Innholdsfortegnelse for Issue 24 i Creative Artist

My name is Marion Hughes and I would like to introduce you to gallery67, which officially opened on 19 September 2014 in Gladstone, Queensland. gallery67 aims to provide Gladstone’s artists and other local artists with a place to showcase their art. We will exhibit local, interstate and international art works and our aim is to have exhibitions on a regular basis, selling and displaying art works from Gladstone and surrounding districts as well as having regular guest artists and offering classes and workshops in-house. gallery67 consists of a main gallery area plus four smaller areas where art can be on display or used as workshop space for artists who may need a ‘studio’ to complete a project, or just a dedicated space to paint and create. It is also the…

Materials List • Canvas 900 x 600mm• Bristle brushes flat ¾”, flat 14• Sable brushes 5/0, 0, 1,2, 4, 6• Taklon detailer 5/0• Sable liners 2/0, 5/0• Art Spectrum Odourless Solvent• Genesis Air-dried clear gloss varnish• Genesis heat-set artist oil paints – Titanium White, Phthalo Blue, Cobalt Blue, Payne’s Grey, Flesh, Raw Umber, Raw Sienna, Yellow Ochre, Burnt Sienna Step One This painting is quite simple in concept and composition. However, consequently there is nowhere to hide! Simplicity can often add impact. I had good reference photos of pelicans serenely floating along a river near Noosa, with lovely reflections in the afternoon light. The first step in this painting was to decide on the composition and positioning of the pelicans within the canvas, considering the reflections as part of the…

To explain why I became a sculptor, I have to say that there is a 400 year old tradition of wood sculpture in our valley, Val Gardena, in Italy. Also my two grandfathers and an uncle were sculptors therefore I grew up living in this tradition. At school I had a very good art teacher who recognised my talent and inspired me to take this path. At 14 years of age I began to learn the craft of wood sculpture and at 19 I went to the Academy of Fine Arts in Munich, Germany. This was a decisive step in my career as a sculptor. I have worked in many materials such as stone, bronze, and terracotta, however wood fascinates me much more. Perhaps because it is a simple material,…

The Belvedere palaces were built in the eighteenth century by the famous Baroque architect Johann Lucas von Hildebrandt as a summer residence for Prince Eugene of Savoy (1663–1736). The ensemble, comprising the Upper and the Lower Belvedere, as well as an extensive garden, numbers among the most superb Baroque edifices in Europe. Today, the Belvedere accommodates the most significant assemblage of Austrian art, from the Middle Ages to the present, which is complemented by works by such international artists as Claude Monet, Vincent van Gogh, and Max Beckmann. The largest holdings worldwide of paintings by Gustav Klimt, including the famous golden icons of Art Nouveau, The Kiss, and Judith I, as well as works by Egon Schiele and Oskar Kokoschka, constitute the focal points of the collection Vienna 1880 –…

Materials • Support Material: In general I find Belgian linen in a fine weave the most desirable. Generally a heavier 14oz cotton canvas stretched over a hardwood timber frame is used. Generally I used pre-primed canvas, but sometimes will add more layers of gesso or medium depending on the desired end result. • Brushes: Whatever makes a mark! I use a variety of knives, scrapers and brushes. I find fine acrylic bristle brushes with a short wide profile particularly good for both oils and acrylics. Sometimes a very soft shaving brush or squirrel mop is used to soften out brush marks. • Paints: Where possible Australian products are used. For oils, the full range of Langridge oils is excellent for pigments, and Art Spectrum has a great range of readymade colours. Other oils…

Materials • Oil primed linen• Colour pencil (Burnt Umber)• Turpentine or odourless spirits• Linseed Oil (Mussini)• Liquin (Winsor & Newton) Brushes • 14 & 20 Flat Black Sable (Da Vinci)• 6 –12 Filbert Black Sable (Da Vinci)• 2 & 4 Flat Black Sable (Da Vinci)• 0 & 1 Round Red Sable (Da Vinci)• 000 Squirrel Mop (Winsor & Newton)• 40 Squirrel Mottler (Da Vinci) Underpainting colours • Burnt Umber (Mussini)• Prussian Blue (Mussini)• Mineral Black (Mussini)• Flake White (Michael Harding) Additional colours • Permanent Rose (Winsor & Newton)• Alizarin Crimson• Ultramarine• Sap Green (Winsor & Newton)• Indian Yellow (Charvin)• Golden Ochre Light (Charvin)• Titanium White (Winsor & Newton) Preparation Try to find or make a canvas that is oil primed. Universally primed canvasses are quite absorbent and oil paint won’t…

Graham Shearer is one of Australia’s most prolific fashion photographers. His career has seen his images grace the covers of Vogue, Harper’s Bazaar, Tatler and Interview magazines to name a few. His images helped launch the career of models, such as Elle Macpherson, and he is highly sort after by editorial and advertising clients alike. Black Eye Gallery was proud to show Graham’s latest work ‘EAU’ (French for water) during December. This is a series of underwater stills recently shot in Western Australia. The female form graces an underwater world created by Shearer, where the play of light and contrast help create a visual feast, evoking a dream-like state. The exquisite work is presented in limited edition large-scale black and white prints. Black Eye also included some iconic images Graham…

Art has been a part of me for a long time. I enjoyed drawing and painting at a young age, and at high school one of my paintings was chosen to represent South Australian School Art with the ABC in Sydney. I also sold some of my paintings to my teachers, including my Art teacher. I grew up in the beautiful fishing town of Port Lincoln on the Eyre Peninsula in South Australia. At the age of 16 I was fortunate enough to fly numerous times to a remote island close to Port Lincoln with the owner, who was a very keen photographer of natural things such as sea birds and cliffs, and when I viewed some of his photos later on, I was amazed at what he’d captured, and…

She explains that the native flora and ancient landscapes are strong stimuli for investigating our senses’ response through colour, texture and movement, and it is these remnants of experience which provides the key for interpretation of both personal and perceived experience. Born in Western Australia, Joanne Duffy uses her combination of a Bachelor of Arts (Design) and self-taught experience to depict the Australian landscape in an expressionist style. Her paintings draw inspiration from her childhood experiences of rural WA and the love of native flora and its environment. Joanne’s abstract expressionist style explores her interests in our landscape and the emotional responses and memories it evokes within us. Her intense use of colour and sweeping brush marks create a sense of movement within her paintings, evoking glimpses of Australia’s rural…

The effect has been popular throughout the history of art and photography, and in the days before digital it was an effective way of creating an effect in camera. Originally a film technique, it has translated quite well into the realm of digital. With digital you have the luxury of creating the images afterward and there are more options in terms of how you overlay the images. As with many digital processes the learning curve is not as steep and as the results are instantaneous you can learn from the feedback immediately. Purists may well create multiple exposures only in camera and originally they were created using film that was directly exposed onto the same exposure. Many film compacts and DSLRs cameras have a film release button that when held…

First studio – We meet Beverley Artist Marlene Willson Recently I visited two artists’ studios in the Western Australian port city of Fremantle, and as you may recall, they were featured in an earlier ‘My Space’ article. Many artists call this old port city home, and the Fremantle Art Centre plays host to many travelling artists from around Australia and the world who spend time there as resident artists, working out of a subsidised studio that is close to the city centre. Today I’m visiting Marlene Willson, an artist who used to be a part of this Fremantle art scene, before a sea change saw Marlene and husband John move out into the small Western Australian wheat belt town of Beverley, some 50 kilometres inland and halfway between Perth and…