Woven Sculpture, Wearable Art and Sound Installation at Dust Temple

DUST TEMPLE
Presents

NEST
Exploring The Ephemeral Nature Of Home

 Saturday 7th July - Thursday 2nd August

@ DUST TEMPLE, 54 Currumbin Creek Road, Currumbin

OPENING NIGHT - Saturday 7th July 2018 @ 6pm

 

A Multiple Disciplinary Art Exhibition


Featuring Woven Sculpture,  Wearable Art, and Sound Installation as a unique body of work created by two local emerging artists

Anaheke Metua & WHAIA

Diving deep into their cultural roots and showcasing a unique set of skills in woven sculpture, wearable art, and sound installation
these bold and authentic artists have created an exhibition that is a compelling ode to the strength,
beauty, and skill of our avian counterparts.
 
Their
complimentary artworks explore the rich symbolism of the NEST as an ephemeral home through texture, malleability, colour, use of raw materials, sound and video.



Sculptor and Fibre Artist
 
Anaheke Metua

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This body of work is a retrospective view of the many and varied homes that have shaped Anaheke’s life and work as an artist.
 
This process has nurtured an inward journey through her bloodlines, cultural
beliefs and behaviors regenerating her idea of  home to reshape and strengthen her NEST for the next generation.


Sonic Weaver

&

Wearable Arts Designer


Whaia creates a range of Fine Art Headwear embellished with a wide spectrum of crystals, up-cycled antique jewelry, and fabrics complimenting the energy of each individual piece,
destined to get your attention and awaken the inner Goddess

As a ‘Sonic Weaver’, Whaia integrates her collection of Traditional First Nations instruments, Singing Crystal Bowls and divine vocals, bringing forth her unique delivery of Sacred Sonic Ceremonies.

Whaia nurtures you through her meditation sound journeys, creating an atmosphere that is sure to put a lasting resonance in your cells.


 

The Eighth Annual Grace Cruice Memorial Exhibition

Northern Rivers Community Gallery (NRCG) Ballina launches an exciting new exhibition this month and welcomes community and visitors to join us in the Gallery.

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The Eighth Annual Grace Cruice Memorial Exhibition features new 2D and 3D fine art works by members of Ballina Arts and Crafts Centre Inc. The exhibition showcases the diverse talents of the group which draws its members from all over the Northern Rivers region.

This exhibition celebrates the role played by early BACCI members in the establishment of the Northern Rivers Community Gallery and through this display, also hopes to encourage new members to join and share BACCI’s passion for creativity.

Exhibition opens Wednesday 6 June 2018 and continue until Sunday 1 July 2018. The official launch event is Thursday 7 June from 5.30pm – 7.30pm and all are welcome to attend.

Ignite Studios Launch Party

Ballina Shire Council and Northern Rivers Community Gallery will throw open the shiny new big red doors of Ballina’s newest art space, Ignite Studios @ NRCG on Saturday 5 May and everyone is invited to the party!

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The beautiful heritage building, formerly the Ballina Fire Station, has undergone minor building works over the last eight months in preparation for it’s new life as an arts space for the ongoing enjoyment of the community.

The Launch Party is on Saturday 5 May 2018 from 9.30am until 2.30pm at ‘Ignite Studios @ NRCG’ located adjacent to the Gallery at 60 Crane Street Ballina. This a free family friendly event.

The Northern Rivers Community Gallery is located at 44 Cherry Street Ballina and is open Wednesday to Friday from 10am until 4pm and weekends from 9.30am until 2.30pm.
For further information contact the Gallery on telephone 02 6681 6167.
 www.nrcgballina.com.au

Indigenous Artist Blak Douglas on Government Transparency at JEFA

Openness, accountability, and honesty define government transparency. In a free society, transparency is government's obligation to share information with the people. It is at the heart of how citizens hold their public officials accountable.
 
Artist Blak Douglas asks: Do governments in fact serve the people?
What covenant has been made to the original custodians of this land?

  Don't Mess with the Missionary Man  2018, 120 x 100 cm

Don't Mess with the Missionary Man 2018, 120 x 100 cm

"Transparent Covenant explores the farcical landscape of 'Australian' politics and unashamedly portrays the systemic conspiratorial actions of successive governments to uphold the genocide on first nations peoples of this continent," says artist Blak Douglas. "I employ the ubiquitous 'toilet door' figurative logos as a perfect exemplar of the faceless Aboriginal individual today. The soul stripped countryman living at the bottom of the pile amidst an ever-growing fraternity of egotistical power brokers and their 'do good' policies."

  Dog's Breakfast

Dog's Breakfast

“Blak Douglas’s work is highly significant and profoundly bold in its depiction and message. What we have here is an artist that is completely dedicated to delivering the truth as he has it. Particularly focusing on what it means to be an Aboriginal man with part Irish decent in the 21st century. All the cultural clichés that haunt him and the ironies present within the “Australian Dream”.

- Julian Edwards JEFA Gallery

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The light touch of Kathryn Dolby

Still in her twenties, Kathryn Dolby’s artistic career is off to a strong start. In 2014 she won the Lismore Regional Gallery Graduate Award for her final exhibition installation work, Fluid and Fixed. The Lismore-born artist gained professional placement time in Sydney with Archibald-winning painters Ben Quilty and Guy Maestri. She has since become one of the region’s most recognisable emerging artists, as well as a new mother.

Interview by Jamie-Lee Rowley

  Misty Morn  2016, acrylic on board, 81.5 x 61 cm

Misty Morn 2016, acrylic on board, 81.5 x 61 cm

Jamie.  What inspired you to become a professional artist?
Kathryn.  When I was in high school the thought of feeling stuck in a profession I didn’t like scared me more than anything! So in a sense there was a kind of fear that motivated me to put my energy into what I loved. It never really felt like a decision to become a professional artist, it just felt like the most natural progression for me as nothing else ever really made me feel as myself, or as alive as when I’m creating or working with creative people. I think the inspiration began right back in primary school when we had guest artists doing demonstrations for the class and then through high school where my escape was the art block. My family were always supportive as they could see it was where my heart was, so it didn’t ever feel difficult in that sense. I know a lot of people struggled with family pressures but I was lucky to bypass that one.

  The Trees Are Purple  2016, acrylic on board, 40cm x 50cm

The Trees Are Purple 2016, acrylic on board, 40cm x 50cm

Jamie.  How has your work developed over time, and what are your influences?
Kathryn.  The quality of materials for one thing; when I was young and starting out I'd raid the cupboard for tumeric, coffee and chocolate sauce to paint with! One of the first influential moments was when I was a teenager and saw an abstract expressive painting in a magazine, I don’t remember who it was by, but I felt the power of it leave the page and hit me right in the guts. So in the very beginning it was Abstract Expressionists like Pollock and De Kooning who excited me the most because of that sheer freedom in the expression. Over the years those influencers have changed after study and my appreciation for conceptual art grew. I fell in love with artists like Robert Ryman and Joseph Marioni and how they tease the viewer with a sense of space. So now, even if I’m painting in an abstract way I’m more conscious of loading the image with specific experiences or using the painting or installation to ask questions and challenge the eye. I really like to create a tension in the works. How simple is too simple? What happens if I just focus on this one colour? Or add a hard edge line next to all the gestural marks? It’s the most stimulating for me when each new body of work departs from the last and takes on new questions but it’s still steeped in your own experiences. I also spent some time over the last few years with some landscape painters who influenced my most recent paintings. I’d never perceived myself as a landscape painter but once you start looking you realise everything is a kind of landscape.

  Two  2016, acrylic on board, 66 cm x 32 cm

Two 2016, acrylic on board, 66 cm x 32 cm

Jamie.  Is there a representational aspect to your works?
Kathryn.  Some work more so than others, but usually yes, although my work isn’t purely abstract or representational. They’re painted in an abstract way but subtly reference very real spaces, objects or encounters. I’m continually collecting and drawing from information in my daily life and then I return into the studio with it to pull it apart, deconstruct and reduce. It becomes a very intuitive process of reduction, where I might start with looking at a landscape, and by the end of the process the painting heroes just a single colour that I found most intriguing from that landscape. Abstraction allows much more freedom in the studio to be playful, to be able to mess with things and bend the rules so you’re not just creating a pretty picture. The works then become much more ambiguous and open for interpretation and I like that sense of not spoon-feeding the viewer but giving subtle clues.


Jamie.  What are your influences?
Kathryn.  I like looking to the poetry that is everywhere in the mundane routines of our daily life, the colours in the landscape and the spaces in the home.  The repetitive action of washing and stacking the dishes, washing windows, moving house, walking, and sounds in the landscape. I’m very sensitive to the spaces I occupy and I think that really filters into the paintings. I’m a bit addicted to dramatising that sense of spaciousness in a lot of my work, as I love the quiet tension it creates. Like in music, the space in between the notes is often far more interesting that the notes themselves. An interest in that silence stems from being bombarded in our digital age with information and imagery, so it really began as a kind of reactionary respite to that.


Jamie.  Has having a child affected your work?
Kathryn.  It’s such early days to really see how she has affected my style, as she’s still so fresh, being 8 weeks old now! I’ve really just begun venturing back into the studio again, but having a child definitely shifts things and changes you in more ways than you can anticipate or ever be told. Artistically I think the whole experience has become rich fodder to work from and I feel like there will be a shift, even if it is in a subtle way … like drawing from the nature of sleep (or lack of it), of time and waiting. Throughout the pregnancy I had a lot of time to think and reflect on where I wanted my work to go. I love working from an intimate, personal and experiential level as I think it’s when you create the most honest and interesting work. I feel like this whole experience of becoming a mother has just given my practice another gear in that sense. But it will definitely be a time juggle. I was chuckling about it with another artist and first-time mumma friend of mine who said I’ll have to just go in there and throw the whole paint tube at the canvas and hope for the best! But really I think it’s a very interesting topic and I’ve been brewing some ideas about getting other artist mums together for a project or two. 

  Emerson Road  2016, acrylic on board, 42 cm x 60 cm

Emerson Road 2016, acrylic on board, 42 cm x 60 cm

SEALEVEL - The Art of Awareness - Ocean Photography Exhibition by Ted Grambeau

Renowned ocean, surf and adventure photographer Ted Grambeau has created a collection of abstract ocean images in hope of bringing our attention to the very real issue of climate change.

For over 40 years, Melbourne-born Ted Grambeau has been consumed by his quest to capture the world through his lens. It's an obsession that has led him on a journey to nearly 100 countries, exhausting over a dozen passports. He’s mostly known for leading adventure expeditions into remote locations in search of undiscovered waves and is most at home when deeply immersed in the ocean.

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“Photography is more than a passion, it is my life,” he says. With formal studies in Illustrative photography at RMIT University in Melbourne, Grambeau communicates an intimate relationship with light, a sophisticated understanding of its various expressions – the refraction, reflection and absorptions. The documentary nature of this project requires that Ted be at the waters edge before dawn, when most of us haven’t even thought about opening our eyes.

When he’s not chasing monster waves half way around the world, he prefers to live by the ocean at Currumbin on the Gold Coast. Finding balance, Ted keeps life ‘low key’ but when given the opportunity to share his thoughts on photography an animated creative is revealed.

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He is inspired by the Masters Henri Cartier-Bresson and Sebastião Salgado. A photojournalist style is expressed in his work after having spent his formative time assisting the great Magnum legend Burt Glinn of New York.

As Ted explains his views on environmental issues, he touches on the frustration he feels towards climate change and the urgency of action that needs to occur before our sea levels rise beyond the point of no return. “The effects will be devastating before we actually notice.” he says.

 Image courtesy Trent Mitchell

Image courtesy Trent Mitchell

Ted is one of the world’s great surf and ocean photographers. Over the past 30 or so years he’s had more surf magazine covers than he can remember. His CV of magazine articles, expeditions, movies and books is an afternoon's read in anyone's language. He studies and monitors weather maps and understands the intricacies of an impending swell forecast well in advance. He has traveled to locations that will be lost, submerged under water once the sea levels start to rise due to the change in climate.


Excited by the prospects of exhibiting his work again, Ted reflects on the first time he showed his SEALEVEL Series at the Pipeline Gallery in Hawaii. Special guests like Kelly Slater and leading environmentalist Jack Johnson came along, with Jack’s wife Kim selecting a few pieces to hang in their home on the North Shore. And then in Sydney at the prestigious Stanley Street Gallery in Darlinghurst as a featured solo exhibition for the Head On Photo Festival. “It’s always great to spend some time chatting with art collectors and critics, all with an ecstatically positive response so far. “It’s nice to use my photography in a positive manner and that I have something to give and make a contribution for spending a bit of time on the planet.”

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  sealevel #3

sealevel #3

Ted’s current exhibition is showing at the Hinge Gallery, located at the Dust Temple in Currumbin as part of the Bleach Festival and Gold Coasts Arts and Culture feature coinciding with the 2018 Commonwealth Games celebrations. Opening night will be a bit special as Grambeau will be launching and signing copies of his new book Adventures in Light - a photographic journey spanning four decades combined with his abstract ocean photography exhibition SEALEVEL - The Art of Awareness.

EXCAVATIONS OF THE DEEP: Artist Jess Leitmanis on her solo show at Lone Goat Gallery in Byron Bay

Perhaps the first thing you should know about me is that I have over 720 kgs of marine debris rope in my possession. I wasn’t always this wealthy. This didn’t come about by pure chance. I’ll endeavour to enlighten you on what led me to this juncture, how I became the proud guardian of this unusual bounty, and what I’ve been doing with it...

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I wear a mask when working. Micro-plastics break away and become airborne during the unravelling and weaving process. It sticks. To my clothes. To my eyelashes. To my mind. Without a mask, my nostrils would become coated with a fine plastic dust. I have experienced this once, early on, working with coloured rope. Yes. Bad news. I keep the majority of the broken fragments and fibres that are too small to weave, because this is an important part of the story and the lifespan of our ‘stuff’. It is interesting to note that on a molecular level, the composition of plastic is so complex that it cannot return to an organic state. This in itself is food for thought... Perhaps not only in the abstract sense.

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Each piece of rope behaves differently depending on the composition of filaments and the quirks nature has imposed on it. In working with this material, I’m forced to be adaptable and responsive, rather than attaching myself to a rigid idea of an outcome. Art basically teaches me about life. It is in the challenges that I find the most potential for growth.

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The triggers for my work are undoubtedly environmental in sentiment, but the conversations that really intrigue me are ones that explore the motivations that have led us here. I work with the excess of human society, the bits that have fallen through the cracks. I look at the objects we construct; their function, design, and lifespan; I'm interested in what they tell us about ourselves and our values as collective culture. I'm basically wanting to hack open and inspect the thought processes that brought about this version of reality. What is driving us? Human choice. Behaviour patterns. Values. Biology. Environment. Information. Disconnect. I want to understand the influences, and consider the alternatives. So my artwork is about creating dialogue. And that’s also what I do when I find these bits of debris. I have a little chat with it...

I imagine the journey it has been on; the lengths it has traveled to find me; here, in it’s current disheveled state. The rope holds character. Experience is etched into its sun weary flesh. An old sailor, brittle, faded, baked and ravaged by the ocean, and the elements. Character is why I choose rope in favour of other debris. I unravel it to highlight the variation between the interior and the exterior. The exposed parts of the rope hold the charms that only time and a life of experience can impart. Sheltered inside the twist are fibres still strong and vibrant in colour. Once the rope is unraveled we begin to see the full picture, a timeline of sorts. With each piece I work with a fairly restricted colour palette, so that the rope and its character can do the talking. I’m focusing on the texture of the rope, the degradation of a material.

In my current exhibition and previous works, I’m being quite playful with the titles of my art. I reflect on the past, and how we use relics to draw conclusions about former civilisations. Then, I use that lens to challenge how we see ourselves in the modern day. A contemporary archaeology of sorts. Perhaps helping us step outside the present moment and observe ourselves from a different vantage point. Initially I found it hard to articulate what I was doing with these names, because there’s another side to that coin. It’s me having a laugh during the creation process. Making light of a grim situation, or the absurdity of humans... My humour can be quite dark. So I think it’s one of those things that came about intuitively, or subconsciously, and then I understood its purpose later. Also, I think that dark humour, and being quite cynical at times, is strangely what makes me so fiercely optimistic. There’s something about laughter in that darkness, that reminds you there’s always a way out. Dark and light are often found in the journey of making art, funnily enough.

There’s definitely something in the idea of duality, of opposites, that I’m intrigued about or drawn to. It’s something I play on a bit with my new body of work. I’m looking at the inter-related nature of things and curious parallels. The relationship between mind and matter. To what degree does our internal world influence our external world? To what degree does our environment influence our thoughts? The seen and the unseen. The surface and the submerged. The conscious and the subconscious. Perhaps it’s all one and not the same.

For me, art is an invitation to look at the world through a different lens. Still, we all respond with our own eyes and our own individual set of experiences. It is impossible to do otherwise. That is the cool thing... An artwork exists, resonates, connects in a different way with each of us. Every person breathes into it, different life.


EXCAVATIONS OF THE DEEP
A contemporary archaeological dig of mind and matter.
@lonegoatgallery
23 March – 18 April 2018

Jessica Leitmanis
jessicaletimanis.com
instagram: jessleitmanis

 

 

 

 

 

 

 

We're Closer Than You Think: Northern Rivers Artists

Part of ArtState 2017, We’re Closer Than You Think brings together artwork by several artists based in the Northern Rivers. The exhibition questions the notion of regionality and the perception that artists working outside of metropolitan areas are hindered by location.
 
In various stages of their career and working across a range of disciplines, each artist in the exhibition was chosen for inadvertently refuting the relationship between location and success, population and production, and that the quality of their practice is determined by these imaginary borders.

Be quick! We’re Closer Than You Think will be open until Friday 8 December.
 
Co-curated by Natalie Bull and Zoe Robinson-Kennedy.

 Image: Helle Jorgensen,  The lofty thoughts generator and processor . Photo by Michelle Eabry.

Image: Helle Jorgensen, The lofty thoughts generator and processor. Photo by Michelle Eabry.

Artists

Skye Baker
Amanda Bromfield
Kylie Caldwell
Ben Crawford
Michael Cusack
Karla Dickens
Kathryn Dolby
Penny Evans
Stephen Garrett
Natalie Grono
Charlotte Haywood
Helle Jorgensen
Jenny Kitchener
Mahala Magins
Robert Moore
Jess O’Connor
Kat Shapiro-Wood
Amber Wallis
Christine Willcocks
 

Location

The OLD Gallery
(next to Palate Cafe)
131 Molesworth St
Lismore, NSW 2480
 
 

BSA ArtState Exhibitions: APOLLO & Nine

Byron School of Art is presenting two exhibitions as part of ArtState: Nine, at the BSA Project Space, and APOLLO in Lismore.

  Diana Miller's  Quilted Earth , acrylic on linen

Diana Miller's Quilted Earth, acrylic on linen

Also, BSA Alumni are showing throughout Lismore, including at the old Lismore Regional Gallery site.

FRIDAY 1 December 6 - 8pm : Opening of Nine

BSA PROJECT SPACE
112 Dalley St, Mullumbimby
Exhibition runs from 1 - 13 December
Open six days, closed Sundays, 10am to 2pm
or by appointment 0431 034 892

 

 

Showing as part of ArtState Lismore 2017


Apollo

AMAC
James Guppy
Alex Hudson
Travis Paterson
Melissa Poole
Zuzana Kovar & Nicholas Skepper
Christine Willcocks
 


An assembly without the limits of the square

30 November - 3 December 2017
 

  James Guppy's  Touching her back , acrylic on canvas, 2016  

James Guppy's Touching her back, acrylic on canvas, 2016  

Apollo is a group show from the Byron School of Art BSA Project Space.  It is a re-pairing of works and an assembly without the limits of the square: both documenting a number of past exhibitions and responding to the semi-submerged toy theatre where the exhibition is housed.
 

NORTHERN RIVERS CONSERVATORIUM OF MUSIC
Downstairs Studio, 152 Keen Street, Lismore
Thursday 12pm - 3pm | Friday 10am - 8pm
Saturday 10am - 8pm | Sunday 10am - 3pm

#PRIZENOPRIZE at The Walls Art Space

CHASE ARCHER, HAILEY ATKINS, JANIS CLARKE, RICKY LARRY, 
SOPHIE PENKETHMAN-YOUNG, MELISSA SPRATT, VEOPLE (JAY JERMYN & JULIAN CURRIE)

CURATED BY MARIAM ARCILLA

Opening this Saturday 2 December 5 - 8pm

*Opening night only performance by VEOPLE 6.30pm
**Complimentary Stone & Wood Beer and Miami Mimosas on the house, all night!

Exhibition continues until 16 December, 2017

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ABOUT #PRIZENOPRIZE
Riding along the undercurrents of Turner Prizes and Archibalds, #PRIZENOPRIZE is an exhibition that champions and democratises art across all media and levels. Think of it as a soft power alternative to the head-churning, nail-biting process that comes with applying for art awards - or being shortlisted for the coveted Bachelor rose of the artworld.

There is no prize money, entry fee or % commission on sales; instead this is an open platform for contemporary and experimental artists (especially emerging artists) across Australia to exhibit/perform at THE WALLS this December -- which we think is a prize in itself. We'll be showcasing a cross-section of works, including multi-disciplinary, projection and moving-image based, performance and large-scale installation works. #PRIZENOPRIZE 2017 marks the second year of the national open call and exhibition.

ABOUT THE ARTISTS
CHASE ARCHER is an emerging artist based in Brisbane. Chase obtained his Bachelor of Fine Art in 2015 from the Queensland College of Art and is currently completing his Honours. Archer questions how traditional media practices such as painting, print and drawing can maintain relevance in a contemporary environment that is focused on dematerialised art practices. He describes his artworks as painted collages, assembled from images ranging from personal iPhone photos, to the historic art canon. In creating artworks on translucently primed plywood substrates, which remain visible in the final artworks, Archer disrupts the ‘illusory window’ often employed in traditional paintings, creating a platform in which he presents his deconstructed artworks. Archer regularly exhibits in Brisbane and Melbourne, and recently completed a month-long residency on the west coast of Tasmania.

HAILEY ATKINS is a Brisbane based artist making work that she hopes makes people feel good and remember laughing is good stuff – especially when it’s at your own self. Her sculptural practice sits at the intersection of humour, failure and ambivalence, and explores how the resulting aesthetic can be utilised to meaningfully disrupt the negativity surrounding failure and self-doubt and help us think of alternate ways of being and knowing that stand outside our conventional understanding of success. Atkins is a Queensland College of Art graduate (BFA with Honours (Class I)) and has exhibited widely in Queensland, as well as interstate (Sydney, Hobart) and internationally (Utrecht, Netherlands). She is co-director of Wreckers Artspace in Brisbane, and upcoming artist in Residence at Kaus Australis, Rotterdam (Jan-Mar 2018).

JANIS CLARKE is an emerging artist living and working in Sydney. He has completed a Bachelor of Fine Arts (2015) and a Master of Fine Art (2017) at the National Art School. Clarke has a profound interest in the critique of painting in contemporary art. He consciously undermines established norms (both personal and historical) and to this end, he embraces failure and the anti-aesthetic sensibility as strategies for moving painting forward to somewhere new. He does this through the use of anti-authorial gestures, the kitsch of craft, and by embracing the use of so called ‘low’ colours, materials and processes such as fluorescents, spray paint, collage and decoupage. By employing counter-intuitive methods (such as ‘wrong’ instead of ‘right’) Clarke tries to undermine his own ingrained stylistic tendencies to create something unanticipated. Situated somewhere between painting, craft and sculpture, these abject principles are applied to the installation, presentation and construction of each work. Since 2015 Clarke has held three solo exhibitions and has been selected as a finalist in major prizes including the Doug Moran National Portrait Prize (2016, 2015), The Mosman Art Prize (2016, 2015), The Chippendale New World Art Prize (2015 - Winner People’s Choice Award) and the Rick Amor Drawing Prize (2016).

RICKY LARRY is a Brisbane based artist who completed a Bachelor of Fine Art (2014) at Queensland College Of Art. Since graduating from Queensland College of Art in 2014 Ricky has held two solo exhibitions and been selected for several group shows including 'Shifting Grounds’ at The Hold Gallery, West End. Larry’s art practice examines the nature of perception in relation to space, environment and form through the use of photography, video and installation. Utilising materials to challenge a logical thought process, illusions are introduced in an attempt to fracture the viewer’s go-to mode of rationality. Incorporating ‘objects’ into familiar environments to generate a “questionable image”, forces the audience to draw conclusions as they make sense of the works.

SOPHIE PENKETHMAN-YOUNG is a video and new media artist whose work explores the telling of histories through objects, museum culture and their intersection with the digital age. She examines the equalising nature of platforms such as youtube, where the BBC, Metropolitan Museum and NASA have uploaded vast archives, that now sit in the same context as beauty bloggers and school pranks. Sophie graduated from the University of Sydney College of the Arts with Honours in 2014. She is currently studying her Masters in art curatorship. Day to day, Sophie works part time in marketing at Carriageworks, does Ikebana and adDs to her archive of NASA footage and old national geographic magazines.  

MELISSA SPRATT is an emerging artist who lives and works on the Gold Coast. Melissa studied at the Queensland College of Art, Gold Coast, where she completed a Bachelor of Digital Media with Honours, majoring in Fine Art in 2015, including an exchange at the Leeds International Summer School at the University of Leeds, UK. Spratt has worked across various mediums including painting, photography, drawing and printmaking, more recently exploring textile and design elements in sculpture, and working closely with different yarn making and finger-knitting techniques. Spratt was the winner of the RADFLY Youth Art Prize in 2017, finalist in the Border Art Prize at Tweed Regional Gallery in 2016, and was invited to hold a self titled solo exhibition at The Arts Centre Gold Coast in 2015. Her most recent installation works explore landscapes, ecosystems and patterns found in plant anatomy.

VEOPLE is a collaboration between Gold Coast-based artist JAY JERMYN and local musician JULIAN CURRIE, and is best described as a place where analogue meets machine. The collaboration strives to create atmospheric journeys full of energy and enigma that demand attention and captivate crowds. Jermyn solo practice communicates the weight and importance of social acceptance through an interweaving of creative expressions including design, sound and visual art. Jermyn studied Art and Design at Griffith University on the Gold Coast where he developed a multi-disciplinary practice that seeks to confront cultural divisions, both geographical and metaphorical. His practice is influenced by journeys through Japan and Eastern Europe, and is defined by an ongoing quest to locate enigmatic identities and emotions; both of which emerge as abstract and ambiguous forms in his work.

Art on Bundjalung Country

 

Art on Bundjalung Country opens tonight at Lismore Regional Gallery.

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Increasingly, creativity is being seen as a major indicator in increasing people’s health and wellbeing. Art on Bundjalung Country is a major partnership between the Gallery, Arts Northern Rivers, North Coast Primary Health Network, Bulgarr Ngaru Aboriginal Medical Corporation and University Centre for Rural Health to stimulate artistic practice for emerging Aboriginal artists to enhance their social, economic and health outcomes. This partnership is advised by a committed steering group of Aboriginal and non-Aboriginal arts and health professionals.

Throughout 2017, a series of workshops have been held across the region by established Aboriginal artists including Penny Evans, Gilbert Laurie, Francis Belle-Parker, Michael Philp, Cherie Leon and Robin Davis to pass on their creative skills to a wide range of emerging Aboriginal artists. The result will be an exhibition acknowledging the depth of current practice in the region, and celebrating the next crop of up and coming Aboriginal artists working in Bundjalung country.

Friday, December 8, 2017 at 5.30pm (for 6.00pm speeches)

To be opened by Dr Vahid Saberi, Chief Executive Officer, North Coast Primary Health Network.

Speeches will be followed by a performance by the Nini Nahri-Gali dance Troupe.

Artists: Apply to exhibit at Lone Goat Gallery in Byron

Applications to exhibit at Lone Goat gallery are now open. Applications for the 2018 program will be accepted until January 31 2018. Lone Goat Contemporary community art gallery is located in downtown Byron Bay, right across the road from the beach.

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Applications for the 2018/19 exhibition program close: 31 JANUARY 2018.
Applicants advised of outcome of their application by email: 28 FEBRUARY 2018
To download an application form, click HERE

 
Lone Goat Gallery is now accepting Exhibition proposals from artists, designers, curators, community and cultural groups.


Lone Goat Gallery encourages exhibitions which showcase the high calibre and creativity of artists and crafts practitioners from the Northern Rivers region and further afield.
 
Lone Goat Gallery welcomes all art forms and cultural heritage that display innovative ideas and approaches to contemporary arts practice. The gallery program features exhibitions of 4 weeks-duration.
 

 

Art Piece Gallery's Inaugural 30x30 Art Prize Winners Revealed

Saturday evening revealed the (joint!) Winners of the inaugural Art Piece Gallery 30x30 Art Prize: Kat Shapiro Wood, and Vanessa Stockhard.

The $6000 prize will be divided between the two artists. As expected, a huge crowd turned out to witness the announcement. The previous day, judges Susi Muddiman OAM and artist Amanda Penrose Hart, winner of the 2017 Gallipoli art prize had considered all 230 pieces, and after much deliberation, decided to equally divide the First Prize between two artists. The exhibition of finalists will be on view at the gallery until January 22 2018.

The Winners:

Joint First Prize

  Kat Shapiro Wood  Hover, encaustic on board, 30 x 30 cm

Kat Shapiro Wood
Hover, encaustic on board, 30 x 30 cm

Other awards:


Best Still Life in Show
Nick Coulson
Still Life with Jug, Hallway and Windows I
acrylic and graphite on board
30 x 30 cm

Highly Commended Awards
Gaia Barnatan
Head in the clouds
photocollage
30 x 30 cm(framed)

Clare Purser
Fassifern Valley III
oil and mixed media on board,
30 x 30 cm(framed)

 Gaia Barnatan,  Head in the clouds

Gaia Barnatan, Head in the clouds

People's Choice Award
Kindly sponsored by The Mullumbimby Chamber of Commerce
This is a newly added prize of $500.00 and is only available
by voting in person, at the gallery.

This new, national, non-acquisitive prize is for a 2D work of art in any medium measuring 30x 30 cm.

  Vanessa Stockard  Pleasure and Pain, acrylic on board 30 x 30 cm (framed)

Vanessa Stockard
Pleasure and Pain, acrylic on board
30 x 30 cm (framed)

 Nick Coulson  Still Life with Jug, Hallway and Windows I

Nick Coulson
Still Life with Jug, Hallway and Windows I

  Clare Purser ,  Fassifern Valley III

Clare Purser, Fassifern Valley III

Art in the Pub: Annique Goldenberg's Arctic Residency

Join us Monday 27th November for the last Art in the Pub for 2017

 

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The Walls #PRIZENOPRIZE 2017 Artists Announced

CHASE ARCHER, HAILEY ATKINS, JANIS CLARKE, RICKY LARRY,
SOPHIE PENKETHMAN-YOUNG, MELISSA SPRATT, VEOPLE (JAY JERMYN & JULIAN CURRIE)

CURATED BY MARIAM ARCILLA

Opening Saturday 2 December 5 - 8pm

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*Opening night only performance by VEOPLE **Stone & Wood Beer and Miami Mimosa's on the house all eve!  Exhibition continues until 16 December, 2017


Keep your eyes on the no-prize! #PRIZENOPRIZE returns for a second year.


Riding along the undercurrents of Turner Prizes and Archibalds, #PRIZENOPRIZE is an exhibition that champions and democratises art across all media and levels. Think of it as a soft power alternative to the head-churning, nail-biting process that comes with applying for art awards - or being shortlisted for the coveted Bachelor rose of the artworld.


There is no prize money, entry fee or % commission on sales; instead this is an open platform for contemporary and experimental artists (especially emerging artists) across Australia to exhibit/perform at THE WALLS this December -- a prize in itself! They'll be showcasing a cross-section of works, including multi-disciplinary, projection and moving-image based, performance and large-scale installation works.

Talk Suite | Coming into Fashion

The Arts Centre Gold Coast is hosting an impressive talk suit to coincide with the Coming into Fashion: A Century of Photography at Condé Nast exhibition.

This full-day talk suite will see the biggest names in Australian and international fashion come together with journalists, practitioners, and thought leaders to discuss their expertise and the future of the industry. With two full panels and two intimate in-conversation sessions, the day is punctuated by a networking lunch. Talk Suite attendees will gain free entry to the exhibition and also have the chance to mingle and speak directly with the special guests at the end of the day.

Saturday 25 November | 10am – 4.30pm | Tickets $45

Talk Suite Schedule

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Condé Nast, The Empire
10am – 11am
This panel will see Coming into Fashion Exhibition Curator
Natalie Herschdorfer, Exhibition Manager Todd Brandow,
Vogue Australia Deputy Editor Sophie Tedmanson, and
curator and writer Alison Kubler come together to discuss
the enduring legacy of publishing house Condé Nast.
They will dissect, critique, and celebrate the iconic images
featured in the exhibition, exchanging opinions and stories
you won’t be able to hear anywhere else. Attendees will
gain a deeper understanding and appreciation of the best
artists and photographers in contemporary fashion history.


Oracle Fox Talks
11.15am – 12.15pm
Amanda Shadforth is the brains and creative genius behind
one of the world’s most recognised fashion destinations,
Oracle Fox. Alison Kubler will host this intimate in-conversation
session and together they will cover the future of fashion
photography, illustration, and what social media means for
photography. Amanda is an accomplished illustrator and artist,
and has worked as a photographer and stylist on dynamic
digital campaigns and creative projects for international luxury
brands such as Versace, Ralph Lauren and Louis Vuitton. She
has grown Oracle Fox’s audience to its current reach of over
1.5 million people.


Lunch break with beverages and networking

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Sunday Best to Fast Fashion
1.30pm – 2.30pm
How has the way we make, sell, and market clothes
changed? Listen to an illuminating (and at times alarming)
conversation with Clare Press, the highly regarded author
of Wardrobe Crisis: How We Went From Sunday Best to
Fast Fashion. Clare is the Fashion Editor-at-Large at Marie
Claire Australia, Daily Life’s Sustainable Style columnist,
and now produces the Wardrobe Crisis podcast. Hosted by
Alison Kubler, these women bring their combined wealth
of research and real-world experience to discuss the
evolution of the fashion system, from past to present, and
will discuss what they see as the future of fashion. Clare
will be available for book signings after their conversation.

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Fashion and the Sartorial Gentleman
2.45pm – 3.45pm
The final session for the day will be a lively discussion
between two of fashion’s finest gentlemen, hosted by Alison
Kubler. Men in This Town began as a street style blog, and in
the past seven years Creative Director Giuseppe Santamaria
has grown the project into a magazine, book, and concept
space. Paul Hunt’s studio is in Brisbane, but he also spends
time each year sourcing fabrics and finding the inspiration for
his award-winning couture in Paris. Giuseppe and Paul both
have, and purvey, impeccable style, and this panel promises a
worldly insight into both Australian and international fashion.


After drinks and networking, the day will
conclude at 4.30pm

 Talk Suite image - Sebastian Kim, Teen Vogue, January 2011 © Sebastian Kim  

Talk Suite image - Sebastian Kim, Teen Vogue, January 2011 © Sebastian Kim  

Coming into Fashion: Condé Nast fashion retrospective opens at ACGC

The highly-anticipated fashion photography retrospective Coming into Fashion: A Century of Photography at Condé Nast opens Friday at The Arts Centre Gold Coast.

The greats are all here: images by Cecil Beaton, Irving Penn, Helmut Newton, Herb Ritts and Mario Testino (& more!) line the gallery walls. It's a must-see exhibition for anyone living in, or visiting the Gold Coast.

Here is what's on offer:

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Opening Night | Coming into Fashion

Friday 24 November | 6pm – 9pm | Tickets $90
The opening night party is your opportunity to mingle with the style greats and get an exclusive first look at Coming into Fashion: A Century of Photography at Condé Nast. Your ticket includes flowing drinks and delicious canapés through the night, touch-ups and tips from the experts at the Garbo & Kelly Beauty Bar, and photo opportunities at the designer vogueing wall. Once you’ve taken in the exhibition, spend the rest of the night on the dance floor with live band Tesla Coils and a vinyl DJ. As an opening night guest you will gain free entry into the exhibition plus one more ticket for when you want to return later in the season.

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Talk Suite | Coming into Fashion

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Saturday 25 November | 10am – 4.30pm | Tickets $45
This full-day talk suite will see the biggest names in Australian and international fashion come together with journalists, practitioners, and thought leaders to discuss their expertise and the future of the industry. With two full panels and two intimate in-conversation sessions, the day is punctuated by a networking lunch. Talk Suite attendees will gain free entry to the exhibition and also have the chance to mingle and speak directly with the special guests at the end of the day.


General Admission

25 Nov 2017 until 18 Feb 2018, open daily 10am-5pm (closed Christmas Day)

Coming into Fashion: A Century of Photography at Condé Nast is a ticketed exhibition on display at Gold Coast City Gallery. With unprecedented access to the vast Condé Nast archives, this exhibition highlights the sparkling intersection between photography and fashion.

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General exhibition image: Sølve Sundsbø, Love, Spring/Summer 2011© Sølve Sundsbø/Art + Commerce. Subsequent images:  Miles Aldridge, Vogue Italia, September 2002,© Miles Aldridge. Albert Watson, American Vogue, May 1977© 1977 Condé Nast. Sebastian Kim, Teen Vogue, January 2011 © Sebastian Kim Clifford Coffin, American Vogue, June 1949, © 1949 Condé Nast.

Paul McNeil | Side On at RVCA Gallery

Join us for the opening of Side On by Paul McNeil at RVCA Gallery this Thursday 6-8pm.

And see McNeil featured in the Summer '17 issue of BAM, out early December!

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TextaQueen turns nudes upside down at TRG

 TextaQueen, Save Yourself (self-love self-portrait) 2013, from the series Unknown Artist, fibre-tipped markers, acrylic paint and coloured pencil on paper, Corrigan Collection

TextaQueen, Save Yourself (self-love self-portrait) 2013, from the series Unknown Artist, fibre-tipped markers, acrylic paint and coloured pencil on paper, Corrigan Collection

TextaQueen's humorous and subversive works upend the traditions of the salon nude and narrative portraiture.

Armed with a felt-tipped pen, she playfully tackles complex issues of race, exoticism, gender, sexuality and identity.

TextaQueen's engaging portraits are showcased in Between You and Me, the first survey exhibition of this contemporary artist, on display at Tweed Regional Gallery from 8 December 2017 - 25 February 2018.

The survey exhibition brings together more than 30 works, highlighting TextaQueen's compelling marker works on paper, as well as a new suite of photos created during a recent placement at Mornington Shire's Police Point Artist in Residency Program.

Tweed Regional Gallery Director Susi Muddiman said: "In 2011, the Gallery acquired a wonderful etching of The true history of the Kelly Gang by TextaQueen, which is currently on display in our collection show, Go Figure.

"This new touring exhibition, Between You and Me, is a fantastic opportunity for our audiences to witness the full extent of TextaQueen's unique practice and experience the colour and vibrancy of her work."

Everyone is invited to an official opening of Between You and Me on Friday 8 December 2017 at 6pm (DST), by Joanna Strumpf, Co-Founder & Co-Director Sullivan+Strumpf, Sydney & Singapore.

TextaQueen: Between You and Me is a Mornington Peninsula Regional Gallery travelling exhibition and is supported by Mornington Peninsula Shire.

 TextaQueen, Where we will go when the world implodes? (Taylor Mac) 2006, fibre-tipped markers on paper, Mornington Peninsula Regional Gallery, Victoria, Purchased from National Works on Paper, 2008

TextaQueen, Where we will go when the world implodes? (Taylor Mac) 2006, fibre-tipped markers on paper, Mornington Peninsula Regional Gallery, Victoria, Purchased from National Works on Paper, 2008