Cay, Edge, Flannery, Kirac, Lincoln
The Next Generation
April 30 - May 14 2016
"The development of a personal visual language as a vehicle to convey meaning and ideas concerning the human condition is central to my practice. About 5 years ago I joined a weekly, community-based life drawing group which has become crucial to my artmaking.
Some of my drawings are complex images that manifest the struggle involved in their making and at times may appear unresolved. This is purposeful, as the drawings are a vehicle to contemplate what it is to be human with all our frailties evident and the endless possibilities present within this paradigm. The characters that populate my work all commence during these drawing sessions. I view the markings on the page as fledgling utterances that endeavour to capture a fleeting quality, a gentle breath of life.
The layering of marks and materials is a way of building the surface and reflecting upon experience. Attempts are made to invoke presence while at the same time suggesting an absence, or loss of being, through effacing the surface. The layering, tearing away pieces and stitching them back together is representative of the complexities of the individual. Everyone has a number of ‘sides' to their personality - it is what makes us all individuals.
The viewer is encouraged to form a personal interpretation according to experience and visual language perceptions. Sometimes a shift, adjustment or realignment of gaze is required to be able to read the image as a whole - this is particularly relevant where a transparent layer has been added. The three ceramic sculptural pieces, Memories Full of Laden Promise, have also been developed from a gestural drawing done at life drawing last year. They too are about capturing form and the nuances of the human condition. The scafitto markings scratched into the surface of the underglazed clay again symbolise our foibles, struggles and strengths."
Veronica Cay, February 2016
Veronica Cay holds an Associate Degree Multi Media, Charles Sturt University 2002; a Graduate Certificate Special Education, Flinders University 2000; a Bachelor of Arts (Art and Architectural History), Deakin University 1992 and an Associate Diploma Visual Arts (Textiles), Brisbane CAE 1983. She has been a Finalist in a great number of national art prizes which include: Lethbridge 10,000 Small Scale Art Award, QLD 2015, 2013, 2012; Moreton Bay 2D Art Prize 2015, 2013, 2012, 2011; Moreton Bay 3D Art Prize 2014, 2012, 2011; Gold Coast International Ceramic Award 2014; Ignition Ceramic Award, Sunshine Coast QLD 2014, 2011; Kenilworth Art Prize QLD 2013; Wilson Art Prize, Lismore NSW 2013; Xstrata Portrait Prize, Perc Tucker Regional Gallery, Townsville 2012; Wangaratta Petite Textile Exhibition, VIC 2012, 2011; ArtFelt Art Prize Ballina NSW 2012; ‘Dare to do Square' Pine Rivers Regional Gallery Brisbane 2012; Gold Coast Art Prize 2011; Waterhouse Art Prize, Museum of South Australia (Highly Commended and touring to National Archives Museum Canberra) 2011; Prometheus Art Award, QLD 2011; Toorak Village Sculpture Award, VIC 2011; Noosa Travelling Scholarship Sculpture Award, QLD 2011. Her works have been collected by the Siena Institute of Art, Italy.
"I paint because it makes me happy. My subjects are the urban landscape, the busyness of a city is a fascination for me. There is always something going on. Under sunny or cloudy skies a city is in constant motion, alive with the movement of people, transport, construction and their reflections in the water of rivers and harbour. This body of work continues ‘the world according to Martin'. It's a good and positive view of life where there are no right or wrongs answers.
Sitting in my studio memories of the places I've visited come back to me: City Hall, Brisbane, Sydney Harbour, the MCG, Melbourne and much further afield, Harrods in London and the Raffles Hotel in Singapore where I'd had a very expensive drink! I often place myself outside such iconic landmarks to symbolise that I've actually stood in those locations. The images are rendered in flat, colourful shapes and given a humorous element to give a sense of the elation I felt.
Although referencing my holiday snaps to jog my memory and get recognisable architectural details of the place, 80% of the imagery in the pictures comes from my imagination. Sometimes taking several weeks each to complete, the new works have an even greater vibrancy of colour due to the many layers of paint. I think of them as being unintentionally more refined in the detailing and application of the acrylic medium which has resulted in a less naïve look."
Martin Edge, March 2016
Brisbane-based Edge has achieved remarkable success at a young age. He gained the Merit Award, Moreton Bay Region Art Award, Pine Rivers Regional Gallery, Qld 2013 and was Winner, Dickson Community Award Qld, 2013 which was presented on Australia Day. He was Finalist Northbridge Art Prize, NSW 2010; Finalist Moreton Bay Regional Art Award, Pine Rivers Regional Gallery, Qld 2010; Commendation for best Main Roads Traffic Signal Box, Brisbane, Qld 2010; Winner Autism Queensland Creative Futures Award 2010; Finalist 58th Blake Art Award NSW 2009; Shortlisted for Winner Q150 Traffic Signal Box, Brisbane Qld 2009; Acquisition by Moreton Bay Regional Gallery, Qld 2008; Certificate Of Merit, Arts alliance Pine Rivers, Qld 2008; Finalist Pine Rivers Regional Gallery Art Award, Qld 2008.
Edge's paintings are represented in a number of Collections including: State Library of Queensland, Brisbane; Parliament House Canberra, ACT; Gold Coast University Hospital, Qld; Ken Done, Private Collection, Sydney; Bruce Heiser, Private Collection, Brisbane; St James College Collection, Brisbane; Moreton Bay Regional Gallery, Qld; Randa Collection, Melbourne.
"A new body of work revisiting all things black and white in a very graphic way! Awkward beauties made up of collaged faces, arms, legs, clothes, shoes, flowers jump from the computer screen to the canvas via a silk screen with some help from my trusty little squeegee! A lot of the images are based on my own photography - the arms, legs, clothes and some shoes are actually mine - this makes these works a bit more personal than previous creations.
There are around 10 different silk screens used on each canvas to compose the entire image. Because of the layering process there are always bits that overlap or don't quite line up but I love that. Each and every pull across the screen produces a different image so no two are ever the same. Every time I lift the screen I'm blown away! Subtle sections of fine-pencilled lines and big brushstrokes of paint connect each layer. Hand-cut stencils and aerosol are used to give dramatic emphasis to certain features.
Because the original images are collaged digitally, I'm almost collaging them again as I compose the image with paint - sometimes only printing sections of the screen where it's needed and often painting most of it out or wiping it off while it's wet and pulling it again - it's like a collage within a collage! The faces are often 2-5 faces in one. Chopped up and pieced together, transferred to the screen and then hand-printed. The composition of each canvas happens quite organically and often changes half way through - a leg may look better backwards or lined up with another completely different element.
I used to only work on one canvas at a time but now I often have about 6-8 going at once since each layer needs time to dry. That's a very new concept for me! The awkward poses often make me think my yoga practice is sneaking through into my art practice - girls almost tied in knots, legs above heads etc. There are subtle suggestions of current fashion trends with stripes, denim and all the right footwear; although the girls on canvas are much more on trend than I am (or ever will be!)."
Erin Flannery, March 2016
Erin has been a Finalist in the Border Art Prize a number of times and she was Winner of the Noise Festival Billboard Competition for youth website 'Reach Out', 2006. Her work has been featured in numerous national and international magazines and online Blogs include: Lonny Magazine, New York, April 2013; Curvy 8, 2012; M Magazine, Abu Dhabi 2011; 3Petitspoints Magazine feature issue 5, 2011; Heart Charlie Blog feature January 2011; Konfettiform Blog feature December 2010; Trendland Blog feature October 2010; Lost at EMinor Blog feature October 2010; ArtHound Blog feature November 2010; Greedy Girl Blog feature August 2010; Frankie Magazine Blog feature July 2010; Design for Mankind Blog feature July 2010; Cherry Picked Blog feature June, 2010; Frankie Magazine Blog May,2010; Australian Art Collector, Issue 52, 2010; Frankie Magazine Blog feature (frankie.com.au) October 2009; The Daily News September 15 2009; Kollektor Blog feature June 2009; Dujour Magazine, The Vintage Issue 2009; Artwork included in IdN Magazine, Volume 10, 2003; Chick Magazine, December,2003; HSC major artwork selected for ArtExpress 2001. Erin's work is represented in the Smorgon Collection, Vic; the Silman Collection, Vic; Charlie Brown; Sibson Interiors, Qld; Professional Real Estate, Qld; Gold Coast City Gallery and numerous private collections throughout Australia, United States and Europe.
"I am encountering rapid changes within myself, my creative output and the Gold Coast landscape in general. Having lived and worked here for such a long time, I find it a very exciting epoch for our city and for me personally. Massive turning points in my life seem to have it elevated to a whole new level!
My new works are an introspective exploration of these experiences. They revolve around the theme of growth: the evolution within oneself and also the physical and digital world that surrounds us. The fantastic, imaginary landscapes, fauna and still life subjects reference the growth that is taking place amidst everyday activities. The paintings reflect my quest for a life of balance, harmony and spontaneity.
These themes continue on from recent bodies of works, including Hello Sunshine and POST/POST that considered the swift transformation of the Gold Coast area.
However, the new works shift to draw not from nostalgia, but instead to create a modern fabric that reflects the world as I see it in the present."
Claudio Kirac, March 2016
Claudio Kirac is a Gold Coast-based professional artist, photographer and designer.
He describes his practice as "an investigation of the crossover between contemporary art and popular culture whilst questioning the norm within a commercial field". Claudio has self-published three books of artwork and photography: Para el Sexo Dialimento 2006; INFINITEYE 2008 and Dreamland 2012. Copies of these are in the National Library of Australia, Canberra and the NYC State Library, U.S.A. Claudio's photographic series, Something Concrete, produced for Bleach Festival 2014, has recently been acquired by Gold Coast City Gallery. His most notable public speaking rolls include: Semi-Permanent, Brisbane; AGideas, Melbourne; Analogue/Digital conferences, Gold Coast and Sunshine Coast; as well as keynote speaker for AGDA, Powerhouse, Brisbane; the DIA, Rabbit & Cocoon and Griffith University, Gold Coast and Matilda Bay, Perth, as well as Apple Store, Brisbane. His work has been featured in the following publications: Black + White, Monster Children, Australian Creative, Artillery, Acclaim, YEN and Dazed.
"The new body of work continues my interest in the dress as a symbol of the phases and fragility of life and the use of natural and handmade materials: rice paper, gold leaf, graphite, charcoal, beeswax and watercolour.
Rather than employing reclaimed, handwritten recipes as in the past, my dresses here explore imagery from the natural world combined with images of my daughters and other women. The birds represent growing up - the growing of ‘wings' that can soar free of limitations into realms of greater potentiality. I have restricted the colour palette, with graphite pencil as my predominant medium and gold leaf is used throughout as a symbol of ‘precious' recollections. The 3D rice paper pinafores have been coated in beeswax and housed in Perspex boxes like modern day reliquaries. For centuries, beeswax has been known for its preservative properties and for me it further symbolizes the preservation of memories. These works and the drawings on rice paper are embellished with markings that express my musings of family past and present and our never ending connectedness to nature."
Gaye Lincoln, February 2016
Brisbane-based Gaye Lincoln was awarded the Anthea Polson Art Mentorship Award at the Zinc Southbank Institute of Technology Graduate Exhibition 2012. She has a Diploma of Visual Art, Southbank Institute of Technology 2012, a Diploma of Education, QUT 1996 and a Bachelor of Arts, University of Queensland 1995. Lincoln was selected to exhibit in the Fifth Perspective Award Exhibition featuring five graduates of the Southbank Institute of Technology Diploma of Visual Arts 2013 and was a Finalist, Stanthorpe Art Prize, Stanthorpe Regional Gallery 2012 and Finalist, Green Dragon Art Prize, Brisbane 2010. Her works have been shown in Femme, Robina Art Gallery 2011; Tutor's Exhibition, Nona Gallery, Brisbane Institute of Art 2010 and Spectrum, Nona Gallery, Brisbane Institute of Art 2009.
The exhibition 'Cay, Edge, Flannery, Kirac, Lincoln - The Next Generation' is showing at Anthea Polson Art, Shop 120 Mariners Cove, Seaworld Drive Main Beach QLD 4217 (next to Marina Mirage), from April 30 - May 14 2016