Net Work the TLF exhibition at the Art Gallery of Ballarat, exhibition catalogue with essay by Robert Hollingworth
Net Work the TLF exhibition at the Art Gallery of Ballarat, exhibition catalogue with essay by Robert Hollingworth
Art Gallery of Ballarat11 December 2010 - 30 January 2011
IntroductionThis exhibition started – as these things often do – as a small idea, a their careers the opportunity to show with and learn from one another;whim almost. But this small idea wouldn’t have come into play had creating an interesting and strong show; and, I will readily admit, for myit not been for another small idea a few months earlier. In February own professional development and satisfaction.2008, with encouragement from friends and fellow artists Erika Goftonand Simon Collins, I established an online forum for professional As with the beginnings of TLF, artists again embraced the idea andcontemporary artists. happily put their hands up to be involved. The exhibition preparation and planning has involved a lot of collaboration. The exhibiting artistsA small venture, just three people to begin with, I named it The Littlest have contributed to the development of this exhibition throughForum (TLF for short), and began to invite in people who I knew well feedback, reading proposals, suggesting exhibition titles, writing theand some who I knew not quite so well. Encouragingly people accepted catalogue essay, logo design, fundraising and sponsorship, but mostthe invitation and some invited their artist friends to join, quite soon TLF importantly, they have contributed a strong range of works that arehad a community of 30 members and growing. interesting, well executed and varied.For me part of the beauty of TLF membership was the diversity of Net Work brings to Ballarat some artists who have never previouslyartists; not only were the members not wedded to any one school of exhibited in Victoria to show alongside local artists. It unites establishedthought, they were also quite open to other people’s artistic practice. artists with those early in their career and it brings together a vast rangeAnd they were busy! Regularly the forum was updated with exhibitions, of artistic interpretations, concerns and ideas expressed through a rangecomments and other news. As I prepared the TLF Newsletter each of mediums.month there was never any shortage of content. And so, in late 2010 the small idea became something rather moreLikewise there is no shortage of talent which I felt could be shared more grand - a significant exhibition with over 100 works of art, by 38widely. In June 2008 I started thinking about curating an exhibition from contemporary artists taking up two gallery spaces in Australia’s oldestthe TLF membership. There were, of course, a range of motivations for and largest regional gallery.embarking on this venture: extending the camaraderie of the foruminto a public presentation of work; giving artists at different stages of Amanda van Gils
The Littlest ForumIf computers were available to Leonardo hed be emailing Botticelli. In 2008 Amanda van Gils conceived and established TLF or The LittlestTheyd swap recipes for pigments or a source of low cost ultramarine. Forum. It has since become a shared space, open yet private, communalTheyd discuss the difficulties finding obliging patrons, sturdy models yet industry based, critical but fair, supportive but not gratuitously so.and unblighted corpses. And Leonardo would join Facebook to chat Artists are invited to join by other members, that way TLF remains awith Michelangelo in Venice, Durer in Germany and Bosch in Holland. sphere for professionals (the thirty-eight artists in this show regularlyHed use the internet to locate Copernicus the astronomer and exhibit across the country). In total there are now one hundred TLFColumbus the explorer. Of course he would. Hed recognize that along registered users from Australia and overseas and their 15,000 postswith other studio equipment, the computer can be a vital tool for artists, to date range in content from forthcoming shows, technical advice,a conduit to the thinking world, to ideas, to new discoveries and to unscrupulous dealers, approaching new galleries, to shared concerns,colleagues. opportunities and opinions.The time has passed when a small clique of painters or sculptors met This exhibition celebrates the diversity of these opinions and theonce a week in a smoky café and quaffed absinthe before disappearing diversity of TLF artists. Rarely do we see such a broad range of Australianback into their silent, linseed and turpsy caves.These days it seems so art practice in a single show or have the opportunity to appraise soatelier for artists to squirrel themselves away in isolation, protecting many different conceptual frameworks, styles, subjects and mediumstheir unique vision and waiting to be discovered. We are in the age of all under the one roof. This breadth of ideas rises from the dust oftechnology and very few creative people deny the possibilities that it postmodern pluralism, but what is it that unites them? In this instance itpresents. is the forum; the online virtual theatre where all voices are heard equally.Artists want to communicate - its an intrinsic part of the creative As much as anything else, TLF connects people. It connects people whoprocess - and in this era of globalised affairs, its harder to be heard than sometimes have difficulty connecting: artists in regional areas, artistsever before. When Leonardo was born in Florence it had the population who are parents of young children, artists who dont fit the mouldof Dubbo, when he worked in Milan it was two thirds the size of Ballarat, of the gregarious, socializing networker frequenting openings andand when he finally went to Venice - the big smoke - it boasted a art gatherings. And artists who have ideas, opinions, knowledge andpopulation about half that of Geelong. With the number of visual artists experience but, for whatever reason, are not inclined to share them inin Australia topping 50,000, where is there room for the individual? How front of live audiences. And above all else, TLF is democratic - age, status,are these artists to connect to their industry let alone each other? reputation, social and economic circumstance, do not come into it; mutual exchange and reciprocity do.The internet seems obvious yet in some ways its a populated world amillion times larger than the one we walk around in. With its trillions Recently, members were asked why they log on to TLF. Dozensof connections youd expect to disappear in cyberspace, but ironically responded: a sense of community, relationships formed, building ait can foster individuality, it can be a place for ones voice to be heard, knowledge base, shared ideas, opinions, humour, process, and advice;to play, argue, be vacuous or participate in meaningful peer-driven a sense of solidarity, affinity and support; a meeting place - initially indialogue. Real life or web life? It isnt either/or. Face to face conversations correspondence then often in person. But one post by Deb Mostertcan be guarded, cursory and trifling just as the web can allow for more perhaps summarizes it best:considered perspectives. And inside the screen, according to onespreferences, theres a world where a private forum can have a real I like to celebrate the common aims, nod in shared frustration at the trials,presence for artists isolated by distance, circumstance or the solitary thoughtfully disagree sometimes but always acknowledge the richnessnature of their practice. of the human condition and the generosity of fellow artists in sharing themselves. Im very grateful to Amanda and the forum for introducing meOf course there are plenty of internet sites to help artists stay informed: to a fantastically eclectic bunch of people, some of whom I am now proud toblogs, personal websites, online galleries, stores, magazines and info call friends.links - recently, 340 major galleries from 23 countries met on Twitter andusers were invited to ask questions of curators working at their favourite Robert Hollingworthgalleries. Its all important, but in the end, impersonal, an informationresource rather than a meeting of minds.
Kim AndersonIt’s only nothing just invisible me 2 2008, ink on wall, dimensions variableQuick exit 2010, ink on paper, 25 x 50cmAfter completing her Honours degree at the Anderson works in drawing from the more they bear the inscriptions of my life experience,University of Ballarat Arts Academy in 2003 conventional practice of works on paper my passions and fears and memories layeredand a PG Cert. in Art Conservation at the through to projection and site specific over one another like a palimpsest.”University of Melbourne in 2006, Kim Anderson installation. Her imagery is inspired by thedeparted Ballarat to study a Masters degree body; its surfaces, patterns, creases and scars Kim is currently artist-in-residence at theat the University of Dundee in Scotland in that give evidence to the life within the University of Ballarat Arts Academy, a tutor in2007. Subsequently Kim undertook a curatorial body and it’s interaction with the world. “I Art History & Theory, and is also a committeeinternship with Deveron Arts in Scotland, and am continually fascinated by the expressive member of artist-run initiative Space 22. Kimhas since been awarded residencies in Scotland potential of hands and feet: in constant contact joined TLF in May 2009, invited in by Debbie Hill.(Hospitalfield House, Arbroath), Australia with the rest of the world, they are more worn Kim joined TLF in May 2009, invited in by(Murray’s Cottage, Hill End), and most recently and creased than anywhere else on the body. Debbie Hill.an Australia Council International Studio They are tough yet sensitive, dexterous and yetResidency in Rome. somehow vulnerable. Through constant wear More information: www.kim-anderson.com.au
Aliey Ball Tribiont 2010, epoxy resin 95 x 75 x 65cmAliey Ball is a Melbourne-based artist working community arts collaborator in the role of Aliey joined TLF in March 2010, invited in byprimarily in sculpture. mentor artist, curator, facilitator and consulting Amanda van Gils. artist.As a student at Victorian College of the Arts she More information:was awarded the NGV Undergraduate Award Aliey has undertaken several commissions alieyball-fineart.blogspot.comand commissioned to install a permanent work for site-specific public art, most recently aby Andrea Hull, then director of VCA. large-scale, public art commission for the Dandenong Hospital, Southern Health. RecentSince graduating, she has exhibited in solo and exhibitions include the 2010 Toyota Indoorgroup shows and is the recipient of several arts Outdoor Sculpture Exhibition and 2010 Yeringgrants. She lectured in visual communications Station Sculpture Exhibition & Awards. within the School of Architecture and Designat RMIT for several years and works as a
Jan BergAn uncertainty of one second in thirty million years (details) 2010, ink on paper, 304 x 228cmMelbourne based artist, Jan Berg has exhibited Shine, Poimena Art Award, Launceston 2007in 16 shows since graduating from the and Robert Jacks Drawing Prize, Bendigo ArtVictorian College of the Arts (VCA), most Gallery 2006.recently the solo exhibition Somewhere to Jan joined TLF in June 2008, invited in byHide at Counihan Gallery in Melbourne. Berg Amanda van Gils.has been a finalist in a number of notableart prizes including in 2009: the Darebin La More information:Trobe Art Prize, Melbourne, Brink Poimena Art www.redbubble.com/people/janbergAward, Launceston, Prometheus Visual ArtsAward, Queensland and City of Hobart Art Prize,Hobart. Other award exhibitions include TheHutchins Works on Paper Art Prize, Hobart 2007;
Kate Bergin Call of the Wild 2010, oil on canvas, 126 x 160cm Nightlife 2010, oil on canvas, 101 x 76cmKate Bergin has been painting and exhibiting exhibitions including the Arthur Guy Memorialsince graduating from the Victorian College Art Prize held at the Bendigo Art Gallery. Inof the Arts in 1992. Her work is held in many 2010 Kate was awarded the Albany Art Prizecollections including the Art Gallery of NSW one of the richest awards in Western Australia(gifted by Margaret Olley), Artbank, Brisbane and held solo exhibitions at Mossgreen GalleryCity Hall, Port Phillip Collection, the City of in Melbourne and Hill Smith Gallery in Adelaide.Albany and the Victorian College of the Arts. Kate joined TLF in May 2009, invited in by MarkIn 2009 Kate won the Corangamarah Art Prize Stewart.and the People’s Choice Award at the Sunshine More information:Coast Art Prize as well as Highly Commended www.redchurchstudio.comat the Waterhouse Natural History Art Award.Also in 2009 Kate was a finalist in ten award
Sue BeyerSomething inside of me wanted to believe him 2010, acrylic and posca pen on linen, 71cm x 61.5cmVoters tend to shy away from candidates who are on the fence 2010, acrylic and posca pen on linen, 71cm x 61.5cmDuring 2010 Sue Beyer completed her honours commissioned by the Qld State Governent for a Sue joined TLF in October 2008, invited in byyear in fine art at QCA, Griffith University, public art project in 2009. Simon Collins.Brisbane. Beyer’s practice is informed by public space, More information:In 2007, as part of her studies, Sue took part in psychogeography and the façade of the www.suebeyer.com.aua 5 month study exchange at California State ordered suburban environment. Her work isUniversity and participated in two group shows concerned with the effect that spaces andwhile in San Francisco. suburban settings have on an individual’s emotions and behaviour.Sue has been a finalist in the ChurchieEmerging art exhibition, the Clayton Utz Sue is currently based in Brisbane, AustraliaTravelling Scholarship, won first prize in and her work is held in private collectionsthe RBWH Art Award in 2008 and was internationally.
Louise Blyton Pollen (detail) 2010 pigment on linen, approx 40x30cm Pollen installation at Dianne Tanzer GalleryLouise Blyton was born in Melbourne and the materials are key to Blyton’s work, as is the More information: www.louiseblyton.comgraduated in 1988 with a Bachelor of Fine physical space these works inhabit.Art from RMIT University. She has exhibitedwidely in group shows including the recent She is a 2010 finalist in the Blake Prize. BlytonShilo Project, at The Ian Potter Museum of Art has had 10 solo exhibitions and currently showscurated by Chris McAuliffe and Reductive, at through Dianne Tanzer Gallery. In 2008, BlytonACGA Gallery Federation Square. completed a Redgate Gallery International Artist Residency in Beijing, China. Her work isBlyton works in the reductive tradition held in private collections in England, France,employing minimal materials - raw linen and Portugal, China and the USA.pigments - in a pared back way to create2d and 3d artworks that convey a distilled Louise joined TLF in April 2008, invited in byessence of beauty. Composition, colour and Amanda van Gils.
David BrayshawStudy for ‘embers’ 2010, oil on linen, 46cm x 40cmResistance 2010, oil on linen, 46cm x 40cmStudy for ‘Reef wreck’ 2010, oil on linen, 46cm x 40cmDavid Brayshaw is a Sydney based artist ocean, intimately observing the changing more than 30 art awards, been featured inrenowned for his coastal, Great Barrier Reef coastal environment. His paintings are numerous publications and acquired for manyand alpine paintings. David embarked on evidence of a close relationship with the ocean collections including Art Bank Australia and hehis career early, teaching himself to paint landscape and the cycle of tides and moon. is currently exhibiting in Australian, Hong Kongat 10 and making his first gallery sales at Brayshaw is currently keenly aware of the and USA galleries.16. At 22 he turned professional and has exploitation of resources and the challenges David joined TLF in February 2008, invited in bysince exhibited in over 20 solo and 50 group these pristine environments face; his current Amanda van Gils.exhibitions in Sydney, Melbourne, Brisbane body of work explores the hope for renewaland internationally including ARTSingapore through increased awareness. More information: www.davidbrayshaw.comContemporary Arts Expo, Hong Kong Art Walk, Brayshaw is a Fellow of the Australian InstituteDubai International Art Expo. of History and Art and an Exhibiting Member ofFor the past 25 years, David has lived by the the Royal Art Society. His paintings have earned
Claire Bridge Did You Feel The Earth Move? 2010, oil on linen, 123 x 104cm Rising tides 2010, oil on linen, 123 x 104cmClaire Bridge’s brushwork reveals a deep seductively explores the web of energy that Claire joined TLF in February 2008, invited in bysensitivity toward her subject matter. Having hangs between humans and the natural world Amanda van Gils.proven her mastery of traditional Neo- we inhabit. More information:Classical oil painting techniques (she hasparticipated in numerous national awards), In 2009, Bridge won both the People’s Choice www.claire-bridge.comBridge’s more recent works have begun to Award and the Living Art Award for the Stanseek out a series of conceptual concerns and Maureen Duke Gold Coast Art Prize. Withregarding the human condition. Youth’s her portrait If Looks Could Kill, she was a finalistmired slide toward inevitable mortality and in the 2009 Doug Moran National Portrait Prizethe solitude of passionate longing are just for the second year running and is a formersome of the themes that have been poetically winner of the People’s Choice Award for thetackled by this emerging talent. Bridge’s work Portia Geach Memorial Award.
David ColesStudio of de Kooning 2010, oil on canvas, 41 x 35.5cmWarhol Interior 2010, oil on canvas, 41 x 35.5cmAmerican collector - Hanson 2010, oil on canvas, 41 x 35.5cmDavid Coles was born in 1964 in the United author of numerous papers on the technical traditions on painting and the critique ofKingdom and graduated with a Bachelor of applications of artist materials. consumption and codes of taste that informFine Arts in Painting from Bristol School of Art the attribution of cultural authority. Coles’ work explores the nature of the beautifulin 1984. Coles exhibited regularly in London, image and the objects we desire. His paintings David joined TLF in November 2008, invited inbefore emigrating to Melbourne in 1992. by Louise Blyton. are often depictions of private collectionsHe has held more than twenty solo and of artwork in-situ, gleaned predominantlygroup shows, most recently The Critic Smiles at from found imagery. Although photo-based,Rearview Gallery, Melbourne 2010. they are about the process of painting, not photography. The mechanical eye of theColes is the founder of Langridge Artist Colours, camera, fixes the image, in particular, light, buta highly regarded manufacturer of professional the image is distilled, refined and re-imagined.artist’s oil paints and mediums. He is the His art straddles an awkward divide, between
Simon Collins Beautiful Fucked Up Day 3 2010, oil, enamel, charcoal and acrylic on board Beautiful Fucked Up Day 5 2010, oil, charcoal and acrylic on boardBorn 1969 in Australia, Simon Collins resides in Collins has held several solo shows in Sydney Simon is a founding member of TLF, joiningSydney. He has a Bachelor of Visual Arts from and Queensland and been short-listed in in February 2008 as the third member, he wasthe Sydney College of the Arts (University of numerous prestigious awards including: invited in by Amanda van Gils.Sydney) 1989. the Sunshine Coast Art Prize, the Stan and More information: www.simoncollins.com.au Maureen Duke Prize, the Prometheus VisualCollins takes images from ordinary life insuburban Sydney, and through his in-studio Arts Award, the Mosman Art Prize, the Waverleyediting - the judicious selections of details Art Prize, Doug Moran National Portrait Prize,to include and those to leave behind - he the Churchie National Emerging Art Exhibitioncreates richly expressive paintings. His work is and Art Interview 2007 International Awarda commitment to the richness of the everyday Exhibition, Gallery Twentyfour, Berlin 2007.and to the poetic possibilities of his chosen In 2010 Simon Collins won the inaugural Stmedium. George Art Award in Sydney.
Jacqui ComerStellar Signature 4 2010, mixed media on paper, 44cm x 44cmStellar Signature 3 2010, mixed media on paper, 44cm x 44cmStellar Signature 1 2010, mixed media on paper, 44cm x 44cmJacqui Comer is a multi-media artist with 20 collections. Jacqui has also been a recipient of Victoria where she lives with her husband andyears experience working across the fields of an Arts Tasmania Professional Development daughter.painting, printmaking and drawing. Jacqui Grant. Jacqui joined TLF in June 2008, invited in bystudied Fine Art at LaTrobe University, Bendigo, Her images are created using elements of Erika Gofton.and completed her honours at the TasmanianSchool of Art, Hobart. She has held solo abstraction within landscape. Over the past More information: www.jacquicomer.com.au exhibitions in Hobart and Sydney and has been decade her bodies of work have been basedinvolved in many group exhibitions throughout on landscapes, seascapes and space images.Australia and overseas. Growing up in the vast open spaces of Central Victoria has imbued her work with a ‘bigComer’s work has been collected by ArtBank, landscape’ feel.Macquarie Bank, Launceston General Hospital,as well as private international and national Jacqui has recently returned to Central
Dagmar Cyrulla Judged 2008, oil on linen, 206 x 245cm The carer II 2008, oil on linen 31 x 40cmDagmar Cyrulla holds a Masters in Fine Art from Cyrulla has recently been awarded prizes in Amanda van Gils.Monash University. Her figurative works are the: Mt Eyre Vineyard Art Award, Williamstown More information: www.dagmarcyrulla.com.aupsychologically rich renditions of the business Contemporary Art Awards, and second prizeof human relationships. Immense yet quiet, in the Shirley Hannan Portrait award. Cyrullaher works catch figures in private moments, a exhibits extensively throughout Australia,subtle glance or gesture carries the narrative. recent award exhibitions include the Doug Moran Portrait Prize, the Dobell Drawing Prize,“Dagmar Cyrulla paints profound things with a the Sulman Prize, Black Swan Portrait Prize, therestraint that we can all recognise. It’s the restraint Kedumba, Prometheus and The Alice Prize.of survival and coping, of getting on with it, of Cyrulla is represented in public and privatehuman beings living.” collections in Australia and internationally.John Matthews, ArtKritique, 2010 Dagmar joined TLF in April 2009, invited in by
Chris DelprattDefining Light 2010, oil on canvas, 75 x 91.5cms, photograph Malcolm CrossA Winter’s Day 2010, oil on canvas 60 x 150 cm , photograph Malcolm CrossChris Delpratt is a Melbourne based artist collections including the Toowoomba Regionalworking in the landscape genre. Since Gallery and Maroondah City collection.completing a Bachelor of Art at RMIT, Chris hasexhibited her work extensively around Australia, Chris joined TLF in October 2008, invited in bymostly in Victoria and Queensland where she Claire Bridge.was based for a number of years. More information: www.chrisdelpratt.comIn recent years her works have been selectedfor inclusion in the Norvill Art Prize, FleurieuArt Prize, SA, R&M McGivern Art Prize,Melbourne (twice), the Darebin LaTrobe ArtPrize, Melbourne and the Paddington ArtPrize, Sydney. Her work is held in a number of
Andrew Ensor Chaos (theory) oceans 2009, pen and acrylic on paper, 38 x 32cm Entomology exploration 2010, pen and acrylic on paper, 38 x 32cm Sailing floral seas 2008, pen and acrylic on paper, 38 x 32cmAndrew Ensor is a Sydney based artist using Gallery for April 2011.pen and acrylic on paper in an attempt to blur Andrew joined TLF in May 2008, invited in bythe boundaries between painting and drawing. Amanda van Gils.The illustrative influence comes from abackground in books and a lifetime ofsketching. The work displays a gentledecadence and subtle line in order to createsmall escapisms.Since his first exhibition in 2004 Andrew hashad 15 solo shows, including three in 2010. Heis planning his first solo show with Hardware
Robert FentonDj Lovin, One night stand 2010, acrylic, oil & digital print on canvas, 106 x 110cmShe told me to grow up then left me for a fancy boy #2 2010, oil paint and digital image on canvas, 40 x 60cmShe left him for a real manBorn in 1966 Sydney, Robert Fenton grew up Still Life Award the last four years. He has is further enhanced by his combination ofin Coffs Harbour before moving to Sydney completed many commissions and has work traditional and contemporary mediums.where he studied at the National Art School, in private and corporate collections in Australia More information: www.robertfenton.com.auEast Sydney, NSW. He moved to Melbourne and overseas.and opened an artist run gallery (Makingsense Fenton’s current work combines art historicalart space in North Melbourne) with two other elements with contemporary figures, mostartists. He currently lives in Frankston, Victoria. commonly engaged in youthful activity -Robert Fenton has held six solo exhibitions and skateboarding, DJ-ing - in order to createparticipated in numerous group exhibitions narrative paintings which function in aand awards around Australia, including a finalist revisionist manner. The juxtaposition ofin the Churchie National Emerging Art Prize, historical and contemporary elements createsSunshine Coast Art Prize and Eutick Memorial ambiguity and a sense of displacement, this
Dianne Gall The Visitor 2009, oil on linen, 111x137cm Home 2009, oil on linen, 61x71cmDianne Gall was born in Adelaide in 1964 and situated close to the CBD, she is currently gives these elements the importance theygraduated from the South Australian School mentoring other artists, writing and researching deserve, they allude to the hidden world.of Art in 1985 with a major in painting. Since whilst continuing her practice. More information: www.diannegall.comthen she has exhibited 17 solo exhibitions Her current focus whilst exploring the visualand participated in dozens of group shows. medium, centres around the genre of FilmDianne’s work resides in numerous public and Noir. The imagery looks for ways to describeprivate collections throughout Australia. Galls’ the fragility of life, the beauty in the thingswork has been selected for several art prizes that surround and contribute to the memoryand included in a survey of Contemporary picture of people and places. It is a snapshotAustralian Still Life genre artists at Tarrawarra of being human, a voyeuristic representationMuseum of Art. of the journey we must take through life. LifeDianne works from a private studio in Adelaide is raw, it’s tough and the lighting of Film Noir,
Michelle GiacobelloThe Observatory 2009, oil on linen 92 x 92cmThe Other Side 2010, oil on linen 92 x 92cmAfter working as a graphic designer for over a wall. To me – that natural visual texture is a More information:15 years, Michelle Giacobello made the leap feast for the eyes. Most people are too busy to www.michellegiacobello.comto fine art. She is based in Melbourne and notice the transience in detail, and it can behas been painting for 6 years, with 5 solo and sumptuous, velvety and so deeply layered.numerous group shows in that time. “I try to capture that moment in the knowledge that it will never be the same again – the sameWorking in oils, Michelle finds the patterns of light, the same leaves, the same footprints willnature absorbing. “I could watch for hours as eternally change, which is a miracle don’t youshadows pass across the ground delighting think.”in the beauty of the lacework revealed, andtake endless photographs of lichen on a tree Michelle joined TLF in September 2008, invitedtrunk, barnacles on a rock or paint peeling from in by Amanda van Gils.
Minka GillianPregnant Pause 2010, Polyester monofilament, artificial stamen, and glass beads, 65 x 32 x 28cm, Photo Matthew Young Arum droop 2010, Polyester monofilament, found rope, 33 x 32 x 36cm, Photo Matthew Young Pink stem 2010, Polyester monofilament, 73 x 34 x 32cm, Photo Matthew Young Minka Gillian was born in Canberra, Australia motherhood and working towards her 8th solo 1975. She grew up in Hobart, Tasmania where exhibition. she completed a BFA with first class Honours in Minka joined TLF in August 2008, invited in by Sculpture, University of Tasmania 1994-1998. Erika Gofton. Gillian spent several years living and working in Japan. She was recently featured in an article in Textile Fibre Forum by Inga Walton (Issue 3, No 95,2009) and has been curated into a number of exhibitions, most recently Meta4 at Artereal Gallery and Hands On at Hazelhurst Gallery, curated by Cash Brown. She is currently living and working in Sydney, enjoying juggling
Erika GoftonQuiet Voice 1 2010, oil on canvas, 185 x 95cmQuiet Voice 2 2010, oil on canvas, 185 x 95cmErika Gofton is a Melbourne based painter. been a finalist in the EMSLA, Sunshine Coast ArtWorking predominately with the female figure. Prize, Mosman Art Prize, R & M McGivern Prize,Gofton explores notions of fragility and change Redland Westpac Art Prize, City of Albany Artand aims to create works that encourage the Prize and 6 times selected in the Williamstownviewer to breathe in the stillness. Contemporary Art Prize. She grew up in Hobart and has a Bachelor Erika is a founding member of TLF, joining inof Fine Arts degree from the University of February 2008 as the second member, invitedTasmania. She has exhibited in numerous in by Amanda van Gils.group shows and had solo exhibitions atSmyrnios Gallery, Dickerson Gallery, Frances More information:Keevil, Schubert Contemporary and The www.erikagofton.comSubstation: Centre for Art and Culture. She has
Debbie Hill Mabel and Estelle 2010, Book, Pigment marker on paper, (H) 70 cm x (W) variableBorn in Melbourne Debbie Hill completed a book projects in Australia and the UK and has Debbie currently resides in Ballarat; her work isBFA (Drawing major) at the University of Ballarat twice been a finalist in the Libris Awards held held in collections in Australia, Germany andand Honours year at ACU National Melbourne bi-annually in Mackay, Queensland. the UK.under the supervision of Maryanne Coutts. Atthe completion of her degree she was awarded During the last five years Hill has been a finalist Debbie joined TLF in June 2008, invited in bythe UB International travel award and the in a number of prizes including the Banyule Erika GoftonNGV Trustees Award. Using these awards, she Works on Paper Award, the Williamstown More information:travelled to North-West Germany and engaged Contemporary Art Prize, the Robert Jacks www.debbiehill.com.auwith artists in the Ruhr region. Drawing Prize and the Dominique Segan Drawing Prize receiving Highly CommendedIn 2006 Hill was invited to hold a solo exhibition in the latter two prizes. In 2007 she was shortat the Raum fur Experimental Kunst in listed for the Toyota Career Development TravelRecklinghausen. She has been involved in artist Award.
Robert HollingworthNew constellations - The PC mouse 2010, acrylic on canvas, 122 x 168cmNew constellations - The oil rig 2010, acrylic on canvas, 122 x 168cmRobert Hollingworth lives and works in exhibitions at the Maroondah Art Gallery and collections in seven countries. Bibliography:Melbourne. He studied both Fine Art and the Geelong Gallery. He was the winner of the Who’s Who in Victoria 2008.Professional Writing at RMIT University. He has Mt Buller Art Prize in 2008. Robert joined TLF in October 2008, invited in bywritten for many journals and has had two “I use the cosmos as a metaphor for human Louise Blyton.books published, the latest, They Call Me theWildman, was shortlisted in 2010 for the S.A. longing. Deep space draws us towards a ‘scientific More information:Premier’s Literary Awards. He has held more sublime,’ a sense of well-being in a cosmic www.roberthollingworth.com.authan thirty solo exhibitions, most recently wonderland away from earthly concerns andin 2010, So far, so close, with his Melbourne follies. But we cannot escape ourselves: out there,gallery Blockprojects. who and what we are is reflected back upon us.”Other recent shows include John Leslie Art Hollingworth’s work is held in more than aPrize, Sulman Prize and Albury Art Prize, solo dozen public collections as well as private
Kez Hughes Emily Floyd, Anna Schwartz 2010 , oil on linen, 41 x 61cm Simon Pericich, 200 Gertrude 2010, oil on cotton, 81 x 112cmKez Hughes completed Bachelor of Arts, in other cultures such as music blogging andHonours at the Victorian College of the Arts zines. Hughes’ painting uses appropriation to(VCA), since then she has exhibited locally blend modernist modalities of the artist, critic,in Melbourne, with 6 solo exhibitions, and curator and producer.a number of group exhibitions including Kez joined TLF in January 2009, invited in byWestspace’s annual A4 Art exhibition four years Louise Blyton.in a row, and also in Sri Lanka.Hughes’ work predominantly focuses onappropriation of imagery from the localAustralian art community. Producing oilpaintings of other Artist’s exhibitions, her workis a nod to the prevailing DIY mode often found
Julie KeatingUnfortunately, their dissection failed to illuminate 2009, oil on linen, 50 x 50cmShed almost surrendered herself to Anonymity 2010, oil on linen, 50 x 50cmShe’d finally succeeded in her ambition to underachieve 2010, oil on linen, 50 x 50cmJulie Keating is an artist living in Melbourne. of awards including the Eutick Memorial Still Julie joined TLF in July 2008, invited in byPrimarily an oil painter, she is engaged in Life Award, Coffs Harbour, the Lethbridge Amanda van Gils.making small, often highly detailed works that 10000, Brisbane, the Flanagan Prize, Ballarat, the More information:are a little reminiscent of the Dutch Still-Life Corangamarah Art Prize, Colac and the Mt. Eyre juliekeating.netgenre, though more minimalist in style. Vineyards Art Prize, in Sydney.Since completing a Diploma of Fine Art at Keating’s current series of paintings usesthe Latrobe College of Fine Art and Design in origami birds as an inanimate motif that,Melbourne, Julie has had a number of solo and strangely enough, manage to depict humangroup shows and her work has been exhibited psychological states and encounters, creatingthroughout Australia. a sense of un-ease and often dark humour enabling us to engage with the ‘birds’ andHer paintings have been selected for a number forget that they are nothing more than paper.
Siobhan Kelley Prahran DATE acrylic on canvas, 90 x 90cm Direction Connection comprising 9 separate paintings, each acrylic on canvas, 90 x 90cmSiobhan Kelley considers her map paintings Victorian College of the Arts and has been a studio/house on the Mornington Peninsulaas landscapes in that they depict the land, finalist in a number of art prizes including the with her easel, her husband, two children andalbeit in a graphic form and from an aerial Paddington Art Prize and the Mosman Art not much space for anything else.perspective. While landscape painting is Prize in Sydney, the ANL Maritime Art Prize Siobhan joined TLF in June 2008, invited in bygenerally understood from a horizontal point of in Melbourne, the City of Albany Art Prize in Steve Warburton.view and often bears some resemblance to the Western Australia, the Fleurieu Peninsula Waterland itself a cartographic map reduces, edits Prize in South Australia and most recently theand simplifies the land in to a graphic form. 2010 Glover Prize in Tasmania. She has been anHer paintings explore the relationship between artist in residence at the Melbourne Aquariumthe physical world and its graphic translation and has had solo shows in both Melbourne andwith an emphasis on the location. Sydney.Kelley has a Master of Visual Arts from the Kelley works and lives in a two-bedroom
Glenn LockleeIndustrial landscape Enfield 2010, oil on board, 30 x 33cmNightcrawling 2010, oil on board, 30 x 33cmSt Peters 2010, oil on board, 30 x 33cmGlenn Locklee is a Sydney based painter His urban images, landscapes and nudes havewhose current subject matter is the urban been included in a number of exhibitions,environment of his local area. including the Mosman Art Prize. His work is held in private collections in Japan, the USAHis work takes unremarkable scenarios and and Australiainfuses them with a fresh perspective. “With anincremental tilt of perception I try to transform Glenn joined TLF in June 2008, invited in bythese images to conjure up sensations of Simon Collins.the intimate, melancholic or exuberant bydipping into the wells of subliminal memory.” More information:The rendering of these pieces with instinctive www.glennlocklee.comsurface texture, tone and colour is the key totheir potential for poetry.
Vito Manfredi Finder 2010, polymer clay, acrylic paint and rubber, 16 x 38 x 11cm Ganeshish 2010, watercolour on paper, 114 x 81cmVito Manfredi studied at the School of Art in exhibition curated by Ashley Crawford, TonyHobart. He was a founding member of the Lloyd and Sam Leach.artist collective Chameleon before moving He has exhibited in Hobart, Melbourne, Sydney,to Melbourne where he became involved in New York and Berlin and currently resides invarious artist run initiatives and created a visual Queensland.arts program for community TV (The Spot). Vito joined TLF in February 2008, invited in byManfredi works in both sculpture and drawing, Amanda van Gils.creating arrestingly delicate images. His eerieconfigurations of ‘the body’ have been included More information:in the Robert Jacks Art Prize, the MPRG National www.vitomanfredi.comArt on Paper Award and most recently he wasan invited artist in the inaugural NotFair satellite
Deb MostertSeated Lead Man and Tin Turkey 2010, oil on plywood, 24 x 48cmBird and Scottie Dog 2010, oil on plywood 24 x 48cmDeb Mostert is a visual artist working on In recent years, her work has been included in Prize, Eutick Memorial Still Life Awards, Coffsthe Ipswich/Brisbane border. A graduate of curated exhibitions at Hawkesbury Regional Harbour 2009 and in 2008 of Renault NewQueensland College of Art, Griffith University, Gallery and Ipswich Regional Gallery and in Generation People’s Choice Award, Art Brisbaneshe has held 8 solo shows since 2005 and many art prize exhibitions including: three time 2008.Her works are found in regional gallerytaken part in over 30 group shows. Mostert finalist Eutick Memorial Still Life Award, 2010, collections of Coffs Harbour and Ipswich and 2009, 2008; twice selected for Sunshine Coast in many private collections in Australia and theuses humble objects to explore notions on the Art Prize, (2010, 2008); Redlands Art Awards, Netherlands.sacred and the banal. The objects and their (2010, 2008) and Duke Gold Coast Art Prize, More information:interactions can be read in many different (2010, 2007). the Salon des Refuses, Launch www.debmostertartist.com.auways as they become reflectors of the viewer’s Clayton Utz Travelling Scholarship and House ofexperiences and begin to reveal the potential Phillips Fine Art Drawing Prize amongst others.narratives that can lurk beneath the humblesurfaces of plastic, porcelain, lead and tin. In 2009 Deb was the winner of the Sponsor’s
Ilona Nelson You Swept Me Off My Feet (Dance Sucker Series, limited edition 1/5 ) 2010, photograph on canvas, 60 x 60cm Once more (Dance Sucker Series, limited edition 1/5 ) 2010, photograph on canvas, 102 x 81cmIlona Nelson is a new media artist who works Contemporary Art Prize. Her work has been Illona joined TLF in October 2008, invited in bypredominantly with photography. She is best featured in teaching guides ‘Photomedia for Erika Gofton.known for her self-portraits with a layer of Senior Arts’ and ‘Studio Arts - A Student Guide’social commentary (and a sense of humour) both by 4cats Gallery, and selected to be More information:and is consistently examining identity, hers and printed as an Avant Card three times. www.illyphotography.comsociety’s. Born in country Victoria, Nelson attendedNelson has exhibited throughout Australia LaTrobe University, Bendigo and completed aand held solo exhibitions in Melbourne at the Bachelor of Visual Arts in 1998. She now lives,Town Hall Gallery and 4cats Gallery. She’s been works and exhibits in Melbourne (Australia)a finalist in many awards such as the Macarthur with her husband, children and Barkly theCook Art Award, Julie Millowick Acquisitive boxer.Photographic Award and Williamstown
Beth NorlingStumped vinyl, cotton 50 x 50cm, photograph: Silversalt PhotographyStumpery 2009, vinyl, dimensions variable, photograph: Silversalt PhotographyBeth Norling is predominantly a sculptor and Beth grew up in Sydney but now lives andinstallation artist working in mixed media. To works in the Blue Mountains, she continues todate her work has concentrated on the tension have a long loved career as a children’s bookbetween obsession and restraint and relates author and illustrator and has two kids.both universal and personal truths. A recent Beth joined TLF in April 2008, invited in byloss of her own social structure and domestic Simon Collins.integrity brought her to develop an interest in More information:stumperies, notably these garden-graveyards www.bethnorling.comof tree stumps are not only a reminder of theenvironmental impact of wastefulness, theyare symbolic of a sense of desolation anddestruction we experience individually.
Steve Rosendale Lunch at the Vinteuils 2010, oil on linen, 135 x 210cm Gas Station 2010, oil on linen, 72 x 107cmMystery, tension and high contrast embody the intriguing character of the city street. “Like its More information:atmosphere of Steve Rosendale’s paintings. mysterious inhabitants, the city is seductive and www.steverosendale.com.auBorn in Melbourne in 1973, Rosendale enticing, yet it’s magic belies a hidden, sinistergraduated from Monash University with a fine side. The artist’s cool detachment allows thesearts degree. Rosendale has exhibited in Sydney deeply psychological cityscapes to speak forand Brisbane with Libby Edwards Galleries. themselves. The city breathes, has a certain pulse or rhythm, and is animated by an ever-Steve’s current body of work, Bring the Money,Come Alone, lures the viewer into his nostalgic changing personality.”world of romantic crime…an urban vision both Melissa Milescomplex and sophisticated. Steve joined TLF in May 2008, invited in byRosendale translates to canvas the brash, Amanda van Gils.
Mark StewartRoad to Nowhere 2010, oil on canvas, 76 x 101cmPath of Least Resistance 2010, oil on canvas, 76 x 101cmSince graduating from the Victorian College of The culmination of this time was a painting Incorporating both the grid and the singlethe Arts in the early nineties Mark Stewart has selected for Winsor and Newton’s Worldwide image Mark references his travels to createbeen painting and exhibiting for more than Millennium Art Prize exhibited at the United ethereal images of land and seascapes. 15 years nationally as well as internationally in Nations in New York in 2000. Mark joined TLF in May 2009, invited in byLondon, Ireland and Singapore. Amanda van Gils. In 2010 Mark has been selected as a finalist inMark and his wife, artist, Kate Bergin lived in the Albany Art Prize, WA’s richest prize for the More information:Cairns for five years where Mark’s paintings visual arts, the Calleen Art Prize at the Cowra www.redchurchstudio.comdeveloped an intensity of colour and sawhis work gridded into squares as a way of Regional Gallery in NSW, the Williamstowndepicting many images coming together at the Contemporary Art Prize, The Flannagan Artsame time, much as we experience any new Prize in Ballarat and the St Michael Archangelenvironment. Prize in Victoria.
Jim Thalassoudis Love Art 2 2010 , oil on linen, 122 x 167cmJim Thalassoudis (born 1962), is an artist based Jim joined TLF in February 2008, invited in byin Adelaide. He studied Fine Art at The South Amanda van Gils.Australian School of Art. More information: www.jimthalassoudis.comSince the middle of the 1980’s he has exhibitedin over 40 solo and 150 group exhibitionsthroughout Australia, as well as exhibiting inNew York, Hong Kong & Singapore. His workis held in many private, corporate & publiccollections, including most recently “Love Art1” being acquired by The Art Gallery Of SouthAustralia.
Merryn TrevethanPeople get ready (detail) 2010, chinese ink, acrylic and pastel on board, 60 x 243cm (9 panels joined as free standing concertina)There’s no hiding place (detail) 2010, chinese ink, acrylic and paper collage on board, 25.5 x 142cm (7 panels joined as free standing concertina)Merryn Trevethan uses cues from the visible Since completing her Masters of Fine Arts Gallery- International Artist Residency Program,world to reconstruct an internalised world of (By Research) Monash University in 2005, in Beijing.memories; filed away, distorted and recorded Trevethan has been a finalist in many Merryn joined TLF in April 2009, invited in byonly to be recalled, revised and re-recorded at prestigious contemporary art prizes- including Louise Blyton.a later date. the Williamstown Festival Contemporary Art Prize, R. & M. McGivern Art Prize, ABN AMRO More information: www.merryntrevethan.comTrevethan’s process plays on the way our Emerging Artists Award and The Hutchinsmemory is dynamic and constantly changing, Art Prize. In 2008, Trevethan was Short Listedreedited unconsciously and without our for the Toyota Community Spirit Artist Travelpermission. It also explores the space of Award.distraction that comes with the kind offamiliarity of everyday commuting and the In 2009, Trevethan travelled to China wherefragmentary nature of after images. she was an artist in residence at Red Gate
Joanne Turner After Turner #160909 2009, limited edition video installation 1/15. Video stillsWorking across new media, ceramics, 2000.painting and installation Joanne Turner’s Turner has participated in a number of groupwork evokes the landscape of her childhood: and solo exhibitions and continues to receivecentral Queensland, a place of dry grass, recognition for her raw but tender work.listless cattle and the scorching sun. Poignantly, Kat Danger Sawyer 2010memories of bodily responses to this landscapeform the foundation of Turner’s work. Joanne joined TLF in August 2009, invited in by VR Morrison.Practicing for almost 10 years, Turner receiveda bachelor of Fine Arts from the Queensland More information: www.joannesturner.comCollege of Art in 2009, majoring in sculpture andintermedia, and has received certificates III, IVand a Diploma in painting and ceramics since
Amanda van GilsThe Greenest Green 2009, oil on canvas, 122 x 152cmShifting 2009, oil on canvas, 91 x 122cmBorn 1968, Amanda van Gils lived in Melbourne relates to our sense of place and psychological Amanda is curator of Net Work: the TLFuntil 2010 when she relocated to Hervey Bay connection to the land and, by extension, exhibition at the Art Gallery of Ballarat 2010 andin Queensland. Since completing a Graduate readings of landscape as an artistic genre that is is also curator of Exchange at Gatakers ArtspaceDiploma in Visual Arts at the Victorian College continually relevant in changing times. Qld in 2011.of the Arts in 2000, van Gils has exhibited Her work has been selected for a number of Amanda began TLF in February 2008; she is theextensively in Australia and overseas with 14 administrator and invited herself in.solo exhibitions and inclusion in over 50 group significant national art prizes including: Whyallashows. Art Prize, Fleurieu Art Prize, John Leslie Art Prize, More information: www.amandavangils.com Tattersall’s Club Landscape Art Prize, MosmanA painter, whose works of fleeting landscapes, Art Prize and The Hutchins Art Prize. In 2006depicts a contemporary experience of van Gils won the Art Interview 4th Internationallandscape in our fast-paced society, van Gils’ art Online Artist Competition, Berlin.
Steve Warburton Dirty Rascals 2010, oil on canvas, 152 x 152cmSteve Warburton is a Victorian based artist compositions of the displaced and disaffected. More information: www.stevewarburton.comcurrently working in Emerald. Since completing “We leave our mark on our world withouta Fine Arts degree at Monash University, contemplation or intent. All other species areSteve has exhibited widely, in solo and group affected by our presence. Some learn to liveexhibitions including the Blake Art Prize and with us in harmony and with benefit, somethe ANL Art Prize. suffer and fade away. This work is not a protest, it is merely an observation.”Warburton’s paintings contain quietly surrealjuxtapositions of oversized mechanical Warburton’s paintings and drawings are held inremnants, humans dwarfed by the elements, collections Australia-wide and internationally.animals outside their natural habitats. Steve joined TLF in August 2008, invited in byThese elements combine to create thought Amanda van Gils.provoking images of mankind’s legacy. They are
Irene WellmDaemmerung 2008, oil on linen, 122 x 152.5cmMy deathless courage 2009, oil on linen, 208.5 x 183cmIrene Wellm is based in Melbourne where throughout Melbourne, Sydney, Perth and Collector magazine (issue 54, 2010), and alsoin 2001 she completed a Master of Fine Art most recently in the U.K., Wellm has been short- been included in the book “Contemporary Artfrom the Victorian College of the Arts. Her listed for the ANZ Visual Arts Fellowship Award, Studio”, published in Beijing, 2007.work embodies an ongoing internal narrative was an Australian finalist for the UBS Art Award, Collections include ArtBank, the Art Galleryin which she uses figures in the landscape London, and a winner of the Darebin LaTrobe of Ballarat, the City of Darebin Art Collection,to explore the notion of displacement and Emerging Artist Acquisitive Art Prize. LaTrobe University, Stockwelll Downs andhidden motivations in human relationships. private collections in Australia, Germany, Most recently Wellm has been selected asThrough the filter of the Jungian process Switzerland and the U.S. a finalist for the Duke Art Prize, Art Galleryof ‘individuation’, Wellm projects her own Gold Coast (2010) and the Sunshine Coast More information: www.irenewellm.comexperience onto found imagery, externalising Art Prize (2009), the Darebin LaTrobe Artmotivations and instincts in the way of a dream. Prize (2009, 2001), and the Flanagan Art PrizeAlongside numerous solo and group shows (2009). She is profiled in the Australian Art
Darian Zam Your place in the world 2010, digital print on canvas, 60 x 45cm Engaging 2009, digital print on canvas, 60 x 45cmDarian Zam considers his work to be A catalogue In The House of the Muses is toprimarily in painting, although he has been be published by the Bibliotheca Alexandrinaexperimenting with digital media for the last (Library of Alexandria), Egypt, this year. Anotherfour years. He has exhibited and published book Coalfaces is to be published in Australiahis work in Australia, NZ and Egypt for more in 2011.than 20 years. His work has been short listed Darian joined TLF in December 2009, invited infor Head On, one of Australia’s biggest portrait by Amanda van Gils.prizes, 2 years running. He is part of thePowerhouse Museum decorative arts & design More information:collection, and he has worked on numerous darianzam.blogspot.comprojects with institutions, including the SydneyMCA, the Dunedin Public Museums, and thePowerhouse Museum.
AcknowledgementsWithout the artists there can be no exhibition so my first thank Erika Gofton for assisting with initial proposals, to Simon Collinsyou is reserved to the artists for entrusting me with the job of and Louise Blyton for help whenever it was needed, Jacquicurating their work into this exhibition. Comer for her work in creating an image that could stand in for such a diverse exhibition, and to everyone who participated inAnd so it follows that an exhibition also needs a venue; I’d like to fundraising, none more so than Darian Zam whose fundraisingthank Gordon Morrison for seeing the potential in this exhibition, efforts can only be described as tireless and determined.for his assistance along the way, and in particular for providingsuch a prime area of the gallery for Net Work. I am grateful also, to everyone who has provided us with financial assistance. Our formal sponsors are noted andThanks are due also to Anne Rowland and other gallery staff for appreciated, but I’d also like to thank those anonymoustheir excellent work assisting this exhibition, in particular Ben Cox individuals who willingly contributed for no more reason thanfor his tireless work in designing this catalogue. they believed in this exhibition, the artists and the importance of public presentations of contemporary art.A very special thank you is reserved for Robert Hollingworthwhose care, time and effort has resulted in a thoughtful, And naturally, my thanks also go to my husband Vito Manfredieloquent and on-point catalogue essay. whose unstinting support enables me to devote time and energy to these special projects of mine.Thank you to all the artists in Net Work and other TLF artists whoassisted in getting this project off the ground and onto the wall Amanda van Gilsat the Art Gallery of Ballarat. Special thanks go to Debbie Hill Curator – Net Work: the TLF exhibitionfor the suggestion of Art Gallery Ballarat as the ideal venue, to
Sponsors design Preloaded web applicatons & graphic designThe Janet Holmes a’ Court Artists’ Grant is a NAVA initiative, made possible through the generoussponsorship of Mrs Janet Holmes a’ Court and through the the support of the Visual Arts Board,Australia Council for the Arts.This project was assisted by a grant from Arts NSW, an agency of the New South WalesGovernment, through a program administered by the National Association for the Visual Arts(NAVA).