Last of my Christmas shopping, local stores for pickles, jam and bread!

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A great local Marrickville cafe is the “Cornersmith’, 314 Illawarra Road. They have now opened a ‘Picklery’ further up the road at 441 Illawarra Road. I wanted to mention the store on my blog as a great new initiative, and support them by buying pickles for my father in law for his christmas present, his favorite pickles! The store ‘Cornersmith Picklery’ runs workshops through out the year on preserving jams and bottled fruits, gluten free baking, bread making, cheese making, and all those old fashioned skills that are reemerging in the hand made scene, or slow food revolution!

https://www.facebook.com/Cornersmith

“The old butcher shop came up for lease, so we just had to take it,” says Cornersmith co-owner Alex Elliott-Howery of the newly opened Cornersmith Picklery. The refurbishment has been four months in the making, located a few blocks down Illawarra Road from its eponymous cafe.

“We’re trying to encourage people to make stuff at home and get them out of supermarkets,” says Elliott-Howery of the hybrid space, which encompasses a cooking school and grocery store in one. “We’ll be stocking locally sourced produce from Cornersmith suppliers. Anything that’s specialty down there, you’ll be able to get here too.” That includes eggs, pantry supplies and their own house-made preserves.

Fitted out with an open commercial kitchen, the Picklery will be a hub for Cornersmith’s food prep and preserving, plus home food craft classes. Classes will focus on teaching students to make their own goods from scratch – like ricotta, yoghurt and labneh in the cheese-making class, or focaccia and sourdough in the session on bread-making – alongside a basic skills series. Next week, a spring preserving workshop will christen the space and transform this season’s harvest into chutney and pickles.

“The classes are themed around skills to give people more confidence for basic home cooking,” says Elliott-Howery.

Just as Cornersmith welcomed donations of locals’ home-grown produce for in-house pickling at the cafe, the Picklery will also encourage guests to use excess food from their own garden to create long-lasting preserves. “We want people to come to a class that’s appropriate for them. If you have a grapefruit tree, come and make marmalade. If you have lemons, come to a preserving class,” Elliott-Howery says.”

workshops@cornersmith.com.au 

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Then there is the great institution, Burke Street Bakery. Just what’s needed for Christmas , some Burke Street Bakery bread for my road trip to Bathurst.

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A bakery renowned for delicious breads, cakes and pastries, which started its first store in Surry Hills, Burke Street, hence the name. The local Marrickville bakery is 2 Mitchell Street, Marrickville (off Victoria Street).  My favourite is the soy & linseed sourdough and the potato rosemary sourdough, and the delicious Ginger Brulee Tart for a treat. The bakery also runs baking classes, as well as starting a great new initative, ‘The Bread & Butter Project’, that I found out about at the 2013 Food & Words Writers Festival, held at the Historic Houses trust on the 19th of October.

“Created by Bourke Street Bakery, The Bread & Butter Project is an artisan bakery delivering handmade bread to Sydney’s fine food purveyors. Our traditionally crafted loaves made from the highest quality ingredients are the perfect combination of flavour, crust and crumb. As a social enterprise, 100% of our profits are reinvested into baker training and employment pathways for communities in need.”

http://bourkestreetbakery.com.au

http://bourkestreetbakery.com.au/baking-classes

http://thebreadandbutterproject.com

http://foodandwords.com.au/food-writers-festival

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The Marrickville Burke Street Bakery also has a new kooky little garden on the pavement

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and there is an even kookier street garden up the road. Great to see sunflowers and corn growing in the streets.

Joshua Yeldham at Art House Gallery, ‘Surrender Tree’

Joshua Yeldham was the last solo exhibition at Art House Gallery for 2013 (I also exhibit at the same gallery), dates from the 20th November to 14th of December, at 66 McLachlan Avenue, Rushcutters Bay, Sydney. His works are a virtuoso in paint and carved pigment print on cotton paper, the colours, textures and surfaces are beautiful and seductive. The work is inspired by his home and studio setting, along the banks and on his boat, at Pittwater, (above Sydney), along the mangrove and inland water inlets.

“Yeldham’s work is a mapping of multiple realities. It charts the artist’s travels among the mangroves, the disused oyster leases and along the salty foreshores near Pittwater. Yeldham’s cartography moves within this world and without. He is not limited by the materiality of reaching tree limbs of the muddy matter of swamps. His paintings and photographic works move beyond the human-perceived environment. Instead, he deliberates on the fragile spaces in between, the liminal places in his heart and mind where imagination soars and intellect sings. He says,’the space between two lines is what connects us’.
Yeldham has been preoccupied, for many years, with the intersection of cultures, India, Malaysia, Indonesia, indigenous Australia….
Yeldham works as spiritual journeyman. He swoops, like his constant daemon-spirit or guardian owl, across these paintings which have been carved and caned, indigo-incised and marked, in time with his heart beat, in tempo with his private prayers…”
(excerpts from Prue Gibson’s catalogue text)
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‘White owl n/8 and n/7’, carved resin with cane and wire, and painting, ‘Temple of  Forgiveness – Morning Bay’, oil and cane on carved board, 152 x 204 cm.
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Detail of painting , ‘Temple of  Forgiveness – Morning Bay’, oil and cane on carved board, 152 x 204 cm.
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‘Yeoman’s Bay – Hawkesbury River’, oil, resin and cane on carved board, 200 x 244 cm (and details)
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‘Eagle Rock – Cottage Point’, oil and cane on carved board, 204 x 152 cm (and detail)
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(detail) ‘Sway – Mud Island’ shellac on unique carved pigment print on cotton paper, 160 x 150 cm
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(detail) ‘Falling water – Yeoman’s Bay’, oil and cane on carved board, 200 x 244 cm
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‘Surrender Tree – Morning Bay’, oil on carved board, 204 x 152 cm
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(details of ‘Surrender Tree – Morning Bay’)

‘One Night Stand’ at Damien Minton Gallery, night 9, Connie Anthes, night 11 featuring Rachel Burns and Ulan Murray

Damien Minton Gallery has created a great new initiative , ‘One Night Stand’, over 14 nights, 14 consecutive shows are held within the gallery space, 583 Elizabeth Street, Redfern, Sydney, running from 9th December to the 22nd December. I have managed to make to two of them so far, night 9, Tuesday 17th, ‘Low Relief’ curated by artist Connie Anthes, and night 11, Thursday 19th December, the works of Rachel Burns and Ulan Murray. It is really great to see such a range of artworks, artists practices and creatives from all fields and spectrums all exhibiting in such a whirlwind affair. Contributers to ‘One night stand’ range from the South Sydney Multicultural Community Center, Art Teachers, performers, Paul McDermott and Paul Livingston, the cooperative and pottery studio ClayPool and muscian, Robert Moore. Such contributers, often lying outside the traditional commercial gallery scene, has created a dynamic and energizing series of eventful nights.

http://damienmintongallery.com.au

Tuesday 17 December 2013
Low Relief, curated by Connie Anthes

“Inspired by two sets of gun-metal grey plan drawers acquired by artist Connie Anthes when Sydney’s last map shop closed in 2011, Low Relief explores the possibilities of shallow space and its relation to mapping place, time and ideas of perception. Twenty artists have each responded to a drawer with its original label intact, with the work to be displayed in situ and experienced one-on-one by the audience.

20 drawers/20 artists, including: Matthew Allen, Sarah Breen Lovett, Catherine Cassidy, Criena Court, Michaela Gleave, Sarah Goffman, David Haines, Janet Haslett, Greg Hodge, Leahlani Johnson, Anna Kristensen, Abbas Makrab, Noel McKenna, Ian Millis, Eric Niebuhr, Peter Nelson, Madeleine Preston, Peter Sharp, Floria Tosca, and Paul Williams.”

Thursday 19 December 2013
Rachel Burns + Ulan Murray

Rachel Burns
“This series of paintings deals with the Australian culture of the road trip. Living in such a vast and largely vacant land we often find ourselves travelling long distances, in our cars, at speed. As we drive through the landscape some things attract our eyes and others just become a blur of colour and form.

‘My works never attempts to be a realistic interpretation of the landscape but rather a jumble of remembered and imagined forms’

Ulan Murray
The sculptures celebrate the beauty and intricacy of nature. By altering the scale and abstracting the forms the works reflect nature’s mathematical structures. They look at the fragility and complexity of life forms reflecting the care needed for our ecological systems.”

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Rachel Burns paintings are all oil on canvas, and Ulan Murray’s sculptures (that also featured along with my ceramics at this years ‘Artisans in the Gardens’) are all recycled copper and steel.

Tanya Chaitow at Stella Downer Fine Art Gallery

Last week I caught up with Tanya and her beautiful show, ‘Moon Days’, at Stella Downer Gallery, at Danks Street, 2 Danks Street, Waterloo, Sydney. I have always admired Tanya’s work, the combination of the whimsical, pictorial and the allegorical combined with a thoughtful and contemporary treatment of space and surface.

http://www.stelladownerfineart.com.au

Ambiguity and whimsy are important elements in TANYA CHAITOW’S work and her fanciful paintings and drawings blur past and present, fact and fiction, internal and external reality. Adopting a naive style, CHAITOW is able to work intuitively to capture fleeting mental states and her poetic works are charged with a powerful psychological resonance. Working with a troupe of impossible characters, often part animal part human, CHAITOW offers up a vision of her personal mythologies. Like a playwright she enlists us in imaginary worlds where we are free to reflect and fantasise.”

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‘Moonlight’, acrylic on board, 12.5 x 35 cm, ‘Last Friends 2’, ‘Last Friends 1’ , both acrylic & enamel on board, 25.5 x 18 cm

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All acrylic on board and 25,5 x 18 cm, ‘It is truth I bring you’, ‘Full Moon’, ‘New Moon’, ‘Here night time is forgotten’, ‘Preparing for your arrival’

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Both acrylic on board, 25,5 x 18 cm, ‘Time doesn’t exist’, ‘Full Moon’

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‘Tracks of tomorrow’, acrylic on canvas. 33 x 33 cm

In my studio, new work in progress

I am currently working on a series of ceramics for a group exhibition I am in next May ( 2 May – 8 th June 2014) at the Manly Art Gallery & Museum, selected for the Australian Ceramic  Association’s Biennial Exhibition, ‘The course of objects; the fine lines of inquiry’, curated by Susan Ostling. “the environment and nature as a source for ideas; the aesthetics of still life; rigorous material investigation; the figure as a source of delight and wonder; and aspects of function.”

The ceramics are hand built stoneware vessels which I have often re-fired several times to build up layers of glaze and underglaze paints. Paintings in the background are works in progress for my next solo exhibition at Art House Gallery, Sydney.

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Entrance to my studio

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Works in progress

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Experiments using oxides on white slip on hand built stoneware forms, before firing.

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Experiments using oxides on white slip on hand built stoneware forms, after the first bisque firing, still cone 10 Stoneware firing to go.

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Works after final stoneware firing, with the iron of the clay now emerging through the slip.

The Society Inc, Christmas Flea Market

For the first time I finally made it to Sibella Court’s store, ‘The Society inc’, 18 Stewart Street, Paddington, for the Christmas Flea Market, on Saturday 7th of December. Sibella Court, the well known interior stylist and creative director, is also author of her own series of books, ‘Etcetera etc: creating beautiful interiors with the things you love’, ‘The Stylist’s Guide to NYC’, ‘Nomad: bringing your travels home’ and ‘Bowerbird: creating beautiful interiors with the things you collect’ to name a few.

“Stalls will be lining Stewart St, Paddington this Saturday 7th December at 8am. Shibori, Walter G, Sally Cambell Textiles, The Hamamist and many more will be joining in the fun. Stylist props, textiles, stocking stuffers & presents galore will be on offer. The store will also be open early, and is channeling Mexicola! It is all about beautiful faded colours, felted cactus’, turquoise peacock chairs & papel picado! It  is overflowing with fun decorations, cushions, woven market baskets, pom poms, Mexican textiles & more!”

http://www.thesocietyinc.com.au

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The Society Incs own verg herb garden! Notice more are appearing around the streets of Paddington
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Great local cafe up the road, ‘Relish’, good road stop on the way to the Paddington markets.

Ken Mihara and Kevin Lincoln at Liverpool Street Gallery

A great show which unfortunately is now finished at Liverpool Street Gallery, 243a Liverpool Street, East Sydney, 16 November – 21st November, 2013. Really beautiful and sophisticated ceramics by Japanese ceramic artist, Ken Mihara, complimented by reductive emblematic still life and seascape paintings, by Kevin Lincoln. Both body of works interplay and mirror one another with a reductive poetic and subtle palette.

Ken Mihara, ‘Serenity in Clay’

http://www.liverpoolstgallery.com.au/public_panel/exhibition.php?id_EXH=142

“The aesthetic qualities of serenity and the sublime coalesce within Mihara’s work. In essence, these qualities are the scents of Japan, a culture which has traditionally searched for beauty within wabi-sabi austerity, spiritual simplicity, and the cherishing of patina. The natural landscapes of his high-fired stoneware facades were borne through multiple and extremely difficult kiln-firings, with each firing revealing a new element to a work’s clay flavour. His new forms exhibit a stark, bulb-esque minimalism. Mihara’s new works pulsate with a relaxed and assured confidence in his own. Furthermore, the new work also exhibits a far greater range of tones, from the poetically austere to vivid oranges and blues, which are a result of a revamped firing technique that he has further tweaked from the experiments of his past Kigen (Genesis) series. His deeply spiritual works poignantly strike at the heart, and his new works exhibit the artist leaning further towards minimalistic simplicity.” Yufuku Gallery, Tokyo

All multi-fired stoneware, ‘Kigen (Genesis)#3’, 23 x 14.5 x 39.5 cm, ‘Kigen (Genesis)#4’, 42 x 23.5 x 26.5 cm, ‘Kodak (pulse)#4’, 41 x 19.5 x 30.5 cm, ‘Kigen (genesis)#1’, 74.5 x 20.5 x 44 cm, ‘Kei (Mindscape)#2’, 43 x 31.5 x 41 cm, ‘Kodah (Pulse)#5’, 25 x 19.5 x 24 cm

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Kevin Lincoln, ‘Still Life and Landscapes’

http://www.liverpoolstgallery.com.au/public_panel/exhibition.php?id_EXH=143

Ghosts of still-life are held within the minimal abstracts. The sensuous curve is perhaps a detail of the edge of a bowl against a vase, or the strong horizontal line where a bottle sits on a table. But they need not be read as such, the artist instead demands that we allow the weight within each work to take hold, feel the density of each colour, each form and take the time to allow a response to develop within us. Lincoln’s paintings are not a quick fix — they are breathtakingly obtuse. Generally more textured than the meticulous surfaces of the abstract paintings, the elements in the still-life paintings have a disconcerting solidity against the indistinct glowing backgrounds on which they sit. Like a miracle, wine and fishes hover in an apparition on the canvas. The intimacy engendered, even in the most expansive of the still-life paintings, is borne from the personal references the artist places within each work. An invitation to the exhibition of an admired artist, a familiar pot from the artist’s collection, a bowl of figs or a shiny aubergine bought for lunch, these items are as much a glimpse into the artist’s life as the shadowy self-portrait reflected in a mirror.” Styles and forms – Contemporary Australian Painting, Shandong Publishing Press, China, 2004.

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‘Two Sake Bottles’, 40 x 46 cm, ‘Freycinet Peninsula’, 76.5 x 92 cm, ‘Recherche Bay Tasmania’, 86.5 x 112 cm

COFA Annual Exhibition 2013

I went to COFA Annual Exhibition 2013, Honours: Art & Media / Final Year: Design at the very nice and new gallery space, Galleries UNSW, Cnr Oxford Street and Greens Rd, Paddington.

It is always interesting to see new experimental work, what is new and happening. The use of new and incongruous materials and work that is outside the commercial gallery context. I especially enjoyed the final year design work, looking at different practices and approaches to the design industry.

http://www.cofa.unsw.edu.au

Honours Art & Media

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Louise Zhang, ‘Seductive Monsters: (De)forming The Blob’, 2103, birch wood, oil paint, enamel paint, resin, expanding foam, plaster, plastic, gap filler, silicone

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Mia Middleton, ‘Homecoming’, 2013, looped video projection, ‘Someplace’, 2013, series of inkjet prints on Ilford Rice paper, ‘At Sea’ 2013, video

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Julie Brockbank, ‘Fold’, 2013, parchment paper and artificial light, ‘Hush’, 2013, aerated concrete, artificial light

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Tamara Muzikants, ‘Twirly Tales’, 2013, synthetic fur, vintage fur, perspex, concrete, thread, wood, resin, bricks, metal. crystal, glass, rocks

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Alice Couttoupes, ‘Eponymic Emperialisms, photos, ink on velin cotton rag, and ceramics, ‘Coastal banksia’, 2013, porcelain

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View of room with several Installations

Final Year: Design

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Emily Yeung, ‘8 Storeys’. Fashion work and video dealing with the supply and demand pressures of the fashion industry. The work has been directly informed by the Rana Plaza collapse in Bangladesh.

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Louise Knyvett, ‘Blanchard Re-appropriated’. The work deals with the shift in the consumer market from excessive mass production to environmental awareness and responsibility. The concept of ‘up-cycling’, an analysis of the private practice of the London furniture designer Robert Blanchard.  Applying a life cycle assessment by measuring the environmental, economic and social value of his process.

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Samuel Kirby, ‘Red still life set’, ‘Pink flat and curve’ and ‘Green cube set’, acrylic on wood

Final Year, Bachelor Visual Arts, F Block

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Installations

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Bernadette Comenzuli,  ‘Trapped’, mixed media, ‘No man is an island’, bronze, ‘After the trees’, acrylic on perspex

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Jason Farrow, sandstone sculpture

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Jennifer Holman, ‘Stones’, digital print on silk

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Groovy plant holders at the campus quadrangle

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Installation in the quadrangle, with a good bit of student politics

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And a further bit of politics on the inside of the lift doors, F Block, COFA

Self Life, Delmar Gallery

The annual exhibition, ‘Shelf Life’, at Delmar Galley, Trinity Grammar School, 144 Victoria Street, Ashfield, Sydney, 20th November to 8th December, 2013, covers a range of small scale works, that can easily be placed on a shelf, hence ‘Shelf Life’. The show has been really nicely curated and installed by Catherine Benz, the exhibition curator and gallery director of Delmar Gallery.

http://www.trinity.nsw.edu.au/4_community/socArts.htm

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The Hermannsburg Potters, Peter Pinson Gallery

A great exhibition of the ceramic works by the Hermannsburg Potters at Peter Pinson Gallery at Syndicate, Danks Street Galleries, 2 Danks Street, waterloo, Sydney. 12 November to 30th November 2013.

Peter Pinson represents the Hermannsburg Potters in Sydney. The Hermannsburg Potters are from the Western Arrernte community, 130 kilometers west of Alice Springs, Northern Territory.

http://www.peterpinsongallery.com

“Pottery was first introduced to the Aboriginal artists of Hermannsburg in the 1960s by missionaries working with men from the community. These men, and subsequently both men and women artists, built on the tradition of Aranda (also called Arrernte) art that can be traced back to Albert Namatjira. Today, with continued help from their pottery trainer (a practising ceramicist and teacher) and the traditional owners of the region, a small group of mostly women produces unique and highly saleable works of ceramic art.These women (and the newer artists that have followed) use the introduced medium of clay to translate their cultural and artistic heritage. In a small pottery studio in the centre of the community the Hermannsburg Potters have forged their own unique type of ceramics.”

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Judith Inkamala, ‘Albert (Namatjira), Rex (Battarbee) & Family. Painting Country’, 56 x 37 cm, 2011 (including detail)

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Painting by Arthur Murch, ‘Hermannsburg Potter Judith Inkamala, nee Tebora’, 1964, oil on board, 60.5 x 60.5 cm

Arthur Murch vistited Hermannsburg in 1933 and again in 1964. On his 1933 visit he painted Veronica Tebora, on his return visit thirty-one years leter, he painted Veronica’s fifteen year old daughter Judith (above), five decades later, the young daughter Judith, enjoyed a national reputation as Hermannsburg potter Judith Inkamala. One her ceramics features bellow her portrait.