Rachel Hine / Charlotte Thodey / Harry McEvoy
8 October - 1 November
Rachel Hine / Heard Not the Voice of a Bird
“Australia doesn’t really have much of a history of European style tapestry weaving in a historical way. Our indigenous plant life was not rendered in the form of tapestry, unlike the plants of Europe. Mille fleur, the intense patterning of flowers and foliage, that were used as a horror vacui in the backgrounds of tapestries like The Lady and the Unicorn suite are unknown here in Australia. One of my hopes with this work was to incorporate as much native foliage as I can, as a way to create a language that is specific to Australia. The female subjects also have strong Australian-ness, echoing rather than describing the stories mentioned above. The lace of the women’s clothing, to me, is the personification of the out-of-place person, who is unprepared to be in the Australian bush.
While researching, I traveled to Daylesford where three little boys disappeared in 1867. There is a kind of spontaneous shrine in the place where they were found. The children were found sheltering in a tree that was once there. On the way to this site I collected leaves from fallen branches. To create a connection to the landscape, I have spun a large quantity of local fleece into yarn. I used this yarn as warp as well as weft. I dyed some of the yarn with the leaves of eucalyptus. This creates a golden colour that I have included in some of the pieces.”
Rachel Hine is a Geelong based artist known for weaving intricate tapestries. Expressive portraits layered with textile references allow her to connect historical concepts with contemporary imagery.
For a full listing of Rachel’s exhibition head to:
Charlotte Thodey / Nourish
“With Nourish in mind and in isolation in Sydney, I found what I could paint and then eat afterwards. It limited the outings. I took existing paintings and re-looked. I was already ‘spare’, I became sparer. It really is the simple things that matter and bring joy. My mother would say ‘when things get tough, love the weeds. Look at that beautiful convolvulus over the fence!
To nourish isn’t just about taste and eating …it’s about nourishing our other senses. To take pleasure in the visual and soul food …if you will. Even in the good times I’ve got a Depression mentality!” Charlotte likes cabbages. “They are both simple and complex. Painting them involves layering their leaves to the light, all while the cabbage itself is decaying on duty. When I need to see an analyst, I paint a cabbage instead…then I’m right.
Nowadays I want to show simplicity in times of plenty. It’s the shaft of morning light on over ripe plums on a kitchen bench!” Charlotte runs with the seasons, capturing an array of fruit and vegetables in all its luscious glory. “I start trying to keep things simple and drown in complexity and pattern… looking for the life. So ‘still life’ is not so still. It captures a moment in time…the seed, the glory moment and the blemishes…before decay.”
Charlotte has been painting and exhibiting for 40 years. She exhibits in Australia, New Zealand and Chateau de Villandry in France. She teaches still life painting at Sydney Botanic Gardens and Sturt school in Mittagong NSW. Initially the ‘Still Life’ genre in early Dutch paintings was to show plenty in times of scarcity.
For a full listing of Charlotte’s exhibition head to:
Harry McEvoy / Over the Hills, Under the Table
“Whilst working on this body of work I was under the strict lockdowns in the outskirts of the Melbourne CBD. With time feeling endless and days seeming unlimited, it gave me hours to reflect on not only my own painting practice but also think back on past ventures. I began to think about a two month road trip around Australia when I was 10, moving from town to town and state to state with nothing but the beautiful sights of the harsh yet charming landscapes. I remember being under a spell of the red sand, small towns, and never ending nature that was flashing past me as we drove down multiple hot Australian roads.
I began to construct narratives, addressed through abstract forms. I aimed to create work that did not specify a setting or situation but documented my personal interpretation of the delicate beauty of the two month journey up the centre of Australia. I aimed to capture the wealth of vast textures in Australian landscapes and encounters with distant faces on the public streets. These brief encounters have compelled figurative elements into my painting methods.
This body of work is based on my time in lockdown, which allowed me to reflect on the concepts of isolation and our relationship to our surroundings and environments.”
Harry McEvoy is a dynamic young artist who grew up along the surfcoast. He has a never ending desire to paint, draw and explore new ideas and art materials. His work is a glorification of youthful energy, thoughtfulness and reflection. Majority of Harry’s practice is based upon narratives that do not specify a setting or situation, it’s a personal interpretation of a time period in which he was a participant.
For a full listing of Harry’s exhibition head to: