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?
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?
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.

Judy Cassab AO CBE (1920-2015)

Sad news this week that acclaimed artist Judy Cassab passed away aged 95.  Judy arrived in Australia in the early 1950’s accompanied by her husband and two infant sons.  They had fled Europe where most of their family had perished in the holocaust.  Judy became well known as a portraitist and she became the first and only woman to date to win the Archibald Prize twice with portraits of Stanislaus Rapotec in 1960 and Margo Lewers in 1967.  Judy was also known for her paintings of the beautiful Australian landscapes and fine drawings of her surroundings. Below you will find images of her works throughout the decades.  Thankyou Judy Cassab

The old stove by Judy Cassab, 1954

Judy Cassab The old stove 1954

Portrait of Judy Barraclough by Judy Cassab, 1955

Judy Cassab Portrait of Judy Barraclough 1955

Stanislaus Rapotec by Judy Cassab, 1960 Archibald Prize

Judy Cassab Portrait of Stanislaus Rapotec  1960 Archibald Prize

Dark Moon by Judy Cassab, 1969

Judy Cassab Dark Moon  1969

Winter by Judy Cassab, 1970

Judy Cassab Winter 1970

Yellow Circumvision by Judy Cassab, 1973

Judy Cassab Yellow Circumvision 1973

Desert Shapes, the boulder by Judy Cassab, 1982

Judy Cassab Desert Shapes, the boulder 1982

Beam of Pompidou across Cathedral by Judy Cassab, 1990

Judy Cassab Beam of Pompidou across Cathedral  1990

Anandamai Ghat by Judy Cassab, 2002

Judy Cassab Anandamai Ghat 2002

Hillside, Rainbow by Judy Cassab, 2003

Judy Cassab Hillside, Rainbow 2003

It is fitting that one of the 2015 finalists for the Archibald Prize is Filippa Buttitta  with  her own portrait of Judy Cassab pictured below

Judy Cassab - Portrait of an Artist by Filippa Buttitta

Filippa Buttitta  Judy Cassab – Portrait of an Artist  2015,  Archibald Prize Finalist

Michelle Lee

There seems to be a theme lately at Collate Culture…  a slight obsession with mixed medium work!  Adelaide artist Michelle Lee features this week and her pieces are another fine example of what can be achieved with the perfect combination of line, form and colour.  Using layering techniques, Michelle works with a variety of mediums, including charcoal, acrylic, pencil, pastel and pen to create her pieces.  Some works from her 2015 collection are pictured below.

The silence of close friendships at collateculture

Michelle Lee The Silence of Close Friendships

Ruby and Jades tales of Colourful Adventures 1at collateculture

Michelle Lee Ruby and Jades Tales of Colourful Adventures 1

ruby_and_jades_tales_of_colourful_adventures2 at CollateCulture

Michelle Lee Ruby and Jades Tales of Colourful Adventures 2

ruby_and_jades_tales_of_colourful_adventures3 collateculture

Michelle Lee Ruby and Jades Tales of Colourful Adventures 3

Being Tickled Pink at collateculture

Michelle Lee Being Tickled Pink

A Hole in One in Mini Golf at collateculture

Michelle Lee A Hole in One in Mini Golf

Midnight in Paris at Collateculture

Michelle Lee Midnight in Paris


Michelle is also a professional Graphic Designer.  For information on her design work, visit the Michelle Lee Design site, and to find out more about her studio art, visit  her Folio site.

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 has recently been 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 her Blog or by visiting the Tasmanian Arts Guide.  Make sure you go and check out the other Fine Artists featured on Collate Culture.

Wolfgang and Rose Art

This week Collate Culture is featuring the work of Rose Miller.  This Sydney artist paints oil on canvas portraits which she then reproduces into Fine Art Giclee Prints. “Wolfgang and Rose” is her brand and 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 Miller or check out her instagram and  facebook pages.   You can also see her Gallery or 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


Nancybird Collection

Melbourne based company Nancybird produce beautifully designed leather goods, shoes, clothing and home wares.  Prettily printed natural fabrics in linen, cotton and silk feature in the Nancybird collection.  Some of these delicate designs are incorporated with soft, sturdy and colourful leather to produce unique and functional handbags, wallets and purses.  Take a look at some of Nancybird’s creations below.

Sunny Purse by Nancybird

Nancybird Bedford Wallet

Nancybird shoes

Nancybird Shape Purse and Zoe Sandle

Nancybird: Zoe Sandle, Silk scarf, North bag, Heron top

Nancybird Collection

For more about these quality products or to purchase head to the Nancybird website

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 realized 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 favorite 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

Jacky has an exhibition scheduled at the Agora Gallery in New York in August 2016.  For more about Jacky, visit her at Jacky Cheng.  You can also follow her on twitter and instagram and also check out her facebook page.


Maggie Bulloch is the creative mind behind the new online magazine craftymaggs. She is an artist who brings together an eclectic mixture of photographs, text and images to produce inspiring digital collages. Currently studying fashion design, it is little suprise that some of the most prominent fashion models of the past and present have been featured in Maggie’s collages.

The following collection draws on Maggie’s strong retro influences. Twiggy is featured as you have never seen her before. See who else can you find.

collateculture craftymaggs fish

collateculture craftymaggs leopardprint

collateculture craftymaggs twiggy space

collateculture craftymags feather

The next collection is full of summer inspirations. Maggie’s objective is to promote summer inspiration and positivity. The words featured all have have an implied positivity and Maggie says “they make me happy”.

collateculture craftymaggs sonder

collateculture craftymaggs kate moss pink

craftymaggs moderation sucks

collateculture craftymaggs hibiscus collage

Maggie Bulloch’s website  curates art, photography, creative writing, and even gives you a playlist to listen to while you are checking it all out.  So go and find out more at Craftymaggs.  You can also visit her facebookinstagram, or  twitter  pages.

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

Jon Goulder

Australian Designer Jon Goulder delivers unique, uncomplicated design brought to life with quality craftsmanship.  His creations speak for themselves…

Lampes: Jon Goulder hand blown glass lights

Hand blown glass lights: Three glass forms make many variations centred on a wooden hub.

Lampes: Jon Goulder hand blown glass lights

Lampe compositions, in black

Settlers Chair by Jon Goulder

Settlers Chair: Water formed leather shell on a Tasmanian blackwood frame

Settlers Chair detail by Jon GoulderSettlers Chair by Jon Goulder - detail

Amore Mio Chair by Jon Goulder

Amore Mio Chair

Fruit Bowl by Jon Goulder

Acrylic, plywood and wenge Fruit Bowl

Maggies Basket by Jon Goulder

Maggies Basket with waterformed leather gusset

For more information visit jon goulder