Rose Morrison

This week Collate Culture is featuring the work of Rose Morrison.  This Sydney artist and illustrator paints predominantly oil on canvas portraits. Rose has painted a cohesive collection of fun and playful works.  Her paintings are contemporary but also have a sense of nostalgia, as she draws inspiration from iconic designs and fashion from the past.  Rose generously blogs about, and provides “work in progress” images documenting the evolution of her paintings.   See some of her collection below.

busy bee wolfgang and rose

Rose Miller Busy Bee 2014, oil on canvas, 10″ x 12″

Lady Shades Wolfgang and Rose

Rose Miller Lady Shades 2014, oil on canvas, 10″ x 12″

Lady Kat Loves Chevron Wolfgang and Rose

Rose Miller Lady Kat Loves Chevron 2013, oil on canvas, 10″ x 12″

Pink Empire Wolfgang and Rose

Rose Miller Pink Empire 2014, oil on canvas, 10″ x 12″

Vintage Blue Wolfgang and Rose

Rose Miller Vintage Blue 2014, oil on canvas, 10″ x 12″

Find out more about Rose Morrison or check out her instagram and  facebook pages.   You can also go to her online store to purchase giclee prints.

If you like Wolfgang and Rose Art and you have an interest in art with a more nostalgic feel you could also check out The Sentamentalist

Matt Coyle

Matt Coyle is the feature artist on Collate Culture this week.  This Canberra born artist now resides in Hobart and his intricate and detailed drawings using pen on paper give viewers so much to explore.  Matt was kind enough to answer some questions for Collate Culture about his work and about being an artist in the digital age.  Please enjoy his work and words below.

Matt Coyle A Pod 2015, felt tip pen goauche on paper

Matt Coyle Vessel 2015, felt tip pen, coloured pencil, gouache on paper

CC: Have you had any formal training or are you a self taught artist?MC:I did go to Sydney College of the Arts straight out from school in 1990 – 91. I majored in painting but never completed the course due to my interests in producing a graphic novel – which I set out upon as soon as I left art school.  My drawing technique is completely self taught.

Pen & ink, coloured pencil on paper, Matt Coyle 2014

Matt Coyle 2014, Pen & ink, coloured pencil on paper

CC: What is your favourite medium to work with and why?
MC: My favourite medium to work with is felt tip pen on paper. I love the graphic quality that comes with black pigment ink and the immediacy of the process. Although my work looks very measured there are still elements of risk every time pen is put to paper due to its unforgiving nature. Unlike paint you can’t go over the top of mistakes, so every stroke needs to count. I’ve been drawing with the same pens for about 25 years.

Matt Coyle  Little Big Man 2013, pen on paper

Matt Coyle First Step 2012, pen and ink on paper

Matt Coyle Back Garden 2007, Pen on Paper

CC: How would you describe your earlier pen on paper works such as “Black Garden” compared to your more recent works such as “Vessel”
MC: There’s actually not a huge difference in approach or design to Back Garden or Vessel despite them being about 7 years apart. The obvious difference is the use of colour in Vessel, something I have been using quite a bit in my drawings over the last couple of years. The colour is either gouache or coloured pencil.

CC: Do you think it is easier or harder to be an artist in the digital age?

MC: I think it is certainly easier, especially for artists living away from the big art centres like Sydney and Melbourne. It allows you to have your work viewed easily and quickly cutting down on printing costs and travel in some cases.The possibility of exposure through social media is extraordinary really.

Untitled Pen on Paper, Matt Coyle 2006

Matt Coyle Untitled 2006, Pen on Paper

If you like what you have seen here,  head to Matt’s website and take a look at the story that unfolds in his series of works called The Shades.  Also make sure you visit his facebook page and  follow him on instagram. Matt Coyle is represented by Anna Pappas Gallery in Melbourne and Bett Gallery in Hobart.

Jacky Cheng

Jacky Cheng practices the unique and intricate art of paper cutting.  She creates amazing textured pieces, many of which seem to imitate topographical maps. She is inspired by the landscapes of  the Kimberleys, where she lives and works teaching art and creating her masterpieces.   Collate Culture asked Jacky what lead her to become a  paper cutting artist and she was kind enough to offer some insights into her life and her craft.

Grass whispering secrets by Jacky Cheng

Jacky Cheng Grass Whispering Secrets 2013, archival paper with charcoal, 130cm x 130cm

Jacky Cheng:  How I discovered paper cutting?

Working alongside aboriginal students in remote communities in the Kimberley made me realised how similar we are in our family structure. The elders are the carriers of all the custom, history, and life-teachings and receive much respect from the younger generations and the wider community. This reminded me of how much influence my grandmother had on me, our family and the wider community who knew her wise ways.

As a kid, my grandmother and I used to fold joss-paper (burning of spirit paper for the after life – a traditional Chinese custom in paying respects to the after life) together and she would relay the do’s and don’ts in our traditional Chinese customs on everything from food to health to how should we address our second cousin’s aunty’s grandma!… apparently there is a title within that distant connection.

And for specific festivities and Chinese lunar calendar celebrations, she used to fold and cut snippets of red paper, then unfold them to reveal auspicious Chinese characters.  I must have watched her cut papers a thousand times using her favourite pair of scissors. Her fingers would often turn red from the red paper dye. I used to sit with her and colour in my Disney books with my finest Faber Castell colour pencils! Never once did I ask her to teach me. I do have one regret. Not so much of the paper cutting skills …. but the interaction I would’ve gained from learning more about the art form. And not to mention, I regret not learning the dialect that is so rarely spoken these days.

Moving on to my adulthood. I was in uni and as an Architectural student,  I never had enough money for fancy papers, mediums or tools to complete a particular assignment. I resorted to everyday paper, box boards, glue and my favourite pair of scalpel (which I still have up til today!) to tease my creativity in my assignments i.e. model making and drawings. I realised then it’s not about the materials, it is entirely about what I am trying to convey in my architectonic language. My lecturer’s did not care about what I use but how i used it.

Moving on to the next stage of adulthood. I’m constantly ‘doing and making’. My full-time job as a Visual Arts Lecturer in the Kimberleys requires me to constantly tune in to students’ realm and thought process encouraging and pushing their boundaries. A student once ask me – what do you do for your practice? I realised then I did not really have anything going but I do have an artistic practice….. just very quietly and not entirely extrovert about it. It was a real challenge for me then, as I knew I need to walk the talk. I’ve since been very active and made sure i give myself something back to the creative community as much as I give out to my students. It’s a learning process for me too!

I now understand better the intention my grandmother’s tedious structural ways of folding and cutting.  It is about giving each sheet of paper its care and respect. It was such an intense awe watching her process but looking back, I owed the significant part of my practice to the process – the patience and pride in knowing every single cut is of purpose and intent.

Vignette Sea by Jacky Cheng

Jacky Cheng Vignette Sea 2015, archival paper 12cm x 20cm

Vignette Land by Jacky Cheng

Jacky Cheng Vignette Land 2015, archival paper, 12cm x 20cm

Vignette Kimberley by Jacky Cheng

Jacky Cheng Vignette Kimberley 2015, archival paper, 12cm x 20cm

Local artists work inspires me?

All Kimberley artists has a very significant way of introducing their artistic statement to the wider audience. The vast landscape has given everyone a notion to express from macro to micro scale. Ian McConnell is a painter, a visionary and a passionate artist. He has an interesting view in his approach towards his artwork.  But one thing remains the same whenever we cross path and exchange a quick and in-depth conversation about our satirical art world…. it is the process and never about the end product. In the end of the day, what we created is a remnant of our journey.

Graptoveria II by Jacky Cheng

Jacky Cheng Graptoveria II 2015, archival paper, 33cm x 33cm, photo by Nigel Gaunt

Mandala II by Jacky Cheng

Jacky Cheng Mandala II 2015, archival paper, 33cm x 33cm, photo by Nigel Gaunt

Jackie has been involved in many solo and collaborative shows both in Australia, and internationally including the Agora Gallery in New York  For more about Jacky, visit her at Jacky Cheng.  You can also follow her on facebook and also check out her facebook page.

Celeste Wrona

Sydney based Artist Celeste Wrona produces stunning works with ink on paper.  Showcased here are some pieces from her “Drifting”,”Exhale” and “Release” series.

Drifting IX Celeste Wrona

Drifting IX by Celeste Wrona

exhale II Celeste Wrona

Exhale II by Celeste Wrona

exhale 3 Celeste Wrona

Exhale III by Celeste Wrona

Release III Celeste Wrona

Release III by Celeste Wrona

release 4 Celeste Wrona

Release release IV by Celeste Wrona

For more information about Celeste and to purchase Original work or limited edition prints, visit her site  Celeste Wrona Art.  If you are interested in more beautiful fluid art like this, make sure you go and see the blog post about Jill Bryant who is interviewed by Collate Culture about creating beautiful watercolours.

Abby Seymour

Australian designer Abby Seymour is a creator of handcrafted jewellery, pretty painted porcelain, and detailed print works.  Here is a taste of her work.

Abby Seymour Print-Woven-Tapestry-02

Woven tapestry letterpress print A5

Abby Seymore Print-Woven-Profile-01

Woven Profile Print print A5

Abby Seymour Print-Scales-01

Scales print A5

Abby Seymour Triple-Rhombus-Porcelain-Bead-Necklace-01

Triple Rhombus:  Hand painted faceted porcelain bead with small brass beads and oxidised silver chain

Abby Seymour Galaxy-Porcelain-Blue-Bead-Necklace-01

Galaxy Blue Bead: Hand formed on sterling silver chain

Abby Seymour Universe-threads-blue-Ring-Silver-Clasp-01

Universe Threads Blue Ring:  Hand carved ring with painted porcelain gem

Abby Seymour Universe-Studs-Galaxy-Blue-Silver-Earrings-02

Universe Galaxy Blue Studs

Abby offers a variety of workshops in Melbourne.  Look out for her upcoming jewellery casting workshop transforming wax carving to metal jewellery. For more visit abbyseymour

Jill Bryant

Moonpond by Jill Bryant

Jill Bryant Moonpond 2014, acrylic on canvas, 101.5cm x 76cm

Our featured artist this week is Western Australian talent Jill Bryant.  Her magical watercolours and mixed medium works seem to twist light and colour to take the real to the abstract.  The paintings are uniquely fluid and alive. Jill took some time out to answer some questions for Collate Culture.  Find out about her studio and check out some of her whimsical pieces as you go.

CC:  If you were to paint a picture of your Studio, describe what would it look like right now.

JB:  An organised mess! One wall draped with a very large sheet of canvas decorated in a kaleidoscope of splashes some of which have found their way to other walls! A table covered in plastic takeaway containers, varnishes and mediums, squirt bottles, jars of well worn brushes and palette knives of all shapes and sizes, the last used tubes and tubs of paint waiting to be put away and replaced with a change of colours. Little bits of this and that that may or may not be used for texture. A stingy window that is never giving me adequate natural light. A cupboard with shelves and drawers that looks somewhat organised with more paints and mediums, a serious looking spray mask, heat gun and halogen lamps that compensate for the stingy window. On another wall sits a well loved english oak antique chest of drawers housing all things to do with watercolour and printmaking. Stacked against it on one side are watercolour paintings I don’t really love that much and haven’t yet decided what to do with them and on the other side rests easels large and small. Strewn across the wooden floor is more drop sheets and black plastic for the more serious spillages. Thrown into the vista is two carpentry horse stools for resting freshly varnished paintings. That’s about it, wait no, lastly but by know means least is a cupboard housing a generously stocked (thankfully) wine rack!

The Journey by Jill Bryant

Jill Bryant The Journey – Diptych 2014, acrylic on canvas 81cm x 41cm 

CC:  What is your favourite medium to work with and why?

JB:  It would most definitely be watercolour. I am in love with it’s translucency, freshness, fluidity, unpredictability and ‘less is more’ nature of the medium. It can produce magical results if you just let it do it’s thing under delicate guidance. It’s is the most challenging medium to work with which keeps you on your toes and good planning often has to happen before you touch the paper, even if it’s abstract watercolour you’re working on.

Harbour noise 1 by Jill Bryant

Jill Bryant Harbour Noise 1 2015, acrylic on canvas, 76cm x 51cm

Harbour noise 2 by Jill Bryant

Jill Bryant Harbour Noise 2 2015, acrylic on canvas, 76cm x 51cm

CC:  How do you know when a piece of work or series is finished?

JB:  I don’t always know but often when it visually speaks to me or gives back to me. The process of creating a painting can require a lot of mental and emotional energy so when I’m no longer continually thinking about it or when I feel something in return, the more I look at it. Then I guess it’s done.

CC:  How difficult is it to discard work that isn’t working?

JB:  Sometimes it’s easy, sometimes it takes time to come to that decision. What I might consider not to be working someone else loves. This has happened a number of times where I have thought about painting over artwork I’ve finished and then someone decides to buy it. So whenever I threaten to re-do a piece my husband gives me the look. Mostly I refrain but not always.

Out of the blue by Jill Bryant

Jill Bryant Out of the Blue 2015, water colour, 57cm x 77cm

CC:  What is the best advice you have received?

JB:  Work with confidence.

CC:  do emotions drive or stifle your creativity? Do you do your best work when you are happy? sad? angry?

JB:  Both. For me anxiety stifles but sadness can drive. However being in a happy place is energising so I feel that it is the biggest motivator for me and I feel my work mostly reflects that emotion. While painting though, I often experience a range of emotions through the artistic process so it is hard to define which emotion produces the best work

Problem solving by Jill Bryant

Jill Bryant Problem Solving 2015, water colour, 41.5cm x 41.5cm

Wetwonder by Jill Bryant

Jill Bryant Wet Wonder 2015, water colour, 57cm x 77cm

Geyser by Jill Bryant

Jill Bryant Geyser 2015, water colour, 41.5cm x 41.5cm

Two lamps by Jill Bryant

Jill Bryant Two lamps 2014, acrylic on canvas, 101.5cm x 76cm

To find out more about Jill visit her website Jill Bryant.  You can also take a look at our post featuring the work of Celeste Wrona who creates stunning ink on paper creations

Fiona Watson

Mahia-2013

“Mahia” Linoprint: Fiona Watson

Fiona Watson is our featured artist this Wednesday.  She lives on the southern Gold Coast and creates beautiful lino prints which deliver an overwhelming sense of nostalgia.    Many of the works feature  fibro houses, breeze blocks and caravans perched amongst simple seaside vistas.  She takes the old back to a time when it was new.  These aren’t just pretty pictures;  they are happy memories.  Fiona hand cuts and prints the works herself but was able to take some time out to answer a few questions for Collate Culture…

CC: If you were to paint a picture of your studio, describe what would it look like right now?

FW: A busy space filled with drying prints, Lino blocks, artists inks, brushes, sketches of works in process and collected objects and photos that inspire my work.

CC:  What is your favourite medium to work with and why?
FW:  I use a relief printmaking process called Lino printing where my design is sketched onto a special surface and the unwanted areas are removed with small carving tools. This surface is then inked up with a roller and paper is laid over the top. After hand burnishing the back a print is taken. I love the hand made marks of this medium and the contrast of black ink on white paper. I feel it also best represents the time worn nature of my subject matter. When I hand colour some of the prints they remind me of early book illustrations.
CC:  How do you know when a piece of work or series is finished?
FW:  Working in black and white I know the block is ready to carve and print when I have a balance of tones and textures. Some prints are fully coloured when I feel the subject allows it whilst others have more selective areas highlighted.
CC:  How difficult is it to discard work that isn’t working?
FW: I think most artists will know when a composition isn’t working and would always discard or change/ alter the design. When your work flows easily you know you’re on the right track.
CC:  What is the best advice you have received?
FW:  Never undersell yourself. Value what you do as a unique talent.
CC:  Do emotions impact on your creativity?
FW:  I certainly have an emotional connection to the subjects I choose, as do my customers. My work is based on happy memories and I always describe my time spent creating my art as my ‘happy place’. I can tune out meditatively for hours on a piece.
Christmas-1969-Coloured-2014

“Christmas 1969” by Fiona Watson

Fishing-Trip-Coloured-2014

“Fishing Trip” by Fiona Watson

“Jan’s Place” by Fiona Watson

Coconuts by Fiona Watson

Coconuts by Fiona Watson

For those in the Gold Coast area, Fiona’s work can often be found exhibited at Café D’bar Gallery at Coolangatta.  Find out more about this talented lady at her site  the sentimentalist You can also purchase prints on Fiona’s online store.  Fiona Watson can also be found on facebook or instagram

Jordan Davis

Jordan Davis is a designer, maker, photographer, cinematographer and lover of Tasmania.  It would appear that this guy’s hands were made to make.   Apart from being a talented and successful photographer, he also throws clay and turns it into beautifully rustic  pots and dishes that you just want to wrap your hands around.  His leather goods are robust  yet simple and sleek and made to last.  These products just seem to take you to a nice cosy place that you haven’t been to for ages … and you want to stay.   Just a couple of his products are featured below.

tsa belt

tsa ipad cover

tsa rustic bowls

tsa white cork

white pots

white cork single

For more information or preview his cinematographic work here visit Jordan Davis photography or preview his cinematographic work here

Cherine Fahd

“Breath” by Cherine Fahd

Sydney based photographic artist Cherine Fahd’s latest collection is entitled “Homage to a Rectangle”.  In these works, glimpses of youthful bodies are revealed from behind large bold colours. Cherine has recently been announced as a finalist in the 2015 William and Winifred Bowness Photography Prize for her photograph “Breath” as pictured above.

“Outty” by Cherine Fahd

“Inny” by Cherine Fahd

“Face” by Cherine Fahd

“Hair” by Cherine Fahd

For more information visit Cherine Fahd

Emily Blom

Emily Blom is a Hobart based artist who navigates through a multitude of mediums to produce her work.  This versatile artist creates works using a mixture of printmaking, painting, collage, photography and even textiles to create beautiful and emotive pieces.  Emily’s work has been seen in exhibitions around Tasmania over the last few years and she was selected as Handmark Gallery’s Emerging Artist of 2015.  A taste of her work is featured below.

About Face by Emily Blom at Collate Culture

Emily Blom About Face, Etching and Monoprint on paper

Womans Day no. 4 by Emily Blom at Collate Culture

Emily Blom Womans Day no. 4, Etching and Monoprint on paper

A Stitch in Time by Emily Blom on Collate Culture

Emily Blom A Stitch in Time, Etching, Monoprint, Screenprint and Handstitching on paper

Masquerade no 1 Acrylic and Offset print on canvas

Emily Blom Masquerade no 1, Acrylic and Offset print on canvas

The Sleepers Paradox no 2, Offset print and acrylic on canvas by Emily Blom at Collate Culture

Emily Blom The Sleepers Paradox no 2, Offset print and Acrylic on canvas

The Offset Paradox no 3, Offset print and acrylic on canvas by Emily Blom Collate Culture

Emily Blom The Offset Paradox no 3, Offset print and Acrylic on canvas

It Rains in September by Emily Blom at Collate Culture

Emily Blom It Rains in September, Acrylic on canvas with Offset print

The Guiding Spirit by Emily Blom at Collate Culture

Emily Blom The Guiding Spirit, Acrylic on canvas with Offset print

Running from the wind by Emily Blom at Collate Culture

Emily Blom Running from the Wind, Acrylic on canvas with Offset print

Emily’s work has been featured in an exhibition at Handmark Gallery in Hobart.  You can also find out more about Emily and her work by visiting the Tasmanian Arts Guide.  Make sure you go and check out the other Fine Artists featured on Collate Culture.