CELEBRATING
21
YEARS
of the Southern Highlands Printmakers
FO REWO RD Printmakers have a reputation for working together, sharing equipment and friendship. The number of print associations, in all their various forms, is a testament to this. Usually located within dense urban areas, many take the form of a print workshop where members congregate, work and exhibit. The Southern Highland Printmakers have a taken a different path. The 28 members who make up the present group have no shared workshop. Instead, they work together in different ways – instigating joint projects and ambitious travelling exhibitions. Founded in 1993 to encourage printmaking in the hinterlands south of Sydney, this group of artists is renowned for their innovative approach to generating exhibition opportunities. Drawing on professional contacts, members have forged dynamic links with other printmaking groups in Australia and internationally through their successful print exchange projects. The first portfolio exchange, Vario, was organised in 2009, and brought together print associations in Queensland, Wales and Hawaii. The boxed set of 49 prints produced between 2006 and 2009 reflected the diversity of contemporary printmaking in Australia and beyond, and included woodcuts, etchings, collographs, screenprints, monotypes and digital prints. These were exhibited in North America and Wales before returning to tour regional Australia. An edition is held by the National Gallery of Australia. To celebrate the 21st anniversary of this enduring association, a new portfolio has been assembled between current members of Southern Highland Printmakers, and this catalogue accompanies the opening of the celebratory exhibition at Sturt Gallery in Mittagong before touring interstate galleries. Roger Butler AM Senior Curator, Australian Prints and Drawings National Gallery of Australia, Canberra
Produced with the support of:
Wingecarribee Shire Community Assistance Scheme
Sturt is supported by the NSW Government through Arts NSW
Sturt is a division of Winifred West Schools Gib Gate, Frensham and Sturt
Fr om STURT Sturt is proud to support and present “Exchange” – the 21st birthday exhibition of the Southern Highlands Printmakers. Established in 1993, the Printmakers have been exhibiting at Sturt since that time. Sturt is, without doubt, their Southern Highlands home. But this is no ordinary group of regional printmakers, if such a thing exists, they are a group of extraordinary talent and diversity, evidence of the calibre of artist that has long been attracted to life in the Highlands with many awardwinning members, recognised teachers and regular exhibitors in exhibitions here and overseas. For a 21st birthday we offer not only a stunning exhibition but a celebratory brochure to mark the milestone and for this we are grateful to Wingecarribee Shire Council for their financial support. May the second 21 years be even more exciting than the first. My congratulations to all 26 artists of the Southern Highlands Printmakers represented in this book. Mark Viner, Head of Sturt
HIS TORY of the Southern Highlands Printmakers The Southern Highlands Printmakers (SHP) is based in the Southern Highlands of NSW, Australia centred around the towns of Mittagong and Bowral. The group was formed in 1993 to foster printmaking in the area, and since it’s inception has exhibited regularly developing a particularly effective working relationship with the Sturt Gallery, part of the Sturt Australian Contemporary Craft and Design Centre in Mittagong, NSW, as well as with nearby regional galleries. We currently have 28 exhibiting members and try to maintain membership at around this number. Over the years the SHP has built an enviable reputation for quality and innovation with members exhibiting widely - locally, nationally and internationally. Many also teach printmaking in tertiary fine arts courses and adult education programs. Unlike many more recently established groups, the SHP does not have a physical base nor does it offer workshops on a regular basis. Rather the focus is on fostering opportunities for practicing artists for whom printmaking is an important part of their work. The emphasis is on mutual support for each other’s professional practice, organizing exhibitions of members’ work and developing links to other printmaking groups both in Australia and farther afield. In 2009, for example, the SHP initiated an international print exchange with print groups in Queensland, Wales and Hawaii. The portfolio of prints has been exhibited in the UK and Hawaii as well as different venues in Australia and full sets are now in the collections of the Australian National Gallery, Canberra, the National Museum of Wales and Rockhampton Regional Gallery in Queensland. Future initiatives include a print exchange between members that will form the basis of a 21st anniversary exhibition opening first at the Sturt Gallery in Mittagong in 2015 and touring to other venues after this. Our networks continue to expand with New(s) opening in late July 2014 marking the first exhibition of SHP works at the Coffs Harbour Regional Gallery in Northern NSW and a welcome return after that to the Shoalhaven City Art Gallery at Nowra on the South Coast.
Tony Ameneiro The works from this current series explore the literal and metaphorical possibilities of the botanical term ‘flowering head’. Part flower, part human head, the works evoke images of human muscle strand, thumbprint and plant fibre. Working with the ‘white ground’ etching technique for this print allowed a result which is both spontaneous and immediate.
Flowering Head with Infinity Ear Monotype transfer drawing
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Kathie Atkinson In 1860, specimens of a rare animal, Spirula, were found in Australian waters. Darwin’s Origin of Species had just been published; Australian curiosities were exciting the science world. Shoals of this tiny squid, Spirula peronii, swim at depths of 2,000 metres; when they die their shells, lighter than water, float to the surface and drift ashore. Curiosity I Collage
This shell collected a cargo of goose barnacles while drifting – becoming even more of a curiosity!
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Gillian Baldock Australia has many unique and amazing creatures. I am particularly fond of the unassuming echidnas who just want to be left alone to go quietly about their business in their own single minded way. Meeting them in their own environment is always a delight to me. One such encounter, in my backyard, inspired me to produce this linocut print. Prickly Customer Linocut
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Linda Bottari Starting from my original print, I explored variations using collograph and linocut printing. Reverse image and colour variation was an interesting exercise in developing the original image. Marbles III Linocut and collograph
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Betty Bray This print was drawn onto a lino block in situ in Knightsbridge and later cut and printed in my Burradoo studio. In the original print the atmosphere is cool with the limbs of the trees silhouetted against the sky. In the Exchange hand coloured print the atmosphere becomes more mysterious. The chine collĂŠ print creates a warmer atmosphere. I want to take the viewer on a journey exploring the effect of colour.
Hyde Park London Linocut and chine collĂŠ
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Marianne Courtenay Trees have been an on-going theme in my work. My studio is surrounded by bushland and I am fascinated by its changing moods and seasons – what’s hidden beneath the surface, what’s not noticed, the forms, textures and diversity of the trees – Eucalypts, Wattles, She-Oaks and ancient Angophoras among others. The layering and overprinting of images in these three small works continue these explorations.
Blue Gum III Monotype over woodblock
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Tony Deigan Small isolated buildings in a landscape in differing light was my first thought. The Folly in a garden, or the only structure in a glade and intended as a focal point, inviting exploration; quite irresistible; and a place from which to “look back” at the family pile. Light on a simple structure could transform a modest concept into an exotic or dangerous location. It is all in the mind of the viewer.
Folly Before a Red Sky Collograph
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Lynne Flemons
Weereewa I Relief with collage
My current work draws upon my experiences of Weereewa, more commonly known as Lake George, a sometime dry lake which lies between Goulburn and Canberra. My aim was to develop works that have a sense of ephemerality and impermanence. I have used cutouts as plates to explore several relief printing processes. The red collaged lines refer to survey marks contrasting the lake’s status as a wetland with how it has been used in the last 200 years.
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Dorothy Freeman The ancient stone monuments which are scattered throughout Britain and Europe bear witness to a highly sophisticated group of people who lived on the earth many thousands of years ago. While knowledge of their mysterious culture appears to remain hidden from us they have left their imprint upon our psyche. They speak to us through their artistry and through myth and today their monuments and culture are the subject of intense archeological interest and speculation. Poulnabrone II Linocut
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Gill Graham My very simple image of an Indonesian ďŹ shing boat, alone against a dark background, is a reminder that there are millions of refugees in the world. Perhaps it will initiate discussion.
Untitled Etching
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Janette Hanrahan These woodcut prints were inspired by the simplicity of an arrangement of leaves, given to me as a gift. From the original woodcut on Japanese cherrywood an edition was produced. I then experimented with another two prints by incision, collage, and heightening with watercolour to produce two unique state prints. My art practice over the past forty years has been to experiment in various mediums with different textures and effects to produce original art works. Autumn Incised woodcut with ink and newspaper collage
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John Hart This small print is part of a larger, narrative series that explores several ideas (largely Buddhist) about action and consequence, and reality versus perception. While the series as a whole spans a number of imagined worlds and a number of key characters, this particular print follows the elusive (and potentially kleptomanic) Horological Horror – purloiner of all things horological.
No Mantle Clock is Safe Lithograph and screenprint
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Fran Ifould A self portrait, the original “Hinge Goddess” was from the scrap metal pile at the Braidwood Iron Corroboree, where coordinating the kitchen for 50 blacksmiths can easily bring one unhinged. Yes, the Goddess began as a refrigerator hinge! The pleasure of developing the artwork further for this show took her into familiar context of domesticity and the rural environment, where she dwells happily in gnome – like obscurity and a creative bliss. Domestic Goddess Etching and chine collé
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Liz Jeneid The images used in these prints come from some drawings I did during an artist residency in Costa Rica... the lush tropical growth and resulting plant varieties with their many leaf shapes were very seductive – in Costa Rica they have what is known as ‘living fences’ – plants growing very closely together form a barrier to keep animals in or out…
Leaf Screen III (with window) Linocut
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Freya Jobbins My printmaking practice is focused on contemporary social commentary, all based on the human experience. Through monotone linocuts, woodcut and drypoint methods of printmaking I aim for that drawing, sketching style. Currently I am working on a series of prints combining my assemblage work with my printmaking. I am using images of the material for my assemblages which are doll parts, to create prints of human body organs.
Materials III Drypoint
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Patti Jones I have spent many months travelling parts of Australia and taken many photographs of ora and fauna. These photographs have become an integral part of my practice and inspiration for my work. We came across the Bush Stone Curlews in Cooktown; a pair of birds were standing under the bushes still as statues beside our caravan. These funny birds are mainly nocturnal with long knobbly legs (knees), small black bill and lovely golden eyes. Bush Stone Curlew Monotype
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Robyn Kinsela Referring to works “Night Garden”, “Garden Spirits” and “Garden Artefacts”. These works are part of a series on garden views seen from a lighted interior at night when aspects of the garden are brightly lit in contrast to the night’s darkness. I don’t copy, I interpret what I see, hear and feel. Garden Spirits Pigment print editioned
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Julie Krone In this series a repeated number, computer generated, photocopied, screen-printed, wrapped around an architectural shape, appears to slip, rise and cast a shadow. I investigate the critical role that language plays in the way cultures communicate meaning, through both the literal and visual forms that words and numbers take.
Slip Screenprint
Cast Screenprint
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Kathryn Orton While working in Goulburn I planned an image focusing on two things that stood out – Rambo, the big merino and myself, an outsider in a new location. I arrived in the middle of the 10 year drought. Both of us look towards greener pastures. Then things started to move. The big merino relocated further west, up the road a little, and after 5 years I returned to the coast. This small series documents these changes.
Changing Places Collograph with chine collĂŠ
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Lucia Parrella Fleeing ďŹ gures and fragmented bodies are recurring motifs in these woodblock prints which draw their inspiration from the classical imagery and histories surrounding the ancient towns of Pompeii and Herculaneum. Pouring plaster into cavities of compacted volcanic ash, archaeologists retrieved the imprint of bodies that had perished long ago. As a printmaker, I transfer layers of ink on paper to shroud and to reveal hidden forms. Reaching back to antiquity for inspiration, these fugitive ďŹ gures, overlaid by topographical markings, hint at other hidden histories and journeys. To Flee from Memory Multi-coloured woodblock
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Alan Purdom Much of my work is based on the grid which is composed of negative squares. These works are based on reversing the process and dividing the square horizontally, vertically, diagonally and by diminishing it with its own form. Circles further deďŹ ne the perimeter of a square, either outside or inside. Like Josef Albers, I am attempting to pay homage to the square.
Squares #3 Monoprint collograph
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Sandra Shrubb Standing on a thick bed of Casuarina needles in a grove on Maria Island, the sea wind through the branchlets, a special sound, Shee... a hushed grove concerning sacred matters not discussed openly. Printed on both sides to give the impression of immersion within the grove of She-oaks.
Casuarina Screenprint
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Britta Stenmanns ‘Australia is fast building an international reputation for our treatment of asylum seekers, but sadly, not one we can be proud of. While the actions of our Government fail to reflect our nation’s values of compassion and a fair go, we can lead the way in the meantime by demonstrating these values ourselves’ Julian Burnside AO QC, A
Extending Horizons through Communication Relief print on wood/veneer/gold leaf, tint-cut and assembled
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Pam Tippett In my work I frequently choose subjects which have signiďŹ cance, sometimes personal, sometimes general, beyond their superďŹ cial appearance. In this instance, the little ammonite not only has its perfect form which is of itself something wonderful, but has been transformed into stone over hundreds of millions of years. From a dominant life form to a rock. It is a reminder of the transience of all things, ourselves included.
Ammonite Linocut
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Peter Ward My image takes Western social insecurities and melds them with Indian advertising art. Then I have used both quilting and weaving to add new layers of meaning. Weaving two prints together makes the surface shimmer whilst quilting softens the image. I feel both techniques work to create visual ambiguity.
The Goddess of Domestic Bliss Gets the Blues Woven linocut
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Slavica Zivkovic Using various Printmaking techniques to produce layers, I explore the relationship of identity in conjunction with my own sense of spirituality and journey. Through symbolic imagery a narrative is formed that explores the many layers which contribute towards creating my own dialogue of expression through experiences and meetings. This conversation often oscillates between the internal and external world. I am interested in the sacredness that is within us and the elements that linger to add form and presence upon it. Through my travels and meeting with different cultures I seek to create a language that informs the viewer of the universality and interconnectedness of us all. The Presence of Now Screenprint with handcolouring gouache on balsa wood
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B IOGRAP HY Tony Ameneiro
Gillian Baldock
Tony Ameneiro studied art at the Alexander Mackie College of Advanced Education in Sydney from 1978 to 1981. He is an artist-printmaker, working within his drawing practice across the areas of intaglio, lithography, relief printmaking and monotype.
Gillian Baldock has been passionate about art and animals for as long as she can remember and combining the two comprises the major part of her art portfolio. Until relatively recently she has worked mainly in pastel, but also in graphite, coloured pencil, scratchboard and occasionally oils.
He began exhibiting professionally in 1981 and has shown his work regularly in both solo and group shows since. (Tony Ameneiro is represented by both ‘Port Jackson Press’ and ‘Art Vault’ in Victoria).
Animals and birds, both domestic and wild (usually Australian natives) dominate her work, with the addition of a landscape or child’s portrait now and then.
Tony Ameneiro was the winner of the National 2007 Fremantle Print Award, and was also twice chosen by the Print Council of Australia as their commissioned print artist. A three time finalist in the Dobell Drawing Prize Art Gallery of NSW (2003, 2006 and 2012) he was represented in 2005 at the Biennale Jogja VIII in Yogyakarta, Indonesia and more recently selected in the 2014 International Print Biennale in the UK.
Examples of her works can be found in private collections in the UK, America, Canada, India as well as locally.
His work has been collected by several major institutions including the National Gallery of Australia, the Art Gallery of NSW, Queensland Art Gallery, the Art Gallery of South Australia and the State Library of Victoria, as well as regional galleries and university collections around Australia. International collections include the British Museum (UK), the National Museum of Wales (UK), University of Miami (USA), University of Nebraska – Lincoln (USA).
Kathie Atkinson Kathie Atkinson’s photographic foundations were laid during her apprenticeship with the Australian Broadcasting Commission. That 20 year period included a lengthy stint under the tutelage of the naturalist Harry Butler, while she was stills photographer for the ground-breaking series “In the Wild.” This not only fanned her lifelong passion for the natural world, but greatly increased her knowledge and understanding of that world and the ways of its creatures. Her passion for SCUBA diving and photographing marine creatures became an obsession that lead to a new career as a freelance wildlife photographer. Her work has been published worldwide and she is the author of award-winning children’s books. Kathie is now exploring printmaking as a new way to indulge her passions and her creativity.
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Since completing tertiary studies Gillian has attended workshops under many respected artists including printmakers Tony Deigan and Basil Hall, and is enjoying the challenges and possibilities that printmaking processes present.
Linda Bottari Linda Bottari come from a large Italian family of commercial printers. She grew up watching her uncles set type, print on a Miele vertical letterpress and later on 4c offset presses. To Linda, all aspects of the reproduction process were fascinating. These early influences slowly grew into her interest in handmade prints. It was only after a career in commercial printing and publishing that Linda was able to devote time to her personal interest in printmaking. For the past 3 years Linda has enjoyed exploring various printing techniques as well as combining techniques. She uses collograph with linocuts and linocuts with waterless lithography. She also creates texture using an assortment of techniques. Linda’s images come from the natural landscape of the Southern Highlands and from places she has visited overseas. Of particular interest are the Etruscan and Umbrian votives and ironwork and the early Christian stone decoration.
Betty Bray Betty Bray is fascinated by nature, organic forms, ancient civilizations and wall adornment. Essence of place plays a significant role in her work.
Betty works across media in printmaking, painting and ceramics and has been a practicing and exhibiting artist for more than 40 years. Extensive research and travels in the Northern Territory, the Kimberley region, the Middle East, China, Europe, California and New Mexico has offered ongoing inspiration. Betty’s work has been exhibited in the Dobell Drawing Prize AGNSW, the Fremantle Print Award, the Portia Geach Memorial Award, the Broken Hill Art Award, the Mosman Art Prize and has been the recipient of the Hunters Hill Art Prize, the Waverley Woollahra Art Prize, the Scone Art Prize, the Berrima District Art Society Print Award and the David Turnbull Bequest. Her work is also represented in the National Gallery of Australia,the Broken Hill Regional Gallery, Shepparton Regional Gallery, Blacktown City Council and the International Museum of Ceramics in Faenza, Italy.
Marianne Courtenay Marianne Courtenay is an Australian artist best known as a printmaker, specialising in limited edition collograph, woodblock and digital prints. Marianne also makes two and three-dimensional sculptural assemblages and mixed media works. Marianne has taken part in solo and group exhibitions nationally and internationally for over 30 years. Her work is represented in the national collection of the National Gallery of Australia as well as in other Australian public and corporate collections and in private collections across Australia, in the UK, the United States, Japan and Europe. “My on-going preoccupation is with our relationship with the natural world. What’s ephemeral, how things transform, and what endures. The sense of great age and past histories woven into the land. The natural cycles of seasons, birth, ageing and decay – the traces of the past left on the present. What we see and what we fail to notice.”
Lynne Flemons Through the process of creating her work, Lynne Flemons developed an approach to phenomenologically mapping her experiences of Weereewa, an ephemeral lake between Goulburn and Canberra. Lynne’s experiences seen in glimpses, felt bodily, heard and reflected upon when walking on the lake bed have been developed as fragments of paper and ply cutouts that have been monoprinted and inked up.
They have their own sense of ephemerality and impermanence that reflects these experiences. These fragments have become installations, they have been developed and explored through water colour drawings, and cutouts where the patterning suggested by the elemental landscape of the lake became the language of flux. These cutouts are also woodblock plates that will have another life as prints on paper as the process further unfolds.
Dorothy Freeman While Dorothy Freeman was initially drawn to oil painting as her preferred medium, her ‘brilliant career’ was interrupted by marriage, the arrival of six children and living overseas for many years. Eventually, back in Australia, Dorothy had the chance to go to Hornsby TAFE and printmaking became a major area of interest which she then pursued for two years at East Sydney TAFE, specialising in the etching process. Dorothy believes that for her working in tandem with oil painting has influenced the way she approaches the art of printmaking, resulting in the production of painterly prints which are due in part to the multi-layering of colour and partly because of the need to express herself as a painter. The thing Dorothy loves about printmaking is that it is a fantastic vehicle for the ongoing exploration of ideas and themes.
Gill Graham Gill Graham was born in the UK in 1941. She attended East Sydney Technical College (now the National Art School) 1959-1961. She studied life drawing at the Central School of Art in London in 1962. Gill has participated in a number of group shows and was twice a finalist in the Portia Geach Memorial Portrait Prize. She founded the Southern Highlands Printmakers Group in 1993, and was President 1993-1994, 2007-2008, and 2009-2010.
Janette Hanrahan Janette Hanrahan has been a practicing artist for the past 40 years, living in a rural environment in the Southern Highlands of NSW. Her artwork is mainly concerned with form and texture, emotional and environmental issues, the female form and the role women play in society. Jan studied drawing, painting and printmaking under Joyce Allen and
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B IOGRAP HY continued with many masterclasses over the years. In 2013 Jan had an artist residency on Murano, Venice, for 2 weeks, specialising in artist’s books. Since 1999 she has had 5 solo exhibitions. Jan’s prints, paintings and works on paper have been included in touring exhibitions within Australia and internationally, in regional galleries and in significant prize exhibitions such as the Waterhouse Natural History Art Prize, the Blake Prize, the Portia Geach Memorial Art Award, Fremantle Print Award, Swan Hill Print and Drawing Award, the Hutchins Art Prize, Mosman Art Prize, CPM Print Award, Hunters Hill Art Prize, Hobart Art Prize and the 6th Kyoto International Woodcut Association Exhibition in Japan. Jan is an honorary life member of the Bowral and District Art Society, past President of the Southern Highlands Printmakers 1996-2000, past President and Secretary of the Print Circle, member of Society of Book Illustrators. Jan’s works have been published in various Craft Arts International magazines and are held in Australian private and corporate collections as well as Lismore Regional Gallery.
Jon Hart John Hart has a Bachelor of Visual Art (Hons) from ANU School of Art, majoring in printmedia and drawing. Since graduating in 2010 he has exhibited in group and solo shows in the ACT and VIC, while teaching and working at Megalo. From 2009-2012 John produced the online collage magazine ‘Collagista!’, and organised an exhibition of subscribers works at the ANU School of Art in 2011. He is Vice President and Exhibitions Officer of the Southern Highlands Printmakers, and has taught screen printing at the ANU School of Art since 2012.
Fran Ifould Fran Ifould was born in Sydney, and following an upbringing on the Northern Beaches studied ceramics at East Sydney Technical College in the early 70s, under such notable ceramic masters as Peter Rushforth, Shiga Shigeo and Col Levy. Thirty years of art practice in ceramics led to a change to working with paper, maintaining a strong interest in surface texture and process from the ceramic background, which led to a Master in Visual Arts from the Canberra School of Art, ANU, majoring in Printmedia and graduating in 2008.
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Fran is particularly sensitive to the ways our environment has been affected by two hundred years of colonial tenure. Through her art practice, based in the landscape, she has discovered a renewed interest in the question of land ownership (defined by possession), or stewardship (a responsibility assumed by oneself). Interested in the way the spirit of a landscape matches her own spirit, giving a pathway to connect with the landform and land use from an attitude of kinship with the land itself. To this end she has travelled to isolated areas, communicated with Indigenous people of the inland river systems of New South Wales and enjoyed the inspiration available in the remnant forests in south eastern Australia.
Liz Jeneid Liz Jeneid is a practising artist living in the Illawarra. After teaching visual arts for 20 years in the Faculty of Creative Arts, she is now a University Fellow at the University of Wollongong. Liz has been exhibiting work for many years, has had eight solo exhibitions and has taken part in many group exhibitions in Australia and overseas including the Tapestry Triennale in Lodz Poland, Gothenburg Sweden, Herning Denmark, Kochi Japan, Xalapa Mexico, Citta de Castello Italy & El Bruc Spain. Her work is in the following collections: State Library of NSW; National Library of Australia, ACT; Power House Museum, Sydney, New South Wales; Queensland Art Gallery; Araluan Art Gallery, Alice Springs Northern Territory: University of Southern Queensland; University of Wollongong New South Wales; Wollongong City Gallery, New South Wales; Goulburn Regional Gallery, New South Wales; NERAM Armidale NSW, Mackay Regional Gallery Queensland, Australia; Flinders University Collection, South Australia; Art Gallery of NSW, Sydney Australia, Carleton College, Minnesota USA; Washington State University, USA; Can Serrat Spain; private collections in Australia and overseas Liz has had residencies in Australia, on ships going to Polar regions and in Paris, Greece, Costa Rica, Spain, Sicily and the USA.
Freya Jobbins Freya Jobbins is a sculptor and printmaker, working from her studio near Picton. One of the latest series of prints she was working on was her eldest son as the subject and these works derived from the heart
of a mother. Freya’s son, David, served 4 years in the Australian Army and after two missions to Afghanistan, he came home with some sad and unsettling stories. Freya could see some changes in her boy. For 12 months she lived with the fear of her son not coming home alive or coming home seriously injured. To her relief, he is out of the Army and will not return to a war zone. The other series Freya worked on relate to her sculptural works, where she created assemblages from discarded toys and dolls. She used the doll-parts as still life subjects for her drypoints on Perspex. Freya likes carving lino and scratching out drypoint etchings on Perspex. The soothing mark-making where intense concentration is required, is what she likes about printmaking.
Patricia Jones Patricia Jones studied Fine Arts at Moss Vale Tafe (2001-2005), Bachelor Creative Arts (Visual) with Distinction (2008) and Graduate Diploma in Education (2009). Patti works in printmaking, textiles and painting from her Fire Shed Studio Medway, a lovely quiet village just west of Berrima. Her knowledge of texture, colour and design is reflected in her energetic artworks. Art journaling, photography and Photoshop play an important part in her creative process. Her prints, paintings and artists books have been included in touring shows and regional gallery exhibitions. Her new work explores the adaption, or otherwise, of introduced plants in Australia. Every print in an edition is individually made and hand-coloured. Consequently each print has its own unique quality. Her work is represented in numerous private and public collections.
Robyn Kinsela Robyn Kinsela has held 15 solo exhibitions and has been a finalist in the Adelaide Perry Drawing Prize and Muswellbrook Art Award (2013); Fisher’s Ghost Open Art Award (2003, 2011 and 2012); Outback Art Prize, Adelaide Perry Drawing Prize and Norvill Landscape Painting Prize (2008); the Banyule Works on Paper and the Arc Yinnar Drawing Prize, (2006); Heyson Landscape Prize (2006 & 2012); the Island Art Award (Tasmania),
the Geelong Print Award (Victoria) and the Hazelhurst Works on Paper Art Award (2005); the 33rd Alice Prize (2004); Portia Geach Memorial Portrait Prize (1994) and the Jacaranda Prize for Drawing (1988, 1994 & 2014). Robyn has received numerous awards and commendations and has participated in artist residencies at ANU’s School of Art, Canberra (200206); Balantonfured/Csopak, Hungary (2007); Gunyah AIR, North Arm Cove, NSW (2012). She was awarded the Veolia Creative Arts Scholarship for arts practice in 2013. Robyn’s work is included in several private and corporate collections and is represented in public spaces, such as the NSW Historic Houses Trust collection, Westmead Children’s Hospital and the Canberra Hospital. Her work is also represented in the collections of the National Gallery of Australia and the National Museum of Wales as part of the Vario Print Exchange.
Julie Krone Julie Krone was born in New Zealand moving to Australia 20 years ago. She completed a Master of Visual Arts at SCA, University of Sydney in 2005, a Bachelor of Visual Arts (Hon) SCA, in 2003 and a Diploma of Visual Communication, Christchurch Polytechnic, New Zealand in 1991. Julie was a Fine Arts tutor at the Illawarra Institute of Technology, Moss Vale and Goulburn for 12 years. Julie’s recent solo exhibitions include Memesis at Proyecto Ace, Buenos Aires Argentina, 2014 Nothing’s black and white at James Dorahy Project Space, Sydney, 2013 and word-bloc, 2011. Trans-located at Bundaberg Regional Gallery, 2010, Mis-Translated at Wollongong City Gallery, 2009 and Modularised at Tin Sheds Gallery, University of Sydney, 2008. Her group-show highlights include being a finalist in the Fremantle Print Awards, 2012, Melbourne Art Fair, and VARIO print exchange at Goulburn Regional Gallery and Cardiff, Wales 2011. Julie is represented in public and private collections in Australia and New Zealand including Dimensional Fund Australia and The University of Wollongong. Julie Krone was a finalist in the 2011 Royal Bank of Scotland Emerging Artist Award and in 2014 received the Veolia Creative Arts scholarship.
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B IOGRAP HY Kathryn Orton
Sandra Shrubb
Kathryn Orton has recently been focussing on two main themes in her work, trees and vernacular architecture, from the sparseness of central west villages like Hill End to the densely packed suburbia of home in Coniston. Her work is often based on familiar places and exploring how things change. She works with many print processes and her arts practice also includes drawing, artist’s books, painting and sculptural furniture.
Sandra Shrubb studied Fine Arts at the University of Tasmania, Hobart majoring in Photography in 1998 and completed further studies in printmaking at TAFE Wollongong, Moss Vale and Goulburn campuses over 9 years.
She has exhibited widely since 1984 both locally and nationally. Kathryn held seven solo exhibitions with the Legge Gallery and has had work displayed in the Portia Geach Memorial Award, the Sulman Prize, the Dobell Drawing Prize, the Shell Fremantle Print Award, Jacaranda Acquisitive Drawing Award, Kedumba Drawing Award and the Silk Cut Award. Kathryn was resident artist at Wollongong City Gallery 1994, and has had residencies in Yirrkala, North East Arnhem Land 1996, the Skopelos Foundation for the Arts in Greece 2007, and Hill End in 2012. Kathryn taught Fine Arts for TAFE NSW Illawarra Institute for many years in Wollongong, the Southern Highlands and Goulburn. She has also tutored in printmaking at the University of Wollongong and continues to teach special interest workshops.
Lucia Parrella Lucia Parrella is a Wollongong based artist who works across print and other mediums to explore and reflect on aspects of memory, language, familial and cultural identity. Lucia studied English and Italian at the University of Sydney and Creative Arts at the University of Wollongong where she majored in printmaking. Subsequently, she trained at the Scuola Internazionale di Grafica in Venice, Italy, specialising in book arts and contemporary Italian printmaking. Lucia has exhibited regularly since 1996 and her work is held in private and public collections including the Research Library, Art Gallery of NSW and the Queensland State Library. She is the founder of Art Incontro, an annual program of art workshops held in Italy in collaboration with local artists, printmakers and craft practitioners. In Australia, Lucia also works in the community sector facilitating printmaking and storytelling projects with Indigenous, immigrant and other community groups.
She has exhibited regularly with the Southern Highlands Printmakers after moving to the Southern Highlands. Sandra has exhibited in group shows in Tasmania and a solo exhibition in Hobart in 1997 and was commissioned by the Art Gallery of NSW and the Art Gallery of Victoria to produce small artworks for the German Expressionism exhibition. Sandra incorporates her love of imagery from her photographic background into her printmaking practice using screenprint, relief print, etching and monotype for her installations and wall pieces. Having travelled extensively within the Himalayan regions of Ladakh, Tibet, Nepal and India, Sandra continues to be inspired by the landscape and environment.
Britta Stenmanns Britta Stenmanns lives in the Southern Highlands, New South Wales. She studied graphic design in Düsseldorf, woodcarving in Bavaria and painting at the School of Fine Arts in Bremen. Stenmanns’ artistic practice has taken her to London, Madrid, Deya, Spain and Mexico City where she completed postgraduate studies in printmaking and painting at the Academia San Carlos. Stenmanns has held eight solo exhibitions and participated in numerous group exhibitions in Germany, Spain, Mexico, France, Poland, Belgium and Australia. Her work is represented in various private collections in Spain (George Sheridan Collection and La Resedencia), Poland (City of Glogow), Germany (City of Bremen), Australia (ANU) vario exchange and USA. She has taken part in Sculpture by the Sea, Bondi, Sydney and won First Prize in the “Outside Sculpture Prize” competition at the BDAS, Bowral, judged by Suzanne Archer.
Peter Ward Peter Ward has been creating screenprints, paintings, collages, ceramics & relief prints in a professional art career spanning 40 years. He has won
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numerous awards and exhibited with Hogarth Galleries in Sydney prior to moving to Italy where he worked for 15 years from a studio and private gallery in Volterra, Tuscany. Since returning to Australia and moving to Exeter in the NSW Southern Highlands he has concentrated exclusively on linocut which he feels is a direct and robust medium offering endless aesthetic and expressive possibilities. His prints are quickly earning a reputation for their bright colour and enigmatic narratives. Peter’s work is represented in the Brisbane CAE ceramic collection, Brisbane CAE print collection, Artbank, National Gallery of Australia print collection, Leichhardt City Council local history archive and in private collections in Australia, Italy, Germany, Holland, Belgium, France England, Canada and USA.
Slavica Zivkovic Slavica Zivkovic studied art the National Art School 1987-1989 majoring in Printmaking and completed further studies in ceramics at the Illawarra Institute of Technology. Slavica has been a tutor in art for children and young adults for 20 years holding weekly and holiday programs and has directed with specialised workshops and under the gifted and talented programme. Slavica has been exhibiting for over 30 years in both solo and group shows and has been a finalist in the Jacques Cadry Award and more recently in the Blake Prize in 2011 and 2013. Dr Sasha Grishin nominated her for the Sovereign Art Prize Hong Kong in 2009 . Combining art with her love of travel Slavica has volunteered and instigated several art projects while volunteering aboard, and has undertaken a residency at the Centre De Art I Naturea De Pallars Spain. Her work has been included in several art exchange project including “Project Belgium De Abbaye Brussels and the Vario Print exchange exhibiting in Wales, Honolulu and various local venues. Through various techniques she explores the relationship of identity within her own sense of journey and the role of spirituality which shapes it. This is explored through symbolic narrative that gathers and creates sacred representation to seek connection to the world. Slavica is represented in public and private galleries.
This booklet is a collaboration between Sturt and the Southern Highlands Printmakers Designed by Indra Deigan Winifred West Schools Mittagong NSW Printed in Australia © 2015 Sturt and the Southern Highlands Printmakers
STURT GALLERY Cnr Range Road & Waverley Parade Mittagong NSW 2575 Ph 02 4860 2083 www.sturt.nsw.edu.au
Tony Kathie Gillian Linda Betty Marianne Tony Lynne Dorothy Gill Janette John Fran Liz Freya Patricia Robyn Julie Kathryn Lucia Alan Sandra Britta Pam Peter Slavica
Ameneiro Atkinson Baldock Bottari Bray Courtenay Deigan Flemons Freeman Graham Hanrahan Hart Ifould Jeneid Jobbins Jones Kinsela Krone Orton Parrella Purdom Shrubb Stenmanns Tippett Ward Zivkovic