Following 2 group shows last year – one locally and one with the Frances Keevil Gallery in Sydney, I have built up a body of new works for this show. I have continued to abstract the landscape, taking it a bit further than in previous paintings.

The more that I paint and play with the landscape, I realise how my geological background has influenced the way I paint … geology being the palette of all landscapes.

The landscapes of my immediate environment feature in the works, namely the gorge country around Armidale, especially Dangars Falls, coastal landforms and more recently, the Gloucester and Barrington Tops area or even less specific areas as in one painting, Full Dams and Green Hills.

In this exhibition, my work I think has become more abstracted.  Some of the paintings come from drawings, initially in ink, then overlayed with paint and more paint, while others are just the application of paint.

One large work is on canvas, while the others are on paper. I still prefer to work on paper in preference to canvas, because of the texture and the qualities of heavy cotton rag paper. It facilitates an immediate absorption of paint, allowing the marks to be visible when the paint is scraped back.

My palette is now warmer and extended; however, I still can’t resist the blues … maybe as a result of the last few months of dreary grey weather!

A larger work on paper is a combination of graphite, oil stick and collaged overlays, in an attempt to capture a link between art, the visual landscape and the earth’s structure, i.e. geology.

Influential painters in the past few years may have changed; however, Turner and Monet still have a major impact on my work. The more art you see, I guess the more you are influenced – even in a subtle subconscious way.

Another artist introduced me to the work of the contemporary German painter, Gerhard Richter, whose abstract work involves applying the paint and then ‘blurring’ through the layers.

With my day job, I get to see the whole gamut of artworks which must influence my art. In addition, the day to day contact with other artists and the many and varied conversations all contribute to the making of my art. The exhibition opens on Friday 2 March and runs until Saturday 24 March.

When and why did you first become interested in art?

Art has always been in my life. I’m not sure when this started, but I’ve always liked making things. There were encouraging teachers along the way; this includes high school teacher, Pauline Fuller and local artist and teacher, Fay Porter. Art School was a natural progression, and I gained a degree at Northern Rivers College in Lismore, followed by a Graduate Diploma at Sydney College of the Arts.

What materials do you prefer to work with?

A wide range of materials and techniques are used in my work. There is a certain dichotomy, where I tend to use oils en plein air and acrylics in the studio.

The outdoor oil paintings are direct impressions of the day. The studio works are multi layered pieces. In recent drawings, I have rediscovered charcoal and pencils. Lino block prints are another medium that I’m revisiting. Collage and mixed media are a mainstay.

Why have you chosen to exhibit at Gallery 126?

Gallery 126 supports local regional artists and the local arts industry. Gallery 126 fills the role of a commercial gallery in a regional centre, which not many regional galleries can maintain. It is exciting to be a part of the local art community and represented at a supportive gallery. Many local artists are landscape painters, and there is a sense of community and identity through plein air painting.

What can we expect to see at your exhibition?

This exhibition is the culmination of work from the local area, over the past few years. I have paintings, drawings, lino block prints, collage and photographs.

The Dangars Falls paintings are plein air, which are painted outdoors on site. Others are worked up in the studio, referencing drawings and photographs.

The attraction to stronger contrasts and bold shapes is a progression to simplification and hints at abstraction. The charcoal and printing tie in with the use of strong dark shapes. The pull between detail and simplification is part of the challenge, and both are represented in the exhibition.

Where do you get your inspiration from? 

The local landscape is a constant source of inspiration. I am attracted to the strong contrasts in the rock and trees, patterns of light and dark that occurs in places like Dangars Falls and Bald Rock. Working en plein air allows me to record the seasons and weather patterns. We have gone from drought to flood in the last few years. This is traced in the series of paintings in this exhibition.

Artists who inspire you?

Fred Williams is the quintessential Australian landscape painter. Fred made it cool to paint gum trees again, and landscape became a part of the Australian psyche.

Other inspirations have been the abstract expressionists like Motherwell, Kline and Still for their use of bold black shapes.

Margaret Preston is also someone I have always empathised with. The direction in my work is toward further simplification of the landscape and allegories that occur.

Exhibition dates

The opening is Friday 3 February, 5pm to 7pm. The exhibition will run from 3 February to 25 February.

What have you been doing since we interviewed you in 2009?

About two years ago, my family and I moved house from the country to town, which has opened my artist’s eye to townscapes as well as landscapes. While I do miss the country life, town life has its perks: such as being able to walk to local cafés, galleries and the cinema. Last year my family and I travelled back to my home country of Canada for three months, to spend time with relatives and friends. During the visit, I experienced a deeper appreciation of the differences and similarities between both countries.

You have an upcoming exhibition at Gallery 126?

The title of the exhibition refers to two places close to my heart: Canada’s east coast and the New England region around Armidale. I enjoy the different colours and house styles of the rural homesteads in both countries, as well as the way Australian country properties are most often hidden from view, whereas Canadian rural properties are nearer the roads and in full view. The quality of light is different in each country, but there is a time in late afternoon where the light is at its most similar – with a real sense of vibrancy, as well as deeply shadowed areas. This exhibition represents about 18 months of intensive artistic study and work, photographing and sketching landscapes in both countries followed by painting in my studio to complete the finished works – which I hope the public will enjoy looking at.

Have you recognised any young talent arising from this region?

The New England region is brimming with talented people working in the cultural sector, and many emerging talents can be seen in the art world. Check out the art students’ exhibitions at TAFE to get an idea of the newest talents coming through. Other new artists are self-taught and start exhibiting in cafés and community-run galleries. We are lucky to have at least five galleries in the city of Armidale, with more galleries in Uralla, Walcha, Glen Innes, Tamworth and Inverell. I always enjoy seeing what my contemporaries are doing in regards to their art practice: what moves them and what they are trying to show us about the world they see. It can be exciting to witness an artist’s directional shift, or when they elaborate on and develop a style they have been immersed in for years. I enjoy talking to fellow artists about the creative process, and I really love heading out into the open air to sketch and paint side by side.

What have been your personal achievements in art?

While I was an artist in Canada, I was lucky enough to be awarded two government artist grants that allowed me to actualise a conceptual art project called Insecurities Project in 2002, as well as a series of paintings, Landed Immigrant Seeks Landscape. Since settling in Australia, I have been chosen as a finalist for several art prizes over the past 8 years. Being a finalist in an art prize gives an artist some recognition of the effort you put into your work. Art prizes involve a nerve-wracking process and usually end with a single lucky and talented artist winning fame, along with a sum of money. One idea would be an art prize’s funds being used to purchase several works of art from the finalist’s exhibition, and that this collection of art then be toured and exhibited more widely, benefiting more artists in the long term.

What’s next in 2012?

I know that I will continue painting and exploring within my art practice, always allowing the art to direct itself. I often feel that I am just a conduit and that while my work demands a certain amount of control, the process is not much under my control. I would love to build myself a more spacious studio space, perhaps built of straw bale in my back garden, with plenty of natural light and plenty of room to paint and contemplate. At this stage, it is still a dream and one that I hope can become reality in the next year or so.

Thanks Isabelle.

How long have you lived in Armidale?

I grew up on a farming property on the eastern outskirts of town, and then one year after finishing my HSC at Armidale High, I ventured over to Newcastle for the Natural History Illustration course.

For me, living in Armidale has created an interest in and respect for nature, influencing my artistic vision. I love the distinct seasonal changes and how the gorge country has such elevation and distance.

What have you been studying at the University of Newcastle?

Nestled amongst the dense scrub of spotted gums at the University of Newcastle campus, is the Design Building. Here I completed the one of a kind three-year Bachelor of Natural History Illustration and the one year Honours program. The degree combines natural science and visual art. It focuses on field and studio studies, scientific and digital illustration and also theoretical studies.

As students, we learn about plant and animal classification and different drawing and painting skills, arming us with the ability to observe and transform three dimensional form onto the two dimensional surface of paper. We are encouraged to experiment with a range of media and rendering techniques to effectively communicate the drawing subject.

This year I have started the postgraduate Masters program, in order to further explore my interest in nature, under the guidance and company of my lecturers and fellow illustrators. My project, The Art of Science and Creativity, will include scientific drawings of flora and fauna, and then something a little more creative will be drawn.

How did you first become interested in art?

I think Mother Nature is our teacher, and art has the ability to communicate beauty and aesthetics in nature. Art can transport you to far away places and makes you think and wonder. I have always loved the quiet nature of drawing and how you can make a few marks and it’s no longer a stark, white piece of paper.

I like collecting things from nature, analysing their form and structure into geometric shapes, joining them with more organic lines and then breathing some life into them with tone and colour. At school, art was always my most favourite class.

What materials do you prefer to work with?

I love working with the humble lead pencil – always accessible and offering so much variation.

I find watercolours to be a soft and gentle medium because of their fine and transparent quality. I love the swirly lines when you dip your brush in water! There’s no such thing as dodgy materials; it’s more about how you use them.

What can we expect to see at your exhibition at Gallery 126?

The exhibition is based on the local Threlfall walking track around the Gara Gorge National Park, (the Blue Hole), and this condensed linear environment was the stimuli for my illustrations.

The track has historical value, tracing the pre existing aqueduct of the decommissioned hydro electric scheme. It only operated between 1892 and 1907, due to nature’s strength to overcome man’s intervention with the environment.

Also, I have interpreted the spiritual and aesthetic environmental significance. There are technical drawings showing a reconstruction of the scheme, scientific studies and creative illustrations of flora and fauna common to the park and a series of photographs of the rock formations.

Exhibition dates?

The opening night is on Friday 29 April from 5 ‘til 7pm, and the exhibition runs from Friday 29 April until Saturday 11 June 2011.

Thank you Nadia.

How did you first become interested in painting?
I’ve been interested in painting, drawing and generally making things for as long as I can remember.

I was lucky enough to have a mother who always encouraged me to paint and draw and an excellent art teacher all through high school. I really can’t say why; it’s simply part of my life. I like to spend at least some time each day painting, even if it’s only 30 minutes. I find it quite meditative and a good way to unwind after a day’s work.

What materials do you prefer to work with?

For painting, I prefer to work with acrylics. Once I’ve drawn up the painting, I apply up to 12 coats of paint. I have to keep each coat thin to attain a nice sharp line. Acrylics dry fast, and I like the intensity of the colours. It’s also much easier to clean the brushes.

Why do you exhibit at Gallery 126?

This is my third exhibition at Gallery 126. It’s a great space. Armidale is fortunate to have Gallery 126. Stuart and Anne run it with such professionalism, that it’s helping to raise Armidale’s profile in the contemporary art world. There are many good artists in Armidale and New England, and we all value Gallery 126 as an exhibition venue.

What does your exhibition consist of?

There are two series of paintings. One series is based on a small black and white painting by Kazimir Malevich. I’ve exploded this idea and created grid patterns in black and a range of other colours. Most of the works in this series are relatively small. They can be hung individually, or two or more can be hung together to create different colour interactions.

The other series is inspired by a work by François Morellet. In 1969, he used the numbers in the Paris phone book to determine the colours in a grid, using one colour for odd numbers and another for even numbers.

I throw a die or a pair of dice to determine the colours. Sometimes I use two colours; sometimes I use three. I’m particularly interested in the patterns that are created and how the colours interact with each other. I hope the paintings provide visual and intellectual pleasure.

Where do you get your inspiration from?

From other artists, ancient, modern and contemporary, and from all the structures, colours and patterns I see every day.

Artists who inspire you?

Obviously I’m inspired by Malevich and Morellet, but also by artists such as Klee, Mondrian, Bridget Riley and many contemporary artists who are also fascinated by colours and patterns.

Exhibition dates?

The opening is on Friday 11 March between 5pm and 7pm, and the exhibition runs until Thursday 21 April, so people have lots of time to catch it.

Thank you Winifred.

How did your interest in painting come about?

I have always liked painting and drawing, but it became evident that it was a real passion at about 12 years of age – and I discovered the more I did it, the better I got at it. I was always interpreting things visually. I think it is a drive you are born with, and it has to come out, or be expressed in some form, otherwise it presses in on you in a negative way.

Most of my memories from primary and secondary school are all about the thrill of creating specific works of art. I decided to go to art school at the end of high school, which involved a move from the family farm at Kootingal to Sydney to attend. It was wonderful to have access to so many galleries and to work creatively full-time around a lot of other artists.

What materials do you prefer to work with?

I have painted in oils quite a lot in the past and love the richness of the colour. Over the years I found myself using a lot of layering techniques, and I discovered acrylics to be much more practical due to their fast drying times and versatility. The downside to acrylics is that they dry darker than their wet state, which is eternally frustrating when you are working with colour nuances. I add collage (felt), pumice, sand and modelling compound to the work to build texture and base relief qualities.

I would like to do some more sculptural work and am looking at lightweight mediums at the moment.

Why have you chosen to exhibit at Gallery 126?

I’m fond of the Gallery as a venue, and Ann and Stuart have given many artists over the years the opportunity to exhibit – which has done much to promote New England culture. The openings are always buzzy, and it’s a great time to meet other artists and people who enjoy art.

What can we expect to see at your exhibition?

I am essentially a semi-figurative landscape painter, but my interpretations of the landscape have become more geometric and stylised over the years. The exhibition will include a number of semi relief works, where I have been extending shapes out from the flat surface of the canvas or board with felt collage. The felt has been coloured, shaped and contoured while wet, then allowed to dry before cutting into shapes.

These shapes are filled with plaster to maintain their 3D shape and then adhered to the canvas or board. I am also showing works on paper, some of which are more figurative and inspired by specific locations.

Where do you get your inspiration from?

I’m drawn to the simplicity and purity of basic shapes and patterns in nature and the constantly changing light and colour in the landscape. I live on a bush block and have only to look out of my window for stimulus. I am constantly inspired by other artists through exhibitions, art books / magazines and the media.

Artists who inspire you?

My ultimate painting would be a work that incorporates Aboriginal art stylistically, for patterning and colour; Turner for colour, light, atmosphere and brushwork; Klee and Miro for colour and whimsy, and Vasarely for optical illusion.

In my mind’s eye I can almost see this ultimate work of art, and this is what spurs me on to keep painting. It’s a slow progression towards this image, with many tangents and much experimentation on the way. I enjoy the challenge, though it’s extremely frustrating a lot of the time, attempting to translate what’s in your psyche onto a 2D surface.

Exhibition dates?

Friday 4 February to Saturday 5 March 2011.

Opening Function: Friday 4 February; 5pm-7pm.

Thank you Kerry.

I lived in an environment that was very conducive for expressing myself in a variety of mediums.

My interest in art grew when I was at Art College in Wangaratta and Bendigo from 1979-1981. I majored in painting and printmaking, but I was always drawn to the magic of printmaking, in all its forms. I loved it then, and I love it now! My inner need to express thoughts and feelings through images became apparent, and so my journey began.

Describe your technique?

I specialise in reduction linoprinting and have developed the technique over 25 years. This method requires only one linoblock to create a multicoloured image. Parts of the lino are carved away, one colour printed, further areas carved away, another colour printed and so on, until all colours have been printed layer upon layer. The vibrancy of the colours is achieved using oil based relief printing inks.

I have combined a number of different techniques, including masking and hand painting to achieve subtle nuances. With the addition of etching the lino with caustic soda and embossing, a contrast of textures is achieved.

Every linoprint in the edition has been individually made by hand, without using a printing press, thus giving each one a unique quality. Once printing of the edition is complete, further prints cannot be made from the linoblock, as the lino is destroyed in the process.

What have you chosen to exhibit at Gallery 126?

The exhibition of linoprints at Gallery 126 entitled ‘Spice of Life is a departure from previous themes, such as native flora, fire, trunks, leaves etc.

Simple pleasures are the focus of new linoprints. Step into the vegetable garden. Pick your favourite greens and enjoy lunch on the verandah with the Solanaceae Family.

Watch the dancing mangosteens, as other fruits wait in the wings. Tantalise your taste buds with a spicy laksa. Cool down with a cup of lemongrass tea and fresh limes.

An oriental quality weaves its way through these new images, with intricate detail of fabric bordering fruits and loved objects.

Fruits, vegetables and spices are the main ingredients for this exhibition. It’s a feast of images that will lift your spirit and feed your soul.

Where do you get your inspiration from?

I love to grow the food I eat and to share fresh produce with others. It gives me great pleasure to dig in the vegetable patch, plant seeds by the moon rhythms and nurture them daily, until the plants are ready to harvest. This seemingly simple, domestic activity keeps me in harmony with the earth and the creatures that inhabit my small garden. It creates a feeling of wonderment and purpose.

Inspiration comes from my immediate surroundings. My love of nature and recognition of beauty in small things permeates throughout my themes. Imagination then takes over and ideas evolve … one thing leads to another.

Artists who inspire you?

Many artists ‘inspire’ me. My interest in different artists is so varied. If what they create captures my imagination, then I find that seductive. I have many favourites, but here are a few: Andy Goldsworthy, Fiona Hall, William Robinson, Dorothy Napangardi, Rosalie Gascoigne, John Wolseley. The artists I find most inspiring are true to themselves and they create and express their own unique world through their particular medium.

Exhibition dates?

Exhibition dates for ‘Spice of Life’ are from                                                                                            Friday 26 November to Friday 24 December.

Opening Friday 26 November, 5 – 7pm.

Also don’t miss the 2 day Lino Print Workshop on November 27th and 28th. All welcome, phone the gallery for more info.

Thank you Anna.

The more you scratch, the more you itch”. This saying always reminds me of the process of creating art. Satisfaction is short lived, so the journey never ends. As I searched for a theme for this exhibition, I paused to ponder on just how fortunate I am, as an artist, to live in a district as changeable as the New England area.

So I decided, in this exhibition, I should reflect these feelings and try to capture the moment. This is a complete change from my last two exhibitions at Gallery 126, which both have been figurative; though you could say the land takes on a figurative form also.

There is a big difference though; my subject for this exhibition is always there, never complains no matter when I decide to work and I have the benefit of being outside at a beautiful time of the day. I hope you will enjoy my works as much as I have in the process.

I strive to convey the colour, strength and mystery of places that have caught my eye over the past six months. Examples of this are on early morning walks with dog, ’Buddy Beautiful’ and eldest daughter, I may notice the beauty of Mt Duval with its majestic blues and purples simply towering over the landscape and begging to be noticed.

I am always amazed at how the same scene takes on so many different hues and looks completely different each day.

Other times, just the shape of a small hill around Guyra may capture my attention, like little ‘pop ups’ sprinkled with gums and white, speckled, freshly shorn sheep.

The texture of the grasses and shapes around the lagoon outside Uralla, or again, the harshness of the Yarrowyck area during our winter months all take on a beauty of their own. Once a subject gets my attention, I will go back with camera and pad to collect all the information.

Sometimes I’m going back many times, just to capture that mood I am looking for. By working in plein air you have the ambience of the light and atmosphere to help you. For this reason, I try to work very early in the morning or late in the afternoon, near sunset. These are small pockets of time, but are very beautiful. I do small sketches with pastel, or whatever is handy, to get all the basic information I need and take a photo. Often, when a painting is not working, it means I need to go back to work on more small sketches.

Artists such as Monet and Renoir both worked outside almost exclusively and have been an inspiration to many since the 1840s. Nature is a dynamic, ever-changing thing. The bush is moving and growing and if you really take a good look ‘One day At A Time’, the subject takes on a life of its own. Add that to four very different seasons, and you can be inspired in the New England area for life.

I am not looking for an exact likeness … more important to me is a connection. Therefore, my emotions will also dictate the colours I will be looking for and how they are applied.

I like to work with Acrylic, as it is quick to dry and easily pushed around. Also, with the new Acrylics, they can be easily worked back into if they dry too quickly, or you change your mind on your last application. I feel most comfortable using as large a brush as I can find and spatulas to apply the paint as quickly as possible, so as to get a ‘feel’ rather than just detail.

Opening at Gallery 126 Friday on 15 October from 5pm to 7pm, closing Saturday 20 November.

> How did you first become interested in painting?

Visiting the Art Gallery of NSW as a 10 year old, being for some reason struck by Tom Roberts’ ‘Bailed Up’ … I’m not sure whether it was the bushranger thing, the composition of the painting, the grasp of Australian landscape or what, but I was hooked.
For many years after that I was a gallery junkie – always looking and occasionally buying – and it was only later in life that the opportunity for painting presented itself, beginning at Julia Hardman’s in Arding and continuing through evening classes at TAFE.
This opportunity sadly no longer exists, as TAFE Armidale has made the short sighted decision to withdraw art evening classes from the curriculum in Armidale  from this year – which is ironic, considering that Armidale sees itself as a city of the Arts.

> What materials do you prefer to work with?

Generally I begin to work with a series of charcoal drawings and sketches, which lead into water colour sketches ‘on site’. In the process that follows back in the studio. I work in soft pastels on paper, water colours and oils.

> Why did you choose to exhibit at Gallery 126?

Anne and Stuart Boggs have long sought to support artists in the district. Their Gallery 126 is one area of support, and this has given numerous artists the opportunity to exhibit. I had my first solo exhibition in late 2007, and I feel privileged to again be given the opportunity to showcase my works.

> What can we expect to see at your exhibition?

This exhibition is my impression of Metz Gorge.
Artists search for truth in themselves in reflecting what they see – some accuse me of dark and gloomy work, although I would argue that not all my work is dark!

Frank Howard outside his studio

The reality is, that in spite of so much inherent beauty in the created world, there is underlying menace, gloom, destruction and death – a reality which is always present, always confronting us and which we might like to brush (pardon the pun!) aside.
How do I deal with that reality? Do I pretend that all is beautiful and paint something that reflects that? Or do I pursue what lies lurking beneath?
I am not seeking to provide new answers – the Creator does that – I just want the question to be put out there.

> Which artists inspire you?

To single out any artists is not easy, as many (if not all) you come into contact with have an influence, be it positive or negative. Subconsciously I may not even be aware of a particular influence until I can see it on the canvas I’m working on.
Recently I have been looking at Mark Rothko, Jackson Pollock, Sean Skully and John Virtue.
Of Australian artists, the Heidelberg School – in particular Arthur Streeton and Tom Roberts – and the continuum through Lloyd Rees, Fred Williams and Ian Fairweather among others have been a wonderful source of inspiration, as are the collections at NERAM.
Local Artist Ross Laurie is an encouraging, honest mentor, to whom I am, and always will be deeply indebted to.

> Exhibition dates?

The exhibition opens on Friday, the 29th of January from 5pm – 7pm and continues during business hours, Tuesday – Friday  8.30am – 5.30pm and Saturday 9am – 1pm until the 27th of February.

> Thank you Frank.