Latest from Jas…

4 10 2015

jas hugonnet gallery

Philip Alldis: Residue

jas hugonnet gallery is pleased to be showing the work of Philip Alldis. In his current series Alldis explores the footy crowds associated with the 1970’s in relation to ideas of anonymity, image capture and mortality. Key components of the works are the formal aspects; the arrangement of the composition, the darks and lights and the division of space.

The medium for these works is compressed conté on canvas.This chalky medium clings to the warp and weft of the canvas and is then sealed in time by a thin layer of wax. Through this process Alldis softens the divisions between light and dark, where edges dissolve and shapes coalesce.

Upon seeing these works for the first time gallery director Jas Hugonnet stated ‘it seems like the works express a collective yearning where the subjects are facing a similar predicament whilst staring out into the unknown’.

To purchase works or for media images please contact the gallery via the website, or jas hugonnet gallery 0417 235 916

Image: Philip Alldis Residue 2015, conte on Canvas 56 x 56cm


2 10 2015

Major excitements for the coming week which, alas, the Gang is going to miss (we’re off to Melbs in the morning to look after Granny post her wrist op.) Our biggest ‘doh!’ comes courtesy of tomorrow’s opening of the swimming season at the Candelo Pool. Serious bummer dudes, can’t believe we’re missing it – not the least because we’re keen to start working off the winter pud. Ah well.

The other goodie will be the opening of Ken + Julia Yonetani’s exhibition, The Last Supper, at the BVRG next Friday night…



It’s a cracker of a show.

And what’s on now…

10 09 2015

Currently showing at Wagga Wagga: Forget me not, featuring the work of Kristin McFarlane and Brenda Page…




Wagga Wagga Art Gallery

Home of the National Art Glass Collection

Forget me not. Kristin McFarlane and Brenda Page

Exhibition Dates: Saturday 11 July – Sunday 11 October 2015

This exhibition presents a collection of glass time capsules incorporating family heirlooms and personal items to illustrate ways we attempt to remember and preserve the past. My body of work looks at ways that people have tried to hold onto memories through the collection of letters, mementos, clothing, photographs, botanical specimens and ephemera.

The thoughts and personal narratives evoked illustrate how lines from a letter, a faded photograph, piece of music or a fragment of fabric can trigger emotions and memories. When these are fused within glass the fragile qualities of the material allow these sentiments to be transformed into pieces which illustrate the delicate balance of life, relationships, memory, fragility and longing. The objects and images explore fragility, loss and transience through a collection of preserved and delicate items combined with glass and are not so much about remembrance rather than the act of not forgetting – ‘Forget Me Not’.

Kristin McFarlane


My current body of work explores mourning and loss. This is not confined to the topic of death but encompasses losses we experience over a lifetime. I see our lives as a series of compartmentalised stages, a series of short stories that entwine and overlap. As one of these tales closes another opens, giving us an opportunity to reflect and mourn what has past and what will never be again. I want my work to have an emotional honesty, most times seemingly ambiguous but with that undefinable something that speaks to the heart of anyone who cares to engage in the stories told. My imagery and visual style is heavily influenced by Victorian aesthetics associated with mourning and death. I have chosen to use such a visual style to explore my concepts as it has a universal clarity about its intentions. The use of glass underlines the narrative, speaking of fragility and simplicity.

Brenda Page










Get with the program, peeps – take a family drive.

[Thanks Mikey. n(Ed)]


Gone but not forgotten…

10 09 2015

Evidence in Possession: The formative years of Australian Studio Glass, an exhibition celebrating the first 10 years of the movement in Oz, has wound up now – but for those you unable to make it Michael’s sent through a very sweet visual bouquet…





The formative years of Australian Studio Glass

The National Art Glass Collection’s historical and international significance was the focus of this exhibition in early 2015. This exhibition was presented in the National Art Glass Gallery in conjunction with the fortieth anniversary of the Wagga Wagga Art Gallery.

Curated by Dr Denis O’Connor and the Gallery’s curator of glass, Michael Scarrone, Evidence in Possession reveals the key role that Wagga Wagga played in the promotion and encouragement of studio glass in Australia. Australian glass artists are now world-renowned for their skills, and Wagga Wagga Art Gallery’s eagerness to support this artform as it emerged helped shape its future.

Studio glass activity began in Wagga Wagga in the mid 1970s, with visits from American glass craftsmen such as Professor Bill Boysen, Richard Marquis and Sam Herman. At the Riverina College of Advanced Education (now Charles Sturt University), lecturer John Elsegood established one of Australia’s first hot glass teaching studios. And in 1981, the Gallery’s director Judy Le Lievre launched the first national exhibition of Australian contemporary glass – the first of many and the foundation of the National Art Glass Collection.

Prominent glass pioneers whose work is celebrated in Evidence in Possession include David Wright and Klaus Zimmer for their ground-breaking flat and stained glass pieces; Richard Clements and Peter Minson for their lampworking and flameworking; Anne Dybka and Helmut Hiebl for their specialised cold glass engraving processes; and the complex sandblasted surfaces of Tony Hanning.

Also featured in the exhibition were the multi-faceted kiln-formed works of Neil Roberts and Warren Langley, alongside the free-blown hot glass of Peter Docherty, Con Rhee, Gerry King, John Elsegood, Julio Santos, Nick Mount and Denis O’Connor. Further displays showcased the innovative approach to concept and technique of Brian Hirst, Richard Morrell and Rob Knottenbelt, as well as the invaluable experience, processes and passion of international visitors Sam Herman, Richard Marquis and Bill Boysen.












EIP artists
The catalogue for Evidence in Possession: The formative years of Australian Studio Glass is on sale at the Wagga Wagga Glass Gallery shop.

For enquiries, please contact the gallery shop on 02 6926 9660.


[Thanks Mikey. n(Ed)]

Just want to lick it…

5 09 2015

In 2016 they expect to break ground for the transformation of Eero Saarinen’s TWA Terminal (NY) into a boutique hotel…



It’s beyond gorgeous…





(precursing JT! click to enlarge)

The terminal will ‘be retained’ as the lobby. Fingers crossed they don’t fuck it.

Background story on if it’s hip it’s here.

Photographer Max Touhey’s full suite of snaps on Curbed, here.

[We picture it full of sheikhs. n(Ed)]

The Bundian Way…

3 09 2015

Fabbo exhibition currently showing at the ANU School of Art Gallery…




…coinciding with the launch of John Blay’s new book, On Track: searching out the Bundian Way. Such a wonderful project (can’t wait for the eventual opening of the track…) Backstory here.


Opening next week…

29 08 2015

Such a treat – Nicola Dickson’s latest work will be launched at Beaver (3rd Sept)


And Nicky’s just sent through this additional image…


Bushy Yate I, 2015, 55 x 45 cm, acrylic and oil on linen

Just divine. What a lovely way to celebrate Spring. Runs until 22nd Sept.

[Thanks for the headzup Jacq. n(Ed)]


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