Monday, May 9, 2016

Art 4 TROG Exhibition

Gallery 1 & 25th to 22nd May

The current exhibition at Newcastle Art Space is in support of cancer research, specifically the Trans Tasman Radiation Oncology Group (TROG).

There are so many personal stories on the wall in the gallery; all stories about lives interrupted and altered by cancer.  While reminding us of our vulnerability and mortality these stories speak loudly of determination and hope.  The artists have opened their own particular dialogue about their experience but the collection of stories unite us all as every adult knows or will know someone who is affected by cancer of some kind in their life.  It is a fight we need to take on as one community.

The exhibiting artists are Joerg Lehmann, John Sorby, Sarah Orrett, Linda Adams, Gael Connop, Mitch Revs, Christina Frogley, Michéle Heibel, Judith Bee, Marika Osmotherly, Shirley Cameron–Roberts, Brian Roberts (1934-2015), Megan McCarthy, Dorothée Heibel, Michelle Louise and Polly Rickard.  

While the art is wonderful and inspiring, it is their stories that resonate with life.  For this reason I am not posting images only the artists’ own words.  The images need to be seen and experienced in person in the gallery.

In March last year I was diagnosed with breast cancer.  The next nine months saw me having surgery, six months of chemotherapy and five weeks of radiation. These works are reflective of my experience at this time, the loss of control over my own life.  My body was no longer mine, but an object to be “treated” by the medical profession. However, I was still in there somewhere with a life to be lived and I got through it. My two works are watercolour, pencil and ink drawings that are A3 size.  The works are reflective of my treatment experience.  Feelings of unreality during that time, and a feeling of disconnectedness while trying to stay grounded. The figures are only partially visible amongst a swirl of unrelenting colour and movement around them that they have no control over.
Julie Ingle

In 2010 my husband, Brian Roberts, was diagnosed with throat cancer and went through an intensive course of radiation and chemotherapy. After the treatment he returned periodically to the Mater for follow up examinations and scans and eventually a full body scan which showed no sign of cancer - that was the good news - but did reveal a large abdominal aortic aneurism that needed prompt attention. When we saw the AAA scan we were fascinated to see that the interior of our bodies repeats patterns we see all the time in the world around us in trees, the roots of plants even watercourses. Most of my painting is concerned with these patterns.
Brian’s life threatening aneurism was repaired and we thought it amazing that if he had not had throat cancer and a full body scan we would not have known it existed. At that stage we did not know that there was more in store for us and that Brian would be diagnosed in early 2015 with pancreatic cancer. My painting Repetition in Nature – Interior World was heavily influenced by this experience.
Shirley Cameron-Roberts

Brian Roberts’ landscape and seascape paintings were concerned with atmosphere and movement around Australia’s eastern coastline. Bays and waterways were especially interesting to him inspiring moody paintings in thick swathes of pure rich oil paint. His aim was to flow with natures ever changing energies. His paintings were expressions of pure joy at the wonder of the natural world heavily influenced by childhood hours on the beach and sailing near his home in Victoria, travels along the east coast in Australia and twenty four years at Eccleston near the Barrington Tops state forest and national park.
Brian Roberts

Using a partially complete Aran cabled sweater and many balls of my spun Angora yarn from 1989 I have created this artwork in 2015. I used Angora fleece from my own goats … shorn, spun, plied and knitted. It depicts the life journeys of my three adopted children with all the bends and twists that life has thrown at them and allowed me many hours of contemplation and appreciation for all the experiences in my life. It also allowed me time to reminisce about my father’s life journey with his three primary cancer diagnoses. Dad was a farmer and he would have appreciated the process of using natural resources and the time and energy that were  associated with its’ creation. The twists and turns represent the bumpy roads we experience in our journeys through life. The threads represent ‘hiccups’ in life, including false starts and unfulfilled notions and ideas; the cables are the ‘ties’ or connections of my children to each other and myself, my family.  I found the process of making the artwork very cathartic as relationships and reflections are always important in our lives.   
Judith Bee

These paintings are representations of Newcastle's very active working harbour viewed from the water. I have seen the struggle of my partner Louise’s mother and sister, who both succumbed to lung cancer in the last few years. They were great supporters of my work and this exhibition provides an opportunity to make a contribution toward cancer research in memory of them.
John Sorby

A. has been battling cancer since a young age. She recently had a small tumour surgically removed from her left breast. She fights and lives on as a strong and beautiful woman.

This set of applicators from an x-ray unit was used in an operating theatre to treat the cavity in the breast after surgical removal of a tumour with the intent to neutralize any remaining cancer cells. The size of the applicator was selected based on size of the cavity. The x-ray source was in the middle of the spherical applicator tip.

Being a carer for a loved one suffering with breast cancer is an emotional experience, particularly when it happens early in a person’s life or career. But in every new day, there is hope. These early morning images are symbols of hope and joy.
Joerg Lehmann

Cancer has touched my life in many ways. When my partner was diagnosed with cancer we were not to know that this was the start of a lengthy, deeply upsetting journey. After keyhole surgery to remove the tumor had gone dreadfully wrong, he ended up in Intensive Care for three weeks clinging to life and enduring countless surgical procedures. The significance of our being on this earth and our relationships with others were brought into question. But we never lost hope and he managed to slowly partially recover although still burdened with the fallout, both physically and mentally. This was again highlighted when I did an artist-in-residency at the Mater Hospice. What I noticed was, that however heavy the burden is, hope is very often still present which I am trying to convey with this sculpture.
Marika Osmotherly

When I first met Audrey, she said, “Should I shake your hand, or give you a hug?” She had me pegged in five minutes. She was a wise old lady then, a devout Catholic with a love of music and an open heart. I was in my early twenty’s, carefree and ‘fly by the seat of your pants’ irresponsible. Audrey was a breast cancer survivor, eventually it took her, but only when she was ready. Ready to go meet her maker and see her husband again. When the time came, she gave me a rose, a hug and said goodbye. Five Years Later, follows the statistic that 66% of people diagnosed with cancer in Australia are still alive five years later. It's a reminder to all of us, to have fun, have an open heart and enjoy the small things in life.
Megan McCarthy

No matter what is happening in your life, there is always a light at the end of a tunnel. For me, this was my battle with cancer in what should have been the prime of my life. Light illustrates hope, and hope should be held on to tightly, no matter what the circumstance. 
Sarah Orrett

My husband was originally diagnosed with aggressive, invasive bladder cancer in August 2013.  After surgery and chemotherapy he was declared clear at each follow up scan until and including March 2015.  In June 2015 it had returned and he was told not to expect to see Christmas of that year.  He didn’t.  I nursed him at home until the end. When my husband first learnt that his cancer had returned and that it was terminal he immediately started the process to donate his body to science.  This and to die at home were his two main wishes. He was accepted, although his biggest fear was that he would die before receiving this acceptance.  Regrettably he did not time his death well and the University was unable to take him due to lack of room.  By the time we found this out he probably was not aware so was hopefully spared the pain of regret.  He did die at home. I therefore had his body cremated.  This series is stage 1 of a group that will eventually use his ashes at its core.  Although he was unable to achieve his goal of donating his body I am sure he would love to have known that he will be immortalised in art and that he will always be in his garden at home.

In January 2016 I took myself off to Cuba – could I find many other places more exotic or challenging? This series reflects my moods, emotions and thoughts as I travelled.  At times sad and unable to see the light at the end of the tunnel and at others a little opening crack that allowed a peek at what might happen.   Perhaps even a glimpse of the relief that he was finally released from this horrible disease.  
Gael Connop

It is both inspiring and heartbreaking to watch the sick looking after the sicker. Carers truly are our society's fragile superheroes and they deserve all the support and recognition we can offer them.
Michéle Heibel

These works express the fascination with the passing of time and the natural decay of elements. At the time of photographic these works my mother became terminally ill with bowel cancer and her body began to take on the appearance of being weathered and tormented by the illness. Although the photographs of the orphanage belong to a much bigger set of works and text which form part of a book, these works most link to my feelings about my mother and the memories of her struggle with the illness. Buildings once strong, shiny and young performed a function, but now take on a new future. Some become homes for the homeless, whilst others stand empty a reminder to commemorate its past occupants. My photographs trace the inevitability of the structure returning to its initial form. As brick turns to sand, metal to rust and wood decays, textures and patterns remind us of its past life.
Linda Adams

My father, a farmer in rural central west NSW, made the 200km round trip every day for 6 weeks to receive radiation therapy.  As this bird in the night prey on his lambs, so did cancer on his livelihood, his peace of mind and his way of life. 
Christina Frogley

As my husband's cancer worsened, I found it very hard to paint. It seemed I was unable to switch off and let go and there was an underlying sadness that blocked my usually joyful style. This butterfly was the first painting I did after Detlef's death. It was important for me to paint something that was full of life and symbolic of new beginnings.
Dorothée Heibel

It is difficult to express in words the grief and loss of losing our Dah, sometimes it I easier to communicate through art. Each of these wearable artworks draw on our memories and regard for our Grandfather, Frank Galvin.
Michelle Louise

I was 37 years old with two sons aged six and 17 when I was diagnosed with late stage cervical cancer, requiring a radical hysterectomy and vaginal reconstruction; not an easy thing to hear.  Everything happened very quickly from there.  The operation was successful and amazingly the cancer had not metastasised, so there was no chemo or radiotherapy to endure, but my life was completely changed.  Of course, there would be no more children and I struggled to come to terms with my altered body, but time brought acceptance and the realisation  that  when one has faced the possibility of death and been given a reprieve, everything that comes after is a gift not to be wasted.  All this happened almost half my lifetime ago, but I am still conscious that without the wonderful medical treatment I received I would not have met my six wonderful grandchildren, had a long career in the ABC or lived to find my passion for sculpture in later life.  Art is the expression of the artist and reflects the sum of life experience, and the sculpture I have submitted to the exhibition is a combination of the strength of steel with the ability to take flight.
Polly Rickard

The beautiful beaches of Newcastle are a constant reminder of not only how lucky we are as Novacastrians but how precious each and every moment is. This artwork was created during the winter of 2015, inspired by a friend who unfortunately lost his battle with cancer. The ocean is such a big part of my life and everyone around me. I am lucky to be able to share stories of adventure through these colourful artworks. Forever in the waves, my friend.
Mitch Revs

These works were created on reflection of how the lives of patients and carers are put on hold during illness and recovery.
Michelle Louise

Who is TROG?

The research Group is a global leader in radiotherapy research.  One in two cancer patients will benefit from radiotherapy and TROG is working hard on ways to continually improve their treatment. Working with doctors and researchers mainly in Australia and New Zealand, TROG focuses on cancers that can be treated with radiotherapy such as breast, lung, prostate, skin, head and neck.
Over 1,000 researchers and doctors have been involved in TROG research studies. Most studies require patients and so far over 13,200 people have volunteered to participate in more than 80 trials, helping our researchers improve cancer treatments.
For information on TROG, donations, research and volunteers please visit:

Visit the gallery to see these works and read the stories at first hand.  Gallery hours Thurs - Sunday 12noon to 5pm.

Thursday, April 14, 2016

Gallery 1 & 2
32.9° S – 151.5° E
14th April to 1st May

There are works from 40 individual artists sitting inside the NAS gallery.  With a general theme of “all things Newcastle” there are the familiar images of Newcastle as a coastal town.  Always referred to in the past as a ‘blue collar working class city’ the industrial side of Newcastle is also represented well in this exhibition.

Not to take anything away from all the great works which are a joy to behold collectively, my interest was more sustained towards those works that resonated with the earth, the water, the sand and political / social commentary.  

Maggie Hall’s End of the Line, photograph is a beautiful rendering of an empty rail line.  Is the line empty now but about to carry a train load (be it light or heavy rail) of visitors, locals, or industrial cargo along at any minute.  Or will the emptiness remain.  Regardless of the answer, the image itself remains one of great visual interest.

James E McFarland’s Waiting for the train.... is a suitcase overflowing with human skeletal remains. I guess the train was on a Sunday timetable or he sat on the wrong platform going in the wrong direction.  In spite of my flippant attempt at humour though, the work itself is quite remarkable and worth a visit just to see this work.

Laura Wilson’s Renewal assemblage utilises beach sand, white glass and etched lettering to heroically highlight our connection to our beach lifestyle.  Our connection to the beach is as fundamental as breathing to Newies.  It is a place of swimming, surfing, sunning, walking, and above all a meeting place that unites every visitor to the same viewing experience.

Ceramic artist, Grant Keene is showing his usual fine style of work in Home Grown. He prefers to use his own collection of ash, pumice and stoneware clays and glazes which he sources from local materials.

The night was enriched by live poetry from D’ N’ A’s Pop Up Poetry sitting in the gallery and typing poetry on old typewriters, and the wonderful sounds of  The High Andies in the courtyard. 

In the Blackbox Theatre space HoboTechno were showing their work which Tim Buchanan refers to as ‘experimental’ as it incorporates performance as well as ‘media’.  HoboTechno consists of a loose collective of artists namely Jo Lynch, Tim Buchanan, Dale Collier, Alex Pritchard & Andrew Styan. All the artists came together for this show at NAS which was a front-runner to their event Break Free 2016 coming up soon.

Read more about this event at:

A sample only of some of the works on display is below.
Left to Right Edwardo Milan Harbour #3, Casey Irvine Adrift I, Peter Lankas (section) Sunny on Busby
Aaron McGarry Rock Formation, Laura Wilson  Renewal (section),  Jodie Thompson Fig Whirlwind

Thursday, March 31, 2016

Gallery 1
24 March - 10 April
Well Connected

Elsie Randall

Elsie in Gallery 1 with her work done in collaboration with her daughter Tayla
The NAS gallery is going from strength to strength curating and providing opportunities for our vast community of artists.  I managed to catch up with two exhibiting artists over the Easter weekend.  Elsie Randall is an Aboriginal artist clearly passionate about art and Australian indigenous families. Her paternal connection is to the Yaegl people (Maclean/Yamba regions) and Bundjalung people (Ballina/Tweed region) on her maternal side. Her life has seen her fulfil commitments to family from an early age and she continues working across indigenous communities.  Elsie has worked in hairdressing, law enforcement, juvenile justice, Department of Community Services, Aboriginal family support services and as a private Consultant -  training, liaising, producing training manuals to assist with effective and positive engagement with the aboriginal community, children and families.

Elsie is the owner and operator of Free Spirit Art Gallery located at Shop 1/90 Maitland Road, Mayfield West, 2304, specialising in Aboriginal art.  Currently the gallery supports 70 local Aboriginal artists, 30 who live within other areas in NSW and 6 outside of the state.  A major project being undertaken is the development of an Art Foundation aimed at bringing Mutitjulu artists from Uluru for an exhibition in Newcastle later this year.

Elsie says her work is essentially about healing and shared stories.  Some works in the gallery have been undertaken collaboratively with her children, Leigh, Tayla and Kolby and her niece Ebony.  Elsie talked of loading the implement with acrylic paint and dripping the acrylic paint onto the surface.  The paint falls under its own momentum forming beautiful, complete raised dots on the material.  This is Elsie’s signature mark.  The process allows for ‘slowing down’ of the body, taking respite from the outside world, and engaging with the medium and pattern-making story telling.  The tactility of the surface is significant and important.  Elsie attaches her own personal developed colour palette to the works, with individual colours representing states of emotion.  It is a meditative process allowing for discussion and interaction between the artist and the colour and between collaborators.  Each work carries the story on the wall below.

If you are interested in contributing to the Uluru artists’ exhibition project, or talking to Elsie about her work, art or consultancy business in general, contact her at or phone directly on 0401580789.

Gallery 1
 24 March - 10 April
Healing Hands

Jasmine Craciun

There is also a collection of Healing Hands which are ceramic works by Jasmine Craciun on display. Jasmine is an eighteen year old Newcastle local from the Barkindji and Malyangapa people of western NSW.  Jasmine is currently undertakin a Visual Communication and Design course at the University of Newcastle.  Having a love and interest of art since a young child, Jasmine makes her debut entrance onto the exhibiting stage with her work Healing Hands.  Jasmine has drawn inspiration from the stories told to her by artist Elsie Randall.  Her five sculptures tell of the women of the bundjalung nation and their healing hands.  "Healing Hands" represents not only the power in the hands of the bundjalung women but also the culture and history that runs  through the veins of all indigenous people.
Gallery 2
24 March - 10 April

Along the Way with You 
Hannah Simonovich
Hannah in the gallery with her work

Hannah is a Newcastle artist currently living in Maitland.  She has a Bachelor Fine Art from Newcastle University with a double major in painting and photography and is currently studying interior design.  This is her first solo exhibition. The oil on canvas works in this exhibition are the result of travelling with her husband Andrew to California and Arizona in 2014.  Hannah described her process as being about returning and later reconnecting to her experience of being in each space through her visual and emotional memory.  Hannah does not use drawings or photographs as reference, just her personal recollections.

Hannah is always looking at contemporary art and lists J W Turner and the colour palette in Georgia O’Keefe’s works as key influences.  Hannah has several commissions and can be contacted directly if interested in talking to her about a new commission, project or opportunity. Email:  and her website can be found at:

Gallery 2
24 March - 10 April

Someone’s Home

Jeremy Robinson
Work by Jeremy Robinson on display in the entrance to Gallery 2

Artist Statement

Jeremy Robinson’s use of metal and steel to communicate themes of presence and place is both nostalgic and poetic.  Jeremy’s sensitivity and expertise in working his material is evident in his exhibition Someone’s Home.  This Melbourne hailed artist and blacksmith is masterful in this manipulation of metal with his current exhibition a testament to the many years spent refining and perfecting his art practice.  Scaled in the miniature, these narrative objects focus the mind on a world that can’t really be placed, yet is undeniably familiar.  Perhaps drawn from the ocean of Jeremy’s Victorian childhood, or from some iconic story contained within the pages of classic literature, so universally understood is this motif Robinson portrays, of a distinctly coastal way of life.  Presence and place are integral in Robinson’s work who reflects upon the place of the self within these dwellings and in so invites the view to consider their presence amongst the motions of everyday life.

Robinson who primarily works in timber, stone and forged steel explores the materiality of his medium with his recent work incorporating pilaster, marble, lime, shell and scale.  He relishes the deterioration of material, the flaking of paint on a timber wharf, the scale and the rust in the steel structures that reside precariously on our coastline.

Jeremy Robinson undertook training with Bernhard Wyearsch at ArtMetal Work, Melbourne, after which he joined Red Falcon Ironworks, Melbourne.  In 1993 he established his own company Bent Metal for the design and fabrication of domestic architectural steelwork.  He has worked as an industrial blacksmith for Loft & Sons Blacksmiths, Melbourne, and Dumbrell Forge, Wallsend, NSW.  He established an artmetal studio, Fe26 in Newcastle in 2000 and over the past fifteen years has produced a range of public and private commissions.  He is the Design and Technology teacher at the Newcastle Waldorf School.