Tuesday, February 2, 2016

EOI: Public Art Commission

The City of Boroondara is seeking to commission a public art work or series of works, to be located within the newly developed Hawthorn Arts Centre Civic Square.  The completed work will be integrated within the newly landscaped outdoor environment adjacent to the Hawthorn Arts Centre and will form part of the City's Town Hall Gallery Public Art Collection.  The City has committed substantial funding to this project which aims to have an artwork installed prior to 16 September 2016.




City of Boroondara seeks expressions of interest from experienced professional artists who wish to be considered for this exciting project.

Location:
The project site has been identified as the corner of Glenferrie and Burwood Road at Hawthorn.

It is envisaged that the artwork could take several forms including: a three-dimensional work of a scale and form, a series of installation based works and or works that utilise the existing design elements.

The primary experience of the artwork will be from pedestrians passing through the surrounding area or while sitting in the square. 


To be considered for this project artists should submit the following:
·    A full CV covering demonstrated experience in public art
·    Images of previous works
·   A brief concept outline illustrating the creative idea and themes for a proposed work that responds to the site.


Assessment Criteria:
The City of Boroondara's Public Art Collection vision is to collect and display innovative high quality works within public and civic spaces through the integration of art, design, architecture and related elements.  These works are expected to be engaging and accessible whilst thought provoking and creating a sense of community belonging (Boroondara Public Art Strategy 2010-2015). The City's public art collection is developed on principles which value: contemporaneity, excellence, innovation, high aesthetic quality, relevance and authenticity,

Expressions of interest will be assessed against the following criteria:
·   Demonstrated experience in designing and delivering public art works in an outdoor environment
·    Artistic merit (including evidence of professional standing within the arts sector)
·    Capacity to attract and engage a diverse audience
·    Capacity to enliven and enhance public space of the precinct

Selection Panel:
Assessment will be conducted by a selection panel comprising representatives of the Public Art Working Group, City of Boroondara Arts & Culture Department, and Town Hall Gallery Management Group. Advice will be sought from the Collection Advisory Committee during the assessment process. All expressions of interest received will be responded to in writing within 3 weeks of the closing date 23 February 2016.



Selection Process:
Up to six (6) artists will be selected from this EOI process to progress to the next stage of selection. Invited artists will then have the opportunity to develop their concept further and present:
·    Concept design proposal illustrations and technical details:
-          maquette, sketches and/or computer generated mock-up
-          sample illustrating a detail of the design
-          material sample
·   Overview of any community engagement and or research that will be undertaken in commission phase
·    A preliminary description of proposed installation method
·   Indicative project timeline outlining an estimate of the time required for final design, fabrication and installation of the proposal
·  A preliminary indicative budget that includes at a minimum a breakdown of the following costs:
-          artist fee/s
-          engineering and certification
-          all materials & fixings
-          fabrication costs
-          transport and travel costs, including overseeing of artwork installation
-          public liability, product and transit insurance
-          contingency

Artists selected to progress to this second stage of assessment will be paid a fee of $1,250 for their services.

Forms:
Documents detailing the specific requirements are available electronically for download by registering at www.boroondara.vic.gov.au/your_council/tenders.

Tender closes at 4pm on Tuesday 23 February 2016.


Monday, February 1, 2016

Art Swap: Art for Art

Swap Meet: Art for Art

We are very excited to offer artists a wonderful opportunity to acquire artwork and to have artwork acquired. In the tradition of artist-swaps the Gallery will be conducting an Art for Art swap meet, where artwork can be exchanged for artwork. The process and premise is outlined below, with a simple application procedure that will focus purely on the quality of the work and give you the opportunity to have your work go into the hands of another artist and get you own hands on someone else's work.

OUTLINE BRIEF
Entries open: Monday 1 February, 2016
Submission deadline: Friday 25 March, 2016
Selection of works: Wednesday 30 March, 2016
Delivery of works: by Wednesday 13 April, 2016
Event date: Saturday 16 April, 2016


Program concept:
Town Hall Gallery will be exploring ways in which Art Collections come about, how they are operated and how they influence the art, artists and collectors involved. The Gallery will be conducting an open Art Swap Meet as a way of actively engaging with these ideas and allowing artists to participate in the act of both acquiring artwork and having their own artwork acquired. It is a way of providing a participatory connection to the growing phenomenon of artist collections, where artists themselves are building their own personal art collections through acts of bartering and exchange. A printable copy of this program is available here.

Program process:
Artists are invited to submit for inclusion in the Swap Meet and from those submissions the Gallery will select a limited placement of 50 artworks. Submissions are open to anyone who makes art. The artwork submitted must conform to a set of simple criteria outlined below. There is no submission cost for artists, as the program is designed to reflect the nature of barter and exchange evident among artists in the industry. Applications will be made via email to:

Selection criteria:
* Media: all forms are accepted, except video or sound works
* Size: maximum of 50cm in any one direction for all media
* Amount: a list of 50 artists will be selected from submissions, based solely on the quality of the piece submitted
* Age limit: 18 years and over
* Creation: must have been created within the last 12 months
* Attendance: artist must be able to attend on the day, all swaps will take place only in that allotted time. If unable to attend, a proxy can be sent.


Program delivery
On the day, the 50 artists will be invited to participate in the Art Swap. It will be held in the Community Art Space where all the artworks will be displayed. None of the names of the artists will be shown, only the artwork without any other identifying feature.
Each artist will be allotted a number and the numbers will be drawn sequentially from a barrel. When an artist’s number is called they will be able to make a selection of the artwork they would like to acquire, placing their number at the base of their selection.
After all the artists have had the chance to make their pick, they can collect their newly acquired artwork and discover the maker of the work.

Submissions
Please download the Submission Form and fill in the following details:
* Name of artist
* Age (are you over 18)
* Title of artwork
* Medium
* Size
* Date of creation
* If you are represented by a commercial gallery, are you permitted within your contractual arrangements to participate
* Attach an image of the artwork, maximum size 2MB, and then email the form to the gallery at:

artswap@boroondara.vic.gov.au

In Conversation: James Armstrong

One of our favourite artists from the current exhibition, Dialect: Works from the Town Hall Gallery Collection, is Ian Armstrong (b. Malvern, 1923-2005). His artistic oeuvre includes portraits and landscape paintings, where his later works developed into Abstract Expressionism, utilising printmaking techniques such as etchings, lithographs and wood cuts. His dedication to his craft was matched by his passion for teaching and love of regional Victoria. 

Gallery & Curatorial Assistant Marion Piper recently spoke with Ian's son, James Armstrong, who generously loaned two paintings to Town Hall Gallery for Dialect.

Ian Armstrong's suite of works currently on display at Town Hall Gallery 
in Dialect: Works from the Town Hall Gallery Collection.
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[MARION PIPER]: Can you tell us, if you know, where your father Ian drew his inspiration from?

[JAMES ARMSTRONG]: That is a big question and probably deserving of a whole thesis rather a short email, however here goes. 
I have had look at his library to get some insight, if I break his book collection into 3 areas of influence for simplification, it could be looked at like this:

1. Classical influences: Ancient, Medieval, Japanese and Renaissance art.

2. Romantic influences such as Delacroix, Rembrandt, Velasquez etc

3. Modern influences from the late 19th century and early 20th century : Renoir, Cezanne, Matisse, Derain etc. Also the Australian Heidelberg school and the George Bell school.

This is a very brief account of his influences and obviously doesn't do his 60 year career justice, but maybe that can wait for a thesis sometime in the future.

[MP]: Yes, I had figured it was a big question to ask!
I’m interested in the second group of books - the Romantic influences. How do you think this plays out with his depictions of the landscape? Do you have a work of his that, for you, best exemplifies this influence?

[JA]: I'm not formally art trained, so I can only give you my acquired knowledge. Only to say that there are probably elements of all these influences in his work.

ARMSTRONG, Ian, Self Portrait (1944), oil on canvas,
(c) courtesy of the artist and Town Hall Gallery.
Photograph by Matthew Stanton, 2013.

If I were to point to a work by Ian in the THG collection that fits that "Romantic feel", it would be the early Self-Portrait. I know that Ian loved the Rembrandt self-portraits and may have been inspired at that age. 

It is also evident he was influenced by these artists as he kept an artist journal inspired by the Delacroix Journals, a copy of which is in his library. Ian's journals are now held in the SLV. There is a woodcut print that Ian did in 1978, The Buffoon (After Velasquez), which is further indication of his admiration for these artists.

[MP]: Yes, I can definitely see the romantic influence in the self-portrait you mention from our collection.

We have loaned a couple of works from you for the exhibition Dialect. Can you tell us a little bit about those works?

ARMSTRONG, Ian, Mill Road, Yankalilla SA (1988),
(c) courtesy of James Armstrong.

[JA]: The two works we have loaned to the Dialect exhibition are Mill Road and Roadside Café. They are both testament to Ian's love of taking landscaping road trips.

Detail of ARMSTRONG, Ian, Mill Road, Yankalilla SA (1988), oil on canvas, 
(c) courtesy of James Armstrong.
Mill Road is painted at Yankalilla South Australia where Ian often visited, staying with Mark Pearse a former National Gallery School student of Ian's. They would spend weeks at a time painting the Fleurieu Peninsula and decorating ceramics at Mark's Bungala workshop. 

ARMSTRONG, Ian, Roadside Cafe (2002), oil on canvas, 
(c) courtesy of James Armstrong.

The Roadside Café is inspired by the long drives that Ian would do to get to South Australia. It depicts a coffee break at Tailem Bend on the Murray River, which is where Ian would often take a break from the long drive to visit Yankalilla. He would have made a quick sketch of the scene on a small card (that he always kept on hand) and later it would be worked up to a large painting. The process may have taken a few years, the café scene was a favourite of Ian's that he used over and over in his work.

Detail of ARMSTRONG, Ian, Roadside Cafe (2002),
(c) courtesy of James Armstrong.
The two works sit well with Barkers Road, which represents the drive into Melbourne from the Eastern suburbs. The Roadside Café is a celebration of getting out of the city and the Yankalilla landscape is the homage to the South Australian coastline that he grew to love.

ARMSTRONG, Ian, Barkers Rd (1977), colour woodcut, 
(c) courtesy of the artist and Town Hall Gallery.
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Dialect: Works from the Town Hall Gallery Collection is open until Sunday 6 March, 2016, and also features other wonderful Australian artists such as Fred Williams, Helen Maudsley and Eric Thake.

Tuesday, January 19, 2016

Popup Library



As we launch our 2016 program with two show-stopping exhibitions, we're very excited to bring you yet another FREE resource: a reading list from our popup library. 

Assembled by the City of Boroondara Library Services team, this reading list is chock full of delicious bibliographic information on our exhibiting artists, key artistic styles and a plethora of magazines (if that's more your thing). 

All of the resources listed below are available at your local City of Boroondara library, so feel free to give them a call on (03) 9278 4666 to get more information. They also have a great website where you can reserve books online and a blog that's updated regularly on all things bookish!

Our popup library will be open throughout the course of the exhibition so make sure you leave a little extra time for your visit to indulge in some cheeky reading in the gallery. 

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BOOKS

Fred Williams: The Pilbara series

HART. Deborah. Fred Williams : infinite horizons

MCCAUGHEY, Patrick. Fred Williams 1927-1982

MOLLISON, James. Fred Williams: etchings

ZDANOWICZ, Irena. Fred Williams : an Australian vision

BOLTON, Richard. Handbook of watercolour landscapes tips & techniques

CALLAGHAN, Timothy. One painting a day : a 6-week course in observational painting--creating extraordinary paintings from every day experience

EDWARDS, Sterling. Creating luminous watercolor landscapes

GRANT, Kirsty. Robert Jacks : order and variation

GRAY, Anne. Sydney Long : the spirit of the land

HANDELL, Albert. Painting the landscape in pastel

HART, Deborah. William Robinson : the transfigured landscape

HEATHCOTE, Christopher. Russell Drysdale : defining the modern Australian landscape

HICKS, Joyce. Painting beautiful watercolor landscapes : transform ordinary places into extraordinary scenes

HYLTON, Jane. Hans Heysen : into the light.

KEELER, Brian. Dramatic color in the landscape : painting land and light in oil and pastel

KING, Jennifer. Expressing the visual language of the landscape

KLEPAC, Lou. Kenneth Jack

LOCK-WEIR, Tracey. Misty moderns : Australian tonalists 1915-1950

MCGREGOR, Ken. Robert Jacks: past unfolded

MCGREGOR, Ken. Robert Jacks.

MCKENZIE, Janet. Arthur Boyd : art & life

MACPHERSON, Kevin D. Landscape painting inside & out: capture the vitality of outdoor painting in your studio with oils.

NICE, Claudia. Drawing & painting trees in the landscape

RADFORD, Ron. Ocean to outback: Australian landscape painting 1850-1950

RANSON, Ron. Watercolour landscapes from photographs.

SMITH, Ray Campbell. Watercolour work-out : 50 landscape projects from choosing a scene to painting the picture

TOPLISS, Helen. The artists' camps : "plein air" painting in Australia

WALKER, Robert. Painters in the Australian landscape

WILSON, Gavin. The artists of Hill End: art, life and landscape

DVDS

Colour theory / with Richard Bell.

Impressionists : painting and revolution

Painting in watercolours : landscape / presented by Rebecca Hind with Chris Smith

Painting Australia: Braidwood Eps. 1

Painting Australia: Simpson Desert Eps. 2

Painting Australia: Bendigo Eps. 3

Painting Australia: Byron Bay Eps. 4

Painting Australia: Kakadu Eps. 5

Painting Australia: Cooktown Eps. 6

Studio : Australian painters on the nature of creativity

MAGAZINES

Art and Australia.

Art monthly Australia.

The artist.

Artlink : Australian Contemporary Art Quarterly.

Artnews.

Australian artist.

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City of Boroondara Libraries

Ashburton Library
154 High Street, Ashburton 3147 

Balwyn Library
336 Whitehorse Road, Balwyn 3103 

Camberwell Library
340 Camberwell Road, Camberwell 3124 

Hawthorn Library
584 Glenferrie Road,, Hawthorn 3122 

Kew Library
Cnr Cotham Road & Civic Drive, Kew 3101 


Phone: 9278 4666 - for all libraries 


Thursday, January 14, 2016

2016 is here!

2015 was a big year here at Town Hall Gallery; so big that it can only be explained in dot point statistics...
  • 21 exhibitions across 4 gallery spaces
  • Over 8,000 visitations 
  • More than 20 public programs
  • Engagements with over 100 artists
We're hoping to surpass the above figures in 2016 and bring you an amazingly diverse program, starting with three wonderful exhibitions launching this Saturday 16 January. Our gallery shop, The Emporium @ THG, will be open too for 'back to (art) school' supplies and goodies. 


Community Project Wall

WESTHORPE, Margot, Before – 3 (2015), oil and acrylic on linen, 120 x 90cm, © Courtesy of the artist

Memory Mostly by local artist Margot Westhorpe presents a new body of work exploring notions of identity and how we relate to one another as a community. Westhorpe has exhibited with us on the project wall previously and this exhibition features a number of large works on canvas that depart from previous explorations. All works are for sale and will be snapped up quickly, so make sure you come by to take a look. The exhibition will be open to the public until Sunday 7 February, 2016.

Gallery 1 & 2



In our first two main gallery spaces we have Dialect: Works from the Town Hall Gallery Collection. As a compliment to the exhibition in gallery 3, Dialect explores the often complex and multifaceted visual language employed by artists in their art making practices. Featuring some of our favourite collection pieces by Helen Maudsley, Eric Thake and Ian Armstrong (among others), Dialect gives pause to the detailed and intricate world created of mark-making. The exhibition will be open to the public until Sunday 6 March, 2016.

Gallery 3

NIXON, John, Eltham (2014), enamel and various timbers on canvas, 60 x 45cm, Copyright Courtesy of Anna Schwartz Gallery, Melbourne.


We are thrilled to be hosting this touring exhibition that places two great Australian artists in conversation together about a very interesting topic: the landscape. Reducing Landscapes: Fred Williams and John Nixon is an opportunity to view some beautifully crafted pieces by these two talented artists as well as think about the different ways in which the landscape can be depicted. The exhibition will be open to the public until Sunday 6 March, 2016.

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Our first exhibitions will launch this Saturday 16 January from 2pm to 4pm - to RSVP to the launch, send us an email. We also have a 'Walk and Talk' with the curatorial team from 1pm, so if the above musing didn't satisfy your curiosity, make sure you come down a little earlier on Saturday (it's free, you just have to register here). 


Wednesday, December 30, 2015

'Retrospective' by John Ivan Bogdanov

The final Community Project Wall exhibition of 2015 brought local artist John Ivan Bogdanov to Town Hall Gallery for the month of DecemberThe exhibition featured 47 paintings from the prolific Bogdanov, with all proceeds from sales donated to the Hawthorn Community Chest - a wonderful local charity organisation.

Installation view of Retrospective exhibition

Bogdanov's story is a compelling one, and a unique combination of almost mythic elements. A classic migrant success story he fled Macedonia in 1952 after enduring years of war and civil unrest in the region. Arriving in Australia with little but a hope for a better life he worked hard, raised a family and contributed to the development of one of the world's finest multicultural society's in Melbourne. For many years he worked in the auto-industry, including running his own successful business to support his family. He has lived in Hawthorn in the same beautiful home for 50 years. Following a stroke in his later years, he turned to painting as a way to express a driving inner need to share his visions. With no formal art training he embarked on a self-directed form of art therapy.


Assistant Curator, Dr Kent Wilson, officially launching the exhibition to an eager crowd.
Three generations of the Bogdanovic family, including John's wife Violetta (second from right),
who brought her husband's work to the attention of the gallery in 2014.
Wonderful atmosphere and interest at the opening event

Bogdanov has been churning out a relentless body of paintings ever since. Appearing as a combination of art-historical styles, from cubism to surrealism to constructivism, the paintings are a captivating and lively ensemble of colour, form and pattern. Carefully selected from the literally hundreds of paintings filling his house and shed, the exhibition offered an insight into a passionate creativity and is one of those truly amazing occasions where beauty floats freely to the surface of a complex and rich human story.

Bogdanov's paintings are imbued with numerous references to art historical styles.

At the conclusion of the show, more than 30 of the paintings had sold, raising more than $2300 for the Hawthorn Community Chest. Bogdanov's bright and colourful works were readily embraced by our patrons, many of whom were giving the artworks as gifts this Christmas. 

A house and shed full to the brim with paintings
As we say farewell to a very successful 2015 exhibition program at Town Hall Gallery, we look forward to 2016 and to bringing you another round of inspiring local talent on our Community Project Wall. We relaunch on Saturday 16 January, 2016, with Margot Westhorpe's Memory Mostly, and in the main gallery spaces we kick off our program with Reducing Landscapes: Fred Williams and John Nixon and Dialect.

Monday, December 7, 2015

In Conversation: Celeste Chandler

Celeste Chandler is a painter. Her mesmerising images and uniquely shaped canvases question how people, particularly women, are represented in the history of European painting. Gallery & Curatorial Assistant Marion Piper recently chatted to Celeste about poker faces, shaving cream and her work in Town Hall Gallery's current exhibition, Likeness.

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CHANDLER, Celeste, I feel for you 2 (2014), oil on linen, 150 x 120 cm, courtesy of the artist and Heiser Gallery Brisbane.

[MARION PIPER]: Can you describe your artistic practice for us? (The themes and processes you engage in to generate your beautiful paintings)

[CELESTE CHANDLER]: My practice consists primarily of oil paintings on canvas depicting the human body and face. I begin by making staged photographs of my subjects - in recent years this has involved coating the head and face in fluid substances such as custard or shaving cream. Once I sort through, edit, adjust and crop the photographs I decide the scale and composition, working around how the viewer's body will correspond with the body or face in the painting.

Many years back I used to built up paintings in twenty of more layers but now I work up the images quite quickly, applying a layer of color and rubbing back with a rag to map out the forms and then building the picture with between 1 to perhaps five layers depending on the section of the image. I want the anatomy of the painting to be visible - the way it is made and the marks that coalesce into a face to break down when you look at the surface of the painting and then reform as you step back. I also want the viewer to feel a strong presence and physical relationship with the person depicted.

I am fascinated by how people, particularly women, have been painted through the history of European art and by the way that some paintings of people can can feel so present and generate intensely emotional connections while many other similar images do not. I guess its a fascination with how paintings work on an emotional level.

The paintings in 'Likeness' are the most recent in a series of works in which I have concealed, framed, distorted and accessorized female heads with shaving cream. I am exploring how to represent the threshold between our internal and external experiences, manifest in the surface of the face. In this way the face becomes a tactile verge or portal between the private and unverifiable world of thought and feelings and the external world of touch and of looking and being looked at. It is intended that these paintings are both serious and absurd; reflecting the way that our identity is a blending of nature and fabrication; concealed and revealed simultaneously.

[MP]: It’s really interesting to me when you talk about making the ‘anatomy of the painting visible’, that the very language you use is very bodily and compositional. In your works for Likeness, there is a very strong presence of this ‘structural revelation’, especially in terms of the balance between each face and the amount of shaving cream portrayed.

The simultaneous acts of revealing and concealing often manifest in our facial expressions, and it reminds me of phrases such as ‘poker face’. How did you go about describing the kind of ‘look’ you were after to each subject who sat for you? Was it an organic process or did you just let them play and experiment?

CHANDLER, Celeste, I feel for you 1 (2014), oil on linen, 150 x 120 cm, courtesy of the artist and Heiser Gallery Brisbane

[CC]: Yes, I think about the paint as skin and also the surface of the painting as a threshold, the way that skin is the threshold of a body. The painting itself becomes a kind of quasi person for me too, no longer the person represented but another entity. something that is both image and object. I have found that I personify the oval paintings much more then previous rectangular ones.

The way you have described the shaving cream as a 'structural revelation' is a really interesting way to describe how this masking and shaping, created by the shaving cream, operates. I think about it as both a construction and simultaneously an erasure and I've tried to convey this in the paint application by rendering the shaving cream by wiping away paint and, in some areas leaving the canvas bare.

I love the term 'poker face'! I'm actually fascinated by Buster Keaton and how he managed to capture an awareness of the absurd and funny and also a kind of tragic sensitivity by showing no overt facial expression at all.

I have a very clear idea of the expressions I want to paint - I want expressions that suggest embodiment, that suggest the person is absorbed in their thoughts or sensations whilst also looking out into the world. In this way I hope to capture something of the invisible threshold between our internal and external lives. Although the construction and theatricality in these paintings is somewhat self-conscious and artificial its really important that the person's expression is not.

Another thread that is beginning to emerge in my practice is the idea of the heroic image and this, historically, has been communicated by this kind of poker-faced outward gaze into the middle distance but also suggestive of internal reflection. I think it partly interests me becuase making heroic paintings seems such a dorky thing to do! somewhere you shouldn't go...

[MP]: Yes, you’re right, there’s something quite bold and daggy about the notion of ‘heroic painting’ - perhaps it has something to do with the abundance of the ‘hero’ figure in contemporary media? Placing a woman into the hero context is an interesting shift in the genre also. In your experience thus far, with your oval paintings, how do viewers tend to interact with them? Do they try to imitate the facial expressions, or do the paintings facilitate a moment of quiet reflection?

[CC]: Good question - to be honest I'm not quite sure yet. I think they create quite a strong parallel to the view's body and position but I don't yet have a sense of how people respond as, to date, they have mostly been exhibited in other states where I'm not as connected to the audience. In 'Likeness' I will finally have the opportunity to install the works as I really intended them to be viewed - as a collection of images that activate each other and bounce the gaze of the subject around between the paintings so I'm really exited to test how this works for viewers. I feel that the pictorial space in the oval canvases is different to a conventional rectangle and positions the person represented closer to the viewer somehow, like they have one foot in pictorial space and the other in actual space...have to wait and see though!

CHANDLER, Celeste, I feel for you 3 (2014), oil on linen, 150 x 120 cm, courtesy of the artist and Heiser Gallery Brisbane

[MP]: That is very exciting Celeste! We’re looking forward to seeing how our visitors engage with them too.
Let’s talk a little bit more about the shape of your paintings. The oval shape, to me, reflects both the shape of an antique mirror and the human face, but also, as you mentioned earlier, a porthole.
How did you come to use this shape in your work?

[CC]: I was making a group of works in 2011-2012 of my head coated in custard (as you do) on rectangular canvases with very saturated yellows and there was one image that just needed to be oval. It refused to work as a rectangle, it needed the symmetry and central focus. This combination of the image and the oval shape turned out to be really powerful so I have been exploring it further. The only problem is that the oval stretchers I use are stupidly expensive and really make what I'm doing pretty unviable at the moment. Then again I was never destined to be an economist.

[MP]: Haha I like your attitude. 
I’ll ask one last question - what’s coming up for you in 2016? Any exciting projects or exhibitions you can reveal? Also, if readers want to find out more about you, where can they go?

[MP]: 2016! Well there is a solo show in Melbourne at Nicholas Thompson Gallery later in the year and I'm writing a crazy proposal for a residency in London at the moment because I want to go and research historical cameos and oval miniature paintings and also to look at how contemporary artists are engaging art history to explore contemporary identity and the human image - but that's always a long shot. I think mainly it will be spent between my studio and my four year old daughter, with a little teaching in the mix. I'm looking forward to 2016!


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Likeness is on at Town Hall Gallery until Sunday 20 December, 2015.