Come and draw, paint or just relax in the company of others at Machattie Park… every 3rd Sunday of the month. There’ll be at least one demonstration and informal instruction will be available. All welcome! All art forms welcome!
We meet at the Rotunda and disperse from there.
Children under 15yo need to be accompanied by an adult. BYO pencils | paper | art materials | hat | water | sunblock | stool (Limited (free) paper, pencils, boards available to use)
*Bring a picnic lunch beforehand from 1pm...
Look forward to seeing you there!
Rachel Ellis: 0428 311 534
These works are currently hanging out at The Hub Espresso Bar and Eatery in Bathurst. If you're in town make sure you swing by and check them out. You'll find The Hub at 52 Keppel Street.
Two parts flower
Medium: Linoleum and cake tins
Size: Large piece: H40cm x W50cm Small piece: 21.5cm diametre
Price: Large piece: $1000 Small piece: $500
You must never lose heart in your love, my love.
Size: Large: W110cm x H44cms Small: W60cms x 44cms
Price: Large piece: $2000 Small piece: $800
One Single Wish follows on from my recent work on death and grieving. It’s a site-specific installation composed of hundreds of handcrafted pom poms. These pom poms were crafted in response to my partner’s illness and death. The bright colours and silliness of these quickly wound creations stood in stark contrast to the measured clinical world that surrounded us. After my partner died, communal crafting became a way for me to connect with other people’s experience of grief. I became interested in the ways loss can be externalised and how this act can be used to disrupt the silence that shrouds taboo topics like death and dying. At the centre of my art practice is an intense curiosity in how making can be used to process traumatic events, particularly in those instances when we don’t have the words to wrap around the experience.
Each pom pom for this work is made out of nylon knitting ribbon and attached to a thin bamboo skewer. The skewers are of differing lengths with the tallest standing at 50cms, and the shortest hovering just 5cms off the ground. When viewed individually each stem echoes a dandelion seed head; a plant steeped in Australian folklore and said to grant wishes. The idea behind One Single Wish can be traced to my own personal experience with the absurd and fickle nature of wishing. In the midst of Steve’s first round of treatment I wished out loud that there would be a parking spot right out the front of the radiologists. There was. The granting of this banal wish became a source of dark amusement for us as we balanced treatment with palliative care, whilst also navigating the complexities of living together. The work asks, what if we all had One Single Wish but never knew when it would be granted, so it was likely to wished away on a thing that didn’t matter.
The pom poms for One Single Wish are installed on and around a single bed frame. The bed is a powerful symbol, linked with private spaces, bodies and dreaming. One Single Wish draws on this history, and also references the bed as the place of birth and death. It touches on how and where we die, and the ways death and dying have been institutionalized in contemporary Australian society. From this perspective, One Single Wish brings the taboo topic of death and dying into a very public space. It also touches on the discrepancy between how many people want to die at home (70%), and how many people do (14%). The work is deeply personal and draws on my own experience of caring for someone who is dying, and the challenges of caring for them in the home. One Single Wish is presented in shades of pink and purple, and has a glowing aura of prettiness about it. This work resists the idea of illness and death as a battleground cloaked in darkness and playfully suggests that death can be talked about in many different ways.
Meeting 'The Cupcakes' at the opening of Artlands was an absolute hightlight of the festival. You can check out more of their household tips for a happier world here www.roundabout.net.au
‘The Cupcakes’ by Roundabout Theatre www.roundabout.net.au
‘The Cupcakes’ by Roundabout Theatre www.roundabout.net.au
Future/Public is an exhibition of propositional public artworks in parklands central to the various venues for in the ARTLANDS precinct. Instead of producing finished and lasting artworks for public spaces, Future/Public will use public space as a platform for questioning the role of art in public. The exhibition will consist of 10 installations that ‘propose’ potentials for artworks that stands outside of our received expectation and understanding of public art. In this way, it will challenge the genre’s traditional and suggest new roles, ideas, and modes for art that inhabits the shared space of the public sphere.
Artists: Mark Booth (Hill End), Sarah McEwan (Birrego), Julie Montgarrett (Wagga), April Phillips (Coffs Harbour), Amelia Reid (Murwillumbah) Genevieve Carroll (Hill End), Karen Golland (Bathurst), Dani Marti (Cessnock) Christine McMillan (Kandos) and Rochelle Summerfield (Grafton).
This interactive installation developed by artist Karen Golland invites you to explore, create and collaborate through the work of the late Bathurst artist Steve Kirby. A continuation of Kirby’s Choice and Chance project, first conceived in 2006, a mosaic of the artist’s paintings will line the Gallery’s walls in a constantly evolving and dissolving re-imagining of his work and the interplay between choice and chance.
This is for you: Documentation and development
This is for you opened at Bathurst Regional Art Gallery on Friday 13 May 2016.
Link to Western Advocate Article
Link to full article: Gina Farley
Loss carries across several of the artworks. Karen Golland's field of pom-poms The Nature of Things, is a response to the grief of her partner dying. Viewed from the road or stumbled across in a paddock, it is indicative of the subtlety and sensitivity of many of the works at Cementa15.
Link to full article: Posted 27 April 2015: The ARI Experience: http://the-ari-experience.com/2015/04/27/cementa15-kandos/
On a grassy piece of land known as the “paddock shoulder” I found Karen Golland’s work, The Nature of Things. Karen had placed hundreds, possibly thousands of small, intensely coloured pom poms in arcs of colour on the small rising hill in the vacant lot. The rows of pom poms created an effect of individuals amonst the many. Each pom pom evoked both ‘someone’ and the absence of ‘someone’. In the bright morning light the intense colour field looked, quite simply, beautiful. Karen had begun making these pom poms as her partner was dying and she invited those close, family and friends, into the process of making the pom poms thus sharing their grief through this act of creation. The final work was inspired by a painting made by her partner. “Things come and go; it is in their nature.”
Full article: Lauren Stanford
A car full of pine needles, a poker machine on a bed of coal, a field full of pom-poms, and a video of three men in monkey suits playing on the monkey bars were some of the weird and wonderful exhibits on show during the 2015 Cementa Arts Festival in Kandos.
GINA FAIRLEY: SUNDAY 12 APRIL, 2015
Twenty good reasons to put Cementa on your radar - a festival that happens every two years in regional NSW.
Cementa15 returned to Kandos, a small regional town in NSW, this weekend with performance, installation and interventions. ArtsHub headed out to the country to bring Cementa15 to you.
For more on Cementa15 and an interview with one of its co-founders Alex Wisser.
Bathurst artist Karen Golland has been selected to take part in the biennial contemporary art festival Cementa15. The festival will take place in the regional township of Kandos from 9 to 12 April 2015 and will feature work from more than sixty artists.
“I’m thrilled to be part of Cementa15. It’s a wonderful event for regional NSW and with Kandos being so close to Bathurst it’s particularly exciting for our local community,” said artist Karen Golland. “Bathurst is home to a great number of people who are interested in contemporary art and think nothing of travelling four or five hours to visit art events or exhibitions. With Kandos being just over an hours drive away people can plan a day trip and bring their families and friends along on a regional art adventure.”
Cementa_15 brings together urban and regional artists for a four-day celebration of contemporary art in Australia. Taking its regional situation as focus, Cementa_15 celebrates the diversity of voices that can be heard within our contemporary arts communities. The program will include video, installation, performance, sound, 2d and 3d artworks in venues and locations across the town.
“We showcase contemporary art across the spectrum of practice, from the emerging to the established, from the obscure to the prominent,” said festival curator Alex Wisser. “We’ve got strong regional representation in this year’s festival and are excited to have new work by Bathurst artist Karen Golland included in the lineup.”
The Cementa_15 program also includes work by Hill End artists Genevieve Carroll and Bill Mosely, and Molong artist Heidi Lefebvre. Over the four-day festival visitors will have the opportunity to attend public programs including workshops for children, performances and forums. To find out more and view Cementa_15 artist profiles visit www.cementa.com.au
For more information contact Cementa_15’s media contact Sam Paine on 0431 208 646.
Read the full article here: https://visualarts.net.au/news-opinion/2015/q-cementa15-artists/
March 12 2015, by Julie Lien
From 9 to 12 April, 2015, over 60 contemporary artists from both Sydney and regional NSW will participate in Cementa15, an arts festival that celebrates the state of contemporary art in Australia and the community of artists that generate this strange, challenging, and wonderful way of looking and thinking about the world. NAVA spoke to some of those artists about the strategies and challenges experienced when producing their work.
What role does skill play in the value or meaning of your work?
Skill is a strange thing. Honed and perfect in one moment, clumsy and unattainable the next. I trained as a printmaker so for many years skill meant practiced precision. These days skill plays a different role in my art making. My focus isn't always on the polish; I'm much more curious about what's been collected along the way. The skills that bring the most value to my practice are flexible, and support encounters with different ways of making. They are adaptable and intuitive, and occasional fumbling is part of their nature.
My work for Cementa 15 has involved making pom poms with many people from my daily life. We've all learnt this one simple skill and then used it on repeat, making many hundreds of the same thing together. Creating work like this in my own home, with those who form an important part of my everyday has required its own set of skills. This way of working is lively and sometimes unpredictable, and I was very aware of wanting those involved to enjoy the process and feel they could contribute as much or little to the development as they wished.
I've found I'm a much kinder when working with those I love. I tend to be quite critical of what I make when working alone and like that I'm more attentive to the simple pleasure of making when working with others. I'm quietly hoping these skills are transferrable. Having been through a long period of making very little I found this shared creating and the skills it generated quickly sparked many new directions for my art making. So many hands working in close proximity seems to generate ideas and skill sharing, and this in turn has intensified the meaning and value of my work
What strategies do you employ when presented with projects that you don't have the skills to complete?
There are hidden pockets of skill all about the place. The challenge is matching up need with knowledge, so that you can dip in at the moment you're floundering about. Over the years I've had to pull my brave socks up and ask for help. There are a whole bunch of skills I don't have, but that I need to get stuff done. And I guess it's not just about finding and asking. It's also about filling your pockets up so that you can be part of the exchange.
And then there's google. That's a definite strategy.
What challenges have you faced in conceiving or producing your work for Cementa15 and how did you resolve them?
My work for Cementa 15 grew quickly and finding materials to support this growth has been an ongoing challenge. I initially planned to work with only one material, nylon knitting ribbon. My art making often begins with craft materials that have failed to transform into intention and early on I enthusiastically declared that each and every roll would be sourced second hand from local op shops or garage sales… A few months in it became clear that I would have to source another material. The answer came to my door in the shape of a mattress. Having not purchased many new things I was surprised to find this one arrive in it's own enormous plastic bag. Being uncertain what to do with such a large amount of plastic, I sliced it up into ribbon sized threads and began making pom poms. It's a much more difficult material to work with than tule, and quickly multiplied making time… but with one simple phone call I had more than enough to make more than enough.
Two parts flower and White on shades of your light were selected as finalists in the Meroogal Women's Art Prize.
This non-acquisitive art prize was established to celebrate the creativity of female artists of NSW. The Meroogal Women’s Art Prize invites female artists to respond to the house museum’s history, stories and fascinating collection and to create artworks that reflect Meroogal’s rich history of house that was handed down through four generations of women from one local family.
182 entries were received with thirty-nine works by thirty-four finalists selected for exhibition in the house, garden and grounds of Meroogal from 20 September 2014 until 25 January 2015. Check out work by the finalists here.
Two Parts Flower combines quintessential features of Meroogal's domestic history, linoleum and cake tins. The floral motifs have been carefully extracted from discarded floor sheeting and set into and around two circular cake tins. These works blend the decorative and functional histories of two domestic artefacts and pay homage to the ingenuity of the Meroogal household and the women who lived there. Two Parts Flower quietly acknowledges the tradition of passing down recipes from one generation to the next and the vital role baking played in the everyday patterns of life at the home.
Two Parts Flower: Linoleum and cake tins: Part 1: 21.5cm diametre, Part 2: H40cm x W50cm
Craft forms an important part of our social history and has been used by women through time to collaborate, connect, and create community. The women of Meroogal crafted items for function and pleasure. White on Shades of your Light transforms discarded crochet placemats into a work that references these handicrafts. The crochet is starched before being cut into individual motifs, painted to reflect the colour scheme of the home and recombined. When presented as floating, almost touching shapes, the transformed motifs become reminiscent of the architectural features of Meroogal, particularly the wrought iron edged verandahs.
White on Shades of your Light: Acrylic paint on crochet: Each piece 33cm x 33cm
Photo credit: Alex Wisser
The Materiality of the Social – Craft and Contemporary Art