Andrew Archer is an illustrator and art director who was born in Auckland, New Zealand and currently resides in Melbourne, Australia. Inspired by pop culture, fashion, surrealism, wood block prints and his time spent in Asia his work is a self asserting mix of hallucinogenic color and rhythmic line.
Madbutt is a Brisbane, Australia based artist who experiments with hand cut and digital collage using mixed media. She uses her laptop when she is travelling and in between hand cut works. She keeps it simple using an application called Pixelmator.
When she is doing hand cut collage she uses an xacto scalpel, archival glue, a ruler, pencil and cutting board. She has used different paints in the past but she feels as though she could have more fun using this medium with larger works. She tries to hold off on using vintage materials until she is 100% sure that she has a great concept to work with.
Surface often provides the dominant metaphor in the work of Sally Bourke and more recently this has turned towards thinking about the nature of fabric and its relationship to skin with its capacity to project an image of self and to protect at one and the same time.
The faces and scenes she portrays in her work are attempts to make reconciliations with her past, live in the present and imagine the future. She paints people from the inside out. At any given moment she is working on around ten to twenty paintings at a time in the studio. That way she can sit with them and see which demands her attention the most. She works across multiple mediums and is constantly experimenting with them to create new ways of telling her stories.
Under the pseudonym Auf Wiedersehen, Jacqueline Smith hails from Melbourne, Australia. She draws and watercolors shy girls for us to comfort and sculpts tiny landscapes for us to explore, toeing the border between reality and the secret worlds of our imagination.
Auf Wiedersehen — translating not to goodbye but to ‘until we see each other again’ – stands for beauty behind impermanence, and helps us to feel that not all that is gone is lost or forgotten. We are the land and the land is us, and Auf Wiedersehenwants to invite others into her thoughts and share what’s in there.
Sydney, Australia based artist Ben Smith’s paintings are an attempt to combine the beautiful and the unsettling, the humorous and the sincere, the banal and the uncanny in order to reflect his experience of life. Recurring themes in his work are doubt, divergence within a personality and the search for comfort and solace. These themes are explored through multi-layered allegory, using various expressive possibilities of paint.
Queensland based artist Chloe Bennett is an Australian illustrator who studied Visual Arts in the Northern Territory and on the North Coast of Australia.
Bennett works across a range of mediums focusing on the juxtaposition of the natural/bizarre and has an unhealthy obsession with popular culture. Her work sees the pairing of these two concepts, along with the study of the color to create strange, aesthetically pleasing works.
Australian artist Anna di Mezza creates photorealistic paintings based on found vintage photos removed from their original context. Combined to unexpected landscapes, she describes the result as bizarre visual narratives. Her body of work is influenced by found vintage photos, and films, superimposing images on unrelated and unexpected backgrounds to create a visual narrative.
Her paintings are of a mostly monochromatic palette with occasional pops of color. They invite the viewer to make up the plot in their own mind as if the images were taken from a surreal film frame. The inspiration for the concept of her work is the beauty and culture of the 1940’s, 50’s and 60’s, the artists Magritte and Giorgio De Chirico as well as the film makers Hitchcock, Kubrick and David Lynch.
Karen Lynch is an Australian artist, focussing on hand-cut vintage paper collage. She sources material from vintage magazines, catalogues and books. Architecture, nature, space and time are common elements within her visual dialogue. Central to her art is the resuscitation and transformation of pieces of the past into retro-futuristic or surreal landscapes.
Obsessed with color and geometry, Karen’s collages can be playful, often tell a story and try to inspire the viewer. Using old school scissors and glue, Karen creates surreal and retro-futuristic worlds using vintage magazines and books found at thrift stores and markets. She loves the process of juxtaposing 2 or more disparate images and transforming them into impossible landscapes that feel almost real.
Wiradjuri painter Karla Dickens was born in Sydney in 1967. Dickens enrolled in Life Drawing classes at high school where the female form was her main subject matter. She began her formal training as an artist when she enrolled at the National Art School in Darlinghurst, Sydney in 1991, obtaining a Fine Arts Diploma in 1993 and a Bachelor in Fine Arts in 2000.
After moving to Wollombi in the Hunter Valley, NSW Dickens says her work became “more detailed with a stronger Indigenous feel.” Layering of mediums to represent stages of time and experience is a central feature of her work. Dickens uses fabric, leather, paper, paint, feathers, photographs, plastic and ‘all things discarded and fossicked from rubbish tips’ such as old baseball masks, fishhooks and reel, twine and bone to create two- and three-dimensional pieces. Dickens creates collages using an appliqué technique with cloth and paper, while her three-dimensional sculptures are made by rearranging and re-positioning recycled items.
Australian artist Alan Constable is both a painter and a ceramicist. His ceramic works reflect a life-long fascination with old cameras, which began with his making replicas from cardboard cereal boxes at the age of eight. The sculptures are lyrical interpretations of technical instruments, and the artist’s finger marks can be seen clearly on the clay surface like traces of humanity. In this way, Constable’s cameras can be viewed as extensions of the body, as much as sculptural representations of an object.
It may come as a surprise to people unfamiliar with Alan’s story to learn that he is legally blind (with limited tunnel-vision); and also deaf, which makes his world all the more internal and contained. As observers we can only project our own perspectives onto Alan’s work, but one could speculate that his physical challenges have defined his extraordinary artistic abilities.
Alan’s cameras emphasised the handmade, intensifying and celebrating the imperfections associated with the human touch. None are perfect, nor exactly to scale, but it was exactly these qualities that resonated with and engaged audiences.