Adaptable artworks for interior and exterior design
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A r c h i t e c t / Bu i l d e r : A n t h i l l C o n s t r u c t i o n s.
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G l a s s m a n u fa c t u r e r :
FEATURE APPLICATION The photographic artwork has been produced by Australian contemporary artist Marian Drew, for the master bathroom of the up-market residence in the seaside town of Seventeen Seventy in Queensland. The impressionist photographic artwork features a spinning woman uniquely depicting movement and the female form. The artwork has been integrated into an exterior translucent frameless glass door. This provides a highly durable medium for the art-glass application, the desired level of privacy and light transmission. The artwork provides an impacting and focused artwork feature in the bathroom interior, differentiating the interior from the usual considered interior finishes. Artist website: http://mariandrew.com.au/
City Glass Brisbane
A r t i s t: Ma r i a n D r e w.
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4
overview
BUILDING INTEGRATED ART, THE VIEWCOL COLLECTIVE 2011-12 page 6 - 7
THE PRODUCT Viewcol Graphic Insert VGI, Glass Configurations page 8 - 9
glass i n t e r l ay-
HOW TO SPECIFY
V iORDER e w cPROCESS, o l NOTE ABOUT COLOUR page 10 - 11
photographers
content
THE CONCEPT
i n t e r l ayglass
Lou Davidson North Queensland
page 14 - 17
WENDY ROCHE South East Queensland page 18 - 21
ANDREW DAVOLL Western Australia page
22 - 25
Mark Pearson Western australia page 26 - 29
ANDREW kalda North Queensland page 30 - 33
JANE DAVENPORT
New South Wales page 34 - 37
STUART GIBSON tasmania page 38 - 41
STEVEN NOWAKOWSKI North Queensland page
42 - 45
GARY STEER New South Wales page
46 - 49 5
THE CONCEPT 6
BUILDING INTEGRATED ART For centuries artworks have had a significant role in the interior & exterior decor of buildings as revealed through history. In the modern day, artworks continue to be desirable for display and admiration within building environments of all kinds. However it is felt that the expectation for the application
and
function
of
artworks
have
remained much the same - artworks are usually limited to display on a wall out of potential harms way. Viewcol
is
determined
to
revolutionize
the
integration of artwork in building environments through application of its product the Viewcol Graphic Insert (also known as ‘VGI’). Through the application of photographic artworks with Viewcol’s product and combined with safety glass, unique design opportunities and solutions are enabled - both structural and decorative, not permissible with traditional art substrates.
D e s i g n e r : CCW C A IRNS C A BINET WORKS
The VIEWCOL COLLECTIVE 2011-12 Viewcol believes that any search for artwork should be an enriching experience. Viewcol has established a diverse collection of adaptable limited edition photographic artworks for specification and use with Viewcol’s product The artworks are sourced from several chosen Australian
photographers
and
have
been
produced in Australia’s vast backyard ranging from the rainforests of Far North Queensland to the surf breaks of Tasmania and across to the boat yards of Western Australia. The artworks provide a sample of the amazing beauty - natural and abstract that is found in Australia. Each limited edition artwork is available through Viewcol and in some cases alternative artworks - of different compositions and orientations of the same subject may be available. Additionally, some artworks can be specified for exclusive use upon request.
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THE product 8
VIEWCOL GRAPHIC INSERT - VGI VGI is a transparent printed film substrate developed to be permanently processed or inserted into laminated safety glass. VGI when processed into glass achieves the building standard
AS/NZS
2208-1996
safety
glass i n t e r l ay e r
glazing
materials within buildings, enabling the product to applied within a diverse range of interior and
Viewcol Graphic I n s e r t - V GI
exterior glass applications in buildings. What makes VGI superior is the combination of high colour density and image detail uniquely possible with the product. In addition to providing
i n t e r l ay e r glass
excellent aesthetic qualities, VGI when processed with laminated safety glass is highly durable to moisture, humidity, vandalism and colour fade.
Laminated safety glass product cross-section
VGI can be processed using multiple glass
OPA Q UE
Glass Configurations
supplied to maximum dimensions 1550mm wide x 4000mm height as an individual piece. Glass configurations include annealed and toughened glass makeups comprised of different glass types such as clear float, low iron (starphire), patterned and mirror. The choice of glass thickness typically ranges from panes of 2mm to 10mm. VGI can be processed to suit transparency levels ranging from transparent through to opaque.
TR A NSPA RENT
to a diverse range of applications. VGI can be
TR A NSLUCENT
configurations enabling the product to be suited
The transparency level of the finished product is determined by clear, translucent or opaque interlayers in the glass makeup. The processed glass panels can be adapted to
A choice of transparency levels
most glass hardware and framing systems suited to laminated glass. 9
HOW TO SPECIFY 10
ORDER PROCESS The Viewcol Collective 2011-12 contains an artwork
index
for
each
artist
to
aid
the
selection of an artwork based on the requirements of the intended application. To specify an artwork, simply state both the name of the artist and the artwork along with the desired application dimensions and transparency level. In some instances, artworks will require the composition to be adjusted to suit the intended application area. For example the orientation of an artwork may be portrait with an aspect ratio of 3:2 (height to width) and maximum recommended size of 2400mm x 1600mm. If
Example of adjusted ar twork
the opening for a door is 2000mm x 1100mm
For each project Viewcol with the nominated artist will
(aspect ratio of 1.8:1) then the artwork will
provide suggested cropping and composition to best
need adjustment to suit the application and
maintain the integrity of the chosen artwork.
aspect ratio.
Viewcol will work with the nominated glass manufacturer to supply a reduced size representational sample of the final expected artwork to be evaluated.
NOTE ABOUT COLOUR Viewcol
can
in
some
cases
ARTWORK TITLE
reproduce
colour according to clients individual colour expectations
and
requirements.
In
some
instances aspects of the colours of an artwork can be adjusted to suit a design decor or theme. Colour swatches and breakdowns should be supplied to best support the desired colour
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION Impressionist photographic artwork of mangrove leaves floating under the
Fallen #02
3:2
2100 x 1400 surface of an incoming tide.
Red Lipsticks #01
2:3
1400 x 2100 garden.
Drive By Shooting #02
3:2
3000 x 2000
Bush lands #07
3:2
3000 x 2000
Bush lands #08
3:2
3000 x 2000
Fronds #01
3:2
2100 x 1400
Impressionist photographic artwork of red lipsticks palms in a local tropical
Impressionist artwork of a forest captured from in a car driving at 100kms.
Impressionist artwork of a bushland taken while raining.
Impressionist artwork of ferns deep in a forest.
Impressionist artwork of palm fronds in a local tropical garden.
match. However colour adjustment will be at the final discretion of artists to ensure the artwork integrity is maintained.
Example Ar twork Index
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D e s i g n e r : CCW Ca i r n s Ca b i n e t W o r k s
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G l a s s Ma n u fa c t u r e r : B e n t & C u r v e d G l a s s
FEATURE APPLICATION The photographic artwork was selected by designer Rod Busoli to use in the HIA Design of the year award winning kitchen, for the Japanese inspired house in Cairns, Far North Queensland. The artwork has been integrated in an opaque toughened glass panel and fabricated to size to suit the custom cabinetry and range-hood with in-built down-lights. According to Rod: “the kitchen won HIA Design of the year I believe due to the use of the space and the point of difference with the Maple Leaf Glass Splash Back, that was chosen to go with the Japanese inspired design of the house. It is a major focal point from the outdoor dining area and is the topic of many conversations.�
Designer website: www.ccwcabinetworks.com.au
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l 14
ou Davidson
Fallen #02
ARTIST BIO Lou Davidson has pursued her interest in fine art photography after completing her degrees in fine arts and business. A recent ‘sea change’ challenged Lou’s photography. Living aboard a cruising yacht changed her ‘playing field’ – no longer level or still with a chart table doubling as a studio. Lou’s tripod is rendered useless onboard, and difficult to transport ashore in a small dinghy. Lou experimented and developed an abstract or impressionist style of photography that doesn’t require pin sharp images or follow the traditional rules of photography. Lou’s camera became her paintbrush without the smells of paint, oils, turps and other media. The camera is her tool to record, not only what her eyes see but what her other senses tell her about the subject, her experience, and her memory of being there. Lou uses hand held long exposures moving her camera to “paint” the people, places, animals, and activities encountered in her travels. She often fiddles with the camera settings, uses customised filters; or adds anything that light penetrates to achieve interesting effects. Lou creates themed series of abstract or impressionist images from her favourite places in and around North Queensland both from onshore and offshore. Lou lives aboard her yacht which is currently berthed in a Townsville marina, or sometimes anchored at an island somewhere off the North Queensland coast.
Red Lipsticks #01
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Lou Davidson 16
Golden Green
Drive By Shooting #02
Bush Lands #08
Bush Lands #07
Canopy Blues #02
Autumn Delight #07
Fronds #01
Water Lily #01
Palm Song #02
Croton #01
The Rainbow Tree
Lou Davidson ARTWORK INDEX ARTWORK TITLE
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION
ARTWORK TITLE
Impressionist photographic artwork of mangrove leaves floating under the surface of an incoming tide.
Golden Green
2:3
1400 x 2100
Water Lily #01
2:3
1400 x 2100 tropical garden pond.
Palm Song #02
2:3
1400 x 2100 garden.
Fallen #02
3:2
2100 x 1400
Red Lipsticks #01
2:3
1400 x 2100 garden.
Drive By Shooting #02
Bush lands #08
Bush lands #07
3:2
3:2
3:2
Impressionist photographic artwork of red lipsticks palms in a local tropical
3000 x 2000
3000 x 2000
3000 x 2000
Impressionist artwork of a forest captured from in a car driving at 100kms.
Impressionist artwork of ferns deep in a forest.
Impressionist artwork of a bushland taken while raining.
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION Impressionist photograph of plants in a tropical garden.
Impressionist photographic artwork of water lilies reflected in a local
Impressionist photographic artwork of a palm leaf from in a local tropical
Impressionist photographic artwork of a croton plant from in a local tropical garden.
Croton #01
2:3
1400 x 2100
The Rainbow Tree
2:3
1400 x 2100 rainbow flicker and light flare.
Impressionist photographic artwork of a tree moving in the wind with a
Impressionist artwork taken looking skywards under palm trees in a tropical garden.
Canopy Blues #02
3:2
2100 x 1400
Autumn Delight #07
3:2
3000 x 2000 the sunlight.
Fronds #01
3:2
2100 x 1400
Impressionist artwork of autumn leaves moving in the breeze dancing with
Impressionist artwork of palm fronds in a local tropical garden.
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w 18
endy Roche
Burleigh Sunsets
ARTIST BIO Wendy Roche is an Australian impressionist photographer who travels throughout the world capturing images that provoke a deep sense of mystery and mood. Her images of nature, often intertwined with the human form, invoke use of movement, colour and light to mesmerise, move and magnetise. Her mystic images haunt as well as inspire. Often her photographs depict a place of hope, a favourite refuge, or a meditative land. Awesome and powerful, sensual and natural, risky and individual - her style is unique and timeless. Through her lens, we are more human, more in touch with nature, more alert to the possibilities of life and love and living. Wendy is a devotee of Ansel Adams (1902-1984) the American environmentalist and photographer. ‘To photograph truthfully and effectively is to see beneath the surfaces and record the qualities of nature and humanity which live or are latent in all things.’ Ansel Adams (19021984). An example of this is Wendy’s fascination with photographing the stunning beaches at Burleigh Heads on the eastern coast of Australia. ‘The softness of light gives my photos an ethereal effect. I feel at peace at this place and love the serenity at dusk. It has always been one of my favourite locations to shoot my images.’ Wendy has released 3 photographic books. Passing Images was released in 2009 (Limited Edition), Brushstrokes: The Art of Photography in 2010 (Limited Edition with fellow photographer and mentor, Ken Ball) and Impressions of Europe in 2011 (with Ken Ball). Call of the Sea
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WENDY ROCHE 20
Warrior Princess
Burleigh Tide #01
Burleigh Tide #02
Autumn Surf
Distant Horizons
Tidal Light
Blue Tide
Evening Glow
Sunset Hues
Blue Ink
Tidal Blue
WENDY ROCHE ARTWORK INDEX ARTWORK TITLE
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION Impressionist photographic artwork of the ocean captured at dusk.
Burleigh Sunsets
2:3
2100 x 1400
Call of the Sea
2:3
1400 x 2100 dusk, emphasising the female form.
Autumn Surf
2:3
Impressionist photographic artwork of a lone woman facing the ocean at
2100 x 1400
Impressionist photographic artwork of the ocean captured at dusk.
Impressionist photographic artwork of a gentle moving wave at dusk
Burleigh Tide #01
2:3
2100 x 1400
Burleigh Tide #02
2:3
2100 x 1400 rich colours and movement.
Distant Horizon
2:3
Impressionist photographic artwork of the ocean during sunset displaying
2100 x 1400
ARTWORK TITLE
Warrior Princess Evening Glow
Tidal Blue
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
2:3
1400 x 2100
2:3
1400 x 2100
2:3
1400 x 2100
Blue Ink
2:3
1400 x 2100
Sunset Hues
2:3
1400 x 2100
DESCRIPTION Impressionist photographic artwork of the female form.
Impressionist photographic artwork of the ocean captured at dusk.
Impressionist photographic artwork of the ocean captured at dusk.
Impressionist photographic artwork of the ocean displaying dark blues blending into whites. Impressionist photographic artwork of the ocean captured at dusk.
Impressionist photographic artwork of the ocean captured at dusk.
Impressionist photographic artwork of the ocean captured at dusk.
Tidal Light
2:3
2100 x 1400
Blue Tide
2:3
2100 x 1400 movement.
Impressionist photographic artwork of light blue water emphasizing
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a 22
ndrew Davoll
Corrugated metal 39
ARTIST BIO As a photographer, Andrew Davoll is continually drawn to the patterns, textures and design of the natural world. It is here that he finds the inspiration needed to create images that go beyond a depiction of reality to deeply express his creative vision. His goal is to transform the literal into the poetic by attempting to portray what he chooses to see or to construct. In this way, Andrew hopes to capture the image of a personal reality by conveying his feelings and an individual way of seeing things, to communicate in a fresh, new language and to question the rule-driven expectations of photography. Freeman Patterson remarks that when making a photograph “the camera looks both ways”, out into the world but also into the heart, spirit and mind of the photographer. Andrew’s images represent a personal journey of discovery about photography, nature and himself – what he sees and who he is combining to form a sense of place and identity. Andrew’s work is an expression of his ongoing exploration of the natural world through the lens of his camera. The biggest challenge for Andrew is in capturing the essence of these moments and transferring them to his photography. Learning to ‘see’ in a new way has been a process of discovery in which the ordinary becomes extraordinary as the wonder of life is revealed. This brings with it a sense of fun, of creating magical places, in making life a mystery and his journey into a creative pathway. The images Andrew makes have elements of the abstract within them, some more than others. Some images are quite surreal (illusions of reality), while others are more easily identified. All articulate a personal response to a specific aspect of nature, an idea or concept. All are open to the viewer’s own interpretation.
Corrugated Metal 15
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ANDREW DAVOLL 24
Floating
44 Drum
Running In
Running
Patches
Red Runners
Rope
Tri Colour
Angel
Light Bubbles
It’s Raining In Perth
Water on the Lens
ANDREW DAVOLL ARTWORK INDEX ARTWORK TITLE
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION Corrugated iron sheet captured in the back lane ways of North Perth.
Corrugated Metal 39
1:1
2100 x 2100
Corrugated Metal 15
1:1
2100 x 2100 back lane ways of North Perth.
Floating
1:1
2100 x 2100 at play.
A dead plant in front of a weathered corrugated iron sheet captured in the
Markings on the hull of a weathered boat resembling a pod of dolphins
44 Drum
1:1
2100 x 2100
Running in
1:1
2100 x 2100
Running
1:1
2100 x 2100
Water on the Lens
1:1
2100 x 2100
Patches
1:1
2100 x 2100
The effects of water running down the side of an old weathered boats hull.
Rivulets of water running down a boats hull.
The effects of water running down the side of an old weathered boats hull.
ARTWORK TITLE
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION A yellow rope hangs down the side of a weathered boats hull.
Rope
1:1
2100 x 2100
Tri Colour
1:1
2100 x 2100
Angel
1:1
2100 x 2100 early sunrise.
Rain drops running across a weathered boats hull.
Scratch marks on the hull of an aluminum boat illuminated during
Lines of tiny clear amber drops coming through the hull of a timber boat.
Light Bubbles
1:1
2100 x 2100
It’s Raining In Perth
1:1
2100 x 2100
Red Runners
1:1
2100 x 2100 lours underneath.
Rain drops running down the side of a boats hull.
Rivulets of water running down a boats hull revealing contrasting co-
Rain drops on the camera lens that captured an section of a weathered boats hull. Patched up sections of a weathered boats hull.
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m 26
ark Pearson
Oriental Screen
ARTIST BIO A certain moment, a certain angle, a step forward, a step back: light, water, waves reflect a new world... Mark Pearson has focussed on photography as an expression of his personal practice, coming to focus more and more in recent years on abstract photography. Mark has spent twenty years teaching in the area of expressive arts therapies and counselling, around Australia, and eight years teaching the use of creative arts in international, multi-cultural settings. He has published extensively in the areas of creative arts therapies and personal and therapeutic development. Mark lives close to and works in Fremantle. Much of Mark’s work consists of micro perspectives of the ever-changing water reflections from waterways around Fremantle, Perth, Sydney, and around Australia. The Waterways collection represents several years of capturing naturally occurring images that are simply close-ups of reflections of light on the surface of shifting waters. Images represent first light, dawn, midday, dusk, sunset, and the dance of night lights, interpreting the reflections as ‘waterscapes’. Sunlight and harbour lights, reflecting from fishing boats, yachts, buildings, trees, shrubs, and wharves, combine with wave motion and the breeze, to create infinite imagery ~ liquid realities of mythological wildfires, beasts, spirit forces and abstract vistas. Strolling beside waterways, enjoying the scenery, taking a break from the rushing world, we are usually unaware of the hidden designs perpetually generated by changing angles of sun, water, waves, breeze, wharves, boats, trees and night lights.This collection of images can contribute to the way we see the environment, and could open eyes to an endless supply of natural beauty. Viewers are encouraged to visit local waterways and wander beside the water and discover the world of reflections.
Afternoon Ripples
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mark pearson 28
Last Light
The Emperor’s Robe
Evening Ripple
Ochre Fire Dance
Beside the Lake
Uluru Resort
Sheoak Pond
Ropeburn Flames
Eternal Flames
Passionate Flames
Light Swell Sparks
MARK PEARSON ARTWORK INDEX ARTWORK TITLE
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION
Oriental Screen
2:3
1900 x 1250
Water surface image captured late afternoon at Fishing Boat Harbour, Fremantle, WA, a gentle swell shaped the reflection of the wharf.
Afternoon Ripples
2:1
1900 x 950
The setting sun brought gold, the sky sent blue, a trawler rigging reflected on water surface at Capo D’Orlando Drive, Fremantle, WA.
1800 x 1200
Golden threads weave over the Bell Tower Pond, Barrack Street, Perth; reflections of the first neon lights of the night. Success Harbour, Fremantle. Late afternoon light danced across the bay, reflecting from a security fence, hinting at the darkness to come.
The Emperor’s Robe
2:3
Evening Ripple
2:3
1900 x 1250
Ochre Fire Dance
2:3
1900 x 1250 Harbour, Fremantle, WA.
Beside the Lake
2:3
Afternoon breeze disturbs the reflection of an orange trawler, Fishing Boat
1900 x 1250
Uluru Resort
2:3
1900 x 1250
Sheoak Pond
2:1
1900 x 950
ARTWORK TITLE
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION Along Capo D’Orlando Drive, Fremantle, fishing trawlers rest, the last light of the sunset bounces from their side.
Last Light
2:3
1900 x 1250
Ropeburn Flames
2:3
1900 x 1250 catch the evening light.
Eternal Flames
2:3
1900 x 1250 D’Orlando Drive, Fremantle, WA.
Along the Swan River, North Fremantle, mooring ropes from family yachts
The golden lights of dusk reflect across the swell from a red barge, Capo
An intense moment of evening light spreads over the agitated water, at Barrack Street Wharves, Perth.
Passionate Flames Flames
2:3
1900 x 1250
Light Swell Sparks Robe
2:3
1900 x 1250 swell.
The sunset over Fishing Boat Harbour, Fremantle, lights up the afternoon
On a quiet grey day, a liquid amber dips to the lake, G. O. Edwards Park, Perth. Within sight of the great rock, an ancient gum tree is reflected in the Ayers Rock Resort water feature, Northern Territory. Elegant sheoaks lean over the pond in Kings Park, Perth.
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a 30
ndrew KALDA
Leaf Study 21
ARTIST BIO Sydney born photographer Andrew Kalda left Sydney and the IT industry in 2003 to devote his time fully to his love of photography. Self taught in the art, Andrew creates unique images with both film and digital equipment using 35mm, medium format and panoramic cameras to capture his images. Andrew creates his work in a wide variety of genres including traditional landscape, abstract, macro and contemporary works. With the current profusion of images that have been heavily altered, Andrew draws a clear definition when it comes to the digital manipulation of his work. The underlying principle is that the viewer of the photograph should be aware if the image has been altered and that for a photograph to remain a photograph, the original image should always be clearly obvious. While Andrew will use digital manipulation on some works to express a particular mood or idea, his landscape and abstract works tend not to use digital manipulation and draw purely on nature and natural light. It is important that while the provenance of the photograph be available (that is where and how the photograph was taken), the interpretation of what the photograph means be left to the viewer. Andrew currently lives in Far North Queensland, Australia, on the Atherton Tablelands near Port Douglas and the Daintree region.
Leaf Abstract 19
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ANDREW KALDA 32
Bamboo Study 1
Leaf Study 1
Lipstick Palm Study 2
Leaf Abstract 7
Polychrome Leaf 1
Bamboo Study 2
Leaf Abstract 6
Leaf Study 13
Leaf Study 2
Polychrome Leaf 2
ANDREW KALDA ARTWORK INDEX ARTWORK TITLE
Leaf Study 21
ASPECT RATIO ORIENTATION
3:2
MAX SIZE (mm) 2400 x 1600
DESCRIPTION Macro study of abstract patterns found within leaves.
Macro study of abstract patterns found within leaves.
Leaf Abstract 19
3:2
2400 x 1600
Bamboo Study 1
3:2
2400 x 1600 Queensland.
Study of a stand of bamboo found in the Daintree region in Far North
Leaf Abstract 7
3:2
2400 x 1600
Lipstick Palm Study 2
3:2
2400 x 1600
Macro study of abstract patterns found within leaves.
ARTWORK TITLE
Leaf Abstract 6
ASPECT RATIO ORIENTATION
3:2
MAX SIZE (mm) 2400 x 1600
Leaf Study 13
3:2
2400 x 1600
Leaf Study 2
3:2
2400 x 1600
Polychrome Leaf Study 2
3:2
2400 x 1600
DESCRIPTION Macro study of abstract patterns found within leaves.
Macro study of abstract patterns found within leaves.
Macro study of abstract patterns found within leaves.
Interpretation of light and shadows with the use of a plant subject.
Macro study of the Lipstick Palm plant.
Macro study of abstract patterns found within leaves.
Leaf Study 1
3:2
2400 x 1600
Polychrome Leaf Study 1
3:2
2400 x 1600
Bamboo Study 2
3:2
2400 x 1600 Queensland.
Interpretation of light and shadows with the use of a plant subject.
Study of a stand of Bamboo found in the Daintree region in Far North
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34
j
ane Davenport
Starry Starry Night
ARTIST BIO Jane Davenport is a professional artist and author of 5 books. Her work has been exhibited internationally and featured on tv, radio and in many publications from Qantas magazine to the Wall Street Journal. “I make images to express my wonder, love and hope for the world. I like to investigate the peripheral edges of our existence; verges, nature strips, vacant blocks and overgrown gardens. There is such glorious, saturated beauty, both harmonious and ragged in ignored spaces”. Jane’s collection entitled Love and DevOcean is an ongoing body of work that is added to progressively. “When I am inspired with an idea or emotion to express and start creating my own work based on my ‘discovery’ I feel like Alice slipping down into a Wonderland. I can explore nature, and bring it back to a scale that is digestible to me”. In a further sense, Jane’s photographic work urges the viewer to connect with nature, and consider all forms of life as important. “‘Wilderness’ is not some far off place that the ‘powers that be’ are protecting. Habitats are far closer than can be imagined, and this is a central theme that often appears in my work”. Love the Beach
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JANE DAVENPORT 36
Fans Crowd The Star
Sea Garden Card
Cairn 2
Show Pony
Star Pile
Hot Frangipani 3
Sea Shells 2
Message In A Bottle Vintage
Horsing Around
Strut Like A Star
JANE DAVENPORT ARTWORK INDEX ARTWORK TITLE
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION A group of starfish arranged onto a background of sand.
STARRY STARRY
2:1
2200 x 1100
LOVE THE BEACH
1:2
1100 x 2200 edge.
SEA GARDEN
1:2
Sea shells assorted and arranged into a love-heart on sand at the waters
1100 x 2200
A number of sea shells and sea urchin stacked on an off-white background.
A starfish surrounded by pink & white frangipani flowers, on a blue background.
FANS CROWD THE STAR
1:2
1100 x 2200
CAIRN 2
3:2
1100 x 2200 a blue sky background.
SHOW PONY
1:2
ARTWORK TITLE
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION An assortment of sea shells, sea urchins and start fish on a white
SEA SHELLS 2
1:2
1100 x 2200 background.
MESSAGE IN A BOTTLE VINTAGE
1:2
1100 x 2200 shells, urchin and frangipani flowers.
HORSING AROUND
1:2
1100 x 2200
Two kissing sea horse mirroring each other in the shape of a heart on a light brown background.
STRUT LIKE A STAR
1:2
1100 x 2200
Glass bottle with paper scroll within ‘message in a bottle’, surrounded by
A blue starfish set on a beachy background.
Stones found by the beach piled in a stack with a white star fish, set against
1100 x 2200
STAR PILE
1:2
1100 x 2200
HOT FRANGIPANI
1:2
1100 x 2200
A sea horse and star fish positioned on a turquoise background.
A close-up shot of a number of blue star fish piled on a sand background.
Three pink frangipani flowers on a blue background.
37
s 38
tuart Gibson
Reach
ARTIST BIO Stuart Gibson is a surf photographer from Tasmania, Australia. Stuart’s introduction to photography was one of accident, quite literally. A car smash saw him hobbling on crutches and plastered up to a dangerously itchy level, but this forced shore leave proved to be a blessing in disguise as soon as he picked up the camera. Shooting from the beach on a pre-loved Canon film rig, Stuart realised that he had stumbled onto a good thing, judging not only by the powerful images that he was capturing, but also by his outspoken, eager mates that were mildly excited to see some shots of themselves. It was then that Stuart realised he had found his passion and his true life calling. The collection of photographs within the catalogue are predominantly captured off the shores of Tasmania and include surf locations such as Shipstern Bluff - regarded by many professional surfers as one of the most intense surf locations in the world. Today, Stuart’s images are published and recognised around the world, both in print and pixel. His ability to maintain timing and composition in heavy situations is awe-inspiring to say the least, yet his humble attitude earns him respect amongst his peers and the industry. South Arm
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STUART GIBSON 40
Golden Spook
Golden Flare
Bay of Fires #01
Sandsucker
Golden Rings
Gold Reflection
Rebounds 1
Energy
Dark Evil Shipstern
Binalong Bay #01
Log Cabins Green
Shipstern Bluff #02
STUART GIBSON ARTWORK INDEX ARTWORK TITLE
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION Abstract shot of white water from the end of a broken wave as it hits the edge of the sand.
Reach
3:2
2400 x 1600
South Arm
3:2
2400 x 1600 water.
Golden Spook
3:2
2400 x 1600
Surf shot from within a breaking wave capturing the colours of the sky and
Surf shot from within a wave illuminated during sunrise.
Surf shot from within a wave during sunrise capturing the flaring water.
Golden Flare
3:2
2400 x 1600
Bay of Fires #01
3:2
2400 x 1600 shore.
Sandsucker
3:2
Golden Rings
3:2
Gold Reflection
3:2
Surf shot from within a shore breaking wave capturing also the sky and
2400 x 1600
2400 x 1600
Surf shot of a miniature shore breaking wave, B&W.
ARTWORK TITLE
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION Surf shot from within a barrelling wave capturing the reflection of the rising sun and detail of the water.
Rebounds 1
3:2
2400 x 1600
Energy
3:2
2400 x 1600
Dark Evil Shipstern
3:2
2400 x 1600 beach.
Surf shot of a classic powerful barrelling wave at Shipstern Bluff
Binalong Bay #01
3:2
2400 x 1600
Log Cabins Green
3:2
2400 x 1600
Shipstern Bluff #02
3:2
Aerial view of large and powerful crashing wave.
2400 x 1600
Surf shot of a barrelling wave captured from fish eye view.
Surf shot of a barrelling wave captured from fish eye view.
Surf shot of a powerful wave crashing into headland rocks at Shiptern Bluff, B&W.
Surf shot from within a wave capturing a gold ring reflection from the sun.
Abstract reflection over water and sand of a blue and yellow sky.
41
s 42
teven Nowakowski
Pillars of Grace
ARTIST BIO Located in the beautiful Blue Mountains, west of Sydney, Steven Nowakowski’s childhood ensured nothing less than an enchanted upbringing. Good fortune was his exposure to the wonder and magnificence of the Australian bush at such an early age, instilling within him a yearning and love for all things natural and wild. Steven says his passion for photography has developed into a strong medium for himself. A desperation to display to fellow Australians, just how uniquely beautiful and delicate our wild lands are. He firmly believes the printed image has, and will, play a vital role in conserving what is left our natural heritage. Steven Nowakowski’s photography has since become a professional career. He mostly specialises in Australian Wilderness Photography. His collection includes wild and remote landscapes of Australia with and without people interacting within it. His collection also includes a vast range of images of environmental destruction and degradation, along with conservation initiatives to preserve and protect our dwindling wilderness. Here in Cairns, Steven successfully manages his own photographic publishing business called Steven Nowakowski Publishing. His photographic images appear in numerous outdoor magazines, calendars, diaries, books, and he also publishes wilderness posters, postcards, bookmarks, calendars and photographic prints. In 2003 Steven launched a wonderfully elegant and powerful photographic art book, about Hinchinbrook Island. This was a ten year labour of love. More recently he has worked with the Kuku Yalanji people of the Daintree rainforest of North Queensland, a project based on promoting aboriginal fire culture and management. Rainbow’s End
Josephine Falls 1
43
STEVEN NOWAKOWSKI 44
Silent Rising
Zoe Falls
Reflections
Creek Ferns
Whitehaven
Millaa Millaa Falls
Whitsunday Dreaming
Island Dreaming
STEVEN NOWAKOWSKI ARTWORK INDEX ARTWORK TITLE
ASPECT RATIO ORIENTATION
MAX SIZE (mm)
DESCRIPTION
ARTWORK TITLE
Tasmania Snow Gums, after shedding their bark, their new skin shines a bright yellow after rain, heralding a new beginning.
Millaa Millaa Falls
3:1
6600 x 2200
Whitsunday Dreaming
3:1
6600 x 2200 ambience rarely encountered at the
Island Dreaming
3:1
Pillars of Grace
3:1
6600 x 2200
Rainbows End
1:3
2200 x 6600 East Queensland.
Josephine Falls 1
1:3
A rainbow captured at the base of Queen Mary Falls located in South
Jospehine Falls located at Babinda in Far North Queensland, one of the
2200 x 6600 highest annual rainfall locations in Australia.
3:1
6600 x 2200
Zoe Falls
3:1
6600 x 2200 in Far North Queensland.
3:1
MAX SIZE (mm)
DESCRIPTION Millaa Millaa Falls at Far Northern Queensland. QLD.
Whitehaven beach is captured during an early morning exhibiting calm and high traffic location.
The last of the afternoon light washes over weather-worn boulders on iso-
6600 x 2200 lated Hinchinbrook Island.
A small tender boat tied up ashore during sunrise at Deepwater National Park,1770, QLD.
Silent Rising
Reflections
ASPECT RATIO ORIENTATION
Zoe Falls a serene waterfall situated 2 to 3 days bush walk from Hinchinbrook
6600 x 2200
Reflections on sunrise captured at the Whitsundays region, QLD.
Green creek ferns line the edge of a freshwater creek in North Queensland.
Creek Ferns
3:1
6600 x 2200
Whitehaven
3:1
6600 x 2200 days region, Qld.
The iconic white sand and landscape of Whitehaven Beach in the Whitsun-
45
46
g
ary Steer
Colour Chart on Bark
ARTIST BIO Gary Steer’s photographic/cinematic background is documentary film production. For the past six years Gary has specialised in still photography, covering subject areas of landscapes – wilderness, rural, ocean, desert – wildlife, heritage and sport. The landscape work includes aerial photography over much of Australia. Currently, Gary’s particular interest is capturing images of nature that depart from realism and give impressionist and abstract interpretations. “I’m curious in what it is about landscape and nature that has inspired art for many centuries”.
New Summer Bark
Gary Steer exhibits his work, both through commercial galleries and independently. Since 2003 Gary has had 14 exhibitions, eight of them solo. Gary has been awarded in photographic competitions including the Natural History Museum of London’s Wildlife Photographer of the Year Competition, the International Aperture Awards, Nature’s Best International Awards of the Smithsonian Institute Washington, the International Garden Photographer of the Year Awards and Kew Gardens UK. In 2006 he was awarded the ANZANG Landscape Photographer of the Year Award. Additionally Gary’s works have been selected as finalists in competitions such as the National Photographic Portrait Prize of the Australian National Portrait Gallery, Australia’s Top Photographers Awards and the “Asferico” International Nature Photography Competition, Italy. Butterfly & Scribbly Gum
47
gary steer
River Frozen in Time
48
Vivid Rocks
Woman in Stone
Floods of Time
Ribbons of Colour
Colours of a Cavern
Mountains in Miniature
Turimetta Rocks
Rock Shield Pattern
Little Blue Bay
Blue Stone Forrest
GARY STEER ARTWORK INDEX ARTWORK TITLE
ASPECT RATIO ORIENTATION
Colour Chart on Bark
3:2
New Summer Bark
1.3:1
Butterfly & Scribbly Gum
3:2
2400 x 1600
DESCRIPTION As strips of bark lift from the trunk of a gum tree they take on a variety of colours. Bendigo, Victoria. When the days warm in summer the new bark emerges as the old peels
2200 x 1800 away. Narooma, NSW.
When layers of peeling bark reveal the “scribbles” or remains of tunnels
2400 x 1600 where moth larvae fed under the bark.
ARTWORK TITLE
ASPECT RATIO ORIENTATION
1.8:1
Ribbons of Colour
3:2
2800 x 1600
Layers of sand exposed in the roof of a sandstone overhang. Kurnell, NSW.
Beds of sand and silt deposited by ancient rivers now preserved in time
2400 x 1600 as multi-coloured layers of sandstone.
1.8:1
2800 x 1600
Newly exposed rock surfaces show a great variety of colours. Turimetta Beach, NSW.
Vivid Rocks
3:2
2100 x 1400
Mountains in Miniature
3:2
2400 x 1600
DESCRIPTION Multiple colours displayed in a rock surface. Turimetta Beach, NSW.
3:2
2100 x 1400
Woman in Stone
1.2:1
2200 x 1800
Floods of Time
1.2:1
2200 x 1800 compressed to sandstone. Kurnell,
Sandstone cliff formation, Curl Curl, NSW.
Layers of sand and silt deposited over millions of years by flooding rivers then NSW.
Multiple patterns and colours in sandstone. NSW.
Rock Shield Pattern
1.2:1
2200 x 1800
Little Blue Bay
1.2:1
2200 x 1800 Bay, NSW.
Kurnell, NSW.
Rich, golden colours of layers of sandstone in a coastal rock cavern. Lurline Bay, NSW.
MAX SIZE (mm)
Turimetta Rocks
Narooma, NSW.
River Frozen in Time
Colours of a Cavern
MAX SIZE (mm)
Blue Stone Forest
1.2:1
Pattern and colours caused by running water on sandstone. Little
2200 x 1800
The coastal cliffs show remarkable patterns and colours. Bateman’s Bay, NSW.
Blue rock surface resembling miniature mountains. Pretty Beach, NSW.
49
FEATURE APPLICATION The contemporary artwork for the series of art-glass panels
was
developed
by
designers
from
R-Co
Melbourne, for the up-market restaurant and bar; The Botanical Hotel, situated opposite the South Yarra Botanical Gardens in Melbourne. The Botanical Hotel had recently undergone a large renovation during the end of the 2010, including upgrades throughout the interior & exterior of the building. The floor-to-ceiling transparent glass panels have been utilized as partitioning and framed sliding doors to separate the private dining room from the rest of the restaurant. The artwork has been integrated within a series
of
transparent
glass
panels
providing
an
excellent practical solution given the importance placed on the required durability of the artwork within the high traffic area and additionally the desired level of privacy and light transmission. Designer website: www.r-co.com.au 50
A RTWORK DESIGNER : R - C o , M e l b o u r n e .
G l a s s m a n u fa c t u r e r : L i v i n g G l a s s , M e l b o u r n e .
51
DISTRIBUTORS QLD
NSW & ACT
VIC & TAS
SA & NT
WA
City Glass
Bent & Curved Glass
Living Glass
Chevron Glass
Modern Glass
391 Bradman St Acacia Ridge
257 Milperra Rd Revesby
29 Colebrook St Brunswick
5 Brandwood St Royal Park
35 Stebbing Rd Maddington
QLD 4110
NSW 2212
VIC 3056
SA 5014
WA 6109
Phone 07 3370 6777
Phone 02 9773 1022
Phone 03 9384 1344
Phone 08 8447 6444
Phone 08 9493 1600
sales@cityglass.com.au
sales@bentglass.com.au
info@livingglass.net.au
royalpark@chevronglass.com.au
sales@modernglass.com.au
www.cityglass.com.au
www.bentglass.com.au
www.livingglass.net.au
www.chevronglass.com.au
www.modernglass.com.au
Viewcol Pty Ltd Australian HQ: 33 - 35 Whites Creek Lane Annandale 2038 NSW Australia Phone: 02 9569 1700 Fax: 02 9569 1400 E-mail: sales@viewcol.com Facebook: www.facebook.com/viewcol
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