Abstract Lands | Group show

ABSTRACT LANDS  group show 
Until 5th April 2018

This group show explores our perceptions
of the land and place through various abstract
and figurative symbols and expressions.

PETRA KLEINHERNE
Petra Kleinherne Resume

Maze, 2017 | size  150 x 100 cm
oil on linen | Price $2,350.

Kneeling Figure, 2016 | mixed media on linen
size 35 x 35 cm | Price $800.

 Landscape, 2015 | mixed media on linen
size 35 x 35 cm | Price $800.

 IAN NAPIER (Melbourne)

Turning Left | Acrylics on canvas | 97 x 121 cm
Price $3,500.

 Waterfront | acrylics on canvas | 76 x 96 cm
Price $1,950.

 Faces Going Places 1993 | acrylics
on canvas | 96 x 75.5 cm | Price $3,000

JODIE FLUGGE (Melbourne)

 Untitled painting 11 | oil, pencils, crayon on linen
size 97 x 92 cm | Price $1,450.

Untitled 6 | oil, pastels, collage on cotton voile
Size 68 x 63 cm | Price $990 framed

Untitled Painting 1o
oil, pastels, crayon on cotton
size 140 x 80 cm Price $2,200.

NIK UZUNOVSKI (Sydney)

Still Life in a Landscape | oil on canvas
size 92 x 122 cm | Price $1,950.

Sweet Lamentation | oil on canvas
size 60 x 40 cm | Price $800.

Landscape Reconstructed | oil on canvas
size 60 x 40 cm | Price $800

 An Ode to Happier Times | Oil on canvas
size 60 x 40 cm | Price $800.

  Memory Lapse | oil on canvas
size 60 x 40 cm | Price $800

REBEKA BRUDER (Lithuania)

Block House I  | oil on canvas | 40 x 50 cm | $650.

Block House I  | oil on canvas | 40 x 50 cm | $650.

 Windows | oil on canvas | 50 x 60 cm | $700.

 Catamarans | oil on canvas | 30 x 30 cm | $220.

 Water Bicycle | oil on canvas | 40 x 40 cm | $500.

Lillies | oil on canvas | size 13 x 13 |  SOLD

 Bath Tub | oil on canvas | 30 x 40 cm | $460.

Winter Landscape | oil on canvas| 40 x 50 cm |$680.

 Tractors | oil on canvas | 24 x 30 cm | $170.

Beloruss | oil on canvas |
30 x 20 cm | $180.

Lizabeth Souness | A Sense of Place

LIZABETH SOUNESS

A Sense of Place | 7 April- 5 May 2018
Exhibition Opening Saturday 7th April 2-4 pm.
Join us for opening drinks with the artist !

View all  paintings
Lizabeth Souness Pricelist

Artist Statement

My current body of work is a tribute to the land and place I call home. It is here that I am able to breathe and feel alive.  Inspiration comes from my rural environment at Bungowannah where the ever changing seasons influence the visual splendor of the Murray River as it meanders along the NSW and Victorian border.

Working in my studio painting and drawing imagery that is gathered from my observations and experiences whilst living and working on my family’s property are part of my everyday art practice. I enjoy exploring the bush and open farmlands, hills, gullies, tree lines and water courses making quick sketches as I go.  Glimpses of scenery are broken down, reworked and transformed into shapes, patterns, varied textures and mark making forming the base for my reconstructed landscapes.

My art is how I connect emotionally, spiritually and physically with the world. I am compelled to express and interpret what I see. In the act of creating I feel a sense of calm and find peace.

Biography

Lizabeth Souness was born in 1969 in Victoria. She has lived in many parts of Australia including Tasmania, the Pilbara in Western Australia and now the Riverina in NSW.  Understandably the various characteristics of every landscape have left an indelible imprint on her psyche which in turn affects her paintings.

Predominantly a contemporary painter, she describes her work as a form of abstracted record keeping and story telling.

Recognised as being gifted at an early age she was accepted into the special arts program for gifted and talented at the well respected Applecross SHS in Perth Western Australia.

Completing her formal art studies in 2013, she has since participated in artist workshops with Idris Murphy, Jo Davenport and Linda Fish.

Recently, Lizabeth was a selected finalist in the 2017, 70th Mosman Art Prize judged by Kirsten Paisley, Deputy Director of the National Gallery of Australia.

Lizabeth exhibits regularly and her works are held in corporate and private collections.

Selva Veeriah | 9-26 November

SELVA VEERIAH | I.Me.Mine
9-26 November 2017 
Exhibition Opening Saturday 11 November
2-4 pm. Join us for opening drinks !
View exhibition paintings

Born 1968, Malaysia

Selva Veeriah is a self-taught abstract painter living and working in Melbourne for the past decade. He was born in Penang and grew up in the rich tradition of a Malaysian-Indian heritage. He left a career in law to follow his childhood passion for painting.

The body of work –  which comprises paintings, musings, and poems – questions whether the human experience is objectively real or merely an illusion of the mind. The colourful and playful artworks capture moments in time along the inward journey. Selva’s works are exhibited regularly and held in private collections.

 Artist Statement

‘My work is directed at the perennial conundrum “Who am I?” in the context of my own existence and experiences. With each introspection, I delve a little deeper into the nature of consciousness, mind, and ego. The resulting insights peel away misconceptions and increase inner peace.’

Jodie Flugge | (un)expecting the (un)known

JODIE FLUGGE | (un)expecting the (un)known
19 October-4 November
Exhibition Opening Saturday 21st October 2-4 pm
Join us for Opening Drinks with the artist.

View paintings
CV & Artist Statement

TomboyBill | 28 September -14 October

TomboyBill | offcut
28 September-14 October

Exhibition Opening Saturday
30 September 2-4 pm

Artist Bio

View works

offcut.

TomboyBill reflects on life after taking a leap of faith from the comfortable life of

a commercial artist, to the uneasy, introspective life of the fine artist.

‘Living as a fine artist is proving to be quite a challenge. Finding the solitude,

stillness and detachment which is necessary for my work, can also leave me feeling

disconnected and cut off from the daily routine of the world. As challenging as this is,

I’m beginning to see that this is how it has to be, for my work to progress…”

And so it is in TomboyBill’s latest series of works offcut. which uses left over materials and offcuts that would otherwise have been discarded, to explore the meaning of a self-imposed physical and emotional detachment from the conventional norms of work and life.  In using materials for some greater purpose, we always leave something behind. These scraps are inevitably seen as waste, as not having any value. In fact, they are seen as an unavoidable cost. But the question is why? What happens if we challenge the nomological validity of this idea? What happens when we value the offcut, not just because it can be reused or repurposed, but because it is necessary for the greater purpose? In the same way, the artist’s detachment and discontent can be reappraised – not as being in conflict with monotony of the daily grind, but as being complementary and essential. Every action has a reaction. The artist needs to have a certain distance from the world in order to explore it, and in a sense we need the artist to feel – and be – disconnected so that we can be surprised and excited by a view of ourselves we’ve never seen before. The offcut, then becomes vital and necessary.
TomboyBill’s offcut. series challenges us to look at things differently. There is a sense of vulnerability and rawness throughout the artworks. We feel the artist’s personal journey. This work goes beyond the idea of finding a hidden beauty and value in the unloved, discarded and the abandoned, instead arguing that these things have an innate, intrinsic value.

Veronica Cay | Folly of Angels

VERONICA CAY |  Folly of Angels
drawings & sculptures
2-23 September 2017

Exhibition Opening Saturday 2nd of September 2-4 pm.
Join us for opening drinks with the artist.
Join Exhibition Opening event on FB

Artist Statement:

These latest group of sculptures, are experimental and like previous work acknowledge my textile/embroidery background. For me it is this combination of textile practices ie wrapping, stitching and collaging onto the clay that adds to the richness and variety of surface; providing visual reference points and a familiarity for the viewer sometimes enabling new understandings, evoking memory and forging a new dialogue.

My drawings and sculptures are a vehicle to reflect upon what it is to be human; seeking connections, testing resilience, acknowledging frailties – hence the importance of life drawing to my practice and the endless possibilities presented within this paradigm. The origins of the characters that populate my work all begin during life drawing sessions. Sometimes I will be very excited when I finish a drawing knowing that I have something to build on – other times I come away feeling very dejected that I haven’t managed to capture a fleeting look or form. My studio is littered with this detritus – but it is this very existence that generates the next image.

I am not particularly interested in an academic transcription – drawings that I love describe a feeling, evoke a response or excite the imagination I want there to be a conversation about what is happening below the surface (real or imagined) – the body experienced from within and definitely not as object to be critically viewed and perhaps improved upon.  Beauty radiates irrespective of the age or gender of the model.

Time spent in the life drawing studio is slowed – it allows a space for gentle observations and connections to be made; journeying through a human landscape – a stilled life – a distilled experience that is offered/proffered by the model. And as Malbert says ‘there are things that can be said about the human condition in a drawing that cannot be expressed in any other way’ (1)

My drawings and sculptures form the basis of a much larger conversation; experienced through marks revealed across the surface, utterances that can be swift and staccato in sound and rhythm or fluid and generous in their tone and substance and form.

1. Robert Malbert, Drawing People – the human figure in contemporary art, Phaidon Press 2015 page 10

INKT group show 17-31 August

The Artists of INKT Group
17-31 August, 2017
Amanda Lugg, Fay Abromwich,
Jeremy Boland, Pamela Dempster, Sophie Riviere-Verninas
Exhibition Opening Saturday 19 August 2-4 pm
Join Exhibition Opening event on FB

‘We are a Group of Melbourne Artists who formed a strong bond in our years as students in the Printmaking Studio while studying for our Diploma of Visual Arts .
Our art practice is as varied as we are, and demonstrates the unlimited ways in which printmaking methods and practices can inspire each of us to create wonderful images.
Expressing our creations with linocut and drypoint etching, our work describes the many ways in which our world becomes manifest.  All of our works are printed on archival paper using either oil or water based inks.

As well as Works on Paper, Amanda includes handmade books. Her artwork is inspired by “the great fortune to have a garden which attracts a number of Australian native birds, and so I felt that an “ABC” book of Australian birds would be a good way to address the gap I had identified. From that point, the study of birds in the garden, the finding of feathers, the examination of other avian images filled my mind, and enabled me to produce a variety of images.”

Jeremy states that his “prints and paintings are presented as scenes or representations of ideas in realistic or semi-realistic ways, attempting to tell a story or explain an idea with each piece. Utilizing composition of light and shadow and perspective. My art is a personal reflection of my own experiences as also a way to deal with life’s problems. Light and shadow a predominant themes in my work. Many of my pieces capture moments in time, carrying layers of meaning.”

 Pamela explores Modernist influences, Sophie presents her sensitive images of the human condition on both paper and ceramics and Fay’s ‘Abstractions’ explore the universal shapes of circles, triangles and square, with some pieces being embellished with stitching and hand colouring.’   Artist Fay Abromwich

JEREMY BOLAND

AMANDA LUGG

FAY ABROMWICH

SOPHIE RIVIERA-VERNINAS

PAMELA DEMPSTER

AT HOME | 29 June-24 July

AT HOME  | 29 June-24 July 2017
Exhibition Opening Saturday 1st July 2-4 pm Join us for Opening Drinks.

AT HOME is a curated group show  featuring paintings & drawings by 6 female artists:
KIATA MASON ,CHRISTINE WEBB, WENDY McDONALD, LIZZIE DENNIS,
PHILLIPA CROLL and SHARON MONAGLE

“Initial idea for this exhibition was Interiors, with the aim to explore our home spaces in a visual language of painting & drawing. It took 2 months to prepare the show and after selecting the paintings, it became obvious, that the title for this exhibition should be changed to AT HOME. This exhibition consists by 34 works by 6 female artists from Victoria and NSW, who didn’t know each other before the show.
Each exhibition is like a breathing, live organism that has life of its own. It draws to itself, like a magnet, different people, works, ideas and circumstances. And you can never predict how it will turn up, until you actually put all pieces up on the wall. Only then, you can see the beautiful synergy of colour, form, texture and subject matter. It becomes a cohesive unit, which is alive, vibrant and communicates with each other and audience in many unexpected ways.
This exhibition is not about concepts and ideas, but about the beauty and simplicity of our intimate spaces, where the whole process of homeostasis occurs by rebalancing and recharging our lives. Home is where the heart is and these artworks shine the warm, feminine light to the audience. They are snapshots of our everyday lives seen from the woman’s perspective.
May you all come home to your heart while exploring this visual journey from Outside to Inside.”

Curator
Brigita Lastauskaite

KIATA MASON

This series of work by Kiata Mason revolves around the collections of objects in the
domestic home environment. A quiet contemplation of the small and beautiful objects
that make a house a home. Looking at two familiar spaces, that of the sea side home
of my grandmothers at Lake Cathie and my aunts home in Palm beach as both have a
love of the found and collected object. The two homes are full of shells, paintings,
sculptures, flowers and other found things others might walk past, interspersed with
day to day objects of food and flowers, collected together tell a story of the people who
have lived in the house and bean part of the family.

At Georgia’s with Persimmons | 61 x 61 cm
acrylics on canvas SOLD

Figs and  Indian Horse | 40.7 x 50.9 cm
acrylics on canvas

Table at Palm Beach | 61 x 61 cm
acrylics on canvas SOLD

  Vogue Patterns | 45.8 x 45.8 cm |
acrylics on canvas

Tray of Shells | 61 x 61 cm |
acrylics on canvas SOLD

 
Indian Bird and Green Plate | 40 x 50 cm |
acrylics on canvas

Side Table with Green Flowers | 30.5 x 30.5 cm
acrylics on canvas

Judi’s Clay Bird House | 50.9 x 40.7 cm
acrylics on canvas

LIZZIE DENNIS

My practice is underpinned by my love of drawing.  I enjoy drawing from life,
with a focus on interiors and the relationships we have with our everyday domestic
environments and the other people and objects that may inhabit those spaces as well.
I also enjoy portraiture, and particularly portrait commissions, because it allows
me to focus on the elements that make each of us unique and irreplaceable.  I often
combine portraits with domestic spaces or personal objects in order to create a sense
of the everyday, yet in a familiar, but unfamiliar, sense. Whilst I like to experiment
with many mediums, I do work predominantly in colour pencil.  I enjoy the precision,
detail, texture, depth and lightness that pencil allows me to achieve.

Who cares about nice? |  42cm x 37cm ,
colour pencil on paper

Between a rock and a remote |  37.2cm x 38.5cm ,
colour pencil on paper

Leave the key in the door | 38 x 36 cm
colour pencil on

CHRISTINE WEBB

I am a multi disciplinary artist who paints in Acrylic on stretched canvas, and works on
paper both figurative and abstract. The starting point for my work will be a sense of light and
colour and shafts of light will fall onto, through or around an object and the effects of that fall
of of light. Whether objects are transparent, of silhouetted against a window, I am continually
fascinated at the relationship between light and shadow, solid and transparent. When I draw
I like to anchor figures to the ground and chairs to a floor with a sense of dimension that’s
either evident and receding into the distance or tilted into the viewers picture plane.

Elvis Wants a Walk, Dixie’s Parlour
137 x 137 x 5 cm | acrylics on canvas

Anthurium Armchair | 100 x 150 cm
acrylics on canvas

Sansepolcro Table | 46 x 46 x 2.5 cm
acrylics on canvas

SHARON MONAGLE

I find art is a useful tool to help me to explore, understand and to empathize
with people’s experiences – their reactions to self, to others and to the world
around them. It enables me to see beauty in the everyday and in imperfection.
Other key influences are the built and natural environments: in particular I
am drawn to the sea and boats (the daughter of a long line of sea-farers) and
to industrial scenes that tell us much about the way we live today. A degree of
abstraction seeks to remind us that we all see the same thing differently: our
perceptions are distorted by our own experience, our mood, our biases.Whilst
still experimenting with style and technique, I like to paint with acrylic and
tend to paint fast: often wet-on-wet, allowing the painting to emerge or
declare itself as I go.

Empty Room | acrylic on canvas board | framed
40.6 x 50.8 cm

Girl with a Dog | acrylics on canvas
45.7 x 45.7 cm

New Day | acrylics on canvas
61 x 50.5 cm

 
 Girl in a Wallpapered Room | acrylics
on canvas | 74.5 x 60 cm

PHILIPPA CROLL

“These paintings represent the objects of everyday life whilst recognizing
that life consists of many layers and contradictions. Objects, rooms and
doorways are found in unexpected places. Our role in nature is shown by
the landscapes discovered within the objects themselves reflecting our
tendency to behave as though our actions are inconsequential. Nevertheless
they are optimistic, bright paintings reflecting our ability to take on the
challenges that we face, to create and move forward.”

Suspended Disbelief  91 x 76 cm
Acrylic on Canvas

Sea Change | 91 x 76 cm
Acrylic on Canvas

  
Certaintea | 91 x 76 cm |  Acrylic on Canvas

Domestic Blitz | 80 x 70 cm | acrylic on linen

Life’s Mixing Pot          81.3 x 81.3 cm
Acrylic on linen

WENDY McDONNALD

“As an artist, I am continually evolving. My Still Life and Landscape works are narratives about the
connection I have to the both land and community, in our remote part of the river country. The “found”
interior paintings in this show are snapshots of a farming and artistic life intertwined. Included is foliage
from our forest, produce from the orchard and equipment for making. Small moments of the everyday,
providing a link between rural and city consciousness.”

Bench with Blue Cloth | 45 x 45 cm
acrylics on canvas

 Night Studio with vintage cloth | 40 x 40 cm
acrylics on canvas

 Autumn Kitchen with Sketchbook | 40 x 40 cm
acrylics on canvas SOLD

 Foliage on Artist’s Bench | 40 x 40 cm
acrylics on canvas

 Studio Bench with Apples | 45 x 45 cm
acrylics on canvas

 Studio Bench with Tasseled Cloth | 45 x 45 cm
acrylics on canvas

 Studio with Japanese Bowl | 45 x 45 cm
acrylics on canvas SOLD

Nik Uzunovski | Midnight Horizon

 Nik Uzunovski | Midnight Horizon
4-27 May| Opening Saturday 6 May 2-4 pm

My most recent work investigates how we access memories and the emotional and sensory responses to memories. It is through the visual medium of paint, collage and drawing; using formal elements of line, form, shape and colour, where I articulate my own and shared responses to memories of people, places and experiences. It is how I am able to make sense of something that is often difficult to articulate through sustained thought and conversation; trying to give the feelings memories generate a tangible presence in a visual context. It is through this process that I map out the relationship between a memory; representational and non-representational forms, often fractured in nature, hence why much of the work often takes on an almost topographical appearance. John Elderfield et al (2011) writes “A representational painting can be composed through abstract manipulation of the medium of painting and also the less familiar one that an abstract painting may be created through acts of representation.”; an exchange of the elements, the abstract and the representational. It is through this process of mapping out an experience or memory that I am able to put together fractured pieces of memory and create something that generates aesthetic interest, however, also has the potential to resonate with the viewer, help them to understand their own memories and thought processes; how and why they respond in such a way. Whether they’re negative or positive, memories of people, places, experiences and happenings are deeply engrained within everyone they make us who we are. Memories are precious things; even the bad ones, we learn from them, teach ourselves and teach others. My late grandmother developed dementia and lost almost all of her memories, not remembering who I and her other grandchildren were, it slowly consumed her entire mind. That is why I map memories; as well as try to articulate one’s emotional and sensory responses, my own and those of friends, family and even strangers, to ensure that they live on through paint even when we cease to exist.

Bibliography
Eldefield, J et al 2011, de Kooning a retrospective, The Museum of Modern Art, New York.