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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 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.
Item Disk.15.14(2015-08-01) Bellette, AaronThe series Disks of Time and Light particularly the work Disk.15.14 is a body of photography, which does not adhere to the traditional illustrative photographic approach where the outer experience is used to trigger an affective response from the viewer, such as capturing a sunset. Rather, it employs a symbolist motif approach aiming to represent affect and cognition, to challenge the viewer’s perceptions and ideas of a traditional landscape photographic image and sunset photography.
Item Edge Tracking(2013-08-01) Morris, RichardSemi submerged detritus, and tangled rows of flotsam and jetsam have inspired the assemblage Edge Tracking which responds to the thin tidal edge of the Lake Macquarie foreshore. The work is a response to the tidal strip of land, which occupies the edges of Lake Macquarie’s intertidal zone which lays between the high and low tidal extremes as this unique environment. The work attests to the linear geography of this intertidal zone, made up from both its long thin trajectories of washed up items, and a distinctly eroded shoreline.
Item Fairweather(2014-07-01) Morris, RichardFace 2 Face is a group exhibition which has been curated by Robin Gibson from the Robin Gibson Gallery. The primary focus of the exhibition is portraits by the gallery artists, and invited artists, of other artists, both Australian and International. Portraiture continues to play an important role in Australian art circles as can be seen in the annual exhibitions The Archibald Prize, and the Doug Moran Prize. The portrait Fairweather which I contributed to the exhibition is a zinc plate etching on Fabriano 220gsm paper. The focus of the work Fairweather, was to capture a likeness of the artist, yet customise this likeness to reflect the inner struggles the artist had with anxiety and suspicion, while living a considerably hermitic life as an artist on Bribe Island near Brisbane. It was my intention capture the many facial lines of the artist via the etching process, which lends itself so well to such delineations.
Item Faith of the Anzacs(Hope Channel, 2010-04-23) Hamilton, Mal; Portbury, Kyle; Livingston, Daniel; Reynaud, DanielThe significance of this research is demonstrated in that 7Two Prime accepted the programme and broadcast it at 12.30am on Anzac Day, before the Anzac Day AFL match. It forms one episode of a larger series titled ‘Faith of the Anzacs’ that has received prime daytime screenings on Anzac Days over successive years since 2010, achieving peak audiences of up to 250,000 in the Eastern States of Australia. By reducing verbal content, heightening the emotional content, introducing a more dynamic presentation through discussion between the presenter and a historian and by choosing a topic which has wide secular appeal, the programme has transcended its previous audience barriers.
Item Fighting Mac: The Story of William McKenzie(Hope Channel, 2014-04-25) Livingston, Daniel; Hamilton, Mal; Reynaud, DanielA report on the reach, audience and effectiveness of SDA Hope television channel showed that its audience was predominantly composed of retired conservative SDAs. One of the top-rating programmes among them was It Is Written Oceania (IIWO).
IIWO’s mission statement claims that it ‘is a deeply spiritual ministry passionate about communicating the Gospel to the world.’ However, while also broadcast on commercial television, it is confined to the 3.30 and 4.30 am slots on two major commercial networks.
The purpose of this research project was to explore the form and content required to make an episode of IIWO which meets both the spiritual ministry mission of IIWO and at the same time appeals to a mainstream Australian audience during daytime screenings.