4 Val Gee
5b Sarah Murphy
6 Marje Seymour
10 Phil Page
11 Fiona Little
13 Robin Setchell
14a David Hempenstall
14b Mark Mohell
17 Hanna Hoyne
18 Di Broomhall
20 Sara Wurcker
21 Rose Montebello
23 Kerry Johns
24 Meelan Oh
26 Katharine Campbell
Lightbox studios
M16 Artspace has 27 non-residential studios for rent by visual artists and creative practitioners working in related fields. They range in size from 15 to 60 square meters and are designed to cater for diverse art practices. Studios are accessible 24/7 and all spaces are self-contained.
When a studio becomes available there is a general call out and all new applications are considered at the same time as the applications we have on file. Unless otherwise notified applictaions are kept on file until additional spaces become vacant. Applicants are selected based on quality of application, exhibition history and evidence of/potential for an active career in arts practice.
All visual artists or creative practitioners working in related areas can apply.
To apply please download a form from the following link http://www.m16artspace.com.au/down-load-application-forms/ and submit your application to director@m16artspace.com.
For more information about renting a studio space please call (02) 6295 9438 or email Jas Hugonnet at director@m16artspace.com.
Image: Greer Versteeg 2017
Within her practice, Annika Romeyn strives to connect the realms of micro and macro, representation and abstraction, working across printmaking, drawing, and watercolour to create work about being in the landscape and the experience of wonder and mutability that comes with a close and patient observation of nature. Currently focusing on sheer cliff faces, eroded gullies and twisted trees - fallen or teetering on the precipice, Annika's work speaks to power, impermanence and the precarious state of our natural environment.
Travelling widely, Annika's active exploration of ‘wilderness’ areas by foot, kayak and raft has resulted in an enduring fascination with dramatic rock formations as humbling signifiers of elemental dynamism and geological time. She is interested in the difficult beauty of the Australian landscape, in grappling with signs of rawness and damage, as well as capturing moments of transcendence where the earth appears alive with layers of complexity.
Annika is represented bu Flinders Lane Gallery, Melbourse
Carmel has been a practicing painter for 25 years, and previously in Sydney, a Graphic Artist for 25 years. Original training was at - what is now - the National Art School, Sydney, followed by time in the UK working as a Graphic artist and flight crew with British Airways. Later years led to a move to the Snowy Mountains, and whilst there, completed a Certificate in Painting and another in Drawing at NSW TAFE. On moving to Canberra, McCrow completed a Bachelor of Arts (Visual) at the Australian National University in 2004. Since then, the artist has participated in numerous group exhibitions and seven solo shows. The artist has held studios at both ANCA - where she produced large scale oil on canvases - and now M16 Artspace.
image Liquid Gold, oil and acrylic on canvas, 90 x 10 cm
With an interest in process-orientated repetition, building material density and optical perception, Kate Vassallo is currently focusing her practice on drawing. Translating repetition, geometry and colour theory into highly visual forms, she designs materially driven systems to work within.
Kate Vassallo is an Australian visual artist. She graduated from the ANU School of Art in 2010, with First Class Honours and a University Medal. Though currently based in Canberra, Vassallo lived and worked in Sydney from 2011-2018. She has exhibited extensively throughout Australia, including solo exhibitions/performances at Firstdraft (Sydney), Kings ARI (Melbourne), Canberra Contemporary Art Space and the final exhibition ever held at MOP Projects (Sydney). She has also been curated into festival programs, like Critical Animals at TiNA (Newcastle), You Are Here (Canberra), Art Not Apart (Canberra) and Free Fall at Oxford Art Factory (Sydney). Her drawings are held in the Artbank national collection and private collections throughout Australia and the USA.
Vassallo also has a collaborative practice with fellow visual artist James Lieutenant. When collaborating, the pair makes large-scale graphic wall paintings that respond to architectural spaces. Together the pair has exhibited projects at Artbank, Canberra Museum and Gallery, Bus Projects (Melbourne), Archive Space (Sydney) and Canberra Contemporary Art Space. They have completed a number of public and private commissions, including permanent public art installations in Goulburn and Sydney.
Image: Kate Vassallo, Orchids, (2019), coloured pencil on paper, 100 x 75 cm.
I am a Canberra based artist working across a range of media from precious metal through to glass and photography. I have qualifications from the School of Art, ANU in both Photomedia and more recently Gold and Silversmithing. Currently the focus of my work is in exploring simple forms, shapes and lines, and how these interact with each other and the spaces in which they are placed or installed. I find lately I am increasingly going back to utilising my photographic skills to both create works, and document other artist’s works.
Image Moebius Pendant (commission) 2013 sterling silver (925)
I am passionate about metal and glass. I enjoy exploring the way a particular metal behaves and nurturing that quality through the traditional practices of forging, raising, melting and fusing. With an extensive background in glass flameworking I am continually looking at the relationship between metal and glass and the use of glass in contemporary jewellery.
My work reflects and explores the contradictions that emerge between the relative flatness of the metal and the three dimensional aspect of the glass shapes I use.
The excitement of starting a new project and overcoming the challenges encountered throughout the making process lead to the final sense of satisfaction achieved when the finished object may be held and admired.
Functionality is a fundamental aspect of my work, and often the driving force behind it however I enjoy the expression of form, thought and sensation that may be freely executed through the manipulation of metal.
My work needs to be aesthetically pleasing with visual strength in the balance of line, form and proportion.
Sarah is represented by Bilk in Canberra
Image Sarah Murphy Empty Nest 2015 mild steel,stainless steel. Photo: Angela Bakker
RECONCILIATION-Winter 2019: Reconciliation series are works began in response to the 2016 week dedicated to the ideal and pursuit of Reconciliation. The works both celebrate, and anticipate a Reconciliation process which will address the sad legacy of colonisation and bring a broader recognition and dignity to the First People of our land. The theme of landscape invites an enquiry of how we impact on the lands we share
LANDSCAPE SERIES CONCEPT: Extending on the works from the solo exhibition insideCONSCIOUSNESSoutside (2012) the series since have explored landscape through intentionality of consciousness as it emerges as impacts and consequence to our land and environment. The continuing theme includes personal and acutely experienced mining in Kalgoorlie and Coolgardie in W.A., through to the ‘new hills’ being rebuilt within the technologies of waste disposal near to home juxtaposed to the pristine and ancient apparent in Gibraltar Falls in the A.C.T. Each work looks to the intention and conscious commitment to preservation and conservation of our land and harmony and celebration of our multi cultures into the future.
All works explore the communication and empathetic viscous and chromatic properties of impasto layered oil paint and/or thinly layered oil glazes or mixed mediums including collage. Scale has become inherent in expressing the massiveness of impact of consequence to the land out of the subliminal to conscious intentions which motivate and drives the contemporary devolvement of millennia of geological evolving
Marje Seymour
Image Marje Seymour RECONCILIATION, 2016, diptych, oil on canvas, 2M x 1M , Photo B McGeachie
Dr Tony Curran is a practicing artist looking specifically at contemporary representations of the figure. . His research has investigated the role of participation in portraiture and figurative art through producing in-situ life drawing performances at Australia’s National Portrait Gallery, the Wagga Wagga Art Gallery the Museum of the Riverina and Fraser Studios. In 2014 Curran was shortlisted for the Brett Whiteley Traveling Art Scholarship and in 2015 was a finalist for the Archibald Prize. Curran lives and works in Canberra where he teaches sessionally in Painting and Foundation Studies at the Australian National University School of Art. Tony Curran also teaches at Charles Sturt University in Drawing and Art History.
Image Tony Curran, Luke, 2015, oil on linen, 113.5 x 83.5 cm.
U.K. Frederick (Ursula) is an artist based in Canberra, Australia. Her primary modes of art practice are photography, printmaking and video. In 2014 she completed her PhD in Art Theory and Photography and Media Arts at the Australian National University. This practice-based research explored the aesthetics of car cultures in Australia, Japan and the USA.
Ursula has a background in archaeology and her art practice is informed by her interests in material culture and the way people interact with each other and their worlds. Ursula was recently awarded an ARC Discovery Early Career Researcher Award to undertake a three-year interdisciplinary project examining the relationships between creative art practice and contemporary archaeology and heritage.
image: UK Frederick, 2018, details from The Search, silkscreen on unique chemigram, dimensions variable
Peter McLean is an artist with a deep affinity for nature and the environment. Working across a range of printmaking techniques as well as drawing and installation, his work explores the materiality of nature and our physical, emotional and spiritual relationships with place. As well as exhibiting regularly and undertaking residencies, Peter has extensive experience teaching printmaking for a wide range of students, including ANU School of Art & Design, the National Art School in Sydeny, Megalo Print Studio and Woodfolk Festival.
Image: Peter McLean monotype, 2018, 20x35cm
My original training was as an architect and I practised actively in that profession until 2007. Since 2010 I have been primarily studying painting at the ANU School of Art +Design. In 2011, I completed a Graduate Diploma in Visual Arts and am currently in the last months of the PhD program in the Painting Workshop. The themes of this project are centered specifically on the portrayal of the urban environment of European cities and my reactions to it. I use the characteristics of these cities, and my reactions to them, to drive the composition of my paintings. My work builds an overall image using fragments and layers of figurative imagery of cities together with gestural marks. They generally involve an ongoing dialogue between line and shape, and between drawing and painting. The final works show what I know and what I remember about cities and the process of making them.
I expect my painting practice to continue on this trajectory interrogating the boundary between drawing and painting in imagery of the built environment.
Image: Paris Aerial 2, 2017, acrylic on canvas, 91 x 125 cm; photo courtesy of David Patterson.
I make paintings and drawings using acrylic paints, gel pens, paint markers and pencils. My paintings could be described as hard-edged, geometric or non-objective abstraction. They are non-representational. I start a work without any source material, often with an idea of a compositional structure. Almost always the structure and ideas transform throughout the process of making. The relationship between myself and the materials is important. I love the tactile nature of paint, the colours, potential textures and the perceptual qualities that can be created. Often I work in a process that involves many layers that are built up over time. I can obliterate entire layers and this builds up a textural surface. I enjoy the lengthy process of building up paintings over days, weeks and sometimes months. It is this time that enables me to work through colour relationships and compositions, searching for what is important in a painting.
Image Fiona Little Material Grid painting (4) 2015 acrylic on wood 60 x 55cm
A self confessed chromaphile, Artist Jodie Cunningham has an obsession with colour, circles, pattern and the delights of perspex. She trained as a painter and also works with drawing, digital imaging, sculpture, installation, public art, jewellery and design. Her work deals with the themes of abstraction, symbolism, ornamentation, colour, play, place, community, architecture, emotion, memory, sustainability and transformation.
Cunningham has exhibited her artwork widely in solo and group exhibitions in Australia and the USA for over 25 years. She regularly exhibits in group exhibitions and her last major art exhibitions were a solo exhibition of images about transformation, ‘ Bloom’ at M16artspace, ‘Talking to the Tax Man About Poetry- Artists Data Portraits-Unsustainable Realities' Stage Installation for the Art Not Apart 2018 and ‘We Dance together’ a public art graphic installation in Civic Square for the Design Canberra Festival 2017.
Jodie has been the recipient of several prestigious awards including the Fulbright Scholarship- Visual and Performing Arts Category, Rotary Ambassadorial Scholarship and the University Medal in Visual Art, Australian National University (ANU). Cunningham has a Master of Fine Arts Degree, University of New South Wales; Bachelor of Visual Art, ANU.
Image: Jodie Cunningham, 2018, A little much for me, Digital print on fibre rag 310gsm.
Robin seeks to capture some of the many places she has visited and photographed around the world and Australia, by translating her work into various media. As well, she is interested in portraiture and abstract work. Other mediums include gouache, pastel and water-based oil.
Image Robin Setchell, Irises, 2018, 38 x 38 cm, watercolour on paper
Bronwynne is a Fashion Designer and Jeweller and is know by many names with the number of labels; Thunder Thighs Fashion, Infinitie, the Alchemy Steampuck Emporium.
Image: Curvature couture, exhibition opening night 2018.
Doug Hall, Studio Vita.
Sanne Koelemij’s practice explores an ongoing interest with collaged compositions; one where colour, material and shape are always in a state of flux. At the heart of these explorations is a curiosity with sentimental worth of materials, questions of value, and an environmentally driven desire to produce finished work from the waste of her own practice. Koelemij recent body of work is a response to collages made from studio waste; such as dried paint, paper off-cuts, and canvas scraps. These collages are exhibited through paintings using acrylic paint on transparent perspex.
Hanna Hoyne has an established practice as a sculptor, designer and performance artist exhibiting in Australia, and internationally. She has also worked in a variety of other art educational roles at the University of Canberra, National Gallery of Australia, Canberra Museum and Gallery, the YWCA Canberra and Artplay in Melbourne.
Image: Hanna Hoyne, Model for The Peoples' Voice, 2019, reclaimed cardboard, plastic, prayer-paper, varnish, 40cmx60cmx25cm.
Di Broomhall studied at the National Art School in Sydney, the Canberra School of Art in Ceramics, Charles Sturt University and at the Kathmandu School of Thanka Painting, Nepal. Broomhall has been a practising artist and educator for over 30 years and works from a studio at Canberra's M16 Artspace. She has taught in various institutions including the Australian National University in Ceramics.
Since completing a Masters in Visual Arts with Distinctions from CSU in 2001 she has drawn on this complex background in art theory and practice. Study and practice in one of the most elusive of ceramic techniques; atmospheric lustre firing has evolved into a way of working with paint that crosses through drawing, clay work and painting. Her canvases are thoughtful, energetic and speculative.
She says of her paintings“Theyare songs constructed out of time and lightand materiality and the transience of things. Of the beauty and integrity of life and of the stories of our becoming and being and becoming anew.”
Born in Warwickshire, England in 1957, Derek O'Connor moved to Adelaide in 1969, and today lives and works in Canberra.
From 1992 to 2015, Derek has held annual exhibitions at Legge Gallery, Sydney and at Helen Maxwell Gallery, Canberra, as well as major solo shows in Melbourne such as Derek O'Connor, Karen Woodbury Gallery (2004) and Reciprocal Translocations, First Floor Gallery Melbourne (2001). Most recently his work was exhibited in Derek O'Connor: 10 Year Survey Exhibition, Canberra Museum and Gallery, Canberra (2007/08).
He has also participated in numerous group exhibitions including Derek O'Connor & Marie Haggerty, National Gallery of Australia, Canberra (2007); Mosman Art Prize, Mosman Art Gallery, New South Wales (2007); Arthur Guy Memorial Painting Prize, Bendigo Art Gallery (finalist) (2007); Del Kathryn Barton, Cathy Blanchflower, Derek O'Connor and Monika Tichacek, Karen Woodbury Gallery, Melbourne (2004); Scratch the Surface: Recent Portraiture, Canberra Contemporary Art Space (2003); It's a Beautiful Day: New Painting in Australia 2, Ian Potter Museum of Art, Melbourne and Art Gallery of New South Wales, Sydney (2002-03); The Redlands Westpac Art Prize, Mosman Art Gallery, New South Wales (2003); On the Brink: Abstraction of the 90s, Heide Museum of Modern Art, Melbourne (2000); Recent Acquisitions, National Gallery of Australia, Canberra (1997); and the Moët & Chandon Fellowship Touring Exhibition, Australian state galleries (1993). Velocity Drill Hall Gallery Canberra Curator Terrence Maloon.
Over the past decade, Derek has received several grants and awards. Of particular note are the Capo Fellowship Award, Canberra (2007); Canberra Contemporary Art Space Inaugural Art Prize (2003); Individual Artist Grant, Department of Arts and Culture, Canberra (1998); and the Pat Corrigan Award for Exhibition Development (1995).
His work is held in major public galleries, including the National Gallery of Australia, Canberra; the National Gallery of Victoria, Melbourne; and the Canberra Museum and Art Gallery, as well as important private and corporate collections such as ABN AMRO, Renzo Piano Building, Sydney; Art and Australia; Artbank; RACV Art Collection; Pan Pacific Collection; and Austcorp. Woolongong University
Image: Derek O’Connor, Box car slats 4 , 2017 oil on book cover, 49.5 cm x 29 cm,
Rose Montebello’s intricately cut and layered works of art examine human experience, temporality and transcendence. Montebello draws on images of landscape, the animal kingdom, weather or events in the natural world for their ability to invoke associations between the terrible magnificence of nature and the internal landscape of emotion and experience. Recent works use found images selected from vintage encyclopaedias as a starting point. The original images are altered through the processes of reproduction and dissection before being reconstructed into geometric collage or layered assemblage.
Rose Montebello is a print based artist who lives and works in Canberra. She completed a Bachelor of Arts (Visual) with Honours in Printmedia and Drawing at the Canberra School of Art, Australian National University in 2000. Rose has exhibited consistently throughout Canberra and its surrounding regions since graduating.
Image Rose Montebello Safe Passage 2014 laser copy prints, paper, wood 23 x 45 cm
Meelan Oh was born in Singapore. She completed a diploma in Graphic Design in Nanyang Academy of Fine Art and worked as a graphic designer in Singapore. Her interest in book illustration and drawing led her to study printmaking in Canberra. She graduated in 2006 from ANU School of Art with first class honours in printmaking and winning three EASS Awards. Oh’s work include drawing, printmaking and paper-cutout. Her work explores the theme of memory, identity and place, using culture and nature images as a starting point to create beautiful and intricate works.
Image Foliage in late autumn 2014 Charcoal on paper 56 x 76 cm
Kerry completed her Bachelor of Visual Arts with Honours in 2004 at Australian National University, School of Art, an EAAS and Alliance Francais award recipient, followed by her Master of Philosophy in 2011. Since, Kerry has had 4 solo exhibitions including Canberra Museum and Gallery /Nolan following a three month pilot artist residency, at the Lanyon Homestead Heritage Precinct. Currently a practicing studio artist, Kerry has been exhibiting interstate and overseas, including regular participation in ANU field studies in which artists are asked to respond to the environment.
Kerry Shepherdson explores abstraction in acrylic painting through complex, apparently chaotic but fundamentally ordered mechanisms of growth in nature, and more recently the perpetual undulating currents of the vast landscape of the oceans. A profound sense of history and human minutia and vulnerability in the scheme of things is a constant inspiration. Her underlying influences reference the arts and crafts of Asia and Africa where she lived for many years, particularly her opportunity to study in depth water colour and ink Chinese Brush painting.
Her works are multilayered and metaphorical, referencing systems developed in contemplative autonomic processes arriving at complex visual syntheses of colour and light, irregular pattern and compositions that allude to underlying geometry.
Image Kerry Shepherdson, Drift 2015, acrylic on canvas, 100 x 100 cm.
Katharine Campbell is a Canberra based artist who graduated from the ANU School of Art in Printmedia and Drawing.
Site investigation and observation within the Australian landscape has always been fundamental to her work. The use of a physical site or landscape provides a framework in which to explore personal responses to the environment. It is the dimension between a visceral response and an observational view, which she finds fascinating and also quite intangible.
In the studio, elements of the landscape are explored working on larger drawings in more detail. Utilising printmaking techniques such as etching allows her to explore the displacement of space and the reconfiguration of the natural environment.
Image: Katherine Campbell, ‘Ediface 1 ’ (detail), graphite on paper, 226cm w x 75.5cm
Andrea McCuaig creates large-scale contemporary abstract paintings on canvas. Her technique employs gesture and colour at its heart to express the vibrant energies felt when dancing. Andrea’s recent works extend the central theme of dance and combine gesture inspired by the aural experience of performing with music. These works present kinaesthetic traces of live movement in line and gesture with layers of veiled colour that merge and separate across the canvas surface.
Andrea McCuaig is a graduate in Fine Art Painting and Graphic Design she has exhibited within Australia for the past 13 years and holds collections in Canberra, Sydney and Melbourne. Andrea is currently a Candidate for Doctor of Philosophy in Visual Art at the Australian National University.
Image Andrea McCuaig, Prelude to zen I, 2014, acrylic on canvas
My arts practise is in collage and my work is abstract with representational elements: favourite media are gouache and/or acrylic and graphite on paper applied to canvas. My background is in calligraphy and graphic design and typography makes a frequent appearance in my work: from hand lettered formal capitals and historic scripts to free pen work and printed pages from old books. My favourite subjects are dogs, people and places I’ve visited.
Image: Elizabeth Faul, Morning Light, 2019, biro on board: 50 x 30 cm.
James Lieutenant is an Australian visual artist, recently relocated from Sydney to Canberra. Mainly using painting and screen-print, he creates idiosyncratic and often puzzling imagery. Lieutenant in interested in the space between digital and analogue, abstract and representational art.
He has exhibited in Sydney, Canberra, Melbourne, Brisbane, Launceston and New York. His artworks are held in numerous private and public collections across Australia. He was awarded the 2013 Linden Postcard Prize by Linden Centre for Contemporary Art (Victoria) and was selected for the invitation only National Artists' Self-Portrait Prize at The University of Queensland Art Museum in 2015.
Image: James Lieutenant, Yellow: One Beam, Tape and Rags, 2018, Acrylic on Canvas, 42 x 51 cm
Johns’ painting draws on the imagery of the landscape in which she is living at the time and to which she is emotionally attached. Periods of plein air drawing in the particular landscape result in an understanding and an empathy with the character of place.
She calls on this instinctive understanding in the use of an open method of construction in which no way forward is known beforehand. This ground of familiarity allows me the luxury of complete freedom in method and approach.
Johns' describes her work as building upon the legacy of modernists such as Cezanne, Matisse and Bonnard, Milton Avery and Sean Scully who understood the integrity of the painting language itself while giving equal weight to the feeling or sensate nature of the subject.
image: Kerry Johns, Monaro Skyfeild, 2013-17, Acrylic on canvas, 70cmx80cm.
“I’m an artist working across the realms of drawing, photography, printmaking, performance, video and sculpture. I also write stories.
I take an experimental approach to creating performances and visual art informed by my fascination with how people establish social relationships and construct the places they inhabit. Since completing my Masters degree in Sculpture at the Australian National University School of Art in 2000 I have worked on a diverse range of collaborative and solo projects. I love working in collaboration with other artists and anyone who is curious and enthusiastic.
My sense of adventure has led me to undertake residencies on a cruise ship in Norway, a village in Northern Thailand and a winter month in Finland. In both Thailand and Finland, I created works (solo and in collaboration) that responded to the unique natural environments whilst paying attention to the ways they had been transformed by human activity.
I’m fascinated by photography of remote and extreme environments, and by how it’s possible to visit those inaccessible places vicariously inspired by the images and writings of astronauts and explorers. I am currently obsessed with Antarctica and the moon. I especially love reading the diaries and memoirs of astronauts and Antarctic explorers and using their stories as inspiration to generate my own poetic works of art.
As well as working as a visual artist I teach as a sessional lecturer at the Australian National University School of Art and Design. My teaching interests span drawing, sculpture, installation, video and performance art, and art theory. I’m currently teaching the Professional Practices course in the Centre for Art History and Theory at the ANU and I blog bits of interesting, related info at: http://artbusinessbits.tumblr.com/”
image: Ellis Hutch, Looking up, looking down 2016 watercolour on Sa paper
David Hempenstall (b.1979) began photographing in the sea as a teenager.
He is fortunate to be making photographs abroad and close to home through his personal projects and commissioned work.
David is a member of the collective brokenbench and is based in the Australian Capital Territory.
image: David Hempenstall, untitled. 2011.