For Andrea, the toughest thing about her art career is finding the time to devote to a pursuit that has become her passion for the past eleven years. She came to rt when she was looking for an outlet that was just for her as she juggled motherhood and full time work and it has been her sanctuary ever since.

“I needed to find something that I could do for me,” Andrea said. “I started with the art classes at Tafe where Ann (Carpenter) was the lecturer, and it has been a big part of a slow burn for me over this past decade.”

Grampians Brushes, the Halls Gap event she attends with Ann and Kirsten each year, has been a big part of that slow burn and it is where her love affair with acrylics began, a medium that allows Andrea to be her true artistic style.

“Big and bold – that really is the best way to describe my work,” Andrea said. “Working with acryllics really grabbed me. It allows me to work big, to work fast and that really suits me.”

The corner of the garage is Andrea’s workspace, but the majority of her painting happens in class. “That’s the time I have to work – the two hours of my class at Ann’s at Glencoe,” Andrea said.

She has created a number new works for the Millicent exhibition, while she will also be showing work from earlier in her career.

“About half the pieces are relatively new and haven’t been seen out and about and the other half of the collection are bits and pieces from over the years,” Andrea, who is not new to showcasing her works, said.

Andrea was a member of the South East Art Society (SEAS) and had works at the Old Courthouse when it was the home to SEAS, as well as exhibiting at Caroline Hills Winery and entering the Wattle Range Art Prize las year.

Andrea’s creative outlet used to be craft, but she has thrived since becoming a painter.

“I was much more of a craft person, following the pattern or the instructions,” Andrea said, “I now love the challenge of creating my own art, my own interpretation of things.”

Andrea comes from an artistic family – her mother is a botanical floral artist based in Melbourne – but while that is a discipline about fine detail and replicating, Andrea loves the freedom her more contemporary style allows. “MY work is an impression.”

An avid gardener, another shared passion with her mother, Andrea does still draw her inspiration from the natural world, while this exhibition also sees her experimenting with portraiture.

Art is Ann’s blood. The Glencoe resident, who was born in New Zealand to Dutch parents, moving to Australia in 1983, can’t remember a time art wasn’t part of her life. “I always loved art as a child,” Ann said.  “My father’s family in Holland were all artistic and he, himself, found a late art career in his senior years.”

And Ann also turned to art once she had raised her family, studying at the, then, South East Institute of TAFE, with Claire Souter and Ian Winter as her mentors.

Before she knew it, the student became the teacher, taking art classes for Adult Community Education (ACE), for a couple of years and eventually taking on the role of drawing facilitator for the Certificates IV, III and II for more than a decade until the closure of the art department in 2013.

Anne cherishes her time in art education and sill runs classes at her Glencoe Studio – the Artshed – moulding her teaching career around the philosophy of Nicolaides, which is “the job of the teacher, as I see it, is to teach students, not how to draw, but how to learn to draw”.

“I have loved being able to facilitate the art journeys of art students, helping them to ‘see and observe’, providing techniques and discipline, but also freedom and experimentation,” Ann said. “You can always go back to what you know at home, but taking the opportunity to explore as many new marks, techniques, mediums, workshops and critiques as you can is the most important part of the art journey,”

And Ann knows how important mentors can be as you look to develop your own artistic style and body of work. “Claire Souter was a very supporting mentor and artist, and Deborah Rogers was pivotal in her tenet believing ion the importance of the role of the artist in society,” Ann said. “And of course, my students and colleagues along the art journey have taught me so much.”

In fact, Ann, despite spending so much time teaching others, also continues to learn and thrives on workshops from artists including Denis Clarke, Jody Graham, Vida Pearson, Suzie Riley and Ron Penrose, forcing Ann outside her comfort zone and encouraging experimentation.

She has highly valued being part of Gallery 54, the Penola based member run gallery.  Ann started as an associate member in 2006 and moved into fulltime membership and served as secretary.

“It is for me a very important outlet for the display and promotion of myself as an artist, as well as being the impetus and driving force to produce new work for the gallery walls, websites and exhibitions such as the Penola Coonawarra Arts Festival each year,” Ann said. “Working as part of a collective with other members reinforces for me the important role of the fine arts within our society and the Limestone Coast.”

Having her own studio space, has also been critical in Ann’s career. “Absolutely fabulous to have my own space, which was built by my husband, who supports me in my artistic career.” Ann said.

“I started a small class teaching from the Artshed in 2002, with two of the students attending for 14 years in their retirement.

“Eventually I have added a second class, which allows for the gathering of like minds and experimentation with new ideas, as well as students working on their own projects. This is essential.

“Working on your own is good but limiting – always important is the stimulus of the group, encouraging, testing, exploring, laughing.”

“My style sits between realism and abstractism.” That is how Kirsten views her body of work, which is dominated by paintings of trees and Australian landscapes, with a strong commitment to bright, bold colours. Art has been a part of Kirsten’s life for just over a decade. Just as it did for Andrea, Kirsten’s foray into art started with Ann Carpenter TAFE classes.

That was 2008 and five years later painting found its way into her repertoire with Kirsten taking her work seriously last year. “I had always been interested in art but never really had the opportunity to do it,” Kirsten said.” Once I had my family, I did have the time and I needed some sort of outlet.” Now she treats her art practice as a job. “I do try and do it every day,” Kirsten said. “I can often only do it for an hour or so as my work needs time to dry, and I certainly want to make sure I don’t stop enjoying it. I always have three or four things on the go. I am not a full-time artist, but it is on my mind all the time.”

About seven years ago, Kirsten held her first exhibition, opened by Ann and held at Gallery 54, but by her own admission she has evolved as an artist since her early days as a TAFE student. “I was scared of colour and everything was black and white and all very safe,” Kirsten said. “Now as I work with ink on canvas - I find it so inspiring- a lot more fun and a lot less science involved. “Kirsten is no stranger to SALA exhibition, previously showcasing her work in Kingston, and also having had her work as part of an Adelaide SALA event at Gallery M, in Oaklands Park.

“The Nature of Resilience” is how we survive.

In recent times we have all had to reach deeply inside ourselves to discover resilience we did not know we had. It is only by facing hardships that we build the qualities required to succeed.               

The river is strong and resilient. Ever searching, ever flowing, it responds to changes and seeks its course, creating new paths where necessary.

People must do this too. Rural communities must diversify and be adaptable to change in the natural and economic environment in order to thrive.

The patterns of change are visible in the landscape and give hope that, with a positive outlook, we can not only survive, but flourish.

My chosen medium, acrylic paint (with occasional embellishments), allows me the flexibility to express my love of line, pattern and form, which reflects the shapes and structure I find in nature.

What is this force that propels me ever forth?

That is there within me as I face life’s toils and troubles. I suspect it lurks also in you. We are all vessels of untold stories of grief and loss, of struggle and pain. Mental, emotional, or physical challenges that drain us and cripple us and leave us teetering on the brink. Searing the deepest depths of our souls with conflicting emotions of anger, sadness, and despair. Private anguish stowed away and hidden in our very own Pandora’s box. The silent scream, an anguish sob, a heartfelt plea. Enough! Enough! No more!

Do we call upon this force and hold it forth like an invisible shield or is it breathed in upon our deepest breath to infuse our being with its salience? Subdued at times yet as pressure mounts it may reveal and exert itself to unfold in myriad of ways.

Do I lay prone? Inert? Maybe for a while, humbled by my humanity. As I count my breathes and inhale deeply, filling my lungs to capacity before holding and releasing this life force. I assess the situation and choose to take control. If not of the situation, then of my reaction to it. I accept that this is an emotional response, an automatic arsenal of fight, flight, freeze… I will allow myself to feel these feelings and I then I hit the pause button, giving myself much needed time before reacting.  I choose to share my experience with those who are close, trusted and true. I seek the advice of professionals who can bolster this force. I will not succumb. I will not lose myself today. I look for ways to seek a resolution and have hope for the future ahead. Such is my resilience.

How does this relate to the artwork you are viewing? To be honest I do not know. What I do know is that this written work is my truth and this artwork was created while experiencing it. It may not be my finest work but it is testament to my resilience.

It depicts my journey over many years, from drawing, glass engraving, and crafts, to painting in a range of mediums, searching for the perfect piece - the artwork that speaks out loud, that makes the viewer stop and lose time in the canvas, and emotionally connect to the artwork in front of them.

As an artist, we often search for answers – how, what, when, and why, the answers are invaluable, because they change and alter the direction of the work. This collection of artworks derives new meaning and context through the changing processes, utilising acrylic paint and water, which are used and reused, manipulated or left to dry as they will. Creating images of observation, contemplation, and reflection in timeless form.

The materials I have used, including acrylic paint, wood, rope, string, shells and sea glass, add meaning, creativity, and visual complexity to this series, giving full consideration to the ephemeral nature of the ocean. I wish for the viewer to have an experience that is stimulating to their own sense of themselves in a world full of possibilities, their thoughts, and memories, with a sense of relaxation and tranquillity.

The overwhelming urge to destroy the first painting in this series, led me in a direction that was unexpected. The canvas now shows the struggle an artist has with their work, the embarrassment, anger and frustration with disappointing exhibitions. The process began when I ripped into this canvas with a few ideas in mind, but the result wasn’t what I imagined it to be. I painted another layer with colour, movement, and depth more to my liking, which then led to the woven repair - A metaphor for never giving up, to always pursue ideas, stretch the imagination, and think outside the box.

Thank you for taking the time to experience this SALA exhibition, I hope you enjoy my collection of artworks.

Resilience (noun) - the capacity to recover quickly from difficulties,

toughness

In creating new work for this Exhibition I have looked to my ancestors for inspiration. My Parents and their Parents are my examples of Resilience in people. They faced difficulties head on, instead of falling into despair. Their actions through tough times, have inspired me to find happiness, empathy, and mindfulness using their optimistic approach to life. And adapting to difficult and challenging life experiences using resources available at the time.

I will forever be grateful for growing up in a Family where Art and Craft mattered. Three generations, who believed Art gives meaning and purpose in life, continually inspire me.

The media I have chosen to work with for this series of work, includes using Textiles as memory. Selecting and using special textile pieces in my collection from three generations, arouses emotions for me the Artist, and hopefully also for the Viewer. Choosing the doilies, crochet and tatting pieces, Dad’s ties and polished fossicking finds, cloth including old clothing and household items, and threads has been a special joy for me.

I find much satisfaction in the creative processes I use. The feel of special cloth in my hands brings comfort, and a sense of security and of calm. The direct contact of me making marks using needle and special threads, brings me so much happiness. My passion for mark making using threads, is a slow process. So I live with the work for long periods of time, while the art piece evolves. Hand stitching is an expressive and healing art medium for me. I find it quite meditative. It is my way of Celebrating the inspiration I get from past family members. I choose to work quietly in silence, this helps me focus, and allows my emotions to be present in my work.

Drawing inspiration from nature and life experiences, I weave with natural and man-made fibres creating sculptural, two-dimensional art and wearable art pieces.

My intuitive approach uses art elements of colour, texture, and pattern to express and communicate. Creativity is my solace and refuge.

These works reflect my artistic journey and is created mindfully, looking closely to explore the concept of resilience in myself, the materials, and the world around me.

HEARTFELT THANKS

To my husband Dean for his support and the frames. Also, to this amazing, generous, supportive group of artists, who over the past 18 months preparing for this exhibition have shown exceptional resilience.

Preparation began with reviewing several decades of my media exploration, intentional mark-making and sketchbooks where work was considered through the resonance of our Exhibition theme. This process gave me pause for introspective contemplation about my how my need to strengthen my own Resilience had driven and directed my artwork. The large collection of work I now have is evidence to me I have accepted that even though I have many roles, numerous demands and challenges pushed upon me, the way I have found my way to balance these external pressures, is by feeling comfortable being immersed in my art practice.

Accepting the notion on being an Artist, often perceived as a ‘loaded’ title of unattainable perfection, settled comfortably within me once I had resolved that persisting with art, the process of creating, was fundamental to my own Resilience. Reaching into this creative journey to strengthen, manage and maintain my state of Being, allows even the darkest, saddest or most confronting times to keep developing ‘The Nature of Resilience’ within me, and joyful moments experienced become reflective probability. The layers of being in the present, having resilience, include historical context which then enhance my narrative and builds new dialogue with every artwork.

During my life many things have been taken from me, but my Art, my ability to immerse myself in creating, can never be stolen, and I alone can hold onto that thought when everything around me is chaotic, challenging or painful, and the contrast and balance Art provides nurtures and protects my Resilience.

It helps me feel safe, I am able to take risks and explore, I need only to resolve work for myself it soothes my soul and helps me find joy. Every stitch, textural surface revealed, and each layer completed, strengthens my framework for Resilience.

I may hope that the viewer connects to my work, is intrigued, ponders the inspiration, is drawn into my work with curiosity, questions my techniques, and may find their own sense of discovery, but that is not what settles The Nature of Resilience for me. I am delighted by other’s interest, their questions and acceptance but I am also not troubled by rejection, the work achieves further layers of resilience for me and I know it is not a failure. I keep creating, each piece is one more step along my journey.

Visual interpretations of landscape, moments in time, portraits, words, historical perspectives, patterns, and botanicals in a range of impressionist and abstracted responses using a spontaneous and instinctive broad range of media and techniques have evolved through embracing imperfection, that failure can simply be a way to continue that all can be resurrected and repurposed, new discoveries can be found in my older work, that old and discarded materials restructured become my platform which reflects The Nature of Resilience.

Being invited to participate in SALA for the first time, provided me with the opportunity to extend and challenge my skills working with materials that I am constantly learning more about, predominately wool.

By using a natural fibre such as wool combined with the techniques of felting, I wanted to create a diverse body of work that shows the many ways in which wool can be used and exactly how resilient it is throughout the processes.

The wool has been cleaned, fluffed, wet, soaped, rubbed, rolled, heated, pushed, pulled, stretched, thrown, and heated again and again to ensure the amount of calculated shrinkage required for each item has been achieved.

Working with wool provides limitless opportunities to design and create pieces of work that range from being useful, such as clothing & accessories, through to creating decorative pieces or just fun useless objects like the pebbles on display.

The eclectic body of work I have produced showcases different varieties of wool being used for different purposes.  A fine merino has been used to create the jacket and handbag, while far heavier wools, such as Finn & Jacob have been used to create the vessels, seedpods, and pebbles.

Throughout the process from concept to creation, I often became overwhelmed with so many ideas and yet not being able to focus on any one thing, frustrated that my ideas were not meeting my expectations, disappointed at sample failures and the wastage of materials throughout the process, yet knowing this is all a part of the process of making art.

The body of work I have produced for SALA has shown me, just how Resilient I have been to push through all of this to finally present a body of work I am happy with.

I hope you enjoy it too.

I didn’t know that I was artistic.  My art teacher in high school told me to take up science and so I assumed that art was not for me.  Fast forward to 2018 and a big move to Compton from Apsley had me stuck inside for a rainy winter.  Something I had not experienced before.  I’m an over thinker at the best of times and one night in desperation for something to do I printed out on a4 paper an outline of a wattle flower with a few leaves, grabbed the kids very cheap watercolour set and basically coloured in.

Something amazing happened that night.  All my neurons started firing and I was filled with this creative buzz that I hadn’t experienced before.  By the end of the evening, I had printed out 6 pictures and had coloured them in with paint.  I was so proud of them. (They weren’t good!)  I started watching YouTube tutorials and started absorbing information and learning, which I love.

The next day was a trip to the shop for supplies and that was 4 years ago.

I’m inspired by nature and in particular the nature that I see around me.  The birds, the wildlife and bush.

I absolutely love sitting in front of a blank canvas with the creative sparks flying in my mind, wondering what gorgeous part of nature I can capture next, so that I can gaze upon it in my home and be reminded of what a beautiful part of the world we live in.

My art reflects the Nature of Resilience for the simple fact that I tried painting, I sucked at painting, and I tried again.  This happens all the time as you don’t just start painting and then all paintings are good.  There are quite a few levels of resilience needed to persevere, to push through when you think it’s not going well, to try again even if you fail.  A big part of resilience is learning. Sometimes the thing you learn is what not to do.  And that’s ok too. To see my art on a gallery wall, sharing it with the world, is one of the most wonderful experiences and I’m so thankful to be a part of this heartfelt group of artists.