PROFILE: Susan Gibson
I was born in Melbourne – grew up in the Dandenongs on a large rural property. My childhood was spent exploring and interacting with the landscape. The landscape has continued to be an endless source of fascination and exploration for my art work. The physical experience of the bush influences our feelings . The four seasons remind us that we are part of a larger organic whole. When viewed at close range the landscape becomes more intimate and delicate revealing its incredible beauty in a very sensory way. I am interested in the contrasts that are found in this constantly changing world. There is life and death, dark and light, wet and dry, hot and cold, delicacy and strength.
The fragility and complexity of our environment is particularly relevant and poignant in the light of more recent awareness and concern about climate change.
PROFILE: Eileen Gruen
That most promising and dangerous of creatures, the human being, fascinates me endlessly. The development of consciousness, how humans use intellect to organize their perceptions of the unknown, and the variety of human response to issues are all intriguing. In my art, I often include the tools and products of that intellect: words, diagrams, maps, ships, buildings, and tools both ancient and modern. They symbolize my struggle to make sense of existence and the occasional, disastrous urge to master it. They and the human face and form are typically layered over and under chaos.
I try to incorporate my own concerns, such as environmental issues and erosion of a sense of community, but to incorporate them so subtly that viewers attach their own meanings.
As a sculptor, different materials have different atmospheres for me, such as clay from the earth, metals which have played such a role in human history, and slick, modern plastics. But glass, with its capacity to reveal or distort, to reflect or conceal, and to illuminate or confuse, seems to me to be an ideal metaphor for the human condition.
Casting glass by the lost wax process has been frustrating, time-consuming, and very rewarding. I am now finding possibilities in layering panels of glass upon which imagery and color are fused. In this two-dimensional vein, I am also exploring the textures and colors possible on a painted surface.
PROFILE: Virginia McNamara
I am interested in exploring the movement of colour throughout my paintings. By applying thin layers of colour, I aim to emphasize the translucent depth which I experience as the creative energy which lies behind our physical reality. I am fascinated by the qualities of opposing elements and their relationship: light and dark, inner and outer, joy and despair, fear and love. They each have their own seperate essence and identity, and yet they are in constant movement, flowing together to create a dance called life.
I like the use of mixed media, especially acrylics, oil pastels, graphite and coloured pencil.
The process of painting is as important to me as the finished product. My methodology incorporates a meditative approach of slowing down and becoming still in order to listen to the unspoken possibilities that want to be heard in my work. It is my hope that the viewer is able to have an inner dialogue with the paintings and become a partner in the dance of colour, movement and energy of my work.
PROFILE: Kathy Siganakis
My work is an emotional response to the visual experiences of every day life. Ideas for composition come from nature, urban and domestic environments. I am particularly drawn to pattern and colour.
I am influenced by the interiors of Henri Mattise, the mixed media collages of Robert Raushenerg and the real and imagined landscapes of Richard Diebencorn and Wayne Theibaud.
PROFILE: Anne Warren
My work emerges from the things that I have encountered or experienced in my life.
I enjoy visiting garage sales and discovering the beauty in other peoples discards. Recently I found some old newspaper clippings and a diary from 1955. These objects of ephemera are the sorts of things that inspire me to investigate a life or a period in time with my artmaking.
I am studied Fine Art (Drawing) at RMIT University. I work with paint, pencils, charcoal, collage, paper and digital imaging.
PROFILE: Lynette Joy Weber
Painting is my passion. I love the feel of a brush in my hand, I love the smell of paint and I especially love to watch the brush, seemingly under its own control, dance over a surface transforming it with a myriad of movement and colour. I have wanted to be an artist all my life, but the moment I saw my first Arthur Rackham illustration my artist desire galvanised, there was no turning back. Then Van Gough entered my life and beckoned me further along the path with his unbridled passion. To marry the precision of Rackham with the passion of Van Gough has been my aim ever since.
My work is also informed by my strong sense of the connectedness of everything and everyone. I like to tell stories and humour often underpins my work as it has always done in my life. Life is to be celebrated and lived to the full – for me, this can only happen with passion, humour and a sense of belonging.
I use many mediums; oil, acrylic, watercolour, pastel, charcoal and ink. But my deepest love and respect goes to oil paint – it is the queen of queens, the goddess of mediums. It is rich and deep and luscious. Oil paint refuses to be hurried, it demands consideration and patience, yet it rewards the artist many times over with the complexity and intensity of its finish.
I love to paint; painting is my passion.
PROFILE: Beryl White
Living creatively has always been an important part of my life and increasingly this has found expression in the visual arts and more specifically in painting. My work is a heart response to the connection I feel with the creative energy of the natural world – in particular exploring the interplay of the pathways of colour and light over the landscape. My focus is not so much to be descriptive as reflective; to draw the viewer into exploring what is below the surface; to engage the viewer in perceiving the landscape in a new way and to communicate something of the mystery and the creative energy that has sparked the initial inspiration. I often use different forms within the work, interrupted picture planes, passages of light and shadow to create spaces and pathways, and to create a sense of depth.
I like to work in a variety of media and enjoy the challenge and cross fertilisation of ideas that can occur. This often results in taking risks and exploring new ideas, being open to respond to and interact with the work in process. In much of my work I have developed a multi-layered approach with paint, texture, collage and glazing.
Many of my special memories spring from experiencing the natural world. My work draws on layers of imagination as well as memory. I believe strongly in the power of art to connect and to invite the viewer to participate in their own journey of discovery.
PROFILE: Evelyn Young
Although my artworks take the form of both paintings and sculptures, it is sculpting that is my greatest love. From a very early age I’ve been drawn to the fascinating shapes, space and forms that surround me. The medium I sculpt in is determined solely by the demands of construction of the work in progress. My two meter rearing horse was welded out of steel. My delicate nudes were casts from glass. Current works are being constructed out of ceramics, as this is the idea medium for working on a smaller scale, and I’m enjoying the tactile and pliable nature of clay.
The artworks that have influenced me most are those of the German expressionists, especially the works of Otto Dix and Karl Schmidt-Rottloff. I try to capture movement in a similar fashion through the use of colour and form in both my paintings and sculptures.
I try to work from life itself; not to imitate is, but to capture the emotion and feelings in such a way as to represent a strong element of novelty and transformation to the viewer. The most resent works have had a strong narrative quality to them, and I enjoy seeing others relating to my themes.