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Documente Cultură
INSPIRING
PHOTOGRAPHER
DAVID OLIVER
WORKING IN
YOUR SPACE
DEREK NEWTON
A R T I S T S ’ P R O F I L E S A N D W O R K S H O P S
READY TO PAINT SERIES
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Galleries
22 Exhibit A – Norman Lindsay Gallery
and Musuem
66 International – Johnny Come Home II –
Berlin , Germany
70 International –The Brick Lane Gallery –
London, United Kingdom
58 Profile
6 Paul Margocsy – The Photorealist – Fine Art
16 David Oliver – Capturing the Dream –
Photographer
28 Wendy Burke – My Source of Complete
Escape – Fine Art
40 Jenny Green – Sculptors Are Magicians –
Sculptor
46 Daniel Hutchings – Water, Light and Land
– Fine Art
58 Jenny Stephens – Give it a Go – Fine Art
4 artist
Workshops
12 Paul Margocsy – Laughing Kookaburras
– Watercolour and Gouache
34 Wendy Burke – The Rose – Pastels
52 Daniel Hutchings – Turquoise Bay
2014 – Oils
62 Jenny Stephens – Solemn Pup – Pencil
& Acrylic
Contents
Regulars
artist 5
PROFILE
The Photorealist
Self-taught and obsessed with England and continued window dressing and
photorealism, this artist has had two books of his selling my art in London. I also painted murals in
incredible work published. hairdressing salons and children’s nurseries.
My first memories of art were from when I My wildlife art started in 1981 when I went
was about five years old and had a colouring-in to an exhibition by the Wildlife Artists’ Society of
book, and I distinctly remember my mother saying Australasia in East Melbourne. I was so taken by the
how good it was that I stayed within the lines. art that I decided then to try to paint wildlife.
After leaving school I was involved in the display Never having had a lesson, I spent a lot of time
department at Myers, which taught me a lot about learning and teaching myself; it was a hard road
composition and colour. In 1966 I was conscripted and I made a lot of mistakes. I found myself caught
and served a year overseas. In 1971 I went to between fantasy and reality, but I was directed by an >>
6 artist
Paul Margocsy
Paintings
Above: Australian
Great Egrets
Left: Australian Rainbow
Bee-Eaters
artist 7
PROFILE THE PHOTOREALIST
8 artist
Paul Margocsy
artist named Colin Johnson to decide which way I
wanted to go. I chose reality, and became obsessed
with trying to achieve a photo-realistic style. It didn’t
happen overnight – it took years of toil and paint.
My major inspiration came from American artists,
and after timeless studying of their art techniques I
found, myself five years later, hanging next to them
in the biggest bird exhibition in the world.
Having two books of my works published has
been a fulfilling experience, especially when people
show their delight at reading them. I remember a
young boy and his mother standing in front of one
of my paintings at an exhibition and she said to him:
“What do you think of these?” and he answered,
“they are good photographs”!
The lessons I have learnt include that you never
do your best painting . . . that is yet to come. Be
proud of your work and never compare your work to
that of another artist. Appreciate what other artists
do, but be your own person. You will always get
critiques, both good and bad. Weigh up the pros Paintings Opposite page
and cons of the comments and use them to help This page Top: South African Leopard and Cubs
achieve what you want to do. Remember, the one Top: Australian Splendid Fairy Wrens Below left: Australian Azure Kingfishers
big word in all forms of art is composition. >> Above: North American Great Grey Owls Below rignt: South African Zebra
artist 9
PROFILE THE PHOTOREALIST
Paul Margocsy
Web: www.paulmargocsy.com.au
Ph 03 9509 1519
In Sydney, Paul is represented by Kevin Hill,
www.kevinhillstopten.com.au I
Paintings
Opposite page
Top: Australian Boobook Owl
Above: Australian Cone Crested Jacanas
Left: Australian Galahs
10 artist
Drawn to the West
With Artist Derek L Newton
Laughing
Kookaburras
STEP 1
12 artist
Paul Margocsy
>>
artist 13
WORKSHOP
STEP 2 STEP 3
STEP 4 STEP 5
14 artist
Paul Margocsy
STEP 6 STEP 7
Artist’s
Hints & Tips
r*FOKPZQBJOUJOHPOB
very smooth surface
and this allows me
to push the paint
BSPVOEBT*XPSL
using a dry brush
technique. The fine
brushes enable the
feathers to look
life-like and the
airbrushing gives
the painting depth
of field and hence a
photographic look.
r5SZUPHFUBOVNCFS
of images of your
subject so you
get to know its
character rather
than working off
one photo, which
can be restricting.
CLOSE UP
artist 15
PROFILE
H
e says, “Living life as a teenager in London
in the 1960s and ‘70s was the place to be,
working in the City of London next to the
River Thames was where I first fell in love with light.
The early morning mist on the river was magical;
mixed with cobblestone streets and old buildings
were a photographer’s dream.
“I was influenced by three great London
photographers: Bill Brandt, known for his strong,
moody black and white images; David Bailey,
who was at the forefront of environmental fashion
photography; and Lewis Morley, who was famous
for his portraits of London’s elite.
“Moving to Australia in the mid ‘70s I got my
first break in photography, working with the Elton
Ward Group as a wedding portrait photographer.
Soon after I joined The Australian Institute of
Professional Photography (AIPP) and that’s where
my photographic career really took off. There are
far too many members to mention who have helped
me along the way; I guess that’s what the AIPP is
Known for his stunning landscapes and all about.
portraits, David Oliver has been a professional “Winning numerous awards along the way, the
photographer for the last 35 years, and stand out for me was receiving my Grand Master >>
was awarded the coveted Grand Master of
Photography in 2007, one of less than 12 people
around the world to receive this honour.
artist 17
PROFILE CAPTURING THE DREAM
of Photography and Fellow of the AIPP on the same for his portraits.
night back in 2007. David is also known for his stunning and evocative
“Photography for me has been my passion, and landscapes. Many of his photographs are in black
I am always on the lookout for when the emotion, and white, which he says offers more mood, and
composition, and light come together. Henri-Cartier he prefers to shoot early in the morning to capture
Bresson referred to it as the Decisive Moment.” the best lighting. David prefers black and white
David’s favourite pastime as a young child was photography, and says when he first started working,
flicking through picture books, until he swapped there was no colour photography, and he still prefers
this for photography, using his family and friends the ‘realness’ of black and white images.
as subjects. This led him to choose a photographic Known for his individual and timeless style, David
cadetship, where he learnt to take family portraits has received commissions that have taken him and
and wedding shots, and started to become known his trusty cameras all around the world. In addition
18 artist
to taking photographs, David teaches and gives “Photography
lectures, sharing his passion and knowledge of for me has
photography, and has co-produced fine art books been my
about landscapes and documentary photography. passion, and I
am always on
He runs workshops, with subjects including
the lookout
landscape photography, wedding photography,
for when
commercial photography and portraiture. the emotion,
David’s advice for beginners: keep your composition,
passion alive - never get too ‘busy’ to stop taking and light
photographs for yourself – you must set aside time come
to take personal images that inspire you. And, of together.”
course, regardless of your level of skill, you should
always be prepared for the unexpected – that
nanosecond of time that offers an opportunity to
capture an amazing moment.
He admires the work of fine art photographers
Henri Cartier-Bresson, David Bailey and Elliott
Erwitt, and readily admits that he has been helped
throughout his career by photographers from
Australia and overseas, and has studied the work >>
artist 19
PROFILE CAPTURING THE DREAM
of many, which has inspired and helped him create waiting for that special moment to arrive. A realist,
his own, individual style. He also values constructive he acknowledges that special moment doesn’t
criticism of his work, as he says valid comments always appear, but the freedom of being amongst
help you to relook at what you have done, and see nature is enough reward in itself.
where it could be improved, which can be inspiring. David’s daughter Clare is now covering most
David admits when digital photography made its of the wedding bookings at their studio, giving
entrance, he was not a fan, preferring traditional him more time to indulge his love of landscape
film, and it wasn’t until it was pointed out to him that photography and personal portraits. With a library
developing film was so much more time consuming of some 400 photography books, David is adamant
and labour-intensive than digital that he then started you should never stop studying and learning, and
shooting in digital at his studio. setting goals and targets, and he’s clearly living what
A self-professed all-rounder, David enjoys many he preaches, with more fascinating projects on the
facets of the craft, and has always had a job in boil than ever before.
photography.
He loves landscape photography, commenting David Oliver
how wonderful it is to be in nature by yourself, just Web: www.davidoliver.com.au I
20 artist
David Oliver
David’s awards include:
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artist 21
EXHIBIT A
The Amazons
22 artist
as well as garden sculptures. But it is his technical
mastery of various artistic media – pen drawings,
etchings, watercolours and oil painting – which
showed the range and force of his imagination and
his brilliance.
Oil paintings
Lindsay experimented with paintings in oil in the
early 1900s and continued to paint in this medium
in intervals throughout his life. The early paintings
are often soft and elusive and have great charm,
whilst undoubtedly his most impressive oils are
those from the 1930s and 1940s.
The oils of this period may be divided in to three
categories. There are the small paintings, sometimes
of harem subjects and the like, where Lindsay was
chiefly aiming at rich contrast of colour; sometimes
of ‘plain air’ nudes with the emphasis on light
effects. Then there are the larger ‘portraits’ based on
studies of models such as Phyllis Silverwood, Pearl
Zweig, and the famous Rita Lee. Finally, there are
the big gallery paintings on subjects from history,
literature or mythology.
Very few of his major oil paintings were ever
offered for sale. Several are in private hands, six
Gallery
fine examples are in the collection of the University
of Melbourne, and Lindsay gave two to the Ballarat
Art Gallery. Springwood is fortunate to possess an
unmatched collection of his major oil paintings.
Watercolours
Painting in watercolour requires quickness of
mind, dexterity of hand, and perfect control. Once
the wash starts to flow, the artist who hesitates >>
artist 23
EXHIBIT A
24 artist
Above: Original cover of
“The Magic Pudding”
creatures both real and supernatural, if, indeed, one argument with his friend Bertram Stevens of
can separate the two. The Bulletin and Art in Australia, who maintained that
The early watercolours seem often to be inspired children liked to read about fairies, whereas Lindsay
by the theatre, especially the ballet. In his trips said they liked to read about food.
abroad, it seems likely that Lindsay saw, and was First published in 1918, it is still in print and has
excited by, some of the Diaghilev ballets. The etching been translated into Japanese, German, French and
Desire is obviously inspired by the ballet L’Apres- Spanish, as well as having been published in Britain
midi d’un Faune, and many early watercolours are and the United States. It is regarded as a classic of
theatrical in their treatment. children’s literature. >>
artist 25
EXHIBIT A
Contact details
Run by the National Trust of Australia, The Norman
Lindsay Gallery is open every day of the year from
10am until 4pm. Do make sure you give yourself
plenty of time when you visit – in addition to admiring
the works in the wonderful Gallery, wandering around
the magnificent garden is such a pleasure.
The shop has an extensive range of Lindsay’s limited
edition facsimile reproduction etchings, limited edition
watercolour prints and original woodblock prints, as
well as books and unique gifts. Lindsay’s literary works
and memorabilia are also available to purchase online
or at the Gallery. The website features a photographic
tour of the Gallery and extensive gardens.
26 artist
/PSNBO-JOETBZ
Norman Lindsay –
Life Chronology /PSNBOBOE3PTF-JOETBZJOUIFHBSEFOD
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artist 27
PROFILE
My source of
complete escape
This talented artist admits that while it’s The artwork that was produced in the classes
rewarding to be acknowledged for your efforts, the fascinated me and so I continued to draw when I
most important reason why she paints is for the pure could.
pleasure of creating an artwork. Then I started work, got married, had babies and
I was born in Melbourne in 1945 and I can’t was extremely busy and far from any thought of
remember a time when I wasn’t willing to spend time picking up pencils again. I finally got the opportunity
with a pencil in my hand. At 14 I entered a drawing to attend night classes and my interest was
competition and won a place to further my drawing rekindled. I painted mostly in oil on board and was
skills. At the time I was unable to take this up but kept hooked again.
up with drawing and my love of the craft of artwork Early in my art journey I copied the masters,
has been a source of complete escape for me. particularly Heysen, McCubbin and Roberts, which
I left high school to do a commercial gave me a feel of oil on canvas and during this time
administration course at a technical school. This I studied their techniques.
school had a large art department and I spent all of After a move away from Melbourne to East
my free time watching the class through a window. Gippsland for my husband’s work, we settled in to a
28 artist
new community and had another baby. I eventually
worked for the best part of 30 years with a dabble
here and there when I had the time.
When all the children had left the nest I spent a
few years enjoying folk art. Without too much of a
challenge and a lovely group of ladies it was a very
pleasant pastime. I have attended workshops in folk
art and fine art and no matter what the subject is,
you still come away with more knowledge and a
renewed enthusiasm.
I became restless without that challenge and
“One of seven years ago my son and daughter-in-law
the real bought me a semester of lessons in fine art
advantages of with our well-known local art tutor, Jan Long.
working with This was what I call my beginning in really
pastel is that understanding this wonderful pastime. With
when you put lessons from Jan’s classes, her generous sharing
colour on the of knowledge and the great exchange of ideas
paper it is the and skills shared in her classes by all participants,
colour you this is my inspiration to stretch my outlook and
have chosen; also I have made like-minded friends who all
it doesn’t speak the same language and we share our own
change. What experiences as well.
you see is what The lessons I have taken with Jan covered drawing
you get!” skills, which was a two-year course, painting in
different mediums and how to draw portraits. >>
artist 29
PROFILE MY SOURCE OF COMPLETE ESCAPE
30 artist
other papers of course which also come in a range as to whether it becomes my next project.
of colours which you may like to give a try if you are To further my involvement in art in this area, in
tempted to have a go at the pastels. the past 12 months I have joined the Bairnsdale
I have started to sell my paintings and have and District Art Society (BADAS) and have enjoyed
completed 10 commissions. My commissions have another group of like-minded people, all willing to
been mainly portraits and pets. I don’t really have a share their journey and experiences.
favourite subject, I paint from photographs mainly BADAS ran a very successful Art Show in 2013
and it depends how the photograph appeals to me called “Glorious Gippsland” which was a huge >>
artist 31
PROFILE MY SOURCE OF COMPLETE ESCAPE
success for both BADAS and the Bairnsdale area in confidence which lead me to send three entries into
general. I sold a painting there and that was very Australian Artist magazine for Challenge No.55 –
exciting because it was the first painting I have sold Still Life and Florals. To my surprise I won 2nd in this
in an Art Show and only the second in which I have competition. The recent Bright Art Show saw two
entered a painting. more paintings sold.
Towards the end of last year BADAS had a portrait I am also greatly encouraged by the amount of
competition for its members called “Gippsland commissions I have been asked to complete and
Characters” and it was well supported by our look forward to continuing with this in the future.
members. We had only two prizes in this competition. Whilst it is so rewarding to be acknowledged for
One was an Encouragement Award and the other was your efforts, the overriding reason why I paint is
a People’s Choice Award. I won the People’s Choice for the pure pleasure of creating an artwork. I feel
Award which was such a wonderful encouragement to privileged to have been able to pursue this God-
me. The portrait was of one of our local Doctors who given passion and to share this with others through
very kindly allowed me to paint him. different avenues.
At the Bairnsdale Agricultural Show in 2013
I entered three paintings and won Best in Show, Contact options for enquiries:
1st and 2nd in Animals/Birds section and 1st in Email: rowen41@bigpond.com
Flowers and Still Life. This was another boost to my Ph: 0418 560 010 I
32 artist
artist 33
WORKSHOP PASTELS
The Rose
Materials List STEP ONE
t 3FGFSFODF QIPUP Once I decide on the reference (I mostly work from
t $BOTPO 1BTUFM 1BQFS o photographs), I draw it up on paper to allow for
DPMPVS 4BOE any alterations on the paper rather than the pastel
t 8IJUF DIBSDPBM QFODJM paper, then I transfer the drawing. At this stage I
t 1VUUZ SVCCFS have decided on the colour of the paper I wish to
t 3FNCSBOU 1BTUFMT use and the size the painting will be.
o -JHIU 0SBOHF
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o %FFQ :FMMPX I usually work from the top left hand corner and REFERENCE PHOTO
o $BSNJOF work out and down the page to prevent smudging.
o .BEEFS -BLF %FFQ Having decided which colours to use I begin with
o -JHIU :FMMPX shading, this is the most enjoyable process for
o #MVF 7JPMFU me. I love to get the blending started and melt the mostly black I wanted to get the feel of how the
o #VSOU 4JFOOB colours to get the effect I am working towards. I like subject would work.
o 3FE 7JPMFU to almost finish each section as I go so that I know
o #MBDL how the colours are working with each other. STEP FOUR
t "4 1BTUFMT At this stage I’m adding more definition to the petals
o 1IBMP (SFFO STEP THREE and still working down and across the paper. I
o $PPM 8IJUF o &YUSB 4PGU This is where it is getting more interesting. The decided to delete the bud on the right-hand side
t 1BTUFM 1FODJM o petals are taking on more shape and definition. I and to have just the impact of petals on the dark
have already started the background, with it being background.
34 artist
STEP 1
STEP 2
STEP 3
Artist’s
Hints & Tips
FINAL STEP I have added leaves to the background and
t5SZUPESBXFWFSZEBZ
I am almost happy with the flower and need to subdued them into the distance.
UIJTXJMMLFFQZPVSFZF just define some of the petals further and fill in
BDDVTUPNFEUPUIF the background. Contact options for enquiries:
OFHBUJWFTQBDFTBOEUIF I have used a little of the purple and the deep Email: rowen41@bigpond.com
BDDVSBDZPGUIFmOJTIFE green in the background to give it more life. Ph: 0418 560 010 I
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artist 35
IN FOCUS BY DANIEL SMITH
Digital SLR (Single Lens Reflex) shooting a wide range of subjects and is
These cameras have a built in mirror and a wonderful camera for people shooting
prism that adds to the overall size and portraits, weddings, landscapes and fine
weight but with this comes the ability to art photographs. The large camera sensor
see directly through the lens in real time provides a great perspective which will be
and a quick autofocus. This view is not familiar to people who have shot film in the
hindered by electronic viewfinders or any past.
sort of delay.
These cameras are generally the top Mirrorless Cameras
choice for professional photographers, The mirrorless range of cameras, also
Nikon D7100 however models are available to referred to as Compact System Cameras,
accommodate beginners, enthusiast and are a series of cameras that are styled
professionals alike. One main advantage on their DSLR counterparts (above). By
of this type of camera system is the large removing the mirror and prism they have
range of accessories and the versatility that a much smaller form factor than a DSLR
comes with that. There are many lenses with very similar options. Lenses are still
that are available to use on this style of interchangeable with these camera but the
camera from long lenses for sports, portrait weight and physical size are drastically
lenses, wide-angle landscape lenses and less. Instead of offering a view directly
lenses for low light shooting. through the lens, your viewfinder and
screen displays an electronic (digital) view,
Nikon D7100 and although there is often a slight delay,
Olympus SP100 Nikon’s high resolution DSLR camera has most screens are able to display the image
an excellent image sensor providing very using the live exposure mode so as you
good low light performance and a sharp change settings you will see the effect
image. The 51 focus points and 7 frames instantly. This is handy for visualising the
per second make it a good camera for final results. Mirrorless cameras are a great
fast moving subjects. This is a wonderful choice for those who are size and weight
camera for capturing good image clarity in conscious and for the photographer who is
a variety of different lighting situations. on the move.
36 artist
Olympus OM-D EM-1
rear screen, WiFi to share your images, you to zoom right in on the action, these
an excellent sensor, and is dust, splash cameras will often have manual controls;
and freeze proof. This style of camera premium compacts that have a higher
has been very popular with documentary than standard image quality and often a
photographers and street shooters. premium design; and rangefinder styled
The size makes it suitable for discreet compacts that are based on an older style
documentary shooting. of film camera, these rangefinders sport a
viewfinder, have manual controls and are
Panasonic GH4 often larger than other compacts, and unlike
The Panasonic GH4 has developed an a DSLR or mirrorless, the lenses are fixed
excellent reputation when it comes to and cannot be interchanged.
video. The GH4 will shoot 4K video and
has been a popular choice for enthusiast Olympus SP100
and professional filmmakers. Whilst a very The Olympus SP100 is a compact camera
competent stills shooter, the Panasonic that also fits into the superzoom category.
GH4 has really been designed with video It has a gigantic 50x optical zoom that in
in mind. It offers a range of different video traditional 35mm terms is a 24-1200mm
and still shooting modes for all situations. lens. To get a lens this size in a DSLR
The lens mount is a micro-four thirds so the lens would be physically huge. The
there are many suitable lenses from the SP100 is a good all-rounder with a range
Olympus and Panasonic brands as well as of features. It offers some very easy to
manual adapters for older manual lenses. use automatic picture modes and manual Fujifilm Finepix X100s
controls.
Compact
The pocket compact camera is not what Fujifilm Finepix X100s
it used to be. In the days of film these A high end compact, the Fujifilm X100s
cameras where often fairly basic, offering is styled like a rangefinder of the past. As
zoom, flash on/off and a button to take much nostalgic in design as it is practical,
the picture. The newer style of compact the camera layout allows for easy
camera contains a large range of features access to the manual controls. There is a
with some cameras utilising DSLR simplicity to the X100s, and with its fixed
functionality. lens and basic controls the user can focus
There are a few categories within the on automatic or manual exposure easily.
compact market; basic compacts that offer
a simpler set of controls but still provide Mobile phone cameras
a large range of features; superzoom Smart phones have become a standard Panasonic GH4
compacts that provide giant lenses allowing addition to pockets and handbags and >>
artist 37
IN FOCUS BY DANIEL SMITH
For
B O TA N I C A L & W I L D L I F E
ART & PHOTOGRAHY
Contact
Margaret Hodgson OAM
Email: whatsupthescrub@gmail.com
Phone: 02 6647 3157
38 artist
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Sculptors are
magicians
For Jenny Green, sculptors are
magicians, taking the mundane and
transforming it – bashing it, bending it, moulding
it, welding it, casting it – into objects that tickle the
imagination or inflame the emotions.
Romanian sculptor Constantin Brancusi did
precisely that for Jenny with his iconic Bird in
Space. So did the American David Smith with
his Australia and his Cubi, the British Barbara
Hepworth with her Form, and the Italian Alberto
Giacometti and his Walking Man.
Always an art lover, it was works like these that
prompted Jenny to turn into a museum and gallery
junkie, then to collect sculpture and, later, to be
drawn into sculpting herself.
At first she sculpted part-time, stealing time
away from her 20-year corporate career. But after
winning an award for one of her works in 2002,
she took a deep breath, quit her day job and
threw herself into studying sculpture full-time,
undertaking a BFA (Sculpture) at the National Art
School in Sydney. Since graduating, she’d been
sculpting full-time from her studio in an industrial
park in the heart of Sydney’s Northern Beaches.
Jenny describes her works as ‘drawings in
space’ evoking both mood and motion. They are
typically abstract yet also figurative, toying with
40 artist
Sculptures
Top: Beautopia Opposite page
Left: Asana Left: The Dancer – bronze
Above: Solitude (in gallery). Right: Nymph
artist 41
PROFILE SCULPTORS ARE MAGICIANS
shape, space, movement and colour. Her aim is to ‘The big advantage of welding steel is it’s so
capture a moment, a movement, a feeling. That’s no direct, so immediate,’ she says, lifting her welding
easy task if you work mainly in steel, bronze and mask. ‘I start with an idea or an emotion, maybe
resin, as she does. a drawing, then I bring pieces of steel together,
When Henry Moore said sculptors were adding and subtracting, twisting, cutting, bending,
‘obsessed with form and shape’ he could have been building up the work bit by bit until its personality
describing Jenny Green. Her work often exudes the reveals itself.’
tension between line and volume, structure and Working with bronze is a complex multi-stage
rhythm, allowing these sculptures to enliven a sense process. It begins with the modelling, where she’ll
of space and air. typically work with clay, plasticine, polystyrene, or
Jenny works in both steel and bronze, relishing plaster, to build form and shape. ‘The modelling can
the different media because they demand entirely almost be meditative,’ she says, eyeing one of her
different creative processes, teasing out different works, Asana, which itself reflects a yoga pose.
Sculptures ideas and indeed moods. Once she’s completed the modelling, the
Above: Flourish 14, She first welded steel at art school, and can today process side commences and this can take
Flourish 15 be found using offcuts, rod and salvaged objects. several weeks. She first takes a silicone or plaster
Above right: The Dance. While the materials are tough and hard, the works are mould, into which hot wax is then poured to
Opposite page: Scarlet light and breezy, like her Catching Whispers. produce a wax replica of the original. When
42 artist
Jenny Green
cooled the wax version is coated with layers
of slurry, encasing it in a ceramic shell. This is
then kiln-fired at high temperatures to harden
the ceramic and melt out the wax (hence
the term ‘lost wax’). The most dramatic step
comes with pouring molten bronze into the
empty ceramic mould. With the metal’s melting
point at around 1,000 degrees centigrade, this
is not for the fainthearted.
Jenny’s work can be found in private, public
and corporate collections. She exhibits widely, in
both solo and group shows.
Her first solo show was ‘Catching Whispers’
where her works, in steel and bronze, evoked
snippets of conversation, wind in the trees and
brushed intimacies. Jenny says, ‘Even my most
abstract works are inspired by the figure or
drawn from nature.’
In ‘Beautopia’ at traffic jam galleries in
Neutral Bay, Jenny explored the elusive quest
for beauty – how we commonly take beauty at
face value, rather than digging deeper to reveal
the beauty within. She also took a cheeky look
at beauty, with sculptures of lacy bras and
panties and stilettos made from metal off-cuts
and junked steel.
In her ‘Go Figure’ show, Jenny focused on
figures, flora and fantasy, creating a world
where gods and nymphs wandered though a
carpet of trees and flowers made from steel,
bronze and resin. >>
artist 43
PROFILE SCULPTORS ARE MAGICIANS
44 artist
Louisiana Museum of Modern Art, outside of
Copenhagen, Denmark, boasts works by Picasso,
Moore, Bourgeois, Giacometti and Calder in a
spectacular waterfront setting.
Jenny loves making the magic of sculpture. But
since it’s the most physically gruelling of the visual
arts, viewing the master magicians in places like
these is something of which she never tires.
Storm King Art Center, in upstate New York
featuring works by David Smith, Louise Nevelson, Contact information:
Mark di Suvero and Alexander Calder Web: www.jennygreen.net
Anish Kapoor’s Cloud Gate (nicknamed The Email: jenny@jennygreen.net
Bean) in Chicago Hakone Open-Air Museum, just
outside of Tokyo, including works by Rodin and
Moore in a gorgeous landscaped mountain setting.
Gibbs Farm on Kairpara harbour, north of
Auckland, New Zealand. A privately-owned, world-
class collection with works by Kapoor, Serra,
Goldsworthy and Le Witt. (By appointment only.)
Sculptures
Top: Catching Whispers
Above left: Joining the
Dots - detail
Left: Olympia
Opposite page
Left: Together
Right: Verdure 2
artist 45
PROFILE WATER, LIGHT AND LAND
46 artist
Water, Light
and Land
artist 47
PROFILE WATER, LIGHT AND LAND
48 artist
Daniel Hutchings
the Stockland shopping centre in Engadine.
In 2007 he travelled to Broome in Western
Australia and was absolutely stunned by the
incredible colours. The deep red and orange rock
combined with brilliant blue and turquoise water was
so inspiring, along with Broome’s laid back people
and lifestyle, that the experience left an indelible
mark on Daniel’s artwork.
Soon after his visit he gained representation by
Broome’s Monsoon Gallery, which is situated right
next door to Matzo’s Brewery.
In his search for the ultimate subject matter,
Daniel and his family travelled to Exmouth then
drove along the coastline all the way back to Perth.
“We stopped into almost every beach along the way
and stayed for a while at Coral Bay to experience
the magnificent Ningaloo reef. I took along my Nikon
camera and took many photos. I now have literally
hundreds of great photos of the pristine West
Australian coastline.
“After working with the Monsoon Gallery I received
a call from the owner of Yallingup Galleries, south
of Perth, and was included with a group of six
other artists to provide paintings for a large luxury
yacht that was being built in Freemantle. I am lucky
enough to be represented by the wonderful people
at Yallingup Galleries and have travelled to Rottnest
Island and the Margaret River region.” >>
artist 49
PROFILE WATER, LIGHT AND LAND
Paintings
Above: Morning on the Hawkesbury
Left: Basin Footbridge
Opposite page:
Top: Bundeena Ferry at 3.00pm
Middle: Gunya Beach Bundeena
Bottom: Quiet Corner Rottnest Island
50 artist
ACHIEVEMENTS
2001 Solo Exhibition – Scenes of the
Royal National Park: Hazelhurst Gallery
2004 Group Show – A Human Response:
Hazelhurst Gallery
2006 Solo Exhibition – Sandstone and
Sea: Hazelhurst Gallery
2010 5 Aspects Group Show Monsoon
Gallery
SELECTED EXHIBITIONS
2000 Southern Exposure I: Hazelhurst
Regional Gallery
2001 Southern Exposure II: Hazelhurst
Regional Gallery
Thirroul Arts Festival 2002
Thirroul Arts Festival 2003
Hunters Hill Annual Exhibition 2003
2003 Southern Exposure III: Hazelhurst
Regional Gallery
2004 Southern Exposure IIII: Hazelhurst
Regional Gallery
Thirroul Arts Festival 2005
2005 Art on Paper Award: Hazelhurst
Regional Gallery
2009 Hazelhurst Masterclass Tutors’
Exhibition
2011 Tree Of Life Exhibition
2011 Cricket Art Prize
AWARDS
People’s Choice Thirroul Arts Festival
2002
Packers’ Prize Kogarah institute of TAFE
Annual Exhibition 2002
Handlers’ Prize Thirroul Arts Festival 2003
Best Painting Still Life Category Oyster Bay
Art Prize 2008
Major Prize winner Oyster Bay Art Prize
2009
People’s Choice Cricket Art Prize 2011
FEATURE ARTIST
2004 Oatley Uniting Church Annual Art
Show
2007 Oyster Bay Annual Art Show
GALLERY REPRESENTATION
Yallingup Galleries Yallingup, WA
artist 51
WORKSHOP OIL ON CANVAS
t1IUIBMP(SFFO Artist’s Hints & Tips I like to make a line drawing as a guide on the
t#VSOU6NCFS I buy 12 ounce canvas and Belgian linen by the canvas with pastel pencils. I usually use a colour that
t5JUBOJVN8IJUF roll. I also buy my own stretcher bars and make corresponds with the dominant colour of the painting.
t*NBLFCMBDLCZNJYJOH my own rigid stretcher frames. This allows me to make Patel pencils are a good choice because of the
FRVBMRVBOUJUJFTPG paintings any size that I want and also reduces costs. ease that they can be erased without leaving any
6MUSBNBSJOF#MVFBOE For larger landscape paintings I use artist quality mark on the canvas.
#VSOU6NCFS cotton canvas which I prime myself using three coats For portrait paintings I like to stretch my own
t$BOWBT NJOFJTY of gesso applied with a brush and sanding with 180 linen, which I then size with rabbit skin glue and
DN
grit free cut abrasive paper between coats. prime with a good quality artists oil painting primer.
52 artist
Daniel Hutchings
STEP 1
STEP 2
FINAL STEP
Some more work has been done to the
sky with extra clouds added and then the
final touch to the painting is adding the
reflections of the sky and clouds to the
surface of the water.
STEP 3
More of Daniel’s work
can be seen at
www.danielhutchings.com I
artist 53
SHOOTING FOR ART By Daniel Smith
Aperture
A
perture is a setting on the camera that allows camera determining the best setting to suit the scene.
Utilising for creative control over your images. Used in As well as changing the amount of light that is
the correct conjunction with the shutter speed and ISO hitting the sensor or film, aperture will change your
it makes up the exposure on the camera. It directly depth of field or how much of your image is sharp
aperture to affects the amount of light that enters the camera to in front of and behind the point of focus. The higher
photograph create the image. the f stop number the larger the depth of field and
the lower the f stop number the shallower the depth
artwork How does aperture work? of field. Another factor that will affect depth of field
and source The aperture of the camera refers to a diaphragm is the distance from the subject or point that you are
inside the lens that changes in size to alter the focusing on. The closer you are to your subject the
material amount of light that enters the camera. Similar to shallower the depth of field.
the human eye, a front element focuses the light Aperture is just one of the important components
and the diaphragm (aperture) changes to allow the that makes up exposure, and combined with shutter
correct amount of light to enter. speed and ISO it will determine the effect that you
Aperture is measured in f numbers or f stops got in your image. The shutter speed determines the
and in the case of manually controllable cameras amount of time that the sensor or film is exposed
these are displayed on the camera and at times to light whilst the ISO refers to the sensitivity of the
on the lens. The higher the f stop number the less sensor or film to that light.
light that it allows in and the lower the number that
more light is allowed in. Generally each traditional f Considerations for the workshop
stop is incrementally letting in twice as much light Best photo of your finished work
as the numbers get smaller. Modern cameras as There are a multitude of factors that work together
well as allowing traditional f stop numbers also have in getting a good image of a finished artwork. You
half and third stops; these f stops in between the need to take into account the angle of view of the
traditional numbers will allow a more finite control. lens that you are using to eliminate distortion, the
The smallest available f stop number on the lens is quality of the light that you are using to illuminate
referred to as wide open as it lets in the most amount the subject, and the stability of the camera and of
of light. Increasing the f stop number is referred to as course the settings to name a few.
stopping down as the amount of light drops. For 2-dimensional pieces it is important that you
The aperture can generally be determined get the camera and artwork in a parallel alignment;
automatically by the camera and in the case of a fully the camera needs to line up with the artwork being
automatic camera this will happen internally with the copied and the camera should line up with the
centre of the artwork. If using lights it is important
to position these parallel to the artwork on either
side of the camera. It is important when setting up
the light that there is a minimum of reflection visible
in the shot and the light falls evenly on the work.
This can be difficult when photographing a reflective
surface such as a glaze on a painting. A circular
54 artist
artists 55
SHOOTING FOR ART By Daniel Smith
polarising filter on the front of the lens can help the shutter speed and ISO to get the correct
to cut out some of this reflection. A professional amount of light into the shot. These determine
set up utilises polarising sheets that polarise the the exposure of the scene. A wide open aperture
light as it comes out of the light sources. Used in (smallest available f number) will generally not
conjunction with a polarised filter this can provide provide enough depth of field if the image is not
very professional results. completely flat or parallel to the camera. A wide
Failing access to a professional lighting set-up, open aperture also does not provide the sharpest
very good results can be obtained by shooting in a image; it is best to step the aperture down a few
white room with plenty of sunlight coming in. Ensure stops. Most lenses will have a ‘sweet spot’ where
the subject is evenly lit but not in direct sunlight. A the image will be at its sharpest and whilst this
gallery space can be perfect for this. varies between lenses it is often a few stops down
Setting up on a tripod ensures that the camera will from the most wide open point. For example a
be steady and if available it can be useful to shoot lens that has an aperture range from f3.5 to f22
the photo in timer mode or with a remote control. may provide the sharpest results at f5.6. A lens
This ensures that there is no movement from the that has a range from 1.4 to f22 may be the
hand pushing down on the shutter button. sharpest at f4. This varies between lenses so an
When selecting the correct aperture to use appropriate aperture for a standard lens to choose
you need to ensure that you balance this with would generally be between f5.6 and f8.
Many of the same principals apply when
shooting 3-dimensional artworks but the
application is a little different. You need to
consider the environment where your artwork
will be displayed too. Will the work be displayed
in a white space so that the work is the sole
focus? Perhaps you wish to display the work in
context of its surrounds. Obviously there are many
different shooting situations that you could make
use of here. Where possible utilise the self-timer
or remote and tripod to keep the shot steady.
Even lighting with a minimum of reflection can
be harder to achieve with some 3-dimensional
objects. Depending on the medium you may wish
to emphasise the reflections on the artwork. There
are light tents that you can purchase that provide
a white cube that fits around the work if you do
not want to see the camera reflected in a highly
reflective material such as stainless steel. These
come in a variety of sizes and can be used with
lights to provide an even and soft light.
When selecting an aperture to shoot the object
you need to consider the focal point of the
piece. If you are creating a photograph that will
emphasise a detail in the piece you may choose
an aperture that is wide open (small number)
and a large focal length (high number). This
will provide the shallowest depth of field (sharp
image with blurred background) whilst zooming
in on the detail. Alternatively to achieve maximum
sharpness throughout on a 3-dimensional object,
a stopped down aperture (higher f number) will
provide a large depth of field. Testing different
apertures out will find the one that allows for a
56 artist
Photography
artist 57
PROFILE
Give it a go
This artist has tried her hand at When I was stuck inside I would draw for hours.
many creative pursuits, from drawing to My grandmother, who lived in Sydney, would send
painting, Hobbytex to calligraphy, pottery to cross me books, pencils and paints to encourage me to
stitching, and folk art to woodwork, and is now paint and draw. I would then send her the finished
enjoying honing her water colour skills. art works that she loved to receive. At school I
I was born and raised in the southern suburbs always enjoyed Art classes; all of my assignments in
of Melbourne on Port Phillip Bay. My parents high school always included illustrations.
built their house where there were mainly holiday After I married in 1975 I attended a TAFE class
homes at the time. I lived two streets away from a couple of times to do Portraiture in Pencil. Then
the beach and spent many summers swimming as I when my children came along I would do A3 size
Paintings grew up. We were surrounded by dairy farms and coloured drawings to decorate their bedrooms.
Above: Kitten in Pencil bush. My mother kept chooks and I loved to carry We moved up to Toowoomba in 1981 as my
them around, poor things! I loved the outdoors and husband was in the army. We shifted in to a house
Opposite page: animals, I spent a lot of time handfeeding lambs and on the Cabarlah Army Base. I soon discovered one
Top: Sugar Glider in collecting them from the neighbours’ yards when of the ladies there was selling Hobbytex paint and
Acrylics. they escaped, and I also liked to sneak down to the held evening classes. I really got into the Hobbytex
Bottom: First Watercolour paddock to ride my brother’s horses. paint as it was so easy to use. Hobbytex is a tube
58 artist
Jenny Stephens
of paint that had a roller ball to apply the paint to
a special material. Many of the older readers may
remember. I painted many of these. I think I stopped
using it as it seemed to go out of vogue.
After a few years I attended the Toowoomba TAFE
and did a six week night class in Calligraphy as I
wanted to learn something different. I enjoyed learning
the art but have since only used it for a friend’s
wedding’s place cards. I also took classes in Pottery on
the Wheel which I enjoyed doing, although I definitely
wasn’t good enough to make a living from it.
I had a break from art for quite a few years when
I decided to buy a horse. I ended up with two
because my son showed an interest at a young age,
so I taught him how to ride and we spend many
years riding together. We would ride with a local Trail
Riding Club; I discovered that I was able to see the
countryside, native birds and animals a lot better as
I didn’t have to watch where I was walking. The trail
down the Toowoomba Range has beautiful scenery;
we would sometimes stop to watch a goanna or
birds in their natural habitat. After my old Appaloosa
mare died I decided I needed a new interest. I took >>
artist 59
PROFILE GIVE IT A GO
60 artist
I will go back to it later after I do a bit more research
on mixing oils. I have done a few paintings with
oils using the rouging effect with pen and ink. The
rouging has a lovely soft effect that I like to use for
backgrounds then seal with a sealant as this dries the
oil so I can paint over with acrylics.
I have only done one contemporary painting
which I did for my daughter’s birthday. She loved
a similar picture so I set to and completed it. She
said it was the best birthday present she had ever
received. I was very happy that she liked it so much.
I have tried my hand working with wood after my
husband purchased a Dremel (an engraving tool) and
three pieces of pine board for me so that I could have
a go at wood carving. I painted the boards then set
to with the Dremel and carved out trees, overlapping
the tree branches on each board. This Triptych now
hangs in our spare room. When I retire from full time
employment I will do more wood carvings.
I must admit that I didn’t pick up a paint brush
for about six months until I saw Helene Ruma’s
demonstration in “Artist’s Palette” issue 126. I
have never had an artist inspire me so much. Her
demonstration was so amazing that I went out and
purchased six black and one white Polychromos
pencils and started practising with them in January
this year while I was on holidays.
Because we had lost our old Staffie a few months
previously I thought that with a bit of practice I would
love to attempt to do her portrait. The first attempt
was not very good as I went too dark and I didn’t
capture her eyes correctly. I selected other photos of
animals that I liked from Facebook and proceeded to
draw them. I used Derwent Studio coloured pencils for talented artist who does tutorials, and I have learnt
my previous attempts. I had completed three and then a few hints and tips from watching her tutorials.
decided I would try Che’s portrait again with a better As I only recently picked up pencils after so many
outcome. Although I still was not happy with the final years I am still trying to find my own style and
drawing I will find another photo when I improve and with a lot of practise I will get there. I recommend
have another try. I am now working with Polychromos anyone interested in art to give it a go; it is a very
pencils which are lovely to use, and completed the relaxing hobby. I find myself actually looking at Paintings
demonstration with them. colour and shadow in all things that I look at now. Above: Pen and ink and
Another artist I have been following on Facebook oil rouging
is Lisa Clough from Lachri Fine Art. She is another I can be contacted via Facebook “Smart Art” I Below: Acrylic on canvas
artist 61
WORKSHOP PENCIL & ACRYLICS
Solemn Pup
MATERIALS
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Polychromos pencils
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Brushes
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SVCCFS XIFO SVCCJOH PVU
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FINAL STEP
62 artist
+FOOZ4UFQIFOT
STEP 3
STEP 1
45&10/&
If you are not confident drawing freehand you may
wish to use a grid pencilled in on an A4 photocopy
of your picture. Using a grid will not put indentations
in your paper like tracing will. To make it easier you
can use a grid drawing tool that can be found via
Google search. First upload a copy of the original
photo and choose the grid size and apply it to your
photo, save it, and then print it out to an A4 size
in black and white. Then draw the same grid in
proportion on your paper.
Because the photo I am working with is only
6” x 4” I used an A4 photocopy in black and white
to see the details more clearly. The photo is only for
the colour reference.
I have been using Canson Dessin drawing paper,
A3 size, 110gsm that comes in a book of 50 pages
and is quite inexpensive. For the demonstration I
purchased a sheet of Stonehenge white 245gsm
paper from an art shop. It comes in a large sheet so
I have cut it down to A3 size. >>
artist 63
WORKSHOP PENCIL & ACRYLICS
64 artist
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T
Contemporary oday, one might almost be tempted to think it stood for what Meese remains to this day: an artist
Fine Arts that there is nothing left to say about Jonathan who puts his own person at the service of art and
presented an Meese because the output of his artistic thus retreats behind the work.
exhibition career, which started in 1998 at the Berlin Biennale, However, this universal, indeed impersonal
with work by has been so immense. Since then, countless standard does not seem obvious at first sight.
Jonathan Meese commentaries and reviews have been written about The virile names with their dark connotations,
from the year him, and he has been classified in numerous ways, leitmotifs in his oeuvre, are part of the educated
2006 – a time all of which lend the title of his Biennale work, Ahoi middle-class canon. But Stalin, Hitler, Wagner,
where the artist de Angst, an almost prophetic quality – as if Meese Nietzsche, Caligula, Alex de Large, Darth Vader,
was at a peak of had known that he would sail across wide seas. and Lautréamont, outside of any conceivable
creativity. Ahoi de Angst was a labyrinthine cabinet of context, lead to absurd title inventions thickly
curiosities full of the heroes of teenagers through painted, collaged, fragmented-figurative pictorial
which one strolled like through the convolutions of a worlds without contours, qualities which are also
total fan’s brain; wildly outfitted with posters of Klaus displayed in the series of portraits exhibited.
Kinski, Che Guevara, Bill Clinton, or Romy Schneider, Rather emptied of meaning, rumbling in an
in between posters full of scribbled paintings of adolescent sound reminiscent of the Knights of the
figures and words, self-portraits and Grim Reapers, Grail, the works there are called Im 8. Namen des
dilettantishly annotated with phrases like “Clan of Erzfisches (In the 8th Name of the Archfish), Dein
Clan.” There was a TV, a mirror ball, a sofa, and a Stahlblindes geortetes Geschlechtsteil riecht [Your
record player. The whole thing was an energetic Steelblind Located Genital Smells, or Die Verdammtin
ensemble of cult and kitsch, sophisticated culture im Tiertum [The Female Dammed in the Animaldom].
and soft porn, tragedy and comedy – and even then That the superordinate claim in these image-text
66 artist
Johnny Come Home II
productions is not immediately clear to everybody is
due to the fact that Meese frequently brings his own
face and body, the heroes of his youth, and even his
own mother into play, linking himself with the historical
figures, even appropriating their traits and playing
grotesque masques – crowned by seemingly naïve,
ostentatiously repeated provocations like casts of erect
penises, Hitler salutes, and darkly smoldering prefixes
“Erz” and “Arch.” But what might easily be mistaken as
the display of an inner pandemonium has nothing to
do with narcissism. Meese is not interested in Meese
himself. Rather, with a playful devotion, he evokes the
total openness of being through the “dictatorship – beyond a creator who determines its laws?
of art” – beyond the axioms of inflexible rules and The crux of Meese’s art – regardless of what
ideologies. medium he works in – is the defence of its myths
“Art has its own laws which we don’t even know. and archetypes which create a universal world image
We always try to force our own laws upon art. And that goes beyond the individual, including him as
it is much more interesting to simply wait and see an artist. For Meese, the artist must serve art, and
what it will put in front of us”, Meese said in 2006. thus humanity, and therefore s/he must not pursue
And: “I hold the sentimental belief that art is still any kind of self-expression. This is why in his work
something powerful, something individual that stems figures keep appearing that embody this universality;
itself against the immense bureaucracy that takes they are representative characters, lacking detail,
everything over.” Meese sees art as a dimension that whose essence he reveals, rather than telling
is independent of the artist, as a way of thinking and individual narratives.
acting that is an alternative to the increasingly rigid By transferring this essence into art, Meese is able
everyday regulations. But can art exist independently to play with such stereotypes – also in combination
artist 67
GALLERY INTERNATIONAL
68 artist
GALLERY INTERNATIONAL
E
The Brick Lane stablished in 2006, the gallery presents an platform to showcase their work in the heart of
Gallery is a integrated program of exhibitions, including London’s vibrant and culturally popular district
contemporary solo shows as well as group exhibitions of of Brick Lane. They offer a range of services to
fine art gallery emerging and established artists from all artistic support artists who are looking to increase their
which exhibits backgrounds. They exhibit a broad variety of exposure and wish to enrich their exhibition
an eclectic mediums such as painting, sculpture, photography, background and experience in the art world.
variety of mixed media, video and works on paper. They are interested in hearing from artists
contemporary art The Brick Lane galleries are located in two who are looking for new avenues to promote
by British as well beautiful exhibition spaces in London’s east their work and who wish to broaden and refine
as international end – a city at the forefront of the international their artistic career. They’re accepting submissions
artists from all art scene – and in close proximity to travel from artists from around the world and at all
corners of the amenities including Liverpool Street Station stages in their art career; all you need to do is to
world. and Aldgate East tube stations, a few steps submit a portfolio or images and they will review
away from the financial district. your practice.
They are dedicated to helping artists achieve They provide useful guidance and advice to artists
success by offering a comprehensive and effective new to the London art market and offer a number of
70 artist
exhibition options to suit your requirements and aims:
The popular series of group exhibitions called Art
in Mind in an opportunity for artists to rent a 3, 6 or
artist 71
MY SPACE BY DEREK L NEWTON
Sacred Ground
MY STUDIO SERIES
72 artist
own space, hopefully through a visitor’s
eyes, just at its cosmetic aspects, and on
how it reflects my own personality. In the
next issue I will go a little deeper into how
I use the space.
As an artist I’m very lucky to have my
own studio, and since my retirement I also
have the time and opportunity to follow
my love of art, knowing that my studio
will both hide me from the world when
things don’t quite work out, and at other
times stimulate and inspire me to go on.
I remember times during my working life
when my wife would say to me, “ your
bed’s going out there soon’’. However now
that I have retired or as she says ‘’you’re
just on long service leave”, she’s happy
that I’m not under her feet all day in the
house.
As I said, I’m very lucky to have my
own studio, it’s a creative place in so
many ways, acting also as my music
room, study, and writing retreat, yet other
times as a photographic studio or thinking
things through over a quiet coffee place.
artist 73
MY SPACE BY DEREK L NEWTON
Jacob Ditchman
through the house or garden, and it also
gives me direct access to my car. The rear
door leads you back through the garden
to the house, and is more for personal
access. Olly will greet you as you come into
my studio. He’s a generally a very quiet
kookaburra, probably because he’s made of
Jarrah. I carved him some years ago and he
likes to sit up there watching, but I swear he
has a little laugh at my art work some times.
I always promised myself I’d go travelling in
a V.W. camper van when I retired, and draw
some of Western Australia’s country towns,
so my lovely wife Dot bought me one, which
sits on a shelf by the side door, and it’s
probably as close as I will ever get to the
real thing. Well, I’m off for a coffee via the
back garden path.
I will explore my studio with you from
the inside next time, and remember if you
have any good photos of your own studio
or working area you would like to share
with Creative Artist’s readers, why not
send them off to Woodland’s Publishing
and they may be featured in a future issue.
I hope you enjoy looking around my Cilinda Atkins
studio. Best wishes Derek.
Pam
PS: If you would like to contact
me directly, my email is
info@wannerooheritageart.com.au
or if you’re visiting WA phone
(08) 9405 2824 to arrange a visit.
We would love to see your space in our magazine . Please send some good
quality images (300dpi) on cd or dvd or photographs of your studio you
want to display in the magazine. If you would like to, you may include a
photograph of yourself to accompany the picture/s of your studio. Please
also supply your name, suburb and state.
artist 75
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