Denise will showcase a series of Monoprints at Art at St Francis 12 December to 14 January.
To walk on the wild side leads to imaginings of freedom in an uninhibited environment, without restrictions, rules or limitations.
“I have walked in the wild of an outer suburban, natural location, engaging with the changing seasons through plants. I watched when they slept in Winter, when new little sprouts of green pushed through, expanded, and produced amazing colours. I saw colours fade and blooms drop, along with leaves that fell or shrivelled in the cold, which was a sign of sleeping again.
On most walks I have collected the beauty of these wild things, choosing size, shape, and patterns of foliage to arrange on my printing plate. Layering colours and form that intermingle with hand cut and commercial stencils, I have created a series of artworks using a vast array of plant species, and with their quirky titles allow us to reminiscent on the multitude of different characteristics of those who live and connect with us in suburban environments.”
The exhibition is Open Weekdays 10 – 4 Sunday 10 – 2
Please join me for drinks and nibbles on Friday 5 January 4:30 – 6pm at the Gallery – 326 Lonsdale Street Melbourne corner Elizabeth Street.
What a wow of a month in September for our studio.
Denise submitted two artworks for the Eltham Art Show and both works were selected to be show at Montsalvat Resident’s Gallery from 30 August until 10 September.
Denise won the Sculpture Prize sponsored by Meridian Sculpture for her bronze work ‘Hard Baked’. The judge JD Mittman commented:
Denise Keele-Bedford’s bronze sculpture ‘Hard Baked’ is one of 40 sculptures short-listed for the Sculpture Award of the 2023 Eltham Rotary Art show.
The work stands out for its contemporary and conceptual design. It resembles a real life arrangement of bones.
The work is simple, yet intriguing and beautiful: Twelve bronze objects are carefully arranged in a pile each in the shape of a bone from a rib cage, possible of a cow or cattle.
Each object displays a different state of corrosion showing a shade of green coating.
The title Hard Baked reaffirms the association with drought, heat and death, and in extension, climate change. The work therefore can be seen as a reflection on humanity’s current situation and as a timely comment in view of the on-coming Australian summer.
Walter restarted Tuesday Art Classes in the studio 10am – 3pm.
Melbourne and Victorian Artists (MAVA) called for entries for a collaborative exhibition with regional members at MiRA Gallery in Marysville. Two of Denise’s artworks are featured in the exhibition that continues until 30 September. We had a most joyful opening on one of the rare warm early Spring days. It was good to meet up with several artists living in regional Victoria.
Denise at Montsalvat with her winning artwork Hard baked
This year Denise joined the Contemporary Art Society of Victoria (CAS) and featured two artworks in the Annual Exhibition held at Gallery 314 in Church Street Richmond. I attended the opening on 10 September to find a very extensive exhibition of 115 2D and 3D artworks in a broad range of styles and mediums. It was great to see two colleagues Robyn Pridham and Carmel O’Connor receive awards. I sat my duty on 14 September and am learning more about the artists in the society through their artworks. I was pleased with the organisation of the show and the opportunity to display five mounted works on paper and fifteen hand-made cards as an extension to the exhibition.
Warrandyte Artisans continue with monthly Pop-up exhibitions at Artspace, next door to the warrandyte Library. On September 23 and 24, September Surprise will feature Wayne Rankin, Walter Magilton and Denise Keele-bedford. Walter will present a series of his linocut prints and Denise will showcase ‘Turkish Delight’, the artwork created during her Barbara Residency in Ayvalik, Türkiye. Thanks Warrandyte Diary for the great write ups on pages 13 and 19.
The VAS Spring Members exhibition opened on 12 September showcasing on of Walter’s traditional gumtree landscape oil paintings. The place was abuzz with members’ peer voting, a piano player and a fantastic announcement of sponsorship by the Mackley Family.
CAS Pop-up at Carringbush Showing 27 September to 7 October is at Carringbush Hotel, 228 Langridge Street, Abbottsford. Two of Denise’s artworks are participating in the show.
The Melbourne Society of Women Painters and Sculptors (MSWPS) are holding their Annual Exhibition ‘Changing Perspectives’ at VAS Galleries, East Melbourne from 29 September to 9 October. Denise will show two ‘Wall stories’ artworks. Each work features twelve panels of mixed media drawings representing wall surface fragments.
Official opening to be held on Sunday 1 October 2 – 4pm.
While Walter plans his 2024 solo exhibition, he awaits confirmation of the venue and time of year that it will take place. We shall keep all informed as it draws closer.
And as Walter celebrates his 90th birthday on 2 October we will venture to Darwin for several days before boarding The Ghan to travel South to Adelaide. We expect to return home with a wealth of images and sketches in preparation for more studio production.
After more than two and a half years, two vaccinations and two boosters, I finally succumbed to Covid, in New Mexico USA.
I was in a place that I have wanted to see for many years, the House, and Studio of Georgia O’Keeffe, or it may have been Taos, or even Santa Fe. One cannot be sure, however, it got me.
Now, resting up in bed, in isolation and needing to rebuild my strength, I am taking the opportunity to write again.
In this blog I will reflect on several projects that have kept me engaged throughout 2020, into 2021 and 2022. Fitting in and around lockdowns, five-kilometre restrictions and curfews. It was great to take a breath of fresh air into 2022 and see some outcomes. Thanks Tony for the photo of Cecelia and I. Thanks Cecelia for the photo of me in the grass.
Georgia Okeeffe Country
Gourd Painting of Cecelia’s Sunflower
Autumn is Coming in Nashville
Art Advisor
A friend and her husband, who had downsized, asked me to visit and assist in selecting and placing artworks in her new home. What a pleasure it was to help her work through her collection of artworks and framed family photographs, discuss her favourite works and make decisions on where they would be located. We even selected a work that was stored away in the garage, that now has pride of place in the sitting room.
She was very happy and recommended to another mutual friend that I assist her. Hence in the early days of 2020 I made a visit to her new abode, and we started a journey together. Questions asked:
Which are your favourite works, forget value?
Which works do you not want to keep?
Which works do you prefer to look at everyday, where you spend most of your time?
As several of the works had been living on bricks walls, the rear sides were in disrepair, a couple had the glass broken and one gifted work needed to be mounted for hanging.
She had a significant, very old Chinese artefact to donate to a museum, another possibly to sell, and several to be donated to the Op Shop. I contacted the Chinese museum in Melbourne, who recommended the Golden Dragon Museum in Bendigo. It seems that her family have descendant connections with Bendigo, and they are happy to receive the piece. Some research met dead ends, however one work that we enquired to sell, she has kept and received an authenticity certificate to accompany it. Others went to the Op Shop. I took artworks home for repair, reglazing, and mounting.
Eventually we were able to have time together to plan for placement of the artworks in the home. I made several enquiries regarding an installer and finally made a date with Jessie to hang the works. Unfortunately, my friend was in hospital and could not enjoy the time with us. We kept sending her photos of the hang as we went about the house installing. It was such a privilege to engage on this project, delving into a collection that has taken many years to acquire, bringing works back to life and placing them in their new home. I gain much satisfaction and pleasure in this form of work. It took much longer than we both anticipated, but well worth the result.
In the Sitting Room
In the Turkish Room
Art Restorer
At some stage during the pandemic my young sister called to ask about refurbishing a casting that she had had in storage for several years, that previously hung in her backyard. Now in her new home she wanted to silver leaf the piece and asked if I had any ideas about it. Slowly, slowly was how it happened, due to her health issues. I decided to surprise her and do the job myself. I had previously looked at the piece, which is made from plaster, internally supported with a fibrous, grass and extremely pitted from time in the weather. With the cast in my studio, I researched, don’t we love YouTube? I had dabbled with leafing, but this was a big male torso casting with lots of surface to clean and prepare before any additions. I started with steel wool, steel pot scrubber, sandpaper and finally got out the trusty rechargeable drill and brass rotary brush, that I had cleaned down the inside of the fireplace with. (That’s another story.)
I didn’t want to wet the surface, so all work was done dry, with face mask and vacuum cleaner. The green mould was tough to remove, and the structure held together well. After discussion with my sister, we decided to leave the pitted surface to create a texture under the silver leaf. I purchased a white primer that I had used when repainting our stained timber kitchen chairs. The primer states that when used it will seal almost any surface for painting, even plastic.
We had had a discussion on the base colour, under the leafing. My understanding is that red is used under gold leaf and traditionally, I recently was told, that blue is used under silver. My sister decided on black as her new interior is mainly chrome and black. I purchased a flat black acrylic spray from the local hardware and became most annoyed when almost finished the nozzle would not work, so frustrating. When you have a third of the can left and cannot get it out. I reverted to using nozzles from other cans in the studio, hence ruining another couple of nozzles.
The black cast looked superb, and I checked with her whether she still wanted the silver leafing, yes, she did.
Not knowing how much I would need I purchased two packs of 25 sheets and two bottles of specialist glue. What I discovered was that I had silver leaf from many years ago, when I was dabbling. Silver leaf is quite forgiving within the application process. Like all good stable artworks, foundation is important, you will not have a good oil painting if the canvas is not prepared well. I was happy with the surface to adhere to; the glue was superb to work with once I understood the consistency and curing procedure. All these actions were trialled first on an old plaster cast that I had made, each step taken was trialled, even the brass rotary brush. The only time I wet the surface was with a damp cloth prior to the prime sealer and then the cast dried as quickly as possible with hairdryer and heater.
The final layer was a clear varnish coating to protect the silver leaf from tarnishing.
My sister likes shiny surfaces, I like satin. Again, it was trialled, and she opted for the shine. I am pleased with the outcome and happier still that my niece came with my sister during the leafing period for her to apply some of the material herself.
In the Raw State pre work.
In Raw state before preparation.
After cleaning down with Brass rotary brush.
Cleaned and Prime Sealed.
Testing Plaster Cast.
Black acrylic underpainting, still wet.
Silver leafing underway.
Completed with varnish sealer.
Art Legacy Collector
A very dear artist friend, J, could see the time coming when she would perhaps have to change accommodation and live in a care facility. What a traumatic decision to make. J had built the house, with help, made the bricks, sourced to the quirky fittings, scoured the demolition yards for windows and doors that spoke of her character and lived there for 50 years. I had offered to assist her in closing the studio, which included selecting paintings to go to new homes and others to be destroyed. In late May I went to discuss and look at several artworks with her just prior to her leaving the house for the last time.
Another mutual friend Anne and I, mid-June, delved into a life-long collection of all things in a working studio and an incredible storage of artworks. We had allocated some three days to sort, photograph and allocate artworks into piles of yes, no, maybe to be considered. J had placed allocation notes on many of the hanging artworks, however it had been many years since she had entered the cellar storage. Works that were simply not finished, and or damaged were relegated quickly to the ‘not to be kept’ pile. Another old friend of J’s came to help sift through what he thought was to be retained, basically what he could not let go of, which found him with a stack of artworks to take with him. He had known J since he was 15y.o and very close to her.
We had previously discussed her legacy and I took on the ‘job’ of separating out boxes of negatives, slides, recordings, CDs, DVDs, photographs, catalogues, invitations, and an amazing amount of art related paraphernalia.
Anne and I managed to get the bulk of photography done on the third day so that family and friends could collect the artworks allocated to them.
I found it most difficult to destroy the works that had to be culled, Anne had that awesome task.
I was amazed to find that each time I opened a cupboard or drawer it was filled with more works, art materials, or things to be sorted for her legacy.
Anne and I called into the care facility to update J, show her some photos we found, ask about newfound file and boxes.
My task extended to include collecting items for asylum seekers and arranging pick up, twice.
The family waited for our task to be done before calling in the declutter/cleaning company. I passed by one day to find about six women busily sorting and was pleased to hear that much of the goods were headed to charities, half-way houses and youth facilities. I had cringed at the thought of everything going into landfill.
The house sold within a week of going on sale. J was very pleased as the purchaser is a man who had originally helped her make the mud bricks. As she said, “The house is in good hands.”
Anne I will work through compiling J’s legacy for perpetuity and in the meantime, I am the recipient of one of her stunning artworks.
A Corner of the studio.
Artworks ready to go to a new home.
A Gift to me. Title: A Million Windows
Pop-up Exhibition Coordinator
Local Potter and friend, Jane Annois and I were chatting about the Warrandyte Art Space. The Space, through Manningham Council, is administered by the Warrandyte Community Association. WCA gave the space for the photographic exhibition at the end of 2021, Fresh Perspectives.
Jane had been offered the space for more exhibitions and I suggested a series of pop-up events.
We got together with Wayne Rankin for further discussion, which grew into a meeting of about sixteen artists at Stony Creek studio on 29 May. It was a fabulous session of nutting out what a group of artists perceived as a workable opportunity for Warrandyte artists. On the day we scheduled a pop-up exhibition for the last weekend of each month until November this year. Each month three various artists would showcase artworks from their studios.
The Warrandyte Diary was contacted to run a series of promotional articles that each group submits. I decided to be a floating participant and to slot in where an artist was required. I showcased artwork in August with Wayne Rankin. It was quite a buzz and I thank everyone who came along to support the project. It has been fabulous to see the evolution of the project, where new artists are joining the group. We originally scheduled exhibitions for six months, however, the space is now being scheduled for six months in 2023. The first exhibition is to take place on the last weekend in February and coincides with the Annual Pottery Expo.
Poster designed by Wayne Rankin.
Overview of the exhibition.
Glass works by Wayne Rankin.
Denise’s Small scale works.
Chatting with friends John and Christine, thanks Liliana Barbieri for the photo.
All things in perspective, Melbournians received lockdown relief on 22 October, at 70% double vaccinated, we had a few uplifting moments, albeit hesitation with the installation at Fed Square. Booked to install on 27 October, Fed Square staff were confident it would go ahead. Much to our pleasure 29 October gave more freedoms at 80% double vaccination.
It has been an exciting experience and I thank the team at Fed Square who have been extremely supportive throughout the project.Great to see it was picked up by some of the Social Media organisations:
The installation continues at Fed Square until November 30. I thank all who have given me feedback and sent images on their perspective of the artwork.
November has been one of the wettest, stormiest periods in weather history. Our new 5500 litre Rainwater tank was filled to overflowing within ten days of installation.
Melbourne Cup Racing was particularly fortunate on the first Tuesday in November to have about 26 degrees with sunshine.
At least the dog got a bath and smelled especially human good for a little while. Dolly is gaining her confidence with water, enjoys paddling in Stony Creek and is taking to the Yarra. Still a timid dog, she is now curious, letting more females give her a pat and socialises well with other dogs.
Pouring rain, high winds and falling trees seem to be a symbol for the chaos that has erupted throughout Victoria and the many protests. Lockdown has confined us, in between breaks, for over 260 days since the start the pandemic. Victorians, we have down well to reach our 90% double vaccinations, however, it has affected each and every one of us in more ways than I know. I can only speak for those around me and the effect on my mental and physical health. We congratulate ourselves for a job well done, and well deserved and now we face the consequences.
Along with the flood of rain, came a flood of opportunities, so much so that I could not keep up and give each worthy event the promotion it deserved.
My artwork has participated and continues to participate in several online exhibitions.
SHADOWS AT PLAY – A MAVA Collective Online Exhibition
Shadows can produce darkness, highlight the light, evoke beauty or something more sinister. Shadows can be very obvious or somewhat subtle by definition. Shadows at Play is a collection of over 60 artworks exploring the theme with sculpture, NFT’s, moving image, digital works, paintings, illustrations, photographs and more.
A Flutter
NO STRINGS ATTACHED – A MAVA Collective Online Exhibition
No Strings Attached is an exhibition that takes the definition in its literal form. Most of the artwork in this exhibition requires framing or mounting of some sort. Each piece is the same size and the same price. We wanted to keep it simple and yet provide opportunities for our art buyers to purchase Christmas gifts at more affordable prices. All the artworks are A4 in size, $150 in price, and ready for a frame or mount of your choice.
The creativity, diversity, and artistic excellence of our members will be showcased in this exhibition. Sincere thanks to Sophie Gerard, Assistant Curator of Australian Art NGV and judge of 2021 Annie Davison Oliver Award and Valda Cuming Sculpture Award.
Chinese Abstract Art (Nantong) Exhibition: A Hundred Years of Zhang Jian – Curator: Ma Yiying
I received a social Media Wechat message from Ma Yiying advising that my artwork is in this exhibition in China. A pleasure to know that pandemic and all my work continues to be featured in China.
The previous blog mentioned eight artworks hibernating at Fitzroy Stretchers since mid-July. After four months, I finally managed to arrange the framing, now completed, and collected the work on Monday 22 November. Art at St Francis Gallery has had to postpone again and we will connect in 2022, looking to the future.
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With my two images selected for the next photographic event Warrandyte will hold an event Under the bridge on 5 February 2022, featuring all selected images.Photo posters have been installed at Taffy’s Hut and will remain in place until June 2022.
In conjunction with the event artists are displaying samples of their photos in Warrandyte Village for the month of December.Warrandyte Community Centre, next to Library as the Art Space.
1 – 30 December Open Wed – Sat 10am to 3pm. Denise will be on site 10 – 12:30 on 1,8,15,22, and 29 December.
And what a buzz to have Deep blue Crossing featured at The Atrium at the same time as Found and Gathered an awe-inspiring exhibition on Until 20 February 2022.
Found and Gathered: Rosalie Gascoigne | Lorraine Connelly-Northey brings attention to the shared materiality at the heart of the practices of Rosalie Gascoigne (1917–1999) and Lorraine Connelly-Northey (b. 1962). Both artists are known for their transformative use of found and discarded objects to create works of art that challenge our understanding of the landscape, and Country.
Presented by Denise Keele-bedford in partnership with Fed Square
Fracture Gallery, The Atrium Fed Square 1 – 30 November 2021 24-hour Viewing
Wednesday 3, 10, 17 and Thursday 25 November I will be at fracture Gallery from 1 -4pm.
You are welcome to view the work anytime during November and please contact me if you would like me to meet you on site.
In celebration of Multicultural Week at Fed Square, an armada of origami boats will sail through Fracture Gallery, accompanied by rainbow colour beams dancing across the space. The installation uses colour to convey the kaleidoscopic diversity of nations who have traversed oceans and created a fusion from their cultural inheritances that transforms Melbourne into a unique multicultural society.
Deep Blue Crossing acknowledges our First Peoples, our first-generation migrants who continue to enrich Melbourne’s heritage, and all people of different backgrounds, ideas and cultures who contribute to the harmony of future generations.
With Thanks to: Stony Creek Studio, Kayendee Acrylics, BMG Australasia, Karyn Blokkeerus, Megan Caine.
I also thank the exceptional team at Fed Square who have guided the installation process with consideration and professionalism.
From the beginning of contacting Fed Square with an art installation concept, through Covid restriction concerns, to promotion, schedule planning, contact assistance and ongoing through November, my experience has been one of feeling completely supported.
To view the full image: Select and click on first image – click on the i in a circle RHB of opened page then select View Full Size.
Karyn and Megan my assistants.
Thanks Liliana barbieri for your photography.
Denise installing. Thanks Liliana for the photography.
Karyn Blokkeerus installing.
A Long view of the installation.
A close up of boats.
Light, Line, Shadow, Colour at Fracture Gallery
Acrylic Banners that bounce colour around the space.
Boats in the Evening light
Fantastic signage, created just for me.Thanks heaps to bmg.
Here is a glimpse of the accompanying artwork statements:
Walking Tour/No Restrictions
In 2020 for eight months plus, my life had been a whirlwind of emotions and stress, yet a hollow vacuum of lethargy and questioning purpose, of laziness, yet undertaking major sorting programs.
For one hour per day a walk in my 5km neighbourhood, instigated looking at my environment, seeing the changes of the seasons, plants sprouting new shoots, flowers, and colours. Nature has no restrictions.
Encouraged to create prints, I watched copious videos from, across the globe, on a form of printmaking new to me.
I blossomed into a creative functional being who looked forward through a black tunnel to the small light at the end and I have seen it grow larger as I get closer, and the blackness dissipates.
I am moving along with a series of artworks reminiscent of the healing power of nature.
Artwork is currently Framed under Glass
And Our Friends Are All Aboard
Statements such as: ‘We are all in this together’ and ‘We are all in the same boat’ were in abundance throughout the media as Australia endeavoured to come to terms with a pandemic that was speeding across the globe. Six weeks earlier, in late January, I left Beijing in a flurry as the city around me was shut down within two days. My solo exhibition at the beginning of March was shut down, after one week and by mid-March Melbourne was in virtual lockdown.
This artwork reflects on the media statements and my questioning that our boats during the pandemic are not all the same. I have borrowed and acknowledge my use of a line from the Beatles song: yellow submarine
Today I saw a Facebook post by my dear friend Zheng Xuewu. His post is reflective on a 2006 exhibition and an introduction to a 2009 exhibition. Below is the text from his post.
I was invited to participate in the 2006 ‘Qingzhou International Art Exhibition’, my first real international art exchange exhibition. In a Museum, how exciting. Although many international artist were represented only three attended the event, Kim Nam-Oh, Nathaniel McMahon and myself. I felt like I was representing female artists across the globe and was extremely proud to be an ambassador for my country on this momentous occasion.
We traveled by train for eleven hours. There is much to be said for the fast train today as it now takes four hours from Beijing to Qingzhou. Many of the Chinese artist went by car. Nathaniel and I were offered to go by car, however Wang Lifeng was so nervous about taking us, due to his little experience of foreigners, that he backed out of the offer.
I learnt much about luggage; all the things that I do not need to travel with. I felt burdened by my load of too many changes of clothes, laptop computer, backpack etc. My room mate, the other female Wang Jing, carried so little that I look like I was going for a month, not a week.
The exhibition was a buzz of activity, my rice and bean installation well received and made on site with local produce. I remember Shen Jingdong watching me working in the exhibition hall, whilst a row of artists sat opposite also watching me. They had carried their artworks with them which already were on the walls, while I spent several hours installing my design. Shen Jingdong announced to all and sundry, “Here, you are watching a real artist at work.” Another artist who was also busy creating in the gallery hall nearby was Liu Bolin. Today Liu Bolin is an internationally celebrated artist, who in 2019, was honoured with a solo show at Ballarat Art Gallery.
To view the full image: Select and click on first image – click on the i in a circle RHB of opened page then select View Full Size.
Qingzhou International Art Exhibition Catalogue, Designer Lao Lv
In the summer of 2006, Beijing’s art atmosphere is as hot as the weather.
Three big jeeps carried over ten Chinese-foreign artists, starting from Beijing, running six hours to the ancient city Qingzhou that is located in the middle part of Shandong province. On the way passing Dezhou, we were attracted by famous food braised chicken; we stopped for a while and bought a fat one and felt quite good.
Ancient city Qingzhou has a long history and strong culture atmosphere. Colour stone carvings collected in museums are particularly exquisite. Artist Sun Baijun and I together with Qingzhou museum jointly planed “2006 Qingzhou International Modelling Art Exhibition”. Plus, Qingzhou local artists, more than 40 artists attended the exhibition.
The exhibition mode is completely different from exhibitions at art districts in Beijing. It uses the method of local governments organizing large-scale cultural activity. The huge banners and ad billboards, colourful banners, Qingzhou leaders and cultural bureau leaders attend the opening ceremony. Zheng Zuoliang, director of Collection Dep. National Art Museum of China, famous engraving artist cut the ribbon for the exhibition.
In fact, in just short days, people who came to see the exhibition were so many. Besides the local poets and scholars, more were ordinary visitors. This is probably due to the report by Qingzhou radio on the exhibition. People cheerfully communicated with artists. We were also very happy, although the terrible Dezhou braised chicken made me and Shen Jingdong go to hospital for intravenous infusion before the exhibition ended.
This year is just good time of Chinese contemporary art. Beijing is China’s most important art battlefield, with various exhibition activities concentrated here, seeming to fight for land. Many artists are busy with little time to go away from Beijing. In such a background, we planned this modern art exhibition in little Qiangzhou which is far away from the noisy city, really out of serious artists’ art historical responsibility. Modern art in Beijing is already very active, which gets world’s attention. But small and medium cities completely do not know what modern things look like! Like Qingzhou this ancient cultural city, people’s cognition on tradition has reached a high degree. Compared to other places where traditional culture is not deep, choosing such places as pilot locations of publicity and popularity of modern art will have better effect.
We’re really a bunch of idealists.
In the summer of 2009, the weather of Beijing is still hot, but art scene is “cool” a lot.
Artist Bi Hongliang and I together with Zibo Museum jointly planed “2009 Zibo International Modelling Art Exhibition”. To conduct this activity, we drank for many times and had meals for times! Hongliang did a lot of detailed concrete and trivial things for the exhibition, such as implementation of exhibition hall, leaders and insider’s invitation, artists’ accommodations in Zibo, manual mill visit, and pictorial design and printing etc.
Compared with 2006, today’s art environment has changed significantly. Global economic crisis cooled China’s popular art market. Many artists are like hundred hearts scratching, with no interest to conduct any exhibition activities without any benefit. In fact, the exhibition activity is far better than last time. The organizers print brochures for us, arrange accommodation, visit coloured glaze factory and ceramics factory, also arrange special travelling place. This is really quite good cultural and artistic activities.
This exhibition is full of famous Chinese artist elites: oil painting master, professor o
Tianjin Academy of Fine Arts Sun Jianping; engraving master, famous art educator, professor of China Central Academy of Fine Arts Wang Huaxiang; Pioneer modern artist Shen Jingdong; true power heavyweight artists, professor of Luxun Academy of Fine Arts Wang Jiazeng; Representative of the new realism Bi Hongliang and Jin Guangri; active international modern artist, the Chinese character biennale planner Pan Xinglei; Academic painting master Zhang Chun; dean of Nanjing engraving yard, famous engravings artist, “practice power” contemporary engraving literature exhibition curators Liu Chunjie; The Chinese modern experimental ink important artists Sun Baijun; Installation artist, curator Zheng Xuewu; Wang Chuanhe Qingdao drawing artist, well-known for sea drawing. International artists attending this exhibition are Tokyo Kabata Yuuri and Kabata Chihiro sister’s combination; American Chicago site artist Alsion Rhoades, North Carolina young artist Lauren Goding, New York’s installation artist Heejung Cho; Slovakia copperplate painter, Professor Peter Kocak; Australian famous painter Jayne Dyer; South Korea installation artist Kim Namo and Yoon Ilkweon; Dutch photography installation artist Rienke de Vries; American material artist Kathryn Gohmert.
Every artist is like flying flags in the wind. Wherever these colours dance to, there will be bright beautiful scenery. We take on our art sincere, eternal love to art, we will go to more places and enjoy pleasant sensations that come from a collision of different cultures, different space-time, many differences with more people!
We believe, in the future, the climate will remain cold in winter, hot in summer. What will art be like? It is unknown.
But we always expect, if China has more places such as Qingzhou and Zibo to accept and host modern art activities, and through various media with various means, let our ordinary people have access to modern art and foreign culture with various forms and fresh vitality. We ordinary Chinese people’s drab aesthetic orientation formed in hundreds of thousand years will become multivariate.
Thanks to the Chinese and foreign artists; Thanks to all the people that participated in activities.
Here we are in a ‘7 Day’ lockdown which has given me time to stop and reflect on the month of May that went so quickly I almost missed it.
It was such a shame that Walter and I could not attend the much-awaited RISING festival activities as our tickets for all performances were cancelled. On the eve of Reconciliation Week, we were to enjoy Bungul in Hamer Hall and experience the magnificent projection on the Art Centre. I hope that the projection is extended, as it looks great in the video clips.
We did, however, have an at-home dinner celebration and extensive clear view of that giant red-blood moon. Joy for Walter that his oncologist does not want to see him for a year.
May came in a flurry as the Flora exhibition closed, the Nillumbik Prize opened at Montsalvat, and Walter featured on the front page of the Warrandyte Diary that reported on the Anzac Day March.
In between Walter’s medical appointments we managed a few days, with the dog, in Lakes Entrance. What a vibrant arts community, full of energy, collaboration, and some broad thinkers. We spent time with Jan Martin, Cynthia Boyle, Ngaere Donald, enjoying their creative studios, afternoon tea in the converted dairy and great conversations with spouses.
Another lovely dinner at Jan’s place with Josephine Jakobi, Andrea Lane, more spouses, and an introduction to the Lake Tyers Float residency.
At Red Gallery in Fitzroy, with Janet Boddy and many others I listened to Anne Hastie’s presentation, set amongst her artworks in the Peridot exhibition, in gallery one. In gallery three Beatrice Magalotti exhibited her Migration Series of drawings, installation, bronze, and photography.
I was wowed when I walked into an exhibition by Sue Jarvis. Art That Makes You Think was held at the Cardinia Cultural Centre, a superb gallery space where Sue’s paintings were literally awesome. The exhibition was a survey of some 15 years of studio production. An absolute credit to her.
It was a privilege to attend the wake and exhibition of works for Valda Cuming OAM. Valda, at 91, passed away in April 2020. Valda’s legacy continues with the profit from exhibition sales being divided between her three favourite arts organisations. I am pleased to say I now own two small Valda Cuming artworks.
Not knowing whether June will be spent at home in our 5klm zone, Walter and I are in preparation for future activities but keep low key immediately. This time is good for, well, writing, studio work, touching base with friends and family and updating social media.
With a major installation planned for November, I am required by end of June to submit images and text for promotion of the artwork and workshops, whilst continually folding paper for the installation.
As the webmaster for the Melbourne Society of Women Painters and Sculptors (MSWPS) June will see me setting up an online Covid Creations exhibition due to be launched 1 July.
Also, as editor for The Bulletin, a bi-monthly MSWPS Newsletter, my job is to have the publication out before 1 July.
For more than a year I have been planning for a crate of my artworks to be sent from China.
11 June sees the crate landing in Melbourne and delivery to my studio 18 June. I look forward to having a few of my babies in Melbourne.
In February I participated in the Year of Wonder presentation in Warrandyte. The exhibition concludes on 30 June and a celebration with a book launch will take place on Saturday 3 July. I was fortunate to be able to by a copy and full of excitement to see my images included in the publication. Our Year of Wonders Warrandyte 2020 is available for purchase at $40.
To view the full image: Select and click on first image – click on the i in a circle RHB of opened page then select View Full Size.
Jan Martin
Cynthia Boyle
Ngaere Donald
With Walter and Dolly at the Cowtell
Lake Tyers Float Residency
Anne Hastie Invitation
Flotilla 5 by Beatrice Magalotti
Sue with Construction Worker 1 and Landscape of Disused Signs
In 2020 I applied for a Creative Industries Small Fellowship with Manningham Council.
I was successful in Phase 1 and currently awaiting the outcome for Phase 2. A future blog will be written when I know the outcome. In the meantime, this link introduces the project: https://www.manningham.vic.gov.au/row-row-row-your-boat
Pleasantly surprising was a call to ask if I was interested in being part of an artist-in-residence program. Manningham Arts, as most organisations, had to rethink programs, utilizing spaces and public engagement due to the pandemic, public restrictions and various lockdowns.
The three Fellowship recipients were invited to prepare public workshops and take up residence at the Manningham Arts Studios.
In 2021 I was the first artist -in-residence, 22 February to 21 March. Day one was orientation discussion with Staci Mariolis, acquiring a pass to the studio, basics of studio access, parking and facilities. I spent time photographing the building architecture, interior designs, shapes and colours. My access time was 2-7pm Monday to Friday, although it soon changed to 6:30 due to regular classes starting up for Term 1. The last week overlapped with Michel Tuomy, when we both used the studio. I was finishing off, packing up and he was just contemplating what the residency would offer him.
I have undertaken many residencies over many years and not one has been similar. Every residency is unique in its own way, we weigh up the pros and cons, find a happy medium and work with what we have. At least it is the principle I work by each time. I have said before that as much as possible I do not have a predetermined plan for a residency. I may have some basic ideas of what the residency might offer and allow the situation to guide the work production.
The images and descriptions show the fantastic architecture of the Manningham Arts building, the studio and several of my artworks in progress.
Manningham arts are currently calling for applications that close on 30 May 2021. Below is an introduction and links for information on applying.
About the Arts Manningham FAIR
In 2020 we launched a new program of small fellowships to support local artists research and develop ideas for new arts programs, installations and performances.
The program provides recipients up to $6,000, over two phases, to develop and implement projects that provide engaging arts experiences for the Manningham community and encourage visitors to the region. Recipients also receive a short residency at Manningham Art Studios during their fellowship. This allows them to facilitate artistic collaboration and run supporting public programs, such as workshops and artist studio talks.
Two months on and a fresh perspective on my world.
Well actually it is three months on. Wow that went fast.
With ups and downs, cans and cant’s, sudden restrictions on again and off again our lives have been in a state of questions.
Do we make plans, buy tickets to a show, arrange dinner with friends, book the restaurant etc. for if we do will it be postponed, cancelled or become a non-event?
Here I am three months since the last blog, festive season come and gone, Walter in treatment for six weeks, come and gone and moved into 2021.
We are living within a freedom of movement that can be restricted at any time.
As always flexibility is the key. Yes, we make the plans, buy the flight tickets to South Australia, organise a night with friends and book a restaurant to celebrate the end of Walter’s radiotherapy treatment.
Somethings we can do, somethings we cannot do. With a sudden five-day lockdown recently, we cancelled five different activities, movie ticket purchase reimbursed, just sneaked in the new studio shelving, new worktable delivery postponed, Church service back to Zoom, Gallery visits cancelled and postponed meet up with friends.
I was due to start an artist-in-residence with Manningham Arts on February 22. Would it happen, would it not happen? Fortunately, restrictions lifted and life continued.
In the past three months I have managed to attend some exhibition openings, covid safe environments are a bit spasmodic and I do set my own criteria.
I have managed to start an exercise class, just skimming either side of a five-day lockdown.
I have entered Art Shows and actually taken artwork to the framers.
I have rearranged my studio, had new shelving installed and had a new worktable delivered.
I do not know what is normal anymore and continue my mantra of flexibility. Activities and events that pre 2020 were part of everyday life take on a different significance.
Strange experience today to walk around the supermarket and choose products, so different to online ordering and having groceries delivered to my car boot.
I went to Bunnings, physically walked into the store and asked where I could find certain products. I enjoyed the time sifting through the storage bin shelves. Just a little exciting.
As we hover at the edge of March and look at a twelve-month anniversary of the first restrictions and cancellation of my exhibition at Art at St Francis, we can thank our own resilience and personal strength that has carried us thus far.
To view the full image: Select and click on first image – click on the i in a circle RHB of opened page then select View Full Size.
