"After many years
of recovery from a brain injury when I was 29, I found a home in Melbourne’s
West, and so began my journey of becoming an artist. This exhibition is a
selection of artworks created over the past seven years, and explores those
everyday moments that unite us in our human search for meaning and
of the works examine my daily rituals that I undertake in self-managing my
chronic illness. Others explore the ways that I have documented and interacted
with my everyday environment. And some investigate how we navigate life’s
encounters, discover new meanings for life, find places to belong to, as well
as propose ways that can celebrate what we have in the here and now."
MacFarlane is a Melbourne based printmaker. She completed a Diploma of Visual
Arts (CAE) in 2010 and is currently undertaking a Bachelor of Arts (Printmaking)
at RMIT.Much of her work is inspired by the urban
industrial landscapes of Melbourne’s West and explore the ways in which we
coexist with technologies and structures that at the same time we can be so
disconnected from. Larissa also draws
inspiration from her experience of illness and disability to investigate ways
of linking personal stories to global understandings of where we currently find
ourselves in time and space.
was recently awarded the 2014 RMIT Artland prize, the 2013 Art In Public Places Award in Hobsons’ Bay
been a Silk Cut finalist for the past
three years. Though her work as a
disability activist, she has also led several community engaged art projects
using principles of peer support and self-advocacy to be inclusive of people of
The work in this exhibition represents a group of Bayside
artists who meet regularly at Beaumaris Art Group in Beaumaris. They create
imagery related to their personal experience, often depicting subject matter
sourced from travel, or related to family. They draw and paint collectively on
Thursday nights in a supportive environment, discussing and developing
their work with like-minded friends.
Beaumaris Art Group was originally established in 1953 by a
group of friends united by their love of art-making, and continues to be a
Selected Works by the artists from Satellite Studios and Art Day South
Satellite is a visual art-making studio
established in 2012 to work with artists who are emerging in their practice and
in the process of formalising a specific aesthetic. The artists invited to participate have
worked extensively on both collaborative and independent arts projects,
including previous work with the Art Day South studio (Arts Access Victoria)
based in Dingley, Victoria.
The Satellite artists work closely with
professional artists Rhian Hinkley and Robert Delves in a one-on-one capacity,
enabling each Satellite artist to further develop their visual arts practice.
Satellite can be compared to a masterclass where the attending artists are
given one-on-one attention and mentoring in the development of their work. The mentoring process not only nurtures their
creative development, but also facilitates professional development
opportunities and recognition as artists in the art world. The Arts Access Victoria team, in conjunction
with the lead artists at Satellite, facilitate the presentation and promotion
of exhibitions, therefore creating genuine pathways for artists with a
disability to gain recognition for their work and development.
The Satellite studio meets every Thursday at the
Monash Gallery of Art, a contemporary gallery space specialising in modern and
contemporary Australian art and international photography.
Art Day South is a flagship program of Arts
Access Victoria. For more than 20 years
it has been a model of ‘inclusive practice’, where the artists work
collaboratively with each other and other participants. Facilitated by professional practicing
artists and fully supported by qualified disability workers, Art Day South is
an opportunity for participants to develop their creative and social skills as
individuals and as members of a group.
Day South is based at the Dingley Community Centre in Dingley Village. It is
open to any adult with an intellectual disability or acquired brain injury.
name is John Puli and I love Melbourne. It’s been my home for 57 years. I love to have a cup of tea. It helps me to meditate and pray, just before
acknowledge the support and help of a countless number of people, especially
Pauline and Maurice Sheehan, my patron Bobby Garbett, Kim Anderson (Skin
Gallery Curator), people at the National Gallery of Victoria, people at Arts
Access Victoria, and you.
influences have been the National Gallery of Victoria, especially their Asian
Gallery – “Three Perfections: Poetry, Calligraphy and Painting in Chinese Art”
exhibition, Asian ink paintings and the notion of imperfections in Asian art.
drawn, my artworks, take on a life of their own. I hope you have a cup of tea and ponder
describe John as an intuitive artist; there is a natural ebb and flow to his
work. He is creative; his work is subtle, with a lot of hidden dimensions.”
- Bobby Garbett, Patron of John Puli
John Puli: Biography
Puli is a participant of Arts Access Vitoria’s Artstop SRS Open Studio, located
in Brunswick. John has been making art
all his life. He has been a
participating artist of Western Region Mental Health Group, he has had a solo
exhibition at 69 Smith Street Gallery in Fitzroy, and several group
exhibitions, including one at Seventh Gallery in Fitzroy.
John studied arts for a short time at the Prahran Faculty of Art (Victoria College) in the
1970’s under Gareth Sansom and other esteemed Melbourne artists.
Inna by Andrew Lyndon and Lifelines by Kim Anderson
Lyndon: Artist Statement
I’ve never asked myself why I
draw and make paintings. I was always
inspired by and felt a lot of passion for music and art, so I found myself just
naturally drawn to contributing to that in my own way. I never really considered myself to be an
artist and I would draw randomly rather than dedicating myself fully to a
discipline or concerning myself with exhibiting. The main motivating factor was the simple
pleasure of putting shapes and colour in a balance that was pleasing to
me. At first what I drew was mostly
autobiographical, I would draw the things around me and the people I knew, then
my work became more and more abstract.
2011 I was put into a psychiatric facility, and just before this happened I had
set all my sketchbooks on fire.
Afterwards I regretted doing so and continued to draw and paint, but
this time all that was coming out of me were drawings of faces. I would do something different from time to
time, but it was mostly heads. I can’t
say why, but it was very enjoyable and I never lost interest in doing it. I never plan a drawing. It’s all spontaneous and often it’s just about
putting lines down in an intuitive way, then sometimes I refine them and add
more colour or shapes until I’m satisfied.
That’s not to say that my works have no meaning behind them – I think
that there is a subtle subconscious revelation in most of my art.
art for me is not a lifestyle option, or a means of employment, or a social
statement, and I wouldn’t call it a hobby either. Being a great fan of art and making art is a
method of self discovery, a kind of indefinable pleasure comparable to
meditation, and it is very healing. But,
it doesn’t answer anything for any long period.
I could never do one picture that sums it all up because life isn’t like
that, it always changes and so therefore I will always continue to make art.
“Lifelines” is a series of large-scale, highly detailed portraits of the hands of people
very close to me. Our hands are in
constant contact with the rest of the world.
They are tough yet sensitive, dexterous and yet somehow vulnerable, and
highly demonstrative of complex emotions.
Through constant wear they bear the inscriptions of our life experience,
our passions and fears and memories layered over one another like a
Rather than studying the body in its entirety, my focus is narrow, even
microscopic. In intimate detail I
explore the contours of the skin, closely examining the lines, creases,
patterns and scars that are unique to each individual. The surface of the skin constantly changes
from the moment we are born: stretching,
shriveling, creasing and cracking as we move through the stages of our lives,
it serves as a topographical map of everything that has ever happened to us. Through my drawing I search
this map, this landscape, discovering the precious memories that linger in the
fingertips, and the momentarily forgotten pain of loss in the creases of the
at such close range, there is infinite capacity to abstract and interpret, to
reveal one’s true and unique character, and even trace a map of their life
Anderson is an artist, writer and curator who works mainly with drawing,
projection and installation projects. She completed
a Bachelor of Fine Arts (Honours) at the University of Ballarat Arts Academy,
and was awarded a scholarship to study a Master of Fine Art at the University
of Dundee in Scotland. Since then she
has been awarded residencies around the world in Scotland, Italy, Japan and
Kim has been a
finalist in a number of awards including the Rick Amor Drawing Prize, the
Hazelhurst Art Award, the Swan Hill Print and Drawing Award, and the Agendo
Emerging Artist Award, and in 2010 she was awarded an ArtStart Grant from the
Australia Council. Kim is currently
curator of the Skin Gallery.
Dawn paints in a gestural style with spontaneous brush
strokes, making marks and using colours that help her form ideas.
She was self-taught from childhood and loved drawing the people around her,
however was encouraged by her husband to follow through on her love of creating
and pursue a formal art education. When she was accepted into the University of
Ballarat she was introduced to abstract art, about which she had known very
little, and fell in love with compositions, colours, differing thoughts and
Dawn has been painting and experimenting ever since, exhibiting in a number of
solo and group exhibitions, and is thoroughly enjoying every moment of it. She successfully completed her Bachelor of
Arts with Honours and now works full time at her art practice with representation
at One Hundredth Gallery in South Melbourne.