Dean Cross to repaint city in $20000 Goulburn art exhibition – About Regional

Dean Cross in his studio. Photo: Dario Hardaker.

At the age of 25, Dean Cross had ticked off all the things he’d ever dreamed of in a career.

The Indigenous Australian visual artist had travelled the world, performing in theatres in London’s West End and New York as a contemporary dancer.

Encouraged by a couple of niggling injuries, his thoughts turned to a second career in visual arts. He had grown to love art by visiting galleries everywhere he travelled and theatres as a child. But above all, the walls of Mr Cross’ family home – firstly in Bywong, and then later between Sutton and Gundaroo – had the greatest impression. Every space was filled with art collected by his parents.

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Among those paintings was a large collection of first-generation Hermannsburg watercolours, which followed the work of famous Indigenous Australian artist Albert Namatjira who captured the beauty of the West MacDonnell Ranges in Central Australia.

“We had a lot of great art on our walls, so looking at and understanding visual culture has always been a part of my life,” Mr Cross said. “One day it clicked that visual art was something I could do, so I enrolled with Sydney College of the Arts and started a new career.”

This Placed by Dean Cross. Image: Supplied.

He gained a Bachelor’s degree from the college and his first-class honours from the ANU School of Art and Design. Since then, his paintings, photography, installations and sculptures have been exhibited across Australia and received many prizes including the Indigenous Ceramic Prize, The Churchie National Emerging Art Prize, The Redlands Art Prize and Macquarie Group Emerging Art Prize. Mr Cross has also exhibited at the Australian Centre for Photography in Sydney and was a year-long artist in residence at the Canberra Contemporary Art Space.

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In July 2021, Mr Cross’ work will appear in the Goulburn Regional Art Gallery.

A large solo exhibition was awarded to the early career artist under The Good Initiative, a new $20,000 grant and mentorship with the gallery’s director Gina Mobayed; senior curator of Aboriginal and Torres Strait Islander collections and exhibitions at the Museum of Contemporary Art in Sydney, Clothilde Bullen; and Buxton Contemporary Melbourne curator Melissa Keys.

Miscarriage by Dean Cross. Photo: Jessica Maurer.

The Goulburn exhibition will provide viewers with an immersive experience, including video and the other mediums Mr Cross works with, and rethink how we perceive the regional capital.

“One of the ideas I want to look at in the exhibition is centralism, the idea that there is an emerald city for those who live a few hours from Sydney, that Sydney is the land of opportunity for young regional people,” Mr Cross said.

“Too often, regional places get put into a category and treated a certain way, but it doesn’t need to be that way. As transport and internet get better, regional places will become more vibrant as they once were and more crucial to the social fabric, not these backwaters they’ve turned into.”

READ ALSO: Annual Goulburn Art Award moves online

The artist, who now lives in Sydney, said it felt good to produce an exhibition in the region he grew up in.

“Goulburn was always the place you stopped at on the way to Sydney and I’m so excited to present an ambitious show in a place that feels like home,” Mr Cross said.

Runs Deep by Dean Cross. Photo: Document Photography.

Goulburn Regional Art Gallery director Ms Mobayed said Mr Cross’ work needed to be seen, considered and discussed.

“The ideas in his proposal were a vital and fascinating commentary on who we are and what is happening in contemporary society,” she said. “I am so pleased we can support him and his work, and bring it into Goulburn.”

Mr Cross has a busy few months ahead of him as he not only prepares for the exhibition but also his wedding in Braidwood.

Essentially Grey – The Hippocratic Post

Rebecca Wallersteiner takes a look at ‘Essentially Grey’ a new exhibition of pictures by Hanna ten Doornkaat at The MUSE Gallery, London which explores how colours influence our mood and emotions

Research has shown that environment and calming colours influences the speed of patients’ recovery. Your emotions and mood are influenced by the colours around you. Feeling blue, or green with envy? Certain colours, such as red, blue, yellow and green are known to have a positive psychological effect on us and enhance our mood. If you’re seeing red because you are livid, you might wish to visualize soothing green instead. Or enervating yellow, playful pink, or calming blue, or greys. At The MUSE Gallery, in London, until 4th October, ‘Essentially Grey’ is an exhibition of new work by artist Hanna ten Doornkaat teasing the viewer’s emotional response with the subtle use of colour.

Born in Heidelberg, Germany, living and working in the UK, ten Doornkaat’s medium is the graphite pencil and the occasional pastel pink, blue, orange or red. With echoes of Rothko, her monochrome colours such as grey, black, ghostly whites have a tranquil effect on stressed emotions, rather like looking at sea-mist on an autumn evening.

Hanna ten Doornkaat says, “A complex repetitive process of mark making and erasure – revealing and concealing – informs my drawing practice. The serial mark making mirrors the series of ideas involved in my drawings. I directly respond to the continual thread of fleeting moments in the online/social media experience, whilst drawing information and memories from art history – even though the visual result is non-descriptive or referential.” Colours change according to light but what the retina sees is not necessarily what the brain translates into our knowledge of colour.

By drawing hundreds of thin, straight lines ten Doornkaat builds up a density and layering. A small work can take her up to a week. She often explores the interrelationship between movement and mark and its expansion into spatial formations. Her use of subtle grey colours allow the viewer to focus on the work without distracting from the obsessively drawn lines, grids and marks on board.

The artist is both fascinated and frustrated by the plethora of imagery of social media and how this affects the subconscious mind. As the result of her background in sculpture she often views her multi-layered pictures as an installation. Her work is abstract and often based on geometric shapes. She is inspired by artists such as Sol LeWitt and Agnes Martin.

In colour psychology grey represents neutrality and balance. Grey can be overlooked but it is an interesting colour if you go a little deeper. The renowned Swiss sculptor Alberto Giacometti who preferred to work in greys said, “If I see everything in grey, and in grey all the colours which I experience and which I would like to reproduce, then why should I use any other colour? I’ve tried doing so, for it was never my intention to paint only with grey. But in the course of my work I have eliminated one colour after another and what has remained is grey, grey, grey!

Even chronic illnesses can be influenced by colour, by affecting mood, emotions and energy levels. It is therefore important for hospitals and medical centres to create a calming environment to help put patients and visitors at ease and have a positive effect on patients’ wellbeing and improve staff morale. Colours can encourage a therapeutic impact. Yellow, for example, is thought to be enervating and promote energy and happiness. However, too much yellow, or too bright a yellow is likely to have a negative effect. Stress may be eased with calming blues and greens and subtle greys, these colours evoke the colours of nature, reminding us of trees, fields, rivers, the sea and summer skies and are popular in hospitals.

Visiting Hanna ten Doornkaat’s exhibition is a good way to switch off from your pressurized job and complex problems with some art therapy.

Hanna ten Doornkaat studied sculpture at Kingston University and MA (sculpture) at Wimbledon School of Art (UAL). She was shortlisted for the Jerwood Drawing Prize, London, the Royal Academy Summer Exhibition and Derwent Art Prize. In 2019 she showed in ‘Personal Structures’ organised by the European Cultural Centre as part of the Venice Biennale and has exhibited in the UK, Germany, Australia, Canada and Belgium.

Essentially Grey (17 September to 4th October 2020), at the MUSE Gallery & Studio, 269 Portobello Road, London W11 1LR

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ArtsHub’s Archibald, Wynne and Sulman predictions | ArtsHub Australia – ArtsHub

For those of you who love trivia: while the Archibald Prize was established in 1921, it was only in 1946 that the Trustees of the Art Gallery of NSW (AGNSW) insisted upon pre-selecting the works. In that year, the more than half of the entries were eliminated, and the finalists’ exhibition was born.

As the popularity and notoriety of the “Archi” has grown over the past 99 years, that statistic has shifted from 50% to 5%. This year, 1068 entries were received for the 2020 Archibald Prize, with 55 making it into the finalist cut at the AGNSW. The previous record of 919 entries was set last year.


The Sulman Prize also set a new record, hitting 715 entries and topping out the 2012 high of 654 entries. It will be judged this year by artist Khadim Ali.

It was a record year all round. 2565 entries were received for the Archibald, Wynne and Sulman Prizes collectively, beating the 2012 record of 2276 entries.

Perhaps this had a little to do with COVID, with more time on artist’s hands and the added incentive to have a go at the $100,000 win in financially tough times.

Read: 5 ways COVID has changed the Archibald Prize

This is also reflected in the fact that this year, there were more first time entrants than ever before: 40% for Archi; 50% for the Sulman and 33% for Wynne. And if you are interested: the gender breakdown overall was 48 female to 59 male artists across the suite of prizes.

The 2020 finalists for the three famed prizes were announced yesterday, along with another first – the winner of the 2020 Packing Room Prize was awarded to Wongutha-Yamatji artist Meyne Wyatt for his self-portrait Meyne. The West Australian born, Sydney-based Wyatt is an artist, writer and actor.

It is the first time an Indigenous artist has won any of the prizes in the Archibald suite.

His win follows a growing trend in recent years of artists’ portraits: 29 of the 55 Archi finalists are portraits of artists with 12 of those being self-portraits.

While the record number of entries suggest that COVID has had a huge impact, the spread of entries was strong from other states: second to NSW, 396 entries came from Victoria, 181 from Queensland, 64 from South Australia, 50 from Western Australia – and adding to a growing pool, though little known – eight from New Zealand.


Is there a science to painting a prize winner? Is it pure luck, or is it true that an elite cabal of known suspects tips the scales each year? Regardless of your thoughts, there are few trends worth noting in 2020.

There has not been a winning portrait of a politician in the Archibald Prize since 1992, when Bryan Westwood won the prize with an image of Paul Keating in a Zegna suit. Clearly politicians are être démodé – but are they really? A portrait of Jacinda Arden is a strong contender this year.

James Powditch’s painting of Anthony Albanese also made the finalists, though a portrait of Prime Minister Scott Morrison didn’t make the final cut.

As mentioned, portrayals of artists again form one of the strongest trends, though slightly down proportionally to last year. Maybe the realisation that the last four consecutive winners have been portraits of artists might mean the winning subject is due to shift.  

This year, new records were met in terms of First Nations artists, with 26 entries by Indigenous artists making the final cut and 10 Indigenous sitters, making for a more balanced and representational suite of prizes.

Artists can paint anyone from politicians to celebrities to sporting heroes, as long as the sitters are ‘of note’. Some of the celebrities in the 2020 line up are: Adam Liaw, Magda Szubanski, Deborah Conway, Adam Goodes, Bruce Pascoe, Claire Dunne, Timothy Flannery Graeme Doyle, Annabel Crabb, Maggie Tabberer, Jennifer Byrne, Chalres Madden, David Marr and more.

Read: Does being an Archibald finalist help?

Shifting scale, punchy colour and quirky approaches are key this year, and have been emphasised in the hang of the 2020 exhibition, where curator Anne Ryan has flipped expectations from the start, with visitors walking directly into the Sulman Prize – the smallest of the prizes in both entries and money, and usually tagged onto the end of the exhibition as a postscript.

We are then ushered through the Wynne, eventually entering the Archibald via a circuitous route, which is of course reserved for the central gallery and often the location of the winner.

What does this all mean? And can past trends and current kudos impact the judges’ choice? ArtsHub thinks so. And this is why.

John Ward Knox, Jacinda (detail), finalist, 2020 Archibald Prize. Image supplied.


Who: John Ward Knox

What: Jacinda

Why: I am going out on a limb on this one, and given its placement in the exhibition hang, it would suggest that it is probably not a contender – out of range of the central gallery and media mosh pit for the big unveil. But there is merit in this work by New Zealand artist John Ward Knox of NZ Prime Minister Jacinda Ardern, as well as its capacity to rethink the genre, that struck hard.

In many ways, the positioning and prowess of James Powditch’s painting of another politician – Once upon a time in Marrickville: Anthony Albanese – makes more sense as a contender; a regular finalist with high profile sitters in a signature style. Perhaps the suggestion would be that it is Powditch’s time. 

But I would argue that Knox’s portrait is the more interesting option. And it is both a strong psychological and physical match. Painted on layered silk in oil, it doesn’t have the weight we expect of a oil portrait, appearing a little like a mirage of hope on a calm horizon.

It doesn’t have the weight we expect of a oil portrait, appearing a little like a mirage of hope on a calm horizon.

Knox has known Ardern for a decade, long before she became PM, and that connection between artist and sitter, as well as the subject’s honesty, comes through here, with Ardern depicted sitting at her kitchen table.

The portrait captures the humanity and humility that the world has come to associate with Ardern, who in many ways has re-defined the parameters of global politics – and the medium here offers a reflection of that new approach.

The portrait is comprised of dual layers / dual portraits that delicately hover central to an exposed frame. It captures a fragility of politics and a commitment to take the empathic path, and within it a strength  to persist, to be different  should we choose to look. It is a very strong portrait, despite its quiet demeanor; a message that a win at this time would be welcomed in a world struggling with frailty.

Perhaps 2020 is ripe for another first: for the Archi to be awarded to a NZ artist?

ArtsHub Highly Commends: Julie Fragar’s steroid-sized portrait of artist Richard Bell (matching his personality) in black and white; Abdul Abdullah’s untitled self portrait; Jonathan Dalton’s painting of artist Angela Tiatia commands attention; for lovers of hyper-real portraits, Angus McDonald’s portrait of Behrouz Boochani leads the pack; and for a nice take on the genre, William Mackinnon’s portrait, Sunshine and Lucky (life).

The past seven winners have been:

  • Tony Costa with a portrait of former Art Gallery of NSW (AGNSW) Trustee Lindy Lee (2019);
  • Yvette Coppersmith with Self-portrait, after George Lambert (2018);
  • Mitch with a portrait of artist wife Agatha Gothe-Snape (2017);
  • Louise Hearman with a portrait of Barry [Humphries] (2016) – a first time entrant;
  • Nigel Milsom’s painting Judo house part 6 (the white bird) – a portrait of Milsom’s barrister Charles Waterstreet (2015);
  • Fiona Lowry’s portrait of art patron Penelope Seidler (2014);
  • Del Kathryn Barton with actor hugo [Weaving] (2013) – her second win (2008).

View the Archibald Prize 2020 finalists.

Aida Tomescu, Silent Spring (2020). 2020 Wynne Prize Finalist, Art Gallery of NSW. Image supplied.


Who: Aida Tomescu

What: Silent spring

Why: This is a gusty and visceral painting by Aida Tomescu – an artist who is intimately familiar with the Wynne Prize, having taken it in 2001, and the Sulman Prize in 1996. For this reason, one might suggest it is time for another winner to take the accolade, but with the past four years consecutively being awarded to Indigenous artists, there is also the suggestion that a broader look across the field of landscape painting traditions are due for a voice.

The field of Indigenous paintings from Country, however, are the lions’ share of Wynne entries: 16 of the 34 finalists (47%).

Tomescu’s painting curiously has a strong conversation with works by Noŋgirrŋa Marawili and Alec Baker and Peter Mungkuri, which hang in the same gallery space and bounce in a riotous field of pinks. 

It is, however, the knitty surface of Tomescu’s painting with its grit and luminosity that stands out. It doesn’t feel weighted by its gesture.

Tomescu describes her own connection to the conditions particular to the Australian landscape: ‘…the sheer expansiveness of the land, the splendour and severity of colour, and specifically the quality of light. In the extreme circumstances of 2019–20, each of those conditions was dramatically altered, practically and emotionally.’

The title Silent spring references the environmental science book by Rachel Carson published in 1962, and in that a timelessness regarding climate science and the need to care for our environment. As the world burns, this painting has a particular resonance to the landscape consideration in 2020.

ArtsHub Highly Commends: Timothy Cook’s Kulama – an initiation for young Tiwi people that coincides with the harvest of wild yam; friends and Lawmen, Alec Baker and Peter Mungkuri, on their incredible painting Nganampa Nguraa (our Country) – a very strong contender this year; Luke Sciberra’s painting that capture the white ashen aftermath of the bushfires, White Christmas, Bell NSW; Nicholas Blowers Savage’s entropy in Payne’s grey; Lucy O’Doherty’s sweet hazy little painting Afternoon light on coral house, which has a kind of warm nostalgic glow of sun-baked suburbia; and the incredible Noŋgirrŋa Marawili’s Lightning and the rock, always a winner in many’s eyes.

The past seven winners have been:

  • The last Wynne Prize was awarded to Sylvia Ken with her painting Seven Sisters (2019);
  • Yukultji Napangati in 2018.
  • Betty Kuntiwa Pumani won the prize in 2017
  • The Ken Family Collaborative (which also included Sylvia Ken) and their painting Seven Sisters picking up the award in 2016.
  • Natasha Bieniek’s tiny hyper-real painting won in 2015;
  • Michael Johnson’s expansive abstraction in 2014;
  • And for two years running, the Wynne was awarded to Imants Tillers (2013 & 2012).

View the Wynne Prize 2020 finalists.

Gareth Sansom, Looking for God in abstract art (2020). 2020 Sulman Prize Finalist, Art Gallery of NSW. Image supplied.


Who: Gareth Sansom

What: Looking for God in abstract art

Why: The quirkiest and least consistent of the Prizes, the Sulman is award to the best subject painting, genre painting or mural project in oil, acrylic, watercolour or mixed media.

This painting by Melbourne artist Gareth Sansom just pops, with forms and gestures seemingly emerging from and levitating in front of the black canvas. In some moments the line is definitive and determined; at others there is a ghost-like quality that haunts the inner emotions of this painting.

With a religiosity, the words FAITH and INRI occupy the painting, calling into question notions of mortality in a world that is plagued by a pandemic.

Sansom explains: ‘My painting interrogates the idea that God may or may not be present in any situation,’ and then explains the work’s filmic references.

‘Ingmar Bergman’s 1957 film The Seventh Seal has a returning knight playing chess with the Grim Reaper whilst seeking evidence that God exists. Ultimately the film asserts there will be no proof of God’s existence forthcoming. I haven’t attempted to examine any of this literally, but I do include some clues about the painting’s intentions – six pilgrims, six faces, INRI [a Latin inscription translated as ‘Jesus the Nazarene, King of the Jews’] and “faith” – which may conjure up ideas about my own mortality at age 80, or may be seen as red herrings within an abstract puzzle.’

ArtsHub Highly Commends: Philjames’ The General Lee (1984-2018) a nostalgic TV cluster that seems to surpass time to a new COVID reality; John Honeywill’s Hyperreal painting of a pink macaroon Ambrosia, which encountered on entry, keeps you salivating the length of your visit; and Tom Polo’s retreat and return (the arrival), which gets the scale and gesture perfectly balanced.

The past seven winners have been:

  • McLean Edwards with his quirky painting The first girl that knocked on his door (2019);
  • Aboriginal artist Kaylene Whiskey (2018);
  • Joan Ross’ Oh history, you lied to me (2017);
  • A domestic interior by Esther Stewart (2016)
  • Jason Phu’s ink on paper which looked at his Chinese heritage (2015)
  • Andrew Sullivan’s quirky hyper-real fantasy T-rex (tyrant lizard king) (2014),
  • And Victoria Reichelt’s image of a deer in a library, After (books) (2013).

View the Sulman Prize 2020 finalists.

The winners of the Archibald, Wynne and Sulman Prizes will be announced 25 September in a virtual event. The exhibition will remain on show with timed ticketed entry until 10 January 2021.

Finalists in all Prizes will be exhibited at the Art Gallery of NSW from 26 September 2020 to 10 January 2021, and finalists in the Archibald Prize 2020 will tour to regional Queensland and New South Wales from 22 January 2021:

Claire Foxton gives Moruya burst of colour in River of Art mural – Bay Post/Moruya Examiner

Pro Hart Outback Art Prize won by Adelaide’s Margaret Ambridge – ABC News

Adelaide artist Margaret Ambridge won the 2020 Pro Hart Outback Art Prize for her drawing, Struggling to Remember, triumphing over a record number of entries.

The work, created with charcoal Ambridge collected from firegrounds, depicts South Australia’s Gawler Ranges.

Ambridge also incorporated rain drops into the drawing.

“The interruption of raindrops falling on the iron roof of the studio seemed so at odds with the parched land I was drawing,” she said.

“I raced outside with this piece of paper and all these great heavy raindrops fell on it.

Tweed Regional Gallery and Margaret Olley Art Centre director, Susi Muddiman, who was a guest judge, said Ambridge’s work stood out because of the connection between her materials and narrative.

“What I look for is a really strong narrative as well as the visual,” Ms Muddiman said.

Guest judge Susi Muddiman appraised the entries by looking at photos and reading the accompanying statements.(Supplied: Broken Hill Regional Art Gallery)

Choosing a winner over video conference

The Pro Hart Outback Art Prize is named after one of the five Brushmen of the Bush, Kevin Charles “Pro” Hart, who was known for his colourful abstract works and depictions of outback life.

It is the far west’s biggest art award, with a total prize pool of $23,000.

This year, 23 finalists were selected from a record 474 entries submitted by artists from across the country.

Coronavirus restrictions forced the exhibition’s opening night online and the judging process happened over lengthy video conference calls.

Ms Muddiman said whittling down the entries to a single winner without seeing the artworks in person was “a real learning curve”.

She said this year most artists put more effort into the written statement supporting their work.

“Like the eyes are the mirror to the soul, the first thing you look at is the visual,” Ms Muddiman said.

“But sometimes when you read something it gives you extra layers of meaning, which is certainly what happened for me in this case.”

Broken Hill artist Ann Evers took out second place for Contained and Baked in the Desert, a collection of flora and fauna encased in woven vessels.

Margaret Ambridge said working in palliative care during the pandemic led her to question the value of art.(Supplied: Broken Hill Regional Art Gallery)

The value of art during a pandemic

Broken Hill Regional Art Gallery director Tara Callaghan said it was difficult to know whether the record number of submissions this year was due to artists having more time to be creative during lockdown or the growing reputation of the prize.

“Definitely there were hold-ups with freight and things like that,” she said.

“So everything just gets that little bit harder.”

Ambridge said she hoped the South Australian border restrictions would be lifted so she could travel to Broken Hill and see her winning artwork hanging on the wall of the Regional Art Gallery.

Ambridge, a physiotherapist, said she questioned the value of art as the pressure in her job increased.

“The effect on palliative care was immense because people couldn’t travel for their loved ones,” she said.

“Over time came to the realisation that it is important — for me, and trying to find that voice in the art for the rest of the community too.”

Stunning digital photo of shipwreck takes out CQ art prize – Daily Mercury

A STUNNING enhanced photograph of a shipwreck titled ‘SS Maheno Wreck’, has claimed the major prize in the 2020 CQU Creates Art Awards.

It was satisfying reward for the hard work by first-time digital artist and CQU Mackay staff member Bill Jewell.

The CQU Creates Art Awards is an annual visual arts prize and exhibition which aims to celebrate and encourage diverse modes of expression representative of contemporary art practice.

The competition accepts entries from current or past students or staff of CQUniversity and CQ TAFE.

This year’s 2020 theme was left open ended with artists give the opportunity to address a theme or subject matter of their choice in 2020.

Working as a campus assistant, and first aid officer at CQU’s Mackay City and Ooralea campuses, major prize winner Mr Jewell and said he was “over the moon” about his win.

Digital artist and CQU Mackay staff member Bill Jewell won the major prize with his enhanced photograph of a shipwreck.

“I’m gobsmacked, really,” he said.

“This is the first time I’ve ever won anything, or entered a competition.”

His photo of the wreck ‘SS Maheno’ was taken on a visit to Fraser Island late last year.

It was combined with a hinterland sunset photo and manipulated in Photoshop.

Bill has been working for CQU for a year after a 40-year career in paramilitary circles, working for two state police forces, St John Ambulance and a stint as a volunteer paramedic in remote Northern Australia.

He said the COVID-19 pandemic inspired him to take up digital photography and Photoshop.

“It’s something I’ve only just started learning. I’m totally just an amateur at it, but Photoshop really is an amazing program.

“Since I’ve been using it, I’ve even picked up additional work making posters to be put up around the campus.”

In addition to the major prize claimed by Mr Jewell, two other major prizes were also awarded.

The Current Student Art Award, went to CQU Rockhampton Bachelor of Education (Secondary) student Gabrielle Rooney, for her oil painting, ‘Changing Seasons’.

CQU Rockhampton Bachelor of Education (Secondary) student Gabrielle Rooney won a major prize for her oil painting ‘Changing Seasons’.

Ms Rooney’s piece was an impressionistic work inspired by autumn colours in eucalypt trees. It represented change, serenity and new beginnings.

“I’m pretty impressed to have won. I didn’t think I would win so I was very surprised,” Ms Rooney said.

“I’ve been painting since I left school, four or five years ago but this is the first time I’ve entered a competition.

“I want to finish my degree and maybe look into doing fine arts – art is a passion and I want to keep at it.”

Bundaberg artist Llewellyn Swallow won the Indigenous Art Award, with her acrylic on canvas painting, titled, ‘Night Herons’.

A proud Indigenous woman of the Kabi Kabi people, Ms Swallow said she felt “overwhelmed” after winning the Indigenous Art Award category.

Bundaberg artist Llewellyn Swallow who won the Indigenous Art Award with her acrylic on canvas painting titled ‘Night Herons’.

Her painting, ‘Night Herons’, tells the story of how a small tribe, threatened by neighbours, changed into herons and hid in swamps, hunting only at night.

“I think the painting on its own says something, but I always like to paint to a story, and share my culture,” she said.

Ms Llewellyn praised the diversity of the works and artists in this year’s CQU Creates Art Awards and the efforts of Art Collection Manager Sue Smith.

“There were some really nice works and it was wonderful to see the diversity of both the artists and the artwork,” she said.

Although COVID-19 pandemic restrictions meant there was no formal ceremony and exhibition this year, the 2020 CQU Creates Awards were celebrated online, with Vice-Chancellor and President Professor Nick Klomp and CQU Art Collection Manager Sue Smith announcing the awards in a specially-made video.

A record 69 works by 85 current and past students and staff were received for this year’s awards and in addition to the three major awards, judge Cameron Curd (Gladstone Regional Art Gallery and Museum manager) also awarded eight artists with Highly Commended awards.

All prizes were non-acquisitive and the categories were the CQU Creates 2020 Art Award of $500, the CQU Creates 2020 Indigenous Art Award of $500, the CQU Creates 2020 Current Student Award of $500 and the CQU Creates 2020 Highly Commended Awards (up to eight prizes) of $250.

To watch the video presentation of the 2020 CQU Creates Art Awards and to view the online catalogue click here.

Australia: Portrait of Maori women entered into prestigious Archibald art competition – ABC News

Taaniko and Vienna Nordstrom, two women who run a prison social initiative in New Zealand, have been painted by artist Tania Wursig as her entry into the prestigious Australian art prize.

The Archibald prize is awarded every year to the best painting of a living person who is distinguished in the art, letters, science, or politics.

It began almost 100 years ago in 1921 and these days artists from all over Australia, but also New Zealand and Pacific islands, can enter it and compete for the $100,000 prize money.

Artist Tania Wursig has been a portrait painter for the last 30 years and in 2011 began an artist’s residency in French Polynesia.

“The first year I went I absolutely fell in love with the culture, the people, the massive beauty of the place and I though I need to work out how to keep doing this,” she said.

Last year while back in Sydney she was introduced to sisters in law Taaniko and Vienna Nordstrom, two Maori women who were looking for an art space to work in.

The Nordstrom’s run a photography business called Soldiers Road Portraits in New Zealand.

They dress their customers in traditional Maori, Pasifika, Native American and First Nations outfits to then take vintage inspired portraits.

For Taaniko Nordstrom their work is all about helping indigenous people reclaim their identity.

“We use elements of our culture of our identity in a way that empowers all sorts of people,” she said.

Soldiers Road Portraits started in 2013 and after a few successful years the sisters-in-law decided to give back to their community and started a prison social initiative.

Maori people are over-represented in New Zealand’s criminal justice system and despite making up just 14 per cent of the country’s national population they represent 50 per cent of its prison population.

“Using out photography and using images of us looking like our ancestors for people that really needed the reminder of the mana which in English would be of the essence that each of us has even those that have made mistakes,” said Taaniko.

Prisoners are asked to write a letter to their ancestors and then have their photo taken in traditional outfits, and the photos then displayed in a temporary gallery in the prison.

Three pictures are taken of the prisoners with one to hang in the prisoners cell and one to be sent back to their family in the hopes the perception of the men inside prison can change.

“One of the feedback we got was from a man who had been released and when he got home his kids were sleeping but his portrait was hanging in their room and he just sat on the floor and cried,” Ms Nordstrom said.

It was this powerful impact that made Tania Wursig decide the two women would make for great subjects for painting.

“As a painter they are incredible subjects Vienna has the maternal energy and Taaniko has this feisty warrior element but they’re background story is so rich,” she said.

It’s now a waiting game until the Archibald prize’s finalists are announced, in mid September, but Ms Wursig said regardless of whether her painting places or not it’s the message she hopes people will love.

It’s an important piece not just because of who they are but because of what it represents in terms of not just women taking their power back, indigenous cultures I really feel like we are on this cusp where people are beginning to take notice and learn,” she said.

“I hope it does send that message.”

Shukria Shukria Oruzgani wins leading youth art prize – Women’s Agenda

Shukria Shukria Oruzgani, a Year 11 student from Melbourne, has taken out one of Australia’s leading youth art prizes.

Oruzgani, who arrived in Australia two years ago from Pakistan as a refugee, won the AMES Australia art prize that had the theme ‘One Planet’ this year.

Her winning entry to the competition will be turned into a large mural and displayed at the Multicultural Hub in Melbourne’s CBD.

Shukria’s family, who fled their home in Afghanistan a decade ago, lived in Quetta, in Western Pakistan for years after fleeing their homeland. They were persecuted because they were part of the Hazara ethnic minority community. Further targeted attacks on Hazaras inside Pakistan eventually forced the family to flee to Australia.

“I’m very honoured to have won the competition. I’m passionate about art and I love painting,” said Shukria after winning the prize.

“But, I’m also interested in maths and science and maybe medicine,” she said.

The One Planet art competition was held by AMES Australia’s youth services division, with entrants given the chance to win prizes including laptops and tablets, designed to help young people in their studies.

Cath Scarth, CEO of AMES Australia, said there were many different interpretations of the theme ‘one planet’, with many talented young artists entering the competition.

“The judges were all very impressed with the thought and work that went into all of the entries and applaud all of the entrants on their work,” she said.

The youth services at AMES Australia works with young people from refugee, migrant and Indigenous backgrounds, helping them to reach their potential. They provide specialist support services, education programs, knowledge sharing, career counselling, advocacy and social initiatives.

FOUND! Studio Dog Exhibition and Art Trail launched – Bundaberg Now – Bundaberg Now

Found! Art Trail Dog Walk’s Adrienne Williams and Andree Roberts are calling for more children to submit artwork they’ve created that is inspired by their pets.

More than 110 dog inspired artworks have made their way around the Bundaberg CBD in the FOUND! Studio Dog Exhibition and Art Trail.

FOUND! Studio Dog Exhibition and Art Trail’s Adrienne Williams said the project opened on Friday night and they had a wonderful response from the community, and they looked forward to the next six weeks of showcasing man’s best friend.

“There are about 40 art pieces in BRAG and 110 across the track,” Adrienne said.

“We have our community dog walk, where people can walk their dogs and follow the map to view each of pieces, and the next one will be held on 13 September.”

Taking part in the self-guided Found! Art Trail Dog Walk, Amanda Nelson with Pooh Bear the Maltese x Shitzu, Kelly Leather with her Kelpie Hank, and Rhonda Challen with Sherman the Boxer, all said they enjoyed checking out the dog-inspired artwork.

The trio from East Bundaberg Veterinary Hospital and Bargara Veterinary Surgery said the dog walk was ideal for dog and art lovers alike.

Amanda Nelson with Pooh Bear the Maltese x Shitzu, Kelly Leather with her Kelpie Hank, and Rhonda Challen with Sherman the Boxer, all enjoyed taking part in the Found! Art Trail Dog Walk.

Rhonda said the Found! Art Trail Dog Walk was a great way to be involved in the community with their four-legged friends.

“We downloaded the app and it gives a map for the self-guided walk,” Rhonda said.

“It gives you a blurb about the artwork and artist and it’s really interesting.

“There are some amazing artworks to view, and we’ve absolutely enjoyed taking part.”

As well as taking part in the Found! Art Trail Dog Walk Amanda said they were handing out hydro dog vouchers and sharing details about the monthly dog walk held at Bargara.

“This art trail is really a good way to get out with your dog and socialise,” Amanda said.

Kelly said the Bargara Dog Walk takes place on the second Sunday of the month at 4pm, and participants could meet at the Bargara Veterinary Surgery to take part in that event.

Oliver Botha drew a picture of his pet Cockatiel Calypso for the Found! Art Trail Dog Walk art competition.

Students take part in art prize exhibition

Andree Roberts helped organised the children’s art prize and she said there had been a good response from the local students, and there was still time for more children to submit artwork inspired by their pets.

“All of these artworks are just so gorgeous,” Andree said.

“Pets are all about self-care, lowering our blood pressure, and making us happy, so that’s the main message we have – come out and see children enjoying their art.

“Then join in the fun by participating in the scavenger hunt on our Found! Art Trail Dog Walk right through until 18 October.”

Andree said the FOUND! Studio Dog Exhibition and Art Trail student’s art prize exhibition was open to children up to the age of 17, and it was aimed to help take away some of life’s stresses that the younger generation may face, by having them sketch, paint or photographer their pets.

Oliver Botha was proud as punch to see his portrait of his pet cockatiel Calypso hanging proudly on the wall in the children’s art prize in the FOUND! Studio Dog Exhibition and Art Trail.

“He screeches a lot,” Oliver said.

“I had fun drawing him. And my sister and my brother drew a picture of him too.”

Along with the exhibition on Sunday children were able to take part in art activities thanks to Sweet Potatoes Australia and Greensill Farming Group donation of sweet potatoes.

Andree said the student’s art prize exhibition would be open for groups bookings by appointment or for more information people could phone her on 0416 228 857.

Permanent large-scale murals to become part of River of Art Festival – About Regional

Artist Tim de Haan – aka ‘Phibs’ – with one of his murals. Photo: Supplied.

Eurobodalla Shire Council has granted $25,000 to the River of Art festival to create large-scale street art murals that celebrate the community’s resilience and renewal after the Black Summer bushfires.

The murals will remain as permanent public artworks, with two in Batemans Bay, two in Narooma and one in Moruya.

During the festival’s nine days from 18-27 September, the collaborative project between the three towns’ chambers of commerce and the Narooma Oyster Festival will reflect a theme of resilience and renewal.

“This mural art event, which we’re calling REVIVE, will be an enduring symbol of the strength and vitality of our communities in recovering from the impact of the past summer’s bushfires,” said River of Art co-chair Di Jay.

Artist Tim de Haan – aka ‘Phibs’ – will also be working with the River of Art REVIVE project as lead artist, curator and project manager. He has been a prominent figure in the Australian street art scene for 30 years and his work can be found throughout Australia and internationally.

READ ALSO: Resilient River of Art to run in September this year

“Mural artists will be invited to create site-specific artwork, adding to the existing public artwork throughout the Eurobodalla region,” said Mr de Haan.

Renowned local Indigenous artist Cheryl Davison, whose work can be found at the National Museum and the Art Gallery of NSW, has already been working on the artistic design for one of the murals, which will tell the story of Wagonga Inlet as an important source of food – particularly oysters – for local Aboriginal people.

Ms Davison and Mr de Haan have worked together before, creating the Narooma Pool mural, which depicts Gulaga.

“All the murals will be integrated into the Eurobodalla Art Trail, which forms part of the festival’s annual program,” said Ms Jay. “This year, the community will be invited to watch, comment and engage with these artworks as they are created.

READ ALSO: Entries now open for Eurobodalla’s River of Art Festival

“A really exciting part of REVIVE will be watching the way the art emerges from the artist’s brush during the course of the festival. We’ll be filming the work as it progresses so people who can’t visit the sites will be able to watch the whole process on our website. We’ll also be doing updates on Facebook and Instagram.

“Not only is this a fantastic permanent addition to our region’s artistic life, it’s outdoors and COVID-19 safe.

“Unfortunately, we’ve had to slim down our festival this year because of COVID-19, but REVIVE is a fabulous initiative despite the restrictions.”

The River of Art Festival will feature the River of Art Prize, Open Studios, workshops and exhibitions, and the new REVIVE event. The program, which will be finalised in late August, and further information can be found on the River of Art website.

The River of Art Festival is funded by the NSW Government, Destination NSW and Eurobodalla Shire Council.