SALT + SHADOW
28 Feb – 15 March 2020
8 fine artists come together for this new exhibition – in painting, woodwork, sculpture and ceramics.
Fiona Mitchell is an architect and artist.
As part of her architecture degree she took classes in drawing, painting and printing as well as art history. A favourite lecturer was Lloyd Rees. Her subjects are often still life and portraits painted in acrylic on canvas or board.
“In architecture, light and proportion and colour can change our perception of a space. Similarly, light falling on an apple or a face can change the mood of a painting.”
I love the freedom of painting…of pushing colour around on the canvas and watching a painting ‘happen’…the way an expression can be captured in a brushstroke.
I enjoy painting from life and the relationship between the sitter and the artist. There is also the challenge of portraying a ‘personality’ as well as a likeness.
Lesley has been painting and exhibiting for over 25 years. This latest body of work is based on time spent in places in Australia and Ireland.
These paintings combine symbols and imagery generated through being in different landscapes, with ideas and imagery that are felt, intuitive, and enigmatic.
The work incorporates the use of both encaustic, oil paint, cold wax medium and other media.
Raised on a rural property in Central NSW, Dee Roberts lives and works in Sydney as a practicing artist. A former conservator at the Powerhouse Museum with a long association with the visual arts, including drawing , ceramics, printmaking , painting at National Art School, TAFE and more recently painting at Willoughby Art Centre.
Dee has a strong affinity with the natural environment and heightened sense of seasonal changes instilled by her rural background. Her still life compositions embrace the beauty & colour of nature coupled with an appreciation of the man made objects honed by her intimacy with museum collections. The three figurative paintings depict a small European town market day, the warmth of the natural stone, sunshine & purposefulness.
Three figurative paintings depict a small European town market day, the warmth of the natural stone, sunshine and purposefulness.
Julia is a Sydney based artist who paints Australian Eucalypts in the landscape. Working en plein air and in her Sydney studio, she is constantly experimenting with how to represent Australia’s most iconic trees. She has always been fascinated with the transient nature of light in the bush, and aims to capture the mood and emotional energy of a scene rather than just a literal representation.
‘Salt + Shadow’ will be Steve Glass’s first foray into the world of art showings. After 40 years in the corporate world, Steve is taking the opportunities associated with retirement to indulge in some of the creative interests that he always wanted to do, but had limited time to pursue. Steve has been honing his craft under the watchful eye of Gria Shead with the Waverley Art Community. His works are inspired by the extraordinary beauty of the Pittwater region where Steve and wife Kathy are residents. These first works focus on views over Pittwater from McKay Reserve and also from The Serpentine looking towards North Avalon.
Richard Cole is an architect who works and practises in Avalon Beach on the Northern Beaches of Sydney. As well as incorporating Australian hardwoods into his architecture, Richard has had a long interest in woodwork, studying during the 1990’s under renowned Australian woodworker Richard Vaughan. He seeks to reveal the unique qualities of rare Australian timber and create pieces with a high level of design integrity and workmanship. His family are often bemused by the frequent stops on holidays around Australia to load up the car with exotic timber burls and blanks.
Michael is an artist whose work shows all angles and aspects at once. The work gently twists and elongates away from the known figures towards something less known but still familiar.
He explores a variety of materials and forms, experimenting with both figurative and abstract. His art finds links between the abstract and the realistic, highlighting the familiar with aspects of pure form, finding a balance between the awkward and the graceful; the obvious and the odd.
His works use transparent resins to create sculptures that move and adjust to changes in breeze and light. They use colour to bring brightness and light into ideas.
His view is that our art and issues should not always be so solid, so black and white as to leave no room for ideas, challenges and imagination, all beyond simple description and definition.
Recently I was introduced to a rich, black clay that spoke to me of ancient forests and dark timbers. I love how it looks and feels when fired unglazed. I wanted to make a form that hinted at nature without trying to replicate any particular part of it. In the same vein I have continued to indulge my love of sagar and wood firing techniques which produce earthy, unpredictable results. When the kiln opens I feel like a child at Christmas – full of wonder at the surprises. I have used lavender, seaweed, gum leaves and tea in the sagar and I’m delighted with the results.
About me …
When I first discovered clay in my twenties I quickly realised this new love that could overwhelm my fledgling writing career. Many years later, the writing career established, I returned to ceramics and discovered the love had not diminished. Despite my fears it has turned out to be a wonderful combination – the practise of one allowing space and time for ideas to develop organically for the other without the pressure cooker feeling of staring at a blank screen or a big lump of clay.