Going Public

Queensland Centre for Photography, 22 September – 21 October 2012  –  curated by Jacqueline Armitstead

Redland Art Gallery, Cleveland     26 May – 30 June 2013


Going pubic was first shown at the QCP, and then later at the Redland Art Galley, profiling Queensland artists with a strong connection to the Redlands and Moreton Bay region.

At first glance, ‘Going Public’ is a series of artist portraits documented in private studios or public workspaces. It is intended, upon further scrutiny, that the portraits provide a greater understanding or relationship with the subject whose primary engagement with “the public” is through their art practice.

Conceptually, ‘Going Public’ explores the psychoanalytical notion of the ‘gaze’ 1 by creating a desire to look at the subject, in this case “the artist” and creating awareness that one can be viewed or seen. The concept of the gaze is central to our notion of identity, ego and our desire to control or understand how we are perceived. This concept is also central to art practice, the artist creates a relationship with the object/s they are viewing, interpreting or assembling. The ‘gaze’ can also be associated with artist’s desire to control the object it sees, and the object that similarly captures and holds the artist’s benevolent eye.

While acknowledging each artist’s determination of themselves as individuals in the world, Richard mimics the desire to control what he is seeing and consequently captures and holds the subject’s gaze. Through the use of documentary process, Richard makes the viewer aware that there is a rigorous process at play. ‘Going Public’ also explores this relationship between artist and practice to engender a greater understanding of the ways in which each artist engages their audience.

By Jacqueline Arminstead

1 The Gaze is a term brought into popular usage by Jacques Lacan, a C20 French psychoanalyst and psychiatrist.

Design is Everything

June Tupicoff is a nationally acclaimed artist with a career spanning more than twenty-five years. Tupi- coff’s practice has been engaged in the human perception of light, peering beyond the detachment and separateness of objects in the landscape. Although based in Brisbane, Tupicoff’s work is an ongoing examination of this concept of seeing and perceiving the changing complexion of the ‘Wallum’ scrub ar- eas of Queensland’s Sunshine Coast. This unique landscape that inhabits the mutable space between land, sea and air shifts between the abundance of wildflowers in the Spring months, the scrub forms of dry Winter months and the lush and shimmering colours evident during the wet months of Summer. The artist’s abstract interpretations of this landscape are both intelligent and moving. Tupicoff demonstrates an immutable connection with this ever-changing landscape, heightening our awareness of its natural beauty thus creating an enduring relationship between artist, viewer and place.

Artist courtesy Philip Bacon Gallery, Brisbane 

Design is Everything

Judy Watson is an internationally acclaimed Brisbane based artist whose practice is engaged in the mapping of histories through the visual and conceptual tracings of place, land and site. Through a diverse and innovative practice spanning thirty years and incorporating painting, drawing, installation, mixed media, printmaking, sculpture, digital media and public art, Watson explores the political and en- vironmental aspects of Indigenous Australian heritage and experience. The references are also personal as the artist was able to travel to her grand-mother’s birth birthplace in Waanyi country in far north-west Queensland. Often image, texture and staining coalesce to form poetic abstractions of both imagined and real depictions of the land and the artist’s country and heartland. When these ethereal yet powerful images are installed with objects and digital media exploring familial stories, heritage and memory – the result is also a compelling and confronting exploration of absence, loss and isolation.

Artist courtesy Milani Gallery, Brisbane 


Brisbane based Debra Porch is an internationally recognised art educator and installation artist whose practice examines notions of memory, mortality and the body. Porch’s work incorporates images of family members and others who either fled or perished during the Armenian genocide by the Ottomon Turks during World War 1. The dead are brought back to life through the installation of hand drawn family images, photography and installed with bronzed electroplated personal belongings (including children’s shoes and mittens, hair combs and soap), manipulated found objects, and/or DVD and sound works created or recorded by the artist. It is apparent, that concepts of absence and presence operate simultaneously in the work, dealing with the transition between past and present generations of Porch’s family. Porch’s installation work is both powerful and evocative as it challenges the potency of memory to conjure up real or imagined events as we travel through time and place. Porch is currently undertaking an artist invite residency through the Art and Cultural Studies Laboratory at the MKHITAR SEBASTATSI Educational Complex Art School in the Zoravar Andranik district of Yerevan, Armenia. 


Lisa Adams is a nationally acclaimed artist based on Queensland’s Sunshine Coast. Adams, a talented yet largely self-taught painter has been practicing for over twenty-five years. The artist’s concept driven realist artworks are intensely structured depictions of human and natural endeavour and rely heavily on detailed photographic reference. Through an intensely precise and structured process, Adams refer- ences both the hierarchy and tradition evident in organised structures such as art institutions, religion and society. At first glance, the artworks appear to be detailed, natural landscapes. Upon detailed scru- tiny, Adams throws open the door to a surreal or imagined world, posing questions and provocations through the use of both imagery and title. The artist’s self-portrait is often evident along with elements of the natural world, familiar to our own yet the viewer is left wondering, what is going on. In the case of ‘Gravity’ (featured), Adams challenges our general acceptance of Newtons’ law of gravity on the humble apple. Adams also cleverly interjects foreign objects, animals, birds, even fog into the colour and texture of the Australian landscape. The choice of imagery is both personal and playful and forms the backdrop for the mysterious narrative to unfold.

Artist courtesy Philip Bacon Gallery, Brisbane 


Lisa Adams is a nationally acclaimed artist based on Queensland’s Sunshine Coast. Adams, a talented yet largely self-taught painter has been practicing for over twenty-five years. The artist’s concept driven realist artworks are intensely structured depictions of human and natural endeavour and rely heavily on detailed photographic reference. Through an intensely precise and structured process, Adams refer- ences both the hierarchy and tradition evident in organised structures such as art institutions, religion and society. At first glance, the artworks appear to be detailed, natural landscapes. Upon detailed scru- tiny, Adams throws open the door to a surreal or imagined world, posing questions and provocations through the use of both imagery and title. The artist’s self-portrait is often evident along with elements of the natural world, familiar to our own yet the viewer is left wondering, what is going on. In the case of ‘Gravity’ (featured), Adams challenges our general acceptance of Newtons’ law of gravity on the humble apple. Adams also cleverly interjects foreign objects, animals, birds, even fog into the colour and texture of the Australian landscape. The choice of imagery is both personal and playful and forms the backdrop for the mysterious narrative to unfold.

Artist courtesy Philip Bacon Gallery, Brisbane 


Laurie Nilsen is a prominent Indigenous artist, educator and mentor to both young and emerging In- digenous artists. Nilsen was born in Roma, Queensland and is a Manadandanji descendant. The artist originally trained in graphic art and over the course of his career has engaged in a range of process and practices including drawing, painting, photography, sculpture, installation and public art. Over the past decade, Nilsen has explored, through practice, a deeper understanding of the ongoing social, cultural, political and environmental impact on Indigenous and non-Indigenous culture and heritage. Hailing from a rural region of Western Queensland, Nilsen is no stranger to the use of barbed wire for fencing purposes and its devastating effect on the native wildlife population. The Emu, a traditional totem of the Manadandanji people often tangle themselves in the barbarous wire and are left to die a long and painful death. A recent series of Emu sculptures, and other traditional historical objects, constructed in barbed wire have gained the artist national recognition and acclaim. As an act of regeneration and potent symbolism, the Emu sculptures are constructed in the very material that destroys them. Nilsen supports this concept in the form of large-scale pastel portraits of the sacred Emu, creating individual profiles that reveal, upon closer inspection, a provocative political statement in the eye of each bird. Artist courtesy Fireworks Gallery, Brisbane 


Marian Drew is one of Australia’s most significant photomedia artists with a practice spanning more than twenty years. Drew’s art practice in photography, video, light drawing and sculpture explores the body, memory, cultural identity and the relationship between humanity and nature. The artist revisits the process and practice of European still life painting. Through her work, Drew asserts: “the representation of assurance and opulent wealth in the tradition of European still life paintings echoes an ideology that rationalizes human domination of the natural world”. The interjection of ‘road kill’ – dead native Austral- ian animals – into the artist’s constructed still life images acts as symbol of the ever expanding impact of humans on our natural environment. Drew’s still life works aim to bring actual and specific deaths of native animals to our direct attention and to acknowledge their close links to the sustainment of our everyday lives. Through rigorous photographic process within the ritualised framework of the kitchen and construct of historical still life tableau, Drew aims to promote a sense of gratitude, respect and awareness of our intense consumption of food, land and resources. The artworks are both poignant and ethereally beautiful, partly because they focus the viewer on the sheer beauty of the native bird and wildlife at the heart of the work. This series has gained Drew international acclaim and in turn recogni- tion of the issue. In September 2010, one of the artworks from the series was purchased by the J. Paul Getty Museum in Los Angeles, where it featured in the exhibition ‘In Focus: Still Life.’

Artist Courtesy Dianne Tanzer Gallery, Melbourne 



Simone Eisler is a Brisbane based artist who’s cross-disciplinary practice explores the relationship between the body and nature and the concepts of transformation, evolution, sexuality and biodiversity. Eisler’s practice has engaged with the processes of painting, drawing, performative photography, video, sound and sculpture. The artist’s recent work draws together a series of sculptures and a selection of photographic images that contemplate the notion of death and reanimation. The objects and images are installed in order to conjure up an uplifting and life affirming ritual. Eisler utilises found objects that are then wrapped in new skin constructed of natural materials such as shells, metal and the outer lay- ers of fish. The encrusted animal skulls portray the absence of life and are configured into an armored fleet. Eisler’s photographic works encompass the awaiting sculptures to explore the nature of ritual, the images explore directly through their interplay with object, the evolutionary power born out of the primal and sexual thread that links humans to animals together. To this end, Eisler speculates on the evolution- ary potential for a new kind of exoskeleton and structures for a more highly evolved being. 


Brisbane based Ian Smith, is one of Queensland’s most senior artists. Born in Cairns, Smith first travelled to Brisbane to study architecture in the late sixties. Smith subsequently dropped out of archi- tecture to study art and design and in the mid to late seventies he lectured full time at the Queensland College of Art. Smith’s career began at the height of modernism, which saw artists embrace new ways of seeing and artistic expression contingent upon modes of abstraction. The artist’s career has endured more than forty years due to a rigorous painting practice documenting both real and imagined images from within the artist’s own personal journey through life. Consequently, Smith’s self-portrait is often evi- dent in natural, outback and urban landscapes. His expressive oil and acrylic based paintings engage his fascination with the imagery and experience of being on the road, in particular the vast number of trips the artists has undertaken within Queensland driving between Cairns and Brisbane and beyond. Smith’s vivid abstracts also conjure up the colour and texture of the sub-tropics and Islander culture so firmly a part of Smith’s identity. The artist’s ongoing relationship with place, with the landscape and with Queensland’s architectural vernacular is represented throughout an impressive oeuvre, an oeuvre inherently valuable to Australia’s ongoing cultural identity. At 62, Smith’s work is still demanding public attention, his artwork ‘Descending Pyramids of Gladstone Road’ (featured) was awarded the 2012 Tat- tersall’s Club Landscape Art Prize.

Artist courtesy Bruce Heiser Gallery, Brisbane 


Rebecca McIntosh’s alter ego Aphrodite – the Greek goddess of love, beauty, pleasure and procrea- tion – is the host of LOVE TV. McIntosh, creator of the LOVE TV, is a provocative performance based artist. The concept for LOVE TV is the real-time documentation of public interviews between Aphrodite and prominent public figures, celebrities, known associates and randomly selected individuals about their most intimate human relationships: by posing the divine question “Are you in love at the moment?” Aphrodite is depicted rising or arriving from the ocean on a seashell, famously depicted by Sandro Bot- ticelli, with the two-fold purpose of arousing humans to physical love as well as inspiring intellectual love – representing the rational and irrational aspects of human nature. Through the construct of Aphrodite, McIntosh is able to lure subjects into her TV shell and out of their personal shell, as they embark on a very public and often philosophical discussion about the object/s of their affections. Aphrodite’s most engaging encounter was with actor Rutgher Hauer (Blade Runner), who declared: “Love will either feed you or eat you!” Aphrodite also introduced McIntosh to actor Todd McDonald whom soon after became the artist’s husband. LOVE TV transcends the historical political public and private space divide, it is overtly humanist. Through public engagement, LOVE TV explores contemporary notions of beauty, love, justice, truth, the public life of celebrity and the iconic power of television. Brisbane based LOVE TV has toured both nationally and internationally and is recently returned from a Summer of Love in New York City. 


Donna Marcus is one of Australia’s foremost contemporary artists. Marcus installation and sculptural and public art practice incorporates vast collections of discarded aluminium kitchenware. These vast collections have been gathered, solely by the artist, admittedly with spotters strategically – and seem- ingly – located around the globe. Not since the great scrap metal drives of World War II has there been such a drive to collect these discarded and obsolete objects of post-war industry. Marcus’ practice incorporates both plastic and aluminium teapots, lids, jelly moulds, steamers, colanders, egg poachers and bottle-tops. The resultant artworks draw viewers into a world of kitchens imagined and remem- bered – this interplay of nostalgia, pleasure, memory and high modernist aestheticism is immediately evident in the work. Marcus is clearly engaged by the stories evoked by the individual objects and by the resonance they engender in the viewer. Marcus oversees individual objects transition from post-war kitchens, the objects are recalled to life and extended by the process of assemblage or reordered and repeated in modernist grids and spheres. Marcus’ acknowledges the history and story of each indi- vidual object and never seeks to change or improve their patina or finish and leaves burn marks, dints and scratches, text and stamps as signs and symbols of their previous life. The sculptural spheres are constructed according to geodesic design principals developed out of a need to respond to design inefficiencies in everyday life. Marcus’ use of recycled materials could also be seen as a metaphor to inefficiencies in contemporary manufacturing processes but also remind us of the limitless pleasure of fabrication and reuse that characterize our modern domestic lives.

Artist courtesy Dianne Tanzer Gallery, Melbourne 


Mona Ryder is a senior Queensland artist of national acclaim. Based in Brisbane, Ryder works pre- dominantly in installation based practice with a career spanning more than thirty years. Ryder has been described as a twenty first century Surrealist. Surrealism is not engaged in the conscious mind, it de- liberately probes into the realm of the unconscious world ruled by dreams. Like the Surrealists, Ryder has an ability to transform the ordinary into the extraordinary, interjecting everyday materials and objects into titillating and provocative artworks that reflect upon sexuality, taboos, and patriarchal constructs. Ryder uses found objects such as crutches, faux fur, real hair, shoes, stockings, furniture and installs them with constructed anthropomorphic sculptural objects such as ‘wagging tongues’ along with other psychologically loaded objects. The resulting installations are a commentary of the irrational aspects of the human condition in stark opposition to the ritualistic aspects of everyday life. Interestingly, Ryder often utilises the devices of humour and satire to mask the seriousness of the subject matter which is both compelling and engaging. Ryder has also been preoccupied with painting and printing visceral text on vellum (reminiscent of skin or tattoos) and often punching and cutting the surface of the vellum to reference traditional female accomplishments such as embroidery – these artworks are rich in personal and historical references. Ryder’s more recent installation practice has been preoccupied with the ex- ploration of absence and presence, mortality and memory.

Mona Ryder courtesy Horus and Deloris Gallery, Sydney 


Barbara Heath – Jeweller to the Lost – is a national treasure. Heath not only set the uniquely styled gems into the richly crafted treasure chest of contemporary Australian design, she conjured up the chest too. Heath’s career as a jeweller, designer and sculpture has spanned more than thirty years, maintain- ing a distinctive approach to creating contemporary objects. These objects are imbued with personal and historical narratives, metaphor and symbolism and explore the notion of the body. Heath’s body of work is also inspired by the poetry and materiality of Queensland’s vernacular architecture. Heath is a formidable collaborator and has worked closely with private clients, architects and designers to create personal objects that not only adorn the body but sculptural objects that adorn public buildings and spaces. The power of the object is palpable in its ability to not only adorn but to commemorate, to cel- ebrate, to remember, to speculate and to lighten the burden of grief. Heath’s objects are highly coveted and the power of her practice is widely acknowledged. This success is due to a rigorous and enduring practice, not lost in time and space but firmly established in place. 


Bruce Reynolds is a well established and respected Brisbane based artist. Reynolds’ more than thirty-year practice has engaged the processes of photography, painting, collage and sculpture. Reyn- olds’ utilises an unique approach of collecting and recycling linoleum, pressed metal panels and other architectural details that are rescued from derelict or abandoned buildings and houses. Linoleum and other materials such as relief are assembled and often overlaid with photographic images and paint. Reynolds aim is to construct abstract interpretations of both the domestic interior and the exterior land- scape. Through process, the artist examines the history and use of objects in our domestic landscape. This interplay of memory and nostalgia with contemporary imagery is used to contemplate the ways in which we as individuals and as a collective engage with urban space. Reynolds’ preoccupation with the forces shaping the design of our built and urban landscape is clearly evident throughout and rigorously explored in the public art commissions undertaken by the artist.

Artist courtesy Ryan Renshaw Gallery, Brisbane 


Richard Bell – “The thing I do best is show off”. Born in Charleville, a member of the Kamilaroi people of southwest Queensland. Bell became the leader of the first group of urban Indigenous artists who found a means of expression in the lead up to the 1988 bi-centenary of white Australian settlement. Bell’s early artworks vehemently challenged, for first time, the blatant appropriation of traditional Indigenous imagery by non-Indigenous artists. In turn, Bell utilises the same device of appropriation of animal to- tems, dot application, cross hatching and traditional hand stencils, pop art imagery of Roy Lichtenstein and paint splattered canvases by Jackson Pollock to suggest that there is no one style that contem- porary Indigenous artists must adopt and no single way in which they should work. Through innovative and concept driven practice, Bell challenges stereotypical ideas of Aboriginal culture and art, as well as the forces that drive the production of, and market for, Indigenous art today. Bell openly identifies taboo subjects and addresses key issues at the heart of race relations in Australia: abuse, oppression, dispossession, overt and institutionalised racism, the denial of Indigenous sovereignty and failures of social justice. Brisbane based Bell, has been described as controversial, politically radical, confronting and a provocateur. Bell, however, insists he is a propagandist and creator of sounds bites that stand out from brightly coloured canvasses rich in twentieth century painting styles and pop art symbols. The true power of Bell’s work is not what the slogans say, there is evident ambiguity, sarcasm and irony at play, but the way they read. At first glance, they appear to be simple slogans but on further scrutiny the words are provocative, uncomfortable and unsettling. “Bell puts the viewer on the spot”, Franca Tamisari.

Artist courtesy Milani Gallery, Brisbane. 

For ‘generations and generations’ Belinda Close’s relatives have lived on Minjerribah (North Stradbroke Island), she comes from a long line of traditional Minjerribah women and ‘Men’.

Close grew up at a mission at One-Mile with:

her sister and a few other young ones [and] with the old people that were still alive then. The old ones would hunt parrots with whips and copper wire, and the young boys could watch from the ferns, the girls could only watch from way back home – there was a lot of hunting back then. They used to also hunt bandicoots and there was a lot of fishing.

 It’s changed a lot since then. Back in the early 1960’s when she was a child roads were dirt tracks and cows and horses roamed free. It’s the love of the island, the people and its culture that drives Close to paint. Her paintings are often messages to teach others about the ways and traditions of the Island, which keep the many types of flora and fauna safe for the next generations.

 Close likes to work on many different paintings at the same time and, recently, she has been working on designs for printing on fabric.  Although as a child Close showed a natural instinct for drawing, it was only after attending a TAFE course with Steve Johnston, where he encouraged her to paint, that her talent for painting was discovered.

Close felt she really had started to establish herself as an artist when she was chosen to be represented in the art book Gatherings II: Contemporary Aboriginal and Torres Strait Islander Art from Queensland, Australia (2006).

Below the stairs of a timber clad Queenslander in Toowong resides the modest, traditional photographic studio of Carl Warner.

 His real passion and studio for his art work is ‘the outside’. His studio, as seen here, is the Bamboo growth at Anzac Park, Toowong. The Bamboo offers Warner many forms of inspiration, through its size, scale and history he observes that it feels very natural, like its been here a long time. But at the same time, it can be seen as a weed as it’s not indigenous in any way and it’s loaded with symbolic visual history with references to the East.

 Warner returns to his subjects over many months to photograph the changes he observes. Warner points out that what drives him is,

 …what they look like photographed. It’s how a thing changes visually. It’s like a visual skin that you remove, that makes up the photograph that’s of interest to me. In some ways, it’s the liberation of the visual from the referent – so the thing that I photograph isn’t as import as the abstraction that the process brings to it.

 Through the repeated process of photographing his subjects and capturing the changes randomly at different times, Warner removes that ‘perfect… [or] vital moment’. For him, there is no perfect moment.

For more than thirty years Jack Oudyn, and his family have lived in his present home in Ormiston. Both an art educator and practicing artist, Oudyn has contributed to the arts community of Redland City, helping to establish The Old School House Gallery and Redland Art Gallery.  Oudyn’s artwork has predominantly been abstract painting and more recently artist books.

 His studio was originally built as a music room for his family, but Oudyn took it over as his own studio space twenty years ago.  His artworks cover the walls, each one drawing you in to view them more closely.

 From the studio window you can see his garden which, he confesses, is his greatest distraction from his practice.

 On a beautiful day like today, I just love to get out there and grow things – you can totally loose yourself where nothing else matters. I guess, in a similar way, the same thing happens when I’m working in the studio.His love of the beautiful things that surround him is quite infectious.

 His recent artist book practice relates back to printmaking and the creation of multiples, but also he is drawn to unique one-offs. Although he made the odd book years ago, he has only recently made it his main focus. When asked what has attracted Oudyn to artist books, he says:

They’re so portable. I also like the privacy… the smallness and the intimacy of… books, they’re not so public but more democratic. They really suit my stage of life.

Ceramist Julie Shepherd, resides off a quiet country road between Capalaba and Sheldon.  Her idyllic one-hectare property is still covered in native flora, including Zanthorrea and Scribbly Gum. 

 After recently returning from a two-month residency at the Sturt Gallery in Mittagong, Shepherd is presently working towards an exhibition about her experiences there and interpretation of life. Her compact studio, with its outside gas kilns, houses all that Shepherd needs to complete her highly intricate and detailed work. The studio is across from a small leafy patio and family home that allows her to stay connected.

 Shepard is strongly influenced by the fragility of life and this is originally what led her to use the delicate medium of porcelain clay. When asked about what influences her, Shepherd responded:

 It’s about the transient nature of life but intrinsic strength too. Even though life is fragile, it’s still got a lot of positives. My work also has a very female influence, in its relationship with the traditional textile arts of sewing and embroidery.

 Shepherd has been working in ceramics for nearly forty years. Her focus and passion is working with porcelain clay.

Lucinda Elliot begins her creative process on the iPad. Elliot states:

The iPad provides apps that distort the way you look at… and process… images… a drawing or a painting [is] quite labor intensive… you’re working from an image in your head and you’re responding to an image out in the environment… here you start and where you end can be two very different places. And you still might not satisfy that idea in your head. So the beauty of the iPad and its apps is you can take any image you’ve worked on and, without going through the whole process of repainting or redrawing, you can manipulate it and provide yourself with 20 or 30 variations on that image. That speeds up the process of where you want to get to.

 She has been experimenting with the pear tree image you can see in her portrait. It’s a reference point for Elliot’s work, relating back to some feng shui images she has worked on previously. For her it’s a fairly natural but potent image – the ideas are tied up with nature, the future and, on another level, it’s an exercise in technique, technology and changing the way we look at art.

 Because of the portability of the iPad, this has allowed Elliot to work in various locations, with one of her favorite being the park overlooking North Stradbroke Island. Once satisfied with her iPad image, it’s then painted in a traditional way on canvas.

Luke Roberts, has been a part of the fabric of the Brisbane art scene ever since he moved there from the rural Queensland town of Alpha. Since returning from PS1, in New York in 1997, Roberts has had some interesting studio spaces, which have included the magnificent Rivoli Theatre, New Farm. His present studio is located a few doors down from there, off Brunswick Street. At the time of the studio shoot Roberts was working on a portrait of Gerry Connolly, Impersonator for the Archibald Portrait Prize.

Iconography is a subject that Roberts is presently exploring, taking traditional icons and reinterpreting them into the space age.

Making the contact with ethereal, celestreal beings as extraterrestrials and taking biblical stories and translating them as contact with UFO’s.

 To Roberts art is one of the great energies of life. He grew up in a town without any artists; art was not seen as work, not seen as making a particular contribution, more of a luxury. However, Roberts saw that:

 art had not only a spiritual side to it, but through art you could be an activist – you could actually put ideas into works, what was beyond words, you could put into images.

  For Roberts, art isn’t about putting a mirror up to the world, but rather ‘to take a hammer and reshape the world’. It’s Roberts’ strong belief that through art: you can make changes, to the way we think. In a way, artists have a job of helping others to see their world differently, to uncover new ideas and put the future into shape.

Perched on a beautiful spot right on the waters edge in Redland Bay is the home of Lyndal Hargrave, and her family. The family has lived here for over ten years. Her art studio housed the family while they renovated their home. When asked what she likes most about living and working in this place, Hargrave responds:

It’s the quiet and the openness. Mind you, when I’m working in the studio I get lost in my work… I really could be anywhere! It’s when I take a breather and go outside that I really appreciate it – it’s very replenishing.

 It’s the underlying mathematics in nature that influences Hargrave’s work.

 There’s something about the natural order, the underling patterns and mathematics in nature… that draws me to seek out the regularities and similarities in things… I like how nature throws up a bit of chaos as well.

 Hargrave finds her work has a lot of interplay with pure geometry and also randomness, with mistakes here and there. Often a period of time passes after a body of work has been completed before she starts to understand what it’s about. Hargrave explains:

 I realise that it’s part of what I’m going through at the time. So sometimes you definitely have to reflect and come back to it… it’s [the] abstract way that I work’ 

 The daughter of a builder and carpenter, Hargrave has always had an interest in timber and tools, especially hand tools. Her process is partly material based.

 I love the marks that are in materials anyway, so I like finding materials that already have some sort of history. But I also love just working with products from the hardware store.

 She admits her favourite hardware store, though, is the recycling tip shop at the dump!

Michael Zavros

Driving up to his family property in Chandler, what strikes you most is the feeling you could be anywhere! Far away from the madding crowds – yet you are only half an hour from the centre of Brisbane.

 With a studio renovated from existing sheds, Zavros feels very lucky to have been able to create his ‘dream studio’ at this stage of his career.

 In the past, Zavros worked in much smaller spaces:   

It’s so nice to have a decent ceiling height, where I can wind an easel up really high, so I can work on the bottom of a painting.  Or decent lighting – I’m almost not used to it! I really do appreciate the space, where you can just leave something set-up.  Previously, I have tended to finish things as I go, and put things away, continually having to tidy up after myself. But the luxury I suppose of being able to set something up… leaving it… and starting something else, and coming and going – I’m loving it.

 Even as a child, Zavros possessed a desire to become an artist, spending hours sitting drawing and painting what he saw around him. Now, with young children of his own, he is finding a kind of renewed inspiration in new observations of the every day.

Kim Guthtie


Kim Guthtie Judith Sinnamon

Allyson Reynolds

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