tag:blogger.com,1999:blog-11178178139383452152024-03-04T22:36:37.860-08:00The Pandora Group: six women artistsSally Bourke, Helen Dunkerley, Annemarie Murland, Lezlie Tilley, Linda Swinfield and Patricia Wilson-Adams.Unknownnoreply@blogger.comBlogger31125tag:blogger.com,1999:blog-1117817813938345215.post-1871454820589782912016-07-12T19:07:00.001-07:002016-07-12T19:07:36.474-07:00Landlines: Curve Gallery, Newcastle, NSW.<div dir="ltr" style="text-align: left;" trbidi="on">
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.<br />
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This exhibition also includes collaborative clay work <em>Digging the clays</em> produced by Helen Dunkerley and Linda Swinfield produced originally for Hidden Sculpture Walk 2015.<br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-13073991732484667172015-07-25T20:31:00.000-07:002015-07-25T20:31:13.391-07:00Penny Thwaite: Eight Doors<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Verdana, sans-serif;">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. </span><br />
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<span style="font-family: Verdana, sans-serif;">See date on invitation and gallery hours below.</span><br />
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<span style="font-family: Verdana, sans-serif;">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</span>.<br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-43684646030439482752015-06-13T05:15:00.004-07:002015-08-13T19:49:03.653-07:00Two Pandora women collaborate <div dir="ltr" style="text-align: left;" trbidi="on">
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We are very excited to announce that Pandora artists Helen Dunkerley and Linda Swinfield have been selected to install a work and participate in <a data-mce-href="http://hidden.rookwoodcemetery.com.au/" href="http://hidden.rookwoodcemetery.com.au/"><strong><em>Hidden 2015</em> </strong></a>at Rookwood Cemetery.<br />
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This Sculptural project is titled <strong><em>Digging the clays : seeking family </em></strong>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.</div>
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<tr><td class="tr-caption" style="text-align: center;">Initial prototypes getting ready for firing and being printed, embossed and stenciled.</td></tr>
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This collaboration was commenced after a conversation that took place at the residency site with Dunkerley about the importance of the Ashfield clays. </div>
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Linda is concerned with her family history connected with a site close to Ashfield known as the Cadigal Reserve.<br />
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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. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsjs8_CSP5YT_4MPlOgCjJ_8uYlI6_nHgo7W0CLjEclq28F_2aAXvVGgIdO_X5aIBP0iBI3SK9Bp632RRk80aR-eKDLXeSdPfVhc8VjwqIKOgo8FvpT3ybwdvgG4lM2vTkQeE-O9SsVNSW/s1600/studio+with+helen+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsjs8_CSP5YT_4MPlOgCjJ_8uYlI6_nHgo7W0CLjEclq28F_2aAXvVGgIdO_X5aIBP0iBI3SK9Bp632RRk80aR-eKDLXeSdPfVhc8VjwqIKOgo8FvpT3ybwdvgG4lM2vTkQeE-O9SsVNSW/s400/studio+with+helen+2.jpg" width="300" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdvuWMWQQ6Et8eZIQ-omsP3WBRcYvD-x95m42arYVeSPapwRLC21HTNPxkq0_vWr4N2q6oAXslJxMiroVJlxLvzPCu73r8CdBWcnMkBgQLa7aSd6N89hBOflUm_DSPoI9e0L9CVypOHixl/s1600/studio+with+helen+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;">This collaborative printmaking and ceramic work will be installed during Hidden in September 2015. </a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdvuWMWQQ6Et8eZIQ-omsP3WBRcYvD-x95m42arYVeSPapwRLC21HTNPxkq0_vWr4N2q6oAXslJxMiroVJlxLvzPCu73r8CdBWcnMkBgQLa7aSd6N89hBOflUm_DSPoI9e0L9CVypOHixl/s1600/studio+with+helen+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"> </a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdvuWMWQQ6Et8eZIQ-omsP3WBRcYvD-x95m42arYVeSPapwRLC21HTNPxkq0_vWr4N2q6oAXslJxMiroVJlxLvzPCu73r8CdBWcnMkBgQLa7aSd6N89hBOflUm_DSPoI9e0L9CVypOHixl/s1600/studio+with+helen+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><div style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdvuWMWQQ6Et8eZIQ-omsP3WBRcYvD-x95m42arYVeSPapwRLC21HTNPxkq0_vWr4N2q6oAXslJxMiroVJlxLvzPCu73r8CdBWcnMkBgQLa7aSd6N89hBOflUm_DSPoI9e0L9CVypOHixl/s1600/studio+with+helen+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;">Keep an eye on their website and the Pandora Group Blog for further update. see the link below.</a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdvuWMWQQ6Et8eZIQ-omsP3WBRcYvD-x95m42arYVeSPapwRLC21HTNPxkq0_vWr4N2q6oAXslJxMiroVJlxLvzPCu73r8CdBWcnMkBgQLa7aSd6N89hBOflUm_DSPoI9e0L9CVypOHixl/s1600/studio+with+helen+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><div style="text-align: justify;">
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<strong></strong> <strong>Hidden Exhibition 2015 - Artists </strong><br />
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</a><a href="http://hidden.rookwoodcemetery.com.au/past-events/hidden-exhibition-2015-artists">http://hidden.rookwoodcemetery.com.au/past-events/hidden-exhibition-2015-artists</a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdvuWMWQQ6Et8eZIQ-omsP3WBRcYvD-x95m42arYVeSPapwRLC21HTNPxkq0_vWr4N2q6oAXslJxMiroVJlxLvzPCu73r8CdBWcnMkBgQLa7aSd6N89hBOflUm_DSPoI9e0L9CVypOHixl/s1600/studio+with+helen+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-85320441325209637902014-01-26T23:25:00.001-08:002014-01-26T23:52:09.799-08:00Artist talk: an open secret<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana, sans-serif;">We are pleased to invite you to this open discussion of our work at <span id="goog_1887449186"></span><a href="https://www.blogger.com/"><strong><em>Cessnock Regional Art Gallery</em></strong></a> <span id="goog_1887449187"></span>on Thursday 30th January at 11.00am. </span><br />
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<span style="font-family: Verdana, sans-serif;"><strong><em>The Pandora Group</em></strong> 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 <em>re-positioning abstraction</em> that will support our exhibition at this venue .</span></div>
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<span style="font-family: Verdana, sans-serif;">All enquiries for this event can be forwarded to the website. </span></div>
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<span style="font-family: Verdana, sans-serif;">16 Vincent St, Cessnock NSW 2325</span><br />
<nobr><span style="font-family: Verdana, sans-serif;">(02) 4991 6619</span></nobr></div>
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<nobr><a href="http://crag.net.au/"><span style="font-family: Verdana, sans-serif;">http://crag.net.au/</span></a></nobr></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-41281211982974926092014-01-04T03:58:00.003-08:002014-01-05T03:36:01.658-08:00Opening the box: postscript<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Verdana, sans-serif;">Our 2013 exhibition title <strong><em>Opening the box</em></strong> 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. </span><br />
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<span style="font-family: Verdana, sans-serif;">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.</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4cRBH_eGp9XohJImZ7Fa4bG7N_mqhugQWWH9YzEl-BLhhJ_9_UrLc3N-eNUZTsFhtNAWk5YmN2Bg8F5DeJx_lLz0cp4MMEeUOMKK02BczoR6sWYz4j6bRMY2kvo3k0CoznNPmHkJsLlo-/s1600/trisch+and+joy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4cRBH_eGp9XohJImZ7Fa4bG7N_mqhugQWWH9YzEl-BLhhJ_9_UrLc3N-eNUZTsFhtNAWk5YmN2Bg8F5DeJx_lLz0cp4MMEeUOMKK02BczoR6sWYz4j6bRMY2kvo3k0CoznNPmHkJsLlo-/s640/trisch+and+joy.jpg" width="640" /></a><span style="font-family: Verdana;"></span><br />
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<span style="font-family: Verdana;">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. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVD_zgJrs2qucbBDH-l9625dy-5AWHD6bjJ4wjI_ItlLMw2Msl8TqjHWKZY-hZ_Hf0E2RFl6Rs0slz1EuvyEdnwtlBIS2tjOQrB4OpAGnAscXj67E3-luwhoJRdlrh9UzQd_fiywG9B17j/s1600/am.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVD_zgJrs2qucbBDH-l9625dy-5AWHD6bjJ4wjI_ItlLMw2Msl8TqjHWKZY-hZ_Hf0E2RFl6Rs0slz1EuvyEdnwtlBIS2tjOQrB4OpAGnAscXj67E3-luwhoJRdlrh9UzQd_fiywG9B17j/s400/am.JPG" width="400" /></a><span style="font-family: Verdana;">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.</span><br />
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<span style="font-family: Verdana, sans-serif;"><em><strong>Opening the box</strong> </em>was an impromptu invitational exhibition of women artists with similar sensibilities <em>curated by Linda Swinfield</em>.<br /> The individual artists within the Pandora Group were invited to ask other women artists to exhibit.<br /> </span><br />
<span style="font-family: Verdana, sans-serif;">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. </span></div>
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<span style="font-family: Verdana, sans-serif;">As women artists we have continued to investigate and to question the traditions of abstraction born out of mid-20th century art.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN3wpma4o7h0SSlGXukl43krz11XmHlU9KRnHxV-Hmsz8JiX817-tZPTfErFAgiyczhGe506ihi6CJpf7GBFORo1clNbEeZC_F1m9lfBQ22NR_IhGA95iYeCO2bZLiolw6LvI2nrKU7Da3/s1600/Caroline+crop.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN3wpma4o7h0SSlGXukl43krz11XmHlU9KRnHxV-Hmsz8JiX817-tZPTfErFAgiyczhGe506ihi6CJpf7GBFORo1clNbEeZC_F1m9lfBQ22NR_IhGA95iYeCO2bZLiolw6LvI2nrKU7Da3/s320/Caroline+crop.jpg" width="320" /></a><span style="font-family: Verdana, sans-serif;"><strong> </strong></span></div>
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<span style="font-family: Verdana, sans-serif;"><strong>The 6 artists invited to exhibit were:</strong></span></div>
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<span style="font-family: Verdana, sans-serif;"><strong>Una Rey</strong> is a painter, free-lance arts-writer and academic based in Newcastle. Rey Lectures in Art Theory at The University of Newcastle.</span><br />
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<span style="font-family: Verdana, sans-serif;"><strong>Carla Feltham</strong> is an emerging photo media artist and curator based in Newcastle. She currently works at Lake Macquarie City Art Gallery.</span><br />
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<span style="font-family: Verdana, sans-serif;"><strong>Joy Longworth</strong>, 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.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXmqAboXXuI-HOw1o7TUMQe2Op0hNPtLi6fsYQaOH33E8bZ3Xw9ermcUAGtyWXthsQYCX2wAMICxwY5yV-Xlhs2vtTx_IsWUCBEWdBCSSRGrUucNNeS5IKks80fOtig64gCpSuXIRybcOG/s1600/brancusi+close.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXmqAboXXuI-HOw1o7TUMQe2Op0hNPtLi6fsYQaOH33E8bZ3Xw9ermcUAGtyWXthsQYCX2wAMICxwY5yV-Xlhs2vtTx_IsWUCBEWdBCSSRGrUucNNeS5IKks80fOtig64gCpSuXIRybcOG/s320/brancusi+close.JPG" width="240" /></a><span style="font-family: Verdana, sans-serif;"><strong></strong></span><br />
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<span style="font-family: Verdana, sans-serif;"><strong>Kiera O’Toole</strong> 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.</span><br />
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<span style="font-family: Verdana, sans-serif;"><strong>Caroline Hale</strong> 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.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOu6Ea1vePB6F0sHlqzCDVlCQOIE1DLLEo24QA5BHOS2G9wEJUgZW7iudkk42J9_ZFj3GUGH1jqPb-is5o5DJ3J-EjcmCuwY3UmuRTtf0sPAm5ZQW_Qy-oSpaXwvBQHTZfWbx00f-SI8K7/s1600/carla,+am+and+caroline.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOu6Ea1vePB6F0sHlqzCDVlCQOIE1DLLEo24QA5BHOS2G9wEJUgZW7iudkk42J9_ZFj3GUGH1jqPb-is5o5DJ3J-EjcmCuwY3UmuRTtf0sPAm5ZQW_Qy-oSpaXwvBQHTZfWbx00f-SI8K7/s320/carla,+am+and+caroline.jpg" width="240" /></a></div>
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<span style="font-family: Verdana, sans-serif;"><strong>Melanie Lazarow</strong> 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.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZt6LZHICZgcELpZH8UuDoftGiLy_VEhnHjiyQEhAwTveVs8GZFSNF9TH5PsIr8cvn4BxCh7Y9UzAa9Vf3uDwvIVn8_k-ggdba3Kb1dVD1HUlCiReTz_uzoB86Wu87TWvlXRlsgc_3T0Gn/s1600/carla+toward+joy+and+annemarie.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZt6LZHICZgcELpZH8UuDoftGiLy_VEhnHjiyQEhAwTveVs8GZFSNF9TH5PsIr8cvn4BxCh7Y9UzAa9Vf3uDwvIVn8_k-ggdba3Kb1dVD1HUlCiReTz_uzoB86Wu87TWvlXRlsgc_3T0Gn/s640/carla+toward+joy+and+annemarie.jpg" width="640" /></a><span style="font-family: Verdana, sans-serif;"></span><br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-67241280876283917372014-01-04T02:15:00.003-08:002014-01-04T02:38:43.719-08:00News 2015<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Verdana, sans-serif;">Linda Swinfield has accepted an offer of Artist in residence at Ashfield Councils historic <em><strong>Thirning Villa</strong></em> in January 2015 (she is currently negotiating this date). </span><br />
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<span style="font-family: Verdana, sans-serif;">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.</span><br />
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<a href="http://lindaswinfield.files.wordpress.com/2013/12/untitled.png"><span style="font-family: Verdana, sans-serif;"><img alt="untitled" class="alignnone wp-image-730" height="320" src="http://lindaswinfield.files.wordpress.com/2013/12/untitled.png?w=300&h=240" width="400" /></span></a><br />
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<span style="font-family: Verdana, sans-serif;">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.</span><br />
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<a href="http://lindaswinfield.files.wordpress.com/2013/12/hannahcrop.jpg"><span style="font-family: Verdana, sans-serif;"><img alt="HANNAHCROP" class=" wp-image-721" height="298" src="http://lindaswinfield.files.wordpress.com/2013/12/hannahcrop.jpg?w=300&h=224" width="400" /></span></a><br />
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<span style="font-family: Verdana, sans-serif;">Detail: <em><strong>Hannah Sophia</strong></em> (detail), Photo positive Lithograph, 2003.</span></div>
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<span style="font-family: Verdana, sans-serif;">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.</span><br />
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<span style="font-family: Verdana, sans-serif;">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.</span><br />
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<span style="font-family: Verdana, sans-serif;">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</span><span style="color: #b45f06; font-family: Verdana, sans-serif;">. </span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-4712094382325276572013-11-18T17:33:00.003-08:002013-11-18T17:38:44.749-08:00Opening the box: Four Point Gallery Newcastle 2013<div dir="ltr" style="text-align: left;" trbidi="on">
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 12pt;">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.<a href="file:///C:/Users/Linda%20Swinfield/Desktop/OPENING%20THE%20BOX/Catalogue%20essay%20OPENING%20THE%20BOX.docx" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><span style="color: blue;">[1]</span></span></b></span><!--[endif]--></span></span></a><o:p></o:p></span></i></div>
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<span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";">The
Pandora Group is<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> Opening the box </i></b>with an impromptu invitational exhibition of
women artists with similar sensibilities curated by Linda Swinfield. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";">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-20<sup>th</sup> century art. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";">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. <span style="mso-spacerun: yes;"> </span>All of the artists in this exhibition have
similar concerns that cross link family, abstraction, representation, place,
memory and identity.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";">Maree
Macmillan in her 1995 article </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif";">The Myth of Pandora: An exploration of
G.W. Pabsts Pandora’s Box (1929) </span></i><span style="font-family: "Arial","sans-serif";">stated
that</span><span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";"> 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.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";">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.<a href="file:///C:/Users/Linda%20Swinfield/Desktop/OPENING%20THE%20BOX/Catalogue%20essay%20OPENING%20THE%20BOX.docx" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Arial","sans-serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Libre Baskerville"; mso-fareast-language: JA;">[2]</span></b></span><!--[endif]--></span></span></a><o:p></o:p></span></i></div>
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<span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";">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.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";">The
historic symbol of Pandora and her related mythologies represents the ongoing
discussion of the way women have been traditionally represented and discussed. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";">In
2006 The Pandora Group initiated their first exhibition titled <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Pandora’s
box</i></b> at Newcastle Art Space. </span></div>
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<span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";"></span> </div>
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<span style="color: windowtext; font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";">Artists invited to exhibit are: <b style="mso-bidi-font-weight: normal;">Una Rey, Carla Feltman</b>, </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";">Joy
Longworth, </span></b><b style="mso-bidi-font-weight: normal;"><span style="color: windowtext; font-family: "Arial","sans-serif"; mso-fareast-font-family: "Libre Baskerville";">Kiera O’Toole, </span></b><b style="mso-bidi-font-weight: normal;"><span style="color: windowtext; font-family: "Arial","sans-serif";">Caroline
Hale, Melanie Lazarow</span></b><span style="color: windowtext; font-family: "Arial","sans-serif";"> </span><span style="font-family: "Arial","sans-serif";"><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: windowtext; font-family: "Arial","sans-serif";">Pandora group artists in this exhibition are: </span></i><b style="mso-bidi-font-weight: normal;"><span style="color: windowtext; font-family: "Arial","sans-serif";">Patricia Wilson- Adams, Sally Bourke, and Annemarie Murland</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: windowtext; font-family: "Arial","sans-serif";"></span></b> </div>
<div class="Normal1" style="margin: 0in 0in 0pt 4.5pt; text-align: justify;">
<span style="color: windowtext; font-family: "Arial","sans-serif";"><em>Linda Swinfield 19/11/13</em></span></div>
<span style="font-family: "Arial","sans-serif"; font-size: 12pt;"></span><br />
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<span style="font-family: "Arial","sans-serif"; font-size: 12pt;">
<br />
<o:p><span style="font-family: "Arial","sans-serif";">Exhibition
dates<em>: <span style="mso-tab-count: 1;"> </span></em>Wednesday
20<sup>th</sup> November- Saturday 7<sup>th</sup> December<o:p></o:p></span><br />
</o:p></span><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt 4.5pt; text-align: justify;">
<span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><span style="font-family: Times New Roman;">
</span></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12pt; line-height: 115%;">Gallery
hours: <span style="mso-tab-count: 1;"> </span>Wed to Fri 10am - 4pm,
Sat 10am - 2pm <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12pt; line-height: 115%;">Opening
event: <span style="mso-tab-count: 1;"> </span>Saturday 23<sup>rd</sup>
November 3.30pm- 5.30pm<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12pt; line-height: 115%;">Guest
speaker:<span style="mso-tab-count: 1;"> </span><em><b style="mso-bidi-font-weight: normal;">Sarah Johnson, </b>Curator, Newcastle Art Gallery.<o:p></o:p></em></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12pt; line-height: 115%;">Address:<span style="mso-tab-count: 2;"> </span><b style="mso-bidi-font-weight: normal;">four point gallery</b>- 681 Hunter Street, Newcastle, 2302.<o:p></o:p></span></div>
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<span style="font-family: Times New Roman;">
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><o:p> </o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><o:p> </o:p></span></i></div>
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<div style="mso-element: footnote-list;">
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<div id="ftn1" style="mso-element: footnote;">
<div class="MsoEndnoteText" style="margin: 0in 0in 0pt;">
<a href="file:///C:/Users/Linda%20Swinfield/Desktop/OPENING%20THE%20BOX/Catalogue%20essay%20OPENING%20THE%20BOX.docx" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="color: blue;">[1]</span></span></span><!--[endif]--></span></span></a><span style="font-size: x-small;"><span style="font-family: Calibri;">
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<o:p></o:p></span></span></div>
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<o:p><span style="font-family: Calibri; font-size: x-small;"> </span></o:p></div>
</div>
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<a href="file:///C:/Users/Linda%20Swinfield/Desktop/OPENING%20THE%20BOX/Catalogue%20essay%20OPENING%20THE%20BOX.docx" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="color: blue;">[2]</span></span></span><!--[endif]--></span></span></a><span style="font-size: x-small;"><span style="font-family: Calibri;">
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<o:p></o:p></span></span></div>
</div>
</div>
</div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-31279289106399020022013-09-30T23:12:00.000-07:002013-10-02T00:02:43.365-07:00News 2014<div dir="ltr" style="text-align: left;" trbidi="on">
<span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 14pt;"><strong><u>An open secret:<span style="mso-spacerun: yes;"> </span>repositioning abstraction</u></strong></span><span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 14pt;"><span style="mso-spacerun: yes;"> </span></span><br />
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<span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 14pt;"></span> </div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 11pt;">An abstract work of art is an open
secret….<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 11pt;"><span style="mso-spacerun: yes;">
</span><span style="mso-tab-count: 5;"> </span></span></i><span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 10pt;">Susan
Deat<a href="file:///C:/Users/Linda%20Swinfield/Desktop/SHORT%20STATEMENT%20RE%20An%20open%20secret%20OCT%202013.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-AU; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">[1]</span></b></span><!--[endif]--></span></b></span></a></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"></span><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">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.<span style="mso-spacerun: yes;">
</span>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.</span><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p> </o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-2LGlrkBdR_W_uzxUS2JDxByi371EXt8smRmuKjwJou4ASAGHK9gHdHF3ETzOgm-cQ8CfgB_Ht7s-nik3L2fq_X_gnV7IfEmbyNe5HH-k5sL_SQTqVB_vaIXf0VFtP5Kx2HC_eKAuzt16/s1600/AM+1.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-2LGlrkBdR_W_uzxUS2JDxByi371EXt8smRmuKjwJou4ASAGHK9gHdHF3ETzOgm-cQ8CfgB_Ht7s-nik3L2fq_X_gnV7IfEmbyNe5HH-k5sL_SQTqVB_vaIXf0VFtP5Kx2HC_eKAuzt16/s320/AM+1.JPG" width="262" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">New work by Annemarie Murland</td></tr>
</tbody></table>
<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"></span><br />
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<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"></span><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">The work will explore a range of experiential, metaphysical and sensory
issues using a range of media – painting, printmaking, photography, sculpture
and sculptural ceramics.<span style="mso-spacerun: yes;"> </span>Each artist is
committed to working within a very speculative and open-ended<span style="mso-spacerun: yes;"> </span>framework.<o:p></o:p></span></div>
<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p> </o:p></span><br />
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<span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 11pt; letter-spacing: -0.1pt; mso-bidi-font-family: Arial;">The<span style="mso-spacerun: yes;"> </span>group will
present work that examines new theoretical meanings and understandings of
abstraction.<span style="mso-spacerun: yes;"> </span>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.<span style="mso-spacerun: yes;">
</span>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”.<o:p></o:p></span></div>
<br />
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<span lang="EN" style="color: black; font-family: "Calibri","sans-serif"; font-size: 11pt; mso-ansi-language: EN;">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. <o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 11pt; letter-spacing: -0.1pt; mso-bidi-font-family: Arial;"><o:p> </o:p></span></div>
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<span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 11pt; letter-spacing: -0.1pt; mso-bidi-font-family: Arial;"><o:p> </o:p></span></div>
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<span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 11pt; letter-spacing: -0.1pt; mso-bidi-font-family: Arial;"><o:p> </o:p></span></div>
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<a href="file:///C:/Users/Linda%20Swinfield/Desktop/SHORT%20STATEMENT%20RE%20An%20open%20secret%20OCT%202013.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Calisto MT","serif"; font-size: 10pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[1]</span></span><!--[endif]--></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"><span style="font-family: Calisto MT;"> </span></span><span style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">Stuart Ashman<span style="mso-spacerun: yes;"> </span>& Susan
Deat<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Abstract
Art: The New Mexico Artists series </i>Fresco Fine Art Publications Albuquerque
NM 2003<span style="mso-spacerun: yes;"> </span>p. 218<o:p></o:p></span></span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-12382836525722059332013-09-28T16:15:00.001-07:002013-09-28T16:15:13.506-07:00Patricia Wilson-Adams : Residency @ The Art Vault Mildura 2013<div dir="ltr" style="text-align: left;" trbidi="on">
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Looking for Goya’s dog: a residency at The Art Vault, Mildura</h2>
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<span style="font-family: Verdana, sans-serif;">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.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Mock up for, <em><strong>Looking for Goya’s dog,</strong></em> <br />
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<span style="font-family: Verdana, sans-serif;">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.</span></div>
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<span style="font-family: Verdana, sans-serif;">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 – <i>Goya would lose his dog out here.</i> 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.</span></div>
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<span style="font-family: Verdana, sans-serif;">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".</span></div>
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<span style="font-family: Verdana;">Patricia Wilson- Adams </span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-50094103544462379662013-07-16T20:21:00.003-07:002013-08-07T04:51:28.707-07:00out in the I know nothing country<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-AU" style="color: black; font-family: "Trebuchet MS","sans-serif";"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Solo exhibition of work by Patricia Wilson-Adams at Tamworth Regional Art Gallery<br />20 July to 31 August 2013</span></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Trebuchet MS","sans-serif";"><span style="font-family: Verdana, sans-serif;"><span style="font-size: xx-small;"><span class="box-text-title">TAMWORTH REGIONAL GALLERY:</span></span></span><span class="box-text2"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">466 Peel Street<br /> Tamworth<br /> New South Wales 2340<br /> T 02 6767 5248<br /> F 02 6767 5249<br /> E </span><a href="mailto:gallery@tamworth.nsw.gov.au"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">gallery@tamworth.nsw.gov.au</span></a></span><span style="font-family: Verdana, sans-serif; font-size: xx-small;"> </span></span></div>
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and spit bite aquatint, 32.8 x 39.5 cm</span></td></tr>
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<span style="font-family: Verdana, sans-serif;"><span lang="EN-AU" style="color: black; font-family: "Calibri","sans-serif";">Patricia Wilson-Adams has been out beyond the Great Divide,
exploring “the I know nothing country”. <span style="mso-spacerun: yes;"> </span>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.</span></span></div>
<span lang="EN-AU" style="color: black; font-family: "Calibri","sans-serif";"><o:p> </o:p></span><span style="font-family: Verdana, sans-serif;"><span lang="EN-AU" style="color: black; font-family: "Calibri","sans-serif";">Conceptually her work is
related to an area </span><span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 11pt;">now being described as Ecophenomenology or <o:p></o:p></span></span><br />
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<span lang="EN-AU" style="font-family: "Calibri","sans-serif"; font-size: 11pt;"><o:p><span style="font-family: Verdana, sans-serif;"> </span></o:p></span><span style="font-family: Verdana, sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="color: black; font-family: "Calibri","sans-serif";">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.<a href="file:///C:/Users/Linda%20Swinfield/Desktop/EDITED%20VERSION%20out%20in%20the%20I%20know%20nothing%20country%20Bec'%20essay%20(2).doc#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="color: black; font-family: "Calibri","sans-serif"; font-size: 12pt; mso-ansi-language: EN-AU; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">[i]</span></b></span><!--[endif]--></span></span></a> </span></i><span lang="EN-AU" style="color: black; font-family: "Calibri","sans-serif";"><o:p></o:p></span></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Calibri","sans-serif";"><span style="font-family: Verdana, sans-serif;">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. <o:p></o:p></span></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Calibri","sans-serif";"><span style="font-family: Verdana, sans-serif;"><strong>o<i style="mso-bidi-font-style: normal;">ut in the I know nothing country</i></strong> 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. <span style="mso-spacerun: yes;"> </span>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.<o:p></o:p></span></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Calibri","sans-serif";"><span style="font-family: Verdana, sans-serif;">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 <i style="mso-bidi-font-style: normal;"><strong>The smell of peaches always makes me cry</strong></i>. Much like the soul, the
seed of the peach contains the matrix or blueprint for its own creation. <o:p></o:p></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><strong><em>Dead
trees, like dead women, don't write much poetry</em></strong> 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 <span style="mso-spacerun: yes;"> </span>work.<o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Calibri","sans-serif";"><span style="font-family: Verdana, sans-serif;">The retrieval of memory
also serves as a means for discarding it – re-evaluations of associated thoughts,
images and texts. The work <strong><em>Discarding
memory</em></strong> acts as a kind of visual and verbal catharsis for stored memories. <span style="mso-spacerun: yes;"> </span>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.<o:p></o:p></span></span></div>
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In <em><strong>the out in the I know nothing country</strong></em>
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.<o:p></o:p></span></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Calibri","sans-serif";"><span style="font-family: Verdana, sans-serif;">Rebecca Gresham</span></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Freelance writer and curator </span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-42336013321947178422013-01-11T01:05:00.001-08:002013-01-12T19:16:07.340-08:00Outside the box: Moree Plains Art Gallery<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">Installation view left to right (on the wall) Lezlie Tilley, Annemarie Murland, Linda Swinfield with Patricia Wilson-Adams in the foreground. See image notes below for more information.</span></div>
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<span style="background-color: white; color: orange; font-family: Verdana, sans-serif;"><em><strong>The Pandora Group of Artists would like to thank The Moree Plains Gallery for inviting us to exhibit in Moree. Most importantly we would like to thank Katrina Rumley, the Director of Moree Plains Gallery for making it all possible and considering all our curatorial needs- The exhibition was a huge success! We would also like to thank independent curator Rebecca Gresham for travelling out from Newcastle, curatorial assistant Kylie McNamara and the staff of the gallery for thier support. </strong></em></span><br />
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<i style="mso-bidi-font-style: normal;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt;"><strong>Outside the Box</strong> </span></i><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt;">is an exhibition of works from a Lower Hunter based group of women artists known as the <b style="mso-bidi-font-weight: normal;">Pandora Group</b>.<span style="mso-spacerun: yes;"> </span>These women have shown a long term commitment to their work, each has a significant profile both locally and further afield, and each has overcome significant difficulties in order to maintain their practice.<o:p></o:p></span></div>
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<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt;">The group was formed in 2006 in recognition of the fact that there seemed to be a coherent group of mid-career women artists whose work was dynamic and centred around an abstract tradition: a tradition that persists but is often neglected in relation to women’s art practice. It was Susan Porteous who acted in bringing these notions together in the first exhibition, <i style="mso-bidi-font-style: normal;">Pandora’s Box</i> which was shown in <st1:city w:st="on"><st1:place w:st="on">Newcastle</st1:place></st1:city>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt;">In this exhibition the viewer is afforded a chance to examine works that have developed as a result of the group’s commitment to further dialogue and exhibiting both individually and as a group.<span style="mso-spacerun: yes;"> </span>There is a breadth of practice from ceramics, painting, drawing, printmaking and sculptural works which is testament to the group’s willingness to reach beyond the more common and specifically defined boundaries of media.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt;">This group of artists is all too aware of the Modernist history of male domination in painting and sculpture where, in the mid 20<sup>th</sup> century, male artists were treated as heroes for making works of a massive scale, often at the expense of content.<span style="mso-spacerun: yes;"> </span>Yet a Modernist understanding was first championed in this country by women such as Grace Cossington Smith, Margaret Preston and Grace Crowley.<span style="mso-spacerun: yes;"> </span>Abstraction is currently under going a re-evaluation in both the <st1:country-region w:st="on">USA</st1:country-region> and <st1:place w:st="on">Europe</st1:place> where i</span><span lang="EN-US" style="font-family: 'Calibri','sans-serif'; font-size: 11pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">t is being reworked and presented as an invigorated practice.<span style="mso-spacerun: yes;"> </span>Artists are finding new ways of extending visual understandings with an unmistakable integrity, for example in the last Whitney Museum of American Art Biennale – March 2012.</span><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; letter-spacing: -0.1pt; mso-bidi-font-family: Arial;">The Pandora group of artists work to position women as a significant force within this new abstraction.</span><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt;"><span style="mso-spacerun: yes;"> </span>We see in this exhibition a commitment to an expanding notion of abstraction which now, in the 21<sup>st</sup> century, has many definitions. <span style="mso-spacerun: yes;"> </span></span><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; letter-spacing: -0.1pt; mso-bidi-font-family: Arial;">It has become an oversimplification to analyse abstraction merely in terms of its formal and stylistic qualities</span><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt;"> and it is no longer confined to that notion of imagery being merely grounded in prescribed values or the reduction of natural appearances. <o:p></o:p></span></div>
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<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt;">Here we see the artists taking on a world of possibilities and constructing work that has come from experiences, the intellect, the domestic and often an engagement with materials.<span style="mso-spacerun: yes;"> </span>The results being an art that is open-ended in its approaches and, contrary to common belief, an abstraction that does embrace meanings.<span style="mso-spacerun: yes;"> </span>These are coded so as to heighten intuitive possibilities, to augment process, or to allow for metaphor or metaphysical interpretations - often ambiguity is more explicit than the obvious.<span style="mso-spacerun: yes;"> </span>This presentation shows a fluidity gained by thinking abstractly and an authenticity in that all the artists have shown that they are able to link the personal with broader contexts.<o:p></o:p></span></div>
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<span style="font-family: 'Calibri','sans-serif'; font-size: 10pt; line-height: 150%;">Patricia Wilson-Adams, November, 2012.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">Helen Dunkerley, <span style="font-size: x-small;"><strong><em>Tower of Industry 1 and 2,</em></strong> 2012, <span style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;">Monoprinted slab form, dry magnesium glaze, 42 and 45cm each.</span></span></span></div>
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<span style="font-family: 'Calibri','sans-serif';">These pieces form a new series made in July and August of 2012. I am using the same slips and colours but monoprinting onto large slabs. These are then into shapes and built into towers which are more vaselike in scale. I am intrigued by the asymmetric balance and the random juxtaposition of different patterns. Aged, worn industrial architectural elements are the inspiration. The patterns are derived from drawings of detail.</span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="color: black; font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;"><span style="font-size: x-small;"><span style="font-family: Verdana;">Sally Bourke, </span><strong><em>Terramungamine Series 2</em>, </strong><span style="color: black; font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;">oil and encaustic on board, <span style="color: black; font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;">6 panels, </span></span></span></span></span><br />
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<span style="color: black; font-family: 'Calibri','sans-serif';">These paintings are about country. When I was a kid my dad used to take us into the bush to hunt and fish. The painting <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Terramungamine Series 2</i></b> is representative of a place just outside of Dubbo in <st1:place w:st="on">Central NSW</st1:place>. It's where I grew up. Terramungamine is a place where people would go to make tools and talk. It's where the stories were told. I like that. </span></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">Installation view Helen Dunkerley, and Sally Bourke.</span></div>
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<span style="font-family: 'Calibri','sans-serif';">A personal experience of migration shapes my visual literacy that explores place, identity and notions of belonging through an analysis of felt experience. Etched in the family psyche, migration provides the context for my artistic research and is instrumental in forming the conceptual development of a personal painting methodology. </span></div>
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<span style="font-family: 'Calibri','sans-serif';">Influenced by traditional craft techniques found in Aran garments and plaid blankets, the concept of women’s work as a construct for identity finds form through a creative process of weaving wet and dry materials.<span style="mso-spacerun: yes;"> </span>The result is a series of visual monologues that pay homage to my mother’s craft of knitting and acts as a language and a form of storytelling.<o:p></o:p></span></div>
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<span style="font-family: 'Calibri','sans-serif';">As memory triggers and mementoes, the works of art embody personal signs and symbols that translate meaning across, and through the work, creating sensory neo- narratives.<span style="mso-spacerun: yes;"> </span>A labour intensive painting process harbours elements of craftsmanship that is evidenced in the deft line work and mark making.<span style="mso-spacerun: yes;"> </span>Embossed by haptic processes, structures emerge through the furrows of repeated application of sgraffito to resonate as a delicate visual retelling of a cultural, felt experience.</span><span style="font-size: x-small;"></span><span style="font-size: x-small;"></span><span style="color: black; font-family: 'Calibri','sans-serif'; font-size: 14pt; line-height: 150%;"></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Annemarie Murland, </span><span style="font-family: 'Calibri','sans-serif'; font-size: 12pt; mso-ansi-language: EN-AU; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;"><span style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;"><strong><em>Sgrafitto: Cool Veil</em></strong>, Oil on canvas on board, 2012,<span style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;">140 cms x 100 x 15</span></span></span> </span></td></tr>
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<strong><span style="font-family: 'Calibri','sans-serif'; font-size: 14pt;">Linda Swinfield</span></strong><br />
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<span style="font-size: small;"><span lang="EN-US" style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-US; mso-bidi-font-family: Gautami;">Gunyah 1- 6</span><span lang="EN-US" style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-US; mso-bidi-font-family: Gautami;"> is a suite of drawings created during an artist-in-residence at The Gunyah, North Arm Cove NSW in July this year. Gunyah in many indigenous languages means meeting place and it was. This residency was the intersection of many aspects of my practice as an artist and for friends to visit.</span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-US; mso-bidi-font-family: Gautami;"><span style="font-size: small;">This two week residency enabled me to return to mark making through drawing and an art making process that requires time which is often missing in my everyday life.<span style="mso-spacerun: yes;"> </span>By moving away from the world for this period I was enabled to focus on art making. I drew daily and the drawings you see here are an evolutionary phase out of which my process will be directed toward making object based forms in the future<strong>.<o:p></o:p></strong></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><em>Gunyah 6: Cove</em></strong> 2012, Pastel and charcoal on paper.</td></tr>
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<span style="font-size: small;"><span lang="EN-US" style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-US; mso-bidi-font-family: Gautami;">Gunyah 1 -6</span><span lang="EN-US" style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-US; mso-bidi-font-family: Gautami;"> are for me are individual capsules of time that attempt to transcribe aspects of the landscape, walks within it and experiences that took place whilst I was there. In this group of works I am interested in a non linear depiction of the land that captures feeling, the elements of art practice and site. Sometimes I have used literal sightlines through trees, textures, colour and bush patterns however I didn’t want the work to be a rational or a traditional view of the landscape I was situated within.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: 'Calibri','sans-serif'; font-size: 14pt; line-height: 150%;">Lezlie Tilley</span></b><br />
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<span style="color: #2a2a2a; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: Tahoma;">This body of work is a continuation of themes developed in a small impromptu show called <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Precursor</i></b> held in 2009 at Brenda May Gallery, <st1:city w:st="on"><st1:place w:st="on">Sydney</st1:place></st1:city>. For many years I have explored traditional women's work such as weaving, knitting, and patchwork, albeit often using traditional male materials such as steel strapping, timber architrave and inner tubes of tyres and so on.</span></div>
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<span style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;">Lezlie Tilley, <strong><em>Indian red/ Cobalt blue, Cobalt turquoise/ Indian red oxide, Orange violet, Green violet,</em></strong> 2010, <span style="color: #2a2a2a; font-family: 'Tahoma','sans-serif';">Acrylic On Canvas <o:p></o:p></span></span></span></div>
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<span style="color: #2a2a2a; font-family: 'Tahoma','sans-serif';"><span style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;">27 canvases at 30.5cm x 30.5 cm (size variable- 5 panels x 5 panels with 2 over)<o:p></o:p></span></span></span></div>
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<span style="color: #2a2a2a; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: Tahoma;">From this intensive exploration, the square format evolved, and this body of work will again consist of a series of small square canvases, all identical in size. When installed, however, they will be more like a single kaleidoscope of colour. </span><span style="font-family: 'Calibri','sans-serif'; mso-bidi-font-family: Tahoma;"><o:p></o:p></span></div>
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<span style="color: #2a2a2a; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: Tahoma;">I am interested in creating paintings that work on number of levels: as individual entities and as elements within a much larger framework.</span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">Detail of Patricia Wilson- Adams work, <span style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;"><strong><em>Seedlings for a New (<st1:place w:st="on"><st1:country-region w:st="on">England</st1:country-region></st1:place>) arboretum</em></strong>, 2012</span></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">Installation view Patricia Wilson- Adams..<span style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;"><strong><em>Seedlings for a New (<st1:place w:st="on"><st1:country-region w:st="on">England</st1:country-region></st1:place>) arboretum and <span style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;">Plain space: patterns and shadow 2012.</span></em></strong></span></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: 'Calibri','sans-serif'; font-size: 14pt; line-height: 150%;">Patricia Wilson-Adams<o:p></o:p></span></b></div>
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<span style="font-family: 'Calibri','sans-serif';">My work has for a long time been concerned with landscape, memory and<span style="mso-spacerun: yes;"> </span>the poetic. <span style="mso-spacerun: yes;"> </span>The work speaks of being in, of and from country and more specifically relates to the landscapes of <st1:place w:st="on">Northwest New South Wales</st1:place> and arid zones – sites of my identity.</span><span style="mso-spacerun: yes;"><span style="font-family: Calisto MT;"> </span></span><span style="font-family: 'Calibri','sans-serif';">The work is also driven by a deepening concern for the environment and a feeling that comes from the realisation that much has been destroyed.<span style="mso-spacerun: yes;"> </span>I like to think that the work has the capacity to seep into the viewer’s consciousness slowly and subtly by dint of its beauty and patterning, imparting a sense of boundlessness. <o:p></o:p></span></div>
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<span style="font-family: 'Calibri','sans-serif';">The use of reductive forms, the grid and abstraction takes me more deeply into that state of abstraction – away from distraction and towards the mediative: to a place of internal silence, the one phenomena that is always at a person’s disposal – a sort of poetic plain.<span style="mso-spacerun: yes;"> </span>It allows one a space in which to contemplate, to be in the natural world, to listen and to speak with a “still small voice”. </span> </div>
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<span style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;">Detail of Patricia Wilson- Adams work,<span style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;"><strong><em>Plain space: patterns and shadow</em></strong>, <span style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;">Intaglio print on rice paper, wax, steel mesh and perspex, Dimensions variable.</span></span></span></span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-14354030188863882492013-01-10T14:48:00.000-08:002013-01-12T19:09:45.504-08:00FOLLOW THE SILENCE<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="color: #999999; font-family: Verdana, sans-serif; font-size: x-small;"><strong>Maitland Regional Art Gallery until 20th January 2013.</strong></span><br />
<strong><span style="color: #999999; font-family: Verdana; font-size: xx-small;">Lezlie Tilleys work is courtesy of Brenda May Gallery</span></strong><br />
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<span style="color: #999999; font-family: Verdana, sans-serif; font-size: x-small;"><strong>Installations By Lezlie Tilley and Patricia Wilson-Adams</strong></span><br />
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: 'Calibri','sans-serif';"><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">There are some qualities-some incorporate things, <o:p></o:p></span></span></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: 'Calibri','sans-serif';"><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">That have a double life…. <o:p></o:p></span></span></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: 'Calibri','sans-serif';"><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">A type of that twin entity which springs<o:p></o:p></span></span></span></i></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: 'Calibri','sans-serif';"><span style="font-family: Verdana, sans-serif;">From matter and light, evinced in solid and shade. <br />There is a two-fold <span style="mso-bidi-font-style: italic;">Silence<a href="http://www.blogger.com/blogger.g?blogID=1117817813938345215#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;">[1]</span></b></span></span></span></a></span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="color: #333333; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: Helvetica;"><span style="mso-spacerun: yes;"><span style="font-family: Verdana, sans-serif;"> </span> </span><span style="mso-spacerun: yes;"> </span></span></i><i style="mso-bidi-font-style: normal;"><span style="color: #333333; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: Helvetica;"><span style="mso-spacerun: yes;"> </span></span></i></span></span></div>
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<span style="mso-spacerun: yes;"></span><span style="font-family: Verdana, sans-serif; font-size: x-small;">Edgar Allan Poe</span></div>
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<span style="color: black; font-family: 'Calibri','sans-serif'; line-height: 150%;"><o:p><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Patricia Wilson- Adams</span></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: 'Calibri','sans-serif'; line-height: 150%;"><o:p><span style="font-family: Verdana, sans-serif;"><span style="font-size: xx-small;"><strong>Woolgathering, Wittgenstein, Black and me (detail)</strong> 2011</span></span></o:p></span></i></div>
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<span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"><em>Follow the Silence</em> has been for both artists the result of much meditation in the studio following profound personal experiences in nature where silence has engendered a sense of limitlessness, an engagement with self and a realisation that there is a landscape (inner and outer) open for interpretation – twin entities.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="color: black; font-family: 'Verdana','sans-serif';"><span style="font-size: small;">For Lezlie Tilley, a keen open water diver,<span style="mso-spacerun: yes;"> </span>it has been the silence of an underwater landscape experienced as a world of indefinable boundaries forever moving away from one’s own body and always experienced in weightless silence.<span style="mso-spacerun: yes;"> </span>While for Patricia Wilson- Adams, encounters with a silent world are in relation to the dry landscapes of inland <st1:place w:st="on"><st1:country-region w:st="on">Australia</st1:country-region></st1:place>, where one is immersed in a<span style="mso-spacerun: yes;"> </span>world of smell, receding plains, heat haze and shimmer which fuse into an experiential boundlessness.<span style="mso-spacerun: yes;"> </span>A profound effect on her thinking has been a great sense of tragedy on learning of a recent study in the <st1:country-region w:st="on">USA</st1:country-region> where a scientist, Davyd Betchkal, set up microphones for several years in one of the most remote areas in <st1:state w:st="on">Alaska</st1:state>, <st1:place w:st="on"><st1:placename w:st="on">Denali</st1:placename> <st1:placetype w:st="on">National Park</st1:placetype></st1:place> and Preserve.<span style="mso-spacerun: yes;"> </span>This study revealed that there are, on average, only 36 days a year where the landscape is free of man made mechanical noises.</span><a href="http://www.blogger.com/blogger.g?blogID=1117817813938345215#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="color: black; font-family: 'Verdana','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;"><span style="font-size: small;">[i]</span></span></span></span></span></a></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqpNIlVYd6uU4H4_kjmzJkKlLjfaxbrq5J6mxQsjuEK7hkLcR922I01DZmAg7VvYhCz3HzWmsubXimugBzBJ_bLAY1sRswkVtrUyusmGxcYlL9KlKJtTY_q2OmlXGt9uPsOtfYNm9JVBIL/s1600/TILLEY+Shells+12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" eea="true" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqpNIlVYd6uU4H4_kjmzJkKlLjfaxbrq5J6mxQsjuEK7hkLcR922I01DZmAg7VvYhCz3HzWmsubXimugBzBJ_bLAY1sRswkVtrUyusmGxcYlL9KlKJtTY_q2OmlXGt9uPsOtfYNm9JVBIL/s320/TILLEY+Shells+12.jpg" width="316" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of Lezlie Tilleys work..<strong><em>3072 fragments from a coral reef</em></strong>, 2012, Shells and coral on paper<strong>.</strong></td></tr>
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<span style="font-size: small;"><span style="color: black; font-family: 'Verdana','sans-serif';">In this exhibition the viewer will find </span><span style="font-family: 'Verdana','sans-serif';">the use of both reductionist aesthetics and the modernist grid.<span style="mso-spacerun: yes;"> </span>The physical properties of the grid offer <span style="color: black;">stasis, a lack of hierarchy, centre and inflection, which emphasises the transformative promise of this work. <span style="mso-spacerun: yes;"> </span>Attention is given to the simplicity of the works’ structure, to their ordered qualities and muteness, which directs the viewer back upon the quality of his or her own perceptions. <span style="mso-spacerun: yes;"> </span></span><span class="text1"><span style="font-family: 'Verdana','sans-serif'; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Here we have an art that eliminates the descriptive, excludes the pictorial, narrative and the fictive, thus focusing on the essential in form, creating what is often referred to as a “truth”.<span style="mso-spacerun: yes;"> </span>A Gestalt is set up which can be characterised by there being an equality of parts, repetition and often a neutrality of either colour and/or surfaces.<span style="mso-spacerun: yes;"> </span>The work in this exhibition can be more easily understood in terms of “</span></span>Minimalism (which) deals with universality, of the empowerment and amplification of form and colour without the hindering visual details of the natural world.<span style="mso-spacerun: yes;"> </span>The idea of the work, and the concept, is in what you see.<span style="mso-spacerun: yes;"> </span>Which is why this type of work is so difficult”<a href="http://www.blogger.com/blogger.g?blogID=1117817813938345215#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: 'Verdana','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;">[ii]</span></span></span></span></a>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: 'Verdana','sans-serif';"><span style="font-size: small;">T<span style="color: black;">he works in <em>Follow the Silence</em> draw the viewer in, establishing an intimate connection through a play of internal relations; connections set up by the nature of materials, of size, scale, volume and placement of component parts.<span style="mso-spacerun: yes;"> </span>However the most seductive of these connections for the viewer is made in relation to the unusual nature of the materials used.<span style="mso-spacerun: yes;"> </span>Curiously these works then operate to force the viewer to a distance from where the component parts become critical elements of an integrated whole and where the architectural space in which these works are shown also demands recognition as a key aesthetic element.</span><o:p></o:p></span></span></div>
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<span style="font-family: 'Verdana','sans-serif';"><span style="font-size: small;">Thus, works such as <em>Markers for a silent place , Coral fragments arranged according to the laws of chance, </em>and <em>Silence & long you lie,</em> through their aesthetic declarations and disclosures of form, offer the viewer a mode of withdrawal from a noise driven reality. Through their modesty and ambition, these works intensively explore conceptual threads and experiential outcomes. The experience of these installations is both educational and therapeutic.</span><a href="http://www.blogger.com/blogger.g?blogID=1117817813938345215#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="color: black;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="color: black; font-family: 'Verdana','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;"><span style="font-size: small;">[iii]</span></span></span></span></span></span></a><span style="font-size: small;"> That is, the viewer moves from a state of chaos to inner equilibrium and focused attention; as a consequence the viewer is urged to reflect on the present <span class="text1"><span style="font-family: 'Verdana','sans-serif'; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">at a profoundly physical level</span></span>.<span class="text1"><span style="font-family: 'Verdana','sans-serif'; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;"> <o:p></o:p></span></span></span></span></div>
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<span style="font-family: 'Verdana','sans-serif';"><span style="font-size: small;">The fullest comprehension of all the pieces in this exhibition demands time, and elicits the acknowledgement of temporality as the medium of aesthetic experience and human cognition. Silence, according to both Tilley and Wilson-Adams is an experience foreign to most people; it promotes an awareness of space and a consciousness of concerns well beyond the quotidian - the solidity and shade of silence is possibly confirmed.<span style="color: black;"><o:p></o:p></span></span></span></div>
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<span style="font-family: 'Verdana','sans-serif';"><span style="font-size: small;">Dr. Aubry Byrnes<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: 'Verdana','sans-serif';"><span style="font-size: small;">Patricia Wilson-Adams<o:p></o:p></span></span></div>
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<span style="font-family: 'Verdana','sans-serif';"><span style="font-size: small;">October 2012<o:p></o:p></span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=1117817813938345215#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="font-family: 'Calibri','sans-serif';"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;"><span style="font-size: xx-small;">[i]</span></span></span></span></span></span></a><span style="font-size: xx-small;"><span style="mso-spacerun: yes;"> </span>Kim Tingly <em>Whisper of the Wild</em><span lang="EN-US" style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-US;"> in <u>New York Times Magazine</u><span style="mso-spacerun: yes;"> </span>March 18, 2012 pp. 42-47<o:p></o:p></span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=1117817813938345215#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: 'Trebuchet MS','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;"><span style="font-size: xx-small;">[ii]</span></span></span></span></span></a><span style="font-size: xx-small;"><span style="font-family: Trebuchet MS;"> </span><span lang="EN-US" style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-US;">Eva McGovern<span style="mso-spacerun: yes;"> </span><em>A Chance to Listen and Learn Once More </em>in <u>1 <st1:country-region w:st="on">Malaysia</st1:country-region> Contemporary Art Exhibition</u><span style="mso-spacerun: yes;"> </span>pub Tourism <st1:country-region w:st="on"><st1:place w:st="on">Malaysia</st1:place></st1:country-region> circa 2011.<span style="mso-spacerun: yes;"> </span>McGovern is writing in reference to the work of Liew Kwai Fei</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=1117817813938345215#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="font-family: 'Calibri','sans-serif';"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: 'Calibri','sans-serif'; mso-ansi-language: EN-AU; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-AU;"><span style="font-size: xx-small;">[iii]</span></span></span></span></span></span></a><span style="font-family: 'Calibri','sans-serif';"><span style="font-size: xx-small;"> Robert Storr interview with Ilya Kabakov, as cited in <u>Art in Theory 1900- 2000 – An Anthology <o:p></o:p></u></span></span></div>
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<span style="font-family: 'Calibri','sans-serif';"><span style="font-size: xx-small;"><span style="mso-spacerun: yes;"> </span><u>of Changing Ideas</u>, Edited by Charles Harrison & Paul Wood, Blackwell Publishing, 2003, p832.<o:p></o:p></span></span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-71097368074809469262012-10-14T23:57:00.000-07:002013-09-27T17:00:01.456-07:00News 2013<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; color: #38761d; font-family: Verdana, sans-serif;">Opening the box</span></h2>
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<span style="font-family: Verdana, sans-serif;">We are excited to announce an impromptu invitational exhibition commencing in November 2013 at the new <strong><em>Four Point Gallery</em></strong> in Newcastle. This artist run initiative gallery is one of the newest <strong><em>Renew Newcastle </em></strong>projects.</span></div>
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of the artists within the existing group will be inviting another woman
artist to contribute works. All the artists within the Pandora Group and the artists invited to exhibit have similar concerns that
cross link with family, abstraction, representation, place, memory and identity.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Laughing Waters 1: walking at Boomerang House 2013, Linda Swinfield, mixed media on Stonehenge paper. </td></tr>
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<span style="font-family: Verdana, sans-serif;">Melanie Lazarow ( Melbourne)</span></div>
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<span style="font-family: Verdana, sans-serif;">Caroline Hale</span></div>
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<span style="font-family: Verdana, sans-serif;">Kiera O'Toole</span></div>
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<span style="font-family: Verdana, sans-serif;">Una Rey</span></div>
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<span style="font-family: Verdana, sans-serif;">Joy Longworth</span><br />
<span style="font-family: Verdana;">Carla Feltham</span></div>
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<span style="font-family: Verdana, sans-serif;">Four Point Gallery Contemporary Emerging Art Gallery - See more at: </span></div>
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<a href="http://renewnewcastle.org/projects/project/four-point-gallery/"><span style="font-family: Verdana, sans-serif;">http://renewnewcastle.org/projects/project/four-point-gallery/</span></a></div>
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<span style="font-family: Verdana, sans-serif;"><span style="color: orange;">Annemarie Murland</span> </span></h2>
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<span style="mso-fareast-font-family: "Times New Roman";"><span style="font-family: Verdana, sans-serif;">Would like to invite you all to the opening of a group
exhibition entitled Out of Hand. All of the six artists are from the Hunter
region and are either friends or have worked at the University of Newcastle,
School of Creative Arts. The exhibition will open Tuesday 13 - Saturday 24
August, official opening Saturday 17 August drinks and nibbles between 3-6pm.<o:p></o:p></span></span></div>
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<span style="color: orange;">Laughing Waters Artist in Residence 2013</span></span></h2>
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<span style="font-family: Verdana, sans-serif;">Linda Swinfield has been offered the Laughing Waters AIR managed by Nullumbik Shire Council in Victoria in July and August next year. Below is a brief outline of her proposal with them. She will conduct a series of workshops in collaboration with them and also possibly an exhibition of her works whilst in residence.</span></div>
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<a href="http://lindaswinfield.files.wordpress.com/2012/10/conder_mirage.jpg"><span style="font-family: Verdana, sans-serif;"><img alt="" class="alignleft size-medium wp-image-363" height="300" originalh="300" originalw="204" scale="1.5" src-orig="http://lindaswinfield.files.wordpress.com/2012/10/conder_mirage.jpg?w=204&h=300" src="http://lindaswinfield.files.wordpress.com/2012/10/conder_mirage.jpg?w=306&h=450" title="conder_mirage" width="204" /></span></a><br />
<span style="font-family: Verdana, sans-serif;"><em><strong>Mirage </strong></em>by Charles Conder, 1889, watercolour on paper. In the National Gallery of Victoria Collection. One of the many works that have inspired this residency application.</span><br />
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<i><span style="font-family: Verdana, sans-serif;">Art historical forms, traditional symbolism and contemporary practice have always merged in my art making process. I would like to return in this residency to “the body” within my art practice and see the return to the human form. With this project I aim to re incorporate place/ site and body and merge landscape into my work. </span></i><br />
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<i><span style="font-family: Verdana, sans-serif;">I would like to reference key art works from Australian Art history and incorporate the landscape within the Australian bush near Eltham and its related histories. I aim to construct abstract bodies within sites/ land and cut out forms that depict human presence, absence and place.</span></i><br />
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<i><span style="font-family: Verdana, sans-serif;">For this purpose I wish to use my knowledge of Art History to research the artists who have frequented the area and make/ remake aspects of this history.</span></i></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-87702510861609742892012-07-31T04:39:00.000-07:002012-08-01T05:03:27.444-07:00Pandora and other visitors @ The Gunyah<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana, sans-serif;"><strong>Patricia Wilson- Adams drawing in the window alcove at The Gunyah AIR.</strong></span></div>
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<span style="font-family: Verdana, sans-serif;">Linda Swinfield and her son Sidney were joined by fellow PANDORA Patricia Wilson- Adams for four days of her two week residency at The Gunyah at North Arm Cove in Port Stephens NSW. </span></div>
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<span style="font-family: Verdana, sans-serif;">Emily Valentine Bullock also revisited The Gunyah for a short stay. Making an epic trip up from Sydney via bus and train. It was a pleasure to have company of both women during this period as both artists assisted with enabling Linda to have time to make work in the first and second weeks of the residency.</span><br />
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<strong><span style="font-family: Arial, Helvetica, sans-serif;">Emily Valentine Bullock and Sid toast marshmallows by the fire on the last weekend. </span></strong></div>
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<span style="font-family: Verdana, sans-serif;">Along with Trisch and Emily, Linda would also like to thank Emilie Tseronis a local art student from Newcastle Art School who enabled Sid time to play with other children and enabled space for Linda to make art works in unbroken time during the first week.- a big blessing! We all have had a wonderful and refreshing stay at this beautiful spot.</span></div>
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<span style="font-family: Verdana;">Swinfield drew for several days and commenced several drawings in sketchbooks and singular artwork as well as directly onto lino and plywood with a dremmel drill. As well as this she experimented with Lomography, took several hundred digtal photographs and made some short films. She additionally set aside time to commence and plan her work for the Moree Regional Art Gallery exhibition in December this year.</span></div>
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<span style="font-family: Verdana;">The Gunyah AIR is a wonderfully rejuvenating artists retreat and residency space to work and reflect... far away from the maddening crowd! </span><br />
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<span style="font-family: Verdana, sans-serif;">Treasure hunting at Carrington Cove.</span></div>
</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-50596144325450961442012-07-31T01:36:00.000-07:002012-08-03T04:22:42.233-07:00Pandora exhibited @ MONA in Hobart<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Calibri", "sans-serif";"><span style="font-family: Verdana, sans-serif;">Imagine my surprise on receiving an email from the staff at the Museum of Old and New Art in Hobart telling me that a work of mine was to be included in the Jean-Hubert Martin curated exhibition <u>Theatre of the World</u> and asking that I consent to having the work reproduced in the catalogue.<span style="mso-spacerun: yes;"> </span>I just did not believe it until I had a copy of the wonderfully produced catalogue in my hands.<span style="mso-spacerun: yes;"> </span>I have yet to visit <city w:st="on"><place w:st="on">Hobart</place></city> – waiting for warmer weather.</span></span></div>
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<span style="font-family: "Calibri", "sans-serif";"><span style="font-family: Verdana, sans-serif;">The work chosen is an etching and aquatint made in 1977 as a commission for the Print Council of Australia and is one in an edition of 70 (these days PCA commissions editions are 30 prints).<span style="mso-spacerun: yes;"> </span><u>Unit and Step Grid</u><span style="mso-spacerun: yes;"> </span>(54.5 x 44.6 cms) was purchased by TMAG in 1982.<span style="mso-spacerun: yes;"> </span>I clearly remember printing this long edition on my Hunter Penrose press which at the time was located in my garage before my studio was built – long hours, blue black ink all over utensils in my kitchen and the heat.<span style="mso-spacerun: yes;"> </span>On looking at the work almost four decades later and after a lifetime of making prints, I am pleased to recount that <u>Unit and Step Grid</u> remains fresh and that it is visually a strong statement.</span></span></div>
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<span style="font-family: "Calibri", "sans-serif";"><span style="font-family: Verdana, sans-serif;">Much has been written about the way in which Martin has chosen to juxtapose items more usually relegated to the ethnographic museums with “higher end” art works from both the collections at MONA and works from the <placename w:st="on">Tasmanian</placename> <placetype w:st="on">Museum</placetype> and <place w:st="on"><placename w:st="on">Art</placename> <placename w:st="on">Gallery</placename></place>.<span style="mso-spacerun: yes;"> </span>The central emphasis in the <u>Theatre of the World</u> exhibition is on the rich collection of South Pacific barkcloths and it is in relation to these works that my etching is shown.<span style="mso-spacerun: yes;"> </span>The visual correlations between my work (catalogue no 204) and the <place w:st="on"><placename w:st="on">Solomon</placename> <placename w:st="on">Island</placename></place> armband (catalogue no 203) shown next to it are deeply resonate, with my immediate response being that pattern speaks all languages.</span></span></div>
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</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-43238415781027325682012-05-12T04:01:00.000-07:002012-05-12T04:01:25.814-07:00A Poetry of Infinite Possibilities- recent works by Lezlie Tilley<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana, sans-serif;">An exhibition of Lezlie Tilleys recent work opens Thursday night 17th of May 6- 8 pm at POD Space gallery in Newcastle. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Gautami; line-height: 150%; mso-ansi-language: EN-AU;"><span style="font-family: Verdana, sans-serif;">Artist Statement:</span></span></b></div>
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<span style="font-family: "Calibri", "sans-serif"; line-height: 150%; mso-ansi-language: EN-AU; mso-bidi-font-family: Gautami;"><span style="font-family: Verdana, sans-serif;">The grid in all its forms continues to seduce me after almost 40 years. Each time I return to it within my work there is something new to discover. The hypnotic power of the grid resonates because it goes beyond the edges<span style="mso-spacerun: yes;"> </span>of infinity. The infallibility and dogmatism of any grid system is rich in metaphor.</span></span></div>
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<span style="font-family: Verdana;">Installation view of Lezlie Tilleys exhibition at Brenda May earlier this year</span></div>
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<span style="font-family: "Calibri", "sans-serif"; line-height: 150%; mso-ansi-language: EN-AU; mso-bidi-font-family: Gautami;"><span style="font-family: Verdana, sans-serif;">A constant image that has followed me throughout my career has been the telephone doodle in all its simplicity and complexity. My recent connection with Euclids geometry has fired my interest to explore other forms of that universal image. In this instance, my drawings are dragged between the extremes of sketchy and finished, spontaneous and measured. The linear images can be viewed as maps, pathways, or a system of writing time itself. </span></span></div>
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<span style="font-family: "Calibri", "sans-serif"; line-height: 150%; mso-ansi-language: EN-AU; mso-bidi-font-family: Gautami;"><a href="http://www.brendamaygallery.com.au/pages/exhibition_details.php?exhibitionID=147">http://www.brendamaygallery.com.au/pages/exhibition_details.php?exhibitionID=147</a></span></div>
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</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-5755477574418868702012-03-19T01:26:00.002-07:002012-05-13T23:11:34.203-07:00The Abstract Wall @ Hot House: the staff exhibition 2012 at The Front Room Gallery<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;">Better late than not posted at all, I apologise for the delay. It was a good exhibition and wonderful work was seen from many of the staff who exhibited this year. However I felt that the abstract wall was the most relevant to this blog.</span></div>
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From Left: Laura Wilson's <em><strong>Layers and Barrier</strong></em>, Assemblage, Lezlie Tilleys, <strong><em>Pages 20 and 10 from an A-less novel</em></strong>, laser cut acrylic, Matthew Tomes, <strong><em>Nixie</em></strong>, Oil on canvas and Linda Swinfield's, <em><strong>Belly series 1,2,3,4 and 6</strong></em>, Relief print, rubbing on rice papers and laser cut plywood.</div>
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Linda Swinfields <em><strong>Belly Series 6: The gift 2012</strong></em> Relief print, rubbing on rice papers and tissue, bookbinding glue and Laser cut plywood.<br />
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Lezlie Tilleys works photographed by Laura Wilson.</div>
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</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-1948769754772533242012-02-05T02:04:00.000-08:002012-02-05T02:04:36.308-08:00Linda @ The Gunyah<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0ZNmq1-FPRShBJ5-1ahsBraD6qhk0UQeN6qUC21g69feNBw2mBZg7I23Sz5MOufhf2tAYE7oazjKSE-ypx56tFgkWuHQRSE6di0HvwkLUMZoZpNBKbNLYCOoRaCO_W9tr0AcRV2SZTYpz/s1600/10_Emily_Valentine_Handbagged_2011.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0ZNmq1-FPRShBJ5-1ahsBraD6qhk0UQeN6qUC21g69feNBw2mBZg7I23Sz5MOufhf2tAYE7oazjKSE-ypx56tFgkWuHQRSE6di0HvwkLUMZoZpNBKbNLYCOoRaCO_W9tr0AcRV2SZTYpz/s400/10_Emily_Valentine_Handbagged_2011.jpg" width="400" /></a></div><div style="text-align: justify;"><br />
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<tr><td class="tr-caption" style="text-align: center;">Two images by Emily Valentine, from her Handbagged series created at the Gunyah in 2011.</td></tr>
</tbody></table></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">I am very pleased to announce my first residency at The Gunyah in North Arm Cove which is about 4 hours drive north of Sydney and approximately 1.5 hours from my home in Lake Macquarie. It marks for me a signpost in my art practice and a venue to deepen its investigation in 2012. I intend to take some time out away from my home, from too many distractions and kick start some new work/s as well as develop my current practices. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">For this residency I aim to revisit a group of images that I commenced in 2006 in the lead up to the birth of my son and on the eve of the first Pandora exhibition at Newcastle Art Space.</span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i><span style="color: #1f497d; font-family: "Calibri", "sans-serif";"><span style="font-family: Verdana, sans-serif;">Currently I am working across multiple processes and using a industrial laser cutter to create sculptural groups of works like” little families”. Most recently I have been working with photo printmaking and contemporary photographic and digital processes. </span></span></i></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i><span style="color: #1f497d; font-family: "Calibri", "sans-serif";"><span style="font-family: Verdana, sans-serif;">Family and memory have been central themes within my art practice since the birth of my son Sidney in 2007 and the passing of my mother the year before. I am currently working on quite abstract wood objects based on drawings I commenced in the lead up to his birth in 2006. The Gunyah residency will allow me some time out to focus on the evolution of this work as I am working with wood and construction of forms- I feel the earthy aspect of the space will support the work.</span></span></i></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="color: #1f497d; font-family: "Calibri", "sans-serif";"><span style="color: black; font-family: Verdana, sans-serif;">When I visited the Gunyah last year with Emily Valentine I also thought I would like to create a Photographic series where I removed the man made elements in the landscape. A panoramic image or series of images where the civilised human intrusions would be removed.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="color: #1f497d; font-family: "Calibri", "sans-serif";"><span style="color: black; font-family: Verdana, sans-serif;">I would also like to invite a series of “art friends” and artists (from the Pandora group) to come up and stay as it is so close to where I live. This would help me to have a holiday and to facilitate the work. Another offshoot of the residency could be to invite them to make artworks and an on line exhibition of the visit.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><br />
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</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="color: #1f497d; font-family: "Calibri", "sans-serif";"><a href="http://gunyah.blogspot.com.au/p/apply.html">http://gunyah.blogspot.com.au/p/apply.html</a></span></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-71202097419777422802012-01-15T16:27:00.000-08:002012-01-15T16:35:22.049-08:00NEVER A DAY WITHOUT A LINE by Patricia Wilson- Adams<div dir="ltr" style="text-align: left;" trbidi="on"> <br />
<h2 class="ex"><span style="font-family: Verdana, sans-serif; font-size: small;">Lezlie Tilley</span></h2><h3><span style="font-family: Verdana, sans-serif; font-size: x-small;">Exhibition at Brenda May Gallery Sydney- Pages from an a-less novel, 2012</span></h3><span style="font-family: Verdana, sans-serif; font-size: x-small;">14 February to 3 March </span><br />
<div class="smtext2"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Nulla dies sine linea = never a day without a line </span></div><div class="smtext2"><span style="font-family: Verdana, sans-serif;"><br />
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<tr><td class="tr-caption" style="text-align: center;"><div align="left"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">7. page one. pages from an a - less novel Lezlie Tilley</span></div></td></tr>
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</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-family: "Calibri", "sans-serif";">To view the new work of Lezlie Tilley is to enter into a Euclidian world, where we become conscious of an order that not only respects a geometry with which we think we are familiar, but at another level we are dealing with the aftermath of a process that is almost cabalistic in nature.<span style="mso-spacerun: yes;"> </span>Tilley has begun with a simple and playful idea where she deconstructs a novel by eliminating for example all the letter “a”s from a page by punching a set of cards to represent these vacancies, thus setting up a randomness that fights to be controlled – a choice has been made without the consequences having been previously known.<span style="mso-spacerun: yes;"> </span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-family: "Calibri", "sans-serif";">This serendipitous event becomes for Tilley synonymous with her ever present attention to the demands of drawing and it is here that she speaks of “a world of line that describes pathways, meeting places and a documenting of time.”<span style="mso-spacerun: yes;"> </span>Her clarity of thinking is ever present, the aesthetic is “tight” while the materiality of the works describes a space that becomes architectural in its command of our visual field.<span style="mso-spacerun: yes;"> </span>Her use of media forces one to acknowledge its linear crispness and clarity, thus reinforcing a way of thinking about drawing.<span style="mso-spacerun: yes;"> </span>Here no time is wasted on flamboyance or the unnecessary gestural mark.</span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-family: "Calibri", "sans-serif";">As in previous works Tilley recognises the great debt that must be paid to the work of countless unknown craftswomen who made lace, patchwork and weavings.<span style="mso-spacerun: yes;"> </span>Tilley has always drawn inspiration from these predecessors.<span style="mso-spacerun: yes;"> </span>It is therefore not unprecedented to learn that she has also looked at some of the earliest forms of punchcard weaving where industrial weaving was simplified when the Jacquard loom was invented.<span style="mso-spacerun: yes;"> </span>These looms are controlled by a series of punched cards<span style="mso-spacerun: yes;"> </span>with each card representing a corresponding row in the design.<span style="mso-spacerun: yes;"> </span>There is also a link to our earliest forms of computer programming and Tilley recounts some of her early employment experiences using punched tape, then used for type setting.</span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-family: "Calibri", "sans-serif";">Tilley’s works are generative, beginning as a series of punched templates and resulting in a matrix which is notable for being both complex and simple at the one viewing.<span style="mso-spacerun: yes;"> </span>A matrix affords one the ability to have many views at once and it is therefore no accident that these works fuse both figure and ground providing the viewer with a complex range of responses to lines, shapes and spaces that seem to shift, describing a slightly disorienting, ephemeral space.<span style="mso-spacerun: yes;"> </span>Here one experiences a unity of vision, or in the words of Eckhart Tolle, the Canadian writer, “a great silent space (that ) holds all of nature in its embrace.<span style="mso-spacerun: yes;"> </span>It also holds you.”<a href="http://www.blogger.com/post-create.g?blogID=1117817813938345215#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri", "sans-serif"; font-size: 12pt; mso-ansi-language: EN-AU; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">[1]</span></span></span></span></a></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-family: "Calibri", "sans-serif"; font-size: 10pt;">Patricia Wilson-Adams/ Jan 2012</span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-family: "Calibri", "sans-serif"; font-size: 10pt;">Conjoint Senior Lecturer </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-family: "Calibri", "sans-serif"; font-size: 10pt;">The <place w:st="on"><placetype w:st="on">University</placetype> of <placename w:st="on">Newcastle</span><br />
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<span style="font-family: Verdana, sans-serif; font-size: x-small;"><strong>All work shown courtesy of Brenda May Gallery</strong></span><br />
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</placename></place><a href="http://www.brendamaygallery.com.au/pages/exhibitions_view.php?ex_typeID=2"><span style="font-family: Verdana, sans-serif; font-size: x-small;">http://www.brendamaygallery.com.au/pages/exhibitions_view.php?ex_typeID=2</span></a></div><div style="mso-element: footnote-list;"><br />
<hr align="left" size="1" width="33%" /><div id="ftn1" style="mso-element: footnote;"><div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;"><a href="http://www.blogger.com/post-create.g?blogID=1117817813938345215#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calisto MT", "serif"; font-size: 10pt; mso-ansi-language: EN-AU; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">[1]</span></span></span></span></a><span style="font-size: x-small;"><span style="font-family: Calisto MT;"> </span><span lang="EN-US" style="font-family: "Calibri", "sans-serif"; mso-ansi-language: EN-US;">Eckhart Tolle<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Stillness Speaks: meditative thoughts</i> New World Library, Novato Ca and Namaste Publishing Vancouver, 2003 </span></span></div></div></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-13184194519179588962012-01-14T17:35:00.000-08:002012-01-14T17:35:52.435-08:00Patricia Wilson-Adams (Resides Toronto, Lake Macquarie NSW)<span lang="EN-GB" style="font-family: "Calibri", "sans-serif"; mso-bidi-font-family: Gautami;"> <div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Gautami; line-height: 150%;"><span style="font-family: Verdana, sans-serif;">Statement:</span></span></b></div></span><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span lang="EN-GB" style="font-family: "Calibri", "sans-serif"; mso-bidi-font-family: Gautami;"><span style="font-family: Verdana, sans-serif;">Abstraction for Patricia Wilson-Adams takes on a double <i style="mso-bidi-font-style: normal;">entendre </i>with the verb meaning both to abstract, in that sense of drilling down to find an essence, and in the sense of one “being abstracted” or lost to meditative thought.<span style="mso-spacerun: yes;"> </span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span lang="EN-GB" style="font-family: "Calibri", "sans-serif"; mso-bidi-font-family: Gautami;"><span style="font-family: Verdana, sans-serif;">Her subjects are located in landscape and memory where she explores a sense of silence that is engendered when one spends long periods of time in both the bush and the studio. Here spaces become those of an interior life as well as landscapes which embrace the poetic and metaphysical.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span lang="EN-GB" style="font-family: "Calibri", "sans-serif"; mso-bidi-font-family: Gautami;"><span style="font-family: Verdana, sans-serif;">Conceptually she relates her present work to that field of Philosophy now being described as Ecophenomenology or “that fundamental re-conceptualisation of human relationships with the natural earth (which) is necessary to help undo the damage stemming from a contemporary western history of separation from and utilitarian valuation and exploitation of the natural world.”.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-a7p62ELdhX5Do66an-AdAKCgfErSMBk7XSplI2N6v00VJ4pks6nLVFa_xiQf7HpUGPJmKLHMIxJJ6U1ZAESqKpjhNtamGee5FswPxlocO7dPiGwL2TFc6VAAAVi82ITP8wJhXi1zBTcK/s1600/trisch2.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><strong><span style="font-family: Verdana, sans-serif;"><img border="0" height="266" kba="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-a7p62ELdhX5Do66an-AdAKCgfErSMBk7XSplI2N6v00VJ4pks6nLVFa_xiQf7HpUGPJmKLHMIxJJ6U1ZAESqKpjhNtamGee5FswPxlocO7dPiGwL2TFc6VAAAVi82ITP8wJhXi1zBTcK/s400/trisch2.jpg" width="400" /></span></strong></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div align="left" class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: xx-small;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Gautami; line-height: 150%;"><strong>The smell of peaches always makes me cry</strong> <span style="mso-spacerun: yes;"> </span></span></i><span lang="EN-GB" style="font-family: Gautami; line-height: 150%;">2009</span></span></span></div><div align="left"><span lang="EN-GB" style="font-family: Gautami; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Bronze and wood<span style="mso-spacerun: yes;"> </span>dimensions variable</span></span></div><div align="left"><span lang="EN-GB" style="font-family: Gautami; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="font-family: Verdana; font-size: xx-small;">exhibited POD Space 2009.</span></span></div></td></tr>
</tbody></table><span style="font-family: Verdana, sans-serif;"></span> <div style="text-align: left;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;"></span></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-91953468336490077522012-01-14T17:25:00.000-08:002012-01-23T18:14:22.807-08:00Linda Swinfield (Born Sydney- resides Toronto, Lake Macquarie, NSW )<div dir="ltr" style="text-align: left;" trbidi="on"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="line-height: 150%; mso-ansi-language: EN-AU;"><a href="http://www.blogger.com/"></a><span id="goog_1818694320"></span><span id="goog_1818694321"></span><span style="font-family: Verdana, sans-serif;">Statement:</span></span></b><span style="line-height: 150%; mso-ansi-language: EN-AU;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-family: Verdana, sans-serif;"><br />
</span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="mso-ansi-language: EN-AU; mso-bidi-font-family: Gautami;">Linda Swinfield returns to a hoard </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Gautami;">of personal motifs and symbols within her art making process. They are present and often recurring within her practice and the use of objects and images links with the cross over and multiple meaning of imagery in global culture and western iconography. Swinfield commenced her art practice in the figurative traditions and recently has stripped away extraneous detail and emptied out traditional narrative moving further toward abstraction. <span style="mso-spacerun: yes;"> </span>Her current practice to date <span style="mso-spacerun: yes;"> </span>exists at the intersection between figurative traditions and the abstract. </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Verdana, sans-serif;"></span></div><span style="font-family: Verdana, sans-serif;"><span style="font-size: xx-small;"></span> </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn8fFzLj_oJ3quDQjJejzKU-1DGg5ek91PVAj4D1BdV2UOcxXrk7H52Da6gwRGaYRBT6tAuMd_6fYOfg2k9jzsUa8lPdqwkPsvruVW8icrsL5Vf8077nrQaUx-ne39jmDK4ocLRDjeXFgI/s1600/graces+%2540+Kerrie+lowe.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;"><img border="0" height="320px" kba="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn8fFzLj_oJ3quDQjJejzKU-1DGg5ek91PVAj4D1BdV2UOcxXrk7H52Da6gwRGaYRBT6tAuMd_6fYOfg2k9jzsUa8lPdqwkPsvruVW8icrsL5Vf8077nrQaUx-ne39jmDK4ocLRDjeXFgI/s320/graces+%2540+Kerrie+lowe.jpg" width="202px" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div align="justify"><span style="font-family: Verdana, sans-serif;"><span style="font-size: xx-small;"><strong><em>The Three Graces: Lillians Table</em></strong> 2011, Lithography on laser cut plywood.</span></span></div><div align="justify"><span style="font-size: small;"><br />
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</div><div align="justify"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><strong>Linda is currently exhibiting in group shows at Kerrie Lowe Gallery, Newtown NSW</strong></span></div><div align="justify"><br />
<span style="font-family: Verdana, sans-serif; font-size: x-small;"><a href="http://www.kerrielowe.com/">http://www.kerrielowe.com/</a></span></div><div align="justify"><span style="font-size: x-small;"><br />
<span style="font-family: Verdana, sans-serif;"></span></span></div><div align="justify"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><a href="http://www.artwhatson.com.au/kerrielowegallery/linda-swinfield?sold=0&set=0">http://www.artwhatson.com.au/kerrielowegallery/linda-swinfield?sold=0&set=0</a></span></div><div align="justify"><span style="font-size: x-small;"><br />
<span style="font-family: Verdana, sans-serif;"></span></span></div><div align="justify"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><strong>Articles about Lindas work online</strong></span></div><div align="justify"><span style="font-size: x-small;"><br />
<span style="font-family: Verdana, sans-serif;"></span></span></div><div align="justify"><a href="http://www.smh.com.au/news/Arts/Elementary-vision-brings-life-in-focus/2005/06/13/1118645745326.html"><span style="font-family: Verdana, sans-serif; font-size: x-small;">http://www.smh.com.au/news/Arts/Elementary-vision-brings-life-in-focus/2005/06/13/1118645745326.html</span></a></div><div align="justify"><br />
<span style="font-family: Verdana, sans-serif; font-size: x-small;"></span></div><div align="justify"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><a href="http://www.theherald.com.au/news/local/news/general/opportunity-to-add-to-collections/1960384.aspx">http://www.theherald.com.au/news/local/news/general/opportunity-to-add-to-collections/1960384.aspx</a></span><br />
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<a href="http://www.artistmaterials.com.au/artist-materials-articles/2004/3/20/cultures-in-clay/"><span style="font-family: Verdana, sans-serif; font-size: x-small;">http://www.artistmaterials.com.au/artist-materials-articles/2004/3/20/cultures-in-clay/</span></a><br />
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<a href="http://www.riddle.com.au/riddle-articles/2005/5/21/art-exhibition-layered-just-like-the-colourful-histories-it-depicts/"><span style="font-family: Verdana, sans-serif; font-size: x-small;">http://www.riddle.com.au/riddle-articles/2005/5/21/art-exhibition-layered-just-like-the-colourful-histories-it-depicts/</span></a></div><div align="justify"><br />
<span style="font-family: Verdana, sans-serif; font-size: x-small;"></span></div><div align="justify"><a href="http://www.lockets.com.au/lockets-articles/2005/1/1/room-for-improvement/"><span style="font-family: Verdana, sans-serif; font-size: x-small;">http://www.lockets.com.au/lockets-articles/2005/1/1/room-for-improvement/</span></a><br />
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<span style="font-family: Verdana, sans-serif;"></span></span></div><div align="justify"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><strong>Articles written by Linda Swinfield online</strong></span></div><div align="justify"><span style="font-size: x-small;"><br />
<span style="font-family: Verdana, sans-serif;"></span></span></div><div align="justify"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><a href="http://www.automechanics.com.au/automechanics-articles/2005/1/8/auto-eroticism/">http://www.automechanics.com.au/automechanics-articles/2005/1/8/auto-eroticism/</a></span></div><div align="justify"><br />
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</div><div style="text-align: justify;"></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-29405034913161826062012-01-14T17:10:00.000-08:002012-01-14T17:10:52.173-08:00Lezlie Tilley (Born Sydney, grew up in Parkes NSW, resides in Newcastle NSW)<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Gautami; font-size: 11pt; line-height: 150%; mso-ansi-language: EN-AU;">Statement:</span></b></div><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-family: "Calibri", "sans-serif"; font-size: 11pt; line-height: 150%; mso-ansi-language: EN-AU; mso-bidi-font-family: Gautami;">The grid in all its forms continues to seduce me after almost 40 years. Each time I return to it within my work there is something new to discover. The hypnotic power of the grid resonates because it goes beyond the edges<span style="mso-spacerun: yes;"> </span>of infinity. The infallibility and dogmatism of any grid system is rich in metaphor.</span></div><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt; text-align: justify;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiveJVm7QSglmbWkMVYj5-ZlnoabcCFNfon6VxxjMUoK2HS8xJUJfm9TBDvKcfBo3Y9xkSeHHGdOI0rDAzGDAx4OmkpIo14GW3xFP74vZ3hUxtxmEhZdLTEKeBFGpStoF-SYz8IVsXZuqNx/s1600/Lezlie+Tilley+Patchwork+3+10+acrylic+on+canvas-+9+works+30.5x+30.5+each.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;"><img border="0" height="400" kba="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiveJVm7QSglmbWkMVYj5-ZlnoabcCFNfon6VxxjMUoK2HS8xJUJfm9TBDvKcfBo3Y9xkSeHHGdOI0rDAzGDAx4OmkpIo14GW3xFP74vZ3hUxtxmEhZdLTEKeBFGpStoF-SYz8IVsXZuqNx/s400/Lezlie+Tilley+Patchwork+3+10+acrylic+on+canvas-+9+works+30.5x+30.5+each.jpg" width="393" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Portion 1, 2, 3 and 4 2008</span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">all work courtesy of Brenda May Gallery Sydney</span><br />
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</div><div align="left"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><strong>See more of Lezlies work or contact Brenda May Gallery</strong></span></div><br />
<a href="http://www.brendamaygallery.com.au/pages/artists_works.php?artistID=80"><span style="font-family: Verdana, sans-serif; font-size: x-small;">http://www.brendamaygallery.com.au/pages/artists_works.php?artistID=80</span></a></td></tr>
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</div><div style="text-align: left;"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-24339236606469131502012-01-14T16:56:00.000-08:002012-01-16T14:22:07.870-08:00Annemarie Murland (Born Glasgow- resides Newcastle NSW)<div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: Verdana, sans-serif; font-size: xx-small;"></span> <br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Ritual and Tradition 2011 Acrylic and Oil on Japanese Paper</span></td></tr>
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</div><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: #1a1c1e; font-family: Gautami; line-height: 150%;"><span style="font-family: Verdana, sans-serif;">Statement</span></span></b><span lang="EN-GB" style="color: #1a1c1e; font-family: Gautami; line-height: 150%;"><span style="font-family: Verdana, sans-serif;">:</span></span></div><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt; text-align: justify;"><span lang="EN-GB" style="color: #1a1c1e; font-family: "Calibri", "sans-serif"; mso-bidi-font-family: Gautami;"><span style="font-family: Verdana, sans-serif;">Materials matter to artist Annemarie Murland as it is at this specific juncture between substance and the act of painting where her works take shape. It is through her working practice and the layering of paint, that she is able to find both the form and the structure, which ultimately becomes the imagery of her tightly structured, luminous paintings.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span lang="EN-GB" style="color: #1a1c1e; font-family: "Calibri", "sans-serif"; mso-bidi-font-family: Gautami;"><span style="font-family: Verdana, sans-serif;">For the observer it becomes difficult to decide whether material or substance has the ascendancy and it is within this ambiguity that an independent object emerges, potent with this binary language and with an ambiguity that lends mystery to these objects.<span style="mso-spacerun: yes;"> </span>This provides the viewer with an aesthetic that is at once sensory, articulate and challenging to traditional notions of space. </span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span lang="EN-GB" style="color: #1a1c1e; font-family: "Calibri", "sans-serif"; mso-bidi-font-family: Gautami;"><span style="font-family: Verdana, sans-serif;">Meaning is inferred by the physicality of these works and their placement within a gallery space – indeed all spaces.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
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<strong></strong></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span lang="EN-GB" style="color: #1a1c1e; font-family: Verdana, sans-serif; mso-bidi-font-family: Gautami;"><a href="http://www.annemariemurland.com/"><strong>www.annemariemurland.com</strong></a></span><span style="color: #1a1c1e; font-family: Verdana, sans-serif;"><strong></strong></span><br />
<a href="http://annemariemurland.tumblr.com/"><span style="font-family: Verdana, sans-serif;"><strong>http://annemariemurland.tumblr.com/</strong></span></a><br />
<a href="http://newcastle-au.academia.edu/annemariemurland"><span style="font-family: Verdana, sans-serif;"><strong>http://newcastle-au.academia.edu/annemariemurland</strong></span></a></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
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<div align="left"><span style="font-family: Verdana, sans-serif;"></span></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-34042203978187992062012-01-14T16:29:00.000-08:002012-08-01T05:06:50.287-07:00Helen Dunkerley ( Born Melbourne VIC, resides Newcastle NSW<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana, sans-serif; font-size: xx-small;">Article by Helen Helen Hopcroft, Ceramics:Art and Perception an an international ceramics magazine published in US Issue 84 June - Sept 2011</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Gautami; line-height: 150%;"><span style="font-family: Verdana, sans-serif;">Statement:</span></span></b></div>
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<span lang="EN-GB" style="font-family: "Calibri", "sans-serif"; mso-bidi-font-family: Gautami;"><span style="font-family: Verdana, sans-serif;">Helen thinks in abstraction professing a dislike for the obvious, as abstraction offers one the opportunity to create atmosphere and to leave the works open ended and available to multiple interpretations.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span lang="EN-GB" style="font-family: "Calibri", "sans-serif"; mso-bidi-font-family: Gautami;"><span style="font-family: Verdana, sans-serif;">She likes to make forms “that barely hold together” and which have an edgy balance, for example her Tower series or her Fungoid Form series. Her work is generally hand formed with some pieces having a wheel thrown component – this being most evident in her recent porcelain works where a stark purity of form and colour (usually white) is counter balanced with more free, convoluted and organic sections that, on their painterly surface, carry undertones reminiscent of sea life, the archaeological or the geological.<span style="mso-spacerun: yes;"> </span>Here she creates visual and tactile surfaces by imprinting, sgraffito and distressing, sanding back to reveal the marks beneath.<span style="mso-spacerun: yes;"> </span>Subtlety is achieved by varying the thicknesses of the layers beneath the glazes which themselves vary in gloss and translucency.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: xx-small;">Right: <i style="mso-bidi-font-style: normal;">Aquatic II</i> <span style="mso-spacerun: yes;"> </span>2011<span style="font-family: Gautami; line-height: 150%; mso-ansi-language: EN-AU;">,</span><span style="font-family: Gautami; line-height: 150%; mso-ansi-language: EN-AU;"></span></span></span></div>
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<span style="font-family: Gautami; line-height: 150%; mso-ansi-language: EN-AU;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: xx-small;">Paper clay, porcelain and slip glaze.</span></span></span></div>
</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1117817813938345215.post-75566281746369077792012-01-14T15:55:00.000-08:002012-01-14T18:00:28.939-08:00Sally Bourke (Born Dubbo, resides Newcastle NSW) <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhREpgyDBhZJH3730t7NfNLlEaaHStxG7R-QoHgFnGE4hqd6CTqBC0kTtANbX7PObEJoupUQr_XZx8c5ObL8Pi_zKeDaCy9jyul_9LBU9S8xann8K1k72o5JijVDALGp8r8xqhGhTZNLYcy/s1600/image2.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" kba="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhREpgyDBhZJH3730t7NfNLlEaaHStxG7R-QoHgFnGE4hqd6CTqBC0kTtANbX7PObEJoupUQr_XZx8c5ObL8Pi_zKeDaCy9jyul_9LBU9S8xann8K1k72o5JijVDALGp8r8xqhGhTZNLYcy/s320/image2.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Corner of Sallys studio</span></td></tr>
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</div><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Gautami; line-height: 150%; mso-ansi-language: EN-AU;"><span style="font-family: Verdana, sans-serif;">Statement:</span></span></b></div><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Gautami; line-height: 150%; mso-ansi-language: EN-AU;"><span style="font-family: Verdana, sans-serif;">______________________________________________________________________</span></span></b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span lang="EN-GB" style="font-family: "Calibri", "sans-serif"; mso-bidi-font-family: Gautami;"><span style="font-family: Verdana, sans-serif;">Surface often provides the dominant metaphor in the work of Sally Bourke and more recently this has turned towards thinking about the nature of fabric and its relationship to skin with its capacity to project an image of self and to protect at one and the same time.<span style="mso-spacerun: yes;"> </span>Much of her previous work has been arrived at by a process that in her words she refers to as “deconstructing the painting” where she layers paint only to scrape back to reveal previous layers creating atmosphere, ambiguity and to reveal layers beneath the skin. </span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span lang="EN-GB" style="font-family: "Calibri", "sans-serif"; mso-bidi-font-family: Gautami;"><span style="font-family: Verdana, sans-serif;">However she is now at the point of recontextualising her skin related works by making new constructions from previously owned fabrics which encode within the works aspects of the old owner, memory and a sense of sentimentality.<span style="mso-spacerun: yes;"> </span>These works have become almost three dimensional, protective in that they enclose spaces and offering the viewer a sense of fragility and transience.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span lang="EN-GB" style="font-family: "Calibri", "sans-serif"; mso-bidi-font-family: Gautami;">Always her concerns are about the abstract nature of the resolved work, painting about the “here and now” with a practice well grounded in experimentation</span><span lang="EN-GB" style="font-family: Gautami;">.</span></span></div><div align="left" class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
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</div><div style="text-align: left;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: xx-small;">Pidgeon Coop- You Tube interview with Sally Bourke at the wool store Newcastle studios</span>.</span></div><span style="font-family: Verdana;"></span><br />
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<h1 style="margin: 0cm 0cm 0pt;"><span lang="EN-US" style="font-family: "Calibri", "sans-serif"; font-size: 18pt; mso-bidi-font-weight: normal;"></span> </h1>Unknownnoreply@blogger.com