Craig Waddell for the John Glover Art Prize

Craig Waddell ‘The Darkness that Lies Within (Cape Grim)’ 2016, oil on linen.















Congratulations to Craig Waddell who is a finalist in this years John Glover Art Prize with ‘The Darkness That Lies Within (Cape Grim)’.  The Glover is an award for a landscape painting of Tasmania, defining landscape painting in its broadest sense.

The prize aims to stimulate conversations about the meaning and possibilities expressed by artists interpretation of Tasmanian landscape. The winning artist receives an acquisitive $40,000 prize.

For Craig ‘The Darkness That Lies Within’ is part of an ongoing body of work exploring landscapes that draw reference to sites of historical significance. He writes,

“Within my work I try to place myself in areas both physically and spiritually that ask questions around identity, isolation and mortality. It is in this compromising state that I am drawn to start responding to the natural world…

Cape Grim in Tasmania is a site that I have returned to many times. The dark beauty that surrounds this area has both a disturbing and magnetic energy to it. Reading about the history to this area and drawing from this area has been the platform for the emotive response within my painting…”

The winner is announced at the Official Opening Friday 11 March, 2016. The exhibition is open to the public 12 – 15 March and 19 – 20 March. For more information, click here.

To view Craig’s available works, click here.


Glenn Barkley featured in The Art Life

Glenn Barkley, Like a Cactus Tree – for JM, 2016. Earthenware 53 x 35 x 34cm. Courtesy the artist and Utopia Art Sydney © the artist














Renowned curator turned artist, Glenn Barkley, will feature in ‘Return to Beauty’ a group show curated by Vipoo Srivilasa at Edwina Corlette Gallery,  29 March – 19 April 2016. The exhibition will also feature new works by Kris Coad, Ramesh Mario Nithiyendran, Amy Kennedy, Alana Wilson, Julie Pennington, Alice Accouttoupes and Helen Fuller.

Read more about Glenn Barkley’s transition from curator to artist in an interview with Sharne Wolff, Six and a half Questions: Glenn Barkley, on The Art Life blog.

Q. Although you’ve been a curator and writer for many years, you’ve burst onto the scene as an artist in the last couple of years. Has it been a fun ride?

Glenn Barkley: Fun but busy.

I have been overwhelmed and humbled by the response to my work – I’m glad I started making again! I studied to be a painter so always felt a bit fraudulent being a curator without an art history or arts administration degree or some such.

I think being an exhibiting artist is making me a better curator.

Please join Edwina Corlette Gallery for the ‘Return to Beauty’ Opening on Thursday, 7 April 6 – 8pm. All welcome.




Lyndal Hargrave DAILY IMPRINT Interview


Lyndal Hargrave is featured on the DAILY IMPRINT: Interviews on Creative Living. Interviewed by Natalie Walton, Lyndal talks about her inspirations and passions. Read the full article here. 

“I’m drawn to patterns that shape our universe – the hexagons of a beehive, the fractals of a fern, the prisms of minerals,” she says. “I’m moving away from hard edge geometry to a more organic, lighter approach.” Lyndal Hargrave, 2016.

Lyndal’s exhibition ‘New Geometricks’ is current to 27 February, 2016. View her available works here.

Vipoo Srivilasa 2016 Fleurieu Art Prize Finalist

Vipoo Srivilasa, Collective Reef 2015, mixed media.

Srivilasa’s sculpture ‘Collective Reef’ has been shortlisted for the $65,000 Fleurieu Art Prize for Landscape at the Anne & Gordon Samstag Museum of Art in Adelaide. The Fleurieu Art Prize focuses on landscape as a means of expressing the power of connection to place. This years judging panel includes Nigel Hurst, Director of Saatchi Gallery London; Suhanya Raffel, Deputy Director and Director of Collections AGNSW and Erica Green, Director of Samstag Museum of Art. The winner will be announced at opening night on 3 June. The Exhibition is current 3 June – 29 July, 2016.

Vipoo will present a new body of work at Edwina Corlette Gallery 16 November – 3 December, 2016. To view Vipoo’s available works, click here.

Detail, Vipoo Srivilasa, Collective Reef 2015, mixed media.


Abbey McCulloch New Works

Abbey McCulloch, The Removalist, 2016, oil on canvas, 55 x 45 cm

Abbey McCulloch’s current practice has been transforming over the summer, from small ink on paper studies to large oil on canvas works. Abbey writes,

“We seem to let more of our hidden selves bubble to the surface as we age but perhaps it is just the prickly self-consciousness of youth that dissolves away. I think that at times we all struggle with honest versions of ourselves. Perhaps that is the best part about getting older, the guard lowers, our Dobermans settle.

With this idea that we can be too careful for own good, the images explore the impossible and yet wonderful abandon in letting aspects of our hidden selves surface. Allowing the consequences to fall around us, even if for a moment.”

Abbey McCulloch and Tara Marynowsky will show new works together at Edwina Corlette Gallery, 14 June – 9 July, 2016. To view Abbey’s available works, click here.

Abbey McCulloch, My Golden Rule, 2016, oil on canvas, 55 x 45 cm


Lyndal Hargrave ‘New Geometricks’

Please join us for the official opening drinks for Lyndal Hargrave’s first exhibition with Edwina Corlette Gallery ‘New Geometricks’ this Saturday 13 February, 2 – 4pm. The exhibition is current 2 – 27 February.

Lyndal Hargrave ‘Grey Clouds of Incense Rose’ 2015, oil on canvas, 120 x 120 cm

Carrie McCarthy writes of Lyndal’s practice,

‘Geometry. From the ancient Greek Geo, meaning earth, and Metron, meaning measurement. In mathematics, it is the branch that deals with points, lines, angles, surfaces and solids. By measuring how each facet of the universe relates to another, it taps to the undercurrent, the guidelines that underpin natural evolution, and the chaos that manages to exist within those parameters. Used in art, geometry creates constraints into which artists can channel their contemplations and emotional energies, creating what the grandfather of geometric abstraction, Kazimir Malevich, once called “the primacy of pure feeling in creative art.” Where modernism taught us that subject was no longer as important as form, geometric abstraction has taught us to consider form as the embodiment of the deepest structures of the universe, challenging our perceptions of surface and space. For Lyndal Hargrave, geometry is the foundation from which she makes sense of her environment.

To see the universe as Lyndal Hargrave does is to see the world in macro. An artist whose practice is informed by the twin concepts of fractal geometry and cellular biology, her work magnifies organic life to the point that recognizable forms are lost in a kaleidoscope of patterns and grids, fragmented and prismatic. Intrigued by the vast mysteries of the natural world, Hargrave’s explorations use key elements of complexity and repetition to consider theories of connectivity, evolution and interdependence. Balancing her scientific and mathematical sensibilities is an instinctive use of colour, arrangement and tone to illustrate the belief that we are all part of the world, not separate from it. Incorporating both painting and wall-based sculpture, each work is an organic and intuitive rendering of well-defined principles, created by an artist attuned to both the earth’s vibrations and her own personal cadences.

In New Geometricks, Hargrave expands on her previous ruminations on interconnectedness by immersing herself wholly in the creative process rather than focusing on strict geometric considerations. Technically confident, Hargrave has trusted past experience to guide this show, ultimately letting her subconscious decide which direction the work would take. The overall effect is ethereal and otherworldly, with compositional studies that drift between cloudy dreamscapes and emerald green underwater worlds. Gem-like prisms tumble upon each other in perpetual motion, floating forward and back, rising and falling with each undulation, giving the works a softness and tactility more akin to quilting or thread art than the hard edges of geometric abstraction. Devoid of representational forms and fixed-point perspectives, emotion is instead conveyed via the subtle nuances of colour, tone and shape, acting not unlike music’s ability to evoke feeling and sentiment. There is a sense of progression and impermanence across these works too, mirroring the moments of personal transition Hargrave herself experienced while in the studio. The result of this working style is a practice that serves as a filter between her outer and inner worlds, ambiguous to the audience, but a visual diary of lived experiences for Hargrave herself.

Ultimately though, Hargrave’s works aren’t intended for such didactic consideration. Rather, these shimmering compositions should inspire contemplation and introspection in the viewer, allowing an opportunity to consider the theories put forward, and to volunteer another interpretation entirely.

It is the constant push-pull of life – how we impact, and are impacted by, our surroundings that is key.’

Lyndal Hargrave ‘The Beginning of a Certain End’ 2015, oil on canvas, 91 x 91 cm

To view Lyndal’s available works, click here.

Craig Waddell finalist in the Adelaide Perry Prize for Drawing

Congratulations to Craig Waddell who has been selected as a finalist in the Adelaide Perry Prize for Drawing 2016 with his work ‘Between Heaven and Hell’. The award is held at Adelaide Perry Gallery in ‘The Croydon’ Centre for Art, Design & Technology, judged by curator and writer Ms Julie Ewington.

This years winner of the $25,000 acquisitive award will be announced at the official opening, Friday 26 February, 7pm. The exhibition is current 27 February – 24 March 2016 at Adelaide Perry Gallery.

Craig Waddell ‘Between Heaven & Hell (Diaries of Thailand)’ 2016

Craig’s drawing ‘Between Heaven and Hell’ reflects his time spent in Thailand. It is part of an installation of multidisciplinary work that was developed at Chiang Mai University with the support of a Marten Bequest Scholarship. He writes,

“These works are a response to the many images found within Thai temple murals, which depict excerpts from the Jataka stories, episodes from Buddha’s life, scenes of Buddhist heaven and hell and rows of gods. Scenes of contemporary Thai life are also often represented.

Within my work I explore a world of mythological figures and narratives questioning one’s own morality. They explore themes of temptation and seduction and the overarching human desire to attain enlightenment. In these works we can view half-human, half-animal figures that are often portrayed in uncompromising situations.

Via subtext the images are layered with hidden meanings and suggestions, often playing with titles to portray a world full of satire and moral allegory.

I find the process of drawing daily in diaries allows me to document and build a dialogue with my subject. It is the immediacy of drawing that I am drawn to. It hits a cord with my imagination and allows me to stay present in the world, an observer, and someone that interacts with the environment that I am in when travelling. The ‘Thailand Diaries’ allowed me to locate myself in a foreign culture whilst observing from a distance. They are an attempt to record my daily concerns with sexuality, life and death. They help me confront my own immortality and belief system.”

Craig forthcoming exhibition is from 23 August – 17 September 2016.


Bundit Puangthong in Conversation

This March at the Festival of Live Art in Melbourne, Bundit Puangthong will take part in Asian Artists in Conversation. Participating artists will provide a critical overview of the Asian art landscape, and discuss the shifting boundaries and concepts of contemporary Asian art.

The Festival of Live Art is hosted by Arts House, Theatre Works and Footscray Community Arts Centre, and is current 1 – 13 March 2016. For more information, click here.

Bundit’s forthcoming exhibition is from 4 – 22 October 2016.

Bundit Puangthong ‘Har Har Legs’ 2015, acrylic on canvas, 110 x 110 x 110 cm