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Category: Past Exhibitors

ART IN ME

SEPTEMBER 1 – 25

CAPERTEE PUBLIC SCHOOL – CULLEN BULLEN PUBLIC SCHOOL – GLEN ALICE PUBLIC SCHOOL – HAMPTON PUBLIC SCHOOL – PORTLAND CENTRAL SCHOOL – WALLERAWANG PUBLIC SCHOOL – ZIG ZAG PUBLIC SCHOOL

In our second year of The Art In Me Program, Schools were once again invited to participate with over 70 artworks produced by the children through a number of workshops and in addition each school has created a group artwork which will become part of a community polyptych artwork for the exhibition?  This community artwork has been created using charcoal, sticks and leaves remaining from the bushfires. 

For this years theme “Me”, students were encouraged to explore the theme by creating an artwork that expresses who they are and how they feel about themselves. This may be in the form of a self-portrait, a place they connect with, objects that are important to them, a word orientated artwork, an abstract work or any other way they would like to express their identity.
The Gallery provided facilitated art workshops at the participating schools and under the instructions of Elaine Butler

The project includes a facilitated Art Space at Gang Gang Gallery for primary school students from the local Lithgow LGA, a catalogue of the children’s work, an exhibition of artwork by primary school students in the main gallery.

This activity is supported by Nepean Blue Mountains Primary Health Network (NBMPHN), as part of the Australian Government’s response to the 2019-20 bushfires. Wentworth Healthcare is the provider of NBMPHN.

 

About Workshop Facilitator Elaine Butler (WWC0256766E)

Elaine Butler is a local visual artist and mobile arts educator from Wallerawang. She has over 28 years’ experience in arts education.

Through her business Fun Time Art she offers at variety of art classes and workshops for young and old. She is also a Mural Artist, qualified in Art Therapy, and a children’s book author & illustrator.

 

Saturday 3rd September – Opening Event and Award Presentation – From 2pm – ALL WELCOME

JUDGED BY NATIONALLY AND INTERNATIONALLY ACCLAIMED ARTIST ANNE GRAHAM

PRIZES WILL BE AWARDED IN THE FOLLOWING CATEGORIES:

K – Year 1  (Juniors)

  • First Prize – Student – Full Term (8 week) Workshop Voucher with Fun Time Art & Certificate
  • Highly Commended – $50 Art Voucher & Certificate

Years 2 – 4  (Intermediate)

  • First Prize – Student – Full Term (8 week) Workshop Voucher with Fun Time Art & Certificate
  • Highly Commended – $50 Art Voucher & Certificate

Year 5 – 6  (Seniors)

  • First Prize – Student – Full Term (8 week) Workshop Voucher with Fun Time Art & Certificate
  • Highly Commended – $50 Art Voucher & Certificate

Each child will receive a Certificate of Participating and Art Pack

VIEW CATALOGUE

THANK YOU TO ALL OUR SPONSORS

LUMINE

AUGUST 4 – 28

COLETTE JONQUIERES – PENELOPE OATES – BOYD McMILLAN 

OPENING EVENT – Saturday August 6th from 2pm. 

LUMINE – An exhibition of vivid and radiant works that explore the different art techniques and practices of three talented artists, Colette Jonquieres, Penelope Oates and Boyd McMillan, who have been drawn together in a way of expressing their individuality as artist. Making art can be a very solitary pursuit but it’s through exhibitions that we get to explore the intricacies of the paintings up close.

ARTISTS

COLETTE JONQUIERES

I love owls!
For many years now I have undertaken a series of paintings of animals that I felt strongly connected to. In my last two series I focused on sheep and then goats, now it is owls…. but with a twist.
The sheep, goats and owls are all portraits of people that I have met and who possess strong personalities that I felt could be represented in this way.
Other than the facial characteristics of the subjects, my main focus is on the shape and colour of the eyes of the person I was painting. A person’s eyes are, in many ways, the most powerful aspect of their identity.
The works take a lot of time, but I love it. I really get to immerse myself in the image and am fascinated by the incredible detail in the feathers, the talons, the intensity of the eyes or the bark of a gnarly branch.

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PENELOPE OATES

Penelope has had an extensive and varied career in the arts spanning a period of some 20 years. She completed a degree in Fine Arts in Sydney at COFA at a young age which was followed shortly by a degree in Stage and Costume design which she completed at the highly prestigious acting school, NIDA. She worked for several years through to her thirties in Sydney as a designer, concept illustrator and model maker before finally completing a Diploma of Teaching in Visual Arts which has allowed her to finance her foray into her own art practice. Today Penelope works from her studio in rural Grose Vale NSW, where she lives with her furniture designer/maker husband Darren Oates and at the moment, one dog.

Material and Conceptual Practice
Penelope’s technical approach to her practice is highly layered with its mix of coloured inks, acrylic paint and a trusty soldering iron which allows her to lightly etch into both timber panels and canvasses resulting in a distinctive, tapestry-like patina of overlapping lines. This introduction of a soldering iron into her artmaking practice has allowed her to introduce more of a drawing element back into her work and she sees herself as more of a ‘mark-maker’ than a painter.
Inspiration is drawn from Penelope’s own experiences and memories of the landscape with its shifting colours, merging textures and evocations of place and time. She feels a strong connection to the works of 19th Century metaphysical poet John Keats whose poetry expresses the notion of being able to transcend our negative experiences of the world by contemplating upon ‘a thing of beauty’ In this sense her work provides her with an escape from the strains of an otherwise contemporary urban existence and allows her to indulge in the practice of making, often a very solitary experience but one which suits her perfectly. Art does, however, need an audience to give it meaning and context and it is every artist’s joy when that connection is made between the viewer and their work of art.

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BOYD McMILLAN

Presenting the Australian Landscape an accessible way to provide an experience of natural areas that may encourage consideration of the bush and its values.

Painting is from the direct experience of walking in the bush with a foundation of drawing to show response to change and present the lightness and transparency of the Australian bush. Tree Portraits engage with older trees as enduring records of the conditions in which they grow.

Sculpture is based on low impact techniques of basketry using the natural structure of plants. Earlier this year I won the Peter Collins Memorial Prize at the 2022 Sculpture Bermagui Festival.

I studied art in Queensland in the 1970’s. I began to exhibit in a range of media.

Works have sold to clients in Australia and overseas.

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CURATORS PICK

JULY 1 – 31

FEATURED ARTISTS

CAITLIN GRAHAM, NATASHA DANILOFF, NADEGE LAMY, HILLARY SIMS, KAYLENE BROOKS, LISA RHODES, LISE EDWARDS, MEIKA DAVIS & many more

Our ‘Curator Pick’ collection with some of our favorite artists and their works. Something for everyone for one month only.

HANDS ON CLAY lll

April 6th – 30th

NICOLA COADY, ANNE EDWARDS, CHRIS BARKER-GALLOWAY, ROBIN GURR, ROBERT LINIGEN, BILL SAMUELS and GEOFF THOMAS

Gang Gang Gallery is thrilled to be hosting our third collection of ceramic works by a number of talented potters, pushing boundaries with function and form in this energetic and creative exhibition.

OPENING EVENT – Saturday April 8th from 3pm

This beautiful opening speech by Bernadette Mansfield for ‘HANDS ON CLAY 2’ 2022 is worth sharing for ‘HANDS ON CLAY 3’ 2023
Unfortunately Bernadette is unable to join us this year due to other commitments but her words will be fondly remembered.
It is so fitting that here, in Lithgow, it is a group show I have been asked to open; whereby bringing artists together it amplifies and echoes the fact that every artist’s story is a testament to resilience, and a demonstration of resourcefulness.
Lithgow (named, of course, after Scotsman William Lithgow) was established as part of the vision of Blaxland, Lawson and Wentworth’s and their proposal to cross the mountains in 1814. Overseen by William Cox who ‘supervised’ 24 convicts to build the 12 foot wide roads these convicts managed to successfully construct a mountain crossing and reach Bathurst six months later.
It did not take too much longer for Lithgow and its miners to quickly develop a world-wide reputation for being some of the hardest working coal miners in the world.
This town is also widely known for its strong unionised activity and produced a Prime Minister in Joseph Cook in 1913 who arrived here as a 12 year old miner from England and began his political career here in the socially conscious Vale of Clwydd Miners Lodge.
We also know, as much has also been written about, how aboriginal people, by the 1820s actively resisted European occupation leading to horrific consequences.
This region, despite its relative isolation and small population, and through hard work and determination, became the fourth largest city in Australia with thriving industries including coal mining, copper smelting, woollen mills, iron and steel, refrigeration, shale oil refining, production of small arms, power generation.
But one of its other great natural assets, is clay.
Following the discovery of clay deposits in 1870 in the Lithgow Valley the Lithgow Valley Colliery Brickworks was established. And the English potter, James Silcock established the first pottery here in 1879.
Moving beyond Lithgow, the Blue Mountains region has become home to artists from all over Australia who share the resilience, tenacity, determination, resourcefulness, sense of community and social consciousness of those who built and established the smaller towns, up and over the mountains, leading to this place where we stand now.
Gang Gang Gallery have an incredible lineup of potters with work for sale at this years ‘HANDS ON CLAY 3’ Exhibition

NICOLA COADY

“From the rolling hills of Devon, the vdst veldt of Africa to the weathered shores of Australia, my forms have emerged”.
Arriving in Australia in the late 60’s, I was immediately taken by the eroded sandstone foreshores and flora and fauna. Having canoed many times up the River Dart, Devon, England, where I experienced my formative years and walking along the cliff’s collecting primroses and bluebells overlooking the English Channel, I was acutely aware of the beauty of nature.
ln the early 1970’s the opportunity arose for me to get my hands into clay and I never looked back. Once my two sons started School, I enrolled in TAFE at Brookvale and completed a 4 year part time Diploma Course, graduating in 1986. On graduating, I was approached to teach at the Ku-ring-gai Art Centre in Roseville which I did for 27 years which I thoroughly enjoyed.
I have been a member of the Ceramic Study Group since the late 1980’s and in 2010-2014 was President and currently Vice President. 2016-2021 I was President of the Ferry Artists Gallery at Wisemans Ferry, where I still exhibit a range of my latest creations. Over the years I have been invited and exhibited all over Australia and my work has been acknowledged by winning 28 Awards at different times. To name a few, one of the awards was judged by Lloyd Rees in the late 1970’s at the Lane Cove Annual Art Exhibition which, I think, gave me the impetus to keep potting. ln 2015,1 won the 300 grams. Exhibition/Competition at the Mansfield Ceramics Gallery in Darlinghurst, judged by Art Critic, Dr. Christopher Allen. 2018 won the “Bowl” competition held by the Ceramic Study Group,2019 the ‘Animal, Vegetable and Mineral’ competition with a form entitled “Erosion” judged by Barbara Campbell Allen and in 2021 won the “Party theme” competition judged by Malcolm Greenwood . ln 2014, 2017 and 2018 I won one of the categories of the Annual Teapot Exhibition in Sydney. I have had several solo exhibitions, one entitled “Ripples of Time – celebrating 20 years” which was opened by celebrity John Doyle. My work has been purchased for Permanent Collections and Corporate gifts.
ln 2017 one of my Ned Kelly teapots was auctioned at the NSW Parliament House to raise funds for the AMA for the Luke Batty Foundation. 2017 exhibited with Artist Carol Gill entitled “Confluence” at the Art Studios Gallery in Gosford. Last year 2021,l’was invited and exhibited with a group called “Living Textures” at Brush Farm at Eastwood, “Platinum” celebrating the Ferry Artists 20 years in existence, Living Clay Expo. at the Coal Loader, Waverton, 2022″Ephemeral” at the Gang Gang Gallery, Lithgow and finally the North Shore Craft Group’s annual Exhibition in Thornleigh. My love of texture has drawn me to experiment with crystalline glazes, as it has a certain illusiveness and depth which still intrigues me. Mainly working with stoneware or porcelain clay bodies, l’ve recently started incorporating my East meets West, Japanese “Boro” patchwork concept into some of my creations which can also be adorned with the delicate floral motifs of the Australian bush. I usually fire in my electric, gas and sometimes raku kilns and have access to a wood fired kiln in the Wnter months which adds another dimension to the forms and desired aesthetics.
My insignia – the spiral – means ever evolving and so my journey with my love of clay continues

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ANNE EDWARDS

Anne Edwards began working with clay at 16. Mentored by Col Levy and Maureen Williams, the resulting pots toured in ArtExpress and since then Anne has worked in studios in Japan, Brazil, Germany, Thailand and Australia. The main focus of Anne’s work is on the relationship between breath and form in the process of making. Each piece reflects the immediacy of using the wheel to shape clay and using breath techniques to create form. Surface decoration is minimal. The resulting pieces are meditations and carry this intention when held.
.
A HANDMADE BOWL
Hold a thrown bowl in your hands; pause a moment, and let your fingers connect with the surface.
Feel the shape; the heft or fragility of the weight; the way it sits in your cupped palms; it was made for your hands.
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…
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CHRIS BARKER-GALLOWAY

”In my ceramics, I work with low temperatures, organic shapes, clear lines and colour, but most of all, I strive for simplicity. Simplicity balances my busy life and my other passion…. portrait sculpture.To quote Edward de Bono…”Simplicity is easy to use but hard to design.  Although simplicity is very obvious in hindsight, getting there requires a lot of creative thinking.”

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ROBIN GURR

Most of Robin Gurr’s work in this exhibition was inspired by the old Lithgow mine site. She refers to worn graffiti, survivors of fire and detritus from the abandoned mine site. She depicts relics – ” surviving memorials of something past” – and, in so doing, anchors our place in time, contributing to our collective memory by making a material connection with a world which is in the act of slipping away.

Her work consists of wheel formed elements, altered and combined mostly into sculptural vessels, gas fired to stoneware temperatures. Her palate is subdued with surfaces showing evidence of weathering, decay and erosion.

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ROBERT LINIGEN

On Making Weed Ash Glazes

I live and work on the edge of a Blue Mountains hanging swamp at Leura. The land has beautiful parts but is partly overgrown with invasive weeds. I’m working to regenerate the native bush, by clearing the woody weeds, drying them in piles, burning them off in the winter and collecting the ash.Wood ash has been used as a ceramic glaze material for hundreds of years. It contains the all the elements that the plant has drawn from the soil as it has grown. The ash is a unique fingerprint of the location, the soil, the species and even which part of the plant is used. By using my local ash, I hope to make something positive from these bush pests and create something unique to this place.I make separate piles of each weed species, so I can make a glaze with the ash of just one type of weed at a time.You have to burn a huge volume of weeds to collect a small bucket of ash, so there is usually only enough glaze to make a few pots with each small batch. Each new batch of ash is a little different, so it’s not possible to make the exact same glaze again. When it runs out, it’s gone forever and I have to try to make something new. It can be frustrating but I think there’s a bit of a metaphor for life there.
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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. THe beauty of some of the old pots from cultures that have a long ceramic history (unlike Oz that has none) has intrigued me for the last 50 odd years. I believe their beauty resulted from the potters use of “materials at hand” and their “primitive” methods of preparation. I don’t mind being called a nutter by my colleagues because I enjoy the chase, the research is endless and it’s what keeps me going, albeit at an increasingly slower pace.”

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GEOFF THOMAS

The pots for this exhibition are mostly from the fire box area of an anagama kiln where they are exposed to the most severe of the firing conditions. lt is these conditions that give the pots these results. Only 3 to 5 pots fit in this area and the losses are high but as this is the result I am trying to achieve we will keep working on it.

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EPHEMERAL

APRIL 7th – 24th

FEATURED ARTISTS

PENELOPE OATES, KRISTINE BALLARD, CAROL GILL and ceramicist NICOLA COADY

A transitory, fleeting, temporary, brief, momentary exhibition

OPENING EVENT – Saturday 9th from 2pm

VIEW CATALOGUE HERE

PENELOPE OATES

Nature is in a constant state of flux, natural forms shift, evolve, disperse, decay and renew over variable expanses of time.

The processes in nature are often mirrored in a landscape artists’ process and mine is no different to others with the layering of media onto a material surface. Where my work differs is perhaps with the introduction of a mark-making tool into the process of an otherwise painted surface.

For me the use of a soldering iron to gently burn into an already layered surface of coloured inks, and acrylic paint allows me to reveal the colours that have been applied earlier on. These coloured marks or lines have become my way of revelling in the process of drawing which has always been my first love. For me, whole process of creating an artwork that references the landscape in some form is by its very nature ‘ephemeral’.. marks or lines are often rubbed back with turpentine to create new ones with remnants of old ones still visible, areas of etched lines, however long they may have taken me to etch, are also sprayed over with acrylic aerosol to be re-etched building up layers of tone and depth. This whole artmaking process for me nicely mirrors the artist’s dichotomy of capturing a fleeting moment or feeling in nature and then committing it to permanency onto the painted surface to be viewed and enjoyed for time immemorial.

Hawkesbury NSW.

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KRISTINE BALLARD

The inspiration for this collection of artworks was inspired by the unique light and colour I experience throughout my travels in the Australian landscape. This transient radiance is what I want to capture to canvas in paint.

I have been chasing colour and light around the world on a quest to better inform my art practice for many years. It has allowed me to complete art residencies in Venice, the city of light, in New York at the renowned Art Students League, and in Melbourne at Monsalvat – Australia’s oldest art colony.

My passion for colour sparked the development of the painting style I call ‘Fragmatism’. Here images float, fragment and dissolve across the canvas. Beauty is often camouflaged, and there is a motion in the stillness. It is the place where deconstructed shape and reconstructed colour glow from within. 

With this new collection, I celebrate the luminance of the New South Wales countryside.

Paying homage to those fellow light chasers, the Australian impressionists. I’d like to echo their sentiments and honour their ambitions to paint the ‘light’.

Here are my colour stories. As a contemporary painter, they are the abstractions and expressions of my artistic adventures in the Australian bushland.

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CAROL GILL 

Ephemeral= transitory, fleeting, temporary, brief, momentary.

Like most landscape artists my work is inspired by the environment in which I live and traverse. I have a particular passion for the contrast between the Hawkesbury River region and Central Australian landscapes.

I have bush walked most of my life amongst vast changing landscapes. The transitory experience of which, however fleeting, creates lasting memories from which I draw my creative process. The seasonal changing scape of the riverine landscape in which I live, the spontaneous mass blooming of flora, the arrival of migratory birds to the wetlands, the sudden ravage of wildfire, the emergence of regrowth and the shifting and eroding sands of the Central Australia in which I traverse all converge in my studio to begin a more permanent journey in paper and paint.

Vistas become ideas, cameras capture moments that become sketches and transition into finished artworks that are all generated from brief glimpses of and momentary experiences in the landscape.

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NICOLA COADY

Ephemeral for me represents transition in the process of achieving my desired form whilst working with clay.   Clay is manipulative in its pure state which enables me to create a form which then has to dry – be fired – then glazed and refired.

My creative desire to begin with though, also quite often includes plants that are ephemeral and then capture that moment whilst they are still alive by pressing them into clay, to then be able to manipulate the clay to form platters, jugs, or even teapots that then hold the ephemeral moment!

Also, some of my forms capture the essence of vegetables e.g. fennel and leek which also can have a fleeting moment of existence before possibly being consumed but my interpretation will actually capture the essence of their peek ephemeral form.

Using a porcelain or stoneware body of clay, I either fire my work in an electric, gas or wood fired kiln, again going through a moment of transition to finish off my desired aesthetic.

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HILARY SIMS – RETROSPECTIVE

DECEMBER 2nd – 5th 

Thursday 2nd – In conversation with Hilary’s family – From 2pm

Saturday 4th – Opening Event – From 2pm

On Thursday and right through the weekend we are hosting this extraordinary exhibition featuring the work of Hilary Sims. Hilary was an amazing colourful character whose work reflected the eclectic nature of her passionate approach to her art, and we have tried to capture that in this one-off exhibition.

Hilary’s style of textures, patterns & bold colours reflects her life’s journey. Her landscapes are born from a desire to feel connected to place, and self. Her paintings are personal and reflective of her quirky yet confident and positive approach to life.

Born in Glasgow, Scotland in 1966, Hilary migrated to Australia with her family at 6 years of age. She lives in the Blue Mountains and it has been her home for over 45 years. Considering herself as “a late starter to painting”, Hilary began her art practice after her two daughters were grown and independent. She first ventured into painting as a form of therapy, but soon discovered her thirst of learning and developed her own style.

Hilary has done workshops with established artists, exhibited her work around NSW in Galleries and has been a finalist in numerous competitions.

Join us if you can on the two special days, Thursday and Saturday when between 2 and 4:30 pm Hilary’s daughters Melissa and Kate will be answering your questions about Hilary’s portrait work, the flowers, and offering stories from an amazing life.

SHE WILL BE DEARLY MISSED

Please note that due to the current COVID-19 crisis, NSW Government restrictions will apply

ADRIFT

NOVEMBER 4th – 28th

JILLIAN CULEY, CAROLYN DANCE, KAYLENE BROOKS and MICHIYO MIWA

Adrift is a collaborative exhibition focused on the amazing array of twisted, burnt, dented, discoloured and gnarled wood that gets washed onto the shores every day. Every piece has its own personality, and has been shaped by its journey through storms, currents, tides and bushfires.

Whatever happens in this universe as far as we know, everything is transient. We, humans (animals), plants, and the environment at large constantly change and are shaped by forces that remain unknown.  In the midst of this universal flow, we simply try to capture and present what we witness in the world around us at that moment of time.

OPENING EVENT – Saturday 6th from 2pm

ARTISTS

JILLIAN CULEY

Jillian works predominantly with locally harvested fibres. She explores and experiments with ancient and traditional basket weaving techniques including twining, string making, ribbed and randing.. For Jillian weaving is also an opportunity to explore the connection of mathematical patterns and the natural environment. Her baskets and sculptural pieces take their roots from the colour and forms of the bush where she lives and works

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CAROLYN DANCE

Carolyn’s home and studio is nestled on a bush block in the Blue Mountains. The surrounding flora and fauna inspires and informs her creative practice. For Carolyn weaving is a meditative process where the purposeful, slow and rhythmic movements help to transform natural materials into functional baskets and unique pieces. Carolyn enjoys the whole process; from a walk in the bush to harvest materials, to weaving the final creation.

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KAYLENE BROOKS

A multi media artist living and working in the picturesque Kanimbla Valley where inspiration is plentiful. “Shape and form is explored in this collection incorporating natural fibres, textures and of course drift wood with a muted pallet of colours with a whimsical twist, no prethought was put into each piece, like driftwood I let each work dictate its own design and form. I really enjoyed the relaxed process this allowed.” 

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MICHIYO MIWA

Ink painting (Sumi-e) was initially developed in China from around 9 th to 10 th Century and was introduced into Japan around the 12 th Century together with Zen and was fully developed by the end of the 13 th Century. Initially, Sumi-e was practised amongst monks only.
Michiyo has been practising Sumi-e for about 20 years. While she was learning woodblock printing, she started using Japanese handmade paper. She was soon drawn into the paper itself for its texture and hue. She found that a combination of shades of grey and the natural glow of handmade paper gives the effects of a delicate hue of light such as shadows reflecting on paper screens, invoking the natural instinct of her birth country. To pursue further the effects of these shades of grey, she decided to study Sumi-e.

The theme of this Exhibition, Adrift, is complementary to the Zen philosophy of impermanence – nothing stays the same.
In the environment where you are constantly facing incidents totally beyond your control or efforts, only thing you could do is to accept the way as it is – leave yourself to the flow and relax – like a driftwood.

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SOUL

ONLINE EVENT due to the current lockdowns SOUL will now be held online. All purchases and viewing can now be done through our online shop.

AUGUST 5 – SEPTEMBER 12 

FEATURED ARTISTS

USHA SINGH – MARTIN GARIBAY – MARIA GRZYBOWSKI – KAREN BLOOMFIELD

A beautiful exhibition that reflects the issues that shape our diverse world, the four artists take us on a journey of exploration on personal and cultural identity, curiosity, and intimacy, encouraging the viewer to question their own beliefs and inspirations. 

Saturday 7th August – Opening Event – From 2pm

ARTISTS

USHA SINGH – Painter

My art is a journey from Darkness to Light. Tracing every ray of light with strokes of colour on a canvas as it comes to life. I pay close attention to detail in the way colour fills up a place or a subject to create a realistic rendition. I paint to capture the fleeting magic of an illuminated space. I find inspiration in wilderness and heritage structures and still life alike often capturing an illuminated perspective which has ruminated and emerged from my creative subconscious. Through my work I want to transpose viewers into the scene and have an emotive experience. To feel what it’s like to be inside a painting and interact with its characters.

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MARTIN GARIBAY – Painter

I paint because I have no other choice if I want my life to have purpose. This is a recent discovery for me, a very happy one.

As a painter I like to create paintings with a soul, so connections between a painting and the observer can be made, and emotions can be conveyed. I enjoy the goodness in the world and I don’t enjoy the pain in it bit I know that beauty can be found even amongst ugly and painful things, it’s about perspective.

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MARIA GRZYBOWSKI – Painter

Soul & Wilderness – In the modern age  of technology we are in a constant hurry, which leaves us detached from nature. My personal experience as an artist living in Australia, has given me the opportunity to create works inspired by local native flora and my garden. The beauty and perfection of the wilderness, innovates the creative flow within my artwork.
The six paintings series “Solitude & Wilderness”, represent my feelings of freedom from daily difficulties and demands and the state of calm and exploration of my inner soul and identity.
We humans can’t separate ourselves from nature, we are part of it.

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KAREN BLOOMFIELD – Painter

I believe that my role as an artist is to capture & preserve society in this very moment & to garnish this captured moment with my own filters, wit, emotions & beliefs.

It is in this way I share my vision of how I perceive that simple, mundane, ugly & unexpected things may be viewed to be beautiful or, at the very least, engaging. It is my desire to encourage the growth that comes from seeing more than one viewpoint – in everything.

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REBECCA WILSON

FEBRUARY 18 – MARCH 21 – EXTENDED TO APRIL 18

THE KATE KELLY COLLECTION

Saturday 20th February – Opening Event – From 2pm

Book Launch – Saturday 20th – 3pm

Please note that due to the current COVID-19 crisis, NSW Government restrictions will apply

FEBRUARY 18 – APRIL 18

Kate Kelly | True Story of Ned Kelly’s Little Sister

In celebration of Rebecca’s biography Kate Kelly published by Allen & Unwin, 16 February 2021, Gang Gang Gallery presents The Kate Kelly Collection, a series of narrative paintings and story cards based on years of research and investigation into the life of Kate Kelly, Ned Kelly’s little sister.

Download a PDF about the book and the collection here | Buy the book here

MARCH 13 – 10am to 1pm

Writing History Workshop with Rebecca Wilson

$45 – $55

BOOK ONLINE

BUY THE ART

Please contact the Gallery for more information and purchases – 0408 514440

POP UP | DIRK ROMEYN – Painter – January 21 to 24

POP-UP

DIRK ROMEYN – Painter – January 21 to 24

A local Artist and Craftsman

Dirk Romeyn was born and lives in the Blue Mountains, New South Wales, on the east coast of Australia. He is proud of his local heritage as well as his dutch ancestry.

Dirk is a wood craftsman and carpenter by trade, with over 45 years experience. His deep knowledge and love of the mystery and beauty of the Blue Mountains inspires his work and life.

Dirk creates unique wooden sculptures and furniture, and his paintings and drawings reflect the breathtaking beauty of the natural landscapes in the Blue Mountains World Heritage Area. His works continue to be exhibited and sought after in Australia and internationally and are a wonderful souvenir of any visit.

dirkromeyn.com

See the video here.