A Silent Rhythm is a collection of photographs by emerging artist Alice Blanch. The series was captured across the Australian continent with a particular focus on meeting points found within the landscape; where the land means the sky, the sky meets the ocean and the ocean meets the land’s edge.
Alice uses photographic film in antique cameras to capture emotive imagery of the landscape. Undertaking strenuous journeys on foot or by bicycle for days or weeks at a time through the landscape she is able to connect with the sublet rhythms present within nature. The resulting art works are evocative and quiet portraits of the landscape.
I am very glad to be exhibiting these works within the new RAH building and I hope that through these photographic landscapes patients, visitors and hospital workers can find a sense of clarity and calmness and experience a connection to the natural environment.
Sonya Unwin’s studio practice currently focuses on the exploration of the horizon as an imaginary place, a philosophical, meditative threshold often represented in paintings as lineal. Aldinga Bay on The Fleurieu Peninsula has become the catalyst and inspiration of the paintings in ‘Summit at the Horizon’.
Unwin considers the horizon to be a liminal concept, a non-place of contemplation where the convergence of hues boasts a widely diffused light that changes often. The horizon presents an immense and unlimited space from which to paint both en plein air and in the studio.
Poetically there are connections with textual work from Gaston Bachelard and Cy Twombly inspires with his abstract mark-making and Rothko’s colour-field paintings continue to influence the compositions.
Artwork within a medical environment humanises the space, creating conversation, distractions and a sense of serenity in a sometimes emotionally charged space.
Long waits in longer corridors can be made easier by art that poses questions, creates laughter, encourages calm or is there purely for aesthetic connection.
This suite of watercolours holds a serenity inspired by the extraordinary beauty and energy of the coastal regions along the Fleurieu Peninsula.
Inspired by the ever-changing junction where sky and sea fuse. This sense of distance and the fusion of light, colour and physical elements play an environmental role in her psyche, connecting her to this place of calm, wild beauty.
Sonya Unwin is an artist, emerging curator and picture framer, with a studio at Collective Haunt Inc., Norwood. She holds a Bachelor of Visual Arts (Honours) from the University of South Australia and curates the Metro Art Space at The Hotel Metropolitan. Sonya was one of the inaugural SALA Artists in Residence at the South Australia Health and Medical Research Institute (SAHMRI) and is the current recipient of the Helpmann Academy 2017 Women’s and Children’s Hospital (WCH) Foundation Arts in Health Mentorship.
Ancient ancestral knowledge of native medicinal flora is taught as women gather traditional Bush Medicine, usually as a communal group, passing from the Elders and Aunties to the upcoming Keepers of this Knowledge – about the leaves, bark, fruits, bulbs, roots and grasses, varied across all nations.
Artists like to paint the beautiful medicine plants infinite forms, as in nature as on canvas. You will see “Healing Medicine Leaves” stories shown in many stylised Artworks, all sharing a calming effect and possessing exceptional creative, aesthetic and cultural merit.
Bernadine Johnson, a SALA 2017 Finalist with her amazing acrylic on canvas “Silver Medicine Leaves” is married to respected artist Stephen Martin Pitjara, who is Gloria Petyarre’s and Anna Pitjara’s brother. Bernadine paints Healing Medicine in many forms and captures the colours in the air after rain in her strokes.
Gloria Petyarre, sometimes referred to as Gloria Pitjara, is one of the most famous and significant of all female Australian Aboriginal Artists living and working today. Gloria is a much repeated elder and has made an enormous contribution to her Community and Australia.
Gypsy Draven paints in passionate yet detailed and precise sweeping patters and writes big stories to go with them. She is strongly connected to nature and runs a personal natural food and medical garden. Gypsy is guided by her grandfather when she paints.
Audrey Brumby grew up and was a teacher in Ernabella. Audrey paints with the colours of the seasons in long gracious flows as we sway with the medicine reeds in the water or glide in the wind like an autumn leaf. Her artwork shows her love of her country as she paints.
The Circle of Arts Foundation is all about Healing with Arts. The beautiful free flowing artworks by the Aboriginal ladies in this exhibition are painted with love for their bushland. Love for the healing gifts in nature, used for thousands of years in traditional medicines. We are honoured to show this collection within such an ideal setting and hope that the gentle calming patterns bring you pleasure and bring you closer to nature.
Samuel Davidson has been in and around the ocean since childhood. Growing up in Goolwa, he learned to surf, joined the Port Elliot Surf Life Saving Club, studied Ocean and Climate Science at Flinders University and is now currently completing a PhD extending research in coastal environments. All of this has given him a love and appreciation for the beauty found along the Fleurieu Peninsula’s stunning coastline.
After picking up a camera and water housing he decided to share this beauty and his passion with others, in hope they might gain an appreciation too. All his photos in this gallery are taken at South Australian beaches in particularly near his home in Port Elliot.
My recent Visual Art PhD research has been examining the singularities, complexities and overlooked aspects of place in the Mid North of South Australia. It has been a trans-disciplinary approach working with humanistic geographers, who also share an interest in reciprocal relationships with the natural world. Domestic settings have been a rich source of information for an artist-as-geographer, as vernacular architecture, adjusted material culture, and creative cultural practices provide evidence of the dwellers’ environmental awareness. Place forms but never seems to leave us, as my childhood memories confirmed.
Thoughts of my pioneering ancestors were never far from my thoughts. Even though they faced geographical challenges they learnt to love Australia. I, too, felt this ‘clearly invisible’ force in the Mid North that enchanted me. Little birds delivered greetings, gum blossoms cast perfumes my way, and the sentient hills seemed to record my return.
A previous Registered Nurse, I have also found the more recent volunteer work as a Lavender Lady in the ICU a precious and grounding task for myself as an artist.
Catherine Fitz-Gerald’s art explores the different ways light and colour reveal form. Memory, mood and abundance are often the inspiration for works which explore the natural world.
As music can be transposed from classical to jazz, Catherine has transposed her realistic paintings into abstractions, creating six degrees of separation from the original subject in the process.
Transparency, opacity, tone and colour are used to form shape and depth. Images are built out of simple elements, focusing on creating a rhythmic dynamic between colour intensity and retreating or advancing hues.
The abstraction that results from this process does not intend to dispense with a recognisable subject, but to create works which explore slices of light and colour while still bearing a relationship to the original object.
Catherine’s art practise forms an integral part of her journey to health and well- being and her most recent work explores emerging science on how light and colour can affect our brains beyond regular colour vision through non image forming pathways.
I am an emerging contemporary artist who is heavily involved in South Australia’s arts community. I exhibit work regularly throughout South Australia, Victoria and Western Australia. Most recently I have been chosen to represent South Australia at BOAA – the Biennale of Australian Art, Ballarat, in 2018.
In 2016, I was the recipient of the 2016 Arkaba Hotel Commission and the Adelaide Central School of Art, Fontanelle Residency. In 2017, I worked at the Adelaide Festival Centre as an Artist in Residence for both, the DreamBIG Festival and the SALA Festival, which was proudly supported by the Burnside City Council. The work, Flyers, earnt the 2017 SALA Emerging Artist Award. In June 2017, I participated in a mentorship with the City of Tea Tree Gully – IGNITE public art incubator and have recently installed my first public art work in the main street of Port Pirie.
Jane Skeer works predominantly in sculpture and installation, creating work in response to her observations of people, objects and materials. Skeer re-presents discarded objects, highlighting the vitality she sees in them. A repetitive production process allows her the time and space to contemplate the material and work collaboratively with it to activate it in some way. Through her work, Skeer’s intention is to prompt us to rethink our relationship with the redundant, seeking to prove that the unwanted is in fact useful.
Robert Habel’s paintings are concerned with the idea of a contemporary landscape. Subject matter takes the form of local contested landscapes such as the urban/industrial environment, reclaimed lands, and spaces effected by human interactions. For Robert, the landscape is a modern stage and a dynamic subject worthy of art making.
Robert paints on site, reacting intuitively to the landscape, incorporating changes of weather conditions and chance design opportunities derived from this type of physical practice.
Robert Habel grew up in Northern Tasmania where he started his art school training before moving to Adelaide in 1992 to complete a Master of Arts Degree at the University of South Australia. He has painted and exhibited widely throughout Australia and overseas. Robert is represented in South Australia by Worth Gallery.
This exhibition has been organised by a group of mainly Adelaide-based wildlife photographers who spend time in the field together, developing their craft and sharing in the experience of observing and photographing Australia’s magnificent flora and fauna.
The photographs are of non-captive birds and animals or non-cultivated flora, photographed in their natural environment.
“We enjoy the challenges that nature photography brings, always mindful that the subject is more important than the photograph. However, we are delighted to be able to share these selected images with staff and patients at the Royal Adelaide Hospital”.
– Barbara McFarlane on behalf of the artists.
Claire’s varied style ranges from realism to abstract: from expressionism to impressionism, with no particular style being favoured over another but rather, the style is chosen that she feels will best represent the subject of each individual piece. Claire’s been involved in art or craft for most of her life, both in business and for pleasure and although having studied at the North Adelaide School of Art, she is mainly self-taught, deriving inspiration from many artists.
In 2005 Claire was an Artist in Residence at The Parks Community Centre, during which time she not only had the opportunity to progress in her own art practice but was also able to assist members of the local community in various art and craft work-shops and to become involved in several solo and group exhibitions.
Miranda has had a long association with the visual arts, traveling Australia painting large scale murals in many tourist destinations, illustrating a number of children’s books for publishers as well as experimenting with abstract and surrealism, using mixed mediums and exploring any materials that creates a texture for her own works.
Miranda’s enthusiasm to paint comes from her own backyard‚ living in the Adelaide foothills and her wish to bring the “outside‚ inside”. Also a surfer, many of her artworks reflect the ocean too with Miranda’s paintings exaggerating nature’s lines‚ shapes and colours‚ creating a modern and contemporary style.
This exhibition brings together the various styles of Quoc Nguyen as he reflects on his love of nature, in particular flowers and birds.
Quoc uses a variety of media, watercolour, collage and acrylic with his favourite technique, the Chinese Style using ink.
Quoc is originally from Vietnam. He left his home in the Mekong Delta by boat in 1990 and spent three years in a refugee camp in Indonesia where he worked as a volunteer art teacher.
After viewing Quoc’s work, an Australian official determined he should migrate to South Australia where his talents would be appreciated.