Previous Exhibitions
 
an exhibition of figurative prints by
Bernhardine Mueller and Denise Scholz-Wulfing


Opens Friday 14 October till 12 November 2011

 

Upcoming at Marianne Newman Gallery is the exhibition Imaginary Narratives: Here to There by artists Bernhardine Mueller and Denise Scholz-Wulfing. Both artists practise in a figurative style using printmaking to express a personal narrative on life as they see it. Bernhardine's very humorous, quirky prints interpret the world in a light-hearted manner, while Denise's work shares this satirical narrative on the human condition.

As an established artist and teacher, Bernhardine Mueller is passionate about promoting the art of printmaking. Her artworks, large and in miniature, are exhibited Australia-wide and internationally and have gained her a multitude of first prizes and awards. Bernhardine's etchings are a response to the Australian landscape, our good fortune to live in this country of immense beauty, free of war and the destruction it brings to people and nature. This new body of work is composed of images that are an accumulation of facts and fantasy illustrating how nature protects us and how we should protect nature in return.

Bernhardine uses the image of the vessel in these hand-coloured etchings as a metaphor for life's journey for all God's creatures. Her work Resting Their Wings uses the vessel to carry and protect the animals, the array of birds rest within the vessel, and are sheltered by a large balloon, guarded against the elements. The vessel repeats in Out on a Limb, encasing both man and city.

Denise's Scholz-Wulfing's body of work reflects a personal journey onto the land.  Through a recent purchase of acreage in the Central Tablelands she has become aware of issues affecting country people.  As a city dweller, it was a revelation for her to see first hand the problems and issues that faced her neighbours in the country, as they try to earn a living off the land.  She has a growing admiration for these people who manage to grow food and keep the land productive while facing drought, flood, pests, and economic uncertainty.

Entitled the Job Series, these etchings and collagraphs are also heavily influenced by the etchings of William Blake. Denise has long admired Blake's work and has re-interpreted his imagery by using personal references to life in the country. In her visual story, Job is not tested by God, but is tested by Mother Nature.

Denise's larger, hand coloured etching, The Great Divide, illustrates the difference she sees between the city and the country.  Divided into two equal parts, the left of the composition, the country, is associated with the heart or soul; is ordered and uncomplicated and conveys typical bush iconography such as the farmer, animals, and farm structures. The right side of the composition embodies city life using imagery of the brain as a symbol of ideas and ambition. A woman climbs the ladder (of her ambition), hauling herself up while her children cling precariously to her skirts.  The surrounding visual clutter becomes a representation of noise and movement of the city.

Together, in this remarkable and original collection of work, both artists reference landscape, place and the imaginary world. They share a contemporary tale of travelling here to there, spiritually, intellectually and physically, through city and country.

Imaginary Narratives: Here to There
is on show at Marianne Newman Gallery, 1 Albany Street, Crows Nest from 14 October - 12 November 2011.  Gallery Hours:  Tuesday to Saturday 10am - 5pm
 
 
Opens Friday 26 August till 24 September 2011

Artist talk Saturday 10 September, 2pm


A Touch of Life, an exhibition of works on paper and paintings by Heather Kepski, is the upcoming exhibition at Marianne Newman Gallery. A widely admired artist, Kepski explores the struggles of everyday life in Myanmar with a broad collection of medium in her second solo show at MNG.

The exhibition demonstrates the influence of Kepski's travels and her background as a cross-cultural psychologist. In her psychological practice she worked with refugees and migrants and heard the stories of the effects of war and conflict from many people of different cultures. She was directly influenced, producing images of intense personal places, a reflection of and on her life experiences. She has travelled extensively and often challenges her viewers with cross-cultural images, which are layered with meaning. While she tries to capture the complexities of life that many cultures struggle with on a daily basis, she is also interested in the simple things of life that make extraordinary issues manageable during hard times. Her love of indigenous art and culture has reinforced her passion for exploring issues concerning the environment, ethics, balance and harmony.

Recent travels to Myanmar provided her with a wealth of resource material. Although many people know little about Myanmar, most have heard of Aung San Suu Kyi who has struggled for years to bring democracy and justice to her people. Myanmar is under military rule and the generals corrupt people to gain support. Power and control are corrupting influences everywhere in the world and Myanmar is merely a microcosm of what happens elsewhere.

In their daily lives, people from Myanmar struggle to feed their families, raise their children and find happiness. Their religion, which is primarily Buddhist, provides many with great comfort and hope but there is also an underlying current of corruption amongst some monks, which destroys people's trust. It is in this context that Kepski has created many of her images.

Throughout this body of work, Kepski has used visual metaphors. For example, the monks with umbrellas are metaphors for the ‘royal monks'. Named as such by the Burmese people and indicating their corruption of the generals and their abuse of trust, they have been portrayed in a decorative style with their backs to the viewer, walking on water and over people.

Heather Kepski is primarily a printmaker and pushes the boundaries of this art form by creating linocuts, woodcuts, etchings, collagraphs, often using multiple techniques in a single work. In addition she uses pastels and is a skilled painter. Her linocut "A Touch of Life" is currently a finalist in the Fremantle Art Centre Print Award, Australia's foremost award for prints and artists' books.

Kepski has completed fine arts courses at the National Art School, the University of Southern Queensland and Charles Sturt University. She completed an Advanced Diploma in Fine Arts at the Sydney Gallery School and studied printmaking at SACI University, in Florence, Italy.

A prolific artist and exhibitor, Kepski's work is collected nationally and in England, France, Hong Kong and the USA. Believing that art should be accessible to all in the community she is actively involved in the Bundeena Maianbar Art Trail.

Heather Kepski will give a talk "A personal perspective on Myanmar" on Saturday 10 September, 2.30pm, attendance by RSVP please.   

A Touch of Life
is on show at Marianne Newman Gallery, 1 Albany Street, Crows Nest from 26 August - 24 September 2011.  Gallery Hours:  Tuesday to Saturday 10am - 5pm

 
Dianna Brennan and Liz Jeneid

Opens Friday 22 July till 20 August 2011

 

Entre-Deux is a collection of recent work from Liz Jeneid and Diana Brennan. Both artists share a textile background which has influenced their artwork and also inspired the title. Entre-deux is a French term that is used frequently in textile manufacture, referring to a lace ribbon that joins, or separates two pieces of cloth; it also defines a space or state of being between two extremes and translates as ‘between the two of us'. Jeneid states that the use of the phrase entre-deux is an appropriate one, considering Diana's and her backgrounds, relationship and the nature of the artwork.

Diana Brennan a French-Australian artist, largely based in Paris, has exhibited widely in Europe and the United States. Brennan will be showcasing a textile installation of fragile silhouettes, neither costumery nor clothing, but of suspended, floating structures that are designed to materialise out of or dissolve into their surrounding environment. Brennan also intends to let the architectural laceworks oscillate between light and transparency, scale and perception.

The forms are produced from stainless steel or copper knitted lacework interlaced with glass beads, which flow from shrunken woollen jumpers. The silhouettes are a continuation of Brennan's preoccupation and fascination with the natural effects of light on cloth, the structure and texture of textiles and the associations of corporeal memory. She states, "to achieve these effects I combine copper, stainless steel or nylon threads to create surfaces of intertwining textures." On display as well will be various smaller wire creations many of which also incorporate glass beads.

We are proud to announce that Brennan has been selected to show at the international Love Lace exhibition at the Powerhouse Museum, correlating with Sydney Design 2011.

Liz Jeneid believes that the lines between art, life and work are blurred, and that art connects to life experiences. The images in the prints are based on her travels in Italy, Greece and Australia, and sharing the experiences with her friends. Being exposed to different cultures and environments has influenced Jeneid's artistic response.

She mentions that the notion of being with another person, travelling together, sharing the same experiences and physical space, became her entre-deux. Ultimately for Jeneid, the sharing of an experience with another is the sharing of space in-between. She translates this notion with her ambiguous images of shadows along cobblestoned streets and brick walls.

Jeneid identifies the pavements as an important way of identifying place and they are represented in many of her works. The pavements also are symbolic of her entre-deux and conveying her relationship with a certain environment.

The combination of printing techniques, including collagraphs, lino cuts, wood cut and water colouring, reflect the many experiences and feelings she had while travelling, as she layers multiple techniques upon one image.

Together, between Jeneid and Brennan, there is a story told about the space in-between, which is conveyed through layering techniques and the play between light and shadow.

Entre-deux is on show at Marianne Newman Gallery, 1 Albany Street, Crows Nest from 22 July - 20 August 2011. Gallery Hours: Tuesday to Saturday 10am - 5pm

 
A collection of Tiwi art from Jilamara Arts and Craft Association

Opens Friday 3 June till 2 July 2011

 

Yingarti Jilamara, showing a variety of works from the Tiwi community on Melville Island, is timed to coincide with the annual Guringai Festival celebrated across Sydney's North Shore and National NAIDOC Week recognising the history, culture and achievements of Aboriginal and Torres Strait Islander people.

Yingarti Jilamara means ‘lots of art' in Tiwi Islander terms while jilamara also roughly translates into ‘design', and refers to the intricate, geometric, ochre patterning traditionally applied to the bodies of dancers, and to the surface of carved pukumani (mortuary) poles used during traditional burial ceremonies.

Tiwi art is distinctly different from other Aboriginal art as the Tiwi practise the art of body painting for ceremonial purposes. The patterning used is primarily decorative with an emphasis on strength of design and the individual rather than the narrative, as more usually painted on the mainland. Each artist's work is motivated by their traditions, and draws inspiration from their own dreaming dance and clan dance yiminga. For the Tiwi people, to sing is to dance is to paint.

Timothy Cook depicts his body paint designs from the Pukamani ceremony and the Kulama ceremony (yam ceremony). Timothy, whose distinctive style has received much attention in recent years, is collected by the National Gallery and most state galleries. He began to exhibit his designs in the late 1990s and has currently been selected as a finalist for the Western Australian Indigenous Art Award. Alongside Raelene Kerinauia  (also showing in Yingarti Jilamara) he is also a finalist for the NATSIAA (National Aboriginal & Torres Strait Islander Art Award), to be opened in August.

Patrick Freddy Puruntatameri is considered an exciting and innovative young carver, with a developed skill and expertise beyond his years. He has always wanted to be an artist, and learnt his skills and the art of ‘pirikiringirri' (wood carving) from his late father, the respected and renowned carver Paddy Puruntatameri. Patrick's owls represent Tjurukukuni, the messenger for the Tiwi lovers Wai-ai and Taparra, guiding them to one another through the bush. It was following this act of infidelity that death came to the world and the Tiwi people.

Janice Murray is one of the youngest practicing Tiwi artists. Her work has been exhibited widely all over Australia since 1995. In 1996, she was commissioned to make etchings for the Crown Casino in Melbourne. Murray commonly depicts the Pukamani ceremony and also the flying fox and turtle in her designs. Her artwork varies from the other artists, as she not only intricately paints geometric lines and shapes, but also includes bold owl designs, thus evoking the traditional narrative of the two Tiwi lovers.  

Tiwi art is recognised as being very attractive and highly collectable and Yingarti Jilamara is a beautiful and strong exhibition evoking the stories of Tiwi ancestors and their traditions. Artists also featured are: Dymphna Kerinauia, Brian Farmer Illortaminni, Linus Warlapinni, Tina Patlas, Valentina Puruntatameri, Margo Wommatakimmi, and John Pilakui.

YINGARTI JILAMARA is on show at Marianne Newman Gallery, 1 Albany Street, Crows Nest from 3rd June to 2nd July 2011. 
Gallery Hours:  Tuesday to Saturday 10am - 5pm

 

Sally d'Ovelle, Myriam KinYee & Belinda Webster
 30 April to 28 May 2011
 

Opening at Marianne Newman Gallery is the delightful and playful group exhibition Carnaval inspired by Schumann's piano solo, in which he whimsically relates a story of masked revellers at Carnival, the European merry-making festival held before Lent. Schumann's 22 piece solo brings to life through musical illustration an expression of his friends, colleagues, and characters from the Italian commedia dell ‘arte, which Sally d'Ovelle, Myriam Kin Yee and Belinda Webster materialise into a tantalising visual spectacular. 

In 2010 Belinda Webster accompanied Australian pianist, Piers Lane, to a residency at Arthur Boyd's Bundanon Estate, producing a film about Schumann's Carnaval. Artists Sally d'Ovelle and Myriam Kin-Yee were also present during the recording, and thus were motivated to create vivid images of dancers and eccentrically dressed characters, inspired by the Carnival festival. Together, the artists sketched while listening to Lane, who let them explore the wonderful world of Carnaval, motivated by the idyllic surroundings and strains of music.

Sally d'Ovelle originally from England, now resides in the Kangaroo Valley, where she is constantly inspired to paint her surrounds, in particular the magpies, which nest around her home. Her time at the Banbury School of Art in England, where she worked as drawing and ceramics teacher for six years, solidified her unique and quite cheeky drawing style that can be seen in her current art works, in particular "The Naughty Book", one of six illustrated books. D'Ovelle states that her work is purely imaginative, and that she is a colourist, but wanted to produce work that was largely black and white to convey the detailed vibrancy of the characters at Carnival.

Myriam Kin-Yee has been accepted twice as a finalist in the Portia Geach Portrait Prize in recent years. Her approach to this exhibition is directed by her love for figure drawing and she presents a series of watercolour paintings that exhibits her fascination with the communicative power of body language and its gestures. Most of her paintings illustrate a scene from the movements of the piano piece. Her work "Coquette" conveys a young woman adjusting her mask in the mirror, and parallels the image to the flirtatious music of Schumann's "Coquette". Kin-Yee brings to life animated characters in full motion, showing the viewer a snapshot of the lavish costumery and the dramatic surrounds.

Belinda Webster, a photographer and video artist, draws her inspiration from the natural world. Her photographs aim to reveal graphic aspects of Carnival characters as well as implying the emotive impact of the music. Webster, like Kin-Yee conveys a scene that is reminiscent of Schumann's solo in each of her pieces. She titles her work in parallel to the musical piece, and conveys the emotional response through images of flowers and flowing water. Her vivid piece titled "Pierrot", an intriguing image of a dead moth, evokes a melancholy suggestive of the sad clown.   

Together, all three artists convey diverse aspects of Carnaval, and achieve different emotional responses from the viewer through their unique style. Their work is a product of the energy generated at the residency and the marvellous music making. Their inspiration and energy transpires leaving the viewer with a sense of awe and marvel. 
 
Carnaval will be opened on Saturday 30 April 3-5pm by Peter Thompson, broadcast journalist and will be on show until 28 May 2011.  
Gallery Hours:  Tuesday to Saturday 10am - 5pm
 
 
   
Friday 18 March - 9 April
see artworks

Opening at Marianne Newman Gallery on Friday the 18th March, are two diverse exhibitions titled Turbulence by Pamela Twomey and Recalculating by Lyndal Campbell. Twomey and Campbell are artists with different and distinctive styles of painting that respond to and derive their work from a common thread - their surroundings.

Pamela Twomey's paintings are inspired by her personal, spiritual and emotional responses to images she sees around her. Her aim is to translate these emotions in order to evoke a similar response from the viewer.

Turbulence focuses on the landscape of the seaside and water. These images are a progression from her earlier images of clouds, where she used the clouds as a metaphor for the different emotional states she was experiencing. Twomey uses the seascape to represent her current emotional state, using light to best transcend her vision.

The sublime reflections from within and around the water are captured in striking detail. Her paintings are representational, but blur the boundaries with the abstract, whether they investigate the ambiguous waves, and ripples of the water or depict more menacing visualisations with a sense of the unknown.

Twomey has exhibited widely over recent years and paints from her studio (a former military building) at the beautiful scenic Headland Park in Mosman.

Lyndal Campbell states that Recalculating is a means of reaching a destination after having taking a series of wrong turns. The title of her exhibition was inspired by a friend's two year old who continued to repeat ‘recalculating', the word uttered by the GPS on the journey to find Campbell's new place.

Campbell grew up by the water on the Central Coast but felt drawn to the inner city and her more recent move to suburbia by the sea is explored and documented in this current series of work. There is a dramatic change between the surroundings from where Campbell started, and where she concludes her journey. "Flight Path" is seen as a busy array of colour and lines, a scene reminiscent to earlier days in the city. The artwork progresses to the fluid blues and lush greens seen from the new surroundings, and can be easily distinguished in "Serendipitous".

Lyndall Campbell portrays a journey towards contentment and the clarity of headspace she has found with her move. She states "After being so resistant to change and thinking the city was my world, I have discovered a new world filled with blues of the ocean and greens of the landscape, where I can watch the seasons change and things grow and have the time to appreciate it all."

Campbell is an intuitive painter but she works on paintings till she feels they are resolved ... this can involve years of reworking a complex, multi-layered and boldly coloured oil painting. The viewer is drawn in to look closer at what lies under the layers. Campbell's first exhibition was over 20 years ago and she has been delighting her audience ever since.

Both Twomey and Campbell respond to their surroundings in a deeply personal way, presenting the audience with works that evoke sensations that carry us along with them.

Turbulence and Recalculating is on show at Marianne Newman Gallery, 1 Albany Street, Crows Nest from 18 March - 9 April 2011. Gallery Hours: Tuesday to Saturday 10am - 5pm

 

 
Marianne Newman Gallery presents   Marianne Newman Gallery presents
  Marianne Newman Gallery presents
Hand painted etchings by Lydia Kullik

Friday 11 February - 12 March

Marianne Newman Gallery presents
  A wood cut series by John Pratt
see artworks

Marianne Newman Gallery welcomes the New Year by exhibiting two accomplished Australian artists, Lydia Kullik and John Pratt, who explore various themes and issues with contemporary approaches to the figure. Kullik presents Birds, Bugs, Chic a zesty exploration of iconic Australian suburban imagery depicted skillfully through her etchings while Pratt's series Breakwater explores the physicality of the figure and the potential broader states of being through his masterful woodcuts.

Kullik's etchings consist of two series... In the bird series, Kullik's hand painted etchings generate her observations within nature and celebrate the playful links between the suburban and urban Australian environments and former city dwellers who now inhabit them. Through the use of rich colour palettes and bold patterns Kullik creates optical links between the natural world and the figure. The second series, Insect Couture, magnifies insects' body parts and transforms them into surreal pieces of fashion garb, presenting a quirky and fun take on fashion trends.

Kullik's vibrant series capture the significance of nature in her art practice, as she states "Every day I spend time in the company of an array of birds, wildlife and insects that inhabit our property. The natural beauty of these small and generally ignored life forms are the inspiration behind my new exhibition."

Kullik has enjoyed a successful career over the last ten years. She has been the recipient of several major awards including the Bronze Lion award for illustration in the New York Festival and an ARIA award for the album cover "Freak Show" for the band Silverchair. Kullik has received numerous commissions from both Australian and International companies such as The Australian Magazine, Coca Cola and Qantas and has exhibited in several solo and group exhibitions In Sydney.

The prints on exhibit in Pratt's, Breakwater series evolved from a collection of drawings undertaken by Pratt at a suburban swimming pool and feature the familiar activities of diving, swimming and floating. Pratt's composition of positive and negative space along with limited colour palette allows the figure to dissolve surroundings and presents visual metaphors of immersion, suspensions, dislocation and vulnerability. Pratt is concerned with tuning his figurative expression into emotional potentials "I have always been curious about the capacity of everyday situations to contain the figure in various guises and resonate broader states of being.  The various movements of floating, submergence, frolicking, swimming, flailing and diving ... evoke other conditions of release, vulnerability and uncertainty."

Pratt Is an established printmaker residing in Canberra, frequently exhibiting in both solo and group exhibitions Australiawide and in Europe. Pratt's artworks are also represented in the National Gallery of Australia collection. Currently Pratt shares his passion and knowledge of printmedia and drawing as a lecturer at the National Institute of the Arts.

Birds, Bugs, Chic and Breakwater is on show at Marianne Newman Gallery, 1 Albany Street, Crows Nest from 11 February to 12 March 2011. Gallery Hours: Tuesday to Saturday 10am - 5pm

 

18 Mar -
9 Apr

Turbulence and Recalculating: Artists Pamela Twomey explores the surface of the water as an emotional response to nature and her surrounds. Lyndal Campbell explores the changes in her life through her colourful and intricate painting.

Opening night with the artists Friday 18th March 6-8 pm


 
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 A group exhibition responding to a quote by author
Italo Calvino, curated by Meghan Carpenter

19 November to 18 December 2010


This holiday season join us at Marianne Newman Gallery for our latest exhibition Beyond the surface of the page... Professor Ron Newman will open the exhibition on Friday November 19th from 6-8pm.

Curated by Meghan Carpenter the theme of this group show is based on a quotation from Italo Calvino's "The Adventure of a Reader", "Beyond the surface of the page you entered a world where life was more alive than here on this side...". Responding to Calvino's sentiment, artists have produced works depicting a world of colour and mystery, of live and imaginary realms.

The artists featured include Geoffrey Adams, Marina Bishop, Susan Cowley-Carrasco, Rosemary Christmas, Peter Day, Robert Enemark, Linda Galbraith, Angela Gill, Pamela Griffith, Sue Hanckel, Nathalie Hartog-Gautier, Jo Hollier, Patrick Hromas, Heather Kepski, Soyoun Kim, Dana Lundmark, Penelope Lee, Maryann Mussared, Marie Peter-Toltz, Christine Shoji, Laura Stark, Lynne Sung, Kerry Thompson and Kay Watanabe whose works display a broad range of approaches to art.

Overall there is a playful ambience, presented in the form of proud roosters in the spotlight, a child playing, sailboats floating under a full moon and found books transformed into exquisite sculptural objects. A range of mediums is used by this group of talented artists who work with oils, acrylics, digital prints, mixed media and diverse printmaking techniques. There is a search for significance in both the known and unknown, depicted in images of an ethereal mossy forest, a linocut composed of strong silhouettes, a beautifully crafted collaborative book and abstracted underwater landscapes.

Please join us for an exhibition sure to please and a chance to explore the possibilities of what lies Beyond the surface of the page...

Beyond the surface of the page... is on show at Marianne Newman Gallery,
1 Albany Street, Crows Nest, from November 19th to December 18th 2010.
Gallery Hours: Tuesday to Saturday 10am - 5pm

 
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15 October to 13 November 2010
see artworks

In The Great Divide Alison Jane Rice and Patrick Shirvington explore eastern NSW. Not only the region of inspiration, the Great Divide also refers to the very different stylistic rendering of both artists. Rice captures the flora, fauna and oceanic imagery of the region in her detailed paintings, drawings and prints, while Shirvington paints lively and rich interpretations of the Australian bush and mountain landscapes.

The exhibition will be opened by artist Graham Marchant on Friday 15th October. Shirvington's paintings and drawings have a sense of movement and freedom in the loose but strong line work that composes the landscape of Bundanon. From subtle black and white to unexpected colour palettes these images bring bushland to life. Shirvington has an observative nature and looks for beauty within. Approaching his artwork with an expressionistic perspective Shirvington does not aim to directly copy what the eye sees onto paper, instead he captures the moods and emotions of both landscape and viewer combined. As he stated in an interview, "The landscape is what always inspires me. Landscape can't argue with you, if you paint a landscape I interpret the landscape how I see it."

This exhibition features delicate works in oil, watercolour, pencil and etchings that illustrate both coastal landscapes and architectural landmarks as well as numerous examples of flora and fauna including some more scientific drawings.

The Great Divide are on show at Marianne Newman Gallery, 1 Albany Street, Crows Nest from 15 October - 13 November.
Gallery Hours: Tuesday to Saturday 10am - 5pm