Art Chat

Western Australian artist Regina Noakes will be exhibiting in Red Hill Gallery’s Christmas exhibition alongside artists Larissa Blake, Karen Atkins and Keith Rowe .

Known for her colourful, figurative oil paintings Regina Noakes is highly collected by a very long reputable list of institutions and people. Her work has a quiet ease that comes from her complete confidence in her style and ability which makes her one of Red Hill Gallery’s more popular artists.

AC:    Regina, how did you get into painting and what made you want (or who encouraged you) to pursue a career in art?
RN:    My grandmother was an artist and I stayed with her for quite a long      time while my mother pursued her music studies at the Royal College of London. So my grandmother tried to keep me entertained while she also painted by allowing me full use of her painting equipment. She had many books on art too so I was constantly reading and was totally emersed in art and also music. I thought that was what everyone else did!

AC:    You have studied in Italy and now you are working there for the government. Can you elaborate a little on what you are up to at the moment?
RN:    The Government of Rome has a restoration project with some historians (Uni of Roma  and Istituto d’Arte A Passaglia, Lucca. Several years ago (in my youth) I was   apprentice to a professor of Art and Restoration in Capri, Napoli. I gained some experience from helping and studying in the restoring of frescoes.  I have been asked to participate in the project, which involves working in way out buildings with frescoes in dire need of help as well as teaching a few students some of the techniques needed.

AC:    You recently had an exhibition in Venice that sold out the night before it opened. How did that make you feel and has something like this ever happened to you before?
RN:      Well that particular exhibition was in 2009 but I have since had 2 sell out exhibitions in Sydney and 1 in Perth. It feels amazing to know that your work is so highly sought after. A sell out exhibition is the most humble compliment an artist can receive.

AC:    Your work is very thought provoking and sometimes has qualities of an unreality or a complex psychological state. Would you agree with this observation?
RN:    I have two kinds of paintings. One is the ‘real’ kind, still in a complex psychological state. The people are often in their own world, not unhappy but not smiling; often at a table with things from the past…. a still life.  Or by themselves caught in a ‘moment’ of thought. If you are thinking to yourself ….you will not be smiling. You will be preoccupied,

Then there is the ‘imaginative’ kind. For example the painting ‘There’s a Bird in the House’, or ‘Unlikely Friends’. A little bit strange…but I am painting from my childhood when I felt the bird was as big as me. A little bit of fear, excitement, reaching out to something foreign and trying to connect with it. Unreal qualities and slightly crazy, but with a strong element of fun.

AC:    I am told you are very family orientated and are often inspired by friends, family and your heritage. What does family mean to you and your work?
RN:    Family means everything to me. I have 3 adult children who are very community minded. My husband and I travel abroad intensely for work and we all speak to each other every day; we’re a close family with a very wide extended family. I had a wonderful childhood growing up with aunties and grandparents who read and travelled a lot. It was a very social minded family.

AC:    Clients have often commented on the almost Cezannian nature of your still life objects within your work, such as bowls of fruit. What do you think about this? You’ve obviously studied art history and being an artist would have a strong knowledge of past processes and developments… do you ever find yourself being influenced by past artists?
RN:     I love to paint fruit and objects that have belonged to my family. I am trying to preserve the ornaments and objects that have been passed down the family in my paintings.

Linen tablecloths are some of the things I have grown up and inherited. My heritage is both Indian and European.

I am strongly influenced by Mughal paintings from India, and also the Romanesque paintings of Europe.

I paint mainly with the palette knife, with a technique used on frescoes.

AC:    We’ve heard you were once approached by a very famous, music legend who happens to be a collector of your work. Can you tell our readers the story behind this meeting?
RN:    Yes, I was having breakfast at an airport and a chap came to my table and wanted to join me. I was not very happy and looked around at all the empty tables and told him that as he was bothering me and I would leave and sit somewhere else. He kept insisting that he wanted to talk to me. “Bugger off” was going through my head. I noticed a small crowd gathering around and people pointing. This ’person’ said he was ‘Eric’ and I told him ‘well okay but I didn’t really care and I even told him I had an uncle called Eric!Anyway he grinned and I kind of heard….Regina my name is ”Eric Clapton”. It was hilarious!

Apparently he had bought some of my paintings and recognized me from the photo in the catalogue.

AC:    Now, that being said, what sort of music do you enjoy listening to while working?
RN:    Eric Clapton  of course! Sting has bought several paintings too but I tend to listen to Eric more while I work…

AC:    Back to business – how are the paintings for the exhibition at Red Hill Gallery coming along?
RN:    Really good. I won’t reveal anymore… you’ll just have to come and see for yourself!

AC:    And lastly, what do you hope your art means to your collectors and what does it mean to you?
RN:    I have had many people buy more than one piece for their collection.

They really enjoy the work and I sometimes get letters from people telling me how they love the piece they have bought. So that is nice – and inspiring. My plumber has one, the RAC man (when I rang to get my battery changed) has one, Eric Clapton has 17 (my greatest fan!!) Sting has several too.

I travel intensely and am away from Perth at least 4 months in the year. I paint overseas also. When I am back I paint intensely as I have solos and several invited exhibitions in a year.

I need my privacy very much and my studio is out of bounds to all except my family. Sometimes I may not leave my house for days or find it hard to answer the phone and definitely not the front door! Just have to keep my train of thought steady.

I love to paint. I paint for myself, and then put it out to share with everyone.

Master Glass Artist Keith Rowe is one of Australia’s most successful, contemporary, and innovative glass artists. He creates balanced forms with exciting decorative elements, and his skills are embedded in the traditions of Italian Masters. Keith explores ideas to deliver new directions for each collection, and is passionate about creating objects that ‘transcend the mundane’. His works are held in collections across Australia, including the Powerhouse Museum, Ritz Carlton, and New Parliament House in Sydney, NSW, and the National Gallery in Canberra, ACT.
AC             Why Glass? How did you get introduced to this medium and what do you love about it?
KR              From photography to glass via Art school. Whilst attending SCA to explore my photography I attended a minor glass program and found hot glass blowing. The challenge was the first pull then the texture of the hot material followed by the use of colour.

AC             Describe your aesthetic style in a few sentences…
KR              Form and decoration are the important aspects of the work I make.

AC             Australian class artists are considered to be some of the best glass artisans in the world because they know no boundaries… do you feel you can relate to this comment as a glass artist yourself?
KR              I don’t think Australian glass makers are of any greater creative force than any other nationality. There is a distinctive style that has developed over the years due to the isolationist effect. I enjoy the space that this country gives and allows me to explore my own identity.

AC             What influences you and motivates you to continue to create?
KR              My whole life is the driver. All that surrounds me is the source of the designs. I have no options; my mind is always looking for new things to work with.

AC             What does your art mean to you and what do you hope it means to your collectors?
KR              Each piece releases a part of me allowing space for the new ideas. For collectors hopefully there will a sense of excitement when I show new pieces.

AC             You live in an extremely beautiful part of Australia, tell our readers what you love about the Blue Mountains
KR              Blackheath has really become my home. The area has many reminders of my growing up in the East Coast Bays of Auckland New Zealand.  It is a perfect climate for the glass blower with a low humidity and cooler temps than my years spent in Glebe Sydney.

AC             Your wife Kayo Yokoyama recently had her first exhibition at Red Hill. How did you two meet; and did you introduce Kayo to the medium of glass?
KR              My first meeting was when I was invited to attend Sanda Glass Centre in Japan. Kayo was a student and was a great help as she was the only one that could speak English clearly.  We met when I was doing a part time teaching position at SCA in Sydney and kayo was doing her undergraduate degree.

AC             How do you spend your time when you are not working?
KR              Before becoming a glass maker I was a dedicated photographer, this is still a big part of my art practice. I ride a beautiful Moto Guzzi motorcycle, do bush walks in and around my immediate environment, and I have fun with my children by going out west into the outback camping. There is so much about life that leaves one unable to be bored

AC             What do your children think about your art? Will they follow in the family footsteps and become glass artists too?
KR              The boys (this includes Jack) have wanted to come to work and pull glass out of the furnace. Jack my oldest son worked in the glass works for quite a few years and has moved into another career. There are many costs in life and to be an artist costs a great deal. If the return is worth the cost then for my children I would say go for it.

AC             Do you think your art, or perception of your art, has developed overtime?
KR              Before art school my understanding of art was primitive. To achieve what I have done has required a concerted effort to attend shows and do research and as I grow so too does my comprehension of how art and life co-exist.

AC             What is your favourite thing to do as a family?
KR              Camping, bush walking, watching movies, playing games inside and outdoors really just hanging out together

AC             Finally, what can we expect from you in your upcoming exhibition?
KR              A continuing story of colour, my searching for the combinations that cause the emotions to open.  I look forward to seeing you there.
Keith Rowe is exhibiting soon at Red Hill Gallery – Veiw the entire collection HERE.

Ever wonder what our artists get up to when they go overseas?   Well here’s one that made the news in New York on Brisbane artist David Hinchliffe.
Australian artist David Hinchliffe wasn’t counting on support from a topless woman as he was struggling with giant 10′ canvas in the middle of Broadway traffic today.

Topless Paparazzo identity ‘Harvey Van Toast’ appeared from nowhere, complete with her own little film crew to offer a helping hand.

Hinchliffe is mounting an exhibition in Soho’s Michael Ingbar Gallery next week

“Suddenly this bare-chested woman arrives,” says Hinchliffe, “and asks ‘Need any help honey,’ and of course an artist isn’t fazed by the sight of a disrobed woman. However, I have to say in Australia we normally see our naked women in studios and on canvas and not on the sidewalks of Broadway.”

“New York certainly has its share of surprises,” said Hinchliffe.

His exhibition is appropriately titled “NEW YORK…night and day” and features streetscapes of New York from Soho to Harlem.

This is Hinchliffe’s third solo exhibition in New York.

Recently our Gallery Director Margaret Campbell-Ryder was approached by a group of students from South Bank Griffith University.   The students in their final year of a bachelor of Visual Communication Design (Graphic Design) were given a brief to put a proposal to Red Hill Gallery to create a new space in Brisbane to foster creativity and communication within the Brisbane art world. Our director was delighted to attend this presentation and very impressed with their proposal.

Queensland Youth Art Awards 12 - Starr & Margaret Campbell-Ryder

“It was obvious that the students had done their research and had put a lot of time and effort into their proposal. They found a niche market and explored the possibilities of their concept assessing the possible risks and outcomes and I thought they had done a very thorough job. So I take my hat off to you and congratulate you all on a job well done.” Margaret Campbell-Ryder

In October the 2012 Queensland Youth Art Awards were hosted by St Joseph’s Nudgee College. Our director Margaret and gallery artist Starr were thrilled to be invited to judge the selection of the best student artwork from around Brisbane.  Starr and Margaret were blown away with the calibre of work and obvious talent of the contestants. The exhibition itself was very stimulating with a range of different media to be judged – paintings, etchings, sculpture, photography, multimedia etc. Congratulations must go to not only the students but the dedicated art teachers for encouraging and fostering such young creative minds and to Gregg Elliot, Head of Visual Art, St Joseph’s Nudgee College (link) for an excellent job as curator of the Youth Awards.

Youth Awards - Greg Elliot, Starr and Margaret Campbell-Ryder

Throughout 2012 Red Hill Gallery has followed, supported and even hosted an event for the new University of Queensland Society of Fine Arts (SoFA). The society was started by a group of dedicated and enthusiastic art history students from the University of Queensland and in the short space of a year they have achieved so much! At the recent University of Queensland Student Society Awards Night SoFA took out the “Best new society of 2012” out of a pool of 48+ clubs. This year alone they have successfully held a charity art auction, gallery tours, multiple movie nights, life drawing classes, a formal dinner with an exceptional guest speaker and more recently a panel discussion on future career options and life after University. Being student run and not for profit has meant that the executive committee have had to work tirelessly to make the society work as well as keep up with their studied. They really are an exceptional group of young people who are very passionate about what they do. We are so happy to be a part of such a wonderful organisation and will endeavour to continually support them.

Peter Rasey talks with Mr Graham Campbell-Ryder, Director of the Red Hill Gallery, who assisted changing the retail trading hours for the Brisbane CBD for World Expo ’88.

Lucette Dalozzo’s image was selected by Australian Institute of Family Studies as the front cover for their Family Matters 2012 edition

Family Matters is published by the Australian Institute of Family Studies, Melbourne.

Family Matters is a refereed journal

Although designed to be accessible to a broad readership, Family Matters is a fully refereed academic journal, recognised by the Department of Education,

Employment and Workplace Relations (DEEWR) for the purposes of Research Data Collection, and is included in the Register of Refereed Journals.

Family Matters is available for free download: CLICK HERE

Printed copies (2 per year) can be purchased on subscription: Australia: A$80 (individuals) and A$120 (organisations) per year (inc. GST and postage).

International: A$145 (exc. GST and inc. postage).

Red Hill Gallery would like to introduce you to Divalicious Fascinators! These beautifully hand-crafted, one off pieces of stunning ‘head candy’ will be accompanying the Parisian paintings in Starr’s upcoming exhibition.

‘Garden of Eden: Spring Collection’ consists of fascinators with Parisian influences and is sure to impress with its girly, romantic and vintage feel.

“Each design is as unique as the diva who loves her. No diva shall suffer the fashion faux pas of seeing another piece quite like hers on anyone else, anywhere in the world!” Sarahlicious, Divalicious designer

Do not miss out on owning your very own designer ‘head candy’ for this racing season.

Modern, contemporary, unique and loved is possibly the best way to describe Starr’s work. She is perhaps most well-known for her varied, yet always charismatic, depictions of the Story Bridge. However, in her upcoming Solo Exhibition at Red Hill Gallery you will be blown away by the breadth of depth in her subject matter and ability to capture the emotion of the scene in this new, never been seen before collection of paintings.
People visit Red Hill just to see her work as she is highly regarded and extremely well received by the Brisbane community, with many Red Hill Clients donning Starr on their walls. Due to this popularity there is always a permanent display of Starr’s paintings on the Exhibition Level of Red Hill Gallery.

“Starr is special and people love her, we are anticipating her exhibition in November to be another sell out with a number of clients already enquiring about the possibility of an exhibition pre-sale.” Margaret Campbell-Ryder, Gallery Director

ArtChat has managed to track down Starr from her busy, crazy, creative life to catch up on what has been happening and what to expect in her upcoming exhibition.

AC:       At what point in your life did you decide to become an artist? Is there someone special that encouraged you to pursue this career or was is solely an individual desire?
S*:       I never had a doubt, even when I was attending Kindy I would love nothing better than painting on the kiddy easels while all the other kids played in the sand pits etc . I think I was born to paint!!!!!! However I would have to add that my grandparents were the ones to help me early in my life. They really made it possible for me to be the artist I am today.
AC:       What shapes your art to make it the way it is?
S*:       I think it is the way that I embrace life and in particular popular culture. My art is shaped by allowing my love for freedom of form and innate sense of colour to express my passion on the canvas. I have always painted this way and my style has evolved over the years, which keeps it fresh for me and the people who love what I paint.

AC:       You’ve recently visited the city of love, Paris. Can we expect to see chic Parisienne scenes emerging in your upcoming exhibition? Give us a little descriptive ‘sneak peek’ into the November exhibition at Red Hill…
S*:       I have always found the culture of France and in particular, Paris to be totally intoxicating …………….It’s like no other place on this planet . I admit it’s the night life that’s most interests me, it’s almost magical as the night takes hold… it just make me feel alive. I love the stunning architecture, and the Eiffel tower is totally epic and a joy to paint. I find the challenge (with every city I visit) is to capture these stunning icons in my style. I’m lucky to live in a city where we have our own icon… the Story Bridge!!!

AC:       When you aren’t painting how do you spend your time?
S*:       To be honest, I am always painting… this is what happens when you don’t have a family!!!!!! Though I suppose, when I do have down time I love to travel but I also watch foxtel while I paint daily and at night I just watch more- I don’t know how I would survive without Foxtel !!!!!!

AC:       The Story Bridge is iconic to Brisbane and also to your artwork, what continually draws you to revisit this subject?
S*:       Well firstly let me just say she’s a poor model and she never changes her pose for me 🙂
The bridge being a static structure allows me to get really creative with colour and form when I paint it. I am always on the look for a new angle but having had painted the bridge now for over a decade it’s the colour that makes all the difference to me.

AC:       You’ve exhibited internationally; do you find the reaction to your art different in an overseas market or quite the same?
S*:       I have always found the reaction to my work overseas to have been similar to the local reaction. Everyone enjoys the freshness of the paintings and every city is fond of my versions of their own iconic landmarks. Universally, my nude and Ballerinas are as popular as ever too.

AC:       You see your work as combining traditional themes of the European masters and a modern, new age, American sensibility. Can you elaborate on this?
S*:       Yes, my days at Art college definitely exposed me to a great deal of art, both contemporary and the masters. I always favoured the themes of the masters, but I have developed my own interpretations and style. I have been influenced by some ‘New World’ artists too and I think this blend has been part of the secret of my wonderful career!!

AC:       We hear you love to sketch in a tutu.. is this just part of the crazy, eccentric artist stereotype or is there more to it?
S*:       No it’s totally the eccentric part of me, I have a dream career that allows me the freedom to live and work in my own little world. Wearing a tutu is not so unreal when you see where I live and paint  🙂  I wish to be wearing tutus and doing cart wheels like Betsey Johnson a famed American designer… and she’s in her 60’s!!!  By staying true to myself I live life with conviction which flows through my art. I never paint anything I don’t love. I am a massive ballet and dance fan, hence the tutus and showgirls and ‘can can’ dancers .

AC:       When you come across work as colourful, unique and creative as yours it is evident that the creator must have a wide range of interests and hobbies. Can you tell our readers about your other arts interests, like music?
S*:       Ok I will admit, I am still a bit of a rock chick………..a huge 80’s music fan and I love rock concerts. I recently went to every city on the Australian tour of Bret Michaels who is the singer of the American band Poison. In fact it was all the fireworks and lighting on stage and in the film clips that inspired my art when I was in my teens. They were so colourful etc ……..my latest fav band is the amazing Steel Panther  who I have seen 8 times in Hollywood and way before they were as popular as they are today. I love the fashion as well; I collect stilettos that regularly feature in my nude works.

AC:       Finally, what does your art mean to you and what do you hope it means to your viewers.
S*:       A big question… I think to me that art IS my life. I have never had a ‘real job’ and cannot remember a time when I have not painted. The joy of creating and sharing my creations is what drives me and has done for nearly four decades now. I cannot speak for the many people that own my work, but I can say that I am eternally grateful for the opportunity to paint for a living and love being able to share my gift in this way xox

I am a third year Creative Industries student at QUT and it is required of every student to find a placement within their disciplines field.  My field is art history and I had to complete 80-100 hours of work within this field.   I have over the past two years worked in a therapeutic art area; and when given the opportunity to go out and find an internship I wanted to experience another side of art.  I was inspired to seek an internship at an art gallery to develop a further and deeper understanding of what happens behind an artwork.  I wanted to know what inspires an artist, how the artist sells their work, how is the artwork sold, how does a commercial gallery run? I had so many questions about the general workings of a gallery and my answers came from Red Hill Gallery.  Where I have been taken under the wing of the lovely art consultants of Red Hill Gallery, who have shown me the ropes and helped me understand how a commercial gallery is run.
The main aim of this internship is to provide students with the opportunity to learn and experience their field of practice through ‘hands on’ experience.  Within my proposed role as ‘gallery assistant’ I aided with the day to day running of the art gallery.  I came into this internship with many assumptions and miss conceived ideas of how an art gallery is run.  I soon learnt that there is much more than meets the eye.  I have worked within retail before and thought that a commercial art gallery would almost be the same, but within the first day I realized I was very wrong.  There is so much more attention to detail.  As a costumer you would walk in and see a glass display and think it is lovely and goes well with the room.  However, you probably don’t realize that it took an hour to find the right glass sculptures, 3 different opinions and a lot of ‘ummm it’s just missing something’.  This is one experience I will never forget, it is worth being patient and taking your time with organizing the layout of a room as it is completely worthwhile to see an artist’s work displayed at its best.

I also leant that within a commercial gallery there is a different quality of knowledge.  Within a general retail store you might sell a few general products and as a sales consultant you are meant to know what the product is and how it would be suited for someone.  This is completely different for art, you have to know the art work, you have to know the artist, the year it was made, the medium, what inspired the artist, how the artist made the artwork.  As an art consultant you are expected by customers to know this and be able to talk extensively about the art work. Sumit Kati (2010, p. 42) states that for any retail or commercial business every member of the team must have extensive knowledge of the product, the organization of the company and the upcoming trends. Red Hill Gallery has extended my knowledge greatly by teaching me the numerous aspects of art as a product, the inner workings of an organization and what the new and upcoming trends are.  However, I think this is an area that I still need to improve in as there are so many different artists and artworks within the gallery.
The art consultants that work with in the gallery all have the mantra that art is for everyone, that art should be a reflection of yourself and your lifestyle and these consultants are experts and will help you find the right artwork for you (Campbell-Ryder, 2011).  They ensure that you enjoy viewing the artwork in a relaxed and professional environment. I have learnt over my two months as a gallery assistant with Red Hill Gallery, that there is much more to selling art.  These are only just a few things I’ve learnt during my time at Red Hill Gallery.  I came with barely knowing anything and now I am walking away with an experience I will never forget and will surely help me with my future endeavours.

Reference List
Campbell-Ryder, M. 2011. ‘The Art of Hanging Out.’ Accessed September 15, 2012.
Kati, Sumit. 2010. Retail Selling Skills. Mumbai: Global Media .

In their collaborative exhibition, “Passion for Bronze”, Glenys Lindsay & Dean Rusling have produced a body of work inspired by their love of nature and wildlife. Their work details the individual intricacies of each of their subjects in a unique style that is testimony to their talent as sculptors. Art Chat has caught up with Glenys and Dean for a sneak peek into their artistic lives and what to expect in their upcoming exhibition.

“We have started receiving works from the two artists in the gallery and I must say that I am very impressed with the fresh approach Dean has taken. His works definitively have more artistic awareness and his approach is becoming more individual with fun and quirky pieces… And of course Glenys’s love for her wildlife is evident in her latest works.” Margaret Campbell-Ryder.

Dean Rusling 

AC       Dean why sculpture and in particular why Bronze?
DR       I chose sculpture because I actually make a living by casting other people’s sculptures! And then about 5 years ago I realised, in a fit of brilliance, that I could sculpt myself… so here I am today. I work in Bronze because it is the only medium I truly like…

AC       You are an artist and a successful business owner with your own foundry. Give us an insight into your day to day business life.
DR       Because I have this exhibition coming up a usual day for me is starting work at 7.30 and finishing around 7.30! During this time I get the work done for our clients, and then I come home and sculpt for about 4 hours… I do this about 6 out of the 7 days a week at the moment!

AC       You’ve been winning lot of awards as of late, what do you attribute this success to?
DR       I think it’s basically the pieces I have been making such as platypus, turtle etc. I think that my 20 years of experience give me an advantage as I can create such beautiful patinas on my pieces.

AC       Your pieces in the gallery at the moment are predominately flora and fauna, what inspires you to create pieces of this subject matter?
DR        I prefer flora and fauna a lot more to the human form. I still haven’t quite found my niche yet so I keep trying new things. For example, the puppy I sculpted was so much fun to do (even though it was frustrating at times) I think I may do a few more dogs in different poses etc and see what happens.

Stay tuned though because I do have one idea up my sleeve, I just need to find time to pursue it!

AC       Do you listen to music while you work?
DR       hahaha my kids know when I’m sculpting, Adele rings out from the studio.

AC       How do you like to unwind after a tough day?
DR       Well, I don’t drink, I don’t smoke and I don’t watch tv – apart from the football. To unwind at the moment (things tend to change though) I get all my work done– like fill out questions for my Gallery haha. Then I hop into bed and read about the gold and silver markets and what is happening financially around the world… which isn’t pretty at the moment.

AC       And finally, what is the view from your window?
DR       The view from my window at work, is my boat which I have only used twice this year!

Glenys Lindsay

AC       Glenys what do you love about sculpture that motivates you to continue to create such beautiful pieces?
GL        I remember when I was younger I loved everything in 3D, I had so many little ornaments that I would hold and touch, to me they had a life and I would chat away to them as a child. I think this is where my passion for Bronze stems from, bronzes last forever. China, clay and glass can all break but bronze lives on.

AC       Both you and Dean use animals, and in particular Australian animals as subject matter, what inspires you to do this?
GL        It is funny, I am Australian born and bred yet I never liked Aussie animals at all. To me they were plain and boring little critters. Then one day I made a Bilby, and he was just so cute! Since then I find I have a passion for the cute and cuddly animals, whether Australian or not.

AC       The names of your sculptures are very individual and unique to the pieces, are they direct reflections of your relationship with your work and subject matter? Or just a bit of fun?
GL        Each of my pieces get their names during the process of creation. I sometimes chat away to them while I make them and this to me gives them a personality, which helps me name them! Sometimes I think the names I choose are a bit clichéd but every one of them comes right from the heart.

AC       Tell us something about yourself that your readers may not know about…
GL        I don’t think many people even know who I am anyway! Those who do will probably think I am outgoing but the truth is I am a bit of a hermit type… Just me and my bronzes – sounds a bit like the plot from Psycho – not that bad yet though.

AC       And finally what do you do when you are not working on your art?
GL        I procrastinate a lot! I think about taking up painting or doing some travelling now that I move into the next phase of my life as an artist. But I always feel happiest when I am in the throes of creating another one of my bronzes!

Red Hill Gallery is excited to announce that the internationally acclaimed Australian wildlife artist Paul Margocsy will be gracing the walls of Red Hill Gallery once again in October. The self-taught artist has a penchant for wildlife and paints accurate and witty depictions of all Mother Nature’s creatures, especially birds. Commissioned by Australia Post and the United Nations  to paint a series of water birds and endangered species, as well as having exhibited at the prestigious ‘Leigh Yawkey Woodson Birds in Art show’  we are very privileged to have Paul in our Gallery.
AC:         Paul, I think people will be astounded to learn that you are a self taught artist! How long did the development of your style to this calibre take?
PM:        It took many years of practice and frustrating efforts to learn the technique I now use.   There was no one to teach me so I just experimented and finally developed my style.

AC:         Your work was disseminated in the thousands when you were commissioned by Australia Post to do a series of waterbird stamps. How did it feel to see your paintings whenever you opened a letter?
PM:        To coin a phrase it was the first “feather in my cap”.  I was extremely proud and at the same time humbled by the commission, I still joke that in 1990 I was licked by 14 million people.

AC:         The technique you use is very unique; could you elaborate more on the process of creating?
PM:        I found it very difficult to paint backgrounds and I found that they were competing against the complex work of the wildlife subjects.  Hence I started to use an airbrush to give the image a photo realistic approach.  In using water colour I found that using the traditional wet on wet treatment got me nowhere.  However, with my technique with dry brushing I can get incredible detail.

AC:         What shows through in your work is that you paint from the heart with compassion, knowledge and love. Have you always felt this way about wildlife? Where do you think this passion stems from?
PM:        In all honesty I love what I do and love portraying the facets of wildlife; however the trip to Africa  2 years ago blew me away.  To see nature up close was a wonderful experience.  I’m very fortunate that I have a photographic memory and this enables me to move and create the paintings that I do.

AC:         The naming of your works seems like it would be a fun process, it definitely makes your fans giggle and smile, how do you decide on a name?
PM:        I wait until I finish a painting, then look at the subject and words form in my head to suit  the painting, it can either be a film or song title or a play on words.  Rather than entitle a   painting “Bird study” I get a real buzz giving them quirky titles.  It’s part of my character.

AC:         What does you art mean to you and what do you think it means to your audience?
PM:        My art means everything to me and I am so lucky that people enjoy what I enjoy. I try to paint images that people can relate to and it’s great that they take a part of me into their homes.
AC:         What is your view from your window at the moment?
PM:        I actually have a north facing studio and when I do look out the window I occasionally see “Pacific Black Ducks” landing in the pool.  Aint wildlife grand?

AC:         What do you do when you’re not working on your art?
PM:        Unfortunately I am an AFL football tragic and during the footy season I follow the Bombers  and go to as many games as I can.  My other distraction is music and I have a vast collection of many different music genres to choose from.  I also love to travel and have recently come back from America.

AC:         You won 3 months supply of ice cream at the age of 12 as an art prize! Tell our readers more about this!
PM:        My mother knew I could draw and in the late 50’s two television clowns (Zig & Zag Australian_performers) offered a prize for a drawing of themselves.  My mother knew I had won it before I had even finished.  For three months I had heaps of friends but after the ice cream ran out, so   did the friends.  It also did  nothing for my football career.

AC:         I heard you are a bit of music lover, who do you love to listen to when you paint?
PM:        People assume that music can affect an artist and his art.  I love to listen to all forms of music but preferably 60’s to 70’s music.  However, when a painting is really looking spectacular I tend to sing along and have even been known to dance around my studio, how embarrassing!

AC:         Where did your last holiday take you and what was the most memorable bit?
PM:        I took my wife to America for her birthday and as it has been 40 years since I was in San Francisco and New York it was quite a thrill for both of us.  I would imagine the most  memorable bits were the Broadway shows and the Gospel Church in Harlem.

AC:         As an animal lover I’m sure you have a favourite… what is it?
PM:        That’s easy, Owls, I’m known as the Owl man in Melbourne, not that I stay up late but, I enjoy painting their big eyes and faces.  The Zebras and the Leopards that I do give me a  thrill and I would have to throw in Kingfishers and Wrens.

AC:         How does it feel to be the first Australian to be exhibited 2 years in succession in the prestigious Leigh Yawkey Woodson Birds in Art Show?
PM:        The Lee Yawkey Exhibition was something I never thought I would achieve.  It was funny to be  with the world’s best artists and for them to say to me that they really enjoyed my work.  I didn’t   have the heart to tell them that I had actually copied off all of them when I was trying to teach myself, 30 years ago.  To represent Australia that way was an honour that I will never forget.  Never mind that they couldn’t understand my humour and accent.
Paul Margocsy is exhibiting soon at Red Hill Gallery.  You can enjoy an online preview here – www.redhillgallery.com.au/PaulMargocsy2012.html

Red Hill, “Where’s that? What’s there?” Seems to be the mantra of the moment… So the staff at Red Hill Gallery are here to set the record straight and fill you in on this fun, funky and fabulous suburb of Brisbane.

Only 3km from the Brisbane CBD, Red Hill is the home to one of the city’s most well known and seen landmarks. St Brigid’s Church  is a characteristic part of the inner Brisbane skyline. Inspired by the St Ceciles Cathedral at Albi in France the church is situated on one of the highest points of Brisbane.
Red Hill is also home to many people of the creative vein, boasting a large array of artists, musicians and writers. The suburb earned its creative reputation and literary significance with Nick Earl’s novel  “Zig Zag Street” set in the same street as its namesake in Red Hill.

Another important part of Red Hill, and perhaps to some readers the most important part, is that it is home to the Rugby League team the Brisbane Bronco’s! Gilbert Park is the training ground and club house for this loved sporting team.

AND of course it is home to Red Hill Gallery.  Operating since 1986 the gallery represents over 120 Australian artists and is recognised as one of Brisbane’s leading commercial galleries.

The gallery’s layout enables multiple exhibitions to be held at the one time and also provides our visitors with the chance to engage with an extensive collection of our non-exhibiting artists in the show room downstairs. With such an extensive collection of quality artists from a broad range of mediums it is recommended you give yourself enough time to fully appreciate all the gallery has to offer, as after all it is you and the happiness our artist bring you that keeps our passion for all things art burning strong.
So, why not make a day of it? Come to the gallery and take the time to engage with the work, bring friends, your partner, your grandparents, heck, even your children are welcome! Then why not visit one of the many eateries and bars within the area? If you feel like a drink, and the weather is glorious why not sit on the deck at the Normanby Hotel and soak up the sun, you can even grab a bite to eat there.
However, if you are looking for a more quiet experience then we would recommend one of the funky cafés in the area. Our personal favourites are La Vosh a gorgeous little patisserie and Cockadoodle a corner side café.
If you are visiting us on a weekend then why not stop in to the Kelvin Grove Village  Markets and get some of your weekly shopping out of the way.

For the pampered and beauty conscious ladies and gentlemen (yes there are a range of treatments tailored especially for men) why not try one of Brisbane’s most reputable boutique Salons, In Therapy.  The owner Michele and her staff offer a wide range of services and cater to many of Brisbane’s A-listers. Another great place to make your regular is Goldie Locks and the 2 boys  a fantastic hairdresser and by far one of our favourites!

Stephen Glassborow is a contemporary figurative Sculptor who focuses his passion on the human form. Glassborow completed a Fine Arts Degree at Brighton College of Arts, in the UK.   Since then his career as a Sculptor has thrived.  With his works now displayed in Australia, America and Asia Pacific. Glassborow uses symbolism and abstract shapes to create these sculptures. The sculptures created exist within their own context due to his manipulation of the human figure; the works are created in a realm of the real and surreal.  The viewer is drawn into this dream world through the meticulous detail and illusion he creates within these works.  Inspiration behind these sculptures by Glassborow is drawn from a name or phrase which then guides the creation of his works.  You can see the influence of the Art Deco through the use of romantic undertones, beauty and exuberance present within the work, capturing your imagination and taking you to a world of fantasy through these contemporary bronze sculptures.

AC:         Describe your art and style in one sentence.
SG:         My work was originally inspired by the Art Nuvo /Art Deco period, but my ideas now come from a much broader, contemporary, and colorful interpretation of figurative realism.

AC:         Stephen you have devised a unique approach to creating your work. Could you divulge a little into this creative process and where you draw your inspiration from?
SG:          Every piece needs to have a reason for being; the problem is how do you find that reason?  For me, a title, or a phrase, becomes the spring board for the development of an idea. It can be a long journey working that way, but for me it makes the idea so much more complete

AC:         You studied at art college in Brighton, what mediums did you work in and why did you prefer sculpture?
SG:          I found very quickly that working in clay was the medium of preference. I actually wanted to be a painter, but the lecturers at college shoved me into the sculpture department. They obviously saw something in me at the time that I didn’t, thank god!

AC:         When contemplating a new piece what are some of the elements you need to   consider? I can imagine the important of balance and tension in sculpture is very different to that of painting or other art forms…
SG:          The first thing I have to consider is will it stand up, the second consideration is how I can make it look like shouldn’t stand up. I love to play with illusion, to draw the observer into the work. After that I include layers of detail for added nourishment.

AC:         “The Lionel Rose” perhaps one of your most famous pieces and images of its construction are seen on your website, what did it mean to you to do such a public commission?
SG:            Producing a sculpture of such an iconic character was a great honor and a challenge. It was an emotional moment to be with Lionel when he saw the sculpture installed in Warragul. Lionel died just three months later .The sculpture has ended up becoming the final part of the Lionel Rose Story.

AC:         What do you do when you are not working on your sculptures? Give us an insight into the other aspects of your life…
SG:       Being in the arts is a lifestyle so Sculpture is never far away, but every morning, my lovely wife Linda and I , meet friends of similar life styles in our favorite café , in Avalon. It has become a social ritual that helps us stay sane.  I have also always loved American Muscle Cars, and I have a 1967 Pontiac Firebird, which has become a hobby and a challenge.

AC:         Do you listen to Music while you work? If so what are some of your favourite tunes?
SG:         I always listen to music when I work, I can’t work without it. I am a big fan of Garage Blues, a contemporary version of  Traditional Blues, and some current favorite artists are John Schooley and his one man Band, T-Model Ford, Dollar Bill, Asie Payton, and R.L Burnside.

AC:         What do you hope your work means to your collectors?
SG:          When I am finishing a new piece in clay, there is a moment which becomes intensely emotional for me. I know at that point that my idea is complete. I hope that some of that energy can be shared by my collectors

AC:         What or who inspired you to take up art as a career?
SG:          It was actually my wife Linda (Linda Dry Parker) who is also a painter; she encouraged me to apply to go to Art College.

AC:         One of our art consultants at Red Hill Gallery believes that some of your pieces reflect aspects of your wife… what do you think about this and is there any truth to it?
SG:         That would have to be true, Linda has perfect features. All my females are clothed. What Linda wears also has been a big influence.

AC:         And finally what is your favourite childhood memory?
SG:         Not being near my father

The internationally acclaimed leading Australian landscape artist showcases his most recent body of works at Red Hill Gallery. Piers has a keen eye and intuitively captures the spirit of the landscape through his use of bold colour and line, which makes him highly sought after by collectors.

Currently residing in China we have managed to get in touch with Piers for a quick interview and catch up.

AC:         Piers, you are currently residing in Shanghai, tell us about your position at the University.
PB:         In 2007 I was invited to exhibit at the Shanghai Contemporary Art Fair. My work came to the attention of some prominent people and I was invited to return the following year.  In 2009 I was asked if I would accept a position at Shanghai Institute of Visual Art (S.I.V.A.)  as an Honorary Professor. I was to be given accommodation, a studio and would be free to paint and lead my own life.  Naturally I accepted. (S.I.V.A. is a new arts university and possibly the best equipped of its kind in the world, their policy is to invite leading exponents of the various Art disciplines to accept residencies so the students have a chance to experience influences from the outside world.)

AC:         What is it like living in China, do you miss home?
PB:         Living in China is very different from my life in Australia in almost every aspect.  I live in a small flat, ride an electric scooter, have learnt the Chinese road laws (there aren’t any) and of course eat mainly Chinese cuisine, which by the way is very different from what we think of as “Chinese” in Australia.  I have also learnt that there is a very different social culture and mind set in China, and until one adjusts it can be very frustrating to say the least.  But when one thinks how quickly China has evolved in the last few decades one has to be very impressed.  Unfortunately this development comes at a price to the environment that is very worrying.  China is not unaware of the problem but like the rest of the world is having difficulty with the solution.  I feel that art will be an important way of addressing this problem.  By this I mean that the first impulse of the newly rich is to display their success in material acquisitions such as luxury cars, but later when wealth is accepted people expand their interests into the Arts, Theatre, Music, Art galleries etc. This passive consumption is not only spiritually more satisfying but less damaging to our resources.

AC:         You capture the spirit of the Australian landscape so accurately!  What draws you to paint a particular scene?
PB:         Firstly thank you for the compliment.   My paintings are rarely of a particular place. I travel widely and like to interact with my physical location.  I like to experience what it is that makes a place unique.  This subject could have me going for half an hour!  Briefly:  as modern artists have realized for over a century, a painting has to succeed as a work of art before any other consideration is given to it. In other words all painting has to be considered in the abstract sense.   Composition, and then the other visual elements of line, colour, harmony etc.  Subject is of secondary importance, but it is interesting to the viewer and the artist from a personal point of view.  We all like to feel that we “know” a place, it brings us memories of places we know or experiences of places we would like to know.  An artist realizes that there are two minds involved with a work of art, the artist’s and the viewer’s.  The painting if you like is a vehicle to connect one mind with another.  I always feel these things are more easily understood when we consider music.  Enough! I am writing a booklet on this at the moment.

AC:         Your work is in many major corporate collections and the Australian Embassy in Washington,  how do you feel about your paintings being so highly sort after and represented?
PB:         It is very satisfying to find my work permanently displayed in many different places in Australia and around the world.  I remember to this day the letter I got in London in 1967 telling me that I had sold three small paintings in a group exhibition.  It gave me so much confidence, to realize that someone (other than my mother!) found some meaning in my work.  As a professional artist who has never received Government funding, selling paintings, is absolutely vital to my existence as an artist.  The small collectors who buy the occasional painting do more to support artists and art than any Government grants, which tend to favour the few.

AC:         So we heard you have an art studio in Spain?!  How often do you visit it and Why Spain?
PB:         My connection with Spain is many layered, from my Grandfather who was born in Columbia to a Spanish mother, to my sister who married a Spaniard with family in Malaga   where I bought a small piece of land in the country (El campo).  This land had an old ruin which over the last ten years we transformed into a small traditional house with a separate studio.  Spain has many similarities with Australia, the climate, the love of the good life, food and wine and of course sport.  I have managed to visit nearly every year, especially when I was building the house and now I would like to conduct workshops there with up to six people to experience the Andalusian life.  Fiesta, food, wine, dancing and of course art!!  Andalucía Festival.

AC:         I recently heard a funny story about you asking Arthur Boyd to teach you how to paint.  Can you share with our readers what happened next and give us a little insight into your relationship with this amazing Australian artist.
PB:         When I was a callow youth living in London with aspirations to being a painter, I wrote a letter to Arthur Boyd, whom I knew slightly, asking him if it might be possible to become a sort of apprentice as in the renaissance tradition.  He didn’t reply but when I saw him again he mentioned the letter and said if I wanted a job I could paint his house.  Needless to say I jumped at the chance and after doing a satisfactory job was kept on as a sort of studio assistant.  He made his own paint and was extremely fastidious with preparation of his boards, I had to put on seventeen layers of gesso ground, fine sanded every third layer for use as a base for egg tempera (paint medium). I lived in the basement room and had in my room some of the most famous paintings from his “Blackman and his Bride” series as well as many others. I knew at the time what an amazing privilege it was.  Boyd taught me the importance of hard work as an artist. During the painting of the house which was incidentally four stories high I had to paint the eves with a large extension ladder at full stretch.  It was a little short so I put it on top of a washing machine crate to get the extra height.  Well he nearly had a fit and raced up stairs and tied the ladder to the bathroom plumbing and made me come down. I didn’t know what the fuss was about, I was nineteen.

AC:         What do you do when you are not working on your art?
PB:         At the moment that (art) is taking up most of my time.  I have just come back from a month in Spain with my 19 year old son who is studying in Holland. (So he will be qualified for a “proper “Job!) I am very keen on sailing and have lived on a yacht for several years in the Mediterranean.  And of course I am an addicted traveller.  Travelling makes me think that I am getting somewhere!

AC:         Describe your art in one sentence.
PB:         My art is about trying to solve the elusive puzzle that has fascinated artists since art was discovered, the mystery of the human mind and the amazing accuracy of the eye.

AC:         What is your favourite childhood memory?
PB:         Holidays at the beach at San Remo Victoria,  swimming, fishing and dreaming of being old enough to drive an MG and have a girl friend with similar carnal desires!!

AC:         Finally, what does your art mean to you and what do you hope it means to your collectors?
PB:         Art is to me the most important thing after survival needs.  By art I include of course all the arts. I like to say as a definition of art. Art is the seduction of the senses. Art is to be explored, enjoyed questioned and collected.

When I was about twenty one I once delivered a painting of mine to a famous Melbourne collector who had so many paintings they were hung from ceiling to floor. Boyds, Streetons, McCubbins, Blackmans,   (Charles Blackman at Red Hill Gallery) etc. He offered me a cup of coffee and spoke of his collection. He said his business associates constantly asked him why he didn’t sell the collection now that it had become so valuable. He said “every morning before I go in to the office I sit here for ten minutes with a coffee and feel invigourated for the rest of the day.  If I framed my shares and put them on the wall they would give me no pleasure whatsoever.”

“A large number of my pieces are dressed, or covered in some way. I am not interested in producing nudes. I like to wrap my figures, so the idea of wrapping a figure in paper became a logical step.”  Stephen Glassborow 2012

Born in the United Kingdom in 1951 Stephen studied at the Brighton College of Art  where he discovered his affinity with the physicality and structure of the discipline of sculpture. Since then his career has flourished and his work is often exhibited all over the Australian, America and Asia Pacific.

Stephen is a master of aesthetic balance which is reflected in his well developed sculptures. He often creates tension through the illusion of weight and in his upcoming exhibition he gives three-dimensionality to the two-dimensional pixilated image in his work ‘Man Made’.

Working mainly in bronze, Stephen has developed a unique aesthetic that shifts away from the classical to reflect a slightly abstract approach. Influenced by Art Deco and Art Nouveau Glassborow often creates his work from inspiration of a name or phrase. “The inspiration for any idea starts with a phrase with the potential for a double meaning. I then use the figure as a coat hanger, on to which I manipulate my thoughts…” Stephen Glassborow, 2012.

His work will be on display at Red Hill Gallery September 2012.

What you can expect to see from Piers in his upcoming exhibition are impressionistic scenes of quintessential Australian imagery. Rustic red, sunburnt desert scenes, immense blue skies contrasting with the reds and oranges of the earth, hazy depictions of the quiet bush, storming clouds, burnt landscapes, gorges, rivers, waterholes, clay pans and of course white gum trees.
Bateman began his career in 1966 after spending eighteen months in London. On returning to Australia he held his first exhibition and from that moment he has never turned back. He went on to build a mud brick studio in the bush, sailed Greece and spent more time in Europe developing his style.

Bateman soon became one of the most sought after Australian landscape painters with his works in many corporate collections such as the Reserve Bank of Australia, the Australian Embassy in Washington, the Caterpillar foundation in Chicago and Moscow’s Bolshoi Ballet Company. He is also admired by many high profiled Australians’ with sporting legend Greg Norman, politician Andrew Peacock and business magnate and former British lions rugby union test winger Tony O’Reilly collecting his paintings.

Red Hill will be showcasing Piers’s new body of work in his exhibition “Footprints On The Land” from the 7^th of September. However, his work from this collection is already available to purchase. Please contact the Red Hill Art Consultants on 07 3368 1442 to preview his work in person or view online at redhillgallery.com.au.

Joseph Zbukvic – To Vienna and Back
“Joseph has achieved enormous success with his sensitively rendered watercolours on an incredible variety of subjects.  He is equally comfortable with idyllic pastoral landscape, seascape, a bustling street scene or his latest pursuit, equine art.  He can also turn his hand to oil or pastel, producing work of equally high standard with ease.  He is regarded as one of the best draftsmen in Australia” ¹

Joseph’s upcoming exhibition in Red Hill Gallery showcases his stunning paintings from Vienna and other cities around the world.  A master in watercolour his atmospheric renderings accurately depict the mood of these romantic cities.  Whimsically portraying the sensitivity and emotion of his subject matter Joseph will seduce you into another world.  Make sure you visit the gallery to check out his latest body of work in his exhibition ‘To Vienna and Back.’ 

AC:         Your work has recently taken you to Vienna, please describe the city and what you love about it to all our readers who may or may not have visited Vienna.
JZ:           It is a lovely elegant city with a calmer feel when compared to Paris or Rome.  One can sense the culture and sophistication behind the classic facades lining its wide boulevards.
AC:         Tell us why you were so enamoured with the Fiakers? Your paintings of them in the exhibition are gorgeous and reveal a personal sensitivity and emotion… what do they mean to you? 
JZ:            My grandfather worked the land with two Clydesdales and it was my job to feed them in the evening. I developed a lasting affinity with horses ever since. I could feel the same connection the coachmen had with their steeds. The Fiakers also added a gentle touch to a big city, with the calming sound of their hooves in the narrow lanes. They reminded me of Venetian gondolas.

AC:         Your painting “The Royal Eagle Study” is one of the best in the exhibition, and has a long history in Vienna, what motivated you to paint this piece?
JZ:           The two headed eagle is the Austrian national symbol found on their flags and currency. This particular statue is on top of the royal palace and I was attracted to its proud profile and opulent golden surface. It is just so quintessentially Viennese.

AC:         You capture the mood and emotion in your subject matter so well… is this something you aim to depict or does it come naturally to you?
JZ:           An artist should be a story teller, not a picture maker. I always strive to transport the viewer into the moment rather than the scene itself. It is something most artists try to do and it is not an easy thing to do. There is no formula for it and many painters fall for the trap of banal and pretty when attempting the same. It is a fine line between romance and kitsch.

AC:         Tell us a funny tale from your travels.
JZ:          I paint on location so there are numerous funny encounters with inquisitive passersby, who ask such things as; “Are you an artist?”, “What are you painting?”, “Did you do that?”, but one to top them all was a man who asked, “Do you do weddings???”!!! To my amazement I could see he was sincere. He probably equates painting to photography. I recovered quickly and said, “Not many as the guests don’t like posing for so long.” He walked off saying, “I can see how you would not get much work…”

AC:         What does your art mean to you?
JZ:          Art is my life. I just paint, all else comes after. I see painting subjects all of the time, anytime, anywhere. It’s an endless quest for that perfect painting…a calling if you like…I could not live without it…

AC:         What do you hope your art means to your audience?
JZ:          I can tell you that one of the best things about my career is when people obviously love the painting and feel the mood I was trying to capture. It gives me an enormous feeling of satisfaction to make them happy, more so than any sales. After all, one can only be a custodian of art, one can never own it. It is there to be enjoyed forever.

AC:         Tell our readers about the first time you became aware of beauty?
JZ:          I grew up in a loving environment of an extended family and it was my grandmother who taught me to see the world past the obvious. She was a very spiritual and beautiful person. I hold dear memories of our walks together when she explained the order of universe by simply pointing out the importance of even the smallest things around us. It made me see the world as a magic place.

AC:         Who or what inspired you to first pick up the paintbrush and what age were you?
JZ:          She also bought me my first coloured pencils after seeing me draw on anything, with anything!

AC:         Why watercolour? What do you love most about this medium?
JZ:          I like its unpredictable quality. It is alive and can never be tamed and it should never be tamed! After using it for 40 years, it still has an ability to surprise me.

AC:         What do you do to relax and unwind?
JZ:           I love fixing things. Handy work of any kind. I can spend hours tinkering with something.

AC:         I heard you drive a unique classic; tell us about your relationship with your car?
JZ:          It’s a 1956 Triumph Roadster, TR3. I have owned it since 1974 and will never tire of driving it. Every time I start that trusty engine and hear that exhaust I feel as if I am 22 again! I love it!1.Zbukvic, Joseph. ‘About the artist’, Mastering Atmosphere & Mood in Watercolor: The critical ingredients that turn paintings into art. International Artist, Nevada. 2012

In her first solo exhibition at Red Hill Gallery Kayo showcases exquisite pieces of etched glass. This collection, entitled “Homeland”, gives an added dimension to glass art, which is whimsical as well as practical. “Homeland” as the title suggests, is a reflection of the artist’s journey from her Japanese heritage to where she is today.  The result is a stunning collection of work, captivating the viewer with its intricate beauty.
AC:     Kayo, how has your Japanese heritage influenced your work?
KY:     The process of creating artworks traces the transformation of my feelings of disengagement with my Japanese background from childhood to adulthood. I did not consider Japan as my homeland for many years due to my desire for idealised aspects of Western culture. I gather my thoughts on being born Japanese and conclude that Japan, and being Japanese, is fundamental to my being and my soul. Through this reflection I reconnect with my homeland.

AC:     “Homeland” is a reflection of the journey from your childhood in Japan to your life in Australia, what have been some milestones or obstacles along this journey?
KY:     I experienced as a child; allowing my dream for an alternate identity to be created. Ironically motifs of my childhood which hold emotional attachments bring me back to myself by allowing me to see the hollowness of the symbolism that had been my desired identity

AC:     You often talk about identity, what does identity mean to you?
KY:     How my identity is formed, how it mediates and how it relates to belonging – or not belonging – is the subject of my artworks. Is identity about similarity and difference and the relational position I take at any one time, or is it something that is inherent in me? Do I take it with me wherever I go and whoever I compare myself to? The word ‘identity’ is generally used when talking about the relationship of the individual to society. Erik Erikson (1902-1994)   noted in 1950 ‘we begin to conceptualise matters of identity at the very time in history when they become a problem.’ Searching for identity became a survival mechanism in mass society. Identity is what I am and who I am and where I belong.

AC:     What do you like about working in the medium of glass?
KY:     Clarity and hardness of the medium.

AC:     Tell us about the process of creating glass art, what are some of the things you need to take into consideration when designing a new piece?
KY:     I always aim to lure audiences to touch my artwork. When it happens, I have successfully created a connection between myself and audiences, artwork conveys my feelings.

AC:     You liken the experience of engraving your work to zen meditation, can you elaborate more on this?
KY:     Having come to conclusions about my dual identity, Buddhist Zen Master Dogen’s philosophy concerning self-awareness and enlightenment. Zen Master Dogen’s theories are the foundation of my explanation of my own theories of ‘self’ represented through the symbolism of chairs and trees as motif in my own artwork. His theory supports the discovery of the ‘self’ through meditation and mindfulness and encapsulates an emphasis on providing greater understanding of self. There are two layers to this in my art practice: when I engrave, it is a meditative process that directs my consciousness outside myself while the images themselves, empty chairs set among trees, invite the viewer into private contemplation by evoking the memory of sitting in a park or garden surrounded by nature.

AC:     What is your favourite thing about Australia?
KY:     Landscapes

AC:     What inspired you to engrave the trees in this series?
KY:     My artworks are about enlightening myself about the world in which we belong. When I first arrived in Australia, I was astonished by the size of the land. The land allows trees to grow huge yet they do not cover the land completely. The landscape and trees are a motif for my transition to my new homeland. They represent a combination of continuation and change. In Australia, I live among trees: trees are an essential factor for me to feel connected and at home. This experience reminds me of a childhood memory of being among trees, with dappled lights shining between the leaves and branches creating new patterns on the ground. This in turn, takes me back to my pattern drawing on the wall of buildings near my childhood home. The presence of a chair in my work is a reference to my adoption of the West and the contradictions inherent in this immigration. It indicates both a presence and an absence. Presence is evoked, in that a chair suggests a sitter: despite being empty it is waiting to be occupied. The chair also suggests contemplation and rest. Equally, the empty chair signifies absence. An empty chair is an invitation to the viewer that there is a place for them in the work.

AC:     Who are your 3 favourite artists?
KY:     Yayoi Kusama ,  Brook Andrew, Ah Xian

AC:     Tell us something about yourself that we don’t already know?
KY:     Mummmm, no secret here!

AC:     What is the view from your window?
KY:     Beautiful big gum trees.

AC:     What music do you listen to?
KY:     RR, love Karaoke!

AC:     Tell us your favourite place in Australia.
KY:     Blue Mountains

AC:     How do you spend your time when you are not working on your art?
KY:     Sitting on the couch with my dog and thinking about next project.

AC:     Describe your art in three words.
KY:    Delightful, enlightenment and clean

Kayo studied at Sydney College of the Arts and received a full scholarship to attend Penland School of Crafts.

Who is Paul Margocsy

Paul is described by our art director Margaret Campbell-Ryder as “an absolute gem… A real people-person, he has a great sense of humour and really enjoys talking to people about his paintings.” Paul often stays for a few days after his exhibition popping in and out of the gallery to speak to the clients about his work and relating the funny little anecdotes and stories about his animal subjects.

Paul Margocsy’s Career

Working as a window dresser at Myer in Melbourne, Paul also spent two years in the Defence Force before moving to England for three years where he painted murals for children’s nurseries and high-end fashion hairdressers. Upon returning to Australia with his wife he opened a children’s décor shop before becoming engrossed in Wildlife art and pursuing his career in painting. Spending a few years refining his technique he began to sell bird paintings in various shows which eventually lead to several outstanding exhibitions in South Australia, Canberra, Sydney and Melbourne.

His popularity and career took off in the 90’s with Paul commissioned to do a series of Waterbirds in 1991 for Australia Post. In 1994 the United Nations commissioned him to do a series of endangered species and then a few years later he became the first Australian to exhibit two years in succession at the prestigious Leigh Yawkey Woodson Birds in Art Exhibition  in the USA. Since then Paul has had major exhibition in Singapore, USA, Hong Kong and many here in Australia.

Paul Margocsy’s paintings  

Paul paints his animal portraits in a mix of gouache and watercolour. His detailed and photographically painted subjects are imbued with personality. Whether it is the quirky expressions of owls or steely stares of the birds of prey Paul always manages to portray his animals with character. Having a photographic memory means that Paul can view his subjects in the wild and later recapture their personalities through paint in his studio. Having developed his own dry brush technique enables Paul to enhance the realism in his works, particularly in the feathers of his birds.

Paul Margocsy’s upcoming exhibition

“What we expect to see in his upcoming exhibition is well executed, anatomically accurate portraits of wildlife – what else can you expect from Paul?” Jan Griffith (Senior Art Consultant). “We already have had a number of enquiries regarding the works we have received in the gallery, which of course makes us very excited for the exhibition!” As always Paul will astound his audience and have them absolutely captivated by the personalities portrayed in his pictures.

Paul’s work will be available for sale prior to the official opening of his exhibition. Please do not hesitate to contact us earlier rather than later to avoid disappointment!

The infamous impressionist artist Herman Pekel is a master at capturing the mood and atmosphere of his subject matter. The depth and emotion and radiance of light in his paintings capture his audience’s heart and is what keeps them coming back for more.  In the current exhibition Herman has depicted iconic scenes from Brisbane and Paris.

AC:         Herman your paintings really seem to have an inner luminosity, it almost seems like the light is radiating out from the paintings. Your ability to render light is what makes you a superb artist, is this an intrinsic quality your painting has always had or something you think that has developed in your work over time?
HP:         Light and atmosphere have been two integral aspects of my work.

AC          What or who inspired you to first pick up a paintbrush?
HP:         My father, after he brought home two original oils from the market.

AC:         What do you do when you are not working on your art?
HP:         Sport – Tennis and table tennis.

AC:         Share something about yourself that might surprise our readers?
HP:         I’d hate to say.

AC:         Who in your life do you admire most?
HP:         Margaret* – she can sell my work.

AC:         I suppose a lot of people like to imagine artists to be either eccentric and over the top or broody and romantic. What do you think of these stereotypes? How would you describe yourself?
HP:         Always romantic after a couple of wines.

AC:         Describe your art in one sentence
HP:         Disorganised.

AC:         I’ve been told you seem to always wear black, is there a specific reason for this?
HP:         Takes longer to get dirty.

AC:         You’ve won a number of prestigious art awards throughout your career, which one has meant the most to you?
HP:         My first prize – 6^th grade primary.

AC:         Who do you consider to be important figures in Australian art?
HP:         William Robinson, Jeffrey Smart, Richard Dunlop

*Margaret Campbell-Ryder Director/Curator Red Hill Gallery