A M I N N WA R R A A R T AW A R D S 2 0 1 3 - City of Armadale

M I N N 

A 

W A R R A 

A R T 

A W A R D S 

2 0 1 3 

Tuesday 14 May to Sunday 19 May, 11am to 4pm daily. 

Armadale District Hall, corner Jull Street and Church Avenue, Armadale.

ACKNOWLEDGEMENTS 

Minnawarra Art Awards 2013 

City of Armadale 

Management and Staff 

Supporters 

Metropolitan Redevelopment Authority 

Stockland 

Curator 

Natalie Hewlett 

Judges 

Belinda Cobby 

Isobel Wise 

Exhibition Photographer 

Matt Devlin 

Display Boards 

Perth Expohire 

Lighting 

Clifton Perth 

1

Contents 

1 

Acknowledgements 

2 

Contents 

3 

Contents 

4 

Welcome Address 

5 

Curator - Natalie Hewlett 

6 

Judges 

7 

Jill Ansell 

8 

Godfrey Blow 

9 

Deborah Bonar 

10 

Stephanie Boyle 

11 

Richard Bristow 

12 

Laurie Cochrane 

13 

Sue Codee 

14 

Claire Davenhall 

15 

Jack de Vos 

16 

Ruth de Vos 

17 

Kaye Devlin 

18 

Jeannette Dyson 

19 

Pamela Eddy 

20 

Robert Ewing 

21 

Robert Gear 

22 

Naomi Grant 

23 

Marie Haass 

24 

Sue Hamilton 

25 

Albie Herbert 

26 

Patricia Hines 

27 

Tim Hingston 

28 

Eric Hynynen 

29 

Michael Iwanoff 

30 

Andrew Kay 

2


31 

Jeremy Kirwan-Ward 

32 

Peter Knight 

33 

Anastasija Komarnyckyj 

34 

Eveline Kotai 

35 

Jillian Kurz 

36 

Pamela Langdon 

37 

Felicia Lowe 

38 

Anne McCaughey 

39 

Brian McNamara 

40 

Lesley Meaney 

41 

Lucia Moniewski 

42 

Charlene O’Brien 

43 

Brendan O’Leary 

44 

Jean & June Pastore 

45 

Vivienne Peters 

46 

Hilary Phllips-Ryley 

47 

Judy Rogers 

48 

Jennifer Sadler 

49 

Helen Smith 

50 

Anne Sorensen 

51 

Linda Stokes 

52 

Colin Story 

53 

John Stribling 

54 

Catherine Swenson 

55 

Yuko Takahashi 

56 

Sioux Tempestt 

57 

Geoffrey Wake 

58 

Paula Wiegmink 

59 

Chris Williamson 

60 

Gera Woltjer 

3

Welcome address 


Welcome to the City of Armadale’s 

seventeenth annual Minnawarra Art 

Awards. 

The City is proud to present this 

unique exhibition to celebrate the art, 

across many mediums, of established 

and emerging artists from within the 

City and across Western Australia. 

The exhibition attracts a very high 

calibre of artwork and enjoys great 

attendance. Locals and visitors 

appreciate the spectacular entries we 

are lucky enough to receive. 

The works in the 2013 exhibition 

should inspire you and make you 

feel, they may encourage you to 

think and will hopefully move you. 

We take this opportunity to thank 

those artists who regularly support 

the Minnawarra Art Award and 

welcome those artists joining us for 

the first time. 

This year the City of Armadale is 

excited to announce the Gerry 

Gauntlett non acquisitive prize of 

$5000, which will go to the artist 

whose work in the opinion of the 

judges, stands out from all the others 

as an outstanding expression of the 

artist’s medium. 

The City also offers a non-acquisitive 

prize of $1000 to be presented for 

Best Artwork priced $950 and under. 

We look forward to the exhibition 

each year, as this is the time when 

the City expands our community 

art collection, purchasing works 

to complement and enhance our 

existing collection. 

Our thanks and recognition for 

their ongoing sponsorships to 

the Minnawarra Art Awards go to 

the Metropolitan Redevelopment 

Authority, who have provided 

a $5000 acquisitive prize, and 

Stockland, who have provided a 

commission prize of $5000 to the 

artist whose three dimensional work 

is judged the best of its category. 

Up to $16,000, including 

contributions from the Council, 

is awarded to artworks within 

the exhibition for the above prize 

categories. 

On behalf of the City, I would like to 

thank the Curator, Natalie Hewlett, 

the artists, sponsors and of course 

our judges, all of whom make this 

exhibition possible. 

I hope you enjoy the exhibition! 

Cr Henry Zelones JP 

Mayor, City of Armadale 

4

Curator - Natalie Hewlett 


When I accepted the position of 

curator for the 2013 Minnawarra Art 

Awards, I wanted to bring to it quality 

of presentation and a reinterpretation 

of the exhibition space in the District 

Hall of the City of Armadale. The 

Awards are an annual event held 

by the City of Armadale to promote 

and encourage the cultural vitality 

of the City. The artists on display in 

these Awards are invited to submit 

up to two artworks made from any 

medium, which encourages the 

artists to explore their ideas and 

stretch their technical skills. Many 

thanks to the contributing artists, 

the variety and standard of artworks 

posed a complex and difficult 

judging process. I would also like to 

thank the Judges, Isobel Wise and 

Belinda Cobby for their expertise and 

enthusiasm whilst judging for the 

Awards. 

I would like to extend my thanks to 

the City of Armadale and especially 

to the dedicated staff who helped 

me through the processes involved 

in staging this exhibition. It has been 

a real pleasure to work with Yvonne 

Bradfield and Clare Szmekura. I 

would also like to acknowledge and 

thank the sponsors, Stocklands and 

the Metropolitan Redevelopment 

Authority, for their contributions to 

the event, as without them it would 

not be possible. Their ongoing 

commitment to the City of Armadale 

and in particular the Minnarwarra Art 

Awards has ensured that the Awards 

are regarded as one of the most 

significant in the State. 

Please enjoy the end results of all the 

hard work and efforts of everyone 

involved. 

Natalie Hewlett has worked 

in the arts industry since 

she completed her Fine Arts 

degree at Royal Melbourne 

Institute of Technology in 

1991. She then completed her 

Bachelor of Applied Science 

in Conservation of Cultural 

Materials at the University 

of Canberra. 

She gained her extensive 

experience whilst working 

for the National Gallery 

of Australia, the National 

Museum of Australia, the Art 

Gallery of Western Australia, 

the Science Museum in London 

and the National Gallery 

of Victoria. 

Natalie is a regular 

contributor to local and 

national committees, she is 

currently the president for 

the WA Australian Institute 

for Conservation of Cultural 

Materials, and has been a 

council member for Museums 

Australia WA. 

As the founder and director 

of Arts Management WA, 

she currently runs her own 

business in Perth. 

5

Judges 


Belinda Cobby 

Belinda Cobby is the Perth Art 

Consultant for Artbank, an initiative 

of the Australian Federal Government 

that supports and promotes 

Australian contemporary art through 

the collecting, commissioning, 

curating and leasing of art. 

With 20 years experience working 

with various cultural institutions 

in Perth, she has had extensive 

experience with art collection 

management, curating and exhibition 

programming for local and federal 

government organisations. Prior 

to commencing with Artbank in 

2011 Belinda had worked as the 

Art Curator for the City of Perth 

where she contributed towards 

the development of an extensive 

curatorial program for the City of 

Perth. 

Belinda has a degree in Fine 

Arts (Curtin BAFA 1989) and 

a background in cultural event 

management (Artrage Festival 

and Joondalup Festival). She has 

also managed collections and 

exhibitions for the Perth Institute 

of Contemporary Arts, Sir Charles 

Gairdner Hospital, Arts House Gallery 

and the Tresillian Centre, and was 

part of a dedicated community arts 

team that established the Blender 

Gallery for the City of Joondalup 

(opened in 2005). 

Isobel Wise 

Isobel Wise is the Art Curator for the 

City of Perth, curating a collection 

of works that spans from early 

colonial settlement through to 

contemporary art practice across 

a range of media. Isobel has over 

a decade of experience in the 

cultural sector working in curatorial 

and art collection management 

roles, including artists’ commissions 

and exhibition development and 

programming. 

Prior to commencing at the City of 

Perth in 2007, Isobel worked in 

areas of curatorial, conservation and 

collection research and administration 

at the Art Gallery of Western Australia. 

She has a Bachelor of Fine Arts 

(Curtin University 2001). 

6

Jill Ansell 


My work often takes its inspiration 

from inland Western Australia, 

particularly the Goldfields and 

Pilbara. Ideas move between family 

history, stories conjured from found 

objects and mythological desert 

dreamscapes peopled by the odd 

and obscure. I enjoy combining the 

real and the imagined and allowing a 

narrative to unfurl. 

This small work for Minnawarra was 

inspired by the drawers from an old 

treadle sewing machine and the 

fragments contained therein. These 

fragments evoke the women in my 

family and lifetimes spent keeping 

the family in good repair. I enjoy 

using found objects as both subject 

for a painting and an integral part of 

an assembled artwork. 

www.jillansell.com 

From Fragments $660 

7

Godfrey Blow 


A recent visit to Britain inspired a 

number of landscape paintings. 

Many of the places I painted will 

perhaps not exist in years to come. 

Preservation of these areas is, for 

me, very important. The special 

significance of the landscape is 

reflected in the fairy tales, ghost 

stories and myths of this isle. My 

art links in with these and creates a 

symbolic and metaphorical language. 

The forests, fields, hedgerows, ruins, 

waterways and oceans feature 

strongly in my recent works. Through 

the use of light and colour I am 

working towards a certain vision 

of the world. This is a vision that is 

transformative and reveals the magic 

and spirit of the land. 

~ Medieval Pond $6,800 

| Green Pond $995 

8

Deborah Bonar 


Perth based artist Deborah Bonar 

has created a unique and easily 

identified personal style, painting 

with lyricism and delicacy, producing 

work of immense visual power and 

complexity. Her paintings are bold 

kaleidoscopes of vigorous lines 

which can be read as an abstract 

configuration of shapes and colour. 

Bonar approaches each bare canvas 

surface with a spirit of discovery. 

Bonar’s spontaneous prismatic colours 

dance upon the canvas, reflecting 

this sense of positive energy, optimism, 

balance and harmony. The myriad 

dots and motifs symbolise the 

footprints of her Aboriginal ancestors 

as they travelled across the landscape. 

Bonar’s artwork demonstrates 

the importance of place in our 

consciousness, in forming cultural 

identity and in capturing and 

fascinating our imagination. 

It symbolises the continuation of 

ancient pathways, journeys taken, 

destinations and meeting places. 

Bonar’s artwork is an exploration 

and a celebration of her Gija and 

Yamatji heritage. Through her art, she 

reconnects with her culture - country, 

family and history. Her Aboriginal 

identity and her development as 

an artist are strongly interlinked. 

Creating art gives her a voice and 

the artistic expression to tell her 

interpretive stories of Aboriginal 

culture and her people’s strong 

spiritual connection to land, water 

and nature. 

Home by the Swan River 

The river and surrounding wetlands 

were a rich source of food and 

material resources for the Nyoongar 

people. 

Home by the Swan River $4,500 

9

Stephanie Boyle 


I was raised on a farm in the wheat 

belt township of Dudinin. I believe the 

freedom I was allowed as a child to 

roam far and wide without restriction, 

has enhanced my artistic vision. 

I consider myself extremely lucky to 

be able to express myself through 

my passion for painting. 

I started painting watercolours in 

1992 at my local recreation centre. 

I soon realized if I wanted to advance 

with my journey of painting I would 

require further artistic tuition. 

I studied and completed a Certificate 

of Art and Design at West Coast 

College of Tafe. 

I have taken many opportunities to 

advance my technical ability. I have 

travelled to the Charles Sturt Mitchell 

Summer School of Arts in Bathurst 

N.S.W. to take part in workshops 

conducted by Australia’s leading 

artists. I have studied a variety of 

mediums including watercolour, 

Acrylic and Mixed Media. 

I joined the Wanneroo Art Society 

in 1993 and soon after became 

President. I held this position for two 

years. I am currently a member of 

The Watercolour Society of W.A. I 

have held the position of Coordinator 

of the Annual Art Award. This involves 

organising the Annual Art Exhibition 

for the Watercolour Society. Most 

recently I have had the position of 

co-ordinating workshops for the 

Society. In the year 2010 I organised 

two such workshops. 

I currently teach watercolour painting 

at Claremont School of Art and have 

recently conducted workshops at 

Moora Fine Arts Society. 

I exhibit widely throughout the State 

at group Exhibitions and my work 

is represented in many private and 

corporate collections. 

Colour Defines $850 Colour Feast $850 

10

Richard Bristow 


Richard is a mostly self taught 

watercolourist and has studied under 

Robert Wade and Alvaro Castignet. 

Richard has lived in WA for 30 

years with a short stint in far north 

Queensland to enjoy the vibrancy and 

colour of the area. He returned to 

WA in 2005 which he calls home. 

He is a member of the Watercolour 

Society of WA, The Quiet Painters 

art group and past President of the 

Dunsborough Art Society. 

His paintings hang in homes and 

galleries across the world and most 

Australian States and Territories. His 

works have been purchased by local 

councils and presented as 

gifts to visiting dignitaries. 

He is the recipient of over 40 Art 

Awards and has had nine successful 

Solo Exhibitions. Latest awards 

include Alcoa Acquisitive Art Award 

1st Prize, Works on Paper Boyup 

Brook 2013 and a past winner of the 

Minnawarra Art Award. 

And has had four paintings published 

in Best of Worldwide Landscape 

Artists Vol 1 in the USA. 

~ Glowing $700 

| Wet Cityscape $700 

11

Laurie Cochrane 


Exploring the landscape through 

aerial photography and responding to 

these images has been the focus of 

Laurie’s paintings. Characteristic work 

by Laurie includes encaustic wax 

paintings, layered, textured, sculpted 

to create an expressive unique work. 

Cochrane’s Western Australian 

landscapes have been featured in 

numerous private and corporate 

collections. 

Bachelor of Art- Curtin University of 

Technology, Perth, Australia 

Bachelor of Physical Education- 

McMaster University, Ontario, Canada 

~ Journey 1 $750 

} Journey II $750 

12

Sue Codee 


A practicing artist of over 20 years, 

Albany based artist Sue Codee 

discovered papercut only a few 

years ago while in treatment for 

cancer. The papercut designs explore 

narrative themes of human fragility, 

stories of place, environment, people 

and community, while touching on 

personal and more universal themes. 

Since completing a Fine Arts degree 

from Curtin University in 1988, Sue 

has received numerous awards 

including: Highly Commended 

Awards in the Cossack Art Prize 

and Centennial Art Prizes in 2012; 

Celebrating Albany and Most Popular 

Artist Awards, Centennial Art Prize, 

Albany in 2011; and The Grove 

Securities Acquisition Award and 

Grove Securities Community Award 

at Illuminate, Residency Museum, 

Albany in 2010. 

She has exhibited widely including: 

Gunyulgup Galleries, Yalingup, and 

Gadfly Gallery in Perth, in 2012; 

Brunswick St Galleries, Melbourne, 

2011; Paperartzi as part of the 

Perth International Arts Festival, 

2011; Cheongju International Craft 

Competition, Cheongju International 

Craft Biennale, Korea, 2011; Paper 

Trails, Art Piece Gallery, Mullumbimby, 

2011; a review of her work at 

Gorepani Gallery in Albany, 2009; 

Conjunction at Elements Art Gallery, 

Perth, 2008, and Ten Western 

Australian Artists at Abney Gallery, 

New York in 1996. 

Her work is represented in many 

public and private collections. 

Communitree $1,050 

13

Claire Davenhall 


As a Visual Artist, I work across a 

range of mediums, guided by my 

ideas and concepts that often lead 

to discovering new and exciting 

materials, techniques and processes, 

which influence the final outcome of 

my work. My work reflects on our 

life’s journey on both a personal and 

global level, taking inspiration from 

poems, quotes, found objects, places 

I have been and things I have seen. 

This work combines a range of 

different approaches through 

photography, mixed media and 

typography, to develop a thought, 

feeling or intuition symbolic of the 

moment. The surface quality is soft 

and subtle, printed in high resolution 

on good quality cartridge paper with 

slightly torn edges. 

Hold something beautiful… 

Touch something unique… 

Uncover something hidden… 

Find something different… 

“A little something for 

everyone awaits…” 

Something Beautiful, Unique, Hidden and Different $395 

14

Jack de Vos 


I have an acute awareness that the 

wood, and the trees it comes from, 

as well as the talent one has to craft 

fine pieces, are God given. 

In my artistic pieces I aim to reflect 

my appreciation for the majestic 

beauty of God’s creation, as a 

result most of my artistic pieces are 

inspired by nature. 

~ Diminishing Resource 2 $1,280 

| Diminishing Resource 1 $895 

15

Ruth de Vos 


I stitch hundreds of little pieces of 

hand-dyed fabric together to make 

bold textile paintings. 

I love to celebrate the beauty of the 

‘ordinary’ things of God’s creation in 

my artwork. Observing small children 

notice budding flowers, snail trails, 

ripening fruit, textured leaves, floating 

bubbles, dripping rain and pencil 

marks on paper for the first time is 

a wonderful reminder of just how 

special these ordinary things are. 

In an effort to retain some of that 

wide-eyed wonder myself and 

to share it with others, many of 

my artworks record the learning 

experiences of little children. 

~ Boundaries $2,500 

| What Can You See, 

My Child $2,100 

16

Kaye Devlin 


My current works are based on 

Etruscan and Byzantine statues, 

Roman frescoes and mosaics, 

and stained glass windows. While 

the world around me provides the 

subject, I respond to any given 

project by thinking about and working 

into the idea what materials I will use. 

To create the mixed media painting 

“Golden Lines”, I used a full sheet 

of 300 gsm HP Arches watercolour 

paper. I placed graphite lines to 

depict the main subject of the 

dancing horses, then brushed on 

a mixture of cool lemon and pink 

watercolours, working wet in wet. 

I continued to build the horses 

with watercolour washes, drying 

between layers, at the same time 

strengthening the background 

with magenta and deep gold inks. 

Between each successive layer I 

outlined the horses in black ink with 

a bamboo pen, allowing the colour 

and black ink to sometimes bleed in 

to each other. 

I placed rough pastel marks in 

turquoise and pale greens on the 

horses, then applied gold and silver 

leaf for emphasis, followed by loose 

drawing of the horses with metallic 

inks in various colours. 

The work was completed with a light 

coat of matt varnish. 

Golden Lines $795 

17

Jeannette Dyson 


A resident in the Kimberley for 

a decade, I painted daily at the 

Red Rock Art Gallery in a cultural 

exchange Studio environment 

sharing Kimberley ochres (with my 

addition of gold and pearl dust) with 

Indigenous artists. 

There is a certain feeling and attitude 

that evolves from living in a place 

considered to be isolated, wild, 

natural and untouched which makes 

you feel free spirited and gives me 

inner peace and a desire to express 

through my art. 

In my paintings I seek to portray 

and celebrate the uniqueness of the 

Australian north, the spatial isolation 

and texture of the landscape in a 

contemporary interpretation. 

I am acutely aware of all the 

influences that have formed my 

own identity specifically that of the 

Kimberley. 

Land Without Time I $2,400 Land Without Time II $2,400 

18

Pamela Eddy 


A Touch of Gold 

My inspiration for this painting was 

the golden yellow poppies which I felt 

inclined to depict from their first budlike 

formation, through the unfolding 

process into fully opened flower heads, 

eventually reaching a finality in a spent 

pod with its own beauty. To further 

emphasise this transitional process I 

chose to begin my piece in graphite 

until developing it through to full colour, 

set on an off-centred coloured grid as a 

backdrop. This off-centred background 

is counter balanced by the largely 

uncoloured graphite poppy image on 

the right side leading the eye into the 

composition – enhanced by a circular 

movement created by the bottom 

leaf outside the internal frame which 

connects the eye to this graphite image. 

An evolution both of the formation of 

the flower and the drawing/painting 

process of my piece. 

These Boots Were Made 

For Working 

A play on the theme “these boots 

were made for walking”. 

My boots depict a working variety 

that have seen many hours of duty. 

So many hours they have created 

a character and personality of 

their own. The vignette style of 

presentation emphasises the subject 

matter – the working boots, rendered 

in complimentary blues and siennas. 

An everyday subject with a story 

to tell. 

| A Touch of Gold $1,200 

These Boots Were 

Made For Working $950 

19

Robert Ewing 


I predominantly produce artworks 

on paper, using a variety of medium 

including watercolour, graphite, 

coloured pencil and oak gall ink. My 

artworks explore the elusive qualities 

of landscape. Those mysterious 

characteristics that appear to be 

immediately recognisable yet 

never fully understood. Within the 

landscape seemingly familiar aspects 

are combined with anthropomorphic 

qualities to conjure the unfamiliar. 

Raking sunlight beneath brooding 

skies and the quiet stillness 

between storms are combined 

with strange otherworldly forms 

where the bleached effects of an 

uncompromising environment 

suggest a view to a new horizon. 

The artworks rejoice in the drawing 

process and are saturated with 

the creative use of a limited colour 

palette. 

The transitional process of the 

landscape is a central narrative of 

the artworks, as they highlight a 

surreal and dramatic exploration of 

old into new. These images depict 

mysterious, evocative places and 

provide a link to an unreal yet 

potentially believable landscape. A 

place to excite the imagination with 

thoughts of what might be together 

with an intrigue of discovery and a 

lament for things lost. 

~ Twelve + 1 $2,490 

| The Veiled Maidens 

of Salt $2,900 

20

Robert Gear 


Painting allows me the freedom to 

make sense of my world by working 

in a representational style. Several 

major themes recur in my work. The 

impermanent nature of our lives is 

prominent. Our time is short and I’m 

conscious and curious about how 

life deconstructs and how things in 

general always return to the earth. 

Different aspects of the landscape 

appear in my paintings. These 

are places that I frequent and are 

significant to me. The Swan River, 

Kings Park, my property in Wattle 

Grove, Albany…they provide the 

means to create works that reflect 

my internal landscape. I don’t try to 

simply represent places. I construct 

and weave different elements 

together to satisfy aesthetic and 

intrinsic intentions. Commonplace 

objects find their way into my work. 

I use light to illuminate the objects 

and manipulate the compositions 

by strong contrast of dark and light. 

Light has many interpretations… 

divine truth, illumination of the soul, 

and a way of seeing. 

~ Forgotten Hull 

$2,200 

| The Prospector 

$3,800 

21

Naomi Grant 


Naomi is a multi award winning 

Contemporary Indigenous Australian 

Artist, a descendant of the Wiradjuri 

people of central New South Wales. 

She was born in Sydney but has 

made her home in Perth, for the 

past 36 years. In 2011 Naomi 

won three awards, including the 

$10,000 Hawkesbury Art Award. 

Her successful career as a practicing 

artist and designer, spans the past 

30 years. She graduated from Curtin 

University of WA with a BA in Design. 

Her career ranges from being 

self-employed as an artist, textile 

designer, senior designer at Canning 

Vale Weaving Mills, teaching art in 

Bangkok and promotional manager 

of Kurongkurl Katitjin School of 

Indigenous Australian Studies, at 

Edith Cowan University Perth. 

Her Indigenous heritage brings a 

blend of the contemporary and 

mysterious together in many of 

her works. Always, bold colour 

and beauty are strong inspirational 

elements that help mould each 

painting. Often these ideas spring 

from dreams, visions and memories 

of her travels. Naomi’s equally 

comfortable with traditional scenes, 

through to a more contemporary 

blending of realism and Indigenous 

imagery. 

In the last 10 years Naomi’s focus 

has been on acrylics and collage. 

She has developed a technique of 

using layers of coloured tissue paper 

under and over the painted surface. 

This gives the surface a three 

dimensional textural quality. 

“I am very interested in the surface 

feel and the layering effect that 

helps create more than one 

perception of the image. I am very 

interested in pattern and design 

and I enjoy creating a design within 

the landscape. My works have an 

abstract element to them, but still 

suggesting the literal image. I like this 

combination where the viewer can 

see different aspects and 

perspectives within the work.” 

~ Twisted Reflections $5,000 

| Red Centre $750 

22

Marie Haass 


Warrior 3: Whispers from an 

underground revolt 

My work explores the construction of 

the warrior archetype. It grapples with 

the dichotomies we all face in life: 

craving for peace, yet recognising 

that violence exists in all of us. The 

warrior ideal, as illustrated in toys and 

video games is to be strong, noble 

and to race into battle for greater 

causes. The two characters in the 

painting are the antithesis of the 

warrior myth: they are isolated in the 

empty space; they look battered and 

seem to have lost part of themselves. 

Perhaps victory and defeat are more 

a matter of spirit than of body. 

Warrior 3: Whispers from an 

underground revolt $800 

23

Sue Hamilton 


The journey of life is just so amazing, 

the way it weaves and winds, ebbs 

and flows. Bringing with it so many 

experiences and lessons as well 

as chances to grow, not only as a 

person but as a creator of something. 

No matter where life has taken me 

I find myself drawn back to my 

roots. To the old and rustic, back 

to the wheat and sheep farm that 

as a child I ran freely exploring, my 

spirit curious and wild. My favourite 

childhood pastime was exploring the 

farm dump. 

Old metal scrap and farm machines 

with rust, that in my child’s eye were 

more beautiful than gold. This is 

where my ability to see something 

in nothing began. Each piece a 

treasure, each piece a story that I 

needed to bring to life. 

I am a metal artist working with 

recycled material. Be it a sculpture 

purely for visual delight to a 

functioning item of furniture, I will 

see possibility in any scrap I find. 

Character of the piece being in the 

metals natural state of age, wear 

and rust. 

The journey from hairdresser to metal 

artist seems a natural progression for 

me. From creating art with scissors 

and comb to now creating it with my 

welder. The journey is simply one of 

continuous creativity and passion. 

Elegance $530 Spike $650 

24

Albie Herbert 


The main emphasis of my sculpture 

work has been to highlight 

environmental or social issues 

with a contemporary edge, though 

occasionally a fun piece is made for 

the enjoyment making. 

The work is mainly representational 

with much study and drawing of the 

images I am about to create. The 

images are then placed into unusual 

contexts or juxtaposed in unlikely 

combinations so that an unusual 

and novel narrative is formed. This 

narrative is purposely left ambiguous 

with several possible different 

interpretations. 

I work in: bronze, ceramic, wood, or 

any medium I think would enhance 

the work. 

I have been continually exhibiting 

work since 1978. 

Work on permanent display at 

Gomboc Sculpture Gallery 

See Saw $900 

25

Patricia Hines 


Patricia has a passion for printing 

and uses different surfaces such as 

canvas, board and clear acrylic, she 

loves the element of surprise when 

the print plate is lifted. 

She trained originally as a Graphic 

Designer and her love of Typography 

has been a strong influence in 

recent years as she has been using 

typographic images within her 

paintings and prints. 

In these current works she has pared 

down the ‘Type’ by using one word 

LANDSCAPE. 

As each letter within the word 

is printed on to board it can be 

manipulated further to create the final 

image or landscape. 

www.patriciahines.com 

} Typographic Landscape - Granite & Lichen $2,250 

Typographic Landscape - New Growth $2,250 

26

Tim Hingston 


Since 2004 I have been working on 

a series of photographs featuring the 

Perth Central Railway Station. I have 

called this my Station Series. 

Often these urban landscapes 

happen at night when the station is 

almost deserted giving the location a 

moody, sometimes threatening feel. 

Low light means a slow shutter 

speed giving abstraction to moving 

trains and people. 

For this photograph I used Kodak 

Ektachrome 100 colour slide film. 

Kodak stopped making this film over 

four years ago, I have had a few rolls 

preciously stored in the fridge for this 

project. 

The film was cross processed, and 

a six point star filter was used to get 

the star effect around lights. 

This photograph is printed on fine art 

paper and is a limited edition of one 

and one artists copy. 

Futuristic $2,000 

27

Eric Hynynen 


Working primarily with painting and 

video, my art has been concerned 

with the systems and structures 

operating within society, in particular 

the notion of value. What is it that we 

truly value, and why Are our stated 

values consistent with the decisions 

we make 

My recent work looks at the idea 

of the Diptych. When two different 

elements come together, a dialogue 

is immediately initiated. How do the 

two elements relate to each other 

Do they compliment or oppose each 

other Different associations may be 

brought up with the use of colour, 

material or texture. The works are 

consciously kept quite simple for a 

more engaging, dramatic impact. The 

viewer is free to interpret the works 

according to their own experiences. 

For me art is not only about the 

aesthetics, but is also an intellectual 

exercise. The challenge is to make 

works that are visually compelling, 

but also convey an idea or emotion. 

Eric Hynynen is a Master of Fine 

Arts. He completed his degree at 

the Finnish Academy of Fine Arts, 

Helsinki in 2009. 

~~Natives $4,200 

~ Country Painting $4,200 

28

Michael Iwanoff 


My practice pays homage to the 

transient, fluid nature of reality, 

firsthand experiencing and ‘being 

present’. It is dedicated to nurturing 

and appreciating diversity and the 

riches of connecting with the intimate 

and infinite worlds within worlds of 

our environment, each other and our 

selves. 

It is offered as a vehicle for exploring 

and reflecting on the interrelated, 

multidimensional processes that 

influence our lives. This embraces the 

complex, transformative dynamics 

between our values, bodies, 

behaviours, states of consciousness 

and the elemental, seasonal rhythms 

within the everyday. 

The works are imbued with a specific 

feel or sense of mystery that slowly 

unfold as the viewer becomes 

immersed and moves in relationship 

to their enigmatic, metaphoric 

imagery and organic terrain. They are 

presented as ‘living’ environments 

or organisms, which come alive and 

grow through the viewer’s awareness, 

imagination and ongoing active 

involvement. 

A lightness of not knowing, curiosity, 

supple being and play facilitate the 

practice, which evolves through 

ritual and a highly intuitive discipline. 

The works are created in a spirit 

of gratitude and ‘dance’ where 

the intrinsic nature and potential 

of their materiality is honoured, 

along with new creativities within 

the partnerships. These symbiotic 

collaborations are fundamental 

to the practice, which celebrates 

inclusiveness, empathy and the joy 

of being. 

Within $9,300 

Hiding place $5,400 

29

Andrew Kay 


Tree 

Trees are an essential member of our 

ecosystem, they delight our senses, 

enrich our environment and provide 

a home and food source for many 

creatures. This artwork celebrates 

the tree. 

Pipeline through the Landscape 

Western Australia’s ancient land 

holds within its weathered landscape 

the mineral wealth that powers our 

state. The industrial processes that 

access and harness that wealth are a 

constant source of concern to many 

who hold the land sacrosanct. 

Tree $4,500 

Pipeline through the Landscape $4,000 

30

Jeremy Kirwan-Ward 


Treelines $5,500 

31

Peter Knight 


Blue Sky Mining 

‘Blue Sky Mining’ refers broadly to 

the practice of completely stripping 

a region bare of all natural resources 

without regard to sustainability. A 

phrase used by rock band Midnight 

Oil, describing an absolute horror 

story in relation to the tragedy in 

Wittenoom. 

My painting presents a hypothetical 

scenario of last resort. Due to 

extreme atmospheric pollution, these 

facilities have mushroomed across 

the landscape in a desperate, yet 

futile attempt to reverse mankind’s 

catastrophic exploitation of their own 

environment. It’s now necessary to 

harness what little natural resource 

remains in order to produce what has 

become rare commodity, a blue sky. 

Construct 

As part of my art making practise, 

this work represents my interest in 

formalist sculpture. By definition, 

‘construct’ refers to both the act of 

building or making by fitting parts 

together – (physical), as well as 

things constructed of the mind – 

(cerebral). 

In relation to this artwork the act 

of creating results from internal 

deliberations to resolve formal and 

aesthetic design; being built of the 

mind before being built in material. 

The intention of my work frequently 

aims to convey an agreement 

between material, form and 

space, with a focus in this case on 

symmetrical geometry, proportion 

and contrasting textural surfaces. 

~ Blue Sky Mining $1,500 

} Construct $3,500 

32

Anastasija Komarnyckyj 


Alignment and understanding of 

the broader aspects of origin and 

ethnicity have permeated my work of 

recent times. 

A connection with historical roots 

and investigation of traditional and 

contemporary arts practices begin 

to repair the fragmented tapestry 

of existence, presenting a wealth of 

opportunity. 

The complexity of heritage 

contributes to gifts of understanding 

and acceptance, fuelling curiosity and 

urging creativity. 

~ Restoring Order $2,000 

| Melancholic Fragments $2,500 

33

Eveline Kotai 


Eveline Kotai has been exhibiting 

regularly for more than 30 years and 

is represented by Conny Dietzschold 

Gallery in Sydney. Currently living and 

working in Fremantle, Eveline’s work 

has evolved from early studies of the 

landscape - resulting in evocative 

abstracts that are founded in the 

complex harmonies and patterns 

in nature. Her recent work varies in 

medium from painted linen & wood, 

to stitched collages and painted 

prints. Examples of Eveline Kotai’s 

work may be found in the National 

Gallery of Australia, the Art Gallery of 

WA, and many significant collections 

throughout Western Australia. 

Thrum #2 $6,000 

Spectres Traced $4,800 

34

Jillian Kurz 


My work stems from the collection 

of imagery and notes taken whilst 

travelling through a landscape. The 

use of colours, shapes, patterns 

and mark making are the mainstay 

in my practice. These paintings are 

an outcome of a recent trip hiking 

through stunning wilderness on the 

south coast of Tasmania. They have 

been developed in layers, with each 

layer being an intuitive addition to 

what’s gone before. 

Whilst in this landscape I experienced 

a feeling of insignificance and 

smallness. Being on terra firma in 

this relatively remote location was 

one thing but it was the magnitude 

of the Southern Ocean, hypnotic and 

rhythmical, that held my gaze. The 

body of work that has resulted from 

this wilderness experience attempts 

to capture quiet thoughts and 

nothingness. 

The resultant works have a 

connection with, and are reflective 

of, my fascination with Asian Art and 

Culture. These ideas provided the 

ideal opportunity for a marriage of 

contemporary abstract painting with 

Zen philosophy. 

~ Southern Ocean $355 

} 43° South $495 

35

Pam Langdon 


Once upon a time encyclopaedias 

had an important life in the homes 

of families all over the world. 

Books that were once central for 

our desire for knowledge are now 

defunct, unwanted and unloved. A 

passionate collector of found objects, 

I reconstruct and recontextualize old 

encyclopaedias and books, giving 

them renewed life. 

My unique artist’s books are inspired 

by the marine environment and 

patterns within nature. They are 

transformed from a discarded and 

unloved existence. Intricate folding 

and rolling of their pages forms 

spirals symbolising movement and 

energy and reflecting growth patterns 

in nature. Casting shadows of their 

previous lives, they are cut and 

bound and metamorphosed into 

precious specimens. The labyrinth 

of folds and curls entices the reader 

for a closer inspection of their 

mysterious new life. 

| Britannica 

Metamorphosis $900 

Britannica 

Metamorphosis $900 

36

Felicia Lowe 


Multi award winning Visual Artist 

“The Artful Flowe” from Perth, 

Western Australia. 

Professionally painting for over 14 

years, Felicia’s initial inspiration came 

from the golden light, colour and 

textures of the Eastern Goldfields 

region of WA and now she is 

continuing to develop a body of work 

both realistic and semi abstract in 

nature based on flora, fauna themes 

that also encompasses the passage 

of sunlight through the landscape. 

“We view the world in different ways 

. . but often being entrapped by 

busy lives we miss the wondrous, 

beautiful and colourful aspects of 

life in Western Australia. Through my 

artwork I strive to remind the viewer 

of the simple pleasures and joy that 

surround us, everywhere, everyday. 

All we have to do is ... stop and 

look.” 

The quality and depth of Felicia’s 

artwork has been acknowledged 

through the frequent and varied 

awards she has achieved. Numerous 

public and private corporations 

possess examples of her work, 

including (not limited to) four portraits 

hung at RASWA Hall of Fame, 16 

pieces at Boart Longyears’ Adelaide 

head office and a large collation 

artwork at Government House in 

Canberra. Her most recent awards 

include highly commended at 2012 

Cossack Art Award and Peoples 

Choice at 2012 Perth Royal Show 

www.artfulflowe.com 

~ Enlightening 

$1,695 

| Resurrection 

$875 

37

Anne McCaughey 


Time, light, a small space, a common 

object. These things have become 

the focus of my eye and mind for 

nearly three years! I have examined 

my place in this, taken time to notice 

that existence, to make it count in 

some small way and I have finally a 

body of work I find satisfactory. 

~ Impausibility $2000 

} The Humble and Resilient Vessel $4000 

38

Brian McNamara 


I am an Aboriginal man and born in 

Perth. My mother Ruby Clinch is a 

Mardu woman born in Wiluna, my 

grandmother also a Mardu woman. 

I lived in Queensland for 11 years 

and then moved back to Perth. 

I wanted to try something different 

with my art. I used to watch the old 

people paint pictures on bark and I 

thought I would try to start my own 

style of bark art, not paint on bark. 

Every bark art I am doing now is 

about stories of where I’ve been in 

the Territory, the people I know and 

the things I’ve experienced. 

Branding Cattle $2,400 My Best Mate $800 

39

Lesley Meaney 


We tend to view our landscape by 

passing through or over it, resulting 

in a residue of remembered and 

fractured images. The layered and 

textured intervals between the cut 

and sewn canvas strips in ‘Awaiting 

Rain in the Pilbara’ are intended to 

allow thoughts and memories to filter 

through from what is there in reality. 

Over thirty years, I have witnessed 

these handsome eucalypts, on the 

banks of the Harding River, survive 

and grow despite years with little 

or no rain. This speaks to me of a 

courage developed in answer to a 

challenge, a reminder perhaps, that 

what we have in common, in this 

environment we share, is survival, 

and the need to make our 

presence felt. 

Whilst my preferred medium is 

painting I have always sewn. From 

my parents, on my 13th birthday, I 

was given my first sewing machine. 

Whilst it was second hand I was 

still thrilled. I had wonderful times 

designing and making my own 

clothes from recycled fabric. During 

a span of 50 years my arts practice 

has intermittently combined painting, 

textiles and stitching. ‘Forest 

Jerkinet’ was made in memory of a 

spring picnic on a partly-faded redand-green-chequered 

tablecloth in a 

eucalypt forest clearing. 

~ Awaiting Rain in the 

Pilbara $3,600 

} Forest Jerkinet $1,100 

40

Lucia Moniewski 


The Dynon’s China Hall Building is 

part of Perth’s rich heritage. It was 

built by John Dynon and Co, a well 

known British firm selling high class 

pottery and glassware in Perth for 

thirty years. Its facade still remains 

and is now incorporated into the 

Stamford Hotel Development. This 

painting depicts a typical wet Autumn 

evening of late night shopping in 

central Perth. It is my interpretation of 

a photo by Andrew Pritchard. 

One Evening in 

Hay Street $1,800 

41

Charlene O’Brien 


Hearts of Fire $650 

Hearts of Fire 

103 Hearts directly affected by the 

Kelmscott Bushfires 2011. This 

fibre art medium expresses my own 

experience. The journey starts with 

the flames of fire taking my whole 

life experiences to ashes. Out of the 

void the catalyst is hope, glimpses 

of rainbows and the tree of tears 

standing strong. Time, is patiently 

evolving through new growth forests 

of rebuilding and the butterflies 

of liberation. The diamonds of 

destination where one shines with 

new found treasures and friendships. 

Coming Home $1,100 

Coming Home 

This fibre art medium expresses our 

true journey home, our sanctuary 

being love, beauty and fulfilment. 

Bricks a strong foundation as the 

family unit, provides structure and 

growth with each magical golden 

moment shining no matter where 

we are. The vine a pathway twists 

and turns leading the way with 

opportunities or wrong turns making 

us find ourselves. The flowers, our 

friends and family gathered along 

the way. Beauty of the female ever 

graceful and feminine and strength of 

the male find balance and happiness 

in true wealth. Celebrate Life. We 

made it. 

42

Brendan O’Leary 


My work as an artist is reliant 

upon the medium of Printmaking. 

Principally collograph, which is a form 

of intaglio printing. 

This medium allows me to draw with 

texture and pattern. Many of my prints 

rely on plates created from wallpaper. 

For me, this enables me to relay my 

understanding of history both past 

and present through my domestic 

tribal aesthetic. 

I have created my own Gods as a 

reaction to the elevation of selected 

imbeciles to the status of deities. I’m 

sure you too are familiar with the 

medias obsession with the vacuous. 

Politicians, Sport Stars, Religious 

Leaders, Super Models, Actors and 

assorted B grade celebrities spouting 

inanity. 

The two works in this exhibition are a 

celebration of lives that have made a 

large impression on my own. 

~~ Two Cyclops $1,850 

~ Pan-Demonium $1,850 

Two Cyclops 

‘Two Cyclops’ is a celebration of the 

rebel with a cause. Being of Irish – 

Australian extraction I have revered 

the story of Ned Kelly from an early 

age. The equally impressive but little 

known story of Pemulwuy resonates 

strongly for me as well. Like Kelly, 

Pemulwuy fought tooth and nail 

against a corrupt system and in the 

process galvanized his people to 

fight the good fight. 

Pemulwuy had only one eye and 

Kelly was forced to fight helmet clad 

mono, rendering them both Mythical 

Cyclops, hence the title. 

Pan-demonium 

‘Pan-demonium’ is a celebration 

of the rebel without a cause. The 

mythical Pan loved nothing more 

than frightening the living daylights 

out of unsuspecting people as they 

went about their everyday lives. 

I have witnessed the modern day 

singlet and stubbie short attired 

equivalent on Gt Eastern Highway 

furiously pedaling some crappy old 

Malvern Star and screaming loud 

enough to put the banshees to 

shame. 

The story goes that Adrian, Clancy 

or mad Dog as he is known, is a 

full quid but likes to break up the 

monotony of suburban living by 

unleashing controlled but chaotically 

funny outbursts at commuters sitting 

at the traffic lights. How is this worthy 

you ask 

Famous for being famous answers 

that question. 

43

Jean & June Pastore 


Finding new ideas and breaking new 

ground is our ultimate challenge 

and we strive to make a difference. 

Invention is the mother of necessity 

to us; it is an infinite lifeline for our 

artworks designs and creations. 

We are dealing with the juxtaposition 

of ideas between the natural 

landscape and the future growth of 

the landscape which culminates in a 

tug of war in the minds of mankind, 

of what we need to make life more 

complete. Development brings more 

wealth and change of culture which 

unintentionally pulls us away from 

nature. 

We hope an emotional emphasis is 

evident in our artwork after hours of 

defining our feelings and memories 

into the picture, conveying our 

experiences in life, to instinctively 

create a vehicle to convey what 

cannot be said in words. 

We like to invite the viewer to explore 

a deeper emotional connection with 

our Art. 

Escaleras - De La Vida $4,750 The Woven Landscape $4,950 

44

Vivienne Peters 


Grey Painting: 4.00AM 

Being somewhat of an insomniac, 

I spend a lot of time in a grey 

world. A world where familiar 

surroundings acquire a certain 

mystery and the garden becomes 

a moving shimmering entity in the 

faint predawn light. A magical and 

ephemeral world - the sun rises - 

and it’s gone. 

Fingals Cave – Homage to 

Mendelssohn 

Being a musician, I am very aware of 

the correlation between the making 

of music and painting. Both art forms 

set moods by conveying abstract 

values of colour, tone, composition, 

light and movement. This painting 

is my response to Mendelssohn’s 

Hebrides Overture. 

~ Fingals Cave – Homage to 

Mendelssohn $800 

| Grey Painting: 4.00AM $1,500 

45

Hilary Phillips-Ryley 


Two Little Girls 

‘Two Little Girls’ was inspired by a 

photograph taken of my sister and 

I back in the 1960s, wrapped up 

warm in our little coats, hats and 

mittens braving a cold winters’ day. I 

wanted to capture the innocence of 

that time and the closeness that only 

sisters can have. 

Willie Wagtail 

‘Willie Wagtail’ - that cheeky little 

bird with so much attitude - has 

always delighted and inspired me. I 

have tried to capture his determined 

features and soft feathers in this 

painting together with a medium that 

fascinates me, texture paste. Using 

stencils sometimes 3 layers thick, 

I have created the wording on the 

border to give the picture a ‘3D feel’. 

~ Willie Wagtail $325 

| Two Little Girls $395 

46

Judy Rogers 


“Tom is young, bright and invincible.” 

Judy Rogers is a WA-based awardwinning 

artist who has gained the 

attention of art audiences and artists 

alike with her disarming portraits of 

family and friends and depictions of 

overlooked or seemingly mundane 

domestic subjects. Rogers’ sensitive 

and intimate figurative works focus 

on the small details and quiet 

moments present in everyday life. 

Informed by classical traditions 

and meticulously constructed, her 

imagery is imbued with an honesty 

and warmth rarely evident in 

contemporary figurative painting. 

The conventions of scale and 

composition coupled with a 

comprehensive understanding of 

traditional techniques are utilised to 

communicate these usually private 

shared moments between the sitter 

and the artist in a refreshing and 

uncontrived manner. 

Judy Rogers has exhibited 

extensively locally and nationally. 

Rogers is currently working towards 

a solo exhibition which will take place 

in Melody Smith Gallery in August 

of 2013. 

Tom $780 

47

Jennifer Sadler 


My work continues to be largely 

influenced by the landscape and 

offers an exploration of my response 

to it, whether it is a sense of 

connection or alienation. 

I’m drawn to ephemeral elements 

such as shifting light, shadows, and 

reflections. I don’t try to depict the 

landscape as I see it, but as it feels. 

Playing with nuances of colour and 

mark making I am able to walk into 

the memory of those landscape 

encounters. 

Channel $2,950 

48

Helen Smith 


Smith’s practice is influenced by a 

formal minimalist view-point, with 

simplicity of form and geometric 

abstraction generally contributing to 

the outcome. Oil on canvas paintings, 

large scale wall works (quite often 

completed with Jeremy Kirwan- 

Ward) and a number of ongoing 

photograph series, derived from an 

interest in social systems, form the 

basis for her enquiry. 

Arc Drawing #2 $5,800 

49

Anne Sorensen 


Embrace 2 

My work is anthropomorphic, most 

often about relationships, hence the 

pairs and symmetry. I try to show 

the strength and complexity in union 

formed on a well grounded base 

with the vertical format indicative of 

aspiration. Balance and imbalance 

is a concept that is constantly 

considered within these works. 

The forms that I use are 

geometrically simple, the material 

glass, hard, shiny and unyielding 

when cold. 

I think that the paradox inherent in 

the use of glass gives strength to the 

emotional content of my work. 

Crane 

Crane is a direct emotional response 

to my experience having moved to a 

semi rural environment. The estuary 

bird life inspires me to try and 

capture their elegance, their power 

and grace. 

Crane $2,300 

Embrace 2 $2,300 

50

Linda Stokes 


Colour, texture and pattern are 

important in my work. I’ve loved 

the tactile qualities of textiles since 

childhood, watching my mother sew 

and going fabric shopping with her. 

Much of the inspiration for my work 

comes from nature. The close up 

view of bark, stones, leaves etc. is 

endlessly fascinating. As I live in a 

hills suburb set in bushland, drawing 

or photographs from my garden 

often begin the creative process. 

Additionally, I find the patterns and 

objects in everyday life a rich source 

of ideas. Brick paving, lawns, roses, 

doormats, lace doyleys, barcodes, 

have all appeared in my fabric 

designs. 

~ Lace Banner $650 

| Scorched Earth $480 

51

Colin Story 


Story investigates value and 

authorship commonly applied to 

hierarchies within the visual arts. 

Observing processes of production 

and disposal on building sites, 

his work references modernism, 

especially minimalism and 

abstraction, yet ascribes new values 

in a Gallery context, balancing 

an implied preciousness with the 

disposability of materials in our 

society. Recording processes 

of making, he draws parallels 

and commonalities between the 

methodologies of ‘craft\trade’ and 

‘art’. 

In this work, Untitled (2013), 

arranged circles of cut material 

are stacked in a way that suggests 

a fluidity of form without being 

definitive. There is an implicit 

ambiguity that sets up a level of 

comparison with the attenuated work 

of Modigliani. Yet there is no making 

as such; the artist has arranged the 

debris of the electrical and cabinetry 

trades without alteration to the origin 

of their production. 

As materials and images familiar 

to many people, Story’s works are 

approachable to a broad social 

milieu, suggesting the accessibility of 

the creative process as part of, rather 

than separate from, our daily lives. 

Untitled $2,850 

52

John Stribling 


Sideshows have always held a 

certain fascination for me. First 

experiences were as part of the 

Perth Royal Show – a separate world 

tacked onto the livestock exhibitions, 

farm machinery displays and central 

arena competitions. 

The sideshow wore a veneer of fun, 

rides and coloured lights, but there 

was also a darker undercurrent 

of violence and intimidation that 

intrigued me. This feeling probably 

came from my parents who had 

warned me about thieves, rip off 

merchants and gangs of youths who 

hung around the sideshow looking 

for unwary marks. I remember 

heading off to the Show with some 

trepidation, but mostly with an 

anticipation of adventure. 

My painting shows the feelings 

of a youth’s first encounter with 

the sideshow, with all its dramas, 

spruikers, games, movement and 

colour. 

Sideshow Alley $800 

53

Catherine Swenson 


I love to create a narrative within a 

picture. I use whimsical elements 

combined together in sometimes 

surprising and unexpected ways to 

arrive in a world of otherness where 

we see the familiar in an unfamiliar 

way. Moments where colour is used 

as an emotional tool alongside the 

composition to take us back to a 

time when our emotions were raw, 

unrefined and powerful. I like the 

painting to relive the times in which 

we felt wonder, curiosity, belonging, 

impulsivity, loneliness, confusion, 

fear, without understanding their 

foundation. 

I paint digitally because of its 

flexibility. It allows me to begin a 

picture from a small seed of an 

idea, maybe a colour, a shape, 

or a simple concept, without the 

need for over–planning. I like the 

painting to gradually evolve and tell 

its story through reassessment and 

imagination. 

~ Inquisitive $480 

| Teacup Greetings $480 

54

Yuko Takahashi 


This artwork is inspired by the artist’s 

memories of enjoying the puddles 

that lay here and there in the front 

yard of her childhood home after a 

sudden rain shower. She delighted 

in jumping into the puddles and 

splashing! 

After the Rain $1,540 

In the artist’s hometown of 

Yokohama, Japan, the little ones 

are impatient for the snow to come. 

They are ready to scamper out under 

a bright sun into the white fields 

covered with freshly-fallen snow. 

A Bright Sun After a Fall of 

Snow $1,320 

55

Sioux Tempestt 


The convergence of life experiences 

and constant change fuel the 

ongoing love affair I have with 

expression through art. This work 

explores the beauty of nature in 

the immediate environment and 

also the unexplored and imagined. 

My technique is soft and subtle, 

at contrast with the noisy, intrusive 

inner-city environment. I gently guide 

the paint as it flows over the canvas 

letting it do the work. Very slowly 

intricate patterns reveal themselves, 

colours ebb and blend, shapes are 

formed. The intangible becomes 

something physical which is very 

exciting to watch unfold. 

Flourish $600 Obfuscate $600 

56

Geoffrey Wake 


This work titled ‘Moth’ was 

completed in 2012 and is part of a 

series of paintings around the theme 

of ‘Flight’. 

Over the past 40 years my work has 

moved through various periods to do 

with nature including landscape 

and to aerial landscape. This 

current work is nature driven, is 

an expression of biomimicry in 

moths and how they camouflage 

themselves for survival. 

My most recent exhibition was to 

launch the innovative new art space 

in Fremantle called PSAS. 

Moth $5,000 

57

Paula Wiegmink 


Zimbabwe born Artist Paula 

Wiegmink, grew up surrounded 

by the African bush. Her early 

childhood was greatly influenced 

by her natural surroundings. The 

isolation and vast open spaces a 

catalyst for exploration, creating an 

acute awareness of the diversity of 

this land. 

Always striving to develop and 

portray that special feeling that a 

moment in time and place captures, 

as it takes your breath away. 

These works evolved from her 

recent encounters with the diversity 

and beauty of the West Australian 

Landscape, from Kununurra to the 

South Western Coastline. 

Taking her first trip up North left an 

indelible impression. This experience 

had a profound effect on her 

creativity, generating a flood of new 

ideas and approaches. 

Exploring textures and vibrant colour 

contrasts, both excites and stimulates 

the artist especially when the imagery 

reveals the mystery within. 

Wiegmink chose to paint ‘Rocky 

Billboab’ with a palette knife, giving 

the terrain a rugged ancient feel. 

The boab trees pregnant with life 

represent the beginning, the birth of 

this land. 

Experimenting with different 

mediums, styles and subject matter 

fuels the artist’s curiosity as she 

probes the boundaries on her never 

ending journey of discovery and 

creativity. 

~~Rocky Billboab - Man in the Middle $6,000 

~ Injidup Arch $2,200 

58

Chris Williamson 


My work employs the remnants 

of daily life that generations have 

discarded, forgotten, or simply left in 

the shed. 

Influenced by Arte Povera and British 

Pop, this re-working of detritus is 

a very personal response to the 

passage of time. It is a tangible and 

empathetic connection with the past 

and those who lived there. 

The forms, reminiscent of memorials 

or votive niches, ask us to reflect on 

the life experiences of those whose 

remnants I now gratefully use. 

Committee Room Number 

Three $960 

Uncle Wilf Could Get a Tune 

Out Of Anything $850 

59

Gera Woltjer 


This work is a formal approach to 

drawing, based upon a structure of 

line, rhythm. 

The creation of the piece was a 

meditative event controlled by the 

maker. In the silence and emptiness 

of the paper, the marks of the various 

pens and tracing wheel are made in 

order to create a balance. 

Untitled $1,500 

Short Moments $1,600 

I am fascinated by the moments of 

beauty created by wet ink and by the 

organic shapes the ink forms in its 

spontaneous flow. 

In this work I control and manage 

the current of ink, to dictate shapes 

with a sense of movement. This 

work exhibits a multitude of reflective 

surfaces that simultaneously show 

the remnants of the wet ink and a 

liquid presence. 

In my practice I strongly seek for new 

challenges to push the boundaries 

of the media by experimentation and 

technical research, to discover new 

approaches in developing my art. 

60

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