Studio 1 - Annika Romeyn www.annika-romeyn.com
Studio 2 - Carmel McCrow www.carmelmccrow.com.au
Studio 4 - Val Gee
Studio 5a - Angela Bakker www.angelabakker.com.au
Studio 5b - Sarah Murphy www.sarahmurphy.net.au
Studio 6 - Marje Seymour
Studio 7 - Tony Curran
Studio 8 - Jacob Potter www.jacobpotter.com.au
Studio 9a - Bronwyn Davies
Studio 9b - Jane Dunn
Studio 10 - Phil Page
Studio 11 - Fiona Little fiona-little.tumblr.com
Studio 12 - Jodie Cunningham
Studio 13 - Robin Setchell
Studio 14(a) - David Hempenstall
Studio 14(b) - Mark Mohell
Studio 15 - Bronwynne Jones
Studio 16 - Ellis Hutch
Studio 17a - Hanna Hoyne
Studio 17b - Sara Wurcker
Studio 18 - Di Broomhall
Studio 19 - Derek O’Connor
Studio 20 - Nicola Dickson www.nicoladickson.com
Studio 21 - Rose Montebello
Studio 22 - ANU School of Art & Design EASS Artist in Residence
Studio 23 - Ella Whateley www.ellawhateley.net
Studio 24 - Meelan Oh www.meelanoh.com.au/artsite/Home.html
Studio 25 - Kerry Shepherdson
Studio 26 - Katharine Campbell
Studio 27 - Andrea McCuaig andreamccuaig.com.au
Studio 28 - Elizabeth Faul www.elizabethfaul.com.au
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)
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.”
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
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.
Nicola Dickson is a Canberra artist and graduate of the ANU School of Art. She uses painting and drawing to explore her long-standing interest in perceptions of the natural world in Australia. This interest was pursued in depth in her PhD research project at the ANU, which she completed in 2010.
Dickson exhibits regularly in Canberra and Sydney and was a finalist in the Sulman Prize in 2013 and Highly Commended in the Waterhouse Natural Science Prize in 2013 and 2014. Her paintings and drawings are held in several public collections including Parliament House, Canberra Museum and Gallery, Canberra Hospital and the ACT Legislative Assembly.
Bron Davies is a Canberra-based artist who has worked with various mentors since the 1990s to produce her artwork. From 2006 she has utilised a studio at M16, and has exhibited here in several group exhibitions since.
A solo exhibition Abstract Expressionism was held in 2012 at M16.
Bron has continued to experiment with distortion, and explores styles and mediums of the Impressionists and the Fauves.
In 2013 and 2014 she completed a commission to make a large mosaic mural for a courtyard wall in Croatia.
While most of her works are acrylics and mixed media on canvas she also works in printing techniques including linocut and woodblock single and reduction prints.
Recently she has expanded her printing practice to include screen printing, where she uses images from her paintings in her designs for printing onto fabric. The plan is to then use the fabric in the restoration of Art Deco furniture.
Her work is found in collections both in Australia and overseas.
Image Bron Davies Garden Series 2 mixed media on canvas, 101 x 101cm
My working life has been in Graphic Design. I am presently developing my painting and printmaking practice at my studio at M16 Artspace. My practice involves drawing directly from nature, then experimenting with oil paints [from these drawings] in my studio. This gives me the opportunity to explore the subject matter and In addition, I use various printmaking processes which enable me to simplify and abstract the information. I use Megalo Print Studio and Gallery on a regular basis, exploring with various etching, woodcut and lino cut techniques. Here I can experiment with colour, tone and texture in a variety of ways, then proceed into other mediums.
I have a strong spiritual connection to the Australian landscape and therefore like natural found objects to paint on and print from, including mountain ash fence posts, bark, lotus leaves and eucalypt leaves. I find that printing directly from nature and painting onto textured wood lets the physical experience become part of the artistic process and product.
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, Fleeting Glimpse, 2016, mixed media collage, 40 x 60 cm. Photo: Andrew Sikorski.
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
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
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
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
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
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
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, Iced, oil on canvas 2007 1171 x 1171 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
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.
Jacob creates assemblages of paint and found materials that change dramatically throughout their construction. Combining planned and unintentional mark-making, canvases are worked on the front and back, taken apart, openings cut into the surface and sewn back up again.
Jacob challenges the conventional notion of painting by expanding the flat picture plane into a sculptural construction.
image: Jacob Potter, Inout, 2015, acrylic, mesh and canvas mounted on wooden stretcher bar
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
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.
My current works of landscape paintings express continued enquiry into the philosophy of intentionality of consciousness; the series of works seek to evoke an empathetic conscious awareness of how man lives within and uses our ancient land and provokes a sensitive seeing and thinking of ‘landscape’ in the context of consequences to the land itself today and into the future.
SERIES CONCEPT: Extending on the works from the solo exhibition insideCONSCIOUSNESSoutside (2012) the current series since explore landscape through intentionality of consciousness as it emerges as consequence to our land and environment. Through landscape interpretation and imagination, the works will consider the impacting consequences of much in nature – in the landscape - that is more generally only subliminally observed in passing. The series arises from the 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 and the pristine and ancient apparent in Gibraltar Falls in the A.C.T. All of which begs the intention and conscious commitment to preservation and conservation into the future.
The works are visually expressed in impasto and/or thinly layered glazes of oil paints and 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.
I love a sunburnt country ...
Image Marje Seymour New Hills Down Under Recycled Landscape 2015 (Diptych) oil on canvas 92 x 184cm
Ella Whateley employs a variety of water-based mediums- acrylic paint, inks and light sensitive pigments- on surfaces of canvas and paper. In her paintings she hopes to explore how pictorial space can act as both metaphor and device for metaphysical enquiry.
Executed within the PhD programme in the Painting workshop of the School of Art at the Australian National University, current works investigate how spatial play can be created for the artist and the viewer. Using the language of abstraction, this spatial enquiry combines an analytical approach with the speculative and aims to create an active space as an experiential device for spiritual invitation.
This enquiry is based on contemporary Christian theology and explores the concept and experience of community.
Image: Ella Whateley, Entitled: Passing: Coming to Compline,2015, Acrylic and pigments on linen, 183.5cm x 130cm