Scripture, Spirituality And Society Research Centre
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Browsing Scripture, Spirituality And Society Research Centre by Type "Creative Work"
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Item 2 Samuel 24(General Conference of Seventh-day Adventists, 2013-02-01) van Wyk, KootThe purpose of this study was to produce a devotional commentary on 2 Samuel to be put online by the General Conference of Seventh-day Adventists for the public.
Item 2 Samuel 7(General Conference of Seventh-day Adventists, 2013-01-01) van Wyk, KootThe purpose of this study was to produce a devotional commentary on 2 Samuel to be put online by the General Conference of Seventh-day Adventists for the public.
Item 45s Sleeves/Labels(2014-12-01) Collis, AndyThe small works art prize at the Gosford Art Studios stipulates works must be
200mm x 200mm. The size of the canvas suggested to me that of old vinyl 45
rpm. Records. I recollected with nostalgia and detail, the aesthetic and
emotion associated with such discs of my youth. I produced two gouache on
canvas images. One which shows snippets of the cheap paper sleeves in
which 45s were packages – the logos and colours of the labels,; the second
shows snippets of the actual labels themselves. To anyone who lived through
the period (50s,60s in particular) and remembers these things with great
affection, the snippets are clues and triggers, a cue to the true ‘fan’, the tip-of the
iceberg of many fond stories from youth.
The two images trigger these emotions.Item A Mile in My Shoes(2016-06-01) Morris, Richard; Watson-Trudgett, Maria; Collis, AndyCollaborations amongst artists have a rich International history in the Visual Arts. Collaboration amongst Indigenous, and non-Indigenous artists in Australia is a notion with a much smaller history. Such collaborations have become a special annual focus of the Gosford Regional Art Gallery as a means of showcasing artworks about Reconciliation, as it has impacted Australian culture and politics from the historic 1967 Referendum, and later, in the High Court Mabo decision. This group of three collaborators were successful in having work hung in last year’s Reconciliation, and continue to explore the collaborative exercise again here.
Item Annie Rose, my daughter(2012-07-01) Collis, AndyMy Research for my PhD, that was awarded in early 2015, looked at the nature of the value of a personal relationship with the sitter for the purposes of making a, specifically, painted portrait. This portrait of my daughter therefore sought to investigate a technique and a representation of the idea of the father/daughter relationship.
Item ANZAC Chaplains (Brothers in Arms)(Hope Channel, 2010-04-12) Portbury, Kyle; Livingston, Daniel; Hamilton, Mal; Reynaud, DanielThis is the story of truly courageous men who never carried a gun or fired a shot in anger. Through their selfless deeds and heroic ministering as they stood shoulder to shoulder beside the Anzac fighting men through the endless horror and misery of the battlefield, the Anzac Chaplains gained the respect and admiration of the soldiers - not by taking life, but by saving it.
Item Barking Whales and Breaching Dogs(2002-07-01) Morris, RichardItem Bay(2011-05-01) Morris, RichardPaintings, such as Bay, which by nature are amassed from layers of deposited brushstrokes, have traditionally worked from the ‘ground’ to the ‘figure’ in the sense of differentiating figure/ground relationships in a work. Such an approach to paintings destroys much of the underpainting in a work for the purpose of resolving the compositional/aesthetic concerns of the artist. This body of work aims to employ a methodology of practice whereby the initial underpainting of a work is celebrated quite tangibly and visibly, in the final configuration of a work.
Item Beehives at Avoca: Morning Light(2015-07-01) Collis, AndyPerhaps the usual association with plein air painting is with that established with the European Impressionists of the 19th Century. Their use of newer technologies (collapsible easels, manufactured art products and paints), an awareness of black and white tonal photographic images and the changing societal role of artist, lead to the enquiry and production of work that we typically see under that umbrella term. The painting The Beehives at Avoca Beach: Morning Light therefore acknowledges aspects of European Impressionist tradition –the title even borrows from Monet’s works – but establishes it firmly in an Australian context (while avoiding the Australian Heidelberg concerns). This research seeks to respond to being in space and is much more about multiple, ‘wide angle’ expression of the experience of space. It utilises contemporary acrylic house paints applied directly with dynamic response and sensitivity to colour – it is purposely about expression, through paint, of lived experience in real space, rather than about fleeting light on a surface.
Item Bennett: The Padre of Gallipoli(2014-04-01) Hamilton, Mal; Przybylko, Geraldine; Livingston, Daniel; Reynaud, DanielThe purpose of this research project was to explore the form and content required to make an episode of It Is Written Oceania which meets both the spiritual ministry mission of It Is Written Oceania and at the same time appeals to a mainstream Australian audience during daytime screenings.
Item Bloom Exhibition(Robin Gibson Gallery, 2020-08-01) Morris, RichardBloom is and exhibition of works which could be described as two-dimensional assemblages which have as their subject matter Australian Flora. The exhibition had 16 works which were exhibited at the Robin Gibson Gallery August 1 -26, 2020.
Item Bower(2016-07-01) Morris, RichardThe work Bower which Richard Morris exhibited in Sculpture 28 is an assemblage made largely of painted wooden panels, and remnants of domestic furniture. There is a distinct relationship between the blue perimeter of the work, and the yellow oval form in the upper RHS, which play on the enclosed form of a literal Bower bird nest. The juxtaposition of a reductive palette plays a significant role in the work, creating a distinct asymmetrical compositional tension between the use of metallic blue, and yellow. Bower has both a figurative reference to a vertically oriented Bower bird nest, and a reference to the Abstract via the planar geometric furniture elements which constitute it’s peripheral form.
Item Channel(2015-02-01) Morris, RichardThe painting Channel - enamel and butyl rubber on plywood 36cm x 32cm in the exhibition Richard Morris Paintings 2015 exhibited at ASW Art Systems Wickham, Newcastle., was formed by deconstructing pre-painted panels, into narrow rectilinear units, which have been re-assembled into a horizontally stacked rectilinear configuration. By utilising a strictly horizontal assembly or ‘stack’ of painted ‘splinters’ of plywood, each with distinct variation in both colour and texture, the work entails a type of stratification, suggestive of a landscape ‘field.’ Such notions can be seen to stem from a similar structuring configuration in the horizontal bands of earth, water and sky which typify a conventional observation of the physical landscape.
Item Cliff Ghost(2015-01-01) Bellette, AaronCliff Ghost is the exploration of costal region around Catherine Hill Bay. The images examined the effects of coal mining on the local area. This image is from a medium format film and it is a record visual experiences.
Item Composition Purple(2015-06-01) Bellette, AaronThis work was created through an exploration of space and time; it was also a personal exploration of identity. The Composition Purple explored the abstraction of the photographic imagery. The image was taken by the photographer hiding under a doona with light shining through the feathers to create an abstraction and no sense of time or space with a child’s sense of play.
Item Crisp(1997-10-01) Morris, RichardThe notion of employing a methodology for the assemblage of paintings has traditionally been utilized with modular exactitude as seen in the works of such artists as Imants Tillers who amasses identically sized canvas boards to configure pre-planned, much larger paintings. By extension, Rosalie Gascoigne has employed a similar methodology for her works which amass small fragments deconstructed from real world artifacts such as road signs, into a new ‘field’ of painterly configuration. However, in the true sense of the word, Gascoigne’s work is more in the order of assemblage than painting. Overlooked in these two approaches to configuration, is the idea that a painting can be formed by intuitively arranging pre-painted rectilinear, (though not identically shaped/sized) fragments, as the basis of a newly configured painterly matrix, which included an overlay of textual treatments.
Item Daniel 1(General Conference of Seventh-day Adventists, 2014-08-01) van Wyk, KootThe purpose of this study was to produce a devotional commentary on the Book of Daniel to be put online by the General Conference of Seventh-day Adventists for the public.
Item Daniel 12(General Conference of Seventh-day Adventists, 2014-08-01) van Wyk, KootThe purpose of this study was to produce a devotional commentary on the Book of Daniel to be put online by the General Conference of Seventh-day Adventists for the public.
Item Date-Setting 2300 Evenings and Mornings of Daniel 8:14(2015-01-01) van Wyk, KootThe contirbution of the 65 Koot van Wyk Notes posted between January and December 2015 is related to the fields of textual analysis as opposed to textual criticism at times; devotional commentaries on the Bible; etymological investigations of rare words in the Bible; deviant trends in Adventism; philosophical investigations or positions that are contra biblical and contra Adventism; an analysis of the modern trends since post-modenism in the digi-modernistic period before 911 and thereafter; Bible sermons for laity in a bilingual non-educated context at times; serious research on topics in archaeology like the role of W. Emmerson in Australian Biblical Archaeology and much more. It was found that Emmerson actually started before the main characters of the USA with biblical archaeology but that the dating of the starting point of modern biblical archaeology was chosen to be 1937 by Lloyd WIllis in his Andrews doctorate when Emmerson preceded that date. Evolution is always viewed negative in this research since the evidence is so overwhelming. The main players like Dawkins is looked at also.
Item Dice & Shell(2015-09-01) Morris, Richard; Collis, AndyThe process of art-making, particularly in the Western World, tends to be, with some notable exceptions, the practice of the individual; a singular artist expressing individual ideas in a visual form. Collis and Morris are two artists that have worked and exhibited extensively individually in their own individualistic ways of expression.
Collis is, generally, a figurative painter in acrylic and oils, working, usually, from the live motif; Morris is, generally, an abstract painter whose works often crossover into sculptural forms. In a broader area of research, they have ventured to examine the value and means of joining forces to both see how new work can be generated from collaboration and the effect of two diverse approaches on concept and practice.
To this end ‘Dice and Shell’ is one such work from what is intended to be a larger body of work, to be exhibited publicly alongside evidence of the collaborative process that took place. This work can be seen as a metaphor for collaboration – Morris generated the backdrop board from house-paints, washed and sanded – after which Collis chose disparate objects that needed to visually ‘collaborate’ on and with the painting after which a three-dimensional object (a Monopoly-piece toy dog) was adhered to the shelf-like structure of the sculptural background – thus giving a technical and visual crossover and merging of the two artist’s approaches.