I was born in Adelaide and moved to the Adelaide Hills as an adult. I have always had a love of pattern, especially in nature, and I often draw inspiration from the landscape. I like to interpret the details of the environment I explore and experience.
My work often develops into a variety of objects, which envelop the female form, exposing underlying personal narratives.
My primary focus is the connection between nature and nurture, and on the intimacy of humans with the environment. And also the reverse, in this instance, the environment often enforces on to humanity.
My name is Shirleyann Brough, after my children grew up and left home and since retirement I have become a full time Artist. I have been painting for nearly 10 years, I paint from my Visual memory and love the use of colour.
My painting medium is usually oils and I paint with a palette knife, I have used acrylics and water colours but find the texture of oils give me the affect that I enjoy. I have had no formal training but have attended workshops and enjoy painting in a small group.
Over the past 10 years I have tried many different styles of painting from abstract art using mixed medium to predominately palette knife with oil paints.
Andrew Barr is a landscape painter and scientist who captures scenes from the fast- changing images found in nature on his canvasses. He uses impressionistic approaches to his paintings of the Australian outback that he has visited since arriving in Australia. His textured foliage, bright colors and sharp shadows capture the harsh vibrant colors of the Australian landscape. In 2006 he joined the Scientific Expedition Group that conducts biological surveys in SA, where the inspiration comes for his landscape paintings.
Arts in Health
Communicating through visual arts in a health environment is intended to trigger positive memories or feelings for the viewer. It can be a substitute for speech when words won’t do, becoming a distraction and an attempt to create a sense of well-being within the viewers.
Patrick Heath is an emerging contemporary artist living and working in Adelaide, having completed a Bachelor of Art and Design (Honours) at the University of South Australia in 2017.
Patrick works with a focus on materials, collecting and experimenting with found objects, transforming the commonplace into strange or humorous new configurations; Which, often reference major Modern art movements of the mid to late twentieth century.
This series repurposes the iconic patterned canvas awnings whilst imitating the hard-edge abstract paintings of the 60s and 70s.
“I am interested in the communicative potential of everyday objects.
These works exploit the familiarity of the distinctive fabric, prompting associations with home and nostalgia for a changing suburban landscape.”
Arts in Health
I believe that art which reflects our shared experience is beneficial in building and maintaining a healthy community and that hospital galleries are an ideal setting for public engagement.
My visual art practice includes a diversity of creative media; public art, moving image, sound photography and painting. I am currently undertaking post-doctoral studies at the University of SA. The PhD is an investigation of restorative effects of landscape-themed artworks. Over three years I made and installed artworks in people’s work and study spaces at university campuses and a hospital, to determine whether a landscape painting was beneficial for people without a window view.
The subjects of my artworks are the natural landscapes I encountered in suburban Adelaide and when travelling in South Australia. On my daily walks I observed and documented places, seeking out vantage points, green spaces and water. The abstract quality in the paintings is the blur experienced from a turn of the head, or when riding my bike, or from long road trips to wilder places. These landscapes are depicted in motion, as I travelled through them.
My case studies show that a short ‘art break’ can reduce stress and mental fatigue by 20 to 40% for people spending long hours indoors. Landscape paintings can provide people with a moment of nature connection. Looking at the paintings evoked fond memories of time in nature and holidays with friends and family, contributing to a calmer mindset and positive wellbeing.
Arts in Health
I experienced at firsthand the benefits of art in public spaces for patients, staff and hospital visitors through working on art projects at the Flinders Medical Centre and during a SALA residency at SAHMRI. My PhD research and artworks investigate the restorative effects of landscape art for people spending long hours indoors.
My quest in this series is to portray these animals as individuals, reflecting their unique personalities in an expressive form. Traditionally, kangaroos have been represented symbolically. I choose to depict them in an intimately analytical yet expressive form. This is a rewarding challenge as I am breaking new grounds as an artist.
My partner Wink (Annette Dempsey) and I live on a country property on the banks of the Murray River in Mannum, South Australia, some 80 km from Adelaide.
For many years we have surrounded ourselves with nature and Wink has a passion for rescuing injured and orphaned animals. As a result, we have a considerable number of native animals including kangaroos living on the property. Many of these were hand raised, so they are extremely quiet and accept us as family. Their trust in us makes them perfect subjects for observation of their individual characteristics.
My work can be found in collections throughout Australia, UK, USA and Brazil and I am represented internationally by SaatchArt.com
Arts in Health
‘PORTRAIT OF KANGAROO’ an exhibition of visually powerful, yet intriguing and soothing drawings that give people a unique insight to the personalities of Australian kangaroos. Everyone knows them, but few see them as they really are.
During my residency at the RAH I have created a body of work representing the essence of the time that I have spent with each individual. I was guided by my conversations and cherished interaction with patients and families living with dementia.
Although each work is as unique as the person that inspired it, common threads weaved their way through my time here. Themes of love and family are explored in the works Deer Oh Dear, which tells the story of the love of a dad for his children, trying to hold on to the memories of their childhood and shared experiences. Weight To Bear depicts the heaviness of what’s to come for a husband and his wife who moved out of the home they built together so she would be able to receive the care she needed. To Catch A Bird conveys memories of family and childhood adventures from walking in the Australian bush to climbing trees in an attempt to catch cockies.
A man’s connection to place can be found in Surfs up. Memories of the sea and moments spent with friends telling stories around the campfire on surfing trips to the coast are recounted with me over a warm milo, which from what I was told was a poor man’s replacement for an ice cold beer.
Grief was often found in these moments too. Hanging on and Stitched Blossom explore the fear that these connections are slipping away and express sadness in the inability to carryout passions that were once so intrinsic to their identity.
As part of my SALA and Centre for Creative Health residency I wanted to create a multisensory experience for the patients and have them share in my arts practice. During my interaction with the patients I brought in both found natural materials and man made objects in varying degrees of textures, weight, colour and scent. As we engaged in conversations the objects would spark thoughts and memories. The selection of works were created in collaboration with the patients by using the alternative photographic process of making handmade slides. I then took the slides, scanned and enlarged them to create a photographic print.
Christopher and Therese Williams have built their site-specific soundsculpture on a found piano in the grounds of the Hampstead Rehabilitation Centre.
The piano is used as a metaphor for the fragility, beauty and dignity of the human body. In its found state, the piano presented as uncared for and unloved, but remained structurally sound. The artists set out to rehabilitate the piano physically, metaphorically and to restore its dignity as an instrument capable of affording aesthetic pleasure. They were interested in reflecting the piano’s history, and being honest about damage it had sustained over its lifetime. The project entailed stripping paint off the piano, bringing it back to its bare wood and applying Tung oil to expose the object’s inherent beauty.
Therese has painted a pastoral scene on a mounted panel featuring a waterfall as an idyllic landscape, celebrating the healing power of water and nature. Christopher installed a soundscape composition inside the piano that features a waterfall and birdsong, connecting with the painted scene. These peaceful and healing sounds emerge from the instrument whilst the piano’s strings resonate in a fragile sonority.
Therese is a painter and digital drawing animator. She is a graduate of Alexander Mackie College of Art (now Art & Design UNSW) and Adelaide Central School of Art. Therese has worked as a scenic artist for the STC, OA, and the ABC, and as a theatre designer including at Belvoir St. She has exhibited at Praxis Artspace, Future Space, RIAus, Adelaide Perry Gallery, SA museum, Maritime Museum of SA, Mori Gallery, The Mill, and ACSA
Christopher works with radiophonics, soundscape, sound installation, and electroacoustic music. He was a producer with the ABC and completed his PhD in Sound Art. He has exhibited at the Akademie der Künste, Berlin; ZKM, Karlsrühe; SEAM, Weimar; Samstag; Greenaway Art Gallery; Future Space, RIAus; NGV; Dianne Tanzer; Praxis Artspace; Elder Conservatorium; Maritime Museum; and Palimpsest. Christopher was awarded the Prix Italia; the ZKM Soundscape Composition Prize; and a Bronze Medal at the New York Festival.
Christopher Williams, Softly the Body – Soundscape Excerpt
“The Journey Within” is a collection of artworks which depict a unique story of inner growth, learning and self-expression. They have been created intuitively utilising colour, form and layers of texture and detail, which are representative of the complexities and challenges to overcome through the process of self-growth and healing through inward reflection. The colours represented within each piece have been intentionally selected to help create balance and positive energy, complementary to the story and emotion of the artwork. The works are visually interesting and aim to bring joy and positivity to the viewer. Each artwork within the collection tells an individual and unique story and plays an intricate role in the emotional and visual display of the exhibition as a whole. The artworks have been created with positive intentions and joy. It is my wish for this exhibition, that it inspires hope, happiness and interest within the viewer.
Arts in Health
I am a true believer in the healing properties of art. My greatest wish for this exhibition is that my artwork can offer a moment of brightness, thoughtful escape and happiness. I aim to instil positivity through colour and energy into each of my works for others to enjoy.
My art practice is situated within the field of contemporary painting. It combines techniques from mathematics, textiles, art and music to explore the nature of divisions between them. Using textile techniques (pleating, punching and stitching) I create a controlled system that becomes a platform for exploring chance occurrences caused by the properties of materials. My work observes the relationship between data, process and material. The grid as a framework facilitates transfer of information and process. The relationship between digital and analogue is explored using punched, gridded paper, evocative of the Jacquard weaving loom, pianola music rolls and early punch card computers. Data sourced from the prediction of chance operations is plotted and manipulated, using symmetry and repetition processes common to music composition and the repeat pattern of textiles. The site becomes a surface to observe the interplay of materials, spatiality, and the tension between order and chaos.
Arts in Health
Art is important in hospitals.
As a young intern, I rarely left the hospital environment. My life outside the hospital was unavoidably limited during that time.
For patients staying in the hospital, experiences are similarly limited to the hospital. Visiting hospital can be frightening, uncomfortable or dull.
Artwork that is soothing, reflective and interesting is necessary in hospitals.
I am driven by causality.
Inspired by patterns and nature.
Constrained by order.
As an artist, I try to contrast the natural with the ‘unnatural;’ reinterpreting how our world is perceived. I generally contrast the fluidity of nature against the rigidity of straight, hard shapes.
Flowing through the veins of our natural universe exist optimal patterns of growth and expansion. One such pattern is known as the Golden Ratio. This pattern can be seen throughout nature from the formation and rotation of petals on a flower, to the curvature of a shell, through to the spiral nature of some galaxies within this universe.
When expressed as a quadratic formula, the Golden Ratio, also known as phi ( can be written as …
I take this irrational number and expressed it visually; always geometrically.
Arts in Health
The Royal Adelaide Hospital is making ground breaking achievements through their research, progressing scientific achievement; it is a world of discovery and learning. It is an inspiration. I am honoured to exhibit here.
Eye of the Beholder is an exhibition of photographs illustrating South Australia’s many wonders and delights, sights and locations both well-known and those that have been forgotten – lost to the memory of history.
There is beauty in everything, no matter how old dilapidated, forgotten or abandoned. In today’s fast paced, social media fuelled world, taking a moment to stop and appreciate all the beauty that surrounds us, even when found in some of the most unexpected of places, is one of the best acts of self-care and wellness that a person can do.
The images in Eye of the Beholder were all taken in South Australia, from far away as the northern town of Windsor, to the empty expanses of Osborne, to suburban backyards, to the hills of north-north-eastern Adelaide. Between the abandoned and adored, there is much to enjoy and explore in our beautiful state.
As a regular outpatient and full-time carer, L. J. LaBarthe understands the importance of creating a space away from the sterile environment of the typical hospital setting. A space that provides visually interesting imagery that can be thought on and discussed, ultimately improving the hospital experience and well-being for patients, staff and visitors.
The Centre for Creative Health is delighted to present ‘The Art of Memory’ by our very own Diversional Artist, Brad Wilson.
This exhibition highlights Brad’s exceptional technical ability, creative skill and remarkable patience. Comprised of a series of intricate masterpieces this exhibition leaves the viewer in awe as images of everyday objects such as a clock, tractor or wagon come to life in engaging and enchanting ways.
The idea of memory, fragmented in nature, and the complexity of how we interpret experience and understand truth is present throughout the exhibition, bringing additional layers of understanding and enjoyment to the artwork.
What is memory? The oxford dictionary defines it as “the faculty by which the mind stores and remembers information.” To me however memory is a lot more complex than this definition implies. Although there is certain comfort in the thought memory is constant and retrievable, my latest series “the art of memory” questions this notion.
“Time and memory are true artists; they remould reality nearer to the heart’s desire” John Dewey
Fragmentation is used throughout my work and is reflective of the concept that memories are in essence only fragments of information for as Cesare Pavese said “we do not remember days, only moments”. It is my belief that memories are largely the product of our own perception and construction, which in turn challenges the notion of truth.
The idea of personal fabrication is equally as relevant in the perception of the artworks, for as memory is arguably the product of our own cognitive construction so it is true with the perception of art. I have an emphasis on the role of the viewer, which I believe to be equally as relevant as the conceptual intention of the artist.
“In a general sense, Brad’s studio practice could be encapsulated as one grounded in a deconstructive methodology complemented by creative layering and the blurring of the boundaries of illustration, traditional drawing and three dimensional visual art practice.”
– Greg Donovan. Former Program Director: Master of visual art and Design, UniSA City West.
Arts in Health statement
Currently working as a diversional artist for the Centre for Creative Health I have been privileged to see firsthand the positive impact of the arts within the medical fraternity. I feel incredibly grateful for the experiences I have shared with my patients.
Tom Keukenmeester, born in Adelaide, is a contemporary Australian Artist. His work has been shown across Australia in galleries and exhibitions.
Tom Keukenmeester returned to Australia in 2013 to begin working as a professional artist after four years of traveling for work and study. Having always drawn and painted Tom chose to return to Australia to take his artistic practice more seriously. During his time living in London, New York and Montreal, Tom continuously developed his self-taught artistic skills, drawing and painting.
Tom completed his undergraduate studies at the University of South Australia in 2013 after returning from studying at Concordia University, Montreal. He also studied Art History at the University of Adelaide and has studied Drawing at Adelaide Central School of Art.
Recently Tom’s work has been selected as a finalist in the 2017 Royal South Australian Society of Arts Biennial Portrait Prize (Winning the RSASA award), 2017 Cliftons Art Prize, 2016 Fleurieu Art Prize, 2016 Loreto Star Portrait, 2015 Lethbridge Art Prize, the 2014 Cossack Art Prize, and the 2014 Royal South Australian Society of Arts Youth Art Prize.
“My work is mostly figurative in nature and often incorporates notions of identity and consumer culture. Here I have used still life, genre paintings and ceramic plates as a means to explore these ideas in order to tell a story.
“I am pleased to have the opportunity to create a body of work with a South Australian centric narrative and to be able to exhibit publically in the new RAH.
“When first presented with the opportunity to show work in this space, I was excited by the opportunity. Hospitals are places of healing and my aim.
My current series “Where the Wild Things Grow” is a combination of flowers and animal portraits.
My aim is to create art that has a strong presence that embodies the subject in a way that allows you to experience the art as an interactive gathering “enjoying the moment”.
I am inspired by nature and wildlife photographs that I see, which speak to me and evoke a feeling of connection and raw emotion.
My new love of painting is for flowers and animals, stretching myself to harness the emotional serenity, softness, beauty and mystery of the Wild Thing. I strive to create an intimate fleeting moment, discovering and connecting with the images.
I love the challenge of painting realistically because I am excited to see the finished results. The images develop on the canvas as I work. My artwork contains many layers of acrylic brush stokes, unrelenting until I achieve the desired result on the canvas.
Wild things are a culmination of beauty that we cannot get close to, that foster wonder and amazement.
Art has been proven to improve the health and mindset in patients. It is my opinion that art can be a form of meditation as you can get lost for hours thinking of nothing else, allowing your brain to focus solely on one thing.
Dana Kinter is an artist living and making in the Fleurieu Peninsula. Drawing from the natural environment surrounding her home and an Encyclopedia of Australian Birds handed down by her Grandmother, Dana has created a signature style that embraces Australia’s native flora and fauna.
Inspired by early 20th century Australian and Indigenous art, religious iconography, Japanese culture, and everything Art Nouveau, Dana employs a subdued colour palette with emphasis on the natural characteristics of her materials. Dana uses pencil acrylic on timber in her paintings, preferring to work on a series of woodblocks at once, aided by foraged treasures and views from her backyard studio. Recently, Dana has returned to working with ceramics, carving and painting feathered friends with a distinctive focus on colour, line and form, onto hand built homewares that serve as a base for her artworks.
Greeting the Morning is a collection of artworks that welcomes the viewer to come and be still for a moment, to be embraced by the beauty of the natural world and just listen to the birds. A place that is quiet, healing and uplifting. I am grateful to the RAH for this opportunity and I hope my artworks bring joy and inspiration.
I was born in 1964 in Adelaide. My parents were both German immigrants. Mum was a very talented artist and Dad a painter and decorator. I was blessed with the creative gene.
I am self-taught, with knowledge only gained at school, ceramic classes and a silk painting class I took with my mother. She was my inspiration and we had a lot of fun creating and entering Rotary Art Exhibitions together. After she passed away, although I had stopped doing art for a while, I never lost my passion for creativity.
In 2009 my sister (also a talented artist) and I decided to get together and do some art. I have not looked back since, even collecting a few merit badges along the way. I love working on canvas, board (outdoor art) and other paintable objects, and I have maintained a similar style to when I did my silk painting. I like to experiment with different textures and mediums, and rarely plan my entire piece as I like my paintings to evolve as I’m working on them.
I live on the Fleurieu Peninsula, which to me is the most wonderful place in the world. I am fortunate to have my art on display in a variety of places in the region and elsewhere. I am also one of the artists featured in a book called Amazing Australian Artists produced by Art Me Gallery. I’m a firm believer in spreading one’s art around, even in the most unlikely of places, because even if only one person stops to look, you have achieved something. Art should always be shared.
You can find me on Facebook under Lynette Kring Art.
Hindsight is the ability to understand and realise something about an event after it has happened, although you did not understand or realise it at the time. – Collins English Dictionary
Hindsight is delicious and extremely valuable. These drawings, Self Portrait 2008-18, These Boots (are made for walking) 2001-2018 and Make Me 2002-18 show a physical and emotional self that is gone. Collaged with the tyre tracks and abstract elements of today, they become strong works that explore the richness of the whole, the total of all experiences.
In Self Portrait 2008-18 a figure stands between a woman in a wheelchair and a wheelchair tyre print. It incorporates elements of me from 2008 and before; it was my practice to paint a quick one hour self-portrait when I arrived in the studio every morning and the standing figure is one of those, a self-portrait in a wheelchair from 2015 drawn in charcoal on recycled watercolours and drawings, and the marks from my wheelchair tyres of 2018.
As the world reeled with the aftershock of 9/11 I was diagnosed with Multiple Sclerosis (MS). The work Make Me 2002-18, an abstract painting from 2002, I did with a broom and walked all over when my head was full of the war within my own body. It is attached to a drawing of tyre tracks from my wheelchair, boot prints and tyre tread, joining in one evocation gesture. The past informing the present in a weirdly prophetic way. I can no longer make foot or boot prints and I use mops and brooms to paint with now, although with nowhere near the physical strength I did in 2002.
These Boots (are made for walking) 2001-2018 incorporates drawings of 9/11 and tyre tracks, with a meditative self-portrait watercolour from December 2002. Knee high boots standing like twin towers amid confusion and chaos.
Hindsight has a way of simplifying what was in fact very complex. It’s very difficult when you’re at the beginning of a journey such as MS to know how to navigate it. And very easy with the benefit of hindsight to look back in judgement. Would I do things differently if I had my time again? No. And these drawings are testament to this.
Alison is a multi-award winning contemporary designer who has always had a keen interest in art – especially contemporary and eclectic abstract works. This is the genre of Alison’s work – entirely individual though bold and colourful. Clearly expressed in her artwork is a passion for using the juxtaposition of different forms or shapes to create a balance critical to the finished product.
As a former trainee nurse, Alison commenced her nursing training at the old Royal Adelaide Hospital on April 1st 1971, registering in 1974. This was followed by Midwifery at the Queen Victoria Hospital. She is excited to exhibit her artwork at the new Royal Adelaide Hospital.
Her website is www.alisonaplinart.com.au
My wife and I created our photographic endeavour ‘everlook photography’ in 2008. Together, we try to capture nature at its finest moments of light. We find great enjoyment in experiencing the natural world from as close as the roadside, to as far as multiday backpacking trips deep into the wilderness. We feel blessed to have had the opportunities to visit wilderness regions around the world and hope that our images represent not only what we saw, but share the entire experience of being in that location. It is our hope to keep travelling and to keep experiencing nature’s many wonders as long as we are physically able. Sharing this journey with our children Jaime and Charlotte makes it all the more special.
As rewarding as working within a health care system can be, I believe that a fulfilling life requires balance; work with play, fact with fiction, science with art. I’ve always considered myself to be an ‘accidental artist’ whose wanderings into nature have serendipitously resulted in art that I can share.
Professor Eric Fahrudinov (born 05.06.1933 in Bolshaya Tsilna, Russia) is a former General Chief Engineer/Constructor of one of the largest rocket designing & constructing enterprises in the Aviation Industry of the USSR/Russia. He is a Doctor of Technical Science, an academic of the Academy of Sciences of Tatarstan and the Academy of Sciences of Russia, a recipient of the Soviet Government Award for Scientific Achievements, and was a lecturer at the Kazan University of Aircraft Engineering.
Throughout his career he has published over 250 texts and has patented over 60 inventions. He has also published 4 monographic books outlining his views on progressive economic and political reforms aimed at rescuing contemporary Russia from decline and corruption.
Now retired and living in Adelaide with Rose, his wife of 62 years and with his daughter and grandchildren close by; Eric is currently a patient of the Oncology department at the Royal Adelaide Hospital.
Inducted as a life-time member of the Professional Union of Artists of Russia, oil painting has proven to be a long term passion for Eric and his artwork most often depicts Russian or Australian landscapes. He has maintained his passion to create art despite glaucoma causing complete blindness in one eye and very poor vision in the other, and emphasises that his ‘lack of vision does not mean the lack of light’ in his artworks.
Believing ‘that art has a powerful healing and mood elevating effect and an inspiring influence on people’ and that ‘creative art helps in many difficult situations’, Eric hopes that in sharing his artwork, he will be able to motivate, inspire and help others.
Eric and his family would like to express their deepest gratitude to Dr Nimet Singhal and his team in the Oncology Department at the Royal Adelaide Hospital.
To coincide with Mental Health Week (7-13 October 2018) an exhibition of illustrations by international artist Marie Jonsson-Harrison created for the picture book Meltdown Moments were on display in the Royal Adelaide Hospital’s Community Gallery.
The book Meltdown Moments written by leading psychiatrist Dr Anne Sved Williams places an emphasis on the mental health and wellbeing of families and a desire to assist parents in raising a generation of happy, strong and resilient children. Through exploring the effect that changing parental moods or ‘meltdowns’ can have on children with a story about a parent who ‘loses it’, the book assists families to find better ways of dealing with issues and helps children navigate and understand changing parental moods.
Originally intended to help small children with a parent who experiences ‘meltdowns’ as part of the condition Borderline Personality Disorder (BPD), Meltdown Moments is now a useful tool for many different families.
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.