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Arts and literary magazine, featuring artists' interviews, exhibitions, poetry and art news.

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Page 1: Slp arts zine nov dec 2014

studio la primitive

arts zine issue 8 nov/dec 2014

studio la primitive

Page 2: Slp arts zine nov dec 2014

slp studio la primitive

EDITOR

Robyn Stanton Werkhoven

CONTRIBUTORS

Christine Pike Eric Werkhoven

Barbara Nanshe Carlin McLellan

Kate Broadfoot Kathryn Thomas

Lisa Pollard Lorraine Fildes

Tony Hull Robyn Werkhoven

Ken Orchard Adornment Exhibition

Susana Enriquez Ann Sutherland

Laraine Palmer Naomi Wild

Mine Explosion - mixed media on linen - Christine Pike

Above: I Love My Dog - mixed media assemblage - Barbara Nanshe

Please do not copy articles in this magazine without written permission

of the Editor. Copyright © 2014 Studio La Primitive, All rights reserved.

Front cover -

Issue 8 Nov / Dec 2014 2

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Page 3: Slp arts zine nov dec 2014

INDEX Index……………………………………………………3

Editorial………………………..Robyn Werkhoven 4

Studio La Primitive Antics……E&R Werkhoven 5

Featured Artist……………… Christine Pike 6 - 19

Poem ………………………….Carlin McLellan 20 - 21

Featured Artist ……………… Barbara Nanshe 22 - 31

Artist Interview……………… Kate Broadfoot 32 - 41

Poem…………………… …… Eric Werkhoven 42 - 45

Featured Artist…………………Lisa Pollard 46 - 59

Excursion to Wadi Rum…… Lorraine Fildes 60 - 71

Featured Artist…………………Susana Enriquez 72 - 79

Poetry………………………… Kathryn Thomas 80 - 81

Artist Profile……………………Naomi Wild 82 - 87

Artist Profile………………… Laraine Palmer 88 - 93

Adornment Exhibition…………………………… 94 -113

Art News………………………… ……………… 114 -129

Left: Valley View, Gresford # - mixed media - Christine Pike

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SLP would like to thank all contributors .

DEADLINE FOR NEXT MARCH ISSUE

is FEBRUARY 15TH 2015

Submit articles to email:

[email protected]

Issue 8 Nov / Dec 2014 4

EDITORIAL

Greetings to all our ARTS ZINE readers .

The Nov / Dec 2014 issue features interviews with

nationally recognised artists Christne Pike, Barbara Nanshe,

Lisa Pollard, Kate Broadfoot and this year’s Adornment -

Wearable Art exhibition in Newcastle NSW.

Lorraine Fildes travel writer and photographer visits Wadi

Rum, capturing the beauty and vastness of the desert.

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.

This is our last issue for 2014, we will return in March 2015,

with exciting articles / interviews on some of Australia’s

leading artists.

Submissions welcomed, we would love to have your words

and art works in future editions in 2015.

Best wishes to all our contributors and readers for 2015!

Regards - your editor Robyn Werkhoven

Page 5: Slp arts zine nov dec 2014

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

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CHRISTINE PIKE

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Parched Landscape - Christine Pike © 2014

Page 7: Slp arts zine nov dec 2014

CHRISTINE PIKE

“I was born in Kurri Kurri but spent most of my childhood in Toronto on the western side of Lake Macquarie

at a time when one had lots of freedom to swim and ride horses.

I have had several career changes which I believe have influenced my work directly and indirectly; in office,

farm, tourism and IT before becoming a full time artist.

I have studied life drawing at the Royal Art Society of NSW with tutor Ann Cape, watercolour with (late)

Molly Flaxman and mixed media with Rhondda Walters. Rhondda Walters, who imparted to me some of

her expertise with mixed media, showed me how to view a painting and this opened up a world for me.

Rhonda was a student of and a teacher for Desiderius Orban. Ann Cape, who is amazing at imparting her

knowledge on drawing, has more recently been an inspiration to me.

My studio (converted shed) and home are located at Vacy in the Hunter Valley. Steve Crockett my partner

also paints.

Early in my life I drew pictures in my mind when I should have been doing my school work. My library

books were often art books - art history and William Dobell’s portraits filled me with intrigue. My father, who

was a miner, would on rare occasions take me to Newcastle Art Gallery, which I loved.”

Issue 8 Nov / Dec 2014 7

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Issue 8 Nov / Dec 2014 8

Checking - mixed on canvas 48 x 36cm - Christine Pike © 2014

Page 9: Slp arts zine nov dec 2014

“At the age of eighteen I headed off to Europe on my own with a rail pass to view many of the works I’d

seen in books. I still hanker to go back and see some of the ones I missed.

Drawing is a daily routine for me. I usually start with a drawing on location, which then evolves as I add

other media/layers and further develop the idea in my studio. Mostly my art is intuitive while at other times it

can be a challenge.

I am inspired by the beauty and harshness of the rural, urban and industrial landscapes; light and dark,

faces and the human form. Horses, that other passion are mainly drawn in charcoal.

This year I became an Associate Member of the Royal Art Society of NSW, plus a finalist in the Mosman Art

Prize. In 2013 I was a finalist in the two dimensional painting and work on paper at the 42 Muswellbrook Art

Prize. Previously I have won the Pam Jennings Memorial Open Prize – Scone, Western Art Show Major

Award and the Art Scrawl General/Open ADFAS Award, Semi-Finalist in the Doug Moran National Portrait

Prize in 2013 and The Royal Art Society of NSW Art School Drawing Award.

At present I am busy working on an exhibition of images that will show coal miners in their working

environment. I am the daughter of a coal miner and my family’s mining tradition dates back to mining in

Northern England. My aim is to immerse the viewer in images that depict both the hardworking life and

comradeship amongst coal miners in their environment.”

Issue 8 Nov / Dec 2014 9

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Shadows - mixed media 60 x 48cm - Christine Pike © 2014

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“Art gives me great joy - both seeing other people’s art (there is so much talent out there) and producing my

own. I’ve also been privileged to meet so many interesting people along the way and to gain so many

friends. Art for me is forever learning and evolving. I see myself as a lifetime student.”

Issue 8 Nov / Dec 2014 11

Artist Christine Pike beside

her painting Mine Explosion

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Issue 8 Nov / Dec 2014 12

Confrontation

Mixed media on paper

Christine Pike © 2014

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Issue 8 Nov / Dec 2014 13

Profile Study

Ink on Paper

Christine Pike © 2014

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Issue 8 Nov / Dec 2014 14

Seeing Red

Mixed media on canvas

Christine Pike © 2014

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Issue 8 Nov / Dec 2014 15

Cable Work

48 x 60cm

Mixed media on canvas

Christine Pike © 2014

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Issue 8 Nov / Dec 2014 16

Deputy Greg

48 x 48

Mixed media on canvas

Christine Pike © 2014

Page 17: Slp arts zine nov dec 2014

Issue 8 Nov / Dec 2014 17

Coalface #25

Acrylic on canvas

Christine Pike © 2014

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Coalface #22

12 x 12 inches acrylic on canvas

Christine Pike © 2014

Coal Face #17

12 x 12 inches acrylic on canvas

Christine Pike © 2014

Page 19: Slp arts zine nov dec 2014

CHRISTINE PIKE

COAL MINERS

Muswellbrook Regional Art Centre,

10th January to 22

nd February 2015.

Exhibition Official Opening: 6pm Friday, 9 January 2015,

Muswellbrook Regional Arts Centre, Corner of Bridge

and William Streets,

Muswellbrook NSW 2333.

Tuesday to Friday 10am – 5pm, Weekends 10am – 1pm

Mondays by appointment only.

Crib Over - 24 x 48cm mixed media - Christine Pike © 2014

Issue 8 Nov / Dec 2014 19

Page 20: Slp arts zine nov dec 2014

We Never Made it to the Casino

Carlin McLellan (c)2014

You are very vast

You an unsolvable murder mystery

Take me to Toledo

& I will hold your hand

as best as I can

In the mosque I pray to Allah

In the church I pray to God

In the Synagogue, to Jaweh

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At the gift shop

I'll select the most perfect post cards

imaginable

and as we sit in the shade

eating ice creams

the sky caresses us both

That night

You tell me San Miguel is your favourite angel

& you are mine

Swallows dance above the rooftops

My skin melts into the mattress

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BARBARA NANSHE Issue 8 Nov / Dec 2014 22

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Barbara Nanshe Artist & Jeweller

“I was born in Launceston Tasmania in 1964. In 1976 we moved to the small country town of Dunorlan, nes-

tled in the hills north of Deloraine.

My days were immersed in nature amongst the trees and rocks along the clear river that wound its way

down from the mountains. My creative passion began here making sculptural land forms with rocks, sticks,

leaves and string.

I have always been inspired by nature and our relationship with it. Energy and forms, shadows, colours,

textures, animals, plants and pattern all inspired me.

I moved to Melbourne in 1983 where I studied pattern and clothes design with a local fashion company

while working as an actors extra on Australian productions. I began designing and making clothes and

jewellery for myself and my friends.

I moved back to Launceston in 1986. I enrolled in a 4 year Bachelor of Visual Arts degree.

I graduated in Art History, Drawing, Sculpture and Printmaking from the University of Tasmania in 1991.

I paid my way through Uni by selling my jewellery. I made it from what ever I could find and sold it outside

the cafeteria once a week. This work helped me develop my hand skills and problem solving with materials.

The foundation year of the BAVA gave me time to develop my ideas and find out what discipline and

mediums best suited them. I continued Jewellery making and started printing material with my own patterns

and designs to make clothes.”

Issue 8 Nov / Dec 2014 23

Opposite Page: Tunnel Vision - assemblage - Barbara Nanshe

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Spirit Catcher - mixed media 100 x 14cm - Barbara Nanshe

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I was introduced to artists such as Egon Shiele, Max Ernst, Marcel Duchamp, Alberto Giacometti, Edvard

Munch and Joy Hester. Influenced by these I went seeking expressions of my own psyche through drawing,

printmaking and sculpture. I think I initially used art as a psychic release.

Sculpture became my focus. I particularly loved working with lead, wood, plaster, paper mache and found

objects.

At the end of my second year majoring in sculpture, I produced life sized figures made using car head lights,

lead sheet, plaster, metal, carved wood and acid etched steel.

My art practise focused on the human psyche and how it is shaped by ritual, dogma and custom and how

this plays out in the social construct of, particularly, gender identity. There was also an element of

existentialism to my work and my sculpture was often life sized in order to relate to human personal space.

My art practice was well under way when I moved to Newcastle In 1989, as part of an exchange program

between the two universities.

My work became about the energy we can't see, only sense. I focused on the existential and on

relationships and constructs between people and their environment.

6 Part Cow was a collaboration between 6 artists in 1991. I produced life sized figures with prosthetic limbs

and fibreglass faces rigged up to a setting of scaffolding. I enjoyed working with life sized forms.

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After this the size of my work became smaller and increasingly limited to assemblage, collage, drawing and

jewellery as a reaction to limited space.

In 1997 I exhibited 113 post card sized collages and 100 pieces of jewellery that I had made in just a few

months, in the empty front room of my house in Carrington. An ideal Pop Up Gallery. It was a sell out exhi-

bition!

My jewellery making will always be influenced by the processes I use for sculpture. I still construct layers,

tell stories and explore the relationship of materials. Recycling and up cycling materials are a part of my

philosophy of making.

Since opening Nanshe studio gallery more than 2 years ago I have come full circle, primarily focusing on

making jewellery and wearable art. I have had more time to make my own work than ever before even

though I spend a lot of time collating and exhibiting other artists work.

I am currently working on assemblages. The figure meets the computer age. Humans become a collection

of parts remade from recycled materials and living in cyber space. Colour represents our many choices and

our computer generated existence.

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My current work will be included in an exhibition with

eleven other artists, called Small Medium Large.

The show, opening at 4 galleries on Saturday 14th

February 2015, is first of many initiated by The New-

castle Gallery Collective. NGC is a collaboration of 4

Newcastle Galleries: Nanshe Gallery, Cstudios Art

Gallery, Newcastle Art Space and Four Point Gallery.

It is in some way a reaction to the changes in the art

market, yet also a need to bring the art community

together to support each other and artists alike.

Next year I want to make some small bronzes. This

may start while I am working on the assemblages as

ideas have been running around in my head for a

while now.”

- Barbara Nanshe (C)2014

Issue 8 Nov / Dec 2014 27

Model 2 - mixed media 172cm , 1992 - Barbara Nanshe

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Contented Pendant

100% recycled sterling silver

and copper

Barbara Nanshe © 2014

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Issue 8 Nov / Dec 2014 29

Doll Pendants

100% recycled copper wire

and gem stones

Barbara Nanshe © 2014

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Issue 8 Nov / Dec 2014 30

Hot Summer Night - ink / pencil / paint on paper 2006 - Barbara Nanshe

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Womb - mixed media + woven copper dolls - Barbara Nanshe

Page 32: Slp arts zine nov dec 2014

KATE BROADFOOT

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Coastal Profiles Escarpment - oil and charcoal

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KATE BROADFOOT

Kate Broadfoot has over forty years experience as

an artist, teacher and publisher and has held many

solo and group shows. She owned and operated the

well-known "Bonn Accord Arts & Craft Centre" from

1988 to 2007 , Bulli NSW.

Broadfoot was a finalist in this year’s prestigious

NSW Parliament Plein Air Painting Prize Exhibition,

held in Sydney, and has been selected as a Finalist

in the Paddington Landscape Prize 2014.

Issue 8 Nov / Dec 2014 33

Right: Griffith Canal - oil painting - Kate Broadfoot.

Page 34: Slp arts zine nov dec 2014

KATE BROADFOOT—INTERVIEW

Kate says: “Hoorah! Finally I have reached a time in life when all the hard work is done, the children are

now adults, we have gone to work to earn a living for forty years.

Hoorah! I am still alive and able to sit in a beautiful location to paint a scene, to challenge my mind,

indulge all the senses and sigh with satisfaction at the result.

To find a scene that inspires and then to translate that scene to board or canvas, with oils, water colours,

graphite and charcoal, solving as you go all the problems of horizon, tonal depths and vanations, size and

shape of forms. What to leave out, how to exaggerate and enhance, to convey the drama, essence,

quirkiness or feeling of the scene. This is what I love, now as much as when I first painted en plein air at

the age of sixteen, under the guidance of a wonderful art teacher.

The end result is a complete mystery – sometimes it seems a second brain steps in and creates the

painting as I have no idea how the painting will evolve. I delight in the surprise of the finished painting.

Not until I step back and take in what I have painted, do I register whether the painting “works”.

The problem solving is all absorbing. I try to have a few step by step processes to keep some control over

the painting. I have a list of rules which usually fly off the canvas, as I become absorbed by particular

elements of the scene.

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My rules are as follows:

Do not fiddle.

Any scene is paintable.

Work with a limited palette – tone is the key.

No post studio touch ups.

Best when viewed from a distance.

Draw with paint and brush.

Every painting is imbued with memories of the place and events which were going on around me. No

number of bugs or grass and dirt stuck in paint can convey all that happens around you when you paint

en plein air. The sounds of people, bugs, birds and wildlife all add to the texture of the painting.

I have been investigated by the police (strange cars in an isolated location get reported), interrogated by

locals, rained upon, moved on and consulted concerning others’ artistic aspirations. Being a landscape

painter would be a great cover for an ASIO officer.

The paintings can pile up behind the door – I will keep painting and nourishing my soul.”

- Kate Broadfoot (C)2014

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View up Bowral Street - oil painting - Kate Broadfoot

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Hayshed Burradoo - oil painting - Kate Broadfoot

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Griffith from Monument Hill - watercolour - Kate Broadfoot

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Road to Captain’s Flat - watercolour - Kate Broadfoot

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CENTRE & COAST: LANDSCAPES BY KEN ORCHARD, KATE BROADFOOT & TONY HULL

Three award-winning, established artists, Ken Orchard, Kate Broadfoot and Tony Hull have joined forces to stage a

collaborative exhibition focusing on the Australian landscape, entitled "Centre & Coast". The show will run from Thursday

30th October through to Tuesday 11th November 2014 at the Bowral & District Art Society Gallery, 1 Short Street, Bowral,

NSW. Entry to the exhibition is free and refreshments will be served. The artists will each give exclusive insight into their

work at the launch on Saturday 1st November at 2pm.

The artists will present a body of work that showcases their diverse and abiding interest in the Australian landscape and

their engagement with the plein air painting tradition. "The oils, pastels and watercolours on display explore the inherent

energy, motifs and dynamics of Australian inland and coastal landscapes in the regions in which we live and work," says

Tony.

Kate Broadfoot has over forty years experience as an artist, teacher and publisher and has held many solo and group

shows. Tony Hull was a semi-finalist in the 2013 Moran National Portrait Prize and over his career has received twenty-six

awards and prizes for his painting. Broadfoot lives in Bulli and Hull in Kiama, both on the South Coast of NSW. Both

Broadfoot and Hull were finalists in this year’s prestigious NSW Parliament Plein Air Painting Prize Exhibition, held in

Sydney.

Ken Orchard is based in Adelaide, South Australia and has a national profile. He is a finalist in the 2014 Heysen Prize for

Landscape Art, in South Australia, and was the 2013 Artist in Residence at Grindell’s Hut, Flinders Ranges, SA. He will

present works relating to Lake Mungo and Hill End, in NSW as well as a range of South Australian works.

This not to be missed exhibition will present a rich visual selection of over sixty works exhibiting the expressive, aesthetic

and interpretive qualities of a diverse range of landscape subjects.

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Untitled Poem I

Stormy weather and I guess you have heard it all before.

But you have to keep me in your note book.

To sail across these grey skies on a snippet of paper.

Who knows who will find this message, all soggy.

Light up, for someone to see a light at the end of a tunnel.

Stormy weather it could be!

A muffled cry of an animal or a man.

- Eric Werkhoven © 2014

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Untitled Poem II

To take a lead of what’s currently in vogue.

A street scene, somewhere on a busy intersection.

High above the neon lights, a jet crosses over

and an owl sits on a washing line,

while you make me want to wait for an answer.

To come up with a different twist, a bungled out cry of a quick getaway,

in the lead up to a different song, somewhere far away.

To make up, we make it up, to conjure in our wake, the dancing shadows.

Turning the lights off and on.

Dreams are made of these twisted characters.

- Eric Werkhoven © 2014

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LISA

POLLARD

Issue 8 Nov / Dec 2014 46

Lead the Way - 110 x 50cm oil on canvas - Lisa Pollard

Page 47: Slp arts zine nov dec 2014

LISA POLLARD - INTERVIEW

Background:

Lisa Pollard was born in Melbourne in 1969, and now works and lives in Newcastle. Pollard studied art in

Brisbane, Sydney, London and Newcastle. Pollard worked in education for thirteen years and is also a

trained Yoga & meditation teacher & Mindfulness-based stress reduction facilitator with more than twenty-

three years of self-practice experience. Pollard has been exhibiting her paintings for fourteen years up

and down the east coast of Australia and in many group shows in Sydney and The Hunter Valley Region.

I asked Lisa when did her passion for art begin?

“I began painting in kindergarten and enjoyed the arts throughout school and University, taking on extra art

electives, whilst studying to be a primary school teacher. Once I began exhibiting in Brisbane in 2001, my

art practice became more structured; however I have numerous sketchbooks from my travels

overseas during my 20’s, where I enjoyed drawing, collage & painting.

Photography continues to inform my art practice and also being present in nature.”

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Rock On Up - 30x 30cm oil on canvas - Lisa Pollard © 2014

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Pollard’s work may be described as -

“Colour evokes strong emotional responses for

Pollard and this has been transferred into many of

her pieces. She enjoys the inter connectedness of

shape, design, texture and layering. Currently,

Pollard enjoys the freedom of working quickly, to strip

back layers to reveal symbols from the unconscious.

Many of her ideas cultivated from an interest in

pattern, texture and colour found in natural objects,

rocks, and the landscape.

Pollard believes that the arms are an extension of the

heart and the artist connects to a place of stillness

through the intuitive process of painting. Often her

fresh earthy canvasses reveal mysterious layers

evolving from a rich earthy palette, which seems

reminiscent of the Australian landscape”.

Issue 8 Nov / Dec 2014 49

Union - 50 x 50cm oil on canvas - Lisa Pollard © 2014

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Inspiration for her works is discovered in everyday life -

“Colour, changing light particularly in the afternoon as it softens, the beach and the bush, awareness,

meditation, yoga, kindness, my children and our new kelpie puppy.

I have also been inspired recently by the driftwood along horse beach, building a collection of found objects

which will be integrated into my craft as space becomes available through daily life.

Also the freedom I feel when I am totally immersed in my art practice, which nourishes me deeply. The art

community in Newcastle also inspires me, particularly when I was studying at Tafe before the changes

came into place. I felt guided by all the Tafe teachers who encouraged my art practice over the four years

that I studied part time from 2008-2011. I am especially inspired the work of Mazie Turner and John Morris,

particularly his last show at NAS.

I’m also inspired by Abstraction and recently visited Abstraction Now at NAS, I’m excited by the talent in

Newcastle and how many new galleries are opening and the amount or practicing artist in the Hunter

region, who support each other to exhibit and be seen”.

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I asked Lisa what she considered her greatest challenge, achievement and exhibitions.

“Starting to paint again after a three-year break after having my second child.

It’s always an achievement to exhibit after becoming a mother and juggling an art practice whilst parenting

two small children. Starting to exhibit again after a break from being busy with a young family.

It was a thrill to have a solo show at John Miller Galleries, when I arrived in the Hunter Valley from

Brisbane. I was also excited to exhibit at Art Gallery Schubert, Main Beach, Gold Coast & Red Hill Fine Art

Galleries, Paddington and Brisbane.”

Pollard is presently working on –

“A new palette, the stimulus comes from rock pools and a desire to use more colour and explore the

symbols, that arise in my process, a continual dance with colour, particularly an array of blue/ green &

brown, representative perhaps of earth and sky. I’m also exploring the impermanence of rust and how this

can be shown through the layering of my painting and stripping back the different colour fields. I’m happy to

have transformed the children’s play room into an art studio when they are away or asleep at night, the

halogen lights transform the space”.

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In The Red - 30 x 30 cm oil on canvas - Lisa Pollard © 2014

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Pollard’s future aspirations with art -

“Continually creating, each day and finding a balance

between work, life, parenting and painting. I enjoy

updating my new website, keeping the work fresh

and alive for the viewer. I like to document my

evolving creative process and sharing this online with

the art community. I’m planning on exhibiting regu-

larly now the children are growing and be connected

to fellow artists within Australia and perhaps exhibit

overseas one day.

I want to explore daily the connection between my

mindfulness practices and how it feeds into my

creativity through present moment awareness and

dropping into the ground of being”.

Issue 8 Nov / Dec 2014 53

Elemental - 40 x 60cm oil on canvas

Lisa Pollard © 2014

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Atmospherical - 50 x 50cm - oil on canvas - Lisa Pollard © 2014

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Other interests?

Lisa Pollard’s other great passion is Yoga. She is a trained Yoga Teacher who has been practicing for 23

years & teaching Yoga & Meditation in Newcastle & the Hunter Region since 2004. Lisa is known for her

ability to encourage students to discover & embody mindfulness through practice. Lisa is very interested in

how yoga can prepare the body to sit in comfort & the benefits of restorative yoga to reduce stress.

Lisa sees Yoga as an embodied organic practice, which uncovers the interconnectedness of movement

and stillness. Her openhearted approach to teaching creates a warm inviting space for her students to

discover the joys of these body-mind practices. Lisa has completed extensive training in Yoga, meditation &

mindfulness and is extremely grateful for all of the wonderful teachers from various traditions that have

nourished her life. Lisa enjoys sharing these teachings with the community and is passionate about finding

a balance between being & doing in the spirit of self-care.

“I also enjoy Photography, Surfing, Swimming, Travel, Five Rhythms (Dancing) Ukestrals Voices Choir,

(Just joined) & being immersed in Nature.

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Tell Me When

100 x 100 cm

Oil on canvas

Lisa Pollard © 2014

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Issue 8 Nov / Dec 2014 57

Unspoken

60 x 60cm

Oil on canvas

Lisa Pollard © 2014

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Issue 8 Nov / Dec 2014 58

Lisa Pollard beside

her painting.

Photographs curtesy

of artist Lisa Pollard

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Lisa Pollard Forthcoming Exhibitions.

June 6th- June 27

th 2015 CStudios Art Gallery - Contemporary & Fine Art

Nanshe Studio Gallery Shop - 2015

July 29th- Aug 22nd Exhibition with Jill Orr

Oct 22nd

– Nov 21st Exhibition with Mal Canon

Group Shows

Nanshe Xmas Show 2014

Small – Back-to-Back Gallery April 2015

NEXUS – Newcastle Grammar School Sept 2015

Samaritans Collectors Care Oct 2105

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EXCURSION TO WADI RUM

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Excursion to Wadi Rum - Lorraine Fildes

The brochure said “A truly unforgettable day in the Arabian Desert”. This made me see sand dunes rolling

off into the distance. Nomadic Bedouins riding on camels and colourful Bedouin tents alongside an oasis to

avoid the scorching heat of the desert.

The coach took us from the ship to a large, stylish visitor centre in Southern Jordan. This centre is the gate-

way to the valley of Wadi Rum, which is cut into the sandstone and granite rock. It is the largest

'wadi' (Arabic for valley) in Jordan, and the name 'Rum', most likely comes from Aramaic origin, meaning

‘high’ or 'elevated'. So it is a valley that has been uplifted by the movement of the Earth’s tectonic plates.

On arrival at the visitors centre we were transferred to a four wheel vehicle for a two hour drive through this

amazing reserve. Most vehicles are pick-up trucks operated by local Bedouin cooperatives. They are

described as characterful and fun but only have modest levels of comfort. Unfortunately the one I was

allocated to was a jeep left over from World War II and its main level of comfort was a roof to stop you

suffering from heat stroke. Our driver/guide was a happy smiling Bedouin, but he had only a basic grasp of

English. This didn’t matter as the scenery was spectacular.

I found Wadi Rum to be a stunning, sweeping desert site punctuated by jutting rock formations - it looked

like a broken lunar landscape. It was magnificent. Our group of vehicles were dwarfed by the mountains.

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Visitor information Centre and restaurant.

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Four wheel drives dwarfed by the desert formations.

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A sweeping landscape view.

Now we are getting closer.

And closer still.

Our four wheel drives had to pass between some very narrow passages between the rock formations.

Traditional transport - Bedouins riding and leading camels and you could leave your jeep and ride on a

camel through this incredible landscape. Having ridden on a camel before I did not opt for this activity, but I

did enjoy photographing the Bedouins and the tourists riding the camels.

We stopped at a Desert Camp, where we were served traditional Arabic tea and delicacies.

Wadi Rum is quite unspoilt. Apart from the Bedouin goat hair tents, the main infrastructure is at the visitor’s

centre.

Bedouins offer overnight stays at their camps so if you want to see more of the desert formations you need

to take up this option. Most tourists do not realise just how big Wadi Rum is - it covers an area of 720

square kilometers. Staying overnight lets you explore more.

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Looking at Rock formations.

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Why is Wadi Rum is so well known in the West? The book Seven Pillars of Wisdom is the

autobiographical account of the experiences of British soldier T. E. Lawrence ("Lawrence of Arabia"), while

serving as a liaison officer with rebel forces during the Arab Revolt against the Ottoman Turks of 1916 to

1918.

Lawrence and Prince Faisal Bin Hussein based their headquarters in Wadi Rum and their exploits

are intrinsically woven into the history of this amazing area. The exploits of Lawrence have become part

of local folklore, and some popular tourist sites are named after him. The Seven Pillars of Wisdom Moun-

tain, the stunning formation very close to the Visitors Centre was named in 1980 after the title of Law-

rence’s book.

The title of his book comes from the bible: The Book of Proverbs, 9:1: "Wisdom hath builded her house, she

hath hewn out her seven pillars" (King James Version). Before the First World War, Lawrence had begun

work on a scholarly book about seven great cities of the Middle East, to be titled Seven Pillars of Wisdom.

In 1914 the book was still incomplete and Lawrence stated that he destroyed the manuscript but he used

the title for his later work.

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Rock formations that we drove past.

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Bedouin leading camels.

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Detail of rock formations.

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Bedouin leading camels.

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Films using Wadi Rum as a background setting:

Lawrence of Arabia – This 1962 movie was mainly filmed on location in Wadi Rum.

Red Planet - Wadi Rum was used as the surface of Mars in this 2000 film.

Passion in the Desert - The area was also used for scenes in this 1998 film.

The Face - BBC Film, Rock climbing in Wadi Rum.

Transformers: Revenge of the Fallen - Represented as being in Egypt

The Frankincense Trail - scenes from train, and aerial filming too

Prometheus - Scenes for the Alien Planet

May in the Summer - a film by Cherien Dabis presented at the 2013 Sundance Film Festival. Long shots of Wadi Rum set the mood for the film.

Lorraine Fildes (C)2014

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SUSANA

ENRIQUEZ

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EXHIBITION

Identity and Memory

10X8 Gallery Level 3 Central Park 28 Broadway

Chippendale, NSW 2007

(p) 431 999 277

Gallery hours: open 7 days a week,

11am - 5pm

OFFICIAL OPENING

10x8 Gallery Nov 20 - 7.00 pm

Susana Enriquez was born in Mexico City and

currently splits her time between Australia and

Mexico. She has shown her work internationally

including in exhibitions in Australia, Mexico,

Spain, Japan, England and France.

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Identity and Memory - Exhibition

Memory is a component of the sense of identity, both individually and collectively, to the extent that it is an

extremely important factor of the feeling of continuity and coherence of a person or group in rebuilding

itself.

Considering the above premise, I started this project called Identity and Memory, with the participation of

twenty Latino women, who migrated to Australia at different time. I Interviewed them and took the

photographs in New South Wales in 2012-2013.

In these brief sketches there is a common thread that unites them, which is an important part of the Latin

American idiosyncrasy: attachment to family.

Everyone has their own memories, which cannot be transferred to others. It is this uniqueness of

memories, and the ability to change the past into the present

_Present-memory as the past, in the words of Ricoeur (1999: 16) - which defines personal identity and

continuity of the self over time_

There is a plane in which the relationship between memory and identity is almost banal, yet important as a

starting point for reflection: the core of any individual or group identity is linked to a sense of permanence

(itself, self-hood) over time and space. Something to remember and recall one's past is what sustains the

identity (Gillis, 1994).

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The relationship is one of mutual constitution of subjectivity, since neither the identity nor the memories are

"things" or material objects found or lost.

Memory is a function of the brain, is a physical and mental task. Internally it is an ongoing activity that can

be triggered by anything: a smell, a shape, a sound a sense. Memory is what we are. It is what we do.

In this project I used photography and video to document the personality of each woman and her objects,

which represent a memory or an emotional bond with what they left behind, as a resource for a visual

approach. At the same time, there is a reflection on how this experience of immigration and emotional

connection through memory can be a source of artistic initiatives that value and enhance their aesthetic

value. The result was a photographic exhibition and this book.

Susana Enriquez, PhD

Artist/Curator - November 2014

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FROM RED TO MEXICAN PINK S

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FROM RED TO MEXICAN PINK - SUSANA ENRIQUEZ ART SYSTEMS WICKHAM 14 - 30 NOVEMBER 2014

40 Annie St. Wickham, NSW Hrs: Fri - Sun 12 - 4pm<

Official Opening - ASW Nov 14 -From 3 PM

The theme of this exhibition is the product of a national obsession. The passion for the colour red and its variants I have thus decided to make red the protagonist here, from the most intensely bloody hue…to Mexican pink, known as magenta. Magenta and its variants have affected the emotions of their beholders in various ways, at times making them exultant at times merely contemplative.

Magenta is a constant in the aesthetics of traditional dress among various indigenous groups in Mexico. Therefore these paintings are painted on hand made bark paper, called Amate, made by indigenous people.

Researchers have discovered the power of red colour in the remote past among the Maya and the Mexica cultures, closely related as it is to the blood of human sacrifices, blood libations to their deities, their foundation myths, and finally their iconography.

If anyone travels around Mexico, examining its forms and colours in search of inspiration, will find that in indigenous communities, which for centuries, have used a broad spectrum of reds, pinks, purples, and lilacs, creating a national mindset and that there was a profound identification with this explosive colour, which is so often seen around the country.

Susana Enriquez (c)2014

Opposite page: From Red to Mexican Pink - mixed media - Susana Enriquez © 2014

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Ancestors - mixed media - Susana Enriquez © 2014

Website: art-systems-wickham.com

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Reminiscence - mixed media - Susana Enriquez © 2014

Website: susanaenriquezart.com

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WHALE –SONG TO DIRGE

You, who were meant to spend

your lives, wandering in the

greater depth of Mother-Sea;

to transverse the globe in life-long hajj,

in harmony with all, but man.

Can it be, that those who hunt you

do so from that core of hate, seeded

from the sin, Envy? Seeming so jealously

do they attempt to obliterate you, with the

infamous hope, they will no longer be second.

Down through endless, man-made millennia,

your attained perfection continues to now,

and I fear for you. The human evil,

anti- Love, is gifted with existence;

existence, then, is a Love - given gift,

so, their hatred of other, becomes hatred of self.

And for those who don’t care,

they share in Sin. Those

who’re complacent, become burdened

with the Blame! Whilst those who do,

rent their clothes, tear their hair, and heap ashes

on their heads.

- Kathryn Thomas(C)2014

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A VIEW FROM HOPKIN’S MOUNTAIN 42

KATHRYN THOMAS

There was day when I was young,

and saw not the deceit in love,

felt not the arrogance of innocence.

It was then I explored the peaks

of the ideal-ic mountains of Romance,

always to fall, from a brief route-march on he slopes,

into the valleys and troughs of Disillusionment.

But one tires of falling for the Fabricated,

the model built from the wax of expectation.

And when one finds the plateau of Cynicism’s

reached, there comes the desire to pause awhile,

rest, awhiling in egocentric conceit, redreaming

the perceived ideal, avoiding the seated dreamers

overpopulating the fields of Indolence.

Then, “O the mind, mind has mountains; cliffs of fall

frightful, sheer, no-man-fathomed”. So I sit,

I think I sit, I think, and tumbledown

into the well unfathomed. “Where am I?

Who am I ?”, echoes, bounces off the canyon walls,

and sitting, thinking, I am an echo,

but who spoke the Word?, Who calls my name?

Kathryn Thomas (C)2014

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NAOMI WILD

Gyre (Inspired by the poem ‘Second Coming’ by Yates and

the play on words with the earth’s name Gaia)

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NAOMI WILD - INTERVIEW

BACKGROUND:

I was in Coffs Harbour from birth till 14, I moved to the central west when my father was promoted. I spent

my adolescence in Young which was the fire I was forged in; the conservative culture allowed me to be

misunderstood enough to force me to stand alone in my individuality- such a gift despite the anguish. I

explored theology on a farm commune after year 12 where I learnt to ask good questions of religion, rela-

tionships and of myself. At 21 I had my first formal training in visual Arts at Broken Hill tafe. Galleries on

every corner as artists responded to the harsh outback made for a vibrant culture that took me by surprise

and inspired me greatly. Moved to Newcastle in 2000, started Fine Arts at Uni but had to leave to have a

baby and ended up just practising as an artist from there. I was disappointed at the time to leave my degree

but when I realised that I could continue my practice regardless I actually felt quite liberated from the

‘machine’.

Many chapters followed where artistic notions looked like exhibitions, retail products, workshops; but it left

me wanting more substance to my creativity. Human connection and connection with the spiritual experi-

ence that art making held were things I wanted to share.

So I took further training in Transpersonal Art Therapy a few years ago and haven’t looked back! The

aspects of my own and the collective psyche inform my creativity and my creativity gives dimension to

my work with peoples Wellbeing. It is quite the complementary marriage.

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Mixed media works - Naomi Wild

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When did your artistic passion begin?

I painted with anything I could get my hands on from the time I was a baby and was immersed in creativity

with an Art teacher mother. I feel as though that has been a constant state of being, changing styles,

mediums and themes but always a creative. There have been times when I have been more focused on a

body of work or lifestyle but it is just another language of my human existence.

My work tends to be unified by its soulful place of origin within me, layered with symbolic meaning or as a

cathartic release. I have always loved rustic tones and repurposed materials and have more recently come

to use more natural dyes and fabrics; hand sourcing and grinding my own pigments as much as possible.

That said, I am also a sucker for bold use of colour, I suppose I do what I feel in the creative moment.

What inspires you?

Life inspires me. The complex array of facets to this human experience, upon this marvellous planet, amidst

this greater universe and the great mystery upon which it all rests.

The themes that really call to me are those that explore the psyche and the world of emotion and spirit.

The stories and their embedded meaning. Archetypes, mythology, anthropological, cultural and

transpersonal backdrops to all artistic expression.

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Name your greatest achievement, exhibitions?

I feel that my greatest achievement has been more about the journey of being an artist and balancing life as a mother of

four.

Fostering creativity and wellbeing in my children and then in the community has been the significant outcome of this.

Then to have maintained (be it sporadic at times) an art practise that has manifest through a group show at Broken Hill Re-

gional Art Gallery and two solo shows in newcastle , a clothing label, performance art, a Conda award for set and cos-

tumes, wearable fibre art and jewellery, millinery and a host of community based workshops- A creative life.

What are you working on at present?

As I write this I am finalising work on a piece for the Adornment exhibition at NCAS which will be part of a series where I ex-

plore Archetypal symbology and mythic storylines as a cultural backdrop..

I am also involved in running community workshops using creativity for personal wellbeing, stress reduction and mental

health. Both ‘The Art of Wellbeing’ and ‘The Art Well- Youth Sessions’ harness our desire to express our stories and explore

the ways in which we engage with the world. These sessions are based on a strong Jungian foundation using mandalas,

mindfullness, symbology and dreamwork.

Your future aspirations with your art?

I plan on continuing to develop my practice and the relationship it has with the Transpersonal Art Therapy work I am doing

in the community. As an artist I have found waves of inspiration that come and go but the opportunity to introduce creativity

as a form of soulful expression for other humans to experience and see them touched so deeply is a profound honour, one

that will keep me stepping up to a place where the two live intertwined.

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Forthcoming exhibitions?

I am currently co-ordinating a project called ‘Letting Go’; a series of fibre/textile art workshops that culminate in a footpath

installation for International Womens’ Day 2015 through Timeless textiles- Fibre Art Gallery. The workshops are supported

through the ‘Place making’ initiative of Newcastle City Council and are free; more info can be found on the timelesstextiles

website.

Practising Artist of 15 years: Mixture of media (painting, fibre, poetry, sculpture....)

Group facilitation and Workshops for the purpose of connectivity to ones inner world through creative practices and group-

work. In a growing capacity for the last 5 years.

I hold workshops, films and facilitate groups for the purpose of building community through culture.

– Naomi Wild © 2014.

Website: naomiwild.com

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LARAINE

PALMER

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Paper Dress 2011 - Laraine Palmer

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LARAINE PALMER

“My recycled art was born out of wanting a paper

dress (you know coloured crepe paper) for a Primary

School Fancy dress dance when I was about 7 or 8

years old. What I got was a dress made out of The

Muswellbrook Chronicle.

Boy was I upset. The next year my mum made me a

Harem Costume out of an old beaded hand bag and

off cuts of sheer fabric.

Looking back on these two photographs encouraged

me to start creating clothing out of recycled

materials. The beginning was discovering the

treasures in a warehouse of recycled materials in St

Marys in Sydney when on a university excursion.

There were barrels of video tapes, fabrics, cotton

and other threads and rubber discs.”

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Muswellbrook Chronicle Newspaper Dress 1954

- Laraine Palmer

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“My first dress was made out of crocheted video tape and these rubber discs. Plastic shopping bags were

becoming a news item so I decided to find a way to make these bags into thread – thus creating my first

knitted/crocheted dress out of white plastic shopping bags. I could cut these bags so that I was able to get

between 8 and 10 metres. Everything grew from this.”

“In 1997 I commenced open foundation and then a Bachelor of Fine Art at The University of Newcastle and

I continued on to Honours in 2001.

During this time I have painted and designed wearable garments and fibre textiles works for various

exhibitions and competitions.

I earned the Overall Major prize for the Waste as Art Competition in 2000 with a Wearable art garment

“Liberated Nights” made from recycled Libra Goodnight packaging. In 2005 I became equal winner of the

Waste as Art 3D section with a Red Dress “Flame” made out of orange bags, onion bags, reused fabric and

milk bottle rings.”

- Laraine Palmer (C)2014

Photographs curtesy of artist Laraine Palmer.

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Liberated Nights Dress 2002

Laraine Palmer.

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Nuptial Outfit 2001

Laraine Palmer

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Mr Silver - Waste As

Art Exhibition 2009

Laraine Palmer

Sir Knight - 2013

Laraine Palmer

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ADORNMENT

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ADORNMENT - WEARABLE ART EXHIBITION 2014

The following pages feature a selection of artists and their work from this year’s Wearable Art

Exhibition held at Newcastle Art Space Gallery, curated by artist Ann Sutherland.

“Body art like any other art form ranges from the frivolous to the serious” quote from The

Decorated Body by Anthropologist Robert Brain inspired her to encourage artists to explore the

idea of adornment in the form of wearable art, photography, drawing and sculptural works and

for artists to create art works based on expressions made by the tattooed body, the scarred

body, the plastic body, the symbolic body, the sexual body, the animal body, the social body,

the religious body, the dressed body and the decorated body.

- Ann Sutherland, Curator (C)2014

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The Failure of the Talisman against the Boori Nazar - Andrew Finnie

Main text: These men have armed themselves against the universe. They have adorned their bodies with spells to ward off evil and attract good luck. They wear magical feathered head gear to show that they have the strength of eagles.

Yet, despite their obvious bravery, found frequently on their bodies is the Boori Nazar - the 'evil eye'.

To protect against the 'evil eye' one must wear an 'evil eye'. The more they wear, the better their protection.

To double their protection, in the sac at lower left, is a Nazar Naashak Yantra - made from magical Pomegranate, musk, chandan and saffron sprinkled with Holy water.

The Boori Nazar and the amulets are self fulfilling prophecies. They make magic. As long as we believe.

The fellow on the left has faltered in his belief. He has strayed from the true path and adorned himself like a human billboard. His friend on the right proudly shows the truth of his beliefs with open handed gestures.

Opposite Page: The Failure of the Talisman against the Boori Nazar - digital print - Andrew Finnie © 2014

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Detail from work.

Andrew Finnie© 2014

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Subtext: Ugliness in the pursuit of beauty. The more we are different, the more we are the same.

Comments: The boy in the background is the passive observer, his innocence gradually tainted by those who should know better.

Inspiration: I believe that faith guards us against the Chaos of the Universe. The type of faith doesn't matter, it's the quality of the faith that does.

Method: I work digitally, firstly in two dimensions, then three dimensions, then once again in two. In Photoshop I use many layers. The size of this image, with none of the layers compressed, is 1.7 gig.

- Andrew Finnie (c)2014

Website: andrewfinnie.com

Opposite: detail from work - Andrew Finnie.

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SANDRA SHAW

Photographer – Rob Eyre.

“Heart’s Desire’’ - Sandra Shaw Design

Model - Megan Hector

Description of artwork:

Silk velvet dress and scarf , hand printed and dyed, with glass bead and sequin detail.

‘’Heart’s Desire is devore velvet – the velvet has been printed with an acid to etch the design into the cloth,

then the fabric is dyed for its rich colour. The technique was very popular in the late 1900’s through the

1920’s, when skilled artisans abounded, there was a richness of style and creativity. I love lots of things

about this time in history, and this print is inspired by the graphic artist Alphonse Mucha. The vintage revival

has renewed interest in this time when fashion was beginning, and items from then are greatly valued as

wearable pieces of art now. There are so many things I love about thinking the idea, and then seeing it

become real through the printing process. It’s a labour of love and my true heart’s desire.

- Sandra Shaw (C)2014.

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Heart’s Desire

Designer - Sandra Shaw

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www.sandrashaw.com.au

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www.madhattermillinery.com.au

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Spring Chlorise - Queen of Flowers

JENNIFER O’BRIEN

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MADHATTER MILLINERY - JENNIFER O’BRIEN

Jennifer O’Brien has studied millinery in Newcastle and in Sydney.

Her background in fine arts and visual arts bears influence on Jennifer’s creations, which at times are quite

sculptural. Her love of colour and form found their perfect home when Jennifer ‘casually’ enrolled in a

millinery course because her own art practice needed structure! Her strong background in sewing – as a

teenager Jennifer sewed all her clothes and came up with some exceptional designs – complements the

‘soft’ sculptural techniques of millinery.

Face shape and body type influence the style of a custom-made headpiece and Jennifer is careful to craft

headwear that will suit an individual’s needs.

Chlorise - Queen of Flowers

Aubergine & Purple Rose and leaf head-dress: With the prescription of ‘adornment’, I had the desire to

adorn with Nature. Ancient myths and sensations imbue this work, with thoughts and visuals of nymphs,

Druids and goddesses. What better way to ‘adorn’? Nature brings a depth and richness like no other.

‘Spring’

This hat was made as a celebration of Nature, colour and beauty. It is made with fairly traditional millinery

materials: sinamay, wire, leno, net and fabric.

It too could be a tribute to Chloris. I guess I am quite entranced with flowers and their re-creation as an

adornment .

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CAROLYN MCKAY

Tattoos are an intentional and indelible form of

bodily adornment. Recently I had the chance to

witness and document a 4 hour inking session. My

artworks originate from the video footage and still

images I shot that day, combining the heavily

illustrated arms of the tattoo artist with the freshly

tattooed skin of her client.

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CAROLYN MCKAY

Carolyn McKay is a visual artist, researcher

and sessional academic at the University of

Sydney and the University of Newcastle.

Her practice encompasses digital video,

photomedia and painting, and she is a

studio artist at Newcastle Community Arts

Centre.

Research and artworks revolve around audi-

ovisual technologies in prisons and courts;

courthouse obsolescence; visual represen-

tations of criminality; convict tattoo designs;

convict bio-data descriptions; surveillance

technologies.

"Inking" Bandana 62 x 62 cm, original digital print on

Silky Faille (polyester), hand stitched.

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CABARET

COUTURE

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www.studiolaprimitive.com

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CABARET COUTURE

Robyn Werkhoven

Cabaret Couture is a tribute to theatrical and fanciful

fashion.

I have chosen to use a cut out model, recollecting

how many delightful hours I spent as a child, playing

with cut out paper dolls and designing their clothes.

The dress features two surreal scenes of characters

decked out in their fancy dress, perhaps on their way

to a party or parade.

The cabaret model is adorned with tattooing –

“tattooing is an exotic and mysterious art form whose

roots date back to prehistoric times”.

Medium: wood / acrylic paint / lacquer.

Size: H120 x W60 cm

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NAOMI WILD

Gyre (Inspired by the poem ‘Second Coming’ by Yates

and the play on words with the earth’s name Gaia)

Description of artwork……This piece explores the

ideas surrounding ongoing life death life cycles that

we are immersed in as humans on this earth. Whilst

we hurry around trying to look attractive, successful,

interesting and youthful, we can forget the silent body

whom we adorn with our concrete jungles and

pollutant blights.

Might we remember where we came from and where

we are going.

Media: Eco dyed and machine embellished fabric, lino

prints using locally sourced hand ground pigments on

linen.

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LARAINE PALMER

"The Robe"

A robe an be a long loose highly decorative flowing outer

garment that can be worn as a ceremonial dress or just

plain and comfortable for lounging around the house. It

can be knitted, made from furs, blankets or any fabric that

a person chooses.

This work is the resurrection of a previous work which I

have been trying to make into something else for a

number of years. When I looked at it I felt that it had a

presence about it and worked on this aspect of the

image. With fabric left over from another image with cut-

up pieces of recycled fabric there were some coloured

pieces that suited this image and it grew from this.

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ANN

SUTHERLAND

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NULLABOR NYMPH BRIDE - ANN SUTHERLAND

Media: cotton, hessian, fabric dyes, screen printed and hand painted

After many years of desiring to drive across the Nullabor, due to unplanned events, I finally have travelled

from East to West and West to East in 2014. I was pleasantly surprised by the beauty and wonder of this

vast space, my preconceived image had been much different! In September I travelled with my sister from

Perth to Tasmania and was thrilled to see the unending miles of wildflowers flashing past and the desert col-

ours and coastal secrets found hidden along the way. It’s truly a magic place!

Isolation between truck stops at roadhouses and Australian humour inspired a legend of the Nullabor

Nymph. In 1971 on 26th December professional kangaroo shooters claimed to have seen a blond white

woman amongst some kangaroos, backing their story with a grainy black and white film showing a woman

wearing kangaroo skins and holding a kangaroo by the tail.

Artist Dora Dallwitz in 1992 was inspired by the legend and her sculpture now stands at the Flinders Medical

centre in Adelaide. In 2012 a low budget movie The Nullabor Nymph was written and directed by Matthew J.

Wilkinson and produced out of Ceduna SA. The mockumentary depicts the Nymph as torturing men who

travel across the Nullabor!

My art works are inspired by the legend of the Nullabor Nymph and the beauty and mystery found in the

Australian outback.

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ART NEWS BEN KENNING EXHIBITION

"Semi Conscious: Mind Over Matter"

Opening Thursday 6 November at 6.30pm

Watt Space Student Gallery of the University

of Newcastle

Cnr Auckland & King Sts Newcastle.

Bachelor of Fine Arts, Honours Exhibition.

"Semi Conscious: Mind Over Matter" is a

small collection of selected works which deal

with notions of causality, inter-dependence

and inter - connectivity.

The works find there roots in an investigation

in to the conceptual and practical application

of Automatic Drawing by engaging with and

expressing the content of the sub-conscious.

- Ben Kenning (C)2014.

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PABLO TAPIA Frances Keevil Gallery

franceskeevilgallery.com.au

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timelesstextiles

Food meets fibre in Taste of Textiles exhibition

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Food meets fibre in Taste of Textiles exhibition

Calling all lovers of food and fibre art!

A new exhibition and book, being launched at Newcastle's

Timeless Textiles Gallery in December, celebrates a passion

for exotic, seasonal food with the rich textures of fibre arts.

The Taste of Textiles exhibition brings together work from 20

fibre artists from around the world to display their passion for

textile art, cooking and growing food. It will appeal to every-

one with a love of food and a flair for the creative.

The contributing artists have represented a variety of vivid

produce in their works, including the humble potato, mushy

mulberries, beetroot, saffron and rose petals. Each has cre-

ated a visual narrative based on, and inspired by, their love

for that particular produce.

Inspired by the artists' passion, much-loved local cook Bev

Whitehead has created and tested exquisite recipes to mirror

the artworks. These include lemon myrtle spelt sables, chilli

jelly, fig affogato, pomegranate with rosewater jelly, carda-

mom labneh and Persian Fairy Floss.

These stunning recipes, alongside images of the both

the final dishes and the artwork that inspired them,

beautifully captured by local photographer Garrick

Muntz, will be produced in a limited edition (200 copies)

boxed set, and will be available for sale at the exhibition

opening.

Artists contributing to Taste of Textiles include Nicola

Henley, Marjolein Dallinga, Polly Stirling, Jill Berry, Syl-

via Watt, Glenys Mann, Judy Hooworth and Meredith

Woolnough to name a few.

Opening: by Janet De Boer at 2pm, Saturday, 13 De-

cember. Come and join us for a fabulous celebration of

the artists and food lovers that inspire us. Sample the

recipes and purchase this unusual Taste of Textiles

boxed set in time for Christmas.

[email protected]

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HIT THE BRICKS 2014 - NEWCASTLE

1 & 2 NOVEMBER 29 ARTISTS 23 WALLS

lookhear.com.au/hit-the-bricks/

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Photography and drawing

Deborah Hally 30 October 10 November 2014

Opening 6 – 8 pm

281 Clarence Street, Sydney 2000

(02) 9283 4273

Hrs: Mon - Fri 10 - 6 Sat 11 - 5

Closed Sun & holidays

gaffa gallery

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STUDIO LA PRIMITIVE ARTS ZINE

Celebrated 1 year old on 1st October 2014.

All issues may be viewed & downloaded free from www.issuu.com

Further information contact Editor Robyn Werkhoven:

Email: [email protected]

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STUDIO 48

Looking for expressions

of interest for gallery

next year 2015.

Re: rent three week

periods.

Contact details:

Visit gallery on a Friday

between 11am - 4 pm

or a/h Phone number

49574714

Director Sandra Baker

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D Vintage Moss - 45 x 90cm oil on canvas - Lisa Pollard