Auction Artists
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'From The Heart' (2008)
Statement “We can send love to anyone/anything anywhere at anytime. What it 'looks' like will be different for each person. When I imagine sending love I imagine a white light emanating from my heart to encompass the person, thing or the Earth...and yes even the universe. In this painting the tree-of-life cascades as white light to encompass great distances”
Biographical Summary
Kathryn grew up on a grain farm outside Dalby, on the Darling Downs. The flat treeless plain of her childhood, with its endless and relentless distances, perpetually influences her work. She is focused on exploring distance, examining the space between the macro/global/vast and the micro/local/intimate. Kathryn has exhibited in London, Dubai, Seoul and Abu Dhabi, plus extensively in South East Queensland, Australia.
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Invisible Harvest I (2009)
Statement
Invisible Harvest evolved from a performative engagement of the artist within her sculptural installation Anima Requiem - A Funerary Garden. Evocative of another world, the installation allows viewers to journey through and contemplate the ongoing creative possibilities of Nature and the imagination. In these images, the artist has repositioned herself in the ritualistic process of gardening -harvesting and planting her own sculptural forms. As creator, she represents the invisible and intangible; unknown yet familiar; and universal connecting spiritual force that drives evolution of all species and creation.
Biographical Summary
Having completed a Bachelor of Visual Arts in Sculpture at Queensland College of Art, Eisler has broadened her practice to include performative photography, video, sound and installation. She has an extensive exhibition profile both in Australia and internationally including works selected for 2009 Arc Biennale of Art and Launch: Clayton Utz Art Award. Eisler’s practice has extended to include public art commissions from a variety of private, local and state government clients across Australia including Prince Charles Hospital, Brisbane, Sandgate Foreshore Parklands, Rocks Riverside Park and Federation Park, Toowoomba.
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Annal Beads #1, Edition of 5 (2009)
Statement
This work comes from a series of performative frames, presented as photographic stills, where a female body manipulates form with a collection of neckpieces (Ula) from the artist’s Samoan family - gifts of significance, ceremony and value – alongside a collection of metallic beads thrown from the balconies of Bourbon St, New Orleans during Mardi Gras– an herogenous ritual that rewards the female tourist more beads on the exposing of breasts. The work explores the creation of cross-cultural connotations and representations through silhouette and the embodiment of adornment, and more significantly cultural adornment.
Biographical Summary
Born in Auckland, New Zealand, Chantal Fraser is a Brisbane based multi-media artist with a BFA (Honours) from Queensland University of Technology. Fraser’s practice engages in pushing the boundaries of adornment through mediums such as installation, performance and digital media.
Fraser has exhibited nationally at various institutions such as QUT Art Museum, University of Queensland Art Museum and Brisbane City Hall (now Museum of Brisbane). Fraser has also been included in exhibitions internationally at institutions such as La Cité internationale des Arts, Paris, Les Brassieres in Belgium and Tjibaou Cultural Centre, New Caledonia.
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Blue Almanac: Artichoke, 2010
Statement
Nicola Hensel appreciates the power of drawing. It helps her pay attention to the fullness of life. For her, its meditative process is a way of "being present" to aspects of the world often overlooked. As she looks for the 'prize' in nature, which is so often obscured by familiarity, her exquisite renderings reveal what gifts are offered by what may seem mundane. Using considerable technical facility, the artist works directly and immediately from the specimens she gathers to capture their transient fragility., Hensel often works with collage, enjoying its aptitude to layer and enrich content and meaning through association of shape and form. Like her drawings, they are a perfect tribute to the wonderment of nature.
Biographical Summary
Since attaining her Bachelor of Arts in Visual Arts, Hensel has exhibited regularly. She has had solo shows at the Seattle University in the United States, in Sydney, and in her home town of Newcastle, as well as numerous group shows. In 2005 Hensel's work was selected for inclusion in the Art Gallery of New South Wales' Dobel Drawing Prize. Hensel is represented by Jan Murphy Gallery, Brisbane.
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Self Portrait 2010
Statement
Hughes’s work combines what are usually considered to be opposing modes in visual culture: a seductive aesthetic and aberrant figuration.
“I think about these modes in terms of the 'grotesque'. In my images, unfamiliar 'bodies' bulge with misplaced and enlarged limbs. They are broken by the space that surrounds them and sometimes left seeping at their openings. Such figures, however, are made up of mostly decorative forms: through the folds of garments and an excessive ornamentation. My interest is in producing images both compelling and destabilising through this combinatory logic of form”
Biographical Summary
Natalya Hughes is based in Melbourne. She works mainly in painting and digital media. Her work has been exhibited in numerous group shows including 2004: Australian Culture Now at the National Gallery of Victoria, Neo-Goth at the UQ Art Museum (2008), and most recently Creative Australia and the Ballet Russes at the Victorian Arts Centre (2009). Her most recent solo exhibition was Totem Totem, at Milani Gallery, Brisbane, 2010. Her work is in various private, corporate and public collections, including the Queensland Art Gallery/Gallery of Modern Art, Queensland University of Technology and the University of Queensland Art Museum.
Natalya completed a Bachelor of Visual Arts at the Queensland University of Technology, Brisbane in 2001, and recently completed her PhD in Visual Arts/ Art Theory, through the College of Fine Art (UNSW) Sydney. Natalya Hughes is represented by Milani Gallery, Brisbane.
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Small Extract (Matt Black), 2011 (Edition)
Statement
Best known for her use of vast collections of discarded aluminium kitchenware and her major public art installation in Brisbane Square. Constructed from discarded utensils, her artefacts draw viewers into a world of kitchens both remembered and imagined. Marcus Their original uses in post-war kitchens are recalled and extended by the process of assemblage, as they are combined into the repetitive forms of modernist grids and spheres. The materials themselves generate another layer of reference, and further extend the modernist impulse to regularity, repetition and dream.
Biographical Summary
Donna Marcus’ practice evokes stories through the use of discarded domestic utensils. These materials engage with the viewer’s familiarity of spaces both real and imagined. Marcus holds a PhD, Monash University and a Master of Arts (Visual Arts), University of New South Wales. Her work has been exhibited extensively in Australia and included in many national sculpture surveys including Helen Lempriere Award, The McClelland Survey + Award and the National Sculpture Award at the National Gallery of Australia. Marcus is represented by Dianne Tanzer Gallery, Melbourne.
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Tears for a Bygone Era (2008)
Statement
Tears for a Bygone Era’ is part of a series of
works by See featuring leaf motifs cut into found posters from the Communist era in China and is intended as a dedication to a generation of Chairman Mao devotees displaced by change. The artworks were created during a residency at the Pickled Art Center, a foundry on the outskirts of Beijing, in the winter of 2007-08. The leaf depicted in the composition is from the Catkins Willow. Forty six million of these trees were planted by the government as part of a revegetation program that commenced in 1956.
Bio
Pamela See (or Xue Mei-Ling) is an Australian artist that practices a contemporary form of Chinese papercutting. Courtesy of a Creative Sparks Lord Mayor's Young and Emerging Artist Fellowship (2006) and an Australia China Council General Funding Grant (2005) she was able to study the craft in her family's home country. She regularly applies her skills to create sculptures in contemporary media such as glass, acrylic and stainless steel and is represented by Andrew Baker Gallery, Brisbane.
Pamela Mei See appears courtesy of Andrew Baker Gallery
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Family Traits - Proteaceae II (2009)
Statement
Based on numerous site visits, Moss’ art explores the ecology of Australian landscapes and our connected relationship to them. Her works recognize and venerate the uniqueness of native flora and habitat. Moss’ larger project is to celebrate through her art the beauty of the natural world, in the process elegantly highlighting ways in which we may keep it so.
Biographical Summary
Nicola Moss has held seven solo exhibitions in the last six years. Her latest Brisbane solo, Plant-life was held at Redland Art Gallery and recent curated group exhibitions include Goulburn and Logan Regional Art Galleries. In 2009 she was artist in residence at the Brisbane Botanic Gardens Mt.Coot-tha. Her work is held in public, corporate and private collections throughout Australia.
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Oranges in String Bag 2010
Statement
Through paint Sinnamon seeks to explore the play of light on objects. Arrangements of flowers, fruit and every day objects from domestic environments are placed with a source of light falling across the objects. The physical qualities of these objects, whether glass, ceramics, fabric or native flora, provide opportunity to explore the way light interacts as it reflects, refracts, distorts or penetrates surfaces.
Biographical Summary
Judith Sinnamon graduated from the Queensland College of Art in 1984, majoring in Painting. Following this she spent time in Europe, before settling back into life in Brisbane and studying for a Bachelor of Teaching. Throughout her teaching career she continued to paint and exhibit at various venues, including a solo exhibition at the ABC studios in West End (1996) and the (then) Contemporary Art & Design Gallery at Stones Corner (1997, 1998).In 2004 and 2006 she exhibited alongside furniture and textile designers at the South Brisbane ‘Art Factory’ Space in two exhibitions ‘Artefacts’ and ‘Paintings + Prints + Pieces for Places’. She is currently working on a body of work for a May exhibition at the Edwina Corlette Gallery, Brisbane.
Judith Sinnamon appears courtesy of Edwina Corlette Gallery
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After Figaro (2007)
Statement
Thomson’s work is in part informed by the antiquity of the Australian continent. After Figaro 1 is a gestural depiction of a landscape imbued with natural, earthly colours. Thomson uses quick, spontaneous and almost perceptive brush strokes which gives the viewer a sense of a transitory reflection captured by the artist. This free and imaginative drawing was curated in the exhibition Wish You Were Here at the Tweed River Art Gallery, Murwillumbah in November 2008.
Biographical Summary
Ann Thomson is a Brisbane born artist currently living and working in Sydney.
The artist’s work is represented in major
collections including the National Gallery of Australia, Art Gallery of New South Wales, Thyssen-Bornemisza Collection, Madrid, and the Villa Haiss, Zell, Germany. Thompson is represented by Heiser Gallery, Brisbane |
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