Places of Eight – SALA 2022
Janelle Amos (Barossa), Jenny Bourne (Port Augusta), Emma Fuss (Port Lincoln), April Hague (Mount Gambier), Julie Lloyd (Burra), Ruth Maggie Morris (Nairne), Sally O’Connor (Mount Gambier), Alice Tilley (Kapunda).
‘Places of Eight’ brings together artists from the Country Arts SA 2021 Nebula program to present new work that reflects the essence and atmosphere of ‘place’. Solidifying creative connection between this regional network of women artists.
Inspired by their individual regional locations, the exhibition is the result of twelve months creative development. Utilising a lens of transdisciplinary study and guided by Dr Sue Michael, the artists consider how homes, towns, environments and the ‘clearly invisible’ meaningfully intersect and connect to create a feeling of place.
‘Places of Eight’ is curated by Kerry Youde and supported by the Burra Regional Art Gallery and The Regional Council of Goyder, Mid North of South Australia.
See ‘Eight’ at Claymore Wines, Leasingham for the companion exhibition.
Janelle Amos (Barossa)
Inspired by nature’s intrinsic imperfection and the unapologetic expression of everyday life, Janelle’s multi-disciplined art practice seeks to honour the integrity of common lived moments.
This body of work explores themes of surrender, alignment and belonging through relationship with place, informed by the land that holds me and my family in the western Barossa. Observation including vineyards, gum trees and clay underfoot unveil a sense of reverence and interconnectedness, a reciprocal witnessing between people and place.
Experimental carved vineyard strainers seek to capture a sense of presence and aliveness, a suggestion of the eluding unseen fields and forces that are beyond our normal superficial lens. Simplified colour blocks evolve into 2 dimensional wall works, preserving the unifying connections between the physical and atmosphere.
What we hold unconditionally, also holds us unconditionally. What we witness also witnesses us.
Janelle Amos
Witness 1
Acrylic on Sculptured PermaPine Vineyard Post
$1500
Janelle Amos
Witness 2
Acrylic on Sculptured PermaPine Vineyard Post
$1600
Janelle Amos
Witness 3
Acrylic on Sculptured PermaPine Vineyard Post
$1700
Janelle Amos
Witness 4
Acrylic on Sculptured PermaPine Vineyard Post
$1800
Janelle Amos
Witness 5
Acrylic on Sculptured PermaPine Vineyard Post
$1800
Janelle Amos
Held to Reverence
Acrylic and pastel on masonite
$1800 SOLD
Janelle Amos
To Have
Acrylic and pastel on masonite
$750
Janelle Amos
To Hold
Acrylic and pastel on masonite
$750
Jenny Bourne (Port Augusta)
Artist printmaker, commercial textiles screen printer, arts and community development worker.
Art & Printmaking practice – designing and screen-printing fabric yardage, relief (linocut, Mokuhanga), collagraphy, photopolymer, waterless lithography, drawing and watercolour.
She is inspired by the beauty, value of, and human impacts on our natural environment. Her focus includes figurative landscapes and botanicals, with conceptual interpretations of human-environmental tensions.
The face of my home city is dramatically changing, while some aspects remain unchanged and awe inspiring.
My triptych is about Port Augusta, it’s beautiful and inspiring location; the felt loss and dismay as our Port history and infrastructure is fenced off to be demolished; and about the resilience of the community with the demolition of the coal fired power stations, loss of many jobs, and the city’s future as a significant supplier of renewable energy from large fields of solar PV and towering wind turbines that are our new skyline.
Jenny Bourne
Awe Inspiring
Reduction Linocut
on 100% cotton paper, oil based ink
$750
Jenny Bourne
Demolition Dismay
Reduction Linocut
on 100% cotton paper, oil based ink
$750
Jenny Bourne
Powering-on
Reduction Linocut
on 100% cotton paper, oil based ink
$750
Jenny Bourne
Awe Inspiring (unframed)
Reduction Linocut
on 100% cotton paper, oil based ink
$550
Jenny Bourne
Demolition Dismay (unframed)
Reduction Linocut
on 100% cotton paper, oil based ink
$550 SOLD
Jenny Bourne
Powering-on (unframed)
Reduction Linocut
on 100% cotton paper, oil based ink
$550
Jenny Bourne
Some People Make it Happen
Cyanotype, pressed plant contact prints and digital film negatives.
*Eremophila plant prints only for sale
$45 each
There is a gem in Port Augusta, developed as a result of ongoing drive and commitment of some determined and inspirational people. This work honours the Friends of The Australian Arid Lands Botanic Garden founded in 1984 through the efforts of John Zwar OAM.
His concept for a Botanic Garden at Port Augusta that specialises in the unique flora of Australia’s southern arid zone has been realised by the ongoing drive and commitment of the Friends Group.
Emma Fuss (Port Lincoln)
From her studio overlooking a bush block just outside Port Lincoln, Emma creates beautiful still life and portraiture works. She aims to capture brief moments of beauty and silence in domestic life with her signature painterly style.
This series is a exploration of the places I inhabit most often, capturing our home and family life in all of its mess and clutter, whilst also celebrating moments of order amongst this chaos (a jar of home made kimchi, a neat little punnet of lettuce seedlings). Within these collections of seemingly mundane objects are items that are unique to our family, and which for me, embody familiarity and warmth.
Emma Fuss
Kimchi
Oil on Panel
$800
Emma Fuss
Lettuce seedlings
Oil on Panel
$800 SOLD
Emma Fuss
Kitchen bench, making kimchi
Oil on Panel
$2000 SOLD
Emma Fuss
Garden bench, seed planting
Oil on Panel
$2000 SOLD
April Hague (Mount Gambier)
April Hague is a Mount Gambier-based artist whose practice incorporates mural production and figurative work in a variety of mediums. Often originating from her life drawing practice her pieces incorporate themes of female empowerment.
This body of work is inspired by the artist’s local cafe, a thoughtfully curated space. It represents an exploration of what it means to feel belonging and safety. April has considered her own experience living as a neuro-diverse member of the LGBTQI+ community in a rural area, and concepts related to subculture, marginalisation and representation.
April Hague
Metro
Digital Artwork on Metal
$600 SOLD
April Hague
Portal
Giclee Print of Digital Artwork on cotton rag and foamcore mount
$160 SOLD
April Hague
Smoko 2
Giclee Print of Digital Artwork on cotton rag and foamcore mount
$160 SOLD
April Hague
Smoko
Giclee Print of Digital Artwork on cotton rag and foamcore mount
$160
April Hague
Black Sheep
Giclee Print of Digital Artwork on cotton rag and foamcore mount
$160
Julie Lloyd (Burra)
Painter working in oils, gouache and pastels. Five years ago Julie began a program of tuition in oil painting with professional artist Nona Burden. This led to her first combined exhibition in 2019, the success of that exhibition encouraged her to further pursue her art career. Most recently selected as a participant in ACROSS COUNTRY, a two year Burra Regional Art Gallery project where she developed her landscape painting on site at Pitcairn Station.
My works are portals for a contemplation of memory and echoes from times past. I’m inspired to record rural simplicity in and around an old two room pre 1900 cottage. What stories it could tell, imagined or perceived.
My work has come on a zig zag journey of change from first idea to finished pieces. Now finally embedded with undercurrents that can be glimpsed in a snapshot of light and shadow.
Julie Lloyd
Fade to Grey – Invisibility in Place – A self portrait
Sculpture, wood, botanical print on silk, found objects
$595
As I become older, I’m fading to invisible, losing voice and my place within place.
Reusing found elements for my work from place to represent an older early career regional artist who is shedding the constraints of dry barren rurality. The trees of place represented by slices of red gum with bull wire growth rings, lacquered fallen leaves and botanical printing of foliage on silk.
Julie Lloyd
The Figure
Oil on canvas
$690
Julie Lloyd
Openings
Oil on canvas
$690
Julie Lloyd
Four old men
Oil on canvas
$690
Julie Lloyd
Dry
Oil on canvas
$690
Julie Lloyd
Echoes
Oil on canvas
$690
Julie Lloyd
Of Place
Oil on canvas
$690
Julie Lloyd
Hill lines of Place #1
wood, paper and metal
$150 SOLD
Julie Lloyd
Hill lines of Place #2
wood, paper and metal
$150
Ruth Maggie Morris (Nairne)
An experienced multimedia artist working in both digital and analogue mediums.
My intention is to explore and challenge the definition of where an individual exists at any given time, and document the place that now exists between the reality humans have always known, and the virtual place they have created for themselves when engaging with electronic devices.
Escaping reality through technology, and the realisation that one’s conscious leaves reality whilst the physical world remains, are explored in these works.
The virtual world has become an addiction, feeding on our dopamine response like a poker machine. Mobile phones have become our ‘familiar’ (Catweazle, 1970-71) or ‘daemon’ (The Golden Compass, 2007), which we keep perpetually nurtured, as they are symbiotic to our existence. Digital devices lure in the user until their conscience is no longer completely in the physical world, much like lucid dreaming where the dreamer is neither asleep nor awake, but very much in control of a world that is not reality.
This point in history is unique in that we have become captives of our own creations, but future psychological effects of the new world are still being ascertained. Traditional skillsets and social interactions are in danger of being lost in favour of the escapism to a place which only exists through a portal into a digital world. Is there a tipping point where we resist technology in favour of reality?
Ruth Maggie Morris
Distraction
Digital Print
$425
Ruth Maggie Morris
Frozen
Digital Print
$425
Ruth Maggie Morris
Blinkered
Digital Print
$425
Ruth Maggie Morris
Pinhole
Digital Print
$425
Ruth Maggie Morris
Digital Training
Digital Print
$425
Ruth Maggie Morris
L’homme n’est pas dans le parc
Digital Print
$425
Sally O’Connor (Mount Gambier)
Inspired from nature and Botany studies, Sally’s work is contemporary, mostly semi-abstract, developing themes and designs through drawing, leading to painting and printmaking.
I live on a volcano.
My place is the Crater Lakes Precinct of Mount Gambier, which has been shaped by the dormant volcano from 5000 years ago. Before the eruption layers of limestone were laid down in a warm period between 15 and 30 million years ago when ancient seas covered my place. The limestone bedrock bears evidence of lace corals, bryozoans (colonial tube organisms) and other marine creatures. Stranded dunes representing old coastlines are tiered as far inland as Naracoorte.
The Gambier Limestone forms the basal layers of my place, which is all about layers:
Limestone
Volcanic Basalt
Volcanic Ash, embedded with Basalt Bombs
Blue Water, stratified with a thermocline 30 metres deep
Flora – a predominance of Acacia melanoxylon (Blackwood), Allocasurina verticillate (Drooping Sheaok) and Pteridium aquilinum (Bracken Fern)
For more than 40 years I have been walking around the Crater Lakes Precinct rejoicing in the natural patterns of nature with the inevitable and constant sequencing of seasons.
There is something about the Lake, the Blue Lake, that seems spiritual to me. Every day “she” reveals a facet of wonder, interest, constancy, intrigue…be it preparation for the colour change, the reflection of clouds on the surface, the drooping sheoaks sighing in the wind, the nocturnal resident wallabies (Wallabia bicolor) caught in the morning fog, or the human element walking the dog, jogging, pushing the pram…
I have shared some aspects with you in this exhibition.
Embryonic
from the caldera blue.
The long climb of the crater walls
Confined as a sac
To a hole in the fence.
Unconfined.
Sally O’Connor
Wallabies blue of the lake
Woodblock Print and Watercolour
Somerset Velvet White 250gsm
$550
Stained as differential precipitation of calcium salts?
Crater residents
In the fog
Sally O’Connor
Blue Wallabies
Dry point print, stencils
Somerset Velvet White 250gsm
$425
Layers of limestone
Layers of basalt
Layers of volcanic ash
Layers of blue
Thermoclines
Floral layer with Acacia, Allocasuarina and Pteridium
Human layer
Atmosphere
Sally O’Connor
Crater Layers
Watercolour
Arches 300gsm
$550
Catastrophic result of arsonists last summer
From Centenary Tower
Along the ridge
Towards the Valley Lake
Towards the Golf Links
Fears for wildlife.
Blackened trees.
Sally O’Connor
Fire on the Mount
Dry point print, stencils, charcoal
Somerset Velvet White 250gsm
$550
Sally O’Connor
The Mount on fire
Dry point print, stencils, charcoal
Somerset Velvet White 250gsm
$550 SOLD
Shadows thrown in the morning sun by seed pods of Blackwood
(Acacia melanoxylon).
Sally O’Connor
Blackwood pod with shadows 1
Intense pencils and graphite
Hahnemuhle 300gsm
$435
Sally O’Connor
Blackwood pod with shadows 2
Intense pencils and graphite
Hahnemuhle 300gsm
$435
Sally O’Connor
Blackwood pod with shadows 3
Intense pencils and graphite
Hahnemuhle 300gsm
$435
Alice Tilley (Kapunda)
Painting predominately in oil paint, my still life and landscape paintings attempt to embrace the beauty of a moment or place, to appreciate the everyday. Typically figurative, my work features lively brush strokes and mark-making, and a dramatic play between light and colour.
Invermay, our family broad-acre cropping and sheep farm north of Kapunda, South Australia. This landscape not only is the back-drop to my family’s daily life, it is at the core of our lifestyle and livelihoods as farmers and land custodians. Based on observations and experiences, the Invermay triptych is a contrived scene of the interconnections between the people and geography at this location. 150+ years of farming has altered and shaped the landscape for the use of human needs as seen through the repetitive crop rows, cleared land, and vehicle tracks. The assertion of human presence is further emphasised through the imposing gate and sheds overshadowing the trees and birds, symbols of nature’s presence and resilience.
Reflected in the painting’s textured layers and mark making are reminders of the passing of time felt through the physical impacts of weather, an awareness and reliance on the seasons, and presence of discarded materials. The cohesive colour palette indicates this described interconnected environment with an undercurrent of tension and unease. As felt by many farmers, it is a complicated and evolving relationship that exists between the vulnerable natural landscape and the needs of my family as land custodians and providers of food to the greater population.
Alice Tilley
Invermay I
oil on board, oak frame
$2200
Alice Tilley
Invermay II
oil on board, oak frame
$2200
Alice Tilley
Invermay III
oil on board, oak frame
$2200