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Wangaratta Art Gallery
Textile, Mohsen Meysami, Between the Devil and the Deep Blue Sea, 2017
“Between the devil and the deep blue sea!” is a special work to me for different reasons. It was my first experience ever working with textile, and it was my first major artwork that I made and exhibited in Australia. I moved to Australia in 2011 and lived in Perth for 5 years before I moved to Melbourne in 2016. I didn’t have a chance to make many artworks when I was living in Perth and it was mainly because I needed to work full time in order to afford the living costs. Melbourne was totally different though. I moved to Melbourne after I was awarded Australian Postgraduate Award (APA) to study my PhD at RMIT University. This was a fantastic opportunity for me, not only because it helped me financially, but also because it gave me the opportunity to develop my practice and research experience. Being new in Australia and Melbourne though, I needed to familiarise myself with the art community in Australia and find ways that I can introduce myself and present my art. I knew that exhibiting in Australia will be challenging and I thought I can start with looking for opportunities like group shows and awards. The Wangaratta Contemporary Textile Award was the very first one that I applied for and it was definitely a great starting point for me. It gave me the confidence to look for other opportunities and that my decision for working with the material and methods that I had no previous working experience with, was a right one. Between the devil and the deep blue sea! is about a dilemma. A dilemma where on one side there is all the memories of the past, home, family, and friends. Everything that was once a life and now is only a memory. There is the threat of death, terrorism and violence and there is no hope for a better future. On the other side, there is a better chance for staying alive, but there is nothing clear about the future. Where you go and what you will be called; A terrorist? Or someone that is there to take the jobs and money!? We are watching the news and seeing tragic accidents happening all over the world every day, but what makes us indifferent to the suffering of others was something that I became interested to learn more about it. From the beginning of my project, I was interested in discovering more about the notion of indifference and that came from my own position as an observer. I am an Iranian living in Australia. On the one hand, I am observing wars and conflicts in the Middle-East from a distance and on the other hand, from not much a distance! I am living in Australia with a great distance from the Middle-East in terms of the geographical distance and the differences in socio-political situations. On the other hand, and despite Iran’s current safe situation, there is no guarantee for a stable peace in the future. Being not here nor there, I am an observer who won’t be in peace in peaceful Australia, and can’t feel the depth of the pain for people living in war-torn countries such as Syria and Iraq. The indifference phenomena can be studied from different disciplines, however, there can not be a simple and unique explanation for its cause. Regardless of different explanations for the causes of the indifference, what I am most interested in is to explore the ways I can show the “indifference” itself. For this, I seek to focus on my simple interpretation of the phenomena, which in my mind is “seeing tragedy, not tragic.” In other words, whether the indifference is caused by information overload, or distance from the sufferer for example, people don’t feel the pain and can’t understand the conditions others in pain are experiencing. Based on this explanation, the focus of my artworks is to depict and highlight the contradiction between the pain and the indifference. In my art practice, I often use colourful and attractive materials in combination with a visual language that reference to the aftermath of tragic events of wars, to provide a symbolic representation of indifference in the form of an artwork. This is my artistic approach in explaining the notion of “indifference”, that can illustrate my ideas around “seeing tragedy, not tragic”. to give voice to my own concerns and position as an Iranian artist, I am interested in utilising visual elements from traditional arts of Persia and the Middle-East. In selecting rugs and fabrics that I use in my artworks, the weaving quality is not my concern. Moving beyond this, I am looking for features which express and underpin concepts such as antiquity, resistance, simplicity, and peace which sit in stark contrast to the terrorising and militant image of Middle Eastern people portrayed by the mainstream media. Nowruz (Persian New Year) 21 March marks the Persian New Year and the first day of spring in Iranian calendar. It’s the time of the year when all Iranians and many other Farsi speaking nationalities (Afghans, Tajiks, etc.) celebrate together. My wife and I are planning a trip to Iran for the new year holidays and it would be our first time to celebrate the new year with family and friends in Iran since 2011. It is believed that Nowruz has a long history of around 3,000 years and is rooted in Zoroastrianism, an ancient Persian religion that predates both Christianity and Islam. Every year Iranians celebrate this very special event at different times and it’s because the exact time of the new year depends on the exact calculation of when the length of the day and the night are equal. There are many things about the Persian new year to be excited about and sitting around the Haft-Seen table (7sin) with family is with no doubt the most exciting one. Haft-Seen is a set of seven symbolic elements beginning with ‘S’ in Farsi that Iranians arrange them together to decorate a table that family sit around and celebrate the beginning of the new year. The most common items found in Haft-seen decoration are: Sabzeh: Wheat, barley, mung bean or lentil sprouts growing in a dish, Samanu: Sweet pudding made from wheat germ, Senjed: Dried Persian olive. Seer: Garlic Seeb: Apple Somāq: Sumac Serkeh: Vinegar Sekkeh: Coin that symbolise health, wealth, abundance, etc.Wangaratta Art Gallery Collection, Acquired with the assistance of Robert Salzer Foundation.A used Persian Rug that has had a motif of two heads and an explosion hand-stitched onto it.mohsen meysami, textile, rug -
Nillumbik Shire Council
Artist Book: Theo STRASSER, Ghost Bones, 2017
Nillumbik Prize 2018 finalist. The artist lives and works in Nillumbik. A juxtaposition of the mechanical (digital camera) with the hand painted. Each turning page exposes the artist’s own experiences and responses to his environment. The book unfolds into a sequence of pages that opens up to a landscape. digital photographs and hand painted (detailed/cropped) images of trees on paper, encased in an archival box. -
National Wool Museum
Quilt, Ms Suzanne Reid, Klimt Print #2, 2017
Called "Klimt Print #2". Winning quilt in the 2017 Expressions Wool Quilt Prize Statement: "Every finger print is unique just as the art of Gustav Klimt is unique leaving an imprint for us which only he could leave." Art Quilt Australia 2017, held at the Queen Victoria Art Gallery (Royal Park location) Launceston, Tasmania, includes the 2017 winners of the prestigious Expressions Wool Quilt Prize (sponsored by the National Wool Museum) and the OZQN Award of ExcellenceWhole cloth painted quilt, hand wool embroidery, wool thread and metallic thread quilting.Klimt Print #2 Sue Reid -
Stawell Historical Society Inc
Photograph, Keith Boyd
Keith Boyd - Head teacher April 1950 to December 1955B/W Portrait of a male standing, with hands folded behind his back. Trees in backgrounddeep lead school, education -
Stawell Historical Society Inc
Photograph, Pomonal Apples being loaded at the Stawell Railway Goods Shed
Group of men pushing trolleys with boxes of Pomonal apples at Stawell Railway Goods Shed. In the background are more men overseeing the loading of fruit. In the 1930's many cases of apples were exported overseas. The original photograph is held at the public records office. Y.P.R.S. series no. 3457 no 113. The Stawell Historical Society had permission to copy this photograph from Northern Grampians Shire Commissioners. Group of men in a shed pushing hand trollies with four boxes of apples loaded on each trolly.stawell -
Aquinas College Ringwood
Booklet, Aquinas Girls College Graduation Dinner 1977, December 1977
Signed on the night of the Graduation Dinner of Aquinas Girls College 1977.One signature reads "To Mandy" so this may have been originally intended for one person. Signature of John Mahon, former Principal of Aquinas College on front cover. Signatures make this item unique.Green A4 card folded to A5 size, printed both sides. Hand signed by attendees.Aquinas logo on front cover. Signatures of attendees on front and back cover, including signature of John Mahon former principal of Aquinas College.graduation dinner, aquinas girls college, john mahon -
Stawell Historical Society Inc
Book, Evelyn Hunt, The Federal Exercise Book by Evelyn Hunt, 1909
A School Book belonging to Evelene Hunt. S.S. 502 Registor Number 10431 Evelene G.A. Hunt. Born 7-1-1901. Admitted January 1906 - Infant Class. Daughter of George Hunt, Kofoed Street. Carpenter. Sept 1913 Grade 6Faded Red/Brown cover with black Print design and title. Hand written name and SchoolEvelyn Hunt State Schoolstawell education, primary school, 502 -
Whitehorse Historical Society Inc.
Textile - Tray Cloth, not known
Used by Mrs Jean Ashcroft (nee Beard) Probably worked by her in scotlandLinen centre with drawn thread worked in shape of squares with hand crochet border and scalloped edgingmanchester, table linen -
Whitehorse Historical Society Inc.
Map, Aspinall's old abattoirs, Box Hill, 1937
Hand drawn plan of subdivision of old abattoirs site, Woodhouse Grove, Box Hill North.Hand drawn plan of subdivision of old abattoirs site, Woodhouse Grove, Box Hill North.Hand drawn plan of subdivision of old abattoirs site, Woodhouse Grove, Box Hill North.land subdivision, aspinall's estate, woodhouse grove, box hill north, aspinall road, box hill north, abattoirs -
Whitehorse Historical Society Inc.
Textile - Doyley
White square doyley embroidered motifs in each corner in white cotton, hand embroidered edging.handcrafts, embroidery -
Whitehorse Historical Society Inc.
Domestic object - Place Mat
Till collectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Cream cotton hand woven place mat with shades of orange patterns fringing on long sides.domestic items, table setting, handcrafts, weaving -
Whitehorse Historical Society Inc.
Document, Removal of Trees, 2016
The fate of backyard trees bordering the rail line boundary in Blackburn may rest in the hands of the residents.The fate of backyard trees bordering the rail line boundary in Blackburn may rest in the hands of the residents.The fate of backyard trees bordering the rail line boundary in Blackburn may rest in the hands of the residents.blackburn, level crossing removal authority, trees -
Whitehorse Historical Society Inc.
Tool - Tongs, c1920
Made from hand forged steel, used for holding hot steel; whilst being forged.trades, blacksmithing, rural industry, farm machinery -
Whitehorse Historical Society Inc.
Tool - Tongs, c1920
Made from hand forged steel, used for holding hot steel whilst being forged.trades, blacksmithing, rural industry, farm machinery -
Whitehorse Historical Society Inc.
Tool - Tongs, c1920
Made from hand forged steel, used for holding hot steel whilst being forged.trades, blacksmithing, rural industry, farm machinery -
Whitehorse Historical Society Inc.
Tool - Tongs, c1920
Made from hand forged steel, used for holding hot steel whilst being forged.trades, blacksmithing, rural industry, farm machinery -
Whitehorse Historical Society Inc.
Tool - Tongs, c1920
Made from hand forged steel, used for holding hot steel whilst being forged.trades, blacksmithing, rural industry, farm machinery -
Whitehorse Historical Society Inc.
Craft - Sampler
Example of embroidery stitches.Hand embroidered sampler Various designs worked by Embroider. Green and yellow Red and Silver threadspersonal designs, green, yellow, red and silver stitching -
Rutherglen Historical Society
Image, c1860
Photocopy of a sepia toned photograph of three gold miners with a rocker box and other hand equipment.Comment written on file folder "re Wilson & Bell"gold mining, mining, rocker box -
Ballarat Heritage Services
Ceramic - Studio Pottery, Pottery Vase with Crystaline Glaze by David Williams
David WILLIAMs David Williams established Toolangi Pottery in Toolangi, Victoria, in 1977. In 1980, he completed a BA in Fine Art from Phillip Institute of Technology (now part of RMIT University). He produces mainly crystalline glazed bowls, platters, vases, lampbases and other domestic ware. His works are marked with an impressed stamp reading 'David Williams' or 'David WIlliams Handcrafted in Australia ' and he also used a cursive 'DP Williams'.Photograph of a hand thrown ceramic vase with crystalline glaze. It is signed on the base with a cursive 'DP Williams'. ceramics, pottery, david williams, crystaline glaze, crystalline glaze, toolangi pottery, studio pottery, australian studio pottery -
Ballarat Heritage Services
Ceramic - Ceramics, Pottery Vase by Kevin Crick
Potter Kevin Crick was based in or around Moruya on the south coast of NSW in the late 1980s and 1990s. He exhibited at the Granite Grove Art Gallery in Moruya in 1987 according to an article in the Canberra Times. He made well-thrown and glazed functional ware with an impressed mark consisting of three horizontal lines in a square, with a raised circle bisecting the top line. Photograph of a hand thrown and decorated ceramic vase by Kevin Crick with impressed studio mark on the base. ceramics, pottery, kevin crick, studio pottery -
Ballarat Heritage Services
Ceramic - Ceramics, Pottery Vase by Gambles Pottery
Photograph of a hand thrown and decorated ceramic vase by Gambles Pottery with impressed studio mark on the base. ceramics, pottery, studio pottery -
Ballarat Heritage Services
Ceramic - Ceramics, Pottery Vase by Gambles Pottery
Photograph of a hand thrown and decorated ceramic vase by Gambles Pottery with impressed studio mark on the base. ceramics, pottery, studio pottery, gambles pottery -
Ringwood RSL Sub-Branch
Book, HMAS Mk iii, 1944
Hard cover 198 pages with copies of hand drawings with list of Awards to Australian Naval personnelPublished by Australian War Memorial Canberra ACT 1945 -
Ringwood RSL Sub-Branch
Book, HMAS Mk ii, 1943
Hard cover with 200 pages including copies of hand drawings with colour and black and white photographsThe RANs Second Book. Published 1943 by Australian War Memorial Canberra ACT -
Ringwood RSL Sub-Branch
Book, HMAS, 1942
Hard cover with 200 pages. Contains copies of hand drawings with colour and black and white photographs.Published by Australian War Memorial Canberra ACT 1942 -
Whitehorse Historical Society Inc.
Photograph, Victor Rhodes, c1950
see ND4174Black and white photograph of Viictor Rhodes seated on a stool with the hose in hand. Victor was a Vermont orchardist.rhodes victor, orchardists, orchard, bluebird dell -
Ballarat Heritage Services
Souvenir - Object, Ron Catternach, Daylesford and Hepburn Springs Plaque, 1980s
Ron CATTERNACH A sculptor who was living in Glenlyon when this work was produced. It may have been made for Confest, which was held in Glenlyon in 1981, 1982, 1986 and 1987, or for the Daylesford Spa Fest.The medallion was hand carved and then cast in cement fondue. Pan offering the godess a cup of mineral water?daylesford, hepburn springs, disc, ceramics, ron catternach -
Hume City Civic Collection
Door Handle
This handle is believed to be from the first safe used by the Shire of Bulla. It was given to Mr. Kevin Smith by the Shire Secretary Mr. Tom McCormack.A heavy round base handle with a hand coming from the centre holding a rod that forms the handle.:Cozens & Harveys..."shire of bulla, smith, john, kevin, george evans collection -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, 1941c
Hand tinted photograph of Vera Allen at 18 years of age of Myer Street Lakes Entrancegenealogy