Isobel Rayson / Dean De Landre / Shelley McKenzie / Ellie Malin / Nick Dridan / Andrea Shaw / Harley Manifold / Sally Stokes
3 December - 23 December
Isobel Rayson / Familiar Boundaries
“This series of new woodblock carvings reflects a continued exploration of place, the immediate surroundings of my home and studio in rural New South Wales. Like most, the events of this year have resulted in an abundance of time spent at home and I feel incredibly grateful for the quiet open space I have there. Wandering around the farm acts as an escape from reality, my mind slows, and I begin to notice small details of objects that cross my path. The contours of weathered remnant wood, the veins of a leaf or the silhouette of surrounding hills. I enjoy this moment of discovery and document these details in photographs and sketches. In the studio, I draw from these details and often abstract them through size, scale and repetition as I carve into the wooden surface. Focusing my attention solely on these details and the meditative process of repetitive carving allows me to escape into a simplified world of line, form and texture.”Isobel Rayson is an early career artist based in New South Wales, Australia.
Isobel Rayson graduated with a Bachelor of Visual Arts from the Australian National University, receiving first class honours in 2014. Since graduating, Isobel has exhibited widely across Australia and participated in residencies in Australia and Canada. In March 2020, Isobel was an artist in residence at Boom Gallery, Geelong.
Isobel draws inspiration from the surroundings of her home and studio in rural New South Wales, paying close attention to the marks and patterns found in this environment. Small details such as the contours of weathered remnant wood or the structure of a single seed pod littered among hundreds fallen from trees above are documented in photographs and sketches. In the studio, Isobel will use these references as a starting point, often abstracting details through size and repetition before translating them onto the woodblock through the process of carving.
Dean De Landre / Daisy
“I’ve always liked the daisy, the form, limited colour palette, associations with spring, warm sunny days; what’s not to like? This series is a homage to the daisy as an icon in both popular culture and our gardens. When I hear flowers, I think daisies, maybe others do too.”
Dean De Landre is a painter interested in the intersection between nostalgia, popular culture and the natural world. Through appropriating found imagery along with his own, De Landre explores how nature is depicted within books, television, video games and other cultural ephemera. By removing these images from their original context there is the potential to experience them in a new-found way.
Dean De Landre currently lives in Torquay with his partner Solveig and his dog Pepper. He completed a double degree of arts/visual arts at Monash University in 2017 and is currently completing an honours year at Deakin University in Geelong. Dean has exhibited in Melbourne, Sydney, overseas and has been a finalist in the Hornsby and Albany art prizes.
Terra Firma II / Group Exhibition
Terra Firma II is the second iteration of this popular group exhibition, which focuses on the unique landscape of Australia. We have selected a diverse range of artists from across Regional and Metro Victoria and New South Wales to respond to this concept and are delighted to be presenting this really beautiful show.
Terra Firma II features new paintings by:
Shelley McKenzie – “While the land persists and will persist, in making this work I tried to see signs in the land. What I noticed was a scarification of the texture and appearance of the surface of the land. Roads, ploughed paddocks, denuded feed lots, dams, human structures, enclosures and clearings, dry creeks, remnants of bushland. The firm ground reshaped, redefined.”
Ellie Malin – “End of Summer 2020, the exigent stench of bushfires filled the air. A few short weeks later, we were confining warily inside our homes. Our environment contracted to a limited 5km radius and ‘walks to nowhere’ around the neighbourhood became an everyday outing. Inspiration of my Australian landscape became singularly focused and centred on time spent outdoors and gazing out windows towards the horizon. Old terraces lined up as if to hold each other up, along densely populated streets, front yard foliage, a curious gum tree, scattering pink sunsets, it was these elements and moments from life that connected me with the landscape. For this work I swapped the etching press for a paintbrush to achieve more immediate results, laying out colours and shapes purposely revealing and concealing information beneath the surface.”
Nick Dridan – “These works carry on my interest in my immediate surroundings. Inspired by the shapes, forms and inhabitants of the landscape, I try to distill things into a simple image, something like visual poetry. Narrative or storytelling is sometimes considered in these paintings, but is less important than the overall feeling, which is my general way of working.”
Andrea Shaw – “These works come from time spent out on walking tracks along the Great Ocean Road. The brambly moonah forests around Torquay, the ironbark’s and shrubs at Point Addis and the lush green ferns shadowed by tall stringybarks near Lorne. Such varying landscapes all within the one shire.Painted from quick reference sketches and photographs, the palettes for these works come from memory and intuition.”
Harley Manifold – “When I moved down to Warrnambool I started painting a few people wandering about in the evening. Slowly as I became more settled here all of the figures started to disappear – much like the streets at night now because of the Pandemic. Yet it is a peaceful quietness – there is a solace in the solitude. These works are enjoying and immortalising the inbetween places, places not many stop to look at. Taking pleasure in the simple play of light and dark, something anyone can see.”
Sally Stokes – “Covid 19- no trip to the desert this year. Instead I worked from the Sydney Hawkesbury Sandstone bush, sitting amongst the bush in silence, drawing out some essentials, feeling the connection that emerges when all else drops away. It’s that emotional connection, the memory of it and the beauty and variety of the bush. Nothing is predictable, and more and more emerges with the sitting and drawing.”