Kate Bergin – Table of Contents by Arthouse Gallery

1 . Monkey Business ( F e a t u r i n g J e a n B a p t i s t e S i m e o n C h a r d i n ’s T h e M o n ke y P a i n t e r, 1 74 0 )

2 . M a g i c R e a l i s m

3 . U n d e r c o v e r

4 . H o n e y e a t e r s & S p o o n C o l l e c t o r s

5 . B i r d s o n g

6 . S i n g

7. S h o w t i m e

8 . T h e B e a u t i f u l G a m e

9. The Illusionists & Other Stories ( F e a t u r i n g D i e g o Ve l á zq u e z ’s L a s M e n i n a s, 1 6 5 6 o n a s c a r f )

1 0 . To u r i s t s o f t h e B e a u t i f u l A g e ( F e a t u r i n g P i e r r e – A u g u s t e R e n o i r ’s L u n c h e o n o f t h e B o a t i n g P a r t y, 1 8 8 0 – 8 1 )

1 1 . T h e Va n i t y E n s e m b l e

1 2 . A G a t h e r i n g f o r a J o u r n e y

1 3 . E x o t i c D a n c e r s & O t h e r P e r f o r m e r s

14. Grand Designs & Other Aspirations ( F e a t u r i n g B e r n a r d o B e l l o t t o’s T h e E n t r a n c e t o t h e G r a n d C a n a l a n d t h e S a l u t e C h u r c h, 1 7 25 – 5 0 ) , 2 0 1 5

1 5 . M o n t y’ s G r a n d To u r ( F e a t u r i n g C a n a l e t t o’s V i e w o f Ve n i c e , T h e R i v a D e g l i S c h i a v o n i , l o o k i n g We s t , 1 7 3 6 ) ( e d . o f 4 0 )

1 6 . A S l o w J o u r n e y ( e d . o f 1 0 0 )

I n te re s t i n g l y t h e e a r l i e s t s t i l l l i fe i m a g e c re a te d b y t h e A n c i e n t E g y p t i a n s w a s n o t o n a t a b l e t o p b u t w a s a f l o o r m o s a i c o f a s c a t te r i n g o f fo o d o r a t l e a s t t h i s i s t h e s to r y t h a t I l i ke m o s t . A n d t h e n t h e re a re t h e s t i l l l i fe p a i n t i n g s o f J u a n S á n c h ez C o t á n p a i n te d i n S p a i n i n t h e 1 7 t h c e n t u r y t h a t d e p i c te d f r u i t s , v e g e t a b l e s a n d g a m e h a n g i n g f r o m s t r i n g s a l s o a p e r s o n a l f a v o u r i te a n d t h e o r i g i n s o f t h e s t r i n g s i n m y p a i n t i n g s .

A s i d e f r o m t h e v a r i a t i o n o f i t s c o m p o s i t i o n a l fo r m , s t i l l l i fe p a i n t i n g h a s a l s o v a r i e d i n i t s m e a n i n g f r o m b e i n g a b i t p l a y e r i n g r a n d re l i g i o u s i m a g e s to b e c o m i n g t h e g r a n d i m a g e i t s e l f. C a r a v a g g i o b e i n g t h e m o s t o b v i o u s exa m p l e w i t h t h e b a s ke t o f f r u i t i n S u p p e r a t E m m a u s f r o m 1 6 0 1 b e c o m i n g i t s o w n s i n g u l a r m a s te r p i e c e i n S t i l l L i f e w i t h F r u i t o n a S to n e Le d g e i n 1 6 0 5 . T h e D u tc h p a i n te r s o f t h e 1 6 t h a n d 1 7 t h c e n t u r y e l e v a te d t h e g e n re e v e n f u r t h e r i n t o a n a l l e g o r i c a l fo r m c a l l e d Va n i t a s u s i n g o b j e c t s to s y m b o l i s e t h e t r a n s i e n c e o f l i fe a n d t h e c o n q u e s t s o f t h e D u tc h e m p i re .

I n t h e 20 t h c e n t u r y B r a q u e a n d P i c a s s o re i n v i g o r a te d a n d u t i l i s e d t h e g e n re to ex p e r i m e n t with new ways of seeing multiple dimensions on a single sur face. While Morandi gave us p o e t i c b e a u t y t h ro u g h t h e s i m p l i c i t y o f s e e i n g t h i n g s a s t h e y a re .

To d a y w e m o s t l y t h i n k o f s t i l l l i fe p a i n t i n g a s b e i n g e v e r y d a y o b j e c t s d i s p l a y e d o n a t a b l e . . . a t a b l e o f c o n te n t s . A n d g e n e r a l l y i m a g i n e d i n a d o m e s t i c s p a c e . A s p a c e w o m e n o f te n f ind themselves in ... willingly or other wise. So it comes as no surprise that women have o f te n p a i n te d t h e m a n d c re a te d w o r l d s w i t h i n w o r l d s a n d w o r l d s b e y o n d t h e d o m e s t i c re a l m . M o s t n o t a b l y E t h e l S a n d s’ ( 1 8 7 3 – 1 9 62) S t i l l L i f e w i t h a V i ew ov e r a Ce m e te r y p e r h a p s n o t t h e c h e e r i e s t o f e xa m p l e s b u t a n i n te re s t i n g c o n t r a s t o f d a i l y r i t u a l a n d m o r t a l i t y a l o n g w i t h h e r I n te r i o r w i t h S t i l l L i f e a n d P i c t u re o f t h e M a d o n n a a n d C h i ld. T h e s e p a i n t i n g s a re q u i e t c o n te m p l a t i o n s o f h e r s u r ro u n d i n g s a n d t h e y a l s o p a y h o m a g e to t h e h i s to r y o f s t i l l l i fe p a r t i c u l a r l y t h e v a n i t a s .

I t ’s t h i s a b i l i t y t o re - i m a g i n e h i s t o r i c a l e l e m e n t s o f s t i l l l i fe i n a p e r s o n a l w a y t h a t re a l l y a p p e a l s t o m e a n d h a s b e c o m e a l i fe l o n g ex p l o r a t i o n . S t a r t i n g f ro m a h u m b l e re d a p p l e o n a w h i te c l o t h a t a r t s c h o o l , a d d i n g t h e s u b t l e l i t t l e i n s e c t (re fe re n c i n g t h e D u tc h G o l d e n A g e p a i n te r s) . T h e i n s e c t b e c a m e a b u t te r f l y , t h e b u t te r f l y a b i r d , a n d t h e b i r d b ro u g h t t h e fox a n d s o fo r t h . I l o o k b a c k o n m y w o r k a f te r 3 0 y e a r s a n d i t s o u n d s l i ke a c h i l d re n’s s o n g ! I p re fe r t o t h i n k o f i t a s a s l o w D a r w i n i a n p ro g re s s i o n !

T h e s e c re a t u re s a re a l i v e o n t h e t a b l e to p . I w a s o n c e b a n n e d f ro m a s t i l l l i fe c o m p e t i t i o n b e c a u s e m y c re a t u re s w e re a l i v e a n d n o t “ N a t u r a M o r te”. I t w a s p o l i te l y ex p l a i n e d to m e t h a t u n l e s s I p re s e n te d t h e m o n t h e t a b l e to p o n a t a x i d e r m y s t a n d t h e y w e re n’ t v a l i d s t i l l l i fe s . N a t u r a l l y I w a s q u i te t h r i l l e d a b o u t t h i s . E v e r y a r t i s t w a n t s to b e a r u l e r b re a ke r ! I s t i l l c a l l m y s e l f a s t i l l l i fe a r t i s t b u t p e r h a p s I ’m m o re c o n n e c te d to J o h n B r a c k a n d h i s “ U n s t i l l L i fe s” o f w a l k i n g p e n c i l s a n d g r a v i t y d e f y i n g o b j e c t s .

A n d s o m y c re a t u re s b e c a m e m o re l i v e l y , m o re a n i m a te d . S t a n d i n g o n t h e t a b l e to p t a k i n g o w n e r s h i p a n d c h a l l e n g i n g a l l t h o s e s t i l l l i fe p a i n t i n g s o f t h e p a s t d r a p e d w i t h t h e i r d e a d c o m p a t r i o t s . T h e a n i m a l s a re t a k i n g c h a r g e , g a t h e r i n g to g e t h e r i n u n l i ke l y s i t u a t i o n s . S i n g i n g , b o u n c i n g o u t o f to p h a t s , h i d i n g u n d e r c l o t h s a n d b e i n g d r a p e d i n a s c a r f d e p i c t i n g a S p a n i s h ro y a l f a m i l y o r m e e t i n g l i ke to u r i s t s l u n c h i n g o n a b o a t i n g p a r t y . A n d t h e n t h e m o n ke y b e c o m e s t h e a r t i s t i n M o n ke y B u s i n e s s a n d t u r n s t h e t a b l e c o m p l e te l y .

S o t h e s e a re t h e c o n te n t s o f m y t a b l e . . . m i x i n g h i s to r y w i t h h u m o u r a n d e v e r y t h i n g i n b e t w e e n . J u s t a s t h e l i t t l e C a s a n o v a f i g u re ro a m s t h ro u g h t h e p a i n t i n g s w i t h h i s e y e g l a s s e s r a i s e d w e t o o a re a b l e t o s e e t h e w o r l d a n d c o n te m p l a te i t s m y s te r i e s a n d m a g i c t h ro u g h t h i s d e c e p t i v e l y s i m p l e g e n re o f s t i l l l i fe .

Ka te B e r g i n

1. Monkey Business (Featuring Jean Baptiste Simeon Chardin’s The Monkey Painter, 1740) oil on canvas 153 x 103 cm (framed) $52,000

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a m e s W S i n g e r w r i t e s , “A t f i r s t g l a n c e J e a n - B a p t i s t e C h a r d i n ’s T h e M o n ke y P a i n t e r, y o u m a y i n i t i a l l y a s k , “ W h a t a m I l o o k i n g a t ? ” o r, “ W h y i s t h i s i n t h e L o u v r e? ” o r e v e n p o s s i b l y s a y , “ T h i s i s n o t a r t .”

S o l e t ’s g o b a c k i n t i m e a l i t t l e t o t h e m i d 1 8 t h c e n t u r y w h e n s i n g e r i e o r p a i n t i n g s d e p i c t i n g m o n ke y s engaged in human ac tivities was popular in France. At the time Chardin was a member of the French Royal Academy of Painting and Sculpture. A government-funded institution that Chardin was feeling more and more jaded about being a member of. It s increasingly stultifying restric tions made the ar tist wonder about the true intentions of ar t. And w h e t h e r t h e y w e r e j u s t t e a c h i n g t e c h n i c a l e f f i c i e n c y t h a t a m o n ke y c o u l d l e a r n r a t h e r t h a n c o n s i d e r i n g the impor tance of critical thinking about the way a subjec t is depic ted. B e y o n d t h e f a s h i o n o f t h e t i m e , C h a r d i n ’s m o n ke y c o n t i n u e s t o p o ke u s w i t h i t s m a h l s t i c k a n d q u e s t i o n n o t i o n s o f h i g h a n d l o w a r t , t h e o v e r l y c e n s o r i o u s a n d s e r i o u s i n e s s o f t h e A c a d e m y a n d t a s t e m a ke r s v e r s u s o u r n e e d t o s e e j o y , f u n a n d h u m o u r i n A r t . T h e M o n ke y P a i n t e r c o n t i n u e s t o p r o v o ke q u e s t i o n s a b o u t t h e v a l u e o f a r t i n o u r w o r l d t o d a y . S i n g e r e n d s h i s e s s a y a c k n o w l e d g i n g t h a t “ C h a r d i n ’s T h e M o n k e y P a i n t e r w i l l n e v e r r i v a l i n p o p u l a r i t y t h e m o r e f a m o u s p i e c e s i n T h e L o u v r e . . . H o w e v e r, i t w i n s i n s o m a n y w a y s , e s p e c i a l l y w h e n q u e s t i o n i n g g o o d t a s t e a n d t h e m e a n i n g o f a r t .” I n t h i s p a i n t i n g , M o n k e y B u s i n e s s, t h e s m a l l f i g u r i n e o f C a s a n o v a p e e r s c u r i o u s l y t h r o u g h h i s s p e c t a c l e s a t t h e t r o o p o f m o n ke y s i n f r o n t o f h i m . A s a E u r o p e a n l i b e r t i n e o f t h e 1 8 t h c e n t u r y h e w o u l d n o d o u b t h a v e b e e n a w a r e o f s i n g e r i e s a n d p o s s i b l y e n j o y e d t h e i r h u m o u r. T h e r e d a p p l e s a r e n o t o n l y a f o r m a l d e v i c e t o r e f l e c t a n d b a l a n c e t h e r e d c o a t o f t h e m o n ke y a r t i s t b u t a l s o r e f e r e n c e t h e t e m p t a t i o n o f a l l a r t i s t s t o q u e s t i o n d e f i n e d i d e a s o f o u r t i m e a n d t h e 1 9 4 0 ’s b l a c k p h o n e d i a l t h a t r e a d s “ I n C a s e o f E m e r g e n c y D i a l E x t 1 7 0 ” s u g g e s t s t h e w o r r y i n g d a n g e r i f w e d o n ’ t . . . b u t p e r h a p s I ’m b e i n g j u s t a l i t t l e bit too serious!

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2. Magic Realism oil on canvas 83 x 103 cm (framed) $32,000

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nce upon a time, Mark and I bought a puppy, we named him Kiefer af ter the G erman ar tist Anselm K i e f e r a s h e w a s a c r o s s G e r m a n S h e p h e r d /A l a s k a n M a l a m u t e . B u t i t w a s t h e e a r l y 9 0 ’s a n d c a l l i n g

h i m a t o u r l o c a l p a r k i n E l w o o d m a d e m e a p p e a r l i ke a n o v e r l y e a g e r f a n o f t h e a c t o r K i e f e r S u t h e r l a n d which was a lit tle embarrassing. W e k n e w h e’d b e a b i g d o g , h e h a d h u g e p a w s b u t w e w e r e n ’ t e x p e c t i n g h i m t o g r o w q u i t e a s b i g a s h e b e c a m e w i t h a m a s s i v e t a i l t h a t s w e p t t h i n g s o f f t a b l e s . I t w a s a l s o a t t h i s t i m e t h a t I s a b e l A l l e n d e’s book, The House of Spirits entered our lives and you can imagine how I connec ted with Barabbas the p u p p y t h a t “ C a m e t o u s b y s e a ” a n d j u s t ke p t g r o w i n g a n d g r o w i n g a n d h a d a t a i l “ w i t h a l i f e o f i t s o w n t h a t l e d t o l a m p s a n d c h i n a b e i n g s w e p t f r o m t a b l e t o p s”. T h i s w a s m y f i r s t i n t r o d u c t i o n t o M a g i c R e a l i s m . M i c h i ko Ka k u t a n i w r i t e s t h a t “ T h e t r a n s a c t i o n s b e t w e e n the ex traordinary and the mundane that occur in so much Latin American f ic tion are not merely a literary t e c h n i q u e , b u t a l s o a m i r r o r o f a r e a l i t y i n w h i c h t h e f a n t a s t i c i s f r e q u e n t l y p a r t o f e v e r y d a y l i f e .” Of ten too these writers have been through ex traordinarily hear tbreaking personal and historical upheaval s which cannot always be completely described without an element of strange phenomena to m a ke a p o i n t a b o u t t h e p a i n o f t h e i r r e a l i t y . We cont inue to mix what is known and what is imagined, t he expec ted and t he unexpec ted in t he eternal quest for understanding. The image of a rabbit being pulled out of a hat is the quintessential image of M a g i c a n d T h e M a g i c i a n ( d a t i n g b a c k t o t h e K i n g’ s C o n j u r e r, L o u i s C o m t e i n S w i t ze r l a n d t h e 1 8 0 0 ’s ) b u t w h o o f u s h a s e v e r s e e n i t p e r f o r m e d ? I t ’s j u s t s o m e t h i n g w e k n o w, s o m e t h i n g m a g i c a l w e a c c e p t i n o u r real world. The dove at the top creates the per fec t triangle – the base representing stability/Realism with the upward point representing ascension toward the spiritual world/Magic. A n d j u s t a s B a r a b b a s g r e w a n d b e c a m e t h e h a r b i n g e r o f t r a u m a t i c t h i n g s t o c o m e i n A l l e n d e’s n o v e l , the f il m noir phone dial in the painting reads, “ In Case of Emergency, Dial 170” alluding to an underlying m e n a c e , i n t e n s i f y i n g t h e d r a m a o f t h e t a b l e t o p l i ke a n o v e r s i ze d t a i l t h r e a t e n i n g h a v o c i n a p e r f e c t l y ordered room.

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3. Undercover oil on canvas 58 x 48 cm (framed) $15,000

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ack in 2010 when we l ived in our l it tle church in Bendigo, Central Vic toria we had a l it tle pet rabbit . This gorgeous Silver Mar ten rabbit has featured in so many paintings but our move to Queensland

meant she had to be given to friends as pet rabbit s are banned in Queensland. O w n i n g a p e t r a b b i t h e r e c a n r e s u l t i n a $ 4 4 , 0 0 0 f i n e o r s i x m o n t h s i n j a i l . I ’ v e j u s t l o o ke d i t u p a g a i n a n d t h e f i n e s e e m s t o h a v e r i s e n t o $ 7 1 , 8 7 5 . H o w e v e r t h e r e i s a l o o p h o l e . . . Yo u c a n o w n o n e i f y o u ’r e a m a g i c i a n ! I t h o u g h t I m i g h t t a ke a w a n d e r d o w n t h i s p a t h o f p o s s i b i l i t y a n d s t a r t e d t h e D e p a r t m e n t o f Agriculture and Fisheries appl ication I f igured it couldn’t be more dif f icult than The Aus tral ia Council for the Ar t s applications. Af ter all I just needed to say that the rabbit in Ar t was more impor tant that pulling one out of hat. So I began with the History of the Rabbit in Ar t which was a surprisingly fer tile ground to till . Naturally I s t a r t e d w i t h D ü r e r f r o m 1 5 02 ( I k n o w i t ’s a h a r e n o t a r a b b i t b u t s t i l l ) t h e n I d i s c o v e r e d T i t i a n ’s T h e Madonna with Rabbit (who knew!) from 1530 and now in the Louvre. I then skipped a few centuries to 2 0 1 9 a n d J e f f Ko o n s R a b b i t . I a d d e d o n t h e a p p l i c a t i o n t h a t t h i s p i e c e s o l d f o r $ 9 1 .1 m i l l i o n . . . q u i t e t h e magic trick! I then had to consider the ex tensive security measures required to meet approval . I have to admit my e n t h u s i a s m w a s s t a r t i n g t o w a n a t t h i s p o i n t a n d w h e n m y t h e n 1 2 y e a r o l d s o n R o t h ko d i s c o v e r e d R a b b i t I s l a n d i n J a p a n I h a p p i l y a g r e e t o t r a v e l t h e r e a n d t a ke p h o t o s i n s t e a d o f c h a l l e n g i n g t h e b u r e a u c r a t i c w o r l d o f f o r m s a n d a p p l i c a t i o n s . W e h a v e n ’ t b e e n t h e r e y e t b u t I ’m h a p p y t o h a v e b e e n g i v e n a P l a n B . So this painting is a bit of an ode to living in Queensland, the only place in the entire world where you cannot own a pet rabbit. And when at Easter all the digital happy face car speed readers become happy rabbits I am not amused. There are rumours of a new breed of animal near the NSW border known as a “long eared guinea pig” going undercover into Queensland homes but that may be just an urban myth!

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4. Honeyeaters & Spoon Collectors oil on canvas 83 x 103 cm (framed) $32,000

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h i s p a i n t i n g f e a t u r e s t h e e n d a n g e r e d P r o s e r p i n e r o c k- w a l l a b y f o u n d o n l y i n t h e W h i t s u n d a y S h i r e of Queensland. G enerally shy and timid they rarely move too far from their rock shelters. Here

the wallaby is being visited by a probe or a hive (depending on your favoured collec tive noun) of g r e g a r i o u s a n d n o i s y b l u e - f a c e d h o n e y e a t e r s a n d a t o r t o i s e c a r r y i n g a p h o n e o r “ m o b i l e p h o n e” a l l o f them gathering and collec ting spoons. Perhaps f lying in to tell stories of faraway places they’ve visited to the reclusive wallaby. I’ve read that the blue faced honeyeaters have very untidy nest s and al so that they create very ref ined a n d n e a t n e s t s . . . s o p e r h a p s j u s t l i ke u s t h e r e a r e t w o t y p e s – t h e o n e’s w h o m a ke t h e i r b e d s i n t h e m o r n i n g a n d t h e o n e s t h a t d o n ’ t . T h e o n e c o m m o n t h r e a d i s t h a t t h e y d o a l l s e e m t o l i ke a c r o w d a n d here the wallaby seems to be enjoying their company and the task of collec ting together and hearing their travel stories. B u t w h i l e t h e s e l i t t l e i s l a n d h o p p e r s a r e e n j o y i n g t h e m s e l v e s t h e 1 9 4 0 ’s b a ke l i t e p h o n e’s d i a l r e a d s , “ I n Case of Emergency Dial E x t 170” reminding us that these beautiful and gentle wallabies need our care a n d p r o t e c t i o n t o ke e p t h e m s a f e f o r f u t u r e g e n e r a t i o n s .

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5. Birdsong oil on canvas 78 x 83 cm (framed) $25,000

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r t and music have been constant companions throughout history. I was for tunate one year to have some members of the Melbourne Symphony Orchestra per form at the opening of my exhibition,

‘ W i l d l i f e’ i n 2 0 1 6 . P o s i t i o n e d w i t h t h e i r i n s t r u m e n t s i n f r o n t o f m y p a i n t i n g I n t e r m i s s i o n t h a t f e a t u r e d F r a n s S n y d e r s’ C o n c e r t o f B i r d s, 1 6 2 9 w a s a r e a l l y e x t r a o r d i n a r y m o m e n t i n m y c a r e e r a n d h i g h l i g h t e d to me the beautiful connec tion bet ween ar t and music and how the t wo so ef for tlessly play of f each o t h e r. In the studio where the days can be long and run into the night, music can break the loud silence of your mind or dismiss the interminable chat tering of your thought s. Music can be the relief, the motivation and ultimately the inspiration. I n t h i s p a i n t i n g t h e m u s i c o f t h e I t a l i a n p i a n i s t a n d c o m p o s e r, L u d o v i c o E i n a u d i h a s b e e n a l l t h r e e a n d I’ve given the musical notes of Birdsong a starring role as a way to pay homage to the relationship b e t w e e n p a i n t i n g a n d m u s i c . T h i s i n s t r u m e n t a l p i e c e i s t r a c k 5 f r o m D a y Tw o o f E i n a u d i ’s p r o j e c t S e v e n D a y s Wa l k i n g w h i c h w a s r e l e a s e d o v e r v a r i o u s m o n t h s i n 2 0 1 9 . I ’m c a p t i v a t e d b y t h e p r o c e s s h e u n d e r t o o k o f w a l k i n g t h r o u g h t h e A l p s a n d c r e a t i n g a b o d y o f w o r k t h a t ref lec ted dif ferent aspec t s of his journey. Along the way he al so took polaroid photos to inspire him in the studio, connec ting visual and aural . I ’ v e ke p t t h e p a l e t t e r e s t r a i n e d i n ke e p i n g w i t h t h e b l a c k a n d w h i t e n o t e s a n d t h e b l a c k p i a n o w i t h j u s t a s m a l l t o u c h o f r e d a n d y e l l o w t o l e a d t h e e y e a r o u n d t h e p a i n t i n g l i ke s e e i n g t h e f l i t t e r o f a c o l o u r f u l bird when walking through a snow covered forest .

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6. Sing oil on canvas 133 x 153 cm (framed) $58,000

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n t h e e a r l y d e c a d e s o f t h e 1 7 th c e n t u r y F l e m i s h a r t i s t s p o p u l a r i s e d t h e C o n c e r t s o f B i r d s g e n r e . T h e paintings included images of dif ferent kinds of birds perched on trees, sometimes with musical scores.

A n d s o m e t i m e s t h e s c o r e i s h e l d b y a n o w l l i ke a c e n t r a l m a e s t r o c o n d u c t i n g t h e c o n c e r t a s i n t h i s painting. There are many dif ferent interpretations and symbolic meanings at tached to the genre including a s e n s e o f o r d e r a n d b a l a n c e w i t h i n n a t u r e w h i c h e x t e n d e d t o a s e n s e o f s o c i a l o r d e r. To a c h i e v e t h i s b a l a n c e o f s i n g i n g c r e a t u r e s h a s t a ke n a s u r p r i s i n g l y l o n g t i m e g i v e n e a c h c r e a t u r e h a s been photographed individually in it s own moment of vocalising. Bringing them together balancing the formal aspec t s of scale and colour has been a long and challenging projec t brought together by the musical notes being held by the owl (the only non-singer). The sheet music is Sing writ ten by Fran Healy o f t h e b a n d Tr a v i s i n 1 9 9 9 . H e a l y s a i d , “ I l o v e t h e i d e a o f h a v i n g t h e w o r d s i n g r e p e a t e d i n t h e c h o r u s o f a s o n g - i t ’s j u s t s o s i l l y ” and he elaborated that the emotional weight of the song originates from the belief that “ feeling free enough to cut loose and sing in front of someone you love is an indication of ex traordinary intimacy a n d t r u s t .” T h e s e n s e o f s i l l i n e s s b a l a n c e d w i t h t h e d e p t h o f f e e l i n g i s s o m e t h i n g I l i ke t o e x p l o r e i n m y o w n w o r k . The layering that allows for dif ferent ways of looking at the same thing both humorously and seriously. The lightness of being balanced with the things that tether us to the ground. I n t e r e s t i n g l y t h e s o n g o n t h e B s i d e o f t h e s i n g l e i s We a r e M o n ke y s w i t h t h e c h o r u s , “ Yo u ’r e a f o o l t o b e l i e v e a n y m o r e . S o b e l i e v e y o u ’r e a m o n ke y ”. S o p e r h a p s w e s h o u l d t a ke F r a n H e a l y ’s a d v i s e a n d g o c l i m b u p a t r e e p r e t e n d w e’r e m o n ke y s a n d s i n g o u t l o u d a n d c r e a t e o u r o w n b u c o l i c c o n c e r t j u s t f o r f u n .

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7. Show time oil on canvas 133 x 153 cm (framed) $58,000

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o m e t i m e s a p a i n t i n g c o m e s t o g e t h e r w i t h j u s t a v a g u e i d e a o f w h a t i t ’s a b o u t . T h i s p a i n t i n g w a s primarily a compositional challenge set ting the major charac ters in front of the table top rather

than sit ting on top of it . The white cloth becomes a sor t of theatre set backdrop and allows the objec t s to sit along a high ledge behind rather than the painting forming an obvious triangle. While all these compositional challenges were unveiling themselves the combination of a cheetah, a tor toise, a white rabbit and wise owl came with their own symbolisms and stories. The most obvious o f w h i c h i s A e s o p ’s t a l e o f t h e h a r e a n d t o r t o i s e . T h o u g h n o t s t r i c t l y a d h e r i n g t o t h e i m a g e r y t h e c o n n e c t i o n i s s t i l l t h e r e . T h e w i l d s p e e d v e r s u s t h e t h e s l o w a n d s t e a d y a n d t h e “c h e a t e r ” v e r s u s wisdom. The white rabbit always adds a bit of magic and the pink phone with it s dial that reads, “In case o f e m e r g e n c y d i a l E x t 1 7 0 ” s u g g e s t s a t o u c h o f u n d e r l y i n g m e n a c e l i ke a l l g o o d f a i r y t a l e s . So what to call this collec tion of charac ters that we all know so well . I had no idea but while I was w a t c h i n g T V o n e n i g h t I s a w t h e c r e d i t s c o m e u p b e f o r e t h e m o v i e w i t h t h e p r o d u c t i o n c o m p a n y ’s n a m e Show time ... and thought , that works. Let the race begin. I s n ’ t i t a l w a y s t h e w a y t h o u g h w h e n y o u t r y t o s w i t c h o f f a n d t a ke a m o m e n t , t h e s p a r k h a p p e n s . We n e v e r r e a l l y s w i t c h o f f . U l t i m a t e l y i t ’s a l w a y s S h o w t i m e .

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8. The Beautiful Game oil on canvas 203 x 138 cm (framed) $78,000

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ow many times have you heard, “ I don’t know anything about Ar t ” or “ I jus t don’t under s tand it ” ?

I think we of ten prefer those things that have par ticular rules that we can learn and understand. A s t h e o n l y f e m a l e i n m y h o u s e h o l d i t m a y c o m e a s n o s u r p r i s e t h a t I ’m o f t e n o v e r w h e l m e d b y f o o t b a l l . Whether it be prac tise at school , late pick ups on Friday af ternoons and being there for them when their team wins and inevitably when they lose. W h a t e v e r y o u r f o o t b a l l c o d e w h a t I ’ v e c o m e t o u n d e r s t a n d i s i t ’s n o t j u s t t h e b e a u t i f u l g a m e o n t h e f i e l d i t ’s a l s o t h e w a y i t b r i n g s p e o p l e t o g e t h e r o f f t h e f i e l d . T h e m a c h i n a t i o n s a r o u n d e a c h g a m e . T h e build up of excitement , the challenge to play well and play within the spirit of the team are lessons I’ve watched my boys learn. A s a p r a c t i s e d “ w a t c h e r ” I ’ v e a l s o b e e n a l i t t l e e n v i o u s o f t h e s t r i c t r u l e s o f t h e g a m e . T h e r e’s n o t j u s t a b o u n d a r y a r o u n d t h e f i e l d b u t b o u n d a r i e s a r o u n d w h a t c a n a n d c a n n o t b e d o n e u n l i ke A r t w h e r e t h e r u l e s a r e s o m e w h a t m o r e f l e x i b l e . T h e “ f i e l d ”/c a n v a s c a n b e a n y s h a p e a n d t h e “ p l a y e r s“/a r t i s t s c a n kick in any direc tion. Chess is of ten al so described as the beautiful game with it s connec tion to intelligence and strategy and I ’d a l s o s a y t h e v e r y s t r i c t a n d s o m e t i m e s c o m p l i c a t e d r u l e s . I t m a ke s m e w o n d e r i f w e f i n d t h a t p l a y i n g exceptionally well within a set of restric tions is the at trac tion. L i ke e n r a g e d c o a c h e s w e c a n a l l y e l l a t d e c i s i o n s b y u m p i r e s o r b a d f u m b l e s o r w r o n g m o v e s . We c a n a l l h a p p i l y i m a g i n e o u r f a v o u r i t e p l a y e r s ( o r o u r s e l v e s ! ) d o i n g i t b e t t e r. I t ’s t h e c o l l e c t i v e p a s s i o n t h a t m a ke s u s f e e l c o n n e c t e d a n d e n e r g i s e d . A n e x p e r i e n c e t o t r a n s p o r t o u r s e l v e s o u t o f o u r o w n p r i v a t e worlds. S o w h e n I b a l a n c e d t h e a p p l e o n t o p o f t h e g i r a f f e’s n o s e w i t h t h e t i g e r l o o k i n g o n f e r o c i o u s l y I c o u l d n ’ t help but think of the beautiful game and the competitive desire to win that small objec t and the fever t h a t o v e r t a ke s b o t h t h e p a r t i c i p a n t s a n d t h e o n l o o ke r s . And when this painting hangs on the wall of a gallery I don’t expec t that there will be such a fer vent response as a game of football but I do feel the people looking at it will know more about Ar t than they think. Af ter all this painting has al so been a team ef for t , years of craf ting skill s and days in the studio e x p e r i e n c i n g t h e e c s t a s y o f d o i n g w e l l a n d t h e d e v a s t a t i o n o f f a i l u r e a n d h o p e f u l l y w h e n i t ’s e x h i b i t e d it will interest people from all walks of life, maybe even give them a transpor ting experience out of their daily l ives .... perhaps Ar t isn’t so dif ferent to spor t and in a way is it s own beautiful game

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9. The Illusionists & Other Stories (Featuring Diego Velázquez’s Las Meninas, 1656 on a scar f ) oil on canvas 183 x 218 cm (framed) $110,000

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n e o f t h e m o s t f r e q u e n t l y a s ke d q u e s t i o n s I r e c e i v e i s “ H o w l o n g d i d i t t a ke t o p a i n t ? ”

S o m e t i m e s i t ’s h a r d t o s a y a s t h e c o n c e p t u a l i s i n g o f i t c a n t a ke t i m e a n d s o m e t i m e s t h i s i s h a p p e n i n g w i t h o u t y o u b e i n g e n t i r e l y a w a r e o f i t . I n 1 9 9 1 I f i r s t s a w Ve l á zq u e z ’s L a s M e n i n a s a t t h e P r a d o i n M a d r i d . A dizzying experience. The sheer magic of it was mesmerising. For years I’ve been wondering how I could incorporate it into one of my paintings and this year I f inally found the answer with the printed scar f. Af ter all , Las Meninas is about the unfolding of stories within s t o r i e s a n d t h e m a s t e r f u l t r i c k o f w h o’s a c t u a l l y b e i n g p a i n t e d . By re -presenting it as a reproduc tion on a scar f and then reproduced back on to canvas al so alludes to the t wist s and turns within the painting it self. Is it a painting of the King and Queen we can see ref lec ted in the mirror or the 2 princesses (las meninas of the title) in front? The younger princess is the focal point s o p e r h a p s Ve l á zq u e z i s p r e s e n t i n g t h e f u t u r e o f t h e r o y a l f a m i l y s t e p p i n g i n f r o n t o f t h e p a s t . T h i s j u x t a p o s i n g o f p a s t a n d f u t u r e i s a c o n s t a n t i n m y o w n w o r k a n d s o m e t i m e s w e’r e s t e p p i n g i n t o t h e future before we even know it ... A f t e r m y 2 0 1 9 e x h i b i t i o n a t A r t h o u s e G a l l e r y I w a s w a n d e r i n g a l o n g M a c l e a y S t i n S y d n e y a n d p i c ke d up some treasures including a top hat and a brass rabbit with the vague thought that they might be fun in a painting. I photographed the white rabbit back in 2011 at a remote and unexpec ted pet ting farm while on an ar t r e s i d e n c y a t A l b a n y , We s t e r n A u s t r a l i a . A n d j u s t i n c a s e I w a s n ’ t f i n a l l y b r i n g i n g a l l t h e s e m a g i c a l e l e m e n t s t o g e t h e r, w h i l e s i t t i n g i n m y c a r w a i t i n g f o r t h e s c h o o l b u s t o a r r i v e t o p / u R o t h ko , m y 1 3 y e a r o l d , I n o t i c e d t h e v e h i c l e n e x t t o m e w i t h a m a s s i v e s i g n a d v e r t i s i n g t h e l o c a l m a g i c s h o w c a l l e d T h e I l l u s i o n S h o w. I ’d b e e n p a r k i n g w i t h i n s i g h t of this mobile ad for almost a year! And so The Illusionists & Other Stories was f inally complete in my mind and when anyone asks me how l o n g d i d t h i s p a i n t i n g t a ke I c a n h o n e s t l y s a y “A b o u t 3 1 y e a r s”. O h a n d t h e ze b r a s? T h e c o l l e c t i v e n o u n f o r ze b r a s i s a “d a z z l e” f r o m t h e c o n c e p t o f “ m o t i o n d a z z l e” a form of defensive pat terning that protec t s them as they move as a group ... a kind illusion that blends ar t and nature.

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10. Tourists of the Beautiful Age (Featuring Pierre – Auguste Renoir’s Luncheon of the Boating Party, 1880 – 81) oil on canvas 178 x 208 cm (framed) $105,000

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eemingly ef for tlessly Renoir has united in his monumental painting the compositional traditions o f l a n d s c a p e , f i g u r a t i v e a n d s t i l l l i f e g e n r e s . I ’d a l s o s a y p o r t r a i t u r e a s e a c h p e r s o n h a s b e e n

i d e n t i f i e d b u t t o d a y t h e y h a v e b e c o m e n o t j u s t R e n o i r ’s f r i e n d s b u t o u r s . T h e y a r e t h e p e o p l e w e k n o w, t h e f r i e n d s w e h a v e l u n c h w i t h . T h e i r c a s u a l i n t e r a c t i o n s a n d c o n v e r s a t i o n s can be sensed and felt . We can al mos t hear t he sounds of t he languid af ternoon. Re - paint ing it can b e l i ke t r a c i n g t h e h a n d o f t h e m a s t e r a n d t r a v e l l i n g b a c k t o h i s s t u d i o t o s e e h i m c a r e f u l l y c o m p o s i n g t h e f o r m a l e l e m e n t s . Yo u s t a r t t o s e e t h e r e - w o r k i n g s , t h e f a i n t m a r k o f a c h a n g e d h a n d p o s i t i o n a n d ex traordinary balance of colour around the space. And all those hats – so many hats! When Duncan Phill ips acquired this painting in 1923 for the Phill ips Collec tion in Washington DC he had i n t e n d e d t o p u r c h a s e a f e w o f R e n o i r ’s p a i n t i n g s t o c r e a t e a s u i t e o f h i s w o r k t o a t t r a c t t o u r i s t s f r o m all over the world. It turned out he only needed this painting. And the pilgrimages continue to this day. I n t h i s p a i n t i n g I ’ v e a d d e d a c o m p a n i o n d o g ( m y l i t t l e C a v a l i e r, G a t s b y ) t o R e n o i r ’s f u t u r e w i f e , A l i n e C h a r i o t ’s l i t t l e t e r r i e r. A b o a t t o r e f l e c t t h e b o a t s i n t h e t h e b a c k g r o u n d a n d a h a n d b a g h o l d i n g a s c a r f t h a t p i c k s u p t h e c o l o u r s i n R e n o i r ’s c o m p o s i t i o n . T h e t o p h a t r e f l e c t s n o t o n l y t h e t o p - h a t t e d C h a r l e s E p h r u s s i , t h e e d i t o r o f G a ze t t e d e s b e a u x - a r t s a t t h e b a c k b u t a l s o t h e m a g i c o f R e n o i r ’s b r i l l i a n c e . T h e seagull s not only suggest the usual uninvited guest s at a picnic but al so formally connec t the painting within a painting. T h e 1 9 4 0 ’s b a ke l i t e p h o n e d i a l r e a d s “ I n C a s e o f E m e r g e n c y D i a l E x t 1 7 0 ” s u g g e s t i n g t h e u n d e r l y i n g menace that will destroy this Belle Epoque. The tumultuous days of war are coming and while this Beautiful Age will come to an end this painting will forever remind us to always enjoy the simple pleasures of life ... a lunch with friends where we can be tourist s in our own Beautiful Age.

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11. The Vanity Ensemble oil on canvas 68 x 103 cm (framed) $25,000

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h e s t i l l l i f e s u b - g e n r e , Va n i t a s p a i n t e d b y D u t c h a r t i s t s d u r i n g t h e B a r o q u e p e r i o d o f t h e 1 6 t h a n d 1 7 t h century used symbolism to depic t the transient nature of life and ref lec ted the old testament belief

t h a t “A l l i s v a n i t y ”. U l t i m a t e l y t h e c o n u n d r u m f o r t h e p a i n t e r s o f t h e Va n i t a s t h a t d e c l a r e d t h e f u t i l i t y o f worldly goods was that the collec tors who purchased the ar t works required wealth and the paintings themselves became worldly goods – an inex tricable link and ultimately an amusing irony. The paintings of ten over f low with beautiful objec t s that you can only admire and gain pleasure from w h i l e a t t h e s a m e t i m e b e i n g a s ke d t o c o n s i d e r t h e e m p t y v a n i t y o f s u c h t h i n g s . I t ’s q u i t e a t a s k t h e s e Dutch masters have set for us. Painted with such skill and obvious devotion to each objec t I wonder if the ar tist s themselves were over whelmed with the beauty they were creating perhaps even transpor ted b y t h e p r o c e s s j u s t a s t h e v i e w e r i s h u n d r e d s o f y e a r s l a t e r. Perhaps the real futility is at tempting to dampen our spirit s at the enjoyment of life rather than worrying a b o u t i t s t r a n s i e n c e a n d t o f i n d j o y i n t h e v a n i t y . To w o n d e r a t t h e e x t r a o r d i n a r y c o l o u r i n n a t u r e . B e t e m p t e d b y t h e b r i g h t r e d a p p l e , b e a m a ze d b y t h e s c a r l e t i b i s o r t h e f i n e l y p a t t e r n e d p h e a s a n t . The still life genre has had so many variations over the centuries ... a table of content s for every occasion, philosophy or emotion. And because the genre comes with so much tradition and symbolism i t ’s i m p o s s i b l e n o t t o t r i p o v e r t h e h i s t o r i c a l t h r e a d s t h a t w i n d a r o u n d y o u a s a n a r t i s t . T h e Va n i t a s c a s t a l o n g s h a d o w o v e r t h e S t i l l L i f e g e n r e b u t I t h i n k I ’d r a t h e r P e g g y L e e’s r e f l e c t i o n o n t h e f l e e t i n g q u a l i t y o f l i f e , “ I f t h a t ’s a l l t h e r e i s m y f r i e n d s / T h e n l e t ’s ke e p d a n c i n g ” . . . b u t p e r h a p s t h a t ’s j u s t m y vanity talking.

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12. A Gathering for a Journey oil on canvas 153 x 133 cm (framed) $58,000

h i s u n l i ke l y g a t h e r i n g o f c r e a t u r e s p o i s e d o n t h e t a b l e t o p r e m i n d s u s t o b e r e a d y f o r t h o s e u n e x p e c t e d m o m e n t s i n l i f e t h a t m a y t a ke u s i n a n e w d i r e c t i o n a n d o n t o n e w a d v e n t u r e s .

The ship balanced on the back of the nyala has a maritime f lag raised with the international signal , “I wish t o c o m m u n i c a t e w i t h y o u ”. I ’ v e a l s o s e e n i t l i s t e d a s “ Yo u r s h o u l d s t o p y o u r v e s s e l i n s t a n t l y ”. P e r h a p s o n t h e h i g h s e a s o n e i s n e c e s s a r y f o r t h e o t h e r. P e r h a p s t o o , t h e i d e a o f s t o p p i n g t o c o m m u n i c a t e i n t h i s f a s t p a c e d w o r l d i s s o m e t h i n g t o c o n s i d e r. T h e 1 9 4 0 ’s b a ke l i t e p h o n e o n t o p o f t h e t o r t o i s e a l l u d e s to this slowing down of life to notice not only other ships around us but al so the small and beautiful details. The spec tacles that hang from the ear of the nyala reinforces this aspec t of looking at what is sometimes o v e r l o o ke d . . . t h e p e r f e c t p e e l o f a n a p p l e , t h e i n t r i c a c i e s o f a k n o t t e d s t r i n g o r a t e a s p o o n w h o s e handle is a pair of golf sticks with a tiny golf ball at the end, a small trophy from a long ago day on the course. S o w h i l e a p e n g u i n b a l a n c e s o n a n a p p l e a n d a f i g u r i n e o f C a s a n o v a ( a t r e a s u r e p i c ke d u p i n Ve n i c e f r o m m y o w n t r a v e l s m a n y y e a r s a g o ) p e e r s c u r i o u s l y a t a l e m u r, t h e w i s e o w l a t t h e t o p k n o w s t h a t a l l j o u r n e y s w h e t h e r t r a v e l l i n g t h e s e a s o r t r a v e l l i n g t o t h e s u p e r m a r ke t w i l l a l w a y s b e m o r e a d v e n t u r o u s when we slow down and notice the magical detail s.

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13. Exotic Dancers & Other Performers oil on canvas 153 x 103 cm (framed) $52,000

i v i n g o n t h e G o l d C o a s t w e a r e s p o i l t f o r c h o i c e w i t h a l l t h e “ w o r l d s” a r o u n d u s – M o v i e Wo r l d , S e a World, and my per sonal fa vourite Dreamworld.

D r e a m w o r l d h a s a w o r l d w i t h i n i t s w o r l d i f y o u c a n m a ke i t t h r o u g h t h e s e n s o r y o v e r l o a d o f t h e l o o p i n g Disney music, the screaming crowds and af ter you’ve been to the wondrous Tiger Island you might race p a s t t h e S e r p e n t S l a y e r a n d T h e C l a w, w a v e t o t h e l i t t l e o n e s o n t h e D r e a m w o r l d E x p r e s s a n d n o t i c e t h e path becomes a track and the colours have shif ted from intensely bright to a shady, cooler atmosphere and f inally you’ll stumble upon the unexpec ted oasis of Australian wildlife featuring around 800 native and barnyard animals. L o u n g i n g k a n g a r o o s , s l e e p y ko a l a s , a n d a n a r r a y o f b i r d l i f e i n c l u d i n g t h e s e t w o b r o l g a s w h o l i v e i n t h e s e c t i o n c a l l e d Ka k a d u W e t l a n d s . B e i n g a b l e t o s e e t h e s e b e a u t i f u l , e l e g a n t c r e a t u r e s u p c l o s e a n d t o really study them and their graceful movement s is an amazing experience. The mating dance of the brolgas is an ex traordinary display of f lamboyance perhaps a lit tle over the t o p n o t u n l i ke t h e G o l d C o a s t w h e r e t h e s e t w o b r o l g a s h a v e f o u n d t h e m s e l v e s . . . a s u n n y s i n c i t y w h e r e meter maids clad in gold bikinis and tiaras would once feed the meters of the overstayers ensuring they s t a y l o n g e r. E x h i b i t i o n i s t s a n d t h e e x o t i c c o m e o u t t o p l a y i n t h i s w i l d f r o n t i e r c i t y . A s A u s t r a l i a ’s f a s t e s t g r o w i n g c i t y a n d c o n t i n u e d f a v o u r e d p a r t y t o w n a n d h o l i d a y d e s t i n a t i o n i t c o n t i n u e s t o d r a w u s i n l i ke t h e b e a u t i f u l dance of the brolga. The colour of the small birds in this painting ref lec t s that sense of liveliness and the joy of freedom from the everyday routine. The black f ilm noir phone with it s dial that reads “In Case of Emergency Dial Ex t 1 7 0 ” r e m i n d s u s o f t h e u n d e r l y i n g d r a m a a n d p o s s i b l e d a n g e r o f t h i s c r a z y c i t y ’s n i g h t l i f e . But as the sun comes up over one of the most glorious of all Australian beaches and the exotic dancers a n d o t h e r p e r f o r m e r s m a ke t h e i r w a y h o m e t h e t o u r i s t s a r e m a k i n g t h e i r p l a n s t o v i s i t t h e o t h e r Wo r l d s where they too will per form their own dances in sunburnt skin and colour ful kaf tans you may even f ind a few feathers trailing behind them.

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14. Grand Designs & Other Aspirations (Featuring Bernardo Bellotto’s The Entrance to the Grand Canal and the Salute Church, 1725 – 50), 2015 oil on canvas 172.5 x 204 cm (framed) $98,000

t w a s a j o y a n d a c h a l l e n g e t o r e c r e a t e t h e p a i n t i n g o f Ve n i c e i n t h e b a c k g r o u n d o f t h i s p i e c e . To t r a c e t h e h a n d o f a m a s t e r i s t o r e a l l y a t t e m p t t o u n d e r s t a n d w h a t i t t a ke s t o c r e a t e s o m e t h i n g s o

ex traordinarily per fec t . A s a s tudent at the Vic torian College of the Ar t s from 199 0 to 92 I played around with many old mas ter i m a g e s i n c l u d i n g D u r e r, Ve r m e e r a n d P a r m a g i a n i n o i n a n a t t e m p t t o u n d e r s t a n d t h e t e c h n i q u e s o f p a i n t i n g . I t ’s a t h e m e I o f t e n c o m e b a c k t o a n d b y u t i l i s i n g t h e O l d M a s t e r i m a g e a s a “ p a i n t i n g w i t h i n a painting” it set s of f many other contemplations about what a painting is and the threads it weaves through history. T h i s p a i n t i n g p l a y s w i t h o t h e r i d e a s t o o . H a v i n g b u i l t a h o u s e a n d s t u d i o t h i s y e a r i t r e f e r e n c e s Ke v i n M c L e o d a n d t h e h i g h s t a n d a r d s h e h a s s e t u s t h r o u g h h i s T V s e r i e s , G r a n d D e s i g n s. I c h o s e Ve n i c e a s t h e b a c k g r o u n d t o a l s o r e f e r e n c e I t a l o C a l v i n o’s I n v i s i b l e C i t i e s a n d t h e n o t i o n o f s tories and t rade bet ween Eas t and Wes t . The sense of desire t hrough consumpt ion and t ra vel al so exempl if ies this idea of trade, beauty and the craving for the new and unknown. T h e G i a n t To r t o i s e i s p e r h a p s t h e m o s t p e r f e c t l y f o r m e d o f a l l c r e a t u r e s c a r r y i n g h i s h o m e w i t h h i m , but in this painting he too has succumbed to the desire of the aspirational and imagines ex tensions and r e n o v a t i o n s . T h e m o d e l s h e c a r r i e s r e f e r e n c e M i c h e l a n g e l o’s d o m e a n d P a l l a d i o’s l o g g i a – p e r f e c t i o n and beauty.

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15. Monty’s Grand Tour (Featuring Canaletto’s View of Venice, The Riva Degli Schiavoni, looking West, 1736) pigment print on German rag paper (ed. of 40) 115 x 130 cm (framed) $3,950

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16. A Slow Journey pigment print on German rag paper (ed. of 100) 98.5 x 85.5 cm (framed) $2,500

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