David Piddock’s controversial paintings win Moth Art Prize

David Piddock, a British artist whose work is widely collected and in public collections including the Museum of London, has won the inaugural Moth Art Prize, run by the art and literature magazine The Moth.


Piddock was invited to exhibit in the public areas of the Lloyd’ s Register Building in the City of London last year, but the paintings he submitted were deemed too risqué, in a case of censorship so absurd it found its way into the UK’ s satirical magazine Private Eye. ‘ All the paintings deemed to be at risk of offending “multicultural sensitivities” featured, as classical sculptures are wont to, naked or scantily draped male figures,’ reported Private Eye.

It was shortly after this debacle that David noticed The Moth was launching its first art prize. ‘ So I thought, why not enter all the “banned” works?! I was absolutely delighted when they won.’ Piddock delights in ignoring current fashions in contemporary art. Most of the works submitted to The Moth Art Prize were a semi-fictional take on London. Imagery is often plundered from the past to inform the present, so anything from a small terracotta maquette to a monumental Canova sculpture might materialise in unexpected places, like London’ s Embankment or the riverside adjacent to the City.

Piddock’ s work entitled Triton at Jubilee Bridge adorns the cover of the autumn issue of The Moth, while other works, including the wonderfully titled Why, Brad, darling, this painting is a masterpiece! appear inside its pages.

‘ A lot of credit should go to The Moth, always wonderfully idiosyncratic and beautifully designed, for launching the prize and responding to figurative painting, largely ignored by the contemporary art scene,’ says Piddock. ‘ We have nothing like it in the UK.’ David will spend a month at The Moth’ s new residential studio in a converted barn in rural Cavan in Ireland, surrounded by the county’ s famous lakes.He will also receive a €1,000 travel stipend.

Work by Anna Evans, who is beginning her final year on a scholarship at The Florence Academy in Italy, and Sarah Leonard, who is working on a portraiture project involving refugees and asylum seekers in Glasgow, was also commended in this year’ s Moth Art Prize and will feature in forthcoming issues.

The Moth Art Prize, which opens again shortly, is awarded to a body of up to ten pieces of figurative or representational work, and is open to anyone over the age of 18. Details can be found at www.themothmagazine.com.

Megan Robert wins the 2016 Mandorla Art Award

Judges Dr Petra Kayser, Rev Tom Elich, Mandorla Art Award Winner Megan Robert and judge Prof Ted Snell with Megan’s work “The Bread Basket at Emmuas – then Flesh returned to Word”
Judges Dr Petra Kayser, Rev Tom Elich, Mandorla Art Award Winner Megan Robert and judge Prof Ted Snell with Megan’s work “The Bread Basket at Emmuas – then Flesh returned to Word”
Judges Dr Petra Kayser, Rev Tom Elich, Mandorla Art Award Winner Megan Robert and judge Prof Ted
Snell with Megan’s work “The Bread Basket at Emmuas – then Flesh returned to Word”

The 2016 theme The Resurrection has inspired over 260 artists from across Australian in painting, sculpture, photography and new media to enter the 2016 Mandorla Art Award. A shortlist of 44 artworks are currently on display at Linton & Kay Galleries, Perth for the Finalists Exhibition.

The biennial Mandorla Art Award for contemporary religious art opened on Friday 15 July with the $25,000 acquisitive St John of God Health Care Prize being presented to winner Megan Robert for her work titled “The Bread Basket at Emmaus – then Flesh returned to Word”

The 2016 judges – Dr Petra Kayser, Prof Ted Snell and Rev Tom Elich said “All three winners are powerful statements about personal experience, expressed in such a way that they can take us somewhere, intellectually and emotionally.”

About Megan’s work – “Here is a whole bible, every printed page carefully rolled up and sewn into a basket in a long process of assemblage. The bread basket brings together word and sacrament, relating to the episode when the resurrected Christ walked with the disciples on the road to Emmaus and revealed himself when he broke bread at Supper. The bread basked is a container but an empty vessel, it speaks of absence and presence, and we found that many possible readings and meanings can be drawn from this humble, yet complex object.”

Megan is from NSW and had chosen to deliver her work personally and stay in Perth for the award night, just to be part of the experience of exhibiting at Mandorla. She was completely over whelmed when advised of her win on Friday.

Two awards were also presented to highly commended works by Libby Byrne (VIC) and Camilla Loveridge (WA).

“We really liked Camilla Loveridge’s Over Jerusalem, a beautifully worked, tactile painting of a landscape – which she described as ‘the burnt terrain of humanity and life’. Attached to the surface of the painting is a brittle white round shape, which makes the absent body of Christ, present through the host.”

Libby Byrne’s “Resurrection: A daily navigation” is a set of 50 prints documenting a drawing process, beginning on Ash Wednesday, and continued every day until Easter Sunday. Libby set up this process in order to understand the journey towards Resurrection.

She photographed the changing drawing each day, recording its development, which includes scraping back paint, starting again, taking a new turn and transforming the image. This is a process, a meditation that requires time, observation, thought, and persistence.

The Finalists Exhibition, is open to the public at Linton and Kay Galleries, Level 1, 137 St Georges Terrace until Sunday 24 July 2016. Gallery opening hours are 10am – 5pm Monday – Friday and 11am – 4pm Saturday and Sunday.

Also on display are several antique bibles, generously loaned for the exhibition from the Kerry Stokes Collection, Perth.

The artworks are available for purchase and visitors are invited to vote for their favourite work in the People’s Choice Prize. The winner of which will receive $2,000 when it is announced at the

New Norcia Museum and Art Gallery where a selection of finalist works will be on display for the month of August.

A catalogue of works is available from www.mandorlaart.com

About the Mandorla Art Award

The Mandorla Art Award for contemporary religious art is Australia’s most significant thematic religious art prize, attracting some of the country’s finest artists since its 1985 inception. For more information, visit www.mandorlaart.com

About St John of God Health Care
St John of God Health Care is a leading not for profit Catholic health care group, employing 9,300 caregivers across 13 hospitals, pathology, home nursing and Social Outreach and Advocacy services in Australia, New Zealand and the Asia Pacific. For more information, visit www.sjog.org.au

Archibald prize entry 2016 – Janet Hayes

When the Archibald prize exhibition was exhibited at Tarrawarra museum of art, which is 5 minutes drive from where I live, in 2009, I decided I would act on a goal I had long held to submit a portrait to the Archibald Prize. Realising that it is a highly competitive competition with just 41 artworks in the finalist exhibition out of approximately 1000 entries I made up my mind to commit to submitting an entry each year for at least 5 years. There were times this 5th year when I thought I may not be able to do it. However, after almost securing a well known celebrity, only to have those plans fall through, I decided to use an idea I had been mulling over for a self portrait. At least I had a willing sitter prepared to pose for long periods in my studio! I much prefer to work from life, although, I realise, that in most of our busy lives its not feasible to spend hours sitting and most commissions are a combination of live sittings and reference photographs. Being both artist and sitter can be different.


I decided to experiment with mixed media on canvas. I have been working on a way I can get passed framing pastels under glass by applying them to canvas and sealing them first with spray fixative, then spray varnish. It is always a nuisance how they darken with this technique, but I persevered and found that Sennelier pastels darkened the least.

I have used water soluble oils over the face, where, underneath, I first applied a layer of pastel. Why? You may well ask. I feel a lot more confident working with pastel and it is a medium which I enjoy using above any other. The drawbacks with pastel, from others points of view and not my own, are; the fact that they usually require glass to protect them which creates a lot of reflection, and they are often seen as “just” a drawing medium and not a painting medium. The reflection I understand, it can sometimes hamper complete viewing of a pastel, although serious collectors are generally not bothered by this. The drawing versus painting is debatable. The Archibald prize entry information stipulates the work must be a painting. Some artists, myself included, feel that if you coat the surface thickly with pigment then a pastel becomes a painting. Others feel no matter how you handle the pastel meduim it is still in the realm of drawing. So, to get around these two obstacles I decided to incorporate oil paint in the face keeping other areas more sketchy using my favourite medium. I am still experimenting. Which hopefully is a good thing. The most memorable of artworks are usually those that look different to anything else, which is what I have been aiming for in this piece. I wrote these statements before I viewed the Degas exhibition and I was surprised to see that Degas had used pastel and oil paint together. These were framed under glass, but I have read that Degas worked with a Chemist on finding more permanent fixatives.

There are several inspirations that lead me to using the several pairs of hands in my portrait. Firstly, I express myself so much more with my hands rather than my face so it makes sense to me to show that in a self portrait. I’m also inspired by Indian carvings, particularly those with multiple arms. There is something about them that strikes a deep, subconscious chord within me.

Then, I have often joked with friends how an extra few arms would be very useful (mainly in the kitchen). But mostly, it is a way of showing how I most express myself. I have called the work Seed relating to the hands which hold the cut apple and branch. My concept here is thinking of; as the seed is to the fruit and limbs of a tree then my thought energies, whether they may come from the head, heart or soul, are the seeds to my actions, and to my actual limbs, which carry these out on a physical level into the fruits; my artworks.

I would like for the work to be interpreted by the viewer, but for some clues on why I have used the hands in different positions, touching and holding different objects, I have posted some detail images with brief descriptions on Instagram; I invite you to follow me at this address: Instagram- ayearinblackandwhiteplus

Janet Hayes, Artist

Pastels, Portraits, Classes:


Gayle Reichelt | The Last Fleet


The Last Fleet exhibition by Gold Coast artist Gayle Reichelt will be officially opened at 3pm on Saturday 6th February in the Foyer Gallery at the Gold Coast City Gallery during a Meet the Artist event. The exhibition will feature 22 works, some in oil, but most in an ancient 3000 year old medium called encaustic which consists of beeswax, damar resin and oil pigments.

Gayle is passionate about colour and texture. Beginning in her Honours year at La Trobe University Bendigo in 1996, a recurring theme in Gayle’s work has been of reviewing the fate of abandoned human manufactured constructs in the natural environment.

In this exhibition, four Queensland shipwrecks have been featured. They are: Cherry Venture, HQMS Gayundah, SS Dicky and two anchors thought to be from the Charles Eaton Shipwreck.

These images represent loss, but there is a strange beauty about them as well. The once useful constructs portray evidence of erosion, mould and decay as well as damage inflicted by mankind. Nature seeks revenge in entropy by rightfully returning these objects to their constituent elemental dust.

Gayle’s work is constantly evolving, exploring and making use of new technology and mediums as well as contemporary and traditional techniques. The progression in her work has been from an early focus on realist portraits, buildings and landscapes in charcoal, oil, watercolour and pastel to exploring abstraction inspired by nature. Encaustic is Gayle’s most recent medium, an ancient 3000 year old medium, which consists of molten beeswax and damar resin which is mixed with oil pigments for colour, and is fused after application into a continuous layer and fixed to a support (usually wood) with heat.

Art Classes with Gayle Reichelt

Reichelt.-Gayle---Coastline---encausticGayle will be teaching Introduction to Encaustic as well as painting and drawing classes at RQAS Brisbane, Petrie Terrace Gallery in 2016. The first encaustic class will be held on15th February 2016 from 9.00am until 3.30pm. From March onwards it will be the 1st & 3rd Monday of each month.

The Venue for the Gayle classes is at Petrie Terrace Gallery, 162 Petrie Terrace, Brisbane, and booking in directly with Gayle is required to ensure your place. For more information on Gayle’s latest exhibition and workshops see her website:  www.gaylereicheltart.com


Must see exhibition | Howard Arkley (and friends..) at Tarrawarra Museum of Art

This exhibition is a great opportunity to see an extensive collection of Howard Arkley paintings. It is really interesting to see the different types of work he created and also his ideas in visual diaries and sketches that are also on display. The Tarrawarra Museum of Art is the perfect setting to show this wonderful exhibtion.

Image: Howard Arkley, The Bay Window 1988 synthetic polymer paint on canvas 161 x 199.7 cm Gift of Eva Besen AO and Marc Besen AO. Donated through the Australian Government’s Cultural Gifts Program 2008, TarraWarra Museum of Art collection © The Estate of Howard Arkley. Courtesy Kalli Rolfe Contemporary Art

5 December 2015 – 28 February 2016


Howard Arkley (and friends…) includes over 60 paintings by Arkley from 1974 until 1999, featuring a number of works that have not been shown before along with some of his most iconic images. Key paintings have been selected from different periods of his career, including the sparse black and white paintings from the 1970s; his breakthrough into figuration with works such asPrimitive and Tattooed Head; his surreal Zappo and cacti paintings; the electrifying house exteriors and interiors; and his final freeway works.

The exhibition introduces three distinctive perspectives to Arkley: his archive, his music and his friends. Photographs, visual diaries, sketch books and source material, on loan from the State Library of Victoria, reveal Arkley’s ideas, influences and working methods in developing his images; a selection of tracks from the artist’s record collection played throughout the exhibition, highlights the influence of music on his work; and the inclusion of works by Arkley’s friends and colleagues Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos, provides insights into Arkley’s immersion and influence within a vibrant, artistic milieu.

Howard Arkley (and friends…) demonstrates the complex processes that Arkley applied to each work of art, and traces his journeys through abstraction and figuration; pop and punk; sampling and the spray painted line. It reveals the ways in which the artist consumed and then altered his source material through the use of high keyed colour, pattern and repetition, abstraction and the fuzzy, optical effects of the airbrush, transforming our perception of the everyday world around us.



Paintings by Ben Howe


The MONOCHROMATIC ANOMALIES Exhibition will feature over 30 works by celebrated Melbourne based artist Ben Howe. The exhibition will include retrospective paintings from two of Howe’s most highly regarded bodies of work – the Crowd Series and the Surface Variations Series, but the pièce de résistance of the show will be the unveiling of his recently complete Shangyuan Series, painted during a challenging residency in China, sponsored by the Ian Potter Cultural Trust.

The Shangyuan Series depicts the apparent portraiture of artists against their temporary homes in an artists residency program in Shangyuan, China; minimal, concrete dorms devoid of their own distinct identity save for their signature barren and derelict state.

The large monochromatic works interweave themes of dislocation, habitation and the subliminal response of the psyche towards the unknown.

During the creation of this series, Ben lost 10kg of body weight, had no access to refrigeration and often went for days without running water. Communication with the outside world was minimal.

Opening Night Thursday 10 December 6pm – 9pm

Presented by DC Gibbins and the Waterfront Gallery ARI

100 Lorimer Street, Docklands 3008


Victoria 0437 922 686 contact@demianfineart.com

Exhibition runs

10 December 2015 to 20 January 2016 Wednesday to Saturday 11am – 6pm

David Bromley Murals at Eastland

It is well worth a visit to Eastland see the David Bromley Murals

With the opening of the new Eastland section this week it was the David Bromley Murals that I wanted to see.  It is well worth the visit to Eastland just to see these enormous colorful murals scattered throughout the massive extension of the shopping centre. Visually exciting, colorful and fun. What a fantastic idea to hide the construction  still happening – where the alternative would be vast expanses of plain boring walls.

As I strolled through Eastland around nearly every corner there was another mural. Camouflaged doors with keypads were there for the workmen to gain access to whatever was going on behind the murals. Massive in size and very impressive. Well worth a look.

Megan McDonald

To read more about David Bromley see the Eastland website. Eastland is located in the eastern suburbs of Melbourne.



Cutting edge New Media artworks on show at Regional Botanic Garden

The New Media Art Prize is on display at the Arts and Ecology Centre, Maroochy Bushland Botanic Garden until November 1. The exhibition is open from Wednesday to Sunday from 10am to 4pm.

An amazing “world-class” new media artwork is how professional co-judges Matthew Perkins and Lubi Thomas described Victorian artist Sheena Colquhoun’s winning artwork in the 2015 Sunshine Coast Art Prize, New Media Award.

An established creative initiative of Sunshine Coast Council, the Art Prize is now the annual signature art event on the region’s cultural calendar.

Community Programs Portfolio Councillor Jenny McKay said the Sunshine Coast Art Prize was now one of the richest regional art awards in Australia.

“In its second year, the New Media Award category has again attracted an outstanding selection of quality entries from all over the nation, featuring cutting-edge technologies,” Cr McKay said.

“The New Media Award has certainly made its mark in becoming an integral emerging category of our well established and prestigious Sunshine Coast Art Prize”.

A $10,000 cash prize was awarded to the winner along with a $1250 Highly Commended award sponsored by University of the Sunshine Coast Gallery and a Public Art Mentorship valued at $2500 sponsored by Maroochy Music & Visual Arts Festival. The People’s Choice artist will also receive a $250 cash prize.

Cr McKay said the Arts and Ecology Centre was a fantastic creative exhibition space and the perfect natural backdrop for the New Media Award.

“We were very lucky to secure Australian new media art expert Matthew Perkins and highly respected digital and new media arts curator Lubi Thomas as co-judges for the rapidly evolving New Media Award,” Cr McKay said.

They awarded the $10,000 cash prize to Victorian artist Sheena Colquhoun from Coburg for her video artwork Untitled (build a bridge). 

“We were truly engaged with the winning artwork and the way she cleverly weaved her conceptual concerns with image and narrative – all enfolding into one another to produce a rich layering of meaning,” Mr Perkins said.

“We were taken by Sheena’s crisp production values and very minimal composition showing artistic restraint.

“We also enjoyed how the spoken word occasionally manifested itself as visual text and also motivated an edit point – concept and visual style working in synergy.

“What is clever about Sheena’s work is that it deals equally with issues relating to the construction of language itself, the illusion of the grand narrative of industrial age and reconstruction of cultural memory and history.

“Sheena has created a work that allows multiple readings and this is the sign of an artist that not only has control of the medium but also an artist that has a depth of understanding of the subject matter. A well-researched production.”

The judges awarded the $2500 New Media Highly Commended Award to artist Yandell Walton from Collingwood, Victoria.

“Yandell’s interactive animation Human Effect (Sunshine Coast) is both visually stunning and technically advanced. Much of the interactive work in the 1990s suffered because it was more concerned with technology rather than ideas,” Mr Perkins said.

“Yandell’s work is an excellent example of the maturing of interactive work. The way she deals with issues relating to the destruction of the environment is clever and invites a simple but curious level of interaction with the participating audience.

“Works such as Yandell’s carry a high level of risk – artist working within a zone of ever changing technology and a string of issues relating to computer speed, operating systems and platforms. Human Effect works fluidly and poetically enacting a kind of wonderment within the viewer – child and adult alike – with the magic of the technology evolving the image over time. Yandell’s work evidences technical risk, competency and complexity.”

Maroochy Music & Visual Arts Festival Director James Birrell awarded the $2500 Public Art Mentorship to new media artist Aaron Butt from Ningi, Queensland for his digital video Missed Encounter (Falling Man). 

Mr Birrell said he found Aaron’s work to be conceptually strong offering the audience a chance to reflect on a recent tragedy that is part of a conflict that has engulfed mankind for thousands of years.

Pictured left to right co-judge Matthew Perkins, 2015 Sunshine Coast Art Prize 2015 New Media Award Public Art Mentorship Winner Aaron Butt with Maroochy Music & Visual Arts Festival Director James Birrell.
Pictured left to right co-judge Matthew Perkins, 2015 Sunshine Coast Art Prize 2015 New Media Award Public Art Mentorship Winner Aaron Butt with Maroochy Music & Visual Arts Festival Director James Birrell.

“We are excited about offering an opportunity for the artist to reach a larger audience in a festival environment,” he said.

To view the vibrant Sunshine Coast Art Prize program of events and to register for an inspiring art workshop visit council’s Gallery website.

Local artist Carolyn Cardinet invited to show in BEEAC

Carolyn Cardinet is a local artist living in Port Phillip has been invited to make an installation work in BEEAC next to Colac in country Victoria.

Carolyn Cardinet

I installed the work on ‘Father’s day’ at 11am in the WINDOWSPACE that Anna Sande kindly makes available to artists. In particular artists with an experimental art practice engaging with the environment.

This installation celebrates the relationships and connections of locals with their locality.

The exhibit is an occasion for family’s to see some art on father’s day and will run till Oct 4th and is open for all ages to view.

The installation/performance of everyday objects assembled into a representational image will be filmed to create a time-lapse video as a record of this performance.

Also as part of my invitation in Beeac, I am looking forward to connect with the Men’s shed of Colac to create some work on site.


CAROLYN CARDINET – Assemblage of the Past (2015) 

Current: Sun 6 September – Sun 4 October 2015

Guan Wei wins the $50,000 Arthur Guy Memorial Painting Prize for 2015

Winner of the $50,000 Arthur Guy Memorial Painting Prize for 2015 is Guan Wei.


Image: Guan Wei
born China 1957, arrived  in Australia 1989
Beach 5
acrylic on canvas

Every two years the Gallery invites artists to submit entries for the Arthur Guy Memorial Painting Prize. The most outstanding work as judged by the selection panel is awarded an acquisitive cash prize of $50,000. The Prize was initiated by Mr Allen Guy C.B.E in honour of his late brother Arthur Guy.

The $50,000 Arthur Guy Memorial Painting Prize for 2015 is Guan Wei, for his triptych ‘Beach 5’.

It’s an incredible survey of contemporary painting, see the exhibition of finalists on display until 1 November 2015. Exclusive to Bendigo Art Gallery.

Courtesy of the artist and Nancy Sever Gallery

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