Anna is a ceramicist working out of the Kanimbla Valley in NSW, Australia.
A love of animals and nature is integral to her work, with many different styles, specializing in “funk” ceramics. She has exhibited regularly since the mid 2000’s and in 2015 was finalist in the Muswellbrook Art Prize, National Portrait Gallery 2016.
Anna Di Mezza
My body of work is influenced by found vintage photos and films. I like to superimpose images on unrelated and unexpected backgrounds to create a visual narrative. My paintings are mostly monochromatic palette with occasional pops of colour. My influences are wide and varied, from Magritte, DeChirico, Surrealism, PopArt, Hitchcock, Kubrick to David Lynch.
My work is always about people, their habitations and their things; I make portraits about the real or imagined history of places and of people and I assemble installations attempting to distill something, the subject. I collect tools, culinary implements, measuring devices, combs and brushes; all of these things relate to some kind of repeated human activity. These sounds and the rhythms of these activities are part of every day life and the ordinary objects we use to order our world. My intention is to transform a known and ordinary thing into something new and not previously imagined.
The shape of cows, individually and as a herd, move in the landscape in a way that invites me to play with their forms within the geometry of paper and canvas. Cows are often gregarious, protective of their calves and extremely curious. As Rosamund Young says in her recent book, The Secret Life of Cows, “Just like people, cows can be highly intelligent, or slow to understand, friendly, considerate, aggressive, docile, inventive, dull, proud or shy.”
The Cox’s River, which encloses our farm, is a constant source of inspiration. The hovering presence of trees, vines, bush and rocks hint at the diversity of its changing moods, colours and patterns. Some paintings may appear to be abstract but are still recognisably connected to the landscapes of river and cattle country.
Chris Stevenson, 9 th April 2018
Colette began her art studies in 1990, later completing a Bachelor in Fine Arts at the National Art School in 2003. She hes held a number of solo exhibitions in Sydney, Melbourne and Upper Blue Mountains; received various awards for her paintings, including semi finalists in the 2015 Doug Moran Portrait Prize. Colette’s paintings have featured in the Sydney Morning Herald “Critics Picks”, Daily Telegraph Archibald Prize and Essentials Magazine and are currently held in private collections in Australia and internationally.
‘COLLECTIC’, this group exhibition is an exploration of the unusual and unique. Recycled, reclaimed and rebirthed this thought provoking exhibition shows you everyday items transformed into contemporary art pieces. Raphe Coombes, Kaylene Brooks, Philip Hammial & Michelle Connolly combine their quirky talents in this must see ‘collection of the eclectic.’
I am a mixed media painter and sculptor based in Sydney Australia. I am influenced by tribal and primitive artwork and would describe my work as that of an outsider artist with no formal art eduction. My work on multiple creations simultaneously using various materials. I enjoy creating quirky and fanciful human and animal characters, there is no planned story behind these creations, but I use them to trigger off new works and to keep an internal dialogue going.
I lived in North Carolina, USA for seven years (2007-2014), where I became familiar with visionary/folk art, I was inspired by its honesty raw energy and started to use found material more and more in my works. A recent series of flattened box drawings are filling my studio walls, these sometimes turn into studies for larger works.
Since 2010 I have been making figures out of a variety of found material, clay, wire, wood and paint. Inspired by the puppets made by artist Paul Klee. They have a history in their make up – stories to be told and although they stand alone they also come together in a dialogue with each other. These poor scraps are turned into rich trophies – waste not, want not.
Body of work: “Sofala”
My practice is driven by an underlying fascination with the natural world and our historical involvement, how everything evolves from one another creating an endless source of discovery. Celebrating the visual beauty of colour, creating layered images that interpret the feeling and energy of a landscape, capturing nature in an ambiguous way.
All the colours are from the landscape I visit; from the bright orange fungi growing on dead tree branches, the turquoise lichen on tree trunks and rocks, the pink fluorescent afternoon sunset, the flight trail of a fairy wren, to the imprinting of the scribbly gum moth larvae.
These paintings combine the ever-changing compositional weave and lighting of the Australian bush landscape, with a seasonal summer colour palette. In paint, I describe my journey throughout this ancient country.
For my body of work, I have focused on the stunning historical town of Sofala in Western NSW. Camping and working en plein air at Wallaby Rocks and along the Turon River, I connected to the area and its’ historical importance. When in my home studio in Portland, drawing on my memories and intimacy of this place to build on my vision.
Why I make sculpture….
I didn’t start making sculpture seriously until 1968 & then only because I had a serious accident. While trying to get down to a wrecked fishing boat on a small beach in Sausalito (California) just below the Golden Gate Bridge I fell from a thirty-five foot high cliff. The object was to remove the compass and other pieces of brass from the pilot house. But the cliff was unstable; I went down in a landslide & managed to break my leg into three pieces, dislocate an arm and rip my chest open. Lucky to be alive, I was rescued by the Coastguard who had been called by two painters working on the bridge. To make a long story short, I ended up in a body cast from chest to waist to right foot. As I was taking pain killers and was weak from the injuries I wasn’t able to write poetry (an obsessive and prolific writer) and consequently was feeling frustrated.
What to do?
One day two friends loaded me into my big Plymouth 4-door sedan and we drove out to a nearby tip. With me saying Yes or No to objects they pulled from the tip they filled the boot and, returning to my house in San Francisco, placed them on a large table in the cellar. Hobbling around on crutches, in two months I made forty pieces of sculpture. And have been making it ever since.
Body of work “RAW”
A cross discipline artist, taking inspiration from Dutch artist, Sandra de Groot and French artist Jim Skull as well as Oceanic and Tribal Arts. Kaylene is 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 her current collection “RAW” she explores 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.
David Newman-White is acclaimed as a master visual artist and has been a teacher for the past 34 years. He studied in Australia, and has taught in East Sydney, Liverpool, Penrith and Seaforth TAFE, The Gallery School, Meadowbank Northern Institute TAFE, Nepean Art and Design Centre, Western Sydney Institute and the Norman Lindsay Gallery and Museum (National Trust). These days he lives with his wife in the Blue Mountains.
APRIL 13 – MAY 7
The work of Gabrielle Jones has been described by Charles Blackman, Artist as
“…full of shining light, radiant… [she] lets the inner things – her soul – come into her paintings [and] evokes feelings from the viewer”.
. Gabrielle Jones is an Australian abstract artist with an expansive exhibition history since 1999. In addition to her regular solo exhibitions across Sydney, Melbourne and Perth and appointment as drawing instructor for the Sydney Biennale Events in 2012, Gabrielle has been awarded the Brentwood Art Prize (Acquisitive); the William Fletcher Trust Grant in 2003; and the Northbridge Art Prize in 2005. Jones has been short-listed for a number of art prizes including the the Mosman; Fleurieau Biennale; Duke Gold Coast; Muswellbrook; Paddington; Calleen; Fishers Ghost; Korea Art Foundation; Kedumba and Rick Amor Drawing Prizes. She has exhibited at Grefti Cultural Projects in Italy; had a solo at Goulburn Regional Gallery; and will exhibit again in Italy in June, 2018 and at Gosford Regional Gallery and Muswellbrook Art Centre in 2019. .Her work has been collected across public Australian institutions locally (Muswellbrook Regional Gallery, Bundanon Trust), as well as internationally by Fundacion Valparaiso, Spain and Art Scape Organisation, Toronto. Her work is held in private collections in London, New York, Italy, Canada , the Netherlands, New Zealand and Tahiti. Jones’ practice has seen her complete residences abroad in Tahiti, Spain and Canada; as well as locally at the Tweed Regional Gallery. She completed her Bachelor of Fine Arts with Distinction from the National Art School in 2003
SEPTEMBER 14 – OCTOBER 8
Join current Exhibitor GARRY PETTITT for drinks and a chat as we farewell his collection – Sunday October 7th @ 3pm-5pm.
Garry was born and educated in Lithgow. He began painting at the age of ten and is self-taught. Garry left his career as an electrician in 1994 to pursue his art.
Since turning professional, his success has escalated, winning many awards. In 2008 and 2011, Garry won the prestigious Royal Agricultural Society Art Award for the best landscape painted in a “Traditional” style at the Sydney Royal Easter Show. In 2011 he was awarded First Prize in the figurative section and that portrait also won Best Exhibit across all art sections and an Award of Excellence.
He was awarded People’s Choice at Portland Art Show 2010, and was Guest Artist at Portland Art Show in 2012.
He has had six major solo exhibitions, all of which have been a huge success.
Garry captures the atmosphere of Australia in his oil paintings, whether they are of the landscape, seascape, a streetscene or its’ people, through his attention to light, colour and detail.
Garry’s paintings are in collections around Australia, as well as USA, Singapore and Belgium. Garry resides in South Bowenfels, a suburb of his home town of Lithgow, in the Blue Mountains, N.S.W., Australia.
3rd AUGUST – 3rd SEPTEMBER
EXTENDED TO MONDY 10th SEPEMBER
“MODERN IMPRESSIONIST PAINTER” Greg Jarmaine has been painting professionally for over 30 years. Greg held his first one-man show in 1980 (exhibition sold out on opening night) and has had 25 solo exhibitions in total. Greg’s work could be considered modern impressionism and he has been featured twice on the cover of Australian Artist magazine. Greg Jarmaine distributes his paintings through galleries in New South Wales and Victoria as well as the USA and UK
Greg is also represented by SHOWCASE of Australian Art – the largest distributor of new, original Australian paintings.
IMAGES OF THE GREAT ZIG ZAG RAILWAY
OCTOBER 12 – NOVEMBER 5
Join acclaimed, local Portrait artist David Newman-White, as he brings together this eclectic and award winning group of artists in a collaboration of ‘Images of the Great Zig Zag Railway”..
FEATURED ARTISTS • Annie Joseph • Royce Holliday • Anne Blair-Hickman • Annette Macrae • Kay Booker • Jenny Sewell • Shane Monaghan • Eileen Manton • Nick Hanson • David Newman-White
April 19 – May 20
An exhibition in celebration of Lithgow’s industrial past. Seven outstanding artists; Margaret Aalders, Ronald Frederick Horstman, Annie Joseph, Dean Mobbs, Rachel Szalay, Gerard Brown, Ralph Tikerpae present their work in a story of strength, creativity and growth.
Lithgow’s Industrial past is well documented in historical documents and photographs. Although the earliest European settlement in the Valley was pastoral, for more than a hundred years, from the 1870s through to the latter part of the 20th Century, Lithgow was an industrial town. Coal mines, Smelters, Railways, Steelworks, Brickworks, Abattoirs, Brewery and industry-associated places such as the Trades Hall and the Lithgow Co-op, were the pulse of the valley. Most of the buildings, and the industries they housed are gone now, the last coal mine in the Lithgow Valley, The Hermitage, closed in 1986. Lithgow in 2019 is clean and green and interestingly, the old buildings that remain from our industrial past have taken on a patina, a beauty that is acquired with age. Some are in ruins while others have survived and flourished and been re-purposed. I have tried to capture some of that beauty in these pen and wash and watercolour drawings.
The industry of life is never perfect; and not all my works for this exhibition are, Industrial. But, when we place ourselves within the journey – which I did – I became the past, as industry. I felt the essence of the area through imagery and looked for the associated humanity. I looked for the lived elements of industry. These works encompass for me as an artist – lived historical and industrial everydayness; of the township known as, Lithgow. During the creation of the works – I walked within the area and asked for inspiration. I placed my soul inside these buildings. I floated. I swam. I was inspired by – their history; and the internal industrial nature of these amazing facilities. This is your history – feel it.
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.
After studying art in Newcastle I work and teach in regional NSW. By removing my self from the city early in my career I have been able to develop my art away from the tyranny of other influences and the stresses of city life. I revel in the freedom that living on the edge of the Mallee country gives me with access to sculptural materials and the space to both sculpt and paint in my large studio spaces.
Margaret is a prize-winning water-colourist who also experiments in mixed medium especially inks. She started painting in England many years ago where she had commissions to paint farmhouses, cottages and elegant residences in rural Berkshire and Oxfordshire. While living in the UK she work-shopped with the renowned British artist John Bockley and at home with Alvaro Castagnet, Herman Peckel and other well-known artists at the Charles Sturt University Summer School for the Arts. Each year she travels to Northern Territory to paint the challenging variety posed by the rugged terrain and this was demonstrated by her very successful exhibition ‘Kanimbla to The Cape’. At home Margaret finds great inspiration in her love of the trees, mountains and vast skies of the Kanimbla Valley, part of the Blue Mountains where she lives. In her latest works she is experimenting with the challenge of capturing Lithgow’s Industrial Heritage. Margaret is an active member of the Blackheath Art Society, Society of Mountain Artists and a founding member of the Gallery Blackheath.
Known for his psychedelic and pop styled artworks, the pieces in this show are inspired by the industrial, Flora and Fauna of Lithgow and surrounding regions in which he now lives and breaths.
“Torn between two climates, the cities in which I spend half of my time painting commercially and privately, to breathing in the fresh air of these mineral rich mountains when I return home, allowing my subconscious to be released into fluidity of creating once again, breathing into the moment.
These artworks are a still image, a moment of what goes through my mind. from the heavy headed black cockatoos floating over to the tinkering of past engineers which made Lithgow the forefront of industry in Australia. I encourage you to imagine them moving, breathing, give them sounds, give them life.”
Lithgow has a special meaning to me. My Hungarian father came to Australia after World War II having been a prisoner of war in Germany, seeking a new life in an unknown world. He was interned in an American prisoner of war camp in Germany and learnt English from a dictionary and American comic books. A toss of a coin to determine his destination at the end of the war between America and Australia, landed on Australia.
His poignant first impression of this country was sailing in through the heads at Sydney Harbour early in the morning. Once ashore, he was whisked to the migrant camps at Bathurst jostling for position amongst the fluent in English and those that knew none. Seeking employment, he worked on the coal trains at Lithgow and also cleaned the Small Arms Factory windows.
It was at Lithgow Littleton Hostel that my father met my mother. She came from Coonabarabran seeking employment as a teacher and fondly remembers the ardour of wearing a white blouse to work. In the morning it was clean, by evening, the coal dust had settled around the inside rim of the neck.
From this first meeting, their love and journey grew. On a snowy day they married in Mt Victoria in a little church that still stands today with the reception at the Imperial Hotel. They finally settled in Glenbrook at the foot of the Blue Mountains and three children completed the family. Two sons and a daughter, me.
It was the welcoming arms of this country and the industrial genesis of Lithgow that allowed my father to get a foothold on his future and indeed the future of growth in this country after a devastating world war.
My work encapsulates the first impressions from Hassan’s Walls through to the important remnants of industry, (Zig Zag Railway, the Small Arms Factory, Eskbank House, the Blast Furnace, State Mine, Newnes)
The medium is charcoal.
I have chosen the Asian scroll painting style to show the panoramic beauty of Lithgow’s history.
RONALD FREDERICK HORSTMANN
Before the built world, the ubiquitous landscape enveloped all of humanity. Even well developed human groups, would have known for the whole of their existence, that their presence and immersion into “their” existence, that their presence and immersion into “there” may in fact signify a “somewhere else”…….. Because, we are drawn to the machines fatefulness to our own “naming” of it, and its reciprocity, and its fierce energetic commitment to our own ideological technical project.
3rd AUGUST – 3rd SEPTEMBER
I love what I do. And I find constant wonder in the world which I think this is what drives me to interpret what I see. I often travel in my 1974 VW Kombi Campervan with my little dogs and go on ‘road trips’ to find more inspiration, mainly painting en Plein Air or collecting many studies to develop in the studio.
I see my work developing into semi abstraction, as I don’t want to reproduce a replica but an interpretation of what I am seeing. I often make marks very quickly and then try to ‘pull out’ the colour from the marks and the painting then starts to get a life of it’s own. But hope that viewers can still see the landscape, the interior or whatever it may be that inspired it.
A regular finalist in NSW Parliament Plein Air Painting Prize, Paddington Art Prize and Calleen Art Award (Cowra Regional Gallery) and in 2014, was invited and the work acquired into the Kedumba Drawing Award. In 2009 I was a finalist in the Mosman Art Prize, with the work selected by Margaret Olley AC. I have had 12 solo exhibitions and exhibited in numerous group exhibitions.
Jillian Culey and Caroline Dance
Branching Out Designs is a Collaboration of sisters Jillian and Carolyn. They create and sell woven products from natural and up-cycled materials. Jillian works predominantly with local harvested fibres. She explores and experiments with traditional techniques and functional baskets as well as playing with new ideas and creating more abstract forms. For Carolyn, weaving is a meditative process where the purposeful, slow and rythmetic movements help to transform natural materials into a practical basket or abstract and unique piece.
JOE PENN & LESLEY O'SHEA
NOVEMBER 23 – DECEMBER 17
An Exhibition of Works by Joe Penn FRAS and Lesley O’Shea FRAS
The title of this joint exhibition comes from Joe and Lesley’s love of drawing. Each of the works in the exhibition have their origins in drawing; the process of thinking on paper.
“It all begins with the line!”
Joe and Lesley have been working together for the last 20 years. A partnership that had it’s beginning in their shared enjoyment of drawing and painting the world around them. Since then they have exhibited numerous times and between them have won many prizes.
A Ceramic Artist specializing in totem poles and one of a kind forms. In her featured piece, birds represent flight. At times the ‘birds’ beaks are ascending and sometimes descending, similar to the emotional path in earthly life but,the ascending path leads on. The moons are the highest point of the totem pole, representing the higher path to be encountered.
KIETH LAMPORT watercolours
Keith has been painting since 1988, from oils to pastel and acrylic and now, since 2004 captivated by the challenge of watercolour.
Influenced by Australian Watercolourist Masters: Joseph Zbukvic, Malcom Beattie, Amanda Hyatt, John Lovett, Malcom Carver and John Haycraft, Keith has taken favour to urban and water landscapes incorporating boats, buildings, people and light and shadow.
Kieth has recently retired to Lithgow after 35 years in Sydney, he has held numerous exhibitions and received many highly sort after awards. His paintings have sold both nationally and internationally.
My pots are hand built and fired with wood in the tunnel kiln I built in Hampton. Wood produces fly ash that can enhance and interact with applied glazes or form its own glaze.The kiln is fired just 3 times a year. Preparation involves developing clay bodies and making pots and gathering, cutting and stacking enough wood for the firing. 3 days are needed to pack the kiln being mindful of the flame path and its effect with the placement of each pot. A team of potters is needed to stoke and manage the firing day and night for 3-4 days.
“My paintings in this exhibition are inspired by the Australian natural environment, through the prism of multi-sensibilities influenced by my French-Australian culture and my interest in Asian Philosophies. On canvas I aim to express the meditative, spiritual exchange that I experience from nature……BREATH”
NATASHA DANILOFF contemporary landscapes
“Born to Russian émigré parents who lived in Iran for 20 years before migrating to Australia, I grew up on a farm near Brisbane. My early education included attending Russian school on Saturdays and piano lessons at the Queensland Conservatorium of Music. These early experiences have subsequently influenced the content of my work. I now live and work in Blackheath.in the beautiful World Heritage Listed Blue Mountains.”
Natasha’s work is held in private and public collections in U.S.A., U.K. Denmark, Singapore, N.Z. Australia
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.”
As an Aboriginal woman of the Wiradjuri Nation I like to tell stories through my paintings. As part of my art practice I paint the Aboriginal children of the Stolen Generations blending into the landscape, their own Country from which they were removed. My hope is that when people view my work they will leave with a new understanding of people who have been taken away from their family, home and Country. That they are real people with real stories to be told. Then I know my painting narratives have achieved what I hoped they would.
APRIL 13 – MAY 7
“My paintings speak of the lifecycle that is enhanced in the shadows and the sky by the quintessentially Australian light. The materiality is also significant, both conceptually and for its painterly value. Using oil on board and tin, the surface of each painting is important, as it reflects the surface of the cement, metal barricades and the wooden fencing that surrounds livestock.”
Rachel is an Australian artist residing in the Blue Mountains. Her works capturing local flora and fauna in her unique and whimsy style gives the viewer a beautiful glimpse into the Australian bush using a variety of mediums. To add to her creative skills, she also has an acting diploma from NIDA and has appeared in a number of stage productions and movies.
A PORTRAIT OF LANDSCAPE AND TIME IN HILL END
May 24 – June 24
An exhibition of paintings and research, with an accompanying book. The works unearth lesser known stories of the remote and iconic town of Hill End. They disrupt common narratives of the region, questioning who the real heroes and villans are in recorded history and how we create myths and icons. “The line that divides good and evil cuts through the heart of every man,” is a quote fromRussian writer Aleksandr Solzhenitsyn which introduces the viewer to the artist’s narrative works.
Ronald Frederick Horstman
Born in Orange 1947, his first brush with the art work was when he won a prize at school in 1959. Inheriting his grandfather’s oils, he took on the art world winning a Commonwealth Art Scholarship taking him on a journey studying painting at the National Art School. After several subsequent years of study at Sydney University as well as the Institute of Western Sydney. Ronald is now embarking on a retrospective of his works through painting, drawing and informal surveys for his first solo exhibition in 2018.
Sandi lives on the Sydney north shore and started studying printmaking in 1997. Her work is often influenced by long bush walks. She tries to capture the mood of the subject with colour, pattern ,texture and detail, layering plates and working both conceptually and realistically.
As part of her undergraduate studies at the National Art School, Sydney, O’Sullivan spent a semester on exchange at the Glasgow School of Art, Scotland, where she learnt to refine a number of industrial ceramic processes such as designing and printing decals, plaster mode / mould making and slip casting. These skills have stayed with her and form the foundations of her current practice. O’Sullivan focused her 2012 Masters of Fine Art research project on Australian imagery on porcelain. During this study she undertook a three month internship at a remote indigenous Art Centre in Ikuntji ,NT.
THROUGH A WOMAN'S PERSPECTIVE
JANUARY 11 – FEBRUARY 25
JANE CANFIELD, AUDREY RHODA, COLETTE JONQUIERES AND NATASHA DANILOFF
A group exhibition with four amazingly talented ladies. In a beautiful presentation of how differently they see the world through their art. A woman’s journey through moods, life experience and personal history
My paintings merge acute social observation with poignant symbolic metaphor to illuminate the heart of the contemporary human condition. Explaining my work limits it’s potential. My work is meant to force the audience to break with the rational and to see things in a new way.
Residing west of the Blue Mountains in Little Hartley, Plein air painter, Warwick’s career has spanned over 35 years. He is a Fellow of the Royal Art Society of NSW with paintings hung in private, corporate and institutional collections in Australia and overseas. He is represented in prominent galleries in Sydney,the Blue Mountains and London and has won numerous awards and had over 60 one man exhibitions. He is also the occasional art judge, adviser and teacher.