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## Tour
### Description
tour.description = Gang Gang Gallery is an exciting contemporary art space and studio in the beautiful Blue Mountains. Come and experience Gang Gang Gallery in our virtual tour.
### Title
tour.name = Gang Gang Gallery
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Label_FB43BBDA_F3B1_88A7_41DE_7FBFD8EE6C36.text = ABOUT
Label_FB43BBDA_F3B1_88A7_41DE_7FBFD8EE6C36_mobile.text = ABOUT
Label_FB517DBD_F3AE_88DD_41D8_F7F259641497.text = FUNCTIONS
Label_FB517DBD_F3AE_88DD_41D8_F7F259641497_mobile.text = FUNCTIONS
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Image_05314BAF_3AA1_A6F2_41CB_86A11240FA50.toolTip = Visit the Gang Gang Gallery Website
Image_05314BAF_3AA1_A6F2_41CB_86A11240FA50_mobile.toolTip = Visit the Gang Gang Gallery Website
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### Title
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## Popup
### Body
htmlText_00AD741F_16DC_D6AA_41A8_D62DE2F55CE4.html = Undulatus by LINDA SEIFFERT
Taking inspiration from the natural environment around me in the greater Blue Mountains, this work started with observational drawings from local bush walks. Referencing early colonial images of Australia’s native flora and fauna, the drawings have been executed in an under glaze pencil with a delicate wash of under glaze pigment to mimic water colour paint. The forms of the porcelain vessels are reminiscent of the shape of scientific test tubes, suggesting that the drawings be seen as specimens.
Undulatus by LINDA SEIFFERT
Taking inspiration from the natural environment around me in the greater Blue Mountains, this work started with observational drawings from local bush walks. Referencing early colonial images of Australia’s native flora and fauna, the drawings have been executed in an under glaze pencil with a delicate wash of under glaze pigment to mimic water colour paint. The forms of the porcelain vessels are reminiscent of the shape of scientific test tubes, suggesting that the drawings be seen as specimens.
Undulatus by LINDA SEIFFERT
Taking inspiration from the natural environment around me in the greater Blue Mountains, this work started with observational drawings from local bush walks. Referencing early colonial images of Australia’s native flora and fauna, the drawings have been executed in an under glaze pencil with a delicate wash of under glaze pigment to mimic water colour paint. The forms of the porcelain vessels are reminiscent of the shape of scientific test tubes, suggesting that the drawings be seen as specimens.
Undulatus by LINDA SEIFFERT
Taking inspiration from the natural environment around me in the greater Blue Mountains, this work started with observational drawings from local bush walks. Referencing early colonial images of Australia’s native flora and fauna, the drawings have been executed in an under glaze pencil with a delicate wash of under glaze pigment to mimic water colour paint. The forms of the porcelain vessels are reminiscent of the shape of scientific test tubes, suggesting that the drawings be seen as specimens.
KAYO YOKOYAMA AND KEITH ROWE
Keith Rowe is a primarily a glass blower but also enjoys creating balanced forms with exciting decorative elements. Keith’s work is held in many private and public galleries in both Australia and internationally.
Kayo Yokoyama is a glass Artist based in Blackheath who creates quirky and unique glass and art works in her Studio.
KAYO YOKOYAMA AND KEITH ROWE
Keith Rowe is a primarily a glass blower but also enjoys creating balanced forms with exciting decorative elements. Keith’s work is held in many private and public galleries in both Australia and internationally.
Kayo Yokoyama is a glass Artist based in Blackheath who creates quirky and unique glass and art works in her Studio.
KAYO YOKOYAMA AND KEITH ROWE
Keith Rowe is a primarily a glass blower but also enjoys creating balanced forms with exciting decorative elements. Keith’s work is held in many private and public galleries in both Australia and internationally.
Kayo Yokoyama is a glass Artist based in Blackheath who creates quirky and unique glass and art works in her Studio.
Music By Bhavnath
Bhavnath is a diversely creative being. He draws inspiration for his emotive meditative music in the lush forests and landscapes of the Himalayas. He extends the musical experience with sound baths and nature walks by leading pilgrimages in the mystical lands of India and Nepal. He is also the founder the Wellness Lovers Community in Mauritius where he organises retreats and festivals. Bhāvnāth holds a BSc.(Hons) in Multimedia and is available for freelance work.
Check out his work below:
Gallery/Studio Hire
Loaded with character this historic Lithgow building has all the modern conveniences a fine art space needs. Pristine white walls, high vaulted ceilings, gallery lighting, track hanging and ample floor space, Be it our main Gallery space or our smaller more intimate studio, Gang Gang Gallery is the perfect venue to host your next exhibition, workshop or corporate function. Enquire today.
2020 PROPOSALS NOW OPEN
• EXHIBITIONS
• POPUPS
• WORKSHOPS
Gang Gang Gallery is inviting Exhibitors/Artists and Creatives to submit their portfolios for exhibitions, popups and workshops. All types of mediums are invited and will be considered.
Applications showing a comprehensive body of work with high quality photos will be considered.
Functions
Imagine your Wedding, Engagement, Cocktail Party or Corporate dinner surrounded by fine art in the unique ambiance of our beautifully refurbished space….Perfect
Here at Gang Gang we have two beautiful spaces available for you to host your next function. Our main Gallery space is ideal for a larger group or for a more intimate occasion, our private studio room.
Catering, music, invitations and publicity can be arranged by our event co-ordinators or we can leave it entirely up to you. Ask about our packages today.
Gang Gang Gallery
Gang Gang Gallery is housed in the heritage space of the Old Refreshments building of the Theatre Royal on Main Street Lithgow. After being purchased 2012, the building has taken on a major development and transformed into what it is today, a contemporary gallery and function space. that has still maintained traditional 1900s features to emphasis the blend of old and new. Working with local interior and timber artist Damian Howard, the gallery has been designed to host exhibitions of artists in the light filled main space and along with a permanent collection of glassware, porcelain, timber and iron work. Gang Gang has an earnest and growing connection with the local community and aims to embrace the future of the Blue Mountains whilst paying tribute to its past.
LAY - BY
Interest free lay-by is a flexible payment option designed to make purchasing art more accessible.
GIFT REGISTER
Have your friends and family contribute to a beautiful and significant gift that will stay with you forever.
Contact Details:
Opening Hours
Friday to Sunday: 10am – 4pm
Monday: 10am – 3pm
Other viewings by appointment
AUSTRALIAN INDIGENOUS ARTISTS
Northern Territory Indigenous Artwork supplied by Gang Gang Gallery gallerist Sharon Howard.
Music By Bhavnath
Bhavnath is a diversely creative being. He draws inspiration for his emotive meditative music in the lush forests and landscapes of the Himalayas. He extends the musical experience with sound baths and nature walks by leading pilgrimages in the mystical lands of India and Nepal. He is also the founder the Wellness Lovers Community in Mauritius where he organises retreats and festivals. Bhāvnāth holds a BSc.(Hons) in Multimedia and is available for freelance work.
Check out his work below:
MICHAEL CONOLAN
The work exhibits a balance between narrative and reflective contemplative ideas.
The chuns are used to reflect something of the old tectonic forces, the melting and flowing of rocks from our planet’s pre-histories which are evident in the deep ravines and cliffs of the Kowmung River chasms. These landscapes seemed to accept our walking tours of the Kanimbla – Boyd National Park, offering a sense of ‘all will be well’ even when we might have become stuck amid those beetling cliffs and sliding shale screes and fogs and red cedars, and scary cave systems, and river oaks by quiet pools. All that humbling beauty.
MICHAEL CONOLAN
The work exhibits a balance between narrative and reflective contemplative ideas.
The chuns are used to reflect something of the old tectonic forces, the melting and flowing of rocks from our planet’s pre-histories which are evident in the deep ravines and cliffs of the Kowmung River chasms. These landscapes seemed to accept our walking tours of the Kanimbla – Boyd National Park, offering a sense of ‘all will be well’ even when we might have become stuck amid those beetling cliffs and sliding shale screes and fogs and red cedars, and scary cave systems, and river oaks by quiet pools. All that humbling beauty.
Branching Out by JILLIAN CULEY
Branching Out by JILLIAN CULEY
OWEN SHAW
No other contemporary Australian artist has created so much unique and unprecedented art as Owen Shaw.
The Series 'The Ballet Suite' has been foundered by the sculptor.
Each sculpture is finished with tactile, set firm on high tensile pins.
Owen Shaw, sculptor was trained by Australia's leading sculptor, the late Lyndon Dadswell.
Owen in his formative years was predicted by James Gleeson to take a "position of lonely eminence"
Branching Out by JILLIAN CULEY
KAYLENE BROOKS
Taking inspiration from Dutch artist, Sandra de Groot and French artist Jim Skull as well as Oceanic and Tribal Arts. I am constantly striving to blur the boundaries by moving the old and mundane into the odd and contemporary with her unusual and at times uncomfortable and unnerving pieces.
In this collection “RAW” I explore texture and form through contemporary fibre art. In a story of sculptural mixed media fusions, and an attempt to bring the 13th century Arabian craft of Macramé, also made popular in the 60’s and 70’s, into the modern era by combining natural materials, manmade and industrial objects, as well as light and negative space.
OWEN SHAW
No other contemporary Australian artist has created so much unique and unprecedented art as Owen Shaw.
The Series 'The Ballet Suite' has been foundered by the sculptor.
Each sculpture is finished with tactile, set firm on high tensile pins.
Owen Shaw, sculptor was trained by Australia's leading sculptor, the late Lyndon Dadswell.
Owen in his formative years was predicted by James Gleeson to take a "position of lonely eminence"
KWIRAK CHOUNG
I would like to think that clay objects at their best, whether understated or strongly expressed, illustrate a harmonized interplay between surface texture, colour, form and interestingly enough, the makers perception
BILL SAMUELS
In my own way it exemplifies my approach to the creative process – realizing a whole new technique then solving the problems as they emerge. The idea also evolved out of my approach to ceramic materials in general. While I lean heavily on the traditional approach to ceramics I have deliberately chosen to find and use my own materials rather than commercially prepared ones.
BILL SAMUELS
In my own way it exemplifies my approach to the creative process – realizing a whole new technique then solving the problems as they emerge. The idea also evolved out of my approach to ceramic materials in general. While I lean heavily on the traditional approach to ceramics I have deliberately chosen to find and use my own materials rather than commercially prepared ones.
BILL SAMUELS
In my own way it exemplifies my approach to the creative process – realizing a whole new technique then solving the problems as they emerge. The idea also evolved out of my approach to ceramic materials in general. While I lean heavily on the traditional approach to ceramics I have deliberately chosen to find and use my own materials rather than commercially prepared ones.
BILL SAMUELS
In my own way it exemplifies my approach to the creative process – realizing a whole new technique then solving the problems as they emerge. The idea also evolved out of my approach to ceramic materials in general. While I lean heavily on the traditional approach to ceramics I have deliberately chosen to find and use my own materials rather than commercially prepared ones.
KWIRAK CHOUNG
I would like to think that clay objects at their best, whether understated or strongly expressed, illustrate a harmonized interplay between surface texture, colour, form and interestingly enough, the makers perception
KWIRAK CHOUNG
I would like to think that clay objects at their best, whether understated or strongly expressed, illustrate a harmonized interplay between surface texture, colour, form and interestingly enough, the makers perception
SARAH O’SULLIVAN
Taking inspiration from the natural environment around me in the greater Blue Mountains, this work started with observational drawings from local bush walks. Referencing early colonial images of Australia’s native flora and fauna, the drawings have been executed in an under glaze pencil with a delicate wash of under glaze pigment to mimic water colour paint. The forms of the porcelain vessels are reminiscent of the shape of scientific test tubes, suggesting that the drawings be seen as specimens.
GIFT IDEAS
Gang Gang Gallery has a range of gifts for any occasion with flexible payment options.
LAY - BY
Interest-free lay-bys designed to make purchasing art more accessible.
GIFT REGISTER
Have your friends and family contribute to a beautiful and significant gift that will stay with you forever.
KWIRAK CHOUNG
I would like to think that clay objects at their best, whether understated or strongly expressed, illustrate a harmonized interplay between surface texture, colour, form and interestingly enough, the makers perception
KWIRAK CHOUNG
I would like to think that clay objects at their best, whether understated or strongly expressed, illustrate a harmonized interplay between surface texture, colour, form and interestingly enough, the makers perception
KWIRAK CHOUNG
I would like to think that clay objects at their best, whether understated or strongly expressed, illustrate a harmonized interplay between surface texture, colour, form and interestingly enough, the makers perception
KWIRAK CHOUNG
I would like to think that clay objects at their best, whether understated or strongly expressed, illustrate a harmonized interplay between surface texture, colour, form and interestingly enough, the makers perception
KWIRAK CHOUNG
I would like to think that clay objects at their best, whether understated or strongly expressed, illustrate a harmonized interplay between surface texture, colour, form and interestingly enough, the makers perception
KWIRAK CHOUNG
I would like to think that clay objects at their best, whether understated or strongly expressed, illustrate a harmonized interplay between surface texture, colour, form and interestingly enough, the makers perception
KWIRAK CHOUNG
I would like to think that clay objects at their best, whether understated or strongly expressed, illustrate a harmonized interplay between surface texture, colour, form and interestingly enough, the makers perception
KWIRAK CHOUNG
I would like to think that clay objects at their best, whether understated or strongly expressed, illustrate a harmonized interplay between surface texture, colour, form and interestingly enough, the makers perception
THE KITCHEN
Gang Gang Gallery has a well equipped kitchen which currently caters for Exhibition Openings, Workshop Lunches/Morning Teas, Meetings with Bespoke Packages.
DAM-ARD
Specializing in BESPOKE Woodwork and Furniture.
DAM-ARD
Specializing in BESPOKE Woodwork and Furniture.
CHESTER NEALIE
Nealie is a New Zealand potter working in Australia. He began potting in New Zealand in 1964 after being inspired by visiting potters Shoji Hamada, Takeichi Kawai and Michael Cardew and has since maintained a continuous potting practice for over 50 years. He built his first wood-fired anagama kin at South Kiapara Head, NZ, in 1978 after seeing woodfiring in Shigaraki and Bizen during his sponsored visit, in company with Len Castle, to the World Crafts Conference in Kyoto, Japan. Since that time Chester has lectured, built kilns and conducted many firings in New Zealand, Australia, Japan, USA, Korea, Norway, China and France. Nealie began exhibiting in 1965 and from 1975 has responded to invitations to exhibit, lecture and give workshops overseas. He has exhibited widely in solo and group shows both in Australasia and other countries. He also initiated and curated a number of exhibitions and events in New Zealand and overseas.
CHESTER NEALIE
Nealie is a New Zealand potter working in Australia. He began potting in New Zealand in 1964 after being inspired by visiting potters Shoji Hamada, Takeichi Kawai and Michael Cardew and has since maintained a continuous potting practice for over 50 years. He built his first wood-fired anagama kin at South Kiapara Head, NZ, in 1978 after seeing woodfiring in Shigaraki and Bizen during his sponsored visit, in company with Len Castle, to the World Crafts Conference in Kyoto, Japan. Since that time Chester has lectured, built kilns and conducted many firings in New Zealand, Australia, Japan, USA, Korea, Norway, China and France. Nealie began exhibiting in 1965 and from 1975 has responded to invitations to exhibit, lecture and give workshops overseas. He has exhibited widely in solo and group shows both in Australasia and other countries. He also initiated and curated a number of exhibitions and events in New Zealand and overseas.
RALPH TICKERPAE
I have the luxury of working and living in a vast and well equipped studio in Wyalong NSW. This is a space entirely dedicated to the production of sculpture and painting. Here I sculpt in a variety of media but I particularly enjoy pre-loved metal and clay. I also paint in luxurious colours full of graphic mark making. It is an environment devoted to the worship of art.
RALPH TICKERPAE
I have the luxury of working and living in a vast and well equipped studio in Wyalong NSW. This is a space entirely dedicated to the production of sculpture and painting. Here I sculpt in a variety of media but I particularly enjoy pre-loved metal and clay. I also paint in luxurious colours full of graphic mark making. It is an environment devoted to the worship of art.
RALPH TICKERPAE
I have the luxury of working and living in a vast and well equipped studio in Wyalong NSW. This is a space entirely dedicated to the production of sculpture and painting. Here I sculpt in a variety of media but I particularly enjoy pre-loved metal and clay. I also paint in luxurious colours full of graphic mark making. It is an environment devoted to the worship of art.
RALPH TICKERPAE
I have the luxury of working and living in a vast and well equipped studio in Wyalong NSW. This is a space entirely dedicated to the production of sculpture and painting. Here I sculpt in a variety of media but I particularly enjoy pre-loved metal and clay. I also paint in luxurious colours full of graphic mark making. It is an environment devoted to the worship of art.
BILL SAMUELS
In my own way it exemplifies my approach to the creative process – realizing a whole new technique then solving the problems as they emerge. The idea also evolved out of my approach to ceramic materials in general. While I lean heavily on the traditional approach to ceramics I have deliberately chosen to find and use my own materials rather than commercially prepared ones.
RALPH TICKERPAE
I have the luxury of working and living in a vast and well equipped studio in Wyalong NSW. This is a space entirely dedicated to the production of sculpture and painting. Here I sculpt in a variety of media but I particularly enjoy pre-loved metal and clay. I also paint in luxurious colours full of graphic mark making. It is an environment devoted to the worship of art.
RALPH TICKERPAE
I have the luxury of working and living in a vast and well equipped studio in Wyalong NSW. This is a space entirely dedicated to the production of sculpture and painting. Here I sculpt in a variety of media but I particularly enjoy pre-loved metal and clay. I also paint in luxurious colours full of graphic mark making. It is an environment devoted to the worship of art.
Branching Out by JILLIAN CULEY
GIFT IDEAS
Gang Gang Gallery has a range of gifts for any occasion with flexible payment options.
LAY - BY
Interest-free lay-bys designed to make purchasing art more accessible.
GIFT REGISTER
Have your friends and family contribute to a beautiful and significant gift that will stay with you forever.
Women who play with fire by LISE EDWARDS
The ultimate autobiography of an imperfect woman turning 60 and considering her life decisions, and experience, relationships, health and concepts of beauty and ageing.
Clay is my medium and wood is my fuel in the kilns I built at Hampton.
I’m not interested in what I know can happen but rather using found and scrounged materials to see what I can make of them. The same mold was used for each of the 60 pieces that make up the entire installation.
I fire alone so I can experiment without interference and the only limitations are my own.
Women who play with fire by LISE EDWARDS
The ultimate autobiography of an imperfect woman turning 60 and considering her life decisions, and experience, relationships, health and concepts of beauty and ageing.
Clay is my medium and wood is my fuel in the kilns I built at Hampton.
I’m not interested in what I know can happen but rather using found and scrounged materials to see what I can make of them. The same mold was used for each of the 60 pieces that make up the entire installation.
I fire alone so I can experiment without interference and the only limitations are my own.
Women who play with fire by LISE EDWARDS
The ultimate autobiography of an imperfect woman turning 60 and considering her life decisions, and experience, relationships, health and concepts of beauty and ageing.
Clay is my medium and wood is my fuel in the kilns I built at Hampton.
I’m not interested in what I know can happen but rather using found and scrounged materials to see what I can make of them. The same mold was used for each of the 60 pieces that make up the entire installation.
I fire alone so I can experiment without interference and the only limitations are my own.
Women who play with fire by LISE EDWARDS
The ultimate autobiography of an imperfect woman turning 60 and considering her life decisions, and experience, relationships, health and concepts of beauty and ageing.
Clay is my medium and wood is my fuel in the kilns I built at Hampton.
I’m not interested in what I know can happen but rather using found and scrounged materials to see what I can make of them. The same mold was used for each of the 60 pieces that make up the entire installation.
I fire alone so I can experiment without interference and the only limitations are my own.
Women who play with fire by LISE EDWARDS
The ultimate autobiography of an imperfect woman turning 60 and considering her life decisions, and experience, relationships, health and concepts of beauty and ageing.
Clay is my medium and wood is my fuel in the kilns I built at Hampton.
I’m not interested in what I know can happen but rather using found and scrounged materials to see what I can make of them. The same mold was used for each of the 60 pieces that make up the entire installation.
I fire alone so I can experiment without interference and the only limitations are my own.
REBECCA VERPOORTEN-LAWS
This work is a collection of decorative narrative pieces that play with the idea of decorative and function. I see the work as lustrous illustrations straight from the heart. The work explores the recent Bush fires, evacuation, regeneration and life in the Blue Mountains. Other themes depicted, the impact of illness, heartache and breakdown of things we hold closest to us. Decay, love and loss and nostalgia. The vintage references evoke a sentimental yearning for return to a past period or irrecoverable condition.
All events are framed within in creation and my belief and eternal hope that there is so much more to heaven and earth.
REBECCA VERPOORTEN-LAWS
This work is a collection of decorative narrative pieces that play with the idea of decorative and function. I see the work as lustrous illustrations straight from the heart. The work explores the recent Bush fires, evacuation, regeneration and life in the Blue Mountains. Other themes depicted, the impact of illness, heartache and breakdown of things we hold closest to us. Decay, love and loss and nostalgia. The vintage references evoke a sentimental yearning for return to a past period or irrecoverable condition.
All events are framed within in creation and my belief and eternal hope that there is so much more to heaven and earth.
EBONY SALAMA
My work borrows from the romantic ideals of union with the natural world and the connection we as humans share with the creatures that walk alongside us. This work depicts the battle scarred Mercenary flaunting wounds upon his face, and the Mother lying exposed with swollen teats but baring no kittens. The cats manifest both the anger and aggression of the dominant male, and the submission and nurturing of the reserved female. Both are common behaviors found in each respective sex of cat, and the animal kingdom as a whole. As such, these pieces are both consciously buying into the stereotypes of traditional gendered roles. It’s up to the viewer to decide whether or not they support the idea or reject it, and if they think of these attributes as a positive or negative force. We like to think ourselves above this behavior, however I’m curious as to how prevalent this nature is in our own species and want to question how far removed we actually are from our primal instincts that we so look down upon.
CHESTER NEALIE
Nealie is a New Zealand potter working in Australia. He began potting in New Zealand in 1964 after being inspired by visiting potters Shoji Hamada, Takeichi Kawai and Michael Cardew and has since maintained a continuous potting practice for over 50 years. He built his first wood-fired anagama kin at South Kiapara Head, NZ, in 1978 after seeing woodfiring in Shigaraki and Bizen during his sponsored visit, in company with Len Castle, to the World Crafts Conference in Kyoto, Japan. Since that time Chester has lectured, built kilns and conducted many firings in New Zealand, Australia, Japan, USA, Korea, Norway, China and France. Nealie began exhibiting in 1965 and from 1975 has responded to invitations to exhibit, lecture and give workshops overseas. He has exhibited widely in solo and group shows both in Australasia and other countries. He also initiated and curated a number of exhibitions and events in New Zealand and overseas.
KAYO YOKOYAMA AND KEITH ROWE
Keith Rowe is a primarily a glass blower but also enjoys creating balanced forms with exciting decorative elements. Keith’s work is held in many private and public galleries in both Australia and internationally.
Kayo Yokoyama is a glass Artist based in Blackheath who creates quirky and unique glass and art works in her Studio.
BOYD MCMILLAN
Boyd works in a variety of media with a foundation of walking and drawing in natural areas such as the western Blue Mountains. His practise is based upon site drawing and the direct experience of landscape. The work starts from the immediacy of drawing and develops in the application of media and techniques available in the studio to convey the experience of change in landscape and explore resonance through metaphor.
Boyd received formal training majoring in painting in the mid 1970’s, and has continued a dual practice as an artist and landscape architect exhibiting in Galleries and Art Fairs in Australia and Japan. He has been a finalist in the Gosford Art Prize and the Bermagui Sculpture Prize and his work is held in private collections across Australia, in the United States and the UK.
NICOLE O'REGAN
Nicole is an already accomplished metal worker who has recently turned her skills towards a career as a sculptor. Her featured piece; “Stallion” is inspired by beauty, power and spirit of the untamed stallion. “I have created a figurative sculpture aiming to represent an expression of poise, balance and tension
MICHAEL CONOLAN
The work exhibits a balance between narrative and reflective contemplative ideas.
The chuns are used to reflect something of the old tectonic forces, the melting and flowing of rocks from our planet’s pre-histories which are evident in the deep ravines and cliffs of the Kowmung River chasms. These landscapes seemed to accept our walking tours of the Kanimbla – Boyd National Park, offering a sense of ‘all will be well’ even when we might have become stuck amid those beetling cliffs and sliding shale screes and fogs and red cedars, and scary cave systems, and river oaks by quiet pools. All that humbling beauty.
BILL SAMUELS
In my own way it exemplifies my approach to the creative process – realizing a whole new technique then solving the problems as they emerge. The idea also evolved out of my approach to ceramic materials in general. While I lean heavily on the traditional approach to ceramics I have deliberately chosen to find and use my own materials rather than commercially prepared ones.
AUSTRALIAN INDIGENOUS ARTISTS
Northern Territory Indigenous Artwork supplied by Gang Gang Gallery gallerist Sharon Howard.
MICHAEL CONOLAN
The work exhibits a balance between narrative and reflective contemplative ideas.
The chuns are used to reflect something of the old tectonic forces, the melting and flowing of rocks from our planet’s pre-histories which are evident in the deep ravines and cliffs of the Kowmung River chasms. These landscapes seemed to accept our walking tours of the Kanimbla – Boyd National Park, offering a sense of ‘all will be well’ even when we might have become stuck amid those beetling cliffs and sliding shale screes and fogs and red cedars, and scary cave systems, and river oaks by quiet pools. All that humbling beauty.
BILL SAMUELS
In my own way it exemplifies my approach to the creative process – realizing a whole new technique then solving the problems as they emerge. The idea also evolved out of my approach to ceramic materials in general. While I lean heavily on the traditional approach to ceramics I have deliberately chosen to find and use my own materials rather than commercially prepared ones.
BILL SAMUELS
In my own way it exemplifies my approach to the creative process – realizing a whole new technique then solving the problems as they emerge. The idea also evolved out of my approach to ceramic materials in general. While I lean heavily on the traditional approach to ceramics I have deliberately chosen to find and use my own materials rather than commercially prepared ones.
BILL SAMUELS
In my own way it exemplifies my approach to the creative process – realizing a whole new technique then solving the problems as they emerge. The idea also evolved out of my approach to ceramic materials in general. While I lean heavily on the traditional approach to ceramics I have deliberately chosen to find and use my own materials rather than commercially prepared ones.
ANNE EDWARDS
Look into the pot and imagine the food you would place there – the colour of it, the smell, the taste and texture, the heat of it warming the vessel, warming your hands around it.
Raise the bowl to your lips and place them to the contour of the rim, a slight flare there; it was shaped for your mouth.
Sense the wheel still turning.
Sense the clay still glistening.
Sense the glaze still melting.
Sense the movement of your breath.
Hold a thrown bowl in your hands…
ANNE EDWARDS
Look into the pot and imagine the food you would place there – the colour of it, the smell, the taste and texture, the heat of it warming the vessel, warming your hands around it.
Raise the bowl to your lips and place them to the contour of the rim, a slight flare there; it was shaped for your mouth.
Sense the wheel still turning.
Sense the clay still glistening.
Sense the glaze still melting.
Sense the movement of your breath.
Hold a thrown bowl in your hands…
Branching Out by JILLIAN CULEY
RALPH TICKERPAE
I have the luxury of working and living in a vast and well equipped studio in Wyalong NSW. This is a space entirely dedicated to the production of sculpture and painting. Here I sculpt in a variety of media but I particularly enjoy pre-loved metal and clay. I also paint in luxurious colours full of graphic mark making. It is an environment devoted to the worship of art.
DAM-ARD
Specializing in BESPOKE Woodwork and Furniture.
ANNE EDWARDS
Look into the pot and imagine the food you would place there – the colour of it, the smell, the taste and texture, the heat of it warming the vessel, warming your hands around it.
Raise the bowl to your lips and place them to the contour of the rim, a slight flare there; it was shaped for your mouth.
Sense the wheel still turning.
Sense the clay still glistening.
Sense the glaze still melting.
Sense the movement of your breath.
Hold a thrown bowl in your hands…
SARAH O’SULLIVAN
Taking inspiration from the natural environment around me in the greater Blue Mountains, this work started with observational drawings from local bush walks. Referencing early colonial images of Australia’s native flora and fauna, the drawings have been executed in an under glaze pencil with a delicate wash of under glaze pigment to mimic water colour paint. The forms of the porcelain vessels are reminiscent of the shape of scientific test tubes, suggesting that the drawings be seen as specimens.
OWEN SHAW
No other contemporary Australian artist has created so much unique and unprecedented art as Owen Shaw.
The Series 'The Ballet Suite' has been foundered by the sculptor.
1. Laminated with fine gold - POA
2. Laminated with fine silver - POA
3 UN Laminated - POA
Each sculpture is finished with tactile, set firm on high tensile pins.
Owen Shaw, sculptor was trained by Australia's leading sculptor, the late Lyndon Dadswell.
Owen in his formative years was predicted by James Gleeson to take a "position of lonely eminence" .
SUSIE McMEEKIN
Susie is a potter of 42 years’ experience. She is based in Katoomba in the Blue Mountains. There she and her husband have built a home raised a family.
Susies’ work is quiet and simple. It is based on two strong cultures that of Asia and the UK. She is enamored with the Chinese Sung dynasty glazes and the simplicity of shape. Her Teadust glaze is taken from the Korean tradition as is the white glaze that she uses. Some shapes are West Country English and that comes from her training with her father Ivan McMeekin who trained in Cornwall with Michael Cardew a well-known and respected potter from post war UK. There was a strong ethic taught of using the materials that are around your workshop which she tries hard to adhere to. The glazes she uses are sourced from an area within 100 kilometers from her home and she processes all these materials in her workshop so these glazes come from raw rock to the beauty you see before you. In the past three years she has built a new workshop and recently completed the building of her wood fire kiln which will be fired for the first time in April next year.
BOYD MCMILLAN
Boyd works in a variety of media with a foundation of walking and drawing in natural areas such as the western Blue Mountains. His practise is based upon site drawing and the direct experience of landscape. The work starts from the immediacy of drawing and develops in the application of media and techniques available in the studio to convey the experience of change in landscape and explore resonance through metaphor.
Boyd received formal training majoring in painting in the mid 1970’s, and has continued a dual practice as an artist and landscape architect exhibiting in Galleries and Art Fairs in Australia and Japan. He has been a finalist in the Gosford Art Prize and the Bermagui Sculpture Prize and his work is held in private collections across Australia, in the United States and the UK.
EBONY SALAMA
My work borrows from the romantic ideals of union with the natural world and the connection we as humans share with the creatures that walk alongside us. This work depicts the battle scarred Mercenary flaunting wounds upon his face, and the Mother lying exposed with swollen teats but baring no kittens. The cats manifest both the anger and aggression of the dominant male, and the submission and nurturing of the reserved female. Both are common behaviors found in each respective sex of cat, and the animal kingdom as a whole. As such, these pieces are both consciously buying into the stereotypes of traditional gendered roles. It’s up to the viewer to decide whether or not they support the idea or reject it, and if they think of these attributes as a positive or negative force. We like to think ourselves above this behavior, however I’m curious as to how prevalent this nature is in our own species and want to question how far removed we actually are from our primal instincts that we so look down upon.
NICOLE O'REGAN
Nicole is an already accomplished metal worker who has recently turned her skills towards a career as a sculptor. Her featured piece; “Stallion” is inspired by beauty, power and spirit of the untamed stallion. “I have created a figurative sculpture aiming to represent an expression of poise, balance and tension
REBECCA VERPOORTEN-LAWS
This work is a collection of decorative narrative pieces that play with the idea of decorative and function. I see the work as lustrous illustrations straight from the heart. The work explores the recent Bush fires, evacuation, regeneration and life in the Blue Mountains. Other themes depicted, the impact of illness, heartache and breakdown of things we hold closest to us. Decay, love and loss and nostalgia. The vintage references evoke a sentimental yearning for return to a past period or irrecoverable condition.
All events are framed within in creation and my belief and eternal hope that there is so much more to heaven and earth.
BOYD MCMILLAN
Boyd works in a variety of media with a foundation of walking and drawing in natural areas such as the western Blue Mountains. His practise is based upon site drawing and the direct experience of landscape. The work starts from the immediacy of drawing and develops in the application of media and techniques available in the studio to convey the experience of change in landscape and explore resonance through metaphor.
Boyd received formal training majoring in painting in the mid 1970’s, and has continued a dual practice as an artist and landscape architect exhibiting in Galleries and Art Fairs in Australia and Japan. He has been a finalist in the Gosford Art Prize and the Bermagui Sculpture Prize and his work is held in private collections across Australia, in the United States and the UK.
SUSIE McMEEKIN
Susie is a potter of 42 years’ experience. She is based in Katoomba in the Blue Mountains. There she and her husband have built a home raised a family.
Susies’ work is quiet and simple. It is based on two strong cultures that of Asia and the UK. She is enamored with the Chinese Sung dynasty glazes and the simplicity of shape. Her Teadust glaze is taken from the Korean tradition as is the white glaze that she uses. Some shapes are West Country English and that comes from her training with her father Ivan McMeekin who trained in Cornwall with Michael Cardew a well-known and respected potter from post war UK. There was a strong ethic taught of using the materials that are around your workshop which she tries hard to adhere to. The glazes she uses are sourced from an area within 100 kilometers from her home and she processes all these materials in her workshop so these glazes come from raw rock to the beauty you see before you. In the past three years she has built a new workshop and recently completed the building of her wood fire kiln which will be fired for the first time in April next year.
SUSIE McMEEKIN
Susie is a potter of 42 years’ experience. She is based in Katoomba in the Blue Mountains. There she and her husband have built a home raised a family.
Susies’ work is quiet and simple. It is based on two strong cultures that of Asia and the UK. She is enamored with the Chinese Sung dynasty glazes and the simplicity of shape. Her Teadust glaze is taken from the Korean tradition as is the white glaze that she uses. Some shapes are West Country English and that comes from her training with her father Ivan McMeekin who trained in Cornwall with Michael Cardew a well-known and respected potter from post war UK. There was a strong ethic taught of using the materials that are around your workshop which she tries hard to adhere to. The glazes she uses are sourced from an area within 100 kilometers from her home and she processes all these materials in her workshop so these glazes come from raw rock to the beauty you see before you. In the past three years she has built a new workshop and recently completed the building of her wood fire kiln which will be fired for the first time in April next year.
SUSIE McMEEKIN
Susie is a potter of 42 years’ experience. She is based in Katoomba in the Blue Mountains. There she and her husband have built a home raised a family.
Susies’ work is quiet and simple. It is based on two strong cultures that of Asia and the UK. She is enamored with the Chinese Sung dynasty glazes and the simplicity of shape. Her Teadust glaze is taken from the Korean tradition as is the white glaze that she uses. Some shapes are West Country English and that comes from her training with her father Ivan McMeekin who trained in Cornwall with Michael Cardew a well-known and respected potter from post war UK. There was a strong ethic taught of using the materials that are around your workshop which she tries hard to adhere to. The glazes she uses are sourced from an area within 100 kilometers from her home and she processes all these materials in her workshop so these glazes come from raw rock to the beauty you see before you. In the past three years she has built a new workshop and recently completed the building of her wood fire kiln which will be fired for the first time in April next year.
SUSIE McMEEKIN
Susie is a potter of 42 years’ experience. She is based in Katoomba in the Blue Mountains. There she and her husband have built a home raised a family.
Susies’ work is quiet and simple. It is based on two strong cultures that of Asia and the UK. She is enamored with the Chinese Sung dynasty glazes and the simplicity of shape. Her Teadust glaze is taken from the Korean tradition as is the white glaze that she uses. Some shapes are West Country English and that comes from her training with her father Ivan McMeekin who trained in Cornwall with Michael Cardew a well-known and respected potter from post war UK. There was a strong ethic taught of using the materials that are around your workshop which she tries hard to adhere to. The glazes she uses are sourced from an area within 100 kilometers from her home and she processes all these materials in her workshop so these glazes come from raw rock to the beauty you see before you. In the past three years she has built a new workshop and recently completed the building of her wood fire kiln which will be fired for the first time in April next year.
HENRYK TOPOLNICKI
I am a practising artist who develops works completely independently and in response to private, public, gallery and competition commissions.
After completing a sculpture course at East Sydney Technical College I started a designer-maker’s business.
From 2000 this business became a primarily art focused enterprise.
My latest venture is the opening of Gallery H at Dargan.
Gallery/Studio Hire
Loaded with character this historic Lithgow building has all the modern conveniences a fine art space needs. Pristine white walls, high vaulted ceilings, gallery lighting, track hanging and ample floor space, Be it our main Gallery space or our smaller more intimate studio, Gang Gang Gallery is the perfect venue to host your next exhibition, workshop or corporate function. Enquire today.
2020 PROPOSALS NOW OPEN
• EXHIBITIONS
• POPUPS
• WORKSHOPS
Gang Gang Gallery is inviting Exhibitors/Artists and Creatives to submit their portfolios for exhibitions, popups and workshops. All types of mediums are invited and will be considered.
Applications showing a comprehensive body of work with high quality photos will be considered.
Functions
Imagine your Wedding, Engagement, Cocktail Party or Corporate dinner surrounded by fine art in the unique ambiance of our beautifully refurbished space….Perfect
Here at Gang Gang we have two beautiful spaces available for you to host your next function. Our main Gallery space is ideal for a larger group or for a more intimate occasion, our private studio room.
Catering, music, invitations and publicity can be arranged by our event co-ordinators or we can leave it entirely up to you. Ask about our packages today.
Gang Gang Gallery
Gang Gang Gallery is housed in the heritage space of the Old Refreshments building of the Theatre Royal on Main Street Lithgow. After being purchased 2012, the building has taken on a major development and transformed into what it is today, a contemporary gallery and function space. that has still maintained traditional 1900s features to emphasis the blend of old and new. Working with local interior and timber artist Damian Howard, the gallery has been designed to host exhibitions of artists in the light filled main space and along with a permanent collection of glassware, porcelain, timber and iron work. Gang Gang has an earnest and growing connection with the local community and aims to embrace the future of the Blue Mountains whilst paying tribute to its past.
LAY - BY
Interest free lay-by is a flexible payment option designed to make purchasing art more accessible.
GIFT REGISTER
Have your friends and family contribute to a beautiful and significant gift that will stay with you forever.
Contact Details:
Opening Hours
Friday to Sunday: 10am – 4pm
Monday: 10am – 3pm
Other viewings by appointment
Women who play with fire by LISE EDWARDS
The ultimate autobiography of an imperfect woman turning 60 and considering her life decisions, and experience, relationships, health and concepts of beauty and ageing.
Clay is my medium and wood is my fuel in the kilns I built at Hampton.
I’m not interested in what I know can happen but rather using found and scrounged materials to see what I can make of them. The same mold was used for each of the 60 pieces that make up the entire installation.
I fire alone so I can experiment without interference and the only limitations are my own.