WINNER
THE LAND OF THE SAUSAGE SIZZLE
Medium: Found objects/cotton
Size: 150 x 150cm
WINNER
Artwork Title: THE LAND OF THE SAUSAGE SIZZLE
Medium: Found objects/cotton
Size: 150 x 150cm
My work is a commentary on my experience of watching the world trying to make sense of its paradoxes and ironies. In an age where the bulimic consumption of information and knowledge saturates us, my work seeks to remind us of the fundamentals and fragilities of what makes us human.
Littered throughout the carparks of Bunnings lies an endless supply of detritus that exposes humanity's impact on our environment. This detritus speaks of human interaction and engagement. These mini assemblages created from these fragments have been placed in a grid to chart and map the cultural landscape.
HIGHLY COMMENDED
BLUE MOUNTAIN CLIFFTOP
Nice feeling of the bush and depth of space
Medium: acrylic on linen
Size: 150 x 150cm
HIGHLY COMMENDED
Artwork Title: BLUE MOUNTAIN CLIFFTOP
Medium: acrylic on linen
Size: 150 x 150cm
My work is mostly place-based, and my practice is concerned with the recording and interpretation of natural habitat that has been preserved or protected as part of land conservation and National Park World Heritage. Through my work I want to share my love and affinity for our Australian landscape.
Walking along one of the many clifftop trails in the Blue Mountains, there are so many moments that give delight to the senses, the smell of new eucalypt saplings rising from the burnt ashes, the promise of new life, the majestic tree ferns rising up from deep gullies untouched by the fires.
Nice feeling of the bush and depth of space
HIGHLY COMMENDED
THE ARCHITECTURE OF THE SKY II
Something monumental about this. Beautifully handled. For me it hints of a possible mathematical order behind everything.
Medium: Oil on linen
Size: 110 x 110cm
HIGHLY COMMENDED
Artwork Title: THE ARCHITECTURE OF THE SKY II
Medium: Oil on linen
Size: 110 x 110cm
Scott is interested in how traditional plastic composition can be reimagined but honoured by the contemporary artist. This endeavour seems to closely mirror a more general exploration of how our contemporary experience relates to, and can be informed by, insights about the human condition from the past.
I find myself compelled to approach landscape painting as an attempt to compress the overwhelming experience of the immersive or monumental space of the natural world onto a small flat surface. I am exploring here the integration of the comprehensible space of three-point perspective prisms to assist with this expression.
Something monumental about this. Beautifully handled. For me it hints of a possible mathematical order behind everything.
HIGHLY COMMENDED
FOREST
Almost made it to my 10 list. Lovely light and atmosphere.
Medium: oil on board
Size: 50 x 60cm
HIGHLY COMMENDED
Artwork Title: FOREST
Medium: oil on board
Size: 50 x 60cm
Lindy Sale recently moved to the forested Sunshine Coast hinterland. The key themes of her work are the beauty, mystery and strangeness of nature and the effects and marks of human settlement on the natural environment.
The forest landscape is dense and complex, endlessly varied and lush. It is made up of the darkest shadows and myriad greens, with sparks of brightness where light finds its way through the canopy above. It sometimes seems silent, but it pulses and breathes, sighs, cracks, chirrups and screeches.
Almost made it to my 10 list. Lovely light and atmosphere.
HIGHLY COMMENDED
ELLERY CREEK BIG HOLE, NT
Beautiful handling of the nuance of light and feeling of depth.
Medium: oil on canvas
Size: 160 x 104cm
HIGHLY COMMENDED
Artwork Title: ELLERY CREEK BIG HOLE, NT
Medium: oil on canvas
Size: 160 x 104cm
Scott McDougall is contemporary realist painter, Queensland born and educated, with diplomas in both Art Teaching and Fine Arts. He relocated to Sydney to pursue his painting career and has held over 30 solo exhibitions across Australia and overseas. Scott now lives and paints in his studio in the beautiful Tweed Valley.
The Aboriginal name for Ellery Creek Big Hole is Udepata. This water hole is a special meeting place for the Aranda people on the fish and honey ant dreaming trails. The rugged cliffs, craggy textures and rich colours that surround this tranquil gorge provided the inspiration for this painting.
Beautiful handling of the nuance of light and feeling of depth.
HIGHLY COMMENDED
BUSHFIRE, MIDNIGHT LANDSCAPE
Just stunning work. Has a wonderful feeling of burnt out seed pods and vegetation, expressed with a very interesting technique.
Medium: Hand knitted copper wire sculpture 3D
Size: 50 x 120cm
HIGHLY COMMENDED
Artwork Title: BUSHFIRE, MIDNIGHT LANDSCAPE
Medium: Hand knitted copper wire sculpture 3D
Size: 50 x 120cm
Nettie Sumner has been working in design and marketing for many years. She has experimented with ceramics, weaving, textiles and graphic design. Having recently achieved a Diploma of Ceramics and Advanced Diploma of Visual Arts, Nettie has exhibited in a number of regional and private galleries.
Bushfire, Midnight Landscape recalls the burns of the Australian memory; it carries husks of what was. This landscape grips onto night, darkness scarred with orange flames. It recalls the time when we slept under thick hot smoke, held breath in an amber coloured ether; peppered with ash and scorched splinters.
Just stunning work. Has a wonderful feeling of burnt out seed pods and vegetation, expressed with a very interesting technique.
HIGHLY COMMENDED
JASPER – RED SUN
Medium: Archival print on cotton rag paper, framed
Size: 81 x 105cm
HIGHLY COMMENDED
Artwork Title: JASPER – RED SUN
Medium: Archival print on cotton rag paper, framed
Size: 81 x 105cm
Jess is an emerging artist whose practice investigates the life and death of animals, arousing morbid curiosities whilst exploring the beauty in what has passed on. Jess graduated from SCA, Sydney University and continues to work in the arts industry, she has made the finals of numerous prizes and awards
Foxes were introduced into0 Australia with devastating results, but despite being a pest species this photograph observes their beauty and our profound and fragile Australian environment and humanities impacts upon it. A moment of empathy is captured, acknowledging the quiet scene found on the edge of the everyday Australian landscape.
HIGHLY COMMENDED
COCKIES OVER THE MOUNT
This is hard to tell from a small image. I would like to see more detail of the texture. It almost made it to my 10 list
Medium: oil
Size: 120 x 95cm
HIGHLY COMMENDED
Artwork Title: COCKIES OVER THE MOUNT
Medium: oil
Size: 120 x 95cm
Moving to regional Victoria was the catalyst that made me delve from portraiture to Landscape. Trying to replicate the beauty and perfection of nature was a challenge so I remained in my comfort zone. Yet the bush drew me in, and she constantly tapped me on the shoulder demanding my attention.
My approach to portrait is completely different to landscapes which is more realistic. My landscapes tend to lean towards a more visceral effect. With sweeping movement i splash thin layers of paint over a thick palleted textured background, as the paint drips down and around the crevices it creates it’s own flow and pattern.
This is hard to tell from a small image. I would like to see more detail of the texture. It almost made it to my 10 list
HIGHLY COMMENDED
THE RESTORATION OF VENUS II
Although this image obviously does not show the whole composition I find it very compelling. Lovely rhythms and a hint of Cezanne.
Medium: Oil and Graphite on Heavy gessoed Artists Water colour Paper
Size: 60 x 178cm
HIGHLY COMMENDED
Artwork Title: THE RESTORATION OF VENUS II
Medium: Oil and Graphite on Heavy gessoed Artists Water colour Paper
Size: 60 x 178cm
Kay completed her undergraduate degree in Fine Art in London, and her Doctorate at QCA Brisbane after returning to Australia.
Her work, influenced by artists such as Degas, and Sydney Long, is representational but not a form of ‘realism’. She has exhibited in major exhibitions in Australia and internationally.
One of a series of paintings which aim at retrieving an idea of beauty largely eclipsed in contemporary art, this painting combines of nude and landscape inviting exploration of the deep visual resonances between human and environmental forms, an effect amplified by multiple figures deployed and integrated into Springbrook landscapes.
Although this image obviously does not show the whole composition I find it very compelling. Lovely rhythms and a hint of Cezanne.
HIGHLY COMMENDED
STAY OUT OF THE FOREST
Medium: natural and artificial forms
Size: 130 x 120cm
HIGHLY COMMENDED
Artwork Title: STAY OUT OF THE FOREST
Medium: natural and artificial forms
Size: 130 x 120cm
Born in regional N.S.W, Carolyn V Watson anchors her process driven practise in a place between the natural and the unknown. A multi-award-winning artist, Watson work has been exhibited in solo and group shows throughout Australia. Her work is held in public and private collections in Australia, and internationally.
"stay out of the forest" is an exploration of space and perspective that evokes a sense of isolation that echoes through the Australian landscape.
From the two female figures, dwarfed by tree like structures, to the barren terrain and the flat field of grazing land, stay out of the forest at once draws upon the tradition of Frederick McCubbin and the haunting evocation of the pan pipes of Peter Weir’s " Picnic at Hanging Rock".
HIGHLY COMMENDED
REGENERATION (AFTER THE FIRE)
Medium: Formed copper tube, timber offcuts, stones and found object
Size: 25 x 35cm
HIGHLY COMMENDED
Artwork Title: REGENERATION (AFTER THE FIRE)
Medium: Formed copper tube, timber offcuts, stones and found object
Size: 25 x 35cm
Leigh Schoenheimer lives and works in Brisbane. She conducts a contemporary, multidisciplinary art practice, working primarily as a painter and maker of idiosyncratic assemblages.
This sculpture alludes to the budding of forest regrowth after a bushfire. With a nod to the Cubist and Dada artists who pioneered the practices of assemblage and collage, this small, two part work depicts a tree-scape as it begins to regenerate, signalling relief and hope for the future.
HIGHLY COMMENDED
WONNARUA, 2020.
This highly affective video work presents alternate ways of being in the landscape. A profound image urgently relevant for our time.
Medium: Video/Installation
Size: 60 x 100cm
HIGHLY COMMENDED
Artwork Title: WONNARUA, 2020.
Medium: Video/Installation
Size: 60 x 100cm
Ryan Andrew Lee is a conceptual artist whose works explore alternative ontologies and epistemologies which are strongly influenced by First Nations philosophies of life and mind. Most commonly sing the mediums of moving image and installation Lee strives to create works that resonate on a deeper level of consciousness with the intent to unify all things.
'Wonnarua' is a video-based installation work that aims to provoke discussion around themes of Indigenous ways of living in juxtaposition with Western Settler-state system's unsustainable, damaging ways of using stolen lands. In today's current global state of environmental emergency, the need to embrace traditional Indigenous knowledge of country is now more crucial than ever before. The work is a plea to listen, learn and implement the vast environmental knowledge of First Nations people in the re-thinking of today's current systems that are clearly not working, in order for everyone to move forward inclusively with each other and the land as one.
This highly affective video work presents alternate ways of being in the landscape. A profound image urgently relevant for our time.
Artwork Title: TO SWIM IN DEEP COLD EMPTINESS
Medium: Oil on linen
Size: 100 x 180cm
Artwork Title: WELLINGTON POINT- AFTER LOCKDOWN
Medium: Oil on canvas
Size: 100 x 150cm
The glow of the Wellington Point sunset was a great welcome from Covid lockdown leaving long shadowy memories.
Shades of Turner, but a nice broody painting of the power of the landscape and state of mind.
Artwork Title: HOME
Medium: acrylic
Size: 60 x 60cm
Embracing the essence of organic abstraction, my work reflects my love of nature. Working intuitively, with acrylic and oil, I explore the idea of perception vs. reality within the textured and organic shapes found in our landscape. Random and illusive pattern found in nature is by far my greatest inspiration.
This piece uses transparent, translucent and opaque acrylic layers to build depth and texture. So much of Tasmania, my birthplace, is undiscovered. The unique and mystical essence of this land can be felt in my artwork, ‘Tasmania, Home of the Drop Bear’.
Artwork Title: DOG PARK NIGHT
Medium: watercolour on paper
Size: 65 x 48cm
Grealy has enjoyed a successful career as an architectural illustrator since 1979, her work based on observation of both existing and imagined buildings, landscapes and spaces. Although her transition to the art world came much later, Grealy's architectural training has allowed her to hone technical skills in perspective and art media.
Much of the time, dog park is empty of people. Tall trees and birdsong conceal the fact that the park lies within a highly urbanised inner-city suburb. I often wonder what happens at night. A half-caught glimpse, rather than an observation, of a dog and its owner.
Artwork Title: AERIAL MEANDER GLASSHOUSE MOUNTAINS
Medium: oil
Size: 100 x 120cm
Soaring high from a Birdseye view. Watching the clouds drifting and casting shadows on the valley floor below, constantly changing the patterns and mood of the atmospheric drama unfolding before me.
Artwork Title: KURDIMURKA KATI THANDA
Medium: oil on linen
Size: 125 x 125cm
Sybil Curtis uses industrial structures as the basis of her paintings. Although they look realistic they are carefully constructed and composed to create a poetic image. Curtis believes that if a painting does not work at the abstract level it does not work at all. She has won the Tattersall's landscape Prize three times and is represented in the Queensland Art Gallery and many other public galleries.
Kurdimurka Kati Thanda is based on the water tank and desalination tower that once serviced the original Ghan Railway near Marree. The salt lake of Kati Thanda (Lake Eyre) shimmers in the background.
Artwork Title: THE GOLD OF FLEECE
Medium: oil
Size: 92 x 152cm
I want to create works that leave people feeling up-lifted and connected to life on the land. Being totally immersed in the creative process for 14 years I’ve gone from crafting to owning my own gallery, exhibiting and teaching across Australia and internationally.
The stage was set by the shearing shed as the back drop, such a big rectangular shape with the sheep illuminated by the setting sun. The challenge I set myself was to cast a spotlight on the central sheep and use as much texture, loose brush and knife work to indicate rather than state the sheep, the texture of the wool, grass timber and metal, the whole thing almost felt like a dream.
Lovely light.
Artwork Title: WATERFALLS LATE SUMMER
Medium: oil on canvas
Size: 165 x 145cm
My work is primarily about the landscape in which I live and work - the mountains that surround me on the edge of Lamington National Park. Living in the landscape enables me to closely observe the changing environment. I try to portray the essence of the landscape, rather than a literal interpretation of it.
This painting was done towards the end of summer this year, after we had received plenty of much needed rain. It celebrates the beauty and immensity of nature.
Artwork Title: YOU SMOTHER ME....REQUIEM FOR A LANDSCAPE
Medium: oil wash, wax medium, pencil and crayon on marine ply
Size: 92 x 81cm
Fire top right cresting the hill.
Smoke descending.
Sun still shining from behind left
of the viewer.
This began as ' Mist on the Hawkesbury River' but morphed with the catastrophic 2019/20 fires.
I hear the trees
suffocating
under smoke
under us.
We are oppressive
to the landscape
and like fire - lay waste.
Artwork Title: BURN THE PLANET!
Medium: acrylic on paper
Size: 76 x 96cm
I frequently start with representational studies that directly reflect the subject’s shapes, forms and colours, and then often retain some of that while creating a new thing that responds to the materiality of the making process and to ideas about, or suggested by, the subject.
This work, developed from an expansive view at Katoomba, N.S.W., suggests an uncertain fear for the landscape. This comes from thinking that this place we inhabit may not be indestructible and that to act out the title of the painting would be unforgiveable.
Artwork Title: CRYPT ON CAVIL
Medium: oils on canvas
Size: 90 x 76cm
Otto has been painting full time for the past 10 years. Finalist in over 50 national competitions with 6 first and several second and thirds for portraits and landscapes.
A popular meeting place opposite the beach Macdonald's sits at the edge of the night club district in surfers paradise .Climate change could drastically alter the beachfront if we can not stop the sea rising.
Artwork Title: NIGHTSCAPE 2020
Medium: Archival photographic print
Size: 60 x 90cm
Lisa Kurtz is a photographic artist based in Brisbane, Australia. Her work explores concepts of memory, place and time.
I make a lot of work at night. Freed from the glare of reality I am able to explore that which reveals itself in the suburbs only in darkness.
Artwork Title: METANOIA CUBE WITH VIEW
Medium: Fired Clay
Size: 15 x 15cm
My practice largely focuses on investigating humanity's relationship with nature via the use of clay. Clay is a material that is known paradoxically for its strength and fragility. As such, it has many relatable characteristics that may increase the dialogue regarding the challenges that threaten the vitality of our planet.
The Australia landscape has experienced several calamitous climate events recently, leaving little doubt that we are faced with mounting pressure to reconsider long-established norms in order to protect the landscapes vitality and ecological integrity. 'Metanoia Cube with View' explores some of my thoughts and concerns regarding these matters.
Artwork Title: SPIDER LILY IN FLOOD
Medium: Acrylic on linen
Size: 90 x 100cm
Born in northern NSW graduated from RMIT and SCU nikky has done several artist in residence, been included in show national and international collected world wide and won various art prizes.
This work was made while packing up my mothers house after she dies, her Lily’s were in flower. The landscape was wet from the recent floods.
I like the simplicity of this composition with feelings of overcast wetness
Artwork Title: COMPOSITION LIX
Medium: Handcarved inkjet print
Size: 140 x 110cm
Henri has developed a new technique of hand carving inkjet prints. This unique technique in combination with photography marked a significant change in his art practice. He received several grants and awards, including an artist in residency at The Living Room in Manila and featured in the inaugural Manila Biennale ‘Open City’ 2018.
Diaspora and climate change have been the focus of my art practice for over a decade. Composition LIX, questions the morality of human survival in the face of self-afflicted global warming. The overall composition bares witness to nature’s condemnation, with the protagonist at mercy of the landscape.
Reproduction photography credits: Mark Sherwood
Artwork Title: WANGETTI BEACH, LATE AFTERNOON.
Medium: Oil on wood
Size: 40 x 60cm
Andrew is known for his portraits, figures, still lifes and landscapes, and his work is characterised by the luminosity he brings to each of these genres.
He has been selected as a finalist for many national painting awards, including the Moran Portrait Prize and the Archibald Prize, and was commissioned by the National Portrait Gallery in Canberra.
There are many beautiful places to paint where I live in Far North Queensland but I've always been drawn to this coastline in late afternoon. I would set up my easel at the same time each day to capture the subdued colours and reflected light on the ocean surface.
Artwork Title: AFTERNOON STORM - TASMANIA
Medium: OIL
Size: 101 x 101cm
CHRISTOPHER MCLEOD was born in Brisbane and was educated in Darwin. He has had many One Man Shows and mixed exhibitions around Australia between 1987 and the present. He is at present working on a Series called HALF THE WORLD covering his visits to Asia. His paintings have been sold around the world.
In 2019 I arrived in the town of Strahan in Western Tasmania hoping to witness one of their famous Southern Ocean Storms and the locals directed me to a perfect viewing area.
This awesome storm fulfilled my wishes and it was an experience I will never forget.
Captures nicely the feeling of serious impending storm
Artwork Title: MINE MATTERS; EARTHWORKS
Medium: Acrylic on canvas
Size: 91 x 133cm
My paintings explore ways of thinking about and producing landscape with an emphasis on the narratives of specific places and how these remain in the geology of that place. I view the landscape as a place that is politicised through what happens too and on the land. Environmental issues are the
ongoing stories of this time, and I attempt to connect with the viewer and to consider alternative ways in which we can inhabit this amazing world.
My painting explores a way of thinking about and looking at the landscape. I see the landscape as a place that is politicised by what we humans do too and on the land. Human interventions are etched into and can remain within the structure of a place. In this work I present Mining is an issue for debate in Australia and many other countries as I choose to highlight the environmental aspect of an open cut mine in this image. I also consider the traditional owners of the land and how these earthworks impact on Indigenous cultures.
Facing squarely the reality of contemporary landscape, Payne's work brings a sense of light, beauty and abstraction to human formed landscapes. Digging us in further, holding our attention, the painting presents the viewer with questions about how it came to be like this.
Artwork Title: ON THE WAY TO THE SEVEN SISTERS
Medium: Reduction Linocut
Size: 45 x 45cm
Ross River, Alice Springs, is a great source of inspiration for me. Every year since 2013 Jim Cob and I, along with a group of artists from Sydney visit this place. Colour reduction lino cut is for me the ideal medium to express ideas about the landscape.
In this series on the Central Desert, I am trying to capture the light at different times of the day. It is fascinating how the colours on the rocks change, from morning to midday to dusk. I feel relief printing, lino cutting, is ideal for expressing ideas about the dry landscape's roughness.
Artwork Title: GOLDEN HOUR
Medium: Oil
Size: 25 x 51cm
Brisbane artist Carmel Montague is inspired by the landscape and the sky that frames it. Exploring both real and imagined places, she is particularly drawn to light and colour and capturing the mood these evoke.
Drawn to the golden early evening colours of a winters day in Warwick, and capturing the quiet peacefulness of the landscape.
The small scale of the painting seems to emphasise the expanse of the view. Skilful and economic in execution, the painting takes an honest look at a familiar Queensland landscape.
For a small painting this seems to capture nicely the vastness of this type of landscape
Artwork Title: MISTY MORNING
Medium: Photography
Size: 70 x 57cm
Photography has the ability to capture the 'real world', whether it be through natural disaster or courage and victory. Grant uses photography as a way to record life, to record as it is now. Grant believes that his photography can be something that can bring happiness, joy and even sadness, by capturing 'the moment'.
As the day breaks, mist hovers over the water, rising through the trees, and blending into the natural beauty of the landscape. Enveloping it’s surroundings, while creating a sense of uncertainty of what lies beyond the mist.
Artwork Title: SUBWAY EXIT - PARLIAMENT STATION
Medium: acrylic
Size: 92 x 122cm
Painting is a journey to self-discovery, an observation into the world around us, and a way of finding a connection with the viewer.
My work is informed by my experience with the landscape and encounters with people.
Finalist: Gosford Art Prize; Percival Portrait Painting Prize; Bay of Fires Art Prize.
Subway Exit – Parliament Station
Commuters rising out of a subway tunnel at Parliament Station Melbourne. Each person drawn to their destination. Strangers and familiar faces, walking up the stairs towards the light of day.
Artwork Title: WE WILL NEVER SEE SUCH TREES AGAIN
Medium: oil on canvas
Size: 85 x 90cm
Perez is a British born artist who graduated from the RCA London with an MA in Painting.
Over time, Sophie has developed a deep love of both; the Australian environment, and the process of painting itself. Through painting these places the artist is documenting more than the eye sees alone.
Climate change and the impact it has on so many aspects of our living world is becoming more and more apparent. My love for the landscape and trees is a subject I have painted for many years, questioning ones own existence and experience of a place.
I like the strength of this with a nice depiction of the starkness of ravaged trees.
Artwork Title: THE BACK GARDEN
Medium: oil on canvas
Size: 98 x 158cm
Steve Lopes aims to depict the relationship we have with our surrounds and does that in any way he can get the paint onto the surface and make it interesting. His work is held in the National Gallery of Australia and other public institutions and private collections.
a painting of my friends backyard
Artwork Title: RAINFOREST AT ILKLEY, QUEENSLAND
Medium: hand coloured linocut print
Size: 46 x 70cm
Printmaking makes me be still and it gives me a grounding that comes from reflecting on my relational place in the world; it is a way of being in it.
I draw then cut my relief blocks in lino. Relief block-making has been a constant thread throughout my adult life.
I like quietly observing forest lifeforms, seeing how they accommodate each other. A life that compromises and best adapts to constant change around it; survives, taking on an interesting and unexpected character and form. The forest grows in legacy soil from the life that has gone before it. We breathe the legacy oxygen.
For a linocut I think this is amazing. I like the overall abstract pattern that really gives a feeling of the entanglement of the bush.
Artwork Title: CALLING FROM A COUNTRY PHONE
Medium: Oil on canvas
Size: 30 x 40cm
Whilst predominantly self taught, Steve studied for a short period at Julian Ashton’s School of Art in Sydney. His current focus is on landscape and figurative compositions. He has won a number of first prizes and recently shortlisted finalist in the Dust Temple portrait prize, the 2020 Lethbridge 20000 and Clayton Utz art prizes
This depicts Brisbane Street in Murwillumbah. I like the artificial light of telephone booths, I’m not sure why, there’s a certain desolation to them, and have been the silent protagonist in so many and varied conversations....witnesses I guess. And I just liked the aesthetic and perspective of this view.
Artwork Title: WHIRL
Medium: oil
Size: 30 x 23cm
Tammy studied at the Adelaide Central School of Art, graduating with Honours in 2008. After exhibiting in Adelaide, then raising three babies, Tammy is now a Brisbane based painter focusing on a connection between emotions, animals and nature.
Layers of elements in the landscape represent the emotions of life; grass, flowers, trees, they all become one. The Cockatoos are a natural addition circling, immersed, stuck, flying, displaying the beauty in the chaos of life.
Artwork Title: NINDAROO AFTERNOON
Medium: Acrylic and Mixed Media
Size: 90 x 90cm
Painting is a medium through which I can express my inner response about feelings for nature and concerns for the environment. My present work focuses mainly on the abstracted landscape and I find inspiration from its many moods of desolation of desire as well as the beauty of light and how it defines the surface of land, sky, or water.
Nindaroo is in the country about 8 kms from Mackay. It has a lot of varying shades of green hills with cows and fences. The scenery shows multiple perspectives that seem to distort as houses and fences appear on different levels.
I find this a very satisfying abstracted treatment, with a beautiful colour palette and just enough form to signify the landscape.
Artwork Title: LIGHT THROUGH THE HILLS
Medium: Watercolour
Size: 40 x 65cm
Bruce Buchanan is a realist landscape painter working in watercolours.
His work is distinctive for the interplay of light and shadow and often demonstrates a degree of subtle abstraction.
His work is rarely “place specific” but relies on mood and atmosphere for its impact.
This watercolour painting is of the soft light on a cold frosty morning in the Adelaide Hills. The trees were casting their long shadows across the paddock. The sheep fence provides a linear counterpoint to the vanishing landscape in the distance.
Artwork Title: LOCKDOWN LIGHT
Medium: Oil on Birchply Panel
Size: 13 x 23cm
Drawing has always been a key interest leading me to explore illustration, observational drawing and conceptual ideas of contemporary drawing into painting. Currently focused on this long held interest in painting, an entire reinterpretation of my art practice and a search for new ways to work is emerging.
Paintings developed from a backyard view during lockdown, the garden is so complex with rambling foliage I can only suggest a few silhouetted branches and a corrugated iron roof in dying light. Never painted from direct observation - imagination, reference and time turn these fleeting lightscapes into oil studies.
Artwork Title: CAPERTEE
Medium: Linocut relief print
Size: 40 x 36cm
Initially my interest was in sculpture, this led me to complete a USQ Fine Arts degree majoring in printmaking under Normana Wight who was very keen on instilling the notion of "print as document”.
As an avid motorcyclist this suited my creativity entirely.
Producing an image utilizing a wide range of dynamic, mark making techniques gives the art object a life of its own. Capertee Canyon is one of the oldest and widest on the face of the Earth and has many more stories to tell than my brief encounter can convey.
Artwork Title: ANCESTORS
Medium: Etched unique print on aluminium
Size: 51 x 76cm
As a multi media artist, I paint, carve, work on canvasses, paper and aluminium. Many works on aluminium are based on unique prints of moments I have witnessed. Immersed in nature where time stopped and when I found a deep connection, I re-imagine, re-combine and transfer their magic.
The retention of mangroves has been and will continue to be vital to the ongoing environmental health of our waterways. And when the mature trees hold firm on the ground, the new generation can already anchor itself. Ancestors is an ode to resilience, continuity and preservation.
Light becomes material and vibrant in this Japanese influenced landscape.
Artwork Title: ADAGIO (THE FALLEN BRANCHES)
Medium: Oil on canvas
Size: 122 x 177cm
Eva Beltran has an expressionist approach to subjects, aiming to depict an emotional experience more than a physical reality. Her work talks about landscapes, emotions, and memories through abstract figurations where intricate perspective is conveyed through linework variations and layers of paint. These "storytelling paintings" often incorporate symbolic elements.
The fallen branches. They were lying on the side of a rough pathway in the middle of the natural park where I walk daily. Defiant, cut, fallen and forgotten. Dying with so much life. Surrounding nature embraced them fiercely creating a visual rhythm that reminded me of an adagio. A strong, slow and solemn adagio.
Immersive and energetic the process evident in this painting captures something of the movement of ground beneath our feet. Entangled, rock and branch are inseparable.
Artwork Title: AUSTRALIAN LANDSCAPE, BURNT BUSH
Medium: Enamel and oil on plywood
Size: 80 x 60cm
Studied at the California Institute of Art before graduating from the San Francisco Art Institute in 1998 with a BFA. In 2003 relocated from California to Brisbane and now works and lives in Ipswich.
Recent works inspired by the Australian landscape.
Artwork Title: ROYAL GEORGE IN ISOLATED LIGHT.
Medium: Photograph
Size: 23 x 23cm
Temporarily attended College of Art at Seven Hills in the 80’s. Honed my skills in the heady world of Brisbane commercial studio photography. Influenced by everyone.
This photographic landscape was made during a COVID lockdown. Late night sojourns searching for artificial light. Discovering a landscape in the relative safety of isolation. Highlighting the loneliness.
Artwork Title: SUNDOWN ON MAIN BEACH
Medium: Watercolour
Size: 53.5 x 70cm
I’ve spent many hours on the beach so I live and breath the landscape. I’ve drawn and painted all my life embracing watercolour the last few years.
This piece expresses the beauty of the light and the longing for the day to go on. Warm summer days allow for the cool of the afternoons when we can enter the landscape for more delicious pleasure.
A fairly traditional watercolour, but handled with a great technique, and a lovely touch for capturing the light and ambience of this type of subject.
Artwork Title: VIEW FROM THE TERRACE
Medium: Erasure drawing on plaster
Size: 120 x 80cm
This work is a continuation of my experiments in erasure drawing on plaster, I am constantly amazed at the dimensionality that can be achieved by removing. This one has thin layers of green and yellow Tempera over white plaster.
Erasure drawing on Plaster. As before but coating with a green tinted layer of egg tempera and then a yellow tinted layer of egg tempera. Erasure is done with various shaped steel implements, different grades of sandpaper and pencil erasers.
An intriguing technique producing a satisfying dance of tree trunks, with lovely colour references to the Australian landscape and possible aftermath of bushfire.
Artwork Title: TERMITE TEXTS
Medium: artist book and cast concrete
Size: 15 x 40cm
Carolyn is an interdisciplinary artist examining body gesture and language through performative processes. She is currently a board member for Frontyard ARI, Marrickville, Sydney and recently opened SchmickProjects a new artist run space in Haymarket. She holds a PHD from the Queensland College of Art.
Termite Texts examines the home as relational discourse – to capital – feminist politics and the need to de-centre modes of production and viewing. It involved myself = termites – a house – a builder –three pest control providers and a radio producer. Using site-based investigation, I considered structure – as object – discourse and thought through dismantling my home. I saw the house as a geographic and sociological enterprise and asked how do we dismantle capital relations of desire and learn to talk to termites?
Artwork Title: NEWNES #1
Medium: Fibre-based digital pigment print. Edition of 7
Size: 160 x 127cm
Nick is an Australian photographer currently pursuing long-term personal projects in documentary styles, with a passion for visual storytelling through both photography and video. His primary interests lay in documenting people, traces and subcultures in their natural circumstances.
'Newnes #1' is a photograph from an ongoing body of work in response to the 2019/20 summer bushfires here in Australia.
Working with a large-format field camera and infrared film stock allows Nick to capture the impact the fires have had on the landscape and provide a sense of devastation by focusing closely on the regeneration process and the relationship between the burnt trees and the new life sprouting from within.
Artwork Title: THE SKY POOL 1
Medium: acrylic and ink
Size: 16 x 35cm
Catherine Parker is a painter / mixed media artist based in Toowoomba, Queensland.
Adept at creating makeshift studios, Parker readily inhabits the urban and natural spaces in which she finds herself - from the Himalayas in North India to Magnetic Island, North Qld. Based in Toowoomba on the Great Dividing Range, her home studio is surrounded by birds and native plants. Landscape is the one constant continuum in Parker’s Art practice.
Parker’s work is held in various public and corporate collections
The urban swimming pool contains memories. Travelling with my family as a child of 6 in the old 70's Ford station wagon on camping trips was a big deal. With a pool attached - the peak of luxury. This pool is gleaned from my travels in the landscape on road trips.
Artwork Title: FINALE
Medium: oil
Size: 91 x 153cm
Cathy is a Melbourne artist with a particular interest in landscapes. Her work captures the ethereal and spiritual aspects of the natural world and she incorporates a high level of detail to achieve her aims. Her use of light has a pivotal role in creating impact and mood.
To be in awe of nature, dwarfed by the size of a mountain and overwhelmed by the impossibly beautiful colours of a sky at dusk remains an experience that is truly precious. We should pause from the busy life of humans and our troubles to appreciate something apart from us, something that can be found in our own land, if you look in the right place at the right time.
This painting of Ben Lomond, Tasmania, is an example of my recent landscape work which focusses on capturing transcendent moments in nature.
Artwork Title: SENTINEL REGENERATION
Medium: Oils
Size: 60 x 76cm
A love of family, this country and nature inspire me to capture people and places in art form. I am especially passionate about painting our unique landscape. Experienced in the use of Oils, Pastel, graphite, pen, coloured pencils and acrylics, my early works were commissions of historic buildings and other rural subjects.
My work has been acquired by Shire Councils, City Councils and Regional Government Departments as well as by private collectors nationally.
I have been selected as an exhibiting finalist in the prestigious Brisbane Rotary Art Spectacular each year since 2013, with multiple sales at these events.
The soft blue grey distance and colours of the Australian landscape challenge me to create artwork that conveys Australia’s unique light. A land of extreme contrasts, I also aspire to share its harsh beauty. My work is traditional in style using oil on board or canvas, and at times pastel.
Artwork Title: DISRUPTIONS #2 2020
Medium: Oil on wood panel
Size: 62 x 78cm
Daryl Austin has worked as a painter and educator for the past 30 years. He has held numerous exhibitions throughout Australia yet works primarily from Adelaide.
He is a senior lecturer in painting at the Adelaide Central School of Art since 2000. He is represented by Gagprojects/Greenaway Art Gallery.
"Disruptions #2 2020" is from a series of paintings which have explored the shifting, temporal nature of the urban landscape, constantly altering, appearing and disappearing which is then emphasised through disruptions to both the image and to the faceted painted surfaces to create new tensions.
Artwork Title: CITY DAY
Medium: Watercolour
Size: 79 x 54cm
Jason Roberts is a Melbourne artist with an international career spanning three decades. Extremely versatile, he spent 9 months in Greece in 2017-18 depicting traditional livestock breeds for an exhibition in Athens, while his current project, begun during Melbourne’s lockdown, has him painting streetscapes of the city’s Grafitti laneways.
Above Hosier Lane a portrait of an aboriginal boy gazes serenely into the distance, while closer to ground layers of more prosaic sprays create a colourful tapestry. I’m drawn to the energy of this Grafitti, and how it sits in Melbourne’s urban fabric, a meeting of artistic sensibilities centuries apart.
Artwork Title: REFLECTING ON A RURAL LANDSCAPE
Medium: Oil
Size: 61 x 91cm
I create for myself, working in charcoal & in oil paints. To me the art of drawing with a burned stick of wood onto paper is primal in its application & spiritual in its essence.
My ultimate goal with each creation is to capture and transfer emotion. My subjects vary but rarely stray too far from respecting small town culture, remote spaces and the living things within them.
Throughout Australia you can pull into a sleepy little one horse town with an old Art Deco movie theatre long closed down, and one cafe still open where you get a coffee in a paper cup and a pie and wish you got the toasted sandwich, and then you drive....
Artwork Title: BALMORAL CEMETERY
Medium: Oil on linen
Size: 56 x 91cm
The artist was born in Brisbane and grew up in the Redlands. His early art studies were at the Balmoral Arts Academy under Christine Kirkegard and Kay Kane.
After several years travelling and living in Europe, Ryan is now based in Brisbane and exhibits in Sydney.
This painting was made during 2020 as part of a series of landscapes about the Brisbane Bayside area.
Artwork Title: DEEP REFLECTION
Medium: Oil on Canvas
Size: 90 x 90cm
Artwork Title: THE RIPPLE EFFECT
Medium: Pastel
Size: 60 x 60cm
I find myself continually challenged by the complexity of the world of reflections. The challenge is to look beyond face value and to see the multifaceted levels of reflected life. Every year I add at least one painting to the series, something that I will continue to do until I’m physically incapable.
The reflected world sometimes holds more information than any other. In the case of moving water we are presented with the delightful conundrum of distorted reality. This can be confusing but it has its own life of rhythm and pattern.
A bit Monet, but still a nice painting
Artwork Title: SENTIMENT LOGISITCS
Medium: digital image
Size: 108 x 84cm
Sal utilizes an observational language that gives expression to deliberate misunderstandings, absurd irregularities and comic abstractions. She employs complex and refined production techniques to project a lyrical depth and meaning onto objects and landscapes - fully exploring the imaginative possibilities of the ordinary world around us.
I am recording and manipulating the urban environment around me to extract some meaning and humanism from it. The result is a wry commentary on our emotional burdens.
I likevthe message
Artwork Title: THE AMPHITHEATRE, CARNARVON GORGE
Medium: Cast compounds, ceramic and stains stains
Size: 20 x 18cm
Landscape acts as a rich catalyst for Susan Jacobsen , in an Art practice exploring drawing, collage, sculpture and painting. Site abstraction respond to raw beauty, atmospheric transience and the ancient profundity of Australia. Emotive marks are unrestrained in response to a land revered.
The Amphitheatre, Carnarvon Gorge
Hidden inside the walls of Carnarvon Gorge, is a chasm, so remarkable, in it’s resounding acoustics and powerful soaring verticality. Gouged rock, etched by the water of time, soars to the open skylight, allowing a revered place of contemplative silence below.
Artwork Title: DOWN TO EARTH
Medium: Hand engraved geological core sample
Size: 5 x 37cm
Lee is a PhD candidate at Charles Darwin University. She has a Master of Fine Arts (1st Hons) from Whitecliffe College of Arts and Design, New Zealand. Her recent artworks offer a representation of mining that can be considered alongside the wider global discourse surrounding mining and its environmental impact.
Down-to-earth is hand engraved into a geological core sample which is a cylindrical piece of rock created in a mining extraction process – from the landscape.
Artwork Title: EIDSVOLD
Medium: mixed media
Size: 30 x 50cm
I have been producing artwork since childhood. Later in life I studied a visual art in Toowoomba in 1977 and then taught art in schools and adult workshops in SE Qld.. Over the years I have had several exhibitions in Brisbane. I sell my art on line around Australia. Over the years I have spent time in various art forms including video, mosiacs, murals and miniatures. The vast majority of my work has been landscape in oils or acrylic. I love the amazing variety of green in our tropical rainforests as well as the deep red colours of Western Australia. I have also been fortunate to have travelled to various parts of the world looking for inspiration. At the moment I am working fulltime on my art practice and developing my style and subject matter. my blogspot kerrydrysdaleart.blogspot.com has a number of my past exhibitions.
'Eidsvold'' is part of a series of miniature sculptures that I have produced over the past few years. It celebrates the beauty of aged and decaying buildings set in our tropical Queensland climate and landscape. It is based on a real house in the town of Eidsvold. My miniatures are all based on real buildings in Brisbane and other parts of Queensland. Eddie Putera a Malaysian miniaturest inspired me with his wonderfully run down, rusted buildings and street scenes. Josh Smith in Adelaide and David Houragan in Melbourne are doing similar work otherwise the minaitureist scene in Australia seems pretty small. After many years a landscape painter creating miniatures like this one has been such a challenge and so much fun! The little boy in me who loved making plaster of paris landcapes is very happy! It would be great if your exhibition could include a miniature!
Points for patience and perseverance.
Artwork Title: BURLEIGH #1
Medium: Fine Art Canvas
Size: 80 x 120cm
George Fetting is an Australian photographer and visual artist living and working in Sydney. Both a fine art and commercial photographer, his various works consist of portraits, seascapes, urban observations and digital manipulations. Eight of his portraits hang in the permanent collection of the National Portrait Gallery Canberra.
‘Liquidity’ creates a theme that explores time, motion, fluid and space – the palette renders tones, colour and movement in painterly visages, a coalescence of blended tones.
Luminous and radiant these images often evoke a sense of calm – of purpose and place.
Fluid skies and etheric seas. Flow and reflection.
Artwork Title: HARMONY
Medium: watercolour
Size: 91 x 122cm
Pat Hall paints large scale watercolours on stretched paper canvases which are then sealed, front and back, with a UV stabilised and waterproof coating. She floods her paintings with colour, breathing new life into the medium.
‘Harmony’ is part of the varied landscape of Mount Coot-tha Botanical Gardens and explores the harmonious balances created in nature.
The Lotus flower thrives in muddy water and rises above the surface to bloom with remarkable beauty…. Untouched by the impurity, lotus symbolizes the purity of heart and mind.
Artwork Title: RESCUE ME
Medium: oil
Size: 100 x 100cm
“Light has always fascinated me. It brings clarity, hope and unveils our path. With art as the vehicle, I tell the story of light whether the hope of a sunrise or the light falling on a child’s face.” Working in oils and pastels Tricia became a Master Pastellist in 2011.
The storms of life can feel overwhelming at times. But looking to the light on the horizon, beyond our darkened doubts and troubled times, you can feel a change coming. A hope that helps us rise above the waves.
A nice feeling of the power of nature well handled.
Artwork Title: NUNDLE TERRAIN
Medium: Oil on Canvas
Size: 102 x 92cm
Award-winning Visual Artist and Clayton Utz Finalist, 2017, David Cross’ inspiration is the environment, using light as a catalyst and how it imparts on the subject matter. "When light hits an object, it reflects, refracts, casts shadows and is even absorbed in the object. I focus on how I interpret this light as it reveals colour and form."
I am consistently fascinated with how light plays upon a surface. Currently, I am focused on the shiny reflections echoing off of the metal/chrome parts of classic cars. With this exhibition, I met the challenge to push the boundaries of traditional landscape by presenting multiple and abstracted vistas on this vintage truck through its reflections of the ‘scape’.
Artwork Title: RABBIT PROOF FENCE
Medium: Mixed media 3D: rusted paper, vintage linen, metal, stitch
Size: 27 x 100cm
“Nonrepresentational in form, each of my artworks is a personal vocabulary of marks reflecting Texture as the primary focus; creating layered mixed media/textile artworks with a fusion of rusting, fibres, fabric, paper, acrylics, stitching, gold leaf, beading and/or embellishments.” Grace is an awarded and accomplished textile artist with a BSc from the USA in Textile Design; winning various awards in Brisbane Art prizes and selected juried exhibitions for her mixed media/textile works.
The State Barrier Fence of WA was designed to keep pests out of pastoral lands. The movie, Rabbit Proof Fence, used this barrier as a symbolic portrayal of the Stolen Generations. The concertina format, rusted papers, hand stitch threads, journeys the viewer through the desolate, spinifex terrain of WA outback.
This almost made it to my 10 list. I like the simplicity of the idea and the lovely use of the materials and earth colour.
Artwork Title: DATA ROCK (TAKE ME SOMEWHERE NICE)
Medium: 6 pigment prints on Hahnemühle cotton rag, framed, museum glass
Size: 120 x 180cm
Kailum Graves is critically obsessed with the artifactual digital object. He works predominantly in the medium of photography and within the sphere of the photographic process. His practice reflects the influence of technology on the photographic medium and sits resolutely within the context of future movements of contemporary photography.
Data Rock (Take Me Somewhere Nice) is a series of abstract landscapes created by sequentially copying the colour of every pixel in six 100px x 100px images and pasting it successively to create entirely new images. Pixels interest me because they are the smallest controllable element of a picture.
Artwork Title: REST YOUR SPIRIT IN EARTH'S QUIET PLACES
Medium: Acrylic and oil on hand cut plywood
Size: 59 x 48cm
Living in the verdant Top End and armed with the belief that all living things are connected by the habitats we share, my work aims to capture the precious wilderness, documenting its wealth of colour, shape, spirit, and mood, paying homage to the fertile environments that are under constant threat.
Climate drawdown is the most comprehensive scientific plan we have developed to reverse the destruction of our nature world. Sequestering carbon in the soil, drawing it down through our precious plants, will mean we can reverse centuries of human folly. Protecting and regenerating our disappearing forests and bushland is key.
Artwork Title: HOME BY NIGHTFALL
Medium: Acrylic
Size: 64 x 81cm
Painting scenes from her evening walks, Alexandra translates the light and shadows of her local urban landscape. Capturing the intensity of night and the calm stillness.
Capturing the quietly celebrated time of day for many...the trip home. The light is thrown from windows and street lights to pool and spread. I'm drawn to the welcoming lights. There's fear to be found in the shadows but it melts with a flick of a switch. Colours take on a new intensity, no longer washed out by the sun.
Artwork Title: GREEN FACADE
Medium: Watercolour
Size: 54 x 74cm
Recent achievments include the 2019 Hunters Hill Watercolour Prize, the 2021 Art of Sydney Water Medium Prize and a finalist in the 2021 Gallipoli Art Prize. He is a member of the Australian Watercolour Institute and President of his local Art Society.
This amazing facade was a hotch potch of doors, cladding and windows. But somehow it looked just right. Very Australian. I wondered what activities the building had once seen. Our bright sun created strong shadows, peeling the paint, draining the colour and throwing up a feast of textures and patterns.
A subject after my own heart. A representational subject of abstract patterns, beautifully handled in watercolour.
Artwork Title: MOUNT COOT-THA MORNING
Medium: oil on linen
Size: 76 x 152cm
Lars Vester is a Danish born artist living in Brisbane, working predominantly in the medium of oils.
Lars has had a number of successful exhibitions in both Europe and Australia, including various solo, group and Finalist's exhibitions. Some of his career highlights include winning the Artworld Landscape Prize, Best Oil at the Rotary Art Spectacular and taking out First Place in two seperate Painting Categories at the worldwide Light, Space & Time Art Exhibitions.
Lars’ work is represented in several private and corporate collections around the globe.
My landscapes generally seek to convey a sense of place, peace and serenity through the emotive and ephemeral qualities of colour and light.
Mount Coot-Tha Morning is an attempt to slow things down a little, allowing the viewer a moment of introspection and self reflection.
Artwork Title: DOWN THE BACK ( CHARLOTTE STREET, PADDINGTON)
Medium: Oil on canvas
Size: 51 x 76cm
First a wildlife artist from outer suburbia, then for thirty years an urban landscape painter focusing on
Brisbane - the light & darks of urban environment.
Many Brisbane & Sydney solo exhibitions have contrasted the continual transitions - old to new,
influencing our attitudes, memories, character - both negative & positive.
Grateful Wm. Robinson was both youth & midlife tutor over 5 yrs.
Seen across an empty lot awaiting development were these two old last century houses in big rambling country style backyards.
This seemed to me the landscape of a fading suburban childhood caught in time within the built up,
crowded in, pristine glass of inner suburban Paddington.
Artwork Title: HEADING NORTH
Medium: Oil on Canvas
Size: 90 x 120cm
Liam Waldie’s oil paintings primarily represent the Australian landscape. Drawing upon personal memories he creates dreamlike mindscapes captured in a moment. He is based on the Mornington Peninsula in Victoria, Australia. Waldie exhibits in group and solo shows and is represented by galleries in Victoria and New South Wales.
The winding roads and endless horizons make up travelling across the Australian landscape. Blue mountains sit in the distance. A bending turn takes you closer, take a left by the dam. Hold on.
Artwork Title: IMMORTAL TREE (LAKE MUNGO, 2019)
Medium: photographic print onto art rag
Size: 100 x 70cm
Rory O’Chee is a very exciting photographer who brings a unique and uncompromising
perspective to landscape photography. His work is unfiltered. He finds ways to let the landscape
speak for itself, very much as Ansel Adams did, and the results are breathtaking.
In a landscape hazy,
smouldering in the desert heat,
disappearing into the wasteland fast,
stands an Immortal Tree,
thriving against the odds.
Artwork Title: #80 - APOSTLES
Medium: Oil
Size: 36 x 24cm
Having started painting in 2017 at the age of 17, I had practiced eagerly to develop my small-scale photorealistic landscape art style. I was highly-commended in the Lethbridge 20000 two consecutive years (2018/19), a finalist in the 2019 Clayton Utz prize, and winner of the 2019 D'Arcy Doyle Emerging Artist Award.
Captured on a blisteringly cold day, with violent winds and turbulent waves, this scene conveys the ever-evolving coastline of southern Victoria to the backdrop of a winter sunrise. Being my last completed painting before my hiatus, I am especially fond of it and what it represents to me.
Artwork Title: PRETTY RIDE
Medium: mixed media
Size: 32 x 32cm
The process of making art is very much about accessing and exposing Colleen’s emotional life. Most of it is from the subconscious and she chooses what to reveal and what to keep to herself. Colour is as important to Colleen as the technique and narrative. It plays a pivotal role in developing the emotional connection to a piece.
I let the artwork take me on a journey, reaching for memories as I break up the surface with paint and pencil. I reflect shapes and aesthetics that are linked to the nature I immerse myself in daily – in this instance, a favourite bike ride. Each mark I make leads to the next, nothing is planned.
Artwork Title: DAWN
Medium: Oil on linen
Size: 28 x 28cm
My paintings are views through small windows, they are evocative vignettes of those soft warm , sensual experiences that we associate with luxuriating in beautiful countryside and feeling « at one with nature »
My paintings are views through small windows, they are evocative vignettes of those soft warm , sensual experiences that we associate with luxuriating in beautiful countryside and feeling « at one with nature »
Artwork Title: THROUGH THE TREES, (GIF, HD VIDEO 4.3 SEC)
Medium: Video
Size: 30 x 40cm
Annette Peterson is an oil painter currently exploring the interplay of the moving image and painting. Her work investigates the light and atmosphere of suburban street scenes and the experience of driving from a female perspective. She recently graduated from Curtin University with Honours and Masters in Visual Art.
Through the Trees is an exploration in the digital, everyday and painting. Based on a three-second "Live" iOS photo, each frame has been remediated into 70 oil paintings and then reinstated back to digital form.
Through painting, I aim to capture fleeting and affectual moments, impossible to capture while driving.
Artwork Title: SUNSET OVER THE BLACKALL RANGE
Medium: Glass
Size: 52 x 36cm
Tina Cooper is one of the leading figures in Hot Glass in Australia.
Her extensive career spans over 31 years.
To experience new techniques Tina travelled the World to study under many Glass Masters.
Her work will enrich your Soul and you will feel Tina's deep connection with Mother Nature.
Blackall Range, the heart of the Sunshine Coast Hinterland, explodes at night with an alluring sunsets & rugged Glass House Mountains back drop. This lush subtropical rainforest with fertile rolling hills and fresh clean air will calm your Soul, open your mind & feeds anyone's creativity.
Capturing ideas of landscape in glass (made from sand) seems to bring the material of landscape into our domestic history. Transparency, sedimentary, illuminated, the vitality of rock comes to life.
Artwork Title: MOMENTS IN TIME
Medium: Acrylic and mixed media on canvas
Size: 76 x 76cm
A member of the Eramboo Artist Environment on Sydney’s northern beaches.
Using acrylic and mixed media, my objective is to initiate conversations by creating and displaying art that is generally unconstrained by rules and conventions, and that re-explores landscape and geometric abstractions as well as social and other contemporary themes.
Bushfires would say of themselves that they are treacherous, capricious, angry and unashamedly resplendent.
Using acrylics and mixed media, I have created 361 spontaneous fire flashes on acetate, and assembled them into a single image representing bushfires’ self-acclamation.
Not trivializing their destructive power but acknowledging these events as increasingly inevitable.
Artwork Title: JACKS' SHOVEL
Medium: Sculpture; Black Granite, Rocks, Timber, Metal and acrylic paint
Size: 80 x 60cm
I am a Brisbane-born and based self-taught contemporary artist. An enthusiastic and long standing member of Art Street, http:www.artist.com.au/artist-marianne-grigore.html., I also have my own boutique gallery, Blind Dog Gallery, http:www.blinddoggallery.com.
Jacks’ Shovel
My fathers’ hands worked this shovel. It saw years of hard toil changing the face of the Australian landscape. Fencing, mining, building, fettling. The blade rusted, the handle worn and cracked. Jacks’ shovel epitomizes my family heritage and pioneering determination.
Exhibition available to view 29 April - 9 May 2021.
Contact Lethbridge Gallery for more information.