Last hurrah at Bega…

Final show for the year at Bega was Out of the Box III; an unselected, totally random, no holds barred, anything goes (as long as it arrives in a small AusPost gift pack) kinda show – which the locals enjoy tremendously.

It was opened and judged by Phil Moriarty, who kept the crowd entertained with some fine art-theoretic observances (like, “it looks like a whole lot of arseholes to me…”!!) right up to the winning pronouncement. It was a lot of fun.


The most we could get out of Megsie was “I’m looking forward to next year.”

Meanwhile, the big news of the night was Ginger’s – she got into Gold&Silver!!  How fabulous; we’re all very proud.

(above) Rach, Ging, Eryca & Ulan.

For a few more snaps go here.

SCA glass show…

Spike from the SCA has asked us to post news of the upcoming SCA glass studio show – plenty of grist for the thinking glass artist, she assures us, and some purty shiny stuff as well.


top left clockwise: Wayne Pearson Early Bird, Nathan Howard  Mangina, Sarah Davis Sentinel, Natalie Cassaniti  Endgame part 1.

The exhibition, Undercast 2009, is on at GiG Gallery, 70 A Glebe Point Rd, Sydders, from 1st – 12th December and has its own blogspot an’ all.

Meanwhile the Netster has been surfing the synchrons and just happens to have sent through some snaps of a chandelier (by student Tara Guinness) that caught her eye at the SCA grad show last week…



Thanks Netty. (See ya soon – we had a dress rehearsal at the beach yesterday, in preparation for your visit! The water’s warm already – gorgey.)

Exhibition roll-call this coming Friday…

Yet more news from Jas Hugonnet…ObfuncWith exhibitions opening across the state from Orange to Canberra to Bega this weekend, there’s no way the Gang can physically cover all our preferred options. Never mind – you can go for us!!

If you’re in Canberra, head for M16 for Jas’s Obfunc launch (we love that name, Jas.)

If you’re in Orange, head down to ORG for Brigitte Enders’ exhibition Sentinels 2 (we’re desperately trying to sort an image for this – we don’t have an electronic version of the invitation….)


[Post script: in lieu of an invite, we’ve dropped in a snap of a pair of Brigitte’s gorgeous Wapengos recently showcased in the foyer vitrine at the BVRG. n(Ed)]


And if you’re hanging around in Bega at 6pm on Friday evening (and why on earth wouldn’t you be?) it’s box fest time…



…a fun show of creative constraint (featuring artworks that squeeze into a small AusPost gift pack) – and, consequently, the perfect opportunity to splurge on a locally hand-crafted objet d’art for that special xmas prez.

This show has a light-hearted entertainment factor  – but with a competitive edge; muso Phil Moriarty, recently returned from the Edinburgh Festival, has bravely agreed to step up to the judging plate this year (joining Megsie and Rachel on the selection panel), and there’s many a keen eye on the $1,000 winner’s purse (…well, it’s a tidy little chrissie drinks kitty, eh.)


A Canberra glass moment…

The Gang motored across to Tanja yesterday evening for a coastal quickie; a catch up with Sophie and Tom at the opening of their exhibition at Narek Galleries. We couldn’t hang around for long, unfortunately – we’d spent the day doing our bit (sitting the BVRG) for the Bega Festival and so it was really just a circuitous route back to the hide-out. (It was one of those rare Saturday nights home alone with Pa – Ginger was up in the ‘Berra for her interview for Gold&Silver…!)

Anyhoo, it was lovely seeing Jono, Soph and Jet…



…and Tom, Alex and Oliver – except we somehow managed to completely miss taking any photographs of the latter, and only seem to have one of Tom and Karen…


Bummer dudes. Never mind – it was a treat, however brief. Almost like old times.

The exhibition, Off the Loom and Out of the Furnace, is a really nice mix of delicate work – Belinda Ramson/tapestry and Tom Rowney and Sophia Emmett/glass. Officially opened by Sue Walker, founding Director of the Victorian Tapestry Workshop, the focus on the night was firmly on Belinda – nonetheless Soph’s joolz were a great hit (though the snaps hardly do ’em justice)…



…and Tom’s goblets are seriously specko, as one would expect  – although we’re not sure that the local crowd fully appreciated the degree of skill and finesse. It didn’t help that the work was lined up like the annual school glass sale (but perhaps it only looked like that to us because we’re glassies.)


Anyhoo, all the beautiful peeps from Tanja were there – for more happy snaps go here.

Show’s up until the 4th January 2010.

Glass spotto…

Thanks to Natali for sending through a link to The Glass Art Association of Canada. We picked out a few of our favourite things…

Jaqueline Berting, The Glass Wheatfield, lampworked glass – H 0.9m, L 3.7m, W 5.6m . 2009.

Irene Frolic, Portrait IV,  kiln cast glass – H 50cm, L 20cm, W 25cm . 2009.      
Sally McCubbin, Issue Boxes, blown glass, cold worked, 2004           
A mixed bag, we will concede – but (to borrow that famous JB quote) “That’s glass, honey.”

Women’s Work at Bega…



As promised, here’s a quick peek at Rose Montebello and Gabrielle Powell’s exhibition at the Bega Valley Regional Gallery. We missed catching all the excitement of the opening, but managed to snap Rose again on the swing when she was back down to participate in the Gallery’s public program – the Arts Café.




FYI – the accompanying didactic…

This exhibition, featuring the work of local artist Gabrielle Powell and Canberra-based artist Rose Montebello, explores the fertile narrative vein inherent in the dutiful execution of repetitive labour – women’s work, in the parlance of a previous generation. Plumbing a well-spring of metaphoric homilies, these works represent a contemporary take on that ‘rich tapestry of life’, and the inescapable feminine imperative to preserve, nurture and regenerate. Women’s Work is about the perennial constancy of emotional reparation.

For Gabrielle Powell the seemingly prosaic chore of basket making (one of the oldest crafts practiced by women across the breadth of the globe) represents women’s universal solidarity; a humble occupation with a strong uniting force. It’s a therapeutic practice that allows her to unwind from professional stress (community welfare work) by weaving the thoughts of the day into a semblance of tangible cohesion…with a lid as, perhaps, closure or a symbolic gesture of discretion and privacy.





These baskets, often made with found and recycled materials, are objects of proverbial ‘good wifery’; a stitch in time… waste not, want not…practice makes perfect, even! They connect us to all the granny’s of recorded time and remind us of our continuing obligation to conserve not only the heritage crafts but also the associated moral observances.



Rose Montebello’s extraordinary hyper-real dioramas are a construct of both personal and universal social narrative. But while the earlier works hark back to an era of nature prints and pastorale tranquility (staple fodder in the conservative domestic aesthetic of the mid 20th century), the terrain is grave, with an over-riding sense of melancholic foreboding. For here, in this silent wood, is a very grim tale indeed; of dread and loss and inconsolable sorrow.




Here lurks the ghost of serial narratives, repeating. Montebello’s European landscapes are a physical manifestation of an oral family history. A lamination of pieced together information, hushed stories, a latent search through Freedom of Information files (exposing the atrocities of war). Layers of background delivering a facsimile of truth. Handed down through generations, the keeping of these memories is women’s work. The wonderful methodology of her practice, the painstaking deconstruction of images and the consequent reconstruction into the 3-D tableau, adds exquisite drama to what is essentially a contemplation of life, death and the intractable universe. [Megsie loves that phrase!! n(Ed)]