The Great Outdoors

THURS 14 JUN - SUN 1 JUL 2018

Official opening: Saturday 16 June, 2-4pm
Beer kindly sponsored by @murraysbrewing

Exhibiting artists: Linda Greedy, Michelle Teear, Sally Reynolds, Malcolm Sands, James Murphy, Catherine Tempest, Jane Richens.

MEET THE ARTIST sessions
Sally Reynolds Thursday 14 June 2 - 4pm
Linda Greedy Thursday 21 June 1.30 - 4pm
James Murphy Saturday 23 June 11am - 1.30pm
Malcolm Sands Saturday 23 June 1.30 - 4pm
Jane Richens Sunday 1 July 11am - 2pm

MEANINGFUL: Malcolm Sands makes art around ideas and places that are significant to him. Picture: supplied

Malcolm Sands, the need to make art
by Melinda McMillian

The Newcastle Star MAY 16 2018 - 1:52PM

NEWCASTLE painter Malcolm Sands has always had the “creative urge”.

In childhood that was expressed through model aircraft and diorama making.

“I was right into super-detailing,” he said. “I should probably have become a sculptor.”

It was not until the mid-1990s that he began to make visual art. It was after discovering Anne Von Bertouch gallery.

continue reading

above: Michelle Teear

Amongst the sedges, snow grass and twisting eucalypts of the swamps, heavy in winter fog, there is a quietness that enters me. Summer meadows, where the long shadows of mountain gums reach for one another and delicate flowers bloom at their feet lights a warmth under my skin. The opportunity to sit with a landscape, quietly within it, and just be with it, is something that is most precious to me. Recently I’ve engaged with the Barrington wilderness areas across the top sub-alpine plateau. Walking for hours in the light rain and mist, finding fallen giants laid to rest in the forest, or peering into the depths of streams that are liquid glass, icy and pure, with streaks of fresh green weed dancing in the light. Rugged up, knee deep in a land whose beauty relies on nothing from me, coloured marks allow me to record a meditation of place. It is here a submission to the wonders of a landscape that simply exists outside of us, in all its rarity and abundance, becomes a contemplation on an insatiable appreciation for the complexity of nature and its sublime existence. - Michelle Tear June 2018

above: Sally Reynolds First Light- Hinterland 2018 beeswax and oil on canvas 183x92cm $2100.00

The Hinterland Series came about as a result of a three day workshop last September at Knockrow in the Byron Bay Hinterland with well known landscape artist Tim Allen. I have admired his large works, mainly in oils, capturing expansive vistas whist retaining the energy of his 'plein air' studies. The three days were spent making preparatory charcoal sketches, 'plein air' studies with watercolour and acrylics, and some more large scale works in the studio. The expansive views from the elevated studio enabled me to get a feeling for the formation of the land and how to express the shapes within with paint and brush. I used beeswax as a medium for my oils and worked quickly to retain the vitality of my brushstrokes and intensity of colour - Sally Reynolds June 2018

Sally Reynolds As the Crow Flies - Hinterland Series 2018 beeswax and oil on canvas  80x90cm  $950.00 — Sally Reynolds As the Crow Flies - Hinterland Series 2018 beeswax and oil on canvas 80x90cm $950.00

above: Linda Greedy Into the distance, Gap Creek, Watagans 2018 oil and shellac on timber 120 cm H x 90 cm W $2,500.00

above: Jane Richens Polypore digitale (digital bracket fungi) triptych

above: Jane Richens

above: James Murphy from the series Japan, City Beat Archival Inkjet Print on Cotton Rag

These multiple exposure photographs were made 'in camera' by shooting 3
consecutive images over the top of each other. The technique, while
simple to perform, relies on technical understanding of the exposure
process, an awareness of the compositional possibilities and a certain
degree of good fortune. The images were made in Tokyo, Japan primarily
around the Shibuya Crossing area and Omote Sandō and seek to describe
the lively pace of the city - James Murphy June 2018