Tuesday, 12 July 2016

Landlines: Curve Gallery, Newcastle, NSW.

Two Pandora Group artists Dunkerley and Swinfield are currently on exhibiting their individual work at Curve Gallery until July 30th. More images will be posted soon.

This exhibition also includes collaborative clay work Digging the clays produced by Helen Dunkerley and Linda Swinfield produced originally for Hidden Sculpture Walk 2015.


Saturday, 25 July 2015

Penny Thwaite: Eight Doors

Pandora group member Penny Thwaite - will be installing her work at Eden Art in Newcastle from Friday 31st of July until Friday 14th of August.

See date on invitation and gallery hours below.

Penny's work is a slow installation process that is experiential, it evolves on site... Her work is site specific and immersive, this will be a fabulous opportunity to view, watch her work evolve and experience her process.

Saturday, 13 June 2015

Two Pandora women collaborate

We are very excited to announce that  Pandora artists Helen Dunkerley and Linda Swinfield have been selected to install a work and participate in Hidden 2015 at Rookwood Cemetery.

This Sculptural project is titled Digging the clays : seeking family which is born out of the research that was under gone during the residency Swinfield completed earlier this year, where she was Artist in Residence with Ashfield Council between January and April.

Initial prototypes getting ready for firing and being printed, embossed and stenciled.

This collaboration was commenced after a conversation that took place at the residency site with Dunkerley about the importance of the Ashfield clays.

Linda is concerned with her family history connected with a site close to Ashfield known as the Cadigal Reserve.
Swinfield is related to the Mead family who were local brickmakers that lived and worked in this strip of land. They lived near The Iron cove creek that runs through Sydney's inner western suburbs between Haberfield and Summer Hill NSW. This particular work and research is an extension of her Masters research which was completed in 2010.


Sunday, 26 January 2014

Artist talk: an open secret

We are pleased to invite you to this open discussion of our work at Cessnock Regional Art Gallery on Thursday 30th January at 11.00am.

The Pandora Group artists will be present for questions at this "forum" style community event- led by Patricia Wilson- Adams and Annemarie Murland will discuss the notion of re-positioning abstraction that will support our exhibition at this venue .
All enquiries for this event can be forwarded to the website. 
16 Vincent St, Cessnock NSW 2325
(02) 4991 6619

Saturday, 4 January 2014

Opening the box: postscript

Our 2013 exhibition title Opening the box at four point gallery in Newcastle's west end- was a first for our group and a success for the art community who fostered it.

The idea of " opening up" the Pandora Groups conceptual box (pardon the pun here) is symbolic of an ongoing interest in opening up new dialogue and to highlight the extraordinary artwork by women artists with similar concerns both within our region and further afield. We may to return to this concept of invitational exhibition in the future.

We would like to formally thank the artists who participated in this exhibition and the gallery staff for their assistance and support. The staff at four point gallery (also all women) are emerging curators - Kelly Barlin, Kelsey Fletcher, Vicki Gerritsen and Kate Wilson. 

We would also like to acknowledge Renew Newcastle staff for supporting their initiative and Sarah Johnson curator at Newcastle Art Gallery for her well researched and informative speech at the opening event.
Opening the box was an impromptu invitational exhibition of women artists with similar sensibilities curated by Linda Swinfield.
The individual artists within the Pandora Group were invited to ask other women artists to exhibit.

By "opening the box" we opened up our enquiry into conceptual and abstract aesthetics that stretches over a 6 year history as a group to other artists.
As women artists we have continued to investigate and to question the traditions of abstraction born out of mid-20th century art.
The 6 artists invited to exhibit were:

Una Rey is a painter, free-lance arts-writer and academic based in Newcastle. Rey Lectures in Art Theory at The University of Newcastle.

Carla Feltham is an emerging photo media artist and curator based in Newcastle. She currently works at Lake Macquarie City Art Gallery.

Joy Longworth, is a Newcastle based artist who works with wood and found objects and she is now returning to exhibiting after re-establishing her studio. She is represented in the Newcastle Art Gallery collection.

Kiera O’Toole is based on the NSW Central Coast; she grew up and studied Fine Art in Ireland at the Dublin Institute of Technology and holds a Masters of Philosophy in Fine Art in Newcastle University, 2013.
Caroline Hale is a ceramic artist whose practice spans 30 years. She has exhibited locally and globally, resides in Lake Macquarie and she works at The University of Newcastle.

Melanie Lazarow is an emerging Melbourne based artist working in two dimensional media. She is currently enrolled in a Masters of Contemporary Art at Victorian College of the Arts.







News 2015

Linda Swinfield has accepted an offer of Artist in residence at Ashfield Councils historic Thirning Villa in January 2015 (she is currently negotiating this date). 

This residency is in the heart of Sydney's inner western suburbs near where she grew up and will provide for her an opportunity to research a previously incomplete tangent of her Masters Project completed in 2009 at The University of Newcastle- concerned with family history, social history and memory.


Extended time at Thirning Villa will provide for the artist access to essential resources available through the Ashfield Historical Society to research her great grandmother Hannah Sophia Mead and familial links to the local brick making history within the region.

Detail: Hannah Sophia (detail), Photo positive Lithograph, 2003.

Swinfield intends to research, photograph and draw a series of objects using the historic houses research facility. She will facilitate community workshops in collaboration with council, schools and community organisations.
Finally she hopes to construct a series of laser cut house forms based on research and overlay the shapes with visual responses from the community around her. These may include printed or embossed texture and images found within this process.

Swinfield has had an ongoing fascination with the recording, portrayal of place and object within her art making processes and this residency will support and enhance this practice.

Monday, 18 November 2013

Opening the box: Four Point Gallery Newcastle 2013

In the myth, Pandora’s curiosity is threatening because of its transgression of boundaries: Pandora not only opens the box and accesses ‘male’ knowledge, but also signifies active/ masculine rather than passive/ feminine.[1]

The Pandora Group is Opening the box with an impromptu invitational exhibition of women artists with similar sensibilities curated by Linda Swinfield.
By opening the box we are opening up our enquiry into conceptual and abstract sensibilities once again. As women artists we have continued to investigate and to question the traditions of abstraction born out of mid-20th century art.

Each of the 6 artists invited by the group represents a diverse range of cultural backgrounds, ages, disciplines and media. Two of the artists chosen live outside the Hunter region including Melbourne based Melanie Lazarow.  All of the artists in this exhibition have similar concerns that cross link family, abstraction, representation, place, memory and identity.

Maree Macmillan in her 1995 article The Myth of Pandora: An exploration of G.W. Pabsts Pandora’s Box (1929) stated that the box opened by Pandora was once a household jar kept in houses to hold familial remains. And this is highly symbolic and a sign of social misunderstanding of he mythology.

Pandora’s Box was not originally a box, but a big and immovable storage jar, used for preservation or burial, a powerful symbol for the deity in an earlier era. The jar was never just Pandora’s, but part of Pandora and Epimetheus’ domestic establishment, perhaps even a marriage rite.[2]

The Pandora myth has become symbolic and she has become a misunderstood woman, who supposedly wrestled with personal circumstances and social constructions of her identity. This group of artists is new and mid-career women artists who for a multitude of reasons have also “fallen through the gaps” of the wider art community. Their art practices have been interrupted by the ever present issues of women’s social constraints in the 21st century- juggling careers, families, and studio life. Art history underlines the complexity of this ever present mix of obstacles, mythologies and barriers for women artists that is still prevalent.

The historic symbol of Pandora and her related mythologies represents the ongoing discussion of the way women have been traditionally represented and discussed.

In 2006 The Pandora Group initiated their first exhibition titled Pandora’s box at Newcastle Art Space.
Artists invited to exhibit are: Una Rey, Carla Feltman, Joy Longworth, Kiera O’Toole, Caroline Hale, Melanie Lazarow

Pandora group artists in this exhibition are: Patricia Wilson- Adams, Sally Bourke, and Annemarie Murland
Linda Swinfield 19/11/13

Exhibition dates:      Wednesday 20th November- Saturday 7th December
Gallery hours:           Wed to Fri 10am - 4pm, Sat 10am - 2pm
Opening event:        Saturday 23rd November 3.30pm- 5.30pm
Guest speaker:         Sarah Johnson, Curator, Newcastle Art Gallery.
Address:                    four point gallery- 681 Hunter Street, Newcastle, 2302.



[1] Ed. Doyle, van der Heidie, Cowen, SELECTION ON, article by Maree Macmillion The Myth of Pandora: An exploration of G.W. Pabsts Pandora’s Box (1929), 2000, Page 163
[2] Ed. Doyle, van der Heidie, Cowen, SELECTION ON, article by Maree Macmillion The Myth of Pandora: An exploration of G.W. Pabsts Pandora’s Box (1929), 2000, Page 163

Monday, 30 September 2013

News 2014

An open secret:  repositioning abstraction 
An abstract work of art is an open secret….

                                                                Susan Deat[1]

The Pandora Group has been enthusiastically supported by Dr. John Barnes, the director of the Cessnock Regional Art Gallery, where he will be curating a new exhibition of their work in January 2014.  This will provide all artists with an opportunity to show new work and once again demonstrate that their commitment is to making work that is energetic, intelligent and forward looking.
New work by Annemarie Murland

The work will explore a range of experiential, metaphysical and sensory issues using a range of media – painting, printmaking, photography, sculpture and sculptural ceramics.  Each artist is committed to working within a very speculative and open-ended  framework.
The  group will present work that examines new theoretical meanings and understandings of abstraction.  This is achieved because each artist consistently works towards keeping their research and awareness of current developments very up to date – they are travelling, reading, doing artist-in-residencies and exhibiting regularly.  The Pandora Group is also very aware of positioning their practice so that it forms a significant force in repositioning women at the forefront of what is now known as New Abstraction”.

Many of these artists are interested in the physical properties of their works where artists are exploring that “edge” between object and form, where 2D works are becoming almost three dimensional creating an ambiguity – a key factor in making sense of our increasingly visual world.







[1] Stuart Ashman  & Susan Deat  Abstract Art: The New Mexico Artists series Fresco Fine Art Publications Albuquerque NM 2003  p. 218

Saturday, 28 September 2013

Patricia Wilson-Adams : Residency @ The Art Vault Mildura 2013

Looking for Goya’s dog: a residency at The Art Vault, Mildura

I always welcome an opportunity to travel to areas in Australia that are a long way from our rim of water, sand and surf – this time I am off to Mildura for a three week residency and exhibition at The Art Vault. The success of this regional art complex, housed in an old bank building, is due to the skillful direction of Julie Chambers, and don’t feel sorry for me – the Vault is next door to Stephano’s famous restaurant.

Mock up for, Looking for Goya’s dog,
the book to be made at the residency in Mildura.
A lot has changed since I made the initial proposal some two years ago and in the meantime I have made most of the works that were then under consideration. So without being predictive about outcomes and with a lot of trepidation I am setting off on the two day road trip to get there this Friday (Oct 4, 2013). The car is serviced, the maps packed and an awful lot of etching gear has been stowed.

Most of the pre planning has amounted to the thinking about a possible project and I have settled on developing a range of work that will result in one of my freely constructed, 3D, wall based artist’s books. This work is to be based on a small observation that I made last time I was out in the desert country – Goya would lose his dog out here. I have always been haunted by the image in the Prado of that rather hapless little dog peeping over a large black form and back grounded by a radiating, yellow luminescent light that, for me, is redolent of that yellowish glare of the desert.

So it is with enthusiasm that I am looking forward to visiting Lake Mungo, driving across the Hay Plain, working on a relevant text, drawing and developing new images. So much will be new but I am mindful that one also travels with one’s own self and, as I like to work with metaphors, I am looking upon this endeavor as an opportunity to go "looking for Goya’s dog".
Patricia Wilson- Adams
September 2013

Tuesday, 16 July 2013

out in the I know nothing country

out in the I know nothing country
Solo exhibition of work by Patricia Wilson-Adams at Tamworth Regional Art Gallery
20 July to 31 August 2013
New South Wales 2340
T 02 6767 5248
F 02 6767 5249
walking on salt lakes 
2 plate etching and spit bite aquatint, 32.8 x 39.5 cm
Patricia Wilson-Adams has been out beyond the Great Divide, exploring “the I know nothing country”.  Far beyond her familiar surroundings, she is experiencing the still centre of her being and its awakening in the quiet nothingness of a vast and limitless horizon.
 Conceptually her work is related to an area now being described as Ecophenomenology or

 the fundamental re-conceptualisation of human relationships with the natural earth … necessary to help undo the damage stemming from a contemporary western history of separation from and utilitarian valuation and exploitation of the natural world.[i]

This may be further interpreted as a form of  "spiritual ecology", the acknowledgement of the inner connectedness of all living things as part of the planet's vital biofeedback system. The negation of the existence of the "World Soul", or the anima mundi, from our collective consciousness and lack of respect for the planet as a living conscious entity has exacerbated this separation. A re-acknowledgement of this sentiency now provides an avenue to restore wholeness, a return to balance, or, as Wilson-Adams refers to it, as "the centre". For her it is the still central point of being in relation to the self, to memory of land and those loved ones who have gone before, to our symbiotic relationship with the land and a connection encompassing the global.

out in the I know nothing country is an acknowledgement of country as a vast sentient entity that cannot be fully known or understood, where one's previous experiences and concepts are dwarfed by the effulgence and exultation of experiencing the natural world beyond our immediate environment.  She explores these dimensions through her printmaking and sculpture, seeking a deeper level in moving from the known centre to the circumference and back again to arrive at a new centre or point of awareness.

For Wilson-Adams the creative process is constantly informed through the distillation of thoughts and mnemonic experiences. The simple sensory act of smelling a peach evokes a deep heartfelt response to a shared memory with her late father. The bare peach stone, the centre or kernel of the fruit/memory/still point within the soul is projected into a series of small bronze sculptures, titled The smell of peaches always makes me cry. Much like the soul, the seed of the peach contains the matrix or blueprint for its own creation.

Dead trees, like dead women, don't write much poetry pays homage to the lives of women who have transcended the circumference of experience and have returned to the stillness of the centre. The concentric rings within the tree trunks signify cycles of growth, with each progressive circle an expansion on the circumference of the one that came before. The scientific study of dendrochronology records the life experience of the tree, just as each human life, memory and precious moment lived becomes embedded within the  work.
The retrieval of memory also serves as a means for discarding it – re-evaluations of associated thoughts, images and texts. The work Discarding memory acts as a kind of visual and verbal catharsis for stored memories.  Made from sections of previously used etching plates, brought to light again in a new context, the work surveys the "circumference" or the boundary between what is remembered and known, to be transcended as new juxtapositions of image and text.

In the out in the I know nothing country prints, a floating world of images are not anchored or contextualised in terms of scale. Pollen looks like blood corpuscles or cellular organisms or even atomic structure. Wire fences become repetitive markers, the man-made boundaries which enclose, define and constrain the natural world. Her Petri dishes are a microcosm of the wider landscape where she plays with our understanding of words and their layers of meanings. "Plough", both a noun and a verb, denotes the oldest of human tools and for millennia the implement used to tame and subdue the natural environment. Ploughs create patterns on a grand scale, the repetitive furrows in which the seed is planted. Similarly "field" is a simple word, yet charged with meaning; spatial, artistic, agricultural and spiritual. The field's circumference is fenced, the land is tamed and with those actions come the human concepts of ownership, inheritance and exploitation; nature is bent to the will of humanity. A balance between the two is needed and Wilson-Adams suggests this without being overtly didactic. Her literal and metaphoric wanderings in 'the I know nothing country’ are deeply felt and highly personal explorations into the still centre of both her own being and the natural world in which she lives and travels.

Rebecca Gresham
Freelance writer and curator

[i] [i] [1]