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Ruth Waller
Ruth Waller is a painter whose recent work has developed out
of her interest in the picture spaces of pre-Renaissance narrative
painting. In stripping these spaces of their narrative action,
her pictures develop a dialogue with modernism, but they also
are intended to allude to the struggle to find a meaningful
space for painting in contemporary culture. She is represented
by Watters Gallery in Sydney. In 2000 she was awarded an ACT
Arts Fellowship and spent three months as Artist-in-Residence
at the Australia Council Barcelona studio.
Robert
Boynes (Adjunct Associate Professor)
Robert Boynes graduated from the South Australian School
of Art in 1962, and has also completed post-graduate studies
in printmaking and film. These interests have continued to
provide a strong research base for his work, and inform much
of the dialogue between his painting and new media.
Boynes
has had 50 solo exhibitions in Australia, UK and the USA.
He has been included in numerous important international projects,
surveys and art fairs. His works are in the collections of
all state galleries in the country and part of many corporate
holdings throughout the world. Boynes' paintings have always
reflected his observation of the built environment, the social
conditions and the political debate that follows. Since the
mid 70s Boynes has combined large format silk-screened and
painted images. In 1992 he began incorporating computer manipulated
images extending these processes and their interface with
painting.
Some of Robert Boynes' recent achievements include commissions
in public spaces for the ACT Legislative Assembly and the
Federal Court in Canberra. He was an Artist-in-Residence at
Artspace in Sydney for three months in 1998-99, and in 2000
at the Arthur Boyd Foundation-Bundanon Trust Riversdale studio.
His work was part of Project 2-2000, Sydney Biennale
as was also part of the Olympic cultural program at Access
Contemporary Art Gallery in Sydney. In 2000 he also held an
exhibition of new work will open at the Austral Gallery in
St. Louis in the USA.
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Peter Maloney
I have been exhibiting paintings and drawings primarily in Sydney since 1989, being the lucky first artist shown at the Legge Gallery which opened in that year. My work has always been informed by gestural abstraction. Lately that formal underpinning is less obvious with the addition of text and "spirograph" scrawl applied using painstaking template and tracing techniques. I introduced hand painted photographic works to my practice 5 years ago in order to explore some personal/social obsessions: music, sex and (sadly) the impact of the AIDS pandemic. My paintings have been exhibited widely and are represented in corporate, private, and museum collections.
During the 80s I worked as a stills photographer for a Berlin underground film maker and also at that time was a 'bar useful' at a nude bar in Corsica. In 1996 I occupied a studio at the Cite des Arts in Paris. I had a solo show at the Australian Centre for Photography in 1997 and had the pleasure of exhibiting a large show at Canberra Contemporary Art Space in 1999. Recently the photographic works were exhibited in Rome and New York City.
I was invited to the school as Artist-in-residence in the Painting Workshop in 1998 and, since then, have been teaching here, having found no reason to leave. SofA is the hub of the art community in the region and being here has allowed me to seriously focus on my own work, which I must say has benefited by the constant interaction/interruption with students and their own work.
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Deborah
Singleton
Deborah Singleton has taught at the ANU School of Art since
1990. Prior to this she taught at the Northern Rivers College
of Advanced Education, Sydney College of the Arts and the University
of Sydney Arts Workshop.
She
has qualifications in Fine Arts from the University of Sydney
as well as a degree and a postgraduate diploma in Visual Arts
from Sydney College of the Arts.
Deborah has exhibited in solo and group shows in Sydney, Melbourne
and Canberra. Most recently she exhibited a series of computer
manipulated images at the Canberra Contemporary Art Space.
Her current work involves the combination of painting and
computer manipulated images. (Currently on Leave)
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Noel
Ford
Many years ago, an old man packed into a small case the
few things that he would need for his day's journey. He lived
in a small modest room, in a very large apartment block, containing
similar rooms. The apartment block was in a large, ugly, bleak,
grey city.
The
old man travelled by foot to the bus stop. The bus took him
to a railway station – the train took him far from his home.
At the end of the rail journey he caught a second bus and
travelled further, after which he walked some distance, finally
reaching his destination.
The old man was standing on the shores of a very large bay
where enormous craggy weathered mountain tops thrust themselves
up out of the water, their tops covered in twisted and gnarled
vegetation. The scene was misty, flocks of birds darted about,
the sunlight was diffused and gentle. Standing quite still
on the shore, he took his fill from this, his special place.
Having replenished himself, he returned home.
Finally arriving home, he proceeded to paint, with great gusto,
his day’s experience. Asked why he took neither drawing materials
nor camera to record his experience, he replied "Oh no, I
have something much better than any of these things". He continued,
"I absorb the essence of what I see".
My journey commenced on the 10th November 1946 in Coonamble
N.S.W... my journey continues as I live and work in Canberra.
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Peter
Jordan
I see the subject of a work as the concrete idea on which
a painting can be ‘hung’. When finished, I might find that the
subject is no longer recognisable and may be called abstracted.
This thing, the subject, is a tiny part of a painting, like
content. Poussin used mythological subjects as a starting point,
subject matter which you can take or leave, but from which he
made some great paintings.
To
have something to say may means that you wish to illustrate
a point. I have no interest in using painting as a didactic
tool. Some people think you should have something to say,
but to me a painting is always silent.
Often my paintings are based on a feeling, and then they may
turn into a person or a landscape or a jug or something else.
Objects are used as part of the formal consideration of a
work. Good art can be summed up in the line by Helmut Ferderle
who wrote "I sense it as something that stays with me as a
quality."
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