Recent News

Over the past year I’ve been working on a very exciting new project that has taken me out of my own studio and into a collaboration with the very talented ceramic artist, Linda Detoma. Together we are in the process of completing a body of 30 individual ceramic panels as part of a new development at the Eltham Cemetery.  Construction on the “Grevillea Memorial” has already begun with the creation of a 50 meter stone embankment crafted by local stonemason Leigh Wykes and the erection of a rusted steel balustrade along the length of the stone wall. The ceramic panels that Linda and I are in the process of completing will be positioned along this balustrade above individual burial sites. Linda has carefully handcrafted a set of 15 clay tiles which will then make up each 70cm x 60cm panel.  She is assisting me in translating my designs onto the tiles through a combination of glazes, lusters and 

decals.

Hand made tiles

Imagery on these panels depict a multi-layering of local historic photographs and native floral images, which are indigenous to this area, arranged in a design that embodies cultural significance and interest. It is our intention that the panels emit a calming and peaceful influence allowing the viewer to quietly contemplate the imagery on the panels as well as reflect on his or her own layers of story and memories.  The works also engage the audience in a celebration of this unique and fascinating shire of Nillumbik.  

It’s an absolute honour to have been invited to design these panels as Eltham and its surrounds has been my home for as long as I can recall.  It is fascinating to ponder on what life would have been like over the last 150+ years since the Eltham Cemetery opened.  From fire to flood, from gold mining to wheat harvesting, from the horse and cart to the motor car, and from the Shillinglaw Cottage to Montsalvat, these photographs offers us today a connection with our past. Local historical imagery allow us to contemplate the myriad of both meaningful and colourful tales that our dearly departed forefathers would have perhaps told. I am also incorporating images of local current day subjects into some of the panels and therefore giving this generation a connection to their own stories too. Those living in or familiar with Eltham will have their own memories of Montsalvat, trips out to the Kangaroo Ground Memorial Tower and rides on the infamous ‘Miniature Railway’. I’m also thoroughly enjoying interviewing a number of elders and individuals in the Shire with a fascinating story to tell.  

Local historic photographs for possible use within the panels. Images thanks to the Eltham Historical Society and the Eltham Library

The use of indigenous flowers in the designs for the Grevillea Memorial symbolically reconnects us with our local area. Native wildflowers and foliage also represent the beauty of the natural world around us. The little jewels that seem to miraculously arrive from the invisible and for often a relatively short period of time gift humanity with their physical beauty. To witness the life of a flower – from a small shoot, to then bud, flower and over time the wilting and falling of that flower, allows us to reflect upon our own life span and the life cycles of every physical form on the planet.  Local species reconnects us to our area without any reference to a particular decade or period. A chocolate lily remains a chocolate lily regardless of the invention of electricity, the motor car and bitumen roads which have physically changed the landscape of the area over recent centuries. A gum tree remains a gum tree over the passage of time yet due to its long lifespan can be perceived as a silent witness to the changing environment around us.

A selection of photographs of local flora that I have taken for reference for the project.

The project is expected to be finished in mid 2017, so I’ll keep you updated as to the grand opening!!!

From the Studio...

Motherhood and Creativity

When I had my little one a year and a half ago, I somewhat naively imagined that I would be able to simply strap him to my front and keep on painting. This huge shift from how life was, to a completely new reality is of course nothing new for all mums out there, but no matter how many times I was told, I still thought, 'how hard can it be??' While I was able to take Miró to the studio and paint while he slept, I was only getting 20 minutes of painting done at a time. Not so handy when a huge '20 painting' exhibition is looming on the calendar! Thankfully my beautiful mum and dad were able to help and as my studio is on the same land as their home, I was able to then get two hour painting sessions completed between feeds. For this I will be ever grateful. 

Early days with baby Miró in the Studio

While Miró is my most precious of creation to date, painting to me is like food for the soul and a necessary life activity for survival. The blessing of a small person finely tunes the awareness of the important balance between creativity and other daily activities. 

Now that Miró is walking and beginning to explore he loves to join me in the studio to create his own artwork or explore the surrounding bush land. I'm glad that this little one is being exposed to the necessary element of creativity in all of our lives.

Nillumbik Artists Open Studios November 2016

Nillumbik Artists Open Studios Artists Exhibit

"Join us at the Eltham Library Community Gallery as the Nillumbik Artists Open Studios Artists exhibit a taster collection of artworks. Exhibition runs from Thursday October 27th  to Monday 21st November. Check library website for opening hours here

… "It seems to come around so quickly.  The November season of Open Studios has just been kicked off with the opening of the group exhibition..

NILLUMBIK ARTISTS OPEN STUDIOS

19th & 20th | 26 & 27th November 2016

"One of the beauties of this collective program is the diversity of practices and personalities that are all tied together by a common thread, the love of the landscape. Painters, illustrators, ceramicists and print-makers alike culminate to make a rich tapestry of multi-disciplinary artworks that can be discovered at your own pace, studio by studio."

This brand new year of Open Studio's introduces nine new artists to the program as well as the launch of a new

website

for Nillumbik Artists Open Studios that  encourages visitors to explore and map their very own artistic trail. "We are taking you on a journey to pockets of the beautiful Nillumbik Shire that have yet been traversed by this program such as Plenty and Nutfield, so pick up a coffee and engage in an adventure!"

This season, my studio is listed as 

Studio Number 10

.

220 Long Gully Road (cnr Bakehouse Road, Panton Hill.  Love to see you there!!!

From an article in the Herald Sun, here is a photo of me in my studio.  An excerpt of the article as follows...

"ARTIST Nerina Lascelles doesn't have to look far from her purpose built mud brick studio for inspiration.

While her art has a distinctly Japanese feel, she enjoys painting uniquely Australian flora, the kind that surrounds her Panton Hill studio.  Lascelles studied drawing and painting at art school, but when she went looking for something more she was drawn to the Asian ethos of less.

"I started looking at different cultures and travelled through several Asian countries," she said.

"I went to Tibet and made mandalas with the Buddhist monks, which was an incredible experience, but when I got to Japan I thought 'I have found it'. There is a simplicity that comes with the Japanese style."

For the past 10 years Lascelles has been influenced by the sacred arts of a number of Asian countries. She has labelled her Japanese inspired work Japonism - "the influence of the arts of Japan on artists in the west"." .......

(read more)

Art Demonstration

I recently had the delightful experience of hosting a demonstration evening at a local 'Arts Society'.

Painting in one's own studio is generally  a solitary experience and it sees that over many years artist's tend to develop their preferred mode of expression.  For me, the combination of collage, printing, painting and application of 'encaustic wax' has now become a part of my 'art-making regime' so to speak.

I was introduced to encaustic wax over 25 years ago at art school. During the same period I was also using all sorts of different collage mediums to incorporate into my paintings. I recall screwing up paper tightly then applying paint to the creased paper.... and finally ironing each sheet. This gave me some interesting textures. Back in the art school days I completed a post graduate thesis on the 'Spiritual in Art'  with a particular focus on 'Synesthesia'. (the overlapping of the senses)

In this body of work I endeavored paint music from different tribes and cultures of the globe. Interestingly, with these early works I combined paper collage, paint, drawing and encaustic wax in a similar way that I do today.  Not only was I using paper collage, but I made papier mache frames for each painting as another representation of our link to the natural world and the planet.

(photos courtesy of DVArts Society)

During the presentation I initially explained about my influences and inspiration though the decades that I've been making art.  Since completing University, my work has been inspired by native cultures of the earth that may be able to offer us in the West a glimpse of how to live with more 'connection' to each other and the planet.  Early influences took me to parts of Africa, South America and Asia. I was also researching the art and culture of The Native American Indians, Australian Aboriginals, Tibetan monks and other Shamanic cultures across the globe.  As the years passed, my focus began to hone in on Asia and more recently the ancient arts, culture and philosophy of Japan.

More recently again, and my paintings appear to combine both the Japanese influence as well as including subject from the natural world more locally to where I live.

I showed the audience an array of materials that I would typically use within a painting - from gold and silver leaf to metallic foils and wallpapers and from Japanese Kimono and Obi to Washi Paper.

(photos courtesy of DVArts Society)

A more recently acquired technique is that of applying screen prints to my work. During the demonstration I printed a number of areas of a canvas I was working on to show the viewers this mode of getting an almost instant application of pattern and motif. 

I also demonstrated the application of gold leaf to a canvas.

(photos courtesy of DVArts Society)

"It was a successful and entertaining evening at the DVAS Rooms.

About 25 people watched Nerina with a bubbly personality demonstrate her artistic skills.

Nerina who uses encaustic wax and gold leafing in her work certainly has some very good

techniques and everybody would have gained something useful from the evening. Her

artwork is very different from the run of the mill and extremely decorative.

Thanks Nerina for coming and also thanks to all the people who came along and showed

support for our DVAS Demonstration Evenings: It was a really good turn-out...."

(excerpt from the newsletter)

This really was a fabulous experience to share my work - thank you all at DVAS for the invitation :)

Open Studios

Today I'm participating in another 'Artist's Open Studios' event in my local area. My studio in Panton Hill is one of 26 open throughout the Nillumbik Shire. As is written in the booklet that accompanies the program, 'Nillumbik invites you to discover over 30 artists in their studios, providing an intimate and privileged insight into their arts practice. Explore the inspirationalBackdrop of some of Victoria's most beautiful bushland and interesting architecture, constructed from mudbrick, stone and recycled materials'.

Please come along for a little 'sneak peek' inside my studio this weekend too :)

While I have paintings adorning the round walls (a bit like a gallery) visitors can also see the array of materials I utIlise to create these works. On these shelves (pictured below) there are many fabrics that I have collected from travels across Asia. There are also a range of greeting cards. My publication, Seizui, is available too.Up in the loft one can also glimpse clothing racks of Japanese Obi and Kimono and boxes full of material off-cuts.

On the shelves below this painting (pictured below) there are boxes of the papers that I use within the collage element of each painting. Amoung these are beautiful Japanese Washi papers, Chinese Joss, Indonesian foils, vintage wallpapers and vintage asian newspapers.

Below is a photo of a shelving unit full of paints, tapes, pencils, leaf, waxes and on the top shelf, a collection of vintage wooden stamps from. India, Nepal and Indonesia. These have been used to print patterns onto fabric in different parts of Asia.   Gosh - the stories these stamps could tell!

Because of the collage and screen printing processes within my paintings, I'll spend a deal of time with each canvas lying flat on a trestle table. Here is a little display of the process of screen printing an area of 'kikko hanabashi' (the traditional Japanese tortoise shell pattern) onto an area of gold leaf. Sheets of acitate act as a mask during the printing process. The paintings will later be transferred to a vertical easel for additional painting.

Below is a snapshot from a table of reading material, articles and catalogues from past exhibitions. There are four publications from recent shows.

A lot of visitors to my studio are also fascinated by the studio itself. This 'ferro cement' studio was built on my family property. My father, Wayne Lascelles, designed a stunning home some years before my studio was built. Below are a few of the magazines that this home has been featured in.

While my parents were building, I used their carport (a circular Mudbrick building to house 4+ cars) as my studio. It was then that I fell in love with the circular space to create within. One night out at dinner Dad and I drew on serviettes the basic design for a this studio ..... And with the help of local ferro cement expert, Mark Phillips, the rest is history :)

And finally, for today's little 'virtual' studio tour, another photo inside the studio space. This is the view through the tunnel from the smaller, two story 'storage' space into the larger area that I actually paint in. The stone for these steps actually came out of the excavated site beneath the studio.

Visit

www.artistsopenstudios.com.au

for more about the program.

KARISOME - TRANSIENCE

Here’s hoping you're managing to keep warm on these wintery, wet days here in ole Melbourne town.

As mentioned in my last post, ‘Karisome – Transience’ is running at

Yering Station

until May 17th so there's still heaps of time to pop out for a look,and possibly a taste of the beautiful wine on offer, if you're in the vicinity.  I have just finished a short video interview about the background to the exhibition title and paintings so you can get a sense of what is on show. (click on the video below to view)

Karisome Video Interview on YouTube

May I extend an enormous thank you to everyone who made out to

Yering Station

for the exhibition opening and a huge thank you also to both Jeanette Davison and Ewan Jarvis for their heartfelt, eloquent and insightful speeches.

Here is an excerpt from Ewan Jarvis's wonderful speech...... with some images of paintings in the show nestled between his words. An enormous thank you again Ewan xxxx

Beneath the Blossom 84cm x 152cm, 2015

"Good evening and welcome to the Yering Station Gallery. My name is Ewen Jarvis. I run the cellar door here at Yering Station and will be standing in for our curator Savaad Felich while he is on leave. So on his behalf and on behalf of the Yering Station Gallery, I’m delighted to be welcoming you to the opening of Nerina Lascelles’ exhibition ‘Karisome’ or ‘Transience’: a collection of works that take as their subject the transient nature of all things and the beauty inherent in transience itself.

The Japanese word Karisome denotes the inevitable dissolution of all form through the passage of time.  Karisome can be translated into English as transient or temporary. Translation is however something of a haphazard affair, and these English words don’t quite convey the nuanced meaning of the Japanese word.

Maigure-shon - Migration 84cm x 152cm, 2015

Nerina has observed on one of her blogs that an awareness of karisome involves joy, an intense appreciation of things, and also a gentle sadness at their passing.

Now yesterday, with all of this in mind, I decided to ask a few Japanese visitors to the gallery for their personal definition of Karisome. My favourite response was from a lady called Michiko from Kobe, who was on holiday with her mother and grandmother. Michiko said that Karisome is ‘like a love affair that is all the more moving and beautiful for being short’.

The chrysanthemum flowers, cherry blossoms, honey bees and migrating cranes of this exhibition ask us to reflect on love affairs that are all the more beautiful for being short, and in doing so they induce a Zen-like calm.

Karisome III 2 84cm x 152cm, 2015

Nerina’s works, I think you will agree, have an immediately calming effect. They encourage tranquillity and induce in us a sensitivity to the subtle movements of human life and the workings of nature: and experience that deepens with patient observation. Giving these works our attention involves becoming lost in their many layers of texture, colour and symbol.

Shihyou – Pattern, 122cm x 122cm, 2015

In Nerina’s works the layering of Japanese Kimono embroidery, Chinese silk, Washi paper, Joss and encaustic wax invites the viewer to step through the textured surface into imagined worlds, while the disparate vintages of the carefully chosen material invite us to become lost in the passing of time. Viewing these works, we are often jointly aware of the eternal and the transient. For example, in Japanese mythology the crane lives for 1,000 years, but for a human observer the spectacle of its migration is all the more beautiful for being fleeting.

Another element of Nerina’s exhibition that endears me to her work are the titles taken from the Japanese poetry. I always enjoy an exhibition a little more if the titles of the works are working as hard as the works themselves. Nerina certainly doesn’t disappoint. Take for instance the title of the following piece:

The sun covered

By clouds for a while

Migrating birds

Basho 1644-1694

For me, haiku like this has the effect of someone walking into a room and playing a few exquisite notes on a flute and then leaving.

These words, written in seventeenth century feudal Japan by Matsuo Basho (and for those of you unfamiliar with Matsuo Basho, he is the Japanese equivalent of Shakespeare) these words introduce us to a work in which migrating-silk-kimono cranes are seen traversing an airy skyscape of precipitous paper mountains, gold gilt clouds, crooked trees clinging to crevasses, while delicately penned Japanese words fall like rain into low valleys.

The overall effect is of entering a tranquil, complex and dreamlike space....."

Photos thanks to Kerry Cross

"Karisome - Transience" Runs April 2 - 17 May 2015

Opening Drinks Friday April 10th 6pm - 7.45

Admission Free

Contact details:

Exhibition Coordinator - Savaad Felich

artgallery@yering.com

T 03 9730 0102

38 Melba Hwy Yarra Glen 3775 

Victoria, Australia 

Karisome - Transience

The title of my next exhibition is ‘Karisome’ (Ka-ri-so-me) which is Japanese for ‘Transience’. It embodies the ancient Zen Buddhist concept that all form – be that material, thought or emotion - will inevitably dissolve through the passage of time. The contemplation of the transient nature of all things is nothing new, philosophers have ruminated with this concept since the dawn of time. The ancient Japanese monks, seers, artists and poets not only acknowledged and embraced this idea but also perceived the transient and ever-changing element of life to hold incredible beauty. A beauty which does not last and cannot be grasped, bought or owned.

Live in simple faith

Just as this trusting cherry

Flowers, fades and falls – Basho 

The words of this beautiful Basho poem eloquently capture the wisdom and grace of being aware of and applying the concept of transience. Western culture appears to identify so heavily with the permanence of material form, thought and emotion, and could perhaps live in a more balanced way through acceptance of the popular Buddhist concept that “This too shall pass.” Rather than becoming lost in the world of things, emotions and events we should flow with grace and trust life and its experiences.

Mono No Aware (pronounced - “moh-noh noh ah-wah-ray”) is a Japanese term which arose from the Buddhist culture of the Heian Period (794-1185). This term describes the awareness of the transience of things, and both a joy and intense appreciation as well as a gentle sadness at their passing. Poet and artist Motoori Norinaga (1730 -1801), describes the term as “sensitive, exquisite feelings experienced when encountering the subtle workings of human life or the changing seasons.” In Norinaga’s interpretation, the phrase speaks of a refined sensitivity toward the sorrowful and transient nature of beauty. According to mono no aware, a falling or wilting autumn flower is more beautiful than one in full bloom; a fading sound more beautiful than one clearly heard. The Sakura or cherry blossom tree is the epitome of this conception of beauty. They explode in beauty after winter’s doldrums, trumpeting life for only a few days before they die. 

Beauty is a subjective rather than objective experience, a state of being ultimately internal rather than external. Based largely upon classical Greek ideals, beauty in the West is sought in the ultimate perfection of an external object: a sublime painting, perfect sculpture or intricate musical composition; a beauty that could be said to be only skin deep. The Japanese ideal sees beauty instead as an experience of the heart and soul, a feeling for and appreciation of objects or artwork—most commonly nature or the depiction of—in a pristine, untouched state.

The paintings in this exhibition combine the influences of the ancient artwork from Japan, an understanding of Zen Buddhist philosophy and a contemplation of the transient nature of life.

This body of work contains floral imagery such as the cherry blossom as well as bees and birds which again symbolise the transient life of the natural world. Materials used in these paintings incorporate a collection of vintage Japanese fabrics, wallpapers and metallic leaf and foil; combined onto the canvas with screen printed patterns, paint and encaustic wax. As when Japanese golden screens first appeared in the fourteenth century they functioned as a background on which to paste painted fans or square poem cards. Similarly, these paintings are a combination of both paper and material collage and painted areas.

Pattern is also an important element in this collection of paintings. I am contemplating both the pattern of the life cycle and seasons, pattern within sound, music and the written language, patterns in nature (honeycomb, petals of a blossom, waves etc) and the deeper, more geometric patterns that man has recognized in nature including the Fibonacci sequence, Mandelbrot set and Golden Mean.

Segments of the paintings appear as though they have aged over time. Tarnish, wear and decay also represent the transient nature of passing time. Areas of space represent that which has passed before or that which is yet to come into form. They suggest a magical, ‘alive’ dimension of true beauty beyond the 3D form that we, as humans so heavily identify with.

The paintings are material objects that depict an image which arose from the essence and which, at their highest function, will offer the viewer a window to their own eternal essence within.

A 'Pastiche' of Materials

Pastiche (noun) - An artistic work consisting of a medley of pieces taken from various sources

Many visitors to my studio inquire about the vast array of materials used in my paintings. As mentioned briefly in my last post, materials used in my paintings incorporate a collection of vintage Japanese fabrics, wallpapers and metallic leaf and foil; combined onto the canvas with screen printed patterns, paint and encaustic wax.

Precious

obi

and

kimono

fragments included in these works have been hand selected from travels to Asian markets and antique bazaars. There is nothing quite like rummaging through a box of second hand material at a Japanese Shrine Sale. It is not uncommon for me to return to Australia with 'excess baggage'.... nothing to do with personal objects or souvenirs, instead, bags of materials that I simply couldn't leave behind!

What was considered absolute 'trash' to the previous owner evokes excitement and inspiration within me as I imagine this precious off-cut incorporated into a new painting. The definition of '

Wabi-Sabi

' definitely applies to this aspect of my art making. Wabi-Sabi is a Japanese aesthetic centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent and incomplete". Fragments of what was once a complete piece of fabric capture snippets of the world of their former glory. Another Japanese concept "

Kintsukuroi

" hold a similar value. Kintsukuroi is the art of repairing broken pottery with gold or silver lacquer. It is understood that the piece is more beautiful for having been broken. The beautiful and rare treasures that I collect on my travels ignite a fascination of a time when life was perhaps more simple than in this modern day. These fabrics in themselves spark a sense of

Yūgen

. (a profound, mysterious sense of the beauty of the universe)

In memory of my Grandmother

On a more personal note, vintage wallpapers and other elements are also included to represent the influence of my dear grandmother. Even into her 100th year, grandmother saw beauty and the positive in absolutely everyone and everything she experienced. Her abundant garden appeared to respond as she would peer into the face of her beloved flowers and remark on their beauty.

As a child I would be swept away with the beauty of both Grandmother’s garden, and also her presence. I often wondered why grandmother didn’t appear to be overwhelmed by the stresses and struggles of this modern day. Perhaps it was because she did indeed come from a much simpler time (even before electricity) or maybe as the years passed she recognised the futility of being drawn into the anxiety and fear that is perpetuated through the minds of others. Instead Grandmother exhibited patience and grace. She appeared to hold a silent wisdom of what was important and what would bring balance and harmony. While being of this world, she preferred to sit and observe small plants grow and the seasons pass.

The wisdom I have gleaned from both my observation of my grandmother and a study of the ancient arts of Japan, is a reminder to hold a perception of the 'bigger picture' with me always. For me this is a meditation in opening and expanding my perception of life as a whole; to sense separate individuals as a 'one', and to know of the vibrational connection running through the entire universe.

Yūgen - An Exhibition of New Paintings

Yugen (幽玄): (Japanese noun) - an awareness of the universe that triggers emotional responses too deep and mysterious to be described. Yūgen is said to mean “a profound, mysterious sense of the beauty of the universe…”

There is nothing you can see that is not a flower;

there is nothing you can think that is not the moon.

Matsuo Basho (1644 ~ 1694)

Yūgen is at the core of the appreciation of beauty and art in Japan and is an important concept in traditional Japanese aesthetics.

It values the power to evoke, rather than the ability to state directly. Yūgen is a Japanese word that has no English counterpart. It has been described as “strictly speaking an untranslatable word’. Further to this, it is essentially an indescribable word, at least in the context of other words. Yūgen suggests the beyond thatwhich can be said but is not an allusion to another world. It is about this world, this experience. It describes the profound grace and subtlety inherent in all things. These ideals, and others, underpin much of Japanese cultural and aesthetic norms on what is considered tasteful or beautiful. Thus, while seen as a philosophy in Western societies, the concept of aesthetics in Japan is seen as an integral part of daily life.

In Japanese waka poetry, the word Yūgen was used to describe the subtle profundity of things that are only vaguely suggested by the poems, and was also the name of a style of poetry. Japanese Haiku poetry also contains a strong element of Yūgen. The haiku offers a direct intuitive penetration into nature, and life, which offers insight, joy and truth to readers. A simple verse captures a multi-sensory experience of the profound beauty of life.

How reluctantly 

the bee emerges from the deep 

within the peony

Matsuo Basho (1644 ~ 1694)

Over the past decade, my work has been inspired by the sacred arts of a number of Asian countries and particularly the arts of Japan. Be it a scroll painting, a monk’s calligraphy koan or a beautifully woven kimono, these ancient objects capture the essence of timeless simplicity and beauty inherent in all things. Such a concept offers a welcomed reprieve from the stress, noise and hustle-bustle of this modern day.

The paintings in this exhibition combine the influences of: The ancient artwork from Japan, an understanding of Yūgen, the contemplation of traditional Japanese Haiku and a contemplation of the natural beauty of the natural environment. With a poetic reverence, monks and artists of ancient Japan painted beautiful depictions of their natural world, the seasons, flora and fauna.

It is with the same sensitivity and with the influence of the Japanese aesthetic that I have chosen to depict the Yūgen in the flight of a bird, flowering blossom or the perfection of pattern of the honeycomb in a bee hive.

Bee Collage 

Areas of empty space rest beside the magnification of leaves and flowers, allowing the viewer to experience both a focus the shapes and also the space to contemplate the details of these forms. The voids of space within these works suggest a magical, ‘alive’ dimension beyond the material. ‘Form’ and the ‘formless’combine to create a sense of harmonious balance.

Materials used in these paintings incorporate a collection of vintage Japanese fabrics, wallpapers and metallic leaf and foil; combined onto the canvas with screen printed patterns, paint and encaustic wax.

Precious Obi and kimono fragments included in these works have been hand selected from travels to Japan and antique bazaars. These beautiful and rare treasures ignite a fascination of a time when life was perhaps more simple than in this modern day. These fabrics in themselves spark a sense of Yūgen. The haiku poems chosen also evoke a quiet contemplation of the simplicity yet incredible beauty of life on earth.

Bee Collage 3

The paintings are material objects that depict an image which arose from the essence and which, at their highest function, will offer the viewer a window to their own invisible essence of Yūgen within.

From the Studio

Bee Collage 1 (detail)

Over recent months, my paintings have been inspired by the humble honey bee :)  The importance of the bee has featured highly in the media of recent. As Einstein said, "If the Bee Disappeared Off the Face of the Earth, Man Would Only Have Four Years Left To Live".

In addition to this, my beautiful brother James, who has been living and keeping bees in the UK, has recently returned home to Australia. He is quite the bee expert and is kindly teaching me beekeeping as we tend to the new hive in Panton Hill.

The Bee Hive - Complete with Gold Leaf!

While the bush honey this region is quite delicious, I'm much more excited about the bee's wax! A melted concoction of bee's wax and damar varnish makes Encaustic Wax which is a surface that I have applied to almost every work I've painted over the last 15 years. :)

In celebration of the first wax extracted from the hive, I have used it on the paintings below.

Bee Collage 1 (76cm x 60cm)

Bee Collage 3 (76cm x 76cm)

These collages contain photographs of some local Bee's collecting nectar from flowering plum blossom.

They're printed with Pigmented Ink on Archival Paper and are combined with other collage materials including washi paper, gold leaf, foil, acrylic and silk screen on canvas.

Screen printing is a relatively new addition in my work. Each of these Bee Collages also contain areas of silk screened pattern. The hexagonal lattice pattern called 'Kikko' was used with great frequency after the beginning of the Heian Period in Japan. While the original design replicated the pattern of a tortise shell, I have used it here to mimic the hexagonal pattern of honeycomb.

Silk-screened Bees have also been printed onto the paintings.

Bee Collage 2 (76cm x 60cm)

Bee Collage 5 

JAPONISM - Part 2

Japonism on You Tube

A big thank you to Kerry Cross also, for his assistance in editing a short YouTube video about 'JAPONISM'. If you haven't been in to see the exhibition as yet, here's an interview in my art studio interspersed with images of the paintings on display at Montsalvat.

My the year has certainly flown! It's really hard to believe that Spring is just around the corner.... and also that 'JAPONISM' is exhibiting at Montsalvat for just another week or so!

If you haven't been down as yet, here's a little reminder that the last opportunity will be Sunday 24th August. The gallery is open daily from 9am until 5pm.

Manuka - (detail)

Exhibition Opening

I'd dearly love to thank all of you for your wonderful response, support, and feed back regarding 'JAPONISM' which has been showing since June 19.

The opening evening was simply delightful and despite the chill of a mid winter night, so many made it to the opening to help celebrate this new body of paintings. A heartfelt thank you to Jeannette Davison, the Arts Manager at Montsalvat, and Amanda Gibson, Manager of the 'Tree Project' for your incredible opening speeches.

Montsalvat Exterior on Opening Night

photo - Kerry Cross

Meet the Artist

I'll be down at Montsalvat on Saturday 24th August between 1-3pm for the final session in the 'Meet the Artist' series accompanying JAPONISM.  Love to see you there!

Photo - Kerry Cross

"The paintings are material objects that depict an image which arose from the essence and which, at their highest function, will offer the viewer a window to their own invisible essence within."

JAPONISM

Montsalvat

is delighted to present an exhibition of new work by the 2011 Nillumbik Prize People’s Choice Award winner Nerina Lascelles.

Long Gallery 19 June – 25 August

‘Japonism’ is the term used to describe the influence of the Arts of Japan on artists of the West. Ever since the very first contact in the sixteenth century, Japan has always possessed an irresistable fascination for the Western culture. The allure was only increased when Japanese ports reopened to trade with the West in 1853 and a tidal wave of foreign imports flooded European shores.

Japanese woodcut prints by masters of the ukiyo-e school which transformed Impressionist and Post-Impressionist art by demonstrating that simple, transitory, everyday subjects could be presented in appealingly decorative ways.

Narrow-Leafed Peppermint

152cm x 122cm 

2013

Over the past decade, I have been inspired by the sacred arts of a number of Asian countries, in particular, the arts of Japan. Be it a scroll painting, a monk’s calligraphy koan or a beautifully woven kimono, these ancient objects capture an essence of timeless simplicity and beauty that is inherent in all things. Such a concept offers a welcome reprieve from the stress, noise and hustle/bustle of this modern day.

The paintings in this exhibition combine the influences of the ancient artwork from Japan, an understanding of Zen Buddhist philosophy and a contemplation of the natural beauty of the Australian bush.

The monks and artists of ancient Japan painted beautiful, reverential depictions of their natural world: the seasons, the flora and the fauna.

Japanese art consisted of off-centred arrangements with no perspective, light with no shadows, and vibrant colours with both plain and patterned surfaces. Other Japanese design elements included elongated pictorial formats, aerial perspective, spaces emptied of form, and a focus on singularly decorative motifs.

It is with the same sensitivity and with the influence of the Japanese aesthetic that I have chosen to depict a series of more local natural objects including branches of gum leaves, a flowering blossom or a flowing stream.

Manuka

76cm x 152cm

201

In this body of work my intention is to offer a fresh insight on everyday elements by taking them out of a familiar setting and placing them into a new environment. Having lived in this indigenous landscape of Nillumbik for most of my life, it is easy to overlook the subtlety and fragility of delicate blooms which are surrounded by hardy bush. Within these canvasses, Australian flora has been offered a sense of space which it may not have had in its natural environment. Areas of empty space rest beside the magnification of leaves and flowers, allowing the viewer to experience both a focus on the shapes and also the space to contemplate the details of these forms.

The voids of space within these works suggest a magical, ‘alive’ dimension beyond the material.

‘Form’ and the ‘formless’ combine to create a sense of harmonious balance.

Red Box Moon

156cm x 122cm

2013

"The paintings are material objects that depict an image which arose from the essence and which, at their highest function, will offer the viewer a window to their own invisible essence within."

Cinnamon Wattle

122cm x 122cm

2013

Journey Through Artistic Inspiration - 1995 to 2013

2011 – Current

From 2010 – 2012, Nerina lived and worked as an artist in residence at ‘

Dunmoochin

’, an artist’s community located in bushland surrounding Melbourne.

Her major show in 2011 was ‘Seizui’ at

Montsalvat

in Eltham. Each of the 14 works in this exhibition were been inspired after the reading and contemplation of a series of Haiku poems by the Japanese masters. For each poem chosen, the intention was to extract the ‘essence’ and bring the inherent imagery to life through a visual interpretation.

Clouds Veil the Moon 

Now and again 

Giving rest to its beholders - BASHO 

Japanese masters such as Basho, Issa, Shikki and Buson, with poems dating back to the 10th century, have written countless haiku poems portraying their experience of nature and life in Japan. And similarly, monks and artists of ancient Japan painted with a poetic reverence beautiful depictions of their natural world; the seasons, flora and fauna.

Long-Leaf Box Collage 2011

(Winner People's Choice - Nillumbik Prize)

“After having been living at Dunmoochin for over a year now, one simply cannot help being influenced by the beauty and magic of the Australian bush which encouraged my to translate some of these Japanese haiku using imagery which is more local to this region; including red box and long leaf box eucalyptus.”

2009 - 2010

In 2010 Nerina had three major solo exhibitions, "Sonzai - Existence", "Shinzui - Essence" and "MIST" in Singapore.

Sonzai - Existence was a solo exhibition at

East and West Art Gallery

, explored Eastern Philosophy where 'impermenance' describes existence, a vast space or stillness from which all forms arise and in time dissolve.

Karisome – Transience 

122cm x 122cm 2010

Shinzui - Essence was an exhibition comprising of over 35 paintings and prints at

Yering Station

. 'Shinzui' (Japanese for ‘Essence’) speaks of a space or stillness which existed before or beyond the realm of matter. It contains an understanding of Zen Buddhism and suggests a magical, ‘alive’ dimension beyond the 3D form that we, as humans so heavily identify with. The word ‘Essence’ has been used to describe the aspect of ourselves which is connected to all life or our true nature.

"Over the past decade, my work has been inspired by the sacred arts of a number of Asian cultures. Be it a painting on a shrine wall, a monk’s calligraphy koan or a beautifully woven kimono, these ancient objects of beauty seem to ‘point to’ the essence of all life. Over time, dust, dirt and decay appear to conceal the treasure beneath - but the essence that inspired the creation originally can never be marred or destroyed with time.

Similarly, the understanding of our true essence and connection to ‘the whole’ is sensed deep within ourselves - beneath the layers of mind, emotions and form. This essence is also a beautiful treasure which is always present, just beneath the surface. The paintings are material objects that depict an image which arose from the essence and which, at their highest function, will offer the viewer a window to their own invisible essence within."

Honshitsu - True Nature, Mixed Media on Canvas, 122cm x 122cm, 2010

"MIST", a solo exhibition in the

Australian High Commission

in Singapore in 2010 was been inspired by a fifteen year study of Asian cultures which may offer both Eastern and Western Cultures a glimpse of a different and perhaps more balanced way of being. Singapore has been viewed as a meeting place and a 'melting pot' between East and West and for this reason the art works reflect the positive and unifying aspects of our world cultures.

Hashi - Bridge, 100cm x 75cm, 2009

Works of this period depicted a variety of landscapes in which the elements of both ‘form or matter’ and ‘space, void, or stillness’ coexist. The landscapes in this exhibition are not completely identified with physical form, but not entirely of spirit either. They represent a middle ground between form and the formless.

Figures and objects in the paintings are easily defined by the mind but perhaps not as easily comprehended, yet equally as important are the areas of space, which suggest a magical, mythical dimension beyond form. Some paintings suggest the spaciousness of the night sky while others describe distant, dreamlike landscapes which also represent the illusive nature of the invisible… the realm beyond space, time and form where true divinity dwells. Where all is one.

Doragon ken Fenikkusu - Dragon and Phoenix, 120 x 150cm, 2009

Nerina combines a blend of Buddhist images and traditional Japanese painting techniques with her own unique style - with the intention of imparting a sense of the ‘sacred’ to her audience. The occasional inclusion of a Buddha or Boddhisatva represents aspects of our true nature who’s presence may act as a trigger or ‘signpost’ into a deeper place of stillness.

2005 - 2008

During this period, Nerina has been influenced particularly by early Japanese art and Shinto and Buddhist teachings in Japan. Paintings during this time depicted revered creatures such as the crane, the koi and the peacock, plants such as the Cherry blossom as well as a number of Shinto deities.

Dharani - Esoteric Buddhist Prayer, 2005

Nerina's primary exhibition of 2006, the Nature of Things was influenced by the art and Zen poetry of Japan. Each of the 14 works was initiated from the reading and contemplation of a Haiku – an evocative Japanese verse which embodies a direct intuitive penetration into nature and life, which offers insight, joy and truth to readers. A simple verse encapsulates a multi-sensory experience of one’s environment. Haiku poetry uses language to allude to experience. In the case of Zen Haiku, language becomes a painting, a drawing, a story, a song.

"Suddenly the sun rose

to the scent of plum blossom

along the mountain path" 2006

For each poem chosen, Nerina has endeavoured to extract the essence and bring the inherent imagery to life through a visual interpretation. Through the combination of both Haiku and painting, traditionally termed ‘Haiga’ the aim is to invite the viewer to perhaps experience a similar ‘timeless moment’ or to experience a ‘deeper presence of life’

"Mysterious loveliness

Buddhist statues covered

in fallen leaves" 2006

The title of Nerina's major exhibition of 2007 was, KENSHO, & literally translates as 'Seeing the Nature.' In the Zen perspective, the Kensho experience is a moment of complete emptiness, simplicity & formlessness during which one sees one’s ‘true nature’ or ‘Buddha nature’. Put in another way, one knows with one’s whole being, that one was not, is not, and will not ever be separate from the whole of the Universe. It is a recognition of the conscious eternal presence beyond the dimension of form and mind which is our true identity. Kensho is not a permanent state of enlightenment but rather a clear glimpse of the true nature of creation.

Kensho, 2007

Materials used include a collage of origami papers, Japanese kimono fabric, gold & silver leaf, paint and encaustic wax. Japanese influences in style range across several periods in history including 13th and 14th century paintings of Buddhist and Shinto deities, scroll paintings by Zen monks, and the natural landscapes painted on the 'byobu' - folding screens

Keshiki Byobu - Landscape painted Folding Screen 2007

2000 -2005 

After travelling through Sri Lanka, India, Nepal and Tibet, Nerina’s work was greatly inspired by the art and culture of Buddhism and Hinduism. A series of exhibitions contained paintings of mandalas and meditative “thangkas”. Paintings from this period perhaps contained images of sacred deities and written Sanskrit or Tibetan mantras.

Peace Mandala 2001 

One such exhibition of note was “Sadhana” in 2001–which contained over 20 Buddhist inspired paintings. A Tibetan Buddhist Monk, Venerable Kunchok Rinzin created a 2 metre high butter sculpture which stood in the centre of the gallery space. Two Tibetan monks opened the exhibition with a Tibetan blessing and meditation, offering the public an amazing cultural experience.

Mumukshutva - Desire for Liberation 2001 

Travel to Indonesia has also inspired Nerina’s paintings. The beauty and diversity of Asian and Indonesian textiles and fabric paintings have also greatly inspired her work. In some cases paintings contained prints from traditional wood blocks of even a collage of fabrics she had collected from the countries themselves.

Avalokitesvara 2001 

Since 2002, Nerina has travelled to Bali 3 or 4 times each year and has as a result established a deep connection with the Balinese culture, mythology and people. In 2003 Nerina invited a Balinese artist, I Gusti Mirdiana, to Australia with the intention of each exhibiting 10 paintings of a traditional Balinese myth. The 20 finished works, 10 interpretations from Bali and 10 from the WestNerina Lascelles formed another exhibition of great cultural interest to the Melbourne community. Anthropologist and author Dr. Michele Stephen translated the stories through writing but also held a series of public lectures where the myths and artistic interpretations of both artists were explained.

Siwa and Uma 2003

1995 – 2000

Much of the inspiration for her previous works has derived from world-wide travel and an interest in the spirituality and wisdom of a number of indigenous cultures. Influence for early exhibitions include studies of the art and myth of the Australian Aborigines, African and South American cultures and other peoples who are in close connection with the earth.

Bungil - A Dance 1995

Nerina feels that such cultures were able to access certain understandings and wisdom, which our society today could also benefit from. Paintings from this period contained symbolism, sacred geometry and the palette of colour from such cultures; with the objective of imparting a sense of the harmony, balance and co-operation that runs through everything.

Ndoro - Zimbabwe 1998 

Nillumbik Open Studio's

It's that time of year again where over 35 artist's from the local area open their doors to extend a warm invitation to visit their studios. This season I held my Open Studio viewing at a new location in Panton Hill - on the rural outskirts of Melbourne.

In June of 2012, I completed my two year artist's residency at

Dunmoochin

. While I am still closely connected to Dunmoochin and its community, I am so grateful to be currently painting in '

Frank Werther's'

studio.... while I'm in the process of building a new studio.

Frank Werther was a prolific artist who was one of the first artists who built and settled at Dunmoochin alongside Clifton Pugh. According to his

website

"He was an extraordinary man, creative, inspiring and individual in an unapologetic but humble way".

I never did have the pleasure of meeting Frank before he passed away in 2010, but from all accounts though, he was such a beautiful man. This incredible space hadn't been touched since the day he went into a nursing home a few year ago. Like moving into the work spaces of Clifton Pugh and other Dunmoochin artist's - one can hear the stories & feel the inspiration and creation that went before.

November's Open Studio program was quite special. Until the completion of my new studio, my lovely parents kindly offered that I exhibit my work in their beautiful home in Panton Hill. On display was my most recent paintings, prints, cards and books, but this beautiful home is a work of art in itself.  The house has been featured in the 'Owner Builder' and 'Renew' magazines, been screened on 'Better Homes and Gardens' and won a Sustainability Award for its green design. (Incredible work dad!)

Jeannette Davison has also featured the house on her blog

ISIIAD

, so if you're interested in seeing more, please visit the article

"Lascelles"

in ISIIAD.

Photo - Jeannette Davison

photo - Jeannette Davison

page from the Open Studio's booklet

(click here for a downloadable copy)

Visitor 25th November 2012

Buddha is

Cherry Blossoms

In the Moonlight

-Basho

Both of the weekends were incredibly busy with up to 100 people visiting daily. In fact, tallying up all around... this was the most successful Open Studio to date! :)

NOW SHOWING.....

N E R I N A  L A S C E L L E S

New exhibition of paintings at

B R O W N K O R T E ' S

Mist on the Diamond Creek, 122cm x 122cm, 2012

Goodness, it's really hard to believe that it's the second half of 2012 already ...so I thought it high time that I connected to share the updates on all things 'Art' in my little world!

Firstly, I've recently hung a new body of 11 paintings in an exhibition at "BrownKorte's" in Kangaroo Ground.
The whole BrownKorte's experience really compliments the Oriental theme in my paintings. With spectacular views and an award winning menu, which is also infused with an Asian flavour, it's a great pleasure to hang my work in this beautiful building.
My personal favourite on their current Winter Menu is: "Hiramasa yellowfin kingfish sushimi, soy, mirin and sesame dressing, bonito flake popcorn" To die for!!!

The exhibition is now showing and will be on display throughout the next month so please feel more than free to visit for a coffee, glass or wine or beautiful meal off the BrownKorte's menu.
The paintings are also available for purchase ... and well who knows..... one might just make for a perfect father's day gift! : )

Migration Flight, Mixed Media on Canvas, 152cm x 152cm, 2012 

Vintage Peony Rose, 92cm x 153cm, 2012

Old Studio - New Studio

It is with a degree of sadness that I farewell the most incredible chapter of both living and painting art Dunmoochin over the last two years.  The Artist’s Residency Program which was set up in the 1990’s offers an incredible opportunity for local, Australian and International artists to experience living in close proximity with other artists and the beauty of the Australian bush.

I would seem that each and every artist who spends time at Dunmoochin is reluctant to leave (myself included!!) but it’s fabulous to know that other artists will come to be inspired, stimulated and supported in the future.  I am so gratetul for all of the connections that I’ve made during my time at Dunmoochin. A heartfelt thank you to each and every one I have had the fortune to meet.

At this point I’d also like to thank all of you who came to visit during the Artist’s Open Studios in May. It’s always such a pleasure to invite you into my studio… and this time in particular – being my final open day at Dunmoochin.

Open Studios - May 2012    Photo thanks to Cindy Plowman

At the finalisation of my residency, I have had the absolute honour of being invited to become a member of the Dunmoochin Foundation. I’m so grateful that I may be able to offer future artists an ounce of the support and opportunity that I have had during my residency. An honour indeed. :)

And in with the New....

Moving house and studio can be quite an upheaval, so I chose to take myself away on a refreshing holiday once the last box was packed. A trip to Europe through the galleries, theaters, culture and countryside of England, Portugal, Spain and France has reinspired and reignited all creativity.

New Studio

Upon returning to Melbourne, I have moved into ‘Frank Werther’s’ studio which is also located in the bush at Dunmoochin. Frank was an extremely well respected man and an incredibly proific artist. It’s a great pleasure to have the opportunity to paint up a storm in the very studio where so much creativity has poured forth in the past!

Winter morning at Dunmoochin

NERINA LASCELLES

Oriental Infusion  

Exhibition @ Manyung Gallery

Royal Cranes - Mixed Media & Encaustic Wax on Canvas, 122cm x 122cm, 2011

2012, the year of the Dragon, commenced after much relaxation and rejuvenation over the Summer period. I found the holiday season to be the perfect opportunity to slip away into the studio to create a new body of paintings. There’s such a relaxed air across the land at this time of year… which has enabled me to really enjoy the beauty, silence and depth of the creative process.The culmination - an exhibition of paintings at Manyung Gallery in Mt Eliza during the month of Februrary. The theme of the Manyung exhibition this year contains an Asian influence.

“Nerina Lascelles produces images of sublime beauty and delicacy. With strong oriental influences, her canvases are imbued with the serenity of eastern philosophy.”  - Manyung Gallery


Although this body of work continues an influence from Japanese art and zen poetry, the paintings in this exhibition have also been inspired by the beauty, magic and wisdom that my darling 100 year old grandmother Amy has imparted over the years. These paintings also act as a celebration of our deep connection.

 

Live in simple faith
Just as this trusting cherry
flowers, fades and falls
BASHO
Mixed Media on Canvas, 122cm x 122cm, 2012

Seizui - The Opening

I'd dearly love to thank all of you for your wonderful response, support, and feed back regarding 'Seizui' - the exhibition in the Long Gallery at Montsalvat which ran through the month of August.

The opening evening was over and beyond my expectation with around one hundred in attendance. A warm and heartfelt thank you to Rob Hauser, the CEO at Montsalvat and Shane Pugh from the Dunmoochin Foundation for your warm opening words.

                                                          (Photos : Amanda Gibson)

Here is an excerpt from Shane Pugh's speech,

.... "Good art to me is a medium that gives me room to bring my imagination, memories and fantasy's too. Nerina's artworks are very evocative. I am inspired by these delightful artworks.
The Haiku poetry / of few words, expressing so much for the imagination of the reader to play with. Nerina's artwork is a reflection of her passion and skill in creating Haiku in a visual medium, for you to bring your imagination to.
Nerina is asking you to feel your response to her imagery; she has created beautiful images stories, full of symbolism colour and texture.
Nerina's skill with metallic's and mediums give enhancement depth and perspective to her visual stories.
Nerina's work is delightful and inspirational. Nerina's personality and approach to her art is absolutely genuine. Her work comes through her passion, imagination and quest of life.
I find her work very accessible, I enjoy where the images take me, the poetry adds another dimension to my visual journey.As a director of, and on behalf of the Dunmoochin Foundation, where Nerina is currently an artist in residence, I commend her dedication to her arts practice, her participation and co-ordination of the Open Studio's program and her community arts participation. It is artists like nerina that fulfil the Foundation's purpose as evidenced in her artwork"

Shane Pugh



And thank you yet again to the lovely Jeanette Davison has also written up a lovely blog article in ISIIAD regarding the exhibition. In her post titled, 'The Essence of Nerina' she spent several hours interviewing me with regards to the exhibition and my creative process in the studio.The following is a small excerpt from her blog. (text and photography by Jeanette Davison)


Click on the image to read more...

'Seizui - Essence' - Montsalvat

SEIZUI6 - 8pm Thursday 1st September 2011Exhibition runs until October 2nd

In September 2011 I was simply delighted to have had the opportunity to exhibit a completely new exhibition of paintings at Montsalvat.

 

Lying down on my back
the Spring sunshine
filled my mouth
SEIBI

The title of this exhibition ‘Seizui’ (Japanese for ‘Essence’)
Each of the 14 works in this exhibition have been inspired after the reading and contemplation of a series of Haiku poems by the Japanese masters. For each poem chosen, I have endeavoured to extract the ‘essence’ and bring the inherent imagery to life through a visual interpretation.
The haiku is an evocative Japanese verse, which embodies a direct intuitive penetration into nature, and life, which offers insight, joy and truth to readers. A simple verse encapsulates a multi-sensory experience of one’s environment.
In the case of Zen Haiku, language becomes a painting, a drawing, a story, a song. Form and formless melt together, so that the poem is experienced, the reader may enter a timeless moment- a space of stillness or meditation. When contemplating the haiku, a deeper presence of life and nature maybe felt beneath the human mental and physical constructs of form.

Lightening flash
flying toward the darkness
heron's voice
BASHO

Through the combination of both Haiku and painting, traditionally termed ‘Haiga’ the aim is to invite the viewer to perhaps experience a similar ‘timeless moment’ or to experience a ‘deeper presence of life’
Japanese masters such as Basho, Issa, Shikki and Buson, have written countless haiku poems portraying their experience of nature and life in Japan. And similarly, monks and artists of ancient Japan painted with a poetic reverence beautiful depictions of their natural world; the seasons, flora and fauna.

After having been living at Dunmoochin for over a year now, one simply cannot help being influenced by the beauty and magic of the Australian bush which encouraged my to translate some of these Japanese haiku using imagery which is more local to this region; including red box and long leaf box eucalypts.

click on image to view online article

SEIZUI - THE PAINTINGS

Long Gallery, Montsalvat, 7 Hillcrest Ave. Eltham (Mel. 22A8)
Contact - (03) 9439 7712

Open Studios April - May 2011

Nillumbik is 30 kilometres northeast of Melbourne, and it is considered to be one of the best kept secrets of our city, which can explain why many had not heard of the Nillumbick Artists’ Open Studio event. The magnificent local natural beauty has attracted and nurtured creativity in the artists who have lived in this area for decades.

Open studios are wonderful to experience. It allows for visitors to tour the artists’ environment, meet the creative individuals who open their homes and studios and gain an insight into an their working practice, as well as familiarise themselves with the artists’ work. May 1 & 2, 31 artists participate (24 studios) and showcase several disciplines including sculpture, drawing, jewellery, painting, printmaking, photography, ceramics and textiles.

At Dunmoochin, I opened my doors of 'Clif's New Studio' to welcome over 150 visitors over two days.

For more information : www.artistsopenstudios.com.au

Visitors to Dunmoochin Open Studios ... travelling in style!!