Sally Anderson presents works in Town Hall Gallery’s latest exhibition, ‘OBJECTIVE’, which brings together a group of seven contemporary Australian artists to reimagine the boundaries of the still life genre. Artists in the exhibition include Pia Murphy, Tony Albert, Nadine Christensen, Adam John Cullen, James McGrath and Louise Paramor.

This ambitious exhibition challenges traditional expectations of the still life genre, presenting painting, video, sculpture and installation works that transform everyday objects into unique experiences. The participating artists each bring a distinctive conceptual and aesthetic approach: familiar items are abstracted, recontextualised and elevated, while subtle narratives encourage viewers to connect personally with the inanimate.

Several artists explore the interplay between the natural and the artificial, using form, colour and humour to reframe how ordinary scenes are perceived. Others embrace bold experimentation, offering playful and sometimes whimsical reinterpretations that refresh the still life tradition for contemporary audiences.

Within this diverse group, Sally contributes works that balance representation and abstraction, adding intimate reflections on memory and lived experience. Collectively, the exhibition presents a vibrant cross-section of current artistic practice, demonstrating how the still life genre continues to evolve.

‘OBJECTIVE’ is on view at Town Hall Gallery, Boroondara, until 24 January 2026.

READ MORE HERE

IMAGES:
Installation images of 'OBJECTIVE' at Town Hall Gallery, courtesy Boroondara and Christian Capurro.

Congratulations John Bokor who is a finalist in this year’s Kedumba Drawing Award, with his work ’Studio Table’.

The Kedumba Drawing Award is one of the longest running Australian drawing prizes, now in its 35th year. The winning drawing is acquired by the Kedumba Collection, housed in a gallery space provided by Blue Mountains Grammar School at Wentworth Falls in the Blue Mountains, west of Sydney. This extensive collection of works are on display to the public throughout the year in curated exhibitions.

The exhibition of finalists will be at the Kedumba Gallery in Wentworth Falls from 15 November to 28 January.

READ MORE HERE

IMAGE:
JOHN BOKOR
‘Studio Table’ 2025
charcoal, wash and collage
90 x 70 cm

Vipoo Srivilasa’s re/JOY is now open at Tweed Regional Gallery.

The exhibition, supported by Creative Australia and the Australian Design Centre, has been touring the regional galleries of Australia since November 2024. This project is some of Vipoo’s largest works to-date, with seven ceramic sculptures towering at 1.5 metres high. Each piece has been carefully made by repurposing broken fragments of pottery, from members of the community who have experienced migration to Australia. The exhibition captures the diversity of experiences in Australia, and symbolises a careful rebuilding of life, highlighting the complex feelings and challenges that come with change. re/JOY is a joyful, playful and hopeful project.

Vipoo Srivilasa’s ‘re/JOY’ is open at Tweed Regional Gallery 15 November 2025 - 8 February 2026. The opening event is on Friday 14 November 6pm.

READ MORE HERE

IMAGE:
Vipoo Srivilasa Standing with his work 'Goddess of Independence’ from re/JOY Australian Design Centre, courtesy Jacquie Manning

We are delighted to announce the opening of Vipoo Srivilasa’s new exhibition, Express Yourself, at the Queensland Gallery of Modern Art’s Children’s Art Centre.

Developed in collaboration with the Children’s Art Centre, this interactive project invites young visitors to explore the many ways we experience and express emotion through drawing, movement, and digital activities. The exhibition features a new iteration of Vipoo’s 2021 work Garden of Love, presented alongside a series of fresh participatory installations designed to inspire creativity, curiosity, and self-expression.

Conceived and developed over the past year, Express Yourself reflects Vipoo’s ongoing commitment to creating joyful spaces where art becomes a catalyst for connection.

The exhibition is open at GoMA's Children's Art Centre 11 October 2025 – 13 September 2026

READ MORE HERE

IMAGE:

Express Yourself installation view, courtesy QAGOMA and Chloë Callistemon

Bundit Puangthong's painting 'Sharp Knife' features in the exhibition ‘Good as Gold’, at Rockhampton Museum of Art. The exhibition celebrates artists whose works have been acquired into the collection through the Gold Award. Good as Gold celebrates the legacy of the Gold Award through highlighting the development of, and connections between artists from the award's history. The exhibition is also a celebration of the rich culture of giving and philanthropy in Rockhampton, and is named for benefactor Moya Gold.

Sharp Knife was first shown at Edwina Corlette Gallery in 2018, in the exhibition 'The Object of Life'

The exhibition is open 8 November 2025 - 1 March 2026 at Rockhampton Museum of Art.

READ MORE HERE

IMAGE:
BUNDIT PUANGTHONG
Sharp Knife 2018
acrylic, spray paint and soft pastel on linen
168 x 168 cm

Miranda Skoczek has collaborated with Australian jewellery brand Pandora, to create a signature charm collection, featuring in Cosmopolitan.

“Collaborating with Pandora has allowed me to transform my symbolic language and designs into meaningful, wearable jewellery,” Skoczek says. “From my charm edit, in store artwork, packaging and engravable designs, there’s a natural alignment in how we both value storytelling, symbolism and self-expression which has made this partnership so special.”

READ MORE HERE

IMAGE:
Miranda Skoczek modelling her Pandora jewellery collection.

Ode: Margaret Olley and Sally Anderson is a celebration of important still life paintings by Margaret Olley (1923–2011) together with new work by Gadigal/Sydney-based artist Sally Anderson.

During her 2025 residency at the Nancy Fairfax Artist in Residence Studio, Sally embarked on a new body of work that responds not only to Margaret Olley’s remarkable still life paintings featured in Ode: Margaret Olley and Sally Anderson, but also to selected objects from the re-creation of Olley’s home studio. Interweaving deeply personal experiences and themes of domesticity, care, maternity, and mortality within her work, Anderson invites us to reconsider Olley’s still life paintings in a new light.

A Tweed Regional Gallery initiative. The Nancy Fairfax Artist in Residence Studio is supported by benefactor Mr. Tim Fairfax AC via the Tweed Regional Gallery Foundation Ltd.

“Olley’s still life paintings feature and appear as postcards or portals within mine, just as Cézanne, Matisse, and Manet (to name a few) appear within hers. I’ve deliberately arranged objects borrowed from Olley’s reconstructed home–studio alongside personally significant items within my compositions to give them new context and meaning. I think a lot about arranging—how we arrange thoughts, words, time, memories, clothes, households, feelings, gardens, furniture, objects, colour—and how rearranging the order of things ultimately shifts meaning, revealing new truths, narratives, and histories.”

The Nancy Fairfax Artist in Residence Studio is a live-in studio supporting artists from across Australia, encouraging connection between artist, community, and place.

READ MORE HERE

IMAGE:

SALLY ANDERSON
Study of MO’s still life in green 1947 with a banksia for dad, GM orchid and PP Bathers postcard 2025
acrylic on polycotton
137 × 153 cm

We’re excited to share that Eliza Gosse has collaborated with ROMY on their latest collection, Romy Athletic Society. Gosse brings her bold, rhythmic figures into a limited-edition nine-piece collection of wearable art. Channelling the spirit of the 1980s beachside, the collaboration celebrates movement, femininity, and individuality through retro-inspired athleisure.

READ MORE HERE

IMAGE:

ROMY x Eliza Gosse collaboration

Australian artist Eliza Gosse is unveiling a new series of paintings at the Sydney Contemporary Art Fair 2025, presented by Edwina Corlette Gallery. Known for her exploration of mid-century modernism and architectural themes, Gosse’s latest works continue to investigate the relationship between space, structure, and emotion. Her precise compositions and distinctive use of color reflect her ongoing evolution as an artist.

The Sydney Contemporary Art Fair, one of the leading contemporary art events in Australia, provides an ideal platform for Gosse’s new collection. The fair, held at Carriageworks in Sydney, brings together over 90 galleries from around the world, offering a dynamic array of contemporary art from both emerging and established artists.

Gosse’s participation underscores her growing reputation in the Australian art scene, reinforcing the fair’s role in fostering critical engagement and dialogue within the global art community.

READ MORE HERE

IMAGE:
ELIZA GOSSE
Kookaburra III 2025
oil on board cutout
35 x 24 cm

We are delighted to share that Sally Anderson's painting ‘Middle Brother Mother Mountain Fountain (PP Nude in a Garden, BT Mother and Child)’ is a finalist in the Calleen Art Award.

The Calleen Art Award is an annual acquisitive painting prize and exhibition. It presents the best of contemporary Australian painting in any style, theme or subject. Since its inception in 1977 by Cowra Art Patron Mrs Patricia Fagan OAM the Calleen Art Award has celebrated contemporary art practices and fostered originality, creativity and excellence in the visual arts.The winning artwork will join the Calleen Collection at Cowra Regional Art Gallery collection.

READ MORE HERE

IMAGE:
SALLY ANDERSON
‘Middle Brother Mother Mountain Fountain (PP Nude in a Garden, BT Mother and Child)’ 2024
acrylic on polycotton
183 x 197cm

We are thrilled to announce that Sally Anderson’s work is a finalists in the Gosford Art Prize, with her work ‘November bells, BT mother, birth banksias, PP nude in a garden’.

The Gosford Art Prize will be presented at Gosford Regional Gallery and is open to all artists across Australia. It attracts entries in all mediums from traditional forms to new media artworks. The 2025 iteration is the 26th time the prize will be presented at Gosford Regional Gallery, and it continues to grow in size and popularity every year.

The finalists exhibition is on until 9 November, 2025 at Gosford Regional Gallery.

READ MORE HERE

IMAGE:
SALLY ANDERSON
‘November bells, BT mother, birth banksias, PP nude in a garden’ 2024
acrylic on polycotton,
183 x 198 cm

Vipoo Srivilasa's upcoming exhibition at Edwina Corlette 'Iconic Figures: Devas, Deities and Divas' has been featured in an article for Colossal titled 'Terracotta and Gold Figures by Vipoo Srivilasa Conjure Joy and the Divine' by Grace Ebert. Colossal is an online art magazine that celebrates contemporary art and visual culture across a wide range of creative disciplines.

"Joy and the possibilities of creative communion ground the practice of Vipoo Srivilasa (previously). The artist, who lives and works between Australia and Thailand, is known for his ceramic sculptures that take an ebullient approach to life.

Standing between one and two feet tall, Srivilasa’s figures are clad in floral baubles, mandala-like motifs, and gold details, often with their fingers shaped like a V. The lively characters invoke both the mundane and the divine as they portray aspects of the spiritual world while firmly rooted on the earth."

READ MORE HERE

IMAGE:
About Colossal magazine, courtesy Colossal webpage.

Vipoo Srivilasa's work Beneath the Love has been acquired by the National Gallery of Victoria, using funds donated by the Rob Gould Foundation.

Vipoo says of the work:

"Beneath the Tree of Love is my way of honoring love, commitment, and companionship. Inspired by the ceramic sculpture "The Music Lesson" from the Chelsea Porcelain Factory in the NGV collection, I wanted to blend old styles with a modern twist. This piece shows the close bond between two people and their pet, symbolizing unity and harmony in a loving relationship. It also shows a few pairs of animals who often visit my backyard. I hope the piece brings you the feelings of warmth and happiness. A celebration of love."

IMAGE:
Beneath the Tree of Love 2024
National Gallery of Victoria, Melbourne
Purchased with funds donated by Rob Gould Foundation
Image courtesy the artist

We are delighted to share that Miranda Skoczek has been profiled in Marie Claire Australia. The feature offers a glimpse into her Camberwell apartment, where living space and studio merge to reflect her layered artistic vision.

“I’m a colourist, first and foremost. Colour is my main compositional language,” Skoczek notes, describing the vibrant and expressive world that informs her practice. She adds, “Every object tells a story … my paintings are also very much about places experienced and imagined.”

The article celebrates Skoczek’s distinctive use of colour, her love of collecting, and the intimate connection between her art and her surroundings.

READ MORE HERE

IMAGE:

Marie-Claire article featuring Miranda Skoczek

Congratulations to Eliza Gosse, whose painting Flannel Flowers Under the Wattle Tree has been selected as a finalist in the 2025 Wynne Prize, on view at the Art Gallery of New South Wales from 10 May to 17 August.

In this evocative work, Gosse reimagines her grandparents’ Central Coast garden as a dreamlike landscape filled with native flora and the echoes of childhood memories. Drawing on imagery from mid-century design and magazines such as Australian House & Garden, she combines stylised architectural forms with the abundant textures of the bush – flannel flowers, grevilleas, kangaroo paws and towering gums. The result is a tender homage to the creativity and care of cultivated backyards, and a reflection on how these spaces shape both memory and identity.

This marks Gosse’s second time as a Wynne finalist, affirming her distinctive contribution to the depiction of Australian landscapes.

READ MORE HERE

IMAGE:

ELIZA GOSSE
Flannel flowers under the wattle tree 2025
synthetic polymer paint on canvas, oil on birch plywood
183.4 x 152.7 cm

We are delighted to announce Sally Anderson’s inclusion in TENDER at Ngununggula in the Southern Highlands of New South Wales.

TENDER is an annual exhibition committed to showcasing the work of Australian women artists.

'Tender' within this exhibition refers to the body, our gestures, and the way we feel or express ourselves. We impart the term on places, objects or surfaces to describe how they arouse our senses or how an object yields under pressure; it softens, loses shape, and gives way. This term has rich and varied meanings, and the aim of this exhibition is to explore its significance beyond a gender lens.

Sally Anderson’s work asks how one can hold households, partners, children, paintings, parents, and the self all at once. It reflects the ways motherhood, domesticity, and creative practice become reciprocal and inevitably entangled, each influencing and permeating the other. The work deliberately moves between abstraction and representation, using still-life and landscape motifs as symbols of containment and care.

The exhibition is current at Ngununggula 12 April - 15 June 2025

READ MORE HERE

IMAGE:
SALLY ANDERSON
Self and Still life (shared garden future nurture) 2024
acrylic on polycotton
183 x 165 cm

Bundit Puangthong has been working on multiple murals for Soi38's new location. Soi38 brings authentic Thai food to Melbourne, with distinct street food style architecture and seating. The restaurant thrived and became an institution. And its fiery salads, raw seafood and moo kata (Thai barbeque) helped kick off a new wave of Thai dining in Melbourne.

The mural has Bundit's distinct mix of bold street art and traditional Thai drawing on a monumental scale, featuring imagery of the monkey god 'Hanuman'.

"The walls are covered in swirling, star-studded murals by Melbourne-based Thai artist Bundit Puangthong, and a stainless steel bar anchors the room, allowing for an expanded drinks menu that includes Thai beers on tap, natural wines by the bottle, and a signature cocktail menu that features gin infused in-house with Thai ingredients like lemongrass, chilli and makrut lime."

READ MORE HERE

IMAGE:

Installation view, Bundit's Soi38 mural, courtesy Chege Mbuthi

Bundit Puangthong has been teaching crowds of visitors this week in the National Gallery of Victoria's 'Drop By Drawing' sessions. Occurring every Saturday during their summer program, the drawing sessions encourage members of the public to learn new tips, tricks, and drawing techniques from renowned artists, taking inspiration from the Gallery's collection.

READ MORE HERE

IMAGE:

Drop By Drawing session at NGV, 2025, courtesy Michael Pham

Eliza Gosse is exhibiting in Seoul this month, alongside three other international artists in an exhibition titled 'Naive Realism'. The show reinterprets still life painting through architectural scenes from the everyday. The four artists aim to remove meaning from historical objects in order to provoke personal memories and reflections from the viewer.

Eliza Gosse's contribution is two acrylic paintings on canvas, and two gouache paintings on paper, each titled in response to moments of solitude in her home.

The exhibition is open 27 December, 2024 until 2 February, 2025.

READ MORE HERE

IMAGE:

Eliza Gosse

'Kumquats in the Courtyard' 2024

acrylic on canvas

137 x 112 cm

Image Courtesy the artist and Art Space Howha

Congratulations to Vipoo Srivilasa for his exhibition ‘re/JOY’, which is currently at the Australian Design Centre and touring across five states over the next three years. These statues, standing 1.5 metres tall, centre a collection of broken ceramic pieces that were personally significant to a range of families and their experiences of migration. Fragments of teapots, tiles, and bowls from across the world are included in this reimagining of strength, community, and healing. The creation of these figures was inspired by a previous project of Srivilasa’s (of the same name - re/JOY) in Warrnambool, repairing people's broken ceramics that were too sentimental to be thrown away. Srivilasa continuously brings new life and joy to old pottery.

The exhibition is currently on at the Australian Design Centre, Sydney until 19 February 2025. The exhibition will tour Australia from 2025 to 2027.

READ MORE HERE

Congratulations to Ari Athans whose work ‘A ripple and a rock’, made in collaboration with Urban Art Projects is now installed at Wentworth Point in Sydney.

This work is inspired by sedimentary rocks such as sandstone and shale which make up the ripple valley of Sydney Harbour.

Seeking to re-invoke the soft and natural elements of the area, ‘A ripple and a rock’ signals a place and a point of arrival along the urban coastline. The forms appear to have tumbled together and washed ashore, their shape framing the bay and supporting view lines across the water.

- Ari Athans


IMAGE:

Ari Athans

A ripple and a rock 2024

sandstone, cast aluminium, fabricated steel

dimensions variable

Eliza Gosse recently completed a week as artist in residence at Bundanon

‘I spent the week painting on ceramics taking inspiration from this landscape. The Boyd family have such a rich history with pottery so was an inspiring place to do so.’

The Artist in Residence program is a pillar of Bundanon, an organisation created to support creativity and learning in a unique cultural and natural landscape.

‘A place for the community to enjoy the bush and the river, and a place to be used as a forum where those from every facet from the arts and sciences could get together.’ - Arthur Boyd

This competitive residency program is made possible by the generous contribution of Arthur and Yvonne Boyd to the Australian public. Established in 1997, it has grown to become the largest program of its kind in Australia, hosting over 250 artists annually.

IMAGE:

Eliza painting ceramics at Bundanon

We are delighted to share the recent publication of ‘Vipoo Srivilasa: Positive Art Work’. This comprehensive monograph celebrates over 25 years of Vipoo Srivilasa’s influential career in ceramics.

Known for his accessible, positive, and beautiful work, Vipoo’s art reflects his life in both Australia and Thailand, using clay to tell stories and bring people together.

The essays have been contributed by:
Alice Pung: Writer and editor
Glenn Barkley: Artist, writer, and curator
Samantha Littley: Curator, Australian Art, QAGOMA
Lisa Cahill: CEO and Artistic Director, Australian Design Centre
Tiffany Johnson: Publisher and author

Published by Paper Boat Press Edition and The Australia Design Center

READ MORE HERE

IMAGES:

1/ Front cover of 'Vipoo Srivilasa: Positive Artwork'

2/ Example Spread of 'Vipoo Srivilasa: Positive Artwork'

We are thrilled to share that John Bokor is a finalist in the 2024 Kedumba Drawing Prize with his work 'After the Feast'.

The Kedumba Drawing Award is a $20,000 acquisitive award open to resident Australian artists working in the broad sphere of drawing. The winning work will become a permanent part of The Kedumba Collection, which is considered to be the most important collection of Australian drawings outside the National Gallery.

The finalists exhibition will be held from 17 November - 15 December, Kedumba Gallery, NSW

IMAGE:

John Bokor

After the Feast 2024

charcoal, wash and collage

71 x 90cm

READ MORE HERE

Four of Sally M Nangala Mulda's paintings are the focal point of the current exhibition at the University of Queensland Art Museum 'Dusk of Nations'. The exhibition featured works from Australian-based artists exploring the resistance, subversion, and defence of nationhood. The selected works survey varying perspectives of national identity and highlight the importance of recognising these differences of experience.

“Scenes of communal joy and peace are hung alongside scenes of housing insecurities, domestic violence and police brutality. Through her paintings, Mulda generously offers us a glimpse of her community – a place of both injustice and hope.”

It was wonderful to see Sally’s paintings of her life in Mpwetyerre represented in this thought-provoking exhibition.

READ MORE HERE

IMAGES:
Installation views of ‘Dusk of Nations’, UQ Art Museum 2024. Image courtesy Joe Ruckli

Congratulations to Sally Anderson who is a finalists in the 2024 Portia Geach Memorial Award with her work ‘Self and still life (shared garden, future nurture)'.

The Portia Geach Memorial Award was established in 1965 to be annually presented to an Australian female artist. Portia Geach was an iconic figure in the Australian arts community, acclaimed for her art and media presence, and as such the award was created in her honour. The award is specifically for the best portrait painted from the life of someone well renowned in art, academia, or science.

Finalists exhibition will be held at the S.H Ervin Gallery, 25 October – 15 December 2024, Sydney

READ MORE HERE

IMAGE:
Sally Anderson
Self and still life (shared garden, future nurture) 2024
acrylic on polycotton
183 x 198cm

ELIZA GOSSE features in the Spring issue of STYLE. Eliza is included in a portfolio of Sydney’s most inspiring talent, a portfolio ranging from restauranteurs to textile makers. Read about Eliza’s practice in the most recent issue of STYLE, available now.

Eliza Gosse is a finalist in the Fisher Ghost Award with her work They Held Their Pose Longer After What Was Necessary.

IMAGE:

They Held Their Pose Longer After What Was Necessary 2024
oil on birchply cutout
167 x 100 cm

Aligned with his recent show at Edwina Corlette Gallery, Rhys Lee opens up to Tom Gerrard about his painting practice, upbringing, and the behind the scenes of his exhibitions.

LISTEN HERE

IMAGE:

Rhys Lee
Big Fight (Undefeated) 2024
oil on canvas
205 x 156 cm

Image used on the cover of this Bench Talk podcast episode.

Curated by Vipoo Srivilasa, ‘Generation Clay: Reimagined Asian Heritage’, opens on Saturday 3 August at Bunjil Place, Victoria.

‘Generation Clay: Reimagining Asian Heritage’ is an exhibition celebrating the vibrant versatility of clay, presented by a new generation of Asian-Australian contemporary artists. Together, these artists are reimagining traditional and ceramic forms in ways that resonate with our current moment.

This exhibition will engage with a multiplicity of concepts – from personal histories and memories, cultural heritage and family ties to mythological and popular culture narratives. Curated by Vipoo Srivilasa, a recognised leader in the field of ceramics, ‘Generation Clay’ started with fourteen artists from across Australia being invited to create a new work using a palette of predominantly blue and white. The colour blue is also a unifying feature of the exhibition’s design, alluding to the wider discourses of blue and white patterning, it’s connections to global movement and its reinterpretation and translation through form and motif over time.

Nestled in the heart of the exhibition is ‘The Bloom Room’ a special making area where exhibition visitors can participate in a range of changing monthly activities, from hand-crafting origami flowers and tiny clay objects, to sharing secret powers and stories, ‘The Bloom Room’ is your space to create, connect and collaborate with the artworks and artists featured in ‘Generation Clay’.

3 August - 24 November 2024
Bunjil Place Gallery, Narre Warren, Victoria

READ MORE HERE

We are thrilled to announce that Vipoo Srivilasa’s interactive exhibition, “Marvellous Mythical Mates,” opens at Counihan Gallery in Melbourne this Saturday 3 August, 2024.

The exhibition explores the theme of belonging. Inspired by the sights, sounds, smells, and textures of Merri-bek, attendees are encouraged to create their own mythical dream pets from clay. Whether your pet dings like the Number 19 tram or gurgles like the Merri Creek, the possibilities are endless.

Contribute to a growing menagerie of Merri-bek creatures by proudly displaying your dream pet in the gallery. With every passing day, new creations will emerge, transforming the exhibition into a living habitat for fantastical companions!

Join the opening ceremony on Saturday, August 10 from 2 – 4pm.

The exhibition is current until October 27, 2024

READ MORE HERE

Congratulations to Vipoo Srivilasa who has been invited to present his interactive art exhibition ‘Flower Bear Deity’ at the Fremantle Arts Centre as the lead artist for the 2024 Indian Ocean Craft Triennial (IOTA). The exhibition will run from 16 August - 20 October 2024.

The Indian Ocean Triennial Australia (IOTA) is a not-for-profit arts organisation based in Perth, Western Australia. IOTA presents the extraordinary work of contemporary artists and artisans from around the region; particularly those who build on the traditional skills and mediums of craft practices.

READ MORE HERE

Curated by Vipoo Srivilasa, ‘Generation Clay: Reimagined Asian Heritage’, opens on Saturday 3 August at Bunjil Place, Victoria.

‘Generation Clay: Reimagining Asian Heritage’ is an exhibition celebrating the vibrant versatility of clay, presented by a new generation of Asian-Australian contemporary artists. Together, these artists are reimagining traditional and ceramic forms in ways that resonate with our current moment.

This exhibition will engage with a multiplicity of concepts – from personal histories and memories, cultural heritage and family ties to mythological and popular culture narratives. Curated by Vipoo Srivilasa, a recognised leader in the field of ceramics, ‘Generation Clay’ started with fourteen artists from across Australia being invited to create a new work using a palette of predominantly blue and white. The colour blue is also a unifying feature of the exhibition’s design, alluding to the wider discourses of blue and white patterning, it’s connections to global movement and its reinterpretation and translation through form and motif over time.

Nestled in the heart of the exhibition is ‘The Bloom Room’ a special making area where exhibition visitors can participate in a range of changing monthly activities, from hand-crafting origami flowers and tiny clay objects, to sharing secret powers and stories, ‘The Bloom Room’ is your space to create, connect and collaborate with the artworks and artists featured in ‘Generation Clay’.

“I have brought together some of the most exciting ceramic talent and together we are creating, what I believe, is a first-of-its-kind exhibition – Asian Australian ceramicists interpreting the blue and white palette in new ways,” said Vipoo Srivilasa.

“I have also worked with the Asian diaspora on the exhibition design, construction, writing and photography of the show. The works, along with the participatory nature of the exhibition is something that I’m very proud of.’’

Bunjil Place Gallery, Narre Warren, Victoria, 3 August - 24 November 2024

Image courtesy Jessica Tremp

READ MORE HERE

Congratulations Eliza Gosse whose portrait of Australian designer Emma Mulholland is a finalist in this year's Salon des Refusés. 'Emma and Norby on holiday' is now hanging at S.H. Ervin Gallery until 25 August, 2024.


The Salon des Refusés was initiated by the S.H. Ervin Gallery in 1992 in response to the large number of works entered into the Archibald Prize which were not selected for display in the official exhibition.

Each year the Salon des Refusés panel is invited to go behind the scenes of the judging process for the annual Archibald Prize for portraiture and Wynne Prize for landscape painting and figure sculpture at the Art Gallery of New South Wales, to select an exhibition from the many hundreds of works entered in both prizes but not chosen for the official award exhibition. The Salon des Refusés exhibition has established an excellent reputation that rivals the selections in the ‘official’ exhibition, with works selected for quality, diversity, humour and experimentation, and which examine contemporary art practices, different approaches to portraiture and responses to the landscape.

- S. H Erving Gallery

IMAGE:

Eliza Gosse

'Emma and Norby on holiday' 2024

oil on birch plywood

180 x 115 cm

READ MORE HERE

Congratulations Vipoo Srivilasa whose work ‘Memory’ (2018) forms part of the Namedropping exhibition at the Museum of Old and New Art (MONA) in Hobart. This expansive exhibition presents around 200 artworks and objects, examining the realm of status, influence and the power we place in a name.

‘Memory’ (2018) consists of five porcelain and cobalt pigment figures with gold lustre details, housed in wooden structures. Each figure relates to a childhood sporting memory from the artist and features different sporting equipment or uniforms to reflect this. The porcelain statues are each mounted in uniform L-shaped wooden blocks, inspired by an old trophy from the Australian Sport Museum collection.

On now and current until 21 April 2025.

IMAGE:

‘Memory’ (2018)

porcelain and cobalt pigment figures with gold lustre details

READ MORE HERE

Congratulations Vipoo Srivilasa whose work is featured in the Australian Design Centre On Tour exhibition SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022. Vipoo's 2019 ceramic 'Dvarapala (Ta-waa-ra-baan), Door Guardian Porter' is currently on show at Design Tasmania in Launceston until 21 July 2024.

The exhibition is presented by Australian Design Centre in partnership with The Australian Ceramics Association (TACA) to acknowledge this significant anniversary for the ceramics community in Australia.

"For this show, I created a pair of friendly Dvarapala. They do not only ward off evil spirits but also welcome visitors. Instead of holding a club, they offer flowers and leave to visitors. Both of my Davrapala come with their own “vahana “ or animal- vehicle which they travel on and keep their company. Both animals, cat and dog are the most popular pets in the world. They are not only our great companion but also a guard for our house and a therapy to heal our spirit."

READ MORE HERE

Image:
VIPOO SRIVILASA
Dvarapala (Ta-waa-ra-baan), Door Guardian Porter series 2019
stoneware, underglaze, gold lustre, acrylic, mixed media

Miranda Skoczek has been a guest on ABC Radio National, delving into the new direction of her current exhibition at Post Space in Exeter, England. In a vibrant conversation with Kimberly Price, Miranda explains the deeply personal body of work, and her distinctive abstract painting.

LISTEN HERE

IMAGE:

Miranda Skoczek with her exhibition 'Red Ribbons', Post Space, Exeter, courtesy the artist

We are thrilled to announce that Sally M Nangala Mulda has been selected as a finalist in the Sir John Sulman Prize with her work 'Amoonguna long time ago'.

We stay at Amoonguna long time ago. We went on the train to Maryvale.

Sally M Nangala Mulda, 2024

Sally M Nangala Mulda’s work is a form of documentary storytelling. In this painting, she references a time in the 1960s when her family moved to Amoonguna Aboriginal Reserve about 15 kilometres east-south-east of Mparntwe/Alice Springs, so the children could attend school. Sally was born in the camp of Aboriginal stock and station homestead workers on Maryvale cattle station. That camp was recognised as Aboriginal Land in 1978, and the residents have transformed it into the idyllic Titjikala community within easy walking distance of the old homestead.

Tangentyere Artists, 2024

READ MORE HERE

Artwork:

'Amoonguna long time ago' 2024

acrylic on linen

51 x 122 cm

Delighted to announce that Sally Anderson has been selected as a finalist in the Sir John Sulman Prize with her work ‘Holding a hurricane, quilt curtain carrying the sea’.

How do you hold a hurricane? How do you hold close things that are spiralling out of your control? Can you contain the sea in a quilt? How do we measure domestic, creative and maternal labour? With time? How does one get more time in a day? How do we hold households, partners, children, paintings, parents and ourselves simultaneously? This painting speaks to the ways motherhood, domesticity and creative practice are, for me, reciprocal and ultimately entangled. Each informs and infects the other. This work deliberately dances between abstraction and representation and employs still-life and landscape motifs as symbols of containment and care.

- Sally Anderson, 2024

READ MORE HERE

IMAGE:
SALLY ANDERSON
Holding a hurricane, quilt curtain carrying the sea 2024
synthetic polymer paint on canvas
182.5 x 198.2 cm

Congratulations Sally Anderson who is a finalist in the 2024 Bayside Painting Prize for her 2024 work ‘Placenta banksia, Bridal Veil Falls view, the sea in me, PB nude quilt tablecloth’. Established in 2015, the Bayside Painting Prize is one of the most generous non-acquisitive painting prizes in Australia. The exhibition draws together a breadth of artists with varied approaches to painting. This allows the Bayside City Council to further develop its collection and promote artists to the Bayside community.

The finalist exhibition will be held at Bayside Gallery from 3 May to 23 June 2024.

READ MORE HERE

IMAGE:
SALLY ANDERSON
Placenta banksia, Bridal Veil Falls view, the sea in me, PB nude quilt tablecloth 2024
acrylic on polycotton
168 x 137 cm

Image courtesy the artist and Jessica Maurer

At the time they both connected over their love for nature and now, roughly 10 years later Miranda has collaborated with Katie [Kolodinski] to curate The Protection Collection. Centred around symbolism and the rituals of self-protection including the iconic Aster flower, central to Katie’s upbringing, this was a harmonious alignment given Miranda’s style of art which is deeply influenced by historical references and ancient cultures.

For Miranda, her art allows people to explore other worlds and she hopes that placing her designs on clothing encourages people to have those conspectus conversations as well.

In line with this creative endeavour, she shared insights on her practices, creating the collection and her relationship with symbolism.

- Silk Laundry

IMAGE:

Courtesy Silk Laundry

READ MORE HERE

Vipoo Srivilasa has won the Civic Choice Award as part of the 2023 Melbourne Prize for Urban Sculpture.

The annual Melbourne Prize, now in its 19th year, continues its objective to provide opportunities to Victorian writers, musicians and for 2023, sculptors, demonstrating the importance of recognising and rewarding creative talent.

Artists practicing in expanded fields of sculpture, including public installation, new media, performance, sound-based and socially engaged practice were encouraged to apply, plus entries from artists at all stages of their practice, including First Nations people and artists from all genders and cultural, linguistic and diverse backgrounds.

READ MORE HERE

Congratulations to Sally Anderson, who has been announced as a finalist in the Grace Cossington Smith Art Award for her painting 'Nat Silk’s Seatown Still Life, PB Nude Quilt, Bromeliad Washdown'.

The biennial Grace Cossington Smith Art Award is a $20,000 National acquisitive award. The award theme is 'Making Connections' inspired by the work of Abbotsleigh graduate and artist Grace Cossington Smith - renowned for her Modern abstraction paintings of Australia. The finalist exhibition opens 27 January 2024 at the Grace Cossington Smith Gallery, Wahroonga, Sydney.

READ MORE HERE

IMAGE:
SALLY ANDERSON
Nat Silk's Seatown Still Life, PB Nude Quilt, Bromeliad Washdown 2023
acrylic on polycotton
153 x 137 cm

We are thrilled to announce that ELIZA GOSSE has been selected as a finalist in the 2023 Paddington Art Prize for her work 'Greenwell Point'

The Paddington Art Prize is a $30,000 National acquisitive prize, awarded annually for a painting inspired by the Australian landscape.

IMAGE:

Eliza Gosse

Greenwell Point 2023

Gouache on paper

28 x 28 cm

READ MORE HERE

VIPOO SRIVILASA has been selected as one of the four finalists in the $60,000 Melbourne Prize for Urban Sculpture 2023.

READ MORE HERE

Rhys Lee is featured in Issue 42 of Beautiful Bizarre.

Leesa Hickey, Director of Side Gallery in Australia, has selected 8 works in the market that she wishes to add to her personal collection. Amongst these 8 works is Rhys Lee's 2021 Polkadot Robe.

IMAGE:

Rhys Lee

Polkadot Robe 2021

oil on canvas

95 x 78 cm

READ MORE HERE

Congratulations to our artist John Bokor who is a finalists in this year's Mosman Art Prize for his work 'The Flowering Plant'. Exhibition open 23 September in Mosman, Sydney.

IMAGE:
John Bokor
The Flowering Plant 2023
oil on board
140 x 120 cm

READ MORE HERE

Congratulations to our artist Eliza Gosse who is a finalists in this year's Mosman Art Prize for her work 'We Climbed the Fence and Swam in Their Pool'. Exhibition open 23 September in Mosman, Sydney.

IMAGE:

Eliza Gosse

We Climbed the Fence and Swam in Their Pool 2023

gouache on paper

39 x 39 cm

READ MORE HERE

Congratulations VIPOO SRIVILASA who has been shortlisted for the prestigious Deakin University Contemporary Small Sculpture Award for his work The Kiln God Altar. Vipoo has been selected as one of the 40 finalists out of 422 entries.

The selection process was led by a panel of judges, including the renowned Australian artist Lisa Roet, the esteemed Curator Antony Fitzpatrick from TarraWarra Museum of Art, and the representative from Deakin University, Leanne Willis.

The finalist’s exhibition will open to the public on Wednesday 23 August at the Deakin University Art Gallery and the launch and announcement of winners will take place on Thursday 31 August.

Vipoo Srivilasa

'Kiln God Altar' 2023

A collection of Kiln Gods, created with various clay types, techniques, firing range and artistic style, symbolises the diversity within the clay community.

Displayed together on one stand, they represent unity, interconnection and shared spiritual traditions among clay workers worldwide.

READ MORE HERE

Tim McMonagle's painting 'Plaza' is currently on view at the Art Gallery of New South Wales in the 'brick vase clay cup jug' exhibition.

Guest curator Glenn Barkley selected the artworks in 'brick vase clay cup jug' by typing the words of the exhibition title into the Art Gallery of New South Wales’ online collection database, retrieving objects linked only by a word or medium. Unlike the typical approach to making an exhibition, where works are grouped conceptually according to meanings or historical associations, this selection process is non-hierarchical and echoes the random groupings seen in gallery storage. Usually guided by pragmatic considerations – maximising space and access or caring for the collection – these incidental groupings can create inspiring and surprising links between disparate objects, art-handling equipment and exhibition furniture.

Barkley has then taken cues from these search results, either aesthetic or conceptual, to cast a wider net through the collection, creating new connections – many of which are personal, visual, intuitive and emotional – between artworks.

- Art Gallery New South Wales

The exhibition is open until January 2024

IMAGE:

Tim McMonagle

Plaza (installation view) 2005

oil on linen

180 x 180 cm

READ MORE HERE

Sally Anderson is featured in the July/August edition of Art Guide Australia.

Motherhood, domesticity, landscape, memory—these are just some of the experiences and memories Sally Anderson has captured in her two-decade painting practice, underpinned by a persistent blue.

The outer edges of Sally Anderson’s paintings reveal multiple layers of canvas, the evidence of past works painted over yet still present deep within. Integral to how Anderson works, this layering connects to ideas of containment and the action of being physically held. “This could refer to a mother carrying her baby, being restricted to the home, a vessel holding flowers, frames, windows or pools,” she says.

- Briony Downes, Art Guide, 2023

IMAGE:

Sally Anderson in her Studio, courtesy Jessica Mauer

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Grace Ebert featured Vipoo Srivilasa's exhibition 'Solitude and Connection' in the article 'Exquisite Porcelain Figures by Vipoo Srivilasa Express the Ineffable Nature of Beauty and Connection'.

"Flowers in gold lustre and cobalt, small portraits of mythical creatures with feathers and polka dots, and various geometric motifs embellish Vipoo Srivilasa’s porcelain figures, which celebrate abundance and joy through opulent details. On view now at Edwina Corlette in the artist’s solo show Solitude and Connection, the sculptures are otherworldly in form as they meld human anatomy with flora and fauna, exploring 'the diverse ways in which love takes shape.'"

READ MORE HERE

Arrernte and Southern Luritja artist Sally M Nangala Mulda alongside Arrernte and Western Arrarnta artist Marlene Rubuntja have developed their practice to be completely recognisable and representative of the place in which they live, Mparntwe/Alice Springs. Working from Tangentyere Artists and Yarrenyty Arltere Artists (art centres), these senior women have established themselves as two of Australia’s leading visual artists.

The third Artbank + ACMI Commission, Two Girls From Amoonguna, encompasses video, soft sculpture and paintings, with the centerpiece the animated work titled Arrkutja Tharra, Kungka Kutjara, Two Girls.

Arrkutja Tharra, Kungka Kutjara, Two Girls delves into the reality of First Peoples’ experiences in Central Australia by chronicling the artists’ successes and struggles. The work centres Sally and Marlene’s voices, as well as the voices of their younger family members, who can be heard in the animation. It was made in collaboration with Ludo Studio, the Emmy-award winning production company behind Bluey, Robbie Hood and The Strange Chores, along with script writer Courtney Collins, Left of Elephant Sound and Tangentyere Artists producer Ellanor Webb.

Figures from Marlene’s soft sculptures and Sally’s acrylic on linen paintings star in the animation, embedded on top of Marlene’s ink on paper works of the Central Australian landscape. Bringing together both artists’ practice, Sally’s iconic cursive painted lettering produce the subtitles.

Having grown up at the Amoonguna Settlement outside of Mparntwe/Alice Springs in the early 1960s, the two friends wouldn’t reconnect until much later in life, after both of them had seen their fair amount of hardships; now having achieved so much, they are immensely proud of one another.

Two Girls from Amoonguna is an exhibition about two of Australia’s leading artists and their journey to get there.

IMAGES:

1/ Sally M Nangala Mulda at Tarnanthi, 2019

2/ Marlene Rubuntja holding a soft echidna sculpture

WATCH HERE

READ MORE HERE

Congratulations to Sally Anderson who is a finalist in this year's Ravenswood Australian Women's Art Prize with her work ‘Sea Town Lawn Roof Song with NO’s Vessel.’

The Ravenswood Australian Women's Art Prize is an annual prize that was launched in 2017 to advance art and opportunity for emerging and established female artists in Australia. It is the highest value professional artist prize for women in Australia.

READ MORE HERE

IMAGE:

SALLY ANDERSON
Sea Town Lawn Roof Song with NO’s Vessel 2023
acrylic on canvas
115 x 97 cm

Sally M Nangala Mulda is a finalist in the 2023 Sulman Prize.

Old man pay day

Daughter and father drinking beer. Down the creek one woman got two tail. Two man coming with the beer two rum with the bag

Two rum and two coca cola in the bag

Woman taking tail

Man taking rum and coca cola with the bag

Man taking beer at the creek

Sally M Nangala Mulda, 2023

Sally M Nangala Mulda’s work is a form of documentary storytelling. She started painting in 2008 and has frequently portrayed town camp life since the 2007 Northern Territory intervention: people camping in the riverbed in swags, council rangers moving people on, people cooking kangaroo tail down the creek. Her practice represents an important catalogue of lived experience of town camp life and colonisation.

Read more here.

Sally M Nangala Mulda

Old man pay day

acrylic on linen

59.5 x 91.5 cm

Eliza Gosse is a finalist in the 2023 Archibald Prize.

This dual portrait features Eliza Gosse and her husband, architect and designer Benjamin Jay Shand, who was the subject of her portrait 'somewhere near home' in the Archibald Prize 2022.

Gosse describes this 2023 work – one of several recent portraits, all painted on board – as: 'a cut-out of our weekend at sunrise – just us and our fluffy robes.'

Robes are mandatory if you come to breakfast at ours. The coffee percolates as the muesli is garnished and the CD is chosen. Wouldn’t it be wonderful if every morning could be spent lazing over several cups of coffee with a dash of honey and a side of strawberries?

While painting these portraits in my studio, I indulged in a few afternoons on the floor – tea and biscuits included – with the works propped up against the wall, as a sort of tea party with my wooden friends.

My studio mates will be glad to see these cut-outs gone; they say they came to life at night.

- Eliza Gosse

IMAGE:

Eliza Gosse

Breakfast At Ours

oil on board

two panels: 137.5 x 86.5 cm (left); 145.5 x 97 cm (right)

READ MORE HERE

Eliza Gosse was featured in The Design Files article 'Eliza Gosse's Paintings Capture the Nostalgia of Retro Architecture' by Christina Karras.

There’s a magical attention to detail within Eliza Gosse's architectural paintings.

She expertly captures the light-filled interiors and magical Modernist facades of homes inspired by designs of the ’50s, ’60s and ’70s with a dreamy pastel palette that makes you want to leap right into them. All the while maintaining a beautiful ‘flatness’ about her work.

- Christina Karras, The Design Files

READ MORE HERE.

Congratulations to Vipoo Srivilasa who has been awarded the Visual Arts and Crafts Strategy (VACS) Major Commissioning Projects grant. Vipoo is a recipient of $100,000 to realise a major project 'Re/JOY' in collaboration with the Australian Design Centre. 'Re/JOY' is a collaborative, community-driven project designed to engage with overseas-born Australians.

'Re/JOY' will examine the emotional connection we form with objects by retelling migration stories and experiences. The project aims to provoke the complex feelings associated with overseas relocation and the difficult process of gaining Australian permanent residency.

READ MORE HERE

Image: Vipoo Srivilasa and the Happy Australian Sculptures at the National Portrait Gallery. Photo by Liv Cameron 2023.

Ari Athans was featured recently in the Qantas In-Flight magazine in an article written by Noelle Faulkner.

Vipoo Srivilasa's work 'Happy Australian' will form part of the National Portrait Gallery's exhibition 'Portrait23: Identity'.

'Portrait23: Identity' is a major exhibition of new work from multi-award-winning contemporary Australian artists and collectives working across every state and territory. Street art, textiles, performance, photography, ceramics, painting, drawing, soft sculpture and bronze challenge the boundaries of portraiture. Many of the works move eloquently between installation, video, and animation, inviting you, the viewer, inside the portrait.

Twenty-three artists and collectives present dramatic, ambitious and thrilling work about who they are and what it means to represent themselves, their communities, their histories and contemporary society. They break open the genre with deeply personal evocations of themes that resonate collectively, such as cultural knowledge, feminism, visibility/invisibility, activism and journeys of migration.

10 March – 18 June 2023.

READ MORE HERE.

Image details;

Four works from Happy Australian, 2022 Vipoo Srivilasa. © Vipoo Srivilasa. Photograph by Simon Strong

Miranda Skoczek is featured in ‘Artists at Home’ a new book about Australian female artists by Karina Dias Pires, published by Thames and Hudson, out now.

IMAGE:

Miranda Skoczek, courtesy Karina Dias Pires

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Congratulations to Sally Anderson who is a finalist in this year's Muswellbrook Art Prize with her work ‘Lismore Island Roof Song with a Screenshot of Nat Silk’s Seatown’.

READ MORE HERE

IMAGE:
Sally Anderson
Lismore Island Roof Song with a Screenshot of Nat Silk’s Seatown 2022
acrylic on polycotton

Ari Athan's work 'Strata Sample One' is featured in the current issue of Belle Magazine inside Anna Spiro's home.

IMAGE:

Ari Athans

Strata Sample One 2022

ceramic, wood and acrylic paint

57 x 20 x 20 cm

Noelle Faulkner from QANTAS Travel Insider Magazine spoke with Vipoo Srivilasa about his art practice. "With a playful approach that marries European-Australian and Thai motifs, this Bangkok-born artist’s figurines are full of charm."

READ MORE HERE.

Image details;

Pieces from Vipoo Srivilasa’s Always Better Together series (2022)

Sally Anderson has received a glowing review in the Sydney Morning Herald.

Sally Anderson’s Guido 'Holding Folding Moulding' is another stand-out. Ostensibly a portrait of her artist husband holding their child, there’s a metaphysical dimension to the work, with a sculpture on a pedestal, a jug with flowers and a red, flag-like curtain taking up significant space in the composition. The play of curves and fractured planes adds to the mystery of the picture, as we feel we are looking through multiple doorways or windows, projecting a dream-like atmosphere.

- John McDonald, Sydney Morning Herald, 2022.

READ MORE HERE

Congratulations to Sally Anderson who is a finalist in the Portia Geach Award at SH Ervin Gallery in Sydney.

The Portia Geach Memorial Award was established in 1965 to be annually presented to an Australian female artist. Portia Geach was an iconic figure in the Australian arts community, acclaimed for her art and media presence, and as such the award was created in her honour. The award is specifically for the best portrait painted from the life of someone well renowned in art, academia, or science.

The exhibition is open 16 September – 6 November 2022

READ MORE HERE

IMAGE:
SALLY ANDERSON
Guido holding, folding, moulding 2022
acrylic on polycotton
198 x 153 cm

Blue Island investigates the interplay of colour and memory in relation to individual experience. Paintings draw on hydrangea related respective experience to demonstrate the capacity for colour and object to hold and trigger memory and association. The exhibition seeks to question the reliability of memory and offers a way to authenticate experience through colour. In attempting to realise something perhaps visually impossible to verify within their paintings; mixing colour truthfully and straightforwardly from memory, the artists are challenged to settle on feeling and intuitive correctness rather than absolute truth and certainty.

Using a uniform size canvas, the 14 invited artists were instructed to translate, from their ‘mind’s eye’, the colour they most strongly associate with their experience of hydrangeas. The result is a collection of essentially monochrome surfaces steeped with hidden and concealed recollections of mothers and mother’s mothers, former neighbours and neighbourhoods, marriage, childbirth city front-yards, suburban backyards, households and broken family homes. More visually evident (than the personal histories imbued in the paintings) is the materiality and individually distinctive application of paint to surface. These largely monochrome works give a condensed, and detail like insight into each artist’s painterly signature, almost all of which are instantly recognisable.

- Sally Anderson, 2022

READ MORE HERE

Dan Kyle reflects on his time spent visiting Candy Nelson Nakamarra's studio with Edwina Corlette and Miranda Skoczek in preparation for 'On Common Ground' Exhibition. The show is current at Edwina Corlette Gallery 28 June – 16 July, 2022.

Candy’s style is completely unique within her community of artists in Papunya. You can see links with her fellow artists and definitely some direct influence from her father, the renowned Papunya Tula artist Johnny Warangkula Tjupurrula, but she has created her own visual language. She’s doing something I haven’t seen before, and everyone in the group acknowledges it. “No one is painting like this!” we say, like five times each.

If you look closely at the work, through the layers of intricate motifs, you can see the initial process that Candy uses to start each painting. This is actually what excited me about her in the first place, as this part of her process really sets her apart. Candy starts each work by splashing and pouring watered-down paint over the canvases. She turns them around and around, forcing the drips to run freely. They crisscross and intersect each other over the surface. It’s the landscape from above: watercourses, waterholes, sand dunes.

Dan Kyle, June 2022

READ MORE HERE

IMAGE:

Candy Nelson Nakamarra at Papunya Tjupi Arts, 2022, photographed by Charlie Perry

Congratulations to Sally M Nangala Mulda who is a finalist in the 2022 Sulman Art Prize.

The Sulman Prize is awarded for the best subject painting, genre painting or mural project by an Australian artist.

Sally Mulda's painting 'Old Days at Amoonguna' depicts the art centre's toyota picking up all the woman for painting. That kungka Nadine driving. Long time ago I use to get picked up at Little Sisters. Now Abbott’s Camp. Every day. We listen to CAAMA radio. Good ways. Everybody talkin’ talkin’. This one [middle] – three woman, they on the hospital lawn, playing card for money. Pay day. Night time [right panel] four woman by the fire at town camp. They sitting round the fire at night time. Keeping warm, talking story. Maybe they by the fire because no power card? This is town camp life. Every day.

READ MORE HERE

Old Days at Amoonguna 2021
acrylic on linen
66 x 122.5 cm

The Archibald Prize is a prestigious Australian portraiture art prize that has been running since 1921. The national portrait prize is entering a new century with 816 submissions entered this year, of which 52 finalists were announced on Thursday 5th of May. It is with great pleasure to congratulate Eliza Gosse who was selected as a finalist in the 2022 Archibald Art Prize.

Gosse depicts in her painting an architect and designer Benjamin Jay Shand.

He sees beauty in the most peculiar places, has great hair and likes to wear sunglasses more than is usual. I can say that because he is my husband. I don’t often paint people; however, Benj finds himself the constant muse for my sketchbook scribbles. And as this is my first large-scale portrait, it felt natural for him to be the subject...

- Eliza Gosse

IMAGE:

Eliza Gosse

Somewhere Near Home (Painting of Benjamin Jay Shand) 2022

oil on canvas

122 x 152 cm

READ MORE HERE

‘Expanded Canvas’ is a major exhibition at Town Hall Gallery exploring the dynamic and innovative nature of contemporary painting. The traditional grid and 2D picture plane are replaced by modern surfaces, including drop sheets, sign vinyl, virtual space, and the gallery wall itself.

Bundit’s mural painting will be exhibited in the major exhibition ‘Expanded Canvas’, showing at Hawthorn Arts Centre, Victoria - 23 April to Saturday 2 July 2022.

READ MORE HERE

Congratulations to Eliza Gosse whose work has been included in a new exhibition at New South Wales parliament house 'National Art School in the NSW Landscape'.

The exhibit explores the relationship between people, land and culture across the state through artworks by 21 significant Australian artists who studied at the National Art School (NAS), which this year celebrates 100 years since moving into the former Darlinghurst Gaol site in inner-city Sydney. Featuring 27 major artworks in various media including tapestry, collage and ceramics, this show represents the enormous diversity of NSW’s landscape, environment and culture.

The exhibition is open at NSW Parliament House from 9 – 31 March 2022.

READ MORE HERE

The disparate textural layers of Aggregates in Construct blend the myriad forms and patterns of nature marked by the boundaries of human action. Ari Athans’ stacked, sculptural arrangements flow between the handmade, organic and industrial, marking the liminal points where the landscape rests upon and collides with the built world.

- Art Almanac, 2022

IMAGE:

Ari Athans

Ultra Surface 2022

ceramic, wood, vesicular basalt, acrylic paint

36 x 22 x 20 cm

READ MORE HERE

For more than twenty years ceramic artist Vipoo Srivilasa has created intricate and elaborate artworks that reflect his bicultural experience living between Australia and Thailand. He celebrates the intersections and overlaps between cultural, social, philosophical and environmental contemplations on life in a pandemic. VAULT asked Srivilasa to share some of his most beloved artefacts.

There is more to Miranda Skoczek’s paintings than immediately meets the eye. They are built intuitively and in layers, from colours, patterns and objects that she absorbs in her immediate home environment – and all over the world. They are often abstract, sometimes with figurative elements; they focus on paint and colour, process and time, to create a space that takes us somewhere other, outside the material world. Inspiration comes from art and antiquities, folk art and contemporary design – and through obsessive consumption of images. Skoczek describes herself as “a sponge,” confessing to VAULT: “I have 95,000 photographs on my phone.”

The mystical is evident in Skoczek’s hope that her paintings work like amulets for those who acquire them. Protective elements aside, in their sensual textures and influences, so powerfully evoked, these paintings emerge as poignant and poetic visual essays written to the past and the present."\

- Louise Martin-Chew, Vault Magazine

IMAGE:

Front Cover of Vault Magazine, Issue 37, 2022, featuring Miranda Skoczek's Dreaming of Betty (Woodman), 2018

READ MORE HERE

Vipoo Srivilasa’s immersive, participatory installation Shrine of Life/ Benjapakee Shrine 2021, featuring five hand-crafted ceramic deities representing attributes important to the artist: identity, love equality, creativity, security and spirituality has been acquired by Queensland Art Gallery | Gallery of Modern Art. The work, finished with gold lustre and floral embellishments, reflects Srivilasa’s holistic approach to life, and encourages audiences to appreciate the things that unite us.

His artwork for APT10 expands his practice, building on its audience-oriented qualities. The artist has created a reflective, shrine-like space that houses five secular deities representing attributes important to him — love equality, spirituality, security, identity, and creativity — and asks visitors to join him in celebrating them. Through the work, Srivilasa venerates memories of his Thai homeland, acknowledges what his relocation to Australia has meant to him, and encourages viewers to appreciate both our differences and our commonalities.

QUEENSLAND ART GALLERY 'ASIA PACIFIC TRIENNIAL'

4 December 2021 - 25 April 2022

READ MORE HERE

Garland Magazine
WILL MY HEART REMEMBER?
By Aaron Bradbrook

Aaron Bradbrook presents, re/JOY, a project by Vipoo Srivilasa to reincarnate objects relinquished by residents of Warrnambool.

READ MORE HERE

The Art Gallery of Ballarat has acquired two Vipoo Srivilasa works for their permanent collection. The works are 'Aqium' and 'Lori the Healthcare Hero' from the COVID SUPERHERO EXHIBITION 2020.

What does a COVID-19 superhero look like? Ceramicist Vipoo Srivilasa has created a collection of superheroes inspired by the dreams of people in the Ballarat community. Each superhero has a special power to fight off COVID-19.

This project is a collaboration between the Art Gallery of Ballarat and the City of Ballarat’s Creative City team.

READ MORE HERE

NGV is committed to providing creative experiences for young people and their families and sharing new ways to be creative. The gallery invited Bundit Puangthong to conduct a series of online workshops for their NGV Kids programme, during the 2021 Melbourne lockdown.

With a background in puppeteering, Bundit created a range of workshops with an introduction to making paper puppets.

READ MORE HERE

This year Bundit Puangthong was a finalist with his work 'Riding Stars' 2021 in the Sunshine Coast Art Prize - a visual arts award reflecting outstanding contemporary 2D arts practice in Australia. 16 years into this annual award, it has become the pinnacle event for the Sunshine Coast’s Regional Gallery in Caloundra, attracting entries from emerging and established artists across the nation.

READ MORE HERE

Bundit Puangthong is a finalist in the 2021 Arthur Guy Memorial Painting Prize, with his work 'The Living Room' 2021. Occurring biennially, the 'Arthur Guy Memorial Painting Prize' attracts Australian artists and awards an acquisitive prize of $50,000. The Prize provides Bendigo Art Gallery with the opportunity to survey contemporary painting by established and emerging artists from across Australia.

READ MORE HERE

SDFSDF

Arts Hub
Exhibition Review: Vipoo Srivilasa: Wellness Deity, Linden New Art by Celina Lei
22 May 2021- 22 August 2021

Wellness Deity
The Wellness Deity Project, which Srivilasa undertook in response to the COVID-19 pandemic. This collaborative, community-driven project encouraged people to reflect on their experience of the pandemic. The artist invited people to submit a drawing of their Wellness Deity, a being that has a special empowering or protective power. Srivilasa selected 19 of these drawings to provide inspiration for a series of ceramic sculptures. Each deity has its own unique characteristics based on the personal stories submitted. Each work is also accompanied by a piece of commissioned creative writing.

READ MORE HERE

Flash Forward is a Melbourne based project that aims to reinvigorate some lesser-known laneways with visual and acoustic designs from local creatives. The project has invited more than 80 artists to work on commissions of art installations, albums, and stage gigs across the city.

As part of the project Bundit was commissioned to make a large-scale work in Rose Lane.

READ MORE HERE

The 2021 Geelong contemporary art prize is a signature event that assists with the development of the Geelong Gallery’s collection while fostering Australian artists and contemporary painting practice in general.

Bundit Puangthong’s work ‘Skull splitter’ takes inspiration from a famous Buddhist story where a prince’s ship sinks, and he has to swim all the way back to shore. The story represents the challenges we all face, despite our social status, and the lessons we learn from them. ⁠

⁠
IMAGE:

Bundit Puangthong

Skull splitter 2020

synthetic polymer paint and spray paint

READ MORE HERE

Spanning over a career of 20 years, Thai-Australian artist Vipoo Srivilasa has harnessed art’s ability to connect creatives, organisations and the broader community.

Wellness Deity captured this collaborative energy in the light-filled room of Linden’s ground floor gallery. The 19 drawing submissions and accompanying writing surround the walls while Srivilasa’s ceramic iterations sit across two tables at the centre of the space. The hand-selected drawings from a total of 63 submissions from Australia and overseas showcase stories rooted in reflections, experiences, and hopes emerging out of the pandemic. Words Celina Lei

READ MORE HERE

This open competition is judged by the trustees of the Art Gallery of NSW. Finalists are displayed in an exhibition at the Gallery (although in the early years all entrants were hung). Although it is a non-acquisitive prize, several of the entries are now part of the Gallery’s collection.

Born in Titjikala in 1957, Mulda experienced a childhood accident that left her with impaired vision, but surgery has improved her sight. Exhibiting since 2008, she creates bright canvases with distinctive cursive text, depicting scenes of everyday life within Abbott’s Camp and drawing attention to social and political issues with emotional honesty.

In this portrait, the artist is wearing the stripey top and sits with her daughter, Louise Abbott. The other two people cooking roo tails on the fire represent all town camp women. As Mulda puts it: they are ‘maybe me and Louise, maybe any womans. This is town camp life. Every day.’

Mulda is also a finalist in this year’s Sulman Prize.

READ MORE HERE

VIPOO SRIVILASA

Wellness Deity 22 May 2021 > 22 August 2021

This exhibition will present the Wellness Deity Project, which Vipoo Srivilasa undertook in response to the COVID-19 pandemic. This collaborative, community-driven project encouraged people to reflect on their experience of the pandemic. The artist invited people to submit a drawing of their Wellness Deity, a being that has a special empowering or protective power. Srivilasa selected 19 of these drawings to provide inspiration for a series of ceramic sculptures. Each deity has its own unique characteristics based on the personal stories submitted. Each work is also accompanied by a piece of commissioned creative writing.

READ MORE HERE

E-CATALOGUE

Established in 2015, the Bayside Acquisitive Art Prize is a celebration of contemporary Australian painting. The finalist exhibition brings together a broad range of artists, both established and lesser known, whose varied approaches to the painted medium conveys the breadth and diversity of painting in Australia today.

The annual prize is an important opportunity for Bayside City Council to add exceptional works of art to its collection and to promote art and artists as a valuable part of the Bayside community.

Sally Mulda's work 'Town Camp Stories' 2020 is a finalist in this year's prize.

READ MORE HERE

Established in 2015, the Bayside Painting Prize is one of the most generous non-acquisitive painting prizes in Australia. The exhibition draws together a breadth of artists with varied approaches to painting. This allows the Bayside City Council to futher promote artists to the Bayside community from across Australia, providing painters with support to continue their practice.

Tim McMonagle's work 'Put Upon' 2020 is a finalist in this year's prize.

IMAGE:

Tim McMonagle

Put upon 2020

oil on linen

138 x 138 cm

READ MORE HERE

How Vipoo Srivilasa is repairing happiness

STUDIO

19 May 2021

Ceramicist Vipoo Srivilasa has a penchant for intricate and layered decoration that, he explains, is influenced by the ornate Buddhist temples he encountered growing up in Thailand. With an aesthetic he cheerfully describes as “more is more,” Srivilasa’s distinctive work also draws on European historical figurines and “a healthy dose of contemporary culture”. We chatted over cups of sencha tea in Srivilasa’s clean, bright warehouse studio in the suburb of Cheltenham, in Melbourne’s south-east.

Place
I’ve made this space really comfortable because I spend most of my time here, almost seven days a week. I come here about 7:30 in the morning and leave at 3:30 in the afternoon, go home, and do some shopping. Then I work on the computer, like writing or administration, in the evenings. Most of the time I’m just here; I live 10 minutes from here, so it’s really easy. Sometimes I go home for lunch—but I’ve found it kind of distracting, like you go home and it’s hard to come back again. So I bring my own lunch, or I’ll walk around the corner for a Vietnamese lunch.

READ MORE HERE

Sally Anderson has been included in an exhibition and article by The Australian which highlight new Australian art on the market.

It’s this moment of evolution that has inspired The Australian’s Summer Exhibition — a showcase of sculptures, paintings, photographs and works on paper. Beautiful to look at, it’s a celebration of some of the best and brightest artists working today. All 50 pieces have been selected because they signify what’s happening in Australian art and culture right now.

So, what is happening right now? The primary art market in Australia is experiencing a small boom. For obvious reasons, flying to international art fairs is off the cards, and this has led Australian collectors to rediscover a local market packed full of prodigious works by tomorrow’s household names.

It means there’s a renewed focus on Australian stories and more opportunities for emerging artists to have their work seen, as gallerists and buyers look toward home. It’s this time of risk-taking and yes, even optimism that our summer exhibition represents.

- Amy Campbell, The Australian, 2021

READ MORE HERE

Copywriter and content specialist Elle McClure was asked by the team at Medium Rare Content agency to help produce content for the autumn 2021 issue of the David Jones magazine, JONES HOME. As well as compiling trend pages and writing copy across the issue, Elle interviewed Otis Hope Carey, Louise Olsen and Miranda Skoczek as part of profiles on the artists.

READ MORE HERE

John Bokor is a finalist in the Dobell Drawing Prize with this work titled Lounge Room in Spring 2020, charcoal, wash and collage, 84 x 100 cm.

The Dobell Drawing Prize is the leading drawing exhibition in Australia and an unparalleled celebration of drawing innovation. Presented in partnership with the Sir William Dobell Art Foundation (SWDAF), the biennial prize explores the enduring importance of drawing within contemporary art practice.

William Dobell’s love of drawing was recognised in 1993 when the Art Gallery of New South Wales established an annual drawing prize in his name, initiated by the trustees of the SWDAF. For twenty years, the annual Dobell Prize for Drawing encouraged excellence in drawing and draughtsmanship among Australian artists.

IMAGE:
John Bokor
Lounge Room in Spring 2020
charcoal, wash, and collage
84 x 100 cm

READ MORE HERE

'Lovelock' is the presentation of a new suite of paintings by Tim McMonagle that have been directly informed by a new suite of sound works, produced for this project by Paul Knight, who is resident in Berlin.

Transference. The change of elemental states. The search for a place not here nor there.

These were our early concepts for the exhibition. Be careful what you wish for. Despite an unpredictable year in all corners of the globe, the original framework for the project is in place: to commission work from one artist to inform the work of the other. The idea & process is elliptical and is revealed over a period of time in three sections.

The fulcrum is a set of paintings by Tim McMonagle. They will be made using source imagery around the idea of “A Place Between / Not here nor there”. We approached Paul Knight in Berlin to create source images generated by this diaristic photographic practice. Then the pandemic happened, and nothing was the same.

In isolation in Berlin, Paul had immersed himself in his music practice, making soundscapes without traditional song structures, using sources completely derived from synthetic sounds: purely electronic space. The fit with the original concept was perfect. We devised a limit of the 12” LP to set the duration of the material. The square of the LP cover echoes Tim’s exclusive canvas ratio, the square.

The six tracks are to be issued as source material to McMonagle for his body of paintings. Tim has always hankered to work with a non-visual source for a group of paintings & this serendipitous outcome has both artists exhilarated by the possibility of extending their practice.

- Greenwood Street Project

The final part of this work is the unification of the germinal sound work by Paul Knight. Tim McMonagle’s paintings, and documentation of the exhibition to be presented at Greenwood Street Project in early 2021 in an LP/catalogue.

LISTEN HERE

SHOWCASE

One in three American museums have not re-opened after lockdowns in March. But art continues to be bought, lent, and displayed by private banks. Dieter Buchhart, Art Critic

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Vipoo Srivilasa has been awarded The 2021 Ceramic Artist of the Year by the editorial staff of Ceramics Monthly and Pottery Making Illustrated (USA).

The annual Ceramic Artist of the Year award is presented to an artist whose work reflects current aesthetics and sets an example for ceramic artists by embracing current trends, technology, studio, marketing, and/or community-focused practices.

“Over the course of your career, you’ve been very active with exhibitions, winning numerous awards, public art projects, teaching, mentoring, and community outreach. In addition, you have helped to support and advance the global clay community through innovative social media fundraising campaigns, among other projects.

You have also been very active in engaging with the field of ceramics and expanding creative connections with other creative fields and the wider community.

The fact that you can consistently create work as a self-employed artist in addition to having a busy international workshop, lecture, and exhibition schedule is impressive. In short due to all of your personal creative achievements, as well as your dedication to the field, we feel that you are more than deserving of the Ceramic Artist of the Year award.”

Jessica Knapp

Editor, Ceramics Monthly Magazine, Associate Editor, Pottery Making Illustrated, at The American Ceramic Society

In addition to the monetary award, The Artist of the Year feature will be in the 2021 Ceramic Arts Yearbook.

Congratulations to Sally Anderson whose upcoming exhibition has been featured in Brisbane Art Guide.

To coincide with her exhibition at Tweed Regional Gallery, Edwina Corlette Gallery is delighted to present a series of new paintings by Sally Anderson. Sally is a past winner of the prestigious Brett Whiteley Travelling Art Scholarship and a finalist in this year’s Portia Geach Award for female portraiture, with her painting of Claudia Karvan (below).

Born in Lismore, Anderson began her undergraduate studies in Visual Art at Southern Cross University before transferring to the College of Fine Art in Sydney. A past finalist in the Sunshine Coast Art Prize and the Paddington Art Prize, Anderson was invited to participate in the Association of Icelandic Visual Artists Residency in Reykjavik in 2014. Her work has been acquired by Artbank, the Australian Catholic University and corporate and private clients in Australia and Europe.

- Brisbane Art Guide, 2020

READ MORE HERE

Eliza Gosse's work 'Spoonfuls of Milo at Kosciuszko' is a finalist in the 2020 Wynne Prize at the Art Gallery of New South Wales.

The Wynne Prize is awarded annually for 'the best landscape painting of Australian scenery in oils or watercolours or for the best example of figure sculpture by Australian artists'. This open competition is judged by the trustees of the Art Gallery of NSW.

IMAGE:

Eliza Gosse

Spoonfuls of Milo at Kosciuszko 2020

oil on canvas

150 x 120 cm

READ MORE HERE

Eliza Gosse's work 'A Triangle of Vegemite Toast Lay Forgotten Under the Mustard Chair' is a finalist in the 2020 Mosman Art Prize.

Established in 1947, the Mosman Art Prize is Australia's oldest and most prestigious local government art award. It was founded by the artist, architect and arts advocate, Alderman Allan Gamble, at a time when only a small handful of art prizes were in existence in Australia and the community had very little support and few opportunities to exhibit their work.

IMAGE:

Eliza Gosse

A Triangle of Vegemite Toast Lay Forgotten Under the Mustard Chair 2020

acrylic on canvas

The concept of home has changed in 2020. For a lot of people, home has never been just one static place, and yet in the last few months that stasis has been forced upon us. In the midst of shelter-in-place orders, we’ve been directed to decide on a single location that represents our place in the world and stay there, hoping it keeps us safe.

Reframing the domestic space as a new landscape intrigues artist and new mother Sally Anderson. Her new body of work is entitled Bridal Veil Falls, the Window and the Piano Lesson, and was created almost entirely in lockdown. The pieces will be on display at Edwina Corlette gallery in Brisbane from tomorrow, in an exhibition that explores the fusion between Sally’s subjective experience of parenthood, and the collective endurance of pandemic paralysis.

- Sasha Gattermayr, The Design Files, 2020

READ MORE HERE

To help my son sleep we put on white noise of a small river in Scotland and Llyn Gwynant waves in Wales. The toponomy of Lismore indicates it was named after Isle of Lismore which lies in Loch Linnhe, an arm of the sea, on the West Coast of Scotland. I was born in Lismore early 1990, an experience I hadn’t intimately considered until the birth of my son a couple of years ago. My son was conceived in the Nancy Fairfax Artist in Residence Studio at Tweed Regional Gallery. There’s a pair of hoop pines (aka Richmond River Pines) that dominate the side view from the residency verandah. I often use these trees, along with banksias, within my work to represent the Northern Rivers region, my transition to motherhood and European exploration/invasion of Australia.

The works in 'Arm of the Sea and the Fertile Tree' use landscape metaphor rather than subject. Intimate personal experience and collective experience are translated into paintings, bedspreads, windows, still lifes and stages.

- Sally Anderson, 2020

The exhibition is open from 3 July — 29 November 2020

READ MORE HERE

IMAGE:
Installation image of Sally Anderson's exhibition at Tweed Regional Gallery

Sally Anderson's work 'Claude Swimming' has been selected as a finalist in the Portia Geach Prize for 2020. The painting of Claudia Karvan, actress, producer and writer will be exhibited at the National Trust's S.H. Ervin Gallery.

The Portia Geach Memorial Award was established in 1965 to be annually presented to an Australian female artist. Portia Geach was an iconic figure in the Australian arts community, acclaimed for her art and media presence, and as such the award was created in her honour. The award is specifically for the best portrait painted from the life of someone well renowned in art, academia, or science.

The exhibition will be open in Sydney from 14 August – 20 September 2020.

READ MORE HERE

IMAGE:
Sally Anderson
Claude Swimming, 2020
acrylic on linen
168 x 137cm

Vipoo Srivilasa’s interactive 'Love Lab' performance offers participants the chance to reflect on the ingredients that make up their love language and in turn, to finally find out how good or bad love tastes.

Love Lab will be performed on the opening night of Objects of Love Exhibition, 12 March - 13 May 2020. The show presents artworks which symbolise and reflect love of all kinds across cultures. Working from different cultural perspectives, the artists each explore themes of contemporary and traditional exchanges of love, connection to loved ones, and the strength and fragility of bonds of love.

Artists include Vipoo Srivilasa, Cyrus Tang, Kate Just, Zaiba Khan and Varuni Kanagasundaram.

https://www.craft.org.au/craft-whats-on-events/lovelabperformance

Image: Love Lab performance 2019

Rhys Lee has been featured in an article by Juxtapoz on his experience as a practicing artist in Australia during the covid pandemic.

Continuing our mission to check with friends and favorite artists around the globe, we virtually traveled all the way to Victoria, Australia, to check on what's happening with Rhys Lee. Based in a small coastal town located southwest of Melbourne, the artist is a whirl of activity as he intensively works on new paintings.

- Juxtapoz

READ MORE HERE

Congratulations to Eliza Gosse who is a finalist in the 2020 with her work 'He Watched Cars Passing By Beyond The Cracks In The Curtains', 2020, oil on canvas, 120x150cm.

The Ravenswood Australian Women's Art Prize is an annual prize that was launched in 2017 to advance art and opportunity for emerging and established female artists in Australia. It is the highest value professional artist prize for women in Australia.

Artwork judging is overseen by Ravenswood Australian Women's Art Prize Patron and acclaimed artist, Jennifer Turpin and the winners will be announced 26 May 2020.

IMAGE:

Eliza Gosse in her studio, courtesy the artist

READ MORE HERE

To coincide with her exhibition 'Mini Mokes and Mini Skirts', Eliza Gosse is featured in the April edition of Harpers Bazaar magazine

The Korea-Australia Arts Foundation Prize is run annually in cooperation with the Korean Cultural Centre.

Srivilasa's work 'The Course of True Love' is about the same-sex marriage journey. The series is realised in five bronze vignettes representing moments in world history that have contributed directly or indirectly to the acceptance of same-sex partnerships, and led Australia to pass the same sex marriage law in 2018. The moments including the Stoneware riots, Thailand decriminalising homosexuality, the establishment of Society Five, the first homosexual rights organisation in Melbourne, the Simpsons dedicating an entire episode to the same-sex marriage topic and the Yes campaign.

“I work predominantly with ceramics but for this series I chose to work with bronze. I use bronze, a robust and permanent medium to symbolise the strong concept of marriage and a solid commitment a couple makes to each other. Bronze is also a medium for religion statues. It would represent the sacred concept of marriage in my work.” …Vipoo Srivilasa

The Course of True Love will be part of Objects of Loves exhibition at Craft Victoria, Melbourne. 12 March - 13 May 2020

Image: The Course of True Love 2019

Roopanakar Museum of Fine Arts, Bhopal, India

13 February - 30 March 2020

Inaugurated by the then Prime Minister of India, Mrs. Indira Gandhi on 13th February 1982, Bharat Bhavan is a multi art centre, set up to create an interactive proximity between the verbal, visual and performing arts. Bharat Bhavan provides space for contemporary expression, thought, quest and innovation. Bharat Bhavan seeks to provide a creative and thought provoking milieu to those who wish to contribute something new and meaningful, in contemporary scene in the fine arts, literature, theatre, cinema, dance and music.

Bharat Bhavan International Ceramic Exhibition is a feature part of the 38th anniversary celebrations. It is the first time an international exhibition of ceramic art has been organized in the state. Eminent ceramic artists from India, US, Australia, Israel, Japan, South Korea, Germany, Ireland, Italy, China and France are attending the exhibition.

Vipoo Srivilasa is representing Australia.

Image: vipoo at the opening

'Artefacts', Alison Kubler, Vault Magazine, Issue 23, 104-105pp.

My paintings talk of relationship, context and metaphor. They are loaded with autobiographical content, draw on past and present experiences and often arrive in pairs. Recent paintings use abstraction, still life and borrowed landscapes to reference everyday intimate experience held in object and place. They explore the self and use abstraction, landscape and still life as devices to do so.

- Sally Anderson, The Design Files, 2019.

READ MORE HERE

Sally Anderson's work 'Side of the Road River with Rousseau's Bluebells' has been selected as a finalist in the Mosman Art Prize

Mosman Art Prize was established in 1947, and is Australia's oldest and most prestigious local government art award. The winning artworks join a collection of modern and contemporary Australian art, reflecting developments in Australian art practice since 1947. Artists who have won the Mosman Art Prize include Margaret Olley, Guy Warren, Grace Cossington Smith, Weaver Hawkins, Nancy Borlase, Lloyd Rees, Elisabeth Cummings, Adam Cullen, Michael Zavros and Natasha Walsh.

The exhibition is open until 27 October 2019 at Mosman Art Gallery.

READ MORE HERE

IMAGE:
SALLY ANDERSON
Side of the Road River with Rousseau's Bluebells 2019
acrylic on linen

John Bokor's work 'Spring' has been selected as a finalist in the National Still Life Award at Coffs Harbour Regional Gallery.

Still is a biennial, acquisitive award for artworks in the genre of still life, in all mediums. The award is open to artists at all stages of their careers. Still: National Still Life Award seeks to highlight the diversity and vitality of still life in Australian contemporary art practice, broadening the interpretation and meaning of this enduring genre. The judge is Rebecca Coates, Director of the Shepparton Art Museum.

The Still exhibition official opening is on Saturday 21st September and is open until Saturday 16th November 2019.

IMAGE:
John Bokor
Spring 2019
oil on board
120 x 120 cm

READ MORE HERE

Un/Thaid, curated by Vipoo Srivilasa and featuring Bundit Puangthong has been reviewed in the Sydney Morning Herald:

A new exhibition showcases the work of five Thai-born artists now living and working in Australia, the first of its kind in Melbourne. Curated by Vipoo Srivilasa, the show was designed to provide a platform, "for [the artists] to have a voice in Australia". An artist who moved to Australia 22 years ago, Srivilasa says when you emigrate, your cultural identity changes.

"All of them have a very strong sense of Thai culture in their work, yet it’s not traditional. It blends with Australian culture and becomes something new, something exciting."

- Kerrie O'Brien, Sydney Morning Herald

Un/Thaid runs until July 27 at Grau Projekt.

READ MORE HERE

UN/THAID Curated by Vipoo Srivilasa

This exhibition brings together the work of five contemporary artists from Thailand who now live and work in Australia. Arriving in Australia independently of one another across the 1990s and 2000s, these five artists are based in the urban centres of Melbourne and Sydney and have continued their distinct individual practices since arriving in this country. The work on display in this exhibition is a diverse offering, including performance, painting, ceramics, sculpture, video and installation. Articulating multi-dimensional and layered histories, all of these artists are emboldened in their shared cultural experience of growing up in Thailand and then relocating to Australia while continuing to develop and refine their artistic practices. This exhibition features the work of Phaptawan Suwannakudt, Nakarin Aaron Jaikla, Bundit Puangthong, Pimpisa Tinpalit and Somchai Charoen. A Thai born Melbourne based artist, Vipoo Srivilasa has initiated and organised this exhibition because of his desire to provide visibility and voice for Thai Contemporary artists who have been working and living in Australia.

The exhibition is open 13 June – 27 July, 2019

Grau Projekt, Melbourne

READ MORE HERE

The Muswellbrook Art Prize began in 1958 as the Festival of the Valley Art Prize and has grown to acquire an excellent collection of Australian artworks. These include modern and contemporary painting, works on paper, and ceramics from the Post War period and now the first two decades of the 21st Century. The Muswellbrook Shire Art Collection was created as a direct result of this ongoing acquisitive art competition.

John Bokor is a finalist in the 2019 prize.

IMAGE:
John Bokor
The Red Velvet Lounge 2018
oil on linen
68 x 91cm

READ MORE HERE

The Ravenswood Australian Women's Art Prize is an annual prize that was launched in 2017 to advance art and opportunity for emerging and established female artists in Australia. There are two prize categories, including a $35,000 prize — the richest professional art prize for women in Australia. Artwork judging will be overseen by Ravenswood Australian Women's Art Prize Patron and acclaimed artist, Jennifer Turpin, and announced at the exhibition opening on 31 May, 2019.

Eliza Gosse is a finalist with her work 'Your Yellow Brick Holding Up the Sky' 2019, oil on canvas 50 x 40cm

READ MORE HERE

Tim McMonagle intimately confronts both the fragile and robust nature of life. With an obsession for mark-making and the act of painting, he depicts humanised landscapes with whimsical contradictions of impasto and swathing washes. His paintings require a closer inspection, as dangling branches and wailing trees act like entwined torsos to question humanity’s relationship to the environment. Artist Profile spoke to McMonagle in his Melbourne studio for Issue 46.

- Ellinor Pelz, Artist Profile

IMAGE:

Tim McMonagle

Magnificent Pavlova With Bananas 2019

oil on linen

77 x 77 cm

READ MORE HERE

Sally Nangala Mulda has been selected as a finalist in the 2019 Sulman Prize, administered by the Art Gallery of New South Wales. The Sulman Prize is awarded for the best subject painting, genre painting or mural project by an Australian artist.

Sally says of her working this years prize:

This is me outside my home at Abbott’s Town Camp in Alice Springs feeding my cats. Little cat, mother cat. One woman, my family, playing cards. Nobody bothering anybody. No papa bothering the cats! We are just sitting quietly. I like quiet. Nobody talking.

Sally M Nagala Mulda, 2019

Image: Sally feeding little cat, mother cat, acrylic on linen, 76 x 92 cm

John Bokor is a finalist in the 2019 Sulman Prize, administered by the Art Gallery of New South Wales.

The Sulman Prize is awarded in the terms of the gift of the family of the late Sir John Sulman, to the best genre painting and/or mural project done by an artist resident in Australia during the five years preceding the date fixed by the Trustees for sending in entries.

'Four thirty pm' s from a group of works I started making in 2017 depicting interior spaces. They are hybrid paintings of real and imagined scenes made using an airbrush and traditional painting tools. This painting took a very long time to resolve. I thought at one point in 2018 that it was finished and had it framed, only to realise early this year that it needed more work. I treated it as badly as it had me and sanded the surface down and reworked the whole painting, destroying most of what was underneath. When it was finally finished the light in the studio resembled the light in the painting. I checked my clock and it was 4.30pm.

- John Bokor, 2019

IMAGE:
John Bokor
Four thirty pm 2019
oil on board
125 x 147 cm

READ MORE HERE

Deakin University Contemporary Small Sculpture Award 2019

When: 29 May–12 July 2019
Tuesday to Friday 10am–4pm, Open only during exhibitions
Where: Deakin University Art Gallery, Melbourne Burwood Campus
Building FA, 221 Burwood Hwy, Burwood, VIC 3125

In its tenth anniversary year this annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit displaying the work of the 2019 finalists.

Image: VIPOO SRIVILASA Protection 2018, 66
 x 37
 x 23 cm, ceramic, acrylic paint, glaze ceramic flowers and mix media.

READ MORE HERE

Louise Martin-Chew writes about Sally Nangala Mulda's life and painting for Art/Edit magazine. She says:

'WHAT IS MOST DISTINCTIVE about the paintings of Sally M. Nangala Mulda is that they tell us just how it is to live in Abbott’s Town Camp, not far from the mostly dry Todd River bed in Alice Springs (Mparntwe). Many of the paintings produced by Indigenous artists working out of the region use colour and pattern to evoke the romance of their connections to Country. However, Sally’s approach delivers the gritty reality of the place in which she lives, the interactions between police and Aboriginal people, the supermarket as the source of “a feed”, the tension around alcohol consumption and people sleeping rough, all set amongst saltbush, waterholes, homes and shops.'

READ MORE HERE

On Sally Nangala Mulda's work for 'The National' at the Art Gallery of New South Wales, Snack Syndicate for Running Dog writes:

'Sally Mulda’s narrative style mimics the pedantic, forensic language of the state while at the same time showing that such language tends to obfuscate its subjects—people who live and die. Mulda’s frank descriptions of the Town Camp index the countless different ways that black life is both constrained by, and always in excess of, white law.

Together, the paintings in the exhibition are quietly unsettling, staging a series of encounters that produce both minor affects (annoyance, confusion, amusement, affection) and their major implications. Engaging with the paintings, we feel the enormity of living under occupation, as well as the conviction that such enormity can never be total.'

READ MORE HERE

https://www.the-national.com.a...

Curator Isobel Parker Philip talks about Sally Mulda's work for 'The National' at the Art Gallery of New South Wales:

'Sally Nangala Mulda is an artist who lives in Abbott's Town Camp in Alice Springs in the Northern Territory.

She paints scenes from her daily life. She paints people having breakfast. She paints going to the football. She paints people going to sleep. She also paints the routine and intrusive presence of the police amongst the indigenous communities in the Northern Territory.

All of these scenes are painted with the same frank and stark honesty. There is a normalisation of the police presence amongst the Indigenous community that is shocking to see at first and is amplified by the regularity with which Sally paints it and that we see it again and again across the installation.

This reminds us about what life looks like for a huge portion of our Indigenous people. In this work we see the lived effects of the 2007 Northern Territory intervention. It's a brutal reminder about what reality can really look like.

Sally paints her figurative scenes and then applies text on top of them to tether each work to a particular time and place. These are diaristic documents. They're paintings that do the job of photographs or snapshots. There's a kind of direct relationship between these scenes and the real world. We read them as snapshots. We read them as kind of episodes from life as it is lived.'

READ MORE HERE

We are delighted to see works by Sally Anderson, Belem Lett, Lucy O'Doherty, and Amber Wallis in the new exhibition 'The Whiteley at 20: Twenty Years of the Brett Whiteley Travelling Art Scholarship', as previous finalists of the award.

Established by Ms Beryl Whiteley in 1999 in memory of her son, the 'Brett Whiteley Travelling Art Scholarship' provides young painters with the opportunity to travel through Europe to develop their artistic practice. Since its inception, 20 young painters have followed in the titular artist's footsteps.

The exhibition features works by Sally Anderson, Alice Byrne, Mitch Cairns, James Drinkwater, Petrea Fellow, Becky Gibson, Nathan Hawkes, Alan Jones, Nicole Kelly, Belem Lett, Lucy O’Doherty, Wayde Owen, Timothy Phillips, Tom Polo, Ben Quilty, Karlee Rawkins, Samuel Wade, Amber Wallis, Natasha Walsh, and Marcus Wills, alongside the four paintings that won Brett Whiteley the Italian Government Travelling Scholarship.

The exhibition presents not only the works that won the scholarship, but features works from each artist's residency at the Cite Internationale des Art, Paris and recent work.

The exhibition is open from 22 March - 5 May 2019 at the S.H. Ervin Gallery in Sydney.

READ MORE HERE

IMAGES:
1/ Previous winners of the Brett Whiteley Travelling Art Scholarship attending the opening of 'The Whiteley at 20: Twenty Years of the Brett Whiteley Travelling Art Scholarship'
2/ Brett Whiteley

In celebration of Gorman’s decade-long collaboration with visual artists, Heide is presenting a two-week pop-up exhibition in the iconic modernist building, Heide II.

The exhibition will feature garments from a new range by Gorman created in collaboration with ten artists who have worked with the Australian clothing label since 2009, including Miranda Skoczek. The garments will be displayed alongside the artworks which inspired them.

READ MORE HERE

Ari Athans is interviewed in the latest issue of Vault Magazine about the breadth of her creative practice - between sculpture, painting, and jewellery.

READ MORE HERE & PDF

Toby Orton from Plain Magazine features Eliza Gosse's work. He writes:

Delving into social issues of national identity and immigration, artist Eliza Gosse focuses on the post-war houses built for European migrants in her home country of Australia in the 50s, 60s and 70s. In her striking oil paintings, Gosse’s style combines clean, color blocked geometric forms that call to mind the utopian ideals of suburban planning with a ‘nostalgic
inflection’. The ‘Suburban Modernism’ that she has created is a response to her interests in design history, the initial impact of inexpensive post-war architecture on communities and the way that the design’s influence and meaning is viewed over time. In her paintings of the Australian (and to a lesser extent, American) suburbs she celebrates an era of design that mocks the unflattering stereotype of bland suburbia and celebrates the unabashed invention of the time.

READ MORE HERE

The Ideal Home presents a history of the 20th century Australian home told through household objects, furniture and design classics from the MAAS Collection.

For much of the 20th century Australia enjoyed one of the highest rates of home ownership in the world. This situation emerged following the landmark ‘Harvester Judgement’ of 1907, which enshrined a ‘living wage’, and enabled ordinary workers to purchase a home and support a family.

Post war affluence, technology, mass manufacturing and the ready availability of goods, created both a consumer base and desire. In this setting, suburbs grew and homes became our castles. Australians enthusiastically adopted international trends in architecture, interior furnishings and design. Labour saving devices liberated us from domestic drudgery and increased the time available for leisure. Indoors and outdoors Australians aspired to a lifestyle centred upon the comfort, style, amenity and function of the home.

The Ideal Home presents a history of the 20th century Australian home told through household objects, furniture and design classics from the MAAS Collection. See more of The Ideal Home including modernist design and artworks at MAAS Powerhouse, Ultimo.

The Ideal Home is a partnership between the Museum of Applied Arts and Sciences and Penrith Regional Gallery & The Lewers Bequest.

The exhibition suite features works across the site from the following Australian artists:

• Cope Street Collective: Mathew Cooper and Colin Kinchela
• Karla Dickens
• Victoria Garcia
• Richard Goodwin
• Blake Griffiths
• eX de Medici
• Catherine O’Donnell
• Eliza Gosse

READ MORE HERE

Obsession: Devil in the detail examines our fascination with the meticulous and micro, the real and the hyperreal and brings together a range of historical and contemporary works under three broad themes of still life, portraiture and landscape. Featuring artworks that seduce us with the power of their realism and intricate detail, the devil in the detail becomes the ideas and concepts that exist beneath the surface.

Featuring work by local and international artists including Natasha Bieniek, Chris Bond, Erin Coates, Audrey Flack, Juan Ford, James Gleeson, Sam Jinks, Jess Johnson, Anna Kristensen, eX de Medici, Tully Moore, Callum Morton, Jan Nelson, Sandra Selig, Vipoo Srivilasa, Ricky Swallow, teamLab, Eugene von Guerard and more.

30 November 2018 - 17 February 2019

READ MORE HERE

Vipoo Srivilasa has been commissioned to design seven large sculptures for ICONSIAM, a mixed-use development on the banks of the Chao Phraya River in Bangkok Thailand, opening on 9 November 2018.

ICONSIAM is the ultimate shopping destination. The all-in-one complex, located on 750,000 square metres of the land on the banks of Chao Phraya River is a wonder to behold for those passionate about retail and development. It is divided into three main sections: the main ICONSIAM, the glamorous riverside ICONLUXE, and street facing side Siam Takashimaya.

READ MORE HERE

Sally Anderson's work ‘Guy’s Painting of Wollumbin on my Wollumbin’ has been acquired by Tweed Regional Gallery. In 2017 Sally was an artist in residence at the Nancy Fairfax Artist Residency through the Tweed Regional Gallery and throughout her life, has had strong connections to the region.

READ MORE HERE

IMAGE:
SALLY ANDERSON
Guy's Painting of Wollumbin on my Wollumbin 2018
acrylic on linen
140 x 122 cm

Congratulations to John Bokor who has been awarded a highly commended in the 2018 EMSLA prize.

Now in its twelfth year, the Eutick Memorial Still Life Award comes to Wollongong to coincide with the city’s signature festival, Viva La Gong. Judged annually by critic and art historian John McDonald, the EMSLA has added prestige to the festival and increased still life’s importance as a genre in art.

9 November - 1 December 2018

IMAGE:
John Bokor
Aperol and Oranges 2018
oil on canvas
61x76cm

READ MORE HERE

The William Fletcher Trust (now the William Fletcher Foundation) was established in 1985 to celebrate the life and to commemorate the work of William Fletcher whose straitened circumstances, ill health and early death cut short his developing talents. In 1988, the Trust awarded its first grants for study to tertiary students of the visual arts. The William Fletcher Trust was incorporated in 2006 as William Fletcher Foundation following a generous bequest. Since 1988, grants totalling over $400,000 have been distributed to over 500 highly talented students of the visual arts, to assist them to continue their studies.

In 2018 the grant was awarded to Eliza Gosse.

READ MORE HERE

John Bokor is a finalist in the Kedumba Drawing Award at Orange Regional Gallery. Now in its 29th year, the Award plays a vital role in fostering the production and appreciation of drawing in Australia. Initiated by Jeffrey and Marlene Plummer in 1989, the Kedumba Drawing Award has grown steadily. Each year, the Judge is an established artist whose only guideline is “to enrich and enhance the Collection”

The Kedumba Collection of Australian Drawings, with over 230 works, is currently on long term loan to Orange Regional Gallery. It is an Orange Regional Gallery and Kedumba Trust partnership exhibition.

The award is open 20 October - 2 December, 2018.

IMAGE:
John Bokor
Weekend Away 2018
charcoal, wash and collage
56x76cm

READ MORE HERE

John Bokor's artwork, 'Collection Day' 2011 is now on permanent display at the State Library of New South Wales. The new gallery space opens 6th October 2018.

'Collection Day' shows Organs Road, Bulli, looking east, the morning after garbage collection day. The bins, with lids flung open, capture the everyday aspect of suburban recycling practice. This loose and lively suburban street scene celebrates the commonplace.

IMAGES:

1/
John Bokor
Collection Day 2011
oil on board
90 x 120cm

2/
Installation view of State Library of New South Wales with John Bokor and his painting Collection Day, 2011

READ MORE HERE

Miranda Skoczek, Julian Meagher and John Aslanidis are finalists in The Kings School Art Prize 2018.

The King’s Art Prize is a $20,000 acquisitive award presented to the best contemporary artwork created by an artist resident in Australia and represented by a commercial gallery, supporting both the artists and the fine arts industry. Entry is by invitation only and the finalists are selected by an appointed Art Prize panel.

READ MORE HERE

John Bokor is a finalist in the 2018 Tattersall's Art Prize with his work A Walk in the Park 2018, oil on canvas, 108x122cm.

A total of 93 artists across Australia accepted the invitation to participate in the 2018 Tattersall's Club and Mercedes-Benz Toowong Landscape Art Prize Award. The prize is acquistive and the winning painting is added to the Club's art collection. The judging panel for 2018 includes Dr David Middlebrook, former Tattersall's Art Prize winner and senior painting lecturer, Mrs Bettina MacAuley, Gallery and Museum Consultant Antiques and Fine Art Valuer, Ms Angela Goddard, Director of Griffith University Art Gallery and Mr Stuart Waddington, Committee Member of Tattersall's Club.

- Stuart Fraser, Tattersall's Club 2018

IMAGE:
John Bokor
A Walk in the Park 2018
oil on canvas
108 x 122 cm

READ MORE HERE

Congratulations to Sally Anderson who is a finalist in the Paddington Art Prize 2018.

The Paddington Art Prize is a $30,000 National acquisitive prize, awarded annually. The prize is specific to paintings inspired by the Australian landscape, as the imagery is integral to the tradition of Australia painting and is an enduring motif within contemporary art, shaping national identity.

This work uses ‘borrowed landscapes’ to look at ways we experience the Australian landscape from the comfort of our homes. It uses landscape as a device to demonstrate a shift in the way we experience landscape.

- Sally Anderson


IMAGE:

Sally Anderson
Sharing Thirroul (Paul Ryan's Post Of Thirroul With Curtain) 2017
acrylic on linen
140 x 124 cm

READ MORE HERE

The Paddington Art Prize is a $30,000 National acquisitive prize, awarded annually. The prize is specific to paintings inspired by the Australian landscape, as the imagery is integral to the tradition of Australia painting and is an enduring motif within contemporary art, shaping national identity.

Bundit Puangthong is a 2018 Finalist with his painting 'Green Fields'.

IMAGE:

Bundit Puangthong

Green Fields 2018

150 x 135cm

acrylic & pastel on paper

READ MORE HERE

With an annual prize pool worth $12,000, the Waverley Art Prize is open to painting, drawing print & mixed media.

Eliza Gosse's work "Lone Ficus on New South Head Road is a finalist in the 2018 Prize.

Designed as an invitational award, The Gold Award aims to acquire contemporary Australian painting to Rockhampton Art Gallery’s collection by means of the most outstanding work or works by an artist awarded a cash prize of $50,000 and acquired by Rockhampton Art Gallery. The Award was conceived in 2010 when the then Rockhampton Art Gallery Trust received a substantial bequest from the Estate of Moya Gold for the acquisition of Australian paintings. With industry review and guidance, the Trustees advised to expend the interest accumulated by the Gold Trust to fund a new painting award. Now in its fourth iteration The Gold Award has become a premier biennial event of national significance. Presented by Rockhampton Art Gallery, The Gold Award is a joint initiative of Rockhampton Art Gallery Philanthropy Board and Rockhampton Regional Council.

The Gold Award 2018 has been judged by Simon Elliott, Deputy Director, Collection and Exhibitions, Queensland Art Gallery | Gallery of Modern Art.

Bundit Puangthong was selected for the Gold Award in 2018.

IMAGE:

Bundit Puangthong

Sharp Knife 2018

acrylic, spray paint and soft pastel on linen

168 x 168 cm

READ MORE HERE

Vipoo Srivilasa's work forms part of a touring exhibition through the Australian Design Centre titled 'Obsessed: Compelled to Make' which is on now at Cairns Regional Gallery.

Obsessed: Compelled to make presents the work of 14 artists from across Australia, delving beyond the finished object, beyond the personality of the maker, into the fundamental conceptual framework of their creations. We look at the complexities of their materials and processes, the realities of their day-to-day studio routine and unravel what compels each maker to create over the course of their personal career – Why this technique or material? Why that concept? How does the mind of a maker work?

This exhibition explores the act of making through the framework of obsession – how it consumes us, carrying
 us along in its wake, colouring every aspect of our lives.
 With these professional artists, it is their obsessions, and all the associated angst, failures, breakthroughs and milestones, that feeds their productivity and to deliver exceptional outcomes. 

Artists: Gabriella Bisetto | Lorraine Connelly-Northey |  Honor Freeman, | Jon Goulder | 
Kath Inglis |
 Laura McCusker |
 Elliat Rich and James B Young (Elbowrkshp) | 
Kate Rohde |
 Oliver Smith | Vipoo Srivilasa | Tjunkaya Tapaya | Louise Weaver | Liz Williamson. 

Obsessed: Compelled to makeis an Australian Design Centre of ADC on Tour exhibition touring to 12 venues across Australia, accompanied by a series of films and a full-length catalogue.

READ MORE HERE

Vipoo Srivilasa's work #happy_together VI 2017, acquired by Wollongong Art Gallery, is currently being exhibited in 'East Meets West' until 11 November 2018.

The Mann-Tatlow collection of Asian Art, gifted in 2003 and the Nancye Dryden Collection of South East Asian Textiles bequeathed to the Gallery in 2012, have formed the Gallery’s newest collecting area. This exhibition relates collection works by contemporary Asian artists and Australian artists who have responded to Asian culture within their practice and to the Mann-Tatlow Collection of Asian Art including works by Julie Bartholomew, Lionel Bawden, Kirsten Coelho, Tom Dion, Dongwang Fan, Sarah Goffman, Tie Hua Huang, Shotei Ibata, Lindy Lee, Joanne Saad, Shigeo Shiga, Vipoo Srivilasa, Laurens Tan, Andy Warhol and Gerry Wedd.

READ MORE HERE

Eliza Gosse's work is included in the 2018 Ravenswood Australian Women's Art Prize. The theme of the prize is resilience. Gosse's work depicts a house in the suburbs of Melbourne designed by Russian architect Antol Kagan and is part of a larger series that investigates the architecture of post WWII refugees in Australia.

READ MORE HERE

Tim McMonagle is a finalist in the 2018 Wynne Prize for landscape painting at the Art Gallery of New South Wales.

In my painting 'Shadow captain' I was interested in capturing an imagined anthropomorphic nature. In the changing low light of dawn or dusk the large eucalyptus seems to twist and contort, fastened to the ground where it is anchored.'

- Tim McMonagle, 2018

IMAGE:

Tim McMonagle

Shadow Captain 2018

oil on linen

50.5 x 50.5 cm

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This is us, this is the way it is – that’s what Sally Mulda’s paintings of life seem to say.  Paddy wagons in the river, policemen pouring out grog, an assortment of bottles and cans lying on the ground; four disconsolate people, probably men, walking away.  Dogs, children sleeping and everything in between that makes up life in the Alice Springs Town Camps, are depicted in her paintings, raw and free.

Barnaby Smith has reviewed Vipoo Srivilasa's exhibition Everyday Shrines at Gippsland Art Gallery:

'The experience of belonging to two or more countries is an increasingly universal one, especially for Australians. An affiliation with multiple cultures and an identity formed by multiple traditions is, after all, the migrant experience. It is a theme that has been widely explored across the arts spectrum, yet rarely with as much playfulness as in the work of Thai-Australian ceramicist Vipoo Srivilasa. His new exhibition Everyday Shrines, shown at Gippsland Art Gallery as part of Craft Victoria’s Craft Forward series, takes an impish yet thoughtful approach to fusing the imagery and iconography of Australian and Thai societies.'

The exhibition is current until 17 June 2018 at Gippsland Art Gallery.

Read full article HERE

Vipoo Srivilasa's solo exhibition 'Everyday Shrines' will open at the newly refurbished Gippsland Art Gallery on 31 March 2018 and run until 17 June.  The exhibition which has been developed jointly with Craft Victoria, looks at similarities between Srivilasa's Thai heritage and his adopted home in Australia.

READ MORE HERE

Vipoo Srivilasa's work 'Deity of Immortal' has been selected as a finalist in the Tom Bass Prize for Figurative Sculpture Exhibition at Juniper hall in Sydney from 2 - 25 March.

READ MORE HERE

Vipoo Srivilasa's work 'Sang Thong' has been acquired by the Whitehorse City Council in Victoria.  

The City of Whitehorse is located just 15 kilometres east of Melbourne and covers an area of 64 square kilometres.

Srivilasa's work 'Sang Thong' is based on a well-known Thai folk tale, centred on a marriage between a man and a woman of different social status.

READ MORE HERE

Sally Anderson's recent exhibition 'Self Storage and the Really Real' is featured in the January edition of the Art Almanac.

'Self Storage and the Really Real’ looks at ways we authenticate experience and store memory in object and place’, says artist Sally Anderson whose abstract compositions brim with clear references to past experiences; from the hydrangeas at her childhood home to shells from the Muséum national d’Histoire naturelle, and Norfolk Pines from recent Instagram posts to landscapes from past and present relationships. These works are a visual archive giving permanence to intangible memories and making them, as the title implies, ‘really real’.

- Art Almanac

READ MORE HERE

IMAGE:
SALLY ANDERSON
Tosha Falls as Curtains with Deegan Drive or LJs Mums Hydrangeas 2018
acrylic on linen
122 x 122 cm

Miranda Skoczek's exhibition 'Rag Rugs and Lion Heads' is featured on the Art Guide website. Miranda spoke with Louise Martin-Chew about her latest exhibition 'Rag Rugs and Lion Heads', her inspiration and the shift in her practice to looser, more expressive works:

Miranda Skoczek’s abstract paintings evoke old walls with layers of forms and shapes that emerge over time. In her studio, she might work simultaneously on nine canvases. Transferring from one to the other, she allows each oil layer to dry before repeatedly painting over it until jewel-like colours resonate and a spatial sensibility has been established within which the viewer may dwell. Skoczek told Art Guide Australia, “I don’t paint about social concerns. I create wholly immersive, beautiful pictures. They are places for escape and restoration: harmonious, calming pictures.”

- Louise Martin Chew

Miranda's exhibition is at the gallery from 14 November until 5 December 2017.

READ MORE HERE

Miranda Skoczek was a featured artist in the international group exhibition, The human experience, we are the ones doing works on canvas/Paintings XXXX at the Carlsberg Byens Galleri & Kunstsalon in Denmark. The exhibition was curated by Galina Munroe (Great Britain), Simon Ganshorn (Denmark) and Jordan Kerwick (Australia). The show featured 116 artists each working with abstraction through painting in their own distinct manner to promote diversity and highlight the possibility of medium and painting theory.

READ MORE HERE.

Sally Anderson has been awarded the Brett Whiteley Travelling Arts Scholarship for 2017.

The prize is $40,000 and a three month residency at the Cité Internationale des Arts in Paris, administered by the Art Gallery of New South Wales.

The annual Brett Whiteley Travelling Art Scholarship is open to Australian artists aged between 20 and 30. It was created from an endowment left by Beryl Whiteley, who witnessed the profound effect that international travel had on her son Brett Whiteley, as a result of him winning the Italian Government Travelling Art Scholarship at the age of 20.

The exhibition will open 13 October – 19 November 2017 at Brett Whiteley Studio, 2 Raper Street, Surry Hills NSW 2010.

READ MORE HERE

Congratulations to Julian Meagher and Vipoo Srivilasa for being finalists of the 2017 National Still Life Award at Coffs Harbour Regional Gallery.

The acquisitive Award offers a major award of $20,000 as well as a People’s Choice Award of $5,000. This years' judge is Lisa Slade, Assistant Director of Artistic Programs at Art Gallery of South Australia. 

Finalist works exhibited Friday 24th November 2017 to Saturday 20th of January 2018 at Coffs Harbour Regional Gallery.

In conjunction with National Clay Week, Artaxis presents 12 hours of live-streaming conversations with 24 Artaxis members from 16 countries.

Vipoo Srivilasa is scheduled to talk between 12:00pm - 1:00pm, 11 October 2017. Questions may be submitted here. 

Vipoo’s work explores similarities between the cultures of his native home, Thailand and his adoptive home, Australia. His work is a playful blend of historical, figurative and decorative art practices whilst engaging with contemporary culture.

Using blue and white colour, he creates complex narratives through highly decorated images on ceramic forms. His work requires an intimacy in which the key elements of the drama are often found in unusual places within the forms themselves.

Collaboration has been an important part of Vipoo's creative practice. He has been using clay to engage communities into his creating process in the past 10 years. In addition to exhibiting his work, Vipoo actively initiates and organises cultural exchange projects between national and internationally artists.

Get your questions ready and join Vipoo and others for a Q&A. To watch click here.

Vipoo Srivilasa is the recipient of the general skills and arts development grant from the Australian Council for the Arts to work with Sakarin Krue-On, a multi-disciplinary Thai artist, and Marije Vogelzang, the world's first eating designer from the Netherland, in order to develop and create new interactive ceramic work for an exhibition at Edwina Corlette Gallery in 2019 and the S.A.C. Subhashok The Arts Centre in Bangkok. 

Keep up to date here.

Ari Athans' work has been selected for Redcliffe Gallery's 15 Artists Exhibition 2017.

This annual award plays a pivotal role in the growth of the Moreton Bay Regional Council Art Collection. The $8000 acquisitive prize exhibits 15 Artists that reflect the collection’s focus of culture, identity, spirit and sense of place.

Artists selected for 2017 are Ari Athans, Glenn Barkley, Sue Beyer, Megan Cope, Hannah Cutts, Jeremy Eden, Martin Edge, Ian Friend, Stephen Hart, Barbara Heath, Abbey McCulloch, Kate McKay, Stephen Nothling, Graeme Peebles and Nan Dingle.

The exhibition runs from 1 September - 28 October 2017.

READ MORE HERE

Sally Anderson has been selected as a finalist in Newcastle Art Gallery's Kilgour Prize.

In 1987 artist Jack Kilgour bequeathed funds for the creation of a figurative and portrait art competition to be run in perpetuity at Newcastle Art Gallery. Today the Kilgour Prize is one of Australia's major art prizes and awards $50,000 for the most outstanding work of art as determined by a panel of three judges, and $5,000 for the People's Choice Award, as determined by votes from the public.

The Kilgour Prize will be on display 5 August - 15 October 2017.

READ MORE HERE

The Drawing Wall is an ongoing series of site-specific, commissioned, temporary wall-based drawings or installations enlivening the foyer-space of the Eastbank Centre, directly outside Shepparton Art Museum. This year Bundit Puangthong has been commissioned to complete a drawing across the 4 x 12 metre space as well as conducting a stencil workshop in July.

READ MORE HERE

Occurring biennially, the 'Arthur Guy Memorial Painting Prize' attracts Australian artists and awards an acquisitive prize of $50,000. The Prize provides Bendigo Art Gallery with the opportunity to survey contemporary painting by established and emerging artists from across Australia.

Works from the shortlisted artists will be on display at Bendigo Art Gallery in the Arthur Guy Memorial Painting Prize exhibition from 17 June – 20 August 2017. The 2017 winner will be announced at the exhibition’s opening on Friday 16 June 2017.

Bundit Puangthong was selected as a finalist in the 2017 prize for his work 'No Where To Hide'

IMAGE:

Bundit Puangthong

No Where To Hide 2017

acrylic on linen

168 x 168 cm

READ MORE HERE

Ari Athans work 'Felsic Plume' has been selected as a finalist in the 2017 Moreton Bay Art Award. This annual acquisitive award exhibition is supported by the Moreton Bay Regional Council. The Art Award offers two acquisitive prizes of $7,500 and two supplementary $1,000 prizes for a Local Artists and a People’s Choice Award.

The Moreton Bay Region Art Award has featured prominent and emerging artists for the last 24 years, and is now an important feature in the cultural landscape of the region.

Dr Campbell Gray, Director of the University of Queensland Art Museum is the 2017 judge.

IMAGE:

Ari Athans

Felsic Plume 2016

enamel on mild steel

30 x 70 cm

The Deakin University Contemporary Small Sculpture Award has shortlisted Vipoo Srivilasa's work, amongst others for its annual prize.

"This is the ninth year of the award and we were pleased to receive 232 entries, from which 40 finalists were selected.   

The external judges are Mr Ewen Coates (Sculptor) and Associate Professor Ken Wach, Former Principal Research Fellow and Head of the School of Creative Arts, The University of Melbourne.
 
The Small Sculpture exhibition launch is on Tuesday 6 June, 2017. 

The Sunshine Coast Art Prize is a national contemporary acquisitive award presented by Sunshine Coast Council. The Award is open to any artist who is an Australian resident, working in a 2D medium.

Forty finalists have been selected for an exhibition at the Caloundra Regional Gallery and the winning work will be added to the Sunshine Coast Art Collection.

Angela Goddard is the judge for the Sunshine Coast Prize 2017. Angela is the Director of Griffith Artworks, responsible for the Griffith University Art Collection and the Griffith University Art Gallery, Brisbane. Angela was previously the Curator of Australian Art at the Queensland Art Gallery I Gallery of Modern Art (QAGOMA). Winners announced 31 August.

IMAGE:

Tim McMonagle

In The Middle 2016

oil on linen

122 x 122 cm

READ MORE HERE

The Sunshine Coast Art Prize is a national contemporary acquisitive award presented by Sunshine Coast Council. The Award is open to any artist who is an Australian resident, working in a 2D medium.

Forty finalists have been selected for an exhibition at the Caloundra Regional Gallery and the winning work will be added to the Sunshine Coast Art Collection.

Angela Goddard is the judge for the Sunshine Coast Prize 2017. Angela is the Director of Griffith Artworks, responsible for the Griffith University Art Collection and the Griffith University Art Gallery, Brisbane. Angela was previously the Curator of Australian Art at the Queensland Art Gallery I Gallery of Modern Art (QAGOMA). Winners announced 31 August.

IMAGE:

Bundit Puangthong

Where Is the Buddha? 2017

acrylic on linen

122 x 122 cm

READ MORE HERE

Miranda Skoczek presents her first collection of jewellery works at Pieces of Eight Gallery in Melbourne as part of the Virgin Australia Melbourne Fashion Festival 2017.

In DESHILADO, Miranda pays homage to the samplers created by stitchers in the early 16th Century. The collection is a three dimensional gathering of a myriad of interests and influences remixing materials and techniques, blurring the boundaries between objects, jewellery and art.

With a desire to connect ancient traditions with fashion, while acknowledging the archaeological importance of jewellery as artefact, Skoczek takes the opportunity to bring permanency to ornaments that have up to this point existed as abstract fragments in her paintings.

The exhibition is current until 25 March 2017.

READ MORE HERE

Vipoo Srivilasa has won the 44th Muswellbrook Art Prize in the Ceramics section.  The $10,000 acquisitive prize was awarded to Vipoo's porcelain work 'The Good, The Bad and the Cuddly (self portrait)'.

The biennial Muswellbrook Art Prize began in 1958 and has helped form a significant collection of modern and contemporary Australian painting, works on paper and ceramics for the Muswellbrook Regional Arts Centre.

The exhibition is current until 7 May 2017.

Muswellbrook Art Prize

Miranda Skoczek is featured on The Design Files blog with a look at her move from an inner city two bedroom apartment, to a bucolic retreat set amongst the verdant landscape of the Dandenong Ranges. Miranda and her seven year old son Harper speak about the influence of nature on their lives and the impact a move to the country will have on her painting practice.

IMAGE:

Miranda Skoczek and her son, courtesy Caitlin Mills

READ MORE HERE

Iconic Australian blog The Design Files visited Sally Anderson in her studio recently, to see how things were progressing in the lead up to her first solo exhibition.

Working predominantly with a muted colour palette, the artist will often add an unexpected contrast, like a brush of bright magenta. ‘For me, working with colour is very intuitive; I might spend weeks working with dusky colours, only to come in one day needing to mix a cyan blue,

The paintings are an ongoing process of adding layers and marks. Sometimes Sally will paint over a work in her studio that she’d thought she was long done with. ‘My partner once said that my pieces are a bit like découpage… with individual snippets and cut-outs layered heavily onto a surface,’ she says. ‘My mum has always loved crafts and used to actually découpage the furniture in our house… maybe that’s unknowingly made an impression on me!’

- Sally Tabart, The Design Files, 2021

READ MORE HERE

Carrie McCarthy has written a thoughtful piece about Tim McMonagle's recent exhibition at Edwina Corlette Gallery for her brilliant blog Cultural Flanerie. The article coincided with Tim's first exhibition at the Gallery which continued his exploration of our majestic native gum trees.

There is something eerily familiar about the trees that have begun to sprout up in Tim McMonagle’s work in recent times. An artist who has spent almost two decades disseminating human nature’s foibles and absurdities through his whimsical compositions, McMonagle has increasingly found himself compelled to consider the curious lifecycle of our majestic native gums.

- Carrie McCarthy, Cultural Flanerie

IMAGE:

Install view of Tim McMonagle 'Recent work', image courtesy the artist

READ MORE HERE

Headlining the celebrations for Queensland's Gallery of Modern Art is 'SUGAR SPIN — YOU ME ART AND EVERYHTING' featuring over 250 contemporary artworks exploring light, space, architecture and the senses. From brand-new immersive works to large-scale visitor favourites, the exhibition reflects our complex connections to the natural world with an explosion of colour, sensation and spinning delights.

Major new artworks include Nervescape, a multi-coloured landscape of synthetic hair by Icelandic-born artist Hrafnhildur Arnardóttir a.k.a. Shoplifter, and the electrifying Heard by American sculptor and performance artist Nick Cave, a group of vibrant sculptural horses brought to life by dancers.

Vipoo Srivilasa's work 'BLEACH IV' is part of the exhibition which runs until 17 April 2017. Read more here.

Established in 2001, the Gyeonggi International Ceramic Biennale in Korea is one of the largest ceramic events in the world, representing contemporary artists from over 70 countries. 

Artists are invited to take part in the competition which calls for works that mirror modern trends and point to the future of contemporary ceramics and redefine its essence by exploring spirit, values, forms and technique. 

The winner will receive a cash prize of KRW 50,000,000 (approx $43,000 US) and will be invited to have a solo exhibition during the 2019 Biennale. 

In 2017 Vipoo Srivilasa will be representing Australia. READ MORE HERE.

Miranda Skoczek is renowned for her engaging, energetic works and her spectacular use of colour. A fixture on the Australian art scene, her work is instantly recognisable for its layers of intuitive colour, pattern and motifs. Iconic Australian label Country Road thought her work was perfect for a collaboration with charity RedKite. Miranda has designed two tote bags and a t-shirt, with all proceeds from each sale going towards providing essential support to children and their families who are facing cancer.

IMAGE:

Miranda Skoczek in her home, courtesy Country Road

READ MORE HERE

The first Central China International Ceramics Biennale will be held at the Henan Museum. Curated by art historian Wendy Gers the biennale will exhibit work by 50 Chinese and international artists.

Vipoo Srivilasa is one of six artists to be commissioned to create a site-specific work for the Biennale. In November he will take a residency at the Ceramic Art Institute of Henan University to create six large figurines for the exhibition.

One of the biggest celebrations of cultural diversity in New South Wales, Parramasala will be held from 10-12 March 2017, thanks to a multi-year funding arrangement between the State Government and City of Parramatta Council. 

Parramasala’s new mascot, an illuminated six metre tall inflatable creature will be revealed prior to the festival. Created by Vipoo Srivilasa, the mascot represents the coming together of many cultures in a harmonious and friendly way. Vipoo incorporated the V symbol denoting peace to reflect the multicultural event.

“It was an amazing experience as I’d never seen my work this size before,” the Thai-born artist said.

Vipoo Srivilasa's work has been curated into Gippsland Art Gallery's 'Weird Ceramic' exhibition.

Weird Ceramic is a survey of the strange and peculiar in contemporary Australian ceramics featuring twenty-seven works by eleven artists: Glenn Barkley, Stephen Bird, Chris Dolman, Lynda Draper, Donna Green, Emily Hunt, Philjames, Jenny Orchard, Stephen Ralph, Sarah Smuts-Kennedy, and Vipoo Srivilasa.

With its basis in the 1970s arts/craft movement, contemporary ceramics has one eye on the past while looking forward to new forms, techniques and processes.

Saturday 26 November 2016 to Sunday 12 February 2017, open during Gallery hours.  Read more here.

Tim McMonagle's work 'Ken Pearler' recently featured in the Australian Centre for Contemporary Art's exhibition 'Painting. More Painting'.

Presented in two chapters across ACCA’s four exhibition galleries, Painting. More Painting was a big-picture focus on contemporary Australian painting, featuring the work of over 70 living Australian artists.

Conceived by ACCA Curator Annika Kristensen and Associate Curator Hannah Mathews, and developed in collaboration with ACCA’s new Artistic Director/CEO Max Delany, Painting. More Painting brought together a range of painting practices that reflected the medium’s enduring importance and its recent return to the centre of much public debate.

READ MORE HERE

Melissa Pesa thoughtfully writes about Bundit Puangthong's latest exhibition in the current edition of Art Almanac:

Puangthong’s paintings explore, in depth, the cultural differences experienced since his arrival in Australia in 2000. Utilising a range of techniques from stencils to detailed, academic brushwork and an evocative colour palette, Puangthong creates texturally layered paintings that highlight his interest in American pop and Australian street art. Captivated by Melbourne’s creative ambience, its feast of colour, ideas and energy generated from public spaces, cross-cultural similarities became apparent. Puangthong reminisces, “When I came to Melbourne and saw all the street art everywhere it reminded me of the stencil work in the temples in Thailand.” Incorporating this approach with a modern medium, Puangthong brings a fresh art style onto the canvas.

- Melissa Pesa, Art Almanac

READ MORE HERE

Congratulations to Vipoo Srivilasa who is a finalist in the 2016 Basil Sellers Art Prize.  

The prize defines sport in the broadest possible sense. An acquisitive prize of $100,000 will be awarded to a single, outstanding artwork, displayed in an exhibition of shortlisted finalists at the Ian Potter Museum of Art, the University of Melbourne in July 2016.

This prize is supported by Basil Sellers in order to encourage contemporary artists to develop their practice, to engage with the many themes within sport past and present, and to contribute to critical reflection on all forms of sport and sporting culture in Australia.

View available works by Vipoo Srivilasa HERE.

Vipoo Srivilasa’s solo exhibition ‘Red-Eared Slider’ is currently underway at the Subhashok The Art Centre in Bangkok, Thailand.

The ‘Red-Eared Slider’ is a turtle native to the United State and feral across the globe. Originally introduced by a Japanese trader in Thailand, these red-eared turtles disrupt the natural ecology of Thai waters, threatening the native freshwater turtles. For Vipoo, who divides his time between Bangkok and Melbourne, the red-eared turtle represents the disregard humans have for their environment.

The exhibition is current to 30 April, 2016.

Click here for more information.

Deianira Tolema explores the concepts behind Vipoo’s practice in ‘Vipoo Srivilasa’s Playful Kingdom of Ceramic Figurines’ for Hi Fructose: The New Contemporary Magazine. She writes,

"Srivilasa’s work also explores the commonalities between Thai and Australian culture and Eastern and Western culture, where he uses blue and white as a reference to the export of blue and white porcelain from China to Europe. While being fully aware of his heritage, Srivilasa has been mixing up echoes from the past with traces of the present in a carefully arranged juxtaposition of old and new ways of thinking.”

Read the full article here.

Vipoo Srivilasa’s  has been chosen by Rebecca Hill, Exhibitions and Collections Co-ordinator at Gallery Oldham, as her favourite piece in the Crafts Council Collection, London.

"I really love the fact that this piece is technically excellent, yet doesn’t seem to take itself too seriously.” Rebecca Hill, January 2016.

Read the full article here.

Vipoo Srivilasa's sculpture 'Collective Reef' has been shortlisted for the $65,000 Fleurieu Art Prize for Landscape, hosted at the Anne & Gordon Samstag Museum of Art in Adelaide. The Fleurieu Art Prize focuses on landscape as a means of expressing the power of connection to place. This years judging panel includes Nigel Hurst, Director of Saatchi Gallery London; Suhanya Raffel, Deputy Director and Director of Collections AGNSW; and Erica Green, Director of Samstag Museum of Art. 

The winner is announced at opening night, Thursday 3 June 5 - 7pm at the Anne & Gordon Samstag Museum of Art in Adelaide, University of South Australia, 55 North Terrace, Adelaide. The Exhibition is current 3 June - 29 July, 2016.

Vipoo will present a new body of work at Edwina Corlette Gallery 16 November - 3 December, 2016. To view Vipoo's available works, click here.

This March at the Festival of Live Art in Melbourne, Bundit Puangthong will take part in Asian Artists in Conversation. Participating artists will provide a critical overview of the Asian art landscape, and discuss the shifting boundaries and concepts of contemporary Asian art.

When: Sunday 6 March, 1pm – 5pm

Venue: FCAC Roslyn Smorgon Gallery

Cost: Free, bookings required

The Festival of Live Art is hosted by Arts House, Theatre Works and Footscray Community Arts Centre, and is current 1 – 13 March 2016.

Bundit's forthcoming exhibition is from 4 - 22 October 2016.

READ MORE HERE

Vipoo Srivilasa has collaborated with local indigenous artists for Collisions: Cross-Cultural Collaborations, a community cultural development partnership between Shepparton Art Museum and Gallery Kaiela. The project involves local Indigenous artists partnering with established Melbourne-based contemporary artists.

Through the sharing of ideas, narratives and techniques, the artists have engaged in an exploration of cultural difference and similarity, conflict and connection, forging relationships in a dialogic exchange that departs from the art-making process.

Collisions: Cross-Cultural Collaborations is on show at SAM and runs current to 14 February 2016.

Read more.

Watch Bundit in the Studio Here

Vipoo Srivilasa exhibited in 'More Love Hours' at The Ian Potter Museum of Art, Melbourne. 'More Love Hours' brought together the works of contemporary Australian artists who use traditional techniques and processes in their practice. The works demonstrated the use of 'traditional' forms of creativity as a means to express contemporary values and complex ideologies.

'More Love Hours' installation at The Ian Potter Museum of Art, photographed by Viki Petherbridge

Carol Shwarzman writes, "at first glance, their balanced poise beckons for our approval, to satisfy desire for perfection, decoration, or to escape into the soft murmurs of collectible comfort and status quo. Inevitably, closer inspection reveals Srivilasa's take on cross-cultural social tensions, the commodification of artistic integrity, the role of the self within popular culture, and the history of ceramics worldwide."

To see more of Vipoo's work, click here.

Congratulations to Vipoo whose work New Family I (2014) was recently acquired by the Parliament House Collection, Canberra.

Congratulations to Vipoo whose work Soup Bowl With Turtle (2012) was recently acquired by the Lady Cilento Children's Hospital, Brisbane.

Congratulations Vipoo Srivilasa who recently visited the U.S. to be a part of the Roundtable Discussion for the National Council on Education for the Ceramic Arts (NCECA) on March 26, 2015.

‘”Pass the Peas: Food, Objects and the Making of Community”, will expand on themes explored in our 2015 keynote lecture. Namita Gupta Wiggers will moderate this lively discussion with Aruna D’Souza, Julia Galloway, Frederick Opie and Vipoo Srivilasa. As writers, artists, curators and historians these individuals all deal with the complex ways that we understand place and memory through objects, food and community engagement.’

Miranda Skoczek has collaborated with Gorman Clothing for their 2015 winter collection. In sync with the label’s aesthetic, Miranda’s artwork blends seamlessly into signature Gorman textures and styles. Her work is featured across all 53 pieces in the collection, with every print originating from five of her artworks.

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Congratulations to Vipoo Srivilasa whose work Bleach IV (2012) was acquired by the Queensland Art Gallery and Gallery of Modern Art.

Image: Bleach IV (2012), pocelain and cobalt pigment

Congratulations to Vipoo Srivilasa who was announced the winner of the 2014 Gold Coast International Ceramics Award.  Vipoo’s thoughtful porcelain work Battle of Old and New Power was selected from 48 entries from several countries including Japan, Argentina and Isreal.  Judge Dr Patsy Hely from the Australian National University School of Art described Vipoo’s work as having ‘resonance not just with one country’s internal battles but with the pulls and pushes of global relations and power struggles more broadly. In this way, it is a work in which the contemporary world is writ large.’ Srivilasa’s work was described as ‘at once beautiful and unsettling’ and reflects the contemporary world by ‘speak[ing] loudly of this moment in time.’

Image: Battle of New and Old Power (2012), porcelain

Dr Ashley Crawford - a freelance cultural critic based in Melbourne - has written a glowing essay on the progression of Rhys Lee's art practice.

Lee’s passport is stamped with a variety of exotic locales; he has been to Anger, he has stopped over in Love, he has traversed the landscape of Fear and, jet-lagged, he has experienced the Delirium of insomnia.

Like all adventurous travellers, Lee is a voyeur of the unknown. As this book opens we see him astride in alien locales, sheltering in a snow-capped tent in Scandinavia, peering over a swimming pool in a sweltering Havana. And there, early in his travels, are the first tentative sketches, faces – whether faces in the street or self-portraits is nary an issue; in many ways all of Lee’s work are self-portrayal. In 1999, the eyes stare out, Klimt-like, a mixture of defiance and trepidation. That same year, Lee discovers his trademark harshly-cropped skull in Haircut (1999). By 2000 the die is cast in a more assured self-portrait complete with sketchbook, a portrait of the artist as a young man.

IMAGE:

courtesy NBB Gallery, Berlin

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