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2021 KAAF Art Prize - Finalists

28 June 2021 In NEWS

 

 

Artworks by 2021 KAAF Art Prize Finalists 

In Alphabetical Order

 

 

 

 

EUNHEE AHN

 

 

Banksia and Sunshine 2

 

Oil on Canvas            50 x 40            $1000 

 

I wanted to express the space differently- as an abstract plane rather than something concrete.
Colours in this piece are not bound by what is normalised in their original objects and is used to portray space and express what was felt inside.
For this purpose, the table and the background space were expressed with simple, solid colours rather than lines.

 

 

 

 

 

 

TIM ALLEN

(represented by Defiance Gallery) 

 

Substance and Loss

 

Acrylic, Watercolour, Ink, Pastel and Charcoal on Paper

80 x 109                $3900

 

A brook (a tributary), sandstone boulders, reflections - a picturesque location with a soothing soundtrack. But also, something elemental in its simplicity; surface tension, solid and liquid, empty and full. A site for a conversation on mark making, being and becoming, where a stray mark can either make the case for an illusion of permanence or emphasise the inevitability of entropy.

 

 

 

 

 

 

ANDREW ANTONIOU

(represented by Australian Galleries, Sydney/Melbourne)

 

Dress Rehearsal

 

Charcoal               146 x 115              $8000

 

In my images my cast of characters are seen at different stages of the production engaged in the telling of their individual stories. Here they are together for the first time with production completed ready for the curtain to be raised.

 

 

 

 

 

 

ROBIN ASTLEY

 

 

Virgil's Dream

 

Acrylic Polymer on Linen            25 x 25            $1550

 

This year I have developed a new series of paintings that reflect on the eclogues of Roman poet Virgil. I titled this painting 'Virgil's Dream' in an attempt to imagine Virgil analysing his own writings in Eclogue 4 where Virgil anticipates the birth of a charismatic child who will symbolise the beginning of a new utopian era or golden age. My work contemplates and reimagines this and within the spotlight of critical propositions of Virgil as a prophet. 

 

 

 

 

 

 

YVONNE BOAG

(represented by Stella Downer Fine Art) 

 

Autumn Landscape

 

Acrylic on Canvas            146 x 91            $4400

 

 

 

 

 

 

KATE BRISCOE

 

 

Hot Rockface-Kimberley #2

 

Paper Mache and Acrylics on Board

61 x 61               $3000

 

Hot Rockface-Kimberley is a work that explores the closely observed geology of The Mitchell Plateau in The Kimberley. It references intensely coloured and eroded
surface of a rock formation. I have used paper mache to build up a textured surface giving the work a sculptural form.

 

 

 

 

 

 

JULIE BRUNTON

 

 

The Goodbye Forest

 

Oil Paint, Wax Medium and Engraver on Canvas

66 x 112                 $2200

 

When working upon any surface I do like to test its boundaries. In this case the canvas supports layers of oil paint and wax medium which are then engraved into carefully avoiding not to cut into the canvas. I use this as a metaphor within the work. The fine balance of the occurring situation.
My interest has always been the exceedingly small creatures and plant forms that make up our world and how the effects of climate change have upon them. As bushfires, tree culling, floods, droughts and sea levels rise the natural world presents an overwhelming portfolio for the creative mind to reveal the stories that lie within.

 

 

 

 

 

 

TRISTAN CHANT

 

 

Lobster with Fruit Bowl

 

Pigment on Paper            66 x 150            $5000

 

In nature, a decomposer is an organism that decomposes, or breaks down organic matter to recycle back into the ecosystem, providing nutrients for regrowth and regeneration. 

Lobster with Fruit Bowl (part of the Decomposer series), explores ways of replicating the decomposition process in the art ecosystem. Digital images of still life paintings which have representations of organic matter are passed through algorithms in music and photo editing software. In this way, the reproductions of the paintings represent the organic matter while the algorithms act as the decomposer. The resulting works are randomly stretched and decayed across the picture plane.

 

 

 

 

 

 

WEI BIN (JEFFREY) CHEN

 

 

Carina

 

Oil on Canvas            51 x 41            $4400

 

Portrait of my student Carina deep in thought.

 

 

 

 

 

 

KEESIK CHUNG

 

 

My Mom Kim Guja 1

 

Oil on Canvas            61 x 101            $4500  (Diptych)

  

There are moments when overwhelming happiness brings us to tears of joy instead of laughter. Due to Covid 19, I wasn't able to visit my mother on her birthday last year and instead congratulated her with the flowers she likes and a cake. She was brought to tears over these small gifts. She repeated multiple times that it was tears of joy but it broke my heart as I was able to feel how much she missed me.

"I really really miss you... please come see me soon!"

These are the words she says to me everyday. This painting contains my heartfelt wish that the day she recovers from her illness and puts her bright smile back on would come very soon.

 

  

 

 

 

 

GEOFF COLEMAN

(represented by Jackman Gallery, St Kilda VIC) 

 

Architect's Pool

 

Acrylic on Linen            81 x 81            $2800

 

In Architect’s Pool dreamlike aesthetics wrestle with the obscure and surreal to conjure imagined narratives about place and identity in a psychologically charged space. Slabs of colour bathed in soft shades of light and natural phenomena of colour and reflection mingle with the industrial tropes of sharp angles, opposing textures and spatial, geometric design. In a subliminal way the body of water corresponds with an obstacle to negotiate, rather than pass through, echoing contemporary moral and environmental anxieties.

 

 

 

 

 

 

 

CHARLES COOPER

 

 

A Minute to Midnight

 

Ink on Mulberry Paper            190 x 108            $7500

 

Fading paint on roadways and giant galaxies share at least one quality: assured mutability. 

 

 

 

 

 

 

DAGMAR CYRULLA

 

 

Our Universal Right

 

Oil on Linen            61 x 76            $9900

 

I was inspired to make this painting after listening to a TED talk by the women's rights activist Khadija Gbla. Khadija spoke about how, in many countries throughout the world, forces acted to limit women's rights to sexual pleasure, mostly to protect male honour. I strongly feel that women should have the choice to enjoy sex, it’s their right and it’s not OK for a patriarchy, or a matriarchy, to take that choice from them – no matter how well intentioned. I wanted to support the great work that Khadija and other women’s rights activists are doing.

 

 

 

 

 

 

CHRISTINE DRUITT-PRESTON

(represented by Artsite Galleries / photograph by Document Photography) 

 

The Chinese Screen

 

Lino Block Print on Wenzhou Paper

103 x 78                  $1900

 

Informed by a drawing of the Tweed Regional Gallery Margaret Olley home studio re-creation, ‘The Chinese screen’ 2021 is a two-block lino print that reinterprets a motif used by Olley in many of her paintings. Here the screen, placed in the small yellow room that was her original studio in her Duxford Street, Paddington home, is underpinned by the ghosts of patterns borrowed from my living room studio, as though floating on a lace curtain.
This work acknowledges the lineage of women artists whose artworks respond to the domestic interiors that also served as their studios.

 

 

 

 

 

 

JACKI FEWTRELL GOBERT

 

 

Chiffonier at Night

 

Acrylic on Board            100 x 72            $1500

 

I have always had a fascination for the marks left behind by the older generation. My Grandmother's Chiffonier was that iconic centrepiece - up there with the Good Room, no one could enter! 

 

 

 

 

 

 

GARRY FOYE

 

 

Capertee Construction

 

Gouache            76 x 106            $3000

 

My work relates to landscape, not in the usual sense of copying nature, but the landscape our society creates. Compositions are derived from structures, surfaces and textures left in the ever-changing wake of continuous progression and replacement. Memories too play a large part, as I attempt to evoke a sense of place in almost all my imagery.

 

 

 

 

 

 

MANDY FU

 

 

Mother

 

Oil            30 x 30            $500

 

 

 

 

 

 

KEITH FYFE

(represented by Art Atrium) 

 

Out of the House No.2 (Pink Moon)

 

Mixed Media on Colour Chart Paint Samples

84 x 84                 $1200

 

The space between observing the natural world and the experience of choosing colours for your bedroom or kitchen.

The relationship between individuality and uniformity.

Between curiosity and certainty.

It’s always a choice if you're aware there is one.

 

 

 

 

 

 

JAE GEORGE

 

 

Surveillance Potato

 

Oil on Board            24 x 30            $750

 

 

 

 

 

 

KEROSHIN GOVENDER

 

 

Andy

 

Oil on Linen            91 x 76            NFS

 

Keroshin Govender is a Sydney based visual artist who specialises in portrait oil paintings. More recently, he has expanded his practice to include drawing and sculpture. He endeavours to capture the feelings and emotion associated with a person or place with an appreciation for the things which lead to that moment in time. Having grown up in South Africa, with Indian heritage and having spent most of his adult life in Australia he is intrigued by the way in which cultures mix and influence each other.

Andy
This portrait is of my close friend Andy and I hope to capture his contemplative and stoic nature.

 

 

 

 

 

 

KAI HAGBERG

 

 

Turquoise Earrings

 

Acrylic on Canvas on Board

70 x 40              $850

 

A study of a woman.

 

 

 

 

 

 

ALEXANDER HAMILTON

(represented by Patrick Heide Contemporary Art London/Jacob Hoerner Galleries Melbourne)

 

Carbon Monoxide Scape Apple HQ Federation Square Melbourne 6

 

Inks Pastel Collage Photocopy on Watercolour Paper

99 x 133                   $7500

 

CAMERA WITHOUT FILM
When there’s nothing more to see and make, I can see my work from the audience’s perspective. Be it drawn water surfaces, sections of sky or shadows, viewing and making work usually starts with various blank areas, adjacent to their surroundings, similar to blank sea areas defined by surrounding land designations in maps.
The object of my work bears some relation to its subject, which include global flooding, depopulation and disintegrating infrastructure. Imagining real places in the world, I redesignate/replan spaces by erasing and drawing over copies of photos I’ve taken of significant urban, rural, or metropolitan sites or by working over surfaces I imagine as blank.
Erasure (and drawing) implies ways of forgetting, remembering forgetting, and remembering, content - which doesn't necessarily need cameras, memory or direct observation. Memory and sensation are uncertain, instead we rely on and maintain certain alternate realities verifying an event’s reality.

 

 

 

 

 

 

CRAIG HANDLEY

 

 

Make Believe 00 2020

 

Oil on Linen            138 x 150            $14000

 

This is a painting around the idea of memory and loss and watching someone disappear into the fog of Dementia.

 

 

 

 

 

 

LIZ HARRIOTT

 

 

Janus Contemplating Global Warming in Poseidon's Garden

 

Oil on Canvas            102 x 122            $7000

 

I made this work after snorkeling around the boulders at South West Rocks just 10m’s offshore and in 2m’s of water. It amazes me that there is so much animal and plant life in such a small area. Until I went snorkeling and taking photos I didn’t know that sea squirts were red inside or that many plants and animals are bioluminescent.

I hope that the viewer will be amazed by the variety of life in the sea so close to shore.
In this work I have placed Janus the God of transitions with his two faces (so that he can look back in time and into the future) sitting in Poseidon’s Garden. He is contemplating what was in this water in the past and what is here in the present and what the future may look like if global warming continues. Will there be any plants and animals left?

 

 

 

 

 

 

JULIE HARRIS

(represented by Art Atrium and Mr. Simon Chan) 

 

Juju

 

Acrylic, Marble Dust, Ink on Canvas

150 x 80              $10000

 

Juju is a pivotal work for me. Executed in the lockdown in 2020 it has a fragility and frailty I had not expected. The title is inspired by a piece of music by Nils Frahm and I have chosen to call it  “Juju” which alludes to the position this work holds for me. The painting exposes the viewer to the history of the process. I am interested in the connectivity of the marks and the meditative, repetitive action of the gestures. The problem is one of resolving the seemingly frenzied activity of accretion and abrasion into the space of quiet reflection. I am fascinated by the inventive possibilities of paint, the risk of failure and the surprise when the painting takes on a life of its own.

 

 

 

 

 

 

KYRA HENLEY

(Double Finalist) 

 

Nosing

 

Oil on Linen            56 x 46            $1200

 

 

 

 

 

 

 

Picnic at Westmoreland Lagoon

 

Oil on Linen            122 x 122            $4500

 

 

 

 

 

 

PETA HINTON

 

 

Signs of Life 2

 

Acrylic on Paper, Mounted on Scroll: Calico, Paper, Wood

133 x 95                $2800

 

“Signs of Life 2” was created in response to the summer of 2019-2020 when prolonged extreme heat and drought transformed the tree fern filled gully of my Blue Mountains home from green to brown.  The sight of masses of tree ferns with collapsed and shrivelled fronds was horrific. Finally, it rained and many of them began to send out new spiralling fronds. The painting explores processes of destruction and recovery, reflecting on the precarious nature of survival. 

 

 

 

 

 

 

JESSE HOGAN

 

 

Unpacking My Library

 

Oil on Canvas            65 x 92            $2200

 

'Unpacking my Library' features a meticulous rendition of an image of the storeroom of an art gallery. This often 'Unseen Space' gives an alternative perspective to the life of an artwork and the materials used for exhibitions. By recycling elements from disparate exhibitions, scattered in time and place, to make something new, the oil painting of the storeroom both opens the possibilities of what can be art and at the same time constructs a new unique work in itself. I wanted to express this space as something important and often overlooked as a liminal zone of creative potential. A kind of insider’s view into the art gallery often reserved only for the artists and gallery employees. In this painting, the viewer can place themselves in view of the other life of art objects that have already performed their role or are waiting for the next chance to be seen. 

 

 

 

 

 

 

TIM JOHNSON

(represented by Dominik Mersch Gallery)

 

Thredbo Valley

 

Acrylic on Linen            100 x 140            $10000

 

A painting of my brother trout fishing in the Thredbo River with an overlay of Buddhist, western and abstract imagery. The use of dots (with permission) comes from my time working at Papunya and Thredbo is a place we used to go to for holidays every summer. 

 

 

 

 

 

 

JAMES JONES

(represented by King Street Gallery, Sydney)

 

Bee Magic

 

Oil on Canvas            125 x 145            $11000

 

The plight of the bee is a symbol of the environmental issues facing all of us inhabiting our planet.
Challenges such as habitat loss, degradation, diseases, pollution including pesticides and climate change impact us all.
One out of every three bites of food you put in your mouth was pollinated by honeybees!

 

 

 

 

 

 

LINDA JOYCE

 

 

An Aussie Dream 1954 - A Holden and a Harry Seidler

 

Acrylic on Canvas            55 x 113            $4500

 

Remembering a time when we were embracing change and building for the future with radical and innovative new designs.

 

 

 

 

 

 

HEJA JUNG (CHONG)

 

 

Towards Frozen Lake 1

 

Oil on Canvas            56 x 71            $2950

 

This project began with the months spent in and around the silent, winter forests of Finland. It continues now with these paintings of the mysterious, hidden life, inside these trees, with their own gestures of suffering and hope, patiently awaiting perhaps, the next cycle of springtime renewal, inevitable even here, at the frozen edge of the world.

 

 

 

 

 

 

MINAL KARIM

 

 

Devastation and Regeneration

 

Oil over Acrylic on Canvas            102 x 76           $500

 

The ancient cycle of Australia is to regenerate through fire not to destroy everything in its wake. The bushfires were devastating but through the hardships communities came together and the healing began.

 

 

 

 

 

 

YOONJUNG KIM

 

 

Under the Banyan Tree

 

Ink on Paper            126 x 149            $5500           (Polyptych)

 

This work symbolises the anxiety, fantasy, fear, and dreams invoked by a new environment after moving to Australia. The vast banyan tree and the surrounding air carried an uneasiness that is portrayed as traces of black lines. Abstracted images of animals between the roots of the tree convey the dark, unseen elements of the artist's psyche, glimpsed only in dreams.

 

 

 

 

 

 

BYOUNG JAE (JEREMY) KOH

 

 

I Missed Your Soybean Paste Stew S2

 

Oil on Canvas            60 x 50            $1000

 

My art practice explores what I yearn for the most in old times and regret about being separated. Onggi pot is Korean-traditional pottery that can preserve the food as storage and making soybean paste stew taste better. It is an essential food recipe that I missed that flavour appreciably, where I used to have it at my grandparents’ house. This former house backyard is the only place, can make this special soybean paste. I never forgot how it was a delicious stew in my lifetime.

 

 

 

 

 

 

GIHEE HELEN LEE

 

 

In Transit

 

Oil on Canvas            96 x 88            $2000

 

Displaced from my original place of birth, I negotiate between two distinct cultures. This leads to momentary experiences of a marginal, transitional zone, an overlap of the familiar and the unfamiliar. I've come to identify these experiences to the banal moments of the everyday, a boundary between a beginning and an end. It is a non-place, a common ground of experience that connects individuals, events and histories.

 

 

 

 

 

 

ANNE LEISNER

 

 

Cascade Grocer

 

Oil on Canvas            97 x 71            $950

 

 

 

 

 

 

LYRA LI

 

 

Dreamy Island

 

Oil on Canvas with Oak Frame

29 x 24                 $360

 

This painting was inspired by my trip to France in December 2019.  It captures a view of Mont-Saint-Michel, a tidal island in Normandy.

 

 

 

 

 

 

GLENN LOCKLEE

 

 

Industrial Striation

 

Oil on Aluminium            91 x 81            $4000

 

I am 3rd generation Australian Chinese. My father and his father were furniture manufacturers establishing a factory in pre-depression Sydney. This was apparently a common occupation adopted by Chinese immigrants. My visual language stems from the industrial environment I spent so many formative years playing in. This is evident not just in the subject of my painting but also the poetic architecture of the work. The spare geometric construction and tertiary colours play off against the expressionist rendering of surface and portrayal of light.

 

 

 

 

 

 

SONIA MARTIGNON

 

 

We Need the Tonic of Wildness

 

Acrylic and Pyrography on Hand-cut Plywood

81 x 121                  $2700          (3D Wall Art)

 

Standing at the point where human development has halted and the wilderness stretches ahead untamed allows a glimpse into the past, to a time when nature flourished. Living in the verdant Top End and armed with the belief that all living things are connected by the habitats we share, my work aims to capture this precious wildness, documenting its wealth of colour, shape, spirit, and mood. It pays homage to the fertile environments that are under constant threat. Climate drawdown is the most comprehensive scientific plan we have developed to reverse the destruction of our natural world.  Sequestering carbon in the soil, drawing it down through our precious plants, will mean we can reverse centuries of human folly. Protecting and regenerating our disappearing forests and bushland is key.   

 

 

 

 

 

 

RICHARD MAUDE

 

 

Belonging to Stars

 

Acrylic, Ink & Spirit (wood) Stain on Synthetic Felt on Marineply Panel

169 x 65              $6000

 

 

 

 

 

 

NEIL McCLURE

 

 

Desert BBQ

 

Acrylic on Plywood            42 x 41            $600

 

The passenger airplane is a recurring motif in my work. In this painting, the jumbo jet is not the focus of the composition but takes a background seat. The planes are a symbol of capitalism and consumerism, both a target and a weapon, inspiring emotions ranging from dread to joyous aspiration. My paintings are an examination and a critique of our bourgeois Australian existance in the twenty first century.
I build all my canvasses by hand using plywood, masonite or MDF board, second hand when I can find it. The paints I use are all old, disgarded house paints, mostly semi gloss water based acrylic.

 

 

 

 

 

 

JAMES McGRATH

(represented by Olsen Gallery, Sydney)

 

Natura Venor II

 

Oil on Canvas            100 x 130            $13000

 

Trained in classic Renaissance painting technique, McGrath showcases a collision of beauty and violence. His ‘Hunting Still Life’ paintings manipulate the narrative of the traditional hunting scene. The hunting dogs dismantle the beauty of the natural environment, as opposed to a stag or boar. The imperturbable Dutch still life under attack is an homage to our own Natural world and its current demise.  Additionally, the conventional framework of these ‘Hunting Still Life’ paintings juxtaposed by the incongruous floral portrait, portrays the complex relationship between man and Nature. The outstanding beauty of the painting indicates a trivialized and callous societal approach to Climate Change. The viewer is happy to be a bystander to the torrent of Natural disasters around the world.

 

 

 

 

 

 

KEVIN McKAY

(exhibited through May Space Online)

 

St Peters - Watsons Bay

 

Oil on Canvas            48 x 63            $2000

 

This modest church was built in 1865 on a rock above a fishing village and is named after the patron saint of shipbuilders and fishermen. It stands as a landmark in space and time with a commanding view of Sydney Harbour. I enjoyed sitting where Roland Wakelin painted it almost 70 years ago, watching the fleeting changes in light and the repeating passage of the Mosman ferry that mark the passing of the day. There was a contemplative aspect in experiencing the flux of its constancy and in seeing my act of painting it as part of that history. 

 

 

 

 

 

 

PAUL MILLER

 

 

Morning Hotel Room - Bowral

 

Acrylic on Panel            120 x 120            $8750

 

This work is about staying at a hotel in Bowral that has a lovely atmosphere. Its small room has a balcony that overlooks a golf course. In the morning there is always a beautiful light and rich fresh air. Every time this experience makes us see the world in a different way.

 

 

 

 

 

 

CATHERINE O'DONNELL

(represented by Dominik Mersch Gallery) 

 

Still Lives

 

Charcoal on Paper            47 x 110            $8500

 

My art practice is anchored in the suburbs, depicting the urban aesthetic which shapes and informs our everyday lives; it searches for the humanity, history, and politics of a place by reframing the familiar. Presenting untethered architectural details, my drawings strip back the supposed uniformity of suburbia, unveiling the individuality within its often dismissed or overlooked dwellings.
Using minimalism, I isolate these modest buildings from their contexts and represent only their structure to explore their compositional potential and underlying symmetry, striving to offer a renewed vision of these landscapes, often seen as bleak. I aim to inscribe the lives lived within these dwellings, to insinuate the qualities of home, to reassert value.

 

 

 

 

 

 

JENNIFER O'YOUNG

 

 

Ode to Dulac

 

Original Hand-pulled Etching with Watercolour

45 x 34                      $750

 

I have long had a great love for illustrators such as Edmund Dulac. I felt compelled to try etching lines rather than draw with ink, and add watercolour. I tried to capture the moodiness of his illustrations using sepia and his colour palette. The figure is deep in thought and I hope leads the viewer to wonder about their world.

 

 

 

 

 

 

FIONA OMEENYO

(represented by Kate Owen Gallery)

 

Break Through

 

Acrylic on Canvas            117 x 86            $3995

 

 

 

 

 

 

BEATRICE PROST

 

 

Smothered by Love

 

Hand-carved Aluminium            80 x 83            $2300     (Diptych)

 

Smothered by Love is an ode to reaching for the light. A metaphor for using force and power to obtain one’s aim yet remaining gentle in the process. By growing a delicate mesh the Stranger Fig tree slowly and irreversibly extends and wraps around its host to ultimately connect earth and sky.
Prost aluminium art explores her surreal monochromatic worlds. Bridging the gap between the digital and material world, she uses her own original photographic material to design new images that sublimate reality. Her hand carving process takes several weeks to etch those expressing irreversible marks.

 

 

 

 

 

 

NANI PUSPASARI

 

 

What I Dreamt Last Night

 

Ink on Paper            50 x 40            $999

 

I grew up in Indonesia, the largest Muslim-majority country and raised in a Chinese and Javanese multicultural household and immigrated to Australia in 2008. Through my experiences as a struggling artist living alone in Australia for years, my work inspired by personal childhood memories, nature, popular culture, identity and notions of the feminine to communicate innocence, naivety, loss and sorrow. This drawing from dealing with my current insomnia, the struggle of sleeplessness and the creative inspiration provide for the imagination. The work expresses the unusual imagery taken from the unconscious mind, anxious and abstract, drowning in an unfamiliar dark space. The endless permutations of form possible with a vibrant imagination keep the artist's brain awake as it dissolves into the creative disorientation of nighttime. 

 

 

 

 

 

 

DAVID REID

 

 

Squid

 

Ink on Xuan Paper (Chinese Rice Paper), Collage

45 x 99                   $2500

 

 

 

 

 

 

CANDICE REID-LATIMER

 

 

Dance of Death

 

Graphite/Charcoal on Face Masks Mounted on Wood with Acrylic, Watercolour Pencils

91 x 91                    $3650            (3D Wall Art)

 

Face masks, the basis of this work; are an immediate visual reference to the current widespread use to stop infection by breathing in the COVID-19 virus.

Inspired by the Black Death, The Dance of Death or Danse Macabre, an allegory on the universality of death; is a common painting motif in the late medieval period.
As people began to self-quarantine, stopped traveling as freely and started to hold fragrant handkerchiefs against their mouths when in public, this might have reduced the risk of infection and transmission. The pandemic eventually decreased.
Now we have also learned that physical distancing and quarantine measures work.
We are not the only humans to have experienced such trials and tribulations — and we will not be the last.

 

 

 

 

 

 

COLIN RHODES

 

 

In The Old Town

 

Ink, Watercolour and Gouache

59 x 42                  $500 (SOLD)

 

 

 

 

 

 

JULIANNE ROSS ALLCORN

 

 

Moments on a Bush Walk

 

Pencil/Watercolour on 4 Boards

125 x 94                      $7700

 

The sounds, scents and colours of the Australian bush are forever changing, calling me to try and capture the unique energy that she shares with us.
Working on wood panels allows me to play with the soft hues and rough textures of nature bringing them to life and play in my artwork.
I work either on the large wrap around verandah in the Burralong valley or in one of my studios in the garden and courtyard of our home.
Each place I work in is surrounded by nature so I am not far from the inspiration I need.

 

 

 

 

 

 

PETER RUSH

(Double Finalist)

 

Blacktown

 

Pen and Pencil on Recycled Card (Cereal Box)

71 x 50                $900

 

A place in flux.

 

 

 

 

 

 

 

Central Station

 

Pen, Pencil on Damaged Paper

79 x 101                $1200

 

Drug Detection Dog operation at Central Station. 

 

 

 

 

 

 

CHIHARU LISA SARGEANT

 

 

Portrait of Nigella

 

Watercolour on Canvas            50 x 40            $1000

 

Capturing the beauty of the things I love. Beautiful pug puppy Nigella and a beautiful Chinese peacock butterfly that can be seen in forests in my home country Japan.

 

 

 

 

 

 

JAEDON SHIN

 

 

At The Temple

 

Acrylic            146 x 146            $8000

 

My painting, ‘At The Temple’ is a sort of pandemic fable. This image might have come to my mind in a supernatural situation of Covid19 that has never been experienced before. It is ironic to recall such a collective society after a long time of isolation caused by a harsh lockdown.

The society that divides the world into dichotomies of good and evil is religious. People gather and pray at temples in deep mountains. Their numbers are so high that the temple is cramped. For them, those outside the temple are evil and they are the only good. The night is already getting deeper. There are two moons floating like ghosts above the mountain, shining faintly. Enemies are all gone and only they exist in the world. Now they are fighting each other. But there's no distance between them, so everyone looks like a lump.

 

 

 

 

 

 

PATRICK SHIRVINGTON

(represented by Art Atrium) 

 

Moonlit Gundabooka

 

Watercolour/Oxides            70 x 84            $3000

 

 

 

 

 

 

JAN SPENCER

 

 

Bundoo Stills, Aniwan Country, Yarrowyck NSW

 

Oil Crayon on Coloured Paper, torn, collaged, pasted onto 4 Art Panels, sealed with Varnish

25 x 83                   $1400     (Polyptych)

 

The Bundoo Stills are details of heritage vehicles and equipment. The impressions include a 1950 Thames Trader Truck, Earmuffs, a Portable Welder 32v Generator and a 1903 Buffalo Pitts Portable Steam Engine. The property, on Aniwan country, nestles below The Saddleback at Yarrowyck, Northern Tablelands, New South Wales.

 

 

 

 

 

 

SALLY STOKES

 

 

The Still Unhurried Wind

 

Oil on Linen            80 x 96            $3300

 

A canoe trip to the mangroves —only accessible in high tide — a quietness that reminds me of stained glass windows fractured by movement and silence — and a single heron. Each journey a trip of wonder — with the changing relationships, the different emphasis of colour — always exploring the strange dimensions of a life…and then there are the reflections…

 

 

 

 

 

 

JANE SUH

 

 

Good Morning Vera

 

Oil on Canvas            76 x 61            $1800

 

Good Morning, Vera.

Vera says hello to you too. She sits and waves from her couch after going about her daily routine of picking up her morning paper from her front yard.
When asked if we could take her picture she shyly invited us to take a seat whilst she went to brush her hair for the photo.

 

 

 

 

 

 

 

 NAT WARD

(represented by Rochfort Gallery Sydney/Manyung Gallery Melbourne)

 

Wild Flowers on Nail Can #1

 

Oil on Canvas            115 x 95            NFS

 

This is a painting of the wild flowers on Nail Can hill.

 

 

 

 

 

 

STEPHEN WILLIAMS

 

 

The Capricious Sky

 

Oil on Linen            102 x 102            $7000

 

Field Notes: Sydney CBD. Early morning on Castlereagh. A storm descends. The east wind swells and cloud drifts fall. Buildings become grotesque like Piranesi ruins. Ethereal light shrouds the city, though it’s only fleeting.

 

 

 

 

 

 

ALICE XU

 

 

Suspense

 

Oil on Canvas            90 x 120            $2950

 

The last KAAF prize I went to, the grey background contrasted with all the colourful attendants made such an exciting atmosphere as we all waited in suspense for the judging outcomes.

 

 

 

 

 

 

 

 

 

For any sales related enquiries, contact Cathie,

This email address is being protected from spambots. You need JavaScript enabled to view it.       0411206580

KAAF is entitled to 30% commission from any sales. KAAF has sole agency during the exhibition AND 90 days after and commission cannot be shared with any other representing galleries.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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