Arts zine sept 2016 by Robyn Werkhoven

s t u d i o

L A

arts zine issue 17 september 2016

P R I M I T I V E

slp

studio la primitive EDITOR

Robyn Stanton Werkhoven CONTRIBUTORS

Above: Blue Mourning, oil on linen,120 x 90 cm

Mertim Gokalp

Bea Jones

Celebration Exhibition

Yosua Aethyrin

Brian Doherty

Brad Evans

Jane Richens

Lorraine Fildes

Craft NSW

Robyn Werkhoven

Sandra Shaw

Eric Werkhoven

Gallery 139 Art System Wickham

Front Cover: Eat your heart out, oil on linen, 120 x 90 cm Glencore Portrait Prize Finalist 2016, Mertim Gokalp. Issue 17 - September 2016

INDEX Editorial………………………… Robyn Werkhoven

4-5

SLP Antics………... …………. E&R Werkhoven

6-7

Featured Artist ………………… Mertim Gokalp

8 - 23

Poem …………………………… Bea Jones

24 - 25

3 Year Celebration Exhibition .. Featured Artists

25 - 83

Poem …………………………… Yosua Aethyrin

84 - 89

Featured Artists………………… Jane Richens

Brian Doherty

Above: Ice Maiden, digital photograph,

90 - 101

Poem…………………………… Eric Werkhoven

102 - 103

Kyoto……………………………. Lorraine Fildes

104 - 121

Poems……………………………. Brad Evans

122 - 123

Craft NSW……………………….. Sandra Shaw

124 - 133

The Hospital Exhibition ……….. Robyn Werkhoven

134 - 137

ART NEWS…………………….

138 - 159

Back Cover……………………..

Lachie Hinton

160

Issue 17 - September 2016

EDITORIAL Greetings to all our ARTS ZINE readers for September 2016. September issue 17 of STUDIO LA PRIMTIVE ARTS ZINE is a special celebratory 3 year birthday edition. We have presented an exhibition of the artists who have been featured since the Arts Zine went online in

October 2013. Our leading article features Sydney based artist Mertim Gokalp’s stunning and profound work. From the Hunter Region NSW, interviews with Jane Richens and Brian Doherty, who have been involved with documenting the art scene in Brisbane in the 1980s. Textile artist Sandra Shaw writes about New South Wale’s Craft Society.

Lorraine Fildes, our resident travel photographer and writer visits Kyoto, Japan. Don’t miss reading our new essays, poetry, art news and information on forthcoming art exhibitions. The ARTS ZINE features national and international visual artists, poets and writers, glimpses into their world of art and their creative processes.

Submissions welcomed, we would love to have your words and art works in future editions in 2016 & 2017

Deadline for articles - 15th October for November issue 18 2016. Email: werkhovenr@bigpond.com Regards - your editor Robyn Werkhoven Issue 17 - September 2016

P Surrender of the Model, oil on canvas, Mertim Gokalp ÂŠ 2016

www.mertim.com.au Issue 17 - September 2016

studio la primitive - antics

www.studiolaprimitive.net Issue 17 - September 2016

studio la primitive - antics

Panel III - Lifeâ&#x20AC;&#x2122;s Parade, H 90 x W 120cm, E & R Werkhoven ÂŠ 2011

www.studiolaprimitive.net Issue 17 - September 2016

MERTIM GOKALP

Issue 17 - September 2016

MERTIM GOKALP Mertim Gokalp a contemporary portrait artist was born 1981 in Turkey, moving to Sydney in 2009.

Mertim’s training at the Mimar Sinan Fine Arts Academy, Istanbul, prepared him well for a career in portraiture. In the five years that he has been living in Sydney Mertim’s works have been selected as finalists in all the major portrait exhibitions here including - the Archibald Prize, the Doug Moran Portrait Prize and the Black Swan Art Prize. His strong contribution to the contemporary Australian art scene has recently awarded Mertim with a

distinguished talent visa by the Australian Government, allowing him to live and work in Australia.

“To me, painting is a synthesis of my feelings, inspirations, reactions and struggles; it is a way of breathing in and out…Painting portraits is one of my passions, as it is a great area to explore

the underpinnings of human psychology. Using the narrative potential of portrait painting, I aim to challenge the viewers and confront them with their most inner feelings.”- Mertim Gokalp

Opposite page: Sacrifice of the Model,

Oil on linen, 150 X 200 cm, Doug Moran Portrait Prize Finalist, 2015

Mertim Gokalp in his studio. Photograph curtesy of artist. Issue 17 - September 2016

INTERVIEW - MERTIM GOKALP When did your passion for art begin? “ When I was about 5, I started to draw pictures by myself. I was probably influenced by my mother who was interested in painting as an amateur. One day, I was with my aunt. My aunt had been on the phone for ages

and I was bored to death. I decided that I needed to find something fun to engage myself and started to draw one of my aunt’s dolls. When I finished drawing, my aunt was still on the phone. I showed her the picture and it took 20 seconds for her to make a comment. She was shocked as if she was encountered with an alien. When my family saw the picture, they realized that I had a special talent for drawing. Then, I started to get tutoring from a professional artist for one and a half years. However, I lost my interest in painting with the coming school year. My interest in drawing was replaced with a new interest in music. In adolescence, the major things that influenced me the most were the night terrors I used to have because of high fever, the psychedelic music and lyrics of Pink Floyd. I had a number of attempts of gathering a rock band together. My main aspiration of becoming a rock star for many years ended with a phone call when I was 19. My mother, on the other side of the phone, was saying that my father was dead. In this period, I met with my future wife Melodi, my inspiration, companion and muse. Melodi revived my interest in painting and encouraged me to take the drawing skills test of the most prestigious art school of Turkey. I was in top ten out of 4,000 people. This is how I started to study painting at university.” Issue 17 - September 2016

Issue 17 - September 2016

How do you describe your work?

“My work is a fusion of my classical training and the contemporary trends of today. I paint realistic portraits, usually with vivid colors, which reflects the inner conflicts of the psyche. I believe art always urges the audience to look beneath the surface; it is the same for me. I always want my audience to see the story, the struggle, and the sacrifice behind the visual. I aim to challenge and confront the viewers with their deepest feelings. My portraits are not literal representations of people posing or sitting. These are subjective portraits of the psyche. All portraits reveal something about the subject, but they are open to many interpretations as they are enigmatic most of the time. My portraits are a celebration of the human form.”

Opposite page: Bille Brown in a Turkish, oil on canvas, 185 x 120 cm, Doug Moran Portrait Prize, Semi-Finalist 2014 Glencore Portrait Prize Finalist 2015, Mertim Gokalp © 2014. Issue 17 - September 2016

Derwish A Portrait of Bille Brown, Oil on linen 185 x 140 cm Doug Moran Portrait Prize Semi-Finalist, 2012 Archibald Portrait Prize Finalist, 2013. Mertim Gokalp ÂŠ 2013

Issue 17 - September 2016

Where do you draw your inspiration from? “ I find human form very exciting, figurative work enables me to explore a vast array of emotions, stories and personalities. I like to create a surreal world with his paintings. Balancing the spiritual with the provocative to capture the

everyday experiences of the contemporary urban woman, I explore the struggles of contemporary women of the modern city life. Our own limitations as human beings, the lack of empathy in today’s world, harsh expectations of the society, not having a clear view of the emotional void in the person next to us are the prevailing themes in my works.”

What do you consider your greatest achievements and exhibitions? “I have been awarded both in Australia & internationally and exhibited in all top portrait shows in Australia such as the Archibald Portrait Prize. I was a finalist in the highly esteemed Archibald Prize in 2013, through my portrait of Bille Brown, and finalist in the Doug Moran Art Prize (2015), through my painting, Sacrifice of

the Model. Last year, I exhibited a solo show at Rocks Heritage Museum. Also, the Australian Government has awarded me with a distinguished talent visa, allowing me to become an Australian citizen.”

Issue 17 - September 2016

Red Shoe – Portrait of Simon Burke Oil on linen 185 x 135 cm

Issue 17 - September 2016

What are you at present working on? “ I am currently working on a new piece inspired by Caravaggio. It is a modern take of one of his prominent works.” Your aspirations for the future? “ I would like to see my paintings exhibited in museums. Also, I want to expand my artwork to a wider international audience. There are plans to exhibit in international art shows.” Forthcoming exhibitions?

“ I will be exhibiting at the Asia Contemporary Show in Hong Kong in September.” Other interests? “ I have a great interest in other forms of visual arts. Photography and films are amongst my biggest passions.

As a contemporary artist, following all sorts of contemporary art forms is very important.

Therefore my interests are quite vast, from hyper-realistic tattoo art to performance art. Also, I am interested in history and politics. As we are living in an era full of loaded political discourse and dichotomy, I believe it is very important to have a good understanding of the roots of the current problems of the world. Currently, attending a series of history lectures focusing on Middle Eastern Region.”

Mertim Gokalp and model in his studio. Photograph curtesy of artist. Issue 17 - September 2016

Hard wired Oil on linen 120 x 90 cm Mertim Gokalp ÂŠ 2013

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Tortoise Trainer Oil on linen 120 x 90 cm Mertim Gokalp ÂŠ 2015 Issue 17 - September 2016

Mama keeps me warm Oil on linen 120 x 90 cm Glencore Percival Portrait Painting Prize Finalist, 2014 Mertim Gokalp ÂŠ 2014 Issue 17 - September 2016

www.mertim.com.au Photographs of art work curtesy

MY MOTHER’S MOTHER - Bea Jones Eighteen-eighty-nine, the Sind; sun and sand

silver, silk and spice.

Nineteen-twenty-six, the vows; seclusion’s years, monastic silence, meditation. Remember, Mamaji, the recitation? One hundred and eight Upanishads.

Couscous and camel dung, the lap of the ayah

Nineteen-thirty-one, conversion;

full beneath my mother’s mother.

Bhagavad-Gita to Quran. Purdah’s veil of piety

Porcelain-pale lilies of the Raj. Rouge the cheek, memsahibs

prepares you for poverty, prayer and peace. Yes, my mother’s mother, reminisce

glove the hand fan my mother’s mother’s memoirs.

before dust from age’s veil

peppers your mind Beatrice, remember redemption’s test? (Father, Son and Holy Ghost.) The quest to quench your questions.

Issue 17 - September 2016

Bea Jones Bea Jone’s poem Mother’s Mother was awarded the annual Ada Cambridge Poetry Award 2016. It was announced at the recent Williamstown Literary Festival, Victoria, an actionpacked weekend of workshops, book launches, readings and interviews. It gives a glimpse of her grandmother's lifelong search for a faith that would sustain her.

Many people in the Hunter Valley, NSW, know Bea for her poetry. She regularly attended “Poetry at the Pub” and has works published, in “Visions from the Valley” - Poetry of the Hunter Valley, 1960-2000, publisher Catchfire Press. In 1992 Bea lived in Newcastle, devoting much time to writing.

Then in 1995 came a “big change” , the decision to move to Melbourne, especially for the wonderful diverse cultural and artistic community. Bea presently lives in Victoria.

Issue 17 - September 2016

CELEBRATION EXHIBITION

slp arts zine 3 years old Issue 17 - September 2016

CELEBRATION EXHIBITION slp

arts zine 3 years old

This special edition of Studio La Primitive Arts Zine celebrates our three year old life online. The following pages contain an exhibition of works by the many artists who have been featured in the Arts

Zine since October 2013. In September 2013 I decided it was possible due to technology, for me to attempt to produce an arts and literary online magazine. The concept triggered off while reading about the many publications being produced in the 1920’s in Paris, a magnet for writers and artists from all over the world. With my passion for the Arts and a background in graphic design, the challenge was set in motion. The first issue was a meagre

start, consisting of twenty five pages, it just kept growing as did the audience of readers. I said in the first editorial – “It is very exciting what the future of the zine could lead to, as a voice for the artists,” well, I still feel the same, but I do know it is continuing into 2017 and will have a few surprises and will feature many remarkably talented artists and writers for our readers. It is important to have your work seen by a big audience. Many older issues are still being read, with over

eight thousand viewers each and rising. The Zine is still free, with no advertising from sponsors. It is just something I still want to do for the Arts, which is my life’s passion. Now please enjoy the Celebration exhibition - Robyn Werkhoven © 2016 Editor. Issue 17 - September 2016

'Mondrianopolus' Digital Print 65 x 74 cm

Andrew Finnie ÂŠ 2016 Issue 17 - September 2016

Look within - Vantage Point Mixed media sculpture 20 x 15 cm

Issue 17 - September 2016

Mangroves and Pelicans Monotype print 50 x 70 cm

Helene Leane ÂŠ 2016

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Ferns at Night Oil on board 60 x 45 cm

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Constructed Horse Stained and assembled recycled wood 20.5 x 20 x 6.5 cm

Andrew Shillam ÂŠ 2015 Issue 17 - September 2016

Woman in Zig-zag Dress Gouache on paper 30 x 18 cm

Rindi Salomon ÂŠ 2016 Issue 17 - September 2016

Girl and Bull - detail, bronze, Shanghai Institute of Visual Arts, China ,

Piers Dudley Bateman

1947 - 2015 Issue 17 - September 2016

View of East Gresford, acrylic, 18 x 24 inch. - Simone

Gabriel - 80% fit. Photograph - fibre based gelatine silver print

Ric Woods ÂŠ 1995 Issue 17 - September 2016

The Prince Wilkins

Oil on Linen 187 x 164.5 cm Salon des Refuses

Sally Ryan ÂŠ 2016

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The Lotus, photographs from “The Lotus Pond” - Lorraine

Rolling In, acrylic on canvas, 60 x 75cm,

'I just see myself in piecesâ&#x20AC;&#x2122; Digital print

Edmond Thommen ÂŠ 2016 Issue 17 - September 2016

If I walk faster will more water collect on the negative 50 x 40cm printed on Ilford Art300 photographic paper

Chris Byrnes ÂŠ 2016 Issue 17 - September 2016

Red Totem Autoclaved, aerated cement / acrylic paint H 1.70 x 50 x 30

Eric Werkhoven ÂŠ 2014 Issue 17 - September 2016

Fancy Dress I Oil / acrylic on canvas H 60 x W 45 cm

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Salt Shore Acrylic on canvas 150 x 150 cm

Mark Elliot Ranken Â©

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2016

Tidal Race Oil on canvas 150 x 150 cm

Bernadette Smith ÂŠ

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2016

Blind Man Crossing Volcanic Landscape Oil on linen, 107 x 92.3cm

Pablo Tapia ÂŠ 2016 Finalist Kilgour Art

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Rock Pool, mixed medium, 10 x 14cm - Â© Judy

Henry Issue 17 - September 2016

"The Northbeach Vibe”, synthetic polymer on canvas, 61 x 152cm -

Merewether Baths Acrylic & ink on paper

Margo Humphries ÂŠ 2016

Issue 17 - September 2016

FStanding

East and Standing North, wood / mixed media sculpture, Â©

Peter Speight

1965 - 2012

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Green city, oil on linen, 120 x 160 cm,

Snow Maiden, sandstone, Peter Ronne ÂŠ 2012 Issue 17 - September 2016

Gentrification panel I Oil on canvas 216 x 153 cm

Below: Death of the ‘Golden Mile’ Oil on canvas 864 x 153 cm

Issue 17 - September 2016

"Rot" Oil on canvas,

Issue 17 - September 2016

Prom Girl, Oil on canvas, 1 x 1 m,

Tea Gardens, mixed medium on paper,

Debra Liel-Brown ÂŠ 2014 Issue 17 - September 2016

The lone cypress in Monterey county , colour photograph, 11 x 17 inches,

Claire Rydell ÂŠ 2016 Issue 17 - September 2016

Make Waves Oil on canvas 1mx1m

Blue Earings # 2 Charcoal, ink, pastel

Christine Pike ÂŠ 2016

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Repetition in Nature -

Interior World, Mixed media on canvas, 61 x 61 cm

Shirley Cameron Roberts ÂŠ 2015 Issue 17 - September 2016

Summer Storm Seal Rocks, Oil on canvas, 61 x 61 cm

Brian Roberts 1934 â&#x20AC;&#x201C; 2015

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Once upon a time

Acrylic on canvas 76 x 62 cm

‘Incubate’, - mixed media on board, 50 x 60 cm, © Kristen

Lethem. Issue 17 - September 2016

Sitting Pretty Bronze with patina H32 x W22 x D12cm

Roger McFarlane ÂŠ 2015

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After Flood Oil on canvas 1600 x 1400

Boat People, acrylic on canvas,

Ocean , acrylic on canvas,

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Lightening Strike, photograph ,

Alex Sutherland ÂŠ 2014

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Bird With a Gift Wrapped Wing Mixed medium on canvas 90 x 100 cm

Beach Figures, Acrylic on canvas, H 134 x W 100 cm Â© Adrian

Lockhart

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Alternate Views Material: pewter and sandstone 700 x 400ml (without stand) Photo: Brian Cox

Margaret McBride ÂŠ 2009

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Coastal Profiles Escarpment - oil and charcoal,

“Mountain” Oil on canvas 120x120cm

Issue 17 - September 2016

Christian Cross Oil & acrylic on canvas 180 x 120 cm Â© Max

Howe

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'Well Worn Track', oil on canvas, 80x100cm,

A Mythology, acrylic on un -stretched canvas, 210 x 370 cm. Benâ&#x20AC;&#x2122;s painting was featured as Arts Zine cover July 2014.

Ben Kenning ÂŠ 2014 Issue 17 - September 2016

By the River Acrylic on canvas

Issue 17 - September 2016

Up and Under, oil on canvas, 163 x 143cm,

City Streets, Acrylic on canvas, H 101 x W 101 cm,

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Thinking of 'Dick Roughsey’ Oil on board 40 x45 cm,

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‘Warrigal Dance’ Mixed Media- Eucalypt & indigo dyed textile, shibori resist, ochre paints, lino print, free machine stitching.

Turkish Bazaar Acrylic on canvas 40 x 40 cm

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Out through the trees

Birds on the wire

Tonal landscapes in charcoal and graphite,

Sunbeams through the gumtrees

Nicola Bolton ÂŠ 2016

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Clock by blacksmith Nigel

CRIMSON TIGERS I

I wear my coat for him

Tuesdays Noontime.

The sordid tale of Mister Donnell E, featuring Red

I put out my ruby shine

Tiger and little Miss Take in three segments.

I button my shirt

- Yosua Aethyrin

I do my hair A wink

I put my marker in my bag. She knocks at his door for a cup of tea She may have once asked for a cup of milk or a fiver for the pads and the toothpaste.

My day beginsâ&#x20AC;Ś.. Knock knock Mister Donnell E

But this time was for a cup of tea,

Knock knock for a cup of tea

and she wondered,

Knock knock on your window pane

would he be the sort for the Emperors Choice

Knock knock

or the Earl Grey.

This is Janie Takes,

She fancied instead that he may prefer the Irish Breakfast tea. Knock knock Mister Donnell E.

She has come for breakfast.

or better Mrs C. She holds her bag aside, straighten the curl and fold the pleat.

Come for tea.... I put on my stockings

My toes are with the ground

I pull on my skirt

My hand touches his door

I straighten my toes

My head turns with the clouds

and push out my shoulder bones. Issue 17 - September 2016

My back is to the storm I am here I am warm Could this be my home? The moon slides cross my shoulders He opens up the door Number three on the second floor Tiger ride the wind of empire Tiger sing the song of tea Tiger bounce Tiger fly Tiger Tiger In the sky.

CRIMSON TIGERS II Knock knock Number nine. Mister Donnell Just in time. My pipe, My cigarette, My scotch, My chocolate honey Sweet cigar. Its tiger time by the clock. They talk of tea bagging at the club. Knock knock Number nine

Struck the clock Time, Time, And time again, Its tea time at the club. Issue 17 - September 2016

Knock knock number nine In time.

Shade, Midnight in the autumns glade,

Knock up The lock up in the sky.

And otter pups in the windy rushes,

Knock up Jennie Ray in silk pyjamas on a Saturday

My coffee cup come ,

Knocking Chinese rhythms with her knee bones in the clouds,

And badger patch in twilight mug.

And tesseract nut And cyclone Run

Knocking thunder crack,

Tiger Tiger in the moonlight

And valleys lightening

Flashing tiger in the night.

with the rising star, And washing down the rivers rapid rolling stones, Boulder bright,

The star shine At the club. Star shine on slated shingled schillings,

Shadows Issue 17 - September 2016

Belly dancing butterflies,

And the scamber schanker knife.

At the club.

Save yer woman. Save your life.

Tiger.

Come mister Donnell E

Tigers in the night.

Come twilight at the club

Talking teabags Bagging,

Come rising star at moonlight alley

Babylon

Number nine

And baboons lightning balls.

Knock knock for further tea bags

Knock knock on the nevermind.

Baggin Brillig braging

The door,

Willy waggin in the wind Knock Knock

The alley door on number nine John stone alley.

Number nine Nine nigh

Swag the valley shagging chaps, and leggings, Holstered rattlers Issue 17 - September 2016

CRIMSON TIGERS III Red light on the tiger tights, Leotard leggins. Acrobatics by torchlight, Dancing dogs and momenchĂĄnce shadow play. And juggling stars. Here Jupiter and Saturn. Here Pleiades, here Mars, In the cobbled atrium arching corner off the alley. Here the shadow play on windows bars and the ripped pine stripped pine shuttered doorways, framed in corniced carnelian Corinthian columns.

The flute whined and warbled to the chiming calling of the tall tiger clock chiming in the alley off the club. Its tiger time down moonlit alley, rabble rousing, catcall carousing, sailor swag, and rube stagger off the alley, closing time. Bell clang and clamber, triangle perambulating out the doorway. Number nine. Its tiger time at twilight. Its tiger time. Goodnight.

Shattered remnants recycled from the war.

- Yosua Aethyrin ÂŠ 2016

The tin backed tables shudder to the boom of train track thunder and mummers thrum.

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Yosua Aethyrin Yosua Aethyrin, poet and humanitarian. Yosuaâ&#x20AC;&#x2122;s poetry has strong social and philosophical content, with penchant for the irreverent and the surreal.

He has been published in Canada, America and Australia and the UK in magazines and E-zines and

limited production booklets

published from 1990s through up until 2006.

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Interview : Jane Richens and Brian Doherty

Brisbaneâ&#x20AC;&#x2122;s art scene in the

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Interview : Jane Richens and Brian Doherty This month Culture Vulture features artists Jane Richens and Brian Doherty, who currently live and work at

Tabbil Forest in Dungog Shire, managing endemic biodiversity on a 680 acre wildlife refuge. Both artists have impressive careers in graphic design and the visual arts. Recently Richens and Doherty have had artworks exhibited in a major historical exhibition at the University of Queensland Art Museum. The exhibition titled 'Ephemeral Traces: Brisbane's artist-run scene in the 1980s' reviewed the art and artists working in Brisbane’s art scene in the 1980s. “The title refers to the ephemeral quality of a lot of the art produced in Brisbane during the last decade of the Joh Bjelke-Petersen government" Doherty explained. "The repressive political situation and the alliance between politics and a corrupt police force led to an art scene that had something of a French Underground resistance feel to it.” Opposite page: Brian Doherty - somersaults in front of his exhibit at 'Ephemeral Traces’, University of

Queensland Art Museum. Issue 17 - September 2016

Brian Doherty installing his exhibit at 'Ephemeral Tracesâ&#x20AC;&#x2122;, University of Queensland Art Museum.

Right: cover of Art Walk magazine. Issue 17 - September 2016

Brian Doherty Doherty grew up in Brisbane and completed a Bachelor of Design Studies degree at the University of Queensland in 1977. While pursuing his own art practice he worked at the Queensland University to create

a community access screen printing facility, ceramics studio and photographic darkrooms. In the early 1980s he worked as a designer for La Boite Theatre and with fashion label, Kim Hodges Designs. He was also involved with setting up and publishing a local art magazine, Art Walk (1982-83), and the Australian contemporary art journal 'Eyeline' from 1987-89.

Doherty explains: â&#x20AC;&#x153;The art scene was more than just making works to hang on walls. Because of the hostile environment and lack of supportive institutions, artists created their own cultural supports and had a strategic approach to their work generally. My broader art practice included creating art magazines and organisations like the Queensland Artworkers Union and running a community cinema in the city. And my

gallery artwork often dealt with the visual strategies and politics of items we take for granted in our everyday lives like newspapers, junk mail or soap boxes.

Issue 17 - September 2016

Brian Doherty beside his work at Ephemeral Traces Exhibition, at the University of Queensland Art Museum, 2016. Issue 17 - September 2016

For the current exhibition Doherty used a number of his prints in a large wall installation and he incorporated the front cover of the 2 March 2016 edition of the Dungog Chronicle into an artwork series that started in

1982. The cover was folded and hung alongside nine other folded newspapers as the most recent addition to the artwork that began when a folded page from a 1982 Brisbane Sunday Mail was exhibited and then toured around Australia.

â&#x20AC;&#x153;I chose that particular Dungog Chronicle cover because it was a wonderful readymade portrait of Dungog, the town, the Shire, and itâ&#x20AC;&#x2122;s current concerns. It was also one of the last editions of the Chronicle in the old format. It had a story to tell about the current commercial challenges for newspaper publishing and how that impacts on the print product. It seems as though both Dungog and printed newspapers are struggling to find a new way to exist in the future. Given both my age and the uncertain future of printed newspapers, this may be the last newspaper that will be added to that work. I found that quite poignant.â&#x20AC;?

Issue 17 - September 2016

Billboard for the Bicentennial celebrations in Brisbane 1988, by Jane Richens.

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Jane Richens Richens was also in the exhibition with a billboard sized artwork that was displayed around Brisbane as part of the Bicentennial celebrations in 1988.

Richens says “In this work I had the unusual opportunity to play with space on a cinematic scale. I was looking to create that other-worldly but connected to this world quality of cinematic imagery. I was also interested in the way voyeurism is deeply embedded within cinema traditions. The use of mirrors in the cinema

works on all these levels. They are a cliché of voyeurism in 'dressing room' scenes and at the same time expand the cinematic space to show not only what is in front but also what is behind the camera. Mirrors also serve as a transition to alternative worlds.”

Jane Richens began as a practicing visual artist in 1984 working with new media, photography, large format photocopies, billboards and masks. Her direct involvement in Queensland artist-run initiatives from the 1980s was in many forms – visual arts practice, design, publishing, education, archivist and administration.

Issue 17 - September 2016

Jane Richens and Cassie Doyle, former state art librarian, in front of a section of Janeâ&#x20AC;&#x2122;s billboard poster in 'Ephemeral Tracesâ&#x20AC;&#x2122;, at the University of Queensland Art Museum. Issue 17 - September 2016

Richens says – “This involvement was formative and important to my ongoing working life. During that time I was directly involved with both running and exhibiting in artist run galleries, and non-ARI galleries such as

the Institute of Modern Art and Milburn+Arte gallery. I was a founding member and a chairperson of the Queensland Artworker’s Alliance an organisation that advocated for artist rights and a member of the ‘Eyeline’ magazine founding team. Artist-runs at this time provided many artists like me an opportunity to establish networks, exhibit works, have work critiqued by our peers, and to participate in a wide range of related professional activities.

I have been one of the few people to retain and manage an archive of artefacts and published ephemera from this era and I understand the importance of this because of my involvement with conservation and archiving. I was involved with the Australian Institute for the Conservation of Cultural Material and was an

assistant conservator at Expo88 I also worked in the publishing department at the Powerhouse Museum; worked on digital media exhibits at the Museum of Sydney; and worked at the Museum of Contemporary Art in Sydney.”

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Doherty sums up “This exhibition has provided the opportunity to open up boxes that have been closed for the past 30 years. It has been fascinating and rewarding to work with the material and to reconnect with people. It was a rich and important time for the

cultural development of Brisbane.” Doherty at present is working on three publications documenting the 1980s Brisbane art scene and a discussion paper for the Art Association of Australia and New Zealand conference later this year. Jane Richens’ natural felted necklaces and sculptural pieces are available at Dungog by Design Gallery 240 Dowling Street Dungog NSW.

All photographs curtesy of Brian Doherty & Jane Richens Issue 17 - September 2016

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Stems and Fronds, felt, wire and wood sculptures by Jane Richens

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MOVING THROUGH â&#x20AC;&#x201C; ERIC WERKHOVEN After seeing you from a distance and knowing you in some parts, so in-depth, but never quite completely. A spot light of sorts, moving not randomly,

but specifically like a search light looking for survivors. Men and women who have weathered the storms, of internal and external magnitudes. Plus that period of utter dumbfound, after whatever actions have been astringently completed.

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Knowing many of us are such perfectionists, even when we are winding down, we are measuring these distances. Nerves taunt and bleary eyed. Each day more profuse in its constant beleaguerment of the senses. To reach that flat panned out state, where neither objective or transitory reactions reach us. It is albeit, an extraordinary joy to leaf through the pages. Where our sailing boat lays moored, to travel from that page into the open water. - Eric Werkhoven ÂŠ 2016

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K Y O T O Issue 17 - September 2016

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Kyoto, Japan Lorraine Fildes A visit to Kyoto, the ancient capital of Japan. One sees Kinkaku-ji â&#x20AC;&#x201C; the Temple of the Golden Pavilion; Ryoan-ji temple complex - which houses the greatest Zen rock garden ever created plus other superb gardens and a pond and finally a walk through the Bamboo Forest. Over the centuries, Kyoto has been damaged by wars and fires but these outstanding temples have survived.

Kinkakuji - Golden Pavilion - is a Zen temple in northern Kyoto whose top two floors are completely covered in gold leaf. Formally known as Rokuonji, the temple was the retirement villa of the shogun Ashikaga Yoshimitsu, and according to his will it became a Zen temple of the Rinzai sect after his death in 1408.

Opposite page: Kinkaku-ji â&#x20AC;&#x201C; the Temple of the Golden Pavilion, the upper levels of this serene lakeside pavilion are covered with

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The pond surrounding the golden pavilion has small islands with superb arrangements of trees. Issue 17 - September 2016

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Ryoan-ji temple complex â&#x20AC;&#x201C; You enter this complex via a beautiful garden and pond. There are three islands in the pond and this bridge connects the islands to the temple grounds. Issue 17 - September 2016

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Ryoanji's Temple

Ryoanji's Temple was originally an aristocrat's villa during the Heian Period (794 to 1185). The site was converted into a Zen temple in 1450 and belongs to the Rinzai sect of Zen Buddhism. The temple is surrounded by a spacious park area with a large pond which reflects the wonderful trees and plants which surround it. The pond dates back to the time when the site still served as an aristocrat's villa. The pond has three small islands sited in it and there is access to the islands via a bridge. There is a small shrine on one of the islands.

Opposite page: Path leading to more Ryoan-ji temple complex buildings.

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Greatest Zen rock garden ever created Issue 17 - September 2016

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Ryoanji Temple is the site of Japan's most famous rock garden, which attracts hundreds of visitors every day. The history of Ryoanji's famous rock garden is not known. The garden's date of construction is unknown and there are a number of speculations regarding its designer. The garden consists of a rectangular plot of pebbles surrounded by low earthen walls, with 15 rocks laid out in small groups on patches of moss. An interesting feature of the garden's design is that from any vantage point at least one of the rocks is always hidden from the viewer. Ryoanji's garden is viewed from the Hojo, the head priest's former residence. The rock garden is a place for contemplation.

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Walk through the Ryoan-ji temple gardens â&#x20AC;&#x201C; early spring and the blossoms are appearing. Issue 17 - September 2016

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Close-up of apple blossoms Issue 17 - September 2016

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The Ryoan-ji Temple Gardeners.

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Rickshaws were a popular form of transport to and from the bamboo forest.

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On this pathway through the bamboo forest, many young Japanese women were wearing their national costume.

Opposite: Close-up of the bamboo forest.

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Two small shrines were passed on our trip from the bamboo forest. Issue 17 - September 2016

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Small shrine with five figures passed on our trip from the bamboo forest. Issue 17 - September 2016

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Detail of photo - ornamental garden and house. Issue 17 - September 2016

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A typical house and ornamental garden that we passed on our way from the bamboo forest.

- Lorraine Fildes ÂŠ 2016 Issue 17 - September 2016

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Look at that Frog! I don't know about you but one of the best recollections I have about eating at McDonalds As a child

Was watching Jarrod Pull a gherkin from out of his cheeseburger Flick it up on the wall behind him and say: "Look at that frog!" - Brad Evans ÂŠ 2016

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A letter to Purely Creative - Brad Evans Purely Creative Limited 1 Mannin Way Caton Road Lancaster LA1 3SU

Dear Customer Relations Manager, Two months ago I sent you a lottery ticket, complete with a claim form and I am just chasing this up to see whether it has been lost in the post, eaten by an orangutan (just escaped) or, god forbid, a postal employee (didn't manage to escape) who helped himself to my mail. Although the claim amount is modest (ÂŁ15), this can do wonders for those who, in our recent national election, made the sincere attempt to vote against a government only to find that the electoral system is a rigged sham designed to keep those in power who are hell-bent in maintaining a scrap-welfare regime. Bring back the Nanny State I say! The more N-A-N-N-Y the better!!! Now, back to the claim... ÂŁ15 in the post can buy a delicious hot brekky at the local greasy spoon, complete with a scrambled egg, hot sausages, bacon, 2 slices of thick, white toast, baked beans & some extra grated cheese at 40p. The grated cheese comes in a small, white pot (the kind that have those vertical hollowed grooves) which remind one of a vessel for storing condiments like "Father's Favourite". I ambled past there just a while back and a hot breakfast will be served up until 11am. Licking my lips in anticipation,

ÂŠ Brad Evans 2016 Issue 17 - September 2016

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The Society of Arts and Crafts NSW -Sandra Shaw. The Society of Arts and Crafts of NSW has its beginnings back in August 1906, when Miss Dorothy Wilson invited six craft workers to meet in her home in Mosman one evening, to exchange ideas on crafts. From here the Society grew in numbers and strength, meeting monthly, and continuing to foster creative ideas between members, and today remains one of the oldest creative groups in Australia.

This year, on August 9th 2016, a celebration will take place at Craft NSW Gallery, which is the current home of the Society, to mark 110 years of this fascinating organisation. Later, on September 20 th, an exhibition titled â&#x20AC;&#x2DC;Craft Xcellenceâ&#x20AC;&#x2122;, to be opened by Patron Dame Marie Bashir, will showcase the outstanding work of current members, some of whom are still creating sought after handmade work as they reach their Eighties. This is truly a validation that working creatively, with passion and love enriches life.

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Earrings, sterling Silver

Lynda Vaculik

South Coast Mahogany Bowl Form , Height 32cm

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Currently the Society has 74 exhibiting members, over a wide range of disciplines – ceramics, leather, textiles, fine jewellery, to name a few, and all displayed throughout the old Coroners Court building at 104 George St The Rocks, home of Craft NSW Gallery since 2006. Regular themed exhibitions feature, and as with the Society’s charter, other guilds and creative groups are invited to show regularly. Longevity has provided the Society with an outstanding collection of work from past members, some with international

reputations, and the historical display is always of great interest to visitors. More recently the Society has created an Emerging Artist Award to encourage young creatives and provide mentoring, with winners exhibiting in the Gallery as part of the prize. Although there seems to be a decline in the Crafts, this Award always surprises with the number of entrants and the quality of work.

Having been around for so many years now, The Society has become a much loved organisation sought out by overseas tourists from all corners of the world, each time they return to Sydney. This highlights its importance, both in representing the best in Australian craft and design inspired by our wonderful country, and in giving people the chance to meet and talk to the artists creating the works. There are very few places

now where this can be experienced, and many visitors comment on this treasure. As with other Arts groups at this time there is uncertainty over the location of Craft NSW Gallery. An expiring lease at the end of 2016 could leave the Society without a home and this is a grave concern. It is an intrinsic part of The Rocks character and history, and must remain prominent to continue to champion the handmade Crafts that are valued by so many. - Sandra Shaw © 2016 Issue 17 - September 2016

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MONERA I Silk painted wall hanging

Jane Hinde ÂŠ 2016

wall canvas 35 x 35 cm Materials: hand felted merino wool with surface free machine embroidery.

Helen McCritchie

ÂŠ 2015

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Fish, wire Sculpture

Coral, sterling single bracelet

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Marine Blue Vase

Silk Velvet Devore Scarf, hand dyed.

Porcelain clay - Saturated copper and Barium Glaze

W 20 x W 18 cm

Krysia St Clair

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Blowin' Bubbles

Finalist in Bead Dreams 2016, (International beading competition)

Neck piece, sterling silver and Keishi pearls

Ruth Kerrison ÂŠ 2014

Bead Embroidery

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Coat Dyed using Shibori techniques and made from a fine weave pure wool fabric. The body of the coat is Arashi shibori

and

the

sleeves

are

kumo shibori.

Liz Gemmell

ÂŠ 2016

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Outback memories , Nanetter

To find out more visit Craft NSW 104 George St THE ROCKS SYDNEY NSW. Phone 02 9241 5835

www.artsandcraftsnsw.com.au Issue 17 - September 2016

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The Hospital

Robyn Werkhoven 10 Sep > 20 Nov 2016 Maitland Regional Art Gallery The Dying Patient, Robyn Werkhoven ÂŠ 2014 Issue 17 - September 2016

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THE HOSPITAL - drawings, Robyn Werkhoven. The Hospital exhibition includes a selection of drawings from my visual diary, during a seven month convalescence in hospital, while my broken leg slowly healed. Six months I was confined to bed. Allowed only sitting or lying on my back, my entire life took place in that bed.

Recovery was long and hard work physically, but mentally the most challenging to retain one’s sanity. Only due to my passion for art, reading and writing did my sanity survive. I found refuge in my imagination and began to obsessively draw each day – producing over 500 drawings of many different themes, but the hospital experience kept recurring as a prominent subject in my visual diary, a hundred or more drawings. The drawings portray hospital life including bizarre procedures and a myth of a child ghost that haunts the wards at night. I have experienced many emotions from the hysterically funny to the presence of death, a form of madness crept into the drawings – ideas I will later develop into a series of emotionally charged and confronting

paintings. “A perpetual intrigue with the mysteries and absurdities of mans’, existence.”

10 Sep - 20 Nov 2016 Phone 02 4934 9859

Maitland Regional Art Gallery, 230 High Street, Maitland NSW

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Broken Children II, pen drawing

Doctor Crow & Nurse Death, pen drawing

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Can We Save Him? , pen drawing

I Can’t Take This!, pen drawing

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FINITE GALLERY Art Prize Links Info http://finitegallery.com/dl/Finite_Gallery_Art_Prizes.pdf

http://bit.ly/2acfpqO Open Entry form http://finitegallery.com/dl/Finite_Gallery_Open_Art_Prize.pdf

http://bit.ly/2apao1H

Junior Entry Form http://finitegallery.com/dl/Finite_Gallery_Junior_Art_Prize.pdf

http://bit.ly/2apa0A0

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FINITE GALLERY BELIEVES THAT CREATIVITY SHOULD BE ENCOURAGED AND REWARDED.

That is why we have introduced the Finite Gallery Junior Art Prize and the Finite Gallery Open Art Prize. Visit the gallery during the months of September and October to see these two great events. You can even vote for your favourite for the People’s Choice award, and be in the draw for a Workshop/ Class Gift Voucher to the value of $100. There are classes and workshops for all ages at Finite Gallery. Come and learn from some of the regions finest artists. There is something for everyone, with workshops in Colour, Drawing, Painting, Printing and Dyeing fabrics. Take a look at FiniteGallery.com to see the current programme. Special workshops can also be arranged for your group. Just contact the gallery to discuss your needs.

Finite Gallery Junior Art Prize runs from 23 September – 9 October, 2016 Finite Gallery Open Art Prize runs from 14 – 30 October, 2016. Issue 17 - September 2016

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CHROMOPHILIA JULIE RYDER - 14 September until 9 October 2016 It was in a science laboratory that Canberra-based artist Julie Ryder first discovered the processes that have led to an amazing exhibition, Chromophilia, opening at Newcastle’s Timeless Textiles in September. Chromophilia,from the Greek chromo (colour) and phileo (to love), is defined as an abnormal love of colour and the property, possessed by most cells, of staining readily with appropriate dyes.

Julie, who had previously worked in laboratories, first became interested in chromophilia while researching the use of Scanning Electron Micrographs (SEM’s) in her Master’s work at the Australian National University (ANU) in 2003. “I was scanning fragments of my dyed fabrics at very high magnification with the SEM,” she explains. “However, the SEM uses electrons, not light, to build up an image on the computer, so I had to learn how to use digital software to add the colour back in.”

This discovery opened up a whole area of research for Julie into what colour was and how it was perceived.

Timelesstextiles

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“How were colours changed when they were placed together in various combinations,” she wondered, “were they changed when seen from various distances and are they dependent on the size of the coloured surface?” By mastering this technique I could then fully explore the questions I posed by working with complimentary contrasts without the fear of my colours turning muddy”, she said. “Most of us know that if we put complimentary contrasting colours together (eg. red and green; blue and orange; or yellow and purple) you hues of brown, grey or black. With this new technique I could print these colours together and still retain their integrity.” The fabrics Julie printed for Chromophilia are the results of her research. Using images and shapes derived from observations of cells and bacteria under the microscope, she juxtaposes scale and motif to create the pairs of narrow fabric lengths. The larger, more complex cloths use a variety of marks and motifs, building up heavily coloured and patterned textiles. “I liken this process to that of DNA transference in living things – some motifs and colours appear dominant, whilst others are recessive,” Julie explains. “The combinations of colours in different proportions impart tension within the artwork, which can then be further enhanced or denied by the form it inhabits.” Her concepts are further developed by embellishing the textiles with stitch and buttons, and using embroidery hoops as a framing device, to infer the process of looking through a microscope and observing form, scale and repetition.

www.timelesstextiles.com.au

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A R T N E W S

A R T N E W S Issue 17 - September 2016

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https://www.facebook.com/DungogbyDesign/ Issue 17 - September 2016

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Felt Stitch Dye Garden, Visit the Felt Stitch Dye Garden, where you will find distinctive handmade goods inspired by Nature.

70 Hooke Street Dungog NSW

0490 005 257

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A R T N E W S

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For more information please contact Graham Murphy â&#x20AC;&#x201C; Mob: 0416116009 email: graham@gabes.com.au Issue 17 - September 2016

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ARTSYSTEMSWICKHAM 40 ANNIE ST. WICKHAM, NEWCASTLE NSW.

Phone: 0431 853 600 Colin Lawson

www.art-systems-wickham.com/ Issue 17 - September 2016

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ARTSYSTEMSWICKHAM - exhibition calendar 2016

Aug 26 – Sep 4

JILL ORR & JACKIE GORRING

Sep 9 – 18

RUTH CHAPMAN, MARGARET RANDALL, SUSIE HALL-THOMPSON

Sep 23 – Oct 2

KERRY COLES

Oct 7 – 16

JULES, SPOKES, BRON , SALLY REYNOLDS

Oct 21 – 30

GINA MACDONALD (PRINT MAKERS)

Nov 4 – 13

CORMAC O’RIORDAN

Nov 18 - 27

AHN WELLS & ALISON SMITH

Dec 2—18

XMAS SHOW

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Forthcoming Exhibitions 139A Beaumont St Hamilton NSW

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Feed The Monsters Of Love (The Slow Post) SODAMOLLY 23 NOV - 3 DEC 2016

Kristian Glynn & Colleen Hoad

Director's Choice 2016 7 - 24 DEC 2016 OFFICIAL OPENING: Saturday 10 December, 24pm

This exhibition is a collection of works that have previously been exhibited in the gallery during 2016. Selected and curated by the Director for the annual Director's Choice exhibition. Julia Flanagan Ode to Daughters 2016 acrylic on board 61 x 61cm Issue 17 - September 2016

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The Artist as Mentor Aug 31 â&#x20AC;&#x201C; Sep 17 2016 Braddon Snape/Jo Lynch Clare Weeks/Maisie Neale Peter Lankas/Dane Tobias Film still from Paroxysma, 2015 by Clare Weeks

Merewether ~ a transition: Dino Consalvo WED 21 SEP - SAT 8 OCT 2016 OFFICIAL OPENING: Saturday 24 September, 2-4pm First solo exhibition at Gallery 139 by Gallery Artist Dino Consalvo This exhibition is painted 'en plein air' around Merewether Beach from April - September 2016. Capturing the changing landscape and people

Merewether Beach 'en plein air' Sunday 17 April 2016, Dino Consalvo

who frequent Newcastle's most busiest and beautiful beach.

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IMBUED Oct 12 – Oct 29 2016 Michelle Brodie, Julia Flanagan, Ellie Hannon, Olivia Parsonage, Vanessa Turton

PETER LANKAS 2 - 19 NOV 2016 OFFICIAL OPENING: Saturday 5 November, 2-4pm

Gallery 139 Beaumont St. Hamilton, NSW

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STUDIO LA PRIMITIVE ARTS ZINE Click on cover to view the previous issues. Issue 17 - September 2016

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STUDIO LA PRIMITIVE ARTS ZINE Click on cover to view the previous issues.

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studio la primitive Eric & Robyn Werkhoven Contemporary artists

Studio visits by appointment

Ph: 02 49389 572 E: werkhovenr@bigpond.com

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Next exhibition: Frances Keevil Gallery 12 - 30 October, 2016

Adrianlockhart.com.au http://www.franceskeevilgallery.com.au/ Beach Figures, acrylic on canvas, H 134 x W 100 cm Â© Adrian Lockhart

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The Inflation Project | Braddon Snape

Braddon Snape, Two Act Performance in Orange, Air formed welded steel, epoxy paint, 80 x 75 x 68cm

3 Sep 16 > 20 Nov 2016

The Hospital | Robyn Werkhoven

Robyn Werkhoven, The Dying Patient, drawing

10 Sep > 20 Nov 2016

Maitland Regional Art Gallery, 230 High Street, Phone 02 4934 9859

Maitland NSW

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N Desperation and Distain - panel from Death of the Golden Mile, oil on canvas, 216 x 153 cm , Lachie Hinton ÂŠ 2015

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