Hazelhurst Art on Paper Award 2023

HAZELHURST ART ON PAPER AWARD 2023

16 September - 12 November 2023

Margaret Ackland

Carlos Almenar

Diaz

Suzanne Archer

Tony Ameneiro

Kim Anderson

Sharna Barker

Lee Bethel

Patrizia Biondi

Amber Boardman

M Bozzec

Jennifer Buntine

Peter Burke

Michelle Cawthorn

Armando Chant

Cindy Chen

Ning Chen

Louisa Chircop

Matthew Clarke

Adrienne Doig

Kelly Doley

Jacqui Driver

Christine Druitt-

Preston

David Eastwood

Julia Flanagan

Oliver Fontany

Freya Fristad

Todd Fuller

Aidan Gageler

Angus Gardner

Phillip George

Amala Groom

Yvette Hamilton

Tina Havelock

Stevens

Nicci Haynes

Bridget Hillebrand

Anna Hoyle

Amber-rose Hulme

Kirrily Humphries

Phil James

Freya Jobbins

Joya Kang

Nicole Kelly

Barbie Kjar

David Lawrey & Jaki Middleton

Christopher Lawrie

Hyun Hee Lee

Jenna Lee

Belem Lett

Brenda Livermore

Roman Longginou

Alanna Lorenzon

Kasane Low

Kevin McKay

Stephanie Monteith

Mylyn Nguyen

Adam Norton

Toshiko Oiyama

Liz Payne

Lori Pensini

Izabela Pluta

Jasmine Poole &

Chris Sewell

Diego Ramírez

Brian Robinson

Douglas Schofield

Liz Shreeve

Benedict Sibley

Chanel Sohier

Peter Solness

Mignon Steele

Ali Tahayori

Sherna Teperson

Teo Treloar

Garry Trinh

Kate Vassallo

Sylvie Veness

Hilary Warren

Peta West

Paul White

Amanda Williams

Belinda Yee

Mei Zhao

Tianli Zu

Hazelhurst Arts Centre acknowledges the Dharawal people as the Traditional Custodians of the land within the Sutherland Shire. We value and celebrate Dharawal culture & language, and acknowledge Dharawal people’s continuing connection to the land, the sea and community. We pay respect to the Elders and their families, past, present and emerging, and through them, to all Aboriginal and Torres Strait Islander peoples.

$15,000 Hazelhurst Art on Paper Award $5,000 Young & Early Career Artist Award

$5,000 Local Artist Award sponsored by the Friends of Hazelhurst

Four Week Artist Residency Award awarded by the Hazelhurst Preparator team $1,000 People’s Choice Award announced on the closing date

Principal Award sponsor

Local Artist Award sponsor

INTRODUCTION

Held every two years since 2001, the Hazelhurst Art on Paper Award is a significant national exhibition that aims to promote excellence and innovation in the field of art on paper, while supporting artists working with this medium. This year marks its twelfth exhibition. The works in the Hazelhurst Art on Paper Award 2023 demonstrate the materiality of paper, its versatility and the possibilities of paper as a medium.

This year entries were received by 890 artists from across Australia. The final selection of 82 works includes a diverse and exciting range of works and mediums including painting, drawing, collage, photography, printmaking, papercuts, sculpture and video.

Thank you to Jenny Cheeseman, Rachel Farag and Tom Polo, who along with myself and Assistant Curator Naomi Stewart formed the selection panel and went through an enjoyable yet challenging and lengthy process to select for the 82 finalists.

Thank you to Artist Deborah Kelly for undertaking the difficult task of selecting the award recipients. Congratulations to all of this year’s award winners and finalists.

Hazelhurst would like to acknowledge the generous support of Eckersley’s Art & Craft for their sponsorship, as well as the Friends of Hazelhurst who sponsor the Local Artist Award. In addition, thank you to the Sutherland Shire Council for their ongoing support of Hazelhurst Arts Centre.

Carrie Kibbler Curator & Acting Director

AWARD RECIPIENTS

David Lawrey & Jaki Middleton

Eternal Return 2023

Hazelhurst Art on Paper Award 2023

Jenna Lee

Grass tree - growing together 2022

Young & Early Career Artist Award

Christopher Lawrie

WHITE HISTORY (‘An introduction to Australian History’ by A. G. L. Shaw and H. D. Nicolson) 2023

Friends of Hazelhurst Local Artist Award

Oliver Fontany

Oli at Lane Cove River 1 2022

Preparator’s Residency Award

awarded by the Hazelhurst install team

2023 Award Judge : Deborah Kelly, Artist

Judge’s comments:

“My criteria was I wanted works that thought about paper itself as a medium that didn’t just use it as a vehicle, but that really engaged with the material, the stuff of paper, and thought about its weight in culture and its use. The three works that I chose were so outstanding, I thought, in their attention to this stuff, to the weight of the stuff in culture and in history.”

Deborah Kelly has also awarded the remaining finalists as Highly Commended.

MARGARET ACKLAND

This work features mostly spent poppies on a toile background (with a couple of small references to the death of Queen Elizabeth).

2022

watercolour on paper

160 x 120 cm

Toile De Jouy with Poppies

CARLOS ALMENAR DIAZ

Colour is part of our everyday life - it expresses identity, and on top of this, it generates emotions and feelings.

Carlos Almenar Diaz’s work represents chromatic geometric linear patterns, based on different composition techniques, where the colours appear and fade into another, through the visual rhythm. This creates an optical illusion in which everything static becomes a movement, where colours that do not exist in the composition can appear.

Artworks that employ optical illusions, known as Op-art, can give the viewer the impression of movement, of the existence of hidden or non-existent images or colours.

Through an immersive, captivating, colourful, and optical experience, the viewer can observe and move through the artwork, is invited to take the time to pause for a moment, acknowledge their response and feelings and allow themselves to connect with an environment that takes us to a real or imaginary universe.

The artist works his concepts and artworks in vectorial tools, and uses cotton paper as one of his principal materials.

Chromatic Linear Rhythm Series 1:18

2022

Cotton paper, ultrachrome pigment, unique state print

92 x 32 cm

SUZANNE ARCHER

This paper, three-sided figure wearing masks suggests its multiple personalities and indicates the time of Covid. The text included on the works reflects my continued preoccupation with automatic writing. The forms were not pre-conceived, they grew organically sourced from my collage box.

Three Faces of Fear from the Mistaken Identity Series 2022 paper, acrylic paint, foamcore 75 x 40 x 40 cm

TONY AMENEIRO

This work reflects on the visit by the Australian landscape artist Fred Williams in August of 1957, to the Nattai River area close to my home in NSW. Deliberately using ‘Sloping Ground’ as a loaded term along with a reversal of tone to suggest a compromised, possibly disturbed landscape.

Nattai River LandscapeSloping Ground 2022

drypoint in white ink with chinè colle 120 x 174 cm

KIM ANDERSON

When despair for the world grows in me

and I wake in the night at the least sound in fear of what my life and my children’s lives may be, I go and lie down where the wood drake rests in his beauty on the water, and the great heron feeds. I come in to the peace of wild things who do not tax their lives with forethought of grief. I come into the presence of still water.

And I feel above me the day-blind stars waiting with their light. For a time I rest in the grace of the world, and am free.

~ Wendell Berry

The Peace of Wild Things

2023

ink, charcoal and graphite on paper

72 x 210 cm

Inspired by Wendell Berry’s poem ‘The Peace of Wild Things’, my work explores our complex relationship with the natural world. Interweaving themes of vulnerability, resilience, empathy and solace, I hope to offer a salve to our collective anxiety as we navigate these uncertain times. Despite feeling like the world is burning around us, this is an opportunity for personal growth and reflection, even a kind of healing. If we can show up for ourselves and our planet with empathy and humility, we have a much better chance of survival.

SHARNA BARKER

The infinity of just going on and then I stopped investigates the capacity of paper, methods of repetition, and how they might be used for self-representation. The artist is interested in the plasticity of paper and its skin like qualities, and how repetition navigates somatic memory. As a somatic reconstruction of ‘self’, the work emphasises discontinuities and irregularities. Sharna also considers how the work’s presentation — vertically and horizontally — might extend these ideas. She is concerned with how its reason follows the logic of bodies as mutable and undefined, navigating the sensorial, the unconscious, the known and unknown.

the infinity of just going on and then I stopped 2022

paper, acrylic, latex, thread 167 x 60 x 167cm installation

LEE BETHEL

This work is made up of 62 interlocking doily shapes and each hand cut pattern represents a female musician whose presence has been part of my life’s soundtrack. The paper is pierced, folded and cut, watercolour is painted on the back so it reflects and shimmers mirroring the sound of these women.

Dinner with the Divas

2023

watercolour on hand cut paper

205 x 114 cm

PATRIZIA BIONDI

My artistic practise is a site of protest against fast and disposable production. To express my dissent, I use the language of discarded and inexpensive materials as I recover cardboard and timber and transmute them into objects of high quality and beauty. My works act as anthropological relics.

recovered cardboard, recovered timber, paint

56 x 52.5 x 9 cm | 47 x 51 x 9 cm

42 x 53 x 9 cm

Mexican Milk Norfolk Fresco 2023

AMBER BOARDMAN

Amber Boardman is an Americanborn, Sydney-based artist who explores the influence of the internet on crowds and social norms. Boardman combines her background in painting and animation to create narrative works that draw from the visual language of cartoons.

M BOZZEC

Degenerate Artist is a both a self portrait and a political statement about the visibility and resilience of queer people in challenging times.

Degenerate Artist

2022

coloured pencil on paper

31 x 29.5 cm

JENNIFER BUNTINE

Bangarra’s dance Lust from the Brolga production has winged figures which evoke a primal energy and passion that exists in all living creatures.

These linocuts have been formed into a symbol of sanctuary, an elongated house holding the fleeting dance. The paper structure is indicative of life’s fragility and strength and embodies the sensual moving figures.

Narrative, performance and historic rituals we observe give meaning to my art practice.

Lustful 2023

linocut on Japon paper

20 x 60 x 20 cm

PETER BURKE

This large drawing, created from a small handwritten note found on a kitchen wall, speaks volumes about daily life’s issues: procrastination, good intentions, broken promises, and household dynamics. Replicating the texture, linework, and letterforms, I amplify the mundane to epidemic proportions.

230 x 270 cm (variable)

MICHELLE CAWTHORN

An amulet is a symbolic object, either natural or man-made, believed to be endowed with the power to protect. While we often think of them as something that we can wear or hold, an amulet can also be a drawing. Originally a small sketch, my amulet has grown each time I have drawn it, along with the power I feel it confers, until now it can cover me whole.

Amulet 2023

pen, acrylic and white Flashe on four sheets of Hahnemühle paper 190 x 160 cm

ARMANDO CHANT

My artistic practice explores a visual and material mediation of the landscape. Through engaging with atmospheric perspective, landscape, and materiality, my work seeks to inspire connection between viewers and the natural world, inviting them to reflect on the ephemeral nature of our environment.

Mountain Horizon 2023

digital photographic print on 310gsm paper, graphite stick, wax, varnish, graphite powder

86.5 x 36 x 2 cm

CINDY CHEN

Tracing Proximity responds to the old Darlinghurst Gaol, the site where the National Art School now stands. The 31-metre looped scroll and sound installation recalls the rhythms of women’s labour and the intimacy of their bodies confined within the sandstone walls. An intensive stitching process incorporating thread with Chinese ink on paper, articulates daily cycles of incarceration and forced work through varied shades of ink. The artist’s mother contributed to the labour of making the 31-metre circular scroll, whose length commemorates the number of births and deaths of children within the Darlinghurst Gaol, a place where much later, both she and her daughter would study.

Tracing Proximity

NING CHEN

Art has no boundaries. As early as 1900 years ago, the art of paper making was invented in China. Ever since I was little, I had a special affinity for ink and paper. The thousands of dots can be a reflection of my current state of mind about art and its progression.

Australia is a tolerant, diverse, and multicultural country. This motivated me to immerse myself in various cultures and to explore new methods of artistic expression at every chance. Every time I immerse myself in the creative process, past or present, I try to push the boundaries of my knowledge.

The horse is not only an animal, but also a symbol of freedom, courage and perseverance. Harmoniously coexisting with nature, the horse unknowingly conveys its positive and forwardthinking spirit that encourages us to embrace challenges in life, bravely pursue freedom, and move forward without looking back.

LOUISA CHIRCOP

Left leg right is a work that challenges my traditional European childhood upbringing that was founded on medieval concepts of heaven, purgatory and hell. The work explores where sacred intersects secular to present a pagan vision celebrating the earth, universe, spirituality and the artist.

Left leg right

2023 mixed media and photomontage on hand painted archival pigment print on cotton rag

167 x 113 cm

MATTHEW CLARKE

This drawing is inspired by being lost in Sydney. Sydney has many opportunities to be lost where I find myself in places I didn’t expect and later it just comes to me in a drawing, a painting or a sculpture

The inspiration comes from the journey rather than the destination.

Artist lost in the city

2023

pen, inks and ink washes on paper

35 x 25 cm

ADRIENNE DOIG

Via the medium of foldout paper dolls, I have fashioned a sartorial diary which draws on social media and fashion trends, as a playful record of the everyday. The quirky cut-out format allows me to quickly record multiple versions myself from front and back to create a simple all-round portrait.

7 days 7 outfits 2022 paint on paper 30 x 114 x 21 cm

KELLY DOLEY

I am a visual artist whose practice encompasses drawing, painting and performance informed by the lineage of feminist and queer art practices. ‘Back in the Trap’ uses the reiterative process of layering, strokes, DIY print techniques and repetitive text and images to explore the toll of addiction.

Back in the Trap

2022

oil, acrylic, ink, graphite, pencil and painters’ tape on Arches hot pressed paper, hand forged blued steel tacks

171 x 237 cm

JACQUI DRIVER

The thicket reveals the complexity of difficult mothering. Those interconnected branches act like a protective layer or may entangle and ensnare. A mother is, after all, permanently attached to her children despite at times feeling overwhelmed or even ambivalent. The trauma hidden within the beauty.

CHRISTINE DRUITT- PRESTON

Roadside bouquet re-imagines an arrangement of flowers picked along the Gymea roadside in 1945, recalling a theme and composition favoured by Margaret Preston. With this Lino block print I hope to prompt a conversation between her practice and my own.

Roadside Bouquet 2022

Hand rubbed Lino block print on Wenzhou paper editioned by artist, edition 1/3

120 x 107 cm

DAVID EASTWOOD

Pedal is a charcoal drawing based on a 3D scan of the artist’s right foot transformed into a prosthetic object. The image could be seen as a macabre form of self-portraiture, and references the fragmented bodily artefacts traditionally found in artists’ studios, such as anatomical casts moulded from classical sculptures. The mediation of the body via digital scanning technology produces a slick, unfleshlike variation on the human form, reimagining the artist’s own body as a still life subject. It is a shiny, posthuman prosthesis formed by contemporary technology, simultaneously recalling sculptural relics from antiquity.

Pedal 2022 charcoal on paper 56 x 76 cm

JULIA FLANAGAN

How to measure Happiness is a collection of coloured paper cutout wall sculptures and is an expansion on my small sketchbook drawings for my 3-dimensional timber sculptures. These forms resemble machines that might be useful in producing intangible things like joy, laughter and happiness.

How To Measure Happiness

2023

coloured pencils on Fabriano paper 158 x 118 cm installation

OLIVER FONTANY

Fontany’s practice is deeply autobiographical, documenting special interests, favourite people, places and things. This work captures a happy memory of kayaking with his father at Lane Cove. Working from photo reference, his meticulous linear style brings new rhythm and life to the still image.

Oli at Lane Cove River 1

2022

pen on artist paper

87 x 67 cm

FREYA FRISTAD

Freyja Fristad is a proud Wiradjuri artist who resides and works across Dharawal and Gadigal land.

Interference of Perception: Rhopography (Cutlery) is one of six in her series of prints investigating material culture and the body’s relationships to mass-produced objects. The cutlery are selected objects that have significance in a majority of our lives, but aren’t often appreciated or thought of as having major importance. This act of curiosity is conveyed in the term Rhopography. Defined by Charles Sterling in 1981,

Rhopography is the depiction of things lacking in importance and generally disregarded. Being interested in easily identifiable objects, she continues to assess the unassuming material base of life that ‘importance’ constantly overlooks. Instead of receding into the overlooked, the cutlery project into the visual field, appearing radically conscious. The horizontally-lined bitmap, intricately carved at seven lines per centimetre, generates an unstable zone of perception without making the image completely illegible.

Interference of Perception: Rhopography (Cutlery)

2022

TODD FULLER

In 2017, Sydney drag queens

Ivy League, Coco Jumbo, and Vybe saved Ivan Finn’s life by intervening in a gay-bashing while buying a kebab. Their heroic act highlights the role of drag queens as protectors of the LGBTQIA+ community. Commissioned by the State Library of New South Wales.

https://www.youtube.com/ watch?v=m2IAkcCZ5Jo

AIDAN GAGELER

Aidan Gageler employs antique processes to produce abstract works, allowing traditional substrates and exhausted chemistry to lend their quirks and failures to each image. Made without a camera, these works are ungoverned by intelligible markers and avoid being read as pictures or symbols. Slogas is made from Slogas Gaslight paper that dates back to the 1930s. The paper was collected in the UK, partially opened and with unknown

providence. In 2022, the paper was then processed through the black and white darkroom without any intentional exposure. The resulting images are of oxidation and chemical migration. It is an example of image generation where the image is a product of almost a century of exposure, rather than a means to an end for a photograph.

Slogas 2022

Illingsworth’s Slogas Gaslight silver gelatin paper expired in the 1930s, processed in 2022 42 x 42 cm

ANGUS GARDNER

I visited Mparntwe/Alice Springs last year and whilst there did a lot of drawing. This particular drawing was made in my studio in Melbourne based on the drawings I bought home. It captures the colour, energy and marks of the landscape in the afternoon light.

Redbank Gorge 1

2023

wax pastel on paper

56.5 x 38.5 cm

PHILLIP GEORGE

This work is based around the transient nature of empires and cultures and has evolved from the documentation of sunken archaeological sites. These sites are seen as potential scenarios that lie ahead and evidence of the eventual perhaps inevitable passing of our civilisation into a new set of ruins, into oblivion. Notions of our cultural, social, political upheaval, our instability and potential liquidation is seen to echo our contemporary condition.

Social and political futures of the world on a precipice, impacted by climate catastrophe, pandemics and particularly war, are addressed from within the work.

The Odyssey described Hades as only accessible by crossing the ocean, Hades, god of the Underworld is awaiting.

Drowned Worlds asks the viewer to look, attempt to see, what lays before them, in an age where people are permanently distracted, by the flood of “online” distractions and contemporary life, we perhaps fail to make time to sit and appreciate...

AMALA GROOM

Across western ‘thinking’ the Aboriginal experience of transdimensionalism is positioned as ‘fantasy’ and defined as science fiction. Myths & Legends seeks to reposition this fallacy with fifty interventions into popular fantasy illustrator Steve Hickman’s posters now overlayed with bold statements in ethereal red text that position aspects of western operations that upon deeper reflection are only ‘real because we believe in them’. This series invites the audience to question the power and authority that we as a populace acquiesce to in a civic space; when we are ‘willing subjects’ - not because we choose or decide to but because we are not ‘not willing’.

NB: Across her painterly practice, the artist inverts the four letters of the English alphabet that spell LOVE as a poignant reminder of the Wiradyuri practice of marrumbang (love and kindness).

Concept development with Madeleine Collie.

YVETTE HAMILTON

Elizabeth Fulhame’s 18th century experimentations with silver were the precursor to photography’s invention in 1839. Due to lack of support for her work due to her sex, she is little known. My photographs echo her material experimentations with chemicals on paper, and pay homage to her efforts.

An observation of sunlight, silver and glass (homage to Elizabeth Fulhame) no. 2 & 1 2022

archival pigment print from camera-less paper negative, edition 1/3 +1AP 130 x 88 cm each (diptych)

TINA HAVELOCK STEVENS

My practice encourages consideration of the social, environmental, and musical rhythms of life and place. This cyanotype is an improvisation with nature (the sun) and as drums are a large part of my practice I included a snare drum with its wires visible. The drum also compliments the shape of the sun as we imagine it, the cassette tapes provide a silent subaquatic soundtrack as all looks submerged within a curious watery space.

cyanotype on watercolour paper

76 x 56 cm

Oceanic Snare Drum with Cassettes 2022

NICCI HAYNES

The cost is an experiment, as much about process as anything else. It was made at home during a COVID lockdown from phone footage of an empty shopping trolley being pushed around the suburbs, a receipt printer and a bundle of used receipts. Nothing happens. Nothing was happening.

https://vimeo.

com/665876058?share=copy

still frame

BRIDGET HILLEBRAND

“But heard, half heard, in the stillness between two waves of the sea.” T.S. Elliot, The Four Quartets.

The Deep is part of an ongoing series of work that investigates the materiality of printed and constructed washi paper to reflect on the vulnerability and shifting ecology of ocean and river systems.

The undulating dimensional properties of the printed washi paper reference an ocean swell.

Soft muted tones and the interplay of repetitive printed marks suggest refraction of light and shadow and through reiterative actions of printing and folding, the underside is brought to the fore. Just as the dynamics of the ocean reveal spaces beyond its surface contours The Deep exposes openings and hidden surfaces that engage the moving viewer.

The Deep 2023

linocut on washi paper, unique state 300 x 125 x 34.5 cm

ANNA HOYLE

This group of multiple paper panel gouache works is inspired by my longstanding interest in words and phrases inspired by self–help, advertising, wellness trends, and consumer culture, especially those that are socially mediated. Multiple panels mean that I can play and mix my visual combinations.

levelUP for chic ankle weights

2023

gouache and acrylic on paper

254 x 38cm

AMBER - ROSE HULME

Graffiti is ephemeral, constantly changing, but when left alone the markings give way to the buildings natural face, integrating into its character as an unintended collaboration of many. My works freeze a moment of this metamorphosis, celebrating the textures and hidden layers created by time.

KIRRILY HUMPHRIES

Based on my expeditions within contemporary ruins, I draw moments of sublime revelation, found in their distinct phenomenological and psychological experience. In these desolate interiors I confront my anxieties, my fears of destruction, and the transience and brevity of human legacy.

By the Editors of Fortune 2023

pencil on paper 10.6 x 21 cm

PHIL JAMES

Enchantment continues my fascination with the idea of speculative history and the sci-fi concept of ‘Uchronia’, which refers to a hypothetical or fictional time period of our world, in contrast to altogether-fictional lands or worlds.

Enchantment

2023

oil on vintage offset lithograph

40 x 82 cm

FREYA JOBBINS

Sometimes just one single incident changes your life trajectory in an instant. An unintentional, unwarranted, and unjustifiable action often by another person fucks everything up. Like a head-on.

This is a commemorative work, 30 years ago on June 11, 1993, I survived a 180km head on car crash as a front seat passenger. I was an operational Police Officer at the time travelling home to Yass from Canberra. This one single event changed EVERYTHING. From my body, my mind, my career, my relationships, and my future. This horrific event was because another driver coming from Yass decided he would overtake a wood ladened Ute over double lines on the crest of a hill, hitting us head on with force.

I am still putting myself back together again, lots of the old me is still there inside but the new me, the AC version (after the crash version) is still so conflicted. Be grateful my career path changed? Grateful I met my new partner (one of my rescuers)? Be grateful I found my fighting warrior within? I think 30 years later I am just grateful. I am here.

JOYA KANG

A legendary bird, the Phoenix is called Bong Hwang with a face of chicken, peacock, pheasant, swallow, and mandarin duck and a body of dragon and tortoise.They live in paulownia trees and appear when good things happen in the world. It is also used to pray for the prosperity of the royal family.

This painting was inspired by Bong hwang do in one of the palaces in Seoul, Chang duk gung. Due to the nature of Daejojeon, which was the residence of Emperor Sunjong and his wife, it expressed the well reign of King Seong-gun or happy married life between husband and wife.

Untitled (Bong Hwang Do)

2023

Korean watercolour on mulberry paper 50.5 x 51 cm

NICOLE KELLY

This series of monotypes made in the field responds to a recent residency to the arid zone of remote Fowlers Gap Research station in NSW, 110km North West of Broken Hill. The process of the monotype allows familiar representations of the landscape to disperse within a field of colour, mark and line.

BARBIE KJAR

Lion tides occur when the earth, moon and sun are aligned at perigee and perihelion. It is a tide just after a new or full moon and is also known as giant tide. As an ocean swimmer I am aware of an underworld, a world which is largely deep and silent, unknown, treacherous, transformative.

Lion Tides 2023

wood lithograph, drypoint, stencil and relief prints

224 x 380 cm

DAVID LAWREY & JAKI MIDDLETON

Two towers of generic cardboard boxes stand in the gallery. On close inspection, small openings reveal interior scenes utilising mirrors to create the illusion of endless space. The first scene is based on familiar visions of a factory production line or online shopping behemoth, with dozens of cardboard boxes circling continuously. In the second, a vast interior space is crowded by endless piles of boxes awaiting an unknown fate.

Eternal Return is a physical manifestation of the artists’ interest in the structural drivers of production, consumption, and waste – and their discomfort with their own complicity in these unsustainable cycles. The project evokes the sense of disquiet and overwhelm that has come to define our contemporary era.

https://www.youtube.com/ watch?v=uFMuJyTXNAA

Eternal Return

2023

sculpture (with kinetic model components)

160 x 200 x 200 cm approx

interior view

CHRISTOPHER LAWRIE

In 1996 I commenced work on an ongoing project ‘The History of Salt . . .’ The process of salting has developed gradually as an expression of the idea that the psychology of White Australia, as well as their perception of their own history, is inextricably linked to that interim period that was spent at sea during their ancestors’ migration to Australia. ‘The History of Salt . . .’ among other things, allows me to investigate and respond to how we perceive history both personally and culturally. The corrosive nature of salt provides an aesthetic and cultural metaphor for the attrition of memory and a colonial past.

This, and related projects have developed to include photography, video, music and installation. The installations utilise works on paper, original video, found film and texts, and historical artefacts to form contexts for contemporary readings of the past.

2023

salted book on copper plate 46 x 30 x 10 cm

WHITE HISTORY (‘An introduction to Australian History’ by A. G. L. Shaw and H. D. Nicolson)

HYUN HEE LEE

This work attests to my search for hope, love and peace. To express these feelings I have written the book of psalms 150, in Korean text, onto red ink dyed Korean hanji paper in the Buddhist paper prayer tradition. The process of creating this work became meditative and connected me spiritually.

The Prayer 2022

ink, pen, acrylic, silk thread, cotton, Korean hanji paper 131 x 131 x 4.5 cm

JENNA LEE

For all of Colonial history, if it was printed and published in a book, it was seen as a good reliable truth. Almost 100 years ago the words ‘linguistic poverty’ were printed and distributed in the Australian Aboriginal Native Words and Their Meanings national handbook, to describe First Peoples languages.

Statements such as these were written, repeated and spread in various ‘Aboriginal Language’ dictionaries and presented as fact. These books were widely published for decades with the purpose of providing “those who are in search for names of houses, children, boats and other purposes, will find a rich treasury of words native to their own land…”

While simultaneously being dispossessed from land and waters and having children stolen, our words were served up with no correction to people or place for the leisurely consumption of settlers.

These so-called dictionaries published our words with no context or connection to people and place. With over 250 languages including 800 dialectal variants, these books homogenise our people reinforcing harmful misrepresentations which persist today.

‘Grass Trees - Growing Together’ transforms one of these fraudulent books into a subject which thrives under processes of elemental deconstruction and reconstruction. In doing so I state that our languages have always been abundantly rich and that our prosperity is multifacetedfrom the sheer number of unique languages spoken, to the rich depth of connection our words provide us, as well as the collective effort of our people to reinvigorate languages.

Grass tree - growing together 2022

pages of Aboriginal words and place names, book binding thread, book cover board, florist wire 55 x 30 x 25 cm

Belem Lett’s work plays with light and colour as inseparably the same. The act of painting is considered through the history of gestural abstraction. Reduced to a surface and paint applied with a colour loaded brush. There is an implicit physical momentum involved in Lett’s work; the push/ pull, twists, the drag of the brush, the drip, the stop and start. Individual works explore the surface and traditional constraints of the painting through, at times, bouncing off its edges and returning inwards to explore the interior space of the painting. While at others zooming off the edge in a manner, which implies a broader limitless world that we are only seeing a cropped section of. There is a consistent concern with movement, colour and light.

The brushwork throughout Lett’s work traces this movement of light and colour through space. While simultaneously being representative of the artists body and movement. Gestured segments allow the path to be broken, implying a passing of time, while also fracturing the concise coloured segments. This allows the painting to constantly shift its propositions on colour and movement. The simple form of a line and its movement allows such a multitude of connotations and references. Through this there is an embrace of the viewers interpretation. The pathways become racetracks, circuits, pipes, rainbows or cursive script, and in each iteration they all tie together to form a network of light movement.

BRENDA LIVERMORE

Water Sprite is a celebration of the spirit of the sea and the regenerative wonder of our ocean waters. My work is often based in the landscape and the natural world and I seek to champion the environment by reminding us in sculpture of our relationship with such a precious resource. We are drawn to the ocean, feeling alive and restored when immersed in the sea, walking along the shoreline, or sitting and staring out at the water.

The choice to use paper, and the variegated blues achieved by hand colouring is a deliberate act. For as long as I can remember, I have been drawn to paper. I am interested to see what paper will do. Having learned to make paper from plant fibre and recycled materials I have a deeper understanding of its properties

and possibilities, how far I can push it what I can get paper to do for me. It is an ongoing exploration.

The long process of weaving using a looping technique echoes the contemplative quietude and tranquility felt when by the ocean.

Water Sprite 2022

paper fibre sculpture, woven 125 x 20 x 20 cm

ROMAN LONGGINOU

The soft fall of quality cloth and luxurious drape of a tailored garment invite complex thoughts on desire, aspiration and status. Fabric is a loaded material. As a false skin, its appearance can be misleading. It can cover bodies like a mask and present an image of flawless appearance. In multiple religions, imagery also contains an idea of worship: to make an image is to make an idol. My drawing practice brings together these two realities of surface and reverence to articulate the pitfalls of contemporary materialism.

Tension leans into the tradition of vanitas painting. I depict a red striped shirt under intense strain, caught in a place of crisis. The result conjures a human figure unravelling due to unseen yet extreme and opposing circumstances. With hyper-real verisimilitude, Tension reveals the illusory nature of human appearances and their fabric-like fragility when placed under pressure.

ALANNA LORENZON

Waves All the Way Down depicts a world consisting entirely of water - rock and waves collide in static and flux, mountain swells driven by geological tides and sea sprays frozen in graphite minutiae. The kaleidoscopic detail of the work subverts traditional landscape perspective creating an immersive space where the water takes over our field of vision. Ocean submersion can be seen as equally peaceful and threatening; as the joyful experience of being submerged in water on beach holidays co-exists with the threat of rising sea levels and climate change-induced floods.

Waves All the Way Down

2022

graphite pencil on paper

176 x 84.5 cm

KASANE LOW

In modern physics, reality emerges probabilistically – as interaction – through vectors in a quantum field.

This work draws on both ancient Chinese and modern physics understanding to derive a more elemental field. As a series of subtle ripples through a field of origami flowers the viewer becomes body and gesture –the movement of air and an unconscious participant in a larger dance.

The work explores issues of identity and being, through my Chinese-Malaysian, FrenchCanadian, Australian heritage. My name Kasane means ‘many folds of a lotus flower.’ Here the Chinese

‘ghost paper,’ an offering burnt for the dead, has been folded into the lotus flower, a traditional symbol of birth. The work mirrors the way in which both paper and the body in a manifold field are momentary within a broader cycle of birth and death, forming and reforming.

The work reflects the ephemeral quality of being in which the world becomes a temporal and everchanging horizon which comes into view and vanishes.

900 origami lotus flowers (paper, silver leaf, blue ink), 1000 yards of blue thread

350 x 120 x 120 cm

Figure IV

2022

KEVIN MCKAY

Cronulla’s Oak Park Pavilion houses a public toilet and serves as an entry point to the beach. It is also a place of transition and presents like a classical temple in its engagement with light and space. This work is painted on a heavy sheet of handmade paper that I inherited from my studio partner. I like to think the friction between materials and image correlates with the need to find beauty in the midst of the difficult and ordinary.

Pavilion 2023

oil on handmade paper

87 x 118 cm

STEPHANIE MONTEITH

Floral Arrangement investigates a visual encounter. I find the activity of rendering a lived experience into a picture fulfilling. It is a process of abstraction that strangely enough results in an illusion of representation.

Drawing has always been essential to my art practice. For several years I have been developing drawings in response to observing shadows. Floral Arrangement is the largest and most complex attempt at one of these shadow drawings.

These works relate to the tradition of “trompe-l’œil”. Translated from French to English, “trompe-l’œil” means ‘deceive the eye’. This is the name given to artworks or even architecture, where realistic imagery is used to create the optical illusion that the depicted objects exist in three dimensions. This is a playful visual experience that I enjoy interpreting. Whilst the use of the phrase “trompel’œil” has fairly recent origins, the desire to create this type of illusion has ancient connections.

MYLYN NGUYEN

The building in ‘The day males and new queens leave’ is a miniature replica of The Condensery at Somerset Regional Art Gallery. Sometimes the gallery is visited by insects and lizards who gravitate towards paper works.

The day males and new queens leave 2022

paper, pencil, gouache, acetate

4.4 x 9 x 19.5cm (building)

0.5 x 1 x 1.7 cm (each flying ant)

variable installation dimensions

ADAM NORTON

This work is an enlarged painting of a 1950’s postcard of Arizona’s Meteor Crater, with all the scuffs of the found original painted in, including the faded palette of the low-quality industrial print. It is a celebration of the object of the postcard and not just a painting of the crater.

TOSHIKO OIYAMA

Drawing is my way of asking questions that cannot be answered in words. What does it mean for all things to be in a constant state of transience? That is one question I have been asking in my art practice for over a decade. My current drawings are created with ink, pinhole punctures, thread and paper. With these, I explore the fundamental nature of transience that also contains, paradoxically, the unchanging law that governs everything.

Overlapping of the free-flowing ink and systemic grid, the ambiguous space and depth, the 2D surface and 3D thickness of punctures, the

incongruent feel of thread sewn through paper … these elements interact and affect each other constantly. Often I step aside and welcome happy visual accidents among them.

Although my question may be esoteric, the act of puncturing and threading paper grounds me firmly on the materiality of art and the physicality of my own existence. I draw, wonder, experiment, and draw again.

Elements 12 2023

ink, pigmented ink, thread, pinhole punctures on paper

78 x 53 cm

LIZ PAYNE

I Will Survive is a 1978 hit song that became a symbol of strength, resilience and perseverance. As I pierced the paper’s surface repeatedly I thought about the resilient similarity between paper, people and the world we live in that also requires all these attributes in order for survival.

I Will Survive

2023 beads, shells and thread, hand beaded on glitter paper card in custom perspex frame

30.5 x 24.5 x 4.5 cm

LORI PENSINI

The ‘critically endeared edition’ is a dystopian projection of the childhood chatterbox fortune telling game. Each fortune teller displays four critically endangered or extinct known and lesser known species and each playing outcome arrives at the same cataclysmic point spotlighting species elimination. The aim is to emphasise the acute fragility of our environment and the need for urgent action to stabilise the ecological disequilibrium brought about by our land mismanagement.

Chatterbox Fortune Tellers - The Critically Endangered Edition 2023

pencil and ink on watercolour paper 10 x 50 x 14 cm (installation)

IZABELA PLUTA

Using a source image from Pluta’s personal archive, the photograph captures a sky view from a plane window as her family emigrated from Poland to Australia. In the colour darkroom the image is abstracted beyond legibility using an only the glass components from a disassembled camera lens.

unique C-type photograph 150 x 100 cm

JASMINE POOLE & CHRIS SEWELL

Using imagery and found typography from shared trips across Australia, this work in paper mimics the appearance of a lace curtain which hang in the windows of many suburban homes

A desire to remember and the need to be remembered are inherent qualities to the human experience. The work is designed to evoke a sense of nostalgia and a longing for what is no longer present.

Stay Just As You Are 2022

laser cut paper

160 x 130 cm

DIEGO RAMÍREZ

This work belongs to a series of photographs that consider how we demonise people from other places. Drawing from a 1959 Mexican film, Santa Claus vs The Devil, where the English dubbed version gave Santa an American accent, but preserved the Mexican accent of the Devil.

I was a child, I used to dress like El Diablito

BRIAN ROBINSON

Torres Strait Islanders have always relied on their sophisticated understanding of the stars, the seasons, the weather, the winds and the currents both for navigation and for identifying appropriate times to gather, nurture or avoid food plants and animals.

Lagalgal: The mysteries of our land 2022

DOUGLAS SCHOFIELD

My ongoing body of work is focussed on gardens, weather and land. The physical practices of gardening and painting become modes of investigation into ideas around contemporary Australian landscape. This work references my parent’s garden in Nethercote and the lived experiences gardening there.

Bush garden after frenzied digging (Nethercote)

2023

watercolour and watercolour monotype on BFK Rives paper

174 x 136 cm

LIZ SHREEVE

Kasha Linville, in a critique of Agnes Martin’s luminous paintings described the three distances for viewing her work. I think the descriptions can be applied to many artworks maybe even mine.

Close

The surface is material, solid, obviously manmade, a bit skew, human, readable. The grid is a frame. The colour, when seen directly is solid.

Middle

The colour appears as a permeating cloud. Air as colour. The space between the viewer and the artwork is dematerialized with the colour leaching out to escape the grid. This middle layer is not found in drawings, it can’t be squeezed into two dimensions and it’s more than three.

The Grid and the Cloud

Distant

The piece is readable as an object with a simple two dimensional pattern. Shadows become visible. The viewer controls the appearance of the pattern and the shadows through their own movement.

BENEDICT SIBLEY

Natural and cultural upheavals continue to intersect our contemporary story. My recent drawings investigate fire in the landscape; often celebrating the resilience of certain ecosystems in an increasingly modified and inhospitable world.

Intersection

2022

compressed charcoal on Arches 82 x 102 cm

(at Stoney Creek)

CHANEL SOHIER

This diptych represents a double vision, mixed sentiments which are separate yet overlaid. In the apex of the attic, imagination sprawls with the clouds. In the shadows of an island of canopy, deep musings rest in the hollowed out pavement.

Here/There

2023

ballpoint pen on paper 50 x 30 cm (diptych)

PETER SOLNESS

I work as a photographic light painter, which involves creating images at night. To do this I mount my camera on a tripod and then use long camera exposures of up to 90 seconds in duration. During this time, I move through the scene using small hand-held light sources to illuminate my subjects. In essence, by working in darkness I’m creating images from a black canvas. This allows me wonderful control over what my camera sees and therefore what I can achieve, in terms of interpretation and composition of my images.

Delegate RSL Sub Branch 2023

2023

cotton rag inkjet paper

60 x 90 cm

MIGNON STEELE

Lately I have become very interested in the textural terrain of the painted surface. Using pulped paper from old phonebooks I attempt to build a geological and geographical sort of topography. Intertidal Delirium harks of rockshelf wanderings and delight in the qualities of the materials.

Intertidal delirium

2023

papier-mâché, acrylic and binder on board

123 x 99 cm

ALI TAHAYORI

IMPOSSIBLE DESIRE is a series of hand-painted photographs captured inside a public toilet in my hometown, Shiraz, where I had my first intimate experience as a teenager. Not able to return to Iran to visit this place, I asked a friend to take photographs of the space as it is now. Looking at his photographs, I realized they did not correlate with my memories of the site. The project initially aimed to revisit and reconstruct a past queer memory. Later, it became about the experience of a place and a time that was no longer accessible. I used my own body fluid to express my feelings of longing and loss for a past that was disrupted and a future that never followed.

https://vimeo. com/819451071/5fd57d3e5f?

IMPOSSIBLE DESIRE

2023

HD video with sound

(gouache paint and body fluid on archival paper), edition of 2 + 1AP 4:48 minutes

SHERNA TEPERSON

This work is an ongoing experimental project that explores the visual and vibrational energy between colours. Constructed from cardboard to resemble wooden posts, these ‘Wands’ play with the formal legacy of minimalism and abstraction but also explore how the interaction between colours might deceive the eye of the viewer. Its pared back structural form has allowed me to experiment with figure and ground/near-and-far relationships between hues. I am also fascinated by how the bandwidth between colour juxtapositions impacts the pace of our vision, as the eye slows down to absorb the repetition of chromatic difference.

I began investigating colour through the format of ‘Wands’ shortly after my mother passed away in 2020. Two months before she died, I had given her a pack of 100 coloured textas. Her initial attempts were tentative, but rapidly gave way to vibrant and daring experimentation, and she became totally immersed in a joyous exploration of colour. Her output over this period was prolific — 119 coloured-in drawings —and her journey continues to inspire my art practice.

Lessons from my Mother

(Wands #11 - #18)

2023

bookbinders cardboard, screen board, binder medium, acrylic, PVA, Kwickgrip, Balsa wood beading, 5cm blocks of pine 184 x 90 x 83 cm installation

The Plague book drawings arose from my collecting over thirty-five different second hand editions of Albert Camus masterpiece The Plague from across the world during the Covid-19 crisis. I then drew each edition as a way to connect to the global experience of the pandemic.

The Plague (three books)

2022

graphite pencil on paper

93 x 31 cm triptych

GARRY TRINH

This work explores subconscious mark-making, doodling, and intuitive processes. The artwork draws inspiration from the strokes and marks left by customers who test markers, pens, and pencils on paper in stationary stores. The work was created entirely within an Officeworks store using 135 sample pens.

KATE VASSALLO

I design materially driven systems as a methodology to produce artworks, combining rules, repetitious labour and serendipitous material textures. Equal parts chance and conscious decision-making in the studio, rules dictate the composition, colours and density of my abstract artworks.

My coloured pencil drawings are made using chance-based markers I scatter to form a base structure. This is then segmented in different ways and filled in with thousands of fine, straight, ruled lines. Made simply with coloured pencils and a ruler, the material quality of this controlled mark-making

is something that I have been considering and developing over the last 10 years. The repetitious nature of my mark-making becomes an abstract visual record of time and labour.

This artwork is a progressive sequence, with chance based forms gaining one vanishing point per sheet. Made using a single set of coloured pencils, when the sequence unfolds colours drop out as the pencils were worn down beyond use and not replaced. The artwork came to a natural conclusion when all the pencils were consumed.

Gain and Loss 2022

Polychromos coloured pencils

42 x 188.2 cm (6 pieces)

SYLVIE VENESS

This abstract work was created through the repeated pricking of paper with a needle - a meticulous process whereby an image evolves through the accretion of perforations and the gradual disintegration of the paper’s surface. Working with this technique requires control, precision and sustained focus. The repetitive, rhythmic movement that harmonises with somatic functions such as breathing and heart rate, engenders a meditative

state that is reciprocated with the viewing of the work. These properties, coupled with the tactile surface, create subtle optical effects that shift with the interplay of light and challenge visual perception. This encourages the audience to examine the work slowly, to look at it from different perspectives, to visually caress the image, to ‘graze’ as opposed to ‘gaze’.

HILARY WARREN

The early morning summer sun streamed into my studio and as the long shadow cast by the coffee set played across the table I captured the image. The image was translated into an etched plate using the Photopolymer Photogravure process and printed with oil based inks into Hahnemuhle 300gsm paper.

Shadow Play

2023

photogravure on Hahnemuhle

300gsm paper, edition 2/5

44 x 54 cm

For those familiar with the seasonal changes on the South Coast, the emergence of these flowers in September ushers in the arrival of Spring. Heathland captures this explosion of life.

Continuing many of the visual and conceptual themes of her previous works, Heathland is both an ode as well as a visual investigation into the lives of the flora and fauna on the South Coast. Black Cockatoos are depicted as the main protagonists. Social birds, they can often be observed in pairs within a larger flock. Their silhouettes regularly perched atop burnt trees overlooking the landscape.

West attempts to captures the intimacy these birds have with one another and her experience

observing them along the headland. In this way, Heathland evokes similar characteristics associated with genre painting, where the activities of everyday life are depicted with integrity. West seems to apply this framework to the context of the natural world as she continues to portray our surrounding landscape with underlying respect and admiration.

Heathland epitomises the themes and visual language West has developed throughout her practice, tying together notions of depth, intimacy and a profound sense of interconnectedness.

PAUL WHITE

My work, a coloured pencil on paper drawing comes from a photo that I took on Sunset Blvd in Los Angeles many years ago.

This image of a 1970s van surreally parked on the side of the road covered in an array of random objects and likely acting as a mobile home seemed particularly pertinent in times of covid affected life.

I am interested in car culture and this image reminded me of post apocalyptic movies such as Mad Max, or Death Race 2000 where the vehicle acts as a mode of survival. More specifically the van is reminiscent of the Scooby doo mystery machine, the A team van and custom vans of the 1970’s where these utility vehicles are transformed into dream machines.

This particular van reveals layers of time through its build up of flotsam and jetsam and many layers of paint and remnant signage. Its survival and the act of its personal modifications suggest a hope for the future. I am interested in revealing these elements of the everyday which are in decay and are signifiers of time passing and relish in pausing this moment through obsessive investigation, interrogation and mark making.

My use of pencil on paper in a meticulous and highly detailed manner is not only an attempt to gather every degree of detail from the image by conducting a thorough investigation into it, but also through this time consuming process, a way of slowing down the world.

pencil on paper in custom frame

150 x 108 x 7cm

AMANDA WILLIAMS

On the outskirts of Sydney in the early 1940s, a small plantation of eucalypts was planted by the Technological Museum of Sydney, later renamed Powerhouse Museum, to research and serve the Australian Government’s drive to promote economic botany. Known as the Castle Hill Experimental Research Plantation, the trees were grown and tested, to better understand the properties of eucalyptus oil and promote the development of Australia’s essential oil industry. In 2021, with plans to develop and build a new archive building to house the vast Powerhouse collection, the trees were scheduled for removal. On an artist residency with Powerhouse, I spent months with the trees between 2021-2022, listening to them, sitting with them, recording them. The artificial nature of this grove, existing to serve industrial demands, was at odds with my experience of the trees themselves, part of a delicate ecosystem. This led

me to approach this place and this artwork with humility and reverence for the trees, and for those aspects of our experience, our perception of the world around us, that can’t be immediately expressed, understood or represented.

Untitled Chemigram…, is a cameraless photographic image, the direct result of a chemical reaction that occurred when a roll of medium format film was buried in the leaf litter of the plantation overnight. The final form is a mural scale photograph across two panels, showing 4 strips of film hanging vertically. It is a ‘proof sheet’ that depicts a different representation of the plantation. The true subject is not the ‘landscape’, or a traditional view of the tress, it is the alchemical trace, the transformation, and an image of the ecosystem that existed in the plantation prior to the trees being removed.

Untitled chemigram (experimental eucalyptus plantation) version 1 from the series The Last Stand

2023

chromogenic photograph on expired Kodak

Metallic Endura paper

220 x 160 cm

I would like to acknowledge the traditional owners of the land on which this work was made. I recognise their continuing connection to land, waters and community and pay respect to Elders past, present and future.

BELINDA YEE

To occlude is to cover over or obscure. In some South Asian cultures, women’s names have traditionally been replaced with that of their nearest male relative. On important documents like tombstones, they are referred to as ‘sister of’ or ‘mother of.’ This work addresses the erasure of generations of women through cultural practice and/or personal choice. When this information is transposed into data and absorbed into large datasets, cohorts of women are lost. They cease to exist in a process referred to as ‘digital genocide;’ the erasure of cohorts through underrepresentation, mis-representation or no representation.

Occlude 2023

300gsm watercolour paper, time 38 x 28.5 cm (each panel - triptych)

MEI ZHAO

This is a selection of my daily 7am drawings created during my residency at the Foundation of Portland NSW from May to June 2023. The site is historically significant as the Portland Cement Works Precinct, surrounded by limestone quarries and a former hot water dam used in cement production. Following the closure of cement manufacturing in the 1990s, the hot water dam is reclaimed as natural bushland, while the quarries have transformed into tranquil lakes. Over six weeks, I made drawing every morning at the same spot between the bushland and the lake. Fascinated by the

delicate winter’s pastel hues, I try to capture the ever-changed moments when the sun’s golden rays pierce through the frosty landscape, casting contrasted colours, shapes, and patterns. The gestures express my bodily experience of the area created by brush marks, raindrops and iced patterns of gouache. The installation view of drawings creates a multi-perspective of the place, while the animated colours and repetitions show the resistance and revived landscape since the postcolonial industry era.

gouache, pen and graphite on Hahnemuhle 300gsm paper

114 x 245 cm installation

Between Hot Water Dam and Quarry 2023

Plants are vital for life depicts nine gigantic fairy-like Australian native plants that survived the bushfire in flower.

Since the 2019-20 devastating bushfire, some endangered native species took 2-years to regerminate, grow, flower, produce seeds, and return to the soil bank. I carved the seed pods and flowers, such as Banksia, native orchids, rock orchids, Mountain Devil, trigger plants, and Waratah. Eucalyptus and wattles have numerous adaptation strategies to cope with fire. Pink flannel responded to the fire and flowered.

Plants are vital for life manifests the urgency to ensure the survival of our planet. It reveals Mother Nature’s forgiveness, beauty, and regenerative powers. It addresses the fundamental component of the plants – they are the basis for all

our food. I drew a skull scattered across the grid to symbolise death as a sense of warning. I stitched together cutout pieces to form the word FOOD by provoking hope and fear. The add-on shows the effort hoping our children will have enough food for them. Simultaneously, transforming the scientist’s prediction – if we don’t stop land clearing, we won’t have enough food soon – the word FOOD reveals the fear because the patched-up scraps by force won’t last forever.

It is a huge challenge when the speed of climate change is utterly rapid. Plants are vital for life exposes the coexistence of human beings and nature, one cannot survive without the other. It raises questions: How do we protect the plants? How do we protect ourselves?

2023 ink and watercolour on mulberry paper, hand cut 300 x 300 cm (9 pieces)

ACKNOWLEDGEMENTS

Hazelhurst Arts Centre acknowledges the Dharawal people as the Traditional Custodians of the land within the Sutherland Shire. We value and celebrate Dharawal culture & language, and acknowledge Dharawal people’s continuing connection to the land, the sea and community. We pay respect to the Elders and their families, past, present and emerging, and through them, to all Aboriginal and Torres Strait Islander peoples.

PROJECT TEAM

Curator: Carrie Kibbler

Assistant Curator: Naomi Stewart

Judge: Deborah Kelly

Finalist selection panel: Jenny Cheeseman, Rachel Farag, Tom Polo

HAZELHURST STAFF

Acting Director: Carrie Kibbler

Acting Curator: Naomi Stewart

Acting Curatorial Assistant: Emily Dabron

Public Programs & Education Coordinator: Natalie O’Connor

Public Programs & Education Officer: Melissa

Marketing Advisor: Stephanie Hopper

Arts Centre Coordinator: Fiona

McFadyen

Team Leader Visitor Services & Administration: Caryn Schwartz

Venue Duty Officers: Vilma Hodgson, Giada Cantini

Visitor Service Assistants: Hannah McClaren, Marilyn Brown, Adam Douglas, Grant Drinkwater

Exhibition Preparators: Jenny Tubby, Al Poulet, Mark Merrikin, Will Angus, Lucy Whitelaw, Emily Dabron, Hayley

A West Hazelhurst also acknowledges the contribution of our teachers and volunteers

Hazelhurst Art on Paper Award 2023

16 September - 12 November 2023

© 2023

Hazelhurst Arts Centre 782 Kingsway Gymea NSW 2227 Australia

T: 61 2 8536 5700

E:hazelhurst@ssc.nsw.gov.au

www.hazelhurst.com.au

ISBN: 978-1-921437-74-8

Image credits: all images courtesy of the artists opposite: Hilary Warren Shadow Play 2023 (detail)

page 4-5: Alanna Lorenzon Waves All the Way Down 2022 (detail)

pages 28-29 Kim Anderson The Peace of Wild Things 2023 (detail)

pages 50-51 Ning Chen Melody of Spring 2023 (detail)

pages 72-73 Christine Druitt-Preston Roadside Bouquet 2022 (detail)

pages 94-95 Amber-rose Hulme Visible History 2022 (detail)

pages 116-117 Barbie Kjar Lion Tides 2023 (detail)

pages 138-139 Adam Norton Meteor Crater, Northern Arizona 2022 (detail)

pages 160-161 Benedict Sibley Intersection (at Stoney Creek) 2022