Australian Art Review

Emma Hack: The Journey

Tue, 28 Feb 2012 00:00:00 +0000

a retrospective look at Emma’s art, celebrating ten years of body art inspired collections. Emma will be featuring 50 of her best reproductions hung throughout the Adelaide Convention Centre and Regattas Bistro + Bar.

Opening: February 22 from 5.30pm onwards

Where: Regattas Bistro + Bar – enter from the Promenade. Adelaide Convention Centre

Dan O'Day | I closed my eyes and saw this

Mon, 27 Feb 2012 00:00:00 +0000

A professional artist since 2002, Dan O’Day has held a number of solo exhibitions, and has participated in many group exhibitions. His work has been well documented in the press, receiving commendation from the well-respected art critic, Dr Robert Nelson, for his 2008 solo exhibition, “Still II”. In 2009 he was a finalist in the prestigious “Moran Contemporary Photography Prize” for his work, “Perfect”, and again in 2010 for his work, “This Way”.

As a highly successful commercial photographer, Dan has ‘scooped’ the professional awards in this arena, having consecutively been a winner for numerous AIPP awards, since 2010.

Alongside a very successful commercial business in photography, Dan has however remained committed to his art practice, refining techniques and developing on-going themes central to his art practice. This new series represents the culmination of a decade’s worth of exploration, both artistically, and literally, and whilst the locations of some of these works may appear specific, Dan’s focus remains universal.

Opening: Wednesday 29 February, 6 to 8pm

Exhibition runs 28 February to 17 March 2012

Image: Dan O'Day, Yarralumla, c-type print, ed'n:5, 96 x 120cm

Northern Lights

Mon, 27 Feb 2012 00:00:00 +0000

This March as part of Art Month Sydney Artereal Gallery will present Northern Lights, a group show curated by The Talent Agency, the curatorial persona of Sydney based artist Giles Ryder. The exhibition is an interdisciplinary overview of contemporary South East Asian art, specifically artists from Northern Thailand (Chiang Mai, Chiang Rai and Phitsanulok).

The investigation of the northern position is one of interest for guest curator Giles Ryder as an alternative model to that of the larger art-world metropolises. Ryder who is very active in exhibitions and projects internationally has been Asia-Pacific Artist-in-Residence at the National Studio, Seoul, Korea
during 2011 as well as undertaking a number of project and exhibition commitments in Thailand in association with this placement.

Northern Lights is a response to that experience: “What I have found is that for a region with a relatively small cultural revenue base and population in these cities, the Northern regions of Thailand have an internationally engaged scene and critical works are being made and often generated out of alternative and self directed models. This is a dynamic and at times hidden visual scene, but is one of vitality.

All of the artists in Northern Lights have a deep connection to the development and extension and debates of what constructs ‘Thai’ contemporary art in the region at a grass roots level; whether this is via pedagogical methods, or developing project gallery spaces and exhibitions within an out-of-the-normal exhibition model, then pushing out further into the international field”

Featured artist include: Angkrit Ajchariyasophon, Mit Jai Inn, Torlarp Larpjaroensoo, Sudsiri Pui-Ock, Thasnai Sethaseree and Noraset Vaisayakul.

Exhibition runs 7 - 31 March 2012

Image: Sudsiri Pui Ock, Impermanence, 2011, neon and aluminium, dimensions variable

Coming up at RAFT

Sun, 26 Feb 2012 13:11:00 +0000

With temperatures hovering around 40 degrees in Alice this past six weeks RAFT has eased into the year with a show from the stockroom featuring work by Sally Gabori, Wakartu Cory Surprise, Adrian Robertson, Whiskey Tjukangku, Puna Yanima, Ngupulya Pumani and others.

The 2012 program is being launched in earnest with another significant exhibition instigated by Hector Burton of Tjala Arts - Punu-nguru a colourful celebration of Anangu culture is another show dedicated to the young people (the leaves) as well as a strong statement about Law. The exhibition features sinificant paintings by the men and the women artists of Tjala Arts also featuring will be some unusual fibre sculptures.

Punu-nguru opens 6pm Friday 2 March 2012

My Life as Scuplture will be a very full installation of work by Tobias Richardson. It is hard to explain Tobias's work as he is a prolific genius and you need to be surrounded by his work to get some idea of the activity in this very creative mind - the show will include sculpture in various media alongside installations of work on paper and board...

My Life as Scuplture opens 30 March 2012

'Nohi soru'e nioge barowodoho iove'e ji'e' (Our design brings the barkcloth to life) will be RAFT's first exhibition of barkcloth from the Omie Artists of Papua New Guinea - alongside the original vision of RAFT artspace to respond to art of Aboriginal artists as a 'movement in art' to exhibit contemporary art of the region which included SE Asia and our near neighbors - it will be interesting to look at these strong works loaded with knowledge and a different visual language in the context of central Australia, home of the movement that is contemporary Aboriginal art..

Opening 27 April 2012

www.raftartspace.com.au/current

Images:

Hector Tjupuru Burton and Barney Wangin, Untitled, 2011 acrylic on linen, 197x198cm

Tobias Richardson Guangzhou Sketch Book, 2011, acrylic on paper, 25x25cm

Craig Waddell: Portraits of the Past

Sun, 26 Feb 2012 00:00:00 +0000

Gallery 9 presents Craig Waddell’s third solo show with gallery. The Sydney based artist is known for his dynamic paintings featuring figures, landscapes and flora. With layers of thick paint applied and scraped around the canvas, the works pulse with energy and light.

Craig Waddell won the 2010 Mosman Art Prize with a luscious painting of a single protea inspired by his studio then located in the midst of a rose farm. His iconic rooster painting – part of an ongoing series about character and masculinity – recently won the Clients Choice Award in the RBS art prize 2011. Craig’s upcoming exhibition at Gallery 9 will focus on portraiture, influenced by the old masters such as the portraits of Pope X by Velazquez and Bacon.

Craig Waddell has been exhibiting since 1998 and his work has been shown widely throughout Australia and Asia. He has been a finalist in many of the key painting prizes in Australia including the Mosman Art Prize, the Doug Moran Portrait Prize, the Archibald Prize, the Dobell Drawing Prize, the Kilgour Prize and the Wynne Prize.

Exhibition runs 22 February – 17 March 2012

Image: Craig Waddell, Little Boy Blue, 2012, oil on linen, 150 x 130 cm

Bill Young: Fumeless Etching Workshop

Sat, 25 Feb 2012 12:15:00 +0000

The Art Vault in Mildura is now taking bookings for the upcoming fumless etching workshop with master printmaker Bill Young

When: Saturday 10 March, 10am - 4pm

Cost: $100 incl. all materials

Email info@theartvault.com.au to reserve one of 8 places.

Dmitry Kuznichenko & Vanessa Stockard

Sat, 25 Feb 2012 00:00:00 +0000

Dmitry Kuznichenko: Temptation

Vanessa Stockard: Tenebrism

Exhibitions open: 6 – 8pm 23 February 2012

Exhibitions run 23 February - 12 March 2012

Images:

Vanessa Stockard, Granada Nights, oil on canvas, 30 x 30cm

Dmitry Kuznichenko, Vertigo, oil on canvas, 137 x 168cm

Small but big | New Works by Marise Maas

Fri, 24 Feb 2012 15:09:00 +0000

Melbourne-based painter, Marise Maas, will exhibit a new body of work at MiCK from 27 February – 1 April 2012. MiCK presents Maas’ first exhibition in Sydney for more than ten years. Her whimsical renderings of the everyday have become characteristic of the Dutch-born artist’s work. The beauty of her work is its simplicity – sketches and shapes pop against monochromatic backgrounds, combining to become Maas’ perfectly formed pictures.

Maas’ painting amplifies the ‘small stuff’ of ordinary, everyday life which is often overlooked. As an artist and mother of two boys, she uses her insight and imagination to tell the stories that lie beneath the surface of everyday events in her life. “It blows my mind how much there is to see and how many different ways of looking at the world there are” she says. “The small things in life actually have big stuff inside when you look at them up close”.

Marise Maas has a Bachelor of Fine Art in Printmaking from the Tasmanian School of Art and has also studied at Grafisch Atelier in The Netherlands. She has exhibited at numerous commercial galleries in Holland and across Australia and her work is included in the collections of the National Australia Bank, Swinburne Institute of Technology and the National Gallery of Australia.

Opening Night: Thursday 1 March @ MiCK

Exhibition runs 27 February - 1 April 2012

Marise Maas, The Move, oil on canvas, 130 x 130cm

Annandale Galleries: Artists of the Gallery

Fri, 24 Feb 2012 00:00:00 +0000

An opportunity to view some new and stock work by many of the gallery artists including previews of works to come in exhibitions later this year, featuring a selection of etchings from Annandale Galleries' Picasso show last November.

Exhibition runs 14 February - 1 March 2012

Terri Brooks

Fri, 24 Feb 2012 00:00:00 +0000

The neglected zones of urban existence — alleyways, awnings, walls, gutters and shutters — occupy a unique place within the history of painting. Perhaps inadvertently, artists have been depicting such insignificant elements as cracked window ledges and the dark recesses of architraves since the time of Giotto. Ubiquitous and utilitarian, the marginal nature of such sites and the phenomenological questions they raise have dominated Terri Brooks’s practice for the past two decades and continue to inform her work today.

Navigating a territory between material awareness and perceptual sensitivity, Brooks’s practice hinges on the ability to perceive beauty within the decayed. Informed by her observations of the streets around her Northcote studio, Brooks refers to herself as an ‘urban archaeologist’, searching the built world for traces of action and deterioration.

Brooks has a personal interest in Northcote, this once working-class suburb of her childhood. She recalls the delight of solitary play, exploring the run-down yards and front fences of her neighbourhood, the old wallpaper of her grandparents’ home, the flaking facades of weatherboard houses. It was through her grandfather, a builder in retirement and sometimes housepainter, that Brooks received her first exposure to the physical pleasures of painting. Helping him clean his brushes at the end of the day, she was given free rein to slap diluted, running paint across the wall of their tin shed — this memory is now embedded within her impulse to create.

Her paintings oscillate between interests in linear gesture and structural form and openly nod to the work of Tony Tuckson, Cy Twombly and Antoni Tàpies. While more recent works possess a physical tactility, at other times she has created works of extreme delicacy — fine grey lead marks knit in repeated action across a canvas plane. Within works such as Double Linear (2008) the build-up of thin, pale paint washes creates a complex base over which her responsive mark-making is laid. Merging fine pencil with the bold and immediate quality of spray paint, Brooks literally re-enacts the wear and trace of the urban environment.

Having recently completed her PhD, her interest in the worn and degraded became an important part of her research. As she examined the resourceful character of Australians during her childhood, the hardship of prior generations also resonated. Colonial, Depression and wartime attitudes of making do by fixing what was once broken intrigued Brooks and seeped into her practice. Within the folds, stitches and welding spots of the makeshift, Brooks finds traces of humanity.

Her fascination with the everyday shares something of the intention of the Italian Arte Povera movement, which sought to subvert the distance between art and life by incorporating discarded or everyday materials into their practice. A recent series of paper works shown as part of the two-person exhibition Zerbrechliche Weite (Fragile Space), at Germany’s Art Museum Neubrandenburg, elegantly demonstrated the physical, almost alchemical potential of basic materials. The Anyhow Series (2009), built from blocks of newsprint, formed a new kind of tableau. Rippled and warped by the moisture of glue, these undulations allow paint to coalesce and flow.

Crusted and heavily coated, her more recent works continue to recall the physical quality of industrial debris — slabs of concrete, window frames, sections of crumbled wall — and operate in a discrete zone somewhere between the sculptural and the painterly. The impasto applications of her paint hint at an artist delighting in the act of replication. Hazardous Painting Series (2011) echoes the thick, chalky quality of road boundaries, inspired by watching a solitary workman lay down road lines outside the local paper mill. Dense white layers are built up and ooze at the seams. Uneven in their application but sure in direction, they expose the act of a brush steadily moving across canvas. Paint spills over the edges to pool and settle like the crust of icing over a cake. A final glaze of pale brown is encrusted within the white, transforming it to an old creamy hue, solid against the tarry gloss of colour beneath.

The refinement of her technique intentionally disrupts any standard readings of the everyday. These works operate within the margins of discrete easel painting and architectural reality. Suspended within each canvas is an intentional exercise in reduction, true to the principles of minimalist practice. The recurring motif of line, laid down in slow and clear sequence, indicates a subtle meditation on labour and the humble truth of the wearing effects of time.

Brooks’s abstraction rejoices in the tactile experience and emphasises the procedural nature of painting. A guide to how they have been constructed is embedded in the strata of layers. Akin to the histories of the built environments Brooks references, her paint slowly slips over the edges of the canvas, congealing, shrinking and drying at different rates, gesturing the fragile and residual nature of decay itself.

Terri Brooks is represented by Flinders Lane Gallery, Melbourne; Gadfly Gallery, Perth; and Aptos Cruz, South Australia.

Images from top:

Terri Brooks, Anyhow Sequence, 2008, oil, enamel and pencil on paper blocks, each 122 x 61cm. In situ, Zerbrechliche Weite (fragile space), 2009, Kunstsammlung Neubrandenburg, Mecklenburg-Vorpommern, Germany.

Terri Brooks, Digger, 2011, oil, enamel, pigment and PVA on canvas, 93 x 63cm. Photograph Jeremy Dillon.

Terri Brooks, Beige and Cream, 2010, oil and enamel on canvas, 35.5 x 28cm.

Terri Brooks, Ribbons, 2011, oil, enamel, pigment and PVA on canvas, 153 x 244cm. Photograph Jeremy Dillon.

Terri Brooks, Hazardous Painting, 2011, oil, enamel, pigment and PVA on canvas, 41 x 33cm. Photograph Jeremy Dillon.

Mark Hanham: Quiver

Thu, 23 Feb 2012 00:00:00 +0000

Mark Hanham’s new show of Sydney Harbour paintings demonstrates a new palette inspired by champagne, oysters and lapis lazuli.

Exhibition runs 10 March - 20 April 2012

A Magnificent World

Tue, 21 Feb 2012 00:00:00 +0000

 The exhibition features paintings, linocuts and sculptures by Pia Bennett and Joshua Fitzpatrick that evoke the beauty and bestiality of a bygone world. Artist Thea Costantino presents drawings as well as a sculptural work that distort historical imagery and considers the medieval experience of wonder. Costantino also presents a limited edition artist book containing stories as part of her body of work. Anna Nazzari has created pyrographic drawings by burning onto wood and references medieval styles in her production of a series of bizarre vampire hybrid animals.

Collectively the artist’s work reflects on the history of, and continuing quest for, human understanding of our complex environment through art, simultaneously questioning our very comprehension of such intelligible mysteries.

Located in the heart of Perth, Venn Gallery is operates from Tuesday - Saturday, 10am - 5pm and Friday, 10am - 7pm  or by appointment.

Contact gallery@venn.net for more details.

Exhibition runs 10 February – 16 March 2012

Beyond the Great Divide

Sun, 19 Feb 2012 00:00:00 +0000

An exhibition of works by Julie Williams & Hui Selwood

With references from Brancusi and Giacometti in strong sculptural totemic forms through to interpretations of the landscape around Hill End, Jayes Gallery's opening show for 2012 is a strong and inspired collection of highly desirable artworks from two well recognised artists, Julie Williams and Hui Selwood.

Julie works by applying heavily contrasted layers of paint with the fine lines of ghostly heritage buildings. Against these, the works of Hui Selwood stand as totemic forms that imply the presence of souls among the ruins.

Opening: 2pm Saturday 25 February. All welcome to meet the artist, enjoy a drink and some nibbles.

To be opened by Richard Perram, Director of Bathurst Regional Art Gallery.

Enquiries: 02 6366 9093

Geoffrey de Groen: coloured light

Sat, 18 Feb 2012 00:00:00 +0000

In his 1999 paper ‘Art and the Brain’, Semir Zeki — Professor of Neuroesthetics (a relatively new field of scientific study that examines the neural bases for the contemplation and creation of works of art) at University College London — argued that the general functions of art and our visual brain are the same. That is, they both “search for the constant, lasting, essential and enduring features of objects, surfaces, faces, situations and so on”.

Key to both is the acquisition of knowledge about a particular object or condition represented (whether in the world at large or on a canvas) by an external and familiar object. Therefore, he argued, to achieve this end an artist must “be selective and invest his work with attributes that are essential, discarding much that is superfluous”. In other words, an artist must choose his imagery carefully so as to not confuse.

What is remarkable about the abstract works of painter Geoffrey de Groen is that they are rich in expression and meaning, despite their celebration of ambiguity and lack of an obvious referent (his cushion series and recent black and white works being notable exceptions). In the words of National Museum of Australia Director Andrew Sayers, in his opening address for de Groen’s July exhibition at Australian National University’s Drill Hall Gallery, “There are ambiguities of shape, of tone, of surface, of recession and of form. As we apply reason to our investigation of these pictures … they become elusive and playful. Everything shifts, collapses, needs to be rebuilt.”

In the case of de Groen, a master of subtlety, meaning is not made by reference to familiar imagery, but rather by the interplay of colour and shifts in tone and scale. Even without an obvious subject matter, a wealth of meaning exists in his works’ shifting states of ambiguity. In Untitled (2001/03), for example, colours are both solid and translucent; and forms both dependable and transient. To achieve such a smooth, unblemished result, de Groen applies paint wet-on-wet as thinly as possible, feathering his works into shape with hardly any paint on his brush.

Born 1938 in Brisbane, de Groen grew up in Sydney. He studied at the Julian Ashton Art School and North and East Sydney Technical Colleges (the latter now the National Art School). In the late sixties he travelled abroad, teaching and exhibiting in England, France and Canada. He returned in the early seventies, lecturing in fine art and writing for publications that included The Canberra Times. During this time, he recorded a series of interviews with twenty-six prominent Australian artists that is now held in the National Library of Australia’s oral history collection and which was published in his 1975 Conversations with Australian Artists. In 1984, he published Some Other Dream: The Artist, the Artworld and the Expatriate (which included conversations with Janet Alderson, Robert Hughes and Clement Meadmore among others). He continued to teach until 1985, thereafter devoting himself to painting full time.

He moved to Taralga, in regional NSW, in 1992, where he set up a studio and remains today. The move ushered in a formidable period in his career. Of note are two exhibitions (in 1999 and 2009) at Goulburn Regional Art Gallery that featured works of this period, the latter titled Made in Taralga. In 2000, he received a Hesketh & New England Regional Art Museum overseas fellowship. In 2003, New England Art Museum mounted an exhibition with de Groen works from its permanent collection. His July exhibition at ANU’s Drill Hall Gallery, Images from the Cage of Time, was curated by Wally Caruana. When describing the exhibition, Caruana wrote of the importance of setting to recent de Groen works, which, although rarely referencing landscape, “encompass a perspective born of the experience of living atop the Great Dividing Range”.

Much like the works themselves, de Groen’s process is a playful, back and forth rhythm. He’ll work on several paintings in the one day, moving them about his studio to watch them develop in different light. It’s in this way that his works breathe, their colours layered on the canvas wet-on-wet and in such a way so as to avoid any visible brush marks that might obscure the connection between viewer and the meaning beneath. Art critic Sebastian Smee, who described de Groen’s paintings as “among the very best things in recent Australian art”, also saw life in his works. “In de Groen’s best works,” he wrote, “you can sense a pulse or heartbeat … [that] changes over time and according to different lights, different moods, different times of day … [It] has its own mysterious, challenging life.”
The National Gallery of Australia, Art Gallery of NSW, National Gallery of Victoria and Queensland Art Gallery all have de Groen works in their collections. He is represented in Sydney by Annandale Galleries, in Melbourne by Charles Nodrum Gallery and in Brisbane by Heiser Gallery.

Images from top:

Geoffrey de Groen, Untitled, 2001/03, oil on canvas on board, 112 x 112cm. Courtesy the artist and Charles Nodrum Gallery, Melbourne.

Geoffrey de Groen, Since, 2001/02, oil on canvas, 92 x 122cm. Courtesy the artist and Charles Nodrum Gallery, Melbourne.

Geoffrey de Groen, November 17, 2007, oil on canvas, 75.2 x 88.2cm. Courtesy the artist and Heiser Gallery, Brisbane.\

Geoffrey de Groen, July 16, 2009, acrylic and gouache on canvas, 65.2 x 91.7cm. Courtesy the artist and Heiser Gallery, Brisbane.

Geoffrey de Groen, May 7, 2008, acrylic and gouache on canvas, 46.1 x 53cm. Courtesy the artist and Heiser Gallery, Brisbane.

Kurb Gallery | Seven

Sat, 18 Feb 2012 00:00:00 +0000

"It is irresponsible, if not impossible, to attempt to try to distill a rich, diverse culture into a small series of images. Poland is a land of extreme contrasts so ideally this should have been translated onto the wall. This approach is not harmonious with the format of an exhibition as the required jumps from image to image would so violent as to disconcert the viewer, potentially compromising the images as singular entities. I don't claim to know Poland or the Polish by any measure so I have not attempted to paint a Polish 'picture'. I was a relatively passive observer and the images were instead made in quiet and contemplative moments. They reflect an enriching and often visually confusing experience." | Christopher Young

Exhibition runs March 10-23, 2012

Where: Kurb Gallery 312A William Street Northbridge WA 6000

Hours: Sat-Sun, 2pm-6pm; Wed & Thurs 11am-6pm; Fri 11am-7.30pm.

Images from top:

Christopher Young, Seven #01, 2011, Lightjet print in an edition of 5, 640mm x 800mm

Christopher Young, Seven #03, 2011, Lightjet print in an edition of 5, 640mm x 800mm

Mike Parr: Brain Coral

Fri, 17 Feb 2012 00:00:00 +0000

The National Art School Gallery will present an exhibition of Mike Parr’s work which will focus on his prints and works on paper, considering the intricate link between drawing and printmaking. Brain Coral will also include a small selection of video footage of performances to contextualise how these modes of his practice are inter-related and essential for the artists’ process of making and communicating. The exhibition will showcase works rarely or never before seen in Sydney, it will include works from the 1970s such as the print-based Black Box series, and will feature prints and drawings made in 2011.

Exhibition runs 24 February - 14 April 2012

Regarding the Face: portraits by Alexandra Sasse

Thu, 16 Feb 2012 00:00:00 +0000

With a deep understanding of the language of painting and drawing Alexandra Sassé interprets the intangibles of human presence through colour and line. Working repeatedly with a small select circle of models, the intensity of the studio spills into these deeply articulate compositions of the head; images found in translation.

‘These portrait heads are worked from life from a small select circle of models. My aim is neither to reproduce reality nor delineate a character but to create. I am not heading the picture towards a truth already grasped, but responding to something unfolding. The work becomes about what is transmitted or transacted through that time in the studio translated to form and composition through the language of painting or drawing.’

http://www.fortyfivedownstairs.com/events/alexandra-sasse/

Hours: Tue - Fri 11am to 5pm Sat 12pm to 4pm

Admission: Free

Exhibition runs Tuesday 21 February to Saturday 3 March 2012

Chinese Australia

Thu, 16 Feb 2012 00:00:00 +0000

This group show brings together eleven prominent Australian artists of Chinese heritage whose work has not before been shown together. The exhibition is a diverse collection of works of artists from a common background and explores how their experience in Australia has influenced their art.

The exhibition will be opened by Aaron Seeto, Director of 4A Centre for Contemporary Asian Art in Sydney, Australia's peak national body for contemporary Asian art and culture.

Artists Pei Pei He, Song Ling, Zhou Xiaoping, Kordelya Zhansui Chi, John Young, Lindy Lee, Chonggang Du, Owen Leong, Cyrus Tang, Zhong Chen and Robin Eley comment on issues such as physical identity and duality of culture, dislocation and belonging, and loss and renewal within the context of their Chinese heritage.

The exhibition is curated by Venita Poblocki.

Where: Ausin Tung Gallery, 164 High Street, Prahran, Melbourne

Exhibition Opening: 6-8pm, Wednesday 15th February

Panel Discussion: between the curator and artists on Thursday 16th February from 6-7pm. All are invited to attend.

Exhibition runs Wednesday 15 February until Friday 10 March, 2012

Image: Song Ling, Beauty and the Beast 2, acrylic on canvas, 140 x 110cm, 2011. Courtesy of the Artist and Niagara Galleries.

Trevor 'Turbo' Brown: New Works

Wed, 15 Feb 2012 00:00:00 +0000

Rex-Livingston Art Dealer presents Trevor 'Turbo' Brown: New works

Exhibition runs until Tuesday February 26

Image: Trevor 'Turbo' Brown, Eagle Flying High, 2011, acrylic on linen, 57 x 72cm

For Everyone: Words and Paintings

Wed, 15 Feb 2012 00:00:00 +0000

Artist Kathryn Brimblecombe-Fox’s recently published book For Everyone: Words and Paintings will be launched by Scott Emerson MP, Queensland Shadow Minister for the Arts and Member of Indooroopilly, on Thursday 23 February 6-8.30 pm, at FireWorks Gallery, 52A Doggett St, Newstead, Brisbane.

The thirty paintings inside For Everyone will be exhibited from 22 – 25 February at FireWorks Gallery.

The words accompanying the paintings inside For Everyone are neither descriptive nor didactic. The book is not about the artist or her work. Rather it is a catalyst for conversation of various types with oneself or others. The 'call' is to the reader's inner essence or child.

For Everyone is published by BalboaPress www.balboapress.com

More information is provided at FOR EVERYONE