'Waking Time' is part of the series ' So when do you throw the flowers out?', which exhibited at Melbourne's Alcaston Gallery from 8 May - 1 June 2012.In this series Dena Ashbolt used photographic pigment prints, video and Raku Nu ceramic funery urn drawings, to explore time as evidenced by movement and references the beauty of aging. Ashbolt has a continuing interest engaging with the concepts of time, its flow and passing - as evident in this series. Ashbolt has been a regular finalist at the Nillumbik Prize Contemporary Art and in 2009 was awarded the Prize for the video drawing 'Wet Feet Under the Pier'. Ashbolt is a inter-disciplinary artist whose practice ranges from photography and printmaking through to filmmaking and collaborative performance projects.Pigment Print on Hahnemuhle Paper Edition of 7AK18136 PNT817dena ashbolt, photographic print

'Countless Daughters' is part of the series ' So when do you throw the flowers out?', which exhibited at Melbourne's Alcaston Gallery from 8 May - 1 June 2012In this series Dena Ashbolt used photographic pigment prints, video and Raku Nu ceramic funery urn drawings, to explore time as evidenced by movement and references the beauty of aging. Ashbolt has a continuing interest engaging with the concepts of time, its flow and passing - as evident in this series. Ashbolt has been a regular finalist at the Nillumbik Prize Contemporary Art and in 2009 was awarded the Prize for the video drawing 'Wet Feet Under the Pier'. Ashbolt is a inter-disciplinary artist whose practice ranges from photography and printmaking through to filmmaking and collaborative performance projects. Pigment Print on Hahnemuhle Paper Edition of 7AK18137 PNT809photographic pigment prints, dena ashbolt

Jane Annois had a long involvement with Potters Cottage in Warrandyte, where she taught for many years. Potters Cottage was established in the late 1950s in Warrandyte as an artist co-operative. Founding members included Reg Preston, Phyl Dunn, Gus McLaren, Artur Halpern, Sylvia Halpern and Elsa Ardern. These talented artists had the ingenuity and foresight to create a teaching studio, gallery shop and restaurant to experiment, make, promote and sell predominantly domestic wares of the time. These activities helped financially sustain each member’s individual creative practice. Potters Cottage was influential in the development of contemporary ceramics, building and developing practices that experimented with traditional ceramic processes, raw materials and locally sourced clay. The group mentored and nurtured many interested in the art of ceramics, producing alumni and teachers such as Peter Laycock, John Dermer, Greg Daly and Jane Annois. Jane Annois is a ceramic artist who has lived and worked locally in Warrandyte for many years. She focuses primarily on exploring the art of Japanese raku, adapting the technique to develop the typical characteristics of crackle glazes and lustres, with contrasting areas of black. Jane also applies a fine slip called terrasigillata which gives soft, warm ochre colours. This technique was once used by the Greeks over 2000 years ago to seal and decorate their pots. She is also strongly onfluenced by the French potters, particularly in the style of terre vernissee, a decorative form of terracotta tableware. Three piece stoneware and raku fired ceramic sculpture. The first piece is a hollow, dome shaped object. It is orange (terracotta slip) in colour with a copper metallic band and a black edge on one side with a small yellow glazed rounded triangle and metallic strip of colour on the otherside. The second piece is shaped like a traditional vase. It is orange (terracotta slip) in colour with white crackle on the inside. It has a yellow slip edge with a dark glazed square on one side and on the other side a black thick edge that mirrors the contour of this shape. The third piece is shaped loosley in the form of the letter 'z'. It compliments the second piece with a yellow slip edge and black glazed square to its lower left side and top right as well as on its' other side a black thick edge that mirrors the contour of this shape. This piece has a very small skewed square opening at its' top. All three pieces have elements of crazing and variations of colour and lustre, caused by the raku process. 2006.52.1VA has the artist name/signature 'J. Annois' inscriped small (with fine point ceramic tool?) on the front of the piece, bottom right; 2006.52.2VA has the artist name 'Jane'? inscribed (unlegible - with fine point ceramic tool?) underneath; 2006.52.3VA has the artist name/signature 'Jane Annois' inscriped (with fine point ceramic tool?) inside its hollow form. evolution, raku, stoneware, terrasigillata, terracotta, glazes, slip, terre vernissee

Eltham was a creative hub during the twentieth century, attracting innovative visual artists, architects, writers and film makers to collaborate, forging lifelong friendships and artistic legacies. Skipper produced this bronze sculpture of friend, Composer George Dreyfus for the then Shire of Eltham Art Award. Matcham Skipper (b.1921 NZ - d. 2011 Melb.) was a renowned local sculptor, jeweller and builder and an accomplished teacher, designer, ironworker, and photographer. His work is held by many museums and public collections in Australia and overseas. He was a long term resident of Montsalvat in Eltham with his family deeply involved in the building and evolution of this artists colony, which was the vision of architect and painter Justus Jorgensen. George Dreyfus (b.1928 Germany - arrived 1939 Aus) is an Australian contemporary classical, film and television composer. He has composed numerous film and television scores, including Tim Burstall's 'The Adventures of Sebastian the Fox' (1963), 'A Steam Train Passes' (1974), 'Rush' (1974), 'Dimboola' (1979) and 'The Fringe Dwellers' (1986). It was the score for 'Rush' which brought him wider recognition. He has written four operas, two symphonies, chamber music and film scores spanning five decades. Dreyfus is well known for having worked with the late director, writer and producer Tim Burstall, a key figure in Australian postwar cinema and local who lived in Eltham. Burstall was instrumental in rebuilding the Australian film industry in the 60s, creating groundbreaking Australian films including 'Stork' and 'Alvin Purple'. Figurative bronze bust of well known Australian composer George Dreyfus. He is wearing a shirt underneath a sweater. His left arm/hand is placed over his chest. His eyes are half closed as if immersed in the music. A green patina can be seen in areas on the sculpture. Signature and date cast (incised with tool) onto the back shoulder blade: 'MATCHAM SKIPPER 1987'ek prac 2015, montsalvat, eltham, george dreyfus, matcham skipper, bronze, bust, tim burstall, sculpture, rush

Murray is an artist with a renowned reputation within contemporary art practice. This painting was exhibitied in the 1999 Nillumbik Art Award. Oil on linen abstract painting. A painting within a painting. A stretched orange canvas with its back (black wooden support and brace) facing the viewer. It is resting on a pink floor and against a blue wall. Style is quite graphic with strong lines and flat colour. Not signed and not dated. ek prac 2015

The 'Black Saturday' bushfires were a series of bushfires that ignited across the Australian state of Victoria on and around Saturday, 7 February 2009. It was Australia's worst ever natural disaster. The fires occurred during extreme bushfire-weather conditions and resulted in Australia's highest ever loss of life from a bushfire: 173 people died and 414 were injured as a result of the fires.This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. The 'Black Saturday' series is a powerful investigation of emotion and grief as experienced by many Nillumbik residents during the 2009 'Black Saturday' bushfires. A cluster of bronze figurines either stand alone or embrace in groups. Their expressions and gestures of despair are made more pertinent with the raw like application and surface treatment of the material used. The 'Black Saturday' series is a challenging work, but one that encourages healing, connection and empathy. Two men embrace in despair. One man throws his arms around the other man's shoulders. The other man holds the other's back. Surface treatment is textured. Dark metallic brown colour with figures starting to turn a green patina. Note stuck with tape underside of sculpture 'Savage Art Prize Peter Wegner (phone number) The Embrace 2011'wegner, bronze, figurines, black saturday, sculpture

Isobel Clement has been practising since the 1980's. She completed her post graduate diploma at Phillip Institute (RMIT) in 1990. She paints, draws and uses installation for creative discourse. She has had more than ten solo exhibitions. Her work is included in collections such as National Gallery of Australia, the Australian Print Workshop Archive, Art Bank Australia and The Bundanon Trust. She has been shortlisted for the contemporary painting prize, the Bayside Art Award, on three occasions in recent years and was the winner of the Nillumbik Prize in 2009.Isobel Clement is a local artist who won the 2008 Nillumbik Prize. Painted in monochrome the artwork depicts two vases (with decorative edges) and two cups on a table in a row. Each of the four objects are slightly different in scale and shape and parallel to the picture plane. N/Astill life, nillumbik prize, painting, monochrome, vases, cups

Recipient of the Local Prize, Nillumbik Prize for Contemporary Art 2019. The imprints of eucalyptus ficifolia, eucalyptus polyanthemus, grevilia robusta and casuarina verticillata onto woollen blankets. They tell a story of home and comfort, of legacy and place, of connection and continuity. Large wall hanging comprised of strips of recycled woollen blankets stitched together. Each strip has been printed (eco dyed) with organic matter local to the Shire of NillumbikN/Aeco dying, wool, blanket, wall hanging, environment, botanical printing, nillumbik prize, local prize recipient, eucalyptus ficifolia, eucalyptus polyanthemus, grevilia robusta, casuarina verticillata, nillumbik, karena goldfinch

This painting was sparked by a US studio residency at Yellowstone National Park, shortly after Trump’s election. In America, Chin witnessed conservative nationalism and divisiveness, but also an equal reaction promoting diversity and challenging structural inequality. Developing this work in Australia, Chin examined how a sense of place forms fluidly in the consciousness, to surpass geographic borderlines.Kevin Chin is a local artist. He has been a finalist in the Nillumbik Prize for Contemporary Art (2015, 2019). In this painting Chin explores economic, cultural and social structures that shape the world in which we live, questioning who has built what, who takes ownership, and who has the right to the land. Landscape painting depicting a house (upside down) and a half finished urban structure sitting amongst mountain peaks and land that has been cleared and immersed in fog/smoke.N/Alandscape, kevin, chin, structural, inequality, castle, trump, painting, nillumbik, residency, yellowstone, realism, oils

Vipoo Srivilasa works predominantly in ceramics, creating unique contemporary porcelain sculptures, vessels and figures to transmit a universal message of cross-cultural experience. His works explore similarities between the cultures of homeland, Thailand and his adoptive home, Australia. His work is both a playful, and at times a political, blend of historical figurative and decorative art practices with contemporary culture. For more than 20 years, Vipoo has exhibited both internationally and throughout Australia, including Museum of Fine Arts, Boston; Saatchi Gallery, London; Ayala Museum, Philippines; Yingge Ceramics Museum, Taiwan; Nanjing Arts Institute, China and the National Gallery of Thailand. His work is held in national and international collections including the National Gallery of Australia, the Art Gallery of South Australia, GOMA, and the Craft Council, UK.

Winner of Expressions 2008: The Wool Quilt Prize Artist Statement: 'My friend Vriginia named this quilt for me and I thought "of course". A ladder is a means of rising or climbing and I began this work woth a sense of freedom. In this case freedom from entrapment of thought, feeling and creativity.'W7184 'Green Ladder' Catalogue for 'The New Quilt 2003: an exhibition of contemporary quilt textiles' Jo Steele's entry in 'The New Quilt 2003' catalogue Jo Steele's Curriculum Vitae Photocopy from Quilters Guild Magazine, 1998. Jo Steele's 'Eggshells & Iron Bars' Photocopy from catalogue '2002: One step further marvellous minatures', including Jo Steele's entry. Photocopy from '2007 Australian Cotton Fibre Expo'. Jo Steele entry 704. Includes first prize certificate for Section 7: Contemporary Quilting and Patchwork. Certificate awarded to Jo Steele for 'Chill Out!' 2004. Winner 'Fashion Extravaganza' Category. Photocopy from catalogue for 'Territory Craft 30th Alice Craft Acquisition'. Jo Steele entry 133. Photocopy from catalogue for 'The 29th Alice Craft Acquisition'. Jo Steele entries 143 and 144.Jo Steel 34 Neale Street Katoomba 2780 NSW 0413 074 604 'Green Ladder'quilting textile art, steele, ms jo, quilting, textile art

My name is Deanne Gilson and I am a proud Wadawurrung woman living on my ancestral Country around Ballarat in Victoria. My practise aims to highlight and bring back traditional women’s symbols and ceremonial practises that reference the lived experience of my ancestors. By reviving traditional marks found on artefacts and women’s business, I am forming links with past ancestral knowledge so that is not lost and continues for the future generations. My art practice relies heavily on the use of symbols and form as a metaphor for the body. I have worked as a full-time artist for over thirty-five years. Many artworks tell stories of the spiritual aspects of culture and myths. Dreaming and Songlines, further creating a yarning space, bring the gap towards reconciliation and healing for my people and others through shared sharing stories. A main focus of my art practice tells the birthing tree and scar tree stories and how Wadawurrung women have evolved and survived, since before and after colonisation. The old symbols find new life, connecting to the contemporary ones, further connecting us all to this Country we all call home.Yaluk, Beep, Murrup, meaning Water, Country, Spirit, incorporates the traditional mark of the wave pattern (often found on wooden shields) used by my ancestors, along with the basalt plains across Wadawurrung Country. By depicting the interaction between the Water and Country, I use ancestral knowledges that are not seen but intuitive to myself, while juxtaposing them against the ancestral stone circle knowledges, embedded with the DNA of our stories. The ochre is reclaimed as real, it is marni-beek, meaning Country, in particular the white ceremonial ochre, often seen on the painted-up figure and used today to reconnect back to our ancestral memory. Reclaiming what was lost through colonisation, but still present in our Dreaming that flows on today through the water spirit. Country has no time limits and water connects to our bodies, which are made up of water. We as a clan, are still here today, living and being on Country, our ancestral spirits live on through us. The original painting is a contemporary account of using ochre to reclaim ancestral knowledge and to be part of the ceremony that is yaluk, beep, murrup. wadawurrung, deanne gilson, water, country, spirit, first nations art

The quilt was purchased from the Wool Quilt exhibition held at the National Wool Museum in 1995. It was subsequently exhibited in the Expressions 2000: The Wool Quilt Prize exhibition in the 'Invited exhibitors' section of the show. (Jan Irvine wrote the catalogue essay for this exhibition.) The quilt is part of the "Running Stitch" Collection. This quilt is titled "Sure as Night follows Day" and was made by Jan Irvine from worn and recycled woollen blankets with wool batting. The quilt has been crazy pieced, air brush dyed and hand quilted. The quilt was exhibited in the Running Stitch Contemporary Wool Quilt Exhibition held at the National Wool Museum in 1995 and was purchased for $1800 from this exhibition. The quilt was catalogue entry no. 18. It was later exhibited in "Expressions 2000: the wool quilt prize" from 16 Sept. to 3 Dec. 2000 (extended until 2/2/2001, catalogue entry no. 26).Catalogue entry from "Expressions 2000" Catalogue, held 16th September to 3 December 2000. Introduction to exhibition "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery. Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 6 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 7 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 8 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 9 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 10 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5SURE AS NIGHT FOLLOWS DAY DESIGNER + MAKER: JAN IRVINE NSW AUSTRALIA MADE:1995...quilting, handicrafts, textile art, running stitch group, blankets, running stitch collection, irvine-nealie, ms jan

Example of WWI French Art, using found material.Contemporary label, Whimsical article made from weapons (hand grenade + Bullet casing) + uniform buttons.Example of WWI French Art consisting of hand grenade "bird" mounted on wooden base using .303 calibre cartridges as pivot surrounded by 4 British Buttons as "fence".Contemporary label: The Egg-Bird" found in "No-Man's Land"french art - mounted with contemporary label..

Framed colour poster titled: "new energies/Contemporary Artists of South Gippsland" 18-19 March 2000, Memorial Hall, Leongatha. Black card window mount set in green powder coated metal frame. features a photomontage of art and craft images with text headings which include: "ceramics, photography, sculpture, print, paint, furniture, advice, workshops, technology, galleries, exhibitions, and networking".

This work was painted following Rob McHaffie’s Australia Council Residency at Cité Internationale des Arts in Paris in 2007. Despite Paris being a beautiful city, McHaffie also found the experience challenging and felt that on a bad day, the city was no more than an ornately decorated concrete jungle. In this painting a monkey looks out from a green building onto an imagined scene abound with art historical references. A classical European figurative sculpture is surrounded by flowers from Monet’s gardens, while a contemporary sculpture by Franz West dominates the foreground of the work. McHaffie questions the so-called evolution of cultured humanity in comparison to the imagined contentedness of our pre-evolved species.oil on linenmonkey, sculpture, painting, rob mchaffie, paris, flowers, franz west

With a career spanning over 30 years as a painter, Stieg Persson is a well known figure within the Australian and international art world. Persson’s work is celebrated for his distinct (yet eclectic) style, which consists of elements associated with abstraction, figuration and decorative art, as well as the artist’s deeply intellectual interrogation of Australian culture and society. In this work titled, Duck and quail eggs, Italian herbs, Persson reflects on contemporary parallels in changes of taste and the desire for decadence as a political and social drive. Inspired by Brighton’s iconic Church and Bay Streets, the artist addresses the social currency of luxury and high-end cuisine by depicting rococo style blackboards which offer the latest in fine dining, alcohol, exercise classes, skin treatments and lavish linens. Persson is presenting a subtle critique of the contemporary obsession with food; as contemporary society places greater significance on the connoisseurship of eating, it does so in lieu of engagement with culture as it is traditionally conceived (music, theatre, literature and art).oil on linenstieg persson, brighton, signage, graffiti, food, chalkboard, bayside, painting

The gouache was presented to Cr Jill O'Brien, Mayor of Kew in 1983-4, who was instrumental in the purchase of the window. The same Kewriosity article, referred to in the physical description, states that the window was originally commissioned from the artist by a Kew timber merchant, and following ownership by successive owners found its way back to Kew. The framed photograph is part of the Jill O'Brien collection which was gifted to the Kew Historical Society following her death in July 2016. The collection includes important primary sources relating to a number of areas in which Jill O'Brien made a significant contribution including the establishment of the Villa Alba Museum, local government, the Kew Historical Society, the Yarra Bend Trust, and the arts.Framed gouache on paper of the design by the artist Alan Sumner for his window, The Four Seasons. The window, now in Kew Library was purchased to commemorate Kew's 125th Anniversary. An article in a contemporary issue of Kewriosity states: The window is approximately three metres in diameter and divided into one central and four outer panels. Clockwise from the top is Autumn with sinuous lines in yellow and brown, then winter in cool blues and mauves with lines and circles suggesting rain, snow and hail. Spring follows in the bottom left quadrant with organic ovaloid shapes richly coloured and lines evoking growth. Then to the top where summer explodes with the colours of fire and blue of the sky at the height of summer. The centre panel has a powerful image of sun, moon and stars which links the surrounding panels".jill o’brien, public art - kew (vic), stained glass - kew (vic), alan sumner - the four seasons, kew library, public art

‘Adeney Avenue’ was the title given to this painting following its donation to the Kew Historical Society, yet the work’s origins predate the naming of Adeney Avenue in 1907 [originally gazetted as ‘Park Street’ (1865) and ‘Park Street South’ (1875).] Park Street ran between High Street and Parkhill Road beside what was later to become ‘Victoria Park’. This area was described in 1851 as “…a dense forest of gums and wattles which were to be largely cleared by 1888 after the naming of a recreation reserve”. The Reserve was still bisected by an unnamed creek in 1896, when the area was surveyed by the MMBW. The panoramic vista selected by the artist would appear to include ‘Eborensis’ (c.1895) on the corner of Parkhill Road and what was then Park Street, with views across cleared land towards the distant ranges. In the 19th century, north Kew was largely undeveloped farms stretching down to the Yarra. Oil on canvas by an unidentified artist of a panoramic view depicting what is now known as East Kew with mountains on the horizon. In the foreground is a two storey brick residence - Eborensis - located on the northeast corner of Parkhill Road and what is now Adeney Avenue. The view of the landscape and its rolling hills resulted from farming practices adopted following colonisation and settlement. Trees in the foreground and in the distance include remnant Eucalypts and introduced exotics.Label on rear of frame states "House on corner of Adeney Ave & Parkhill. [Regd. 254"]. Otherwise unsigned and undatedadeney avenue (kew), eborensis, park street (kew)

This contemporary view of the Keilor Hotel emphasizes the artist's expressive brushwork.Raymond Mudford. The Keilor Hotel. Oil on board, 59.5 x 80cm,

Well known, contemporary artistBlack and white photograph

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The black swan cloak refers to the black swan of Geelong and Ballarat were the swan has had its own fight to survive during the early colonial years where white swans were introduced by colonisers and the black swan fought back as they do not naturally get along. The wave pattern is taken from a traditional shield pattern held in the Melbourne Museum, South Eastern archive collection of shields. The wave refers to the water and travelling across water to fish, hunt and survive. This cloak is about survival, water, and the swan living on the water. It also refers to a contemporary dance of Kunuwarra the black swan, which was performed by a group Wadawurrung women (including artist Deanne Gilson) for Tanderrum (Melbourne – Naarm) in 2016. The dance is available to watch on youtube.Black swan, heart motif with water design on outer cloak, female figure and red native flower design on lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, first nations art, wadawurrung dja

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Waa the Crow Totem Cloak (Waa represents our ancestors watching over us). Waa and all the birds get their names by the sounds the bird makes.Blue feather motif with blue star background on outer clock, blue and black feather design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Deanne states that this is her favourite season and she loves painting the small orchids as they flower after the cold season begins to clear.Black cloak with pink and purple toned flower motif on outer cloak, purple and black diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

‘By Wagga Design’ is the winner of the Art Quilt Australia 2019 Expressions: Wool Quilt Prize. Barbara Mellor, of St Helens in Tasmania, made this quilt after researching the history of waggas and was fascinated by this early form of recycling. ‘By Wagga Design’ is her contemporary take on the traditional wagga that was born out of hard times and limited resources. Barbara wrote the poem below while thinking of the workers who used waggas while travelling: Black night campfire night sheep in the shadows dreams on the track a comforting wagga stitched with love for a homesick heart. The wagga was made in 2017 and was first submitted into the Bay of Fires Art Prize. In 2018 the wagga was submitted into the Break O’Day Stitchers Quilting and Embroidery Exhibition, where it won the Hanger’s Prize. Barbara sourced the fabrics used from a variety of places. Some are from her personal collection while others were given to her. She purchased a woollen three-piece suit from a local op shop and decided to incorporate it into the design, making some unique and distinctive shapes. Another distinctive feature of the quilt is the patch labelled ‘Parkside’. Barbara noted that it was cut from a blanket she purchased from a garage sale from a property that had once been a caravan park titled ‘Parkside’ in the 1960s. The filling of the wagga contains the rest of the Parkside blanket.Quilt made from various woollen garments and bedding in cool tone colours. Patches mostly cut into square and rectangle shapes. Three patches made from a second-hand woollen suit, showcasing the arm with cuff buttons, pocket flap on a hip pocket containing a pocket square and front of vest with buttons. wagga, art quilt australia, expressions: wool quilt prize

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby.Stoneware bowl with flange. Glazed in white matt crackle with a faint copper red tint. Dry black glazed rim. Gift of the artist.Robin Welch stamped on baseceramics, robin welch, gippsland, gppsland campus, jan feder memorial ceramics collection

Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Stoneware bowl with single flange. White glaze with copper tint. Dry black glaze underneath and airbrushed lustre banding. Robin Welch stamped on base.ceramics, robin welch, jan feder memorial ceramics collection, jan feder, gippsland campus, stadbroke pottery, mungeribar pottery

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery