Art - Edit.issue.28 May.2021

#28 /
BEST OF NEON ART
T H E A R T O F L I G H T I N G A R T W O R K S I N D O M E S T I C S PA C E S
STYLING ADVICE FROM THE EXPERTS
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AUD $12.95 (INCL. GST)

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ROOM FOR
ISSN 2203-1308
28 CHANGE
9 772203 130006 >
Dior Mahnken
BIG SKY shows from 1-12 sept 2021 at Saint Cloche Gallery, Paddington.
Instagram: diormahnkenstudio
Email: dior@mahnken.com.au
Marshmallow (2021). Stitched hand-printed tissue paper, 20 x 20cm. Photo: standishandco

www.francescasykes.com Instagram: @francescasykes_studio
Jacqueline St. Clair
Ceramic hand built objects and lamps.
Instagram:
jacqueline.st.clair
Peter Van Alphen
Photography:
Greer Clayton
www.greerclayton.com
‘Rose Tinted Fiords’ acrylic on canvas 1600 x 1800mm.
Available from Studio Gallery Group
C O N T E N T S
#28 / 2021
11 / LOVE IT
12 / Special Feature Delineating design: the difference between art and design.
18 / Objecthood We talk to product and furniture designer Henry Wilson.
20 / Between the bindings Utsuwa: Japanese Objects for everyday use offers a
look inside the private studios of some of Japan’s contemporary artisans.
21 / Ones to Watch Artists to have on your radar.
43 / Best of Neon Our selection of artists lighting the way with neon.
72 / Studio Visits Step inside three artist studios. ON THE COVER:

Kawita Vatanajyankur, My Mother and I, 2021.
120 / Living with Art We take you inside the boundary breaking JARtB house. 4K Video still.
COURTESY: THE ARTIST, NOVA CONTEMPORARY,
130 / In Series Take a deep dive into the latest series of six artists. BANGKOK AND ANTIDOTE PROJECTS, AUSTRALIA
Project Sheets Artist Profiles

53 / Sink In 28 / A Sugar-Coated World With equal parts
Nick Tobias layers smart ferocity, sensitivity and humour, Kawita
design with a punchy art Vatanajyankur uses her own body to
collection. question the systems we so diligently
abide by.
COURTESY: JKW INTERIOR ARCHITECTURE AND DESIGN
59 / Castle In The Sky

Reaching new heights, 36 / Living to Paint; Painting to Live Doreen
this warehouse Chapman’s bright and spirited paintings
apartment has a treasure attest to a life lived and observed richly.
trove of art.
80 / Masters of Disguise Beyond the fur, fluff,
67 / Labour of Love and feather boas, The Huxley’s present
Awash with light and real heart and substance.
personality, this bachelor
86 / Paint The Town Dave Court questions the
pad is the perfect stage
boundaries between private and public.
for pairing art with
design.
pg 67 92 / A Softer Touch Zetta Kanta uses wool and
fibre to create humble richness.
98 / Beyond Entertainment Toby Raine takes

his cues from the subgenres of the
entertainment industry.
In Conversation With… 106 / A New Frame of Mind Dr Leonie Ngahuia
Mansbridge uses iconography to tell
84 / Mandy Francis 104 / Peter Smets stories of belonging, colonisation and
identity.
90 / Maggie Stein 110 / Jaqueline Burgess
112 / Conversations In The Ether Margie
96 / Rob Walwyn 116 / Melinda Hunter
Delahunty Spencer translates her subjects
102 / Kate Lionis 118 / Yegana Jafarova into dreamlike interactions.
4 / ART EDIT + INTERIOR DESIGN

C O N T E N T S
137 / BUY IT
138 / Buyer’s Guide The first in a two-part series, Briony Downes
explains the industry lingo of designed objects.
140 / Desirable Objects Here are our top 10.
145 / Gallery A selection of original artworks to make yours now.
COURTESY: STUDIO HENRY WILSON

170 / Destination Art Explore Hamilton and Dune, Kangaroo
Islands’ enviable art-filled holiday homes.
178 / Gallery Panel Our panel of leading gallerists examines the

work of six outstanding artists.
185 / Showcase We take a closer look at a selection of standout

pg 140
artworks.
201 / STYLE IT
203 / Expert Eye Lauren Li, founder of Melbourne-based interior
architecture and design studio Sisällä, talks us through the
art of lighting artworks in domestic spaces.
206 / Design Council Our design experts share their tips on

styling six standout pieces.
212 / Art Mood Anna Delprat throws out the rule book to create
four unique looks that are artworks in themselves.
222 / Last Word We shine a spotlight on Arts Northern Rivers.

COURTESY: ARTS NORTHERN RIVERS
COURTESY: ARTICOLO
pg 222 pg 203
ART EDIT + INTERIOR DESIGN / 5

EDITOR SUBSCRIPTIONS DIRECTOR
Rose of Sharon Leake subscriptions@artedit.com.au Susan Borham
02 9550 0206
PUBLISHER artedit.com.au/subscribe EDITORIAL DIRECTOR
Siobhán Spratt Camilla Wagstaff
ADVERTISING ENQUIRIES
ART DIRECTOR sspratt@artedit.com.au
Justine Scott The Art Edit team stays at Ovolo Hotels.
DISTRIBUTION All of the artists presented in Art Edit
DIGITAL EDITOR Ovato Australia and New Zealand magazine have been selected by our
publishing and editorial teams. We don’t
Maddy Matheson accept unsolicited artist portfolios. Some
PRODUCED & PUBLISHED BY content in the magazine is sponsored.
SOCIAL MEDIA MANAGER ART EDITED
Reproduction in whole or in part is
Charlotte Middleton ABN 48 614 849 197 not permitted without the written
authorisation of the publisher. In the
reproduction of artworks all reasonable
EDITORIAL ASSISTANTS efforts have been made to trace
Felicia Cindyagatha copyright holders where appropriate.
Zeyneb Mohammed ISSN 2203-1308
C O N T E N T S
The Design Council

Brett Mickan has worked in design for
more than 20 years. Based in Sydney, he
is a DIA-registered designer specialising
in high end residential projects.
bmid.com.au Rose of Sharon Leake, Editor
Rosy holds a double degree in Fine Arts
and Arts from the University of New
Billy Kavellaris is the
South Wales – where she majored in
director of Kavellaris Urban
Ceramics and Journalism – and is a
Design (KUD), Melbourne.
practicing artist in her own right. She
kud.com.au
loves combining the practical aspects of
art with critical and academic writing.
Julia Green is founder of
Greenhouse Interiors, as well as
an interior stylist and writer.
greenhouseinteriors.com.au
The Gallery Panel

Siobhán Spratt, Publisher
Siobhán originally studied to be an
Anita Tótha is gallery manager artist herself, finding her niche when
at Sanderson Contemporary, working in the Sydney Eastern Suburbs
Auckland, New Zealand. gallery scene. She went on to work in
sanderson.co.nz galleries in London, USA and Australia,
developing high value private and
corporate collections. Siobhán holds
Kerry Armstrong is an artist and a Bachelor of Arts (Visual Arts) and
founder of Studio Gallery Group, a Diploma in Art Education from the
Sydney and Melbourne. University of Newcastle and a Master of
studiogallerymelbourne.com.au Arts Administration from COFA (now
UNSW Art and Design).
Patty Chehade is gallery director

of raxis ARTSPACE, Adelaide.
praxisartspace.com
Contributors
Scott Mitchelmore is the director Briony Downes, Erin Irwin, Elke Meitzel,
of Scott Joseph Gallery. Georgina Safe, Lauren Li, Penny Craswell,
scottjoseph.com.au Pilar Mitchell, Stephanie Vigilante.

L O V E I T
/ STAFF PICKS /
The Art Edit team is always on the hunt for new talent. Here is
a selection of artists who have recently caught our eye.
Delicate and endearing, the work of Mandy Francis

captures a brief moment as the bird rests after its
looping flight. A blend of sculpture and painting,
her practice is a beautiful balance between
the sophisticated and playful.
1 / Mandy Francis, Cuckoo. Papier-mâché, oil paint

and mixed media, 55 x 35 x 5cm. COURTESY: THE ARTIST
1
There is a quiet power in

Jessie Yi Xiao Chen’s work.
The subject’s direct gaze
reflects the artist’s sense of
cultural estrangement, yet the
striking pink is daringly bold.
4 / Jessie Yi Xiao Chen, The Singer. Acrylic on

canvas, 40.64 x 50.8cm. COURTESY: THE ARTIST
Satirical and quirky,

the ceramic tile works
of Bernie Winkels are
just the right amount
of naughty.
2 / Bernie Winkels, Nothing for

no reason in no order. Ceramic.
COURTESY: THE ARTIST
Dave Court’s playful

sculpture challenges
our perception of
space and logic.
3 / Dave Court, Loop Gesture 1.

Aerosol and synthetic polymer on
MDF, 76 x 110cm. 3
2 COURTESY: THE ARTIST

L O V E I T

4
L O V E I T
OBJECTHOOD / ARTISTS TO WATCH / BEST OF / PROJECT SHEETS / PROFILES
LIVING WITH ART / STUDIO VISITS / IN CONVERSATION WITH... / IN SERIES
The Huxleys, Melting Moments. Giclee archival print, 63 x 94cm. COURTESY: THE ARTISTS
11 2 / ART EDIT + INTERIOR DESIGN
L O V E I T
/ SPECIAL FEATURE /
D E L I N E AT I N G D E S I G N
Where once art meant paintings and design meant a chair, these narrow conceptions
are only the tip of the iceberg when it comes to the full breadth of contemporary
practice in both fields today. So what really is the difference between art and design?
Design expert Penny Craswell finds out.
In the Renaissance period, being an artist meant when it comes to objects, design is much more than
having a trade, with membership of a guild, a system a mass-produced product, and this conception is
of patronage through the church and the aristocracy, growing. Enter the designer-maker, an artisan who
and a small army of apprentices to do the grunt work. creates one-off or limited-edition functional design
In fact, back then design wasn’t considered a separate objects by hand, often sold direct to the customer or
field at all – even architecture was considered art. It through a gallery or shop. In Australia, there are plenty
wasn’t until the Industrial Revolution that design came of designer-makers creating functional pieces for the
to mean the design of commercial, mass-produced home – from furniture makers like Laura McCusker in
goods. “Prior to industrialisation, art and design Tasmania and Jun Kim in Sydney, to ceramicists, such
co-existed in the practices of many great creatives,” as Hayden Youlley in Sydney and Bridget Bodenham
says the National Gallery of Victoria’s Curator of in Victoria.
Contemporary Design and Architecture Simone Then there is another category of designer, the
LeAmon. “Design was coopted by the project conceptual designer who creates one-off or limited-
of industry and globalisation, and the delivery of edition pieces, sometimes also called functional art
standardised goods.” or design art. This designer may or may not make
This is the conception we have of design today – to the work themselves. Sydney-based designer Trent
mean things like chairs, tables and lamps, plus fashion Jansen describes this kind of work as his natural way
and jewellery. These are mass-produced products of working. “When I was starting out, I interned for
that we buy and use in everyday life. Then there’s Marcel Wanders who said it’s not good design unless
architecture, interior design, urban and landscape it can be produced in numbers,” says Trent. “This
design, a totally different category, which along with really governed my practice for a long time.” Now he
digital design, animation, user experience design and realises that making limited-edition and one-off works
others, have opened the field out even more. But, can still be design.

L O V E I T
Trent’s pieces are not made to a brief. They usually

begin with in-depth research, followed by a process
of experimentation that leads to the final work or
series. For example, Trent’s Shaker Family Home is a
beautifully handcrafted cabinet that can be unpacked
to create a table, chest, mirror and other parts. This
cabinet tells the story of the Shakers, a religion with a
strong focus on family and on crafting timber furniture
by hand, with physical labour acting as a type of
prayer. “There’s no focus on the consumer need in
my process. I could talk about it being form follows
narrative, rather than form follows function. The
function it’s serving is storytelling.”
For Trent, design and art are on a continuum, with
art practice at one end, commercial design at the
other and conceptual design somewhere in between.
So, what is it that separates conceptual design from
contemporary art? It’s the starting place. While
contemporary art starts with ideas and a blank slate,
conceptual design starts with a typology – a chair,
or a tea set or a table – and goes from there. The
functional part of the work, even when the work is not
very functional, gives the work its design flavour. “What
2
gets me excited about conceptual design more so than
conceptual art and definitely more than commercial
design is when you are designing conceptually, you’re
using the function as part of the storytelling,” says
Trent. “You start with all of this context and you
can use that to shape the work, to counter that, or
1 / Trent Jansen’s Ngumu
Janka Warnti (All Made from
juxtapose with something else, with a cheeky or ironic
Rubbish) high back chair in message that works against it.”
black. PHOTO: ROMELLA PEREIRA
For Simone, design and art are more similar
2 / Jacqueline St. Clair’s than people think. “Some people see art as cultural
ceramic stoneware lamp with
white satin glaze and ceramic production and design as commercial production. But
earthenware object with white they are both cultural production and commercial
satin glaze. PHOTO: PETER VAN
ALPHEN production,” she says. But the difference between the
3 / Trent Jansen and Johnny two is also vital. She says: “As a design curator I’m really
Nargoodah’s Side Table 1. A conscious of not recasting design as art. I say this with
Powerhouse Museum Hybrid
Commission. PHOTO: ZAN great conviction and intent, because design embraces
WIMBERLEY a conversation around how we shape the world.” While
4 / Pop High and Pop Low visual art is concerned with aesthetics and meaning,
chairs by Oure (Jun Kim).
design is still very much grounded in the world of
Solid American oak.
things – how they look and function. And while the
5 / Trent Jansen’s Shaker
Family Home. PHOTO: categories of the designer-maker and the conceptual
ROMELLO PEREIRA designer may bring design closer to art, the categories
3
COURTESY: THE ARTISTS remain, regardless of material or process.

L O V E I T
/ So, what is it that

separates conceptual design
from contemporary art?
It’s the starting place. /
ART EDIT + INTERIOR DESIGN / 1 54

L O V E I T

L O V E I T

L O V E I T
/ OBJECTHOOD /
How does a product go from concept to object?

I make things because they feel right. I mean it’s
impossible to know what people need but we try
to make things that are of high quality and have a
sculptural language. I make prototypes and send them
out to the public through our newsletter or Instagram,
or to our retailers. A big part of the process is seeing
how people react to it, so it’s kind of sustainable in that
sense. It’s not like we make 200 of something and then
cross our fingers and hope it sells.
Do you work with a team or solo?

There’s just two of us in the studio, but we work with
a local Sydney foundry which helps us develop ideas
and experiment with what is feasible and possible. We
outsource our stonework to a manufacturer in Portugal
but all the rest is made in Australia.
You describe your products as having feeling. Can

you explain how you put feeling into an object?
I think all good design is really trying to imbue a
sense of desirability in a product. Desirability I
believe is attained through connection and there is
something that connects us to the form and process
of working with quality materials such as solid bronze.
Metal casting is one of those materials that evokes
connection, it has a sense of gravity to it. You don’t
just chuck these things out, they last. Our products
also require a lot of hand finishing. The nature of sand
casting, which is what we do, means that every product
has slight variations depending on how hard you push
1 an object into the sand or at what temperature you
pour the molten bronze. And that’s the same with our
stone; obviously there’s no two pieces of marble that
are the same so they all have a certain randomness
HENRY WILSON to them and that I think is part of the beauty of these
natural materials, they require the artist’s hand.
Art Edit talks to product and furniture

Do you have a favourite piece from your repertoire?
designer Henry Wilson about timeless That’s a hard one. So many of my designs have helped
design, the value of quality materials and me resolve ideas and each has a story. The things that
I use all the time, the door hardware for example, I am
how art and design go hand in hand.
happy with how they are developing. These objects are
fulfilling to make because they are such an important
Tell us about yourself and your pathway into design. part in a home, they are the touchpoints we interact
Today I would call myself an industrial designer but with every single day.
I originally studied woodwork at ANU in Canberra. I
loved learning about woodwork but didn’t see a future Is there a difference between art and design?
in it so after five years I pivoted into industrial design. I It’s very hard to define. There is an inherent degree of
went to the Netherlands to study at Design Academy functionality in a design object, but I think these can
artedit.com.au Eindhoven where I started to work with a whole range have just as much poetry as an artistic object. In saying
W: store.henrywilson. of new materials and approaches. So I have quite a that I think you have to consider functionality in the
com.au
rigorous education in design which has allowed me to end, to ask ‘can I use this to do a task?’. That’s where
I: studiohenrywilson
start my own studio called Studio Henry Wilson. art and design differ.

L O V E I T
/ Can I use this to do a task? That’s where art and design differ. / HENRY WILSON
2 3
4 5
1 / Henry Wilson in his studio.
2 / The Thoronet Dish in green Guatemala marble, 32.5 x 25.5 x 5.5cm.
3 / AJ table with polished bronze A-joint.
4 / The Sheath Tealight Holders in brass. Available in 11 x 8.5 x 6.5cm, 10 x 7 x 6cm and 7 x 5 x 5cm.
5 / The Block Sconce in black travertine, 37.5 x 35 x 10.5cm.

L O V E I T
/ BETWEEN THE BINDINGS /
UTSUWA: JAPANESE OBJECTS

FOR EVERYDAY USE
Inside the studios of some of Japan’s top artisans making beautiful
functional wares for the practicalities of contemporary life.
Rose of Sharon Leake writes.
Brisbane-based sisters Kylie and Tiffany Johnson have

been travelling to Japan together and separately for
more than 15 years. Kylie, a ceramic artist, writer and
gallery owner, and Tiffany, a collector and book creator,
grew up in a house filled with handmade wares and
art from local makers. “[Our parents] taught us that
each piece, be it made of clay or wood, glass or cloth, 1 / Inside the ceramic studio
has a story that is worthy of attention,” the sisters say, of Keigo and Chiaki Sakata,
Kizugawa.
“and knowing that story makes life just a little more
COURTESY: KYLIE AND TIFFANY
beautiful.”
JOHNSON.
Utsuwa: Japanese objects for everyday use offers a
comprehensive look inside the private studios of some
of Japan’s contemporary artisans, artists and designers.
Divided into three sections – Makers, Galleries and
Markets – the hard-cover book is much more than a
traveller’s directory. Like the artisans they feature, the
sisters have taken the time to understand the craft
of the makers they present, from the history of their
studios to their choice of materials, processes and
aspirations as artists. This beautiful book breaks down
the barriers between art, design and craft by allowing
readers to slow down and appreciate the beauty
and value of artisan objects outside the realms of
commercial viability.
With the majority of images taken by Kylie and
Tiffany during their travels through Japan, the book
has a charmingly personal feel; it’s almost as if we are
inside the maker’s studios as they unravel hand-dyed
textiles for us to feel or place a ceramic teacup in our
palm to hold.
Concluding with an index of the studios, galleries
and markets presented, Utsuwa: Japanese objects for
everyday use will surely inspire some to take their own
journey through a country thriving with the spirit of
craftsmanship.
Utsuwa: Japanese objects for everyday use is
published by Thames & Hudson Australia.
artedit.com.au
W: thamesandhudson.com.au
I: thamesandhudsonau 1

L O V E I T
O N E S T O W A T C H
Outstanding artists to have on your radar right now.

L O V E I T
/ ONES TO WATCH /
Suzanna Vangelov, Fulcrum.

Canvas, distemper and
thread, 172 x 187cm.
COURTESY: THE ARTIST. PHOTO:
LUIS POWER SUZANNA VANGELOV
The work of Suzanna Vangelov is a meditation on tone, light and shadow allows her to subsequently
the possibilities and prescriptions of material. Her explore the dualities of strength and vulnerability;
unconventional use of traditional media such as presence and absence. A recent graduate of the
artedit.com.au
canvas transforms the practice of painting into a National Art School in Sydney, her practice has
W: suzannavangelov.
com much more experimental process. Eschewing the already caught the attention of aMBUSH Gallery,
E: connect@ use of a frame and leaving the edges of her works Waterloo, having been awarded its 2020 Gallery
suzannavangelov.com raw and exposed, Suzanna challenges our perception Painting Prize. Experimental yet highly sophisticated,
I: suzannavangelov
of a finished artwork. Exploring subtle variants of Suzanna’s work has our attention.

L O V E I T
/ ONES TO WATCH /
ANTONY DENSHAM
The human brain is wired to search extensive intellectual knowledge of
for patterns and meaning, seeking to the psychology of art, acquired over
make sense of an often-nonsensical seven years of study. After attaining a
world. Based in Tāmaki Makaurau degree in graphic design majoring in
Aotearoa (Auckland, New Zealand), illustration, Antony went on to earn
Antony Densham produces abstract a Post Graduate Diploma in Fine
works to both encourage and question Art at Elam School of Fine Arts at
this tendency. Through deliberate the University of Auckland. He has
mark making, Antony produces exhibited in New Zealand, Australia
enigmatic vistas for the viewer to and China, and has been a finalist in
explore, awash with colour and texture. the James Wallace Art Awards, the NZ
Stretches of rich paint are applied Painting and Printmaking Award, and
artedit.com.au
with great consideration, taking pains the Molly Morpeth Canaday Award.
W: antonydensham.
to maintain evidence of the artist’s As a recent addition to the stable of com
Antony Densham. hand. These works slide between the Kathryn Markel Fine Arts in New York, E: antonydensham@
C12.2020. Acrylic on
known and unknown, revealing and Antony is certainly an artist to watch in gmail.com
canvas, 100 x 75cm.
I: antony_densham
COURTESY: THE ARTIST concealing, and evidence the artist’s years to come.

L O V E I T
/ ONES TO WATCH /
Matthew McAlpine, In
Strains. Acrylic paint, sand,
fluorescent pigment, binder
and cast acrylic paint on
canvas, 61 x 61cm.
MATTHEW McALPINE
Alongside a global pandemic and increasing political have come to represent Australia as a nation – for
unrest, the world is also facing an ongoing climate better or for worse – Matthew conjures a bleak vista
crisis, the consequences of which were dramatically of the country as he sees it. The Australian flag’s red
highlighted by Australia’s 2019-20 bushfires. Taking and blue are swallowed up by ashes, lines from the
heed of this dire warning, Perth-based artist Matthew national anthem are altered and his use of fluorescent
McAlpine has created an evocative call to action pigments serves as a subtle reference to the fossil fuel
with his series Beneath the radiant Southern Cross. industry. The effectiveness of these haunting images
artedit.com.au
The works are a continuation of his engagement with is evidenced in the increasing recognition of his work,
W: matthewmcalpine.
issues of colonial legacies and nationalism, reflecting having recently been awarded a studio residency at com
on how colonial systems have contributed to the Edith Cowan University, Western Australia. Matthew E: contact@
rapid degradation of Australia’s fragile environment. has also been a finalist in the Churchie Emerging Art matthewmcalpine.com
I: matthewmcalpine
By appropriating iconographic and literary motifs that Prize and the Fremantle Print Award.

L O V E I T
/ ONES TO WATCH /
ALANNA LORENZON
Creating meticulously rendered interpretations of environments is palpable within her works, as seen in Alanna Lorenzon, Depth
Perception. Graphite pencil
far-flung landscapes, Naarm/Melbourne-based artist the care she takes to recreate every crack and crevice. on paper, 100 x 65cm.
Alanna Lorenzon is making a name for herself by This time-intensive drawing process serves to mimic COURTESY: THE ARTIST
bringing the viewer face to face with the sublime the sense of timelessness which pervades these far-
wonder of the natural world. Having undertaken flung places. Alanna’s works have been exhibited widely
residencies in the Finnish countryside (Arteles Creative both in Australia and overseas, and have earned her an
Center, 2018), the Tarkine Wilderness in Tasmania ever-growing list of awards and accolades. Alanna has
artedit.com.au
(Tarkine in Motion for the Bob Brown Foundation, received the Australia Council ArtStart Grant and the
W: alannalorenzon.
2017), and the fiery wilds of Iceland (SÍM residency, Janet Holmes à Court Artist Grant, as well as being a com
Reykjavik, 2013), Alanna has roamed far and wide finalist in the Paul Guest Drawing Prize presented at E: alannalorenzon@
to seek a connection with the extraordinary and the Bendigo Art Gallery in 2018. gmail.com
I: everlastingwaterfall
the extreme. Her emotional connection to these

L O V E I T
/ ONES TO WATCH /
SIERRA ROBERTS
New Zealand-based artist Sierra it, Sierra’s focus has shifted to Sierra Roberts, Worthy
of Love. Acrylic on
Roberts centres her practice explore how perceptions of scale
panel, 95 x 125cm.
around perceptions of beauty. and composition can render new COURTESY: THE ARTIST
Celebrating our differences and and unexpected reactions. Often
finding ways to establish aspects of portraying her subjects with glassy
similarity, Sierra firmly believes that eyes, her portraits reveal a sensitivity
we are all connected. From the to the emotions of the people she
temples of Nepal and the beauty captures in paint. Sierra’s works
of African culture, to her personal are exhibited both nationally and
travels to Mexico and Alaska, Sierra internationally and have earned her
artedit.com.au
illustrates her appreciation of and a finalist position in the prestigious
W: sierrarobertsart.
com fascination for foreign places and Biennial Adam’s Portrait Award. With
E: hello@sierraroberts cultures using her highly technical her solo show in July last year selling
art.com skill. As a result of Covid-19 and out, Sierra is an artist we will be
I: sierrapaint
the isolation it brought with keeping a close eye on.

L O V E I T
/ ONES TO WATCH /
SHANTI GELMI
Distilling the vast and intricate nature of human strikingly resilient, capable of moving with the current. Shanti Gelmi, Flay.
Ink on paper, 55 x 75cm.
behaviour, Shanti Gelmi’s practice is intellectually However, they also conjure associations with the act
and aesthetically complex. A recent graduate of Edith of binding or restraining, correlating with Shanti’s
Cowan University, Shanti has achieved significant experience of cultural expectations. Through the
acclaim for her multidisciplinary approach, unpicking mediums of drawing and sculpture, Shanti constructs
the fabric of societal structures and giving form to the nets that undulate in space, charting – as she sees
intangible elements that comprise how we interact it – the topography of human nature in structures
with one another. She draws from her own experiences that simultaneously evoke large, rolling landscapes
of Australian culture, particularly the pressure she and the more intimate contours of the human form.
faced in her youth to deny her own heritage in order With a forthcoming residency at the Perth Institute of
to conform and obtain security and acceptance. By Contemporary Arts (PICA) alongside her inclusion in
creating her own visual language, she endeavours to PICA’s National Graduate Show, and further exhibitions artedit.com.au
represent biological, environmental, cultural, societal including Future Proof at Megalo Print Studio in E: shantigelmi@gmail.
and emotional bonds of experience, most recently Canberra, Shanti’s work is making waves. com
I: shanti_gelmi
in the form of nets. Nets are innately permeable but

L O V E I T
/ ARTIST PROFILE /
A S U G A R - C OAT E D W O R L D
How should a woman behave? What should she wear, With equal parts ferocity, sensitivity
what should she do, how should she speak, and when?
These questions have plagued Kawita Vatanajyankur and humour, Kawita Vatanajyankur
her entire life. As a Thai-Australian woman growing up
uses her own body to question the
between the two countries, Kawita admits she felt like
an alien to both cultures. While encouraged to speak systems we so diligently abide by.
up in class as a student at Westbourne Grammar
School in Truganina, Victoria, her return to Thailand Rose of Sharon Leake writes.
after 11 years in Australia was met with judgement.
“In Thailand,” she tells me, “my personal values were
re-constructed by society’s perception of what women
‘should be’ and how they ‘shall behave’. I learnt that
my opinions and expressions were viewed as stubborn
and rebellious. It was a truly exhausting period growing
again as an accepted woman in Thailand.”
artedit.com.au
Kawita Vatanajyankur is represented by Antidote
Projects, Australia and Nova Contemporary,
Thailand.
W: kawitav.com
I: kawitavv 1 / Artist Kawita Vatanajyankur.
PHOTO: ATITTA VATANAJYANKUR

L O V E I T

L O V E I T
2 / Kawita Vatanajyankur,
Plough (Plow), 2020. 4K
video still.
My Mother and I, 2021. 4K
Video still.
Sponge, 2020. 4K video still.
COURTESY: THE ARTIST, NOVA

CONTEMPORARY, BANGKOK AND
2
ANTIDOTE PROJECTS, AUSTRALIA

L O V E I T
Kawita’s art practice became an outlet to explore

and critique the patriarchal society she resided in.
Contorting her body into physically demanding
positions, Kawita’s performance-based practice began
with a focus on the roles and values of women in
society, specifically the domestication of a woman’s
body and mind. Early series titled Tools (2012-14)
and Work Series (2015-17) looked at systems of
gender-based control where the physical and mental
states of women are objectified and sculpted into a
mould defined by Thai society. In these works her
body becomes a vacuum cleaner, a set of scales or
a carrying pole; her head performs as a toilet scrub
or a dish sponge; and her mouth contorts into an
ice shaver or an egg holder. More recent series such
as Performing Textiles (2018 -19), shown at Antidote
Projects which represents Kawita in Australia, has seen
the artist expand these avenues of thought, highlighting
the discrimination, exploitation and violence towards
lower-class Thai workers in the textile and agriculture
industries. For this she distorted her body into a
spinning wheel, a knitting shuttle and a dye implement.
“[These works] are focussed on viewing the modern
system of capitalism, a system which values profits
rather than human beings,” explains Kawita. “My
research experience and field trips only highlight
further the failed structure of the Thai system.”
While grounded in rich conceptual frameworks,
Kawita’s practice is fervently driven by the humanness
of her subjects, the humility of her materials and,
4
above all, her family.

L O V E I T
The production of each and every work is a family The clinch point of Kawita’s work lies not in its highly 5 / Kawita Vatanajyankur,
Knit, 2019. Documentation
affair: her mother is a director of her work; her brother aestheticised staging or its precise documentation,
of live performance, Ultra
is her videographer; and her friends are curators and but rather in the physicality of her process and use HD video.
research assistants. Her studio becomes wherever of her own body. When I ask her why she uses her 6 / Kawita Vatanajyankur,
her subject is: under the scorching sun of industrial own body, she tells me that she wants to feel what it’s The Toilet, 2020.
4K video still.
agriculture fields; behind the all-female textile factory like to be treated as a machine, to transport herself
doors; or within the rescue homes of victims of human into the lived realities of the factory and field workers CONTEMPORARY, BANGKOK AND
trafficking. While staged within brightly lit, idealised and lives. “The process of transforming myself into a tool ANTIDOTE PROJECTS, AUSTRALIA
almost fetishized scenes, the voices of her subjects, and becoming a machine,” she says, “is putting myself
friends and family pierce through their candy-coloured within a meditative stage, to take the mind out of the
facades to bring their realities to attention. Yet there body. I gained my full understanding of this when
remains a sensitivity within Kawita’s treatment of I performed Knit live with a limited timeline of 25
these confronting subjects. “People don’t like to feel minutes to knit the whole fabric at the Culture Summit
offended about their belief systems, behaviours or the in Abu Dhabi. I found my whole body trapped within
fact that they have been programmed and controlled my own art piece; the red yarns were strapped around
since birth by the modern industrialised system my eyes and strangled my neck. I could not see, could
of capitalism,” she says. “The candy-colours and hardly breathe and the corners of my mouth started
humorous actions make them feel comfortable, they to bleed. At that very moment, I realized the true
might even laugh, until they realise that after tasting the understanding of what being treated as machine is like,
sugar, the poisoned ugly truth surfaces.” even if it was only a short glimpse.”

L O V E I T

L O V E I T
/ I learnt that my opinions and expressions

were viewed as stubborn and rebellious. It was
a truly exhausting period growing again as an
accepted woman in Thailand. / KAWITA VATANAJYANKUR

L O V E I T
The Spade, 2020. Video still.
The Scale 2, 2015. Video still.
Carrier II, 2017. Digital print.

CONTEMPORARY, BANGKOK AND
8
ANTIDOTE PROJECTS, AUSTRALIA
Kawita’s most recent series, Field Work 2020,

sees her practice shift from speaking about gender
discrimination and social class issues to the capitalist
system as a whole.
With her great grandfather as president of the
Supreme Court of Thailand, grandfather as vice
president and aunt as an attorney specialising in
human trafficking, labour exploitation and domestic
violence, Kawita grew up curious about the system of
law and its role as a justice-maker and peacekeeper.
“The more I listened to their cases, the more I
questioned the structure of the system and why
violence such as human trafficking, child trafficking
and labour exploitation in the form of slavery are still
performed, especially in my country,” she says. “So I
began a journey, searching for the ugly truth behind
this reality by going on field trips and interviewing
the workers directly about the problems and how we
might fix them.”
While one might feel that the issues Kawita
explores are too deeply ingrained in the systems of
socio-political power at play to ever be reverted, the
artist takes a refreshingly optimistic view.
“I am hoping for my work to change the individual
mindsets of people. It is a way to change the
trend and this new trend will change the culture.
Throughout history, the new trends, new mindsets
and new cultures have been re-writing and re-
shaping the law towards justice, equality and equity.
And I hope that my work will have an ability to do
that.”
Currently in the early stages of a new series
using virtual reality, Kawita’s practice continues to
pierce through the visually saturated and politically
fatigued world we live in to ask new questions of the
9
structures we comfortably abide by.

L O V E I T

L O V E I T
/ ARTIST PROFILE /
L I V I N G T O PA I N T;
PA I N T I N G T O L I V E
Manyjilyjarra artist Doreen Chapman’s bright and spirited paintings attest to
a life lived and observed richly. Charlotte Middleton writes.
The telling of stories is widely recognised as being of natural curiosity in the work of other artists who
fundamental importance to Aboriginal culture. What, surround her but maintains a relentless rhythm and
then, if a person has no means of hearing such stories, work ethic of her own.
or indeed of speaking them? “Doreen is extremely friendly, cheeky, helpful around
Born in 1971 in the tiny Indigenous community the studio, and loves working with the team here,” says artedit.com.au
of Jigalong in central Western Australia, Doreen Faraday Boydell, Arts Development Coordinator at W: spinifexhillstudio.
Chapman has spent her life moving between Western Spinifex Hill Studio. “She often asks us to print images com.au; koskela.
Desert communities in the artistically fertile Pilbara for her to reference like a mood board – animals, com.au
I: spinifexhillartists;
region. Painting – unsurprisingly – became a crucial plants and flowers, and other objects that you might
koskela_
medium of communication and storytelling for the see around town like helicopters and cars.”
profoundly deaf and non-verbal Manyjilyjarra woman
early in life. “No fishing, no hunting, no car,” recalls her
mother Maywokka May Chapman of her daughter’s
artistic beginnings. “Painting, painting every day.”
As an adult, Doreen has been primarily based in
Warralong – a town 120km south-east of Port Hedland
on the coast of WA. Beginning her professional artistic
career with Martumili Artists in 2009, she banded
together with other local women to create a large
collaborative artwork to raise funds for the community.
Doreen later joined the Spinifex Hill Studio, which, as
Port Hedland’s only Aboriginal art collective, has grown
from humble beginnings at the local Aboriginal church,
to in recent years becoming one of the nation’s most
dynamic indigenous art centres.
Spinifex Hill Studio is unique in Australia as a
suburban-based art centre representing Aboriginal
artists from numerous cultural backgrounds. From
Monday to Friday, the studio opens to facilitate
the practice of around twenty artists daily. With no
dominant house style, the Studio supports an eclectic
range of art practices in recognition of the diversity
of Indigenous experience, with practices like Doreen’s
showing significant evolution over the years.
2
Painting alongside her mother, Doreen shows a

L O V E I T

L O V E I T
Brimming with pastel colour and character, Doreen

works to a generous scale. Using the superior powers
of visual observation that you might expect of a person
without hearing and speech, she has developed a
distinctly loose and playful figurative style.
These days, Doreen keeps up a busy exhibition
schedule, with work included in several group shows
per year, as well as occasional solo exhibitions. Since
2015, her art has been shown across WA, Darwin,
Melbourne, regional Victoria and NSW, and even as
far as the US. Doreen has also taken home a number
of awards, including the Cossack Art Prize in three
consecutive years (2015-2017), prizes at the Hedland
Art Awards two years in a row (2016, 2017), and Highly
Commended in the Perth Royal Art Prize in 2019.
June 2021 will see Koskela Gallery in Sydney mount
Doreen’s latest solo exhibition. “We began stocking
Doreen’s lovely works within our Koskela Gallery in
2019,” says Zoe Sims, a proud Wiradjuri woman and
the gallery’s Impact & Sustainability Coordinator. “We
have wanted to show Spinifex Hill Studio work in our
gallery for quite a while. The stars aligned when the
Spinifex team reached out with the idea of a vibrant
and charismatic solo show by Doreen and we are
5
thrilled to present this series.”

L O V E I T
1 / Doreen Chapman,
Untitled. Acrylic on canvas,
101.5 x 71cm.
2 / Artist Doreen Chapman

at Spinifex Hill Studio.
PHOTO: BOBBI LOCKYER
3 / Doreen Chapman,
122 x 101.5cm.
4 / Doreen Chapman,
91.5 x 122cm.
5 / Doreen Chapman,
91.5 x 91.5cm.
6 / Doreen Chapman,
76 x 76cm.
7 / Doreen Chapman,
71 x 101.5cm.
8 / Doreen Chapman,
Untitled (Maywokka
Chapman). Acrylic on
canvas, 101.5 x 91.5cm.
COURTESY: THE ARTIST AND

6
SPINIFEX HILL STUDIO.

L O V E I T

Scottie Marsh, “Black Native Iron Bouquet”, Acrylic, Aerosol, Enamel on Canvas, 127cm x 112cm
Discover All Our Artists Online at Scott Joseph Gallery

www.scottjoseph.com.au
scott@scottjoseph.com.au
L O V E I T
B E S T O F
N E O N A R T
Art Edit’s selection of standout artists lighting the way with neon.

L O V E I T
1 2
/ BEST OF NEON /
1 / Trish Campbell, Delta

Body. LED, acrylic and gel,
TRISH CAMPBELL
163 x 8 x 8cm.
2 / Trish Campbell, Alpha, New Zealand-based artist Trish Campbell has been is about what feels right.” This sense of intuition and
Beta Gamma Series (9 of experimenting with colour since the very beginning freedom of expression is palpable in her finished works.
24). LED, acrylic and gel,
163 x 8 x 8cm. of her practice, fusing and commingling neon hues to Their strong colours invoke feelings of joy and delight,
create works that evoke a deep emotional response bringing a sense drama, usually only found in the white
3 / Trish Campbell, Fantasy
Lights. LED, acrylic and gel, within the viewer. “I was being driven by the feeling cube, into the home of the viewer.
163 x 8 x 8cm.
these materials were creating within me,” she says.
4 / Trish Campbell, “I unknowingly created something to nourish myself,
Acropolis. LED, acrylic and
gel, outdoor installation of but have found since, many others feel the same.
seven 243 x 13 x 13cm in They are a tonic and a mood enhancer as well as
a 300cm pit. PHOTO: ANNA
JAMIESON. an artwork.” Drawing from the works of the Light
COURTESY: THE ARTIST and Space Artists movement from the 1960s, she
has worked to transpose these grand-scale works
of light into something for domestic settings. Using
LEDs, gel and acrylic, she fills boxes with light and
colour, combining them in harmonious or contrasting
artedit.com.au compositions according to her instincts until they
W: trishcampbell.nz comprise a transportive light sculpture. She tends
E: hello@ not to work towards a pre-determined design. “When
trishcampbell.nz I start out making my art,” she explains, “it is never
I: trish.campbell 3
about what I wish to convey, because I don’t know. It

L O V E I T

L O V E I T
/ BEST OF NEON /
Liz Payne, Flowers, Stripes &

Keepsakes. Paint with hand
LIZ PAYNE
embroidery and beading
on cotton, framed in neon
The work of Sydney-based artist Liz Payne packs a ways, and Liz works through a painstaking process to
Perspex, 24.5 x 30.5cm.
visual punch, blazing bright with a dizzying array of bring these effects to life using painting, beading and
colours and pattern. “Working with neon is like using embroidery. Some of her works take months, even
the epitome of colour, you can’t get any brighter,” years to complete, as she follows her instincts and lets
says Liz. “Using neon provides that level of colour the colours speak to her and one another, until the
and intensity I am always striving for in my work.” completed piece achieves a life of its own. High octane
Her art practice follows no rules, using whatever pinks, sunny yellows and shining greens vibrate against
materials inspire her – be they paint, thread, wool, one another, their textures and shapes making them
velvet or sequins – to thoroughly interrogate the move across the image. Liz is rewriting the stereotypes
artedit.com.au
relationships between colours and their effect on the of embroidery and craft art, and each work is imbued
W: www.lizlpayne.com viewer. Colours can alter moods, trigger memories, with an overwhelming sense of joy that reflects the
I: lizlpayne
and interact with each other in bold and surprising artist’s passion for her practice.

L O V E I T
/ BEST OF NEON /
CORRIE FURNER
Corrie Furner, This Is Not A “My true passion is working with light”, effuses artist tradition of the 16th century Dutch and Flemish
Still Life. Neon, 60 x 100cm.
Corrie Furner, “there is something that just envelops Masters, the genre of the still life aims to appreciate
the space and I can’t help but smile and feel soothed and immortalise everyday objects. Corrie’s still life
to my core.” A multimedia artist who has exhibited sits within the wilderness of the Blue Mountains,
across Australia, Corrie’s work invites her audience where nature grows and changes, thus making her
to assess and reassess objects and places through work a comment about the constant evolution of
the transformative facilities of light. Having used a existence. However, her use of neon gives the work a
artedit.com.au vast array of lighting systems, from domestic lamps to melancholic undertone, reminding us of the effects
E: corriefurner@ industrial fluorescents, her recent works have departed of industrialisation and consumerism. If, as Giorgio
gmail.com from found objects and into manufactured neon. Morandi stated in the early 20th century, still lifes are
W: corriefurner.com This is particularly evocative in the context of her a reflection of who we are, what does a still life formed
I: corriefurner
neon installation work This Is Not A Still Life. In the of neon convey about us?

L O V E I T
1 / Chelsea Chivers,
Madonna Central Core
(Pink). NeonFlex, vinyl and
nails, approx. 170 x 148cm.
2 / Chelsea Chivers, Untitled

(A Study in Matrilineal
Collaboration for Doris).
Electroluminescent wire and
MDF board, 120 x 90cm.
3 / Chelsea Chivers,
Madonna Central Core
(Pink). NeonFlex, vinyl and
nails, approx. 170 x 148cm.
1
/ BEST OF NEON /
CHELSEA CHIVERS
With her mind set on undermining the calcified norms beyond the walls of the museum, neon also brings to
of traditional subjects and media, Chelsea Chivers mind the blinking signs of many sleazy establishments.
produces works that are a dazzling collision between These conflicting connotations bring new layers to
convention and innovation. Chelsea’s work explores time-honoured iconographic codes, updating their
the expectations placed upon women as a result of the associations with contemporary expectations. Chelsea
standards set by the Western canon of Catholicism, also re-examines the medium of embroidery. By
artedit.com.au rupturing boundaries using candy-coloured neon. A transforming needlework designs made by women
W: chelseachivers. number of her works take aim at the iconic silhouette in her family into large scale works made with
com of the Madonna, reimagining core Christian imagery electroluminescent wire, she catapults them into a new
E: chelseachiversart@ of the perfect woman using the modern medium of context. By using neon and light, Chelsea’s practice
gmail.com NeonFlex and embracing the grungy undertones that provides a timely reconsideration of femininity and
I: chelseachivers_ the medium brings. In the art world, neon conjures commercialisation of the female form in the modern
artist
associations of Minimalism and Modernism, but world.

L O V E I T

L O V E I T
/ BEST OF NEON /
PIP & POP

Wondrous lands of food and plenty abound the researches her subjects beforehand, exploring the 1 / Pip & Pop, Where there
is a flower there must be
works of Tanya Schultz, who goes by the pseudonym various cosmologies popular in the location or country a butterfly so the flower.
Pip & Pop. Referencing myths, legends and fairy in which she is creating her work. She has exhibited Mixed media.
tales describing paradisical geographies of excess to across the globe, including Japan, Korea, Taiwan, 2 / Pip & Pop, Cosmic
delight or to caution, the artist uses sugar dyed a Indonesia, Hong Kong, Singapore, the Netherlands, Cave. Mixed media.
myriad of pastel and neon colours alongside glitter, Belgium, Germany, the UK, the USA, Mexico, New COURTESY: THE ARTIST
candy, and delicately constructed craft objects to Zealand, and the UAE, and has worked with companies
create joyous and immersive installations. Often including Hermès, Mecca Cosmetica, Adobe, Santa
occupying vast interior spaces, these works absorb Monica Pier, and Romance Was Born. Her psychedelic
us into a neon wonderland, filled with tiny details to dreamscapes are currently on show at Meow Wolf in
delight and inspire. “I hope the work teeters on the Santa Fe, New Mexico, and the US, and her upcoming
edge between sweetness and dizzying excess”, says projects include installations at the Burlington City Arts
Tanya, who embraces the ominous, often gluttonous, in Vermont and the Kew Gardens in London, as well as
undercurrents present in fairy tales. Though Tanya’s some secret collaborations which are currently in the
high-key colours inspire feelings of gleeful euphoria, works. Her works are transitory and ephemeral, never
they also draw parallels with the promise and allure staying in one place for long. These imagined utopias
artedit.com.au
of the commercial world, with its eye-catching are chanced upon and enjoyed, and then impossible to
packaging and flashy advertisements concealing the locate again, much like the abundant paradises of the W: pipandpop.com.au
I: pipnpop
depths of capitalist excess beneath. Tanya exhaustively tales she depicts.

L O V E I T

L O V E I T
/ BEST OF NEON /
Mitchel Brannan, Seat of

Bliss/Seat of Desolation.
MITCHEL BRANNAN
Acrylic and mixed media on
canvas, 122 x 122cm.
The work of Melbourne-based artist Mitchel Brannan to push the limitations of paint, using a variety of
COURTESY: THE ARTIST is busy, haphazard and bold. Among his gestural mark methods including washing, scribbling and tracing
making are nestled precise forms, sharp lines and pops projected images onto his canvas. Influenced by the
of neon-like paint. “I am often inspired by eclectic visual qualities of diagrams and charts, his works take
elements I see in other painters’ work,” Mitchel on an almost uncomfortable busyness, yet his clever
says. “It seemed clear to me that one painting I was use of space together with punchy linear strips of neon
artedit.com.au making at that time needed a bold, linear element, paint give us discernible layers to interrogate. There is
W: mitchelbrannan. like a neon bulb, so I approximated the look of a neon a sense of lightness to Mitchel’s chaos. “I’m not trying
com strip through that work using paint. After that piece, to convey anything,” he says, “just to make work that
E: mitchelbrannan@ this aesthetic has crept into more works, in either is sincere and feels new. If I make a painting that I feel
gmail.com a very obvious or subtle way.” As an art teacher in like I have seen before (and I see a lot of paintings)
I: mitchelbrannan
a secondary school, Mitchel is continuously trying then it isn’t finished, or needs to be reimagined.”

L O V E I T
/ PROJECT SHEET /
SINK IN
Layering smart design with a

punchy art collection, Nick
Tobias welcomes the outside in.
Maddy Matheson writes.

L O V E I T
On a tiered block, behind two guardian Norfolk pines

and a heritage-listed sandstone wall, sits Latimer
House. The first major build for a family of four with a
burgeoning art collection, the possibilities were endless
under the vision of principal architect Nick Tobias and
the Tobias Partners team.
The process started with a functional and
experiential brief from the client. In the completed
design, open-plan takes on new meaning, as doors
slide wide open and almost disappear, effortlessly
blurring the boundaries between inside and outside.
Working in layers and levels, landscape architect
Myles Baldwin placed plants in and around the
building to bring greenery in from every outdoor vista.
And let’s not forget about the art – a punchy collection
of work from national and international artists. In
2 the courtyard sits an electric yellow James Angus
sculpture Castellated I-beam Knot (Yellow), nestled
in a curved feature wall. The smooth curves of this
space guide light in through to the hallway, while the
bright yellow serves as a welcome pop of colour to the
otherwise serene surroundings.
For Nick, styling art into the home is an integral part
of the design process. Considered artwork choices
and their curation into the home is Nick’s personal
speciality. Sitting on the board of directors at the
Museum of Contemporary Art, he is no stranger to the
Australian art world. For this project he took the clients
to a preview of Sydney Contemporary, an annual
commercial art fair at the huge Carriageworks venue in
Sydney’s inner city suburb of Eveleigh, giving them the
opportunity to select pieces for their home from the
hundreds on show there all under one roof.
Perfectly positioned behind the signature Tobias
Partners’ custom-built front door and door handle,
hangs leading contemporary artist Dale Frank’s
Holiday Package, a zesty zing of colours to welcome
visitors. In the living room, earthy, forest green Gubi
Bat armchairs from Cult and a soft grey Minotti lounge
from Dedece contrasts with a slashed red diptych
by Aida Tomescu, bringing an electric energy to the
space. On the Knoll grasshopper coffee table from
Dedece sits a shiny, sinister golden skull sculpture by
Patricia Piccinini. There is a pattern to the choice of
artworks throughout the house. Vibrancy and gusto
are celebrated, yet are balanced by a sense of serenity
pervading the sunken, light-filled sanctuary Tobias
Partners has created.
In the dining room, a recessed wall frames a mural
by Elizabeth Kunoth Kngwarray, a central piece to
the collection. Over the Molloy dining table by Nau,
hangs brass Gubi pendant lights, while a custom-made
rug by Armadillo & Co adds tactility and warmth to the
space.
Moving through to the bedroom, John Wolseley’s
watercolour continues the crossover between outdoor
and indoor, while a Sam Harrison bronze torso soaks
up rays of light that drench this intimate space.
3
Nick likens his role in the project to that of the

L O V E I T
conductor of an orchestra. From the foundations to / Nick likens his role in the project to that
the finishing details, each project is one enormous
collaboration. By creating a sunken sanctuary in the of the conductor of an orchestra. From the
Latimer House, the art collection is given the chance
to sing. Layering the serenity of the home’s design foundations to the finishing details, each
elements with a high impact art collection, the space
comes together in a crescendo of perfect harmony. project is one enormous collaboration. /
1 / A Dale Frank work welcomes

visitors inside.
2 / The exterior of the Latimer House.
3 / James Angus’ steel sculpture

Castellated I-beam Knot (Yellow) sits
at the front entrance.
4 / John Wolseley’s watercolour hangs

to the left of Sam Harrison’s bronze
torso sculpture. Lobmeyr rose glass
and pitcher from Ondene sits beside
the bed, dressed in Society Limonta
bed linen from Ondene.
5 / On the coffe table sits, Vero Cena

Collection marble bowls from Dedece,
Lee Broom glassware from Space
Furniture and a golden skull sculpture
by Patricia Piccinini. Aida Tomescu’s
diptych hangs above the couch.
6 / My Grandmothers Country by
Elizabeth Kunoth Kngwarray triumphs
in the dining room. The Salina E15
stoneware series from Living Edge sits
on the table, with Cassina Silvan glass
vases on the bench recess.
COURTESY: TOBIAS PARTNERS. PHOTOS:

5
JUSTIN ALEXANDER

L O V E I T
/ PROJECT SHEET /
ELEMENTS
OF ALCHEMY
L O V E I T
With a true fusion of art and design, this

coastal home was built around an exclusively
6
Australian art collection. Erin Irwin writes.

Meron Somers
W: meronsomersartist.com I: meronsomersartist
CALYPSO. Acrylic on canvas, size: 81cm x 108cm. $2,100 M: 0411 424 225 F: meronsomersartist
L O V E I T
/ PROJECT SHEET /
CASTLE IN THE SKY

With a treasure trove of Australian art and historical pieces, this warehouse gallery-cum-family home in
Melbourne’s South Yarra reaches new heights. Pilar Mitchell writes.
L O V E I T
/ The artwork is colourful, so

our work was more subdued,
unifying and minimalist so as
not to detract from the beauty
of the artworks. / OLIVER DU PUY
When a dwelling is a gallery as much as it is a house,

the challenge lies in balancing the warmth of home
with the stillness and space required for an art
collection. Architect Oliver du Puy’s solution was
space and colour planning at M Penthouse, a dramatic
warehouse in Melbourne’s South Yarra.
“It was all about flexibility, spatial planning and a
soft-hued palette that made the artwork the feature,”
2 Oliver tells me. “The front rooms are public rooms,
where the majority of the art is located, and the
functional spaces like the kitchen, pantry, laundry and
powder room are centrally located, with the bedrooms
in the rear.”
The public space and living space are designed as
two distinct areas whose boundaries float within the
original walls of the warehouse. “They’re separate from
the original structure, and the warehouse ceiling is
unobstructed,” explains Oliver.
The concrete kitchen island which was poured
in-situ is a sculptural element that serves as a central
point from which the rest of the home radiates. An
eagle sculpture by Bruce Armstrong presides over the
threshold to this part of the home, inviting visitors in.
Oliver worked with the client’s extensive art
collection, ensuring the design elements didn’t
compete with works such as the energetic, vibrantly-
coloured figures depicted in Sidney Nolan’s Ned Kelly
series paintings.
“It was important to work around the collection and
create wall space for hanging. Often the artwork is
colourful, so our work was more subdued, unifying and
minimalist so as not to detract from the beauty of the
3
artworks.”

L O V E I T

L O V E I T

L O V E I T

L O V E I T
/ The collection mixes treasures of Australian art

with family heirlooms and historical pieces. /
The colour palette is restrained, neutral and calming. 1 / Flanking the front door
are works by David Rankin
Wire-brushed French oak, stained in black is featured (left) and Tim Storrier
across the custom joinery, while the floors are pale (right).
oak timber. The walls and ceilings are painted white, 2 / Original brickwork
lines the exterior of the
while the steel floor-to-ceiling windows surrounding the
warehouse apartment.
plant-filled conservatory are black-edged.
3 / The penthouse
Artworks such as Tim Storrier’s The Runner with appartment houses
its iconic ember-outlined silhouette are bright against it’s own plant-filled
conservatory.
this neutral palette. Opposite Storrier’s piece, on the
4 / John Perceval’s portrait
other side of the four-metre high salvaged hardwood of Albert Tucker hangs in
front door is an abstract work by David Rankin which the bedroom. Bespoke raw
fiberglass chair and side
interacts playfully with Storrier’s energetic piece. table by Faye Toogood.
The collection mixes treasures of Australian art
5 / Sidney Nolan’s
with family heirlooms and historical pieces. A pair Dreamtime #31 and
of warriors glazed with red and black from the Ming Dreamtime #52 depicting
Ned Kelly hang in the
Dynasty adorn the sideboard, while an elegant living room.
turquoise and red 17th century Bonaparte cabinet 6 / Steel floor-to-ceiling
breaks up the minimalist lines of the other furniture windows bring the outside
in and add contrast to
pieces. The Irish elm refectory table in the library the nautal colour palette.
comes from a Benedictine monastery in Ireland. Paintings by John Perceval
and Arthur Boyd.
Just as the art collection is the unique centrepiece
of this tranquil home, so too is the historical warehouse 7 / Tim Storrier’s painting
The Runner hangs in the
in its suburb, a rarity amongst the Victorian houses. living area.
The building peeks above the treetops, its many COURTESY: OLIVER DU PUY.
windows framing a view of the Botanic Gardens and PHOTOS: TOM ROSS.
7
the city beyond, which are artworks in themselves.

L O V E I T

MARK
MITCHELL
GALLERY AND STUDIO
PHOTO CREDIT: HARU SAMASHIMA
6 Retreat Rd, Haruru, Bay of Islands, New Zealand
W: markmitchell-ceramic-artist.co.nz E: markmitchellceramics@gmail.com
I: markmitchellceramics P: +64 220 382 112
L O V E I T
/ PROJECT SHEET /
LABOUR OF LOVE
This high-end bachelor
pad awash with light and
personality is the perfect
stage for pairing art with
design. Erin Irwin writes.

L O V E I T
/ An existing collection of art needed new acquisitions

to fill out the space. /
Working with large, open plan spaces is a test of A pair of Carter Bros Ltd mid century armchairs
an interior designer’s skill and ingenuity, and in the afford a quiet welcome for visitors to the loft, which
case of the Newton apartment, this was the task of are paired impeccably with the soft natural tones of
interior designer Janice Kumar-Ward who fulfilled it an eclectic arrangement of paintings above. By using
with aplomb. By creating character-filled moments whites and neutrals for most of the walls and flooring,
throughout the space, the once barren bachelor pad Janice ensured that each component of the design
loft apartment was transformed into a gallery-like space became its own focal point. The delicate nature of
saturated with light and pops of colour. the abstract pieces would be lost in a more colourful
The brief for the project left plenty of room for setting, but here they command attention.
Janice to get creative: an existing collection of art Janice did not maintain white walls throughout,
needed new acquisitions to fill out the space; and however. In the master bedroom, an accent wall
an ensemble of new furniture was required, with behind the bedhead uses wallpaper inspired by vintage
the specification that it needed to be indulgently etchings to add a touch of drama without overcharging
comfortable. Janice maintains a preference for a space designed for rest and relaxation. Additionally, in
collectable, art-like furniture procured from the main living space Janice embraced a serendipitous
trustworthy sources including Babelogue, Mid Century find, previously hidden behind renovations and
Swag, Mr Bigglesworthy and Karakter, all in Auckland. unleashed with great effect. “[The mural] had been
Given the client’s preferences for vintage pieces, this jibbed over, we had it refurbished and paired it with
was a match made in heaven. stunning architectural ladder back chairs,” says Janice.
1 / Above the vintage marble

dining table hangs Le
Cravate by Jean Rouille and
Attack of the 50ft Woman
by Anon (right).
2 / In the kitchen hangs

vintage New Zealand
advertising posters dated
circa 1920–1930s.
3 / Artwork on wall from left:

a painting by Teri Parat; two
works by Mandy McIntosh;
and a cut paper work by
CUT WORKS. Chairs by
Carter Bros Ltd.
COURTESY: JKW INTERIOR

ARCHITECTURE AND DESIGN,
AUCKLAND. PHOTOS: MICHELLE
WEIR
2 3

L O V E I T

L O V E I T
4 5
The mural, created by street artists Elliot Francis tasty treats, making the transition from office to 4 / Wallpaper in the bedroom
creates a quiet, dream-like
Stewart and Tom McMillan was one of the main kitchen seamless. mood.
starting points for the rest of the design, ingeniously The kitchen itself is ideal for entertaining. A
5 / White washed floors
incorporating Janice’s overall design with the earthy symphony of concrete and chrome, the dark colours are offset by a concrete
colours and flowing lines of the piece breathing energy of the cupboards and backsplash make it a focal point kitchen island and slate grey
cupboards.
into the space. Janice was overjoyed to incorporate art of the room.
6 / Elliot Francis Stewart
that has site specificity into the project, and the vitality But the true hero of the space is the sofa, a luscious and Tom McMillan’s mural is
of the mural fits perfectly with her ideas concerning piece by local designer Simon James decked out in a centre stage in the loft.
the incorporation of art into interior design. deep sea green sourced from Warwick Fabrics. Deep COURTESY: JKW INTERIOR
ARCHITECTURE AND DESIGN,
“Art is meant to provoke your thoughts and evoke and visibly comfortable, it ensures the entire space is
AUCKLAND. PHOTOS: MICHELLE
something within you,” she says. “Every time you look bright and inviting. WEIR
at it it has to mean something to the client or the This project was a labour of love for Janice, which
place in which it is situated.” The mural is the epitome is fitting given the established friendship between her
of this, and Janice worked to ensure the rest of the and her client. Indeed, many aspects of the project
interior harmonised with the home’s defining piece. were enabled by friendship: many of the works dotted
The deep yellows of the mural are picked out by the around the space were produced by their mutual long-
mustard-coloured dining chairs, which were bespoke time friend Mandy McIntosh, and even the art hanger
for the space by Janice’s design firm JKW. These in knew Janice from their days at university. Perhaps this
turn participate in a vibrant discourse with the vintage is why the space is so bright and inviting, with each
posters beside them. Prints and posters are used to corner and each design moment rendered to a high
great effect throughout, their high-octane hues often finish, imbuing the space with style and grace. The end
drawing together different parts of the space. result is a perfect high-end bachelor pad, awash with
Above an area designed to work as an office space, light and filled to the brim with colour and personality
brightly coloured prints advertise oranges and other without skimping on comfort.

L O V E I T

L O V E I T
/ STUDIO VISIT /
KATIE DANIELS
KATIE DANIELS IS A LANDSCAPE PAINTER LIVING

AND WORKING IN MELBOURNE. SHE AIMS TO
TRANSLATE PERSONAL OR COMPLICATED EMOTIONS
ONTO HER CANVAS. HER UPCOMING SHOW
IN TIME WILL OPEN AT SAINT CLOCHE GALLERY,
PADDINGTON IN JUNE 2021.
/ My studio is expandable and retractable

depending on what’s in play and what works
I have on the go. Because it currently lives
in my living room corner, everything has
been designed to take up as little space as
possible when I’m not working on a show. I
truly enjoy that I don’t have to commute to
my studio, that I can roll out of bed, make
myself a coffee and start work. /
1 / Katie Daniels, Falling

for you. Oil paint on linen,
artedit.com.au Australian hardwood frame.
41 x 36 cm.
W: katie-daniels-
vvdc.squarespace. 2 / Katie Daniels in her
studio.
com
I: kt.daniels COURTESY THE ARTIST AND SAINT
2
CLOCHE GALLERY, PADDINGTON.

L O V E I T

L O V E I T

L O V E I T
/ STUDIO VISIT /
REBECCAH POWER
REBECCAH POWER CREATES PAINTINGS, DRAWINGS
AND PUBLIC ARTWORKS THAT ARE ATMOSPHERIC,
ETHEREAL AND HAZY. UNDERPINNING HER WORK IS
THE IDEA THAT NOTHING IS SOLID AND EVERYTHING
IS IN A CONSTANT STATE OF FLUX.
/ My studio is in my home on the

Bass Coast in Gippsland, Victoria. The
surrounding landscape serves as inspiration
for many of my paintings. It is a place of
many rainbows, rolling green hills and
dramatic rugged coastlines. Not to mention
great locally sourced food! /
artedit.com.au
W: rebeccahpower. 1 / Rebeccah Power in her
studio. PHOTO: COUNTRY MILE
com PHOTOGRPAHY
E: rebeccah@
2 / Rebeccah Power, Dark.
rebeccahpower.com Oil on canvas, 60 x 40cm.
I: rebeccahpower
COURTESY THE ARTIST

L O V E I T

L O V E I T
/ STUDIO VISIT /
SOPHIE D’ASSISI
MELBOURNE-BASED ARTIST SOPHIE D’ASSISI PICKED

UP PAINTING IN 2019 AND HAS ALREADY RECEIVED
ATTENTION FROM OVERSEAS GALLERIES. HER
PAINTINGS VARY FROM PURE ABSTRACTION TO
FIGURATIVE EXPRESSIONISM, COMBINING GESTURAL
STROKES WITH AGGRESSIVE MARK-MAKING.
/ My studio holds a very special place in

my heart as it happens to be my childhood
home. My father was also a self-taught
painter, and there is no doubt that his spirit
is with me here when I am painting. It is
palpable. My studio is my place of freedom
and where I totally let loose, in mind, body
and soul. I thrive on being surrounded by
colour and find it imperative to my creative
process. So having this space that is so alive
and vibrant is very important to me. /
12
artedit.com.au 1 / Sophie D’Assisi in

her studio.
W: sdart.com.au
E: sdart8332@gmail. 2 / Sophie D’Assisi, Bust
of a Gentleman. Acrylic
com on canvas, 60 x 60cm.
1 I: sophie_dassisi_art
COURTESY THE ARTIST

Lance Kerr
lancekerrpainter.com
Instagram @lancekerrpainter
L O V E I T
/ ARTIST PROFILE /
MASTERS OF
DISGUISE
Easy as it may be to get caught up in the sheer spectacle of
The Huxleys’ work, real heart and substance underpin
the fur, fluff, and feather boas. Charlotte Middleton writes.
Sporting any one of the looks they have created during personal: “We want to emphasize all the things we
their colourful performance careers, The Huxleys were teased about or told to repress when we were
are a vision. Their genre-bending, transgressive, and growing up and celebrate them. We want to challenge
unapologetically excessive practice may even be normality and homophobia and bring a sparkling
considered visionary. Try as a writer might to pen the alternative.”
perfect synopsis of The Huxleys’ work, no-one explains For their latest body of work titled Places of
their practice better than the artists themselves: “We Worship, The Huxleys have turned their focus to,
would describe what we do as a queer visual assault. as they describe it, “the fading magic of the natural
Escapist wizardry to a disco beat.” world.” Casting themselves in the role of exquisite
Each half of the duo – established visual artists in outsiders existing on the fringes – an experience
their own right – Will and Garrett Huxley have been familiar to both of them – the images communicate
working together as The Huxleys for seven years. The a sense of longing for the unique and vulnerable
couple are based in Melbourne, which they appreciate splendour of the wilderness. Priscilla Queen of the
not only for its thriving LGBTIQ+ theatrical scene, Desert comes to mind when the pair describe shooting
but surprisingly, also its weather – “it’s cold enough to on location across Victoria, Tasmania, and New South
withstand wearing so much makeup and costumery.” Wales – “a real struggle on our own in costume and
From sleek sequined bodysuits to inflated female makeup!”
genitalia complete with pink frills, the extravagant get- As they tell it, the special places The Huxleys
ups donned by The Huxleys serve a greater purpose visited had a profound impact on them, and the
than mere decoration. “They offer a surreal anonymity resulting photographs are utterly captivating in their
which takes away gender and the traditional silhouette otherworldliness. “The natural world is non-judgmental,
of the body,” they explain. “Once you step out of those beautiful and precious,” say the artists. “For us, being
binaries, you can explore all sorts of magic.” queer and unlike everyone else is something we’ve
This magic begins in their studio with drawings, learned to find beautiful and precious and worth
artedit.com.au which are then turned into costumes, then staged celebrating. Hopefully we’ve been able to translate that
W: willhuxley.com; and photographed to produce spectacular images as in this work.”
garretthuxley.com if summoned from a hallucinatory, high-camp, fever Places of Worship runs from 24 to 27 June 2021 at
I: willhuxley;
dream. As loud and proud queer men, the pair’s the Centre for Contemporary Photography in Fitzroy,
garretthuxley
motivation for producing this kind of work is highly Melbourne, in collaboration with Murray White Room.

L O V E I T

L O V E I T
1 / Love Wins.
PHOTO: JO DUCK
2 / The Huxleys, Vulnicura.

Giclee archival print,
63 x 94cm.
3 / The Huxleys, Worlds

End. Giclee archival print,
63 x 94cm.
4 / The Huxleys, Distress

Signal. Giclee archival
print, 63 x 94cm.
5 / The Huxleys, Ancients

of Moo Moo. Giclee
archival print, 63 x 94cm.
3
COURTESY: THE ARTISTS

L O V E I T

L O V E I T
/ IN CONVERSATION WITH.... /
When did you first fall in love with art?

I grew up surrounded by art. My mum was always
sketching – everything from myself and my sister to
the harbour, newspapers and coffee cups. Her sketch
books are like a diary of my family’s life. I loved sitting
next to her with my own sketch book, experimenting
with coloured pencils and textas. I always had to do
stuff with my hands and was interested in clothes,
interiors, architecture, music, gardening, plants and
painting. Sculpture and installation art came later when
I went to art school.
You use your work as an opportunity to explore and

share notions of resilience, humour, and connection.
How do you achieve this?
I choose birds and plants as subjects and then play
with the medium of drawing, painting and sculpture to
create a visual story. Birds and plants can look so fragile
and some of them are, however the fact that they
survive and thrive in today’s world, shows how resilient
they are. They give us hope. I also think birds and
plants can be so strange; their behaviour, their colours.
It’s the odd and wonderful characteristics of birds and
plants that I set out to dramatise which helps to create
humour and connection in the work. I also love to
exaggerate shadows because they immediately connect
the subject to its surroundings.
What is your studio like?

It’s a mess at the moment. It is currently being
designed and built by my husband who is an architect
at Site Studio. It will be made from reclaimed materials
and when it’s done it will be stunning.
When do you feel your most creative?

When I’m left alone.
What does a typical day in the studio look like?

1
I get up early, have a coffee, head into the studio and
start making. I’m often in the studio from 7am to 7pm,
seven days a week. I love it, and I don’t take my time
MANDY FRANCIS in the studio for granted. I know how lucky I am to be

doing what I love.
Mandy Francis uses birds and plants What is your process?

to explore ideas of resilience, humour, I swap between drawing, painting and sculpture
regularly. I do this for practical reasons and to keep me
and connection.
artedit.com.au from getting bored. I might be working on one series,
W: studiogallery and then I need to quickly get an idea out of my head
melbourne.com.au/ How would you describe what you do? because something has inspired me. It can be a bit too
collections/mandy- I create abstracted yet representational drawings, much for me sometimes, and I wish that I could focus
francis-originals paintings and sculptures of birds, plants and still lives. on one thing at a time, but that’s not my nature. In
E: c-art@live.com.au
I often employ dramatic lighting, exaggerated patterns saying that, whatever the medium, the themes of social
I: mandysanfrancisco
and colours to highlight the visual story I want to tell. justice and the environment stay as central ideas.

L O V E I T
2 4
1 / Mandy Francis in her

studio.
2 / Mandy Francis, Honor

roll. Oil pastel on acid free
paper, 110 x 79cm.
3 / Mandy Francis, Lunch at

Archys. Oil on board, 82.5 x
66.5 x 0.5cm.
4 / Mandy Francis, Bubs.
Paper mache, oil paint and
mixed media, 31 x 15 x 2.5cm.
5 / Mandy Francis, Mango
flower from Mullumbimby.
Oil on canvas, 35 x 35 x
2.5cm.
3 5

L O V E I T
/ ARTIST PROFILE /
PA I N T T H E T O W N
Exploring the boundaries between private and public, Dave Court transforms
spaces into colourful worlds of curiosity. Rose of Sharon Leake writes.

L O V E I T
he says. “For me it’s about finding out what a medium 1 / Artist Dave Court.
PHOTO: MORGAN SETTE
can do, pushing it to its limits and exploring and
experimenting to see what’s possible and just applying 2 / HOUSE PARTY,
completed exterior view.
that to painting and all different types of media.” PHOTO: SAM BERRY.
His 2020 work HOUSE PARTY perhaps most 3 / HOUSE PARTY,

exemplifies his colourful, experimental and larger-than- completed interior view.
PHOTO: SAM BERRY.
life practice. An immersive, mutli-faceted body of work,
HOUSE PARTY saw Dave paint the entire interior and
exterior of a soon-to-be demolished house with spray
paint, house paint and experimental applications.
Painted in November 2020 and documented with
photo, video and 3D scanning technology, the work
exists beyond the physical dimensions of the now
demolished house. “The finished work will consist
of paintings, sculpture and installation, projection
mapping, photo and video documentation of the
house, VR and AR experiences,” explains Dave.
Showing at praxis ARTSPACE, Adelaide, with a satellite
exhibition at Floating Goose Studios in June and July
2021, HOUSE PARTY will be Dave’s first solo show in
10 years, and is sure to pack a punch. He explains that
seeing the house –and his artwork – being demolished
was sort of cathartic. “It’s not about creating a long-
lasting asset;” he says. “It’s about doing for the sake of
doing it.” Dave finds it interesting to use equipment
once used in what was as an illegal pursuit but is now
an endorsed activity, and in a domestic setting.
When asked about what the goal of his work is, he
For Dave Court, art is not a long-term asset. This does answers with even more questions. “That’s what I’m
not mean though that it is appreciated any less by the trying to figure out. Do I make because the process
multi-disciplinary Adelaide-based artist. Working across helps me work through my concepts? Or is it for
painting, design and installation, Dave is interested the community? Do I want my work to be sold for
in activating space, inviting his audience to immerse thousands of dollars to rich people or do I want to
themselves in environments that blur boundaries be making something that’s publicly funded, publicly
between private and public, physical and digital, available and benefiting the community?” These
domestic and commercial. questions speak to the duality at play within Dave’s
Drawing his own comic books and teaching himself work. Our ideas of space, place and self are distorted
Photoshop at age 12, Dave has always been creative, and expanded until we are no longer in charge of our
but it was during his undergraduate and honours surroundings. Dave’s complex use of material and
degrees at the University of South Australia that his technology means that we begin to question alongside artedit.com.au
W: davecourt.art
cross-disciplinary practice really took shape. “I think him. There is one thing he knows definitively: “I prefer
I: dave.court
I’ve always been very experimental in my approach,” my work be public and for the community.”

L O V E I T

L O V E I T

L O V E I T
MAGGIE STEIN
Maggie Stein playfully reimagines the built
landscapes of Sydney’s Inner West.
How would you describe what you do to someone

who hasn’t seen your art?
In short, I create detailed limited-edition lino prints of
landmarks in Sydney’s Inner West. I print by hand using
archival inks on acid neutral paper of Japanese and
European origin.
Where are you based?

I live in Newtown and work at my Marrickville studio,
which is part of a shared space called Little Majestic.
I love my current studio, it’s my best yet, so spacious
and light.
What does a day in the life of Maggie look like?

Before I start my studio day I will swim or do yoga.
I’m usually working on one image at a time so I may
do carving then some test printing through the day.
Lunch with other studio artists is always a bonus and
sometimes a relief if I’m struggling with my current
piece. But at other times, when I’m focussed and
in the zone, carving the lino becomes a meditative
experience.
What is your process?

I photograph my subject, then draw onto the lino with
ink. Through carving I create negative lines and marks
that portray textures. Mark making is like a language
and I love finding fresh marks to add to my visual
vocabulary. I use specialised Pfeil and Flexcut carving
tools, to create marks on the lino and Cranfield ink for
editioning my prints. They’re beautiful products that
allow me to achieve the best possible results.
What themes are evident in your work?

My current body of work is called Disappearing
Traders. These pieces celebrate iconic, long running or
closed down businesses amidst an ever changing city.
artedit.com.au
W: maggiestein.
com.au
E: stein.maggie@
gmail.com
1 I: stein_press

L O V E I T
1 / Maggie Stein in her studio.
2 / Maggie Stein, Gould’s

Newtown. Lino print, 21 x 30cm.
3 / Maggie Stein, Marie Louise.

Lino print, 21 x 30cm.
4 / Maggie Stein, Keys Cut.
Lino print, 45 x 45cm.
4

L O V E I T
/ ARTIST PROFILE /
A SOFTER TOUCH
Like painting with wool, fibre artist Zetta Kanta creates wall hangings and tapestries
that achieve a sense of humble richness. Maddy Matheson writes.
The touch of a soft fabric under hand can conjure of different barks to the various tufts of velvety moss
visceral memories of warmth and comfort. Fusing around her. These experiences, “stimulated my need
together Scandinavian hygge and Japanese to connect the visual and the tactile,” says the artist.
minimalism, following the principles of the nouveau The influence of her Armenian heritage also impacted
Japandi design aesthetic, Latvian-born fibre artist Zetta’s practice from a young age as she learnt the
Zetta Kanta perfectly captures the familiar feeling of technique of felting, an ancient method of creating
fabric on skin. Yet her practice reflects much more material used by the nomadic tribes of the hills of
than the materiality of fabrics; her woven tapestries Western Asia for yurt construction.
often resemble impressionist landscapes, with Zetta These days, Zetta combines her ancestral skillset
describing herself as, “an artist that paints with wool”. and fabric choice with a goal of arousing a sense calm
As a child, Zetta was inspired and intrigued by in her viewer. For each work Zetta responds to the
the natural landscape, spending hours in the Latvian physical characteristics of the space it will eventually
forest observing the smallest details from the texture hang, be that an office, public area or home.

L O V E I T

L O V E I T
“It all starts with material selection,” she explains. “I

use natural coloured or eco dyed wool, silk, flax, cotton
and bamboo.” In the lobby of 1 Hotels’ Melbourne
building, Rivers of Sky hangs beside an ascending
staircase. This large-scale vertical tapestry depicts a
warm, expansive landscape with swirling white threads
trailing out into the ether. The translation of Zetta’s
work is not stationary, as malleable fabrics have soft,
rippling movement when hung. “My work has a lot
of movement and flow,” she says. “When designing
a piece, the lines in my head make a stop motion
movie.” Stepping back to admire the finished tapestry,
there is a sense of humble richness emanating from
the work.
Zetta’s works are held in public institutions such as
the Gippsland Art Gallery in regional Victoria, which
recently acquired her work Wild Woods. She has also
completed commissions for Melbourne businesses
Wolveridge Architects and Pastore restaurant, among
others.
When asked what she hopes to achieve in her work
Zetta’s answer is simple, “The connection. In the
current climate of social distancing the currency of
connection has tripled its value.” There is an exchange
that takes place between viewer and artwork and, as
Zetta concludes, “the exchange is mutual. We need it
and it needs us. And the connection we form becomes
part of us.”
1 / Artist Zetta Kanta. PHOTO: 4 / Zetta Kanta, Billabong

AARON CLARK-PEARMAN Flowing. Wool, silk and black
bamboo, 140 x 200cm.
2 / Zetta Kanta, Rivers of Courtesy the artist and
Sky. Wool, silk, bamboo and Nissarana Galleries. PHOTO:
flax, 240 x 420cm. Seafarers YIANNI BANIKOS
Residences Collection.
artedit.com.au 5 / Zetta Kanta, Black
PHOTO: EARL CARTER
W: zettakanta.com Billabong. Wool, silk,
3 / Zetta Kanta, Summer bamboo, 110 x 190cm.
E: zettakanta@gmail. Birds. Wool and silk, Seafarers Residences
com 160 x 240cm. Installed at Collection. PHOTO: EARL
I: zettakantastudios 42 Nelson Street. CARTER
4
PHOTO: ANDY DREWITT COURTESY: THE ARTIST

L O V E I T

L O V E I T
What have you been working on recently?

These images are part of an ongoing series that I
have been working on called Karrikins, which aims
to document the impacts of the Australian bushfires
of 2019-20. Karrikins refers to a family of chemical
molecules that are produced as a result of bushfires
and can stimulate the regrowth of certain plants. The
series is shot on the discontinued and reasonably
rare Kodak Aerochrome Colour Infrared film. I had
seen some images circulating on social media with
the bright green regrowth coming back after the
intense bushfires in early 2020 and thought that
it would be a perfect subject to use this rare film
on. Aerochrome alters colour; anything reflecting
infrared light (which is invisible to the human eye) is
reproduced as red. Healthy foliage, which reflects
infrared light strongly, shows up in various lurid
shades of red and magenta; unhealthy foliage can
show up in a range of colours from dark red to green
or even yellow.
Where do you seek inspiration?

For this project, I was heavily inspired by Richard
Mosse’s beautiful and haunting Aerochrome images
of the conflict in the Congo, with cotton candy
pink rolling hills and crimson red dense jungles. I
was really fascinated by the history of this film and
the alien but stunning results it can produce. I have
always been intrigued by infrared photography and
1 the fact that the film was recording wavelengths of
light our eyes can’t see.
ROB WALWYN What does photography mean to you?

Photography has always meant capturing snapshots
and moments of my life and my travels, which I can
Documenting Australian landscapes in
re-live whenever I desire. My memory is terrible, so
Aerochrome Colour Infrared film allows having these little bread crumbs to look back and
Rob Walwyn to portray his medium trace moments is something that I treasure.
Photography has the power to not only document
in a vastly different way.
what is happening in the photo journalistic or
scientific sense, but also to do so in a meaningful way
When and how did you first fall in love with that resonates with the viewer. While I didn’t start
photography? this project seeking to document and comment on
I got into photography just over 12 years ago. My climate change, that has emerged as the project has
artedit.com.au sister had just got a little Olympus waterproof point evolved. If my images can leave a lasting impression
W: robwalwyn.com and shoot digital camera for her birthday and I on the viewer and contribute in whatever small way
E: rob.walwyn@gmail. wanted to use it to photograph my friends surfing. to raise awareness or effect a change in approach
com
While I quickly lost that camera in the ocean, that to how we cherish and strive to protect the natural
I: robwalwyn
really kickstarted my love for photography. world, then I will count that as a big win.

L O V E I T
1 / Artist Rob Walwyn.

2 / Rob Walwyn, Karrikins 1, archival print on
Hahnemühle Bright White Photo Rag, dimensions variable.
3 / Rob Walwyn, Karrikins 2, archival print on Hahnemühle

Bright White Photo Rag, dimensions variable.
4 / Rob Walwyn, Karrikins 4, archival print on

Hahnemühle Bright White Photo Rag, dimensions variable.
5 / Rob Walwyn, Karrikins 3, archival print on Hahnemühle Bright
White Photo Rag, dimensions variable.
5

L O V E I T
/ ARTIST PROFILE /
B E YO N D E N T E R TA I N M E N T

L O V E I T
From Batman, Francis Bacon and

The Exorcist to Ozzy Osbourne
doing cocaine, Auckland-based artist
Toby Raine takes his cues from the
subgenres of the entertainment
industry. Stephanie Vigilante writes.
“There are a few defining moments I can recall that

shaped me in terms of realising I was an artist,” Toby
Raine tells me. “One was a scene in Tim Burton’s
Batman in which the Joker’s goons are vandalizing
paintings in a museum; he prevents them from
destroying a gruesome looking Francis Bacon. Bacon
would come to be a significant influence for me.
“The other moment was watching The Exorcist for
the first time at the age of nine. I believe this was the
first masterpiece I experienced, and it was not even
a painting.” Toby says he was obviously too young;
shocked but also fascinated by it. And it still serves as a
source of inspiration for the Auckland-based artist.
The artist’s themes tend to focus on entertainment
or subgenres, “even superficial things like Ozzy
Osbourne doing cocaine or holding a teddy bear,”
he says. His work is not derived from any internal
convictions, rather he responds to things that visually
interest or motivate him, or things that have a sense of
nostalgia.
“I choose my subjects for my entertainment,
not for their psychology. I have enough personal
anxieties which I do not wish to bring to the meaning
behind the work; the work is intended as more of a
distraction,” Toby explains.
The artist works from a studio in the basement of
1 / Artist Toby Raine in his his house. Here he has a number of objects and tools
studio. PHOTO: LYLE ADAMS
that are typically thickly soiled with a muddy grey paint
2 / Toby Raine, Irene
cuddling an undeserving residue, as is the floor.
cat, 2020. Oil on canvas, 70 He primarily works from photos, sometimes several
x 60cm.
at once, then deconstructs them on canvas through
3 / Toby Raine, Baron
gestural applications with large amounts of oil paint.
Yeti Lives.....? Apollonia
in wedding veil (The He uses a variety of tools for applying paint including
Godfather). Oil on canvas,
large palette knives, rubber spatulas and different
55 x 50cm.
sized brushes. Rags and paper towels are also used
4 / Toby Raine, Baron Yeti
Lives.....? Princess Isabelle, for cleaning brushes, spills and things that have not
Braveheart. Oil on linen, 55 worked on the canvas.
x 50cm.
“I like to have at least thirty canvases ready to go
COURTESY: THE ARTIST AND
when I embark on any new body of work, these will
JAMES MAKIN GALLERY,
MELBOURNE typically be three different sizes,” he says.

L O V E I T
/ I choose my subjects for my entertainment,

not for their psychology / TOBY RAINE
Toby is currently working on a series of portraits

of his stepdaughter Irene, as well as some nudes
and a smattering of subjects he will always revisit
like The Exorcist, Kings of Leon and Mel Gibson.
He is considering addressing some more religious
themes as well. “My primary motivation comes from
a compulsion to make something better or more
surprising than I have previously,” he says.
His work has featured in several exhibitions and art
fairs including Gow Langsford Gallery and Scott Lawrie
artedit.com.au Gallery in Auckland, Page Galleries, Wellington and
W: jamesmakin James Makin Gallery, Melbourne. He will show with
gallery.com
James Makin Gallery for Sydney Contemporary later
I: tobyrainepainting 3
this year.

L O V E I T

L O V E I T
When and how did you first fall in love with art?
It started from a young age. Many of my family
members are established artists or dabbled in art,
mainly in watercolour. At the time I did not have the
patience for watercolour so I was drawn to the instant
result of photography. I have tried different subjects
from flowers to landscapes and event photography, but
I have always been drawn back to the figure and the
details of nature.
What is the atmosphere like in your studio?

My studio is currently very quiet. I have two young
boys who like to talk a lot, so when I have the chance
I keep my environment quiet. As well as having my
computer for photography, I have an easel with
watercolour and a couple of primed canvases ready for
oil paint.
What is your subject matter?

My main subject is women. I really enjoy showing
women at the point of a transformation. Women go
through many cycles and changes, physically and
emotionally, which transforms many times throughout
their lives. I have observed and experienced that
these changes can be more profound when we are
connected to nature. Within this I reference pre–
Christian goddesses and their stories.

I have been working on two series concurrently. The
first is a continuation of one’s connection with nature.
Having the weight of the world on your shoulders and
succumbing to that weight, capturing the moment of
breaking and the feeling of being unheard and fading
away. The second is a series of underwater images
1 capturing ideas around baptism. How the buoyancy
of the water supports us, so we are able to succumb
and let go of the past to make way for the future. I
experimented with this idea with both nudity and a
KATE LIONIS white dress, a common symbol for religious baptism to
see how the perception of the idea changes.
For Kate Lionis, the female form is
What do you aim to achieve through your art?
inextricably linked with nature.
I want women to be able to see aspects of themselves
in my art. I will have succeeded if the viewer sees my
How would you describe your practice? image and thinks ‘that is me right now’, even if they
artedit.com.au My art celebrates the connection women have with couldn’t articulate why. Even though my art has been
W: katelionisphoto. the earth and the beauty and strength that is derived described as beautiful, it is not my priority to make
com from that connection. The women I capture are naked. the subject pleasing for the viewer. I aim to direct
E: katriana50@ To me this represents their vulnerability. The journey my subject to connect with themselves and their
hotmail.com
I take my subjects and the viewer on is one that I am immediate environment, a connection I then attempt
I: katelionis
taking myself. to capture.

L O V E I T
1 / Artist Kate Lionis.
2 / Kate Lionis, After the fires.

Photographic print, 40 x 58cm.
3 / Kate Lionis, Connection.

4 / Kate Lionis, Submerged.
5 / Kate Lionis, Slipped between the
cracks. Photographic print, 58 x 40cm.
5

L O V E I T
PETER SMETS
Skilfully rendering often-overlooked sites of
construction, Peter Smets finds beauty in
the stages in-between.
Sum up your practice in a single sentence.

I paint many different subjects from seascapes and
landscapes to still lifes and portraits, but for the last 15
years I have been painting a series focussing on men
at work.
When and how did you first fall in love with art?
Since I was a child I have always been interested in art
so it was natural for me to choose to become an artist
and I developed my skills further by studying painting
by the Old Masters. Today I am very dedicated to my
practice, I have to be creative everyday.
What is it about men at work that fascinated you?

The story behind my series of paintings about men at
work really comes from the tools of construction. They
are works of art in themselves. Construction sites have
always intrigued me – one day there will be nothing,
the next a large building. Or at least that’s how fast it
appears to outsiders. We are all curious about what the
building is going to look like when it’s finished. But for
me it is what happens during the construction stage, all
the tools and equipment they use are fascinating to me
and give me endless inspiration.
1
I am currently working on a series for my upcoming
exhibition IN THE SHADOW which will show in June
2021 at Anthea Polson Art Gallery, Queensland.
2 3

L O V E I T
1 / Artist Peter Smets.
2 / Peter Smets,
Conversation. Oil on canvas,
100 x 150cm.
3 / Peter Smets, Reflection.

Oil on canvas, 120 x 140cm.
4 / Peter Smets, Water
Coming. Oil on canvas,
125 x 175cm.
5 / Peter Smets, Excavation.
Oil on canvas, 120 x 140cm.
artedit.com.au
Peter is represented
by Anthea Polson
Gallery, Main Beach,
Queensland
W: antheapolsonart.
com.au
E: info@anthea
polsonart.com.au
5 I: antheapolsonart

L O V E I T
/ ARTIST PROFILE /
A NEW FRAME OF MIND

Dr Leonie Ngahuia Mansbridge uses pervasive iconography – dots, spots and crosses – to
tell stories of belonging, colonisation and identity. She talks to Stephanie Vigilante about
immersing herself in the landscape.
Born in Aotearoa New Zealand, Dr Leonie Ngahuia

Mansbridge is of Ngāti Maniapoto descent, a tribe
based in the Waikato-Waitomo region of New Zealand’s
North Island. Leonie wed and moved to Fremantle,
Western Australia in the 1970s – where she has
lived ever since. “I have always been creative, out of
necessity,” she says. “I made all my clothes using one
pattern and changing it up with material – adding
things like black felt stars on a white mini dress. I didn’t
take up art seriously till my late 30s.” Leonie attended
Claremont School of Art, followed by a Creative
artedit.com.au Doctorate at Curtin University in 2018.
W: leoniengahuia Leonie’s recent works seek to explore her identity,
mansbridge.com using the landscape to connect to her Māori heritage.
E: leoniemansbridge “When I immerse myself into a landscape that I am
@gmail.com
familiar with, this sense of belonging feeds into my
I: leearia53 2
paintings,” she says.

L O V E I T
ART EDIT + INTERIOR DESIGN / 1 0 37

L O V E I T
10
L O V E I T
1 / Leonie Ngahuia
Mansbridge, A Particular
Understanding In The
Margins. Synthetic polymer,
pencil, board in found frame,
130 x 80cm.
2 / Artist Leonie Ngahuia

Mansbridge in her studio
PHOTO: EVA FERNÁNDEZ
3 / Leonie Ngahuia
Mansbridge, Boola Bardip
#3. Synthetic polymer on
board, 28 x 41cm.
4 / Leonie Ngahuia
Mansbridge, Distances
Travelled. Synthetic polymer
on board timber frame, 120
x 67cm.
5 / Leonie Ngahuia
Mansbridge, The Sound Of
The Bell Birds. Synthetic
polymer on board, antique
frame, 40 x 40cm.
5
“I haven’t been back to Aotearoa, New Zealand for anything from house to artist quality paint. “I don’t
a while, so I rely on my collection of photos to activate follow the hierarchy of the Western canon of painting,
my memory of place. Māori see the land as a living I live and work on the margins, where everything
entity. This relationship and connection ultimately exciting happens,” she explains. Some works can be
shapes who we are and our existence. Māori have a done within a week, but most take two to three weeks
saying, ‘We are the land, and the land is us.’” to complete. “After years as an artist, I work intuitively
The artist says her exaggerated colours are used – tacit knowledge comes into play,” Leonie says. “My
to take notice of the land. She uses dots, spots and studio is organised chaos. Once I’m painting, time just
crosses as pervasive iconography. The cross represents disappears, I come into my own.”
her belonging, and her gold gilt frames “reframe the Leonie has exhibited consistently for more than
land,” she says. “I am developing a visual language to twenty years in Australia and New Zealand. She has
engage with the landscape…what my marks hold are received a number of awards, including finalist in the
intangible in the physical sense, but they allude to a Joondalup community Invitation Art Awards. This year
clear and definite system of oblique storytelling.” Leonie has been invited to exhibit in the Bangladesh
The visual artist works with synthetic polymer, Biennale.

L O V E I T
Tell us about your art journey.

Art was my strongest subject at high school, and I
finished with the art award. I then started a degree in
Fine Art at university but I got bored after one year
and decided to go overseas to explore the old master
paintings in Europe. In the UK I continued to paint
part time for various London clients, alongside teaching
art in a prep school. I had a joint exhibition and one
solo, which was a sell-out show and inevitably made me
realise that art was my calling. I have now been working
as a full-time artist for the past eight years.
What’s your studio like?

I live and work from my home studio in Woonona,
which is on the northern beaches of Wollongong. It
has tall custom-built sliding doors that look over an
old cedar tree with glimpses of the escarpment in the
distance. The walls are covered in natural pine, with
a mix of industrial metal beams and posts. There is a
long light well that runs from the doors to the back
of the studio, so it’s filled with the most incredible
natural light. At the back of my studio stands a giant
World War II aeronautical filing cabinet that used to
house flight maps. Now it holds all my prints and ink
paintings.
What does a typical day in the studio look like?

I grab a decaf coffee and my studio pup Max the
cavoodle and walk to my studio. I can sometimes
have four paintings on the go, two up on an easel, one
drying on the floor and one large piece of watercolour
paper on the desk being painted with ink. I like working
on different projects, it keeps my mind fresh.
What materials do you use?

Although I’m formally trained in oil painting, I have
grown to love the convenience and speed of acrylics.
They are for the most part non-toxic and can behave
1
like oils provided you have the right mixtures to add to
the paint. The drying time is so quick too, which means
I can really enjoy the layering process which is very
JAQUELINE BURGESS important to my practice. I find that layering gives the
paintings a luminosity, and a vibrance with the depths
of colour.
With dream-like idealism, Jaqueline Burgess
translates the beauty of Australia’s coastlines. What themes are evident in your work?
I want to pay homage to Australia’s beautiful coastlines
When did your love affair with art begin? and give my audience an opportunity to see these
I always drew pictures from a very early age, but it coastal regions how I see them: full of light and colour
artedit.com.au really started when I was in my first year of high school. and the world’s most distinctive flora. I use colour
W: jaquelineburgess. My art teacher asked us all to bring in some still life and light to express the magic of this environment,
com objects from home and paint what we had arranged. I seeking to pay close attention to the intricate shapes
E: hello@jaqueline
surprised myself, the teacher and the rest of the class and colours of coastal foliage, drawing attention to the
burgessart.com
with how naturally I took to painting. elements that make this landscape so unique.

L O V E I T
1 / Jaqueline Burgess in her studio.
2 / Jaqueline Burgess, CARMINE. Acrylic on canvas, 90 x 120cm.
3 / Jaqueline Burgess, ROCK POOLS. Acrylic on canvas, 90 x 120cm.

4 / Jaqueline Burgess, Bay of Tranquility. Acrylic on canvas, 91.5 x 122cm. COURTESY: THE ARTIST
3 4

L O V E I T
/ ARTIST PROFILE /
C O N V E R S AT I O N S
IN THE ETHER
Margie Delahunty Spencer translates her subjects into dreamlike interactions to

celebrate the joys of the everyday. Zeyneb Mohammed writes.
Margie Delahunty Spencer starts every day the a trompe l’oeil on the garden wall. She explains, “my
same way, with a nudie swim followed by a wander parents indulged my creative pursuits…or perhaps
down to her veggie patch. Margie’s art is a reflection more realistically they were too busy with my other
of her immediate surroundings, taking her cues from siblings, being one of seven children.” As she was
her body, relationships, memories and the space she encouraged to express her creativity, she learnt to find
inhabits. Constantly chatting to herself in her studio, inspiration from everyone and everything around her.
she uses her mind to connect her thoughts and ideas During her time studying an arts degree at Ballarat
and relay them onto the canvas as they come. The College of Advanced Education, now known as
result is a canvas filled with curious objects, people and Federation University, Margie met the love of her
markings that are at once familiar and dreamlike. life, her husband. “This was the 80s and there was a
Margie’s love for art stems from her early childhood, surge of visual art influences that permeated the old
as she reminisces about the times she created and buildings, and left an indelible mark on all those who
painted in every corner of her house on her parent’s taught and were taught by the university’s fantastic
farm, from a cubby house in the hay shed to painting lecturers,” she says.

L O V E I T

L O V E I T
1 / Margie Delahunty Spencer, Jacks 5 / Margie Delahunty Spencer, Beach

in Byron no 1. Oil stick, charcoal and Boy. Oil stick, charcoal and acrylic
acrylic paint on canvas, 175 x 175cm. paint on canvas, 125 x 156cm.
2 / Artist Margie Delahunty Spencer. 6 / Margie Delahunty Spencer, Fresh

start no 2. Oil stick, charcoal and
3 / Margie Delahunty Spencer, acrylic paint on canvas, 156 x 135cm.
Leaving home. Oil stick, charcoal, oil
pastel, ink wash and acrylic paint on COURTESY: THE ARTIST.
canvas, 78 x 198cm. PHOTOS: SONNY WITTON
4 / Margie Delahunty Spencer, Pink

bits no2. Oil stick, charcoal and
acrylic paint on canvas, 62 x 62cm. 5

L O V E I T
“Lots of my classmates are still practicing locally combine both elements to convey my ideas.” she
today and the city continues to support a strong, says. “My works present shapes and images that
diverse artistic community, a vibrant creative centre.” anthropomorphise, floating randomly across the
Later, she continued her studies, completing a canvas, occasionally anchoring to each other and the
Bachelor of Fine Arts and a postgraduate degree perimeters of the frame.”
majoring in painting and drawing. When Covid-19 struck last year, she opted to use it
Today, Margie’s process involves 80 percent as a form of inspiration, as it provided an opportunity
contemplation and 20 percent creation, enjoying to view the world with a more introspective lens. Her
every moment of the process, experimenting with a family became her main source of inspiration. “My
plethora of materials like acrylics, oil paints, oil sticks, home life, my menopausal body and my relationship
charcoal and conte sticks. With five or six pieces being with my husband and four children have featured in
worked on at any one time, her studio is constantly my two recent shows.” artedit.com.au
vibrant with ideas and conversations. “I’m interested Margie is currently represented by three galleries E: mdsart444@
gmail.com
in colour and shape, interested in the gesture rather and has participated in more than 20 group shows and
I: md.s_
than the form. I am constantly trying to find ways to 14 solos nationally and internationally.

L O V E I T
Impressionism, with a focus on landscape. My choice

of shape and colour is influenced by experiences, past
and present. My impressionist influence stems from
my wonder of the calmness in nature. When I look
at landscapes, I feel a serene energy that inspires art
making, and when combined with my therapeutic use
of vibrant colour, my creative style is truly expressed. I
hope that not only will my practice help me, but that it
may help any viewer of my works.
Tell us about your art journey.

I attended International School of Colour & Design
(ISCD) and achieved a Cert IV in Design in 2016. I
have also completed many workshops with well-known
Australian artists such as Idris Murphy, Catherine
Cassidy and Belynda Henry. I have been a practicing
artist for around six years. During that time, I have
explored a range of mediums, techniques and materials
to find a practice that best represents who I am as
an artist and as a person. Though I have a set group
of mediums, techniques, and materials, I find I’m still
growing, learning, and changing to better my practice.
You use mostly pink in your work, why do you

gravitate towards this colour and what does it mean
to you?
My aim is to stir a deep emotional response from
the viewer. Using pink symbolises deep emotion and
my aim is to be inspired and inspire others through a
transfer of emotion through my work. I work mainly
1
with acrylic on canvas in the studio and gouache on
paper en plein air. These mediums suit my style as I
like to work quickly and utilize my time effectively.
MELINDA HUNTER What is your process?

I start with a messy layer on the canvas and then make
Awash with pink, the works of marks through the wet paint to develop shape and
Melinda Hunter symbolise the form. I then refine with the push and pull of colour,
shape and negative space until I reach a desired
wonderment of emotion.
composition. This process can take anywhere between
artedit.com.au a number of days to several weeks.
W: melindahunter. How would you describe what you do to someone
com who hasn’t seen your art? What are you working on now?
E: melinda_hunter@ I feel categorising my work may restrain a My current body of work is created from a memory
hotmail.com
viewer’s perception of the piece. However, I feel of deconstructed fragments and elements of the
I: melinda_hunter
most connected to the movement of Abstract landscape.

L O V E I T
1 / Artist Melinda Hunter.
2 / Melinda Hunter, After

the Flood. Acrylic on Belgian
linen, 41 x 38cm
3 / Melinda Hunter, Staring

at Utopia. Acrylic on canvas,
60 x 60cm
4 / Melinda Hunter, World
within a World. Acrylic on
canvas, 60 x 60xm
3 4

L O V E I T
YEGANA JAFAROVA
The ceramic practice of Yegana Jafarova
looks at the beauty of nature.
In a nutshell, what do you do?

I am working with clay to create sculptural objects that
remind us of our experiences in nature. I hope they
will bring back memories and invoke emotions and
feelings of our interactions with nature.
Tell us about your brand Silkway Ceramics.

I am originally from Azerbaijan, which lies between
Europe and Asia and was dramatically influenced by
the Silk Road in every aspect of life. I have called my
brand Silkway Ceramics, because a big part of my
aesthetics is tied to my upbringing and childhood
memories. One part of my practice is about exploring
the translucency of porcelain and the shapes that
remind me of folds of a traditional silk scarf made
back home. The other part is heavily influenced by my
current life in Sydney and the beautiful coastal scenery
surrounding us which shows up in my work in its own
right.
What’s your studio like?

My studio in Crows Nest, Sydney offers me the most
valuable gift a space can give: loads of big windows and
natural light! My studio is equipped for conducting my
regular pottery classes as well as for making my own
work.
What is a typical day in the life of Yegana?

I often find it easier to start the day with cleaning and
organising my space, loading the kiln and recycling my
clay. During this time of mindless and repetitive chores,
I daydream about the next steps of my sculptural
projects. I find myself more and more eager to finish
my chores so that I can go and work on my ceramics.
I unwrap unfinished work and gradually get into the
rhythm of making. Sometimes it can be challenging to
start working, but things like recycling clay are for me
like a painter preparing their canvas.

During the bushfire season of 2020 I was heavily
influenced by images of nature in need of rain and
relief. While the bushfires very quickly turned into
old news with the whole world struggling to survive
through a pandemic, I am still enraptured with these
1
scenes of natural devastation.

L O V E I T
1 / Yegana Jafarova
in her studio.
2 / Yegana Jafarova,
Longing for rain. Stoneware
and glazes, 50 x 50 x 50cm
3 & 5 / Yegana Jafarova,

Dreaming of rain.
Stoneware and glazes,
35 x 35 x 35cm.
4 / Yegana Jafarova, Bark.
Stoneware and glazes,
35 x 25 x 35cm
artedit.com.au
W: silkwayceramics.
com
E: yegana.jafarova@
gmail.com
I: silkwayceramics 2
3 4 5

L O V E I T

L O V E I T
/ LIVING WITH ART /
ART IN THE DNA

Melbourne architect, poet and artist Billy
Kavellaris talks to Rose of Sharon Leake about
collapsing the boundaries between art and
architecture in the house he built for his family.

L O V E I T
For Billy Kavellaris art and architecture cannot be

separated. “Architecture is more about people than
everyone really realises, it’s ingrained in our DNA,” the
Melbourne-based architect, poet and artist tells me. “If
we just thought about architecture as utility we would
live in plain boxes, but clearly there’s something else at
play here. It’s an important part of our development as
people, it’s how we represent our cultural values.”
Billy has spent the last 25 years in the architecture
industry formulating these ideas of how art and
architecture intersect. First studying a drafting diploma,
then completing a degree course in architecture, while
simultaneously starting his own firm after uni hours,
Billy is now managing director and founder of Kavellaris
Urban Design (KUD) in Melbourne.
When I first set eyes on Billy Kavellaris’s JARtB
house I knew I was witnessing something extraordinary,
but just how special this house is I was yet to learn.
Situated in the suburb of Toorak in Melbourne, the
house is Billy’s own home, an artwork in itself and a
3
lifetime in the making.

L O V E I T

L O V E I T
15 2 4 / ART EDIT + INTERIOR DESIGN

L O V E I T

L O V E I T
16 2 6 / ART EDIT + INTERIOR DESIGN

L O V E I T
“As the owner, builder, artist and architect of JARtB

house, the primary objective was to live in and around
a piece of art,” he tells me. “It’s interesting when an
architect designs their home, they have to represent
themselves, warts and all and say ‘this is who I am’, ‘this
is what I represent’, it’s always daunting.”
From conception to construction, the house was
designed to reflect ideas from the Baroque era, yet is
also a representation of Billy, his values and his family.
The house was built by himself and his father-in-law;
his own poetry is embossed throughout the house
in the concrete floors and behind doors; and his
sculptures are scattered throughout. Even the name,
JARtB, represents Billy, the letters each standing for
a member of his family, bar the ‘t’ which sneaks in to
spell out art. “In itself the name is a little piece of art,
and acts as a gateway into what the house is really
about,” he says.
There really is no separation between art gallery and
house. During the design phase the art generated and
dictated the space around it, allowing the six metre
giraffes in the living room to stand tall and the red
column which pierces through two levels to start a
conversation between volume, space and boundaries.
“Art and architecture were never overpowering each
other in tension,” says Billy. “They work together, they
8
are part of the same ecosystem.”

L O V E I T
/ Art and architecture work

together to enhance each
other, they are part of the
same ecosystem. / BILLY KAVELLARIS
With more than 30 pieces of art in the home, the

collection is made up of a combination of Australian
and international artists, including a number of works
by Billy himself along with pieces by artists Sabine Von
Graz, Joe Blundell, David Umemoto, Ralvin Dizon,
Isabelle Menin, PichiAvo, JR and Gail Slatter Folwell,
as well as his own daughter Jorja Kavellaris.
Yet there is one work that is arguably the main
event: the 13-panelled glass façade. As a second
9
generation Greek, Billy tells me that the façade was
somewhat serendipitous for the project. “I came
across the artists, Spanish duo PichiAvo, about
six years ago and I just fell in love with their work.
These Spanish street artists take Greek mythological
characters and represent them in the most unlikely
fashion in graffiti on shipping containers and in
subway stations. For me it was the most neo-baroque
expression of the narration of antiquity.” Billy contacted
the artists, attained high resolution photographs of
13 of their mural works located across the globe and
stitched them all together to create one jaw-droppingly
large glass mural which now wraps around the JARtB
house. The beautiful glass shard projects out from the
home’s concrete body, creating a dialogue between
materials that at once oppose each other and are
complimentary. Reminiscent of light cascading
through glass in a baroque cathedral, the façade
becomes more than an artwork. It has a utilitarian
function, allowing light to stream into the house while
simultaneously providing privacy for Billy and his family.
Yet privacy has never been Billy’s objective with this
project.
“Some of the most valuable pieces of art are in
private collections,” Billy tells me. “Art is meant to
represent the world and our culture, but no one
can view it. This is really an issue for me. We made
a conscious decision to open our collection up and
share it with the public. We lose that sense of privacy
but I’m more interested in sharing what we have so
it doesn’t become privatised and only viewable for a
privileged few.” With an amphitheatre located in the
back garden, Billy plans to host live performances of
music and theatre for public audiences.
The ultimate confluence of art and architecture, the
JARtB house elevates architecture to a new breath-
taking level. We are no longer living with art; we are
10
living in it.

L O V E I T
1 / Painted steel giraffe

sculptures Simbla (yellow)
and Koumbou (orange) by
Billy Kavellaris stand beside
the artist himself and his
cat Hercules. On the right
hangs Joe Blundell’s painting
Untitled. PHOTO: ELKE MEITZEL
2 / A mural by spanish artist

duo PichiAvo covers the
glass façade of the house.
An anodized steel sculpture
Decorated Duck by Billy
Kavellaris stands guard
outside the front gate PHOTO:
PETER BENNETTS
3 / The back of the JARtB

house showcases another
view of the murals by artistic
duo PichiAvo. Below is an
uninterrupted view into the
house. PHOTO: PETER BENNETTS
4 / PichiAvo’s print collage

continues inside as it runs
along the wall, interrupted by
the jutting plaster and paint
sculpture Red Column by
Billy Kavellaris. PHOTO: PETER
BENNETTS
5 / From the left: a print by

Isabelle Menin hangs next to
Mexican beaded sculptures
in various anthropomorphic
forms. The top of Red
Column is seen beside
the portal window. On the
right of the portal hangs a
commissioned pen on paper
work by Ralvin Dizon. PHOTO:
PETER BENNETTS
6 / Billy Kavellaris stands in

front of a commissioned
work by Matt Talbert of his
two daughters, Jorja on the
left and Alexia on the right.
PHOTO: ELKE MEITZEL
7 / On the back wall from

the left hangs The Kiss by
Sabine Von Graz, Illinois by
Calling Morton and a print
by Isabelle Menin. Mexican
beaded sculptures hang
to the right. PHOTO: PETER
BENNETTS
8 / The façade of the JARtB

house is slightly transparent,
allowing PichiAvo’s mural to
be seen from the inside of
the house upstairs. PHOTO:
PETER BENNETTS
9 / Lights on, a neon ceiling

light installation by Billy
Kavellaris, brightens up the
living room. Red Column
protrudes through the centre
of the wall and PichiAvo’s
print collage spans the length
of the room. PHOTO: PETER
BENNETTS
10 / Billy Kavellaris’ Vietnam

Cu Chi Tunnels (top) and
Sunday lunch (bottom)
framed photographs welcome
visitors in through the front
door. PHOTO: PETER BENNETTS
11 / Simbla and Koumbou

stand beside the dining room
table, next to Joe Blundell’s
painting Untitled. PHOTO:
11
PETER BENNETTS

L O V E I T
/ IN SERIES / Using digital mediums, Finnegan McGrath plays with ideas of memory and time to capture the
often unnoticed nuances of people and places within their natural surrounds.
1 2
FINNEGAN MCGRATH
Time Blind
1 / Finnegan McGrath,
Mare’s Nest. Digital print,
59.4 x 84.1cm.
2 / Finnegan McGrath,
More Fool You. Digital
print, 84.1 x 59.4cm.
artedit.com.au 3 / Finnegan McGrath,
W: finneganmcgrath. Burning Daylight. Digital
print, 84.1 x 59.4cm.
com.au
E: finnfrancismitchell 4 / Finnegan McGrath,
Needs Must. Digital print,
mcgrath@gmail.com 59.4 x 84.1cm.
I: silverfinn32 4

L O V E I T
/ IN SERIES / In the seemingly random accumulation of everyday signs and images, New Zealand-based artist
Bernie Winkels finds humour, sincerity and zeal to offer a refreshing perspective on mundanity.
BERNIE WINKELS
Nothing for no reason in no order
Installation view of tiles from

Bernie Winkels’ series Nothing
for no reason in no order.
Ceramic, dimensions variable.
artedit.com.au
W: berniewinkels.
com
E: berwinx@gmail.
com
I: berniewinks

L O V E I T
/ IN SERIES / Jemma Roberts reflects on the changing landscape of the south coast of NSW post bushfire
season. Branches lay intertwined and scorched, bearing monumental witness to seasons past.
1 2
JEMMA ROBERTS 1 / Jemma Roberts, Mountain

of Hope. Paint, collage,
monoprint on watercolour
Beauty for Ashes paper, 36 x 39.5cm.
2 / Jemma Roberts, Black

Mountain. Paint, ink, mono
print collaged onto watercolour
paper, 53 x 43cm.
3 / Jemma Roberts, Beauty

artedit.com.au
for Ashes. Ink and waxed
W: jemmaroberts photocopied collage papers on
artist.com mulberry paper, 122 x 82cm.
E: jemmaroberts 4 / Jemma Roberts, Fenced.
artist@gmail.com Ink paint and pencil on
watercolour paper,
I: jemmaroberts_ 39.5 x 50cm.
3 artist

L O V E I T
/ IN SERIES / Yvonne Raulston was 13 years old the first time she laid eyes on the Sydney Opera House.
Now, years later, she has created a series exploring the structure in a beautifully different light.
YVONNE RAULSTON
How we see
1 / Yvonne Raulston, Concerto.

Printed on Hahnemühle photo
rag metallic paper 340gsm,
edition 2 of 25, image size
40 x 50cm.
2 / Yvonne Raulston, Opus.

rag metallic paper, 340gsm,
edition 2 of 25, image size 4
40 x 50cm.
3 / Yvonne Raulston, Symphony.

rag metallic paper 340gsm,
40 x 50cm.
4 / Yvonne Raulston, Sonata.

Printed on Hahnemühle photo artedit.com.au
rag metallic paper 340gsm, E: yraulston@gmail.
40 x 50cm.
com
3 I: yvonneraulston

L O V E I T
/ IN SERIES / Driven by intuition, Helena Skerlj-Rovers allows her instinct for colour and movement to override
decision making. This series explores the spaces between the conscious and subconscious mind.
HELENA SKERLJ-ROVERS
1
Now, what?
1 / Helena Skerlj-Rovers,
Untitled. Oil on canvas,
120 x 90cm.
Mum. Oil on canvas,
75 x 50cm.
There She Goes. Oil on
canvas, 150 x 110cm.
Untitled. Oil on canvas,
120 x 90cm.
artedit.com.au
W: helenaskerlj
rovers.com
E: hrskerlj@gmail.
com
I: helena_skerlj.rovers 3 4

L O V E I T
/ IN SERIES / Reflecting on the process of discovering one’s family history, first generation Chinese-Australian
artist Jessie Yi Xiao Chen reveals a series inspired by photographs from her great aunt’s albums.
JESSIE YI XIAO CHEN

Strangers In A Family Album
1 / Jessie Yi Xiao Chen, The
Merchant. Acrylic on canvas,
41 x 51cm.

Descendants. Acrylic on
linen, 61 x 76cm.

Wanderer. Acrylic on canvas,
61 x 76cm.

Gardener. Acrylic on canvas,
41 x 51cm.
artedit.com.au
E: jyxchen.art@gmail.
com
3 I: jyxchen 4

Sit and look pretty, Original artwork. Mixed media piece with
thick oil paint on photographic background. 140 x 95cm.
Felicity Lea
www.felicitylea.com
@felicitylea_
B U Y I T
BUYER’S GUIDE / DESIRABLE OBJECTS / GALLERY
DESTINATION ART / GALLERY PANEL / SHOWCASE
Molly Timmins, Painted Stitch (detail). Oil and embroidery on canvas, 45 x 65cm. COURTESY: THE ARTIST. PHOTO: SAMUEL HARTNETT
B U Y I T
/ BUYER’S GUIDE /
QUALITY VS QUANTITY
Mass-produced, batch-produced, artist-made – what do these phrases mean when buying a functional object?
The first in a two-part series, Briony Downes explains the industry lingo.
MASS-PRODUCED
A mass-produced art object has usually been designed Even though they are easy to find and retail for
by in-house or offshore designers, assembled on a less, mass-produced objects can still offer a designer
large-scale production line and manufactured for aesthetic. Australian industrial designer Marc Newson
multiple retail outlets. Materials are more easily and Finnish design house Marimekko have each
1 / Colour Shift Panel from
sourced in bulk and colour can be more varied. designed functional objects for use in aircraft cabins Rive Roshan. Fluted coloured
Passing through the hands of many workers and and domestic kitchens – covering everything from reflective panel. COURTESY:
RIVE ROSHAN
mechanical processes from start to finish, these seating to cutlery. Swedish brand IKEA is known
2 / The Ewer jug from
objects can be rapidly distributed to the consumer worldwide for its on-trend designs of everyday objects Softedge. COURTESY: LAYLA
CLUER
through well-established supply chains. Cutting and is able to cut the final cost of these products by
manufacturing costs by producing vast quantities of distributing them in flat packs ready for self-assembly 3 / An A.C.V Studios vase.
COURTESY: A.C.V STUDIOS.
the same object results in a low retail price point. at home. PHOTO: ANNA VARENDORFF

B U Y I T
BATCH-PRODUCED
In comparison to mass-produced objects, limited
edition or small batch items have a set number
available. Batch-produced objects are often designed
by an artist and then manufactured in restricted
amounts, with each batch overseen for quality and
consistency of design. Specialist manufacturers are
often required throughout this process, as Golnar
Roshan of Amsterdam-based design studio Rive
Roshan explains. “With a piece like our Colour Shift
Panel (pictured left), we work closely with a glass
manufacturer who is very open to experimenting
with the ideas we want to explore. Once the piece is
manufactured, we add the finishing touches in our
workshop and number each piece with a bronze
plaque.” For Rive Roshan, creating objects in limited
batches allows for more creative freedom with less
financial risk. “We are able to challenge our curiosities
without feeling obliged to keep working in one
direction. If you love an idea, you can keep pushing it
and make more. If not, then you haven’t lost a lot.”
Ceramic artist Layla Cluer of Softedge also prefers
to work with limited numbers. “I make a combination
of one-off pieces and small batch-cast designs, my
forms are very intuitive, and you can see a lot of 2
my hand in each.” Once a design like her Ewer jug,
(pictured right) is finalised, Layla works through a
making process to produce a plaster casting which
is then made into a mould. In comparison to rapid
mass-production, Layla’s batch process can take
months, allowing for changes to materials and the
overall design. “I could achieve similar forms in one-off
sculpted pieces, but they would be less refined and
far heavier. For me, mould making and casting are a
way of rendering sculptural form functional at a more
accessible price.”
ONE-OFF ARTIST-MADE
One-off products have a single maker who is highly
skilled in their field and intimately understands their
entire process of production from start to finish.
Melbourne-based maker Anna Varendorff works out
of ACV Studios and hand crafts each of her curvilinear
single stem vases from brass (pictured right). Each vase
is different from any other she creates. When designing
ACV pieces, Anna says, “I make a lot of little models
of ideas and these are left lying around the studio,
so I see them and rethink them constantly.” Unlike
the highly mechanised process of mass production,
a sole maker can be more hands-on. This means the
retail price point will be higher than a mass-produced
item to account for the close relationship between
maker and object – ultimately allowing the consumer
to purchase a one-of-a-kind object that will remain
3
exclusive to their home.

B U Y I T
/ DESIRABLE OBJECTS /
1 2
3 4
1 / Gordon Studio Glassblowers. Sloopy bottles by Hamish Donaldson, available in blue, bronze, dark brown, dark yellow, light yellow. $440 each. gordonstudio.com.au
2 / Studio Henry Wilson. Surface Sconce in bronze, 35 x 30 x 10cm. $1,840. store.henrywilson.com.au
3 / Walk In The Park. Stadium series bowl, New Zealand grown maple and ebonised kauri, 16.5 x 18cm. NZ $320. walkintheparknz.com
4 / CUSHCOMA. String of pearls in pink and red terry towelling, 93 x 30cm. $115. cushcoma.bigcartel.com
5 / James Howe. J5 Cabinet, rock maple timber, 140 x 77 x 38cm. $5,500. jameshowe.com.au

B U Y I T
The Art Edit team presents 10 desirable objects to add to your collection

B U Y I T
/ DESIRABLE OBJECTS /
6 7
8 9
6 / Oure. Pop High Chair, solid American oak, eco-friendly osmo oil, 60 x 45 x 48.5cm. $1,260. oure-oure.com
7 / Softedge. N°014 Rolled Rim Bowl in lemon, stoneware with clear gloss glaze, 5 x 20cm. $130 each. softedge.studio
8 / Occasional Pieces. From top: Maroon x Buttermilk small, 40 x 40 x 60cm, $550; Mint x Linen Low Table, 90 x 90 x 30cm, $900;
White x Lavender Cube, 40 x 40 x 40cm, $450. occasionalpieces.com.au
9 / A.C.V Studio. U Vase, brass. $680. acvstudio.com
10 / Francesca Sykes. Bloom after Burning vase series, x-large, 28 x 7 x 7cm, $120 and large, 14 x 7 x 7cm, $99; candle holder , 7 x 7 x 7cm,$64. francescasykes.com

B U Y I T
The Art Edit team presents 10 desirable objects to add to your collection
10

Libby Haines
Instagram: @libbyhainesart
Email: libby@the-lemon-art.com
Exhibition details:
There’s a house with a wall, Brunswick Street Gallery
July 16th -August 1 2021
B U Y I T
G A L L E R Y
Art Edit presents a selection of original artworks to make your own.

B U Y I T
/ GALLERY /
ALLIE WEICHERT ROBERTSON

artedit.com.au
W: allieweichert
robertson.com
E: allie.weichert1@
Olga.
gmail.com
Paperclay, glaze, slip, oxides and nails, 170 x 40 x 30cm. $1,200
I: awxtr

B U Y I T
/ GALLERY /
BETTE MIFSUD
Dusk 2. artedit.com.au
Archival photograph, 108 x 84cm. $475.
W: bette-mifsud.com

B U Y I T
/ GALLERY /
JEESOO KIM
artedit.com.au
W: pentraveller.net
E: info@pentraveller.
Lobster Romance.
net
Pigment ink fineliner pens on paper, 91 x 146cm. $4,600.
I: pentraveller

B U Y I T
/ GALLERY /
MONICA PRONK
artedit.com.au
W: monicapronk.com
E: monicapronk@
Mountain. gmail.com
Archival inkjet pigment print on 310gsm fine art, 100% cotton rag paper, matte
finish, edition of 10, 81.28 x 127cm. $690.
I: monicapronk
photography

B U Y I T
/ GALLERY /
CASCADE STREET STUDIOS
artedit.com.au
W: cascadest.com
LEGS
E: info@cascadest.com
Ink on cotton canvas, 123 x 99.5cm, $250.
I: cascade.st

B U Y I T
/ GALLERY /
EMMA BASS
artedit.com.au
W: emmabass.co.nz
E: emma@emmabass.
Paradise Found.
co.nz
Archival Giclée print, 80 x 80cm, unframed. $2,400.
I: emma__bass
COURTESY: THE ARTIST.

B U Y I T
/ GALLERY /
LISA BECKER
artedit.com.au
Hold Me Tight.
E: lisa.becker@me.com
Acrylic on canvas, 47.5 x 40cm. $700.
I: rockbourneart

B U Y I T
/ GALLERY /
CHICO LEONG
artedit.com.au
REUNITED E: hello@chico-one.
Aerosol paints, gel medium, inkjet print collage on wood
com
board. 40 x 60cm. $500.
I: chico.wun

B U Y I T
/ GALLERY /
ELLIOT LOVE
artedit.com.au
W: elliotloveart.com
E: elliotlove97@gmail.
Lime Van
com
Oil on panel, 10.2 x 15.2cm, $500.
I: elliotloveart

B U Y I T
/ GALLERY /
OLIVER CROME
The Two Sisters. artedit.com.au

Acrylic on canvas, 31 x 31cm. $600.
I: crumbozia

B U Y I T
/ GALLERY /
BARB HENDERSON
artedit.com.au
W: barbhenderson.
Wonders that the Eye can See
com.au
Acrylic paint, 70 x 50cm, unframed. $950.
I: barbhendersonartist

B U Y I T
/ GALLERY /
JARED FOUNTAIN
artedit.com.au
Sentinel Hill.
W: jnfountain.com
Oil on canvas, 122 x 183cm. $5,000.
I: artistjaredfountain

B U Y I T
/ GALLERY /
SULLY
artedit.com.au
A Bunch of Lemons.
W: sullyartist.com
Acrylic on canvas, 102 x 102cm, $1,800.
I: sullyartist

B U Y I T
/ GALLERY /
TEGAN FRANKS
artedit.com.au
W: teganfranks.com
E: bytegan@outlook.
Sunrise Glow.
com
Acrylic on canvas, 122 x 152cm. $2,050.
I: by.tegan

B U Y I T
/ GALLERY /
VICTORIA McNEILL
artedit.com.au
W: victoriamstudio.
com.au
E: victoria@
This Is Where Memories Are Made, 2020.
victoriamstudio.com.au
Eco-solvent pigment print, edition of 12, 76.2 x 61cm. $750.
I: victoriammcneill

B U Y I T
/ GALLERY /
NELL SYMONDS
artedit.com.au
W: nellsymonds.com
E: nellsymonds.art@
Hayle.
hotmail.com
Oil on canvas, 64 x 80cm. $970.
I: nellsymonds.art

B U Y I T
/ GALLERY /
MOODY RABBIT
artedit.com.au
W: moodyrabbit.
wixsite.com/shop
E: moodyrabbit@
Oakford Sands
outlook.com
Acrylic on canvas, 77 x 57cm. $500.
I: themoodyrabbit

B U Y I T
/ GALLERY /
VERONICA O’HEHIR
artedit.com.au
W: veronicaohehir.com
E: vohehir@bigpond.
Human walk, sunset, paddock. Oil
com
on canvas, 122 x 198cm. $3,000.
I: veronicaohehirart

B U Y I T
/ GALLERY /
PETER BROOK
artedit.com.au
W: peterbrook.com
E: info@peterbrook.
com Approaching Capacity No. 14. Acrylic
on canvas, 92 x 81.5cm. $2,800.
I: peterbrookarts

B U Y I T
/ GALLERY /
AUDE
artedit.com.au
W: auude.com
E: aude.artproject@
Locked
gmail.com
Graphite, 29.7 x 42cm, $1,250.
I: ____aude

B U Y I T
/ GALLERY /
ANI IPRADJIAN
artedit.com.au
W: aniipradjianart.
com.au
E: info@aniipradjianart.
Fertile Australia.
com.au
Acrylic on canvas, framed in Tasmanian oak, 104 x 104cm. $1,595.
I: aniipradjianart

B U Y I T
/ GALLERY /
MARGARET EMSLEY
artedit.com.au
W: margaretemsley.
com
Flamenco.
E: marchgirl@me.com
Charcoal drawing on paper, 75 x 110cm. $3,700.
I: margaretemsleyart

B U Y I T
/ GALLERY /
CAMERON LEKO SOLLAR
artedit.com.au
E: cameron.sollar@
Night clubbing.
gmail.com
Acrylic on canvas, 60.5 x 45.5cm. $1,400.
I: cammellzee

SALLY KENT
Exhibiting at House of Chu
34 Bayswater Rd, Potts Point NSW
Aug 6 6-8pm
Aug 7 11-4pm
Aug 8 11-4pm
w: sally-kent.com
e: sally.kent@bigpond.com
p: 0425718239
i: @kent.sally
Protection Head I, 2020.

Porcelain, 35cm tall, $1200
Image credit: Matthew Stanton
B U Y I T
/ DESTINATION ART /
H O M E A W AY
FROM HOME
The Hamilton and Dune houses on Kangaroo Island
are the story of two families, one beach, 50 years and a
remarkable art collection. Georgina Safe takes a look
inside these enviable art destinations.
Nestled just 100 metres from the pristine sands

and clear waters of Emu Bay, where owners Emily
and Richard Young met and fell in love, two houses
combine the quintessential Australian beach
lifestyle with the best of national and international
contemporary art.
The story of the two holiday homes, names
Hamilton House and Dune House, began half a
century ago with Emily’s parents, who began visiting
from Adelaide each summer for holidays filled with
fishing, snorkelling and sunning with their daughters.
The couple built a shack at Emu Bay, where Emily
eventually met Richard, son of a neighbouring family.
They were married within a year by the beach.
When Richard’s mother Josie passed away, her son
and Emily bought his family’s 1960s weatherboard
shack, today called Hamilton House. They then built a
second contemporary dwelling, Dune House, on the
site overlooking the place where they met, and today
rent out both so visitors can experience Kangaroo
Island in barefoot luxury.
“There is a lack of quality accommodation on
Kangaroo Island and the island needs visitors to sustain
it,” says Emily. “Hamilton and Dune enable tourists to
experience Kangaroo Island in the style it deserves.”
At Hamilton House that style is vintage, with
furniture by the likes of Hans Wegner, Borge
Mogensen and Eric Buck, including a treasured chaise
lounge designed by Michael van Beuren, Klaus Grabe
and Morely Webb from the 1940s.

B U Y I T

B U Y I T
/ Hamilton and Dune enable tourists to experience Kangaroo

Island in the style it deserves. / EMILY YOUNG
Dune House is a contemporary build drawing on Central to both properties is the extensive art
design from the 1930s to the present day. Layered with collection Emily and Richard Young have amassed over
muted colours and textures to offset the concrete, 20 years living and working in Hong Kong, Shanghai,
glass and steel, it is rich in natural stone, timber and Sydney and on Kangaroo Island.
leather. The house features mosaic tiled bathrooms Hamilton House holds one of the pieces dearest to
and an inviting sunken lounge in homage to American their family, the 2003 work Front Workshop and Rear
1960s-70s architect Horace Gifford. Room by Yeung Tong Lung from Hong Kong.
The interiors of both houses were created in “Our three girls grew up flicking rice bubbles on it
conjunction with DeeM Studio, a Hong Kong-based and now they post themselves on Instagram in front of
design studio, which incorporated Pirelli flooring in it with their friends,” says Emily, a passionate supporter
Hamilton House and a dining pendant light which has of the artist who with her husband held an exhibition
followed the couple from Shanghai to Emu Bay. for him in Hong Kong in 2010.

B U Y I T

B U Y I T

4
B U Y I T
Other favourites in Hamilton House include

a worker’s mural from America, Party Time, a
photograph by Samantha Everton, and Dust Over
Aleppo, a 2014 work by Karen Black. You’ll also find
small pieces by Nicole Kelly, Oscar Namatjira and
the late Kangaroo Island-based artist Cath Cantlon.
The centrepiece of Dune House is The Longing
Place by Jo Bertini, which hangs in the dining area.
“Dune House perhaps reflects the landscape more
– particularly the Jo Bertini piece,” says Emily. “When
I saw it I realised it was perfect for Dune House – the
only time I have ever purchased a piece of art with a
spot in mind.”
Other pieces include work by Andrew Sibley, John 6
R Walker, Chris Huen, Leah Fraser, Leisl Mott and
Neridah Stockley.
“There is more rolled up in the shed but it was “With much focus on tourism developments such
starting to get too cluttered,” says Emily. “Maybe it’s as the emerging wine and producer scene, hiking and
time for another house?” wildlife attractions, there is also an important place for
The couple’s commitment to contemporary art a focus on the arts in a robust tourism economy,” says
extends to supporting the recently launched Diana Keir Emily. “Supporting the award will enhance the breadth
Art Award on Kangaroo Island. The prize money for and calibre of participating artists, from off the island
the award that honours the late Kangaroo Island artist as well as locally, securing its long future and enhancing
will increase from $5,000 to $10,000 this year, thanks the tourist experience on the island.”
artedit.com.au
to Emily and Richard’s generosity born of a vision to For bookings and more information on Hamilton
I: hamiltondune
build the arts on the island. and Dune Houses visit www.hamiltonanddune.com.au.

B U Y I T
7 10
1 / Aerial view of Emu Bay.

PHOTO: JOSH SMITH
2 / The Dune House deck.

PHOTO: JOSH SMITH
3 / In the Dune House dining

area hangs The Longing Place
by Jo Bertini. PHOTO: HEIDI
LEWIS.
4 & 5 / In the Hamilton

House hangs a vintage
mural oil painting with a wall
sculpture work by local artist
Cath Cantlon. PHOTO: HEIDI
LEWIS.
6 / Hamilton House queen

bedroom with Karen Black’s
Dust Over Aleppo above the
bed. PHOTO: ALI HARPER
7 / Leisl Mott’s Creekline

(panorama) hangs in the
Dune House king bedroom.
PHOTO: MEAGHAN COLE

AND HAMILTON AND DUNE,
KANGAROO ISLAND
8 9

B U Y I T
8 / In the Dune House

twin bedroom hangs Girl
Falling, 1972 by Andrew
Sibley. PHOTO: MEAGHAN
COLE
9 / In the Hamilton House

passageway hangs works
by various artists. PHOTO:
MEAGHAN COLE
10 / In the Hamilton House

dining area hangs Front
Workshop and Rear Room,
2003 by Yeung Tong Lung.
PHOTO: ALI HARPER
11 / In the Dune House

queen bedroom hangs
Kyushu, 2013 by Fumito
Urabe. PHOTO: HEIDI LEWIS
12 / Items on the shelf

include two head vessels
by Anna Karina, Boris de
Beijer resin vessels, a Leah
Fraser ceramic vessel
and Deb McKay’s urchin
ceramic object.

AND HAMILTON AND DUNE,
11 12
KANGAROO ISLAND

B U Y I T
/ GALLERY PANEL / Art Edit’s curatorial experts take a closer look at these artists’ work.
MOLLY TIMMINS
Molly Timmins, Work and At first glance Molly Timmins’ diptych Work and Unwind The colour and movement of this work
Unwind. Oil and embroidery
on canvas, 35.5 x 54.5cm. appears as an abstract painting. Closer inspection reveals by Molly is very appealing. The addition
COURTESY: THE ARTIST. PHOTO: a delicately rendered textural painting that is not brush of embroidery onto the canvas makes
SAMUEL HARTNETT
strokes at all but textile; carefully woven threads made to for creative combination with oils
resemble haphazard swipes of paint across the canvas in that I have not seen before. It has the
short bursts. To the viewer, the artwork remains intractably effect of deepening the richness and
fixed within the realm of painting. Our conscience is vibrancy of the colour filled oil paints
unable to fully move away from the application of paint represented by the artist, with the
onto a flat surface, thus blurring the boundaries of what effect of creating a unique world within
we call painting. Molly’s liberation into new material it. The empty white spaces left by the
artedit.com.au possibilities for what painting can be tricks us into a new artist then adds further invisible fuel to
E: molly.timmins. realm. their interaction.
art@gmail.com
PATTY CHEHADE SCOTT MITCHELMORE
I: molly.timmins
GALLERY DIRECTOR, PRAXIS ARTSPACE, ADELAIDE DIRECTOR, SCOTT JOSEPH GALLERY

B U Y I T
/ GALLERY PANEL /
NUAN HO
Composure along with compelling

anonymity of subject matter draw
me towards this work. I am both
intrigued and slightly menaced with
the unrelenting direct gaze from the
subject, it leaves many questions
regarding his purpose. The viewer is
faced with quite sophisticated, loosely
implied detail which holds our attention
long enough to appreciate the subtlety
of technique and restraint of palette.
Textures provide an opportunity for light
and movement without unnecessary,
overt play. Nuan summarises a
relationship to this figure at a guarded
arm’s length. A seductive figurative work
from a confident, knowing hand.
KERRY ARMSTRONG
ARTIST AND FOUNDER OF STUDIO
GALLERY GROUP, SYDNEY AND
MELBOURNE
Nuan presents us with a figure in a

forest with colours that suggest an
Australian landscape. With his Akubra
hat ‘grandpa’ stands in solitude. Despite
the lack of distinguishable facial features,
we know he is staring right at us, the
viewer. Through thick brush strokes
and deep melancholic tones, the figure
Nuan Ho, Grandpa.
demands our attention. This could be Oil on board, 45 x 30cm.
anyone’s grandpa. What is he trying to COURTESY: THE ARTIST
say? His vulnerability and solitude are

palpable. artedit.com.au
E: nuanho95@gmail.
PATTY CHEHADE com
GALLERY DIRECTOR, PRAXIS ARTSPACE,
I: nuanhoart
ADELAIDE

B U Y I T
/ GALLERY PANEL /
ISAAC LIZARDO
Isaac Lizardo’s loose, painterly,

abstract mark-making invites the
viewer on an explorative journey
through the artist’s mind. The
use of collaged layering allows for
a deep and nuanced conceptual
enquiry into the complexities
of the work. I find the unusual
iconography a particularly
interesting and playful
intersection, carefully collecting
and gathering marks, symbols
and imagery for a rich dialogue
and deeper understanding of the
work. Elements of block colour,
juxtaposed with fleshy line work,
creates the presence of human
touch and charisma.
KERRY ARMSTRONG
ARTIST AND FOUNDER OF
STUDIO GALLERY GROUP,
SYDNEY AND MELBOURNE
This work clearly communicates

memories of the artist’s past and
asks how we might recall our
own memory in the present.
The loose, rough style of this
mixed media work represents
how our mind recovers
important people and places
that shape who we are in
intangible and fleeting ways.
The combination of colour and
media in this work portrays
memory as objects and events;
perhaps horses galloping through
dusty fields. Dark and light
patches of spray paint and oil
stick help differentiate between
Isaac Lizardo, Abandoned.
Acrylic, oil stick and spray those memories that are clear,
paint on canvas, 76 x 102cm. and those that are beyond
artedit.com.au the reaches of our conscious
W: isaaclizardo.com recollection.
E: isaac@
clubmember.org SCOTT MITCHELMORE
DIRECTOR,
I: isaac.lizard
SCOTT JOSEPH GALLERY

B U Y I T
/ GALLERY PANEL /
WYNONA PEARL MILLER
Wynona Pearl Miller, Boy Drinks

Orange. Oil on canvas, 46 x 61cm.
An everyday scene, an everyday action

– a strong youthful boy drinking orange
juice. As the boy takes a sip though,
the artist shows it as a quiet moment
to pause and reflect, to repose.
Wynona clearly has an eye for colour in
this beautifully composed work.
SCOTT MITCHELMORE
DIRECTOR, SCOTT JOSEPH GALLERY
A brown-haired boy in an orange

t-shirt seated on a blue couch
drinking something orange – Wynona’s
painting is straightforward, but not
to be underestimated. Her use of
complimentary colours depicting a
lo-fi mise-en-scène, defines a moment
not to be overlooked. The artist
gives the subject its own importance
when applied to the canvas with oil
paint, using great care and detail to
depict the moment. As viewers, we
often overlook these scenes as being artedit.com.au
mundane, but they are very much a W: wynonamiller.
part of our everyday lives. com
E: wynona.pearl@
ANITA TÓTHA gmail.com
GALLERY MANAGER, SANDERSON
I: wynona.pearl
CONTEMPORARY, AUCKLAND

B U Y I T
/ GALLERY PANEL /
BAEZ BONORAT
Baez Bonorat, Window.

Acrylic and mixed media
on linen, 82 x 72cm.
At first glance, the composition

and warm tones of Baez
Bonorat’s painting emulate a
visceral interest in abstraction
and colour, accompanied by
minimal intervention. Born in
Mexico, the influence of his native
land is imprinted in his work,
amplified by the influence of
esteemed Mexican artists such
as Rufino Tamayo and Francisco
Corzas. With the combination
I am very drawn to this work by Baez Bonorat. His use of of paint and mixed media,
subtle warm and darkish colours combine exceptionally Baez Bonorat mediates depth
well to create a visually engaging work. The inclusion of the by moving between light and
rectangular window draws me first to the painting, then dark, successfully exploring the
artedit.com.au passing through it out onto the rest of the work. For me it’s contrast between tones, colour,
W: baezbonorat.com a very reflective, grounding work that evokes memory and background and foreground.
E: art@baezbonorat. in particular, memory of place.
com ANITA TÓTHA
SCOTT MITCHELMORE GALLERY MANAGER, SANDERSON
I: baez.bonorat
DIRECTOR, SCOTT JOSEPH GALLERY CONTEMPORARY, AUCKLAND

B U Y I T
/ GALLERY PANEL /
DANNY LEE
Danny Lee, Late Nights.

Mixed media and acrylic
paint on canvas, 164 x 164cm.
We tend to see appropriation of

street culture and art historical
references often, as we are
bombarded with images and
information in the current stage
of the digital age. But Danny
Lee has ensured his practice is
unique. Naming Pablo Picasso
and Jean-Michel Basquiat as
evident references, Danny grew Danny applies a variety of techniques in his
up in Melbourne and studied painting Late Nights. Its large scale impacts
and practiced the art of graffiti. immediately with cheerful blocks of colour above,
He applies the techniques onto in contrast to the dark gloomy blacks and greys
canvas with acrylic and painting below. While the soft hues draw the viewer in
tools, transforming the artwork they are immediately confronted by cartoon-like
into a playful painting depicting faces that peer out at the onlooker. Danny clearly
abstractions of street art culture embraces the graffiti culture so prevalent in the
at a late-night New Year’s Eve Melbourne street scene. The textural quality artedit.com.au
festival in St. Kilda. of hiss mark-making can be seen as a reverse- W:dannyleegallery.
com
sgraffito, carving into and out of the miserable
ANITA TÓTHA E: dannyleegallery@
GALLERY MANAGER, cement walls of the dark city lanes.
gmail.com
SANDERSON CONTEMPORARY, PATTY CHEHADE
I: dannyleegallery
AUCKLAND GALLERY DIRECTOR, PRAXIS ARTSPACE, ADELAIDE

Roxanne Lilis, Phoenix Rising #3.150 x 125cm.
Winner ZARTART Artist Teacher Award 2021.
ROX A N N E L I L I S
Sheffer Gallery Saturday 26th June 3pm - 5pm
38 Lander Street, Darlington, NSW, Australia. www.sheffergallery.com
JOANNA COLE
Joanna Cole, Icarus’ Ghost,Willangee. Oil on board, 100x100cm.

B U Y I T
S H O W C A S E
Art Edit takes a closer look at a selection of standout works.

B U Y I T
/ SHOWCASE /
ANGELA HICKEY Angela Hickey,

Nowhere to Hide.
Found objects, 31 x
27 x 13cm. NFS.
Angela Hickey is no stranger to making a statement. and delivered them back to the company in question.
Her recent work Nowhere to Hide is no exception. As the world becomes more aware of just how much
On the surface, this piece seems to be a delightfully of our everyday lives are being watched and examined
quirky homage to Salvador Dali’s 1938 work Lobster by the technologies around us, the true horror of
Telephone, upgraded to suit the technology of modern how our devices impinge on our most vulnerable
life. Yet there are far more sinister themes hidden just moments is ever more apparent. Angela’s seemingly
artedit.com.au
beneath the surface. The work is inspired by the story innocuous object, garishly pink and festooned with
W: angelahickeyartist.
of a vibrator manufacturer whose products insidiously glitter, is in actuality an eerie monument to control and com
tracked and recorded their user’s information without surveillance. The artist goes one step further with her E: a.hicksorb@gmail.
their consent – including everything from the time and work, providing a recording to accompany her dildo com
I: angela_hickeyart
date of each use, down to the user’s temperature – deity.

B U Y I T
/ SHOWCASE /
Mindy Doré, Wayfarer.

Archival inks and silver
pigment on Usu Kuchi
paper, 94 x 64cm. $550.
MINDY DORÉ
Despite their jewel-like colours, the art of Mindy Doré This work is part of a series titled Luminoscope,
is the elucidation of a process of quiet introspection, in which she envisions seeing the world through a
and the mechanism through which Mindy investigates titular device, an imaginary and whimsical lens which
the true meaning of home. Via the meditative, transforms everyday items into abstracted objects
repetitive rhythms of printmaking and inking, the artist of wonder. By using her luminoscope, the mundane
creates order out of the world she sees around her, becomes sacred, and aids the artist in finding her
artedit.com.au clarifying her observations and revealing how they place within the universe. Here, the wattle blossoms
W: mindydore.com.au interact with her inner self. In the case of Wayfarer, crystalise into spheres which shimmer and float,
E: info@mindydore. Mindy found herself arrested by the patterns of fallen turning a transient moment into something almost
com.au wattle blossoms along the footpaths near her home spiritual, allowing the viewer to situate it within their
I: mindydore
and used them to explore nature’s changing rhythms. own internal world.

B U Y I T
/ SHOWCASE /
HELEN REDMOND
Helen Redmond, Aquarii Depicting a mysterious, subterranean world, Helen significance and healing. Helen builds up her interiors
#6. Oil on canvas, 100 x
80cm, framed. $2,400. Redmond’s Aquarii #6 amalgamates a plethora of slowly, using multiple, translucent layers of oil paint to
COURTESY: THE ARTIST. classical associations and contemporary imagery in one give her surfaces a sense of depth and texture, creating
quiet, solemn image. Inspired by the Therme Vals by a trompe-l’oeil effect that allows the viewer to almost
contemporary Swiss architect Peter Zumthor, Helen step inside the hallowed space. Eddies of colour on the
embraces the minimalist planes that make up the walls intimate light reflecting off rippling water, though
artedit.com.au structure, which are carved directly into the mountains the pool beyond looks still and calm, interspersing rigid
W: helenredmond.com around naturally occurring thermal springs. However, brutalist lines with soft texture that invites touch. At
E: hredmond55@gmail. Helen imbues this modern structure with classical once monumental and private, this work is a discourse
com connotations, with the word aquarii (water-bearer) between opposites: light and dark, modern and
I: helenredmondartist
referencing the use of such sites as places of religious ancient, real and surreal.

B U Y I T
/ SHOWCASE /
HOLLY ZANDBERGEN
When it comes to the dizzying array of sunlight. Holly’s generous use of paint
ways to apply paint to canvas, the use pares down what was once an image
of a pallet knife is perhaps the most of a climbing rose into the essentials
risky, as the paint must be applied of touch and movement. The work
with complete control and without was created quickly and executed with
any hesitation. But, when wielded high energy, embodying the sensation
correctly, the voluptuous impasto effect and emotion felt by the artist, with the
it can create works to essentially carve effect of conveying a sense of both
movement into physical form. Holly authenticity and power. Amidst The
artedit.com.au
Zandbergen has successfully employed Petals is therefore a testament to the
W: hollyzandbergen.
Holly Zandbergen, this approach to great effect in her eye of the artist, who sees beyond com
Amidst The Petals. Oil work Amidst The Petals, where one merely the visual splendour of nature E: hollyzandbergen@
on canvas, 12.5 x 18cm,
can almost feel the silky texture of the and into its capacity for growth, gmail.com
framed. $1,200.
I: hollyzandbergen
COURTESY: THE ARTIST rose petals as they move softly in the change, and renewal.

B U Y I T
/ SHOWCASE /
Felix Atkinson,
crossbones style.
FELIX ATKINSON
Synthetic polymer paint
on canvas, 151 x 121cm.
When creating their work crossbones style, artist While still connected, the colours used to render the
$2,700.
Felix Atkinson states that they “reflected deeply on figures are not quite in sync, neither are their faces
what intimacy really meant, being something that equally detailed or distinct. The disconnect between
went beyond physical touch.” This notion of intimacy the two figures is clear, and yet they remain connected,
permeates the work, with the figures almost folding together. This can be read as an image of heartache,
into one another, seemingly physically attached. with a relationship slowly coming undone before the
Though abstractly rendered, their faces contain a eyes of the viewer. Alternatively, the work can equally
artedit.com.au depth of emotion, with quick, rough strokes in blue be seen as one of hope, and of connections that
W: felixatkinson.com and red writing their innermost thoughts directly onto persevere despite the pressures of emotional turmoil
E: felixatkinson@gmail. their skin. However, there is a touch of melancholy in or stagnation. Despite their disconnect, the figures lean
com the piece, suggesting this openness of intimacy can toward each other, their intense vulnerability on display
I: divinations
convert into pain when not met equally by each party. in the hope of reciprocation.

B U Y I T
/ SHOWCASE /
Chance Purpose, The

Advenures of Tut, Issue No.
1. Comic paper, epoxy resin,
mica pigment, liquid gold
leaf and acrylic on smashed
porcelain, 25 x 18 x 16cm.
$1,300.
CHANCE PURPOSE
The death mask of King Tutankhamun has become venerated Japanese art tradition, Kintsugi involves
one of the most recognisable archaeological artefacts repairing ceramics using lacquer mixed with powdered
ever discovered, lifted in almost perfect condition from gold. Chance Purpose takes this approach one step
its resting place in the Valley of the Kings in Egypt. further (as his pseudonym suggests) by eliminating
However, most objects subjected to the vicissitudes the factor of chance and insinuating himself into the
of time are not nearly so lucky, especially the human process. Taking objects of beauty and smashing them,
bodies usually adorned with such masks. Sydney-based he reconstitutes them with a greater sense of history
artist Chance Purpose has created his own version and spiritual value – or in his words, “I break shit and
artedit.com.au of this iconic artefact in his work The Adventures of make it better”. Here, cracks in the king’s bust burst
W: chancepurpose. Tut, Issue No.1 in order to embrace this dichotomy, forth with gold, and missing sections are replaced with
com using his unique adaption of the philosophy of Kintsugi comic art. In this work history comes alive, imbued
I: chance.purpose
to render the effects of time in physical form. A with the creativity, and purpose, of the artist.

B U Y I T
/ SHOWCASE /
LYNLEY GEORGE
Lynley George describes her approach pornographic website, taking aim at a Lynley George, The Gaze.
Paper sculpture, edition of 4,
to art as parafeminist, interrogating the particularly conspicuous touchpoint
30 x 60 x 19cm. $900.
male gaze using shock and humour in concerning the objectification of COURTESY: THE ARTIST
order to clarify current understandings women. Lynley then crafted horns
of the female experience. This in place of ovaries using rice and
approach is epitomised in her work The mulberry paper, working from a set
Gaze, a parody of the female anatomy of ram’s horns as a mould and thus
which evokes and encourages a visceral creating a shape which is both familiar
response from the viewer. The Gaze and abject. The work strives to show
is intended to confront archetypes of how many women constantly feel in
sexual objectification head on, melding society today, their minds and bodies as
sex and death into a sculpture that merely superfluous extensions of their
unashamedly catches and holds the role as a sexual object. Using the power
artedit.com.au eye of the viewer, giving them time to of shock, humour, and parody, Lynley
E: lynleygeorge@ question and reflect. The exaggerated encourages the viewer to take a long
hotmail.com facsimile of a woman’s vulva depicted look at the way we, both individually
I: lynley.george
in the work was sourced from a and as a society, look at women.

B U Y I T
/ SHOWCASE /
Tina Pitsiavas, A Strong

Smart Woman. Gouache
on watercolour paper,
38 x 57cm. NFS.
COURTESY: THE ARTIST.
TINA PITSIAVAS
The graphic works of Tina Pitsiavas are bright, loud, society thus far, are often subject to disapprobation
and gleefully unapologetic. By using a plump typeface when they challenge traditional gender roles. The
and vivid shades of neon and pastel, Tina creates specific incident that inspired this work was a news
paintings that appear joyful at first glance, yet quickly piece she came across during the last US elections
convey a gritty message. Essentially patchworks of where a congresswoman was abused on the steps
protest, Tina decodes letters to reveal a declaration of her workplace, ostensibly for challenging male
that confronts current events and addresses pertinent superiority in the political arena and exhibiting personal
political issues. In her work A Strong Smart Woman, characteristics which, though often vaunted in men,
artedit.com.au she expresses her indignation at the widespread are disparaged in women. “It’s my response to the idea
E: mayisa@yahoo.com mistreatment of women, who, despite the many that some individuals feel it’s their right to denigrate
I: teepee_art
positive changes that feminism has wrought on women in order to elevate their own status,” Tina says.

B U Y I T
/ SHOWCASE /
ANITA LAURENCE
Surrounded by rolling hills and the river – would be recognisable, Anita Laurence,
Where the Rivers Meet.
vineyards, the picturesque town of their features delicately picked Linocut, 56 x 76cm. $850.
Wangaratta in north east Victoria is out on a micro scale. Her use of COURTESY: THE ARTIST
filled to the brim with rustic charm. monochromatic lino printing gives the
The love that Anita Laurence feels vista a sense of unity, the tiny forms
for the place is palpable in her of trees and fields rendered in the
works, wherein she renders familiar same colour and style as the elegant
landmarks in print and paint. In frontages, producing a harmonious
Where the Rivers Meet we see what whole. This spot on the river has been
is almost a family portrait of the town, a significant site for generations, and
with each house bestowed with its is still an important meeting place for
own personality, placed in neat lines the Bpangerang people, who have
beneath the curving Poodumbia (King lived according to the ebb and flow
artedit.com.au
River) where it meets the Torryong of the river. Anita’s affection for this
W: anitalaurence.
com.au (Ovens River). To anyone familiar with stunning place shines through in the
E: anita@anitalaurence. the town, each and every building – as deliberate lines and curves that make
com.au well as many natural features, down up this piece, doing justice to the
I: anitalaurenceart
to clusters of stumps and bends in special nature of place.

B U Y I T
/ SHOWCASE /
Da Claong, Going to
Lamma… (or where
imagination calls you).
Oil, medium and reactions
on linen and Tasmanian
oak, 180 x 70cm.$1,360.
DA CLAONG
Going to Lamma… (or where imagination calls possibilities”, inspired by contemplations of the future
you) by artist Da Claong is a meditation on thought, and its infinite capacity for change. The work is
embodying the endless possibilities of the mind using delicate, in places almost translucent, making solid the
the chance application of oils on linen. By blending ephemeral nature of thought. The oils run across the
Buddhist traditions of flung ink painting – a practice linen in a variety of directions determined by chance
where ink is spilled on to paper during meditation – and serendipity, each line dividing and converging in
with contemporary intellectual engagements with the a manner that grants the paint a mind of its own. By
artedit.com.au theory of abstraction, Da aims to produce works that completely rejecting figuration, Da allows the viewer to
E: daclaong.com capture a fleeting emotion or sensation. This particular impute their own meaning in the piece, creating a work
I: da.claong
work, Da explains, is “looking ahead to potential that is therapeutic for both artist and audience.

B U Y I T
/ SHOWCASE /
Donina Asera, Watering

the Dendo Wayfinders. DONINA ASERA
Acrylic, collage and mixed
media on canvas, 90 x
120cm. $950.
The Brouhaha series by Victorian artist Donina sketchy, spontaneous lines craft a world which
COURTESY: THE ARTIST. Asera is one of delightful mystery, depicting a appears unabashedly joyous, belaying any tension
rich and enigmatic world in which the viewer can caused by the unknown. The viewer’s journey
linger, deciphering its secrets however they wish. is thus an adventure of the imagination, finding
In the work Watering the Dendo Wayfinders, a their way alongside whimsical companions. Having
cheerful, rotund figure floats among fanciful flying experimented with photography, printmaking and
artedit.com.au machines, providing nourishment to small, plant- oils, Donina has settled on an abstracted approach
W: donina.com like objects. Its meaning is left for the audience which she finds both freeing and challenging. The
E: donina.asera@gmail. to determine: what are the wayfinders directing vivid and fantastical worlds she conjures using this
com someone to? Where is this place, and why is that method are a joy to observe, bringing forth the
I: donina_asera_art
creature there? The work’s bright colours and viewer’s own creativity and imagination.

B U Y I T
/ SHOWCASE /
Michelle Le Dain, Pink

Intersection (Roadworks
Series). Pigmented ink jet
mounted on aluminium, 100
x 100cm. $2,600.
MICHELLE LE DAIN
Inspired by Josef Albers’ Bauhaus photomontages, are rearranged into an abstract exploration of line and
Michelle Le Dain strives to use photography to study plane. These repeated markings each represent a time,
perception and play with geometry. In an ongoing place, and direction, but once removed from their
project, Michelle seeks to capture art in the everyday original context, take on their own unique meaning.
urban environment. The series blossomed from In this particular work, Michelle has manipulated the
daily runs armed with her iPhone into a collection of colour of the lines to make them bright, neon pink.
works starring cities including New York, Montreal, The artist associates this colour with hope, and as such
Paris, Melbourne, Perth and Sydney. Daily events the decision proves poignant in a series which usually
artedit.com.au become graphic poems, spontaneously captured spans the globe, only lately confined by the limitations
E: michelleledain@ and reinterpreted through a lens. In her work Pink imposed by Covid-19. This piece expertly demonstrates
gmail.com Intersection (Roadworks Series), common features of that there is joy in the small moments, and hope in the
I: michelleledain
the urban landscape – street markings and asphalt – most unexpected places.

B U Y I T
/ SHOWCASE /
Marita Port, Paean.

Porcelain stoneware Terra
Sigilatta, 60 x 71cm. $950.
MARITA PORT
“The pointe shoe evokes memories of grace, lyrical The delicate nature of the southern ice porcelain
beauty and ephemerality,” says Marita Port, the parallels the fragility of a ballerina’s foot – both
Sydney-based artist behind Paean. Marita has elegant and powerful in its movement. Reminiscent
a fascination with ballet, which she sees as an of a cameo, a carving technique involving positive
artform built on perseverance, precision, grace and negative space traditionally used to frame a
artedit.com.au
and strength. For this piece, Marita used fine white portrait of a loved one, Marita’s contemporary
W: maritaport
ceramics.com stoneware clay, suitable for the hand-building reinterpretation references the spectacle of a
E: maritaport involved in the outer ring, and southern ice ballerina centre-stage. A careful balancing act
ceramics@gmail.com porcelain casting slip for the shoe in the centre of between strength and fragility, Paean tells a story
I: maritaportceramics
the work, a cast of her own foot in a pointe shoe. beyond its white-walled surrounds.

TRUDY RICE
Melbourne Studio visits by appointment
M: 0410 596 415 W: trudyrice.com I: trudy_rice
Damon Kowarsky
www.damon.tk
@damonkowarsky
The Jungle, Ho Chi Minh, 2020, Etching and aquatint on BFK Rives, 23 x 20 cm +61 422 902 892
S T Y L E I T
EXPERT EYE / DESIGN COUNCIL / ART MOOD / LAST WORD
Sculptural lighting and ceramics by MENU. COURTESY: MENU

Darcy
Shilton
Pyramid Lamp, 30 x 15 x 15 cm,
recycled hoop pine and victorian ash
Website: Shiltondesign.com
Instagram: @shilton.design
H A N G I T
⁄ EXPERT EYE /
LIGHTING UP
Lighting expert Lauren Li talks us through the art and practicalities
of lighting art works in domestic spaces.
Forget about the architecture, interiors, furniture and art. If there isn’t great TIP 1 / Natural Light
lighting in the space, then why bother? After all, without light, we can’t see Although we want to flood our rooms with glorious natural
any of it! Lighting is such a critical consideration, it’s absolutely essential light, we need to think twice when it comes to protecting
to not only show-off the best features of the space but also for our own our artwork. Direct sunlight, and even indirect sunlight
wellbeing. The way a space is illuminated greatly affects the way we feel. can affect different types of artwork in various ways. The
Consider lunch in a brightly lit food hall compared with the dim key is being able to adjust the amount of light that is
candlelight of a french bistro. The way we behave in a space has a lot to do coming into the room. Consider the placement of the
with how it is lit, and it’s no accident that your local convenience store is lit piece and if it can handle direct light. The key is to select
up like a stadium late on a Friday night. Take the hint: you’re not welcome the window treatment that can offer some relief from the
to hang around for too long. So how do you want to feel in your home and amount of sunlight hitting the artwork. Sunscreen blinds
how do you want your guests to feel? and sheer curtains are a good option to filter the light.

S T Y L E I T
/ The lines can be blurred when it comes to a sculptural piece

that includes a light source. /
2 3
TIP 2 / Floor & Table Lamps of what is going on below. This result means lighting 1 / Styling by Julia Green
for Greenhouse Interiors,
Don’t just leave the downlights to do all of the lighting the floor and leaving the walls quite dark, which makes assisted by Aisha Chaudhry,
in a room. Adding some variety in layering the lighting the whole space feel dark. Instead, consider what you Kate Moss and Jessica
Retallack. COURTESY:
is essential. To highlight an artwork such as sculpture want to light, starting with artwork and place adjustable GREENHOUSE INTERIORS. PHOTO:
or ceramics on a plinth, consider a well-positioned lights that can move around as different pieces come ARMELLE HABIB.
floor lamp. Not only can it illuminate the piece, it can and go in your collection. Adjustable can lights are 2 / The JWDA floor lamp
provide loads of atmosphere. cylindrical light fittings that can be angled to allow for from Edition By Sagit Goldin
COURTESY: EDITION BY SAGIT
Sometimes the light itself is an artwork. The lines the lighting to spotlight an artwork and really make it GOLDIN
can be blurred when it comes to a sculptural piece sing. Use a globe with a narrow beam so that you can 3 / Cosset Ceramic’s
that includes a light source, such as Cosset Ceramic’s really highlight the work. MONTY lamp. Unglazed
ceramic, linen fabric cord and
MONTY lamp which holds its own as a sculpture and bulb, 27 x 26 x 11cm. COURTESY:
a lamp. A series of hand-blown glass balls that cascade TIP 4 / Track Lighting THE ARTIST AND SAINT CLOCHE
GALLERY, PADDINGTON
down the staircase, such as Articolo’s hanging Trilogy My top tip on lighting artwork is to use track lighting.
4 / Articolo’s hanging Trilogy
light, can be a thing of awe and beauty that is enjoyed A track is mounted to the ceiling which allows light
light. COURTESY: ARTICOLO
on a daily basis and becomes much more than just a fixtures to be moved anywhere along the track. This
functional object. makes track lighting the perfect option if you like to
really change things up and move around artwork in LAUREN LI IS THE
TIP 3 / Ceiling Lighting your home in a big way. It’s great for gallery walls as you FOUNDER OF
The key to creating a captivating space in the evening can configure lights to suit. Track lights are becoming MELBOURNE-BASED
is to plan the ceiling lighting according to how the much more minimal in appearance than they were in INTERIOR ARCHITECTURE
space will be used. By default, downlights are arranged the past and the lighting opportunities they can create AND DESIGN STUDIO
in a grid pattern on the ceiling without much thought are endless. SISÄLLÄ.

H A N G I T

S T Y L E I T
/ DESIGN COUNCIL / Art Edit’s design experts offer their tips on styling these pieces in your home.
TULIKA DAS
Tulika Das has created an energetic

composition of everyday objects in this
beautiful piece. Her balance of colour
and space in this large format work would
add a visual vitality to any space. I would
love to see it hung above an oversized
organically shaped modular sofa in an
open planned living and dining space.
The sofa upholstered in a camel-coloured
boucle and a couple of terracotta leather
swivel chairs with black metal bases. With
cabinetry in a pale sky blue, walls in a soft
tone of warm grey and wide plank natural
oak floors. A space that envelopes you in
its warmth and encourages you to take a
cat nap yourself.
BRETT MICKAN
BRETT MICKAN INTERIOR DESIGN, SYDNEY
Capturing the romanticism of the

everyday through an abstract lens, the
subtle nuances of life are celebrated
in joyous fashion in Tulika’s Cat Nap. I
love that this work references daily life,
but in a colourful high-contrast setting.
It’s a snapshot of Australian life but
where colour and scale offer playful
expression. This piece would bring a
bold burst of colour to an all-white
space but equally it would work well in a
contemporary colour-filled home.
JULIA GREEN
FOUNDER, GREENHOUSE INTERIORS,
SYDNEY
Tulika’s work evokes memories of

experiences that are familiar and relatable.
I would place this playful work in a space
filled with indoor plants to draw a parallel
with its subject matter. The juxtaposition
between painted and living plants would
artedit.com.au create an interesting relationship – this
W: tulikadasart.com piece is sure to be a conversation starter.
Tulika Das, Cat Nap.
E: tulikadas. Acrylic on duck cotton BILLY KAVELLARIS
artstudio@gmail.com canvas, framed, 76 x
100 x 2.5cm. DIRECTOR, KAVELLARIS URBAN DESIGN,
I: tulikadas_arts
COURTESY: THE ARTIST MELBOURNE

S T Y L E I T
/ DESIGN COUNCIL /
ALANNAH GRASSO
I love that art can spark a

conversation on so many levels
and its interpretation is entirely
personal. While this piece
references Alannah’s Italian
heritage and poses questions of
cultural traditions, on another level
it delivers amusing composition
and a sense of undeniable fun.
Whatever story we choose to
bestow upon it, this piece should
take centre stage in a modern,
eclectic interior.
JULIA GREEN
FOUNDER, GREENHOUSE
INTERIORS, SYDNEY
Alannah Grasso, Tortellini. Ceramic and wood, 45 x 45cm. Alannah’s Tortellini is a clever
interplay of three-dimensional
elements on a flat surface which
would be complimented with a
collection of decorative objects
that reference the colour, texture
At first glance I’m naturally drawn to the soft palette and rhythmic circular and geometry of the piece.
form of Alannah Grasso’s work. Once I look further into the work, I see it Creating an ensemble of works
says so much more. It talks about culture, tradition and the family unit. This in a salon hang, with Alannah’s
is a work that can hold its own, however I would emphasise its themes and work as the focal point, would
hang it as part of a collection. I would include a few vintage family photos extenuate the playful subject and
artedit.com.au and perhaps an oil painting or two; a collection that speaks volumes and is tactility of the work.
E: alannahg11@ymail. given a contemporary edge with the inclusion of this piece.
BILLY KAVELLARIS
com
BRETT MICKAN DIRECTOR, KAVELLARIS URBAN
I: alannahgrassoart
BRETT MICKAN INTERIOR DESIGN, SYDNEY DESIGN, MELBOURNE

S T Y L E I T
/ DESIGN COUNCIL /
AMY KIM
Amy Kim’s vibrant graphic mix of form

and colour create a sense of movement
as your eyes bounce around her canvas
The large format would be a striking
addition to a contemporary living space.
Influenced by the bold tones and contrast
of the work, I would create a sense
of depth by painting the dining space
in cobalt blue, with adjoining walls a
cool white. A dining table in black with
sculptural Featherston Scape chairs. The
living room would be grounded by a plush
wool and silk rug in a pale terracotta
colour, with puddling drapes in a wide
black and white stripe. Now you have an
interior to emulate this dynamic work.
BRETT MICKAN
The beautiful curvaceousness of the

female form and a limited yet vibrant
colour palette speak to me about
strength and balance. Amy’s commitment
to capturing what it is to be female
will no doubt spark lively conversation,
thanks not only to the skilled composition
but also to the sensuousness of this
piece. I envisage it taking a prominent
position in a neutral interior, where its
modern cubism influences and subjective
interpretation can command attention.
JULIA GREEN
GREENHOUSE INTERIORS, SYDNEY
Amy’s Red Heels has bold colour

and geometry and is best suited for
placement on a large minimalist white wall
to provide a contrast and complimentary
tension. The canvas is best suited to be
hung alone – a bold hero piece and focal
point in a space.
BILLY KAVELLARIS Amy Kim, Red Heels. artedit.com.au

Acrylic on stretched W: byamykim.com
DIRECTOR, KAVELLARIS URBAN DESIGN, canvas, 76 x 101cm.
I: byamykim.art
MELBOURNE COURTESY: THE ARTIST

S T Y L E I T
/ DESIGN COUNCIL /
JOANNA BROWN
Joanna Brown, Federation Folk.

Digital drawing, dimensions variable.
Often, when I think of natural hues,

I think of rustic, earthy colours. But
this sensational piece demonstrates
what can be achieved when
referencing the boldest of mother
nature’s palette. I love the way these
rich hues seemingly burst off the
black background. The emblem-like
structured composition adds a
sense of formality while the digital
element brings a modern twist. This
perfect pairing of art and nature
would make a bold statement in a
traditional home setting.
JULIA GREEN
FOUNDER, GREENHOUSE INTERIORS,
SYDNEY
In my design practise, I’ve worked on many Federation
homes. For me this work draws out the beautiful
often botanically themed decorative details and This work would be best showcased
ornamentation of that period. The digital medium in a darker space with ambient
allows this very Australian subject be transformed into lighting to bring out its mood
a bold graphic architectural form. I would like to see and sensory subject matter. Dark
it hung in the entrance hall of a Federation home. A painted walls with soft natural light
custom hall runner in a bulky textured weave in a grass from a nearby window would be
green colour with hand blown ochre glass pendants ideal opportunities to cultivate the
artedit.com.au
W: laelinedesign.net from the JamFactory, combined to give a clean-lined experience.
E: laelinedesign@ and contemporary feel to a grand old home.
BILLY KAVELLARIS
hotmail.com
I: laelinedesign

S T Y L E I T
/ DESIGN COUNCIL /
SADIK STITCH
Sadik Stitch, Roll Out. Manipulated

canvas and cord, 120 x 120cm.
There is a deep correlation

between fashion and art in
this work; both are highly self-
expressive and creative, and both
are a form of communication.
These parallels are clearly defined
in this textural example of visual
design. The contrasting tones, the
rich texture and the intricate
detailing are artistic elements
which speak loudly to me, and
it comes as no surprise that the
merging of art and fashion has
unequivocally worked. Certainly
this piece is deserving of a
statement position on a gallery-
style wall in a modern interior.
JULIA GREEN
FOUNDER, GREENHOUSE
INTERIORS, SYDNEY
Roll Out is a mesmerising visual

piece that explores hypnotic
radial and textured layering. It
This expertly crafted textural piece is almost architectural would work perfectly in a space
in appearance and conjures up images of Italianate that captures direct natural light
terracotta roofs and arched porticos. I would hang this in to help create a kaleidoscope
a large room with a big footprint and high ceilings. I would of shadows throughout the
style with a large sleek contemporary sofa upholstered in day as the sun tracks around
caramel-coloured leather, terracotta-coloured walls and the space. The shadow play
a few black armchairs on a hemp and silk cut pile rug in would accentuate the natural
petrol tones. From the ceiling I would suspend Christopher texture of the canvas and three-
artedit.com.au
W: sadikstitch.com Boot’s Phasmida pendant light in bronze and copper. A dimensionality of the work.
E: art@sadikstitch. fitting space for this statement piece.
BILLY KAVELLARIS
com
I: sadikstitch

S T Y L E I T
/ DESIGN COUNCIL /
SARA DEANE
Sara Deane, Peach Dreams.

Acrylic on canvas, 23 x 28cm.
The precision of this architecturally inspired

work would make its small format a great
addition to any art collection. I love how
Sara Deane masterfully combines pastels
with bold colour tones. Hung at eye level,
I would position it in an entrance hallway,
a space where one may linger and admire
its rhythmic beauty. Ebony stained floors,
white walls with ceilings and oversized
cornices in a soft blue-grey, a series of
Artek black metal pendants and a faded
vintage pastel toned Moroccan runner
would complete the space.
BRETT MICKAN
The playful colour combination of

this piece contrasts perfectly with its
understated form, creating a sense of joyful
harmony. It sings of travel and adventure
– inspirations which connect with me Sara’s Peach Dreams is a wonderful interplay
strongly. An ideal size for a mantlepiece of a pastel colour palette which would be best
display, this cleverly composed piece complimented with decor and soft furnishings that
would work exceptionally well in a colour- pickup of the hues of the painting. The softer colours artedit.com.au
filled room, where worldly influences are and tones could be reinforced with textile elements W: saradeane.com.au
celebrated and happiness is at the fore. such as billowing curtains or a textured rug. E: saragdeane@
gmail.com
JULIA GREEN BILLY KAVELLARIS
I: saradeane
GREENHOUSE INTERIORS, SYDNEY DIRECTOR, KAVELLARIS URBAN DESIGN, MELBOURNE

H A N G I T

S T Y L E I T
/ ART MOOD /
ART TO AROUSE
After climbing the ranks in Vogue Living and becoming a sought-after
freelance interior designer, Anna Delprat throws out the rule book
to create four unique looks that are artworks in themselves.
Can you tell us a bit about yourself and how you What is your personal taste when it comes to art?
ended up in interior styling? My art taste is myriad and diverse. Raised with an
I was born into a long lineage of artists and raised appreciation for traditional art, I have a deep love
in a ramshackle little house next to the beach in of the canon, especially the Dutch masters and
Sydney. My dad loved collecting things - objects, Baroque art. At university it was a revelation studying
books, art, antiques. He taught me to see the beauty abstract expressionists such as Mark Rothko and
in old or unwanted objects. Art and art history was a minimalists such as Donald Judd. When it comes
constant subject of conversation around the dinner to contemporary art I adore sculpture because it
table. This was compounded by my parents directing embodies what I love about interior design – form and
our family business, the Julian Ashton Art School in scale. I am equally entranced by photography, perhaps
Sydney, founded by my great great grandfather. I was because it pertains so much to what I do.
surrounded by a deep respect for traditional artmaking
practices and was fortunate in that I never doubted What design element could you not live without for
that a creative career was possible. After studying art your projects?
history I began a career in publishing surrounded by Scale. I really enjoy pushing scale because it’s tricky
incredible mentors and was delighted to discover that and doesn’t always work, but if I get it right the sheer
my penchant for aesthetics and interiors could be unexpectedness and awe is so rewarding. Sometimes
a real career. I worked my way up to market editor an oversized or extremely small element may defy
during my six years at Vogue Living, which I left to design principles, but it just feels right. I believe that
pursue a freelance styling career. I now create imagery the most successful interiors are risky.
for editorial, interior design and commercial clients.
What is one trick of the trade when it comes to
What is your design ethos? styling art in a home that we should know?
I relish imperfection and appreciate the history of a Forget the rules, interiors are an opportunity to be
piece or space. I enjoy exploring texture and patina, I creative in the same way art is. Taste is completely
believe they are essential in bringing us back to what subjective and my advice would be to acquire only ALL STYLING FOR OUR
it is to be human, and arouse the eye. Perfect spaces with your heart. ART MOOD FEATURE
and unnatural straight lines feel cold and clinical to me WAS COMPLETED BY
- I prefer natural materials such as stone, timber and How did you approach this particular project? ANNA DELPRAT, WITH
unpolished metals. One of my favourite ways to style is It was an honour to be given the opportunity to style PHOTOGRAPHY BY
in a tonal way, focusing in on one colour or form and a space around an artwork, and solely that. So often NICOLA SEVITT.
allowing all the other elements to flow from that. my work revolves around the client’s taste or a specific
brief fitting into a specific style, period or existing
In your opinion, what does art do or add to a home? space – using my skills to fulfil someone else’s vision.
I believe art is the single element that can give instant I relished the opportunity to be creative, focusing on
character and soul to the home. Art is something that the element in a space that I adore the most – art. I
should impart joy, be idiosyncratic, and spark emotion, chose locations close to my heart for this shoot – my
artedit.com.au
whatever that may mean to each person. It should own home and the Julian Ashton Art School, to create
serve as a daily reminder to appreciate the beauty, looks that are not only visually pleasant but have soul, W: annadelprat.com
I: anna_delprat
mystery and complexity of being alive. patina and imperfection.

H A N G I T

S T Y L E I T
/ ART MOOD /
JKHENSHAW
/ Inspired by the moody green shadows

in JKHenshaw’s work, my intention
was to create a lush green space
full of natural textures and colours.
Unexpected shapes and forms add a
sense of play to the room, inviting us in
to peer through the work’s hedges. /
ANNA DELPRAT
JKHenshaw, MV#006
artedit.com.au from the series Manicured
W: jkhenshaw.com Visions. Photographic print,
100 x 130cm.
E: jacqui@jkhenshaw.
com
I: j.k.henshaw SCALE OF ARTWORK MAY BE
DIFFERENT THAN IT APPEARS

H A N G I T

S T Y L E I T
/ ART MOOD /
STELLA DANALIS
/ This more conceptual composition

was created at the Julian Ashton Art
School in Sydney, with the intention of
displaying vessels as art, elevating them
beyond their normal functional role in a
home. Stella Danalis’ piece was selected
as a contrast to the tradition of the casts,
incorporating contemporary art into a
traditional artist studio setting. /
ANNA DELPRAT
artedit.com.au Stella Danalis, Geometric

W: stelladanalis.com Variant: Red, Pink. Acrylic
on linen, 75 x 75cm.
E: stella@stelladanalis.
com
I: stelladanalis SCALE OF ARTWORK MAY BE

S T Y L E I T
/ ART MOOD /
ALANYA VAN DE WIEL
/ One of my favourite compositions

is a vignette, so creating one with
soft, neutral objects to celebrate
the sublime joyous curves of Alanya
van de Wiel’s beautiful work was the
intention in this space. /
ANNA DELPRAT
artedit.com.au Alanya van de Wiel,

W: alanyavandewiel. Moon and Water 1.
Acrylic on wood panel,
com 92 x 61cm.
E: alanya.vdw@gmail.
com
I: alanya_vdw SCALE OF ARTWORK MAY BE

H A N G I T

H A N G I T

S T Y L E I T
/ ART MOOD /
DOODIE HERMAN
/ A more traditional set up, the curves

of Doodie Herman’s landscape are
echoed in the curves of the Mama Vessel
by Katarina Wells, lines of the Gebrüder
Thonet Vienna armchair and patterns of
the vintage Morrocan cushions resulting
in a curvy, nature-filled and serene space
for the artwork to hero. /
ANNA DELPRAT
Doodie Herman, Expanse.

artedit.com.au Acrylics on canvas,
102 x 76 x 3.5cm.
E: doodieherman
artist@gmail.com
I: doodieherman SCALE OF ARTWORK MAY BE

S T Y L E I T
/ LAST WORD /
NORTHERN
RIVERS
C R E AT I V E
Rose of Sharon Leake shines a spotlight
on Northern Rivers Creative, a regional
arts development initiative exposing the
boundaries within the arts sector.
Art breaks boundaries. It is an inherent part of the

making process as artists push materials, ideas and
audiences into new ways of seeing. But what about
the boundaries imposed upon artists themselves?
Issues relating to geography, among others, continue
to confine and define artists. Why do these boundaries
exist and how can we all help foster the growth of arts
outside metropolitan hubs?
Arts Northern Rivers is one of 14 government-
funded regional arts development organisations based
in NSW and working with individuals and organisations
to promote and advocate for artists in the Northern
Rivers region. Since launching its Northern Rivers
Creative initiative in 2019, a directory for creatives in
the region, the organisation has been asking what the
boundaries for regional artists actually are, and if labels
like regional are necessary, or only contribute to an
/ Living regionally comes with specific
ongoing process of othering.
“I joined the Arts Northern Rivers team about
hurdles. These include limited opportunities
nine years ago,” says executive director Peter Wood.
“The organisation made me realise how important
for promotion as well as access to gallery and
regional arts development organisations are in
providing support and resources for arts and creative
studio space and exposure to professional
industries in a regional setting when often access to
opportunities are stymied by geographic distance or
development and networking. / INGRID WILSON
funding opportunities (or both). Our overarching role
is to fill the gaps and find the opportunities that these
challenges create.”

S T Y L E I T
In early 2021, funded by Create NSW’s Arts Restart thirst for healthy debate around access and support
Funding Program, Arts Northern Rivers announced of artists in the region.
that it would begin a series of activations, commencing “Living regionally comes with specific hurdles,”
with an exhibition of work by artists selected from its says Ingrid Wilson, marketing and communications
Northern Rivers Creative directory, in conjunction manager of Arts Northern Rivers. “These include
with a discussion led by a panel of leading participants limited opportunities for promotion as well as
in the art world. Exhibiting artists included Billie access to gallery and studio space and exposure to
Bridle, Charlotte Haywood, Edward Horne, Eden professional development and networking. The recent artedit.com.au
Crawford-Harriman, Holly Ahern, Gala Jane, Joanna exhibition successfully brought together a collection W: artsnorthernrivers.
Kambourian, Penny Evans, Stefano Pedrini and Todd of artists. Enabling them to connect with such a com.au; northernrivers
creative.com.au
Clare. Held at Lone Goat Gallery, Byron Bay, the varied audience during the launch event was precisely
I: artsnr; nrcreative__
exhibition and panel discussion proved that there is a what we hoped to achieve.”

S T Y L E I T
With panel members including Alex Wisser, creative 1 / Breaking Boundaries

exhibition at Lone Goat
director of Kandos NSW art festival Cementa, artist Gallery, Byron Bay featuring
Karla Dickens, Art Pharmacy founder Emilya Colliver artworks by artists Stefano
Pedrini (left) and Todd Clare
and myself, editor of Art Edit, and moderated by (right).
Grayson Cooke, chair of creative arts, Southern
2 / Breaking Boundaries panel
Cross University, the hour-long discussion was live discussion with panelists (from
left) Rose of Sharon Leake,
streamed to Northern Rivers Creative’s Instagram,
Karla Dickens, Emilya Colliver,
inviting responses from audience members beyond the Alex Wisser and moderator
Grayson Cooke.
physical space of the gallery. Coming from different
corners of the art world, including commercial, 3 / Breaking Boundaries
exhibition at Lone Goat
government, publishing, and practitioner, the panel Gallery, Byron Bay featuring
covered at times challenging topics. collaborative artwork Cyclone
by Charlotte Haywood and
“The panel discussion went better than we could Edward Horne.
have imagined in amplifying the theme and provoking COURTESY: ARTS NORTHERN
conversation,” says Ingrid. “Watching the audience RIVERS. PHOTOS: JAKA ADAMIC
gather and make connections to continue these

conversations was a rewarding moment for us.”
With lively participation from audience members,
including members of the local council, Sydney-based
art gallery directors, art collectors and artists, among
many others, the discussion took some interesting –
and at times heated – turns.
“The exhibition was the first reactivation of the
Lone Goat Gallery since its temporary closure due
to Covid-19,” says Ingrid. “It was great to curate this
exhibition and see the site active again. We’re looking
forward to the gallery now remaining open and seeing
3
increased opportunities for our region’s art scene.”

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#28 /

BEST OF NEON ART

STYLING ADVICE FROM THE EXPERTS

AUD $12.95 (INCL. GST)

Marshmallow (2021). Stitched hand-printed tissue paper, 20 x 20cm. Photo: standishandco

18 / Objecthood We talk to product and furniture designer Henry Wilson.

21 / Ones to Watch Artists to have on your radar.

72 / Studio Visits Step inside three artist studios. ON THE COVER:

Project Sheets Artist Profiles

59 / Castle In The Sky

98 / Beyond Entertainment Toby Raine takes

4 / ART EDIT + INTERIOR DESIGN

140 / Desirable Objects Here are our top 10.

145 / Gallery A selection of original artworks to make yours now.

COURTESY: STUDIO HENRY WILSON

178 / Gallery Panel Our panel of leading gallerists examines the

185 / Showcase We take a closer look at a selection of standout

206 / Design Council Our design experts share their tips on

222 / Last Word We shine a spotlight on Arts Northern Rivers.

ART EDIT + INTERIOR DESIGN / 5

The Design Council

The Gallery Panel

Patty Chehade is gallery director

ART EDIT + INTERIOR DESIGN / 7

Delicate and endearing, the work of Mandy Francis

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There is a quiet power in

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3 / Dave Court, Loop Gesture 1.

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LIVING WITH ART / STUDIO VISITS / IN CONVERSATION WITH... / IN SERIES

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Trent’s pieces are not made to a brief. They usually

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How does a product go from concept to object?

Do you work with a team or solo?

You describe your products as having feeling. Can

Art Edit talks to product and furniture

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1 / Henry Wilson in his studio.

2 / The Thoronet Dish in green Guatemala marble, 32.5 x 25.5 x 5.5cm.

3 / AJ table with polished bronze A-joint.

5 / The Block Sconce in black travertine, 37.5 x 35 x 10.5cm.

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UTSUWA: JAPANESE OBJECTS

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