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The President’s Letter

WHY ASOC?

ASOC is a Society of its members, essentially a community. That view was reinforced for me having surveyed members when I was President about a decade ago. I asked members what they were seeking from ASOC. What came through most strongly was that members were looking to communicate and socialise with “like-minded people” in the creation of art. I think that the response from current members would be much the same today.

Why might that motivation be important for being a member? Apart from learning from each other to be better artists, maybe we want to share why art is so important in our lives. The very grounded UK philos-opher Alain de Botton suggests that among other attributes art keeps us hopeful; makes us less lonely; and helps us focus on aspects of life that really matter. Such ideas are captured vividly by John Berger, the noted art critic when he says:

That we find a crystal or a poppy beautiful means that we are less alone, that we are more deeply inserted into existence than the course of a single life would lead us to believe. . . (The White Bird, 1985)

We all recognise the vital social and spiritual aspects of creating and experiencing art— even if govern-ments rarely do! It’s why community organisations like ASOC exist. An organisation that for almost 93 years has been operated by member volunteers for all of its members.

Our Society has had to handle this year’s major challenges of smoke, bushfires, storms and the continu-ing Covid-19 pandemic. In this difficult period you are aware that we have had to curtail some aspects of what we do, including suspending our workgroups and modifying our exhibitions and workshop program. Somewhat surprisingly new initiatives have emerged, such as that of Dirty Janes exhibitions that will no doubt attract many members. There have been other positive outcomes as we have learned to do some things differently. For instance, the use of Zoom and similar technologies has been important for our workgroups to keep in regular contact, sharing work and having discussions about art. (Maybe our up-coming AGM using Zoom will break attendance records!)

During the weeks that I have assumed the President’s role I have been struck by the great commitment and energy of those who keep our Society running. I am not only speaking of the great team on the Man-agement Committee, but also other important position holders, such as the workgroup convenors, the membership secretary, webmaster and so on. A number of those people have kept contributing to ASOC, in spite of major personal challenges. I have been very moved to observe that.

We believe in the value of ASOC. We support ASOC. We do that because we experience and value the joys of creating art. And value being part of a supportive art community.

Tim Hardy president@asoc.net.au

Artists Society of Canberra Inc.

PO Box 3629, Manuka Post Office, ACT 2603 & Studio D, 21 Blaxland Crescent, Griffith ACT 2603

“A supportive creative community for visual arts and artists”

Founded 7 October 1927

August/September 2020 Issue No. 486

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From the Editor

Dear ASOC Members,

Another month has rolled around very quickly. Is it just me or are you also feeling that we are living in slow motion while this year just flies by? I hope that you have been keeping warm and busy. Creating has been more important than ever for me lately. It takes me away to my happy calm place where I don’t think about the news so much. Instead there is music, pod casts or the sound of birds and at the moment, bleating lambs. And it’s lucky that I’ve been doing some artwork because all of a sudden there is a flurry of activity at ASOC. It’s time to think about not only our Spring Exhibition at the Fitters Workshop but also the opportunity to exhibit at our space at Dirty Janes in Fyshwick. All the details in this edition. Ok – I’ll bite the bullet and mention that both exhibitions are great timing with Christmas just around the corner. I hope that the gift of handmade, unique art will be even more important this year.

The newsletter is reverting to being published every two months from this edition. Our next deadline for information is not until Wednesday 23 September. I will be giving a reminder on the Facebook page. There will be the regular updates from the President via email every couple of weeks to keep you up to date with all ASOC news and events.

Art at the movies What’s On around the Canberra galleries. ASOC News – AGM, ASOC at Dirty Janes Magpie Room Gallery space and the Spring Exhibition Wild watercolour technique with Anne McDermott. I have my jars of water and brushes waiting Judi Power Thomson introduces us to one of her grandchildren through her beautiful portraits A little bit of history Members News and Opportunities In the ASOC Workroom through photos July ‘I Do Like to be Beside the Sea or Water’ gallery. The August/September theme. Through the Studio Window with Steve Tomlin. What an inspiration.

Until next time, Michaela (Newsletter Editor)

Please welcome our new ASOC Members

Lucy Bastecky, Ruth Megirian and Dianne Webb

Your Membership Card

Membership Cards are now available from the My Account Page at the top of the home page of the ASOC website.

https://asoc.net.au/my-account/

They print to a business card size. Print and laminate if you wish, to receive ASOC discounts at participating businesses.

Thank you to everyone for your patience while waiting for the development to be finished.

If you have some colours and paper – You already have what it takes. The Muse visits during the process of creation. Not before. Don’t wait for her. Start alone.

Yarra

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At the Movies - Arts on Screen at Palace Electric, New Acton

Lucien Freud: A Self Portrait. Saturday 29 August and Sunday 30 August at 1pm Coming soon – Secret Impressionists

Trailer: https://www.palacecinemas.com.au/movies/art-on-screen-secret-impressionists/

Fifty unseen masterpieces - unveiled for the first time.

SECRET IMPRESSIONISTS tells the story of the art revolution at the core of the Impressionist movement, through an exploration of fifty legendary paintings - hidden treasures previously inaccessible to the general public, now on display in Rome for the very first time. How did the Impressionists view the world? How was their work received? How did they go from being rejected by critics and the public to becoming, in just a few short years, some of the best loved works of art in the world? Featuring the Rome exhibition’s head curators, and compelling analyses made by experts, historians and artists SECRET IMPRESSIONISTS will illuminate the Impressionist movement and uncover hidden gems of Mo-net, Degas, Renoir, Manet, Cézanne, and many other genius artists

whose work has lived on long after their deaths.

Visiting the Lifeline Book fair has become something I really look forward to, but of course has not been possible lately. I made my-self a mental note to invest in a wheelie bag for my next visit, af-ter my arms became laden with treasures. I just can’t help being a book bower bird. This new venture is very welcome news.

LIFELINE CANBERRA BOOKSHOP AND DONATIONS

It has not been possible because of the pandemic for Lifeline Canberra to run its much loved bookfairs at EPIC and in Tuggera-nong, so it has recently opened a bookshop at the Fyshwick mar-kets. It’s known as Booklovers Lane, and its opening hours are

Thursday and Friday 10-4, Saturday and Sunday 9-4. The good news is that almost all the categories that you would find at the bookfairs you will find in the bookshop, but of course in smaller quantities. Many of you know that Tim Hardy is a volunteer for the bookfair in charge of the Art books, Tim is very glad to see them on sale again, this time on shelves at the new store. There are some beauties.

For months, the Bookfair warehouse has not been accepting donations, but now there are limited times. I suggest you phone Lifeline Office to check the times and days you can deliver any donations you have. Note that it is also possible to leave donations at the new Fyshwick store.

Here is some more information about the bookstore. https://canberraweekly.com.au/lifeline-invites-you-to-book-lovers-lane/

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What’s On – Galleries in Canberra and the region

Please check on the gallery websites for their opening hours and dates. If there is an exhibition or gallery space we are missing, please let the newsletter know.

Gallery Exhibition Aarwun Gallery www.aarwungallery.com

Ken Knight - 20 Years. Until 23 August

Art Mark Gallery https://www.artmarkgallery.com.au/

Group Show

Beaver Galleries http://www.beavergalleries.com.au

Melinda Schawel – works on paper. 13-30 August Jenny Orchard – ceramics and works on paper. 13 – 30 August

Bungendore Fine Art http://www.aboriginal-arts.com.au/artgal-lery.htm

Doreen Shaw – Aussie Country. August

Burrunju Art Gallery http://www.aboriginal-arts.com.au/artgal-lery.htm

Group Show

Craft ACT https://craftact.org.au/

Zoe Brand. You are doing it Again. Wearable art. 2 July – 22 August Dan Lorrimer. Surface Vector. Sculpture. 27 August – 17 October Kasia Tons. After. Textiles and photography. 27 August – 17 October

Gallery of Small Things https://www.galleryofsmallthings.com/

Annual Group show from 20 August. Also online.

Hadfield Gallery http://www.hadfieldgallery.com/galleries

Mixed Exhibition

Helen Stephens Gallery https://www.helenstephensgallery.com/

Humble House Gallery https://www.humblehouse.com.au/

Gallery Artists Exhibition Level 1.

Kyeema Gallery https://capitalwines.com.au/kyeema-gallery/

An Eclectic View – Australia Aboriginal Art. Till 30 August.

M16 Galleries https://www.m16artspace.com.au/the-salon

Canberra Art Workshop Members Annual Exhibition 13 – 30 August

Raglan Gallery https://www.raglangallerycooma.com/

AIM – Art in Miniature Annual Exhibition. Until 27 September

Splatter https://www.splatter.biz/

Mixed Exhibition

Strathnairn Gallery https://www.strathnairn.com.au/

Squares 2020 Exhibition until 23 August. Several ASOC members exhibiting Carmel McCrow – Melange – 27 August – 20 September Kim Shannon – A Stilled World. 24 September – 1 November

Suki and Hugh https://www.sukihugh.com.au/

Renate Rienmueller and Tim Selwyn – No Word for Black and White. 8 – 30 August

CREATIVITY IS A GREAT MOTIVATOR

BECAUSE IT MAKES PEOPLE INTERESTED IN WHAT THEY ARE DOING

Edward de Bono

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ASOC News

New ASOC Exhibition Space at ‘Dirty Janes’ in Fyshwick

Our new exhibition space, in the The Magpie Room at ‘Dirty Janes’ in Fyshwick, is almost ready and the planning for the three exhibitions for the remainder of 2020 is under way.

Jane Crowley owns Dirty Janes in Bowral and recently opened a Canberra store in in Fyshwick, near Domayne. (just drive through the Domayne carpark to the end and you will see a sign). It is already a very busy and large retail precinct, run es-sentially like a cooperative with individual stall holders managing the fit out of their own space and Dirty Janes managing the sales. Generously, Jane has offered ASOC a rent-free exhibition space there as her contribution towards supporting the local arts community. What a great opportunity for ASOC members!

Members of the Management Committee, especially Angharad Dean and Stephen Clively, have been very busy with this new develop-ment. This week, the almost empty shell behind the barn door, has been fitted out with a hanging system by ASOC. We are Delighted that Cheryl Parkins is the Coordinator of the exhibition program.

We now have dates booked for these exhibitions - the first, with The Lanyon Group will be from 21st August - 21st September, followed by The Printmaking Group which will start on the 9th October and run until 9th November. The final exhibition for the year will be a Christ-mas Exhibition open to all ASOC members beginning on the 4th December until 31st December. This will have certain criteria for entries i.e. size and theme but should be a great success with so many keen shoppers looking for Christmas presents. Angharad and I were there on a Wednesday and it was pretty busy - apparently Saturdays are bustling so I imagine the run up to Christmas will be hectic. Ideal for us!

This is a fabulous opportunity for all members of ASOC and I’d like to ask for expressions of interest now so I can plan a full programme for next year. Preference will be given to those groups/individuals who missed out on having a planned exhibition this year due to Covid cancellations.

The AGM

When: Sunday 30th August What Time: 2pm How do I attend: A Zoom meeting through https://asoc.net.au/2020-agm/

**Please remember. You need to be a financial member to vote at the ASOC AGM

Full details can be found in the ASOC email you received from Tim Hardy on the 9th August.

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There will be a set fee of $50 per week for a four week period which will cover ASOC’s administration costs and the commission on each sale will be 30% (25% for Dirty Jane’s and 5% for ASOC). As the space will hold approximately 40 medium sized paintings this is very good value.

When the Covid restrictions eventually ease, we can even make use of their in-house chef and cafeteria resources (including a liquor license) for our Grand Opening soirees which is extremely convenient. Just an-other plus for this great location.

There are still a few small details to be worked on, but all exhibitors will be kept informed of the requirements well before their exhibition dates.

I expect that this proposition will be extremely popular - so all those in-terested please contact me by email to book a date for next year. Cheryl Parkins. ASOC Magpie Room Gallery Co-ordinator cparkins@grapevine.com.au

If you do not know Dirty Janes, explore their website at https://www.dirtyjanes.com/dirty-janes-canberra/

ASOC SPRING EXHIBITION 12-22 NOVEMBER 2020

Fitters Workshop Kingston

Your ASOC committee is powering ahead with planning for the big event in our calendar for 2020: The Spring Members’ Exhibition. This is scheduled to take place at the Fitters Workshop Kingston from 12-23 November.

We have found two local artists who have kindly agreed to judge our show this year – their details will be shared soon. Due to COVID we have had to make some changes to the way we will run the exhibition this year so that everyone is safe. In particular, we will not be holding an opening event. How-ever, we will have a bigger and better shop area where artists can sell their unframed works and cards. And we plan to set up an online catalogue of

works so make sure you can send us good quality images of your works.

More details will be announced soon. Keep your eye out for the entry forms that will be posted on the ASOC website soon too!

For now, please put the following dates in your diaries and start making works!!

Entry Form Closing Date: Sunday 1 November

Artwork Delivery to Fitters Workshop: Thursday 12 November 12pm-2.30pm

Exhibition Hours: 10am – 4pm daily EXCEPT MONDAYS - closed Mondays

Collection of sold works: Sunday 22 November 4-5.30 pm (unsold work only by prior arrangement – be COVID aware!)

Collection of unsold artworks: Monday 23 November 8:00am – 10:30am

Angharad Dean

Cordinator ASOC Spring Exhibition

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Wild Watercolour. Step by Step with Anne McDermott In the July issue Anne submitted her fabulous ‘Pomegranate in Wild Watercolour’ painting for our red theme. She is sharing her technique with us here. I can’t wait to try this.

I learned to paint in our Paris years, first in traditional watercolour classes classes at the Musée Carnavalet (Museum of Paris history ) and then for years with Sylvie Foussier at Chaville. Sylvie uses the techniques by Jean-Louis Morelle and Ewa Karpinska, focusing on ‘le cycle d’eau’ - how water drying on paper responds to paint at various stages. I’ve also done a week-long workshop with Ewa Karpinska.

This is not traditional watercolour. It can be wild! Here is a sample.

The start - on the dining table as it’s too cold to use my downstairs atelier. The pomegranate is posing.

That much-used piece of marine ply is important - when very wet, it holds the paper without buckling, and feeds it with water. This means the paint will move and mix - on its own or with encouragement - and it massively extends the paper’s drying time - this is not a quick process.

Wet the board thoroughly with a wide brush until there is a layer of water on the surface. Place the paper so it doesn’t shift. Brush it with lots of water until it’s wet right through and shiny. The paper must be heavy (300gm) and must allow colour to be lifted - Arches papers don’t work! Fabriano Artistico is fine

and Montval (hard to get in Oz) is great. You’ll also need two containers of clean water (emptied fre-quently), paper towels for blotting and drying brushes so they siphon up paint and water, and a small wa-ter spray.

Only four tube colours for the pomegranate, including warm and cool reds. One fat squirrel brush per colour - they hold a massive amount of water and pigment. And will also suck up water and paint if you want to remove them to form a lighter area or a line. Also needed - a couple of spare squirrel brushes, a very fine long-haired soft ‘fileur’ or rigger brush, which is great for flicking water and paint around and lifting out a fine line. And a couple of soft, fine flat acrylic brushes (called spalters in French) for shaping, applying and removing colour.

Wait for the paper to lose its watery shine (this is the time for a cup of tea, as it won’t hurry) before applying pasty paint (very little dilution - just enough to let the pigments move) with the squirrel brushes. Here, the first colour is on and moving. Start from the middle with strokes or splodges - the paint will move, mix, feather and expand on the wet paper. And start shining again be-cause of the water in the paint. If the paint is too dry, add more water so it starts to move - ‘feeding’ the paper. Lots more paint and more water. The paper is shiny yet again and the pig-ments are still moving. Use the fileur and clean squirrel brushes to lift colour and to help it move about. If you don’t like something, get rid of it. Including those spots outside the pomegranate form - just sweep them away with water and a spalter. The shine has moved on as the paper gets drier. Now fine fileur strokes stay put (eg on the pomegranate top) and give a sharp contrast and fine lines stay defined in the pigments. If you like it, take the paper off the board and let it dry on another surface. If not, feed it with water where necessary and keep going. Finally - a pomegranate.

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A Beautiful Tradition with Judi Power Thomson – The eight faces of Imogen Judi shared both her studio and a tradition she started for each of her Grandchildren in the July issue. Judi paints a small 6inch/15cm canvas portrait for each of her four grandchildren each year. We saw her recent birthday present for Lily. This time we see the Imogen growing up.

This is Imogen in her first year, lying on a pillow. Mum is a redhead.

Two:

Ah the cheeky Two’s. So glad she hasn’t lost her beautiful blue eyes

and hair is now blonde as often happens with littlies.

Three:

Looking shy and curious about the world. Hair is starting to

darken, and she loves pink.

Four:

This is the chubby year. Still the beautiful blue eyes. She had just finished a painting on canvas of a rabbit on the grass and was feel-

ing very proud of herself.

Five:

At the beach and full of confidence. Has a killer smile and her bubbly per-

sonality is becoming apparent.

Six:

Oh yes, the cheekiness is back and the hair is now darkening. Again at the

beach and her love of outdoors is shining through.

Seven:

I warned Imogen she might not like this year’s portrait with new glasses and a missing tooth - but that’s what happens when you’re

seven. But Miss Cheeky loves it!

Eight:

Growing up too fast! Dressed up, dark hair pulled back, and lunching with Grandma at the Botanical Gardens.

Quite the young lady.

I hope that we get an update next year.

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Down Memory Lane - ASOC history

More from wonderful NLA Trove proving the more things change the more that they stay the same. Volunteers and art friends meeting together to organize exhibitions and vote in new committees. From The Canberra Times 27th September 1945

I searched for a photo of the top Hat Café with no luck. I am guessing that it was somewhere near where Caphs café (dating from 1927) in

Manuka is today. Many Canberra clubs and organizations held meetings there.

Members News and Opportunities

Congratulations to Alan Jones, selected by the judges as a finalist in the ‘Three Counties Open Art Exhibition’ in the UK with his painting from his series, “Outside/Inside – Reflecting on Re-flections”. Artists were permitted to submit only one work for this exhibition.

The Three Counties Event provides a platform for artists who were born, have worked in, or who are currently based in the British Counties of Staffordshire, Cheshire and Shropshire. Due to COVID-19, as is the case almost everywhere in the world, ra-ther than holding the normal “live” exhibition, the event is being moved “on-line” for the whole of August 2020.

The Visual Arts Program at ArtsKeele, coordinates the Three Counties Event at Alan’s undergraduate - Keele University.

Here is a link to the online exhibition: https://www.kunstmatrix.com/en/artskeele Alan’s painting is exhibited in Room 2.

This exhibition is an example of imaginative and high-tech online exhibition possibilities.

aMBUSH Gallery, in partnership with Kambri at ANU, is seeking works from Australian-based visual artists, graphic designers, and digital agencies for their upcoming poster prize and exhibition, The Hero’s Journey. The exhibition calls on artists to capture their experiences during the turbulent times of 2020 in the form of a poster. 50 finalists will be featured in an online exhibition, and physical exhibition in November at aMBUSH’s Kambri at ANU, Canberra and a AU$3,000 cash prize for the winning submis-sion. Visit www.ambushgallery.com for details.

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Several ASOC members also belong to AIM – the Art in Miniature group of Canberra. Their annual exhibition is currently taking place. Unfortunately the opening has been cancelled but several members will be demonstrating how they create miniatures on Saturday 27th August 11am – 3pm. https://artinminiature.wordpress.com/

Dear Artist Society of Canberra Members,

The GX Art Trail Pilot Project will have completed its first twelve months at the end of October. This project is a unique opportunity for Ginninderry to continue its commitment to the arts and sustainability and we have therefore decided to continue the project based on the success of this first year.

Since the opening day on 27th October last year we have sold 6 artworks and undertaken a number of promotional campaigns to raise awareness of the project. We are planning an event at the end of this October (COVID pending) to celebrate our first year and further promote the work of local artists.

We have learnt some valuable lessons during the first year and in response will be improving promotion and refining the collection in terms of variety and affordability. Accordingly we are seeking to refresh the Art Trail with new works for the second year of the pilot.

You are warmly invited to submit works for the new collection by C.O.B. 7th September, 2020. A submission form is on the following page.

As previously undertaken for the first year, submissions will be assessed by the Steering Group and selected applicants will be invited to execute a consignment agreement with Riverview Projects (Project Manager for Ginninderry) which will detail delivery, consignment, commission and payment terms.

Delivery and replacement of the items will be the responsibility of the artists or artist representatives. Placement of the items within the Display Homes will be the responsibility of the Ginninderry Curatorial Advisor and the builders Stylists. Insurance of the items is the responsibility of Ginninderry. Purchase of artworks – potential buyers will be put in contact with the artist to negotiate and undertake the purchase. A 15% commission on sales will be collected for and distributed by the Ginninderry Art Fund to provide opportunities for early career artists.

The Pilot Project will be re-evaluated at the end of the next twelve month period.

We look forward to receiving your submission. (see form on the following page)

Yours sincerely

Susan Davis

The 2020 M16 Drawing Prize is now open for en-tries with a main prize of $5000

Please follow the link for full de-tails: https://www.m16artspace.com.au/op-portunities-for-artists

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Submission for GX Art Trail - Please email submission form and attached image to: susan@ginninderry.com cc peter.haynes3@optusnet.com.au by C.O.B 7th September, 2020

Note: Please provide a separate submission for each artwork proposed for the pilot project.

First Name

Second Name

Preferred Email (to receive confirmation of submission)

Title and number ID of artwork

Year artwork was made

Artwork materials

Artwork dimensions Height x width x depth in centimetres

Image Credit

Artist Statement max 50 words (optional)

The Workgroup contact list Workgroups Coordinator and Studio Manager is Lynn Nicholas

lynnnic62@icloud.com

MONDAY Pastel Explorers 9.30 am - 1:30 pm Convenor: Ian Bignall: ianjbignall@gmail.com

WEDNESDAY Ways with Watercolour 10.00 am - 1.00 pm Convenor: Stella Perin stellaperin@gmail.com

FRIDAY ASOC Contemporary 10:00 am – 4.00 pm Convenor: Cheryl Parkins cparkins@grapevine.com.au 0414 819 719

MONDAY

Experimental 1.30 pm - 4.30 pm Convenor: Sue Cook: susicook@tpg.com.au 0413 297 834

WEDNESDAY

Drawing Creatively 1.30pm-4.30pm Convenor: Tim Hardy timahardy@hotmail.com 0427 369 117

SATURDAY

Saturday Oils 9.00 am – 12.30 pm Convenor: Trish Dillon

bmeehan@grapevine.com.au 0407495415

TUESDAY Portrait & Life Drawing 10.00 am -1.00 pm Convenor: Jo Anne Pulko maryjo.jap@gmail.com

THURSDAY All Comers

9.30 am - 12.30 pm Convenor: Annette Rennie mrennie@bigpond.net.au 6291 4212

SATURDAY - Saturday Afternoon Allsorts 1:30 pm - 4:30 pm Convenor: Louise Spencer louise.spencer666@gmail.com

TUESDAY Fun with Printmaking 1.30 pm - 4.30 pm Convenor: Simone Doherty: 62592095 simonemdoherty@gmail.com

THURSDAY Flora and Fauna 1:00 pm – 4.00 pm Convenor: Gillian Bellas bellasgillian@yahoo.com.au 6288 5041

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An update on the Studio Workgroups

Welcome Back. Our room has missed us. Several workgroups have returned to the workroom/studio. You can see from the photos that they are practicing social distancing and are vigilant in their clean ups at the end of every session. Each desk is supplied with disinfectant spray and wipes. They are enjoying the cre-ative atmosphere, seeing friends once more, making art, learning and getting used to the news ways.

Saturday All Sorts group Print Group

Contemporary Group Print Group

Pastels Saturday Oils

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July ‘I Do Like to be Beside the Seaside – or any Water for that Matter’ Theme

Renae Morris

Anne McDermott

‘Oyster Beds at Low Tide. Canale, France’.

Watercolour, sepia ink and wet gesso on paper

55 x 45cm

Anne McDermott

'Bournda Lagoon' South of Tarthra

Watercolour on paper 46cm x 33cm

Vickie Hingston Jones ‘Lands End Rain Clouds’

Pastel

Michaela Laurie

My Little Island

Coloured pencil Mixed Media 10cm Square

Michaela Laurie

When the Waters Came

Watercolour and acrylic

As you get older,

you move to a point where you can give back to society.

Margaret Olley

August/September Theme - ‘New Beginnings’ Spring or rebirth

All creative mediums will be warmly received. New and older work accepted. All mediums of art, printmaking, photography, sculpture and craft will be exhibited in the October/November newsletter.

Please accompany your work with your name, title, medium, size and if you like a short description. Send to michaela.laurie1@gmail.com Deadline: Wednesday Monday 23 September

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Through the Studio Window

Strange days in Steve Tomlin’s studio

Strange days indeed. Particularly strange this week as I’ve just ‘tidied’ my studio. Last Saturday I finished a zoom-based course with the National Art School in Sydney, and next week on 4 August I start the next one. So, I decided to take this break to tidy and reorganise the studio and write this.

In normal circumstances I model my studio ‘management’ on that of Fran-cis Bacon or Margaret Olley. Squalid chaos with tubes of paint, mediums, piles of collage material, brushes and canvases everywhere. If I think back to all those lost years as a public servant, my work areas have always been the same; work colleagues despaired. As my ‘studio’ is inside the house—a room off the kitchen and living area—and my wife is fastidiously tidy—I have to keep the door firmly closed. Lyn rarely ventures in. But that

is as it should be as it is hard for any artist to work well without privacy. I was going to say ‘quiet’, but that would never be the case, as music is a constant and will range widely, from Primal Scream’s Screamadelica (for loose painting) to Eivind Aarset’s Dream Logic (for something more cerebral).

My creative life probably started around age 14 when I got my first serious 35mm camera and started to explore my hometown of Newport, Isle of Wight, with camera and hand-held exposure meter (remember them?). However, around this time, my brother tells me, he and I used to com-pete over drawing imagined modernist architec-ture. I don’t remember that, but I do remember the competitive streak we had with each other, that we’ve now ‘enjoyed’ for another 55 years. As a teenager I set up a darkroom at home and on and off for decades I dipped in and out of photog-raphy and darkroom printing, until the demise of film about 20 years ago.

Because of that past making darkroom prints, my first foray into ‘handmade’ art was here in Canberra at Megalo Print Studio (then in Dickson) around 2006, etching for about 6 years, and then screenprinting for about 5 years. In the end I found the printmaking process too obsessive and precise and decided to start painting.

I worked with acrylics as a screenprinter and fairly seamlessly transitioned to painting with acrylics. I’ve never used oils, but acrylics do bother me as I watch what is essentially plastic go down the drain as I wash out palettes and brushes. I’ve also experimented with some mixed media techniques, embedding collage, textiles, sand and carborundum into works, but for now I’m committed to pure unadulterated painting.

In my artist statements, I describe my work as ‘antipodean’ in the sense of having a foot on either side of the globe. It comes with a feeling of dislocation, of being neither here nor there, that is common to the migrant experience. Over the years this has provided me with a rich vein of inspiration and creativity.

My work has a deep connection and commitment to place, not simply the south coast of England where I grew up, nor the Australian bush, nor places visited overseas. My work translates the experience of all these places into a personal landscape of memory.

The work contains uncertainty and ambiguity, mystery and displacement, different orientations or per-spectives: an uncertainty about what one is looking at or where exactly one is. Occasionally the creative mojo gets lost. There are three things I do to try to keep going. Firstly, I try to do one or two good quality workshops or courses each year, and ideally something that will subvert my current practice. That’s why I’m currently doing zoom-based workshops through the National Art School.

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Secondly, I read art books. Never ‘how to’ books, but rather art history or artist monographs. Some of the writing is impenetrable and infuriating, but I always get something of value from it. Over the years I’ve probably got most inspiration from the St Ives artists and have read extensively about Patrick Heron, Bryan Wynter, Wilhelmina Barns-Graham, Terry Frost and Ben Nicholson. Probably the best overview is Michael Bird’s The St Ives Artists: a Biography of Time and Place. Finally, and probably most importantly, I commit my name and money to an exhibition. In normal years I exhibit with one or two colleagues roughly every 18 months, and always in a professional standard gal-lery. My next is scheduled in M16 Gallery 1 in November next year. Nothing keeps you more focused and productive than committing to have work ready for a show. As someone replied to the question ‘When is a painting finished?’, Answer, ‘When its exhibited’. So, lots to do; time to go and paint.

Steve’s work desk – taking full advantage of the natural light source. To see Steve’s art and for more information about Steve’s work please visit his website: https://www.ste-vetomlin.net/

Keep in touch by following ASOC through its social media channels

Our Facebook page contains updates of art competitions you can enter

and other interesting opportunities.

ART IS FOR EVERYONE

https://www.facebook.com/Artists-Society-of-Canberra-

149443601882361/

We also have a members Facebook group. Which you can ask to belong to

https://www.instagram.com/artists_society_of_canberra/

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How you can help the Newsletter *** Did you enter the belated Art Gallery NSW’s Archibald, Wynne or Sulman Prize this year? If you did, we would love to hear about your experience from go to woe – or yay. The call out for you to send me content for the newsletter continues. We would love you to be part of this publication and share your creative life with us. You can do this by answering the Studio Questions or writing about your workspace in general. Doing this has the added benefit that you can use it as part of your own artist bio.

Please include photos if you can.

• If we looked through the window to where you create, what would we see?

• How long have you been creating?

• What mediums do you work in? and do you have a favourite?Do you have a favourite tool?

• Do you have a favorite subject, cause or theme which you are drawn to?

• What drives you on when the sparks of creativity are not coming your way?

• Is there something or someone who inspired you to become an artist?

If you would like to write about something – techniques, art philosophy, art theory, art history or how you are feeling – please do. Short or long. Whatever the subject. I know there are members who like to write. And how about some poems? Even some arty recipes or recipes which make you feel all warm and cosy.

If you know a member who does not have any internet access at all, why not print it out and post a copy of the newsletter to them. Or let me know and I am happy to do it for them.

Please support our wonderful sponsors who have supported our exhibitions and prizes.

✓ Australian Artist Magazine https://www.australianartist.com.au/ ✓ Chroma Paints http://chromaonline.com/landing Join their Facebook page for great instructional

videos about their products ✓ Derivan https://www.derivan.com.au/ Join their Facebook page for great instructional videos about

their products Discount Gallery Picture Framing 2/66 Oatley Court, Belconnen. 6251 6262 ✓ Framing Pieces 44-46 Grimwade Street, Mitchell. 6255 7033. Framing and a wonderful place for

all your art supplies. Instore, order and carpark collect or delivery available during this time. Join their Facebook page for special offers. http://www.framingpieces.com.au/

✓ Reframed 2/42 Maryborough St, Fyshwick. 6239 2368. Join their Facebook page for special offers.

On that note – and until next time – Happy Creating

But wait – there’s one more thing. And it has nothing to do with steak knives.

I am going out on a limb to use my platform as editor to encourage all ASOC members, their families and friends to do themselves a favour. Many years ago, when I used to watch the Oprah Winfrey show, she gave a piece of advice which has stuck with me.

The very best birthday present you can give yourself (actually on your birthday) is to make an appointment with your GP to have a check up and get those scans done. You know the ones I mean. The embarressing and sort of uncomfortanble ones. Younger, older or inbetween – you are never too old or too young.

Think of your body as a beautiful tree or plant. If there’s something a bit wrong, don’t think I’ll deal with that a bit later. Catch it early. It might need a spray, a dose of something, special food, some kind talking to, a sample taken for diagnosis or maybe even a drastic prune. But it will then go on to flourish and give you and those around you years of enjoyment. You are important – put it in your diary. M ox