Quilty, Art Gallery of South Australia

The intense stare and bearded jawline of the artist, both as self-portrait and ‘hero shot’ photograph, features extensively in the publicity for AGSA’s Quilty exhibition. This is hardly surprising given Ben Quilty’s high profile, with his combination of down to earth interview style, progressive politics and bravura technique helping generate his regular media presence.

Quilty is best-known for his emotive, vigorous oil paintings. These dominate the present exhibition, although examples of his sculpture and ceramics also feature. Confronted with the frequently aggressive character of his paintings, with slashings of paint and violent distortion and fragmentation of forms, it seems perhaps ironic that his socially-engaged artistic practice began with works critiquing the destructive characteristics of youthful masculine identity. Quilty’s highly painterly style, with its connotations of combat, domination or competitive displays of physical prowess, could be read as a testosterone-driven performance of machismo, vis-à-vis Abstract Expressionism.

Similarly, Quilty’s expressive style suggests an outpouring of passionate emotions. This approach is typically used by artists to convey their angst or anguish, which can sometimes come across as egotistical and self-absorbed. However, the dominant themes of Quilty’s art suggest that he is primarily harnessing his feelings out of compassion for others, directing his aggression towards political and historical injustices which have caused unnecessary suffering.

Besides toxic masculinity, issues addressed in Quilty’s art include the intergenerational trauma (and guilt) stemming from colonisation, post-traumatic stress disorder and the current refugee crisis. Given the combination of weighty themes and Quilty’s meteoric art world acclaim, I approached this survey exhibition with a certain disquiet. It concerned me that by assuming the role of celebrity-artist-as-social-justice-warrior Quilty was effectively capitalising on the suffering of others for the advancement of his own career. However, this exhibition has convinced me that he is sincere in his convictions.

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Quilty featuring Irin Irinji and Fairy Bower Rorschach, Art Gallery of South Australia, Adelaide, 2019; photo: Grant Handcock.

Particularly moving is the group of twelve canvases depicting levitating orange life jackets. Like the relics of martyred saints, they serve as stand-ins and memorials for the asylum seekers who wore – and in many cases died – in such life jackets during perilous sea crossings. Adding a further emotional punch, each work is named after a refugee who committed suicide while held in detention. These are powerful statements about protection sought and denied, counterfeit life vests which sink rather than float serving as a potent metaphor for Australia’s border security policies.

In two of the works Quilty has sought to invoke the exiles’ agony more explicitly through the surreal addition of a screaming mouth or mournful eye. However, this is just as strongly conveyed through the seething impasto of his painted surfaces. The global refugee crisis is an issue most viewers have only encountered through media representations, but the sheer physicality of Quilty’s paintings helps invest the topic with a forceful immediacy. We are compelled to recognise that these are real flesh-and-blood people, not just statistics or fleeting images on a television screen.

In some works, when Quilty’s highly-textured paint surfaces butt up against areas of unpainted canvas, the stark contrast feels like an act of violence. In Captain S after Afghanistan (2012) the writhing soldier’s torso becomes devoid of volume when presented as an expanse of plain white. Thus, his physical strength is rendered useless as a defence against his mental torment.

The most technically and compositionally sophisticated works in the exhibition are Quilty’s recent series titled The Last Supper. Despite admiring their virtuosity, I found these paintings both overly melodramatic and too strongly reminiscent of earlier artists, such as André Masson.

By contrast, I considered Quilty’s Rorschach paintings more memorable and satisfying. In these works views of tranquil Australian landscapes have been doubled as mirror images, resembling the eponymous psychologist’s inkblots. Adding further depth and poignancy, some of the locations depicted were the sites of colonial massacres of local Aboriginal communities. These paintings deliver an immediate, stark visual impact, before gradually divulging more menacing undertones. They succeed in being simultaneously dramatic and understated. For me they were the most haunting works in the show.

This is a powerful exhibition, but the perpetual visual and emotional intensity of Quilty’s paintings can quickly become exhausting. Consequently, it was only after leaving the gallery that I felt able to properly contemplate many of these thought-provoking works. At its best, Quilty’s art makes a compelling impression, both in the direct physical encounter and in its after-effect.

 


Words by Ralph Body

Ralph Body is an art historian, researcher and reviewer.

Title Image: Ben Quilty; photo: Daniel Boud

Getting Lost in the Art of Edvard Munch in Tokyo

I stand in the Tokyo Metropolitan Art Museum, my pupils dilating as I catch sight of Edvard Munch’s The Scream. I have seen this painting so many times through pop culture, but nothing has prepared me for seeing it in real life. It’s really here, right in front of me. Well, at least one version of it (1910 tempera and oil version). I become lost in its world, feeling the terrors the person in the painting is feeling.

The Scream was one of the many paintings exhibited at the Munch: A Retrospective exhibition at the Tokyo Metropolitan Art Museum. The exhibition celebrates the life of Norwegian artist Edvard Munch (1863-1944). Being in Tokyo at the time of this exhibition, I made sure I explored the show. Little did I know I would find myself lost in the world of his art while there. I found myself on a journey through loneliness, love, fear and trauma.

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With language barriers, I was left to interpret Munch’s works in my own way. As with many things I have previously experienced, my interpretations relate back to pop culture. The Kiss (1897) was one example of this. The way the couple were morphing together, it was much like the one R.J. McReady and Dr. Blair found at the Norwegian base in John Carpenter’s The Thing (1982). I later found out this painting was in fact depicting how two people unify in love.

edvard munch the kiss

Excluding The Scream, the paintings that made the most impact on me were Two Human Beings, The Lonely Ones (1933-35), and The Sun (1916). My interpretation of Two Human Beings, The Lonely Ones was how lost these two people were in a strange new world. I thought of them being the only two humans on an alien planet or the last two on Earth. The Sun stood like a shining beacon at the dawn of a new world, one unfamiliar to the one we live in. These two paintings combined together drew me into a world where the everyday as we know it is gone. I began connecting them to Arthur C. Clarke’s Childhood’s End, a book I’d recently read. I imagined these two people staring out over a world with a bright beacon rising over the horizon and children dancing through the forests that cover the ruins of once great cities.

This exhibition had me one more surprise for me, in the form of Pokémon. Made specifically for this event, there were folders, postcards and even TCG cards where The Scream was redone using Pokémon as souvenirs from the exhibition. These stood out to me as much as the visuals of the paintings themselves. Unlike most of Munch’s artworks, these were familiar to me. The way they were made though, not only was adorable but uncanny. These souvenirs were unique to the Tokyo Metropolitan Art Museum.

Stepping back into the world, which was still unfamiliar to me, I smile. The exhibition was worth the 1600 yen (AUD$18) entry fee. Munch’s paintings spoke to both my creative side and allowed me to understand him better as an artist, despite the language barriers. I feel this was aided more due to experiencing it in Japanese rather than its original Norwegian. It became one of the highlights of my journey and I recommend to anyone who is going to Japan to check out a major exhibition at the Tokyo Metropolitan Art Museum.


Words by Cameron Lowe

Meet-the-Team-Cameron2
Cameron Lowe is a horror and sci-fi writer, editor and student. He’s had fiction and articles featured in Speakeasy Zine and Empire Times. He loves to read, play video games, and drink green tea. He’s one of the 2018 editors at Empire Times. He tweets at @cloweshadowking.

In Conversation: Anthony Christou

 

During AVCon 2018, I had the pleasure of meeting fantasy artist, Anthony Christou. He had a wide variety of work on sale: all his original art, as well as his comic series, Luminous Ages, and card games in addition to the series. Recently, I was able to catch up with Christou to talk about his work and extensive successes as a working artist and illustrator.

Christou is a very driven person with a vibrant creative spark. He started off with a Bachelor of Visual Art before going on to do a Masters in Illustration at Uni SA. Christou soon after decided to follow his passion in game art and illustration. Christou began freelance work in the games industry and in 2012 decided to fully devote himself to this career. Christou worked with mentors such as Rob C. Richardson and Simon Scales, who encouraged him to further develop his work. Through exhibiting with Adelaide Illustrators, Christou secured enough freelance work to support himself.

In 2013, Christou worked on a New Zealand Kickstarter game called Path of Exile. It was here that he learned more about the games industry. For Path of Exile Christou worked on a number of aspects including illustration, 3D modelling, concept art, assets, and in-game artwork.  It was during this year that Christou began his convention work, attended Adelaide Supernova for the first time, and achieved insane sales for his original fantasy art. Christou now attends up to eighteen conventions a year, earning a profit large enough to make a comfortable living. Since then he has given talks at both Supanova and Comic-Con. The best part about conventions, he says, is that you get to leave the house and make new friends.

While much of his work is digital, Christou still works with traditional mediums as well. His piece ‘Dangerous Seas’ became the cover art for The Path Less Travelled’s album ‘Cast Out the Crowds’. Christou spoke about being approached by a lady who told him that every time she feels sad she looks at ‘Dangerous Seas’ and it reminds her she can make it through the storm. He was surprised to find that his work could have such an impact on people.

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Anthony Christou, ‘Dangerous Seas’

In 2014, Christou decided to explore his interest in making a comic series. Luminous Ages is now four issues in and remains the second highest funded comic Kickstarter in Australia with only 180 backers and a pledge of around $17,000. Thanks to this funding, Christou is able to hire freelance artists and editors to help bring his project to life. Rob C Richardson, Anthony Earl, Elena Lukina, and Christy Butt worked closely with Christou on this project.

Luminous Ages itself is a series set in a surreal world where dreams can become reality. Thirteen dragon gods are fighting for control of both the dream and real world plane. It is up to the main character, Thrakos, and a cast of dream mages to keep them at bay. The series blends cultures and mythologies together to create a multi-cultural fantasy which addresses environmental issues.

A mixture of cultures and mythologies, Luminous Ages presents a story which heralds both multiculturalism and environmentalism. The series gives Christou not only the opportunity to explore his interests but his artistic potential. Contrary to the American style comics which we are most familiar with, Christou works in a style which is very similar to French or Italian, providing richly detailed illustrations in a comic format.

As well as game design and illustration, Christou has also worked with a number of film companies including Disney, Two-tone Studios, and Wolf Creek Productions.

Christou recommends exploring your artistic freedom and not to work for free too much. He says, ‘creativity can be blocked when you work with the wrong people.’ He notes that there are lots of opportunities within Australia, plenty more than when he started out. He also stresses the importance of taking a break, saying he usually gives himself one day off a week and a couple of weeks each year. Without breaks you can’t generate new ideas.

Being an artist is an endurance race. You need to spend a lot of time developing your work and looking after yourself. And it needs to be sustainable.

He reminds us that artists and writers are a business, and you need to understand creative business. You can’t have everything for nothing and you can’t expect it to be easy. We don’t live in an age like DaVinci and Michaelangelo whose artistic development was sponsored by the church and the military respectively.

When asked about the most difficult aspects of being a working artist, Christou said it was the financial side, business, and the sacrifices you have to make for your passion. His favourite things about working full time as an artist are, of course, sleeping and travelling, but also creating images from his mind, he loves being able to “bring his imagination to life.”

Christou’s next major project is a Kickstarer for theme decks of his card game Dragon Dreams. The Kickstarter is due to launch at 5:30pm Adelaide time today. That’s in just a few hours! You can find it here: https://www.kickstarter.com/profile/luminousages/

Christou is also on Youtube and Patreon.

Check out his website here!

 


Words by Kayla Gaskell

Images property of Anthony Christou

AVCon and Artist Alley: In conversation with Avery Andruszkiewicz and Ella Guildea

Ahead of AVCon cosplayers and vendors are preparing like mad for the three days a year when avid fans of anime, video-games, and general pop-culture converge on the Adelaide Convention Centre. AVCon is fast approaching (20-22nd July) and, as per tradition, it marks the end to both Uni and school break.

If you haven’t attended the convention before, it is, quite simply, a place where people of similar interests come together to celebrate anime, video-games, and the exciting work of a number of talented cosplayers and vendors.

Some of these vendors are local artists and can be found in Artist Alley and have provided both encouragement and inspiration to a number of artists and other creatives for many years. It’s not unusual to see people clutching their own sketch books or settled in a corner drawing throughout the weekend—I know that’s been me a few times!

In order to prepare for this year’s AVCon I sat down with Ella Guildea and Avery Andruszkiewicz, both of whom have attended a number of AVCons. Guildea even met her partner, Connor Madden, at the 2011 event, and he tables with her along with Sophie Ladd.

If you’re an AVCon aficionado you might recognise Avery Andruszkiewicz’s name already. Their design was selected to be on the AVCon shirts and merchandise for 2018. When speaking to Andruszkiewicz, I asked how they felt about their design being chosen and whether they’d expected it:

“Not really, but I definitely had all my fingers crossed for it. I was rather proud of my design this year, so I was really hoping to place, but winning the whole thing was a surprise! The other entries are always so amazing, I’m glad my design was picked.”

 

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AVCon Announcement of Avery Andruszkiewicz’s design.

 

Both Andruszkiewicz and Guildea have previously been involved with Artist Alley, Andruszkiewicz just for the 2017 event while Guildea will be tabling for the third year running with The Bees Knees (together with Ladd and Madden).

Andruszkiewicz says working in Artist Alley is: “a really great opportunity to meet and support other artists. But of course, the chance to get your work out there, and having people actually want to buy what you create is an amazing feeling.”

Guildea’s involvement with Artist Alley began when a friend asked her to table with them in around 2014. While that didn’t end up happening, in 2015 Guildea and Madden bought a badge maker, although “the final push for me to invest in a table at Artist Alley was really heavily inspired by artists Jac and Emerson from the table, Gutgeist! (http://gutgeist.tumblr.com). They travel every year from Melbourne to table at AVCon and were super helpful with guiding me on how to run my first table! I’m really grateful for the support they gave me.”

Much like the event itself, Artist Alley provides participants with a strong sense of community. Some artists get together ahead of the convention to work together cutting out stickers and pressing badges, essentially keeping one another motivated ahead of the event.

When I asked about the community of Artist Alley, Andruszkiewicz said that while they are still fairly new to it, it’s been quite welcoming. “Group orders to save money on shipping/get bulk buy discounts is not uncommon, as well as groups getting together to cut out stickers and press badges and such before a con. Working in a group can be great for motivation!”

One of Guildea’s highlights of the con experience “is the compassion and empathy vendors have for each other. On one of the days last year someone brought Krispy Kremes around to all of the tables, I’m not throwing hints or anything!”

 

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Ella Guildea, 2018.

 

This sense of community is evident in the level of support that artists offer to first timers. Andruszkiewicz and Guildea both offered some advice for anyone looking at getting involved in the 2019 event.

 

 

Advice from Andruszkiewicz:

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Avery Andruszkiewicz 2018.

 

“I always say just go for it, but definitely take the time to prepare. Use your resources. Don’t be afraid to ask artists for advice. A fellow artist by the name Hawberries (Twitter: @hawberries_) has put together a fantastic guide to art stalls, which was honestly my lifesaver for my first time, and I still reference it now.
Don’t table alone, it’s absolutely soul crushing. Either find a friend to split a table with (you save money on the table that way too, and that makes it easier to break even), or if you have enough stock for your own table (I’ll be blunt, you won’t for your first-time tabling), make sure you have a table buddy so you’re not there on your own.
Don’t go in with the mindset of making a profit, go because you want to and because you love what you do. Unfortunately, a lot of artists tend to come up at a loss at their first con, which can be disheartening, but even more so if you go with the exclusive intention of making money. Go, make friends, make connections, and as you gain experience, a following, and improve your art, the profits will come.

And to be harsh for a moment, prepare yourself for disappointment. There’s only a set amount of tables at any one convention, and the harsh truth of that is that artists get declined as a result. If you get declined, don’t let that overshadow your passion for art. Gather your resources again, work hard, and try again next time! Don’t let disappointment overshadow your love of the craft.”

 

Advice from Guildea:

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Ella Guildea, 2018.

 

“There’s a lot of Facebook groups which can be a really great influence for first timers – Aussie Con Artists is probably my favourite. However, the best way I’ve found to find the community is by networking at the conventions that you attend! Talk to your neighbours! Talk to that person who has the art style that you’ve totally fallen in love with!

Tough it out, keep it up and find what inspires you. Your first con might not be phenomenal, but if you’re passionate about vending, please keep it up!

Our first convention involved less than two weeks’ worth of prep, had 15 items in total, and featured the previously mentioned corkboard-ruler-blu-tack scenario. We now prep for significantly more than 2 weeks, stock over 125 different items, and have a nice easel to put our display board on so it doesn’t come crashing down every 20 minutes.

You’ll constantly grow and learn from your mistakes, and a lot of reflection as to how you can improve. You’re not going to become some sort of professional by the time of your first convention. Just throw yourself into it and learn!”


 

You can follow Avery Andruszkiewicz on Twitter @matte_bat_ or check out their Redbubble store https://www.redbubble.com/people/matte-bat/portfolio.

To contact Ella Guildea and The Bees Knees about commission work, see where they’re headed next, and keep updated about upcoming item releases, check out their Facebook page: https://www.facebook.com/thekneesofthebees

If you can’t make it to the convention check out their Tictail here: https://tictail.com/thekneesofthebees

Both artists are tabling this year at AVCon and are always up for a chat so don’t be afraid to stop by and say hello. When you do, don’t forget to mention this article!


 

Words by Kayla Gaskell

Ordinary Objects: Percy the Puzzle Piece

Percy is the filler piece of the puzzle.

The plain blue patch of sky that gets popped aside while all the other more striking pieces get matched up. Forgotten as colourful patches of grass with glints of wildlife are pieced together and trees are built from the trunk up to the tips of their autumn leaves.

Lying patiently, Percy waits on a quiet corner of the table, eager to be placed amongst the other pieces. He is lost under coffee cups and couch cushions.

The puzzle is never completed, but “will have to do,” as Percy is nowhere to be found.

Years later, Percy is plucked from his spot wedged between two floorboards. The puzzle he belonged to has already been discarded. No one remembers where Percy came from, or where he’s meant to go.

Percy is discarded, never completing anything or reaching his potential as part of the bigger picture. Percy the patient puzzle piece.

 


Words and art by Lisa Vertudaches

14117837_1175055035900900_9161235252814084858_nLisa Vertudaches is an independent illustrator & animator, working from a studio in Adelaide, South Australia. Specialising in looping GIFs, Lisa really enjoys creating cute, silly and sometimes absurd animations and illustrations.

 

 

www.lisavertudaches.com

 

The Artists of Viewpoint

 

Earlier this month, Sarah Ingham and I attended the opening night of Viewpoint, an art exhibition at the Light Square Gallery featuring nine recent graduates from Adelaide College of the Arts. The exhibition is due to end May 31th, so I thought it would be a great time to touch base with the artists and learn more about what went into this exhibition, and where they plan to go next. I was lucky enough to have a chat with a few of the artists and sit in on a talk they were giving about the exhibition process.

One of the first questions I asked was about whether their work reflected their personal relationship with the River Torrens. There were mixed responses. It seems that Annelise Forster had a strong emotional attachment to the river through her childhood memories which was reflected in her piece Stone Hopping. Yet Sophie Mahoney-Longford didn’t have as much of a connection, making her pieces, Riverbank, Ripple, and Reeds, genuine observational views. She also commented that she didn’t worry about trying to infuse her piece with symbolism, presenting her own candid approach. Thea Nicole Paulmitan chose to present a contemporary view of the river, looking beyond the river itself to the surrounding architecture in her pieces: Water & Bridge, Bridge & Water, and Hazy Torrens. Bernadette Freeman regularly visits the Torrens and says: “It was a wonderful opportunity for me to stop and reflect on its beauty and complexity.” As Forster said during the talk, they all chose different things to focus on, they all presented “different viewpoints”.

As with selecting different views and interpretations of their River Torrens theme, each artist had a different style or medium with which to approach their task. The mediums ranged from traditional oil painting, acrylics, paint pouring, sculpture, and photography. Each piece reflected the individual style of the artist, and, as Mahoney-Longford said: “provide our individual responses” to the subject.

Jane Heron-Kirkmoe was one of the artists who spoke to me about her art making process. She was lucky with the gallery space as an unplanned breeze impacted on her piece Spill the Overflow perfectly. She typically works in white and in multiples, forming objects with a contemporary edge. Her works are intended to provoke thought and encourages viewers to “find their own narrative”. She concedes that while her focus is on materiality and the beauty of the everyday, the work is not overly commercial.

While it was important to some of the artists to simply use this exhibition opportunity to express themselves, it was also important to others to make work which was sellable. Mahoney-Longford mentioned that two of her three pieces have already been purchased, and that it was a deliberate choice by her to leave her pieces unframed and therefore more affordable. It can be very important to have works that can be sold in order to balance the cost of creation.

During the group discussion, Ann Podzuweit made a point about the importance of artists having a day-job, as they often pay for your art. Bernadette Freeman made an interesting analogy, which I can personally relate to: art shops such as Eckersley’s are the artist’s lolly shop, but the sweets are much more expensive and add up much quicker. Heron-Kirkmoe also spoke about the importance of a day job, telling me the day job allows her to make art –time management can be a challenge though. Many artists tend to be in the same boat here. It is a delicate balance.

When I was speaking to Paulmitan, I asked if she were to start again with her pieces if she would approach them differently. She was adamant that she would take the same approach. It’s a part of her process to take photos and manipulate imagery, even putting together physical collages before settling on an idea and beginning to paint. Viewpoint is the first of Paulmitan’s exhibitions to feature both her painting and photo-manipulation. While she didn’t originally intend to display her photography, Paulmitan is very happy she took a step away from the traditional mediums predominantly featured in the exhibition.

I think that the most important lesson that these women shared is that it is integral to produce work that “expresses yourself, reflects you, and that you love.” Kylie Nichols stresses that she loves making her work, which is something that artists of any practice can aspire to. Forster mentions how important it is to find what works for you and use it. For her, it is being a social artist and being around people who she can discuss her work with. For others, this might be working independently.

In terms of advice for those considering their own exhibition with a group, these artists had plenty. It’s all about organisation and playing to your strengths. You need to get organised early. Look at grant applications and sponsorship opportunities, do what you can yourself (online advertisement via social media), consider the space you need and how it can be best used to the advantage of your works. One important thing to remember when part of a group exhibition is that you’re never on your own. And as Heron-Kirkmoe said, “aim for the stars, but have one foot on the ground as well.” And most of all, just enjoy the ride.

So where next for these artists?

Mahoney-Longford was considering getting involved with SALA, however her primary focus at the moment is to work on her commissions and her personal projects.

Heron-Kirkmoe is currently back in “making-mode” ahead of a coming exhibition at the Fleurieu Art House in August.

Paulmitan is currently considering further study and, artistically, she intends to pursue her photography rather than painting. In June, her work will be on display at the Youth Scape Exhibition.

Nichols will be exhibiting at the Goodwood Library as a part of ‘SALA Goodwood Road’ and is busily making for another group exhibition coming up in October at the Fleurieu Arthouse.

Freeman is currently creating works for exhibition in SALA.

Forster arrived at the gallery fresh from her studio and paint splattered, so it’s safe to say she’ll be continuing with her art with two SALA exhibitions and an exhibition in Melbourne on the horizon.

I didn’t get a chance to speak with Podzuweit, Todino, or Kukolj to discover their plans, but I am certain that we will continue to see their names and works around Adelaide in the future.


 

Photography by Nica Kukolji

Words by Kayla Gaskell

 

Viewpoint at Light Square Gallery

Ann Podzuweit: Torrens Reflections.


When we think of Adelaide’s River Torrens, vivid colour and bright lights isn’t the first thing that springs to mind. However, the ‘Viewpoint’ exhibition currently showing at the Adelaide College of the Arts was full of playful splashes of colour and movement that captured the life and movement that occurs in and around the Torrens every day.

The River Torrens is a significant icon of Adelaide, one that the artists from Viewpoint thought appropriate to choose as their focus for the exhibition. Last week at Adelaide’s Light Square Gallery, nine artists displayed their wondrous works for everyone to see. The artists included Annelise Forster, Bernadette Freeman, Jane Heron-Kirkmoe, Nica Kukolj, Kylie Nichols, Sophie Mahoney-Longford, Thea Nicole Paulmitan, Ann Podzuweit, and Natasha Todino. All recent graduates, they have come together to host their very own exhibition. Talking to one of the feature artists, Nica Kukolij, she told us that the exhibition was planned during their lunch breaks between classes: an astounding effort during their final year of study.

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Nica Kukolj: Reflect & Ripple, Immersed, Twilight Torrens, Sunset Stroll, Soft Dewdrops, Festive Flora, and Dusty Dawn.


The name of the exhibition, ‘Viewpoint’, conveyed the variety of the artist’s differing interpretations of the river. Layered oil paintings, manipulated photography, wire sculptures and bamboo boats all express the same intense connection to this sacred place.

Rich in history and vital to the location on which Adelaide now stands, the Torrens was the perfect muse. The river is, and always has been, a crucial part of our city that is essential to the original land owners and the early European settlers’ survival. The artists of Viewpoint have displayed this in their exhibition as an icon for creativity, showcasing its natural beauty and prolific wildlife through a variety of mediums.

Proudly displaying our festival state, some pieces incorporated small bursts of colour to show the artistic side of Adelaide in full swing. Artist Natasha Todino used oil, acrylic and glitter to present the beauty and glamour of our state. Thea Nicole Paulmitan used manipulated photography to depict a surreal dreaminess around central Adelaide, which was a reflection of bustling ‘Mad March’ and the bright lights of the Fringe.

Apart from these, one particular piece that stood out was the beautifully serene oil on paper paintings by Sophie Mahoney-Longford. The careful placing of the minimal objects in the painting draws the eye around the soft, murky background. This was really resounding with the audience because, while others had used colour to capture Adelaide’s festival side, this really felt like the every-day Torrens, quiet and peaceful.

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Sophie Mahoney-Longford: Riverbank, Ripple, and Reeds.


The exhibition also reiterates the artistic touch that women have in our community. The exhibits created a textual experience, expressing an inner monologue of not only the flora and fauna in Adelaide’s center but our city’s renowned festival nature.

Being at opening night was a pleasure. The artists were absolutely glowing with pride. Surrounded by family, friends and adoring fans, they were completely awash with the happiness of creation and contribution to society. The atmosphere of excitement inside the exhibition just added to the ambience of the whole experience. Both of us would highly recommend attending this exhibition is you wish to bask in the pride of living in such a beautiful city.

 

Viewpoint will be on show until May 31 at Adelaide’s Light Square Gallery and all pieces are available to purchase.

 


Words by Sarah Ingham and Kayla Gaskell