Australian Fine Artist

Archive for August, 2012

Clive Stephen – Sculptor (1889-1957)

Speaker: Ken Scarlett
Curator of the Clive Stephen Exhibition at McClelland Gallery
Australian author specialising in Australian sculpture

Venue:  The McClelland Galleries 

Last week I took the time to have a walk around to preview the new exhibitions that are in both rooms at McClelland. These in contrast to a few other exhibitions recently were immediately to my liking. I don’t know how long exactly it takes to set up exhibitions like these, but Ken confirmed today that a few people had put in some twelve hour days and worked very hard to collect, catalogue and present the works we were looking at today. What made Clive’s work a bit more difficult was that he rarely signed and dated his pieces and rarely kept records about them either. More annoying would have been that the NGV hadn’t produced a catalogue for his exhibition in around 1959 as they had been so short of funds they couldn’t afford to print one.

The collection at McClelland was a really lovely mix of Clive’s work. Some from collections and some from his wife’s store of his work. Since Clive was a full time practising GP it is interesting that he took the time to fit in his great love of art. Since he had not travelled extensively during his life he drew on the inspiration from the contacts he made in the arts world  and from Africa and the Pacific, which at the time not many other artists were doing in Australia – if any.

Ken spoke about how on an early trip to Europe with a family Clive was working for, styles that began to influence him were from Jacob Epstein, Henri Gaudier-Brzeska and Henri Matisse. In Melbourne Clive joined a group of which Russell Drysdale was a member and which was run by George Bell. The artist and printmaker Eric Thake is also thought to have influenced his work as seen by the lovely little linocuts we saw on the wall over his sculptures.

Also talked about was Clive Stephen’s dedication to and love of his materials. The original form of the wood or stone is still allowed to show through the creation. The little sculptures of animals are simple but not simplistic. You just want to touch them they have such beautiful curves and form. Each is elegant and not over stated and the personality of the artist and his subject both shine through.

We saw some photos of Clive Stephen on site looking for materials such as Buchan marble, well known for the fossils that can either make it more interesting or a bit busy. We were told he also resourced from a local monumental stone mason where he may have picked up some tips about carving into stone.

Not exactly an artist who used “found materials” but rather went out and accessed from the source rather than relying on someone else to do it (maybe to cut costs or just to get exactly why he wanted) I personally found a new artist from our recent past to admire and respect. His life drawings are full of life and his watercolours are creative, well balanced and interesting. His sculptures are sensuous, curvy, full of life and even fun in their reflections of animals we have around us today. He calls on the inspiration of Africa and the Pacific cultures with respect and his own tasteful interpretation. Clive Stephen, Australian Sculptor, Artist, Doctor and a fine example for us to draw our own inspiration from today.

Chris Knowles

Visiting Artist at TAFE Wednesday 8th August

Topic: Experimental Film and Sound

Chris started off in the 1970s and attended Preston Institute in an era where you got to school and the teachers basically said, well you have already passed so you may as well do as you please! I was at Caulfield in 1978 and I am sure it was a lot stricter than that as I recall having to hand in papers and attend lectures as well as having a folio ready. Maybe I was luckier. Anyway for Chris it meant a lot of time to teach himself and become a very self motivated person rather than being driven by someone else.

Around this time he started experimenting with sound and video and how they could be used for various applications. His year after school playing the piano further embedded this interest in music and sound and with the cooperation from James Claydon he learned more about film as well.

At this stage before computers and digital cameras etc most things were done using film and a lot of work was required as well as a fair bit of money. To produce even standard 8 was expensive but dedication won out and he spent much time learning and producing his first films.

We were shown a couple of his first efforts which have now been digitised, so were played using Quicktime on a Mac laptop. There was a mix of moving and still pictures, overlaid pictures along with sounds and music he had composed and done himself. One of these was “Without Movement” done in 1983 which was ten minutes long. I am sorry to say that it was about six minutes too long for me. I tried to find some continuity in the images but couldn’t and the sound was so repetitious that it really did annoy the crap out of me after a while.

We looked at samples from a couple of other films, “Geometry” and “Excerpts” which were both done in a similar manner. We then looked at a sampling of his work for indigenous galleries and tourist cultural centres produced  more recently. These were done in cooperation with the locals and showed their preparation for ceremonies etc. I found these far easier to watch and the creative way they were presented at the centres was I thought, very pleasing. I could imagine average tourists being able to watch all the way through and enjoy them.

Chris came across as a genuinely enthusiastic guy. It was very encouraging to see someone who had been working at his business for at least a few decades, still having eagerness to try new things and not afraid of technology or change, but rather embracing them. He was also a good talker and made his story very interesting. I could have easily listened to him chat about his career with only one of the early videos and sound. He did admit that every decade or so he has a mini meltdown and goes off to do something else for a while, but really since I am still recovering from a huge one of my own from Graphic Design, I don’t think that is anything to be ashamed of. A break every now and then may actually be a good thing to help refresh the mind and spirit.

Chris is still planning new projects and new ways to take his ideas. He has plans to get an iPhone which, since I LOVE Apple products, I think is a great idea. He did say though that the tools are not the main thing, be it a computer, camera, iPhone, digital camera or whatever, you still have to have the idea, the creativity and the plan – then you get your gear together and get to work on it. These are the positives that I took away from his chat today.

David asked us afterwards what we made of the presentation. These are a few points I jotted down from the group.

  • It is not uncommon to be scrounging for materials etc to get effects or your project done as artists
  • Many artists have had to at least start off making do with what they had
  • Some thought that if they had been chained to the seat the videos would have been good torture tools
  • Some found that the video and audio together were a bit of a sensory overload
  • David added that art should make sense of the world and should be presented by the artist with integrity

Marco Luccio

Subject: Cityscapes in Etched and Drypoint Print and Other Media

Venue: Victorian Pastel Society Monthly Demonstration

Marco immigrated to Australia as a five year old. He remembers his first artwork at the age of eight. It was in texta pen and on the wall! A very good presenter and an experienced business person, Marco came prepared with a presentation on his computer to show as well as samples of his printing plates, prints, drawings and a large amount of samples, brochures and books. Some to sell and some to give away. He also had a great discount voucher for Schminke pastels which I hope to take up when I get my tax return!

Influenced by his background and a love of movies such as the 1925 classic Metropolis, much of his work has been produced on the dizzying heights at the top of buildings and bridges. He likes the etchings from the 18th Century by Giovanni Battista Piranesi. He was taught by Hertha Kluge-Pott at RMIT and did extremely well in his studies.

Marco worked his way through from early works to fairly recent, mostly concentrating on his main love of etching and dry point prints. He explained the difference between the two, showing us the large copper plates that he uses. Etching produces a finer line and drypoint can be made with big bold scrapes into the copper for dramatic results. The ink collects in the grooves for etching but is collected on all the marks for a drypoint (which can also be done on acetate by the way).

Marco uses anything he thinks will work to create the marks he wishes to make and it is his habit to work straight onto the plate on site as if painting or drawing!

Marco also explained the editioning process for small run hand prints and how the marketing and pricing is done for his. He doesn’t worry about happy accidents in his prints but works with them and will draw upon traditional themes from history, myth or the area he is visiting or living in for some dramatic interpretations. Some of his etchings can take up to several weeks to complete before the print run is even done.

After the break we were treated to seeing some of Marco’s pastel and mixed media work. His pastels are worked to look more like paintings and he uses charcoal for darkening line or adding drama as well as mixing with paint or going over prints. He will spray fixative to any layer that he thinks needs it so that the next will take to it as he lays on a lot of pastel.

Marco also talked about what it has taken for him and his partner to get their art careers going and keep producing the work. They admit that they have made sacrifices and gone without for the sake of their art, but that is what they wanted to do with their lives. I understand this, and hopefully our friends and families do as well. The topic of materials and always trying to use the best you can afford, which has been talked about before in other demonstrations was again discussed. Always try to use the best you can, not only will it give you the better results, but also less frustration and a quality and reputation for it which can be reflected in your pricing if you are aiming at selling.

As he has been working for several years and gave up full time teaching to concentrate on being a full time artist, the other big issue Marco spoke about was that we all need to think about planning ahead. Where do you want to be in ten years? Not just one or two. Not many of us look that far ahead, but if you are thinking of making your art a serious business, a short and long term plan is a good idea. Think about what you are producing now and where it may lead. You never know if given enough dedication, it may grow in saleable value beyond what you could imagine. Added to this was the challenge to think about our first solo exhibition in the future!

As well as showing us a lot of great full size prints, we also saw a few pictures of the sculptures Marco has done in the past with found objects, showing just how versatile he is.

Marco finished of by talking about creating art and not just copies of what we see. As artist we have the ability to edit out and move things around. Do things in a style that makes movement, life and drama.We can create a story where there was none before and draw the viewer in. He has done many of his from rooftops – not bad for a guy scared of heights!

I really enjoyed this demo and I hope everyone else did was well, given that it was a little outside of the strict field of pastel. It was a different format to most others and a change is always good. Marco was also a very informative and entertaining speaker. As a student studying print making as part of my course, it was nice to get a fresh view of it and I have taken a heap of brochures in to school for others to see how this gifted artist works. Another successful demo!

This story will also be published in the next newsletter for the Pastel Society of Victoria, Australia and in the Commentaries section of my web site at

Trends in Western Art

Changes in Art through the 20th Century and the Beginning of the 21st Century

GROUP DISCUSSION and Video by Robert Hughes

In the spirit of recent discussions in our Research and Analysis Class covering Zeitgeist today we looked at trends in modern art in Western Society. We were asked to consider the following:

To what extent do we need to question the commentators? If, so, what queries should be raised about them? IE:

  • Do they have agendas?
  • Are they in a clique or inside group (if you’re not “in” you’re “out”)
  • Are they personally or socially related to those they comment about?
  • Who is paying for their opinion?
  • When were their values and opinions formed?
  • Do they have personal bias against any groups such as women, religions, ages, cultures, demographics etc?
  • Are they educated enough to be qualified to make any commentaries?

We then moved on to the video by Robert Hughes.

“The New Shock of the New” Modern art at the end of the 20th Century. What was good or bad and what’s the difference?

At the end of the 19th Century the Eiffel Tower was erected, many would say an introduction to the machine age and the change in art and architecture that it would see. It caused a lot of comment and raised attention to itself all over the world. It also brought and still does, tourists to see and experience it for themselves.

During the latter 20th Century the building of the World Trade Centre twin towers, as unique as they were, caused much less of a ripple. Their destruction by terrorists was the discerning moment in many people’s minds as far as these buildings are concerned. The image of the planes hitting them and their eventual collapse soon after is in many people’s minds around the world. the question is, was this a typical image of the violence of the 20th Century? Why we were asked this is looking back at previous artists such as Goya for instance, they created huge artworks to bring attention to the Spanish civil war and some of the horror of that time in their art. Not done in a spectacular or sensationalising it, but in thought out and creative art. Have a look at the painting “Guernica” by Picasso or “Third of May, 1808” by Goya for examples.

We don’t see as much art like these now. Why is that? As we go through galleries and exhibitions of modern art, they are more about the artists’ own experience and the shock value they can get out of it by trying to all be “different”. The quick gain of notoriety and fame seems far more important than doing the years of training and gaining of experience to gain depth of knowledge and skill to produce lasting works.

When Andy Warhol started creating “pop” art and had a production line of eager assistants pushing out his mass produced work things started changing for a lot of art. He is quoted as saying “I want to be a machine” and many artists have since followed his ideas. Jeff Koons runs a similar type of studio. Celebrity is used to create celebrity for the artist. The instant gratification replaces the long hard yards and depth is replaced by immediate stun and impact.

Robert asked us, if we mention our name in the same sentence as a master from the past such as Michaelangelo, does that automatically raise us to the level of skill, training and creativity that they had? Does placing immense prices on pieces taking them out of the reach of most people put you into an “elite class” and remove you from the very audience you were originally seeking? There is an ego element going on where owning an expensive piece and having bragging rights about it, is just that – an ego trip.

Let’s have a look at another artist. Paula Rego. Her art works have been produced over many years and she has considered the subjects and the way they are presented. Their is depth to the stories and the manner in which they are presented. Even when what she is saying is very unpleasant and some of the cruel sides of being human, she still presents it in a manner that most of us can still look at without feeling sick.

Some artists coming out of Germany during the 20th Century also had horrific stories to tell. Some show they managed to do so in a thought out and creative way. Anselm Kiefer produced work that was thoughtful and confronting, it also told a story, it is lasting. It may not be your preferred style but you can look at it and see depth, planning and design.

Now well into the 21st Century we seem to be overloaded with imagery. Everywhere we go there is advertising, videos, the internet, TV, billboards, posters. I think we automatically edit out what we see as unimportant in an effort not to get overloaded. The quiet places for contemplation seem to be getting less and less. So this is where art can help where traditional things like a cathedral did in the past. A place to go and be at peace, to think clearly, to see beauty and to feel something more than just the grind of trying to survive in modern rush, rush society.

David Hockney, who still is not one of my preferred artists, still at least touches on beauty and serenity in his work. There are peaceful places to rest the eye and joyful colours to raise the spirit. His return to painting and experimentation with water colours shows simple subjects, clean layout and creations showing his admiration for his subject. Taking a creative space (canvas or paper) back to simplified blocks of colour, light and shape to allow our imaginations to wander around and have a bit of fun.

So what has happened to the “nuts and bolts” of art? The methods of learning, of observation and application. Learning about materials, methods and taking the time to hone skills? Has it been replaced by modern art that is only fast, now and “mass media” – only concerned with the shock value and getting that 15 minutes of fame?

Whether the format is figurative or abstract, where is the thoughtful application of paint, charcoal etc?

Let’s look at another painter. Lucian Freud. Yet again not really my preferred painter, but in each of his pieces there is an opportunity to see consideration of composition, the telling of a story and the obvious use of many years of experience and training. Similarly Sean Scully, an abstract painter – not my cup of tea as you would say, but there is an inviting way to his work that does make you stop and look to consider how he did it, why he did it and what he may be trying to achieve with it. There may even be a little enjoyment from the resultant work whether it be because you like the colours, the shapes or whatever.

Let’s face it as artists we are not usually able to make drastic social changes – especially by ourselves, as advertised during the 20th Century. What we can do is learn to create beauty in so many forms. We can create that place to rest, to take the eye that pleases us and gives us a story to think about in the rush of living.

People still go to art shows and galleries. They are looking for something that we seem to need, whether it is a spiritual uplift, a mental break, a bit of peace or pause to think and reflect.

How are we going to fulfil our artistic desires and urge to create but also fill what people are looking for?

What was Robert really saying to us? We were asked this at the end of the video.

  • Get back to the basics of art – building our craft and talents
  • Contemporary art has been neglecting “beauty”
  • Art should engage us
  • Many are becoming sick of the fast, immediate and the instant and the shock
  • Was Robert plugging his own agenda? He had definite views about the direction of art but where did they come from?
  • Art should have depth and forthought
  • Was Robert biased because of his strong views and opinions?

We don’t have access to all information or all knowledge, even on the internet, we still don’t see everything going on, or why is it happening in art or anything else. We are surrounded by misinformation and illusion, cheap and quick and sometimes nasty. So as artists we need to sift the information we take in, reinterpret it and decide what is important to us and what is lasting. For me that means, as I decide on what the main focus of my art as a business is concerned, what is important to me and those I am hoping will look at my work, how can I present it in a truthful, creative and quality manner? Am I willing to put in the hard yards to make sure that my art is the quality I want it to be, has the lasting value, has subject matter that means something and has a depth to it and that still touches those who look at it and hopefully purchase it. Will it be worth anything in a hundred years or do I want to risk 15 generations for 15 minutes?

Robert Knight

Subject: Demo of Cityscape in Oils

Venue: McClelland Guild of Artists

The subject for Robert’s painting today was from a photo he had taken looking across Federation Square to Flinders Street Station. I have to admit that the buildings in that location are not my favourite thing, but at least the focal point for this work looked more like the facade of the station in the background and the row of marquees that are put up for stall holders in the square and not the building sitting to one side.

Robert has been painting professional for over twenty five years and works in oils, acrylics, water colours and charcoal. He also teaches. I have seen him work in acrylic at the Pastel Society so can attest to his great skill in that medium. His landscapes have a softness and subtle lighting that makes them really beautiful.

To start with Robert showed us the way he sets up his palette. He had a warm and cool for the basic three primary colours plus white and raw sienna. from these he is happy to create any other colours he needs knowing that by using a base selection of colours, the whole painting will tie together nicely. He had a nice selection of brushes but mentioned that he has a preference for flat brushes and is using synthetic rather that hogs hair etc more these days as a good one with the right amount of stiffness to the bristles creates the effects with the paint that he is after.

Robert began his work with a traditional method of blocking in his darks and feathering out that dark for over painting later to create texture and lighting. In some areas he used a rag to wipe off paint or create a sharp edge. He said that he will use anything he can think of to create the effect he wants, whether it is a traditional painting tool or not. He proved that later by using a plaster scraper to swipe across the base of the work and on the edges of some of the tall buildings for a very crisp edge.

Robert kept the application of the sky nice and loose. He said it is easy to over paint clouds and make them look like unsightly blobs so it’s best to suggest them and keep it clean and simple. Working all around the painting to keep it all at about them same level of completion, Robert built up his image with alternating warm and cool mid tones and the quick stroke of a mid blue over the base dark gave us the impression of a glass skyscraper straight away.

The laser print Robert was working from was from his own photography. He likes to take simple shots and not fuss over them too much as he also relies on memory of a place to fill in any gaps. He isn’t worried if their isn’t a lot in his print out as he changes the colours to suit the painting anyway. He is after all creating an artwork not just a copy of a photo.

Gradually a few other brushes were added to his arsenal as Robert chose the details he wanted to show in his work. He started large and added a medium and a small and I think I also saw a tiny rigger being used near the end for flag poles and little details on roves and in windows. Not every detail was there only the ones that would direct your attention to the focal point of the painting.

Colour was used in a similar manner. A reddish building was painted behind the dome of Flinders Street station to accentuate the curve of the roof. Little details were on the curve and in the windows for this building more than others. As he worked his way to the people in and around the marquees in the middle of the work, the paint was applied more thickly and only dabs of colour were used, which was all that was necessary for us to imagine they were people. Only a few nearer the front were given a little more definition. In this case also some were removed from the scene so that the eye would flow more easily on the path he wished us to follow.

At this point while painting over darks, Robert said that quick and simple strokes are important as when painting lights over darks it is very easy to start dragging up the colour underneath if you fuss too much. He was also very careful in the placement of little bright red flags in the composition. They livened up the mid section but also gave texture and direction for the eye to follow. A palette knife was also used to give some strong edges on contrast to the softness Robert had achieved with his brushes and the foreground wasn’t over worked (even though the paving in Fed Square is quite busy). Robert’s paintings often have a soft edge to them which give quite places for they eye to rest and creates an immediate path for it to follow.

Robert had been painting on linen stretched onto board using a lot of masking tape but not actually attached to it, so when done, he could pull all the tape off to reveal a beautiful painting that looked like it had a matt board around it already. At the time I thought that doing a painting this way could make framing a much easier job, so may try it in the future myself just to see if it makes cost or fuss and bother any easier.

We had a great time at the demo and Robert is a very talented, knowledgable and friendly guy. I have seen him demo before and wouldn’t hesitate in seeing him at work again. He has a lot to pass on to any eager artist who is willing to learn.

A Little Experimentation!

I was kindly given a repainted canvas board at school last week and was going to completely paint it out but after the first coat changed my mind and decided to go in another direction with it.

This is my first progress photo, forgive the blurriness my hand shakes a bit sometimes! The painting is going to change a bit more so I will try to improve the photo for the next version.


Placing at McClelland Guild of Artists

I am very happy to write that my little oil painting done earlier this year called “Yarra Bridge Revisited” was awarded a second place at the monthly Artist’s Demonstration at McClelland Guild of Artists.

Points from these monthly awards go towards Artist of the Year. I have so far this year been award two seconds and a third.

Below is the painting that was shown this month. My thanks to Robert Knight for his kind words about this piece.

Volunteer Day at McClelland August 2nd, 2012

School Visit for Eight Year Olds
Creative Workshop in Sculpture Using Found Objects

Topic: Boggarts

It’s amazing what you can also learn when giving a workshop! Imogen at McClelland had prepared a great session for the kids and the studio was prepared with local clay from the McClelland Gallery Park dam and a table loaded with natural odds and sods from the grounds.

I had a little cheat sheet with pics and story about how Boggarts are little naughty spirits or elves that inhabit the bush and forests, creating mischief and trying to frighten people. That made it a lot easier to introduce myself and other volunteers and get started.

This was my first session and Imogen admitted that we had been chucked in the deep end, but with teachers, other volunteers and parents around for support I soon found everyone having a good time.

We had three groups one after the other in forty minute sessions. The plan was introduction, talk about what we were going to do, then out to find some extra materials and main sticks to build their little creations on. When back inside the kids had about twenty minutes to create their little Boggarts and I walked around helping them with modelling their clay and any tips on how to build up their creations so they wouldn’t fall apart. I also helped with tips on what they could use various bits they found for and encouraged them to be creative and have fun.

At the end of each session we had time for each child to talk about the little Boggart they had made, was it a boy or girl, was it a naughty or a good one and all the pieces they had put on them and what they meant. We then had just enough time to get hands washed and move the group on for the next one.

As I left Imogen had all the kids say thank you which was really nice, as I had enjoyed myself too. I have since had a lovely email from her which I will put in here.

Just a very short note to say thank you for all your help today! I know I threw you in at the deep end and the kids had an absolute ball!

 The same school will be visiting on Thursday the 23rd of August – different kids and more of them – 75 in fact! I will send out some info next week but we will run a very similar program.

 Thank-you all once again for showing the kids a fantastic time.


Imogen Good
Education Officer
McClelland Gallery+Sculpture Park

As you can see we are having another session in only a couple of weeks! I at least have experience now and will not be quite as nervous when I start off.

McClelland supplied a nice little lunch for us afterwards and I had a chance to walk around and take in the new sculpture exhibitions in the gallery.

If you like sculpture or do it as your art form I can really recommend attending them. Two of the galleries have Vincas Jomanis, Clifford Last and Clive Stephen works. They are mostly in wood, bronze and stone and very beautiful.

I liked Clifford Last’s works the best as they were very organic and curvy, the texture and colour of the wood showed and the shaped seemed to flow and move. Clive Stephen’s work is based more on a tribal theme from places like New Guinea and some of Vincas Jomanis’ work was more angular and abstract. There were some very nice drawings and paintings by these artists as well.

Well worth a look in any case, apart from the distraction of all the works scattered around the park outside.

All in all a really good day. The volunteering idea for me I think is a good one. It has the benefits for everyone as I had hoped, and I can only keep doing my best to keep it that way. Hopefully, more news about activities in the near future!

Yvonne Kendell and Henning Eichinger

Visiting Artists 
August 1st, 2012

Happy birthday to all the racehorses (and some others), but not my boy, apart from being a quarter horse,  his birthday is on October 9th! Anyway now to get on with the blog for today….

Today we were visited by co-operative artists Yvonne and Henning.

Like the partnership I wrote about recently, these two are like peas in a pod! Seeing two artists work together in such a fluid and nearly intertwined manner is really nice. Not only business partners they are also partners in life. An interesting story starting back in 1997 when they met and started collaborating on art projects together, but nothing else as they were both in relationships with other people at the time.

The difference in cultural background seems not to have hindered their ability to produce paintings and sculptures that work so well in a single space together. Eventually they developed a personal relationship and Yvonne moved her base to Germany to live and work with Henning.

Each exhibition they produce is created to complement the space that it is going in. Because of this their work is becoming more popular with repeat clients who like their care in researching and designing for not only themselves but the building it is going in.

Yvonne told us that some of her works were inspired by her struggles to learn German when she moved countries. I studied German in high school and understood a little about that. It isn’t an easy language. Much of the basis for their work is based on personal experiences and wishes to speak about what is going on in society around them.

Henning said that art should lead to discussion and they see it as important. Narratives of society, things going on in science, medicine, politics etc should be talked about and artists can use their skills to bring these subjects to people’s minds by creative visual effect.

Even though their art styles are not really my cup of tea what I did like, yet again for the second week in a row, is seeing two artists working so well together. The relaxed attitude and the joy they find in their art and working in collaboration with each other is the best preventative measure for the loneliness and isolation that can come from many hours working in a studio alone, which has been a major problem for creatives for hundreds of years. Yvonne said they unfortunately do not share a studio space since moving house, but I am sure that at the end of the day they talk about their work and ideas, and of course they have to set up and research with each other. They were also travelling, giving talks and living with each other as very compatible companions.

Nathan and David asked us after the art chat about cooperative artists and their work. We were given a few names to look up to see how other artists work with each other.

See Christo and Jenne Claude on the web, who worked together for many years. If you are a bit more adventurous, try looking up Gilbert and George who collaborated on some rather “in your face” work.

I might add to that the couple I wrote about last week, Ona Henderson and Syd Tun. They are a bit more “conventional” in subject and materials but their work is stunning to look at and they are based in Victoria so close for seeing their work “in real life”.