I am a potter & clay artist enjoying all facets of clay work. I have a small studio 1km north of Montville Village.
I welcome visitors by appointment to my studio or on my weekend open days. I love answering questions about how my pieces have been made.
Recently I have been making bespoke dinner sets for some of my clients which is a new avenue for me. Would you like something made especially for you?
Printing is my passion. I love making marks and images with objects and plates, using many techniques. Favourite methods involve photopolymer plates, and collagraphs, where the printing plate is essentially a collage.
An initial interest in science and biology can be seen in my artwork, along with the influence of a somewhat feral childhood along the Canning River, Western Australia.
I am strongly influenced by a love of the colours, forms, patterns and designs of plants, and by botanical illustrations.
I also explore abstraction, especially of botanical forms, sometimes through fragmentation of print editions and then collage.
Until my acquisition of a press in 2004, I initially focused on papermaking, fabric printing and batik, but since then my main focus has been on printmaking.
I work across many media, acrylic, gouache, pastel, oil and occasional clay and recycled materials. A love of Natural History; a 2acre block that has become a wildlife sanctuary provides inspiration for much of my work. I love to draw and sketch. My travels result in small visual notebooks and each week I join colleagues in life drawing sessions.
Steve Parish sees himself working in two creative spaces as a photographer. The first, is through the eye of a naturalist/educator. The second, as an artist. At times, these two spaces overlap.
However, as a naturalist/educator he is more inclined to compose and produce his images with clear, story-telling features. When in the headspace of artist, he is more inclined to maximise the emotional pull of a composition through colour, form, texture or line. As time goes on, and especially in the digital world, he is more inclined to work in solitude and in a calm space, where his own emotions in the moment are skillfully incorporated in the production of the image.
While at the point of capture, he can apply a full gambit of techniques to realise these objectives, he can also apply additional emotional effect during the post-production process. As a photographer/publisher, he sees words as being essential and complementary to his story-telling processes.
Throughout one’s life experience, change allows the individual to process and articulate the stages of progression; whereas loss has the ability to challenge the notions of one’s own identity.
Through the trauma of loss and the associated grief, the coherence of a social structure begins to disintegrate under the pressure of anomalies and contradictions and as it does, relationships become confused and difficult to identify.
My studio practice considers the ways in which a visual dialogue can be presented in sculptural forms which addresses individual and collective experiences with the processes of loss and grief.
Using presence and absence, reality and illusion to create metaphors for the frailty of the human body and the institutional processes involved in these stages of progression.
Working as an artist is not always confined to the studio, I am a sculptor who draws and paints with an interest how the two inform each other. Wood and metal are materials that keep me wondering how one compliments the other.
The work encompasses issues of social justice as well as political commentary in so much as an obligation to "keeping the bastards honest" The latest works are an effort to use recycled timber and question the use of what some may consider waste or discard materials giving them new life and meaning. The skill level required to using substandard materials becomes a juggle as this challenges the process of construction. This material is metephorical for the fragility of the dispossessed.
I am a mostly self-taught visual artist living and working on acreage in the Sunshine Coast Hinterland area of Montville, Australia.
Like smiling at people with kindness; art can transform a day for a nanosecond. In hope of this transformation, I paint stories and fleeting snapshots from life experience in ways that ring true to me. The results may be abstract or representational. I delight in spare compositions and minimal colours to mix each work from.
Heather Gall, an experienced landscape painter, children's book illustrator and tutor, paints across mediums > Oils, acrylics, mixed media and watercolour.
Heather's studio, overlooking the ancient Glass house Mountains on the family dairy farm is open by appointment and for the Arts Connect Inc. Open Studios program.
Access is disabled friendly, with car parking for up to 10 cars /small bus.
I started painting about 8 years ago with no prior knowledge or experience. My interest developed after trying to help my disabled daughter, Kimberley. She has now retired but I found I like to paint.
My style is still developing and I have experimented with all mediums. Currently I like to paint wildlife in a realistic style, however this concept can be demanding and requires a lot of research into the anatomy of the particular animal being painted and concentration to get the right composition, structure and colours.
All of Leisa’s works are influenced by her local surroundings (Booloumba Creek) as she tries to capture the essence of this 325 million year old valley in all her work. Using rocks, sand, clay, ochre, ash, wood and local species of rainforest foliage. Other media is acrylic, graphite, natural fibres and glass. All work is one of a kind and completely unique. Leisa offers workshops for adults or children’s parties, festivals or just for personal development.