Tadich spends time observing night time phenomena, the light from the moon, street lights and other sources; atmospheric states, fog and dampness and the nature of surfaces, vegetation, road, vehicles and buildings. She uses photographs and sketches before settling on the final idea for a work.This painting is typical of Tadich's recent work. She continues her exploration of the Australian landscape (most often the local, Nillumbik Shire). It is 'a dramatic interplay between narrative, landscape and the binaries of light/dark and the known/unknown of local landscape. The swathes of darkness within the work(s) pose questions about our inscribed fears and tensions, both cultural and existential'. (catalogue, 'Silent Space' Ex. 2006) Tadich's early experiences of fireworks, simple fireworks and bonfire in the surrounding bush of her outer Melbourne home, caught her imagination. She was inspired to investigate the issues surrounding nights in the bush. In this painting the narrative is ambiguous, the pinpricks of light, in this case from the car headlights provide a critical element. We can distinguish familiar features, a road, trees and a car that suggest human presence. However, what is going on is unclear. The resulting tension can leave us unsure, unsettled and anxious.Oil on canvascamilla tadich, nillumbik shire council, kangaroo ground

oil on canvasek prac 2015

acrylic on canvasek prac 2015

Oil on canvasSigned l.l. cnr, oil "C. Beckett"foreshore, beaumaris

Oil on canvasVerso: Signed l.r. scratched "W.B. McInnes". Not datedlandscape. seascape. coastal view.

Oil on canvasRecto: Signed and dated l.r. oil "John Ford Paterson 1893"forest. tree ferns.

Acrylic on canvasSigned and dated l.l. pencil "Joseph Brown 1998"hill

Oil on canvasSigned l.r. cnr., blue paint "FORBES".boy, river

Oil on canvasVerso in charcoal u. centre "RODNEY FORBES / CUP DAY 1992 / OIL 111.6 X 83.7 CM " (in a square box)backyard, bbq, police, sunbather, dog

Oil on canvasSigned and dated l.r. oil 'F Mesaric 07"figure

Oil on canvasSigned and dated l.r oil "F Mesaric 06"

Oil on canvasSigned lower right corner 'Jungwirth'. Not dated

Oil on canvasSigned, dated and inscribed verso

Oil on canvas

Oil on canvasSigned, titled and dated versofactory, industry, power, landscape, industrial

Oil on canvasSigned R. Forbes in lower left corner. Verso: 1989 upper corner.

Oil on canvas-

Oil on canvasSigned and dated 'Bellany '83' top right corner of painting.

Oil on canvas-

Oil on canvasSigned top left corner of work.

Acrylic on canvasSigned and dated 'E Harrison 03' in lower left corner of painting.

Oil on canvasSigned top left of painting.

Oil on canvasSigned 'James R Jackson' in lower left corner of painting.

Oil on canvas Signed 'Geo. Colville' lower right corner of painting.

Oil on canvas.Signed and dated upper right corner 'Armstrong '76'

Plastic on canvas

Oil on canvasSigned and dated on reverse.

Oil on canvasSigned and dated on reverse top left "Euan L Heng 85"

Winner of the inaugural Sandringham/Beaumaris Acquisition Art Award, 1978, judged by Roger Kemp.Craig Gough, Blues get bluer 1978, oil on canvas, 152 x 121.5 cm. Bayside City Council Art and Heritage Collection. Winner of the inaugural Sandringham/Beaumaris Acquisition Art Award, 1978.oil on canvassandringham, craig gough, bayside, blue, abstract, painting, beaumaris art group, roger kemp