Group Show
12th November - 3rd December 2008
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 Darren McDonaldBear MarketOil on linen,153 x 133 cm$5,500McDonald's eye may fall on an animal or human form - no matter what the subject, he is never content to rest on surface detail. In his work we feel and come to have an understanding of what it means to be animal, human. And as his search has continued he has found that the language of paint has enabled him to peel back surface and expose and lay bare. - Peter Fay4
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 Murray WalkerInca PrincessWood,165 x 75 cm$6,600True to form the last time Walker knocked at my door he was carrying a rough piece of plywood dabbed with glue. He pointed out the figure in the landscape formed by the glue marks. An inveterate collector, he can be found out in the fields, in the bush, on the beach, or walking the city streets, picking up what he recognizes as his primary working materials. - Warwick Reeder32
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 Terry TaylorDeath DanceOil on linen,110 x 95 cm$4,400My life is a fleeting visit. I am a visual story-teller. There are dark places in my dreams and a cease-less tickling of fear as I run between yesterday, today and tomorrow. - Terry Taylor33
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 James SmeatonTempleAcrylic on linen,180 x 165 cmSOLD34
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 Joshua YeldhamMorning Bay - Blue TaroShellac with carving to french handmade paper,200 x 106 cmSOLDInvited onboard his 'spirit vessel' to travel with him upriver. Yeldham takes us on an intimate journey along the Hawkesbury, into his inner world of prayers and secret offerings. Yeldham follows a great tradition of artists and explores lured by the raw power of nature. More than passionate witness, he is entirely immersed in the landscape, receptive and interactive. From within the belly of the river, he loses all sense of time and its waterholes of living art provide the necessary refuge and grounding. - Rosa Maria Falvo35
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 Ron FrancisStrange Little CloudsOil on canvas,120 x 120 cmSOLD36
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 David BromleySophieAcrylic and metallic leaf on canvas,150 x 118 cmSOLDThe prolific artist David Bromley is best known for his 'adventure styled' Boy's Own works and bold nudes. Bromley takes inspiration from popular culture both past and present, and from artists such as Warhol and Lichenstein. His creative urge enables him to exhibit worldwide including shows in Asia, Europe and the USA.37
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 Martine EmdurIndigoOil on linen,167 x 214 cmSOLDThe ocean is our own gigantic womb, one we poison with pollutants in ignorance, all too often forgetting its sensuous touch upon the naked skin. But the sea can also be treacherous. Like fire, it is one of the hardest subjects for a painter, but Martine Emdur has immersed herself in this element, capturing the joys, melancholies and fears of that most precious substance: water. - Ashley Crawford38
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 Julia RitsonUntitled ($1,100 each artwork)Oil on linen,26 x 21 cm$1,100She Bought coloured beads, folding beach cushions, artificial flowers, honey, a guest bed, bags, scarfs, love birds, miniatures for a doll's house and three yards of some new cloth, the colour of prawns. She bought a dozen bathing suits, a rubber alligator, a travelling chess set of gold and ivory, big linen handkerchiefs for Abe, two chamios leather jackets of kingfisher blue and burning bush from Hermes. [Excerpt from 'Tender is the Night' by F.Scott Fitzgerald]39
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 Wintjiya NapaltjarriWN0803163Acrylic on Belgian linen,122 x 91 cm$5,500Wintjiya Napaltjarri's assertive personality and sense of place assures her a respected position amongst the women painters of Kintore. As one of her community's esteemed elders, she remains a proud cultural authority, renowned hunter and generous provider for her family.
Her early pastel coloured works have gradually been refined to bold, iconic marks that provide a vivid narrative of the ceremonies of ancestral women at her beloved Watanuma. Wintjiya's work is a celebration of her culture, knowledge and self. - Luke Scholes40
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 Katarina VesterbergUntitledOil on Belgian linen,114 x 99 cm$7,500Vesterberg's art is inspired by her love of nature. Her works serve no agenda: rather she attempts to explore the spirit of the world and the meaning of its existence. Her landscapes carry the sublime beauty and the peacefulness of the landcape, but they also convey the strength and power inherent in storm, thunder and other natural phenomena. Over many years, Vesterberg's art practice has questioned the 'truths' and 'conventional wisdom' of recorded history. Vesterberg believes that the resolution of these issues is couched in observing the natural, rather than the human world.41
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 Mark SchallerAutumn LeavesAcrylic and Wood Assemblage,180 x 120 cm$15,000Autumn Leaves is inspired by the streets and architecture of the vibrant inner city Melbourne suburb of Richmond. Schaller extends a variety of mediums, employing painting and assemblage, bringing to life the streetscapes that he first fell in love with as a boy.42
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 Todd HunterDied PrettyOil on canvas,183 x 160 cm$14,500Todd Hunter is an alchemist of form. Neither strictly speaking figuration or abstraction, he has taken the colours and shapes of the natural world and put them through the blender of his fecund imagination. In many ways it is a ruse - we 'see' a 'landscape', even though he denies u sthe literal rendering of tree and sky, rock and shrub. He evokes the 'essense' of a landscape without resorting to the banalities of the literal. Hunter has evolved beyond the need to take us by the hand. He is happy to throw us into the maelstrom of the essence of nature. - Ashley Crawford43
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 Christine WhiteI Would Like You to Share My Point Of ViewOil on canvas,164 x 142 cm$4,800Christine White's recent work is inspired by old family photographs taken by her deceased father. White's paintings reveal a longing for times of the past, the happiness of childhood, but also carrying the sadness that comes with the realization that those times are irretrievably lost.44
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 Heidi YardleySchwarzOil on Board,38 x 23 cmSOLDHeidi Yardley transforms found and self-created images into paintings of familiar yet complicated scenes and portraits. The paintings often play on nostalgia, memory and personal and cultural histories, exploring emotions such as desire and loss. The works become divorced from any specific time or place but rely on the dialogue between each work to create meaning, requiring the viewers personal recognition. Associations and contradictions are at play creating the sense of a memory difficult to recall or the fragmented stills of a film.45
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 Stelarc Skin for Prosthetic Head 2009Photographer: Barret Fox, Type C PhotographStelarc's performances challenge how the body can be interfaced, augmented and extended with technology. He has incorporated medical imaging, prosthetics, robotics and tissue engineering in his projects. His earlier suspensions and the latest surgical and stem cell construction of an ear on his arm exposes the obsolescence of the body and explores the possibilities of alternate anatomical architectures.47
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 Colin PennockBush MeadowOil on canvas,183 x 153 cmSOLDPennock's work is inspired by the Australian landscape, in particular the contest between the ones that harvest the land and the land itself. The artist is fascinated by the power of nature and its ability to recover from human impact. Pennock's work gains its originality from the iconic thick application of paint, which turns him into a sculptor of texture and line. Pennock's landscapes are painted with a degree of abstraction that leaves room to appreciate the richness of colour and the surface detail.244
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 Marnie WarkWinters PinchAcrylic and Oil Pastel on linen,165 x 200 cm$8,800Wark's pieces are essentially studies in composition and colour. Great importance is placed on the tension between line and shape, form and content, simplicity and vibrancy, resulting in a never-ending exploration of the spirit of space.317
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 Bruce ArmstrongBull (Edition)Bronze raised on cypress base,171 x 41 x 41 cm$28,000Armstrongs preferred material is wood, and he has explored the means of this material extensively. The outcome of this research is a true understanding of the material, an ability that becomes rare in an age where sculptors tend to use the ready made, rather then committing to traditional sculpting material. Armstrongs sculptures are raw and beautiful-the artist turns potential beats into humble creatures. Their reductive form and abstraction make them distinctive and recognizable works.382
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