&Gallery Sorrento - Project 2000

From the Curator

&Gallery is fortunate to be able to exhibit a broad range of early, mid and late career artists showcasing an extensive variety of art.

As a way of celebrating the scope covered in our Sorrento gallery we have put a range together in this catalogue of works all under $2,000.

Perfect for gifts, first time collectors or something special for yourself.

Gift vouchers available.

We also provide Art Money… an affordable way to start a collection, add to a collection or simply purchase something you love.

10 payments. 10 months. No interest. Enjoy now, pay over time, interest free.

Available for artwork $500 to $100,000. For further information head to artmoney.com

gallery &

Australia

163 Ocean Beach Road, Sorrento, Victoria

Open 7 Days 10am - 5pm Sales: 0417 324 795 gallery@djprojects.net www.andgalleryaustralia.net

Free Delivery & Installation within Victoria

Liz Walker

Collecting, repurposing and extending the material possibilities of natural ephemera, found detritus and recycled domestic objects play a key role in a practice investigating contemporary social and environmental concerns.

Liz uses an extensive range of resources gathered from around the inner city and rural sites to construct sculpture, assemblage, installations and ephemeral site specific responses to people, time and place. She is fascinated by the aesthetics of decay and the visual language created by the passage of time; willingly exploiting this to magnify the underlying issues explored in her work.

Liz has exhibited widely in both solo and group exhibitions, undertaken public artworks, received awards, grants and residencies and her work is held in public and private collections in Australia, Japan, Malaysia and Ireland. .

Liz Walker

Bush Necklace #1

Repurposed vintage brass, copper, roofing iron, chain (Indoor display) $900

Liz Walker

The Four Seasons Repurposed roofing iron, framed (Four pieces)

$1,000

Anna Glynn

Anna Glynn is an award-winning contemporary Australian artist who draws on a diversified practice that incorporates painting, drawing, moving image, animation, sculpture, installation, writing, music and sound.

Her international reputation has grown through interdisciplinary collaborations of art and science exploring landscape and nature to create site-responsive artworks examining the amplified response that a physical engagement with the natural environment has the power to evoke.

Anna Glynn

Bower Diptych

Pencil and watercolour on timber panel 2022

Each panel - 25cm x 25cm $1200 the pair

Kate Briscoe

Inspired by the ancient and weathered Australian landscape, Kate Briscoe mixes sand into paint to create eroded geological cross sections and striations that capture the substance and sensuality of the earth.

For Kate, landforms tell stories. Geological cross sections and sediment layers record past events, catastrophes, the shift and flow of elemental forces over time. Although these works reference the geology of specific areas across the continent-from Arnhem Land and The Kimberly to the South coast of NSW-they are essentially abstract improvisations of texture and colour that facilitate a rich visual experience for the viewer and convey the ‘essence’ of place.

Yvonne Kendel

Predominantly working with found objects and household textiles, Yvonne Kendall investigates social and psychological subjects including nature and artifice, women’s roles, consumerism and the environment through her sculptural practice. Championing the handmade, the soft appearance of her objects belie the power of her subjects, at times obscuring anger and frustration at current and historical events. Born in Birmingham, England in 1965, Yvonne Kendall emigrated to Australia with her parents when she was nine years old. She studied sculpture at the Victoria College, Prahran and completed a Bachelor of Fine Arts in 1987. She has exhibited widely throughout Australia and Europe, has been awarded a number of prizes and grants and is represented in many international collections.

Yvonne Kendall moved to Germany in 2000 where she now lives and works. Yvonne exhibits at & Gallery Courtesy of Niagara Galleries

Yvonne Kendel

Private Thoughts - Bloody Bollocks

Mixed media 86 x 64cm $2,000

Yvonne Kendel

Private Thoughts - Crock of Shit Mixed media 86 x 64cm $2,000

Yvonne Kendel

Private Thoughts - What the Fuck?

Mixed media 86 x 64cm $2,000

Phillip George

Phillip George has held 32 solo exhibitions and over 100 group exhibitions nationally and internationally. Exhibitions include the Macedonian Museum of Contemporary Art Greece, Art Tower Agora Athens, and Stills Gallery Sydney, Museum of Contemporary Art Sydney, Australian Centre for Photography, Sydney, National Gallery of Thailand, Bangkok, Singapore Art Museum, Singapore and National Gallery of Australia. His work draws connections between Australian beach culture and the fractured, turbulent zones of the Middle East.

His drawing in Water series is a departure from stationary one-eyed perception; here the combination of many pictures in the brain are orchestrated into different and fluid relational spatialities. It’s not a classical gaze inherited from Renaissance straight lines. The sea is a mirror that reflects and repeats our broken images. Its fluctuating surfaces can be feathered or quartzy, crimped and moiréed.

The genus Rosa encompasses over 100 species of perennial shrub, each with an identifiable bloom. George reiterates the plant’s origins in Persia and the ancient Arab world with the title Ishfahan, the name of a province south of Teheran famous for its production of decorative textiles and carpet. Another Acheiropoeta refers to the Greek ‘made without hands’ – used in relation to Christian icons to imply their miraculous creation. Displayed as a grid, Fog garden eludes to the ubiquitous nature of the rose in contemporary life, from the aromatic heritage bushes over the neighbourhood fence to the bouquets of stemmed red roses given on Valentine’s Day. Like the plant, the rose’s symbolism crosses temporal and geographic, religious and political boundaries to assert a multitude of meanings from passion and carnal desire, to martyrdom and remembrance.

The artist cultivated these flawless specimens in his garden, tending to each bush with care. The flowers were cut at the perfect moment of opening and their portrait shot under studio lights. This superficial beauty, however masks a darker symbolism. Meticulously overlaid on the petals of each subject, silhouettes of military aircraft are inserted between arabesques, abstracted designs appropriated from Mosques interiors. These roses communicate conflict and the enduring nature of human boarders, both ideological and material.

Phillip George

Border Crossing

Type C print Edition 1/6

40 x 40cm Frame 51 x 51cm $2,000

Phillip George Mountain 1

Type C print Edition 3/6

40 x 40cm Frame 51 x 51cm $2,000

Phillip George Mountain 2

Type C print Edition 3/6 40 x 40cm Frame 51 x 51cm $2,000

Phillip George Eden

Type C print Edition 4/6 40 x 40cm Frame 51 x 51cm $2,000

Phillip George

Fog Garden

Type C print Edition 3/6

40 x 40cm Frame 51 x 51cm $2,000

Julie Collins & Derek John

Collaborators in life, love and art, Julie and Derek have been creating sculpture for over 35 years exhibiting in Australia and and internationally. Julie has been a professional sculptor since 1987, exhibiting across commercial, public and artists run galleries. Derek is a steel fabricator by trade & has 30 years experience in assisting artists with creative outcome and has been collaborating with Julie on sculptural projects since 2001. Julie has exhibited in 28 solo and 120 group exhibitions including collaboratively with Derek since 2001. Their Sculptures are held in public and private collections throughout Australia and internationally. Together they are djprojects who are the people behind & Gallery Australia. www.djprojects.net

How long did it take you to make that?

This innocent, yet often asked question has stumped artists for the ages, unlike other professions artists generally don’t keep tabs on billable hours or material costs, so it is often a perplexing question. Yet, it was this very question which inspired this exhibition.

Throughout our career we have gathered a repertoire of materials and techniques that are layered with conceptual meaning. This arsenal of symbolism has given us the versatility to create artworks which question humanity and the role we play in protecting this planet.

Core Samples is a retrospective as such, a reflection on our practice, primarily the materials and the symbolism they hold, it drills into our career and draws out samples such as stone, metals, rubber, plant life, glass, paper, sand, plastics, resins, polyurethane to name a few.

So in answer to the question…about 35 years.

Steel, resin, rubber, bronze. 350 x 100 x100 $1,500

Julie Collins & Derek John Shard

Trapped Steel, resin, plant life. 180 x 300 x 240 mm $1,500

Julie Collins & Derek John

Julie Collins & Derek John Lost & Found #1

Timber, Sand, PVA, metal fillings, steel punching’s and bronze filings 200 x 400 x 100 mm $750

Julie Collins & Derek John Lost & Found #2

Timber, Sand, PVA, metal fillings, polyurethane, wood, gold rocks. $750

Julie Collins & Derek John Lost & Found #4

Timber, Sand, PVA, metal fillings, charcoal and gold rocks. 200 x 400 x 100 mm $750

Margie Delahunty Spencer

Margie creates abstract works on linen where she explores “the gesture”, working quickly in oils, acrylics, and charcoal. Her inspiration is varied, but recent works features the microscopic world abounding in the waterways and nature surrounding us, the sounds and conversations of birds, inspiration and creativity with friends, and the changing seasons. Margie studied Fine Art and has practiced and taught as well as exploring fashion design. She resides in Ballarat but also has a studio in Breamlea.

Margie Delahunty Spencer

Nature

Girl and Ant Boy

Acrylic paint, oil pastel and ink wash on canvas framed in sustainable timber. 63 x 53cm

$1,100 ($2,000 for Spider Girl / Ant Boy diptych)

Margie Delahunty Spencer Spider Girl

Acrylic paint, oil pastel and ink wash on canvas framed in sustainable timber. 63 x 53cm $1,100 ($2,000 for Spider Girl / Ant Boy diptych)

Sarah Bell

“The next time you stand on the beach at night, watching the moon’s bright path across the water, and conscious of the moon-drawn tides, remember that the moon itself may have been born of a great tidal wave of earthly substance torn off into space.”

Rachel Carson. The Sea Around Us.

Sarah Bell lives and works from Balnarring on the Mornington Peninsula, Victoria. She holds a Bachelor of Fine Arts from the Victorian College of the Arts and a Postgraduate Diploma of Education from Monash University. Bell has held four solo shows and participated in numerous group exhibitions. Her most recent body of work was launched in 2021, entitled ‘Life is but a Dream’. Bell was a finalist in the 2021 St. Kevin’s Art Award and 2022 Omnia Art Prize.

“My painting is framed by feelings of omnipotence in natural forces, weather changes and poetic landscapes. Its imagery is anchored in a reverence of the ever-changing atmospheric effects of water, sea and sky, the pull of the tides by the moon, and light, shape and forms affected by the weather and seasons. The work implies the nostalgia of a memory, a ‘reverie’ that elevates us above and into the landscape, sensing hope in the fragility of the luminous, physical and momentary. I explore nuance in blues and the contrasting pinpoints of lunar light reflecting on both water and clouds in the ‘nightscape’ without the noise of daylight. This is a theme that I have returned to often in my practice.”

“The work is largely an emotional and sensuous response to the natural environment around where I live and paint. Working from observation and memory through chalk drawings and miniature oil studies, I build the surface in gradual layers, sensing into a ‘slow painting’ process using a limited palette. Tapping into the kinaesthetic process of painting, I embody the landscape’s space and light as it unfolds in the painting. I hope to provoke the viewer to dream and imagine, or be transported via the senses, into gentle feeling states.”

Sarah Bell Rain to the North Oil on Canvas 76 x 76cm $1,800

Robert Croft

Robert is considered an outsider artist and has been working closely with Sculptor Mark Cuthbertson developing his practice. Robert’s application of any medium he uses gives a tactile quality to his work.

He delights in the colour, texture and the rhythm of the application, pushing as far as the materials will allow. The layers of colour and texture Robert achieves through his processes, demonstrate the instinctual nature of this Artist.

An industrious worker, Robert enjoys working across a range of mediums and can draw reference from still life and the printed image; but mainly and most effectively his inspiration comes from the pure joy of creating. Robert is an active member of Art Gusto, a supported art studio full of energy, vibrancy and original ideas. It is a studio for Artists self- motivated to create.

At ArtGusto, artists can access support from qualified practicing artists, working with them in a professional studio to assist their artistic practice.

Robert Croft Blue on Red Wax crayon on paper framed 53 x 70cm $1,100

Robert Croft Red on Blue Wax crayon on paper framed 53 x 70cm $1,100

Robert Croft Yellow on Grey Wax crayon on paper framed 53 x 70cm $1,100

Robert Croft Yellow on Grey Wax crayon on paper framed 53 x 70cm $1,100

Robert Croft Red on Grey Wax crayon on paper framed 53 x 70cm $1,100

Robert Croft

Pink on Yellow Wax crayon on paper framed 70 x 50cm $1,100

Manfred Krautschneider

Based on reflections of the streetscape, on imperfect surfaces, and sometimes slightly enhanced in colour or by adding elements of another photo, Manfred Krautschneider’s work style is immediately recognizable. It progresses photography in the direction of the surreal and poetic, without any need for the artificial devices of the modern masters. Containing subtle mnemonics, these images allow deep associations to emerge over time.

Here his twin obsessions of social isolation amidst the café culture, and the imminent catastrophe of war, give way to a seemingly joyous but fraught image of the unstable earth we inhabit. Successfully holding the border between recognition and abstraction, my surreal photographs transform suburban streetscapes into transcendent images.

Manfred Krautschneider

Dream and Reality 2016 Photographic Print Edition of 5 88 x 86cm $2,100

Maryana Luchi

Ukrainian embroidery artist.

Works are in the author’s technique. All works are hand-embroidered with glass beads.

Over two years of work in this direction, more than 40 works were created, some of which are in private collections in Ukraine, USA, Italy and Austria.

At the moment I live and work in Prague, Czech Republic, where I took two small children from the war.

Maryana Luchi Ukraine - Before Canvas hand-embroidered with glass beads. Unique 40 x 40cm $1,200

Maryana Luchi

Black Caviar

Canvas hand-embroidered with glass beads. Unique 50 x 40cm $1,200

Maryana Luchi - Ukraine Before -

Jos Van Hulsen

Jos Van Hulsen is an artist, sculptor and furniture maker from West Footscray who scours his environment for the found objects he conjures into works of art. Jos is one of the partners in Post Industrial Design and is the principal Artist/designer for the store. Jos’s breadth of works ranges from large sculptural works along Eastlink to small sculptural works for the home. He also is a furniture maker, tinkerer and mad inventor. In both his Art and Design work Jos is inspired by industrial objects.

“Past cultures have been remembered for what they preserved, this century will be remembered for what it throws away. My work is concerned with transforming discarded materials into something new. My interest lies in combining histories, materials from different contexts, times and places.”

Jos is available for customised work for private clientele, Architects, Interior Designers and Landscape Architects.

Jos Van Hulsen. Phantom Moth. 35x25x8cm. Mixed medium $1,400

Jos Van Hulsen. War Torn

42 x 24 x 14cm. Mixed medium $1,200

Gordon Monro

Gordon Monro is a digital media artist who lives in Ballarat, Victoria.

Gordon describes himself as a generative artist: generative artists design processes that in turn generate artworks, either autonomously or in collaboration with humans. In Gordon’s case, the generating system is a computer program and the artwork is made in a digital medium: digital prints and videos, or a display generated in real time by the computer.

Gordon draws on his background in science and mathematics to make works that in large part draw their inspiration from realms outside the confines of purely human concerns; he is also interested in the large-scale forces operating on human society. His primary sources are geometry and pure mathematics, and processes of various kinds in the natural and human worlds. Gordon also draws on the history of Western abstract art, and in particular on constructivist art and minimalist art.

Cash Brown

Professional paintings conservator Cash Brown is also a practicing artist whose work pays homage to figurative works by European old masters.

By transcribing elements, or vignettes of works she admires, the readings and meanings of the originals are transformed into new narratives, expressed by her own hand rather than imitating the “handwriting’ of the master work.

This approach is in opposition to her conservation work, which often requires meticulous imitation, where the creative expression of the conservator must be eliminated.

Cash Brown

Spot the Dog (after Portrait of a Boy with a Golf Club and a Dog, Jan van Ravesteyn, 1628, Dutch.) 2022

Oil on canvas 300 mm W x 350 mm H (elipse)

$1,200

Cash Brown

Cash Cow (after unknown artist, 17C, Dutch) 2022 Oil on canvas 370mm W x 370 mm H (elipse) $1,200

Cash Brown

Show Pony (after Equestrian portrait of Phillip III c 1634, Diego Velazquez c.1635, Spanish) 2022 Oil on canvas 410 mm H x 300 mm W (oval) $1,400

Susan Crookes

As an enthusiast & owner, sighthounds mean a great deal to me and possess an inherently elegant sculptural form & ethereal beauty with goofy, affectionate, eccentric personalities. It doesn’t matter what kind of dog it is though really, it’s their nature and the non-verbal communication that is so curious & endearing, but so much the better if certain behaviour & mannerisms they have bring to mind wolves, tigers, meerkats, badgers, otters, seals, bears, monkeys, kangaroos, geese, bats, pigs, giraffes, hippos, horses, crocodiles…

I scrape the image out of black tinted impasto medium-a dark to light process I’ve adapted from my printmaking background-and although my work is not at all realistic I refer back to photos & drawings all throughout the process.

The areas in between perceived & desired image, constructed facades presented on social media vs the unvarnished realities and also the huge rise in animal companionship as a result of the pandemic changing peoples priorities that interests me, as does the character of animals in artwork-whether old masters or contemporary art, cartoons or ancient artefacts it continues to intrigue & motivate me-that they can also be used as a metaphor for human conceits & concepts or other symbolic status devices(or not) also appeals to me as an artist and animal lover.

Susan Crookes

Magic Words (Blah, Blah, Blah Chimken) acrylic on board 60 x 45cm $700

Susan Crookes

Carlos Hoo Haa (Chihuahua)

acrylic on board 60 x 45cm $700

Lynne Bechervaise

Lynne Bechervaise is a local artist who gathers her influence from well beyond her community. Her works represents an artistic life deeply engaged in the natural & spiritual worlds

A love & respect for all living beings.

This is expressed through her quirky sculpture plus printmaking drawing, & painting. Her sculptured boats are seen as a metaphor for the journey.

Each vessel is unique.

They symbolise soul movement, times of transition, rites of passage.

The transformation of journeys within & without and impact of bushfires & travels with Indigenous peoples.

Symbolic & recurring themes of the connection between all our relations (all living beings).

Emily Valentine Bullock

Feathers are my paint. Over the last fifteen years I have developed my own technique and style using feathers. The source of the feathers is vital to my work. In 1999 I made Road Kill, a pair of shoes using feathers from a road kill lorikeet and this lead to my continuing use of this source when ever I can. My work shows sympathy with the bird’s previous life and creates a new life form. I majored in jewellery at Sydney College of the Arts so work for the body is also at the forefront of my practise. I have had success with this work in WOW (World of Wearable Art). I won Mac’s Bizarre Bra 2002 with Budgerigar Brassierre, and “The Work with the most WOW Factor” in 2014 with my Sulphur Creasted Frockatoo.

Attitudes to wearing and owning dead animals and birds parts have changed. Is this just because of fashion, or has society become more caring of animals? I think not. I wish to stimulate the viewer, and ask them to question our callousness treatment of animals and birds, and ask how we sub-consciously classify animals – pet or pest, valued or worthless, beautiful or plain and why.

Emily Valentine Bullock

Pugpup 2021 Various feathers and mixed media 14 x 14 x 9cm $1200

Emily Valentine Bullock

Crocokeet 2022 Lorikeet feathers, and mixed media 8x21x4cm $390

Emily Valentine Bullock

Peapuss 2021 Peacock feathers and mixed media 15x13x10cm $1200

Bullock

Mark Cuthbertson

Mark is a Victorian based artist living and working on Wathawurrung country, who’s current practice is in sculpture, visual arts and set design. His work explore’s metaphors of colonization and domestication within a broad national context. His artwork is a playful commentary on society, turning the monotonous into something far more interesting and challenging. Mark deconstructs an idea to its simplest elements repurposing and re-contextualising rudimentary materials, stripping them to their barest elements and reinventing their application and purpose.

I’m fascinated by examples of human to animal metaphor & associations. “What exactly, makes humans human? The associations we can draw from nonhuman animal domestication practices reveals how people came to view their own uniqueness in western cultural. The study of domestication across time shows the multiple human impulses underlying acts of animal enclosure and domestication. Animals can be beloved companions, beasts of burden, or feared & threatening rivals”

Roydan Barboza

Roydan Barboza, aka Captain Barbozart. Born and raised in Dubai. A multidisciplinary contemporary artist and muralist by trade. Roydan’s process is still unveiling more of itself by via a multitude of techniques such as vivid colour schemes, combining past & present symbolism and compressing and expanding space. Hopping between the digital and analogue realms, to explore the questions posed by relationship of the digital image to the painting.Toying with color and movement in these spaces and he’s trying to replicate digital marks that carry weight on the canvas in a way they don’t on a 12.9” inch screen.

Roydan Barboza

A familiar face - The Infernum according to Roy 160 x 60cms

Acrylics and spray paint on canvas $1850

Roydan Barboza

Lakes - The Infernum according to Roy 100cm x 100cm Acrylics and spray paint on canvas $1450

Roydan Barboza

The Harvest - The Infernum according to Roy 160cms x 60cms Acrylics and spray paint on canvas $1850

Mark Stoner

Mark Stoner is a Melbourne based artist with work in the collections of the National Gallery of Australia, National Gallery of Victoria and regional galleries. He has many large-scale public art installations including Docklands, Geelong Foreshore, Royal Botanic Gardens Cranbourne and Adelaide Airport. He has been a practicing artist for more than 40 years. For near on 30 years, he taught ceramics and sculpture at the Victorian College of the Arts. Since 2010 he has worked privately from his studio in Elwood.

Flow emerges from my life-long preoccupation with the movement of our world. My experiences of wind, water, landform, geology, maps and charts, the list can be endless. But simply put I love the curve of it all. The continual squirming and twisting.

Jenny Crompton

Concerned with the growing pressures imposed on the natural world, Australian artist Jenny Crompton creates effervescent sculptures that ignite environmental awareness and personal reflection. The works delve into the world of organisms and creatures, taking the viewer on an otherworldly journey through nature.

Despite any hint of melancholy, her works are also celebratory. They seem to float, weightless, oranges, scarlets and crimsons bursting from webs of shell and remind us of the sheer bounteous nature of this planet. But these environs she so clearly cherishes are under extreme peril. Despite the imperialistic shrugs of indifferent developers and conservatives, the world, under our own hand, is changing at a catastrophic rate.

There is, accordingly, a degree of melancholy underscoring her work. Crompton’s creatures, with their vibrissae protuberances, extended receptors, decorative flourishes and peering eyes created an entire tribe of fantastical entities.

By utilising nature as a core of their practice she lights a flare of warning and ignites a fire of recognition of the natural world.

Jenny Crompton

Small Jellyfish

Copper wire, resin, paint $88.00

Jenny Crompton Mosquito

Copper wire, resin, paint $880 ea

Jenny Crompton

Snake Fly

Copper wire, resin, paint $1,200

Richard Horvath

“A process worker in a muffler plant, a sailor on a ship plying the North Sea, a maintenance man on a N.A.T.O. base in Germany, a bartender and a worker in a darkroom at a screen printing studio were among the jobs I worked at during my late ‘teens and early twenties, however, it was the latter job that interested me the most and confirmed a love for the printing process. My early body of work included graphic art such as band posters, typified by a crude technique and a raw colour palette that encapsulated the Punk ethos and a selection of this work was acquired, much to my surprise, by the Print and Drawing collection at The National Gallery of Australia.

After seeing a friend using 3D modelling software on a computer I resolved to learn this technology which lead to lecturing at R.M.I.T. university and repurposing the Punk style of graphic art I used. In 2010 I started the Re-Imaginings Project which had the broad agenda of reimagining, through the use of 3D computer graphics, some of the compelling visual ideas of the past and present which drives our culture.”

Richard Horvath

Eight Months on Ghazzah Street

Digital print on aluminium. Edition 1 of 5 296 x 444mm $1,000

Much is left unsaid in Hilary Mantel’s 1987 novel, Eight Months on Ghazzah Street, because the narrator is unsure about what is happening in the unfamiliar world she has reluctantly made a home in. The novel is based on the four years the author spent living amongst the expatriate community in Saudi Arabia and the texture of the story is framed by her status as an outsider in a society whose morals and politics are baffling to her. She is constantly guessing what the events she witnesses mean and the attitudes of her expatriate colleagues don’t help, they are there for the money and their feelings towards their host society are dismissive and often contemptuous. This reimagining shows the narrator reading the local news on a tablet device, her slumped shoulders and the instinctive grasping of the knees suggest unease, the empty wine bottle and glass reveal the consumption to alcohol her community turns to as a means of coping. The room has the bareness of a temporary dwelling, it is decorated in an insipid monochrome colour and the air conditioner is a defense against the relentless heat bathed city seen through the blueish tinted windows. Outside, a spiked gate indicates distrust of strangers, a freeway overpass implies that this is not a pedestrian friendly city, a police car visible through the left window is a metaphor of an authoritarian society and the distant buildings represent the twin pillars of corporate and religious power.

Parker

Digital print on aluminium. Edition 1 of 5 296 x 444mm $1,000

Parker is the criminal protagonist of a series of novels by Richard Stark, a nom de plume of the author Donald Westlake. Parker is an amoral blank who is ruthless and efficient in his pursuit of money, an existentialist everyman inhabiting a landscape of generic American towns, a man without identity and emotion. The criminal tools of his trade are a gun and a car, hence the choice of situating him scoping out a vehicle in a dreary car sales lot wedged in by colourless concrete tilt slabs; it’s a monochrome place festooned with an inane inflatable happy face advertising man. This setting was infor med by the photos of the American photographer, Stephen Shore, with his images of quotidian urban landscapes from his book Uncommon Places. Another notable influence was the 1967 John Boorman film made about Parker, Point Blank, where the city plays a significant role in situating his persona in a soulless corporate environment. For anyone wondering about the car dealer’s name, it’s an anagram of my surname, a choice dictated by my inability to think of anything better.

Richard Horvath

Ridley Walker

Digital print on aluminium. Edition 1 of 5 296 x 444mm $1,000

The Russell Hoban novel Riddley Walker stands out for its singularly imagined postapocalypse England. Language has broken down into a crude argot which Riddley uses to narrate his story, the survivors fear feral dog packs, they unearth old machinery so that the metal can be refashioned into primitive tools and entertainment consists of Punch and Judy shows and Riddley’s narration of the legends that serve as a warning against the use of the atom, the cause of their downfall. The legends he narrates speak of the atom as the “Li’l Shynin’ Man” who appears in this print between the antlers of a deer in the figure of tiny metallic man whose arms are outstretched in the form of a cross, a symbol about belief referencing the conversion of St Eustace to Christianity. The workers who have been busy digging out rusty old machines watch this phenomenon transfixed. One worker has the logo ‘Guy Montag’ on the back of his sweater which is a reference to the dystopian book burner described in the Ray Bradbury novel Fahrenheit 451. The company name Deckard which is stencilled onto the oil drum is the name of the replicant hunter in another great novel about a dystopian future, Phillip K. Dick’s Do Androids Dream About Electric Sheep, familiar to many speculative fiction fans through the Ridley Scott movie adaption, Blade Runner.

Richard Horvath

Richard Horvath Unquiet Earth

Digital print on aluminium. Edition 1 of 5 147 x 208mm $500

Reading a Guardian article about the 2021 wildfires in Turkey my attention focused on a photo of a young couple enjoying their vacation while casually looking at an alarming plume of smoke on a distant mountain. The truth of such an image is elusive, but an obvious conclusion is that the couple’s indifference could be viewed as a metaphor about climate change and the opinion that it’s a problem for government to solve and not one of personal responsibility.

The idea for the angel blowing a trumpet came from a YouTube video about the biblical Book of Revelations and the prophecies of disaster portended by the seven angels. The figure is indistinct and the gold material obscures his heavy metal outfit. His inclusion coincided with my interest in a black metal album by the notorious Norwegian murderer and church burner, Burzum. His hypnotic and oppressive moody music felt like a fitting soundtrack for an art work about the potential disaster of climate change. The Burzum album art work features a peasant woman blowing a similar trumpet and her pose also reflects that of the angel.

I settled on an understated rendition of this theme because many of us who live in urban areas experience bushfire as an orange sky and choking smoke and not the existential terror of flames threatening lives and property. The guy is enjoying a beer while at least his girlfriend takes a mild interest in the portent being delivered by the angel hovering over the ruins of a once great civilisation.

Richard Horvath Lizard Man

Digital print on aluminium. Edition 1 of 5 147 x 208mm $500

The idea for Lizardman came from reading about the Q-Anon movement, in particular the belief held by some followers that an alien race of lizard people is infiltrating humanity. Thinking about this absurd conspiracy theory led me to revisit my favourite series of collage art, Une Semaine de Bonte (A Week of Kindness), a surrealistic novel by Max Ernst published in 1934. The artist freely cut up and repurposed illustrations from cheap publications to form a bizarre narrative of characters whose human bodies sported animal heads and who had a propensity for strange psycho-sexual activities.

During this period I also developed an interest in Russian panel houses, the ubiquitous Soviet era apartment blocks which have now suffered from decades of neglect. It only seemed natural to insert the lizardman and his girlfriend into such a landscape because one possible consequence of widespread superstition and unreason is a failed state with crumbling infrastructure.

It was by pure co-incidence that I started reading British Sci-Fi author China Mieville’s book, The City and The City, while developing this art work. Researching the novel, I discovered an interview with the author where he stated the book was partly inspired by his interest in crumbling Soviet era cities and this reference is hardly surprising given Mieville’s interest in the dystopian urban landscape, but more astonishing was the inclusion of Une Semaine de Bonte among his list of favourite books!

Richard Horvath Fantomas

Digital print on aluminium. Edition 1 of 5 147 x 208mm $500

Fantomas is a fictional villain created in 1911, firstly in a series of novels and subsequently in a series of films. This French character who could almost serve as a template for the Bond super-villain, seems almost omnipotent with the ability to morph into a bewildering array of guises and mysteriously appear from or disappear into improbable spaces. Naturally such a sinister and subversive threat to bourgeois values appealed to the European artistic avant-garde, particularly Rene Magritte.

It’s this menace towards the propertied class which prompted this depiction of a couple of nattily dressed assassins preparing an ambush for a bland couple dressed in beige and grey. It’s a homage to the movie trope where the bad guy is always more interesting than the law abiding folk.

Richard Horvath St George

Digital print on aluminium. Edition 1 of 5 147 x 208mm $500

The theme of St George rescuing a vulnerable female from a nasty beast has always struck as a twee re-enforcement of gender roles and this version makes no attempt to examine that seriously. My curiosity in the subject was aroused by the discovery of an old and obscure version which featured a very odd portrayal of the dragon unlike any other version I am familiar with. The usual trope generally favours a big and scary creature which inadvertently comes across as laughable, much like the monster movies of the 1950s. In contrast, the black shiny bug-eyed and rather small serpentine entity which impressed me depicted a forlorn and not particularly menacing creature whose fate was to become a victim of its otherness.

I tried to recreate some of these values but I couldn’t find the right note and settled for a dragon textured with what could possibly be a high end shoe leather. The woman doesn’t look in the least terrified, her mild interest in the slaying of the dragon is that it may lead to a relationship with a cool shirtless biker.

Karan Hayman

Karan Hayman’s carefully structured canvases are distinguished by their highly personalised and often surreal, whimsical approach. Motifs and symbols such as horses, trees, boats, water, roads and figures have always been used throughout Hayman’s career. The textured surfaces are palpably sensual, flowing seascapes and landscapes ambiguous in an arresting and mysterious yet always warmly lyrical way.

Born in 1959, studied Fine Art at RMIT 1980 and while still at Art School in 1981 was one of the founding artists that established Roar Studios in Fitzroy Melbourne. Completing her post graduate studies at RMIT in 1992. Hayman has held numerous solo exhibitions in Australia and Tokyo and numerous group exhibitions including National Gallery of Australia, Heidi Art Museum, Shepparton, Regional Art Gallery, Benalla Regional Gallery and most recently Ponlyland Exhibition at Logan Art Gallery QLD. Hayman’s work is held at the National Gallery of Australia, National Gallery of Victoria, Art Bank, Parliament House Collection, Kyneton Collection, Macedon Ranges Shire Council, Baillieu Myer Collection, Gaden’s Sydney, Zurich Insurance Melbourne, Sangi Company Collection Tokyo and International private collections.

Karan Hayman

Treasure Island

Oil on acrylic 28 x 34cm $1,700

Rowan Reynolds

In 2006 I was awarded my Doctorate in Fine Art from the Tasmanian School of Art at the University of Tasmania. I was awarded an Australian Postgraduate Award towards these studies from 2002 to 2006. In 2001 I completed my Bachelor of Visual Art with Honours (First Class) from the University of South Australia. I won a City of Adelaide Award, (first prize) in 2001. Between 2007 and 2015 I worked as a Visitor Services Officer at the Tasmanian Museum and Art Gallery where I assisted in the installation of exhibitions and presented educational programs to visitors to the museum about these exhibitions. In 2018 and 2019 I sat on the board of the Hills Art Committee based at Fabrik in South Australia.

My solo exhibitions include That Which is Between Internal and External (2006, Plimsoll Gallery, Hobart), Bottom of the Bucket (2003, Entrepôt Gallery, Hobart) Moving Line (2002 Entrepôt Gallery, Hobart) and Indent (2002, 11 Leigh St, Adelaide). Selected group exhibitions I have been involved in include Swatch (2019 at Fabrik in South Australia), Exhaust (2016 curated by Erin Sickler at Contemporary Art Tasmania which was part of the Mona Foma Festival), Timepiece (2004, curated by Maria MacDermott at CAST) and Trace (2002, curated by Lea O’Laughlin at the Adelaide Central Gallery).

Wendy Teakel

Wendy’s work explores contemporary landscape through an embrace of Edward Relph’sideas of existential insideness where one is at home within their surrounds without a sense of self-consciousness. She mainly spends time between two iconic Australian landscapes, the farmed landscapes around her in rural New South Wales and those tougher places of Outback Australia. She is interested in human and animal interventions in landscapes and is motivated by the patterns of use (and abuse) of the land. Wendy shares a studio at Murrumbateman outside Canberra, Australia with her partner, sculptor David Jensz.

She works full time as a freelance artist and arts consultant and am an Honorary Visitor at the Australian National University School of Art and Design. She has maintained a constant research and exhibition schedule, presenting new work each year in solo exhibitions and/or selected and curated exhibitions since the late 1980’s.

Wendy Teakel Replenish 2021 River stone, steel 27 x 9 x 9cm $1,800

David Jensz

David Jensz lives and works in Murrumbateman, NSW. He has held 29 solo exhibitions in Australia, America and Thailand, including Belconnen Arts Centre (2019), Chiang Mai Arts Centre, Thailand (2018), McClelland Gallery (2016) and O. K. Harris Gallery, New York (2010, 2004, 2000, 1997). His work has been selected for for survey exhibitions including: Palmer Sculpture Biennial (2020), Sculpture By The Sea (2019), McClelland Sculpture Prize (2012, 2003) Helen Lempriere Sculpture Award (2005, 2006) National Sculpture Prize, NGA, (2001, 2003, 2005). Grants awarded include: Asialink Scholarship Thailand (1994, 2001) Australia Council New York Studio (1995) and Tokyo Studio (2000). Public Sculpture Commissions include: “Spatial Dimension” Newcastle (1998), “Raised Pinnacle” ANU (1998) “Fractal Weave” (2006), “Life Cycle” (2010) and “Culture Fragment” (2012).

David taught at the ANU School of Art (1988 - 2017) and has work in national collections including the NGA.

Jason Waterhouse

Over the last twenty years, Jason Waterhouse has been applying his malleable skills to public commissions, installation and drawing, articulating his poetic relationship to the world by warping and manipulating utilitarian objects.

Jason Waterhouse’s practice plays with autobiographic notions of contemporary Australian identity and he is widely known for playfully manipulating tools, cars, sheds and other cultural signifiers. Previous works have involved a series of interventions resulting in a hybridised object that occupies a space between the natural and the manufactured. Jason Waterhouse completed a BFA in sculpture at Monash University and Post-Grad at the Victorian College of the Arts. Or 20 years he has exhibited his work extensively in Australia, including McClelland Sculpture Park and Scienceworks Museum, Melbourne (2016).

His recent public art commissions include Levelled Crossing, Melton Highway, Brimbank Council and Cottage, Daylesford Lake, Hepburn Shire.

Lisa Sewards

Lisa Sewards is an award-winning Melbourne based artist with her work represented in collections throughout Australia. Her work has also been shortlisted for a number of major Acquisitive Awards in Australia and New York. Sewards has held three major solo exhibitions including her sell out White Parachute exhibition, and has exhibited in over 20 group exhibitions by the direct invitation of Curators.

The parachute object is the source for her imagery, continually creating storytelling in the absence of text. Her warehouse studio is filled with suspended vintage parachute canopies that provide constant inspiration.

As part of her preparation and practice Sewards extensively researches her subject matter, always searching and probing for unique historical fragments. Sewards printmaking techniques continually evolve and incorporate traditional intaglio printmaking, etching using photopolymer plates, and also contemporary digital technology.

David Middlebrook

David Middlebrook was born in 1967 in Gloucester, New South Wales.

All my work uses the Australian desert landscape, either as an entity of its own or as base to create a narrative to explore political, environmental, cultural, humanitarian and Post Colonialism themes. Environmental concerns are explored with the irony of flooded desert. The works with red squares are from a body of work called, China and I. The work exists on a number of levels, my time working at residency in China as well as trips to China. I am also looking at the irony of people here buying nearly everything or parts of from China and complaining of China’s influence, but especially with mining of our desert landscape. I don’t offer answers. Indigenous issues and post colonial issues are also explored. He was also selected to represent Australia in ‘Art from Australia’ exhibition in the Gail Museum, Seoul, South Korea. He has exhibited in the Sydney International Contemporary Art Fair, the 2015 Packsaddle exhibition at the New England Regional Art Gallery and a group show at the University of Newcastle, along with other group exhibitions.

David Middlebrook Storm and Salt Lake. Ink and acrylic on canvas 30 x 100cm $2,000

David Middlebrook Flood Plain Ink and acrylic on canvas 30 x 100cm $2,000

Takahiko Sugawara

I love repetition, layering and overlap.

These ideas are rooted in my teenage years when I was in the number one high school marching band in Japan. As a band, we performed in many different configurations.

If someone was absent there would be a gap, an empty space in the pattern. Incomplete patterns were frustrating, and in my artwork I want to create complete shapes and consistent patterns.

My experiences with patterns and shapes directly influence my ideas concerning form, layering, overlapping and repetition. I commonly use 3mm corten steel cut into different shapes with a plasma cutter, often with beeswax covering the sculpture surface.

Taka was born in Italy in 1979. Growing up, he was surrounded by stunning art pieces like sculptures and paintings. As both parents were both artists. After two decades, Taka became determined to become a sculptor like his father.

Taka completed a masters degree in a sculpture course in 2007. During this degree he made many large metal sculptures. Moreover, he spent the majority of his university life at a metal studio.

During one semester, he had the opportunity to study at Berlin Art University and he studied there for half a year. However, unfortunately, he wasn’t allowed to make metal sculptures there, so he decided to work with wood and create wood sculptures instead.

In 2012, Taka moved to Melbourne in Australia and attended to many sculpture exhibitions. In recent years, he has been based in Ballarat in Regional Victoria and has continued to make metal sculptures in his studio while also working as a boiler maker at a construction company.

Bern Barry

Bern Barry grew up in a farming family in a community in the Mallee regions of country Victoria. While working in Canberra he attended a Summer School’s for art at the ANU. His passion for drawing and painting saw him doing many sketch of the Monaro region of New South Wales where he use to travel to as a child visit family in Cooma. It is this love of the countryside that he drives his inspiration and fuels his creativity. He now lives in the town of Glenlyon in Central Victoria, painting everyday and drawing from the beauty that surrounds him in that area.

“The paintings at & Gallery for this exhibition are inspired by the vista l see from my studio, the mist of a morning, the massive amount of rain we have had this year, watching the water find its own course in the paddocks surrounding me and my occasional trip to the city has inspired the ‘Traffic on the Bolte’.”

Bern Barry

The view from studio 54 50 x 50 cms (Framed) $1,200

Bern Barry Mis- Tree 54 x 45 cms (Framed) $1,500

Bern Barry

Beyond the Rise. Oil on Canvas 550 x 550mm. $1,600

Bern Barry

Once a Walnut in Moonlight Oil and acrylic on canvas 39.5 x 85cm $1,700

Bern Barry Study

Oil on Canvas 400 x 500 mm. $1200

Tjanpi Weavers

Tjanpi (meaning ‘dry grass’) evolved from a series of weaving workshops held in the Western Desert by the Ngaanyatjarra Pitjantjatjara Yankunytjatjara Women’s Council in 1995.

Adding a contemporary spin to the traditional, Anangu women create baskets, vessels and an astonishing array of vibrant sculptures created from locally collected desert grasses bound with string, wool or raffia and often incorporating feathers, seeds and found materials.

“We gather tjanpi from our own land and make an object out of tjanpi which depicts that country. This is a really beautiful thing to do. Tjanpi has Tjukurpa (Dreaming Stories) too.”

Tjanpi Desert Weavers- Central Australia, Tjanpi Cat.

26 x 64 x 26 cm. Cast Aluminimum. $3,500

Tjanpi Desert Weavers- Central Australia, Ann Cleary-Farrall

Tjulpu#2 (Bird) $250

Suze van der Beek

Suze van der Beek is a New Zealander (living in Tasmania since 1996), with Dutch and Australian heritage, she has been based at White Beach, on the Tasman Peninsula for the past 12 years. Suze has a BFA and more recently, MFA from the School of Creative Arts, UTAS. It was during the MFA journey that Suze developed and refined her approach to creative practice.

Suze’s works are held in numerous private collections in Australia. Water, light, space and atmosphere are the basic elements out of which my work evolves. My method foregrounds the reflective surface of a small body of water contained in glass bowl in relation to the surrounding lighting conditions. I work with the landscape convention (specifically the relations between foreground, background and horizon) as akin to an architectural structure or acoustic echo chamber.

Suze van der Beek Brooches $90 ea

Christian Den Besten

Working as an artist for over 25 years, Christian uses art to interpret and connect with his community. Current affairs, infrastructure, and people that affect his everyday life are favorite subject matter’s. Christian’s art takes on many forms from drawings of iconic buildings, stop animation films about politicians and 3D sculptures of people, vehicles or watercraft.

Christian takes great pleasure in documenting his town. We all feel the need for connection to our community and this is Christian’s. His works show us a places we may not have noticed, but with quiet contemplation we can see this is a true reflection our wonderful City with its rich history of agriculture and industry. Christian is a prolific Outsider artist who has exhibited in galleries such as the Canberra National Gallery and the Geelong Gallery. He has works in Museum, Gallery and private collections within Australia. Currently Christian works at the ArtGusto studio in the Geelong laneways – A supported art studio in McLarty Place.

Christian Den Besten

The Forum and Masonic Club Melbourne 670 x 594 mm Work on Paper, Framed $1200

Christian Den Besten

Queen Victoria Women’s Centre

891 x 420mm and 297 x 420mm $900

Nick Pont

Nick Pont b.1987 graduated from the University of Newcastle in 2013 and now lives and works in the Bellingen Shire, Mid-North Coast NSW. Between 2013 and 2018 Pont was based in Sydney and held exhibitions influenced by local folklore, the Australian desert and expeditions to Asia.

Pont has been selected for numerous residencies and prizes including the Art Park/ Linnaeus Byron Bay residency, the Fishers Ghost Prize, Muswellbrook Art Prize, Jacaranda Acquisitive Drawing Award and the Waverley Prize. Pont’s recent work passes through a variety of themes that shift from utopianism to environmental catastrophe to self-reflection whilst providing a sophisticated narrative.

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