In her practice Sally explores the relationship between her internal world—a world of images, feelings, thoughts, intuitions, dreams and memories—and the outer world of nature. She has found ways to collaborate with natural processes, in particular rain and dyes from plants, to make artworks. Sally’s work is held in The Canberra Museum and Gallery, The Australian National University (ANU), the Australian National Botanical Gardens (ANBG) as well as a number of private collections.
Sally Blake is a visual artist based in Canberra, Australia, working across a number of textile techniques—dyeing, basketry, weaving, stitching, piecing—as well as paper-based media to produce works that arise in the potential space between self and nature. Sally completed her PhD studies in the Textiles Workshop at the ANU School of Art in 2015. Recent research includes an Australia Council funded project where she tested eucalypt leaves and bark at the ANBG for their dyes. This culminated in the creation of an online Eucalyptus Dye Database and solo exhibition.
Navigating between the disciplines of visual art and design, I mainly works with textile and paper.
Inspired by human's interaction with material, I like to alter our perception of shapes and surfaces with unexpected explorations. From objects to soft sculptures, my creations result from experimental processes combining technical savoir-faire and material randomness.
Marilou Chagnaud is a French artist and textile designer. After graduating at the Ecole Superieure d'Art d'Aix-en-Provence, and the Centre Design et Impression Textile de Montréal, she worked for designers such as Denis Gagnon and Valérie Lamontagne. She now lives in Canberra.
Zai Divecha is a designer and metalworker who works under the artist name Elektra Steel. She's a Bay Area native and Yale graduate who learned to weld at age 14.
Blending traditional metalworking techniques with digital fabrication tools, Zai creates large, geometric wall hangings out of steel. She recently released a line of enamel pins featuring the designs of her ribbon wall hangings.
Zai works out of a shared metal shop in the Dogpatch neighborhood of San Francisco.
These works by Lynne Flemons were developed during August 2017 when she was an artist-in-residence at Serlachius Museum, Mantta-Vilppula, Finland. They are inspired by the pristine forests of the region that are moist underfoot, and covered with fungi, mosses and lichens in an array of rich earthy colours reminiscent of a fairy-tale wonderland. The inspiration for the work came from walks taken at Elamanmaki Conservation area and Taidekierros where Lynne took photos of the forest floor from which she developed these acrylic paintings. The lake-land paintings in watercolour and acrylic were undertaken on fine days at the edge of the lake in the grounds of the museum.
Though the Finnish forests differ greatly from those of South-eastern Australia where she has spent much of her life, Lynne found the people of Finland share a common concern with Australians about the effect global warming is having on the natural environment. They are worried about the long-term viability of fragile ecosystems that comprise their forests and lakes, and are keen to use every vehicle, including art, to get this message out.
Lynne Flemons’ work is held in private, national and international collections including the National Gallery of Australia. She completed her Master of Philosophy (Visual Arts) at the Australian National University in 2015 and the following year was selected as a visiting fellow at The Ballinglen Foundation, County Mayo, Ireland and then at the Serlachius Museum. Over the past 20 years she has been chosen for international and national residency programs and has been selected as a finalist in significant art prizes including the Calleen Art Award. She regularly presents her work in solo and group exhibitions.
Forest floor with lichen and mushroom, acrylic on paper, 15cm square
Lakeland, Shadowland, acrylic on paper, 15cm square
Hannah seeks to recreate those fleeting moments of truly contemplative experience. Her work explores gesture and structure using colour, line and surface textures taken from her environment. Hannah’s glass brooches continue this exploration in miniature.
Hannah Gason is a Canberra-based visual artist, who graduated from the ANU School of Art in 2015 with a Bachelor of Visual Arts (Glass) with First Class Honours and a University Medal. Hannah’s work has been exhibited widely and is housed in many collections including the Australian Parliament House Art Collection.
Michal Glikson works with nomadic art practice, using the combination of travel, social interaction, and cultural immersion to generate experiences, stories about which she paints. She holds degrees in Political Science, Fine Arts, and Theatre, and studied Masters in painting at the Maharaja Sayajirao University of Baroda, India. In 2017, Michal completed her PhD that explored journey painting across Australia, Pakistan, and India. Her scrolls have been exhibited in multiple countries and in 2017 she received a QARTS grant to exhibit her doctoral work, the AustralindopakArchive in Vienna and Morocco.
I have long been fascinated with the idea of the storyteller as a calling, and with painting as a way of looking. Opening to influence and to the invitation is how I find my language and the stories I tell. I work with the scroll, and with miniature - resonant modes that allow me to translate and share the abiding experiences, encounters, and insights yielded through such journeys.
'Thinking too much' collection 2 (works 5) - detail
My miniatures are created on Clayboard Black using only a needle or pin. These are usually stolen from my mother's sewing table and screwed into an old metal etching handle that once belonged to my Swiss Grandfather (a wonderful Graphic Designer who sadly passed away before I was born). Such a tool truly becomes a companion and I treasure the feeling of being accompanied even as I work in solitude. My artworks are often connected to children and the environment - two subjects that are very close to my heart. I have found that there are things I can communicate in a quiet, beautiful, visual way that I would find very difficult to put into words and I am grateful for this.
Growing up in an artistic Swiss family, Michèle Heibel attained a Diploma of Graphic Design at North Sydney's Billy Blue College in 1990. She found herself working in the publishing industry for the following two decades. In 2009, after the birth of her son, she felt a deep need for change. She found that moving to New South Wales' Hunter Valley returned her to the rural lifestyle she had known as a child and credits this environment with the finding of her way back to creating artworks by hand. By 2013 she was a runner-up in the Muswellbrook Open Art Prize and by 2006 she was chosen to be one of the featured artists in Brenda May Gallery's annual Introducing exhibition.
Michèle is an award-winning member of the Australian Society of Minature Art. She has recently been shortlisted as a finalist for the 2018 Fleurieu Biennale Art Prize.
Top hanging: The Chore, 2017, Etching needle on clayboard black, 19.5 x 14 cm
Top hanging: The Chore, 2017, Etching needle on clayboard black, 19.5 x 14 cm
Bottom on shelf: Vine leaf, 2016, Etching needle on clayboard black, 13 x 13 cm
My work as a ceramic artist often draws upon the beauty I find in natural wonders and the imaginary. I have a fascination with multiples, repetition of form and the process of creating. The variation and interplay of texture, shape, light, and translucency creates various physical dimensions. It is here that I seek to stage an experience, evoking wonder and providing an intimate encounter, a moment away from the noise of modern life.
My growing love for porcelain and its texture and finesse goes hand in hand with fragility and low productivity. Porcelain is commonly described as an unforgiving medium, however the allure of its refined surface quality, translucency potentials and elegance makes the challenge all the more rewarding.
My current work has a botanical influence dating back to my childhood love for magnolias. As a child I would count the trees on streets that we would regularly drive down and knew how many magnolias there were. The allure and elegance of the flowers and their petal shapes have been combined with imaginary botanical elements to create the Porcelain in Bloom series. The splendour and diversity of botanical material is a wonderful influence that I will continue to draw upon in my work.
I am a visual artist, educator and explorer of sustainable art practices. My recent work explores Eco dyed techniques. Each silk scarf has a unique marking from gathered Eucalyptus leaves heated and soaked in rusty water. Yes, the latter sounds strange but it's properties bring out colour and contrast that the Australian landscape offers - a beauty rich in flora and fauna.
Between 1998 and 2000, Merideth studied art in Australia and the United States of America. She taught painting at Waverley-Woollahra Art School and Cooperative, Sydney as well as painting and ceramics at both the Artisian Art and Craft Shop and Studio and Whichcraft Studio, Canberra. In 1996, she was commissioned to paint the interior of Cafe Della Piazza restaurant, Canberra. From 2004 to 2006, Merideth studied life drawing and painting through the Visual Arts Access Program, Centre for Continuing Education. In 2006 and 2007, she also studied fabric and paper conservation at the Canberra Institute of Technology. While she's works predominantly in abstract expressionist painting, recently Merideth has moved into the discipline of textile and fibre art. In 2017, she commenced a Bachelor of Visual Arts at the ANU School of Art and Design.
My work often explores the intersections of science and textiles. My string theory necklaces are a development from a series of wooden wall structures called Molecular Measures which I created for an exhibition at May Space Sydney in 2014, as well as experimental crochet works exhibited at CCAS Manuka in December 2016. Both works use stripes and colour to link to scientific measurement, and use a variety of playful textures to highlight the artifice of scientific depictions of the natural world. In the String Theory necklaces, I continue,to explore my love of stripes, colour and texture in crochet. I use a variety of yarns which I have collected on my travels in the U.K, Japan and Thailand as well as Australian suppliers.
Al Munro is a Canberra-region artist whose practice spans textile, print and drawing-based media. Her recent work in takes as its point of departure the relationship between textile structures and mathematics, investigating the geometry of pleating and various pattern systems.
Al is a lecturer in the Textiles Workshop at the ANU School of Art and awarded a PhD from the ANU. She has exhibited throughout Australia and internationally and is represented by May Space, Sydney. In 2015, Al completed a three-month Australia Council studio residency in Tokyo researching a new body of studio practice related to Japanese pattern systems and their various geometric qualities.
Katy's practice is heavily research based and she is interested particularly in the impact of political and military action on cultural identity. Her works are grounded in drawing process and her professional background in Interior Architecture influences much of her art making method. She frequently integrates symbols, camouflage principles and drafting techniques in her art work. Katy's work is held in a number of private collections and also by the Australian War Memorial.
Katy Mutton is an interdisciplinary visual artist based in Canberra, Australia, working across drawing, painting, print and installation. Recent works explore themes around the romanticisim of machines of war and how this helps disconnect us from their capability as enablers of destruction and/or superintendence.
I am an artist and storyteller. My recent work explores fictional places – landscapes of the soul and mind. The intention is to draw the viewer into a space of their own imagination, stimulated by the creative outcomes of my practice. This encompasses multiple visual art disciplines as well as creative writing.
The pieces presented here at GOST are excerpts of implied narratives, allowing the wearer or viewer to make up their own personal stories as a way of connecting with the work.
Principally trained in gold and silversmithing, Lan often works with metals and has a tendency to explore the way in which a hammer and anvil can manipulate her material of choice. She is also partial to drawing, printmaking, animation, and photography as creative techniques that aid the expression of concepts that go beyond the language of words.
open up, screen print on white perspex with hand finished edge, 220 x 260mm
Julia Pannell's motivation for photography is a desire to establish a connection with place, and to explore notions of timelessness and presence. She is interested in viewing certain features of wildlife, landscapes and the sky with a sense of sublime isolation. Her intention is to evoke a sense of quietness, offering a space to meditate upon the 'essence of being'.
Julia is also interested in the link between physical space and its surroundings and its impact on our psychological and emotional selves. Living away from Australia for more than a decade has influenced her approach to the Australian landscape with an eye that embraces the ambiguity, threat, strangeness and spirituality of this country's terrain.
Born in Sydney, Australia, Julia studied photography and art in London in 2008 after living and working for five years as a freelance photographer in Zurich, Switzerland. She has worked for numerous clients on a variety of jobs and has had a few exhibitions in Zurich, London and Sydney.
My paintings interrogate the urban environment of European cities. I use the characteristics of these cities, and my reactions to them, to drive the composition of my paintings.
Mozart and Doppler
Wolfgang Amadeus Mozart (classical music) and Christian Andreas Doppler (Doppler Effect) lived in adjoining houses in Salzburg, Austria although separated by nearly 100 years. In very different ways both were involved with vibration and wave transfer. This small painting celebrates the way their lives still resonate today, far beyond Salzburg.
Phil Page's original training was as an architect. He practiced architecture in Australia and overseas, and in Canberra up until 2006. In the same year, he won the RAIA Sulman Award for Excellence in Architecture. Since then, he has focused on painting and studies. He is currently a PhD candidate at the Australian National University School of Art & Design in the Painting Workshop.
My recent work captures moments in time and explores my experience of place, using photography and screen printing processes. Images are drawn from my local surrounds, including my childhood home on the far south coast of Australia and my current home in Canberra; as well as recent travels further afield: Portland, Victoria, the southern United States and Oahu, Hawaii. Images are first captured on my phone, recording fleeting moments. I cut down paper, mix inks and hand print, bringing the works slowly to life, a direct contrast to today's instantly posted image. By altering the image and reimaging it as a screen print, I shift the original context, leading the viewer to question the time and place in which it was created. Soft, faded backgrounds & warm, brown black for the images themselves, suggest these contemporary scenes are in fact of a bygone time, evoking nostalgia.
Jemima Parker is a Canberra based visual artist working across disciplines. Interested in her environment, and the often unobserved beauty that is present in the everyday, she documents this through repetitive, almost meditative processes of printing, drawing and stitching. Recent works explore moments of time and experience of place, through photography and screen printing.
Jemima has exhibited widely throughout Australia and abroad, and her work is held in a number of private collections. She regularly teaches screen printing on both paper and fabric, including a recent Summer School in Surface Design and Screen Printing at Penland School of Crafts, North Carolina, USA. Recently, Jemima has been shortlisted for the prestigious Fremantle Print Award, 2017.
Looking across from Diamond Head, screen print on paper, 24cm (w) x 36cm (h), photo: the artist
These works are the results of playing and experimenting with the materiality of porcelain. I am constantly searching for new processes that enable the transcending qualities of porcelain to be revealed. Here, natural materials are mixed with porcelain slip which have burnt out during the firing process creating beautifully strange and delicate works.
The ambiguity and precariousness of their form, placement and relationship to each other allude to questions of vulnerability and survival. Do these things exist, have they ever, are they from the distant past or the distant future? Are they animals, plants or cultural items? Are they from another world or another time? Ultimately, these questions lead me to contemplate our own precarious survival.
Jo Victoria is a Canberra based ceramic artist with a love of the ocean. Her works are inspired by cultural and natural landscapes and ocean shores. She mixes organic materials with porcelain slips to create delicate, translucent, often haunting works that speak of deep time and the precariousness of life on earth.
Jo completed her Master of Visual Arts degree at the ANU School of Art in 2016 and has exhibited in group and solo shows in the ACT and region, the South Coast and in Denmark. She has been invited by the Guldagergaard International Ceramic Research Centre and awarded travel to Denmark as a resident artist for 2018.
I think about ceramics all day and all night - hence AM PM Ceramics - the name of my practice. It's also my potters mark Anne Masters Potters Mark which goes onto every piece I design and make in my studio in the leafy suburb of Watson, Canberra. The clay I primarily work with is Australian porcelain - Southern Ice. It's a vivid white and has translucence qualities when made in finer use. My recent work has been the exploration of birds in our backyards/neighbourhoods. I make small, hand held birds slipcast and pierced with a pattern. I also make small dishes glazed in a soft celadon pale green and bespoke jewellery.
Anne Masters was awarded the Master of Visual Arts from the then Australian National University School of Art in 2011. Over a 6-week period in 2013, Anne completed her first international residence at the International Ceramic Research Centre in Denmark. In 2014, Anne exhibited in her first group show, ceraMIX, at FORM Studio and Gallery in NSW, Australia. In 2015, a group show, Protean, Nishi Gallery, Canberra. She was also selected for Canberra's Potters' Society, Surround/s. In 2018, Anne will show new porcelain birds at Ivy Hill Gallery, Wapengo, NSW.
My name is Amanda Westley and I am a Ngarrindjeri woman and artist, born in Victor Harbor, South Australia in 1985. Growing up I experienced the best of both worlds living the farm life 12kms out of coastal country town of Victor Harbor.
My father was a boat builder so the water and the ocean have always been a big part of my life. My painting style is dot work and the bright colours from my coastal country hometown and the ocean are represented through my paintings.
I have been painting from a very young age and my style is contemporary Aboriginal dot art, I have always enjoyed painting and the calm that it brought. I hope to continue creating pieces that are inspiring and brighten peoples day with my choice of colours.
My Land Lines series represents country from an aerial view, for Aboriginal people land has a spiritual and cultural connection and is so important to our identity and way of life. With this series I have used a combination of ocean colours and earth colours to represent my country, the small country town near the ocean. I have also introduced brighter colours such as pink and orange to represent how country looks during different seasons as well as different times of the day.
My family is one of the oldest Aboriginal families here on the south coast so this land I call home has been apart of my family for a very long time, and by creating this Land Lines series I am acknowledging the important connection my family have with this land.
waterdreaming, acrylic on canvas, 25.4 x 30.5 cm, 2018
waterholes, acrylic on canvas, 25.4 x 30.5 cm, 2018
Creating art is often a journey of self-discovery. I tend to make intuitively with the subtle meaning behind my work unfolding over time. My earlier works has included the investigation of women of influence through the creation of hand impressed porcelain vases based on my grandmother’s heritage and culture in Finland. My latest series of work, is reminiscent of mossy, lichen covered rocks and trees found here in Australia and my childhood home, Finland. I enjoy the challenge of working with porcelain and it’s translucency.
In 2005, Tania Vrancic began her ceramics journey with the Canberra Potters Society. Between 2012 and 2015, Tania attended workshops and conferences at the Australian National University School of Art. In 2012, Tania exhibited in her first group show, Back to BAC at the Belconnen Arts Centre in Canberra, Australia. In 2014, a group show, ceraMIX, FORM Gallery and Studio, NSW, Australia and a group show, Eclectika, Stur Gallery, Braidwood, NSW, Australia. In 2015, a group show, Deliniations, FORM Gallery and Studio, NSW, Australia and a group show Protean, Nishi Gallery, Canberra, Australia. In 2016, a group show, Welcoming the Light, FORM Gallery and Studio, NSW, Australia.
After five years of a successful business model of selling her ceramic works at key design markets in Canberra, she is now in a new phase of her artistic practice. Tania’s vision is to concentrate on researching, designing and creating ceramic artworks with a view to exhibit in galleries in Canberra and beyond. In late 2017, Tania had her first solo show, Rest, at FORM Studio and Gallery. In early 2018, Tania won the peoples’ choice award in the Klytie Pate Ceramics Award, at the Arts Council Mansfield, VIC, Australia.