Ruth Waller, Toni Warburton, Leah Bullen

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Ruth Waller

In recent years my work has come to reflect the pleasures of gardening and daily walks in local bushland. I have gathered together and intersected vegetal elements with vase and urn shapes loosely derived from vessels from Ancient Greece and China. I’m interested in the interplay of motif and material surface, figure and ground, and tone and colour, and how this interplay creates ambiguous relations of shape, planarity and pictorial space.

Leah Bullen

‘Easily distracted by the weather’, is a series made in response to my suburban garden in Armidale. This small backyard plot is an open space allowing for maximum sun. The garden is organised in rows, a suburban ‘farm’ of cut flowers and veggies. The bordering fences, trees, rooflines and electrical wires frame an open patch of sky.  My gaze from the house and studio is often drawn to this expanse. An aerial theatre for light phenomena and meteorological conditions – it is both constant and changeable.

​Toni Warburton

For from a studio garden,  I have composed a tablescape of  ceramic containers and objects. They are informed by my research interests in the ceramic continuum and are imbued with gestures, colours, patterns and motifs that arise from my experience of a garden as a place of containment, contemplation and wonder. A mysterious female personage reclining in a striped dress appears in the work.

This assemblage of ceramic genres has been informed by my abiding interests in ways that images and stories manifest.

from everyday life, such as passenger sitings of black swans in field ponds when driving through the Highlands.

from literature,  the mysterious Theodora Goodman, always dressed in stripes, from Patrick White’s Australian novel, the Aunt’s Story.

from  art history: the exquisite Sleeping Lady, a reclining Neolithic terracotta figure from Hal Saflieni Hypogeum in Malta,

sculptural plant motifs in  Renaissance polychrome  maiolica garlands in  terracotta  by the Della Robbia family,

conical shapes and turquoise glazes of Iranian 12th-century silhouette wares and terracotta press moulding as their means of production. 

Exhibition Title: Our Lake Alexandra

Lake Alexandra in Mittagong is well loved by the local community. It is a magnet for picnickers, birthday parties, walkers, dog owners, Year Six Farewell photos, aged care home outings, school cross-country runs and preschoolers on bikes. People go there to exercise, connect with other people and take a breath from the busy pace of life in the fresh Highlands air. 

I am drawn to the shapes of the trees, mountains, lake, reflections and sky…and to the amazing seasonal colour.  When I tell my family I’m going out to draw, I usually go there. I try to translate my experience into drawings and paintings. It’s quite busy at the lake sometimes, so it can be hard to tuck yourself away to draw or paint uninterrupted. I have taken watercolour, gouache, pastel and oil paint to work with at the lake. Lots of people stop to chat and they are always nice. If I feel like keeping to myself, I draw using a felt tip pen in my sketchbook in the car.

This exhibition is the culmination of my focus on the lake across the last few years, including interpretations in watercolour and mixed media, oil and acrylic. I was going to call the exhibition My Lake Alexandra, but I feel the lake belongs to the whole community. I hope my work adds to other people’s ideas and feelings about Lake Alexandra since the landscape we live in also lives in our minds and imaginations. The landscape of the lake provides a beautiful backdrop and the texture of our lives. 

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Exhibition Title: Watching the World Go By

Three months of travel in 2023 provided me with opportunities to observe the world around me. From the daily rituals of a morning coffee to an evening aperitivo, to the landscape surrounding me, I drew the world going by. 

As a very outgoing and extroverted person, drawing and painting helps me to slow down. My art practice is my way of reflecting and contemplating. Each work begins with a drawing in a sketchbook or one of my concertina sketchbooks, prepared for my travels. To these, I may add watercolour, acrylic or collage. My sketchbooks are an ‘aide de memoire’, powerful in recalling the sights, sounds and feel of a place. 

This body of work is divided in two, both thematically and stylistically. The landscapes lie somewhere between the representational and abstract. I interpret scenes through colour, line and pattern.  In my drawings and paintings executed quickly ‘en plein air’, I search for the lines and the patterns in front of me, from the rough bark of an old olive tree in Italy to the messy bales of wheat on a farm in rural France to ancient lichen covered rocks in a remote corner of Iceland, aided by the grounds I have already laid in the concertina books that serve as my sketchbooks. 

The paintings that describe the daily rituals of life are far more representational but in a wonky, quirky way. I use colour to challenge, to provoke and to describe. Line and pattern are also important but in this case it is shape and colour that are the most compelling elements.

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Jenny Clift, Annie Holcombe, Ruth Wright, Vickie Ciddor

Opening Reception Saturday 13th July 3 - 5pm

“An exploration of colour and thread by 4 friends who stitch together” is a collaborative art project that delves into the intricate interplay of hues and textures. These four artists, bound by their shared passion for textiles, weave a tapestry of creativity and friendship. Their work transcends traditional boundaries, merging individual styles into a cohesive narrative.

Through vibrant palettes and intricate stitching techniques, they examine the emotional and cultural significance of color and fabric. Each piece in their collection tells a unique story, reflecting their personal journeys and collective experiences. Their collaboration not only highlights their individual talents but also showcases the beauty of unity in diversity. Together, they create a rich, dynamic exhibition that celebrates the artistry of textile work and the bonds of creative camaraderie.

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Group Exhibition at the SHAC

🗓️ 11th July - 18th August 2024

🎉 Opening Reception: Saturday 13th July 3 - 5pm

The Artists were asked to respond to the phrase ‘let them eat cake’ from Jean-Jaques Rousseau’s autobiography, Confessions, that has been misattributed to Marie Antionette.

There was a wide variety of responses from those dealing with social justice and food insecurity, to works following in the tradition of the impressionists and American artist Wayne Thiebaud celebrating the joy and beauty that cake brings to daily life.

Exhibiting Artists:
Poss Keech     
Julie Lynch    
Nat Will 
Stephanie Tetu      
Miranda Hampson    
Corinne Dany
Kathryn Orton  
Minky Grant 
David Starr 
Freya Jobbins/Susan Buret  
Roxanne Lillis 
Marcus Balmain

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I hope you can join us for an afternoon of hygge, mulled wine, Christmas cake and perhaps find a new ceramics work to take home.

Participating ceramists: Melody Brunton, Susan Buret, Catherine Castelain, Tony Deigan, Annie Holcombe, Tessa Hoser, Susan Landau, Soraya Nematollahi, Judy Paddison, Silvana Payne, Peter Phillips, Sarnah Unsworth, Bronwen Wicks, Ruth Wright.

Opening Night Sunday 30 June from 3 - 5 pm

All ceramics can only be purchased within the gallery.

Felicite Briggs and Stephen Carroll

“Symbiosis”

When first observing our work, viewers may be struck by the obvious differences within each of our approaches, medium and subject.  But for us this very difference is what creates a symbiosis.

Felicite works with coloured pencil on paper, with precision, sharpness and realistic detail.

Stephen works with Japanese ink (sumi) and Japanese pigment on traditional surfaces with traditional subject matter using only the essence of the subject.

For us it is not just how a subject or object looks, is rendered, and finally produced.  It is here where we both meet and diverge.  We both depict elements of life, but from differing internal perspectives.  We both strive to capture the subject but in doing so highlight the “otherness" of both our work and the “sameness" of the subject.  For us, it puts into relief what do we actually see when we look, and how does that express itself in our work?

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Purchase Stephen Carroll Works online

Felicite Brigg’s Bio

Felicite Briggs completed her tertiary education in fine arts in Sydney, majoring in drawing, painting and printmaking. Living and working in the inner-city in Sydney for most of her life, she recently swapped that hectic lifestyle for a much quieter existence, in the Southern Tablelands of NSW.  Her days are now spent in her studio, where time has allowed her to rekindle her artistic practice after a long hiatus.   

Currently Felicite’s preferred medium is coloured pencils. She loves their portability, vibrant colour range, and the level of detail she can achieve with them in her work.  She also works in watercolours and printmaking.  

Felicite was awarded first and second prizes in the Goulburn and District Annual Art Prize in 2022 and 2023 respectively.  She was a finalist in the Mini Series Art Prize at the Corner Store Gallery in 2023, and had two entries longlisted in the Jackson’s Painting Prize (London, UK) in 2023. Her works have also appeared in several regional art shows and are retained in private collections.

Stephen Carroll’s Bio

Stephen Carroll is an Australian artist working in the medium of sumi-e and Chinese brush painting. Stephen undertook training with Janet Twigg-Patterson in Canberra, Australia (Red Crane Gallery), in Japan where he met Ransui Yakata, in China with Mr Pi and continues working with Harumi Kobayashi, director of the international Association of Sumi, Japan. Stephen became the first Australian director of the International Chinese Calligraphic and Brush Painters Society (ICCPS), and is now the Australian advisor. Stephen curated an ICCPS exhibition of international artists for the Orange Regional Art Gallery, NSW Australia. As well as exhibiting in China, Japan and Australia Stephen was invited in 2023 to exhibit in the Nippon Suibokuga Art Association Exhibition at the Hirakushi Denchu Art Museum of Art, Okayama Japan, to commemorate Sesshu, the founder of sumi-e  and was an invited artist at the Art Beyond Boundaries exhibition (International Association of Sumi Japan), at the National Art Center, Tokyo, Japan, where he was awarded the International Honour Award for 2024. Stephen’s work is held in public and private collections and he teaches and exhibits on a regular basis.

https://stephencarrollart.com.au

ALONG THE WATER’S EDGE

"Along the Water's Edge" is a body of work made over the Summer and Autumn of 2024. The mixed media paintings on canvas express my appreciation of spending time outdoors and the enjoyment of being in the landscape.

Dividing my week between the stunningly beautiful coast of the Illawarra and the rugged majesty of Belmore Falls has been a great opportunity to consider how nature can evoke feelings of joy and abundance, and also the sense of sadness and loss.

Some days tranquility comes through connecting with nature, sometimes restlessness. Often a feeling of being nurtured by the natural world brings with it a deep feeling of appreciation and love.

Whatever arises on any given day the experience is enriched by making paintings.

Artist’s Bio

Sandy Gill has lived in Belmore Falls for the best part of thirty years. After completing studies in Visual Arts at TAFE Illawarra, Campbelltown and Moss Vale, Sandy graduated from the Australian National University in 2005.

A conviction that Art is for everyone, to be shared and celebrated and made by anyone who thinks it might be fun, satisfying, healing, or provide opportunities to tell stories and connect with others, influenced Sandy to go on to further studies in Education (UOW) and Community Services.

Sandy has worked with Art in the Community (alongside a surprising variety of other occupations) over the last twenty-five years. Her work has been in many group exhibitions.

"Along the Water's Edge" is Sandy's first solo exhibition.

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This exhibition was generously sponsored by Mandy & Jeremy Perrott. 

If you’d like to sponsor an artist to exhibit at the SHAC please contact the gallery manager for details. gallery@theshac.coma.au

Bong Bong Dreaming

Sarah Gray became an artist relatively late in life. She grasped her creativity with both hands and towards the end of her life she had completed a PhD and held many successful exhibitions. 

She lived in the Southern Highlands and was inexplicably drawn to the Bong Bong Common - the grassy paddocks downhill from the Briars Hotel. Initially, Sarah was unaware of the deep dark history of the ‘Common’ and it was only through thorough research and much soul searching that she uncovered secrets about our and her colonial past.

Artist Statement about Exhibition:

The cartographic viewpoint used in my own landscape painting is not the perspective used by painters of Western traditional landscapes, but the use of a ‘map-maker’s’ viewpoint – no linear perspective, merely an impression of a flat, or planar, picture plane. The use of a mapping/cartographic perspective was essential in order to gain the desired result. This was achieved by flattening the picture plane and focusing my mind on what the aerial view could be, allowing the mind to drift above the landscape. Although these are landscape paintings, there are no concerns with reviving the conventional European practices of landscape painting as I investigated the creation of spatial effects through the resonance of colours that occurs when they are simultaneously joined or disconnected on the picture plane.

The warmth of the colours I use is suggestive of enclosure, secrecy and seclusion and the mixing of the 

Bong Bong Common soil into the paint is a candid rendezvous with material: material as paint and material as a substance from the environment, presenting the painting as maps.

Some of the paintings consist of strong verticals and horizontals with soft passages of paint obscuring and denying the strength of these elements. This veiling use of paint might allude to the denial of the past history of this specific area, the Bong Bong Common at Moss Vale, and what took place there in the early nineteenth century, however, my paintings do not explicitly address this. Rather this history is a starting point for the sort of painterly concerns that I had explored in my earlier dissertations with its primary aim being to create a phenomenological sense of space that is an affective sense of place that directly engages the viewer through his or her sensations.

My mark-making is governed by vertical and horizontal shapes in the landscape, three branches, rocks, crevices and fence lines. This divides the canvas visually and conceptually into figure and ground, creating space for some other kind of content or meaning.

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Sarah Gray’s thesis

ANNE-FRANCE FULGENCE

LUXE, CALME ET VOLUPTÉ

* The title of this show is a line taken from the poem “L’Invitation Au Voyage” by Charles Baudelaire.

Anne-France Fulgence revels in dramatic landscape compositions. The Australia she paints lies in a mythical half-light between the sea and the land. These are eerie dream places – scenes merge and morph into Fulgence’s observations, recollections, imaginings, forebodings, and longings.

Her latest work explores the mystery and majesty of the south coast of NSW. Sheer cliffs and teeming tidal pools meet ocean and an infinite sky. These are scenes suffused with serenity – fleeting moments of stillness.

A-F reveres her precious coast, and it shows in the etheric lines produced by her accomplished hand – never seeking to contain a scene’s mythic grandeur but opening our eyes to its primordial beauty through the free-flowing mastery of her media.

Unashamed romance drenches each scene. On paper and canvas, brushstrokes swirl and spiral in exquisite layers – viewed up close it’s like peering into one of those delicate intertidal rockpools. In this way, her paintings become a bridge between the real and the fantastical.

A-F was born in Morocco, studied in France, and migrated to Australia in 1989. She attributes her sense of drama and place to her French ancestry and what she admits is a “wild romanticism”. 

“The Australia I paint is vivid, compelling, ever shifting. My paintings can be like a poetic tale, dark, moody, evocative, and atmospheric,” A-F (as she prefers to be called) explains. 

“I find solace in the solitude within my studio, where I battle with paint and celebrate any progress, I make in capturing an instant of beauty.”

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Nafisa's artistic narrative further unfolds as she discusses her award-winning book, "Tuscan Temptations," a captivating exploration of her time spent in the heart of Italy. The book, enriched with her original journal entries and sketches, offers readers a unique glimpse into her creative process and the inspiration drawn from the Tuscan landscape. She shares, “'Tuscan Temptations' isn't just a book; it’s a part of my soul that I chose to share with the world. It encapsulates my experiences, the beauty of Italy, and how it profoundly influenced my art.” During the segment, the original journal, a treasure trove of artistic insights and personal reflections, is displayed, allowing audiences to directly connect with her journey. Nafisa announces that both the book and replicas of her journal are available for purchase, inviting art lovers to immerse themselves in a world where Tuscan beauty and artistic passion intertwine.

In a seamless transition from the world of two-dimensional art, Nafisa explores the enduring allure of sculpture, particularly focusing on the process of lost wax bronze casting—a technique as ancient as it is intricate. She admires the Renaissance era, a period when bronze sculpture reached unparalleled heights of beauty and complexity, symbolising a harmonious blend of artistic vision and technical mastery.

Nafisa explains, “The process of creating a bronze sculpture, from the initial modeling in wax to the final casting in metal, is a fascinating blend of art and alchemy. It's a method that has bridged centuries, connecting modern artists with the legendary craftsmen of the Renaissance.”

Through her narrative, she highlights the meticulous steps involved in lost wax casting, emphasizing its significance in preserving the purity of the artistic expression, and how it allows for the creation of dynamic, lasting works that communicate across time, resonant with the spirit of Renaissance artistry.

Nafisa talks about art of portraiture and portrait prizes

Nafisa, a globally awarded artist known for her profound impact in the art of portraiture, shares her insights during an exclusive segment titled "Talks with the Artist." Her work, celebrated in Europe, America, and the UK, transcends mere visual representation, weaving intricate stories and emotional depth into each piece.

Nafisa will discuss the significance of portrait prizes, not only as accolades but as pivotal moments that foster growth and recognition in an artist's career. She offers first-hand insight into her creative process, her influences, and the compelling narratives behind each of her creations, inviting audiences into her world where each portrait is a window to a vividly captured soul.

Peter Ward creates prints, collages and artists’ books from his studio in Geelong, Victoria. He is regularly a finalist in the major Australian print prizes and has had his artists’ books acquired by the Victorian, NSW & Queensland State Libraries as well as the Australian National library.

His earlier artists’ books concern themselves with the existential threats of global warming and the magical thinking surrounding the pandemic. Lately he has been drawing inspiration from the industrial landscape. The prints in this exhibition take images from the artists’ books and elaborate or re-interpret them.

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In the heart of Rome (Trastevere) is a hidden cloister with a millennium of history of life, healing, silence, death and the sacred. Ospedale Nuova Margherita ( circa 1089 AD) . 

Silent and still. Calm and intense. Rich in colour and stark in emotion.  

Silenzio nello spirito. (Spirit of Silence). Within this is the human condition. One internal space. No need for voice. A man.

Born in Adelaide, David began his career in Sydney 32 years ago as a film photographer working with transparency and 35mm. In 2008, he transitioned to the digital medium. Since 2004, David has held 13 solo exhibitions. These explored the female nude, the abstract in nature, Australian landscapes, and European cities. David’s last three exhibitions have included themes of solitude.

In 2019, David exhibited a series of 37 portraits in a 17th Century church in Croatia. He joined with local artist, Veljko Radovniković, for an acclaimed photo-documentary project providing voice and face to the elders of a small Dalmatian fishing village. 

David’s desire for creative expression is foremost. He believes that the essence of his work is found in the initial seeing. From this, the imagining and composing flows. 

David’s career is augmented with being a qualified Art Therapist - as a previous clinician, group facilitator and teacher. His interests are with the aged, dementia and practitioner development.

David’s other passions include swimming in seas, Italian Opera, palliative care, design, teapots, the Rabbitohs, gardening and the music of JS Bach, Bowie and Gustav Mahler.

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Come and meet Nafisa at the SHAC Annex and chat while she works on a piece of art for March and discusses her work displayed at the SHAC Annex.

‘Chard’ Exhibition

Thursday 8 February – Sunday 10 March

Opening Saturday 10 February 4-6pm

These three artists, who collaborate together at Canberra Glassworks, are united in their desire to instil their chosen medium with ideas of transition and transformation.

‘When you travel to another continent to work and live there, what do you keep and what do you choose to leave behind?’ Peter Nilsson, 2023 As well as collaborating together at Canberra Glassworks since 2016, in casting (Ryan, NOT) and engraving (Nilsson), what unites these three diverse artists is their desire to instil their chosen medium with ideas of transition and transformation.

Hailing originally from the Netherlands (Ryan), Scotland (NOT) and Sweden (Nilsson), their work collectively explores the casting, inscribing and paring of culture. What is revealed is the alchemical process where the grit of one material (sand) becomes liquid then solid and transparent (glass) without losing its essential DNA, not unlike the chemical fermentation of grapes to wine. Does culture choose us or do we choose it? And how does this choice ultimately shape and transform us? This is an exhibition that asks us to name our poison.

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Grandiflora

This exhibition is a celebration of the beauty in nature with the Australian Wildflowers being my subject of expression. Coming from a Dutch heritage, I am inspired by the Dutch Golden Age flower paintings, capturing intricate detail with the design of large painted compositions of floral arrangements including blooms from different regions. 

As I have been working with the subject of Australian Wildflowers for more than a decade, my love for our flora in their diversity with respect to their colour and form has continued to fuel my curiosity for these most intriguing of specimens. The study of their structures and changing forms through their life span has made me appreciate the miracles of their shapes and by close observation through charcoal studies, the mystery is unraveled. 

Documenting a flower while it blooms, decays and pod seeds are formed, allows me to feel more connected to my subject. Each and every flower is unique and so each study becomes a portrait, each composition of multiple flowers- a group portrait. By working magnifying glasses and presenting them as larger than life, I am able to depict what cannot be seen with the naked eye, drawing the viewer in for closer observation to appreciate the multiple layers in the painted work and the intricate detail in the drawings.

Now that the process has come together as a series of work moving from the drawings to the paintings, with an extension of my paintings incorporating bronze and resin sculptures, GRANDIFLORA is a celebration of the flora on a grand scale, proudly Australian.

Come and see beautiful artworks created by our talented SHAC Members.

This is a wonderful opportunity for our supporters to exhibit together and sell their works.

This group exhibition is in our new gallery space back in Robertson at 91 Hoddle Street from Thursday 11 January to Sunday 4 February 2024.

Join us for the official opening on Saturday 13 January 4pm – 6pm.

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Stephanie Tetu and Penny Simons Exhibition

Painter Stephanie Tetu & sculptor Penny Simons are both immigrants & former residents of the Southern Highlands.
For this exhibition: Animal, Vegetable, Mineral, they have taken an intimate look at the peculiarities of their chosen land - a little strange, whimsical, wonderful, and poignantly beautiful.

Penny Simons

Penny was one of the founding partners of “Cloth”, a Sydney-based bespoke textile design business begun in the 1990s, that produced hand-printed, dyed and constructed textiles for the furnishing and fashion industries. 

Prior to this Penny gained a BA Hons. Constructed Textiles, majoring in weaving, from Winchester School of Art, England. 

Penny had a studio in the artists collective the SHAC in Robertson, in the Southern Highlands from 2018-2022, and now works from her studio in Addison Road Community Centre Marrickville, Sydney.

@penny_simons

Stephanie Tetu

As an expatiate, having moved to Australia from Canada ( the other side of the world) in 1995, I am still mesmerised by the forms and the colours of this land. The quality of the light is cleaner, brighter I would even say harsher. It is an intense country. Everything is different, the flowers are downright spectacular and the animals are eccentric. And the birds, let’s not forget the birds

Collector's Choice

Phillip Russell is a Southern Highlands-based artist who is best known for his landscape paintings of Australia’s natural bushland.  

This exhibition is a collection of twelve small and two larger paintings, mainly exploring the bushland and vistas of our region and including other parts of New South Wales. 

Working mainly in oils, in an impressionistic style, he is a bold colourist, transforming his subject-matter with a dramatic and vivid palette. Being particularly attracted to complexity in the landscape, Phillip illuminates the bush with a spirituality that demonstrates his identification with the land. 

Regarding his methodology, with a new painting in mind Philip retains much of the visual imagery as he walks through the landscape. He then draws on his memory, and sometimes with the aid of photographs, he brings forth the various colour and design elements, taking what he needs, to reconstruct them to his own purpose.

Initially, Phillip works broadly to establish the design and concept, but this must be constantly adjusted as the image slowly emerges. This is the start of a long process of careful selection of colour and balance in the tonality.

Listening to what a painting has to say and letting it take on its own character without predicting the outcome is important: the emphasis is on the act of painting and letting the character of the brushwork and pigments speak for themselves.   

His subject continues to be the source of an enduring challenge to investigate shape, light and colour in nature in all its diversity.

CANVAS AND CLAY is a fusion of floral artistry which celebrates the captivating world of Australian flora through Julie Lynch’s exquisite still life paintings and Denise McDonald’s enchanting ceramics. This exhibition highlights the fascinating interplay between 2D and 3D, inviting viewers to immerse themselves in the vibrant colours and textures of our native flora, where brushstrokes meet clay, and art springs to life. Join us in discovering the beauty of these botanical treasures.

Pre-purchase online before the exhibition opening here

Exhibition OPening: Saturday 7 October 4pm – 6pm

Opened by Julie Haseler Reilly - Ceramic and Bronze Sculptor

Julie Lynch

Julie Lynch is a multidisciplinary artist; the art of observation is a cherished discipline that fuels her dual roles as a designer and a visual artist. She possesses the unique ability to hone in on the ordinary facets of everyday existence, revealing the latent beauty concealed within life's cracks and layers.

An aficionado of pattern and colour, Lynch finds solace in the uncharted territories of limited and unconventional colour combinations. Her love for texture, whether manifested through the bold impasto strokes or the intricate layers of collage, imbues her creations with a sense of depth, pattern, and tactile allure.

Within the sanctuary of her studio lies a treasure trove of artistic tools and ephemera, a testament to her fervent dedication. Every stroke, every hue, and every creative impulse finds its home among the vast array of paints, brushes, vintage vases, textile swatches, and objets d'art that grace her workspace. 

In her own words, she bestows upon us a poignant wish: "May your life be creative and full of inspiration!" Julie Lynch, a visionary artist and a guardian of the wonders of the every day, invites us to join her on a journey of boundless creativity and discovery.

www.instagram.com/julielynchartanddesign/

Framed Limited Edition Prints that are SOLD from 6 November that are numbers 2, 3, 4, 5s will be sent to the buyer's home address - and will be sent out approx 1 week from ordering. They will incur an additional $25.00 packing and freight charge - they will be insured.

1. Medium paintings not collected from the SHAC Gallery or from Julie Lynch’s Sydney address will be freighted out nationally at a cost of an additional $100 - they will be insured.

2. Large paintings not collected from the SHAC Gallery or from Julie Lynch’s Sydney address will be freighted out nationally at a cost of an additional $200 - they will be insured for the value of $2000.00. If the buyer requires higher insurance a new freight quote can be provided,

3. International Shipping will be individually quoted.

Denise McDonald

Denise McDonald produces functional ceramic tableware and feature pieces that bring together a celebration of our unique Australian flora with a love of heritage motifs and bold rich glazes. This fusion results in pieces that have a contemporary design with a hint of nostalgia.

You will find a 100-year-old flannel flower pattern dominating this exhibition. It was sourced from Federation architecture, a textured window in Denise’s family home in Sydney, a window her family has been looking at for 5 generations.

Denise uses this heritage Flannel Flower pattern for a number of reasons. It celebrates our unique Australian flora, it speaks about the history of the decorative arts, heritage patterns and Federation Architecture.

Pieces have been selected for this exhibition that reflect and complement the subject matter of Julie Lynch’s paintings. Denise hopes that you will enjoy immersing yourself in the playful relationships between the 2D and 3D artworks.

https://www.instagram.com/dmpottery/

Renewal

This body of work has evolved over time and combines my three areas of art practice, drawing, painting and printmaking. It is a direct intuitive response to a landscape that I’m particularly familiar with. I grew up on a farm in northwestern NSW and that landscape continues to influence my work to this day.

The cyclical changes of the seasons and the ability of nature to recover from catastrophic events, though increasingly challenged, have long held a fascination and provided endless inspiration for my work.

Caroline is a Newcastle based artist with a strong connection to the Australian landscape. Drawing is the core of her practice alongside painting and printmaking.

The influence of having grown up in a mixed farming enterprise on The Liverpool Plains in NSW in a family of creatives has always been a constant source of inspiration and driving force in all aspects of her work.  

“I work intuitively and spontaneously whether it be en plein air or in my studio.  For me, there is a certain amount of freneticism required in the way I work in order to capture and describe elements with an uninhibited visceral quality I desire.”

Purchase works online prior to the exhibition opening here

Exhibition Opening: Saturday 7 October 4pm – 6pm

‘Renewal’ will be opened by Jane Cush, SHAC President and Artistic Director

www.instagram.com/callytraillartist/