Description:
Refraction Exhibition, 5th August-9th November 2017. The Gippsland Centre for Art and Design (GCAD), has been operating for over 40 years. In that time the centre has been at the forefront of artistic development in Gippsland and provided a rich legacy of alumni students. This alumni exhibition is being held as a tribute to the achievements of all past graduates. The exhibition showcases a selection of works by Gippsland alumni from throughout the history of the school. Current GCAD Director Bryce Ives observed that "The centre has a long history and a lot to be proud of artistically. The graduates have shaped the art scene in Gippsland and continue to play a central role in Gippsland and across wider Australia'.' Twenty-four alumni are participating in this exhibition - all are currently practising artists. Image: Michael Gallop, Pig on Plinth, 2017
Description:
Refraction Exhibition, 5th August-9th November 2017. The Gippsland Centre for Art and Design (GCAD), has been operating for over 40 years. In that time the centre has been at the forefront of artistic development in Gippsland and provided a rich legacy of alumni students. This alumni exhibition is being held as a tribute to the achievements of all past graduates. The exhibition showcases a selection of works by Gippsland alumni from throughout the history of the school. Current GCAD Director Bryce Ives observed that "The centre has a long history and a lot to be proud of artistically. The graduates have shaped the art scene in Gippsland and continue to play a central role in Gippsland and across wider Australia'.' Twenty-four alumni are participating in this exhibition - all are currently practising artists. Image: Michael Gallop, Pig on Plinth, 2017
Description:
Federation University Australia’s Arts Academy wishes to acknowledge the extraordinary achievements of our alumni who studied Visual Arts at Ballarat Technical Art School, Ballarat Institute of Advanced Education, Ballarat College of Advanced Education and Ballarat Teachers’ College, from 1960 up to and including 1979. Over the past decades, a diverse range of visual artists have graduated from the Arts Academy, some of whom have gone on to gain national and international recognition. Presented from 25th November-27th January 2018.
Description:
Federation University Australia’s Arts Academy wishes to acknowledge the extraordinary achievements of our alumni who studied Visual Arts at Ballarat Technical Art School, Ballarat Institute of Advanced Education, Ballarat College of Advanced Education and Ballarat Teachers’ College, from 1960 up to and including 1979. Over the past decades, a diverse range of visual artists have graduated from the Arts Academy, some of whom have gone on to gain national and international recognition. Presented from 25th November-27th January 2018.
Description:
Exhibited as part of the Flanagan Art Exhibition; 2nd-3rd September 2017; St Patrick's Pavillion. Beach rememberance : repetitive, rippled patterns created by the interaction of sand with gentle ocean waves. Glossy glaze suggesting sunlight glimmering over shallow water. Three patterned supports symbolise raising of forgotten impressions through unconscious, subconsious, to conscious mind. The open dish: inviting one to contemplate earth and her calming, beautiful symmetry.
Description:
Exhibited as part of the Flanagan Art Exhibition; 2nd-3rd September 2017; St Patrick's Pavillion. Beach rememberance : repetitive, rippled patterns created by the interaction of sand with gentle ocean waves. Glossy glaze suggesting sunlight glimmering over shallow water. Three patterned supports symbolise raising of forgotten impressions through unconscious, subconsious, to conscious mind. The open dish: inviting one to contemplate earth and her calming, beautiful symmetry.
Description:
15 February - 5th March 2017, SCOPE, FedUni's Arts Academy important annual exhibition showcases an inspired and rich mix of accomplished work by visual arts staff, research associates and associate and adjunct professors. The exhibition highlights the ongoing commitment to a sustained, rigorous art practice across a broad range of approaches and media by staff working in ceramics, painting, photography, design, drawing and printmaking. While the exhibition offers a great opportunity for staff to present their more recent works which extend notions of contemporary art, new and returning visual arts students are able to view work created by key visual arts lecturers.
Description:
15 February - 5th March 2017, SCOPE, FedUni's Arts Academy important annual exhibition showcases an inspired and rich mix of accomplished work by visual arts staff, research associates and associate and adjunct professors. The exhibition highlights the ongoing commitment to a sustained, rigorous art practice across a broad range of approaches and media by staff working in ceramics, painting, photography, design, drawing and printmaking. While the exhibition offers a great opportunity for staff to present their more recent works which extend notions of contemporary art, new and returning visual arts students are able to view work created by key visual arts lecturers.
Description:
Exhibition at the Post Office Gallery, Federation University Australia, 8th-18th November 2017. The Assumed Divide is an exhibition of small, figurative sculpture works, created in response to an exploration of gender, feminism and relationships. Sylvia Hollis works with the nude human figure for its ability to expose the commonality of physical existence. Wary of the temptation to objectify the body, her representations keenly express a connection to the psychological states of the characters. In this series, depictions of torn, hollowed or disintegrated flesh suggest the sometimes painful or destructive process of negotiating intimacy between self and other. Drawn from personal experience, further informed by study in gender and feminism, this body of work examines the division created by assuming a categorical difference between men and women. Sylvia’s works have been described as confronting and graphic, as well as receiving praise for their realism and sensitivity. They offer insight into the interactions and perspective of a millennial woman who battles internalised sexism and a history of unequal relationships. Resoundingly, this exhibition affirms the right to claim and maintain autonomy, highlighting how this may be undermined by attempts to satisfy stereotypical requirements of a relationship. Reverting to ingrained binary stereotypes reduces our potential to understand the myriad spectrums of identity, allowing the decidedly unfair battle of the sexes to continue. Image: Sylvia Hollis, Disconnect, 2017 (detail), mixed media, 31 x 38 x 22cm
Description:
Exhibition at the Post Office Gallery, Federation University Australia, 8th-18th November 2017. The Assumed Divide is an exhibition of small, figurative sculpture works, created in response to an exploration of gender, feminism and relationships. Sylvia Hollis works with the nude human figure for its ability to expose the commonality of physical existence. Wary of the temptation to objectify the body, her representations keenly express a connection to the psychological states of the characters. In this series, depictions of torn, hollowed or disintegrated flesh suggest the sometimes painful or destructive process of negotiating intimacy between self and other. Drawn from personal experience, further informed by study in gender and feminism, this body of work examines the division created by assuming a categorical difference between men and women. Sylvia’s works have been described as confronting and graphic, as well as receiving praise for their realism and sensitivity. They offer insight into the interactions and perspective of a millennial woman who battles internalised sexism and a history of unequal relationships. Resoundingly, this exhibition affirms the right to claim and maintain autonomy, highlighting how this may be undermined by attempts to satisfy stereotypical requirements of a relationship. Reverting to ingrained binary stereotypes reduces our potential to understand the myriad spectrums of identity, allowing the decidedly unfair battle of the sexes to continue. Image: Sylvia Hollis, Disconnect, 2017 (detail), mixed media, 31 x 38 x 22cm
Description:
1st March-1st June 2017 He never owned a car or had a driver's license, preferring to walk or hitch-hike or use public transport so he could study his surroundings. He observed footpaths, power-lines, houses and the parks where he slept with other homeless people, in fine detail, later recalling it at will for a painting. Image: Leon De Montignie Imaginary Street (I never had a car). Acrylic on canvas, Courtesy the artist
Description:
1st March-1st June 2017 He never owned a car or had a driver's license, preferring to walk or hitch-hike or use public transport so he could study his surroundings. He observed footpaths, power-lines, houses and the parks where he slept with other homeless people, in fine detail, later recalling it at will for a painting. Image: Leon De Montignie Imaginary Street (I never had a car). Acrylic on canvas, Courtesy the artist
Description:
27th-28th May 2017; Ballarat Mechanics Institute, Minerva Room Family Theatre Performance Created and performed by: Casey Binks, Oliver Cowen, Eidann Glover, Kayla Hamill and David McNamara A new musical work created by Federation University Arts Academy alumni, The Mystery of Captain Moonlite delves into the life and crimes of charismatic bushranger Captain Moonlite. Imprisoned in Ballarat Gaol for various nefarious deeds including robbery, theft, stealing, obtaining money without consent, and jaywalking, Andrew G. Scott - under the self-styled pseudonym Captain Moonlite - hatched a daring escape plan in the freezing Ballarat winter of 1872. With his motley crew of fellow convicts, Moonlite engineered one of the only successful escapes from the prison. The escapees would go on to politely terrorise regional Victoria (often being mistaken for the rival Kelly Gang), with their bizarre and farcical deeds securing Captain Moonlite’s place in history as the region’s most outlandish outlaw. Using original music created for the piece, five figures emerge from the mists of time to tell the story of their exchanges with the ‘notorious brigand’. Weaving together fact and fiction, verbatim statements from Moonlite’s contemporaries are peppered throughout lively songs and wacky dance numbers for all ages to enjoy. “While researching mysteries in and around Ballarat, we came across the story of Captain Moonlite’s escape and immediately fell in love with this incredible vagabond,” co-creator Eidann Glover said. “It seemed strange to me that I’d never heard of such an interesting historical figure, especially seeing as he was from right here in regional Victoria. He had such a unique personality and seemed like such a powerful character, we were really attracted to the idea of telling his story in a fun and engaging way.” The Mystery of Captain Moonlite is a musical and physical romp for the whole family. Come along for a fun adventure, and learn a little bit about one of Victoria’s hidden nuggets of history.
Description:
27th-28th May 2017, Her Majesty's Theatre Librettist Rufus Norris Composer Richard Chew Performed by Second Year Music Theatre Company of the Arts Academy Director Anthony Crowley Musical Director Richard Chew A free performance, as part of Ballarat Heritage Weekend The Spirit Level or The Strange Case of Agatha Banks is a new music theatre work by Australian composer Richard Chew and English Librettist – Rufus Norris. Originally commissioned by English National Opera, this will be the first production of the work in Australia, and marks the next phase of its development after a first performance in the UK. “This production at Her Majesty’s Theatre, Ballarat as part of Ballarat Heritage Weekend, gives students the unique opportunity to work with the composer to develop their craft on a contemporary opera, relevant to times and to the young people involved,” director Anthony Crowley said. It allows the composer time to develop the work further – and initiates international relationships that enrich the creation of new Australian writing – further developing the arts practice of Australian directors and theatre-makers.” The Spirit Level is an opera in one act and 13 scenes. It tells the story of Agatha Banks, a Victorian woman, a wife and mother, who is committed to a mental asylum by her husband William when he discovers that she has been taking part in covert Spiritualist meetings with her female friends. The piece was commissioned by English National Opera, for their youth company The Knack. It bucks the trend of many 19th century period dramas in that there are 21 women in the cast and only three men. The Spirit Level is by turns surreal, comic and deadly serious. “The great epidemics of middle-class Victorian women were depression, substance abuse (usually alcohol) and boredom, all fuelled by the ludicrous social and educational restrictions of the time,” librettist Rufus Norris said. “Spiritualism, ignored by men as harmless fun, provided a popular and welcome distraction for many women, and the lunatic asylum awaited others who had no such release”. The Spirit Level is based loosely on the case of Louisa Lowe, who appeared before a Parliamentary select committee in 1887, claiming that she had been wrongfully incarcerated in a lunatic asylum by her husband, for being a Spiritualist.
Description:
Exhibition at Post Office Gallery, 30th September-29th October 2017. Key ceramic works by over thirty significant ceramic artists, never seen before in Ballarat, will tour from Federation University Australia's Gippsland Centre for Art and Design (GCAD), selected from the Jan Feder Collection. This important Collection, amassed by funds raised by Jan Feder's student peers at GCAD in the mid 1980s after Jan Feder passed away, includes outstanding work by former teachers and visiting lecturers, now leading ceramic artists around the globe including; Kingsley Marks, Victor Greenaway, Christopher Headley, Peter Pilven, Victoria Howlett, Alan Peascod, Kurt Webb, Reg Preston and Sylvia Richardson to name a few.
Description:
Exhibition at Post Office Gallery, 30th September-29th October 2017. Key ceramic works by over thirty significant ceramic artists, never seen before in Ballarat, will tour from Federation University Australia's Gippsland Centre for Art and Design (GCAD), selected from the Jan Feder Collection. This important Collection, amassed by funds raised by Jan Feder's student peers at GCAD in the mid 1980s after Jan Feder passed away, includes outstanding work by former teachers and visiting lecturers, now leading ceramic artists around the globe including; Kingsley Marks, Victor Greenaway, Christopher Headley, Peter Pilven, Victoria Howlett, Alan Peascod, Kurt Webb, Reg Preston and Sylvia Richardson to name a few.
Description:
15th November 2016-9th January 2017 This year’s exhibition of completing students in the Bachelor of Visual Arts at Federation University features the work of eight students who have witnessed the change from Monash University to Federation University. For the past three years these students have worked assiduously to research and develop a personal visual language which will enable them to make their mark in the visual arts. In spite of trends which have seen much argument about the relevance of the object in art and the purging of traditional mediums, the Gippsland Centre for Art and Design continues to promote the notion of art as ‘making special’ and remains one of the few art schools in Australia with the facilities to cater for every aspect of the visual arts while still enabling students to make work which is relevant in a contemporary context. These past three years have seen considerable change for both the Gippsland Centre for Art and Design and the students themselves. Among those changes there has been a University wide review of staffing which resulted in the retirement of the art school’s longest serving employee, Mr Russell Snelton. Russell served the Gippsland Centre for Art and Design as a studio technician for forty years during which time he won the respect and admiration of hundreds of students. This exhibition acknowledges Russell and the positive impact he has had on the students who have requested that the exhibition be titled “Where’s Russell?” in his honour. Image: Where's Russell?
Description:
15th November 2016-9th January 2017 This year’s exhibition of completing students in the Bachelor of Visual Arts at Federation University features the work of eight students who have witnessed the change from Monash University to Federation University. For the past three years these students have worked assiduously to research and develop a personal visual language which will enable them to make their mark in the visual arts. In spite of trends which have seen much argument about the relevance of the object in art and the purging of traditional mediums, the Gippsland Centre for Art and Design continues to promote the notion of art as ‘making special’ and remains one of the few art schools in Australia with the facilities to cater for every aspect of the visual arts while still enabling students to make work which is relevant in a contemporary context. These past three years have seen considerable change for both the Gippsland Centre for Art and Design and the students themselves. Among those changes there has been a University wide review of staffing which resulted in the retirement of the art school’s longest serving employee, Mr Russell Snelton. Russell served the Gippsland Centre for Art and Design as a studio technician for forty years during which time he won the respect and admiration of hundreds of students. This exhibition acknowledges Russell and the positive impact he has had on the students who have requested that the exhibition be titled “Where’s Russell?” in his honour. Image: Where's Russell?
Description:
Exhibited as part of the Ballarat International Foto Biennale; 19th August-17th September 2017. What motivates young people to do the things they do? What drives a love of sport in teenagers? Why Do You Play? answers these questions through a series of photographs and graphics of aspiring young footballers, both male and female, all the while dissecting the relationship between art and sport. A collaboration with the Federation University Australia Communication Design students and Greater Western Victoria Rebels Football Club, this street poster exhibition is an exploration and celebration of personal identity and ambition among young sportspeople today. These students are in their third year of studying Communication Design at the Arts Academy of Federation University.
Description:
Exhibited as part of the Ballarat International Foto Biennale; 19th August-17th September 2017. What motivates young people to do the things they do? What drives a love of sport in teenagers? Why Do You Play? answers these questions through a series of photographs and graphics of aspiring young footballers, both male and female, all the while dissecting the relationship between art and sport. A collaboration with the Federation University Australia Communication Design students and Greater Western Victoria Rebels Football Club, this street poster exhibition is an exploration and celebration of personal identity and ambition among young sportspeople today. These students are in their third year of studying Communication Design at the Arts Academy of Federation University.
Description:
Lying on the coffee table are picture books that tell us all we need to know about Britain: its history and geography combined. This printed matter supplies the artist David Ferry with both his subject and his raw material. Guides of the nation’s heritage imagine an innocent landscape where the manners and attitudes of the genteel middle classes of England prevail. Into these Ferry has inserted cut out images from neighbouring picture books that demonstrate the practices of the active hobbyist. Woollen garments adorn figures from British history; tropical fish swim through the great halls of stately mansions; rock climbers ascend national monuments; and confectioners bake their own public art works. The consequence of these additions is humorous undermining of an accepted narrative. Providing a survey of David Ferry’s continued visual exploration of guides to British Heritage, this exhibition features work from series that span twenty-five years. The picture books, found in charity shops, are first subjected to simple cut and paste tampering; this is then refined through printmaking processes both traditional and digital. Resultant artist books and prints demonstrate a consistency of address that pokes fun at the polite and confident assertions of the conservative viewpoint. David Ferry RE, is Emeritus Professor of Printmaking at Cardiff Metropolitan University in Wales. He is a Fellow of the Royal Society of Painter-Printmakers, RE, and printmaking consultant for the Sidney Nolan Trust in the UK. He has exhibited extensively in the UK and internationally, with recent solo exhibitions in Berlin, China, London, New York, Poznan and Seoul. His work can be found in public and corporate collections including Museum of Modern Art, New York; Ashmolean, Oxford; Art Institute of Chicago; National Gallery of Australia, Canberra; National Museum of Wales, Cardiff and The Victoria and Albert Museum, London. He is also included in many international university collections, and the libraries of Cambridge, Oxford, Dublin, Edinburgh, and the British Library London. David Ferry is a Pollock/Krasner Grantee from New York. David Ferry is represented by Booklyn, Brooklyn, NY, USA. Booklyn is the premier gallery and protagonists in the USA for the promotion and impact of the genre of the artists Book and very well known on the Australian museum and state library circuit As a gallery and promoters of the genre, Booklyn has been a powerful presence in events such as Photo-Melbourne and Photo-Sydney. A considerable amount of contemporary American/international 'book arts' placed in national institutions in Australia have been sourced originally through Booklyn, and through the presence of one of the senior directors, Marshall Weber, a regular visitor to Australia, particularly Melbourne. Weber was recently artist in residence at the Victorian College of Arts, Melbourne and Creative Consultant for the Australian National Veterans Art Museum. Marshall Weber's works are represented in private and public Australian Collections, including the Australian War Memorial and the State Libraries of Victoria, Queensland and New South Wales. booklyn.org Image: Standing Form No 3, 2015 Public Sculpture in England series 2015/16 digital archive print with stencil & varnish with gold leaf 594 x 841mm Courtesy the artist and Booklyn, Brooklyn, NY. Exhibition held at Post Office Gallery, Ballarat - 26 Oct – Sun 20 Nov 2016
Description:
Lying on the coffee table are picture books that tell us all we need to know about Britain: its history and geography combined. This printed matter supplies the artist David Ferry with both his subject and his raw material. Guides of the nation’s heritage imagine an innocent landscape where the manners and attitudes of the genteel middle classes of England prevail. Into these Ferry has inserted cut out images from neighbouring picture books that demonstrate the practices of the active hobbyist. Woollen garments adorn figures from British history; tropical fish swim through the great halls of stately mansions; rock climbers ascend national monuments; and confectioners bake their own public art works. The consequence of these additions is humorous undermining of an accepted narrative. Providing a survey of David Ferry’s continued visual exploration of guides to British Heritage, this exhibition features work from series that span twenty-five years. The picture books, found in charity shops, are first subjected to simple cut and paste tampering; this is then refined through printmaking processes both traditional and digital. Resultant artist books and prints demonstrate a consistency of address that pokes fun at the polite and confident assertions of the conservative viewpoint. David Ferry RE, is Emeritus Professor of Printmaking at Cardiff Metropolitan University in Wales. He is a Fellow of the Royal Society of Painter-Printmakers, RE, and printmaking consultant for the Sidney Nolan Trust in the UK. He has exhibited extensively in the UK and internationally, with recent solo exhibitions in Berlin, China, London, New York, Poznan and Seoul. His work can be found in public and corporate collections including Museum of Modern Art, New York; Ashmolean, Oxford; Art Institute of Chicago; National Gallery of Australia, Canberra; National Museum of Wales, Cardiff and The Victoria and Albert Museum, London. He is also included in many international university collections, and the libraries of Cambridge, Oxford, Dublin, Edinburgh, and the British Library London. David Ferry is a Pollock/Krasner Grantee from New York. David Ferry is represented by Booklyn, Brooklyn, NY, USA. Booklyn is the premier gallery and protagonists in the USA for the promotion and impact of the genre of the artists Book and very well known on the Australian museum and state library circuit As a gallery and promoters of the genre, Booklyn has been a powerful presence in events such as Photo-Melbourne and Photo-Sydney. A considerable amount of contemporary American/international 'book arts' placed in national institutions in Australia have been sourced originally through Booklyn, and through the presence of one of the senior directors, Marshall Weber, a regular visitor to Australia, particularly Melbourne. Weber was recently artist in residence at the Victorian College of Arts, Melbourne and Creative Consultant for the Australian National Veterans Art Museum. Marshall Weber's works are represented in private and public Australian Collections, including the Australian War Memorial and the State Libraries of Victoria, Queensland and New South Wales. booklyn.org Image: Standing Form No 3, 2015 Public Sculpture in England series 2015/16 digital archive print with stencil & varnish with gold leaf 594 x 841mm Courtesy the artist and Booklyn, Brooklyn, NY.
Description:
Lying on the coffee table are picture books that tell us all we need to know about Britain: its history and geography combined. This printed matter supplies the artist David Ferry with both his subject and his raw material. Guides of the nation’s heritage imagine an innocent landscape where the manners and attitudes of the genteel middle classes of England prevail. Into these Ferry has inserted cut out images from neighbouring picture books that demonstrate the practices of the active hobbyist. Woollen garments adorn figures from British history; tropical fish swim through the great halls of stately mansions; rock climbers ascend national monuments; and confectioners bake their own public art works. The consequence of these additions is humorous undermining of an accepted narrative. Providing a survey of David Ferry’s continued visual exploration of guides to British Heritage, this exhibition features work from series that span twenty-five years. The picture books, found in charity shops, are first subjected to simple cut and paste tampering; this is then refined through printmaking processes both traditional and digital. Resultant artist books and prints demonstrate a consistency of address that pokes fun at the polite and confident assertions of the conservative viewpoint. David Ferry RE, is Emeritus Professor of Printmaking at Cardiff Metropolitan University in Wales. He is a Fellow of the Royal Society of Painter-Printmakers, RE, and printmaking consultant for the Sidney Nolan Trust in the UK. He has exhibited extensively in the UK and internationally, with recent solo exhibitions in Berlin, China, London, New York, Poznan and Seoul. His work can be found in public and corporate collections including Museum of Modern Art, New York; Ashmolean, Oxford; Art Institute of Chicago; National Gallery of Australia, Canberra; National Museum of Wales, Cardiff and The Victoria and Albert Museum, London. He is also included in many international university collections, and the libraries of Cambridge, Oxford, Dublin, Edinburgh, and the British Library London. David Ferry is a Pollock/Krasner Grantee from New York. David Ferry is represented by Booklyn, Brooklyn, NY, USA. Booklyn is the premier gallery and protagonists in the USA for the promotion and impact of the genre of the artists Book and very well known on the Australian museum and state library circuit As a gallery and promoters of the genre, Booklyn has been a powerful presence in events such as Photo-Melbourne and Photo-Sydney. A considerable amount of contemporary American/international 'book arts' placed in national institutions in Australia have been sourced originally through Booklyn, and through the presence of one of the senior directors, Marshall Weber, a regular visitor to Australia, particularly Melbourne. Weber was recently artist in residence at the Victorian College of Arts, Melbourne and Creative Consultant for the Australian National Veterans Art Museum. Marshall Weber's works are represented in private and public Australian Collections, including the Australian War Memorial and the State Libraries of Victoria, Queensland and New South Wales. booklyn.org Image: Standing Form No 3, 2015 Public Sculpture in England series 2015/16 digital archive print with stencil & varnish with gold leaf 594 x 841mm Courtesy the artist and Booklyn, Brooklyn, NY. Exhibition held at Post Office Gallery, Ballarat - 26 Oct – Sun 20 Nov 2016
Description:
Lying on the coffee table are picture books that tell us all we need to know about Britain: its history and geography combined. This printed matter supplies the artist David Ferry with both his subject and his raw material. Guides of the nation’s heritage imagine an innocent landscape where the manners and attitudes of the genteel middle classes of England prevail. Into these Ferry has inserted cut out images from neighbouring picture books that demonstrate the practices of the active hobbyist. Woollen garments adorn figures from British history; tropical fish swim through the great halls of stately mansions; rock climbers ascend national monuments; and confectioners bake their own public art works. The consequence of these additions is humorous undermining of an accepted narrative. Providing a survey of David Ferry’s continued visual exploration of guides to British Heritage, this exhibition features work from series that span twenty-five years. The picture books, found in charity shops, are first subjected to simple cut and paste tampering; this is then refined through printmaking processes both traditional and digital. Resultant artist books and prints demonstrate a consistency of address that pokes fun at the polite and confident assertions of the conservative viewpoint. David Ferry RE, is Emeritus Professor of Printmaking at Cardiff Metropolitan University in Wales. He is a Fellow of the Royal Society of Painter-Printmakers, RE, and printmaking consultant for the Sidney Nolan Trust in the UK. He has exhibited extensively in the UK and internationally, with recent solo exhibitions in Berlin, China, London, New York, Poznan and Seoul. His work can be found in public and corporate collections including Museum of Modern Art, New York; Ashmolean, Oxford; Art Institute of Chicago; National Gallery of Australia, Canberra; National Museum of Wales, Cardiff and The Victoria and Albert Museum, London. He is also included in many international university collections, and the libraries of Cambridge, Oxford, Dublin, Edinburgh, and the British Library London. David Ferry is a Pollock/Krasner Grantee from New York. David Ferry is represented by Booklyn, Brooklyn, NY, USA. Booklyn is the premier gallery and protagonists in the USA for the promotion and impact of the genre of the artists Book and very well known on the Australian museum and state library circuit As a gallery and promoters of the genre, Booklyn has been a powerful presence in events such as Photo-Melbourne and Photo-Sydney. A considerable amount of contemporary American/international 'book arts' placed in national institutions in Australia have been sourced originally through Booklyn, and through the presence of one of the senior directors, Marshall Weber, a regular visitor to Australia, particularly Melbourne. Weber was recently artist in residence at the Victorian College of Arts, Melbourne and Creative Consultant for the Australian National Veterans Art Museum. Marshall Weber's works are represented in private and public Australian Collections, including the Australian War Memorial and the State Libraries of Victoria, Queensland and New South Wales. booklyn.org Image: Standing Form No 3, 2015 Public Sculpture in England series 2015/16 digital archive print with stencil & varnish with gold leaf 594 x 841mm Courtesy the artist and Booklyn, Brooklyn, NY.
Description:
27th July - 28 August 2016 Showcasing new work by our next hot crop of visual artists and designers, this important Arts Academy annual undergraduate exhibition reflects the breadth and diversity of students’ interests, ideas and areas of enquiry, as well as the in-depth levels of their medium and material investigations within a broad range of disciplines, including drawing, painting, printmaking, ceramics and design. Image: Jan Stickland Nest I, 2016 drypoint etching Unique State Print 29 x 26cm Courtesy the artist
Description:
27th July - 28 August 2016 Showcasing new work by our next hot crop of visual artists and designers, this important Arts Academy annual undergraduate exhibition reflects the breadth and diversity of students’ interests, ideas and areas of enquiry, as well as the in-depth levels of their medium and material investigations within a broad range of disciplines, including drawing, painting, printmaking, ceramics and design. Image: Jan Stickland Nest I, 2016 drypoint etching Unique State Print 29 x 26cm Courtesy the artist
Description:
Humanity’s survival depends on seed, the ultimate container of life but as climate and consequently environment is changing, seed has become contested ground. Political, scientific, environmental and ethical debate surround both genetically modified seed and its reliance on the global monopoly of a few mega agri-businesses. This is starkly contrasted by localised heritage seed closely guarded for its untampered quality. Both forms of seed production are charged with the task of feeding populations as they grow exponentially into the future. Here lies part of our challenge. Antipodean Epic is a poetic journey that incorporates seed both in abundance and scarcity. The work utilises costume to create three characters, or creatures, as a means to ask: Are the creatures the end of their species, or the beginning of another? Are they displaced or transported viral creations? Are they unwanted interlopers within the seed stock? Are they the carriers of a potential future or remnants of a distant past, or both?
Description:
25th May - 25th June 2016, Curated by Shelley Hinton. DELVE16 showcases recent work by Masters and PhD research candidates in the Faculty of Education and Arts, Federation University Australia. With candidates at varying stages of their research, this exhibition reflects diverse ideas and bold approaches to the students' individual field of enquiry. This exhibition is also an indicator of the continuing long and proud history of Federation Univeristy and predecessor institutions' Creative Arts programs dating back to the mid 1990s. Image: Tony Griffin Study for Boxing Day, 2016 acrylic on wood panel 20 x 20cm Courtesy of the artist.
Description:
25th May - 25th June 2016, Curated by Shelley Hinton. DELVE16 showcases recent work by Masters and PhD research candidates in the Faculty of Education and Arts, Federation University Australia. With candidates at varying stages of their research, this exhibition reflects diverse ideas and bold approaches to the students' individual field of enquiry. This exhibition is also an indicator of the continuing long and proud history of Federation Univeristy and predecessor institutions' Creative Arts programs dating back to the mid 1990s. Image: Tony Griffin Study for Boxing Day, 2016 acrylic on wood panel 20 x 20cm Courtesy of the artist.