATES: 12 MAY – 2 SEPTEMBER 2014

Teresa Keleher -Director Cultural Affairs Embassy of Australia

Bree Picking -Cultural Project Manager and Embassy Gallery Manager

MEDIA ENQUIRIES: Janis Lander (6 +1) 0425 353 790, Nafisa (6 +1) 0404 036 303

Principal Sponsor - John Sample

Portrait Artists Australia

MARCUS CALLUM • JANET HOYER COBB • LEEANNE

CRISP • GILLIAN DUNLOP • HELEN EDWARDS • VIVIAN

FALK • MERTIM GÖKALP • DEE JACKSON • JEANETTE

KORDUBA • VALERIE LANDA • JANIS LANDER • MORNA

MCILRAITH • KERRY MCINNIS • NAFISA • EVERT PLOEG

• SALLY ROBINSON • SALLY RYAN • RAELENE SHARP

• JIAWEI SHEN • PETER SMEETH • VICKI SULLIVAN

ROBYN STANTON WERKHOVEN • JAN WILLIAMSON

www.portraitartistsaustralia.com.au


http://www.portraitartistsaustralia.com.au/

PORTRAIT ARTISTS AUSTRALIA - BACKGROUND NOTES

This is the second exhibition Portrait Artists Australia has held at the Embassy of Australia in Washington

DC, (the first was in 2005) and it gives us the opportunity to meet and exchange ideas with the international

artists’ community, and to showcase the robust Australian portrait culture to an international audience.

When Portrait Artists Australia was formed twelve years ago in 2002 we had no idea how long the

organisation would survive, because it is run by professional artists whose main focus must always be their

own studio practice. As it turned out, the core of artists who started PAA have remained active in the

organisation, and at the same time have produced substantial bodies of work which in turn reflect on the

whole group and add to the vitality and the strength of this independent artists’ initiative.

During the course of each year our members are selected as finalists in national and international prize

exhibitions, and on this occasion the curators at the Embassy of Australia have made a selection of 23

‘finalist’ and ‘winner’ paintings for this exhibition.

Portrait Artists Australia is an incorporated, non-profit, national association of professional artists, dedicated

to representing and promoting the art of Portraiture in Australia and overseas. Since its Launch in October

2002 by Andrew Sayers, (then Director of the National Portrait Gallery, Canberra), PAA has organised 20

members’ exhibitions in major venues, free to the public.


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

demonstrations, Special Exhibitions and art events, promoting and celebrating the joy and the skill of the

genre, which demands of artists both technical skills and conceptual ingenuity.

Portrait Artists Australia published a limited edition coffee table book, The Artists’ Book, a celebration of 10

years of exhibiting history of our members in Australia and overseas.

The longevity of this Artists’ Initiative is largely the result of the professionalism and generosity of the

volunteer committee over the years. We acknowledge the patronage Paul Delprat, artist and Director of the

celebrated Julian Ashton Art School and we express our gratitude to John Sample, the principal sponsor of

this 2014 exhibition.

Janis Lander, President Portrait Artists Australia

On behalf of the committee: Nafisa (Founder and first President) Judith Stevens (Honorary Secretary)

Jeanette Korduba (Vice President) Sally Robinson, Jules Sevelson, Peter Smeeth, Sally Ryan,

Mertim Gokalp. Webmaster Kathrin Longhurst.

The following pages include a selection of the portraits and artists’ statements in the exhibition in

Washington DC at the Australian Embassy.


MARCUS CALLUM

SUBJECT: This is my second attempt at a self-portrait

and is painted entirely from life. It is a stylised image

without a lot of excess detail, and rather than a

portrait executed over only one or two sittings, this is

an image created over a long period.

Each day’s work added another layer, in effect

creating a collage of my thoughts and feelings during

that time. I see a lot of my father in this self-portrait.

I had to use a small area of my bedroom to create this

piece. It was particularly challenging as being

positioned so close to the wardrobe mirrors created a

number of distortions. My grip on the paintbrush is

perhaps a sign of my determination to keep painting

regardless of the difficulties.

Self-portrait

FINALIST: 2012 Archibald Award

Dimensions: H 104 x W 77 cm, oil on canvas


HELEN EDWARDS

SUBJECT: Claudia Chan Shaw is a Sydney-based Australian

-born fashion designer and television presenter. Her elegance

and distinctive good looks provided me with much inspiration

and she was happy to play along with my idea to depict her

with reference to Gustave Klimt’s ‘Emilie’ - gold leaf and all!

The dress she wears Is based on one of her mother’s

designs and the multi-textured background represents

Claudia’s busy and colourful life.

Claudia

FINALIST: 2012 Black Swan Portrait Prize

FINALIST: 2012 Archibald Salon des Refuses

Dimensions: H 200 x W 100cm, oil on canvas


JANIS LANDER

SUBJECT : James Browne is a Set & Costume

Designer based in Sydney. He has designed in all

Facets of the field in theatre, TV, film and events,

in Australia and overseas. Over the years he has

worked for the Sydney Theatre Company, the Sydney

Dance Company, NIDA, Opera Australia, The Sydney

Opera House, and the Australian Institute of Music.

We managed to find time for two three-hour sittings -

he had just completed designs for 600 costumes for Q

Theatre in Penrith, and he was due to leave Sydney

for a three-month stint with the Singapore Theatre

Company. My concept for the portrait was to paint him

the morning after an Opening Night, still in his tuxedo,

disheveled after the night’s celebration, already

working on ideas for his next project.

Opening Night – James Browne

FINALIST: 2007 Doug Moran National Portrait Prize

FINALIST: 2006 Portia Geach Memorial Award

Dimensions: H 107 x W 107 cm, oil on canvas


NAFISA

SUBJECT: Glenn A. Baker is a three-time winner of the

BBC’s Rock Brain Of The Universe title, though he

possesses a knowledge of music well beyond rock, owning

one of the most extensive music archives in the world. He

was described by Rolling Stone magazine Music Editor

David Fricke as: “Not just Australia’s top pop scholar but a

world class rock journalist who writes with the enthusiasm of

a true fan”. He has written 15 books on music and is a a

nationally syndicated radio and television presenter. He is

the compiler and/or annotator of more than 500 highly

acclaimed album anthologies and writes for more than 200

publications (in Australia and internationally). He was the

Australian Editor of Billboard for more than 20 years.

Glenn A Baker

FINALIST: 2010 Archibald Portrait Prize – Winner of The

Packers Prize

Dimensions: H 250 cm x W 150 cm, mixed media on

watercolour paper on board under Perspex


SALLY ROBINSON

SUBJECT: Margaret (Joyce) Robinson – artist.

This portrait is a landscape of my mother’s face as age

and illness took their toll, and after chemotherapy had

robbed her of her beautiful hair. The mountains & valleys

have been laid out on a mapping grid. Over broad areas

of flat colour, I have used stencils to build up the detail

and tonal modelling. These stencils produce a regular

texture of dots, dashes or in this case short lines which

when painted over each other give a pixellated effect

which echoes the way we see the world in print, on

computer screen or TV. The image of Mum is both

personal and general. It is my view of her stoicism, good

humour and bravery, as well as being a comment on old

age and illness. How age makes us invisible and

androgenous and how illness make us vulnerable and

frail.

The Artist’s Mother

WINNER: 2012 Portia Geach Portrait Memorial Award

Dimensions: H 152 x W 106 cms, acrylic on canvas 2012


VICKI SULLIVAN

SUBJECT: John Waters is a highly respected actor

and singer. Born in England, waters moved to Aus-

tralia at the age of twenty, and his career spans four

decades in dramatic theatre, musicals, TV, film and

music. known as one of Australia’s most versatile

character actors, his roles have included a criminal, a

radio shock jock, a policeman, a politician, a soldier,

a vampire, an ancient Roman, a priest, a womaniser,

a doctor, a dad, a hard-living rock musician. An

accomplished musician, Waters has toured many

times since 1992 with his one-man Show “Looking

Through A Glass Onion”, a tribute to John Lennon.

The show ran for 6 months in London’s West End,

and Yoko Ono has given Waters permission to take it

to New York in 2015.

John Waters, Glass Onion

FINALIST 2013 Black Swan Portrait Prize

Dimensions: H 120 cm x W 90cm plus frame, oil on

Belgian linen.


ROBYN STANTON

WERKHOVEN

SUBJECT: Jenny Kee is Australia’s

iconic Fashion designer and artist, who,

emerging in the 70s in Sydney, became

famous for pioneering Australian fashion

design and knitwear, using the vibrant

colours and motifs of the Australian

native animals and flowers.

Jenny Kee with Waratahs

FINALIST: 2011 Portia Geach Memorial

Award

Dimensions: H 76 x W 76 cm, oil on

canvas framed.


SHEN JIAWEI

SUBJECT: Self Portrait. Shen Jiawei is por-

trayed with a Russian Red Army cap, and a

second Jiawei with an Australian cattle-

man’s hat, together representing the two

stages of Jiawei’s career as an artist, first in

China and then in Australia. Reflected in

Jan van Eyck’s (c. 13901441) Arnolfini

mirror is the Muse of History, the same

model the artist has used throughout his

career of history painting. The Muse of

History has been borrowed from Jan Ver-

meer’s (c. 1632) masterpiece, Painter in his

Studio. The third Jiawei is a rat, because he

was born in the Year of the Rat.

Tri Selves

WINNER: 2007 Archibald Award Salon de

Refuses, People’s Choice Award

Dimensions: H213 x W 183 cm, oil on can-

vas


JAN WILLIAMSON

SUBJECT: Nancy kunoth Petyarr is an elder and

senior artist of the Iylenty people at Utopia and a

custodian of the Mountain Devil Dreaming represent-

ed in her work. Her paintings are also based around

‘awelye’: sacred ceremonial body decorations used

by ancestors and women today in ritual ceremonies.

Her work is held in national and international

collections including the Art Gallery of NSW and the

National Gallery of Australia “To me, her face and

stance portray the pride and respect she is given in

her community. I was particularly taken with her

hands and wondered at the lifestyle she had led,

which is so foreign to most Australians.”

Nancy Kunoth Petyarr

FINALIST: 2009 Archibald Award

Dimensions: H 183 x W 137cm, oil on canvas


JEANETTE KORDUBA

SUBJECT: My daughter Zoë inspires

me with her grace and her courage.

Zoë Hagarty

FINALIST: 2010 Portia Geach Memori-

al Award

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

linen


On certain nights

I throw myself into certain distant

shorelines:

Empty beaches, talking to teenage trees

tripping over roots, thoughtlessly

following tracks

Soft sunshine streaking through cracks in the sycamores.

& then I'm lying

on the living room floor of our two bedroom apartment,

The smell of frying mushrooms and

the late night shopping traffic

hurtling back to the suburbs.

Spiralling between Chekhov & mostly real life - Carlin McLellan.


haiku

We played rummy

and left the dishes til morning,

Falling into bed discovering

pale while flesh and sleepless dreaming

ocean breeze through the window.

After she falls asleep I get up and

photocopy the midnight sky, hastily

glueing greyscale constellations to

the palms of my hands

There's no such thing as

wasted years, but if there were

we'd all be fucked.


THREE AT SEA

ANN SUTHERLAND, EWEN SUTHERLAND & ALEX SUTHERLAND

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ANN SUTHERLAND - INTERVIEW

Ann Sutherland Background:

“I grew up on a dairy farm at Willina on the edge of the Wang Wauk forest, NSW. We were fairly isolated as

young children and life was basic, no electricity, except the diary generator for the lights at night time. Life

was very hard for my parents but as children we weren’t aware and enjoyed a life with the farm animals

and nature and roaming wild in the surrounding bush. We only had tank water and baths were a luxury we

couldn’t have. Mum had to wash by hand boiling the copper once a week. Our primary education was

spent in a one teacher school at a near by district, and as mum never learnt how to drive and dad had to

milk the cows at school time we had to walk long distances or ride our bikes on gravel roads.

Our idyllic life was disrupted once we reached high school age and we had to board away from home ..

this was a homesick time for me and I had to do a lot of growing up without my mother and big sisters to

lean/on.

I attended Maitland girls High School and then Taree High school. I completed my Diploma of art at

Newcastle Hunter St TAFE in 1974 and then my Bachelor of Visual Arts at Newcastle university.

I completed my Teaching degree at Newcastle university and have worked as an art teacher in primary

schools for the past 20 years.”

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Boat People paintings - Ann Sutherland (C)2014

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“My oldest sister Suzie Startin was my biggest inspiration to be an artist. She attended

Newcastle teachers college to become an art teacher and when I was in high school I visited her in

Newcastle in the heady of the 60s.. and met a lot of her arty friends!

My work varies but at present it combines screen printing and painting using acrylics on canvas. I majored

in printing making at TAFE. I also dabble in a variety of medias including fabric printing and knitting.

The natural world and my family are inspiration for art works. I am also inspired by the political world and I

think art can play a strong role in making statements about issues which concern me.”

“At present I am working on a exhibition to be held at 4 Point Gallery in Hunter St Newcastle West. This is a

Renew Newcastle gallery run by 4 women artists. The exhibition Three at Sea includes myself my son

Alex Sutherland and my husband Ewen Sutherland.

The theme is based on people and the sea and some of my works are about Boat People, which is a cur-

rent political issue I feel strongly about. My daughter is married to an Australian Chinese man and both his

parents were refugees from the war zone of Vietnam in the 1970s. His mother had fled China to Vietnam

and then had to flee Vietnam. She stowed away on a boat from Vietnam to a Malaysian refugees camp and

from there she was taken as a legal refugee to Australia, but her family were still in Vietnam so she had to

work to re unite them all again. “

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“My husband's family have a strong connec-

tion to the sea, being boat builders and

fishermen.

My husband, his brother and my son work a

family fishing trawler built together with their

father, from Newcastle.

A number of other fishermen they work with

are a community of Vietnamese refugee

descent fishermen and this is has also

been an inspiration for some of my works.

My mother and father also have a strong

connection to the sea, dad was a surf life

saver at Hallidays Point and mum was a great

swimmer and body surfer. Dad spent many

hours beach fishing. “

Painting - Ann Sutherland (C)2014

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“The term "Boat People" was coined in 1976 and the sales of 1,092,{ the recorded number of boats since

1976 to 2013 } individual origami boats will be donated to Penola House in Newcastle to support refugees

in our community.

Unfortunately the Abbott government does not see fit to inform the Australian public of more recent refugee

boat attempts. I am presently working on a painting for the BLOOD Exhibition showing in July 2014 at

Newcastle Art Space.

I will be organising and curating an exhibition of wearable art Adornment at NAS in 2014.

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

was strengthened and its profile lifted. During this time I secured a grant for 4 Balinese artists to come to

Newcastle and exhibit at NAS and to share their culture with students in primary schools.

I held the position of volunteer Director at Newcastle Art Space, 246 Parry St Hamilton West from 2011 to

2014.”

- Ann Sutherland (C)2014

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Boat People painting - Ann Sutherland (C)2014

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Painting - Ann Sutherland (C)2014

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EWEN SUTHERLAND

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EWEN SUTHERLAND INTERVIEW

Ewen Sutherland Background:

“I grew up in Tuncurry a small fishing village with a total of 64 students in the High School which only went to

Year 10. We moved to Newcastle when I was in third year at High School. My sister had started University.

Fishing had become harder to survive on, Dad started working in Shipbuilding and I started my apprentice-

ship as a Shipwright and Boat builder at Carrington Slipways on Throsby Creek and attended TAFE

at Hunter Street in amongst the students doing Art.”

I always had a passion for the Arts, Theatrical, Fine Arts, Music and Dance.

I learnt Classical Piano as well as Highland Dancing( the best kept secret).

My year at school evolved around the yearly concert.

My mother was a great Artist but her father would not let her move from home to go to Art School. Some of

her drawings at 14 would stand up in any great figure drawing class .

Describe your work?

I hope my work creates a atmosphere for the person viewing it. I want them to be drawn into it to have a

feeling they are there.

Most of my works at this stage evolve around the Ocean. When your whole life is connected to the Ocean it’s

natural for your Art to come from there .”

Opposite Page: Painting - Ewen Sutherland (C)2014

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What inspires Ewen’s artwork?

“The Ocean and my wife the closest person to nature I have ever encountered.

Ewen’s greatest achievement and exhibitions?

CONDA for the Best Male Amateur Actor

Mentor for the Australian Apprentice of the Year

Being involved with my children with theatre and the Arts

I have never been able to find the time to get a exhibition together before

At present Ewen is working on:

“Oil Paintings surrounding the sea and a few sculptures.”

Your future aspirations with your art?

“Sculptures-I have about six on the go at the moment.”

Forthcoming exhibitions?

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

THREE AT SEA

3rd - 20TH JULY

4 Point Gallery in Hunter St Newcastle West.

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Ocean painting - Ewen Sutherland (C)2014

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Ocean painting - Ewen Sutherland (C)2014

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ALEX SUTHERLAND

Photograph - Alex Sutherland (C)2014

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PHOTOGRAPHER ALEX SUTHERLAND - INTERVIEW

Alex Sutherland Background:

Born in Forster NSW 1979, the family moved to Waratah, Newcastle in 1989. I was Dux of Waratah

Primary School and went to Merewether High School, where I completed the HSC in 1997.

Studied Bachelor of Communication Studies at University of Newcastle (Photography, Video & Journalism),

and graduated in 2000. Later I lived in Sydney for a couple of years after University, working for ABC TV,

then spent the past 8 years living on the Mid North Coast, returning to Newcastle at the beginning of 2014.

“Newcastle has always felt like my home town/city – everything you want in a city and a thriving arts & mu-

sic scene but without the crowds and arrogance of Sydney!”

When did your artistic passion begin?

“During my last few years of high school at Merewether High I began taking photos of the local punk under-

age music scene and skateboarding. Learned to develop my own films and prints and began working

towards a career in photojournalism.”

Alex describes his work:

“Originally I mainly photographed live music, theatre and skateboarding as well as some portraiture and

night landscapes. These days the majority of my work is based around landscapes/seascapes which I have

the opportunity to photograph during my work in the marine industry. But I am also getting back into live

music photography and night & storm landscapes.”

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What inspires Alex:

“The beauty of the world around us, live music, people and their inspirational stories, the wonders of the

Natural world.”

Name your greatest achievement, exhibitions?

“The first exhibition which I held in 1997 a few weeks before I sat for my HSC exams which covered three

years of the local underage music scene. I developed, printed and framed all the prints – had an excellent

opening and good public attendance.

My second solo exhibition held at Newcastle Art Space Gallery in 2012 with a collection of sunset/sunrise

images taken whilst working on my family's trawler. Sold 30 prints and had great review in The Newcastle

Herald as well as interview with Carol Duncan on ABC Radio Newcastle.”

What are you working on at present?

“Difficult task of choosing a small collection of my favourite photographs from the large number of images I

have captured while working on the high sea and waterfront around Newcastle for a group exhibition with

my parents Anne & Ewen Sutherland in July.”

Your future aspirations with your art?

“Continue capturing memorable images on the ocean and waterfront and also develop my skills in other ar-

eas of photography such as live music and portraiture. Improve my writing skills and hopefully get work

published as a photojournalist and travel the world!”

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Alex’s other interests include:

“Surfing, Swimming, Playing Guitar, Singing, Communicating with friends around the world, Speaking Japa-

nese & German and improving my knowledge/skills in other languages, social justice issues, working on

boats and on the waterfront/ocean, playing with my four legged kids (2 dogs).”

Forthcoming exhibition:

Group Exhibition “Three at Sea” with Anne Sutherland & Ewen Sutherland at 'four

point gallery' 681 Hunter St Newcastle from 3rd

July-20th July

Opening night Saturday 5th July 4 - 6pm

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Dr Janis Lander is an artist and writer,

based in Sydney. She has been a finalist in

many curated exhibitions in Australia and

overseas. She completed a doctoral thesis

in 2012 on Spiritual Art and Art Education

and a book based on the research was

published December 2013 with USA

publishers Routledge/Taylor & Francis

Books, in the series Routledge Advances in

Art and Visual Studies.

Short courses, open to everyone.

ENROL NOW

Call 02 8999 9608

ART AND PHILOSOPHY OF THE SPIRIT - an in-

depth look at current spiritual practices - in a secular,

non-denominational environment, through the vivid lan-

guage of art. The 2014 classes will be covering some

different material as well.

Sydney University Centre for Continuing Education

July 1,8,15,22 - Tue 6:30 pm - 8:30 pm

Room 201 (Lecture Room 2), Centre for Continuing

Education

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slp arts zine july 2014

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