The Liminal and the Landscape ‌
‌ consider these responses to Place s
Landscape Images
s John Olsen - sketch
John Olsen - sketch
John Olsen
John Olsen
John Olsen Fruitta Misto del Mare 1991
John Wolseley
John Wolseley
John Wolseley - developmental drawings
John Wolseley
John Wolseley
John Wolseley - working
John Wolseley
John Wolseley
Margaret Preston 1875–1963, Port Adelaide, SA, Australia Flying over the Shoalhaven River 1942 National Gallery of Australia
early work emu woman
last series my country
Lloyd Rees ~ sketch
Lloyd Rees ~ sketch
Brett Whiteley’s - work at the Gallery NSW
Brett Whiteley working
Brett Whiteley - early work - la new view of landscape
Brett Whiteley Willow at Carcoar, 1978
Brett Whiteley The Olgas
Brett Whiteley Humming Bird and Frangipanni
Brett Whiteley Japanese Good morning
Jeffrey Smart The Guiding Spheres
Kathleen Petyarre Devil Mountain Lizard
Lawrence Daws ~ Night Pool
William Robinson
William Robinson - Nerang River Pool
William Robinson - Fern in Sunlight
William Robinson - Landscape with Moon
William Robinson - Landscape with Clouds
Tim Storrier - Photo of Running Man
Tim Storrier - drawings
Tim Storrier - drawings
Tim Storrier - Pacific Drift Series
John Wolseley
Research Focus
Wild Cries Wild Wings of Wetland and Swamp
John Wolseley could pass for a 19th-‐century gentleman explorer: an ar:st, naturalist and geographer rolled into one.
But his work is also strongly contemporary.
From the embers - Leaf Surge
He is documenting what is left rather than what has been found. Wolseley himself puts it more modestly: "The old gentleman naturalists were looking forward and discovering new things, whereas I am looking back, I am deconstructing that. I'm often the last to see something, rather than the first."
Forty-eight days in Tnorula- Gosses Bluff
The last journey of the regent honeyeater, 2004, ...
Wolseley is an artist whose distinctive work often looks like fragments from ancient maps, with exquisite botanical illustrations, musings, scientific diagrams and snippets of poetry around the mountains and along the coastline.
60 Days Wind Blown
Wild Cries Wild Wings of Wetland and Swamp,
The Art of
'Botanist's camp‘ 1982
Arrarente Desert lithograph 1996
Wolseley's work is a cross between art and science. His work is also strongly contemporary. His maps are not readable in the conventional sense: they whirl about through time and space... . . He is "a Renaissance man without the commitment to 'perspective'. His perspective lies in his historic application of different aspects of thought and feeling‌.
Using the environment-‐Fro:age drawings.
The Memory of Fire includes large scrolls of paper covered in sooty-‐black, random lines. They were made by rubbing the paper over and through the skeletal, carbonised banksia, silky needle-‐
bush and casuarina trees -‐
"Most people have a very goal-orientated job, but what I tend to do is to go to a place and just sit there and daydream, really," he says. "And slowly, because you are so quiet and still, you get to learn a lot about a place. I start with a lot of exploratory drawings which end up in the paintings as sort of collages, then I build up a picture of the place."
Wolseley had an exhibiFon in 2001 called Tracing the Wallace line. • The exhibiFon invesFgates how the landmasses of this area have moved towards each other and dramaFcally collided in recent geological Fme along what is known as ‘the Wallace Line’. This line was named aMer Alfred Russel Wallace, one of the 19th century founders of biogeography, who was obsessed with why there was a dramaFc division between the two different faunas and floras which seem to run in a line between Bali and Lombok in the south, threading its way north between Borneo and Sulawesi.
The architecture of leaves in Java and Malaysia
http://www.famousscientists.org/alfred-russel-wallace/
A three dimensional dotted line on the gallery floor represents the Wallace Line. The exhibition features for example comparisons of leaf forms from each side of the Wallace line and bird plumage from Java juxtaposed with specimens from West Papua. Also included are Tapirs, cloud forest mosses and a series of beautiful cabinets
Tracing the Wallace Line. The concept for the cabinets was developed whilst drawing plant specimens in a Herbarium in Java, where Wolseley speculated if there would come a Fme when much of what remains in the natural world will be found only in the cabinets of museums • Wolseley commissioned Linda Fredheim to design and make a pair of cabinets to contain specimens "in memory of lost species", one for each side of the Wallace line. Each of the cabinets is made up of layers of specimens held in metal collecFng boxes with the top of the cabinet containing a casket-‐like collecFon of specimens and drawings which can be glimpsed through the door handle/peephole.
Rain forest canopy, olive backed oriole, 1999-‐2000 watercolour.
•
InformaFon on John Wolseley.
View films on Wolseley • John Wolseley: Carboniferous | Crea:ve Cowboy Films