Peachey and Mosig /  by Kirrily Jordan

Rachel Peachey & Paul Mosig are multi-media artists who work together through a shared interest in human/environment relationships.

Their process is centred around collaboration, often working with practitioners from a range of other disciplines, using movement, photography, video, sound, sculpture and textiles to document and respond to particular landscapes.

They are engaged in ongoing, deliberate explorations of landscapes as observers and as active participants, mapping physical and emotional terrain. The way they make work often revolves around the process of field studies - returning to specific landscapes over time and the process of play - interaction with each other and the environment with no particular outcome in mind.

The theoretical approach that most informs their work is the study of Human Ecology, which is the trans-disciplinary study of systems theory, applying the principles of ecosystems sciences to the study of the human environment. Their work also celebrates notions of mystery and wonder, the centrality of the sense experience, the poetic relationship between science and philosophy and the meeting of the rational with the intuitive.

 

Anna Madeleine Raupach /  by Kirrily Jordan

Anna Madeleine Raupach, Slow Violence (Gospers Mountain) 2020, embroidery thread on emergency blanket, 200 × 127 cm. Installation view: Ramsay Art Prize 2021, Art Gallery of South Australia, Adelaide. Image courtesy of Saul Steed, AGSA.

Anna Madeleine Raupach is a multidisciplinary artist based on Ngunnawal/Ngambri land, and a Lecturer at the ANU School of Art & Design. Through multimedia installations, AR and VR experiences, and mixed media artworks, her practice engages with science and technology to critically address socio-political issues enmeshed with climate change.

Anna has a PhD in Media Arts from UNSW Art & Design (2014), and a Bachelor of Visual Arts (Honours) from ANU School of Art & Design (2007). Recent projects include an Australian Network for Art and Technology Synapse Residency, a Museum of Applied Arts and Sciences Research Fellowship, and commissioned artworks for the Tellus Project led by UNSW Art & Design and the National Herbarium; and Solar Protocol Network. In 2024 she will be a 2024 Fulbright Scholar at the University of Southern California’s School of Cinematic Arts. 

Anna has been awarded international residencies at the Cité Internationale des Arts, Paris, through the Art Gallery of NSW (2018); and Common Room Network Foundation, Indonesia, with Asialink Arts (2017). She has had solo exhibitions in New York, Melbourne, Sydney, Canberra, and Bandung, and across Australia she has participated in group exhibitions at Casula Powerhouse Arts Centre; Verge Gallery; Bundanon Trust; Watch This Space, Alice Springs; Flinders Lane Gallery; and Art+Climate=Change, Melbourne. Her work has been selected for prizes including the Mandy Martin Art and Environment Award, 2022; the Ramsay Art Prize, 2021; Blake Prize, 2020; Waterhouse Natural Science Art Prize, 2020; and the Churchie Emerging Arts Prize, 2016.

Follow the artist @anna_madeleine

Madeline Cardone /  by Kirrily Jordan

Madeline Cardone, Embodied i, 2021. Image courtesy of Brenton McGeachie.

Madeline Cardone (b.1996 Canberra) lives and works on Ngunnawal and Ngambri country, and gained her education in Visual Arts and Art History/Curatorship at the ANU School of Art and Design in Canberra. Though primarily trained in glass, she engages with other mediums such as ceramics, drawing, metal and performance. Her current trajectory explores architectural theory and phenomenology, with a particular interest in shadow, light, space, and the body. She often works to develop experimental and unconventional ways of making with her materials, with an inherent sensitivity towards subtle surface and refined form.

Follow the artist @madeline.cardone

James Lieutenant /  by Kirrily Jordan

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 is 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.

Website: jameslieutenant.com
Follow the artist: @james_lieutenant

James Lieutenant, Yellow: One Beam, Tape and Rags, 2018. Acrylic on canvas, 42 x 51 cm.

Jodie Cunningham /  by Kirrily Jordan

A self confessed chromaphile, 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 M16 Artspace, ‘Talking to the Tax Man About Poetry - Artists Data Portraits - Unsustainable Realities' stage installation for Art Not Apart in 2018 and ‘We Dance Together’ a public art graphic installation in Civic Square for the Design Canberra Festival 2017.

Cunningham 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.

Website: jodiecunningham.com
Instagram: @jodiecunninghamart

Jodie Cunningham, A little much for me, 2018. Digital print on fibre rag 310gsm.

Val Gee /  by Kirrily Jordan

A painter and printer, Val’s works are largely abstract or of representational imagery with abstract elements. Inspiration comes from organic sources and the emotional response to images as they present themselves. Inspiration can come from a glimpse or an immersion into a subject, with intuitive response and imagination shaping the final imagery.

In her painting practice, Val’s work is vibrant and colour driven with a focus on the interplay of realism and abstraction. She experiments with format, texture, materials and painting techniques to create impact. Val is currently working in acrylic paint and mixed media on a series of works influenced by water. Val will continue her animal themed works. In contrast to her paintings, Val’s printing portfolio typically shows muted colour tones. Val’s prints include etchings, monoprints, lino prints and collagraphs. Using the themes and subjects featured in her paintings provides Val further opportunities for exploration and expression within her prints.

Val Gee in studio

UK Frederick /  by Kirrily Jordan

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.

Website: ukfrederick.com
Follow the artist: @uk_frederick

UK Frederick,The Search (detail), 2018. Silkscreen on unique chemigram, dimensions variable.

Phil Page /  by Kirrily Jordan

Phil Page graduated in architecture from the University of Newcastle NSW with the university medal and Master of Architecture. His professional career was initially in Sydney and later in Canberra. Many of his projects were overseas, including several of Australia’s pavilions at world expositions. In Australia his work included the first development strategy master planning for the Australian War Memorial for the NCDC and several major planning and design studies for the Department of Defence in Canberra and elsewhere. In 1992 Phil became one of the founding principals in BVN Architecture. His diverse range of projects there included the design of Buildings R1 and R2 at Russell for the Department of Defence, major heritage conservation works at the Australian War Memorial, design of the initial National Portrait Gallery in Old Parliament House. In 2006, his RAAF Richmond 36/37 Squadron HQ was awarded the RAIA Sulman Medal and Environment Awards. Phil left BVN in 2007 after several years as National Director, to pursue a long interest in painting.

His subsequent studies at the Painting Workshop at the ANU School of Art and Design led to the award of a Graduate Diploma in 2011 and a Doctor of Philosophy in 2019. He has been a Studio Artist at M16 Artspace since 2017. His paintings explore ways of incorporating layers of imagery of intangible and non-visible information to portray the urban pattern where history acts like a pictorial generator affecting compositional issues. The works contain layers made from drawn and painted lines and areas of colour, often figurative but also frequently abstracted from the patterns of the urban environment, sketchbook images and memory. Many of these memory images result from his previous architectural practice.

Working on paper, board or canvas his current works continue on this trajectory interrogating the boundary between drawing and painting in imagery of the built environment. These works show what he remembers about cities and the process of making them.  

Phil Page, Paris Aerial 2, 2017. Acrylic on canvas, 91 x 125 cm. Photo courtesy of David Patterson.

Mark Mohell /  by Kirrily Jordan

Mark Mohell completed his photography diploma in Canberra in 1997, and during his studies was named the Australian Institute of Professional Photography’s ACT student photographer of the year. Subsequently, he gained a degree in environmental design. Having worked throughout Australia documenting large-scale environment and heritage projects, since 2010 he has been Image Services Manager at the National Portrait Gallery, Canberra. There, he has made a major creative contribution to exhibitions and accompanying publications for Paris to Monaro and Arcadia, both of which won major design awards. His portrait of inaugural director Andrew Sayers AM was acquired for the Gallery’s collection at Sayers’s own request. In such exhibitions as view from here and kerb lite Mark has explored the constructed, urban landscape in the context of ‘the ease with which we let things fall apart. We shape the environment to our desires, but gradually forget its significance. As time passes it grows and becomes alien to us. When we finally attend to the world closest to us, what we look upon is something quite foreign.’ Mark’s exhibition kerbside toured to Muswellbrook Regional Arts Centre in 2014. Several of his photographs were acquired by the Canberra Museum and Gallery in 2015, and immediately featured prominently in the exhibition Urban Suburban.

Website: markmohell.com

Mark Mohell, Watching passerby, 2018. Photography/Archival pigment print, 77 x 78 cm.

Al Munro /  by Kirrily Jordan

Al Munro is a Canberra-based artist working on Ngunnawal-Ngambri land. Her interests span painting, print, textiles and drawing-based art practices and her work is informed by a diverse range of sources including artistic abstraction, mathematics, architecture and philosophy to explore the relationships between visual art, craft and design practices. She have exhibited widely throughout Australia and internationally, and her work is held in public and private collections.

Website: almunro.com
Follow the artist: @almunro_art

Al Munro, Regular/Irregular 5, 2023. Acrylic paint on boxboard, each 20 x 16 x 10 cm. Image courtesy of the artist.

Lani Shea-An /  by Kirrily Jordan

Lani Shea-An is a painter and mixed media artist living and working on Ngunnawal land. She studied painting at the ANU School of Art & Design from 2016 to 2019 including a semester abroad at Kyoto Seika University.

Lani has also studied and worked in horticulture and seeks to integrate complex environmental questions into her arts practice. Referencing personal experiences and childhood memories, as well as contemporary nature writing, her work investigates an evolving human connection to land and environments.

Lani was a finalist in the 2019 Brett Whiteley Travelling Art Scholarship and her work is held in public and private collections in Australia and the UK including the Drill Hall Gallery ANU Art Collection.

Website: lanisheaan.com
Follow the artist: @lani.sheaan

Lani Shea-An, ANU School of Art & Design Graduating Exhibition 2019 (installation view). Image courtesy of David Paterson.

Hanna Hoyne /  by Kirrily Jordan

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.

Follow the artist: @hoondoctor

Hanna Hoyne, Model for The Peoples' Voice, 2019. Reclaimed cardboard, plastic, prayer-paper, varnish, 40 x 60 x 25 cm.

Di Broomhall /  by Kirrily Jordan

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, “They are songs constructed out of time and light and 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.”

Website: dibroomhallart.com
Follow the artist: @dianebroomhall

Di Broomhall, Atmospheric Lustre, 2014. Oil on canvas. Image courtesy of the artist.

Di Broomhall, Nomad's Light lV (detail), 2016. Oil on canvas, 120 x 90 cm. Image courtesy of the artist.

Di Broomhall, INTERPLAY (detail), 2021. Pigment on linen, 182 x 122 cm. Image courtesy of artist.

Di Broomhall, Chutespace at M16.

Kerry Shepherdson /  by Kirrily Jordan

Kerry Shepherdson, Drift, 2015. Acrylic on canvas, 100 x 100 cm.

Kerry completed her Bachelor of Visual Arts with Honours in 2004 at the 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.

Website: kerryshepherdsonart.com
Follow the artist: @kerryshepherdson

Katharine Campbell /  by Kirrily Jordan

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.

Katharine Campbell, Bifurcation, 2021. Pencil and charcoal on paper, 50 x 35 cm.

Katharine Campbell, Dissonance, 2022. Pencil and charcoal on paper, 50 x 35 cm.

Katherine Campbell, Ediface 1 (detail). Graphite on paper, 226 x 75.5 cm.

Katharine Campbell, Fragment, 2020. Conte and pencil on pizza box, 80 x 40 cm.

Rose Montebello /  by Kirrily Jordan

Rose Montebello, Safe Passage, 2014. Laser copy prints, paper and wood, 23 x 45 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.

Follow the artist: @rosemontebello

Rose Montebello, Mirror, 2014.

Rose Montebello, Lock, 2014.

Meelan Oh /  by Kirrily Jordan

Meelan Oh, Foliage in late autumn, 2014. Charcoal on paper, 56 x 76 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. 

Website: meelanoh.com.au

Meelan Oh, Flutter flutter...Oh it’s so pretty, 2020. Mixed media collage, 31.5 x 29 x 28 cm.

Elizabeth Faul /  by Kirrily Jordan

Elizabeth Faul, Cockatoo and roads wreath, 2022. Gouache on board, 30.5 x 22.8 cm. Image courtesy of the artist.

Elizabeth Faul has been a lettering artist for 35 years and a visual artist for 22 years. She trained formally as a professional calligrapher in the UK, and completed a Bachelor of Graphic Design at the University of Canberra. She has had several solo exhibitions, most recently at Kinkora Gallery Queanbeyan in 2022, and at Helen Stephens Gallery Collector in 2020, Belconnen Arts Centre in 2017, and M16 Artspace in 2016, 2015 and 2013. She won the CCAS Members’ Exhibition in 2016, the NOW Shoalhaven Contemporary Prize in 2013 and the Weereewa Festival prize in 2010. Faul exhibits frequently in curated group shows, both in Canberra and interstate, including at red gallery in Melbourne in 2022, 2018 and 2017.

Faul’s recent artworks explore wildlife, especially Australian fauna, insects and birds. Using gouache and graphite, usually in combination, she makes representational images of native birds, macropods and insects. Her concern for the natural environment and an enduring interest in its non-human inhabitants inform her work, particularly in relation to destruction of habitat, species extermination and climate emergency.

Website: elizabethfaul.com.au
Follow the artist: @elizabeth.faul

Liz Faul, Very Busy and Important, 2020. Gouache and graphite, 35.7 x 28 cm. Image courtesy of the artist.

Liz Faul, Phasmid, 2019. Gouache and graphite. 35.7 x 28 cm. Image courtesy of the artist.

Liz Faul, Indian Ringnecks, 2020. Gouache and graphite 40 x 50 cm. Image courtesy of the artist.

Ross Andrews /  by Kirrily Jordan

Ross Andrews, Walshs Yard (detail), 2020. Acrylic on panel, 30 x 30 cm.

Ross Andrews paints in acrylic, gouache and ink to create landscape and urban environments. He sees each is a visual and emotional response to the environment and a reflection on contemporary issues.

Ross’s visual language builds works with loose, layered and naturally painted effects. These layers allow him to capture unexpected moments during a painting’s early stages, a free expression of fast brushwork and vivid colour.

Follow the artist: @scribblyross

Ross Andrews, Gully Lights, 2022. Acrylic on aluminium composite panel, 51.5 x 51.5 cm.