D R AW I N G s P H O T O G R A P H Y s PA I N T I N G

INSPIRING
PHOTOGRAPHER
DAVID OLIVER

WORKING IN
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DEREK NEWTON

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CONTENTS ISSUE 21 2018

Galleries
22 Exhibit A – Norman Lindsay Gallery
and Musuem
66 International – Johnny Come Home II –
Berlin , Germany
70 International –The Brick Lane Gallery –
London, United Kingdom

58 Profile
6 Paul Margocsy – The Photorealist – Fine Art
16 David Oliver – Capturing the Dream –
Photographer
28 Wendy Burke – My Source of Complete
Escape – Fine Art
40 Jenny Green – Sculptors Are Magicians –
Sculptor
46 Daniel Hutchings – Water, Light and Land
– Fine Art
58 Jenny Stephens – Give it a Go – Fine Art

4 artist
Workshops
12 Paul Margocsy – Laughing Kookaburras
– Watercolour and Gouache
34 Wendy Burke – The Rose – Pastels
52 Daniel Hutchings – Turquoise Bay
2014 – Oils
62 Jenny Stephens – Solemn Pup – Pencil
& Acrylic
Contents
Regulars

36 In Focus – Camera Buyers Guide

54 Shooting For Art – Aperture
72 My Space

artist 5
PROFILE
The Photorealist
Self-taught and obsessed with
photorealism, this artist has had two books of his
incredible work published.
My first memories of art were from when I
was about five years old and had a colouring-in
book, and I distinctly remember my mother saying
how good it was that I stayed within the lines.
After leaving school I was involved in the display
department at Myers, which taught me a lot about
composition and colour. In 1966 I was conscripted
and served a year overseas. In 1971 I went to
6 artist
England and continued window dressing and
selling my art in London. I also painted murals in
hairdressing salons and children’s nurseries.
My wildlife art started in 1981 when I went
to an exhibition by the Wildlife Artists’ Society of
Australasia in East Melbourne. I was so taken by the
art that I decided then to try to paint wildlife.
Never having had a lesson, I spent a lot of time
learning and teaching myself; it was a hard road
and I made a lot of mistakes. I found myself caught
between fantasy and reality, but I was directed by an >>
 Paul Margocsy

Paintings
Above: Australian
Great Egrets
Left: Australian Rainbow
Bee-Eaters

artist 7
PROFILE THE PHOTOREALIST

8 artist
 Paul Margocsy
artist named Colin Johnson to decide which way I
wanted to go. I chose reality, and became obsessed
with trying to achieve a photo-realistic style. It didn’t
happen overnight – it took years of toil and paint.
My major inspiration came from American artists,
and after timeless studying of their art techniques I
found, myself five years later, hanging next to them
in the biggest bird exhibition in the world.
Having two books of my works published has
been a fulfilling experience, especially when people
show their delight at reading them. I remember a
young boy and his mother standing in front of one
of my paintings at an exhibition and she said to him:
“What do you think of these?” and he answered,
“they are good photographs”!
The lessons I have learnt include that you never
do your best painting . . . that is yet to come. Be
proud of your work and never compare your work to
that of another artist. Appreciate what other artists
do, but be your own person. You will always get
critiques, both good and bad. Weigh up the pros Paintings Opposite page
and cons of the comments and use them to help This page Top: South African Leopard and Cubs
achieve what you want to do. Remember, the one Top: Australian Splendid Fairy Wrens Below left: Australian Azure Kingfishers
big word in all forms of art is composition. >> Above: North American Great Grey Owls Below rignt: South African Zebra

artist 9
 PROFILE THE PHOTOREALIST
Paul Margocsy

I totally enjoy my medium and technique. Many

artists ask me to try different styles but I always
swing back to the original and it seems to work.

Web: www.paulmargocsy.com.au
Ph 03 9509 1519
In Sydney, Paul is represented by Kevin Hill,
www.kevinhillstopten.com.au I

Paintings
Opposite page
Top: Australian Boobook Owl
Above: Australian Cone Crested Jacanas
Left: Australian Galahs

10 artist
 Drawn to the West
With Artist Derek L Newton

Early in 2015 Derek will be leading a Pen and Ink 7 day

tour of the Historic Port City of Fremantle and beautiful
Rottnest Island WA. This first class tour will include
most meals and accommodation, studio visits of leading
Fremantle Artists and a guided tour of Fremantle and
Ferry to Rottnest Island. Interested? Why not register
your name and email address for more details. The
group will be limited to 15 with a minimum of 10.

Email your details to Derek at:

info@wannerooheritageart.com.au
WORKSHOP WATERCOLOUR AND GOUACHE

Laughing
Kookaburras

STEP 1

MATERIALS Our iconic birds are brought to life

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FINAL STEP

12 artist
 Paul Margocsy

>>

artist 13
WORKSHOP

STEP 2 STEP 3

STEP FOUR STEP SIX

Using dark tones under the neck and the belly will
give the kookaburra form and shape.
Detail is used on the back and wing, so make sure
you have the correct feathering as this is the style
that is photo realism.
Add the final barring of the kookaburra’s cheek and
stomach with Raw Sienna and then start on the bird
on the left, following the previous steps. You will find
that dry brushing can enhance the feather work, thus
cutting down on the use of small brushes.

STEP FIVE STEP SEVEN

Next, work and rework the feather detail using a 000
Sable Brush, then complete the blue sections with
white and add highlights to the eyes with fine dots
and concentrate on the edges of the feathers with
Naples Yellow.
Use tonal washes of Paynes Grey, Sepia and Burnt
Sienna to work on the fence posts. Once the shading
is done on one side then you can add detail of
cracks and rusty bolts. You can add wire if you want,
as this will bring the painting to life.

STEP 4 STEP 5

14 artist
 Paul Margocsy

STEP 6 STEP 7

FINAL STEP Web: www.paulmargocsy.com.au

Add dry grass with olive greens and Sienna and Ph: 03 9509 1519
Naples Yellow to complete the detail. This can
be done with a No. 1 Sable Brush and this adds In Sydney, Paul is represented by Kevin Hill,
interest to the timber fencing. www.kevinhillstopten.com.au I

Artist’s
Hints & Tips
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using a dry brush
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of images of your
subject so you
get to know its
character rather
than working off
one photo, which
can be restricting.
CLOSE UP

artist 15
PROFILE

Capturing the Dream

16 artist

Known for his stunning landscapes and
portraits, David Oliver has been a professional
photographer for the last 35 years, and
was awarded the coveted Grand Master of
Photography in 2007, one of less than 12 people
around the world to receive this honour.
David Oliver
H
e says, “Living life as a teenager in London
in the 1960s and ‘70s was the place to be,
working in the City of London next to the
River Thames was where I first fell in love with light.
The early morning mist on the river was magical;
mixed with cobblestone streets and old buildings
were a photographer’s dream.
“I was influenced by three great London
photographers: Bill Brandt, known for his strong,
moody black and white images; David Bailey,
who was at the forefront of environmental fashion
photography; and Lewis Morley, who was famous
for his portraits of London’s elite.
“Moving to Australia in the mid ‘70s I got my
first break in photography, working with the Elton
Ward Group as a wedding portrait photographer.
Soon after I joined The Australian Institute of
Professional Photography (AIPP) and that’s where
my photographic career really took off. There are
far too many members to mention who have helped
me along the way; I guess that’s what the AIPP is
all about.
“Winning numerous awards along the way, the
stand out for me was receiving my Grand Master >>
artist 17
PROFILE CAPTURING THE DREAM
of Photography and Fellow of the AIPP on the same
night back in 2007.
“Photography for me has been my passion, and
I am always on the lookout for when the emotion,
composition, and light come together. Henri-Cartier
Bresson referred to it as the Decisive Moment.”
David’s favourite pastime as a young child was
flicking through picture books, until he swapped
this for photography, using his family and friends
as subjects. This led him to choose a photographic
cadetship, where he learnt to take family portraits
and wedding shots, and started to become known
18 artist
for his portraits.
David is also known for his stunning and evocative
landscapes. Many of his photographs are in black
and white, which he says offers more mood, and
he prefers to shoot early in the morning to capture
the best lighting. David prefers black and white
photography, and says when he first started working,
there was no colour photography, and he still prefers
the ‘realness’ of black and white images.
Known for his individual and timeless style, David
has received commissions that have taken him and
his trusty cameras all around the world. In addition
to taking photographs, David teaches and gives “Photography
lectures, sharing his passion and knowledge of for me has
photography, and has co-produced fine art books been my
about landscapes and documentary photography. passion, and I
am always on
He runs workshops, with subjects including
the lookout
landscape photography, wedding photography,
for when
commercial photography and portraiture. the emotion,
David’s advice for beginners: keep your composition,
passion alive - never get too ‘busy’ to stop taking and light
photographs for yourself – you must set aside time come
to take personal images that inspire you. And, of together.”
course, regardless of your level of skill, you should
always be prepared for the unexpected – that
nanosecond of time that offers an opportunity to
capture an amazing moment.
He admires the work of fine art photographers
Henri Cartier-Bresson, David Bailey and Elliott
Erwitt, and readily admits that he has been helped
throughout his career by photographers from
Australia and overseas, and has studied the work >>

artist 19
PROFILE CAPTURING THE DREAM
of many, which has inspired and helped him create
his own, individual style. He also values constructive
criticism of his work, as he says valid comments
help you to relook at what you have done, and see
where it could be improved, which can be inspiring.
David admits when digital photography made its
entrance, he was not a fan, preferring traditional
film, and it wasn’t until it was pointed out to him that
developing film was so much more time consuming
and labour-intensive than digital that he then started
shooting in digital at his studio.
A self-professed all-rounder, David enjoys many
facets of the craft, and has always had a job in
photography.
He loves landscape photography, commenting
how wonderful it is to be in nature by yourself, just
20 artist
waiting for that special moment to arrive. A realist,
he acknowledges that special moment doesn’t
always appear, but the freedom of being amongst
nature is enough reward in itself.
David’s daughter Clare is now covering most
of the wedding bookings at their studio, giving
him more time to indulge his love of landscape
photography and personal portraits. With a library
of some 400 photography books, David is adamant
you should never stop studying and learning, and
setting goals and targets, and he’s clearly living what
he preaches, with more fascinating projects on the
boil than ever before.
David Oliver
Web: www.davidoliver.com.au I
 David Oliver
David’s awards include:

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artist 21
EXHIBIT A
Norman Lindsay Gallery & Museum
Background
Norman Lindsay was born on 22 February 1879,
in Creswick in the Victorian goldfields, and died
at Springwood, NSW at the age of ninety on 21
November, 1969. His family’s artistic talent came
from his mother, a daughter of the Rev. Thomas
Williams who, as well as having been a pioneer
Methodist missionary in Fiji, had a considerable skill
in drawing and an interest in art that prompted him
to take the young Norman Lindsay to the Ballarat Art
Greek Gallery – Lindsay’s last ship model
The Amazons
22 artist
Gallery, and, as Lindsay recalled in his autobiography
My Mask, to introduce him to the painting of the
figure in Solomon J. Solomon’s Ajax and Cassandra.
Of the 10 children of Dr and Mrs Lindsay, five
were to become artists of distinction. Besides
Norman there was Percy, the eldest, who painted
sensitive landscapes in oils; Lionel, who is especially
noted for his etchings and woodcuts; Ruby, who
married the artist Will Dyson and drew under the
name of Ruby Lind and Daryl who, besides making
his own reputation as a painter, was for many years
director of the National Gallery of Victoria.
Norman was unquestionably the outstanding
member of this talented family. He began drawing
in early childhood and throughout his long life
continued to draw, paint and write. As principal
cartoonist at The Bulletin newspaper for more than
50 years, his depictions of the current issues of the
day illustrated Australia’s changing social attitudes.
Controversy surrounded him as he defended his
right to paint the nude – a subject hardly unusual in
European art. Lindsay rejected Christianity, and his
art depicts Bohemianism and Arcadian pantheism
mixed in a fantasy world. As early as 1904 his
work was deemed blasphemous; in 1930 his
novel Redheap was banned, and the following year
the police stopped an issue of Art and Australia
magazine that showcased his art.
He also wrote novels and children’s books,
including the classic The Magic Pudding. For
relaxation he made carefully studied ship models
as well as garden sculptures. But it is his technical
mastery of various artistic media – pen drawings,
etchings, watercolours and oil painting – which
showed the range and force of his imagination and
his brilliance.

Oil paintings
Lindsay experimented with paintings in oil in the
early 1900s and continued to paint in this medium
in intervals throughout his life. The early paintings
are often soft and elusive and have great charm,
whilst undoubtedly his most impressive oils are
those from the 1930s and 1940s.
The oils of this period may be divided in to three
categories. There are the small paintings, sometimes
of harem subjects and the like, where Lindsay was
chiefly aiming at rich contrast of colour; sometimes
of ‘plain air’ nudes with the emphasis on light
effects. Then there are the larger ‘portraits’ based on
studies of models such as Phyllis Silverwood, Pearl
Zweig, and the famous Rita Lee. Finally, there are
the big gallery paintings on subjects from history,
literature or mythology.
Very few of his major oil paintings were ever
offered for sale. Several are in private hands, six
Gallery
fine examples are in the collection of the University
of Melbourne, and Lindsay gave two to the Ballarat
Art Gallery. Springwood is fortunate to possess an
unmatched collection of his major oil paintings.

Watercolours
Painting in watercolour requires quickness of
mind, dexterity of hand, and perfect control. Once
the wash starts to flow, the artist who hesitates >>

artist 23
EXHIBIT A

Billjims & Brothers Exhibition

Billjim takes Australia’s Salute
To commemorate WW1, an exhibition entitled Billjims
and Brothers shows the ways in which the Lindsay
family brothers were involved in the war effort. Norman
worked with the Government, producing the now famous
war recruiting posters, which depicted the Germans
as ferocious ogres, wreaking havoc and terrible death
on the innocent women and children of the conquered
countries. The posters were produced to create fear and
hatred, encouraging Australian men to enlist and fight to
prevent these atrocities happening here. While his posters
were strong propaganda material, his Bulletin cartoons
featuring Billjim, an enlisted soldier, had the remarkable
effect of introducing a word to our vocabulary, which
the soldiers immediately adopted for themselves and it
became their identity.
His brother Reg was the first of the brothers to
enlist in the army after previously spending time in
the 19th Light Horse. Reg went by ship to the Middle
East and then on to France with the Australian Imperial
Force. He was a gunner, transferred to the 22nd Field
Artillery Brigade, who took part in the Battle of the
Somme near Bapaume, where he was killed in the field
on New Year’s Eve, 1916.
Daryl enlisted in the Australian Imperial Force
on 28 February 1916. Like Reg, he had served in
the Australian Light Horse for 12 months prior to
enlistment. All of the Lindsay brothers had a love of
horses, as many of their paintings demonstrate. Daryl
left for France and was later attached as batman to
his brother-in-law Will Dyson, who was Australia’s
first official war artist. Daryl drew many scenes of
the trenches and soldiers, and was at the front lines
in 1916 and 1917 at the Somme, Passchendaele,
Villers-Bretonneux and Ypres.
Included in the exhibition are recruitment posters,
Bulletin cartoons, photos, war memorabilia and personal
effects. The exhibition runs until 30 July 2015.

24 artist
Above: Original cover of
“The Magic Pudding”

The Magic Pudding

Book characters

>> is lost. Few artists had greater technical control

of the medium than Lindsay, who, nevertheless,
wrote that he discarded more work than he ever
completed.
Lindsay described his method for one painting
as planning out the composition and tracing it
down on paper. He then wrote out a chart of
colours in the order in which they would be
applied. A pale yellow wash was spread over
the paper, with further under-washes of pink,
purple and blue in specific areas. Pure colour was
dropped into these washes while still wet. The
artist often used a base colour scheme of brown
and purple, leading from brown to a range of reds
and yellows – from purple into blues and greens.
In the watercolours, as with so much of his work,
the emphasis is on the human figure. Landscape
had small interest for Lindsay except as a setting
for action, although he could wash in a sun-dappled The Magic Pudding
glade or moon-drenched sea with the best of them. Lindsay’s best known children’s book is The Magic
His world was a very personal one, people with Pudding. He wrote it in 1917, partly to settle an
Gallery

creatures both real and supernatural, if, indeed, one
can separate the two.
The early watercolours seem often to be inspired
by the theatre, especially the ballet. In his trips
abroad, it seems likely that Lindsay saw, and was
excited by, some of the Diaghilev ballets. The etching
Desire is obviously inspired by the ballet L’Apres-
midi d’un Faune, and many early watercolours are
theatrical in their treatment.
argument with his friend Bertram Stevens of
The Bulletin and Art in Australia, who maintained that
children liked to read about fairies, whereas Lindsay
said they liked to read about food.
First published in 1918, it is still in print and has
been translated into Japanese, German, French and
Spanish, as well as having been published in Britain
and the United States. It is regarded as a classic of
children’s literature. >>

artist 25
EXHIBIT A

The Norman Lindsay Gallery & Museum

A wedding chest or cassone, decorated by Lindsay
In 1913, Lindsay and his second wife, Rose, moved
to the Blue Mountains, purchasing “Maryville”, an
estate owned by Sydney department store Francis
Foy. A stone cottage on acreage, they renamed the
property “Springwood”, and over the years Lindsay
added paths, sculptures, fountains and urns. By
the late 1950s he made his house into a gallery
to house his drawings, etchings, paintings and ship
models. Before his death in 1969 he asked the
National Trust of Australia to purchase the property
for use as a gallery and subsequently left a bequest
of his work to be displayed. Paying homage to his
memory, his oil painting studio has been preserved
as he left it, with unfinished oils and materials in situ.

Contact details
Run by the National Trust of Australia, The Norman
Lindsay Gallery is open every day of the year from
10am until 4pm. Do make sure you give yourself
plenty of time when you visit – in addition to admiring
the works in the wonderful Gallery, wandering around
the magnificent garden is such a pleasure.
The shop has an extensive range of Lindsay’s limited
edition facsimile reproduction etchings, limited edition
watercolour prints and original woodblock prints, as
well as books and unique gifts. Lindsay’s literary works
and memorabilia are also available to purchase online
or at the Gallery. The website features a photographic
tour of the Gallery and extensive gardens.

Norman Lindsay Gallery & Museum

Email: info@normanlindsay.com.au
Phone: 02 4751 1067
Web: normanlindsay.com.au
14 Norman Lindsay Crescent
Faulconbridge, NSW, 2776

Thanks to The Norman Lindsay Gallery & Museum

for permission to use the information on its website
in this article. Photgraphy supplied by The Norman
Lindsay Gallery & Museum and Alex Mullen.
Artworks: Copyright H, C & A.Glad I

26 artist
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artist 27
PROFILE
My source of
complete escape
This talented artist admits that while it’s
rewarding to be acknowledged for your efforts, the
most important reason why she paints is for the pure
pleasure of creating an artwork.
I was born in Melbourne in 1945 and I can’t
remember a time when I wasn’t willing to spend time
with a pencil in my hand. At 14 I entered a drawing
competition and won a place to further my drawing
skills. At the time I was unable to take this up but kept
up with drawing and my love of the craft of artwork
has been a source of complete escape for me.
I left high school to do a commercial
administration course at a technical school. This
school had a large art department and I spent all of
my free time watching the class through a window.
28 artist
The artwork that was produced in the classes
fascinated me and so I continued to draw when I
could.
Then I started work, got married, had babies and
was extremely busy and far from any thought of
picking up pencils again. I finally got the opportunity
to attend night classes and my interest was
rekindled. I painted mostly in oil on board and was
hooked again.
Early in my art journey I copied the masters,
particularly Heysen, McCubbin and Roberts, which
gave me a feel of oil on canvas and during this time
I studied their techniques.
After a move away from Melbourne to East
Gippsland for my husband’s work, we settled in to a
 new community and had another baby. I eventually
worked for the best part of 30 years with a dabble
here and there when I had the time.
When all the children had left the nest I spent a
few years enjoying folk art. Without too much of a
challenge and a lovely group of ladies it was a very
pleasant pastime. I have attended workshops in folk
art and fine art and no matter what the subject is,
you still come away with more knowledge and a
renewed enthusiasm.
I became restless without that challenge and
“One of seven years ago my son and daughter-in-law
the real bought me a semester of lessons in fine art
advantages of with our well-known local art tutor, Jan Long.
working with This was what I call my beginning in really
pastel is that understanding this wonderful pastime. With
when you put lessons from Jan’s classes, her generous sharing
colour on the of knowledge and the great exchange of ideas
paper it is the and skills shared in her classes by all participants,
colour you this is my inspiration to stretch my outlook and
have chosen; also I have made like-minded friends who all
it doesn’t speak the same language and we share our own
change. What experiences as well.
you see is what The lessons I have taken with Jan covered drawing
you get!” skills, which was a two-year course, painting in
different mediums and how to draw portraits. >>

artist 29
PROFILE MY SOURCE OF COMPLETE ESCAPE

In the past couple of years I have been attending

a class called “Own Choice”, where participants
bring along their own choice of artwork. This leads
to a wealth of information for everyone because
Jan advises each person on their project, effectively
giving us individual tuition.
During Jan’s classes it was necessary to try pastel
painting as a medium. I was not very motivated – I
considered pastel very dirty and messy and couldn’t
understand why anyone would want to use this by
choice. There was no choice in this class, we had
tried several other techniques and this was the next
one. The rest is history as they say. I haven’t been
able to seriously use any other medium since. I have
bought oil paints and canvases, watercolour tubes,
gouache and paper and have tried, but I just can’t
get over my obsession.
One of the real advantages of working with pastel
is that when you put colour on the paper it is the
colour you have chosen; it doesn’t change. What you
see is what you get! Also there is no drying time and
you can brush off any changes with a stiff brush and
re-apply the pastel. The easiest surface to use, for me,
is the Canson pastel paper which has a fine, irregular
sandpaper type texture on the surface, has cardboard
feel and comes in a large range of colours. There are

30 artist
other papers of course which also come in a range
of colours which you may like to give a try if you are
tempted to have a go at the pastels.
I have started to sell my paintings and have
completed 10 commissions. My commissions have
been mainly portraits and pets. I don’t really have a
favourite subject, I paint from photographs mainly
and it depends how the photograph appeals to me
as to whether it becomes my next project.
To further my involvement in art in this area, in
the past 12 months I have joined the Bairnsdale
and District Art Society (BADAS) and have enjoyed
another group of like-minded people, all willing to
share their journey and experiences.
BADAS ran a very successful Art Show in 2013
called “Glorious Gippsland” which was a huge >>
artist 31
PROFILE MY SOURCE OF COMPLETE ESCAPE
success for both BADAS and the Bairnsdale area in
general. I sold a painting there and that was very
exciting because it was the first painting I have sold
in an Art Show and only the second in which I have
entered a painting.
Towards the end of last year BADAS had a portrait
competition for its members called “Gippsland
Characters” and it was well supported by our
members. We had only two prizes in this competition.
One was an Encouragement Award and the other was
a People’s Choice Award. I won the People’s Choice
Award which was such a wonderful encouragement to
me. The portrait was of one of our local Doctors who
very kindly allowed me to paint him.
At the Bairnsdale Agricultural Show in 2013
I entered three paintings and won Best in Show,
1st and 2nd in Animals/Birds section and 1st in
Flowers and Still Life. This was another boost to my
32 artist
confidence which lead me to send three entries into
Australian Artist magazine for Challenge No.55 –
Still Life and Florals. To my surprise I won 2nd in this
competition. The recent Bright Art Show saw two
more paintings sold.
I am also greatly encouraged by the amount of
commissions I have been asked to complete and
look forward to continuing with this in the future.
Whilst it is so rewarding to be acknowledged for
your efforts, the overriding reason why I paint is
for the pure pleasure of creating an artwork. I feel
privileged to have been able to pursue this God-
given passion and to share this with others through
different avenues.
Contact options for enquiries:
Email: rowen41@bigpond.com
Ph: 0418 560 010 I
artist 33
WORKSHOP PASTELS

The Rose
Materials List STEP ONE
t 3FGFSFODF QIPUP Once I decide on the reference (I mostly work from
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o $BSNJOF work out and down the page to prevent smudging.
o .BEEFS -BLF %FFQ Having decided which colours to use I begin with
o -JHIU :FMMPX shading, this is the most enjoyable process for
o #MVF 7JPMFU me. I love to get the blending started and melt the mostly black I wanted to get the feel of how the
o #VSOU 4JFOOB colours to get the effect I am working towards. I like subject would work.
o 3FE 7JPMFU to almost finish each section as I go so that I know
o #MBDL how the colours are working with each other. STEP FOUR
t "4 1BTUFMT At this stage I’m adding more definition to the petals
o 1IBMP (SFFO STEP THREE and still working down and across the paper. I
o $PPM 8IJUF o &YUSB 4PGU This is where it is getting more interesting. The decided to delete the bud on the right-hand side
t 1BTUFM 1FODJM o  petals are taking on more shape and definition. I and to have just the impact of petals on the dark
have already started the background, with it being background.

34 artist
STEP 1

STEP 2
STEP 3
Artist’s
Hints & Tips
FINAL STEP I have added leaves to the background and
t

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artist 35
IN FOCUS BY DANIEL SMITH
Camera Buyers Guide
The main considerations
when choosing the right camera for
you include the final output and overall
quality, camera size and portability, the
requirement for extra lenses, low light
capability, the cost of the kit, and your
area of interest, amongst other things.
We have listed the main categories below
Nikon D7100
Olympus SP100
Canon 5D mkIII
36 artist
to help assist your decision and a few
notable cameras in each series.
Digital camera technologies have
advanced quickly and continue to do so.
Every new model of camera sees better
image quality and more features generally
at a lower price. Technically speaking,
resolution and overall image quality has
Digital SLR (Single Lens Reflex)
These cameras have a built in mirror and
prism that adds to the overall size and
weight but with this comes the ability to
see directly through the lens in real time
and a quick autofocus. This view is not
hindered by electronic viewfinders or any
sort of delay.
These cameras are generally the top
choice for professional photographers,
however models are available to
accommodate beginners, enthusiast and
professionals alike. One main advantage
of this type of camera system is the large
range of accessories and the versatility that
comes with that. There are many lenses
that are available to use on this style of
camera from long lenses for sports, portrait
lenses, wide-angle landscape lenses and
lenses for low light shooting.
Nikon D7100
Nikon’s high resolution DSLR camera has
an excellent image sensor providing very
good low light performance and a sharp
image. The 51 focus points and 7 frames
per second make it a good camera for
fast moving subjects. This is a wonderful
camera for capturing good image clarity in
a variety of different lighting situations.
Canon 5D mkIII
One of Canon’s most popular cameras
from the last couple of years, the Canon
5D mkIII provides wonderful low light
performance and a professional feature
set. This camera is the go to for people
well and truly surpassed that of 35mm film.
Advancements in low light performance
and digital specific features have created a
market of advanced cameras that have very
capable manual and automatic modes.
There are a many different options when it
comes to choosing digital cameras and these
can be grouped under a few basic categories.
shooting a wide range of subjects and is
a wonderful camera for people shooting
portraits, weddings, landscapes and fine
art photographs. The large camera sensor
provides a great perspective which will be
familiar to people who have shot film in the
past.
Mirrorless Cameras
The mirrorless range of cameras, also
referred to as Compact System Cameras,
are a series of cameras that are styled
on their DSLR counterparts (above). By
removing the mirror and prism they have
a much smaller form factor than a DSLR
with very similar options. Lenses are still
interchangeable with these camera but the
weight and physical size are drastically
less. Instead of offering a view directly
through the lens, your viewfinder and
screen displays an electronic (digital) view,
and although there is often a slight delay,
most screens are able to display the image
using the live exposure mode so as you
change settings you will see the effect
instantly. This is handy for visualising the
final results. Mirrorless cameras are a great
choice for those who are size and weight
conscious and for the photographer who is
on the move.
Olympus OM-D EM-1
The Olympus series of mirrorless cameras
have combined a retro look with the
functionality of a professional camera.
The Olympus OM-D EM-1 is its current
flagship model. It boasts a 3.0 inch titling

rear screen, WiFi to share your images,
an excellent sensor, and is dust, splash
and freeze proof. This style of camera
has been very popular with documentary
photographers and street shooters.
The size makes it suitable for discreet
documentary shooting.
Panasonic GH4
The Panasonic GH4 has developed an
excellent reputation when it comes to
video. The GH4 will shoot 4K video and
has been a popular choice for enthusiast
and professional filmmakers. Whilst a very
competent stills shooter, the Panasonic
GH4 has really been designed with video
in mind. It offers a range of different video
and still shooting modes for all situations.
The lens mount is a micro-four thirds so
there are many suitable lenses from the
Olympus and Panasonic brands as well as
manual adapters for older manual lenses.
Compact
The pocket compact camera is not what
it used to be. In the days of film these
cameras where often fairly basic, offering
zoom, flash on/off and a button to take
the picture. The newer style of compact
camera contains a large range of features
with some cameras utilising DSLR
functionality.
There are a few categories within the
compact market; basic compacts that offer
a simpler set of controls but still provide
a large range of features; superzoom
compacts that provide giant lenses allowing
Olympus OM-D EM-1
you to zoom right in on the action, these
cameras will often have manual controls;
premium compacts that have a higher
than standard image quality and often a
premium design; and rangefinder styled
compacts that are based on an older style
of film camera, these rangefinders sport a
viewfinder, have manual controls and are
often larger than other compacts, and unlike
a DSLR or mirrorless, the lenses are fixed
and cannot be interchanged.
Olympus SP100
The Olympus SP100 is a compact camera
that also fits into the superzoom category.
It has a gigantic 50x optical zoom that in
traditional 35mm terms is a 24-1200mm
lens. To get a lens this size in a DSLR
the lens would be physically huge. The
SP100 is a good all-rounder with a range
of features. It offers some very easy to
use automatic picture modes and manual Fujifilm Finepix X100s
controls.
Fujifilm Finepix X100s
A high end compact, the Fujifilm X100s
is styled like a rangefinder of the past. As
much nostalgic in design as it is practical,
the camera layout allows for easy
access to the manual controls. There is a
simplicity to the X100s, and with its fixed
lens and basic controls the user can focus
on automatic or manual exposure easily.
Mobile phone cameras
Smart phones have become a standard Panasonic GH4
addition to pockets and handbags and >>
artist 37
IN FOCUS BY DANIEL SMITH
Samsung Galaxy S4 Zoom - 4G
Daniel Smith is a Sydney based artist
and photographer. He currently works at
Digital Camera Warehouse as the Video
Producer and Educational Co-ordinator.
Daniel has a BA in Fine Arts and is
currently studying a Masters in Cross
Disciplinary Art and Design at The
College of Fine Arts (UNSW).
For
B O TA N I C A L & W I L D L I F E
ART & PHOTOGRAHY
Contact
Margaret Hodgson OAM
Email: whatsupthescrub@gmail.com
Phone: 02 6647 3157
38 artist
have initiated a change in the traditional
camera market. Many people now use
a smart phone in place of a regular
camera and to remain competitive many
cameras have evolved to include some
of the features that make phones the
more popular choice such as the sharing
of images. Images are quite good from
smartphone cameras but for the most part
the quality will be better in a traditional
camera. The reasoning for this is that the
lenses and sensors are usually much bigger
and better quality in a traditional camera.
Some advantages are the ability to easily
share your images, apps for editing, and
the fact that it is always in your pocket.
There are some cameras available that have
complete phone functionality including the
ability to make calls.
Samsung Galaxy S4 Zoom - 4G
This hybrid camera and phone offers the
Android experience complete with optional
photo apps, a good size sensor and the
ability to download traditional apps such
as Angry Birds ™. A great phone that will
provide superior images to the traditional
smart phone.
Sony Smartphone Lens Attachment
Camera - DSCQX10
This novel camera is actually just half
of a camera that clips onto your smart
phone. Control is all done through the
phone with an app via Bluetooth. The
sensor and lens are in the unit itself but
all controls are operated and the photo is
taken through the app. A handy add-on to
your smart phone. I
 Oil and Water don’t mix?
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PROFILE

Sculptors are
magicians
For Jenny Green, sculptors are
magicians, taking the mundane and
transforming it – bashing it, bending it, moulding
it, welding it, casting it – into objects that tickle the
imagination or inflame the emotions.
Romanian sculptor Constantin Brancusi did
precisely that for Jenny with his iconic Bird in
Space. So did the American David Smith with
his Australia and his Cubi, the British Barbara
Hepworth with her Form, and the Italian Alberto
Giacometti and his Walking Man.
Always an art lover, it was works like these that
prompted Jenny to turn into a museum and gallery
junkie, then to collect sculpture and, later, to be
drawn into sculpting herself.
At first she sculpted part-time, stealing time
away from her 20-year corporate career. But after
winning an award for one of her works in 2002,
she took a deep breath, quit her day job and
threw herself into studying sculpture full-time,
undertaking a BFA (Sculpture) at the National Art
School in Sydney. Since graduating, she’d been
sculpting full-time from her studio in an industrial
park in the heart of Sydney’s Northern Beaches.
Jenny describes her works as ‘drawings in
space’ evoking both mood and motion. They are
typically abstract yet also figurative, toying with

40 artist
Sculptures
Top: Beautopia Opposite page
Left: Asana Left: The Dancer – bronze
Above: Solitude (in gallery). Right: Nymph

artist 41
PROFILE SCULPTORS ARE MAGICIANS
shape, space, movement and colour. Her aim is to
capture a moment, a movement, a feeling. That’s no
easy task if you work mainly in steel, bronze and
resin, as she does.
When Henry Moore said sculptors were
‘obsessed with form and shape’ he could have been
describing Jenny Green. Her work often exudes the
tension between line and volume, structure and
rhythm, allowing these sculptures to enliven a sense
of space and air.
Jenny works in both steel and bronze, relishing
the different media because they demand entirely
different creative processes, teasing out different
Sculptures ideas and indeed moods.
Above: Flourish 14, She first welded steel at art school, and can today
Flourish 15 be found using offcuts, rod and salvaged objects.
Above right: The Dance. While the materials are tough and hard, the works are
Opposite page: Scarlet light and breezy, like her Catching Whispers.
42 artist
‘The big advantage of welding steel is it’s so
direct, so immediate,’ she says, lifting her welding
mask. ‘I start with an idea or an emotion, maybe
a drawing, then I bring pieces of steel together,
adding and subtracting, twisting, cutting, bending,
building up the work bit by bit until its personality
reveals itself.’
Working with bronze is a complex multi-stage
process. It begins with the modelling, where she’ll
typically work with clay, plasticine, polystyrene, or
plaster, to build form and shape. ‘The modelling can
almost be meditative,’ she says, eyeing one of her
works, Asana, which itself reflects a yoga pose.
Once she’s completed the modelling, the
process side commences and this can take
several weeks. She first takes a silicone or plaster
mould, into which hot wax is then poured to
produce a wax replica of the original. When
 Jenny Green
cooled the wax version is coated with layers
of slurry, encasing it in a ceramic shell. This is
then kiln-fired at high temperatures to harden
the ceramic and melt out the wax (hence
the term ‘lost wax’). The most dramatic step
comes with pouring molten bronze into the
empty ceramic mould. With the metal’s melting
point at around 1,000 degrees centigrade, this
is not for the fainthearted.
Jenny’s work can be found in private, public
and corporate collections. She exhibits widely, in
both solo and group shows.
Her first solo show was ‘Catching Whispers’
where her works, in steel and bronze, evoked
snippets of conversation, wind in the trees and
brushed intimacies. Jenny says, ‘Even my most
abstract works are inspired by the figure or
drawn from nature.’
In ‘Beautopia’ at traffic jam galleries in
Neutral Bay, Jenny explored the elusive quest
for beauty – how we commonly take beauty at
face value, rather than digging deeper to reveal
the beauty within. She also took a cheeky look
at beauty, with sculptures of lacy bras and
panties and stilettos made from metal off-cuts
and junked steel.
In her ‘Go Figure’ show, Jenny focused on
figures, flora and fantasy, creating a world
where gods and nymphs wandered though a
carpet of trees and flowers made from steel,
bronze and resin. >>

artist 43
PROFILE SCULPTORS ARE MAGICIANS

Jenny’s work has been selected for the North Sydney

Art Prize, Harbour Sculpture, Sculpture in the Vineyards,
the Blake Prize Director’s Cut, Sculpture at Sawmillers,
Sculpture on the Greens and the Willoughby Art Prize.
She has work in public spaces: for example, Fraction of
the Whole at the University of NSW and Solitude in Double
Bay’s Guilfoyle Park as part of the Woollahra Public Art
Trust’s collection. Jenny also exhibits with the Sculptors
Society of NSW where she was President for five years.
Sculpture is a passion for Jenny, making it and enjoying
it. While it is one of the most ancient art forms, it is the
Modernist sculptors of the 20th century who are her
favourites, particularly Moore, Brancusi, Giacometti and
Smith, as well as contemporary sculptors Antony Gormley
and Anish Kapoor.
The abstracted bronze figures of Henry Moore are
Jenny Green

probably the world’s most recognisable public art works

– almost every major city has a ‘Moore’. Constantin
Brancusi’s pared down forms helped lead the way in
abstraction. Alberto Giacometti is renowned for his
gaunt walking men and standing nudes, and Abstract
expressionist sculptor David Smith took sculpture into a
new world of welded steel.
Her love of sculpture takes Jenny to visit museums
and galleries all over the world, but her highlights are
sculpture parks. Her tip on ‘must see’ sculpture and
sculpture parks are these:
Henry Moore’s studio and collection, at the Henry
Moore Foundation in Perry Green, near London. (Note
you need to make an appointment to visit.)

44 artist
 Louisiana Museum of Modern Art, outside of
Copenhagen, Denmark, boasts works by Picasso,
Moore, Bourgeois, Giacometti and Calder in a
spectacular waterfront setting.
Jenny loves making the magic of sculpture. But
since it’s the most physically gruelling of the visual
arts, viewing the master magicians in places like
these is something of which she never tires.
Storm King Art Center, in upstate New York
featuring works by David Smith, Louise Nevelson, Contact information:
Mark di Suvero and Alexander Calder Web: www.jennygreen.net
Anish Kapoor’s Cloud Gate (nicknamed The Email: jenny@jennygreen.net 
Bean) in Chicago Hakone Open-Air Museum, just
outside of Tokyo, including works by Rodin and
Moore in a gorgeous landscaped mountain setting.
Gibbs Farm on Kairpara harbour, north of
Auckland, New Zealand. A privately-owned, world-
class collection with works by Kapoor, Serra,
Goldsworthy and Le Witt. (By appointment only.)

Sculptures
Top: Catching Whispers
Above left: Joining the
Dots - detail
Left: Olympia

Opposite page
Left: Together
Right: Verdure 2

artist 45
PROFILE WATER, LIGHT AND LAND

Currently residing in Switzerland, art

has always been an integral part of this talented
artist’s life.
Daniel was born in 1962 in Sydney, NSW. After
staying a few years in Cronulla in Sydney’s south,
his family moved to out to Deniliquin in the Riverina
region of NSW. It was here that he spent his early
childhood being allowed to roam freely and explore
the Edwards River and surrounding bushland.
Daniel always drew whenever he could when he
was a child and if there wasn’t any paper to be found
then it was common to find him drawing with a stick
in the sand.
From Deniliquin his family moved to Forster in
NSW where he developed his love of the ocean and
took up surfing, fishing and beachcombing. “I loved
the beach no matter what the weather was doing,”
remembers Daniel. “I enjoyed the beach on stormy
windblown days as much as clear sunlit weather,
Paintings the beach was my escape from any pressures of
Above: Avalon life and I would go there whenever I could. It was a
Right: Gantheaum Point wonderful place to grow up and I feel very lucky to
Broome have been there.” >>

46 artist
Water, Light
and Land
artist 47
PROFILE WATER, LIGHT AND LAND

Daniel later moved to Sydney to find work and

took an apprenticeship in sign writing and started
helping out in his father’s auto body repair shop and
went on to learn spray painting at Canberra TAFE.
“I think that the combination of colour matching
and brushwork that comes from spray painting
and sign writing led me to an easier transition into
the visual arts,” Daniel says. “I started to paint
landscapes with oil paints and found that extremely
satisfying.”
During this time in 2001-2003 Daniel was
working on a fine arts diploma at Kogarah TAFE
and also became a father with the birth of his first
daughter, Ella.
After a couple of years of practice, Daniel now
had a decent body of work and put in an application
for an exhibition with the Hazelhurst Regional
Gallery in Gymea in 2001. It was accepted and
proved to be a huge success. Daniel had another
Paintings Solo exhibition there in 2005 and was also
Top left: Daniel in front of his painting West Opposite page included in many group shows at the same venue.
Beach Cape Leveque Top: Little Parakeet Bay. Rotnest Island He became a master class tutor at Hazelhurst and
Top right: Hawkesbury Riverbank Gray's Middle: Point Sydney made a lot of friends and enjoyed many full classes.
Above: Audley Fig2 Bottom: Lady Edeline Beach During this time Daniel also ran his own gallery in

48 artist
 Daniel Hutchings
the Stockland shopping centre in Engadine.
In 2007 he travelled to Broome in Western
Australia and was absolutely stunned by the
incredible colours. The deep red and orange rock
combined with brilliant blue and turquoise water was
so inspiring, along with Broome’s laid back people
and lifestyle, that the experience left an indelible
mark on Daniel’s artwork.
Soon after his visit he gained representation by
Broome’s Monsoon Gallery, which is situated right
next door to Matzo’s Brewery.
In his search for the ultimate subject matter,
Daniel and his family travelled to Exmouth then
drove along the coastline all the way back to Perth.
“We stopped into almost every beach along the way
and stayed for a while at Coral Bay to experience
the magnificent Ningaloo reef. I took along my Nikon
camera and took many photos. I now have literally
hundreds of great photos of the pristine West
Australian coastline.
“After working with the Monsoon Gallery I received
a call from the owner of Yallingup Galleries, south
of Perth, and was included with a group of six
other artists to provide paintings for a large luxury
yacht that was being built in Freemantle. I am lucky
enough to be represented by the wonderful people
at Yallingup Galleries and have travelled to Rottnest
Island and the Margaret River region.” >>

artist 49
PROFILE WATER, LIGHT AND LAND

Daniel’s base was still in St Ives in Sydney

though, and he was intimately connected with the
Northern Beaches and the Hawkesbury River.
In November 2012 Daniel and his family moved
to Basel in Switzerland, and he enjoys travelling
around Europe. “For me, the best thing about living
in Switzerland is the close proximity of hundreds of
amazing art museums and experiencing Europe’s
different cultures.”

More of Daniel’s work can be seen at

www.danielhutchings.com I

Paintings
Above: Morning on the Hawkesbury
Left: Basin Footbridge

Opposite page:
Top: Bundeena Ferry at 3.00pm
Middle: Gunya Beach Bundeena
Bottom: Quiet Corner Rottnest Island

50 artist
ACHIEVEMENTS
2001 Solo Exhibition – Scenes of the
Royal National Park: Hazelhurst Gallery
2004 Group Show – A Human Response:
Hazelhurst Gallery
2006 Solo Exhibition – Sandstone and
Sea: Hazelhurst Gallery
2010 5 Aspects Group Show Monsoon
Gallery

SELECTED EXHIBITIONS
2000 Southern Exposure I: Hazelhurst
Regional Gallery
2001 Southern Exposure II: Hazelhurst
Regional Gallery
Thirroul Arts Festival 2002
Thirroul Arts Festival 2003
Hunters Hill Annual Exhibition 2003
2003 Southern Exposure III: Hazelhurst
Regional Gallery
2004 Southern Exposure IIII: Hazelhurst
Regional Gallery
Thirroul Arts Festival 2005
2005 Art on Paper Award: Hazelhurst
Regional Gallery
2009 Hazelhurst Masterclass Tutors’
Exhibition
2011 Tree Of Life Exhibition
2011 Cricket Art Prize

AWARDS
People’s Choice Thirroul Arts Festival
2002
Packers’ Prize Kogarah institute of TAFE
Annual Exhibition 2002
Handlers’ Prize Thirroul Arts Festival 2003
Best Painting Still Life Category Oyster Bay
Art Prize 2008
Major Prize winner Oyster Bay Art Prize
2009
People’s Choice Cricket Art Prize 2011

FEATURE ARTIST
2004 Oatley Uniting Church Annual Art
Show
2007 Oyster Bay Annual Art Show

Portrait commissions of Past Presidents:

RSL Clubs of NSW

GALLERY REPRESENTATION
Yallingup Galleries Yallingup, WA

artist 51
WORKSHOP OIL ON CANVAS

Turquoise Bay 2014

Materials List The artist has captured the exquisite STEP THREE
Paints colours of the water, the sky and the headland. I start to define the rocks and coral in the
t :FMMPX 0DISF foreground.
t $BENJVN :FMMPX STEP ONE
t -FNPO ZFMMPX After drawing the guide lines onto the canvas, the STEP FOUR
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t $BENJVN 3FE coral and light ripples have also been added to the
t "MJ[BSJO $SJNTPO STEP TWO foreground. The beach rocks and headland have all
t .BHFOUB The beach and headland are blocked in and more been defined and clouds have been added to help
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of gesso applied with a brush and sanding with 180 linen, which I then size with rabbit skin glue and
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grit free cut abrasive paper between coats. prime with a good quality artists oil painting primer.

52 artist
 Daniel Hutchings
STEP 1

STEP 2

FINAL STEP
Some more work has been done to the
sky with extra clouds added and then the
final touch to the painting is adding the
reflections of the sky and clouds to the
surface of the water.
STEP 3
More of Daniel’s work
can be seen at
www.danielhutchings.com I

I use soft brushes for portraits to achieve

fine detail and for larger landscape paintings I
always make an underpainting with natural fibre
bristle brushes and paint successive layers with
a range of synthetic fibre brushes.
I always try to paint using natural light but I
find that if the need arises then some seascapes
can be painted using daylight fluorescent globes
without affecting the colour very much. STEP 4

artist 53
SHOOTING FOR ART By Daniel Smith
Aperture
A
perture is a setting on the camera that allows
Utilising for creative control over your images. Used in
the correct conjunction with the shutter speed and ISO
it makes up the exposure on the camera. It directly
aperture to affects the amount of light that enters the camera to
photograph create the image.
artwork How does aperture work?
and source The aperture of the camera refers to a diaphragm
inside the lens that changes in size to alter the
material amount of light that enters the camera. Similar to
the human eye, a front element focuses the light
and the diaphragm (aperture) changes to allow the
correct amount of light to enter.
Aperture is measured in f numbers or f stops
and in the case of manually controllable cameras
these are displayed on the camera and at times
on the lens. The higher the f stop number the less
light that it allows in and the lower the number that
more light is allowed in. Generally each traditional f
stop is incrementally letting in twice as much light
as the numbers get smaller. Modern cameras as
well as allowing traditional f stop numbers also have
half and third stops; these f stops in between the
traditional numbers will allow a more finite control.
The smallest available f stop number on the lens is
referred to as wide open as it lets in the most amount
of light. Increasing the f stop number is referred to as
stopping down as the amount of light drops.
The aperture can generally be determined
automatically by the camera and in the case of a fully
automatic camera this will happen internally with the
54 artist
camera determining the best setting to suit the scene.
As well as changing the amount of light that is
hitting the sensor or film, aperture will change your
depth of field or how much of your image is sharp
in front of and behind the point of focus. The higher
the f stop number the larger the depth of field and
the lower the f stop number the shallower the depth
of field. Another factor that will affect depth of field
is the distance from the subject or point that you are
focusing on. The closer you are to your subject the
shallower the depth of field.
Aperture is just one of the important components
that makes up exposure, and combined with shutter
speed and ISO it will determine the effect that you
got in your image. The shutter speed determines the
amount of time that the sensor or film is exposed
to light whilst the ISO refers to the sensitivity of the
sensor or film to that light.
Considerations for the workshop
Best photo of your finished work
There are a multitude of factors that work together
in getting a good image of a finished artwork. You
need to take into account the angle of view of the
lens that you are using to eliminate distortion, the
quality of the light that you are using to illuminate
the subject, and the stability of the camera and of
course the settings to name a few.
For 2-dimensional pieces it is important that you
get the camera and artwork in a parallel alignment;
the camera needs to line up with the artwork being
copied and the camera should line up with the
centre of the artwork. If using lights it is important
to position these parallel to the artwork on either
side of the camera. It is important when setting up
the light that there is a minimum of reflection visible
in the shot and the light falls evenly on the work.
This can be difficult when photographing a reflective
surface such as a glaze on a painting. A circular
artists 55
SHOOTING FOR ART By Daniel Smith
polarising filter on the front of the lens can help
to cut out some of this reflection. A professional
set up utilises polarising sheets that polarise the
light as it comes out of the light sources. Used in
conjunction with a polarised filter this can provide
very professional results.
Failing access to a professional lighting set-up,
very good results can be obtained by shooting in a
white room with plenty of sunlight coming in. Ensure
the subject is evenly lit but not in direct sunlight. A
gallery space can be perfect for this.
Setting up on a tripod ensures that the camera will
be steady and if available it can be useful to shoot
the photo in timer mode or with a remote control.
This ensures that there is no movement from the
hand pushing down on the shutter button.
When selecting the correct aperture to use
you need to ensure that you balance this with
56 artist
the shutter speed and ISO to get the correct
amount of light into the shot. These determine
the exposure of the scene. A wide open aperture
(smallest available f number) will generally not
provide enough depth of field if the image is not
completely flat or parallel to the camera. A wide
open aperture also does not provide the sharpest
image; it is best to step the aperture down a few
stops. Most lenses will have a ‘sweet spot’ where
the image will be at its sharpest and whilst this
varies between lenses it is often a few stops down
from the most wide open point. For example a
lens that has an aperture range from f3.5 to f22
may provide the sharpest results at f5.6. A lens
that has a range from 1.4 to f22 may be the
sharpest at f4. This varies between lenses so an
appropriate aperture for a standard lens to choose
would generally be between f5.6 and f8.
Many of the same principals apply when
shooting 3-dimensional artworks but the
application is a little different. You need to
consider the environment where your artwork
will be displayed too. Will the work be displayed
in a white space so that the work is the sole
focus? Perhaps you wish to display the work in
context of its surrounds. Obviously there are many
different shooting situations that you could make
use of here. Where possible utilise the self-timer
or remote and tripod to keep the shot steady.
Even lighting with a minimum of reflection can
be harder to achieve with some 3-dimensional
objects. Depending on the medium you may wish
to emphasise the reflections on the artwork. There
are light tents that you can purchase that provide
a white cube that fits around the work if you do
not want to see the camera reflected in a highly
reflective material such as stainless steel. These
come in a variety of sizes and can be used with
lights to provide an even and soft light.
When selecting an aperture to shoot the object
you need to consider the focal point of the
piece. If you are creating a photograph that will
emphasise a detail in the piece you may choose
an aperture that is wide open (small number)
and a large focal length (high number). This
will provide the shallowest depth of field (sharp
image with blurred background) whilst zooming
in on the detail. Alternatively to achieve maximum
sharpness throughout on a 3-dimensional object,
a stopped down aperture (higher f number) will
provide a large depth of field. Testing different
apertures out will find the one that allows for a
 Photography

decent amount of light to come in whilst still providing the

correct amount of focus.

Best source material photo for your work

Although it is said that the camera never lies, it can be argued
that an artwork can create a more accurate rendition of a
One of Australia’s
scene than a straight up photograph. The human eye and
mind are able to process information at a very fast rate and
largest
argest ONLINE
much of this information is shaped, rejected and changed as it
is being processed. An effective artwork will often utilise this art supplies
sup stores
perception into the work creating a more genuine and more
unique rendition.
Aperture plays a different role in shooting source material We carry all major
than creating a reproduction of the work. The reproduction
generally needs to be shot in a more structured way, whereas brands including:
shooting for source material allows for a little more creative
license. s $ERWENT
When taking photographs to use as a reference for an
artwork you need to decide how they will be used in the final s !TELIER
work. You might be creating a photo realistic depiction of the
scene where your source material will be closely appropriated s -ONT -ARTE
into the final work. Perhaps you are taking multiple pieces
of information from a variety of sources with the idea of
combining these elements into a finished work. Many artists
will create intermediary drawing/s from an image to decipher
a photograph into a language that relates more easily to the If your in town,
final medium.
Aperture can be used creatively to produce a point of drop into our
focus; a shallow depth of field (small f number) can blur
out the background and the extraneous details will fall
Moorabbbin store
away. An aperture that has been stopped down (high f
number) can provide sharpness throughout a whole scene,
allowing the maximum amount of detail to be recorded.
During the creative process this information can be used Each month we run
selectively to shape the final artwork, utilising as much or
as little as required.
competitions with
Getting professional results can be a difficult task and this fantastic prizes.
article provides a good starting point for what is a complex
subject. Experimentation is the key here, using aperture in a Check out our website for
creative way to isolate certain details or allowing the whole entry details.
scene to be evenly visible. Utilising the aperture as part
of the exposure, and allowing more or less light to enter
the camera can yield some creative results when used in www.artshedonline.com.au
o c m u
combination with shutter speed and ISO. 

Daniel Smith is a Sydney based artist and

photographer. He currently works at Digital Camera
Warehouse as the Video Producer and Educational Co-
ordinator. Daniel has a BA in Fine Arts and is currently
studying a Masters in Cross Disciplinary Art and
Design at The College of Fine Arts (UNSW).

artist 57
PROFILE

Give it a go

Paintings
Above: Kitten in Pencil
Opposite page:
Top: Sugar Glider in
Acrylics.
Bottom: First Watercolour
This artist has tried her hand at
many creative pursuits, from drawing to
painting, Hobbytex to calligraphy, pottery to cross
stitching, and folk art to woodwork, and is now
enjoying honing her water colour skills.
I was born and raised in the southern suburbs
of Melbourne on Port Phillip Bay. My parents
built their house where there were mainly holiday
homes at the time. I lived two streets away from
the beach and spent many summers swimming as I
grew up. We were surrounded by dairy farms and
bush. My mother kept chooks and I loved to carry
them around, poor things! I loved the outdoors and
animals, I spent a lot of time handfeeding lambs and
collecting them from the neighbours’ yards when
they escaped, and I also liked to sneak down to the
paddock to ride my brother’s horses.
When I was stuck inside I would draw for hours.
My grandmother, who lived in Sydney, would send
me books, pencils and paints to encourage me to
paint and draw. I would then send her the finished
art works that she loved to receive. At school I
always enjoyed Art classes; all of my assignments in
high school always included illustrations.
After I married in 1975 I attended a TAFE class
a couple of times to do Portraiture in Pencil. Then
when my children came along I would do A3 size
coloured drawings to decorate their bedrooms.
We moved up to Toowoomba in 1981 as my
husband was in the army. We shifted in to a house
on the Cabarlah Army Base. I soon discovered one
of the ladies there was selling Hobbytex paint and
held evening classes. I really got into the Hobbytex
paint as it was so easy to use. Hobbytex is a tube

58 artist
 Jenny Stephens
of paint that had a roller ball to apply the paint to
a special material. Many of the older readers may
remember. I painted many of these. I think I stopped
using it as it seemed to go out of vogue.
After a few years I attended the Toowoomba TAFE
and did a six week night class in Calligraphy as I
wanted to learn something different. I enjoyed learning
the art but have since only used it for a friend’s
wedding’s place cards. I also took classes in Pottery on
the Wheel which I enjoyed doing, although I definitely
wasn’t good enough to make a living from it.
I had a break from art for quite a few years when
I decided to buy a horse. I ended up with two
because my son showed an interest at a young age,
so I taught him how to ride and we spend many
years riding together. We would ride with a local Trail
Riding Club; I discovered that I was able to see the
countryside, native birds and animals a lot better as
I didn’t have to watch where I was walking. The trail
down the Toowoomba Range has beautiful scenery;
we would sometimes stop to watch a goanna or
birds in their natural habitat. After my old Appaloosa
mare died I decided I needed a new interest. I took >>

artist 59
PROFILE GIVE IT A GO

up cross stitching and enjoyed doing that for a few

years. I generally liked to work on linen and taking
on patterns for experienced cross stitchers. You can
only have so many of those, even after doing them
for my kids and grandkids.
I then took up folk art and attended night classes
with Eva Knott, an unbelievable artist who specialised
in Russian folk art and also taught at the McGregor
School at the University of Southern Queensland. I
would get quite immersed in learning how to use a
brush, mix acrylic paints and set out a piece to paint to
obtain the skills required to create an appealing picture.
I learnt different paint effects and applications as well
as colour mixing using the acrylics. My husband asked
why I don’t do my own sketches and paint them. With
folk art I was just tracing someone else’s patterns to
produce my paintings.
He purchased a weekend class in watercolours for
my birthday. I am yet to master watercolours but I do
like the effect the paint has; such a soft appearance. I
was on YouTube one rainy afternoon and discovered
Wayne Clements. He was doing tutorials with the new
Weber water based oil paints. He made it look so
easy. I was so taken with his paintings that I ordered
his brushes and received the oil paints for my birthday
last year. I did struggle with oils as I couldn’t get the oil
paint off the brush and onto to the canvas. So I now
have a half completed canvas of a dingo with her pups.

Paintings Above right: Green Tree Frog

Above left: Foal in Pencil in Watercolour
Above middle: Horse and Foal Left: Lion Cub in pencils,pen
in Acrylics and Oil and ink, arylics

60 artist
I will go back to it later after I do a bit more research
on mixing oils. I have done a few paintings with
oils using the rouging effect with pen and ink. The
rouging has a lovely soft effect that I like to use for
backgrounds then seal with a sealant as this dries the
oil so I can paint over with acrylics.
I have only done one contemporary painting
which I did for my daughter’s birthday. She loved
a similar picture so I set to and completed it. She
said it was the best birthday present she had ever
received. I was very happy that she liked it so much.
I have tried my hand working with wood after my
husband purchased a Dremel (an engraving tool) and
three pieces of pine board for me so that I could have
a go at wood carving. I painted the boards then set
to with the Dremel and carved out trees, overlapping
the tree branches on each board. This Triptych now
hangs in our spare room. When I retire from full time
employment I will do more wood carvings.
I must admit that I didn’t pick up a paint brush
for about six months until I saw Helene Ruma’s
demonstration in “Artist’s Palette” issue 126. I
have never had an artist inspire me so much. Her
demonstration was so amazing that I went out and
purchased six black and one white Polychromos
pencils and started practising with them in January
this year while I was on holidays.
Because we had lost our old Staffie a few months
previously I thought that with a bit of practice I would
love to attempt to do her portrait. The first attempt
was not very good as I went too dark and I didn’t
capture her eyes correctly. I selected other photos of
animals that I liked from Facebook and proceeded to
draw them. I used Derwent Studio coloured pencils for talented artist who does tutorials, and I have learnt
my previous attempts. I had completed three and then a few hints and tips from watching her tutorials.
decided I would try Che’s portrait again with a better As I only recently picked up pencils after so many
outcome. Although I still was not happy with the final years I am still trying to find my own style and
drawing I will find another photo when I improve and with a lot of practise I will get there. I recommend
have another try. I am now working with Polychromos anyone interested in art to give it a go; it is a very
pencils which are lovely to use, and completed the relaxing hobby. I find myself actually looking at Paintings
demonstration with them. colour and shadow in all things that I look at now. Above: Pen and ink and
Another artist I have been following on Facebook oil rouging
is Lisa Clough from Lachri Fine Art. She is another I can be contacted via Facebook “Smart Art” I Below: Acrylic on canvas

artist 61
WORKSHOP PENCIL & ACRYLICS

Solemn Pup
MATERIALS
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8PSLBCMF 'JYBUJWF

Polychromos pencils
t  o 8IJUF
t  o *WPSZ
t  o %BSL 'MFTI
t  o -JHIU 'MFTI
t  o 7BO %ZDL #SPXO
t  o /PVHBU
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t  o 3BX 6NCFS
t  o #SPXO 0DISF
t  o %BSL /BQMFT 0DISF
t  o #VSOU 0DISF
t  o $JOOBNPO
t  o #MBDL
t  o $PME (SFZ
t o 8BSN (SFZ

Acrylic Paint
t .BUJTTF 5JUBOJVN 8IJUF

Brushes
t 4J[F  5BLMPO MJOFS
t 4PGU CSVTI UP SFNPWF
SVCCFS XIFO SVCCJOH PVU
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FINAL STEP

62 artist
 +FOOZ
4UFQIFOT
STEP 3

STEP 1

As an avid animal lover, this artist prefers

to draw animals, and is always on the lookout for
unique photographs to inspire her work.
This is a photo that I downloaded from
STEP 4
Facebook. It caught my eye as I thought that the
pup had a very solemn look. I chose this pup for my
demonstration because it is not too complicated. I
love this photo as she looks like she is waiting for a
family to adopt her.

45&1
0/&
If you are not confident drawing freehand you may
wish to use a grid pencilled in on an A4 photocopy
of your picture. Using a grid will not put indentations
in your paper like tracing will. To make it easier you
can use a grid drawing tool that can be found via
Google search. First upload a copy of the original
photo and choose the grid size and apply it to your
photo, save it, and then print it out to an A4 size
in black and white. Then draw the same grid in
proportion on your paper.
Because the photo I am working with is only
6” x 4” I used an A4 photocopy in black and white
to see the details more clearly. The photo is only for
the colour reference.
I have been using Canson Dessin drawing paper,
A3 size, 110gsm that comes in a book of 50 pages
and is quite inexpensive. For the demonstration I
purchased a sheet of Stonehenge white 245gsm
paper from an art shop. It comes in a large sheet so
I have cut it down to A3 size. >>

artist 63
WORKSHOP PENCIL & ACRYLICS

45&1 580 45&1
'063

Carefully transfer a matching grid pattern on to your I start to work around the head with the lighter
Artist’s
chosen art paper using a HB pencil, making sure shades, putting in the base colours. As the photo
Hints & Tips
the grid on your art paper is very light. When you has the light source overhead I have chosen to
Make sure your working
have outlines and shapes that you are happy with create the drawing in the same manner with the
area is tidy and free
very carefully rub out the grid. I use a piece of copy head lighter than the lower part of the pup.
of clutter; in my case
paper to rest my hand on so as not to smudge the 45&1
'*7&
my desk, as it can be a
pencil. I then choose the colours I will using and I work on the nose and start very lightly, outlining
distraction when you are
de-clutter my desk. the body in the colours that I will be using for each
working.
area and start to shade the lightest colours.
Invest in a pencil
45&1 5)3&&
extender as they are
I like to start with the eyes. If I don’t get them 45&1
4*9
quite inexpensive and
right then I start again as I have done with this I finish the muzzle and then work from top down
save you throwing out
demonstration, discarding the first attempt. I believe to the bottom and usually experiment blending the
your pencils when they
the eyes are a very important feature colours as I go. I continue working up the colours
get quite short.
of your drawing. I feel that an animal’s eyes until I have a good covering.
I use a Faber-Castell
are the window to their soul. I start with the lighter
sharpener that catches
colours then change to darker for the pupils. I have '*/"-
45&1
the shavings as it is less
used Acrylic Matisse Titanium White with a 0 size I enhance any distinguishing markings e.g. for the
messy. I use the large
liner brush for the highlights on the eyes. You only belly of the pup I used Ivory instead of White for a
hole instead of the small
need the smallest amount of paint and thin it down softer look, and I checked for any areas that need
hole as I find it sharpens
as it will make the application easier. I find using to be darkened or accentuated.
the Polychromos pencils
the paint with a liner brush is a simpler way rather Don’t forget to sign your picture. I then sealed
exceptionally well,
than leaving the paper white for the highlights. As I the drawing with a spray-on fixative.
and I have not had
get more proficient with time I will be able to leave
any breakages since
the areas white to achieve the same outcome as I Jenny Stephens can be contacted via Facebook
using this sharpener.
do with the acrylic paint. “Smart Art” 
Be careful not to drop
your pencils as they will
break inside.
Value criticism and STEP 5 STEP 6
value others’ opinions.
They will see things you
may not see to improve
or even change the way
you see your pictures.
Explore YouTube; it
has wonderful artists
who produce great
tutorials that can also
show you different
techniques and products
on the market. You can
generally find how to
use new products by
following a tutorial.
I buy and read “Artists
Palette” every month. It
will keep you inspired
as well as reading about
other artists’ talents and
learning how they apply
their skills.

64 artist
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GALLERY INTERNATIONAL
Johnny Come Home II
T
Contemporary oday, one might almost be tempted to think
Fine Arts that there is nothing left to say about Jonathan
presented an Meese because the output of his artistic
exhibition career, which started in 1998 at the Berlin Biennale,
with work by has been so immense. Since then, countless
Jonathan Meese commentaries and reviews have been written about
from the year him, and he has been classified in numerous ways,
2006 – a time all of which lend the title of his Biennale work, Ahoi
where the artist de Angst, an almost prophetic quality – as if Meese
was at a peak of had known that he would sail across wide seas.
creativity. Ahoi de Angst was a labyrinthine cabinet of
curiosities full of the heroes of teenagers through
which one strolled like through the convolutions of a
total fan’s brain; wildly outfitted with posters of Klaus
Kinski, Che Guevara, Bill Clinton, or Romy Schneider,
in between posters full of scribbled paintings of
figures and words, self-portraits and Grim Reapers,
dilettantishly annotated with phrases like “Clan of
Clan.” There was a TV, a mirror ball, a sofa, and a
record player. The whole thing was an energetic
ensemble of cult and kitsch, sophisticated culture
and soft porn, tragedy and comedy – and even then
66 artist
it stood for what Meese remains to this day: an artist
who puts his own person at the service of art and
thus retreats behind the work.
However, this universal, indeed impersonal
standard does not seem obvious at first sight.
The virile names with their dark connotations,
leitmotifs in his oeuvre, are part of the educated
middle-class canon. But Stalin, Hitler, Wagner,
Nietzsche, Caligula, Alex de Large, Darth Vader,
and Lautréamont, outside of any conceivable
context, lead to absurd title inventions thickly
painted, collaged, fragmented-figurative pictorial
worlds without contours, qualities which are also
displayed in the series of portraits exhibited.
Rather emptied of meaning, rumbling in an
adolescent sound reminiscent of the Knights of the
Grail, the works there are called Im 8. Namen des
Erzfisches (In the 8th Name of the Archfish), Dein
Stahlblindes geortetes Geschlechtsteil riecht [Your
Steelblind Located Genital Smells, or Die Verdammtin
im Tiertum [The Female Dammed in the Animaldom].
That the superordinate claim in these image-text
 Johnny Come Home II
productions is not immediately clear to everybody is
due to the fact that Meese frequently brings his own
face and body, the heroes of his youth, and even his
own mother into play, linking himself with the historical
figures, even appropriating their traits and playing
grotesque masques – crowned by seemingly naïve,
ostentatiously repeated provocations like casts of erect
penises, Hitler salutes, and darkly smoldering prefixes
“Erz” and “Arch.” But what might easily be mistaken as
the display of an inner pandemonium has nothing to
do with narcissism. Meese is not interested in Meese
himself. Rather, with a playful devotion, he evokes the
total openness of being through the “dictatorship – beyond a creator who determines its laws?
of art” – beyond the axioms of inflexible rules and The crux of Meese’s art – regardless of what
ideologies. medium he works in – is the defence of its myths
“Art has its own laws which we don’t even know. and archetypes which create a universal world image
We always try to force our own laws upon art. And that goes beyond the individual, including him as
it is much more interesting to simply wait and see an artist. For Meese, the artist must serve art, and
what it will put in front of us”, Meese said in 2006. thus humanity, and therefore s/he must not pursue
And: “I hold the sentimental belief that art is still any kind of self-expression. This is why in his work
something powerful, something individual that stems figures keep appearing that embody this universality;
itself against the immense bureaucracy that takes they are representative characters, lacking detail,
everything over.” Meese sees art as a dimension that whose essence he reveals, rather than telling
is independent of the artist, as a way of thinking and individual narratives.
acting that is an alternative to the increasingly rigid By transferring this essence into art, Meese is able
everyday regulations. But can art exist independently to play with such stereotypes – also in combination

artist 67
GALLERY INTERNATIONAL
with the self-portrait, which is never personal and
weighed down with moods, but like all his other
figures clichéd, hermetic, and in a mischievous way
saturated with myth. “The self-staging of the figure
of the artist by Meese has something consciously
exemplary, he foregrounds the exemplary character
of the artist”, explains Robert Fleck, who attributes
the power of his work to its “utopian character”.
“Meese presents himself with all his
representational energy that characterises him,
as the sum of all figures and names from German
mythology to Darth Vader”, writes Friedrich
68 artist
Meschede. “In a certain respect, Jonathan Meese
is agnostic, somebody, however, who on his path
to salvation does not avoid any puddle and clod
of soil, and who thus encounters the dark and evil
wherever he goes, and takes on its shadows”, writes
Veit Loers. And Susanne Titz speaks of a “collapse
of time” in Meese’s work, originating from “pure
mental work, timelessly unclear, at the same time in
many ways offensive, but in a strangely conciliatory
way because it reveals something very personal.” So,
personal after all?
Yes and no. Meese’s battles of images cannot
be generated from a search engine; it emanates
from an individual perception repertory. But Meese
filters and reduces this until he gets to the core of
things – just like Picasso’s women’s portraits and
Van Gogh’s self-portraits get their life not from
illustration, but from transcending mere ego. Meese
sees himself as a “soldier of art” – as somebody
who serves a free intellectual and aesthetic space,
reveals the possibilities of poetry and lyricism, and
in this way holds up social limitations as a mirror to
the beholder.
Contemporary Fine Arts
AM Kuperfergraben 10
Email: gallery@cfa-berlin.de
Web: http://www.cfa-berlin.com I
GALLERY INTERNATIONAL

The Brick Lane Gallery

E
The Brick Lane stablished in 2006, the gallery presents an
Gallery is a integrated program of exhibitions, including
contemporary solo shows as well as group exhibitions of
fine art gallery emerging and established artists from all artistic
which exhibits backgrounds. They exhibit a broad variety of
an eclectic mediums such as painting, sculpture, photography,
variety of mixed media, video and works on paper.
contemporary art The Brick Lane galleries are located in two
by British as well beautiful exhibition spaces in London’s east
as international end – a city at the forefront of the international
artists from all art scene – and in close proximity to travel
corners of the amenities including Liverpool Street Station
world. and Aldgate East tube stations, a few steps
away from the financial district.
They are dedicated to helping artists achieve
success by offering a comprehensive and effective
platform to showcase their work in the heart of
London’s vibrant and culturally popular district
of Brick Lane. They offer a range of services to
support artists who are looking to increase their
exposure and wish to enrich their exhibition
background and experience in the art world.
They are interested in hearing from artists
who are looking for new avenues to promote
their work and who wish to broaden and refine
their artistic career. They’re accepting submissions
from artists from around the world and at all
stages in their art career; all you need to do is to
submit a portfolio or images and they will review
your practice.
They provide useful guidance and advice to artists
new to the London art market and offer a number of

70 artist
exhibition options to suit your requirements and aims:
The popular series of group exhibitions called Art
in Mind in an opportunity for artists to rent a 3, 6 or

The Brick Lane Gallery

9 metre space in the gallery as part of a collective
exhibition. This option works well as an introduction
to the exhibition experience and is a comprehensive
way of presenting a limited body of work alongside
a number of other artists.
Due to a large number of returning exhibitors,
they are launching a new service offering a more
focused and long-term engagement with the artist.
They are extending their promotional service to offer
“representation” to selected artists who would prefer
to fully benefit from a commitment in providing a
continued professional support system. This option
consists of being included in two Art in Mind
exhibitions per year as well as being listed as an
artist on the gallery website. Their popular website
offers a continued presence online to promote your
practice to a worldwide audience and offering the solo exhibition on a weekly basis, with the price
opportunity for collectors to view and buy your work decreasing for subsequent weeks. 
throughout the year.
If you are looking for an exclusive and impactful Join us on Facebook
exhibition presence, they can also assist you with Follow us on Twitter
a solo exhibition. You will be able to showcase a The Brick Lane Gallery
large body of work in a professional and established 196 Brick Lane | London | E1 6SA | UK
gallery setting - a variety and abundance of work The Brick Lane Gallery- The Annexe
can often confirm the quality of the practice to 93-95 Sclater Street | London | E1 6HR | UK
buyers and viewers, and proving the consistency Ph: +44 (0) 207 729 9721
of the artist. The galleries can be hired for your Web: www.thebricklanegallery.com I

artist 71
MY SPACE BY DEREK L NEWTON

Sacred Ground
MY STUDIO SERIES

For some time now I have been

doing drawing demonstrations for
Artist’s Palette and Drawing & Inspiration
magazines, and just last year took over
writing the Teacher’s Pet column in Artist’s
Back to Basics magazine, which I find both
challenging and enjoyable. Recently the
magazine’s publisher Simon Mullen called
me and asked if I would be interested in
doing a series on artists’ studios. Initially
my thoughts were okay, but once you
have looked at one or two studios, that’s
about it. When I thought about it later on,
I came to realise just what an asset your
studio is, it works on so many levels, not
just as a place to set up an easel; it’s your
refuge from the world and so much more.
In this first article I’m looking solely at my

72 artist
own space, hopefully through a visitor’s
eyes, just at its cosmetic aspects, and on
how it reflects my own personality. In the
next issue I will go a little deeper into how
I use the space.
As an artist I’m very lucky to have my
own studio, and since my retirement I also
have the time and opportunity to follow
my love of art, knowing that my studio
will both hide me from the world when
things don’t quite work out, and at other
times stimulate and inspire me to go on.
I remember times during my working life
when my wife would say to me, “ your
bed’s going out there soon’’. However now
that I have retired or as she says ‘’you’re
just on long service leave”, she’s happy
that I’m not under her feet all day in the
house.
As I said, I’m very lucky to have my
own studio, it’s a creative place in so
many ways, acting also as my music
room, study, and writing retreat, yet other
times as a photographic studio or thinking
things through over a quiet coffee place.

artist 73
MY SPACE BY DEREK L NEWTON
Brett A Jones
I often open it up in the morning and
before I know it I’m lost again in whatever
projects I’ve got at hand, with everything
just the way I left it the day before, all
ready to go.
To associate it with a church would be
stretching a point, especially as I’m not
Jacob Ditchman
really religious, but it can have the same
tranquility you feel when stepping into a
quiet church vestry and worrying about
closing the door quietly. For me it has all
these qualities and much more. I work
away quietly some times, but at other
times play music, and often I ignore the
phone if it rings and my hands are full
of pencils and brushes. “Oh the answer
phone will get that, just leave your name
and number”, of course you soon start
to take it all for granted, it’s just your
studio, but when you return from a trip
some days later and you had remembered
to leave it all clean and tidy before you
left, you see it in a whole new light, well
I often do anyway, this can’t be mine can
it? Much too nice, although this doesn’t
last long and it’s soon a big mess again,
and normality returns, but the good thing
about your own studio is that you don’t
get nagged to clean up all the time - you
can knock off any time you like and just
lock the door.
Well you may say, I only have the
kitchen table or spare bedroom to work in,
and the TV always on in the other room,
and I can’t leave anything out because
it’s in the way. Only you can work with or
strive to improve you own work space.
Regardless of your setup, why not let us
into your space with a photo or two and a
few words about how you work.
My studio has two entries, one at the
side and one at the rear. The side entry is
accessible from the road, and is good for
anyone visiting me as they don’t have to go
through the house or garden, and it also
gives me direct access to my car. The rear
door leads you back through the garden
to the house, and is more for personal
access. Olly will greet you as you come into
my studio. He’s a generally a very quiet
kookaburra, probably because he’s made of
Jarrah. I carved him some years ago and he
likes to sit up there watching, but I swear he
has a little laugh at my art work some times.
I always promised myself I’d go travelling in
a V.W. camper van when I retired, and draw
some of Western Australia’s country towns,
so my lovely wife Dot bought me one, which
sits on a shelf by the side door, and it’s
probably as close as I will ever get to the
real thing. Well, I’m off for a coffee via the
back garden path.
I will explore my studio with you from
the inside next time, and remember if you
have any good photos of your own studio
or working area you would like to share
with Creative Artist’s readers, why not
send them off to Woodland’s Publishing
and they may be featured in a future issue.
I hope you enjoy looking around my Cilinda Atkins
studio. Best wishes Derek.

Pam
PS: If you would like to contact
me directly, my email is
info@wannerooheritageart.com.au
or if you’re visiting WA phone
(08) 9405 2824 to arrange a visit.

For any readers who live in WA, you

could also call the same number and
we could perhaps arrange for you to
visit me or for me to meet you and take
a photo of you at work in your own
studio to feature in our magazine.

We would love to see your space in our magazine . Please send some good
quality images (300dpi) on cd or dvd or photographs of your studio you
want to display in the magazine. If you would like to, you may include a
photograph of yourself to accompany the picture/s of your studio. Please
also supply your name, suburb and state.

Mail your studio photos to: My Space, Creative Artist magazine,

PO Box 8035, Glenmore Park NSW 2745 or
email to simon@wpco.com.au.
Be sure to include a contact telephone number.

artist 75
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