Vista presents the work of six painters with connections to North East Victoria whose practices engage with the landscape and ways of seeing.
Anthea Kemp and Tony Flint’s works present dramatic renderings of places of personal significance and the impact of human habitation. Robert Hirschmann and Kirstin Berg’s layered constructions explore the forces that occur in nature and how these mirror psychological and physical experience. Ivan Durrant’s dark photorealistic paintings of interiors of shearing sheds are pierced through with intense light flooding in through gaps in walls and ceilings. Nina Machielse Hunt engages with the rich history of the region and its stories of the gold rush and bushranger heritage.
Image: Anthea Kemp, Ranges, 2015, oil on linen. Courtesy of the artist.
The Salon presents an extensive experience of the Benalla Art Gallery collection. Hundreds of works from the Collection, including paintings, prints, drawings, decorative arts and furniture, will be displayed in a 19th century salon style.
Image: Eugene Von Guerard, The Falls at Velino, near Terni, n.d. Ledger Gift.
Eva Ponting (Gunditjmara), Lyn Thorpe (Yorta Yorta), Naomi Ota (Japan/Australia), Cynthia Hardie (Yorta Yorta)
Developed for Collisions – A Cross Cultural Artist’s Collaboration, a partnership project between Gallery Kaiela & SAM Shepparton Art Museum.
Collisions: Cross-Cultural Collaborations provided an opportunity for artists from a diverse range of backgrounds to come together and collaborate in the making of art. The project involved a number of local Indigenous artists partnering with established contemporary artists, collaborating side-by-side, or in response to each other’s practice. The participants included North-East Indigenous weavers Aunty Cynthia Hardie, Eva Ponting and Lyn Thorpe with Naomi Ota, a Melbourne-based installation artist whose work uses fabric, hand made fibre paper and other fibrous materials. Through the sharing of ideas, narratives and techniques, the artists engaged in an exploration of cultural difference and similarity, conflict and connection, forging relationships in a dialogic exchange that departs from the art-making process.
Unfolding over several months the project was a journey - as the artists charted the treacherous waters of cross-cultural identity politics, intersected by the post-colonial wake. The project reimagines the scientific notion of a ‘collision’ as a creative act; an encounter between particles resulting in the exchange or transformation of energy.
This collaborative installation combines organic and man-made materials, with diverse cultural historic, artistic traditions and expertise such as weaving and making of fibrous textiles. The installation incorporates coolamons, Indigenous vessels traditionally used to carry food or cradle babies. Their inclusion pertains to spiritual birthplace, the cycles of life and gathering sustenance. These suspended mobiles refer to blood lines, genealogy and a sense of universal connectivity.