Issue 7: Artists and Autodidacts by Sandra Conte

Artists and Autodidacts

…more than words

EDITION #7 – JUNE THROUGH OCTOBER 2015 www.facebook.com/Earthemag www.earth-emag.com

Rosalie Gascoigne The countryside for me was so confirming, so beautiful, and so exciting. …it’s a marvellous freedom… It is not about how it looks but how you feel about it. Interview: https://www.youtube.com/watch?v=AyhFTwP7bOY

ROSALIE GASCOIGNE (1917-1999) GRACIOUS SALVAGER Reflecting on Australasian sculptor, assemblage artist and autodidact, Rosalie Gascoigne, and an elegant retrospective at the Ian Potter Centre, National Gallery of Victoria, Australia in 2008-2009, nearly ten years after her passing, the artist’s work continues to inspire. Gascoigne’s poetic interpretations of the landscape she so closely communed with, involved the ‘upcycling’ of discarded objects as representative of the ‘feeling’ of such ‘scapes. Top right: Ian Potter Potter Centre, National Gallery of Victoria, Australia, entrance, 2009, Photograph Sandra Conte, 2009. Left and bottom right: Image by Sandra Conte, 2009 of exhibition banner, taken from the Ian Potter Centre: National Gallery of Victoria, as the 2009 summer bushfires decimated country and community of nearby townships. Banner detail was drawn from Rosalie Gascoigne Sweet Lovers 1990 original reflective synthetic polymer film on plywood 105.0 x 79.5cm. Collection of Christopher Hodges and Helen Eager, Sydney from the photo by Christian Markel.

artists and autodidacts

LUMINARY OF LANDSCAPES

eARTh e-mag’s edition #7 theme of ‘Artists and Autodicacts – more than words’ applies to the late Rosalie Gascoigne who had no formal training and often utilised text in assemblages as her response to the surrounding environment. Rosalie’s first exhibition was at the age of 57, springboarding her to international recognition and a 25 year career where she represented, rather than depicted, her surrounding landscapes. Through those years she employed assemblage art, flash art with road signs, name stamped soft drink boxes, patchy enamelware and torn lino., all of which had a place in her oeuvre embracing the overlooked and under-represented; she also utilised techniques of gridding, repeating, fragmenting and compressing, to respond and relate to the environment with lyricism and simplicity. Born in New Zealand and relocating to Australia at 26 years as a housewife on the isolated scientific community of the Mt. Stromlo Observatory, where her husband was an astronomer, Rosalie had no access to a vehicle and so communed with the landscape in her daily walks, pushing the pram with young family in tow. Developing an initial interest in Ikebana, Rosalie transitioned to sculpture as an assemblage artist, graciously salvaging and reworking found pieces from roadsides and dumps. In 1982, she was the first woman artist to represent Australia at the Venice Benniale. Throughout her various stages of art, for instance where she moved from ‘flash’ to a minimal style, the artist and autodidact continued to redefine the Australian landscape with more than words – it was the representation, reflection and a recreation of the feeling, the sense of place of that unique landscape from which she sourced objects to capture the unique environment surrounding her for over 50 years. In 1994 Rosalie Gascoigne was awarded the Order of Australia for her services to the Arts. Rosalie Gascoigne’s work is represented in many major Australian collections such as the National Gallery of Australia, Museum of Contemporary Art, Sydney, National Gallery of Victoria, QAGOMA Brisbane, along with numerous private collections and the Metropolitan Museum of Art in New York. Online samples of Rosalie Gascoigne’s work can be found at the Roslyn Oxley9 Gallery and the Monash University Arts websites. https://www.youtube.com/watch?v=kwozZ21Y44Y http://www.australianbiography.gov.au/subjects/gascoigne/ http://citygallery.org.nz/exhibitions/rosalie-gascoigne

Rosalie Gascoigne, Flash Art, 1987, National Gallery of Victoria, tar on reflective synthetic polymer film on wood, 244.0 x 213.5 cm, Canberra ACT, National Gallery of Victoria, Melbourne, Purchased with funds donated by the Loti & Victor Smorgon Fund, 2010 @ Rosalie Gascoigne/Licensed by VISCOPY, Sydney

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TRIBUTE Rosalie Gascoigne VIEW FROM eARTh COVER STORY Robert MacPherson PROFILE Tatiana Clauzet SNAPSHOT Boneta-Marie Mabo TAKE 5 Anne Harris eARThy KIDS WHAT ON eARTh? REVIEWS eARTh BIZ NEXT ISSUE YOUTH ZINE SCENE BACK STORY

artists and autodidacts

NZ to AUS Australia/UK/NZ Australia Brazil to Australia Torres Strait Island/Mackay/Bris Arnhem Land to Noosa Canada to Perth The Outback to Melbourne Woodfordia Poland, Eumundi Asia Pacific Coachella to SE Qld London/Korea/Dubai

DISCLAIMER eARTh e-mag is an online publication produced by Conte Creative Concepts showcasing earth-inspired art from around the globe. Content of eARTh e-mag is subject to copyright. Reproduction in whole or in part without written permission of the e-mag producer, team or relevant contributors is prohibited. Views expressed in eARTh e-mag are not necessarily those of the Producer or core team. The publication of editorial or advertisement does not necessarily constitute an endorsement of views or opinions expressed and the Producer does not accept responsibility for statements made by advertisers orÂ contributors.

“Where the spirit does not work with the hand there is no art”, is a quote from famous autodidact and artist Leonardo da Vinci. Self-taught artists engender a deep fascination for me, mainly concerning their motivation and practise; when they work with, for, or in response to the environment the results can be inspirational beyond words. Two ‘supremes’ spring readily to my mind from this realm of art and autodidactism, being Robert MacPherson and the late Rosalie Gascoigne, neither seekers of limelight, both articulate and elegant in their practise. The former is the cover story for this edition and the latter found in the first, new ‘Tribute’ section. Both have, at times, integrated text into their work which of course is about ‘more than words’ as the articles attest. * eARTh e-mag is entering a new phase – check out our description of the new format in the ‘Next Issue’ section – it’s all about adaptation and collaboration as the key to sustainability. ACKNOWLEDGEMENTS: The eARTh team acknowledges the traditional custodians on whose land we walk, live, work and play. Producer, Sandra, extends thanks to Sarah Heath Design for engagement in this publication. ATTRIBUTIONS FRONT COVER: Boudist, installation photograph of Robert MacPherson Chitters: A Wheelbarrow for Richard, 156 Paintings, 156 Signs from the 17th Biennale of Sydney. 2010. Reproduced by kind permission of the photographer. BACK COVER: Jung Lee, The End, 2010, C-type Print, 100 x 125 cm. Courtesy Green Art Gallery, Dubai.

This ‘second birthday’ edition of eARTh e-mag highlights those artists and their autodidactism. The subtitle ‘more than words’ focusses on the subtext of their work. While not ‘environmental artists’ as such, their work is at one with their environments. Robert MacPherson’s ‘Frog Poems’ series spoke volumes around ‘otherness’ while Rosalie Gascoigne’s Great Blond Paddocks sang as loudly to me as a choir of evening cicadas in the sweltering summer. Exposed to both as an undergraduate of fine arts, their works were all-powerful, pure prose, engaging me with the notion that their roads less travelled to art making had produced results beyond teaching. While Gascoigne is said to have come late to art, like MacPherson, she had always felt herself to be an artist. This seems to be the mark of the artist as autodidact, their passion being integral to the person and their practice, not an extension.

Zandalee & Sandra of eARTh e-mag entering a winter collaboration that feels a lot like Christmas*

While Rosalie passed away in 1999, her work and legacy remains powerful, timeless and enduring. Robert MacPherson is being honoured in an imminent survey exhibition presented at the Gallery of Modern Art by Queensland Art Gallery | Gallery of Modern Art (QAGOMA) in 2015 and eARTh e-mag is excited to attend this show. As a result, preparation of this second birthday edition of eARTh e-mag has been feeling a lot like Xmas with knowledge of the many discoveries in store for the remainder of 2015. Read on for your own surprises in the artists and autodidacts who have worked in the remote parts of Arnhem Land to the national parks of Brazil. Yours in eARTh Sandra Conte, Producer, eARTh e-mag www.facebook.com/Earthemag

more than words

THIS PAGE: Robert MacPherson Australia QLD b.1937 “MAYFAIR: (SWAMP RATS) NINETY-SEVEN SIGNS FOR C.P., J.P., B.W., G.W. & R.W.” 1994–1995 Artists’ acrylic on masonite 97 panels: 91.5 x 61cm (each) Purchased 1998 with a special allocation from the Queensland Government. Celebrating the Queensland Art Gallery’s Centenary 1895–1995 Collection: Queensland Art Gallery, Brisbane

artists and autodidacts

OPPOSITE LEFT: Robert MacPherson Australia QLD b.1937 “MAYFAIR: BETHONGA GOLD, FOR B.T.O’S.” 1995–2006 Dulux Weathershield Acrylic on masonite Three panels: 122 x 91cm (each) Purchased 2012 Collection: National Gallery of Australia, Canberra

OPPOSITE RIGHT: Robert MacPherson Australia QLD b.1937 “MURRANJI: 15 FROG POEMS, A KEENING” 1996–1997 Stencilled acrylic paint on blankets 15 units: 220 x 180cm (approx., each) Collection: The artist Courtesy: Yuill | Crowley, Sydney

which also toured to the Museum of Contemporary Art, Sydney. Widely exhibited and collected throughout Australia, so too has he an international audience who have responded to his group shows in Wales, Germany, Sao Paulo, Belgrade, Singapore, the Hague, Lisbon, and the Sharjah Biennial (United Arab Emirates).

ROBERT MACPHERSON, THE PAINTER’S REACH is the much anticipated survey exhibition running at the Gallery of Modern Art, QAGOMA, Brisbane, QLD, Australia from July 25 – October 18, 2015. MacPherson is an intriguing artist and autodidact, regarded as one of Australia’s best-ever conceptual artists. Born in Brisbane in 1937, the artist continues to live and work in the Queensland capital. He travelled extensively during the 1970s throughout Europe and also worked in the Australia Council’s Greene St Studio in New York City.

MacPherson’s autodidacticism and varied working life is reflected in his work which has been shown in a wide range of contexts minimalism, abstraction, the archival impulse, humour, aesthetics, conceptualism, and the everyday. By including major works from the various strands of his career, ‘The Painter’s Reach’ shows how this extremely capacious practice is at once coherent and playful, an ongoing and singular engagement with the act of painting. Queensland Art Gallery | Gallery of Modern Art (QAGOMA) Director Chris Saines declared on his public announcement of the exhibition that there was to be inclusion of “significant works from the QAGOMA Collection such as Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W. 1994–95, and a major new acquisition yet to be announced, as well as important loans from public and private collections.” He stated that MacPherson’s “art sees invention in everyday Australian life and landscapes, in the roadside signs, the almost-forgotten slang words and the classifications of flora and fauna that we often take for granted”. Gallery of Modern Art (GOMA), Brisbane, QLD, Australia, Opening Hours Daily: 10.00am – 5.00pm http://www.qagoma.qld.gov.au/

Exhibiting since the 1970s, MacPherson employs text in many pieces, achieving a seamless fusion of the colloquial and conceptual, around landscape and language, as is highly evident in the large scale works from the ‘Mayfair’ series which will form part of ‘The Painter’s Reach’ exhibition. There will be paintings, installations, ephemera and works on paper, to reveal the artist’s ‘reach’ extending from the particular to far beyond. Significant works from the QAGOMA Collection as well as loans from public and private collections throughout Australia will be on display, accompanied by a substantial full-colour catalogue, including an essay by exhibition curator and writer, the New York based Ingrid Periz. Having worked with MacPherson over the years Periz is said to be keen to showcase the artist’s conceptual sophistication and wit. As a constant presence on the Australian art scene for almost forty years, MacPherson’s work has been highly respected as reflected through inclusion at six Sydney Biennales. In 2001 he was the subject of a 2001 survey exhibition at the Art Gallery of Western Australia,

The powerful front cover image for this edition of eARTh is of the Robert MacPherson work Chitters: A Wheelbarrow for Richard, 156 Paintings, 156 Signs, (1999-2000) taken at the 2010 17th Biennale of Sydney by Boudist, a Sydney based photographer and autodidact. eARTh e-mag is grateful of the photographer’s permission to reproduced this photograph for the cover. See more of his work at danielboud.com

more than words

Pairs for Life Ser uma artista autodidata me deu coragem para experimentar, explorar e acertar através dos erros sem regras préconcebidas. To be a self-taught artist gave me the courage to experiment, explore and get it right through the mistakes without preconceived rules TATIANA CLAUZET 2015

Tatiana Clauzet, was born in Sao Paulo, Brazil in 1980 and commenced her self-taught arts career in 1998 when she came to Australia for the first time and had the unique opportunity to live for five months on a farm in the heart of Flinders Ranges, South Australia. Tatiana recalls it was “The rawness, light and beauty of that environment that awakened the feeling to express that experience though art.” Since then, Tatiana has not stopped painting, building a solid, 16 year career with exhibitions in both her home country and overseas, participating in documentaries and publishing books of her work. Her studio is situated in the middle of the Atlantic Forest on the south part of Rio de Janeiro state. LEFT: Tatiana Clauzet, King Parrots (detail), acrylic on paper, 42 x 29.5cm

artists and autodidacts

Tatiana finds her focus in the expression of what she sees in nature through sharp lines, geometric patterns and vivid colors to uncover the hidden beauty of the natural elements. Paintings on paper are developed as studies to later form detailed compositions on canvas, where she explores the spiritual relationship between man and nature to create a mystic and symbolic picture which invites the viewer to weave their own history/myth within. Tatiana feels this is what sees many people from different parts of the world, follow and appreciate her work in an intimate way. She cites one such supporter as Joan Kennedy, an owner of The Linen Press, an Australian company that develops and produces fine Australiana themed products for the home. While part of Tatiana’s work includes travelling to wild places in Brazil and around the world to find inspiration for new work, last year’s five month road trip around Australia with her husband, Australian artist Christian Spencer, meant immersing in 26 National parks and varied landscapes. For Tatiana, painting Australia again, this time with the refinement that her career years have provided, saw her drawn to undertake a series of Australian birds named ‘Pairs for life’. This gained the attention of The Linen Press, who contacted Tatiana and proposed a partnership developing utilitarian products inspired by the series. The series includes Black Cockatoo, Eastern Rosella, Galah, King Parrot, Gang Gang Cockatoo and Regent Parrot. According to Tatiana, “The six parrots gave the name to this collection, ‘Pairs for Life’, a tribute not only to the love that these parrots have one for

Tatiana at work in her studio in Brazil. Photograph by Christan Spencer.

9 more than words

PROFILE CONTINUED

FROM LEFT: Tatiana Clauzet, Black Cockatoos, acrylic on paper, 42 x 29.5cm Tatiana Clauzet, King Parrots, acrylic on paper, 42 x 29.5cm Tatiana Clauzet, Galahs, acrylic on paper, 42 x 29.5cm Tatiana Clauzet, Gang Gang Cockatoos, acrylic on paper , 42 x 29.5cm

another (they choose their mates and stay together for life) but also to the wonderful nature of Australia that deserves to be celebrated in all its colours and beauty”. Following months of development, choosing the best material and way to present the art on those products, a refined quality was reached, as is standard for The Linen Press which includes not only beautiful products valuing Australian nature, but is also committed to acting sustainably wherever possible. The Linen Press has certification with Australian Certified Organic (ACO) and is a Climate Friendly Business. www.thelinenpress.com.au/ The ‘Pairs for Life’ collection of tea towels are on certified organic material and are now sold on The Linen Press web site shop as well as other outlets. This pairing between Tatiana and The Linen Press allows the general public to enjoy art in day-to-day life as quality products. While this partnership brings Tatiana’s art back to its origins,

artists and autodidacts

the country in which it blossomed now celebrates its surrounding natural beauty through her work. Tatiana maintains Australia is an infinite source of inspiration and trusts the returning work of ‘Pairs for Life’ will keep she and her Australian husband always close to the country. www.tatianaclauzet.pro.br/ O caminho é mais longo e difícil para o autodidata encontrar as ferramentas pra materializar idéias abstratas, mas neste meio tempo ele fortalece e desenvolve a essência dessa ideia, a alma da expressão artística. Self-taught is a longer and more difficult way to get the tools to materialize abstract ideas, but it means your strengths develop the essence of that idea, the soul of the artistic expression Tatiana Clauzet, 2015.

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ag m e h T eAR SHOT SNAP

“I want to focus on our nation’s historical events that are commonly viewed as exclusively ‘Aboriginal history’, but still have an effect on our broader society today. “I would like to create a work that expresses the seriousness and long-lasting impact of historical atrocities, and brings them into the consciousness of mainstream society.”

‘Unsettled’ Project by Artist in Residence

Boneta-Marie Mabo with her work, including a portrait of grandfather Eddie ‘Koiki’ Mabo.

Boneta-Marie Mabo, a nationally celebrated Mackayborn artist has been named as the inaugural recipient of the kuril dhagun Indigenous Artist in Residence program which forms part of State Library of Queensland’s ongoing commitment to programs for, with, and by Aboriginal and Torres Strait Islander communities.

Visitors to State Library will be able to observe and engage with Miss Mabo in her temporary studio in kuril dhagun on level 1 of the State Library building at South Bank from July 6 to October 2. She will also host a portrait drawing workshop at State Library as part of her residency. At the end of the residency, Miss Mabo’s work will be on display in kuril dhagun’s exhibition space. Boneta-Marie Mabo is an artist and autodidact given the majority of her training is all self-taught from a young age. Coming from an extremely artistic family – her mother, father and grandfather all being artistically inclined – she and her siblings, as young children, were not allowed to watch television so their time was spent creating art in various forms. Boneta-Marie says she is very closely connected to her family who continue to inspire her work. Boneta-Marie has recently undertaken formal study in Visual Arts at the Institute of Koorie Education, Deakin University. www.slq.qld.gov.au

Queensland Minister for Science and Innovation, Leeanne Enoch, stated “The program gives Queensland’s Indigenous artists an unique opportunity to connect their personal cultural knowledge and artistic practice with State Library’s collections and original materials.”

The descendant of Native Title campaigner Eddie ‘Koiki’ Mabo, Miss Mabo is a contemporary visual artist, working predominantly with oil paint to create works that focus on controversial themes. Her artworks explore social, political and cultural issues that both directly and indirectly affect Aboriginal and Torres Strait Islander women and children. “During my residency I intend to research the way Aboriginal people, more specifically, Aboriginal women, have experienced censorship through historical and continued imposition of non-Indigenous systems and institutions,” Miss Mabo said.

Boneta-Marie with some of her previous work.

During her three-month residency, Miss Mabo will develop a new body of artwork for the kuril dhagun exhibition space, formulating a creative project around the theme ‘unsettled’.

more than words

a young adult my path became muddled, I got lost, and caught in the transition, the implication that I needed ‘a career’ consumed me, so my making became a ‘hobby’ and my work became a career. My questioning nature preserved me through this journey, and a desire to learn new things, continuously challenging the system has paid well. I dipped in and out of formal education, leaving school at 15 continuing learning through technical colleges and a hopscotch approach in Academia, building the ever important CV to ensure job opportunities sought were successful.

ARNHEM TO NOOSA ANNIE’S WORKROOM AND THE PROCESS OF ‘ORDINARY’ FROM ANNE HARRIS

time and tell everyday stories is nourishing and fulfilling in a multitude of ways.

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Sitting with women making, gathering and preparing materials for work is part of the way I remember my childhood. My mother is a maker, a sewer, a spinner, a weaver, and as a small child, for a few years, my family moved to Arnhem Land, in Remote Northern Australia. This was on an island of tradition where their connection to culture was mostly intact, weaving, carving, bark painting, dyeing fibre, gathering, hunting in season …to make marks that and traditional law were part capture moments in of their everyday life. The innate knowledge of art and craft was imprinted in these early years, I never considered the process, it was part of our ordinary lives, I just made things if I wanted to. As

Then age made me question more what my true path should be, what really made my heart sing. I worked out that sitting with people, making and finding places of creativity brought a satisfaction and excitement that I hadn’t felt since childhood. As the process of parenting unfolds I have had to embrace women’s work and traditional hand skills, supplementing these with contemporary ideas and stories. Learning the dialogue of process and truth of material has brought a new dimension to my artwork. Using my local surrounds, I find more and more I learn from the materials, the seasons dictate availability and the concepts of spontaneity and ephemeral become more prominent. Letting go of societal ideas and regressing, still dipping into tradition and reading the old text regarding materials, how to get colour from the earth, taking this knowledge and playing in the studio. Combining all of this to make marks that capture moments in time and tell every day stories is nourishing and fulfilling in a multitude of ways. Anne’s next exhibition ‘Notions of an Ordinary Yarn’ will be at the Noosa Regional Gallery, QLD, Australia, 22 October – 30 November 2015. www.anniesworkroom.com.au

1979 Goulbourn Island, Anne sewing Photo by Bill Harris.

artists and autodidacts

Here and Now by Anne Harris, Diptych, Photo by Tony Webdale.

LEFT: Exhibition ‘Notions of an Ordinary Yarn’, Anne Harris, Photo by Christine Hall. TOP RIGHT: Weaving, Anne Harris, Photo by Anastasia Kariofyllidis. BOTTOM RIGHT: Eco-dyeing, Anne Harris, Photo by Anastasia Kariofyllidis.

more than words

PERFORMANCE TOTEM™, written and directed by Robert Lepage is a Cirque du Soleil touring show transporting the audience to a world of mythology with a fascinating journey into the evolution of mankind. Set on an island evoking the shape of a giant turtle, TOTEM™ traces humankind`s incredible journey – from our original amphibian state to our ultimate quest for flight. Along the way, it also explores our dreams and infinite potential, and the ties that bind us both to our collective animal origins and to the species sharing the planet with us. With scenes from the story of evolution randomly linked together in a chain, TOTEM™ returns to the beginnings of organic life in the primordial ooze. Featuring Neanderthals, Cro-Magnons, primates and men in suits, among others, the show depicts a world of archetypal characters who, in their own way, witness and act out the perennial, existential, questions of life. Alternating between primitive and modern myths, and peppered with aboriginal stories of creation, TOTEM™ echoes and explores the evolutionary process of species, our ongoing search for balance, and the curiosity that propels us ever further, faster, and higher. It is said that the word “totem” contains the idea of the order of species. We carry in our bodies the potential of all species, all the way to our desire to fly – like the thunderbird at the top of the totem pole. Incorporating hand balancing, foot juggling, rings trio,

artists and autodidacts

unicycles, bars (Carapace), a hoop dancing by an Amerindian artist performing a narrative dance using hoops in a ritual that symbolises the endless circle of life, along with a fixed trapeze duo, roller skates and Russian bars, there are just so many crowd pleasing ‘ooooh’’ and ‘aaaah’ moments. Add to this Kym Barrett’s stunning costuming and the incredible set designs and projections and you really should not miss this village on wheels as it rolls into Perth, Western Australia from July 31. https://www.cirquedusoleil.com/ en/shows/totem/tickets/perth. aspx Throughout 2015, Cirque du Soleil presents 18 different shows around the world including touring, arena and resident works.

BOOK ILLUSTRATION BUNYIPS AND DRAGONS Enchanting, large-scale works from more than 60 of Australia’s best-loved book illustrators will feature in Bunyips and Dragons: Australian Children’s Book Illustrations. Original and instantly recognisable images will be showcased including award-winning work by Graeme Base for The Eleventh Hour, Shaun Tan for the popular John Marsden book The Rabbits and Ron Brooks’ cover of The Bunyip of Berkeley’s Creek. The works are inspired by Australia’s unique natural environment, telling stories of family, home, fantasy and adventure in the distinctive settings of the bush, the beach and the city.

Shaun Tan | Australian born 1974 |They made their own houses 1997 | illustration for The Rabbits by John Marsden, published by Thomas C. Lothian, Melbourne, 1998, pp. 9-10 synthetic polymer paint, gouache and coloured pencils, 34.8 x 52.3 cm (image) 39.7 x 56.2 cm (sheet) |National Gallery of Victoria, Melbourne. Gift of Albert Ullin OAM, 2014 © Shaun Tan

There will be drawing and reading activities and visitors can also hear The Bunyip of Berkeley’s Creek narrated by Nick Cave and Greetings from Sandy Beach narrated by Justine Clarke on tablets in the exhibition space. Bunyips and Dragons: Australian Children’s Book Illustrations will be on display at The Ian Potter Centre: NGV Australia at Federation Square from July 25 to October 4, 2015. Open 10am-5pm, closed Mondays. Free entry.

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PERFORMANCE Scenes from TOTEMâ&#x201E;˘ include (clockwise from top left) an environmentally conscious Tracker who is a friend of the animals; there are also monkeys, fabulous set designs, a clown, and much more. more than words

CALL FOR PROPOSALS Submit by June 26 SAINT LOUIS SCIENCE CENTER AG PROJECT The Saint Louis Science Center (SLSC) seeks artists to collaborate with an in-house team to create works and installations aimed towards inspiring audiences to learn about the science and technology of food production and to assume a more active role in safeguarding land and products through sustainable and innovative farming practices. For more information, contact matthew.stevens@slsc.org

SHOWS

FESTIVALS

July 31 @ 7:30pm SINGOUT SISTA PRESENTED BY BEMAC, BRISBANE, QLD AUSTRALIA Singout Sista series features fabulous women from all over the world celebrating NAIDOC week with a performance from Emily Wurrumara and Black Smoke and The Verandah CHX. bemac.org.au

July 31 – 3 August GARMA 2015, 17th ANNUAL FESTIVAL Australia’s premier Indigenous cultural gathering at Gulkula, Gove Peninsula, Northern Territory. A four-day journey into the heart of the Yolngu world and its 50,000 year+ history. 2015 Festival theme is Wal’a D’lkuma: Building Our Future, Strengthening Our Lives. www.garma.com.au

Emily Wurrumara & Black Smoke by Jodie Haines Photography.

EXPRESSIONS OF INTEREST

MUSIC

Submit by June 26 EUMUNDI SCULPTURE PRIZE The Eumundi Sculpture Prize competition is the signature event of the Foundation for Culture and Arts Eumundi following a highly successful inaugural competition in 2014. www.eumundisculptureprize.com

July 17, 1pm and 7pm WHICHWAY UNCLE, BRISBANE POWERHOUSE As part of the 2015 Queensland Music Festival, some of Australia’s most respected Indigenous artists come together to celebrate the essential roles of Grandfathers, Fathers and Uncles and the role ‘Songmen’ have played in over 40,000 years of traditional and contemporary Australian Indigenous Cultures. Getano Bann, Joe Geia and Bunna Lawrie, Bob Weatherall, Glenn Skuthorpe and Troy Brady. brisbanepowerhouse.org

WORKSHOPS July 18 & 19 (registrations by July 12) YARN WITH ME BEMAC is hosting free singing and songwriting workshops for Indigenous singers/songwriters and musicians. Participants will have opportunity to write and sing with some of Australia’s premier Indigenous artists including Jazz legends Wilma Reading, Getano Bann, Troy Brady and more over two days. bemac.org.au

artists and autodidacts

August 27 – October 18 FLOATING LAND, REFLECT AND RE-IMAGINE In its 8th iteration the Festival will have a strong local focus and celebrate artworks and artists of previous such events. Floating Land combines the creative community of Boreen Point with professional installation artists together creating a compelling atmosphere of activity in all the arts on the shores of Lake Cootharaba. www.noosa.qld.gov.au/floating-land

TOURING

INDO POP: INDONESIAN ART FROM APT7’ Tours Queensland mid 2015-2017. Noosa Regional Gallery; Logan Art Gallery; Redcliffe Art Gallery; Gold Coast City Art Gallery; Gympie Regional Art Gallery; Rockhampton Art Gallery; Bundaberg Regional Art Gallery; Artspace Mackay; Perc Tucker Regional Art Gallery; Dogwood Crossing Miles; Gladstone Regional Art Gallery & Museum; Toowoomba Regional Art Gallery. www.qagoma.qld.gov.au Image: SAPUTRO (aka Hahan), Uji Handoko Eko, Indonesia b.1983 | The Journey 2011 | Synthetic polymer paint on canvas | Purchased 2011. Queensland Art Gallery Foundation | Collection: QAGOMA

EXHIBITIONS DISASSEMBLE | REASSEMBLE June 27, 2015 – August 29, 2015 CABOOLTURE REGIONAL ART GALLERY, QLD, AUSTRALIA disassemble | reassemble highlights the relationship between humans and nature, and contemplates the attitudes, both caring and careless, that shape human life on the planet. The foundations of the exhibition arose from memories of the early 1990’s environmental superhero, Captain Planet: the star of an animated children’s TV edutainment series that advocated environmentalism. In the series, a modern-day team of ‘planeteers’ from several nations could embody and use the qualities of five elements: earth, wind, fire, water and heart. When combined, their powers could summon the environmental

warrior Captain Planet to defeat eco-villains who attempted to destroy the planet. The artists presented in this exhibition represent a sort of contemporary ‘planeteer’. With their powers combined, Jane Burton, Svenja Kratz, Peter Madden, Nicola Moss, Polixeni Papapetrou, Hobie Porter, Tony Rice, Kate Shaw and Katarina Vesterberg explore the natural and human degradation and rejuvenation of the environment in an ongoing dialogue between nature and those who inhabit it. The title, disassemble | reassemble, refers to the cycle of growth, decay and renewal that is apparent in nature: both as a response to seasonal change and as a reaction to natural disasters such as drought, fire and floods. It also speaks of the way human beings have modified the environment through the consumption of natural resources.

disassemble | reassemble

e a r t h . w i n d . f i r e . w a t e r. h e a r t .

DATE: 27 June – 29 August, 2015 COST: Free

SELECTED ARTISTS INCLUDE:

OFFICIAL OPENING: 9.30am, Saturday 27 June

Jane Burton Svenja Kratz Peter Madden Nicola Moss Polixeni Papapetrou Hobie Porter Tony Rice Kate Shaw Katarina Vesterberg

OPENING HOURS: Monday to Friday: 9.00am - 4.00pm Saturday: 9.00am - 3.00pm, Sunday: Closed LOCATION: Caboolture Regional Art Gallery 4 Hasking Street, Caboolture, QLD, Australia CONTACT: Caboolture Regional Art Gallery Ph: (07) 5433 3710 Caboolture.Gallery@moretonbay.qld.gov.au Public programs include a workshop with Nicola Moss, a masterclass with Hobie Porter and floor talks with Polixeni Papapetrou and Svenja Kratz.

Hobie Porter, Fire Index – Moderate (detail), 2014, oil on linen, 30 x 55cm, courtesy of the artist, Arthouse Gallery and Mossgreen Gallery.

disassemble | reassemble demonstrates the heartfelt dedication and care these nine artists have for the natural world and probes the audience to question their relationship with the environment and intervene where they can to promote positive change. In the wise words of Captain Planet, “The power is yours”. https://www.moretonbay.qld.gov.au/ caboolture-gallery/ Through July 18 ELEMENTAL PHENOMENA Exploring naturally occurring events, constructed experiments, and transitions of states of matter, including water, air, light and magnetic fields. Griffith University Art Gallery, South Bank, Brisbane, Queensland, Australia. http://www.griffith.edu.au/visual-creativearts/griffith-artworks/exhibition-program

Caboolture Regional Art Gallery Art Gallery Caboolture Regional

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WHAT ON EARTH? CONTINUED July 9 – August 15 GUBBI GUBBI YANG’DOO GANG’GA’MAN A research and construction project that revisited the skills and traditions of bark canoe making reinstated by the Gubbi Gubbi people. The touring exhibition from the Sunshine Coast Council documents the activities and promotes the project’s national significance and value for the community. Canoe builders, Lyndon Davis, Brent Miller, Nathan Morgan and Kerry Jones; Researcher, Ray Kerkhove; Filmmaker, James Muller; Curator, John Waldron. University of the Sunshine Coast Art Gallery, Sippy Downs QLD Australia. www.usc.edu.au/gallery

James Muller, Gubbi Gubbi Gun’doo Yang’g a’man, Brent Miller, testing the canoe at Boreen Point, 2013.

Through July 11 KOALA LAND: MARK GERADA Koala Land considers ways of creating a sustainable future for koalas and people on the Koala Coast in South East Queensland. A collection of conversations with people who have worked with koalas for decades – researchers, scientists, vets, carers, wildlife rescuers, zoo keepers and planners. Koala Land provides solutions for rebuilding koala populations. http://artgallery.redland.qld.gov.au/ exhibitions/exhibitions-2015/koala-land-markgerada/

artists and autodidacts

Through July 12 PETER HENNESSEY: MAKING IT REAL University Art Museum, UQ This major career survey will reflect on the past decade of Peter Hennessey’s practice. Trained as an architect, Hennessey has established an international profile for his physically imposing, conceptually rigorous sculptures. http://www.artmuseum.uq.edu.au/

Peter Hennessey | My Lunar Rover (You had to be there) 2005 | plywood, steel, canvas and Velcro | 298 x 206 x 396 cm | Private collection, Melbourne | Reproduced courtesy of the artist, Tolarno Galleries, Melbourne, and GAGPROJECTS/ Greenaway Art Gallery, Adelaide.

July 24 – September 27 STORM IN A TEACUP, Mornington Peninsula Regional Gallery, VIC, Australia The exhibition focus is the cup of tea in its local and universal applications for its varied roles ranging from social cohesiveness to international trade. There are around 50 works including painting, photography, sculpture and installation featuring artists such as Charles Blackman, John Perceval, Emma Minnie Boyd, E. Phillips Fox and contemporary artists Stephen Bowers, Danie Mellor, Penny Byrne, Rosalie Gascoigne, Matthew Sleeth, eX de Medici, Anne Zahalka and Polixeni Papapetrou. $4 adults / $2 concession http://mprg.mornpen.vic.gov.au/

LEFT: Polixeni Papapetrou, Riddles that have no answers 2004, from the series Wonderland 2004, type C photograph (ed. 5/6), Courtesy of the artist and Stills Gallery, Sydney. RIGHT: Rosalie Gascoigne, The tea party 1980, painted wood, celluloid, plastic, enamelled metal, feathers, Private collection.

July 25 – October 18 2015 ROBERT MACPHERSON: THE PAINTER’S REACH Gallery of Modern Art (GOMA) A major exhibition of the work of one of Australia’s most important conceptualists, Brisbane’s Robert MacPherson, including paintings, installations, ephemera and works on paper, showing how the artist’s ‘reach’ begins with the particular and extends far beyond. Included are significant works from the QAGOMA Collection as well as loans from public and private collections throughout

Australia. The exhibition, curated by New Yorkbased Ingrid Periz, will be accompanied by a substantial full-colour catalogue. http://www.qagoma.qld.gov.au Through August 16 INDIGENOUS ART: MOVING BACKWARDS INTO THE FUTURE The Ian Potter Centre: NGV Australia Significant historical and contemporary Indigenous art works sit side by side, exploring place, identity and presenting the last 130 years of Indigenous Australian history through the NGV’s Indigenous Art collection. Important contemporary works on show include Yhonnie Scarce’s glass installation referencing policies of assimilation. Reko Rennie’s ‘deadly’ assemblage work Initiation juxtaposing icons of the working-class suburb of Footscray where he was raised with Aboriginal political mantras and symbols of Aboriginal sovereignty ngv.vic.gov.au

Through July 12, 2105 MEDIEVAL MODERNS: THE PRE-RAPHAELITE BROTHERHOOD NGV International, Melbourne, VIC, Australia The radical aesthetic of the Pre-Raphaelite Brotherhood is celebrated in this rich exhibition as the first comprehensive display of the NGV’s renowned Pre-Raphaelite collection in forty years. In 1848 seven disenchanted young artists in London formed an avant-garde art group named the Pre-Raphaelite Brotherhood, which rejected the prevailing conventions of the art establishment and aimed to actively change the direction of British art. Rebuffing contrived beauty and the notion of the ideal as defined by Classical and High Renaissance art and prescribed by the Royal Academy, the group sought to shock viewers by depicting the raw beauty seen in the world around them. The Brotherhood quickly became the most dynamic and influential art group working

in Britain and profoundly influenced future generations of artists. Medieval Moderns includes more than 100 paintings, prints, decorative arts, furniture, book designs and stained-glass windows by the Pre-Raphaelite Brotherhood and their followers. The exhibition also reflects the role of the group in the arts and crafts movement in Britain, their integral place in the development of the illustrated book and their impact upon artists including Edward Burne-Jones and William Morris.

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10+11+12 JULY 2015

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Show off your soil! REVIEW WORDS AND PHOTOGRAPHS BY SANDRA CONTE In this International Year of Soils, the agricultural Show circuit provides the perfect opportunity to discuss, compare and value-add to sustainable soil practices. ‘Celebrate and Grow’, the mantra of this year’s Sunshine Coast Agricultural Show, was a great place to start such discussions. The event, in its 110th iteration, is steeped in tradition and the place where the farming community and agribusiness converge each year across Queensland’s Sunshine Coast.

Despite three days of rain playing havoc for the side-show punters, the loyal crowd rolled up for its annual ‘meet’ to talk dirt, cattle, horses, produce, farming and of course all about the weather. There was a certain sense of guilt from those in the know that the rain that keeps the Nambour Showgrounds evergreen was not reaching the far flung quarters of Queensland where some farmers are bereft with four seasons straight without a drop. Also being the 100th year of the ANZAC Centenary, the Show commemorated with a specially commissioned nightly production entitled ‘Anzac Dawn’ where musicians actors and light horses continued through the rain while minds turned to the fields of Gallipoli, where it had also rained. The Show’s Arena events soldiered on with mainstays like the Young Farmers’ Challenge, with youth ‘from the land’ knowing all too well rain, and even drought, is no excuse to stop. One of the many undercover areas housed a Farmers’ Feature showcasing regional produce. It was here, in the Jim

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Carolan pavilion, that celebrity chef Matt Golinski connected with growers, including certain products such as Suncoast Limes in his cooking demonsrtrations on the Heritage Stage. A sea of mouth-watering samples were on show from Maleny Dairies, Buderim Ginger, HiveHaven, Lychee Divine, Nutworks and the Chocolate Factory. Also present was Worms Downunder, a family operated company established in Palmwoods on the Sunshine Coast in Queensland, Australia. FROM TOP: Matt Golinski invites Suncoast Limes to share the stage as he cooks with their product; Young Farmers’ Challenge participants; Rural Ambassador, Hayley Bass is passionate about agribusiness and sustainability.

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REVIEWS CONTINUED

Worms Downunder Where all such businesses are dependent on soil quality, the Worms Downunder display had much to contribute as manufacturers of worm farm and composting systems, as a supplier of compost worms and vermiculture products. Operating Australia-wide with distributors in several states, they help to manage organic waste streams on any scale – be it setting up a simple home worm farm such as the Worm Habitat Junior or installing one of the large-scale commercial systems. Recycling organic waste into nutrient rich compost for soil improvement, along with worm farming, ecology and building a sustainable future for the next generation is their business. They also use specially designed packaging sourced from recycled and recyclable materials for posting their worm farms around Australia, the packaging also being able to be eaten by the worms! Awards to the credit of Worms Downunder include the 2011 Sunshine Coast Environment Councils Environment Award for the development of their On-site Composting Apparatus (OSCA) as recognition of environmental excellence and Worms Downunder founders, Dr Paul Harrey and Dr Pene Mitchell, at the Sunshine Coast Agricultural Show.

artists and autodidacts

sustainability on the Sunshine Coast. 2010 Winner of two Sunshine Coast Council Living Smart 2010 Glossies Awards: the Sunshine Coast TAFE Living Smart Solutions Award and the Noosa Biosphere EnvironBusiness Award. 2009 Winner of the Sunshine Coast Environment Council Sustainable Waste Management Award and 2009 Winner of the Caloundra Chamber of Commerce, Eco-Business of the Year Award. Worms Downunder new large scale Worm Habitat Grande is a great advance for dealing with waste from cafes, schools, restaurants, mine sites, prisons, Universities, and wherever there is waste to process. Easy to use with assisted-lift lid, huge liquid collection tank, easy harvest castings, excellent aeration, deep bedding area and heavy duty construction, more information can be found on www.wormsdownunder. com.au/wormhabitat-grande.html OSCA On-Site Composting Apparatus is a largescale composter developed by WDU Sustainability in Queensland, Australia. Using minimal energy and processing organic waste streams including food waste (food preparation waste, plate scrapings, bones, seafood, etc.), agricultural OSCA the composter.

waste, compostable packaging, paper and cardboard, manure, and green waste, OSCA can produce a high quality, safe and immediately usable compost within 10-14 days. http://www.onsitecomposting.com.au/

GEORGE THE FARMER made an appearance at the Sunshine Coast Agricultural Show. George teaches about farming, food and fibre, involving farming methods and practices, food that is grown, as well as fibre produced from animals and plants like wool, cotton and paper. He also shared his perspective with eARTh e-mag on healthy soils. “Soil isn’t just dirt, mate. Without it we wouldn’t be able to grow any of our beaut food or graze our ripper livestock”. GEORGE THE FARMER www.georgethefarmer.com.au George the Farmer with creator, Simone Kain, from South Australia, who are passionate about educating young people on sustainable farming practices.

THE PLANTING turns 21 @Woodfordia Inviting the festival punter of environmental interests to return to their roots, listen to the seeds of the past and tend to the gardens of the future, Festival Director Bill Haurtiz also states in this year’s program guide that “We plan that our programme will encompass the notion of knowledge-sharing in the humanities, arts and earth sciences. We hope that it might be underpinned by a growing love of our environment blended with the joy-giving expressions of our artists. We’re imagining a future planting that might organically emerge into an event in its own right”.

NY S CEREMO DY WALK G YOGA COME EE PLANTIN ERTS FILMS REN’S FESTIVAL TR NC CO RUMS STRATIONS IONS CHILD TALKS FO OPS/DEMON MONSTRAT AL WORKSH COOKING DE VIRONMENT ARTS & EN

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eARTh e-mag feels The Planting Festival already is; it is a feast of the senses making environmental sense each year. Held at Woodfordia, home of the Woodford Folk Festival site there is a weekend of continuous artistic programming, some activities this year being wire sculptures by Andrew Cullen, Kris Martin’s Masterclass of Mushroom Table Light Sculpture along with activities in the Children’s Festival using environmental weeds and recycled materials; interactive workshops (including cooking with celebrity chefs in Sharmy’s kitchen), there was a three way forum with Nicole Foss, Robert Pekin of Food Connect and Chef, Matt Golinski which provided much food for thought. Presentations by forward thinking Beekeepers on Native Bees and Climate Change, upcycling fashionistas on Slow Fashion, The Great Green Debates and a new innovators hall, this year brought more even more than has gone before. www.theplantingfestival.com

ABOVE: The Planting Festival FROM LEFT: The Food Connect stall; Karl S. Williams combined his banjo, guitar and piano playing with a voice described as reaching into the greater beyond; The Great Planting Debate featured comedian, writer and speaker, Catherine Deveny; Gavin Ryan, designer of the Woodford Folk Festival posters and much more also facilitated workshops – Photos by S. Conte. Tami Neilson, who sang from her soul and the deep roots of folk-country – Photo by J. Conte.

FLOWER FIELDS, a large-scale, community-participation, visual arts project connected to the 2015 Woodford Folk Festival theme was launched through two workshop sessions at The Planting. From June until December, Artists Tamara Kirby and Corrie Wright will be working with the community to create thousands (really thousands!) of smallcoloured flowers. The flowers will be assembled into a major visual installation at the end of year Woodford Folk Festival, bringing together the collective creativity of many people’s flowers for the future. Tamara and Corrie are Queensland based artists who are passionate about collaboration and communication. Their work seeks to adapt to the times in which we are living. Those who attended The Planting became some of the first to contribute to the project. Further information qff@woodfordfolkfestival.com For early bird tickets to the Woodford Folk Festival go to www.woodfordfolkfestival.com Woodford Folk Festival Dec 27 to Jan 1.

Flower Fields workshop items made at The Planting, photograph by Corrie Wright.

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REVIEWS CONTINUED

36th WED @ University of the Sunshine Coast The annual WED Festival was a full day of education and interactivity, with a childrenâ&#x20AC;&#x2122;s festival area including characters such as Billy the Barnacle and Tawny Frogmouth. Other areas included a showcasing of the largest display of electric vehicles ever assembled in Queensland and a variety of activities included hundreds of children (and adults) transforming rubbish into musical instruments; there was a small version of OSCA (continuous feed composter for small scale commercial purposes manufactured on the Sunshine Coast of Queensland Australia), while dozens of community groups held displays indicating their environmental connections to the coast. Many volunteers, festival partners (Sunshine Coast Council and the University of the Sunshine Coast with Sunshine Coast Environment Council), sponsors (Bendigo Bank, Noosa Council, SEQ Catchments and the Department of Environment and Heritage Protection), musicians, stallholders and punters were involved in the event which has been held on the campus of the University of the Sunshine Coast for a series of iterations, usually attracting a crowd upwards of 5000. http://www.scec-action.org.au/

CLOCKWISE FROM TOP LEFT: Linsey Pollock Extinction Room workshop at WED; the University campus has been the host site of the WED Festival for many years; Upcycled fashion; Stingless Native Bee campaign by HiveHaven. Photos S. Conte.

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NEXT ISSUE LIFE ON eARTh

eARTh e-mag is gaining a change of pace and space; continuing with its mission to be global, all about art + environment while representing the acronym of every Artist Responds To her, it’s now time to become more sustainable. That’s why we’ll be producing twice yearly, retaining global applicability and spawning a symbiotic relationship with eARThYZine in tumblr format about youth in their environs, projected from one locale in the world. eARThYZine is currently in final stages of concept development and its applicability for print will be determined by support and demand. Youth manager Zandalee has been out and about with eARTh e-mag at The Planting Festival and the Sunshine Coast Agricultural Show where we’ve been meeting with visionary youth.

NEXT EDITIONS Twice yearly editions of eARTh in May and November will interlock and segue with eARThYZine to provide some content with double exposure. eARTh e-mag continues with themed editions such as #8 ‘Human Nature ~ Are we human?’ which will be about connections between animals and artists through lessons of the environment in which Bees, APT 8 and Woodford Folk Festival will feature. Edition #9 May 2016 ‘Eats | Roots & Leaves ~ Objet de trouve’ will be around found Objects and foraging, upcycling, floral and cuisine arts in May 2016. Edition #10 ‘Walk the Line’ will theme around peripatetic artists, mobility, transition towns and the leg work required to support the environment through the arts, perhaps with a guest editor for November 2016. Edition #11 ‘The Board Meeting ~ Eco Corporate Culture’ will deliver in May 2017. Any interested advertisers or gifters wishing to align with eARTh e-mag, please contact goodwill producer Sandi of Conte Creative Concepts at s_conte@bigpond.net.au

YOUTH SCENE eARTh e-mag will continue to support and combine with eARThYZine to highlight youth culture related events such as the inaugural Maroochy Musical and Visual Arts Festival, August 22, 2015, Horton Park Golf Course, Sunshine Coast, QLD, Australia for 18+. We’ll see you there. mmvaf.com

Zandalee of eARThYZine at the ‘Rumble Bar’, a tiki installation by Nambour’s Nook and Cranny at the Sunshine Coast Agricultural Show. Photo S. Conte.

artists and autodidacts

TOP: MMVAF at Coachella, Photographer Timothy Clarke. BOTTOM: Amanda Parer, Intrude #2, Photograph by Ness Vanderburgh.

BACK STORY The stunning back cover entitled The End, 2010, C-type Print, 100 x 125 cm is by photographer Jung Lee who works with words in desolate â&#x20AC;&#x2DC;scapes to create her own language. Photographic scenes of neon text in snowed-covered lands or floating on water means the stark, peaceful and minimal foreground and backdrops allow the viewer to readily absorb those words in relation to their own sense of self rather than as a message from the artist given there is no ephemera or staging. Jung Lee was born in 1972 and currently lives and works in Seoul, Korea. Jung Lee originally commenced studies in journalism and having majored in media and communications in Korea, chose to pursue an art career. She has a B.A. with honours in Photography from Kent Institute of Art & Design, UK and a MFA from the Royal College of Art in London.

To contribute or for coverage, contact editor@earth-emag.com or s_conte@bigpond.net.au

Jung Lee has exhibited at the Green Art Gallery in Dubai http://www.gagallery.com/ http://www.gagallery.com/ exhibitions/2013-09-10_jung-lee/works and is also represented by One and J. Gallery in Korea http://www.oneandj.com/ Jung Leeâ&#x20AC;&#x2122;s neon text also gives pause for thought that 2015 is the International Year of Light and light-based technologies. Enlighten us on www.facebook.com/Earthemag should you also be an artist working with light. http://www.light2015.org/

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Jung Lee, Green Art Gallery, Installation view 17, Courtesy Green Art Gallery.