About Door to Door

For sales enquiries please contact Hayley at No Vacancy Gallery info@no-vacancy.com.au

( Please note: Prices for the Australian based project are in Australian dollars. Prices for the UK and European Door to Door project are in Euro.)

Click on Title or ‘Read More’ to expand, then click image to enlarge.

This is an evolving online exhibition, more works will be added as they are completed – check back from time to time.

2
No
Detail
Detail
None
1
1000000
Name...
/door-to-door-virtual/
Detail
(50) Lynette Joy - On the eighth day Image
(50) Lynette Joy - On the eighth day
Artist: Lynette Joy
Medium: laserprint and mixed media on paper
Dimensions: A4
75
(100) Karen Preston - Windsor Castle Landscape Image
(100) Karen Preston - Windsor Castle Landscape
Artist: Karen Preston
Medium: Acrylic paint, gold and copper leaf.
Dimensions: A4
175
(28) Maria Paterson - The die is cast Image
(28) Maria Paterson - The die is cast
Artist: Maria Paterson
Medium: Ink and gouache
Dimensions: A4
80
(137) Christopher Russell - Mayday and Toyland in The Red Square. 2020. Image
(137) Christopher Russell - Mayday and Toyland in The Red Square. 2020.
Artist: Christopher Russell
Medium: Acrylic on paper
Dimensions: A4
450
(97) Nada Murphy - Lost Chapter Image
(97) Nada Murphy - Lost Chapter
Artist: Nada Murphy
Medium: Water soluble pen, pencil, and watercolour on paper
Dimensions: A4
195
(53) Garth Henderson - botanic_architecture/grandis_tower Image
(53) Garth Henderson - botanic_architecture/grandis_tower
Artist: Garth Henderson
Medium: unique state / giclée print on hahnemühle photo rag paper
Dimensions: A4
150
(171) Shona Hutchings - A Stitch in Time Image
(171) Shona Hutchings - A Stitch in Time
Artist: Shona Hutchings
Medium: Mixed Media
Dimensions: A4
200
(158) Samantha Harvey - David Attenborough Owl Keeps Guard Image
(158) Samantha Harvey - David Attenborough Owl Keeps Guard
Artist: Samantha Harvey
Medium: Mixed Media, mostly scrap and recycled on rag paper
Dimensions: A4
200
(156) Simon Bowland - SAK Bird - Beaks are birds knives and forks Image
(156) Simon Bowland - SAK Bird - Beaks are birds knives and forks
Artist: Simon Bowland
Medium: Archival print of digital composition ( with graphite sketch and background of acrylic on board)
Dimensions: A4
330
(33) Margaret Ingles - On thin Ice Image
(33) Margaret Ingles - On thin Ice
Artist: Margaret Ingles
Medium: oil on A4 canvas board, mixed media
Dimensions: A4
125
(19) Fay Valcanis - Red Fields Image
(19) Fay Valcanis - Red Fields
Artist: Fay Valcanis
Medium: Lino print with hand color (1 of 4)
Dimensions: A4
120
(105) Emma Gardner - Serenading the Elfin Artist Image
(105) Emma Gardner - Serenading the Elfin Artist
Artist: Emma Gardner
Medium: oil stick trace-monotype and pigment on 180 gsm paper
Dimensions: A4
150
(27) Valentina Tansley - Sealed Image
(27) Valentina Tansley - Sealed
Artist: Valentina Tansley
Medium: Dictionary pages, ink, charcoal
Dimensions: A4
65
(22) Deb K Williams - Knots and Constellations Image
(22) Deb K Williams - Knots and Constellations
Artist: Deb K Williams
Medium: Digital collage, pencil on rag paper
Dimensions: A4
120
(134) Susan Lowe - Making Letters Big and Small Image
(134) Susan Lowe - Making Letters Big and Small
Artist: Susan Lowe
Medium: Unique State Archival Print
Dimensions: A4
200
(142) Lesley Ryan - COMMUNICATION Image
(142) Lesley Ryan - COMMUNICATION
Artist: Lesley Ryan
Medium: WATERCOLOUR AND PEN on paper
Dimensions: A4
200
(57) Javier BAEZ BONORAT- Vesuvius in Sepia Image
(57) Javier BAEZ BONORAT- Vesuvius in Sepia
Artist: Javier Baez Bonorat
Medium: Oil and Gesso on Cardboard.
Dimensions: A4
200
(2) Julian Di Martino - Looting the village Image
(2) Julian Di Martino - Looting the village
Artist: Julian Di Martino
Medium: Pencil on paper
Dimensions: A4
200
(89) Gennifer Anderson - Light of the World Image
(89) Gennifer Anderson - Light of the World
Artist: Gennifer Anderson
Medium: Acrylic, aerosol, charcoal, resin and ink
Dimensions: A4
310
(14) Peta-Jayne Smith - Still doing the hard yards Image
(14) Peta-Jayne Smith - Still doing the hard yards
Artist: Peta-Jayne Smith
Medium: Watercolour on paper
Dimensions: A4
350
(141) Rose Agnew - Mrs Ramsay Image
(141) Rose Agnew - Mrs Ramsay
Artist: Rose Agnew
Medium: Water colour on paper
Dimensions: A4
300
(172) Stephen Cornwell - Bird-eating Spider Image
(172) Stephen Cornwell - Bird-eating Spider
Artist: Stephen Cornwell
Medium: Ink on paper (Archival digital Giclee) Signed - 1/5 limited edition A4
Dimensions: A4
190
(125) Beth Nelson - Interference Image
(125) Beth Nelson - Interference
Artist: Beth Nelson
Medium: Photographic print of Multi Media Art
Dimensions: A4
70
(45) Michele England - Celebration Image
(45) Michele England - Celebration
Artist: Michele England
Medium: paper, reclaimed wallpaper, thread
Dimensions: A4
90
(1) Aneta Bozic - Forever Flora on Ossified Mountains Image
(1) Aneta Bozic - Forever Flora on Ossified Mountains
Artist: Aneta Bozic
Medium: Pen on paper
Dimensions: A4
200
(133) Tasha Button - Gold Tut-ank-amen with Lion Image
(133) Tasha Button - Gold Tut-ank-amen with Lion
Artist: Tasha Button
Medium: mixed media on paper.
Dimensions: A4
200
(192) Athenie Leckey - How Dots Make Pictures Page 390 Image
(192) Athenie Leckey - How Dots Make Pictures Page 390
Artist: Athenie Leckey
Medium: Ink on Paper.
Dimensions: A4
150
(12) Susana Depetris - Red and Blue Image
(12) Susana Depetris - Red and Blue
Artist: Susana Depetris
Medium: Acrylic paint on 100% Cotton Acid Free Watercolour paper 425 gsm
Dimensions: A4
240
(196) Sheena Mathieson - House Keeping the Emu Image
(196) Sheena Mathieson - House Keeping the Emu
Artist: Sheena Mathieson
Medium: Mixed media: layering of cut outs, collage, print, watercolour, shellac
Dimensions: A4
200
(197)Louise D
(197)Louise D'Amico - Airplane Shapes
Artist: Louise D\\\'Amico
Medium: Screen-printing, Acrylic paint and Inks
Dimensions: A4
150
(112)Somrita Watford - Mughal Life Image
(112)Somrita Watford - Mughal Life
Artist: Somrita Watford
Medium: Mixed Media (Gouache & Acrylic) A4 Size on 225gsm Pape
Dimensions: A4
295
(160) Julie Kala - FiVE AND THE BOXING KANGAROOS Image
(160) Julie Kala - FiVE AND THE BOXING KANGAROOS
Artist: Julie Kala
Medium: Acrylic on paper
Dimensions: A4
100
(6) Anna Jackson - Aggregate Image
(6) Anna Jackson - Aggregate
Artist: Anna Jackson
Medium: Collage.
Dimensions: A4
50
(189) Marina Chamberlain-Son of the Puszta Image
(189) Marina Chamberlain-Son of the Puszta
Artist: Marina Chamberlain
Medium: Collage with acrylic paint on A4 300gsm watercolour paper
Dimensions: A4
200
(3) Paula McLoughlin - The Road to Edith Image
(3) Paula McLoughlin - The Road to Edith
Artist: Paula McLoughlin
Medium: digital print screen print, sterling silver glass glitter, pencil
Dimensions: A4
350
(36) Mia Oehlmann - The Jewel in the Gardens Image
(36) Mia Oehlmann - The Jewel in the Gardens
Artist: Mia Oehlmann
Medium: Mixed media on A4 paper, unframed.
Dimensions: A4
140
(177) Tony Rocha Newton - Lavender Lynx - The Cat with the Tufted Ears Image
(177) Tony Rocha Newton - Lavender Lynx - The Cat with the Tufted Ears
Artist: Tony Rocha Newton
Medium: Ink on native-ink dyed laserjet print on paper
Dimensions: A4
200
(90) Bev Plowman - Mont Saint Michel Image
(90) Bev Plowman - Mont Saint Michel
Artist: Bev Ploughman
Medium: Watercolour on paper
Dimensions: A4
100
(186) Eloise Nouvelle - A Great Fall Image
(186) Eloise Nouvelle - A Great Fall
Artist: Eloise Nouvelle
Medium: digital print.
Dimensions: A4
60
(175) Chrissie McDonald - The Story of Our World is Told in Rocks Image
(175) Chrissie McDonald - The Story of Our World is Told in Rocks
Artist: Chrissie McDonald
Medium: Watercolour & Gouache on Arches Watercolour paper
Dimensions: A4
130
(188) Sonia Stewart - Time in Different Cities Image
(188) Sonia Stewart - Time in Different Cities
Artist: Sonia Stewart
Medium: Photography, Digital
Dimensions: A4
200
(39) Sue McLeod - De Profundis Image
(39) Sue McLeod - De Profundis
Artist: Sue McLeod
Medium: Photograph.
Dimensions: A4
400
(161) Elizabeth Haigh - Do we need a reminder? Image
(161) Elizabeth Haigh - Do we need a reminder?
Artist: Elizabeth Haigh
Medium: Mixed media, Ink, watercolour, silver and cotton thread, plastic remnants, Inkjet print collaged on 300gms Canson watercolour paper, 30cms x 20cms, 2020
Dimensions: A4
120
(92) Melinda Rodnight - Comfrey/Symphytum Image
(92) Melinda Rodnight - Comfrey/Symphytum
Artist: Melinda Rodnight
Medium: Collograph, trace monotype and ink
Dimensions: A4
350
(41) Leah Mariani - Wise Old Bird Image
(41) Leah Mariani - Wise Old Bird
Artist: Leah Mariani
Medium: Digital print on A4 Hahnemuhle photo rag, using pigment ink on archival paper.
Dimensions: A4
90
(31) Lucinda Nicholas - What is precious seems hidden Image
(31) Lucinda Nicholas - What is precious seems hidden
Artist: Lucinda Nicholas
Medium: print on archival cotton rag paper
Dimensions: A4
175
(44) Viki Petherbridge - Animals in armour. The pangolin: May they suffer no more. Image
(44) Viki Petherbridge - Animals in armour. The pangolin: May they suffer no more.
Artist: Viki Petherbridge
Medium: Mixed media and type digital print.
Dimensions: A4
500
(49) Helen Braun - Dispersal Image
(49) Helen Braun - Dispersal
Artist: Helen Braun
Medium: ink on waxpaper on handmade paper
Dimensions: A4
300
(54) Shauna Willett - Animals of Prehistoric Times - Plate 2, A Landscape Image
(54) Shauna Willett - Animals of Prehistoric Times - Plate 2, A Landscape
Artist: Shauna Willett
Medium: Mixed media
Dimensions: A4
350
(69) Janine Hall - St Elmo Breakwater Lighthouse - Entrance to Grand Harbour - Valetta, Malta Image
(69) Janine Hall - St Elmo Breakwater Lighthouse - Entrance to Grand Harbour - Valetta, Malta
Artist: Janine Hall
Medium: Acrylic on Arches watercolour paper
Dimensions: A4
250
(72) Susie Baxter Smith - Mosi-oa-Tunga Image
(72) Susie Baxter Smith - Mosi-oa-Tunga
Artist: Susie Baxter Smith
Medium: mixed media and collage
Dimensions: A4
250
(74) Kathy Fahey - Winter Landscape Image
(74) Kathy Fahey - Winter Landscape
Artist: Kathy Fahey
Medium: Hand painted collage, acrylic paint, acid free glue on Stonehenge paper
Dimensions: A4
500
(77) Isabella Chan - Citizen Image
(77) Isabella Chan - Citizen
Artist: Isabella Chan
Medium: Pencil and Paint marker
Dimensions: A4
250
(23) Carolyn Roberts - Hedgerow Imagined Image
(23) Carolyn Roberts - Hedgerow Imagined
Artist: Carolyn Roberts
Medium: Watercolour on paper
Dimensions: A4
400
(21) Wendy Grace - Mapping with Lawrence Image
(21) Wendy Grace - Mapping with Lawrence
Artist: Wendy Grace
Medium: Acrylic ink on paper
Dimensions: A4
80
(20) Bronwyn Rodden - Tigers of the Sea Image
(20) Bronwyn Rodden - Tigers of the Sea
Artist: Bronwyn Rodden
Medium: Ink on native-ink dyed laserjet print on paper
Dimensions: A4
200
(62) Roma McLaughlin - Arctica 2020 (SOLD) Image
(62) Roma McLaughlin - Arctica 2020 (SOLD)
Artist: Roma McLaughlin
Medium: Papercut with White Fabriano acid free paper and handpainted paper with acrylics
Dimensions: A4
250
(63) Lesli Bell - Page 222- ‘how fish keep warm’ Image
(63) Lesli Bell - Page 222- ‘how fish keep warm’
Artist: Lesli Bell
Medium: watercolour on paper
Dimensions: A4
700
(42) Chris Aspland - STAPHORST Image
(42) Chris Aspland - STAPHORST
Artist: Chris Aspland
Medium: Mixed media and collage
Dimensions: A4
275
(91) Mark Seabrook - British Defence Force Uniforms Image
(91) Mark Seabrook - British Defence Force Uniforms
Artist: Mark Seabrook
Medium: watercolour on paper
Dimensions: A4
120
(99) Alissa Duke - How This Book was Built Image
(99) Alissa Duke - How This Book was Built
Artist: Alissa Duke
Medium: Watercolour Pencil. Original art scanned and printed Fabriano 200 gsm Watercolour Paper
Dimensions: A4
120
(4) Julie Milton - Challenging Times Image
(4) Julie Milton - Challenging Times
Artist: Julie Milton
Medium: Glycee print on rag paper
Dimensions: A4
160
(11) Fiona Knight - Strong and willing workers Image
(11) Fiona Knight - Strong and willing workers
Artist: Fiona Knight
Medium: Collage soaked in ink
Dimensions: A4
75
(83) Beric Henderson - Marooned (SOLD) Image
(83) Beric Henderson - Marooned (SOLD)
Artist: Beric Henderson
Medium: Ink and pencil on paper
Dimensions: A4
125
(84) Rosalie Duligal -"Mad day out " Image
(84) Rosalie Duligal -"Mad day out "
Artist: Rosalie Duligal
Medium: Water color
Dimensions: A4
200
(85) Jenny Davis - Iso Charging Machine Image
(85) Jenny Davis - Iso Charging Machine
Artist: Jenny Davis
Medium: Rust, iron, ink , gold thread on 400gsm. buried watercolour paper
Dimensions: A4
250
(70) Anne Warren - Monsieur Madames Loyal Image
(70) Anne Warren - Monsieur Madames Loyal
Artist: Anne Warren
Medium: Giclee Print on platinum cotton
Dimensions: A4
275
(102) Leanne Booth - Outbreak (SOLD) Image
(102) Leanne Booth - Outbreak (SOLD)
Artist: Leanne Booth
Medium: Pen and Ink
Dimensions: A4
250
(8) Jo Lane - Complexity of Power Image
(8) Jo Lane - Complexity of Power
Artist: Jo Lane
Medium: Graphite and powdered pigment on Arches 300gsm paper
Dimensions: A4
350
(18) Jonathon Harris - The flames danced for hours (redacted) Image
(18) Jonathon Harris - The flames danced for hours (redacted)
Artist: Jonathon Harris
Medium: Digital print, ink and pencil. Sheet size A4 Print size 22cmx15.5cm Edition 25. 4 AP
Dimensions: A4
190
(10) Christine Lewis - The Shape of Flowers Image
(10) Christine Lewis - The Shape of Flowers
Artist: Christine Lewis
Medium: Watercolour and pen on paper
Dimensions: A4
90
(64) Mary-Anne Stuart - Be Attentive to the Birds Image
(64) Mary-Anne Stuart - Be Attentive to the Birds
Artist: Mary-Anne Stuart
Medium: Watercolour, acrylic and gouache on 100% cotton rag Khadi paper
Dimensions: A4
200
(26) Linda Weil - Toybox of Dramas Image
(26) Linda Weil - Toybox of Dramas
Artist: Linda Weil
Medium: Graphite and Colour pencil on Bristol Board
Dimensions: A4
300
(29) Simone Alesich - The people of the yeti Image
(29) Simone Alesich - The people of the yeti
Artist: Simone Alesich
Medium: Embroidery on calico
Dimensions: A4
230
(13) Karen Chappelow - Transformation Image
(13) Karen Chappelow - Transformation
Artist: Karen Chappelow
Medium: Ink on yupo paper
Dimensions: A4
200
(73) Penelope Le Petit - How We Get the News | Stay in and Stream| My Daily Feed Image
(73) Penelope Le Petit - How We Get the News | Stay in and Stream| My Daily Feed
Artist: Penelope Le Petit
Medium: Collage on Lithograph
Dimensions: A4
50
(38) Anne O
(38) Anne O'Connor - White Coal
Artist: Anne O'Connor
Medium: Mixed medium, ink, pastel and cotton thread onto acid free Canson water colour paper .
Dimensions: A4
320
(101) Sophia Franks - Insecta Vita Image
(101) Sophia Franks - Insecta Vita
Artist: Sophia Franks
Medium: mixed media; Bio-material, cotton, coffee and charcoal on woven paper
Dimensions: A4
80
(108) Yudha Scholes - By A Master of Etching Image
(108) Yudha Scholes - By A Master of Etching
Artist: Yudha Scholes
Medium: Laseretching on polymer paint on paper
Dimensions: A4
300
(117) Sam Reiher - Passing In The Night Image
(117) Sam Reiher - Passing In The Night
Artist: Sam Reiher
Medium: lino print, ink on paper.
Dimensions: A4
100
(119) Googie Ann - Fragmented ecology Image
(119) Googie Ann - Fragmented ecology
Artist: Googie Ann
Medium: collage pen pencil
Dimensions: A4
70
(120) Cam Michael - The Breath Image
(120) Cam Michael - The Breath
Artist: Cam Michael
Medium: Digital collage with hand coloured pastel layers on archival cotton rag
Dimensions: A4
66
(127) Genevieve Villaflor - Golden Lines Image
(127) Genevieve Villaflor - Golden Lines
Artist: Genevieve Villaflor
Medium: Alcohol Ink and Acrylic on Yupo paper
Dimensions: A4
200
(5) Xandra Connelley - A quote by Ptolemy written in maritime flags Image
(5) Xandra Connelley - A quote by Ptolemy written in maritime flags
Artist: Xandra Connelley
Medium: acrylic on canvas paper
Dimensions: A4
295
(7) Jennifer Baird - Retro meets Retro Image
(7) Jennifer Baird - Retro meets Retro
Artist: Jennifer Baird
Medium: Woven paper
Dimensions: A4
300
(98) Paulina Campos - Lisa got a friend Image
(98) Paulina Campos - Lisa got a friend
Artist: Paulina Campos
Medium: Photocopy, acrylic paint and ink, bond paper, Japanese wrapping paper set on canvas paper (290 GSM)
Dimensions: A4
300
(50) Lynette Joy - On the eighth day
75
(50) Lynette Joy - On the eighth day Image
About this Artwork

When I looked at the original image, I saw the fear in the mother’s eyes and I felt sad that humans can cause such distress to our fellow inhabitants of the wonderful world we live in. And I wondered when humans decided they were superior to all other living beings and by what standards did we make this judgement. Then I thought we probably attributed our superiority to God, because humans always use God to justify the atrocities we commit. I decided to look at the Bible and there it was in Genesis 1:1; ‘In the beginning God created the heaven and the earth. And God said, Let us make man in our image, after our likeness, and let them have dominion over … every …thing…. upon the earth.’ I decided that on the eighth day Man must have made some decisions of his own. I wrote my own ‘eighth day’ and then illustrated it in a Book of Kells style.

About Lynette

Lynette Joy has 30 years experience in commercial and private arts practice. She has exhibited in many group and solo exhibitions in Australia, Germany and France. She has work in public and private collections in Australia, England, Germany and France. Lynette Joy has been short-listed for several art awards, and has been awarded two artist-in-residence placements in France (2016 & 2018). Lynette is currently teaching art and studio practice at RMIT Melbourne.

“I see creativity and spirituality as very closely related. Both activities aspire to bring meaning to our lives. The artistic expression of our soul seeks to give meaning to our lives. In the sharing of such endeavours, we enrich others and ourselves alike. We find common ground in which our longings and fears are transformed into a wonderful beauty infused with innate knowing and meaning.”

Throughout history artists have documented the truth of their world no matter how uncomfortable.

Link to Lynette’s Art Aviso profile HERE

Lynette was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The story of animal life- Creatures of the land ,the air and the sea
The Monkeys and their ways
Artist: Lynette Joy
Medium: laserprint and mixed media on paper
Dimensions: A4
(100) Karen Preston - Windsor Castle Landscape
175
(100) Karen Preston - Windsor Castle Landscape Image
About this artwork

The page which inspired my artwork is ‘The Home of England’s Sovereigns’, Newnes’ Pictorial Encyclopedia, Volume 2, The Romance of History. The caption under the image explains that the picture was ‘Specifically painted for this work’. Although it is difficult to read the signature, I think the artist’s name is Chandler. When I looked at this picture I was struck by the way the wealth and grandeur of Windsor Castle is downplayed, it appears instead as if it is a natural part of the landscape; the various buildings, including the Round Tower and St George’s Chapel emerge from the trees and bushes almost as if they are landforms in a band of hills. The castle buildings are sandwiched between vegetation, sky and water, occupying less than a third of the pictorial space. My artwork conforms with this horizontal division into thirds; land, sky, water, however I have included gold and copper leaf because I want to draw attention to the riches that ‘The Home of England’s Sovereigns’ contains, and the resources required for its construction and upkeep. I’ve also tried to make the castle buildings more prominent without compromising the sense of calm and order that the original image evokes.

About Karen

My art is primarily concerned with representing sensations arising from interactions with and within the physical and imaginary environments that I inhabit. I create works that aim to evoke ideas and feelings for the viewer by extending invitations to experience and engage with arrangements and combinations of colour, texture, shape and form within defined two and three dimensional spaces. Although I am primarily committed to producing abstract work, during Covid isolation my art has taken a figurative turn. Narrowed social interactions, clearing an overgrown garden, planting a vegetable patch, acquiring some chickens, and long walks in the countryside where I live in West Gippsland have focussed my attention on the detail of the botanical life flourishing around me. I have been particularly interested in how irregular patterns form and emerge from the way vegetation intertwines, and how these botanical arrangements are ordered by and positioned within the elements which sustain and nurture them.

Link to Karen’s Art Aviso profile HERE

Karen was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 2
The Romance of History
The home of Englands Sovereigns
Artist: Karen Preston
Medium: Acrylic paint, gold and copper leaf.
Dimensions: A4
(28) Maria Paterson - The die is cast
80
(28) Maria Paterson - The die is cast Image
About this Artwork

When i first viewed this page, i was struck by its orderly, proper and appropriate serious expressions of characters in the scene. Nicely dressed soldiers in a pleasant rural setting, no sign of the violence of war to come. I wanted to know more about the consequences of Julius Cesars move crossing the Rubicon that day. I learnt it led to the Great Roman civil war in a politcal and military confrontation in the establishment of Cesar’s Roman Empire. Many battles were fought in different territories over 4 years. My response to this page was the idea of heading into these battles, conflicts and violence as result of crossing that line. I used the technique of ink and feather to lay down expressive marks in colours relating to the original page but also the idea of bloodshed. Working this way allows me to express a reaction and response to the subject Im experiencing.

About Maria

I like using the medium of ink to lay a foundation for the artwork, a direct expression where intuition is allowed free reign. A sensitive medium that aligns with the subconscious. What is revealed in this first expression guides me to create in further layers the direction of the artwork. A process that reveals itself as i move around the surface, using a mix of different mediums such as gouache, pastel or acrylics. The idea of digest with your mind and express with our body directs the way i choose to work. I like the idea of heading into the unknown, seeing the work unfold as i add to or change the surface as i go. If figures or forms emerge i will either enhance them or continue on with more marks till i see other images that can emerge , presence, absence, knowing, unknowing, leading to a psycic space of possibilities.

Link to Maria’s Art Aviso profile HERE

Maria was supplied the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 2
The Romance of History

Julius Caesar crosses the Rubicon

Artist: Maria Paterson
Medium: Ink and gouache
Dimensions: A4
(137) Christopher Russell - Mayday and Toyland in The Red Square. 2020.
450
(137) Christopher Russell - Mayday and Toyland in The Red Square. 2020. Image
About this Artwork

A page from a children’s encyclopedia that was edited by Enid Blyton provided the stimulus for this artwork. The black and white image displays a May Day parade in Red Square Moscow during the 1950s. The military hardware lined up is colourful but part of a sinister agenda while the beautiful architecture and visuals are like the wonderous shapes of Toyland in Blyton’s children’s books. As a child, I was quite influenced by Blyton’s stories and instantly saw the irony in her connection with the encyclopedia and some of the unsettling themes in her stories.
The Red Square has many colourfully shaped buildings that remind me of dreamland environments full of giant ice creams, brightly painted pull toys, rocket ships, party animal balloons, and toy soldiers. The current day danger of militaristic and confrontational posturing can be an entertaining spectacle because of the grandeur and packaging, however, when unwrapped it still explodes.

About Chris

I like to paint in an expressionist or neo-expressionist style pictures that display imagery in a stagelike environment. Researching subject matter is important and mulling over the way an idea is presented consume as much time as painting it some days. My subject matter is often elongated, distorted, and repeated throughout the composition to emphasise and exaggerate movement and rhythm. The colour palette in my work is often limited so when intermixing I maintain a relationship between the main primary colours selected. However, I also overlay vivid hues (complementary colours) to produce strong contrast and play around with tonal variation to indicate multiple sources of lighting. These techniques are important for creating a charged atmosphere.
In my work, objects often lose their identity as I shift from tight to a loose arrangement of dragged and hacked brushwork. I avoid completely describing a scene.
The subject matter in my work is always relevant to personal experiences. The experience may be a delayed reaction or direct response to an event in real life.
Emotional wellbeing determines how controlled I become with a painting. Often many layers are painted and then overlayed with colour breathing through the gaps or emerging as halos left around a shape.
These days I sketch fewer detailed plans of my ideas to assess how well they communicate as a visual language.
Overall, subject matter in my work is always relevant to personal experiences be it a delayed reaction or direct response to an event in real life.

Link to Chris’s Art Aviso profile HERE

Chris was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia
Volume 4
The story of the World and it’s peoples
The Red Square Moscow

Artist: Christopher Russell
Medium: Acrylic on paper
Dimensions: A4
(97) Nada Murphy - Lost Chapter
195
(97) Nada Murphy - Lost Chapter Image
About this Artwork

The Lost chapter reflects on a variety of indigenous fruits to include coral berries, blue quandong, wild strawberries, munties, desert quandong, gubinge, blue tongue and rosella. These plants are rich food sources that many of us are unfamiliar with. The European bias leaves knowledge about these fruits lost to most. Fortunately, we are in a time of reawakening hopefully before these fruits are simply gone. My own adventures on country have me questioning how the land provides nourishment for us and in working this small collection, I am reminded of the adventures and works, of Ellis Rowan known as the “Flower Hunter” because of her passion for documenting the flowers she found during her travels. On occasion she also documented the fruits.

About Nada

My work investigates stories in the landscape and the connections of people to the land.
I paint, draw, print, build forms in glass, work with textiles and write.
I am digging into the layers of story that our country tells, building a deeper understanding of and respect for the country we walk on. My explorations take me along riverbeds, the riparian zones and into the delicacies of the vegetation, and to the surround space, parallel to people’s stories. My arts practice connects to the energy of the seasons, our water and the bedrock. The land is integrally connected to the question “Who walked here before?” and the lasting or transient imprint of humanity, with water stories being the thread than transcends.
Contemporary life is many ways disconnects people from the land, so the art works pull that back into contemporary consciousness. My artspace is also a place where I help people to engage with creativity, establish creative identities and explore ideas whilst connecting to our land through creative expression. I enjoy collaborative projects that promote a sense of wellbeing and community.

Link to Nada’s Art Aviso profile HERE

Nada was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia
Volume 6
The World and its work-Agriculture, producing food from the land.
Berries and Fruits of the countryside.


Artist: Nada Murphy
Medium: Water soluble pen, pencil, and watercolour on paper
Dimensions: A4
(53) Garth Henderson - botanic_architecture/grandis_tower
150
(53) Garth Henderson - botanic_architecture/grandis_tower Image
About this artwork

My initial response to the title ‘A cactus as Tall as a House’, was to work on a collage of reference photos I had taken at Cactus Country in Strathmerton, Victoria. After consideration, it was the title of the page, as opposed to the subject mater, that became more relevant in terms of a starting point for a dedicated piece.
As an artist exploring flora as architectural studies, the house reference became an opportunity to explore the architecture implied, but with a simplified model of one of my own works, a Bankis grandis cone.
In it’s simplified cylindrical form, it acknowledges the building modules of the iconic Tours Aillaud in Nanterre, Paris, designed by Architect Emile Aillaud, and built in 1976. Simple forms with minimal detailing.
By inclusion of a Brutalist stairwell observation platform, the final image implies a building or monument of size, and elevates the form from human scale to an object of reverence.

About Garth

My current work explores the space between the real and the virtual, utilising 3D modelling and sculpting software.
Organic geometry, in particular the unique and evolving mathematical permutations of Australian flora, forms the basis of an architectural approach to these constructions. I have created these works as a visual investigation of their complex forms: plant species as organic architecture.
By referencing flora, it is a creative approach rooted deep in experience as a visual artist and vocational horticulturist.
I have completed a Bachelor of Fine Art from Curtin University, Perth WA, with majors in photography and printmaking, and also graduated with further specialisation in 3D modelling and digital media from the Royal Melbourne Institute of Technology, Victoria.
I appreciate my visual style is informed by a combination of my background in photography and horticulture, and a childhood spent in an extraordinarily botanically rich corner of Western Australia.
Existing works are in 2D digital print format on museum paper, as either unique state or small edition run.

Link to Garth’s Art Aviso profile HERE

Garth was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia.
Volume 1
The Wonders of Plant Life in Forest,Field and Garden
A cactus as Tall as a house
Artist: Garth Henderson
Medium: unique state / giclée print on hahnemühle photo rag paper
Dimensions: A4
(171) Shona Hutchings - A Stitch in Time
200
(171) Shona Hutchings - A Stitch in Time Image
About this Artwork

I recieved page 251 of the Newnes’ Pictorial Knowledge Encyclopedia
Volume 1
The marvels of insect life
A pair of Swallow tails
I was initially quite emotional, for 2 reasons, one is that butterflies for me have a strong spiritual connection, often appearing just prior to some of my major life transitions. They symbolise transformation and feel joyous and uplifting.
Secondly, the word Swallow reminds me of my father, who had swallows tattoed on the back of both hands, as did many sailors of old.
I decided to include some swallows in this piece, along with the swallow tail butterflies.
I printed the page onto various tranparent papers.
I then cut elements I wanted to use for collage, combined with some old postage stamps.
I wanted the stamps to represent the travel of the swallowtails and swallows to different continents. I found a West Australian stamp and included that, to show the country we travelled to as immigrants and where this artwork has been created. Much like the Swallow tails, finding their way to other lands, immigrants in a strange land.
I love using dress-makers pattern paper, not only for its transparency but also for the stitch marks, cutting marks, numbers and shapes.
Photocopying the stamps, butterflies and swallows onto this paper helped to stitch it all together (scuse the pun) like a thread running thru time and space.
Underlaid with acrylic paint and inks, for that shimmery gold pop, I added final details and embelishments with acrylics also.

About Shona

Shona is a mixed media artist using ephemera, acrylic paint and inks, charcoal, plant matter found in nature and various mark making tools.
These can include but are not limited to wood print blocks, stencils, gel plates, found objects ( either man made or natural) fabric and her fingers. Shona is an intuitive artist who senses music as colours and combines her love of texture and this synesthete knowing to create layers of collage, acrylic and inks on canvas, paper or fabric. She then develops or covers over areas, to assist a more coheshive synthesis in the artwork.Often using glazes or transparent paints to show the underlying inter-connectedness of all elements., as a mirror for what she percieves in the world. Her art practice is therefore mostly impressionistic, child-like, experimental, energetic, often spiritual in nature and yet can sometimes be whimsical and humorous also. Shona works from her home studio near Fremantle in Western Australia and lives with her husband and cat, Mango, who adopted them.

Link to Shona’s Art Aviso profile HERE

Shona was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:
Volume 1
The marvels of insect life
A pair of Swallow tails
Artist: Shona Hutchings
Medium: Mixed Media
Dimensions: A4
(158) Samantha Harvey - David Attenborough Owl Keeps Guard
200
(158) Samantha Harvey - David Attenborough Owl Keeps Guard Image
About this Artwork

My starting point was page 184: The Owl Keeps Guard. The photo and description show a ‘long eared owl’ who, unlike most owls, has ‘constructed quite a sound nest amidst the branches’. I spent a good deal of time imagining what, during Covid lockdown, the owl is guarding in that sound nest.

It is alarming to me that in order to protect ourselves we are reneging on all the good (but still too slow) progress made with moving away from single use items. Coffee cups, hand sanitizer, masks, gloves… so much plastic is being thrown away again. The voices supporting our planet are being muffled by the fear of pandemic. We seem unable to deal with more than one complex problem at a time even though this is the only way we will actually be able to sort things out.

As I worked on the owl with its sanitizer label feathers and nest of plastic food wraps I realised that David Attenborough is one of the only wise old people keeping guard over our precious planet. He and Greta Thunberg are keeping us aware that the problem is not going away. They are keeping guard and making sure that we do not forget.

The owl and globe are drawn with thread. The base is indigo-dyed cotton rag paper.

About Samantha

My work is inspired by the fascinating diversity, beauty and quirkiness of the World, particularly the colour, movement and incredible shapes found in the fragile gardens of the seas and in plants. The tactile act of construction informs all my pieces.

I have a compulsion to draw and to manipulate materials. My mixed media sculptures and drawings usually incorporate stitch to add layers of texture and structural integrity. Inspiration is found through looking and drawing and from the variety of materials I collect and from travels in the world. It is important for me to use waste and recycled materials, it seems particularly important when highlighting the beauty of nature to ensure that I am not contributing to damaging it.

A piece may start with drawings and imagination but the most important part of my process is the tactile act of combining materials with contrasting textures and origins so that the individual personality of each element emerges organically.

Link to Samantha’s Art Aviso profile HERE

Samantha was supplied with the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:
Volume 1
Birds and their ways
The Owl keeps guard
Artist: Samantha Harvey
Medium: Mixed Media, mostly scrap and recycled on rag paper
Dimensions: A4
(156) Simon Bowland - SAK Bird - Beaks are birds knives and forks
330
(156) Simon Bowland - SAK Bird - Beaks are birds knives and forks Image
About this Artwork

Aesthetically this work draws on my love of street art and its ability to directly engage with the public, providing an artistic outlet for unfiltered critical statements. Having sourced the initial inspiration of “beaks are birds’ knives and forks” from a 1950’s encyclopedia edited by Enid Blyton, I tried to imagine how an artist might have been inspired to project this outlook into the future from that point in time. Using this as a starting point, I was inspired to reference that era’s enthusiastic certainty in relation to knowledge and research. A feeling that flowed through to popular culture of the time, that man was capable of discovering all knowledge of science and nature. I explored reasoning such as, if beaks can operate as utensils then could they evolve into a multi-purpose tool or utensil at some point in time. Looking back from today’s perspective, that certainty feels like an antiquated absurdity.

About Simon

I am an independent visual artist/designer whose practice is situated at the intersection of sculpture, illustration and digital technology. I make my art to engage, inspire and am always looking for new and interesting ways to explore timeless, universal truths
Initially I graduated from a Bachelor of Arts (Industrial Design) at Newcastle University, NSW. Completing an MFA in Production at the Victorian College of the Arts (VCA) in Melbourne in April this year (2020).
I have exhibited works in a range of independently run group shows across Melbourne since 2005. This has included mediums such as clay sculpting, metal and resin casting, paper sculpture, timber concept furniture, illustration and digital projection. My freelance work spans a variety of roles, from design assistant in the ceremonies department for the 2006 Commonwealth Games to set design with independent theatre and performance groups, and emerging visual artist. My articulated, scale model of Dan Potra’s ‘Flying Tram’ for the 2006 Commonwealth games, is held in the Museums Victoria collection.
Nominated for a City of Newcastle Drama Award (CONDA) for Set design, during the final year of my undergraduate degree, I have maintained a strong connection with the performing arts. Choosing to focus this passionate connection in the area of visual art for low-budget productions and the opportunities being offered by accessible digital technology.
Ultimately, I am about creating accessible works. That motivate a curiosity within the audience to learn more about the concept/s behind them.

Simon was supplied with the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
Birds and their ways
Beaks are Birds Knives and Forks
Artist: Simon Bowland
Medium: Archival print of digital composition ( with graphite sketch and background of acrylic on board)
Dimensions: A4
(33) Margaret Ingles - On thin Ice
125
(33) Margaret Ingles - On thin Ice Image
About this Artwork

“Whilst the images provided from Newnes’ Pictorial Knowledge are of Antarctica, I painted a northern Arctic scene and added a polar bear. The stimulus pictures were from the 1950’s, about three decades before scientists started talking about the disappearing ozone layer, and four decades before the first IPCC report was published. When I was quite young and the first David Attenborough “Life On Earth” series was televised, I remember watching it in awe and absolute wonder. I now watch nature shows, more often than not, with a feeling of grief, of loss, of what we are losing. I recently read an article on how art historians are revisiting their art collections, exploring how our concept of nature and our relationship to it, has dramatically changed in the last century. The current climate change crisis and mass extinction crisis, along with the unsustainable use of our planet, requires a revised world view and a change of priorities.”

About Margaret

Born in Canberra, I graduated from university in Anthropology and Sociology, after that completing two graduate degrees in Education and the Visual Arts. I went on to teach art in international schools in Nepal and Thailand but gave up teaching to pursue my own art practice nearly 20 years ago. These days, I am a dedicated contemporary realism painter focussing primarily on figurative work. I am also currently working on new works addressing the climate crisis, a shift in focus I have felt compelled to explore for some time. I recently travelled to Iceland to gather photo references for this new series.

For over 25 years I lived and worked in Asia (Nepal, Laos, Thailand, Singapore). Much of my art during this time celebrated the colour and diversity of people and places in the region. I also lived in Rome after completing a post-grad course on the Art and Architecture of the Italian Renaissance, fulfilling a lifelong dream to immerse myself in this country of masters and masterpieces and pursue my studies even further. I am a juried member of two international organisations -Artists for Conservation and the International Guild of Realism – and a member of the Queensland Wildlife Artists Society.

I am currently represented at the Lethbridge Gallery in Brisbane. I have exhibited in Bangkok, Singapore, London and in various cities and towns around Australia. My art can be found in private collections around the world.

View Margaret’s Art Aviso profile HERE

Margaret was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia
Volume 2
True Tales of high adventure
When the sea freezes



Artist: Margaret Ingles
Medium: oil on A4 canvas board, mixed media
Dimensions: A4
(19) Fay Valcanis - Red Fields
120
(19) Fay Valcanis - Red Fields Image
About this Artwork

Propaganda posters and images were one of the ways the Soviet Union tried to control its citizens. Such posters depicted the patriotism of the country with images of industrial productivity, literacy, agricultural production and welfare. They championed the Soviet dream.

In ‘Red Fields’ I have used print medium to reference a simple print style used in poster production, basic in nature with a somewhat rustic style about it. Here the tractor is bold and industrious, an icon of agricultural strength and represents the machinery imagery that was often used in Soviet propaganda posters around the 1950s. Circular forms in the fields reference the lunchtime circles on a collective farm. The hammer and sickle, symbols of communism and socialism rise like the sun, shining propaganda over its farm workers.

About Fay


Fay Valcanis is a visual artist working across sculpture, mixed media, printing and painting. Her experience in art management, cultural marketing and environmental education has led her on a creative journey exploring the connection between art, creativity and nature. Moving from Melbourne to a small coastal town in south west Victoria ten years ago facilitated a mind set change which allowed Fay to change her lifestyle, to travel, engage with the nature and, explore her creativity. She draws reference from the natural environment in its shapes and forms and the impact of the built environment around her. Through her work Fay explores the relationship and interconnections between the natural and non-natural landscapes and, the inter-relationship with humans . Her work often references political or social messages about society. Having recently returned to study Visual Arts, Fay is enjoying the exploration of traditional and new mediums in creating works that depict her experiences and her environs.

Link to Fay’s Art Aviso profile HERE
Fay was provided the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 4
The story of the world and it’s people
Lunch time on a collective farm
Artist: Fay Valcanis
Medium: Lino print with hand color (1 of 4)
Dimensions: A4
(105) Emma Gardner - Serenading the Elfin Artist
150
(105) Emma Gardner - Serenading the Elfin Artist Image
About this Artwork

I was supplied with a beautiful poem from, Newnes’ Pictorial Encyclopedia Volume 9, ‘A Childrens Treasury of Verse-Little Masterpieces of Today and yesterday’ titled ‘The Elfin Artist’. The poem was framed by gorgeous little illustrations, of which the mystical creature Pan – one of the oldest Greek Gods – took my attention. Known as the God of the wild, shepherds and flocks, rustic music, I could imagine him instantly and hear the sound of seductive and alluring tunes he would make with his flute skipping through enchanted forests… so I gave him the centre stage of my drawing.

I have set him in a mystical deep blue atmosphere, using pigments I found on an adventure in India. And, think of him skipping around whilst serenading the Elfin Artist in the poem.

What better thing than to escape into the world of the fantastical while bunkering down in isolation during a pandemic???

About Emma

My motivation to make work comes from a curiosity about the human condition. I find our mere existence just so absurd at times. The expectations, performed duties, constructed narratives, cultural stigmas… I wrestle with trying to fit in them… to understand why they are so, or if they even need to be so. I often implicated my figure as both author and subject in my work, to complicate the relationship between truth and fiction.

I love to read fantastical stories that fuse adventure with the supernatural, corrupt, heroic and the confused, the confessed, romantic, the guilty and pleasurable. I enjoy how they can conjure up worlds that are almost close enough to be our own but they have just those few elements that make them seemingly a little far-fetched or just that tad little impossible

Yet, I struggle with many folklore tales, as they rely on grand narratives that I do not believe in. So I subvert them.

Working with an inter-disciplinary approach to my arts practice, I crossover between installation, performance and collaboration, yet the underlying method is always drawing. I love to use process driven, laborious techniques – like cyanotype – and experiment with a variety of textiles.

Link to Emma’s Art Aviso profile HERE

Emma was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
A Childrens Treasury of Verse-Little Masterpieces of Today and yesterday
The Elfin Artist
Artist: Emma Gardner
Medium: oil stick trace-monotype and pigment on 180 gsm paper
Dimensions: A4
(27) Valentina Tansley - Sealed
65
(27) Valentina Tansley - Sealed Image
About this Artwork

This work is a response to an image of the sealing of the Magna Carter. Whilst the topic didn’t initially interest me, I was drawn to the composition of the image itself. As a designer at heart, I used the border decoration as the inspiration for my final work. I have recently been studying the art of sign painting, so the detailed cross pattern became an apt starting point.

I used a selection of old book pages to create the scalloped background texture, adding the cross concept over the top in ink. I was particularly interested in exploring the idea of negative space in the placement of the ink overdrawing, and this has resulted in an artwork which looks very different close up to when viewed from a distance.

I found working on this piece extremely challenging during the time of Covid-19. I had time on my hands but found it difficult to concentrate on what I was doing. The resulting work embodies many of the techniques I use in various styles of art and design but is not at all what I initially set out to do.

About Valentina


I am an emerging contemporary artist working primarily with paper based mixed-media, including collage, printmaking, typography and pattern design. My work has a bold, graphic and dramatic feel inspired by my background in music and the performing arts.

I’ve always been a creative soul and after trying my hand at many artistic pursuits I have developed a strong affinity for experimental collage. For the past five years I have been deeply immersed in this technique – exploring ways to push the boundaries and create interesting three-dimensional and textured paper-based works.

Using paper as the creative medium rather than the canvas creates all sorts of interesting opportunities. I love the tactility of different types of paper, and the juxtaposition of weights and colours. As an environmentally aware artist I aim to tread lightly, using waste, recyclable and ethical materials in my work.

Inspiration for my work comes from various sources – often urban landscapes, street art, architectural heritage and the notion of urban decay. I love the concept of controlled chaos and I often use this approach in my pattern-based collage work.

Link to Valetina’s Art Aviso profile HERE

Valentina was supplied with the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:

Volume 2
The Romance of History
King John sealing Magna Carta
Artist: Valentina Tansley
Medium: Dictionary pages, ink, charcoal
Dimensions: A4
(22) Deb K Williams - Knots and Constellations
120
(22) Deb K Williams - Knots and Constellations Image
About this Artwork

‘Knots and Constellations’ is a work born out of a process of distillation. My page ‘Some Ensigns of Britain and the Commonwealth’ has been reduced to a single image containing traditional symbols of the sea and sky combined with the practical universality of sailors knots. While the overall sense of navigation remains, the militaristic overtones and the grid layout of the original page have been removed. The image now floats in space much like a vessel on the sea.

The flags featured in ‘Some Ensigns of Britain and the Commonwealth’ have obvious military associations and the notions of ‘The Commonwealth’ suggest British domination and centuries of imperialism. I wished to explore themes of the universality of ancient sea faring where navigation is gleaned from understanding the map of sky and the sail is tethered by an array of knots and the vessel, when necessary, is tethered to the sea bed by an anchor.

About Deb

I have a multi-discipline art practice that includes installation, drawing, collage and digital photography. My work includes drawings, photographs, diagrams and templates and collections of three-dimensional ‘samples’ and small hand crafted proto-types. My installation work is characterised by the desire to experiment with materials and processes, to use assemblage and collage to create unexpected connections and to use materials that are often mundane, discarded or redundant. I draw upon textile, casting and modelling traditions and incorporate processes such as stitching, incising, puncturing, tessellating, rug making, wrapping, knotting and weaving. Materials include an assortment of papers, felt, cassette and VHS tape, oil, plasticine, salt, sand, threads, cement, rope and mud. Most recently I have created textile works exploring the connection between stitching, weaving and drawing and the contemplative, meditative nature of these activities. This Door to Door project has given me the opportunity to challenge myself to make work from a page that initially didn’t offer me much inspiration!

Link to Deb’s Art Aviso profile HERE

Deb was provided with the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:

Volume 3
The story of the world and it’s peoples.
Some Ensigns of Britain and the Commonwealth.
Artist: Deb K Williams
Medium: Digital collage, pencil on rag paper
Dimensions: A4
(134) Susan Lowe - Making Letters Big and Small
200
(134) Susan Lowe - Making Letters Big and Small Image
About this Artwork

Letters of the alphabet are an essential form of communication. Seen in recent demonstrations, and written on placards, they can send powerful political messages. During periods of change or revolution fonts gained visibility.

Early childhood memories for many are associated with trying to form letters and to spell one’s name. Sign writing apprentices often spent hours learning how to correctly form letters over templates until a letter’s intricacy was mastered. Many viewers may remember slope cards that were used as guides to help form cursive letters in primary school. Writing in pen and ink also presented challenges for a young student.

Today, the computer has replaced old printing methods and the manual labour associated with typesetting letters and words individually. A drop-down menu presents the writer and designer with an overwhelming selection of fonts in multiple languages. Messages can be sent and circulated in seconds. Much has changed since the invention of the first printing press in 1440 by Johannes Gutenberg.

About Susan

Passionate about the arts my tertiary qualifications include a degree in Visual Arts Education and a postgraduate degree in Cultural and Heritage Management. Time spent in the teaching profession and on my own practice in the fields of Visual Art and Design provided a wide platform for experimentation with different mediums. I especially appreciate how the accidental can be utilised to further develop the conceptual side of my work.
In addition, my teaching qualification provided me with opportunities to travel overseas and to live in various parts of Australia that would normally have limited access other than as a tourist.

I have at other times been a partner in a design company; created costume designs for several theatre productions; contributed to and edited school magazines and related publications; and worked as an education consultant developing educational materials for The Australian Heritage Commission.

Design has also been a dominant force in my life experience leading to awards in Interior Design, Drawing and Painting.

Link to Susan’s Art Aviso profile HERE

Susan was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
Reading, writing and arithmetic.
Making Letters Big and Small.
Artist: Susan Lowe
Medium: Unique State Archival Print
Dimensions: A4
(142) Lesley Ryan - COMMUNICATION
200
(142) Lesley Ryan - COMMUNICATION Image
About this Artwork

“Communication”

Communication is simply the act of transferring information from one place, person or group to another. Every communication involves (at least) one sender, a message and a recipient. … These include our emotions, the cultural situation, the medium used to communicate, and even our location.

Art crosses the time boundaries of communication, we can see what people ate in medieval times, we can see what games they played, their religious beliefs and we can see their family life.

This work symbolises man’s unwavering need to communicate for thousands of years, to be understood and to pass on, or leave a legacy, by verbal and non-verbal means.
The background is from a page of the verbal language of a 1950’s children’s book. This has been printed onto watercolour paper, with hieroglyphs of the Egyptian era to the hieroglyphs of today. Symbols of gods, heroes, feelings and imagination.

Watercolour paint, watercolour pens and ink have been used, the main image is of Rameses 2nd, a bit rough, stylised and colourful, on cracked plaster.

About Lesley

Lesley Ryan’s recent work is heavily influenced by her love of Japanese woodblocks, the simplicity of line, and the reduction of landscape to its basic form. Watercolour allows her to develop a visual language of mood and serenity. The free flowing movements in her images, leave the viewer to make the decisions, about where and when. While the work is executed in watercolours it is rarely is touched by a brush. Her painting implements can be a fork, a feather or a plastic card. She has recently returned from studying with a Japanese woodblock master carver Motoharu Asaka in Tokyo and his influence and subtle use of line can be seen in her works.
Lesley is an artist from the North Coast of NSW. She gained teaching qualifications from the University of Wollongong. She studied under many well-known artists including, Pamela Griffiths, John Lovett, and David Fairburn, to name just a few. She continued to study art at East Sydney Technical College, Seaforth technical college and St George Technical college. In 2018 she completed a Diploma of Art with The London College of art and received a distinction.
She’s exhibited, nationally, internationally and locally and had many solo and group exhibitions. She’s been studio artist for her local council and her work is in, private and corporate collections. Many of her images have been reproduced as greeting cards, which are distributed and sold locally, and overseas.

Link to Lesley’s Art Aviso profile HERE

Lesley was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia
Volume 9
Early Civilisations
Plate 1 Eqypt


Artist: Lesley Ryan
Medium: WATERCOLOUR AND PEN on paper
Dimensions: A4
(57) Javier BAEZ BONORAT- Vesuvius in Sepia
200
(57) Javier BAEZ BONORAT- Vesuvius in Sepia Image
About this Artwork

‘Vesuvius in Sepia’ is dominated by splashes of sepia, in attempt to imply a gloomy, frightening scene instantly. The gesso base provides a layer of chaos, nurturing the dramatic scene that I want the viewer to experience. The sepia and gesso work together as they creep into the sky, interrupting its natural blue state, in another attempt to emphasise this dismal scene. The simply drawn bright steam rising from the crater contrasts the entire scene. This was with the intention to create a state of play amongst the heaviness. Like the state of nature, the scene is strong and powerful but surprises us with a glimpse of gentleness and bounce. This quality of nature is something we often don’t question as it seems to render a sense of balance, which was similarly my intention in this artwork. I wanted to create a simple artwork, that’s easy on the eye so to avoid any cognitive overload, yet still communicate a layered chaotic, dark and hazy scene

About Javier

Growing up in Mexico, I absorbed the warm and earthy colours found in the works of Mexican artists such as Rufino Tamayo and Francisco Corzas to name a few. Their influence is buried deep within layers of my paint.

For the past 20 years that I have lived in Australia, aspects of the Australian landscape remind me of Mexico. The contrasting but complementary qualities of these embraced landscapes is reflected in my work.

When painting I explore the tensions within the trinity of colour, form and texture. When I begin a painting, I approach this exploration of tension as though I have never attempted it before. This allows me to abandon learned formulas, and question any comfortable approach I have acquired through previous artistic practice. My attempts aren’t always successful, but they are honest. The basis of my work derives from that constant effort to break old methods and create new ones.

Link to Javier’s Art Aviso profile HERE

Javier was provided the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
Where the earths story is written
The Volcano that buried Pompeii
Artist: Javier Baez Bonorat
Medium: Oil and Gesso on Cardboard.
Dimensions: A4
(2) Julian Di Martino - Looting the village
200
(2) Julian Di Martino - Looting the village Image
About this Artwork

Not all stories in encyclopaedias get a one page illustration so ‘Looting a City of Treasure’ must be special to be deemed worthy. It is extraordinary that as a child you see a picture of Alexander the Great looting a Persian city and you are encouraged to feel that this is a positive thing. I have juxtaposed two source materials in my artwork. The black pencil is an engraving from the 2nd century BC of Alexander the Great’s 331BC invasion of the Persian Empire. The coloured pencil is a 13 year old boy named Abd al-Rahman’s drawing of the invasion of his village in Dafur Sudan in 2005. Two thousand three hundred years separate the source materials. Nothing has changed. If the survivors of the murder and looting in Sudan or in Persia were asked what they thought about the invaders, I am confident that they would not describe them as ‘great’.

About Julian

I was born in Geelong and live in Melbourne, Australia. In the early 1980s I completed an
Arts degree with a major in Philosophy. It wasn’t until my mid-thirties that I began doing
art which has from the beginning included both oil painting and mixed media assemblage.
Since 2014 I have mainly focussed on wooden sculpture and assemblage with occasional
detours into conceptual territory. I was one of the founding members of 69 Smith St artist-run Gallery in Fitzroy in 1998. I currently volunteer at Yarra Sculpture Gallery. Over the last
six years I have been a fnalist and very occasional winner in various art prizes including The
Woollahra Small Sculpture Prize, The Deakin University Contemporary Small Sculpture Prize, The Substation Contemporary Art prize, The incinerator Art Award and the Yering Sculpture Exhibition and Awards. As I said, sculpture has been my focus of late but I would not be surprised if I return to painting in the future.

Link to Julian’s Art Aviso profile HERE

Julian was provided with the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:

Volume 2
The Romance of History
Looting a city of treasure
Artist: Julian Di Martino
Medium: Pencil on paper
Dimensions: A4
(89) Gennifer Anderson - Light of the World
310
(89) Gennifer Anderson - Light of the World Image
About this artwork

In response to the page ‘Artificial and Natural Lighting’ I have addressed the subject of belonging in this time of isolation through imagery of rooftops and homes thrown into shadow on the one hand and stark silhouette on the other. My work also pays respect to the power of faith particularly in dark times.
My creative process involves studying a select subject for a period of time, visiting it and revisiting it. Taking photos, creating sketches and often preliminary works on various supports from cardboard to canvas and even glass. I then put the visual aids away and allow a period of time to elapse to reduce the information to the strongest images of memories, emotions and symbols. From there the work takes on its own character highlighting some values eliminating others. The prevailing light of faith, the power of nature and sharp contrast are the persuasive values in ‘Light of the World’.

About Gennifer

I am equally captivated by the random arrangements of nature and the concept of belonging. My works investigate connecting to others through creativity and are the depiction of memories of emotion, time and place.
As a ‘constructor’ of art I build in layers using a wide variety of media including acrylic, oil, sand, paper, shells, found objects and resin with resin being part of the artwork and the glue that holds the work together. Resin enriches the colour and protects the work with a glass like coat. It also allows me greater freedom to experiment with media, supports and surface preparation.
I am most interested in pushing the boundaries of the resin to explore the possibilities of form and texture and to create unique fine art rather than producing a faultless finish. I am more likely to break the rules of resin work than follow them just to see what will happen. Therefor the end result is never defined. Since completing the Diploma of Visual Arts at West Wollongong TAFE in 2013 I have exhibited work throughout the Illawarra and have been awarded a First and a Second place for works exhibited at Albion Park Show in 2015 and 2016. I have public art commission works at the Shellharbour Hospital Ambulatory Care Centre and the Wollongong Arts Precinct. Art is a great source of joy for me and outside the sanctuary of my own home and family, I feel most comfortable in creative spaces and with other creatives.

Link to Gennifer’s Art Aviso profile HERE

Gennifer was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia.

Volume 6
Magnetism and Electricity – A great discovery and its many developments

Artificial and Natural Lightning

Artist: Gennifer Anderson
Medium: Acrylic, aerosol, charcoal, resin and ink
Dimensions: A4
(14) Peta-Jayne Smith - Still doing the hard yards
350
(14) Peta-Jayne Smith - Still doing the hard yards Image
About this Artwork

When I first received my page my reaction was something of familiarity, it reminded me of the newsreel type of films that were shown in the darkened classroom of a Social Studies lesson. I loved those iconic images of Australia that showed people working or playing in everyday life situations. My parents would take us on picnics to places like the Blue Mountains, the Snowy Mountains and country towns. Growing up on the northern beaches of Sydney, I found the mountains and country held some allure, the scenery was vast and textured and the animals were plentiful. I dreamed of living on a farm with a few sheep or cows, riding on my faithful horse, in the quiet of the country air.
So the image that was sent to me is my dream.
In 1950, Australia was largely concerned with pastoral and agricultural products. Wool production was greater than any other country in the world. There were about 109 million sheep on farms and the value of the wool was over £65,000,000 a year. Australia was “riding on the sheep’s back”.
Today sheep farming occupies 7 percent (4.7 billion) of the gross value of agricultural production, 5 percent (2.6 billion) of agricultural export income per year. The sheep farmer has diversified as wool prices fluctuate dramatically and are now concerned with meat, wool and milk. Climate change, exports and consumerism have seen sheep flocks falling and the numbers of sheep are estimated at 68.1 million.
Still doing the hard yards.

About Peta-Jayne


My main areas of practice are in drawing and painting and I have been working primarily in watercolour of late. I find that watercolour allows me to paint like I draw, paying particular attention to the detailed textures and tones of the subject. When using my camera to capture a moment, the light, the angle, the composition are deliberately considered in capturing the mood and feeling of the artwork. My original artworks have contributed to the growth of my portfolio and cover subjects such as still-life, landscape and nature, portraits and animals. No matter what the subject is, it is my intention to capture a moment in time, in true definition, with attention to the lights and shadows. My paintings and drawings find beauty and significance in ordinary scenes sometimes with a nostalgic feel. The familiarity of the subjects draws the viewer in, as even if the subject is not their own, their memories of something similar conjure a relatability.

Link to Peta-Jayne’s Art Aviso profile HERE

Peta-Jayne was provided the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 3
The story of the world and it’s peoples.
In Cumberland Valley, Victoria
Artist: Peta-Jayne Smith
Medium: Watercolour on paper
Dimensions: A4
(141) Rose Agnew - Mrs Ramsay
300
(141) Rose Agnew - Mrs Ramsay Image
About this Artwork

Mrs Ramsay is a whimsical reflection on the famous “Ram in a Thicket” sculpture. The meanings attributed to this mysterious object are bound up with so many western ideologies and mythologies – from the potential sacrifice of Isaac by Abraham, to the search for wisdom, to the rise of individualism in western civilizations. It is this notion of seeking knowledge that I have illustrated. Here, the nosy Mrs Ramsay peers through some scraggy branches to find out what’s going on next door. The unlikely posture and craning pose of the sculpture really appealed to me and suggested a very human inquisitiveness. Contemporary analysis tells us that the animal depicted is a goat, not a sheep, particularly a Markhor goat, a breed renowned for their antipathy towards snakes.

My lonely Mrs Ramsay could also be looking for her companion. She would do well to travel from room 56 in the British Museum to Philadelphia where the complementary figure resides. It seems mournfully appropriate that she forever peer out since being removed from her ancient burial place in Ur. How often do we feel the true meaning of things would be clearer if the context were different? indeed, it took me a while to realize i knew the objects shown on my encyclopedia page. Indeed, I had seen them in the British Museum and listened to a podcast about them on the BBC, but it was only when I read the title “Ram in a Thicket” that I put it all together.

About Rose

Rose Agnew is a multi-disciplinary artist whose practice includes painting, sculpture, gold and silversmithing, botanical illustration, and embroidery. Rose is also a published writer, sometimes piano player and maker of ornate and whimsical cakes. And while it is challenging to find a defining descriptor for her work, it is safe to say that Rose has an intense love of beauty and the practice of making, both of which are fueled by an equally passionate inquiry into our shared world and human experiences. Rose is fascinated by the world and how we make sense of it. From the stories we tell ourselves, our dreams and our lies, to our retelling of shared cultural histories – these are the things that shape our views of the past and into the future.

Link to Rose’s Art Aviso Profile HERE

Rose was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia
Volume 9
The story of the early civilisation in the worlds history. How learning and understanding spread from the Mediterranean
In Ancient UR of the Chaldees


Artist: Rose Agnew
Medium: Water colour on paper
Dimensions: A4
(172) Stephen Cornwell - Bird-eating Spider
190
(172) Stephen Cornwell - Bird-eating Spider Image
About this Artwork

I find spiders pretty menacing at the best of times but this concept presents a slightly more surreal twist on a spiders confrontation with a bird that just might be its measure. The image I was given to work from was of a bird-eater sitting on a tree trunk. Slightly blurry so I’m guessing that the photographer was a little shaky and uneasy about being so close to a very intimidating spider. The style of this piece is based on a series that I have developed that involves wildlife as the subject matter and their interactions with their surroundings. I’m thinking that I got the scale of the two actors about right. The bird is more like a small raven which can be both aggressive and fiercely defensive. So, even though I’ve confined the bird to cage, I’m treating this as a standoff. A no win situation for this bird-eater !

About Stephen

I’ve been creating artwork for most of my life.
Most of it has been design related ( applied design) rather than Fine Art.
In 1999 I co-established an Ad and Design Agency with partner (Cate) in North Adelaide during which time I was nationally awarded for my branding creative. I’ve also taught Visual Arts in Secondary schools, and lectured in Visual Communications at Tertiary Ed – Tafe and Design Institutes.
2019 saw a big change in my priorities and I’ve invested a lot of time developing my personal artwork. I’ve really focused on developing my giclee (digital) works which often include wildlife and camouflage concepts as well as more surreal and darker concepts most of which just happen upon me and are usually very diverse in subject matter. And, although I have a fondness for ravens, once I’ve produced an idea I usually don’t live off it by producing a dozen minor variations. I guess that’s a legacy of having to perpetually reinvent new ideas for commercial design projects. So, applying this discipline keeps my thinking “fresh” and forces me to move forward with new ideas. Another constraint I apply is the use of a square format for my artwork. I almost always create everything to fit in a square.

Link to Stephen’s Art Aviso profile HERE

Stephen was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
The first steps in Geography.
Geographical terms – plate 1.
Artist: Stephen Cornwell
Medium: Ink on paper (Archival digital Giclee) Signed - 1/5 limited edition A4
Dimensions: A4
(125) Beth Nelson - Interference
70
(125) Beth Nelson - Interference Image
About this Artwork

The Newnes’ Pictoral Encyclopedia page ‘More than half a century old; The Telephone and How it works’ was provided as my inspiration. The print directed me to think about changes in technological communication and how in 2020 and during Covid lockdown, the internet is associated with unease – despite our dependency and need for connection.

Many fear they can’t protect themselves from what is projected and delivered down our wires and in our ether – from fears of radiation, 5g or EMFs, to endless bad news, political manipulation and Public Health appeals. Fear is heightened by the intangible, and shifting landscapes.

It’s clear thats it’s not just the architecture of communication technology which has changed over time, but also our relationship to and with communication. We no longer have an occasional special conversation over the phone, we can communicate with just about anyone by taking the deep dive into clouds, waves and layers. Can we stay grounded surrounded by so much information? And what are we tethered to?

Today’s internet based communication and conversations can seem as much about seeing and not thinking, as hearing and reflecting. We no longer have dedicated human operators connecting our conversations, instead we grapple to fully comprehend the control by unseen computer generated algorithms. We strive to hang onto our personal agency.

About Beth

Fabric … textiles … stitching … layers … My compositions are driven largely by the love of stitching, fabric, textiles and markings.
Landscape and seasonal influences are themes of my work as is personal and collective trauma. My work often includes elements of respectful cultural fusion. I create to describe and make understanding from what is impacting on myself and others. If I have an idea I want to express I find textiles and fabrics which help tell the story, or fabric and materials suggests a focus.

My pieces are normally substantial and highly textured and I aim for appreciation both at a distance and close-up, where the stitching and layers have the most impact. All materials used are recycled or gifted and I often use rust-dyeing techniques to enhance the fabric.

I was excited to include wires and metal in Inteference as a revisit to work I produced in the 80’s punk days. The materials for Interference are cotton and metal stitches onto constructed card, recycled fabric, netting, wire, and copper piping. The original work is available (34 cm width x 46 cm length) and is mounted onto to waste plywood.

View Beth’s Art Aviso profile HERE

Beth was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia
Volume 6
The Telephone and How it works
More than Half a Century old

Artist: Beth Nelson
Medium: Photographic print of Multi Media Art
Dimensions: A4
(45) Michele England - Celebration
90
(45) Michele England - Celebration Image
About this Artwork

friends and family gatherings … party hats, music to dance to, fun food, laughter, even hugs… Hold onto those thoughts and dream of celebrations to come.

Making this piece during the COVID 19 lockdown gave me time to play with imagery and materials and enjoy the process of discovery without being too prescriptive. Searching through books, magazines and my hoard of materials I gathered together favourite pieces. I have a particular fetish for reclaimed materials and enjoy breathing new life into them. I was taken by the three figures sitting awkwardly close with their party-hats and drinks – who are they , is it New Year’s Eve, and what year are they heralding in? The Rueben’s nudes lie on the beach towel-like napkins enjoying the view, while the three graces – symbolising beauty, mirth, and creativity – playfully dance without a care. Whichever way you celebrate, raise a glass, and enjoy those special moments of shared festivity with your nearest and dearest. Salut.

About Michele

I am an artist whose work invites the viewer to consider various topical issues, particularly those dealing with contemporary consumer lifestyles and the impacts of these on the environment. I am intently interested in making works that engage your eyes, body and mind.

Most of my research results in paintings or small sculpture. My paintings often use a collage aesthetic to combine imagery, painting techniques, pattern and forms. I also enjoy combining the practices of art and craft. This pursuit produces works that utilises craft techniques with everyday objects to make interesting metamorphoses and contextual changes to these objects.

I completed a Visual Arts Degree with Honours at the School of Art, Australian National university in 2013 and am now studying a Master of Philosophy, also at the ANU. I have had numerous solo and group shows in Canberra and interstate since graduating.

Link to Michele’s Art Aviso profile HERE

Michele was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The story of animal life- Creatures of the land ,the air and the sea.
Fish climbing up a wall.
Artist: Michele England
Medium: paper, reclaimed wallpaper, thread
Dimensions: A4
(1) Aneta Bozic - Forever Flora on Ossified Mountains
200
(1) Aneta Bozic - Forever Flora on Ossified Mountains Image
About this Artwork

The original work, ‘Cattle grazing beneath the snow-clad peaks of the Bernina Alps’, made me think of the controversy of cattle grazing in alpine national parks. The argument against this practice is that the impact of the cattle will cause soil erosion and have devasting effects on the fragile ecosystem of native plants. Those for cattle grazing argued that low intensity grazing is clearing the fuel load helping to prevent bushfires and that the landscape and native species are resilient enough to overcome any temporary negative impact from the cattle. Either way, death, in some form, is an element here: death of the cattle (by the very nature of the meat industry), death of this particular farming practice, and death of the landscape and its flora as a result of this practice. There is also the element of the lifespan, resilience and longevity of the various elements: the mountains, landscape and native flora, and the tradition of farming and grazing of introduced domesticated species.

My visual response to this piece, whilst keeping the same layout, is to flip and alter the components of the original image of the cattle grazing on the mountain terrain, to that of Australian everlasting daisies on mountains of weathered cattle bones.

About Aneta

I am a multi-disciplinary artist based in Melbourne. Having originally studied computer-based art and animation, I now focus entirely on hand drawn and crafted arts, incorporating many found and foraged natural items as well as second-hand ready-mades into my artwork. These include ethically sourced animal bones, feathers, skins, nests and shells. Plant materials include seed pods, flowers, leaves and weeds. Kitchen items, plastics, frames, boxes and wire are found in second-hand stores and markets, discarded in parklands or washed up on the beach. I enjoy using all these items in ways that extend or ignore their original purpose and combine them together to create new forms and relationships.

Throughout my practice my philosophy and aesthetic are grounded in the appreciation of things that are most often overlooked, discarded or rejected. Whilst there is sometimes a sense of the macabre in my work, there is also a sensitivity and abstraction in the way these objects are presented. Through the treatment, isolation, combining and cropping of these objects, I explore the meanings and relationships we project onto them, taking them out of context and questioning our preconceived ideas of what they are meant to be.

Link to Aneta’s Art Aviso profile HERE

Aneta was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia
Volume 4
The story of the world and it’s peoples.
Cattle Grazing Beneath the Snow-Clad peaks of the Bernina Alps


Artist: Aneta Bozic
Medium: Pen on paper
Dimensions: A4
(133) Tasha Button - Gold Tut-ank-amen with Lion
200
(133) Tasha Button - Gold Tut-ank-amen with Lion Image
About this Artwork

The original image from Newnes’ Pictorial Encyclopedia took me back to the Gold of the Pharaohs exhibition which influenced my art in high school. The catalogue which I was able to trace gave me images that reminded me of my schooling Arts practice. The striking Golds and Blues of Tut-ank-amen and his jewellery. The soft porcelain like features of the alabaster lion juxtaposed next to the heavy Gold-like forms of the casket which shows the wealth and pomposity of the Egyptian age. The gold-leaf exhibits the richness of the casket so that Tut-ank-amen could enter heaven or the after-life, the red symbolising the blood of the snake bite. The colour White manifesting the purity in death, dovelike. It is almost as if the Lion who is in the background is wanting our attention, he is waving with his tongue hanging out in a humorous fashion saying “Look at me!”. The triangle shape of the sand paper represents the Egyptian pyramids.

About Tasha

I am an emerging Australian artist who works primarily with Oil on Canvas and Works on Paper. I studied Visual Art at The Julian Ashton Art School, Certificate of Fine Art, Central Queensland University, Bachelors of Learning Management and Central Queensland TAFE, Certificate IV Fine Art and Contemporary Craft. The still life is a genre that entices my senses and one that I am constantly in tune and processing in my practice. My influences are the objects, people and scenery that surrounds me. I like to use valorous colours in all of my work. I am drawn to the history of our world- my personal genealogical history, our nations history and the worlds history both modern and ancient. The royalty of earth, people and society as well as grandness and nobilities. I like using gold, silver and strive for beauty in my work. I have been exhibited in the Blake Prize for religious art, and over 32 mixed exhibitions. The process of creating and exhibiting artwork is an enriching occupation.

Link to Tasha’s Art Aviso profile HERE

Tasha was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:
Newnes’ Pictorial Knowledge Encyclopedia
Volume 9
Great Nations of the past
A golden casket and alabaster vase


Artist: Tasha Button
Medium: mixed media on paper.
Dimensions: A4
(192) Athenie Leckey - How Dots Make Pictures Page 390
150
(192) Athenie Leckey - How Dots Make Pictures Page 390 Image
About this Artwork

Being sent Page 390 from Volume 9 of the Newnes’ Pictorial Knowledge Encyclopedia made my heart sing! ‘How Dots Make Pictures’ was the page title. The basic starting point of any mark – the simple dot – was to be heroed. Paul Klee’s quote – “A line is a dot that went for a walk” expanded to “A drawing is simply a line going for a walk” was humming in my subconscious. The juxtaposition of wanting to create an image of robust Australian native flowers overflowing from a vase with just delicately inked dots was enticing, enthralling and challenging. Dot size and density were utilised to create texture and fragility of petals and leaves. I have bunched together my favourite natives – Banksias, Eucalypts, Grevilleas, Kangaroo Paws, Leucodendrons and the adopted Proteas – representing discovery, purity, calmness, true love, faith, individuality, simplicity in life, diversity and courage. A great ‘bunch’ to live by. Enjoy!

About Athenie

Athenie Leckey is a Melbourne based emerging artist who revels in the beauty of our native flora. Paper cut with collage, acrylics, and ink are the current mediums of choice to depict a single bloom or a large messy bunch nearly spilling out of their container. I create these floral works to be surrounded by native blooms. I want them in my garden, my street, my vases, my paintings, my work. I admire the strength of the larger blooms, the wooded stems, the tough leaves, the robust flower head but closer inspection shows the soft downy edge of a petal, or a delicately curled style of a grevillea, or the golden stamens of each wattle globe. The hidden softer aspect of the flora – and life – is what makes an experience memorable and special in our hearts and minds. Proteas, even though not strictly a native to Australia, usually appear in my work as they have the most special place in my heart. My partner would often give me a King Protea while we were dating therefore my wedding bouquet was a single perfect bloom not only meaning courage and diversity, but also love.

View Athenie’s Art Aviso profile HERE

Athenie was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia
Volume 9
On things that interest you and me. 
How dots make pictures.

Artist: Athenie Leckey
Medium: Ink on Paper.
Dimensions: A4
(12) Susana Depetris - Red and Blue
240
(12) Susana Depetris - Red and Blue Image
About this artwork

I received a page with many old time British Flags. Looking at how the current flag evolved got me thinking about the many elements that kept repeating and also changing to end up with the modern flag. I’ve used the main colours as the inspiration for my artwork and using layers as a metaphor for the passage of time and change.
I also wanted to have a somewhat dark image to reflect the history associated with the British flag. When it comes the the process of creating this work, I had a series of pieces of paper and I applied areas of colour. Sometimes I applied more layers wet on wet, and other times I waited for the paint to dry before applying the next layer. I also used pieces of card and other objects to push the paint around the surface to create interesting textures in an unpredictable way.

About Susana

An integral part of my work is the use of layers of transparent colour. I’m intrigued by the idea that different colours can elicit different emotions, so my practice is based around the investigation of this concept. My process is to apply washes of paint and let them drip, sometimes spraying the surface with water to create flows of colour. I keep adding layers to achieve brighter colours, and apply masks to the areas that I want to keep unchanged. I love the uncertainty involved with this technique. What interests me about painting is the search of a visual language that creates an atmosphere that transcends the mundane and evokes a strong emotion.  I would like the viewer to look at the work and to observe the feelings that arise from the experience. It is interesting to hear feedback from viewers telling me all the things they see in the work.

Link to Susana’s Art Aviso profile HERE

Susana was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia.
Volume 9
On things that interest you and me.
Some Old time British Flags.
Artist: Susana Depetris
Medium: Acrylic paint on 100% Cotton Acid Free Watercolour paper 425 gsm
Dimensions: A4
(196) Sheena Mathieson - House Keeping the Emu
200
(196) Sheena Mathieson - House Keeping the Emu Image
About this Artwork

An interpretation. From one encyclopedia to another: The Newnes’ Pictorial Knowledge from the 1950s, to my very own 1963 Dean’s Supreme Book for Children, which I have rediscovered as part of Door to Door. Outmoded, white interpretations of our world, smattered with new learning of mine about the emu as the creator spirit that used to fly and look over the land. Layered with cut-outs, frottage, print, watercolour and shellac.

About Sheena

Sheena is a visual artist and community facilitator specialising in crafting art from the found and bringing people together to explore their own creativity in inspiring and vibrant settings.
Woman-made is the business name under which Sheena operates.
Sheena’s artwork explores the world around us through colour and the use of preloved surfaces and objects. She crafts atmospheric paintings, drawings, collages, objets d’art and wearable art pieces. Recurrent themes include the human and natural form and spirit, and our tenuous relationship with the environment. Her work has a strong physical presence.
For Sheena, a preloved object or surface carries with it texture and emotions.
‘Whilst I have created many works on the traditional blank canvas or sheet of paper, my preference is to work on a surface which carries other narratives. This is where I feel most comfortable.’ Through the manipulation of the surface and form, Sheena’s artworks beg to be touched – they can be touched.

Link to Sheena’s Art Aviso profile HERE

Sheena was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia
Volume 9
Questions and Answers on things that interest you and me.
Where Birds keep house.

Artist: Sheena Mathieson
Medium: Mixed media: layering of cut outs, collage, print, watercolour, shellac
Dimensions: A4
(197)Louise D'Amico - Airplane Shapes
150
(197)Louise D
About this artwork

My art work is from Newnes’ Pictorial Knowledge Encyclopedia Volume 9 The importance of Shape. My art work is inspired by shapes and wings. I have done a picture of an airplane. I live near Melbourne airport and before Covid-19 I would be able to see airline in the sky but now I can hardly see any due to covid-19. The medium I have used for the airplane is Screen printing, with Acrylic paint and distress Ink.

About Louise

My Name is Louise D’Amico. I am an artist with intellectual disability. I live in Melbourne Australia. I enjoy visual arts and printmaking, and card making along with photography.
My favourite mediums to use when doing art are printmaking and acrylic paint. I attend an art group called Make a Day Art and Art for All Abilities. These groups are run for artists with a disability by Sheena Mathieson. It gives me an opportunity to make art and see art. In art class we do a wide range of artwork including printmaking, painting, colour and 3D. I enjoy still being able to do art during Covid-19 on Zoom. When I am not at art class, I am always putting creativity into my projects in my own time at home. My passion is to share my creativity with others who are like minded.

Link to Louise’s Art Aviso profile HERE

Louise was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
Questions and Answers on things that interest your and me.
The importance of Shape
Artist: Louise D\\\'Amico
Medium: Screen-printing, Acrylic paint and Inks
Dimensions: A4
(112)Somrita Watford - Mughal Life
295
(112)Somrita Watford - Mughal Life Image
About this artwork

The page I was given depicts a colorful incident, the entry of a King’s Champion into Westminster Hall to challenge anyone who opposed the sovereign’s right to the crown. I was inspired from this theatrical depiction to create my own colourful incident in a royal setting of the Mughal era. Being of Indian heritage, I have always loved the intricacy, colour and beauty of Mughal era paintings which depict the reign of Mughal emperors from the 16th to the 18th century. They often depicted scenes and portraits of emperors and their court, much like ’The Challenge of the Kings Champion’ page I was given for inspiration. My natural style of painting tends to incorporate fine brushwork, colour and attention to detail, which drew me to create this work inspired by the Mughal style, which also usually featured the same elements. My painting depicts a Mughal emperor and his court with heavily decorated subjects and architecture. Like the King’s Champion fulfils his role by challenging opposers, the dancers fulfil their role by providing entertainment through dance and music in the Mughal court.

About Somrita

I am an Indian born, Melbourne based artist. Art was a passion of mine in my teens and twenties and I wanted to pursue it as a career, but back in the 70s chances of making it as an artist and earning a living through it were bleak and my parents encouraged me to get a proper degree that would get me a decent job. So, after a career, marriage, kids, migrating to a new country and then later a job redundancy, 35 or so years later, I now find myself free to pursue my passion and creativity again! Being a self taught artist with no formal training I find my natural style leans towards realism. I create each piece with great care, paying careful attention to every detail with my interpretation of a subject on canvas. With each artwork I aim to bring a sense of joy, contentment and tranquillity to the viewer.

Link to Somrita’s Art Aviso profile HERE

Somrita was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 2
The Romance of History.
The Challenge of the Kings Champion.
Artist: Somrita Watford
Medium: Mixed Media (Gouache & Acrylic) A4 Size on 225gsm Pape
Dimensions: A4
(160) Julie Kala - FiVE AND THE BOXING KANGAROOS
100
(160) Julie Kala - FiVE AND THE BOXING KANGAROOS Image
About this Artwork

My art reference was The boxing Kangaroos.
My first book as a child were Enid Blyton books so when I saw the reference picture and the fact that Enid was the editor I knew the image I wanted to create was a reference to the “Famous Five” series of books she wrote.
The original art work on the book covers from the “Famous five” in the 1950s were never amazing works of art but had a fun and exiting feel for children to what the story might bring. This adventure of the Five is of their Australian adventure in the bush and coming across Kangaroos fighting,. Fact is Kangaroos don’t actually box but fight with their feet by kicking forward and cutting their enemy open so not an image the “Famous Five” would really want to see so this adventure might not end well!
I did throw in a North Melbourne footy scarf for all the ” Kangaroos” fans!

About Julie

Growing up in very small town in regional NSW was very restrictive for a young person whose only passion was art. in the 70s & 80s there were no opportunities to study or work in the art field so I just had to put it on the back burner. I really missed my artistic side of my life so in the last few years I have been pushing myself to work everyday on my art , finding the time around other commitments can be very challenging, but I love the excitement of starting a new painting or sketch and then seeing the final product. I just paint what I like to paint and in my own style and with no formal art training it took a bit of time to find my own way. I do like a challenge and a project so its fantastic when something new comes together.

Link to Julie’s Art Aviso profile HERE

Julie was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The story  of animal life – Creatures of the land, air and sea.
The boxing Kangaroo
Artist: Julie Kala
Medium: Acrylic on paper
Dimensions: A4
(6) Anna Jackson - Aggregate
50
(6) Anna Jackson - Aggregate Image
About this Artwork

For this exhibition I received an Encyclopedia page from Newnes’ Pictorial Knowledge, Volume 9, Early Civilisations, Plate 2, Egypt. My collage is inspired by the colours, textures and the monumental sense of the forms from the images. A new form made from the aggregate elements of the old.

About Anna

I make collages and small 3D works mainly inspired by nature and the effect that human activity has upon it. Mostly I use reclaimed materials such as magazine clippings, newspaper, single use plastics and found natural objects. I enjoy the challenge of using found materials and like the idea that my work would decompose once it’s no longer wanted. My work considers the beauty of the small elements in nature and everyday environments and consider what nature may look like once it starts to absorb what we throw away.

Link to Anna’s Art Aviso profile HERE

Anna was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
Early Civilisations
Plate 2 Egypt
Artist: Anna Jackson
Medium: Collage.
Dimensions: A4
(189) Marina Chamberlain-Son of the Puszta
200
(189) Marina Chamberlain-Son of the Puszta Image
About this Artwork

The focus of this painting is a proud Hungarian cowboy pictured here in traditional dress.
Formerly a semi-nomadic herdsman of the Hungarian puszta, or Great Hungarian Plain, these days he is employed in national parks to preserve this part of Hungary’s heritage
.When I saw his image I felt an affinity with him, alone on his horse, and enduring the hardship of a rugged nomadic lifestyle, spending months in isolation, with only his horse and cattle for company. He is strangely symbolic of my predicament, and that of people the world over today, enduring enforced isolation as we navigate through covid 19.
Deeply engrained in the country’s cultural memory, he is seen in this artwork as through a window into the past. I have used collage and acrylic paint to evoke the nostalgia of a bygone era in a faraway country, seen through the prism of time and the imagination.

About Marina

I have always had a passion for art and pursued this interest whenever work and family would allow. In New Zealand I was for some years a specialist art teacher for schoolchildren, and attended art workshops and courses whenever I could.
My process involves layering acrylic paint with other mark-making mediums. Together with a selection of collage elements I am able to give complexity and depth to the surface of the work, always with an eye on colour and texture.
This intuitive process gives me the freedom to express my subjects creatively through memory and the imagination. One element will inspire the next, culminating in a harmonious work that captures the spirit of the subject, be it a landscape, a concept or a vase of flowers.
I also enjoy exploring analogue collage using images from vintage magazines, books and found street posters. These enable me to create disjointed compositions of the quirky and the beautiful. I love the surprises and the humour inherent in this art form, and its potential for social commentary. A collage composition will sometimes form the basis for my mixed media paintings.

Link to Marina’s Art Aviso profile HERE

Marina was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 4
The story of the world and it’s peoples.
A son of the Puszta
Artist: Marina Chamberlain
Medium: Collage with acrylic paint on A4 300gsm watercolour paper
Dimensions: A4
(3) Paula McLoughlin - The Road to Edith
350
(3) Paula McLoughlin - The Road to Edith Image
About this Artwork

I was sent a view of Mt Edith Cavell in Canada. I thought maybe I can do a ‘that was then this is now’ image. I found the view, it looks much the same, the road is paved and the trees are a bit more substantial.

Why is there a mountain named after Edith Cavell?

Well, Edith Cavell was a fierce brave woman. An English Nurse; she was recruited in 1907 to run a nursing school in Belgium. She was a humanitarian. When Belgium was occupied during WW1 she joined the Belgian Resistance and helped people flee to neutral Holland. She was arrested, court martialed and executed in 1915, causing ‘waves if revulsion throughout the civilised world’. She was the first female commoner to have a state funeral at Westminster Abbey. She has lots of monuments dedicated to her, and quite a gruesome 1915 stamp.

But I still didn’t know why Canada chose a mountain, so I started looking at the environment, the terrain, tracks, topography and started realising that this is a fierce mountain and should not be underestimated.

My image is a topographical view of Mt Edith Cavell. The Road to Edith is illuminated in Sterling Silver Glitter. I have given some stats on the mountain so you are prepared. Smashes Treasuries Wholesaler is the what3words grid reference for the peak and the QR code will take you to the peakvisor.com 3D view of Mt Edith Cavell.

So, you can really see how fierce the mountain is.

About Paula
I am a printmaker based in Melbourne – I explore multiple themes such as – connection to people and place, connection between people, memory, loss, desire. Sometimes I just try and look for the meditative state of being – the art just exists. I try and evoke an emotive and intellectual response with my work. I try but it is ever evolving

I became enamoured with the intrinsic language of printmaking early on, the deconstruction and reconstruction processes of making prints and the fact that at every juncture there are numerous options available. Printmaking has the ability to morph industrial techniques into a fine art images, appropriate contemporary imaging techniques, doesn’t discriminate between the photographic and autographic mark and allows the artist to move freely between all print mediums

In my art practice I have taken advantage of the permeable lines that exist between print techniques to develop my language as an artist. Dependent on the facilities available, my circumstances, my focus and intent I make etchings, screenprints, digital images, installations that include sounds and visuals, lithographs and relief work.

Link to Paula’s Art Aviso profile HERE

Paula was provided with the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:

Volume 3

The story of the world and it’s peoples.
In Canada’s Greatest National park.

Artist: Paula McLoughlin
Medium: digital print screen print, sterling silver glass glitter, pencil
Dimensions: A4
(36) Mia Oehlmann - The Jewel in the Gardens
140
(36) Mia Oehlmann - The Jewel in the Gardens Image
About this Artwork

The page given for inspiration of the work was from: Newnes’ Pictorial Knowledge Volume 3, The story of the world and its peoples, Crown of the Palace (Taj Mahal). Given such an iconic image as my reference point I wanted to do more research to capture the essence of the place as much as I could. In doing so, it was the colours and heat of the Indian sky with its inflection of gold shimmer and reds, as well as the repeating organic rounded shapes, and crispness of the white of the building itself that highly intrigued me. Most of all however, I was inspired by the significance and beauty of the lush gardens originally surrounding the stunning contrast of the white Taj Mahal. In researching this historical wonder of the world, I came to realise that the gardens were just as important to the Maharaja as the monument itself, in fact, they were said to be ‘part of’ it and were planned to envelop the structure and almost cradle it, and had in fact been restructured to be more like an English garden after the British Colonisation. I wanted to bring back some of that original tropical and fantastical garden element to the artwork that must have been there in its original state. To me, the Taj Mahal really is the Jewel in the Gardens.

About Mia

Mia mainly works with oil paints and charcoal sketches, but also branches out into mixed media and sculpture, with a contemporary realism style however occasionally drifts into the abstract. Her love for people and their quirks has her drawn towards portraiture as her main focus but she also enjoys still lives where she attempts to capture a story or a moment in time. Although she now lives and works in Melbourne, Australia, Mia grew up on the islands of Stockholm Sweden, where she spent most of her time on or near the water, consequently her fascination with the play of light and reflections often come through in her work. Although Mia is mainly self taught, and started her artistic journey late in life during a difficult recovery after a major operation in late 2014, she has completed some short course work via Melbourne Studio of Art in Elsternwick and is currently at the tail end of a Fine Arts Degree majoring in painting through Curtin University. Mia has always been surrounded by the arts as her aunt is a professional painter and sketch artist in Sweden and her father was a jazz pianist and industrial designer before his untimely passing due to skin cancer in 2006. Mia has exhibited works at a number of exhibitions in Melbourne and has accepted commissions.

Link to Mia’s Art Aviso profile HERE

Mia was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia
Volume 3
The story of the World and it’s peoples
Crown of the palace

Artist: Mia Oehlmann
Medium: Mixed media on A4 paper, unframed.
Dimensions: A4
(177) Tony Rocha Newton - Lavender Lynx - The Cat with the Tufted Ears
200
(177) Tony Rocha Newton - Lavender Lynx - The Cat with the Tufted Ears Image
About this Artwork

In our early forays into natural history, so-called exotic creatures that were not common to European or North American domestic life, such as the Lynx, inspired awe and mystery for readers (& sadly for the time a deep desire for hunters to travel to these locales & exterminate them for trophies). While some species were dangerous, we are much more dangerous to them. Indeed sometimes we introduce species to new habitats & are oblivious to their population explosions until it is too late. Such is the case with the Lynx in some parts of Northern Europe where they need culling seasons much like those of wild pigs here in Australia. Around the world people now recognize the need to protect animals as a vital part of our ecosystems & mitigate the impact non-native species can have on local ones. The page I was sent contained an image of one of these majestic beasts and a description of their lifestyle & appearance. While these books were made to inform people, I was reminded of mischievous cartoon animals we often watched growing up. I was inspired to produce this work to put a familiar, jovial face to the lynx as a relative of the Pink Panther. I’ve used modern technology to produce the script to give a title to the piece, combined with hand a drawn image of the character & Photoshopped it into the original page with parchment overlays.

About Tony

Born in Western Sydney, I have always loved to draw & create since early childhood. I’ve moved through various styles and have now my style has evolved into a more kid friendly look which I am currently using to create a range of adult alcohol books “Barry Beer” which are proving wildly popular in Australia. The way I create art is usually by using pencils to get the image on paper, then I will use various markers to ink it & then finally scan it into my computer & use Photoshop & Paintshop Pro to embellish the designs with colour, texture & text. I create because I love it – it calms me & brings me joy, especially when someone enjoys my art & my style seems to elicit smiles in the young & old alike. The art I create is usually commission based having done murals for a martial arts dojo & the charity “Queen of Hearts” based in Penrith, NSW.

Link to Tony’s Art Aviso profile HERE

Tony was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia
Volume 1
The story of animal life- Creatures of the land ,the air and the sea.
The cat with the tufted ears


Artist: Tony Rocha Newton
Medium: Ink on native-ink dyed laserjet print on paper
Dimensions: A4
(90) Bev Plowman - Mont Saint Michel
100
(90) Bev Plowman - Mont Saint Michel Image
About this Artwork

When I received the image of Mont Saint Michel, from this amazing Encyclopaedia, I was delighted. A few years ago I went to France with my daughter and husband to visit a family in nearby Brittany, as we had their daughter live with us in exchange for a while. They took us to Mont Saint Michel and guided us around the abbey and village of Mont Saint Michel. We loved the vast sandbanks, architecture and local cuisine. I have many happy memories of this beautiful place.Great walls and medieval towers it is like a fairy tale. As you approach and the tide is in it looks magical. Unchanged over 100’s of years.
Enid Blyton portrayed its architecture and serenity. I decided as she was also a children’s author to show Mont Saint Michel as a fairytale image with poppies and cornflowers that the French countryside is renowned for in the foreground and golden sands like the yellow brick road running up to the castle. I thought it looks like Dorothy going to the land of Oz could walk through here or the “Famous Five” on a mysterious adventure.
I used watercolours some which are metallic to add to the magical feel to the work.
It was lovely to think about happy times and beautiful places we would like to visit again when the world recovers from our Covid isolation.

About Bev

I am a multi disciplinary artist who loves to experiment and try new things. I paint, make mosaic murals, work in ceramic and bronze sculptures.
Often my work is about water, nature and light.
I grew up In the Dandenongs and I love walking in nature to this day. I l have been influenced by Impressionism and Neo-Impressionism. Seeing large works that make the viewer feel immersed in another world inspires me and I love creating large works in either paint or mosaic. I like to push abstraction and experiment with different ideas and materials to create works that feel calm and relaxed. My landscapes are often abstract, reflective, meditative, soft and dreamlike. My paintings can often have mosaic like properties with facets of colours or lots of marks. I like to show light at different times of the day.
Last year I completed a residency in France where I painted large murals inspired by the amazing landscape.
I have made large mosaic commissions around Melbourne. At the Royal Children’s Hospital, shopping centres, schools, etc. I have won National and state awards for my mosaics. I taught visual arts for 25 years and this has influenced my desire to experiment and use various mediums. I still work in schools as an artist in residence to create large mural mosaics

Link to Bev’s Art Aviso profile HERE

Bev was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 4
The story of the world and it’s peoples
Mont Saint Michel, France
Artist: Bev Ploughman
Medium: Watercolour on paper
Dimensions: A4
(186) Eloise Nouvelle - A Great Fall
60
(186) Eloise Nouvelle - A Great Fall Image
About this Artwork

Humpty Dumpty had a great fall, and now he has a Polaroid to remember it by!

I created this piece to put a fun and amusing lens on a classic story, but I wanted to keep the nostalgic illustrative style of Enid Blyton, who is a major inspiration of mine, well and truly present. This jolly character is dressed in a fuzzy scarf and hat to keep him warm in the blustery autumn breeze, while he sips a seasonal drink for a treat.

I used digital art tools to paint on top of the original page, and carefully chose colours that incorporated well into the limited but stylised palette of this vintage illustration. The modern details, such as the frozen drink and the Polaroid frame, transport the well-known character into another, more familiar modern age.

I wanted to keep this character as close to his well known origins as I could, while also inviting viewers to open their imaginations to a new spin on the classic rhyme.

About Eloise

Inspired by plants, nature, fairytales, stories, and classic illustrators, I create my art using a variety of mediums to capture the little characters and scenes I see peeking out of the nooks and crannies of my imagination everywhere I go!

My work almost always heavily features themes of wonder, whimsy, and childhood nostalgia while blending classic artistic techniques and more experimental methods to bring my unique pieces to life.

I love to create soft and fantastical landscapes in both digital painting and traditional, with a focus on colour, movement, and texture. Pillowy clouds, glittering light, towering mountains, sparkling seas, and mysterious forests spark my inspiration, so I am forever trying to incorporate and infuse these magical elements into all my work.

I enjoy collaging illustrations from work by authors/illustrators such as Shirley Barber, Enid Blyton, and Beatrix Potter, to reinvigorate the vintage characters and landscapes with new stories while respecting and cherishing the old.

I challenge myself to capture gentle and striking snapshots of a world that immerses the viewer and provokes a dreamy, childlike curiosity.

Link to Eloise’s Art Aviso profile HERE

Eloise was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
Fun with Colours.
Fig 11 & Fig 12.
Artist: Eloise Nouvelle
Medium: digital print.
Dimensions: A4
(175) Chrissie McDonald - The Story of Our World is Told in Rocks
130
(175) Chrissie McDonald - The Story of Our World is Told in Rocks Image
About this Artwork

“The story of our world is told in rocks”. The last sentence on my selected Encyclopedia page really resonated with me. I have scrambled over rocks since childhood. Walked along beaches, in rivers and on mountains. Often collecting small interesting rocks, whether for their colour, texture, shape or patterning. I create small ephemeral installations in my house. I hold them, feel them and gaze at their beauty. Where have they come from originally? What have they witnessed in this world? How many rivers have they tumbled through? Or is it a volcano they were thrown from? So many questions, but they are not necessarily answerable. Sometimes I find rocks that are flora and fauna fossils.

Apart from my collection, I have many photographs of rocks in situ.
My watercolour painting is an aerial view of a beautiful lichen covered granite rock. It sits in Tidal River at Wilsons Promontory, Victoria. A place often called “God’s country”. Massive rock formations, wonderful bushland and magic beaches make the “The Prom” very special.

Granite is a composite of small rocks bigger than two millimeters. It is not used in building because cutting it neatly is difficult but is a wonderful addition to landscaping. As the surface is usually rough it holds moisture, enabling lichen and moss to colonize. Very slowly they digests the granite and release minerals for plants. Amazing!

My rock is so old, millions of years old! What secret stories does it tell? Millions of stories!

About Chrissie

My painting practice evolved slowly. I trained as a printmaker but painting and drawing is what I do now.

I tend to work in themes and on self-directed projects. This probably relates to my teaching background.

For most of my life I have lived near bushland and the sea with native and now an indigenous garden. I have always holidayed near rivers, mountains or the ocean. These vistas have influenced my work. In recent years I have watched the bushland around me slowly deteriorate. It is of great concern to me, informs my recent work and has become a major driver in my need to paint.

Connected to my landscape paintings is another more imagined theme. Its focus is the ancestry of our family and very much a work in progress. Many are descended from convicts and early settlers in Australia. Life was hard, but even harder for Aboriginal people. I am creating narrative works to tell some of this story.

My early practice focused on watercolour and drawing mediums. Now I work more often with acrylic on canvas. I explore colour in the real world. Not reinventing it but seeing and expressing the varieties and subtleties in different lights and seasons. The texture and shape of a brush stroke is very important to my painting style. My work is recognizable but not realistic. Often it is a compilation of many images. There is always a story behind my work. Sometimes recognizable, sometimes needing an explanation.

Link to Chrissie’s Art Aviso profile HERE

Chrissie was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The story of the World in the days of long ago
Where the Earth’s story is written – How Rocks have grown
Artist: Chrissie McDonald
Medium: Watercolour & Gouache on Arches Watercolour paper
Dimensions: A4
(188) Sonia Stewart - Time in Different Cities
200
(188) Sonia Stewart - Time in Different Cities Image
About this Artwork

“Time in different cities” will instantly evoke “time zones”, as in who’s sleeping who’s awake on this planet earth. For me it is more about what would I be doing with my friends and family present in the four cities where I have lived in. For instance when I wake up here in Sydney and have my first coffee of the day, my friends in my home town in Paris are probably sipping a last glass of red wine in a smokey restaurant (well, would have been smokey in my days ;-), while my english mates are finishing their last pint of beer in a stuffy smelly loud friendly pub, and my old colleagues in New York are probably starting their afterwork martini in some fancy bar. This is my modern take on these different colourful cultures and times meddling with the smells and touches safely tucked in my memory. That or the housewife in me looking forward to her next glass of wine with the hubby.

About Sonia

I started my figurative paintings with china ink, painting female portraits that I would find in glossy magazines. I then carried on painting portraits with oils. I fell in love with the smooth forgiving slow pace medium and I followed my inspiration flicking through magazines. As a photographer it did not take long before I focussed on painting my own existing photographs, changing my main subject from women to my two boys. Next step I actually started staging my photos with them, exploring new perspectives and dimensions. After a decade of painting I now realise I never tried to say anything with my paintings, but it was rather my paintings that tried to say something to me. From the beginning up to today, the thread in my work consisted in turmoil,  anguish, bewilderment and strength. It seems I have followed a path which started with me as an accomplished woman but full of doubt and fear. I am now having a go at digital work with photoshop, loving the endless possibilities to merge all my artistic skills. As I feel more confident in my art, I am on the constant lookout for new opportunities, competitions, local exhibitions, feeling a deep urge for new challenges!

Link to Sonia’s Art Aviso profile HERE

Wendy was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
The first steps in Geography.
Geographical terms – plate 1.
Artist: Sonia Stewart
Medium: Photography, Digital
Dimensions: A4
(39) Sue McLeod - De Profundis
400
(39) Sue McLeod - De Profundis Image
About this Artwork

Over the millennia, from primitive organisms, and prehistoric creatures, life emerged from chaos in the depths of the ocean.

This took profound intimacy, as converging organisms, and replicated DNA were shared and adapted. Eventually, the human race evolved.

Today, that same profound physical closeness with others, sustains and comforts us, giving us self worth.

Yet this closeness now has the potential to return us to chaos, as the human race faces the challenge of Covid 19.

In an effort to reflect what is happening in the lives of so many people, and indeed, in nature itself as the planet faces so many challenges, this work is deliberately chaotic It was inspired by the pages I received depicting dinosaurs and prehistoric fish.

It is my belief that art helps us explore, and come to terms with the emotions and challenges we all face in life, and particularly as we try to find a way through the dichotomy of this Corona virus.

About Sue

My work seeks to challenge the barriers between photography and traditional art, as well as exploring the dilemmas faced by people in this often very unequal world.

In the beauty of nature we can find solace, particularly if we can look beyond the obvious and mindfully concentrate on our surroundings, . Therefore, my imagery is mostly contemporary / conceptual, seeking to find meaning in the every day items and scenes we take for granted.

I seek, in my abstracted images, to start imaginary conversations with the viewer, posing questions and asking the viewer to seek answers. In this way, a a remote, but meaningful bond can be forged between viewer and artist. This involves work on the part of the viewer, for they must be willing to engage in the ‘conversation’.

I believe art can uniquely unite people, helping us all express our fears, and joys, our dilemmas and answers. Even if individual works do not resonate, they still pose questions, and help us to decide where our priorities lie.

Link to Sue’s Art Aviso profile HERE

Sue was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The story of the World in the days of long ago
Animals of Prehistoric Times 1
Artist: Sue McLeod
Medium: Photograph.
Dimensions: A4
(161) Elizabeth Haigh - Do we need a reminder?
120
(161) Elizabeth Haigh - Do we need a reminder? Image
About this artwork

References ‘How Plants Live and Breathe from Newnes Pictorial Knowledge Encyclopaedia’ Vol 1 p 295.

Half a century on from Newnes explanatory diagram showing ‘How Plants Live and Breathe’.
I question ”Do we need a reminder?” Based on scientific evidence and the climatic conditions we currently experience -Why are there still debates towards the cause, effect and still denials of our warming planet? Is it not obvious that changing weather patterns are impacting our environment? To portray how our natural environment is under pressure I have deliberately used the same images and layout from Newnes Pictorial to indicate these changes in such a short period of time. To do this, I have stitched plastic and metal thread to indicate soil pollutants. Rain contaminants are shown by digital printing and collaging the periodic symbols of Sulfuric and Nitric acid (commonly known as Acid Rain). In addition, increased temperatures are indicated by smoke filled air and red skies to highlight the challenges plants now endure as they live and breathe

About Elizabeth

While walking can simply be an act of moving from one location to another, for Elizabeth Haigh it is a contemplative action that connects her to a powerful mentor and inspiration, nature! In an age where the natural environment is under growing pressure, her critical perception of nature’s micro world offers fertile ground that manifests with delicate, subtle but insightful art works.

Initially trained as a painter and sculptor, Elizabeth now includes textiles and other media to create unique works. Through the use of dyes in a ‘paint-like’ style that is loose and fluid; the twisting, layering, stitching and felting of materials like alpaca fibres, objects emerge with a sense of three-dimensional collage. While the forms suggest nests, eggs, seeds, shells, webs, the tactile surfaces reflect sensual experiences of taste, smell, touch. Combined, her recent works contain symbolic motifs that comment on the dichotomy of human dependence but also our impact on the environment.

Elizabeth studied Fine Art (RMIT) and throughout her creative career she has worked in a range of roles. Her passion in all aspects of art, together with teaching Secondary and
VCE Art and Design provides her with a wealth of experience and techniques to utilise when making her own artwork.

Link to Elizabeth’s Art Aviso profile

Elizabeth was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The Wonders of Plant life in Forest, Field and Garden.
How Plants Live and Breathe – How seeds are distributed
Artist: Elizabeth Haigh
Medium: Mixed media, Ink, watercolour, silver and cotton thread, plastic remnants, Inkjet print collaged on 300gms Canson watercolour paper, 30cms x 20cms, 2020
Dimensions: A4
(92) Melinda Rodnight - Comfrey/Symphytum
350
(92) Melinda Rodnight - Comfrey/Symphytum Image
About this Artwork

Comfrey is a perennial herb, dating back over 2,000 years. It’s scientific genus is Symphytum; loosely translated it means ‘to unite’ or ‘grow together’, indicating the usefulness of this herb in treating injuries. Throughout time it has also been called Knit bone, Boneset, Knit back, Bruise wort, and Slippery Root, amongst others.
I am inspired by Goethean observation and sense perception; perception that integrates self-reflective and critical thought, imagination, and careful, detailed observation of the phenomena. Through this approach, the organism teaches me about itself, revealing its characteristics and its interconnectedness with the world that sustains it. I investigate the whole organism as part of the larger experience of life. By creating stories of plants and animals, we open up a new understanding of our fellow creatures as dynamic and integrated beings. Enhancing my sense of responsibility, I allowed the plant to reveal something of its true nature to me.

About Melinda

For a number of years, I have been exploring the physicality of shape in my work, as well as the relational presence of light and shadow and how I am drawn to a form because of its physical manifestation. I am intrigued by natural and organic forms and exploring and building on the sensory experience and evocative recollection of these shapes and forms, and the responses that they give rise to.

In my studio, these explorations reveal themselves, dynamically, through my art making process. Through the held memory they come to life again in a new form. It is only by finding ways of transforming our propensity to reduce the world to parts and mechanisms, will we be able to see, value, and protect the integrity of nature and the interconnectedness of all things. This demands a new way of seeing. An interchange of experience, memory and creative reply becomes a dance, a call and response, a reciprocity of perception.

Link to Melinda’s Art Aviso profile HERE
Melinda was supplied with the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
On things that interest you and me
Hidden Beauties in Weeds
Artist: Melinda Rodnight
Medium: Collograph, trace monotype and ink
Dimensions: A4
(41) Leah Mariani - Wise Old Bird
90
(41) Leah Mariani - Wise Old Bird Image
About this Artwork:

The Wise Old Bird considers two nursery rhymes; The Wise Old Owl and the Owl and the Pussy Cat. In both these rhymes the language tells us that the Owl is male and certain characteristics are attributed to him. In A Wise Old Owl, the owl is observant and wise. In the Owl and the Pussy Cat, the owl is charming and elegant, while the cat is beautiful and wants to get married.
While these old fashioned rhymes have gone out of favour, these sexist stereotypes persist. I’m my digital illustration I have sought to make the Owl a wise woman, while the cat is less significant. In this way I attempt to examine these stereotypes and change our view of them.
The text from the Owl and the Pussy Cat and the background imagery was taken from Newnes’ Pictorial Knowledge 1950’s Encyclopedia and was the inspiration for the Wise Old Bird.

About Leah:
I’m a Melbourne based artist making art about identity and relationships. I am deeply interested in people and what makes them behave the way they do. I draw on my experience as a woman and a mother, and resultantly most of my work is about childhood and womanhood. I am a passionate advocate of women’s issues and gender equality, which is a constant theme in my work.
My work is figurative in nature and I am not loyal to any particular medium and work with oil painting, acrylics paint, printmaking, pencil and paper collage.
My recent works looks at nursery rhymes and fairy tales and what they tell us about gender roles. Historically, the female protagonist was shown as a passive participant in her own story, yet these traditional fairy tales remain popular amongst young girls growing up against a backdrop of feminist movements. In my work I aim to overlay these feminist messages against old fashioned rhymes and story-telling, using both text and imagery to highlight the often complex and contradictory lessons we teach our children.

View Leah’s Art Aviso Profile HERE 

Leah was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia.
Volume 9
A Childrens Treasury of Verse-Little Masterpieces.
‘The Owl and the Pussycat’



Artist: Leah Mariani
Medium: Digital print on A4 Hahnemuhle photo rag, using pigment ink on archival paper.
Dimensions: A4
(31) Lucinda Nicholas - What is precious seems hidden
175
(31) Lucinda Nicholas - What is precious seems hidden Image
About this Artwork

Given the picture of precious stones, i was excited to see all the colours available to play around with. I tried to create a collage effect with many layers of the original picture, as well as layers of paper. In this way, i tried to create the effect of a multitude of gems, hidden beneath layers of clothes perhaps, or layers of the earth from whence they originally came. Gems are like treasure which emerges from a hidden place inside the earth. Even then they undergo many processes to reveal their true beauty. Because gems are so rare and so precious, I wanted to create a piece of art that hinted at something like a treasure that was hard to find. So in some way I wanted to portray the significance of these tiny pieces of colour, they can be very hard, yet they are precious to people to look at and own, so I wanted to wrap them up in layers of paper which I hoped also look like layers of gauzy folds of material. In this way they still remain hidden in some way, so that when you are looking at the picture it is almost as if you have to search for the treasure all over again. I also wanted to retain some of the text, aas humans like to classify things in order to have some illusory control over them, yet even thus illusion of control is lost in the hidden folds.

About Lucinda

i like to create art using real photos and playing around with them digitally. It is important to me to hint at things hidden beneath the surface. I’m really interested in glitching things to see what emerges criminalise an image-it’s like there’s something hidden within all living things. Shapes and colours emerge if you just play around with an image and try to discover it’s secrets. If I play around with an image for long enough, I think that an essence of its inner core can emerge, bringing to the surface colours and shapes that convey something of beauty that was perhaps hidden from initial view. I create a lot of my work digitally using apps to find these hidden elements. Once I find colours that are pleasing, then I try to arrange the shapes in a complementary way. I often use photos that I have taken on real film using my vintage cameras, i think real film brings something special to the final result.

Link to Lucinda’s Art Aviso profile HERE

Lucinda was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
On things that interest you and me.
Precious Stones.
Artist: Lucinda Nicholas
Medium: print on archival cotton rag paper
Dimensions: A4
(44) Viki Petherbridge - Animals in armour. The pangolin: May they suffer no more.
500
(44) Viki Petherbridge - Animals in armour. The pangolin: May they suffer no more. Image
About this Artwork

I was a bit intimidated to get the pangolin as my artwork as it is a highly contentious issue regarding the animals in China and how they are treated and their connection to the coronavirus.
I have a body of work titled the “Red Hand ‘ series which deals with issues such as Justice, animals, hypocrisy, religion, the environment, unfairness etc. These photographs are hand-painted black and white on a large scale. I felt this image was emotive of the red hand meaning of “caught red-handed” I have used a woman’s hand as it has a tender look to it but the pangolin has suffered terribly at the hands of humans so I wanted to show the irony of the hand and the harm that has been done. To me, the red hand is symbolic of the suffering caused by humans to animals for our own greed and a disregard for the animal’s welfare.
The text I felt showed that we are aware and that if we make an effort possibly the trade and slaughter of the pangolin will diminish – the cartoon is to add another irony, perhaps from the pangolins’ point of view!

About Viki

I work as a free-lance photographer, specializing in photographing artists work, painting, sculpture, ceramics prints etc. and am the photographer of many books of renowned Australian artists.
My creative photography has been exhibited in various galleries and my work has been included in many photographic prizes.
I use traditional methods and digital photography with black and white photography being my favorite.
Many of the black and white photographs are hand-painted with photographic oils.
Images include figurative, still-life, and often have a social meaning.
I like to work in series that often spread over many years, for example, the “Red Hand ” series began in the early 2000s and I am still interested in pursuing more photographs for this series.
With the figurative/portraiture photographs I set up the models in a small studio space – all are people I know and not professional models.

Link to Viki’s Art Aviso Profile HERE

Viki was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The story of animal life- Creatures of the land ,the air and the sea.
Animals in Armour.
Artist: Viki Petherbridge
Medium: Mixed media and type digital print.
Dimensions: A4
(49) Helen Braun - Dispersal
300
(49) Helen Braun - Dispersal Image
About this Artwork

Working with 2D foliage prints on wax paper, I have sought to capture some of the essence of ‘The Old Dutch Toymaker’ within the picture I received and responded to. A playfulness of form which relates to toy windmills, also incorporates, the ephemeral shift, the lightness of air movement, along with the fleeting impermanence and joy of all life.

About Helen

Strength, resiliency and fragility are at the essence of all interactions within the natural world.
Through the use of materials that are found, discarded objects, quite often involving ex laboratory ware, along with naturally degrading fibres and paper, I attempt to address the ever ephemeral and transient nature of all life.
Wax paper (the now unobtainable domestic food wrap) has, and continues to feature as a material I use (whilst my supply lasts), as it expressly incorporates both strength and fragility, alike much of nature. Through layering, twinning and careful manipulation, this wax paper is soft yet surprising strong and resilient.
The use of simple printmaking techniques has become a strong part of my installation practice, involving foliage prints onto wax, black and fine white papers. These 2D pieces, I then cut and manipulate into 3D forms, which often then become the many components within larger installations works. These works together, intend to incorporate and address, a strong emphasis on the relationship between art and science and the natural world.
Additionally, I work and make small ceramics pieces, which whilst many have a functional use, also reflect many components and aspects found within botanical form and patterning.
When making works, my intentions are strongly aimed and angled towards addressing the intensity and interdependence of relationship between all life forms of the planet. Humanity is never apart from the natural world. We are inextricably connected at every point and every intersection of existence with all of nature.

Link to Helen’s Art Aviso profile HERE

Helen was supplied with the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:

Volume 4
The story of the world and it’s peoples.
An old Dutch Toyseller.
Artist: Helen Braun
Medium: ink on waxpaper on handmade paper
Dimensions: A4
(54) Shauna Willett - Animals of Prehistoric Times - Plate 2, A Landscape
350
(54) Shauna Willett - Animals of Prehistoric Times - Plate 2, A Landscape Image
About this Artwork

With reference to the Newnes Pictorial knowledge; page ‘Animals of prehistoric Times’ I have created a number of overlay patterns from various elements of the selected animals themselves. Using the plates of the Stegosaurus, the feathers from the Archaeopteryx and Moo as well as the horn and ridge textures of the Woolly Rhinoceros and Mommoth became the material for my composition. These materials layered upon one another, creating a response in comparison to that of sedimentary rock formations, showing weathering and age, portraying a landscape created over time. With the colours from these creatures relatively unknown, I created a complimentary colour scheme, reflecting the cool blue of the reptilian skin and the warmth of the warm blooded furred and feathered ones. The result is somewhat of a playful experiment by way of seamless texturing of arbitrary surfaces from multiple manipulated images. The result is a distorted landscape of the layers of time.

About Shauna

My work is continually evolving, a mixture of abstract and figurative works of colourful patterns & strong complimentary palettes primarily and occasionally contrasted with a series of monochromatic pieces. Working across a variety of mediums, I draw my inspiration from the natural world, native tribal art, Spanish art and culture, as well as oriental art.   With a particular interest in texture and line work I delve into different art histories to borrow ideas allowing me to transform my artistic style and create a new story where ideas are fresh and reinvented. With my background in design and architecture, I have been involved in creative pursuits my entire career working as an Interior Architect., (Bachelor of Design, Int. Des) in Australia for over 15 years mostly on large scale commercial projects, her artwork now in contrast enables a new autonomy to creating, working without constraints and limitations to create unique pieces.

Link to Shauna’s Art Aviso Profile HERE

Shauna was supplied with the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The story of the World in the days of long ago.
Animals of Prehistoric Times 2.
Artist: Shauna Willett
Medium: Mixed media
Dimensions: A4
(69) Janine Hall - St Elmo Breakwater Lighthouse - Entrance to Grand Harbour - Valetta, Malta
250
(69) Janine Hall - St Elmo Breakwater Lighthouse - Entrance to Grand Harbour - Valetta, Malta Image
About this Artwork

When presented with an historic image of “In the Grand Harbour, Valetta, Malta”, it got me interested in its history. It has been a consistent defensive site against enemy attacks on the island, and I thought this was an apt focus in the time of COVID19.

This piece shows no opening to the Grand Harbour due to its tight portrait composition. IT captures the islanders defensive use of this man-made structure against the their enemies.

This artwork is portrayed in a time when our Australian borders are closed, in order to contain the wrath of the COVID 19 enemy against our islanders. However our defence is not a wall, but rather an oceanic mote that provides us our protection. It is the play between open and closed oceans, open and closed borders, open and closed nations – exploring where freedom and incarceration begin and end. So apt for the history of our great country.

About Janine

I am entranced with the water that surrounds me and love to capture its many mysteries and moods. It is an endless source of freedom, joy, foreboding, love, relaxation, calm and energy. 

I want the viewer to FEEL something, anything. I love to connect the viewer to the landscape in a way that brings pleasure, emotion, joy, curiosity – a place to contemplate the image as seen by them alone. We all experience art and imagery so differently, and that is the true wonder of art. It is never experienced in the same way by any 2 people. 

I came to art to treat depression, and it has become my medicine, my joy, my love, and the reactions from the viewing public are exhilarating. I work from my studio in Bronte, NSW. I have no formal art education, as most of my career has been in financial services. Hence my need to balance the left brain/right brain ratio. It’s still a work in progress.

Link to Janine’s Art Aviso profile HERE

Janine was supplied with the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:

Volume 3
The story of the world and it’s peoples.
In the Grand Harbour at Velletta, Malta.
Artist: Janine Hall
Medium: Acrylic on Arches watercolour paper
Dimensions: A4
(72) Susie Baxter Smith - Mosi-oa-Tunga
250
(72) Susie Baxter Smith - Mosi-oa-Tunga Image
About this Artwork

In this work I have disappeared to the base of The Victoria Falls on the Zambesi River in Southern Rhodesia. Also called Mosi-oa-Tunya “the smoke that thunders”. The water is falling heavily and noisily around me. Looking up I can see the mist, or “smoke” floating high into the sky. I can make out a few pieces of greenery above me through the gushing water. Bright green mosses on the rocks beneath me feel cold and slippery. Droplets of water shimmer and dance around me as the light breaks through the cascading falls.
This is how I imagine it would feel to stand beneath the Victoria Falls and have tried to express this with the cool blues and greens in this artwork. Collage in vertical lines of varying width have been used to convey the height of the falls and the power of the water tumbling down on top of me.

About Susie

I have lived most of my life on the Northern Beaches of Sydney and while I have traveled near and far, I find myself happily inspired by the surroundings of home. I studied fine art after leaving school and had a successful career as a Graphic Designer and Illustrator before deciding to become a full time mum to my two boys. That’s when my passion for painting was reignited.
The landscape I find myself in has been a long time inspiration for my work. I have had paintings exhibited in The Mosman Art Prize, The Warringah Art Prize, The Gosford Art Prize and The Royal Easter Show.
Collage and mixed media have become my medium of choice. I am inspired by the colours and textures I find around me and like to create numerous pieces of a particular landscape in paint, pencil and crayon. Then splice them and reassemble them to create one work. I am exploring the way we see and react to our surroundings, always being aware of many images in the one situation.

Link to Susie’s Art Aviso profile HERE

Susie was supplied the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 3
The story of the world and it’s peoples.
The Victoria Falls in Southern Rhodesia.
Artist: Susie Baxter Smith
Medium: mixed media and collage
Dimensions: A4
(74) Kathy Fahey - Winter Landscape
500
(74) Kathy Fahey - Winter Landscape Image
About this Artwork

One of the major motifs of my work is the Australian landscape so when given my page from Newnes’ Pictorial Knowledge 1950s Encyclopedia ‘Snows of the Matterhorn’ I thought this is not a landscape I am used to painting or indeed at all familiar with. ‘Winter Landscape’ is a handprinted collage and is my interpretation of this distant and foreign scene. I have used colours I would not normally use to portray this icy and perilous landscape, whites, cold blues, deep greens and purple. However as a nod to my own landscapes I could not but help include some orange, the colour I think of when describing much of the Australian environment. ‘Winter Landscape’ is a fanciful depiction of a place known in history, folklore and literature for its spectacular beauty and unpredictability. Like much of the Australian landscape it is an environment that despite the best efforts of humans it proves impossible to fully conquer and understand.

About Kathy

Kathy is a Melbourne based artist and her practice includes oil and acrylic paintings, hand painted collages and artist books. One of the central motifs of her work is the Australian landscape and the natural world in which she lives. Kathy exhibits regularly both at home and abroad.

Kathy’s paintings and collages celebrate the very act of making art – colour, line, brush strokes and surface. Her landscapes and collages are as much about negative space, movement and layering as they are about birds, trees and skies. They are not photo-representative but rather an artist’s interpretation of the landscape, slightly abstracted and expressive but still recognisable glimpses of the natural world.

Kathy’s collages are created using hand painted paper which is either cut or torn and re-assemmbled into a new artwork. The collages are in essence paintings relying as they do on the painted surface and the use of colour in their composition. They are depictions of landscapes or elements of the landscape such as trees, flowers and birds at any one special moment in time. A wave crashes upon the shore and then retreats, a bird lands and in an instant takes off again, a flower blooms and in a heartbeat the petals are blown away by a gust of wind. Nothing in nature stays the same so these glimpses of place and space are precious in an endlessly changing world.

Link to Kathy’s Art Aviso profile HERE

Kathy was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 5
The story of the world and it’s peoples.
Snows of the Matterhorn.
Artist: Kathy Fahey
Medium: Hand painted collage, acrylic paint, acid free glue on Stonehenge paper
Dimensions: A4
(77) Isabella Chan - Citizen
250
(77) Isabella Chan - Citizen Image
About this Artwork

For this exhibit I re-created a rendition of Little Red Riding Hood focusing on key elements provided in my stimulus. I concentrated on the two overarching colours, red and green as well as the general construction of the image with Little Red wandering down the path to her Grandma’s house.

Within my piece I chose to focus on the path and her cape. Using the strong colour red to link my ideas, I wanted to highlight the importance of journey and motivation within the stimulus. In the piece I included the house, but kept it small and almost invisible as part of the pinnacle point in the green pattern block, showing that it is still the final destination of her journey. I also chose to place a large white flower in that area of the picture, almost acting like a large sun on the horizon to represent motivation, hope, ideas and dreams that fuel her on her path.

About Isabella

Using pencil and ink pens I like to draw the embodiment of my dreams and ideas. They usually take the form of characters or beings performing tasks and being within a moment in another world. The leaves, flowers and other elements of my drawings become a visual text that describe the meaning of my pieces, conveying emotions and ideas.

For me art is a form of escapism and self expression that is very personal and usually gives me insights into my own self awareness. I also use my artwork as an outlet to help fuel my day to day creativity within my day job as a graphic designer and allows me to explore visual connections that assist in inspiration.

My art process is very free flowing and instantaneous. Very rarely do I map out every intricacy that I include within my pieces, I generally have an overarching idea with minimal guides. As a result my art is a problem solving, puzzle-like process where most of the work is freehand and ‘mistakes’ are pathways to a new direction for the piece.

Link to Isabella’s Art Aviso profile HERE

Isabella was provided with the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
Fun with colours.
Fig 13
Artist: Isabella Chan
Medium: Pencil and Paint marker
Dimensions: A4
(23) Carolyn Roberts - Hedgerow Imagined
400
(23) Carolyn Roberts - Hedgerow Imagined Image
About this Artwork

During the early days of lockdown, whilst struggling to accept that I was trapped in Melbourne for the foreseeable future, desperately wanting to be in my other life in France, my Door to Door project page arrived in the post.
British Wildflowers; the same flowers that flourish in the hedgerows around my house in Normandy.
In this work I am mindful of the yearning and nostalgia for the familiar landscape of home, felt by the migrant, the displaced, the exiled and the dislocated.
My usual method of working is to draw from life, but here I have had to reimagine and remember what is unfolding in spring on the other side of the world, by reworking my previous studies of wild flowers. There is a layer, a barrier of time and distance between me and the subject matter.
I am also thinking of the fact that nature, of course, carries on regardless and cares not whether we are present to experience, observe and document it.

About Carolyn

My studio practice can be described as multimedia. Having worked in ceramic sculpture, installation, mixed media and photography; most recently I have returned to my first love of watercolour and drawing as the most suitable medium for my current work.
My concerns as an artist have always been subjective and revolve around questions of identity, dislocation and sense of place. I am also interested in time and memory, The concept of circular time seems very relevant when living in a rural environment.
Now I find myself living half of each year deep in the countryside of Normandy, and the other half in urban Melbourne. My latest works are in response to these two very different environments. In particular I am thinking of a moment in time and being witness to the passage of time.
Informed by, but without the constraints of scientific and botanical illustration, these works examine the small things that together make up the whole.

Link to Carolyn’s Art Aviso profile

Carolyn was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The Wonders of Plant Life in Forest,Field and Garden.
British Wild Flowers Plate 4.
Artist: Carolyn Roberts
Medium: Watercolour on paper
Dimensions: A4
(21) Wendy Grace - Mapping with Lawrence
80
(21) Wendy Grace - Mapping with Lawrence Image
About this Artwork

The Delta region and desert have inspired artists for centuries. The illustration plates provided to me taken from Newne Pictorial knowledge, The first steps in geography presented 12 plates of geographical terms. I I was immediately drawn to the desert and delta plate descriptions. I think it was the olden style of the images that reached into my memory of the first sighting of the Arabian desert many years past. A vision etched in my memory of the desert landscape – a vast expanse of red dunes that seemed to stretch to the end of the earth. Looking at the plate of the desert and the Delta the ancient caravan routes came to mind and the world’s of the Arab and Indian cultures, scorching hot deserts and mountains of sand with green Oasis all fuel my imagination and the creation of this work, Mapping with Lawrence.

The mystique of The Orient and the images it evokes reach beyond the imagination to legends of the Queen of Sheba, Lawrence of Arabia and of course Alibaba which has inspired stories and paintings throughout history.

About Wendy

My work recalls the familiar organic patterns found in the landscape I’m interested in the rhythms of nature the cyclic changes that occur in the landscape and the transition of abstract and ephemeral shapes and colours that transpire in this process. Compositions of colour, pattern and texture tell tales of organic life, layers of aqueous paint that run pool and bloom forming evocative shapes that dance between he familiar and the unknown.


My choice of materials and working process are essential aspects of the work. working with watercolor on paper has allowed me to evoke a sense of nature in the materiality of my work. The fragility of paper is evident in the painting process when fluid paints pull on the paper surface creating a tension a tightness of the paper fibre that contrasts with a relax fibres of the damp pools of paint. A juxtaposition that parallels with nature’s cyclicality it’s fragility and strength.

Link to Wendy’s Art Aviso profile HERE

Wendy was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
The first steps in Geography.
Geographical terms – plate 1.
Artist: Wendy Grace
Medium: Acrylic ink on paper
Dimensions: A4
(20) Bronwyn Rodden - Tigers of the Sea
200
(20) Bronwyn Rodden - Tigers of the Sea Image
About this Artwork

In history, creatures such as sharks inspired terror and mythical stories about their danger to human beings. While some species are dangerous, we are much more dangerous to them. “Each year worldwide there are ~ 10 deaths attributable to shark attacks compared with ~ 150 deaths worldwide caused by falling coconuts.” (Australian Institute of Marine Science). Around the world people now recognize the need to protect sharks as a vital part of our marine ecosystems. The page I was sent contained images of ferocious beasts and a description of their fearsome appearance. While these books were made to inform people, they also inspired fear in their efforts to make them interesting. I was reminded of fantasy animals found in medieval manuscripts, often coming from imaginations rather than reality. I was inspired to produce this work to highlight the need to move away from our over-zealous and often misinformed fear of these important animals. I’ve used modern technology to produce the Gothic script in the piece, combined with hand drawn fantastical images of ‘Tigers of the Sea’.

About Bronwyn

Born in Sydney, my art practice began with my mother, accompanying her to a studio in The Rocks as a child. Since then, I’ve moved through various styles and have now moved away from traditional media in an effort to work more sustainably, and incorporating my other background in the natural sciences. My current art practice focuses on our relationship with the natural world and the need to celebrate and understand it so it can be preserved for the future. Where possible I use inks I make from my garden and various papers, in an effort to embed the reality of nature into my works. I’ve learnt about the use of inks and papers from eminent Australian-Chinese painter, Andrew Lo. I am, of course, aware that humanity is also nature, and am now interested in producing works I call ‘Co-existence’ pieces, creating assemblages and other artworks which combine my ink-dyed papers with human technology.

Link to Bronwyn’s Art Aviso profile HERE

Bronwyn was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The Story of animal life – Creatures of the land, the air and the sea.
The Tigers of the Sea.
Artist: Bronwyn Rodden
Medium: Ink on native-ink dyed laserjet print on paper
Dimensions: A4
(62) Roma McLaughlin - Arctica 2020 (SOLD)
250
(62) Roma McLaughlin - Arctica 2020 (SOLD) Image
About this Artwork:
A page from Newnes Pictorial Knowledge encyclopedia shows the painting ‘The Last Voyage of Henry Hudson’ (1881) by John Collier.

The painting refers to the story of the disappearance of Henry Hudson during his attempt to find a northwest passage sea route in 1611. Hudson never found the passage, but he was the first European explorer to navigate the Hudson River in present-day New York.

Collier’s painting depicts the harsh Arctic conditions and the indifference of the region to the plight of the lost sailors.

My first reaction to the work was to think of this remote geographic location, and to reflect on Hudson’s expedition and the beginnings of European involvement there. Since the 1600’s human endeavour has taken its toll on the Arctic landscape. Ice has melted as climatic conditions have warmed.

Currently the heavily populated city of New York is in the grip of a virus pandemic crisis. As a result of this experience, I’d like to think that we humans can transition from a conquering approach to nature to one of nurturing the natural environment. In this way we could work towards a more sustainable future for ourselves and the planet.

My papercutting technique is to cut from a single piece of paper so that forms within the image are linked. This interconnectedness together with the fragility of the paper provides a commentary on the relationship between ourselves and the natural world. My work is a meditation on the fragility of that balance.

About Roma:

I am a papercut artist. Currently I am working on some papercuts about the Southern Ocean of Victoria. This coastline experiences constant erosion by the sea’s dramatic tidal patterns.

With a scalpel, I cut out shapes and create lace-like patterning into paper to depict the ebb, flow and undercurrents of waves. More recently through my observations of the Southern Ocean I have become interested in the patterns of cross currents in surf. When the finished papercut is mounted in a box frame, it casts mysterious soft shadows onto the background, while the white of the paper gives the effect of light on water.

I am a member of an international group called the Paper Artist Collective.

Recently a papercut of mine was used as a demonstration in a Thames and Hudson
publication for the Victoria and Albert Museum, London for a book called
‘PaperCrafts: A Makers Guide.’ (2018)

I have exhibited in Australia and overseas.

View Roma’s Art Aviso Profile HERE

Roma was supplied with the following page from Newnes’ Pictorial 
Knowledge Encyclopedia:

Newnes’ Pictorial Encyclopedia
Volume 2
True tales of high adventure.
The Last voyage of Henry Hudson.


Artist: Roma McLaughlin
Medium: Papercut with White Fabriano acid free paper and handpainted paper with acrylics
Dimensions: A4
(63) Lesli Bell - Page 222- ‘how fish keep warm’
700
(63) Lesli Bell - Page 222- ‘how fish keep warm’ Image
About this Artwork

Page 222- ‘How fish keep warm in winter’- I paint wildlife all day every day, so this page was the perfect subject for me! I live on a beach with a huge reef just offshore, so I went snorkling on the reef and sat on the beach to draw the oriental sweetlip fish in the painting. Then I saw a moray eel and he had to be included. It took many swims to see and draw the details of the creatures. I painted them in a circle to illustrate their closeness and, to quote from the page; “huddling in a dense cluster with their heads all turned in precisely the same direction”

About Lesli

I have been painting all of my life, I used to paint in oils but found them difficult and cumbersome to travel with and so started painting in watercolour. I began doing botanical and science illustration, but now I paint wildlife and nature, inspired by the tiny details that I see all around me. I like experimenting with different surfaces such as maps and manuscripts. I am a loner by nature so wandering all day through the jungle with paper and paints stopping to draw and paint when inspiration hits, suits me. I am especially inspired by the awe inspiring beauty of the underwater world, so fish and coral reefs are one of my favourite subjects. I am especially drawn to paint endangered species and to draw attention to their plight. Luckily I find myself living on a beautiful tropical island with enough wildlife to fill a lifetime of inspiration!

View Lesli’s Art Aviso Profile HERE

Leslie was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:
Newnes’ Pictorial Knowledge Encyclopedia
Volume 1
The water folk
How fish keep warm in Winter


Artist: Lesli Bell
Medium: watercolour on paper
Dimensions: A4
(42) Chris Aspland - STAPHORST
275
(42) Chris Aspland - STAPHORST Image
About this Artwork

When I first read the Newnes’ Pictorial description of Holland (as it was known as at the time), it was described as the land of tulips, dykes, canals, and windmills, so I considered the travel posters of the 1950-60’s that advertised exotic international destinations.
The description of Holland was clichéd and included references to the highly recognisable Dutch national dress. In my research into the traditional costume I discovered Staphorst.
The Dutch town of Staphorst is a traditional village in the east of ‘Holland’. It is a very close knit and pious community. Is also the one place that women can still be seen in traditional peasant costumes – long skirts and flower-patterned blouses and caps. The costume is best known for what is called ‘stipwerk’, or ‘dot-work’. Parts of the costume are made out of black fabric decorated by floral patterns of different coloured dots, usually the primary colours. The typical dotted patterns were often made by the women themselves, and were created with the heads of nails in a block of wood and fabric paint.
So, in this work, I have combined the typical images – windmills, canals and flowers with a traditional dot design into a travel poster reminiscent of the infancy of international travel.

About Chris

Chris Aspland is a Victorian artist, based at Le Studio Art Space, Mordialloc.
She completed her Diploma of Visual Arts in 2013 at the CAE with a major in Painting.

Chris had her first solo show “Canteen” in August, 2017.

She has participated in group shows with Leah Mariani, 2018 and another in 2019 with Christine Lewis.

She was a finalist in Eutick Memorial Still Life Award, 2017, 2018.

She has exhibited in a number of local and selected group shows such as EMSLA; “Small” fortyfive Downstairs; Linden Postcard Show; Belle Arti; Cambridge Gallery: “Who’s Looking At You”; Albert Park College Art Show; A4 Contemporary Art Prize; Glen Eira Artist Society Members Show; Mornington Rotary Art Show; Moonee Valley Art Show; CAE Graduate Show.

Her work is represented in private collections Australia wide.

She paints predominantly in oils with a limited pallet. Her work is mostly themed on community connections and personal interactions with have a sense of fun and nostalgia. She works to fully explore her chosen subject. She also enjoys sketching and participates in community paint outs, life drawing and urban sketching.

At the beginning of social isolation, she had just completed a body of work for an upcoming exhibition. The cancellation of that show completely flattened her, and she found it hard to concentrate and get motivated. So this challenge was a perfect way for her to regain some normality and routine. It also gave her an opportunity to work with different ideas, materials and mediums.

View Chris’s Art Aviso Profile HERE

Chris was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia
Volume 4
The story of the World and it’s peoples
The Continent of Europe


Artist: Chris Aspland
Medium: Mixed media and collage
Dimensions: A4
(91) Mark Seabrook - British Defence Force Uniforms
120
(91) Mark Seabrook - British Defence Force Uniforms Image
About this artwork

Aside from the occasional ink drawing, I don’t work on paper very often, so I took this opportunity to do something new and try watercolour. It was a lot more forgiving that I thought it would be and I will definitely do more with it in the future.

My page of the Newnes’ Pictorial Encyclopedia was a colour plate with depictions of the British Defence Forces from 1645 to 1745. During the English Civil War, the New Model Army was formed by the Parliamentarians, led by Oliver Cromwell, as a full-time militia in their fight against the Royalists and King Charles I. Aside from the swords and the muskets, this Admiral (centre), soldiers and seamen are hardly threatening to our modern eyes. Their uniforms seem to be quite foppish and dandy with an array of sashes, cuffs, stockings and buckled shoes. They have been represented in rakish, jaunty poses. They would seem more at home on the catwalk than the battlefield. They were a full-time militia, though, so in my depiction I’ve made them a little more threatening but still smiling.

About Mark

I am a Melbourne-based artist and graphic designer with a focus on representational / figurative works that are usually rendered in oil paint, and have been exhibiting in galleries for a couple of decades. I completed a bachelor’s degree in Art History which informs much of my work, along with liberal doses of pop culture, absurdism and humour. I have a fascination with old photographs, from iconic depictions of important historical events to random strangers’ snapshots in discarded family albums. I like to use these photographs, as well as various imagery from throughout art history, as the basis for subjects for paintings but subverting and distorting the original intent. I render these in meticulous detail, elevating a quick gag into an elaborate joke. This can sometimes be disarming – challenging the viewer, rather than pleasing them – but the paintings usually reward closer investigation with layered meanings, social commentary and amusement.

See Marks Art Aviso profile HERE

Mark was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Newnes’ Pictorial Knowledge Encyclopedia.
Volume 9
On things that interest you and me.
British Uniforms Plate 1
Artist: Mark Seabrook
Medium: watercolour on paper
Dimensions: A4
(110) Ruth Stone - All work and no play makes Jacqui a dull girl. All play and no work makes Jacqui a mere toy.
220
(110) Ruth Stone - All work and no play makes Jacqui a dull girl. All play and no work makes Jacqui a mere toy. Image
About this artwork

The image in my page from Newnes Encyclopaedia , hardworking Russian woman pack mud into the cracks of their log cabin to stop the chill of winter… what a different world that was!

Initially when I received my page from Artaviso, Babushka dolls instantly spoke to me, for my response to my theme page. Then I remembered the old proverb about ‘All work and no play makes Jack a dul
l boy’ which on scratching a little deeper is a 1768 quote from Author Maria Edgeworth.


These flirtatious Chinese poster illustrations of winsom girls fitted my Babushka theme perfectly and ‘All play and no work transposed to the playful Jacqui. The texture and pattern in the photo made it easy to build the image through collage, which is always a playful way to work. Not having worked with collage for a long time this was a lovely, light hearted and playful art making process which leavened my more serious painting practice.

About Ruth

Ruth’s work is concerned with the transient and unpredictable forces of time, nature and the marks of man on the environment seen and unseen, as her experience of the mysterious forces and layers of time on this land we share, pervades her sensibility bringing ghostly images to the fore. At times these ghosts tell stories of desperation, desire, of powerlessness and lost souls, tempered with a meditation on the peace in communing with our natural world. She has just scratched the surface of this rich story, the Australian historical context has many such stories, and Hill Ends history is a particularly fascinating one and was deeply layered and rewarding.

Her continued fascination with this rich story of the figure in landscape, and her deep connection to landscape and figure build an ongoing story.

The Bathurst Regional Gallery exhibition reflected a more figurative surreal response, while the works that follow are more of an abstract expression of her practice, one in which she relish’s the joy of paint, colour and mark making. Drawing and photography are also a fundamental aspect of her practice and integral to her painting.

Portraiture is also an area of fascination for Ruth and her work has been applauded and hung in various National Portrait Prizes.

Currently she is working on new material responding to her work and travels from Red Centre to the Sea. Home and studio are in Carcoar, Central Western NSW.

Link to Ruth’s Art Aviso profile HERE

Ruth was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 3
The story of the world and its peoples. 
Preparing for the Winter.
Artist: Ruth Stone
Medium: Mixed media on watercolour paper.
Dimensions: A4
(99) Alissa Duke - How This Book was Built
120
(99) Alissa Duke - How This Book was Built Image
About this Artwork

The title of the page ”How This Book Was Built” immediately brought to mind images of the traditional tools that have been used in bookbinding. Books have been “built” in one form or another throughout history. These drawn images highlight the skill involved in the historic-artistic craft of bookbinding. These tools are used in one of the final stages that bring together the words printed on the page. Books have an essential place in enabling knowledge and ideas to be dispersed and preserved in society.
This mass produced book Newnes’ Pictorial Knowledge 1950’s Encyclopedia, was printed in the 1950s for a wide audience. The black and white photograph is of an etcher creating an illustration for a page in the book. By printing the page in faded sepia and drawing on the paper with the subdued tones of the watercolour pencil colours. By using these I have hinted at an earlier time.

About Alissa

I am a watercolour pencil artist. I have been using watercolour pencils since 2008 and I have become familiar with their characteristics as they allow me to blend and layer and to provide rough texture or fine detail to bring out the character of the object I am drawing. I draw daily, documenting everyday events, objects and travels in my life. Some are quick sketches on location and others are slower studied drawings. I use watercolour pencils to draw subjects from the natural world, such as feathers, eggs, leaves and insects. I also draw objects from everyday life including food, coffee cups, books or toys. The subjects are personal and individual and often nostalgic and with a character of their own. I enjoy closely observing an object as I draw it and then allowing people to experience that same enjoyment as they observe my drawing. As a librarian, I love books: to read, to draw and to draw in.

Link to Alissa’s Art Aviso profile HERE

Alissa was provided the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 6
What Masterminds have done for the good of Man.
How this book built
Artist: Alissa Duke
Medium: Watercolour Pencil. Original art scanned and printed Fabriano 200 gsm Watercolour Paper
Dimensions: A4
(4) Julie Milton - Challenging Times
160
(4) Julie Milton - Challenging Times Image
About this Artwork

Challenging times’ is a digital collage using a process of layering and blending imagery. The work is in response to the image of the sailing ship ‘Half Moon’ captained by the English explorer, Henry Hudson, who sailed the east coast of Greenland in the 1600’s attempting to find a route to Asia.
The image inspired me to think about the ‘old’ world with its’ promise for new beginnings and discovery of distant treasures contrasted with the ‘new’ world and the troubling times we now face. That is, global warming, pandemics, fractured regimes, over population, extinction of flora and fauna species, et cetera

About Julie

Julie Milton (BFA, BAD, DipEd) is a visual artist, curator and an educator. Julie’s practice incorporates a range media: outdoor installations, printmaking and photo media including digital collage. Her subject matter is not fixed, however, the strongest thread throughout her practice is her concern with and interest in the ongoing and rapid changes to the natural environment and its effect on the future evolution of native flora and fauna.

Link to Julie’s Art Aviso Profile HERE

Julie was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:
Volume 2
True tales of high Adventure
Amidst the Icebergs
Artist: Julie Milton
Medium: Glycee print on rag paper
Dimensions: A4
(11) Fiona Knight - Strong and willing workers
75
(11) Fiona Knight - Strong and willing workers Image
About this Artwork

Artwork. Art is work. ‘Strong and willing workers’ reflects on how we rely on the Arts to entertain us and we expect artists, performers and creatives to give away our labour for a good cause and for free. As of 7 April 2020, 53% of arts businesses and recreations services are closed according to the Australian Bureau of Statistics.

‘Strong and willing workers’ is the title of an article from ‘The story of animal life- Creatures of the land, the air and the sea’ in Newnes’ Pictorial Knowledge – Volume 1. The article discusses of how elephants domesticated and used to move timber in locations like Rangoon and Ceylon.

To support the discrepancy between the current situation for the arts sector and the domestication of elepahnts for our labour; the elephants are arranged decorously for your entertainment, dancing around the statistics from the Australian Bureau of Statistics on layers of ink.

About Fiona

I am based in Melbourne where I make drawings, collages, and mixed media artworks, soaking them in humour and all with a conceptual bent. My art works often reference pop culture and history; playing with layers whether it be in meaning or media or stylistic conventions like fashion illustration.

My art practice started as a way to draw out and push ideas, and it has become a way to communicate with my circle, artist collaborators and society. I explore ideas and concepts and ask questions about the human condition; the art works present as idiosyncratic and heartfelt, and they occasionally appear like slaughtered sacred cows.

In recent days, I have started swimming in wax and exploring the possibilities of encaustic wax paintings and perfumed wax sculptures. I work with two groups: EP collective and Wundergym. Both groups are loose and fabulous groups of

Link to Fiona’s Art Aviso profile HERE

Fiona was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The story of animal life-creatures of the land, the air and the sea.
Strong and willing workers.
Artist: Fiona Knight
Medium: Collage soaked in ink
Dimensions: A4
(83) Beric Henderson - Marooned (SOLD)
125
(83) Beric Henderson - Marooned (SOLD) Image
About this Artwork

The artwork “Marooned” is composed of white ink and pencil on black paper and is a response to the Encyclopedia entry about Captain Scott’s voyage to the Antarctic. I believe the picture, in this case, speaks for itself. While the light-hearted nature of this illustration shows a marooned 19th century ship with its anchor accidentally embedded within an iceberg, the use of non-overlapping line and contour has been a large focus of my recent water drawings. I personally find the notion of voyaging to the Antarctic on a vessel both exhilarating and somewhat terrifying (given that I get sea sick and hate cold weather). A lot of my current portfolio is environment based and exploring the impact of climate change. Hence it is fitting that this work also includes an iceberg drifting in the sea until it makes that tenuous connection with humans. I believe the push-and-pull tethering of humanity with nature is something very tangible.

About Beric

Beric Henderson has a background in art and science. His past scientific career (PhD in molecular biology, 1990) has had a profound influence on his approach to art. He has been exhibiting for 17 years. In 2016 he relocated his studio from Sydney to Port Macquarie on the mid-north coast of NSW and now lives next to a rainforest. This has become a major inspiration for recent artworks that explore nature through the different relationships and connections between man and the natural world. His artistic medium is predominantly painting with acrylics and ink on canvas and drawing with ink and pencil on paper. The compositions begin with an idea, are then shaped with photo references or his imagination, and honed into an image that often melds realism with abstraction. His drawing practice has recently included large and detailed compositions of water using line, one of which was shortlisted for the 2020 Adelaide Perry drawing prize.

Link to Beric’s Art Aviso profile HERE

Beric was supplied the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:

Volume 2
True tales of high adventure.
Captain Scotts Antarctic Ship ‘Discovery”
Artist: Beric Henderson
Medium: Ink and pencil on paper
Dimensions: A4
(84) Rosalie Duligal -"Mad day out "
200
(84) Rosalie Duligal -"Mad day out " Image
About this Artwork

Researching my subject I was to find Enid Blyton. Her stories were for children that in todays era would be thought of not politically correct. But reading about her she seems a warm hearted lady that had a hugely creative mind for writing short stories that captured the child’s imagination of adventure. My small A4 painting is about three of her characters the tiny girl in the painting is referring to her first ever book ‘Child Whispers” a book of poems that became a best seller. The two characters driving in the car along the path are Noddy and Big ears .I wanted to create a vision of fun in her mad world of imagination and creation. A small painting that could not be thought of in any way other than a fantasy of fun that could be hung in any room to bring the passer by pleasure, and maybe a memory of reading Enid Blyton books from a child. This reference given at random A Mad Cap Windy Day has totally inspired this little work.

About Rosalie

After many years of study within the fine arts and gaining many papers and then a Bachelor of Art to my Master of Arts. I find my passion has always been painting in oils and watercolour. I paint many subjects, from portraits, landscape and still life. I spend many hours painting in my own atelier, which is the home of my ideas and creations. I think my works are different in that they come from my imagination rather than a photograph. Travelling and looking at what surrounds and provokes me generally ends up on canvas. I was once asked what painting means to me and I answered ‘beauty.’ Colours are important how they sit together on the linen canvas, or paper, which I keep a secret until finished. My works are not always very large as most people in smaller dwellings and large works maybe be to hard to hang, so I tend to keep on the scale of the medium sized frame. Painting and creating are so much of life I have to do every day, or I feel that something is missing.

Link to Rosalie’s Art Aviso profile HERE

Rosalie was provided with the following page from 
Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
A Childrens Treasury of Verse-Little Masterpieces of Today and yesterday.
One Madcap Windy day.
Artist: Rosalie Duligal
Medium: Water color
Dimensions: A4
(85) Jenny Davis - Iso Charging Machine
250
(85) Jenny Davis - Iso Charging Machine Image
About this Artwork

Iso Charging Machine.
Being ripped from our natural normal states, during unprecedented times, this machine collects our thoughts, ideas, emotions and turns them into ingots. A kind of sorting machine for making sense of thoughts and the human state. Using as a sorting machine we may then see the bigger picture. Once filled, each ingot is ejected from the mold and left to simmer and collate. Upon settling, thoughts, ideas and emotions disperse into smaller sections. Once, we can identify and describe our own emotions, action, can then then taken, to sort, keep or delete. Some gold, some less important.

My” Iso Charging Machine” relates to the state of the world at this moment in history. We are all forced to conform and drastically change and rethink our life, as it once was. How will we emerge after iso ? Will we continue on as we left off ? Do we need to re-think old ways of seeing, thinking and living in this world. What is important to us? By sorting out our inner self, then maybe, a new, different, human being and life will emerge.

About Jenny

Jenny Davis is a professional artist living in Victoria, Australia and has intermittently, lived in Paris, London and Spain. Jenny has worked on several, creative and research projects throughout Europe and US, over the past 20 years.

Her practice encompasses drawing, collage, photography, book arts, textiles, installation‚ video & virtual worlds. Jenny currently works from her studio in Yarra Valley Victoria.

Jenny’s artwork has been exhibited in Australia, Berlin, Paris, Spain, the UK and the US and is represented in numerous private and public collections. She has received awards and residencies both nationally and internationally, and her digital artworks have been projected onto buildings in Times Square, New York and in 2017 at The Venice Biennale 57 in Italy.

“In researching and documenting under-, abandoned buildings and marks left behind in the built environment, I find ‘beauty in decay, random marks, aerial perspectives, graffiti and weathered surfaces’.

My artworks link to the contrasts of imperfections, found in the urban environment, highlighting, insignificant marks, weathered surfaces and cast-offs. I am influenced by, abandoned, underground and derelict spaces, vacant industrial sites, structures, old walls & graffiti.”

Link to Jenny’s Art Aviso profile HERE

Jenny was supplied the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 6
Treasures won from the Earths crust – The Romance of Coal, Iron and Steel.
An Ingot Charging Machine at work.

Artist: Jenny Davis
Medium: Rust, iron, ink , gold thread on 400gsm. buried watercolour paper
Dimensions: A4
(70) Anne Warren - Monsieur Madames Loyal
275
(70) Anne Warren - Monsieur Madames Loyal Image
About this Artwork

I have referenced architectural shapes in the open curtains and on the wooden floor for the lecturn and have also referenced the colours in the abstract curtain shapes for the Monseur Madames Loyal. The clown became the strongest part of the image that I wanted to respond to. The clowns unusual shaped hat or head and the colours he wore became the highlight of my image. The Page I was given was: The Mills Circus, Painting by Dame Laura Knight R.A. The performers are awaiting their call to the sawdust ring. I however have turned it around with the Monsieur Madames Loyal making their calls from the other side of the curtain, from the ring.

I was inspired by an old print of a japanese warrior to make this 3D Giclee Print of three, Monsieur Madames Loyal, (Circus Ringleaders). This giclee print is presented in 3D form, on archival Platinum cotton 305gsm paper.

About Anne

I work from investigations and inspiration gained from an idea and or a found image that is further developed using a selection of media including abstract shapes, paint, drawing, digital manipulation, animation and by applying 3D techniques to cutouts.

My studio practice consists of found image, mixed media collage, still-life painting, digital imaging, photography and stop motion animation. These practices can sometimes be ephemeral, exist for a short time on instagram (annewarrenart) and will then are deconstructed and reformed into a brand new entity.
Work is created from a selection of images that have come together from a collection of old books from the 1960’s onwards. The process is one cut image laid out alongside another and so forth until a new entity emerges which is then often painted over or further manipulated for either an analogue or a digital image. Often the final image although most times is representational will have a surreal element about it.

Link to Anne’s Art Aviso profile HERE

Anne was supplied the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 7
Great painters of all Nations- How they lived and what they achieved.
The Mills Circus.
Artist: Anne Warren
Medium: Giclee Print on platinum cotton
Dimensions: A4
(102) Leanne Booth - Outbreak (SOLD)
250
(102) Leanne Booth - Outbreak (SOLD) Image
About this Artwork

My reference “Electrical Fireworks” led me down a trail exploring Nikola Tesla’s Magnifying Transmitter and the conversion of low voltage electricity to high voltage, which jumps out through a breakout point. I moved on to looking at how nature creates lightning and then was led into some interesting theoretical articles about the Electric Universe and how much events on the Sun influence our weather & life on Earth.
All of this brought on thoughts of how linked all things are and whilst in isolation during Covid times, I, like us all, watched the world change as this virus started as a small outbreak in an obscure town and spread like lightning, magnifying and transmitting around the globe, causing devastation in some places whilst leaving others relatively untouched, much like a lightning storm.
My pen and ink work “Outbreak” explores both macro and global representation of all of my meandering thoughts during these past few months.

About Leanne

My name is Leanne Booth. I am a full-time working artist who has a studio at my home in Bowral in the Southern Highlands of NSW. From this base I work to create original paintings and artworks for entry into prizes, solo and group exhibitions and private commissions. I am open to gallery, online and group exhibition opportunities and would be happy to consider projects.
My painting style ranges from contemporary realism through to abstract. I work predominantly with acrylics, inks and mixed media, in layers, and my paintings often begin as a random idea or set of paint strokes, which evolve until the image triggers a memory of an experience or place visited.
Over the years I have learnt to disregard the rules and work experimentally with multiple media, and love the buzz and excitement of surprise results. I still bounce between realism and abstract, but my favourite pieces are the abstract ones, with elements in them that engage with the viewer and I am thrilled when a new narrative is seen within a work.
I paint because I am compelled to record my emotive responses to the world around me. The world is complex, ever changing, oftentimes difficult but my preference is to try to communicate an underlying sense of hope about the world’s evolution and our future.

Link to Leanne’s Art Aviso profile HERE

Leanne was supplied the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 6
How Electricity is supplied
Electrical Fireworks

Artist: Leanne Booth
Medium: Pen and Ink
Dimensions: A4
(8) Jo Lane - Complexity of Power
350
(8) Jo Lane - Complexity of Power Image
About this Artwork

While ‘stabbing’ of leaders is not new this has to be the quintessential betrayal in modern history. I have portrayed the painting of ‘The Murder of Caesar’ by Karl von Piloty (1826-86) within the portrait of the man. Love and jealousy are close partners, trust and betrayal terrible enemies. Man is a complex being.
Page 78 of Volume 2 ‘The Romance of History’ The Ides of March in Newnes’ Pictorial Knowledge outlines the moment of the famous words “And thou too, Brutus?”

About Jo

Jo Lane uses her drawing practice to explore social and psychological subjects. Working between UK and Australia she is a ‘drawer’ first and foremost, using charcoal, graphite, coloured pencils, and any other material that is present-to-hand, honouring the texture, immediacy and honesty of drawing. Whilst immersed in fastidious mark-making and fibre use as metaphor, decision-making is reflexive, responding intuitively to the outside world, the inside world and the differing shades and depths of line forming on surfaces. The contrast between self and other and the systems of separation and unity that operate throughout the humanity, drives the work.
British Psychoanalyst, Donald W Winnicott places some artistic motivation in the tension between the desire to hide and the desire to communicate. Her work erupts from this tension, between the private refuge of thought and the nature of external engagement that is drawing.

Link to Jo’s Art Aviso profile HERE

Jo was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 2
The Romance of History
The Murder of Caesar

Artist: Jo Lane
Medium: Graphite and powdered pigment on Arches 300gsm paper
Dimensions: A4
(18) Jonathon Harris - The flames danced for hours (redacted)
190
(18) Jonathon Harris - The flames danced for hours (redacted) Image
About this Artwork:

The title at the top of the supplied image was ‘Library in Chains’.

This conjured an image of words that cannot be read or witnessed because of the thoughts and feelings of a person who did not write the original words – a person or organisation trying to eradicate a moment, a person or situation from history.

The flames danced for hours (redacted) consists of 25 prints of a single central image – with each print made unique by the story it tells, different marks, words and censorship made directly onto the print using gold and black ink.

By creating a double image that has been digitally distorted and by censoring the content of a letter from 31 March of a redacted year, the aim of the artwork is to tell and/or hide a true story from different perspectives; leaving the content to the letter to the imagination of the viewer.

About Jonathon:

Jonathon Harris has been presenting/performing his own work for twenty three years across three continents.

Taking inspiration from the culture(s) around him, his own experience and the views and actions of others, he weaves together stories and images for different stages and spaces. in recent year Jon has worked as an installation artist and painter.

Jonathon has worked with artists and directors such as Rose English, Dawn Rose, Penny Howe, Fiona Blair and Jude Anderson to produce one-man performances, site-specific work and digital artworks. He is also a founding member of the EP Collective in Melbourne.

Venues include: Off the Kerb, No Vacancy, The Red Gallery and The Trocadero Art Space in Melbourne; The Institute of Contemporary Arts, London; The Croydon Clocktower, London; Kulturhuset Stadsteatern, Stockholm; The Art Gallery of Ballarat; and Punctum Inc, Castemaine.

Jonathon was chosen to perform during the 2015 Archibald Prize exhibition.

His work features in private collections in Australia, UK and the USA.

View Jonathon’s Art Aviso profile HERE

Jonathon was supplied with the following page from Newnes’ Pictorial 
Knowledge Encyclopedia:

Newnes’ Pictorial Encyclopedia
Volume 3
The story of the world and it’s peoples.
A library in Chains

 

 

Artist: Jonathon Harris
Medium: Digital print, ink and pencil. Sheet size A4 Print size 22cmx15.5cm Edition 25. 4 AP
Dimensions: A4
(10) Christine Lewis - The Shape of Flowers
90
(10) Christine Lewis - The Shape of Flowers Image
About this Artwork:

I received page 294 of the encyclopedia, a black and white picture which is based on the anatomy of flowers. As I love my garden and spend a great deal of time in it, this proved to be a particularly appropriate page for me.
Working in isolation from home, I have had limited use to the kitchen to produce artwork. So I switched from my usual mediums and started practising with watercolour paint and ink – something I have not previously used. This painting is the result of my efforts.
It is rather like a brightly coloured jigsaw. I drew up the various flower forms and made templates of them on card , then overlapped the shapes on watercolour paper.
This has been a very light hearted, fun experiment for me. At this time when there has been so much fear and uncertainty I have been grateful to have the means at hand both physically and mentally to be creative as a way to keep positive.

About Christine:

I began painting following early retirement from my position as a nurse. I have no formal training although I have attended various short courses and workshops, practising across a broad spectrum of mediums, including linocut printmaking, clay work and pastels. However, my chosen mediums are oil and acrylics paints on canvas and board.
In February I had my first gallery exhibition at G3 Art Space in Parkdale. It was a shared exhibition (with Chris Aspland) based on the theme of life and recreation by the seaside.
I am currently based in a studio at Le Studio Art Space in Mordialloc. My particular interests are Natural History and Portraiture. I have also recently completed two very different bodies of work. One is based on my collection of hand embroidered doilies, vintage vases and my love of bugs. The other body of work references the derelict machinery used in the now defunct ship building site at Cockatoo Island in NSW.

View Christine’s Art Aviso profile HERE

Christine was supplied with the following page from Newnes’ Pictorial 
Knowledge Encyclopedia:

Newnes’ Pictorial Encyclopedia
Volume 1
The Wonders of Plant Life in Forest,Field and Garden.
The parts of a Flower

 

Artist: Christine Lewis
Medium: Watercolour and pen on paper
Dimensions: A4
(64) Mary-Anne Stuart - Be Attentive to the Birds
200
(64) Mary-Anne Stuart - Be Attentive to the Birds Image
About this Artwork:

The supplied page from Newnes’ Pictorial Encyclopaedia Vol 7 showed Giotto’s famous painting, St Francis and the Birds, and immediately spoke to me of my Catholic upbringing, my love for Australian native flora and fauna and concern with environmental issues. St Francis of Assisi is the patron saint of animals and Giotto’s painting depicts a pivotal moment in St Francis’s life where, after a crisis of conscience, he decided to dedicate his life to preaching god’s word – but he first spoke to birds rather than humans and, so the story goes, “the birds showed their joy in a remarkable fashion: they began to stretch their necks, extend their wings, open their beaks and gaze at him attentively*.”

Further research revealed that St Francis believed that animals and humans were equal members of god’s flock and deserving of equal respect. This, along with the concept of the encyclopaedia in disseminating knowledge, tied in neatly with why I paint and draw birds and flowers.

My painting references the tradition of depicting a golden halo around a holy being’s head and I have chosen the larger bird to be the holy creature, with its mouth open singing to all the smaller birds.

* Wintz, J, https://www.franciscanmedia.org/saint-francis-and-the-birds/ accessed 25 April 2020

About Mary-Anne:

Mary-Anne Stuart is an emerging mixed media artist based in Melbourne, Australia.

Colour and pattern are the driving forces behind her artworks. She believes pattern is integral to life; the very fabric of life, whether human, botanical or animal. Her art works reflect this and her subject matter most frequently references Australian flora and fauna.

“The Australian native plant Banksia has been my obsession and subject for the last few years. I have coined a phrase – Banksia imaginata – to describe the growing body of my artworks that are intuitively created and inspired by the unique structure, colours and patterns found in this species.”

“The process of creating an artwork is one of real joy and absorption of attention for me and I want people who see my works to also realise the joy I feel about the beauty of the natural world. If there is one thing I’m trying to communicate, it’s that.”

“There is a constant overlapping of art, nature, science, music; I see patterns in all of these. Nature seems random and chaotic but there is a plan; it just takes a while to find it. I like to let the materials find their way, to replicate nature.”

Mary-Anne’s work often has its stylistic roots in the art nouveau/arts and crafts movement – the reverence for the sinuous line, and simple hand drawn depictions of nature.

Link to Mary-Anne’s Art Aviso Profile HERE

Mary-Anne was supplied with the following page from Newnes’ Pictorial 
Knowledge Encyclopedia:

Newnes’ Pictorial Encyclopedia
Volume 7
Great painters of all Nations- How they lived and what they achieved.
St Francis and the Birds

 

Artist: Mary-Anne Stuart
Medium: Watercolour, acrylic and gouache on 100% cotton rag Khadi paper
Dimensions: A4
(26) Linda Weil - Toybox of Dramas
300
(26) Linda Weil - Toybox of Dramas Image
About this Artwork:

‘Dolls, Cars and Toys that Move’ prompted me to peer into the toybox of my childhood and imagination. Open the lid of this imaginary container and you instantly realise that my dolls led a traumatic life. My best friend George-Next-Door reluctantly played ‘Mums and Dads’ and treated my dollies violently. We both enjoyed giving the ‘real hair’ doll a haircut in the hope that it would grow back curly. It was lucky I was not overly fond of dolls so was not too concerned that tugs-of-war would detach heads and limbs even though it meant trouble and a smack from my mother. I took revenge on George, when, as a fiercely competitive and excellent player of marbles, I won several of his best Dinky cars. Then his mother discovered his diminishing car collection, stopped our games, and lectured us on the evils of gambling. Together George and I would play dress ups, race cars, smash down towers of blocks, demolish wind-up toys to see how they worked and decapitate dolls while playing Cowboys and Indians. We both desperately wanted to Ride the Range on a real pony, but this was not to be, for how could we be trusted with a living animal when we treated our toys so savagely? I was sad when George moved away when I was six. My mother was glad to see him go, but I never found another friend who was quite so delightfully destructive. I wonder where he is now.
About Linda:

Linda Weil; Artist’s statement.
I draw.
I am passionate about the art of drawing in all forms; pencils, inks, charcoal even linework in brush. My first and best loved medium is graphite pencil on a quality hot press paper. I love the directness of the medium, the sensual feel of the drag of pencil across paper that makes an immediate mark. Graphite is a rich, expressive, and exhaustive medium that many undervalue. For me, a pencil will let me convey a variety of thoughts, ideas, and emotions in a uniquely individual way.
My artistic career has spanned many years working in print mediums, advertising, and publications. This working experience has taught me the value of telling a complex story with a minimalist palette in line and tone in my private practice. ‘Painting’ with a pencil allows me to explore a vast range of tonal effects from needle sharp contour line to soft, velvety depths of shade. Mechanical gizmos fascinate me, and I enjoy engineering reality and life with the technical. I find it sheer enjoyment to explore the intricacies of detail within a concept, its’ mechanics, surface textures and relationship to the world.

View Linda’s Art Aviso profile HERE

Linda was supplied with the following page from Newnes’ Pictorial 
Knowledge Encyclopedia:

Newnes’ Pictorial Encyclopedia
Volume 9
Familiar Things and how they are made.
Dolls, cars and Horses that move.


Artist: Linda Weil
Medium: Graphite and Colour pencil on Bristol Board
Dimensions: A4
(29) Simone Alesich - The people of the yeti
230
(29) Simone Alesich - The people of the yeti Image
About this Artwork

This artwork was informed by my travel to north west Nepal in 2018, and by a caption in the encyclopedia page provided, that reads “the TIbetans, in whose country the mountain stands, are dreadfully afraid of their own hills.”

In fact, sherpas from Eastern Tibet seem at remarkable ease in their mountains and at high altitudes. The legend of the yeti is popular with Tibetans in Nepal. The denisovan hominin, first discovered in 2010 in Siberia, potentially explains the yeti myth (a larger, hairier version of a human) and also gives sherpas the gene that allows them to thrive at high altitudes. A yeti-like creature, the rock-ogress, is also an important part of the creation myth of the Tibetan people.

This artwork is inspired by the soaring view of Mount Everest, as well as the intrepid spirit of the Tibetans at home in their mountains. The artwork also pays homage to traditional maps which depict the people of a land along with its geography. In COVID times, the pleats of the artwork reflect the cloth face masks that are worn by many of us .

About Simone

Simone Alesich is a mixed media artist and jeweller. She works in a range of textiles, wood and botanic sculpture, photography and collage, using various natural and found materials. Her jewellery designs incorporate silver and other metals with organic and Australian native plant motifs, as well as bright and playful designs in recycled plastics and polymer clay.

Simone is passionate about sustainability, and inspired by natural forms as well as Japanese aesthetics. With a background in anthropology, her artworks are informed by the diverse art and cultural practices of the places where she has lived and travelled.

Simone has led several community art projects in Brunswick, including a Lent Project and an Advent Project in 2016, and the ‘What is Creativity’ Exhibition in 2017. She was a participant in the Brunswick Studio Walk in 2018. Simone was a project space artist at NorthCity4 in 2018-19. She is currently part of the Pink Ember art community.

Link to Simone’s Art Aviso profile HERE

Simone was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 2
True tales of high adventure.
The highest point in the world.
Artist: Simone Alesich
Medium: Embroidery on calico
Dimensions: A4
(13) Karen Chappelow - Transformation
200
(13) Karen Chappelow - Transformation Image
About this Artwork

My page is taken from the Newnes Pictorial Knowledge Volume 9, 1950s edited by Enid Blyton, A Childrens’ Treasury of Verse-Little Masterpieces of Today and Yesterday.
A Midsummer Nights Dream-The Fairies Song.
I have painted Transformation as a form of awakening, the transformation of the body into a primal version- of the female, whereas the male looks on as the animal, tricked up to appear human in form. This in a sense for me is the story-no Fairies as such, but what happens in this dreamscape is the dream. It is dreamlike and blurs the edges of reality as a fairytale does, its primal, sexual and holds promise each person possibly becoming another, each person holding the possibility that they are both of these versions of their true self.
The forest awakening, the beast awakening, true forms appearing, true forms hidden…This is my interpretation and my ideal Midsummers Nights Dream.

About Karen

“I like it when I get a physical reaction from people when they view my art. The whimsy, fun and sometime political nature of life is evident from time to time. By expressing the fierceness of a female, the ridiculous in a scenario that I paint, a message turned into humour to soften the blow breaking down barriers to acceptance. The abstract nature of my work tries to blur the edges of reality and hopefully makes people smile, wonder and to think and create conversation.
Like squeezing a bit of lemon juice into a cut”.
Karen Chappelow has been Sculpting and painting for more than 20 years she has collectors both nationally and internationally. Karen has been exhibiting in WA for many years now and has just worked on collaborations in the fashion industry-wearable art. She is working towards a solo show in the not to distant future-when this Coronavirus makes it people friendly.
As well as the exhibitions she is preparing for she has been busy creating commissions for new clients, contact her for any requests or ideas you may have.

Link to Karen’s Art Aviso profile HERE

Karen was supplied the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
A Childrens Treasury of Verse-Little Masterpieces of Today and yesterday.
A MidSummer-Nights Dream: The fairies’ Song.
Artist: Karen Chappelow
Medium: Ink on yupo paper
Dimensions: A4
(73) Penelope Le Petit - How We Get the News | Stay in and Stream| My Daily Feed
50
(73) Penelope Le Petit - How We Get the News | Stay in and Stream| My Daily Feed Image
About this Artwork

How We Get the News | Stay in and Stream| My Daily Feed
Online Updated Coronavirus Pandemic News, Stay In and Stream, Get Tough with Coronavirus, Virus of Complacency, Stay Home, #iso desk #iso bar, Twitter, Home School Snacks, Wash Hands, Uncertain Times, Cover your Sneeze, Bin the Tissue, Toilet Paper, Worse Case Scenario, Avoid Crowds, Borders Closed, Two Weeks Self Isolation, #Quarantinis, #Sanny, Corona Moaner, #Coronials, #Pandemial babies, Gloves, Masks, COVID Safe Economy, Flatten the Curve, Job Keeper, Job Seeker, Boomer Remover, Pinterest, Reimagining Overseas Travel, Frightened Consumer, Infection Rates, Working from Home, Invisible Enemy, YouTube, Fake News , #Magpied, Gloved Up , PPE, Screen Time, NEWS NEWS, Zoom Overload, Social Distancing, Booze, Binges and Bad Food, All in this Together, Facebook, Mask or Respirator, No Rent, No Eviction, Zoom Bombing, BCV before corona virus, Keep Finding the Silver Lining, #shop local, Safety is When Nothing Happens, Avoid crowds, LinkedIn, Home Work if you can, COVID safe application, Reentry Syndrome. Get All the Up To date Information.

About Penelope

As a plate lithographer I combine hand drawn, digital and collaged components into my hand printed lithographic process. My aim is to produce a hybrid image; one that maintains some qualities of an original print with the added character of contemporary mark marking. Common themes include issues of migration, community life and contemporary reinterpretations of history.

Link to Penelope’s Art Aviso profile HERE

Penelope was supplied with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
Industries that serve our everyday needs
How we get the News
Artist: Penelope Le Petit
Medium: Collage on Lithograph
Dimensions: A4
(38) Anne O'Connor - White Coal
320
(38) Anne O
About this Artwork

In the 1950’s, the Tasmanian Hydro Electric Commission was formed. Their purpose was to create electricity out of Tasmania’s wild rivers, harnessed through the building of large dams. This water was referred to as ‘white coal’.
With these dams, came a huge workforce of men, many of whom were refugees to Tasmania from war torn Europe. With them came their wives and children. Alternately, the wives and children came later, living together in tiny huts close to the construction.

In the snow and in the rain, or in the heat of summer, the work didn’t stop. To the employers, the men served a purpose but their own purpose was different. They came to build a life in a new country and become part of it, but they were not made welcome because of their differences. For some, violence was not far from home, but they lived through it all. It was white vs. black for many.

This work is about them, about the division, but in particular, about the women. To me, stitching is a way of life, a way of keeping things together. We could say the water was taken and ‘stitched’ into place to create power. Women too are a source of power in holding things together. Hence the use of thread to represent the term ‘white coal’.

About Anne

Tasmanian artist Anne O’Connor works in a variety of media, with photography her passion. She received a Bachelor of Social Work at UTAS in1991 that became her profession until she retired. At that point she re-enrolled again at University to take her art practice further, graduating with a Bachelor of Contemporary Art (Visual) at UTAS in 2015.

Anne’s work is about light, shade, relationships, colour, texture and form. She finds that the relationship between these elements is the trigger for her response. Creating a story that can inspire imagination or evoke memories of time or place.

Her imaginative side is seen within the abstract designs she creates in camera or with the use of other mediums, letting them flow naturally to find their own equilibrium and design. At times she embellishes her work with hand stitching, another medium of creativity.

Anne has exhibited in many solo and group shows within Australia and overseas and her artwork is held in many private collections across the world. She won the Scone Photographic Art Prize in 2018 and was a finalist in the Mullins Australian Conceptual Photographic Art Prize in 2019, the Bay of Fires Art Prize (both in 2017 & 2014), the Field Art Prize (UTAS 2015), and the Birchall’s Art Prize (2014). She was the first woman & the 3rd Australian to be awarded a Masters in Photographic Art by the Federation of International Photographic Art (FIAP) in France 2014. She is represented by Nolan Gallery in Salamanca, Hobart.

Link to Anne’s Art Aviso profile HERE

Anne was supplied the following page from Newnes’ Pictorial Knowledge Encyclopedia:
Volume 3
The story of the world and its peoples – Countries of the British Commonwealth of Nations.
White Coal for Tasmania.

Artist: Anne O'Connor
Medium: Mixed medium, ink, pastel and cotton thread onto acid free Canson water colour paper .
Dimensions: A4
(101) Sophia Franks - Insecta Vita
80
(101) Sophia Franks - Insecta Vita Image
About this Artwork

Insects are among the most numerous of all living creatures. They contribute to more than half of all living organisms, and their presence exists in all environments on the Earth. An important characteristic of this work is that it is biodegradable, in order to minimize harmful substances entering our environments and disrupting delicate ecosystems. Inspired by the texture and patterns of insects, this work displays the diverse interconnected aspects that insects offer our ecosystems and the importance of their presence to all living creature and their habitats. Line, pattern, texture, and form is reminiscent of that of insect and their behavior. All varieties of insects display extraordinarily unique colours and patterns that can be accepted as a consequence of selection and adaptations. Through using bio-material within the work, which are derived from a variety of substances, in which insects exist and thrive, the intention of the work is to pay homage to the basic and considerably overlooked materials of the natural world, including clay, grass, mud, and soil.

About Sophia

Sophia Franks is an emerging contemporary artist from Wooli NSW. Sophia currently lives in Lismore, where she is studying a Bachelor of Art and Design full-time at Southern Cross University.
Working across a variety of mediums, a principal theme in Sophia’s work is natural occurring form and the importance of circular design, she is also concerned with issues surrounding climate change, consumption and wastage in the age of the Anthropocene. Sophia expresses these themes through the exploration of bio-based alternatives as well as biomimicry in order to elucidate new design ambitions. Translating these ideas through sculptural and installation-based artwork, Sophia aims to continue toward a sustainable practice through produce biodegradable pieces of art. She is addressing both personal and global issues that are consequential to our environment. Obtaining locally abundant resources and materials from her immediate environment, Sophia translates her persistent connection and admiration for the natural environment and the world around her.

Link to Sophia’s Art Aviso profile HERE

Sophia was supplied the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 6
The World and its work-Agriculture, producing food from the land
Some members of the insect family
Artist: Sophia Franks
Medium: mixed media; Bio-material, cotton, coffee and charcoal on woven paper
Dimensions: A4
(108) Yudha Scholes - By A Master of Etching
300
(108) Yudha Scholes - By A Master of Etching Image
About this Artwork

I was very excited to see the image by Albrecht Durer. It brought back wonderful memories of the drawing studio at Art College, which had an image of his Rhinocerus hung high on the wall. It always struck me as the perfect example of precision and proportion.
I really enjoyed this image of St. Christopher, with the Christ child shining light, created through nothing more than the incredible linework engraved by Durer. I didn’t want to change anything about this image itself,I simply wanted to find a way to update it, contemporise it for a new audience.
Recently I have been working with a flatbed lasercutter and it’s etching functionality in a series of artworks that responded to the Australian bushfires of 2020. Imitating the powerful element of fire, a laser is used to burn the images into organic materials such as paper or wood, enabling me to embody nature’s destructive power.
I have used this same technique to re-etch Durer’s St. Christopher Looking Left, this time on polymer paint scraped across a black card. The irony of the title, By A Master of Etching, of course referring to Albrecht Durer, but now executed by high tech, 21st century machinery, adds the final link between the old and the new.

About Yudha

I have been working as an artist since I graduated from Melbourne University in 1993. Whilst I majored in painting, I have always used a range of media, pushing boundaries between painting and drawing, printmaking and photography. I am interested in how the juxtaposition of these disciplines can open new levels of connection to the audience. Through these artistic inquiries, I aim to explore and share a range of emotions evoked by my immersion in the landscape.
Recently my exploration of the natural world has begun to resemble a spiritual journey. As I have become more attuned to the native Australian environment it seems to have it’s own collective intelligence; it’s own moods, knowledge and multiple personalities. The understanding that our natural environments are very much ephemeral has stimulated new inquiries into artistic methods to express these universal ideas.
I have taken a residency at Arthur Boyd’s Bundanon Artist Centre in Nowra, NSW each year for the last decade. Pivotal to my art-practice, these intensive workshop based residencies have enabled me to extend my artistic repertoire whilst focussing on the pristine Shoalhaven landscapes that so inspired Boyd.
Alongside my art practice, I hold the position of Head of Art at Scotch College, Melbourne, where I teach senior students a full art program.

Link to Yudha’s Art Aviso profile HERE

Yudha was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 7
Great painters of all Nations- How they lived and what they achieved.
By a Master of Etching.
Artist: Yudha Scholes
Medium: Laseretching on polymer paint on paper
Dimensions: A4
(117) Sam Reiher - Passing In The Night
100
(117) Sam Reiher - Passing In The Night Image
About this Artwork

The page I was given from the Newnes’ Pictorial Encyclopedia was titled “The Telephone and How it Works”. The telephone and the way it functions has changed dramatically over the decades but I chose to focus on a time of change that I have lived through. My work, Passing In The Night, depicts a generational shift, with one person mobile on their phone, while another older person is static, standing inside a dated phone booth. The use of black ink on white paper allows me to accentuate the differences from the past to the future. This is done through the use of shadows and contrast. The new generation is in the light casting a foreboding shadow ahead of them while the old man is in the dark in a phone booth looking down. The scene in the art work is almost like a split screen dividing the past and the present.

About Sam

Melbourne based artist Sam Reiher works mainly with acrylic paints on canvas as well as lino prints on paper. The imagary comes from the everyday travels where, for an instant, something might stand out to him. There is a particular interest in character, texture and the interaction of all the objects together. The combination of these parts help to form a mise en scene in Sam’s art works which begins to tell a moment in a storyline. His study of film and then graphic design has given him a keen sense of how to structure a scene as well as the importance of layout to lure and please the viewers eye when viewing the work. Sam is only at the beginning of his artistic career but has had two solo exhibitions as well as the involvement in group shows with much of his art already hanging in homes around Australia.

Link to Sam’s Art Aviso profile HERE

Sam was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 6
The Telephone and How it works.
The Hand microphone and its parts.
Artist: Sam Reiher
Medium: lino print, ink on paper.
Dimensions: A4
(119) Googie Ann - Fragmented ecology
70
(119) Googie Ann - Fragmented ecology Image
About this Artwork

My mixed media pieces are visions of ecologists that pose questions about layers and threads that run through present day realities and worlds. This work explores the personification of the trust that exists within family relationships. The piece examines the dogged faithfulness; with the Doberman as code, that often occurs between mother and child. This sense of fidelity; possessive, positive and powerful within both mother and child is hopeful and safe, by way of the warm colours, and yet fragmented by each action., thought or touch. There is a tension, a push and pull, a soft and harsh. This tension sits harshly within bold colour and pattern contrasts and yet the female’s eyes, the floating bubbles urge the viewer to calm and rest gently in the emanating shapes. One gets a sense that if you peeled back this skin, layer by layer, you could come to understand the intricacies of my world.

About Googie Ann

My mixed media pieces are versions of ecologists that pose questions about layers and threads that run through present-day realities and worlds. Inspired by the natural world, my work explores how human, animal and the psychological might co-exist. My rigorous and ruminative works reconfigure our own understanding of the connections we have and make with all that exists around us and within us, asking us to enter that conceptual space where reality is created. The sometimes simplicity to my work is deceptive. One gets the sense that if you peeled back this skin, layer by layer; you could come to understand the intricacies of my world. There is one side where I know what I want to make and then another where I am propelled by my emotions, experiences, expectations, worldly delights and formal elements. These works seem to evolve by way of happenstance and and yet they expose my consummating playfulness with process.

Link to Googie Ann’s Art Aviso profile HERE

Googie Ann was supplied with the 
following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 7
Great painters of all Nations- How they lived and what they achieved.
Fidelity.
Artist: Googie Ann
Medium: collage pen pencil
Dimensions: A4
(120) Cam Michael - The Breath
66
(120) Cam Michael - The Breath Image
About this Artwork

‘The Breath’ was inspired by my allocated page from ‘Newnes’ Pictorial Encyclopedia Volume 6
Famous Inventions and how they were evolved – What master Minds have done for the good of man.
Rays that penetrate Matter’ outlining the use of early x-ray technology. I was drawn to an illustration of the final x-ray film on the page and how the light shone through and appeared to transcend the image. I associate x-rays with medical technology that is positive and life giving and wanted to explore that association in this work. Incorporating light, and the suggestion of moment with different layers of texture. The body, moving , breathing, alive – yet that must pause and be still to be captured by film and be observed. Working digitally allows me to explore layers of transparency and transcending these however part of my process also included printing and drawing over the print, scanning and digitally drawing over my drawing.

About Cam

I am an emerging mixed media artist interested in social inclusion. I work with themes of redefining value, potential, and relationships between personal identity and perception in the spaces we inhabit.

My work is broadly informed through life experiences of disability, being a carer and support worker for others, living in Australia but growing up outside of Australia, and identifying as LGBTI. Things that are not always visible or seen as valuable by others in society. As a result I have been interested in the value of the perspective of ‘other’ and the benefits of social inclusion and new perspectives. I work with a range of different media depending which I feel best suits the project but this has included cast and fused glass, digital collage incorporating hand drawn or painted layers, sculpture with clay, wax and assemblage, small scale soft up-cycled wearable pieces, painting in acrylic and watercolours, and large scale immersive installation.

Link to Cam’s Art Aviso profile HERE

Cam was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 6
Famous Inventions and how they were evolved – What master Minds have done for the good of man.
Rays that penetrate Matter.
Artist: Cam Michael
Medium: Digital collage with hand coloured pastel layers on archival cotton rag
Dimensions: A4
(127) Genevieve Villaflor - Golden Lines
200
(127) Genevieve Villaflor - Golden Lines Image
About this Artwork
Drawing from the rich, vibrant colours within the encyclopaedia page. This work replicates the colours and lines that flow from the woman’s dress seen in the centre of the page. This was the start of the inspiration for the painting, as the eye constantly draws back towards the woman and the bright dress. The geometric lines seen in the artwork are inspired by the patterns seen on the table, dress and tiling of the floor. The artwork takes small details within the page and emphasises it through mediums of alcohol ink and acrylic. The people seen within the ceremony embody royalty, which the painting exhibits with the hints of textural golds, that compliment the geometric lines.
This page expresses a ceremony where all are gathered to watch, Genevieve invites viewers to take a deeper look into her painting to observe the small aspects that come to life in front of you.

About Genevieve
Genevieve draws on the aspect of intuitive painting within her work, she utilises the fleeting nature of emotions and feelings to drive the direction of her paintings. After Art school, she had predominantly worked with oils and acrylics, though recently has enjoyed the process of alcohol inks and its fluid nature.
Genevieve creates art as an outlet for healing, the creative process that is undertaken is of great importance to her. From the way the mediums coincide with one another, to how the brushwork is applied and the cognitive process of making art is incredibly profound in her work.
Genevieve’s work consists of fluid and textural aspects that invites the viewers to look deeper within the work, uncovering sections that might be intriguing to them.
When she isn’t in the studio, she works at a kindergarten in the hopes that it will allow her to move onto studying art therapy for young children in the future!

Link to Genevieve’s Art Aviso profile HERE

Genevieve was supplied the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 2
The Romance of History
The Court of Claims
Artist: Genevieve Villaflor
Medium: Alcohol Ink and Acrylic on Yupo paper
Dimensions: A4
(5) Xandra Connelley - A quote by Ptolemy written in maritime flags
295
(5) Xandra Connelley - A quote by Ptolemy written in maritime flags Image
About this Artwork

My inspiration came from the ancient maps of Ptolemy and I responded by writing one of his quotes in maritime flags. I chose this particular quote to illustrate Ptolemy’s legacy as an astronomer and subsequently chose the maritime flags as a way to communicate a universal language of travel.

Claudius Ptolemy as a geographer, mathematician and astronomer in Egypt during the 2nd Century CE was renowned for many things. Notably, for his work in astronomy and mapping the skies in which case he applied mathematical methods to astronomical problems. At the same time, as a cartographer he devised a system of lines of latitude and longitude and plotted around 10,000 locations.

However, there are many significant quotes from Ptolemy and for my artwork the following resonated : “I know that I am mortal by nature and ephemeral but when I trace at my pleasure the windings to and fro of the heavenly bodies I no longer touch the earth with my feet. I stand in the presence of Zeus himself and take my fill of ambrosia” Ptolemy.

To work out the quote you read the flags top to bottom, starting from the top left-hand corner.

About Xandra

Through my art practice, the objective for the viewer is to translate or decode patterns from their concealed meaning into something comprehensive and full of significance. Each piece draws from ancient symbols or quotes to intrigue the audience and evolves by the act of discovery. Once the artwork reveals its underlying source this then encompasses additional layers and meanings to interact with the viewer.

For a long time it has been known, solving puzzles or riddles, enhances our ability to access hidden information in our brain and apply it to knowledge stored in our memory. As a result, once we find the answer to a solution it can be a kind of clairvoyance to possibly provoke a transcendent reaction.

As humans we connect through communication and often use ancient universal signs and symbols that transverse language barriers. Accordingly, my intention is through deciphering this ubiquitous information the audience will have an inherent connection to my artworks.

Link to Xandra’s Art Aviso profile HERE

Xandra was supplied the following page from Newnes’ Pictorial Knowledge Encyclopedia:
Volume 9
The first Steps in Geography
Geographical Terms- plate 4
Artist: Xandra Connelley
Medium: acrylic on canvas paper
Dimensions: A4
(7) Jennifer Baird - Retro meets Retro
300
(7) Jennifer Baird - Retro meets Retro Image
About this Artwork

My page from the 1950 ‘Newnes’ Pictorial Knowledge, the story of the world and it’s
peoples.’ was named ‘The Grandeur of a Norwegian Fjord’. As I was weaving my
printed page with my page from The Jacaranda Junior World Atlas 1979, I thought
wouldn’t it be great if I actually had the original page (which we were also offered
and I had time to still get) then I thought no.. this exhibition is a response to the
Covid19 pandemic, art in isolation and I was sent my page electronically to print out
because of the pandemic. Art Aviso had responded to the concerns of artists
receiving their page in the mail.It wasn’t until I also read my page, from the encyclopedia it said ‘The world and its peoples’…that my page from my atlas was a map of the world. Initially I hadn’t made the connection I was looking through the atlas to find a map of Norway, which I eventually found next to the map of the USSR. If you look closely one of the squares says Norway. I really like the retro feel of both the encyclopedia and atlas. A worldand time long gone as we face the brave new world of our future post Covid19.

About Jennifer

I am a mid career multi-media 2D artist, encompassing screen and lino printing,
collage and recycled media constructions. Over the past few years as my life has
become busier I have moved away from painting, just doing the occasional oil
painting with a palette knife (can’t handle brushes anymore). As I have also aged my
sight has changed and I don’t do the fine brushwork of the gouache paintings I am
probably best known for. This has lead to me rediscovering my love for screen printing, which I studied at UTS in a Bachelor of Design. Instead of fabric it is now paper, I love the sound of the squeegee pushing the ink through the screen onto the paper…. I was meant to be a printmaker. It has also meant I can do small editions of ten, still exploring my love for the ocean and Australian seascapes and lead me to discover the joy of CMYK printing,how much fun is that?Another development is minimalism, especially in the palette knife oil paintings, I entered a white square into the 2019 Wynne prize which they were suitably unimpressed with. I loved painting it with the fine ripples from the palette knife, just like icing a cake. My collages have become abstract, with shapes and colours. This has also been alot of fun.

Link to Jennifer’s Art Aviso profile HERE

Jennifer was supplied the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 4
The story of the world and it’s peoples
The Grandeur of a Norwegien Fjord
Artist: Jennifer Baird
Medium: Woven paper
Dimensions: A4
(98) Paulina Campos - Lisa got a friend
300
(98) Paulina Campos - Lisa got a friend Image
About this Artwork:

Two different women, one in part is my own creation; I decided to approach the work by juxtaposing the images whilst using vibrant colors and a sense of whimsy.
This work is an exploration of blending what by itself seems impossible; in this instance two time lines more than 500 years apart and two different approaches to art making.
Mona Lisa depicts a woman in the past, immortalized and eerily silent today yet much talked about, visited, studied and more. Da Vinci was a master of the “sfumato technique” I decided to juxtapose the image with one that I created when I was training as a graphic artist, sharp colors and lines ready for mass production and consumption. The challenge was to bring them together; two very different techniques and somehow find a way of blending these images.
Both women have been relegated to being observers rather than participants, somehow it reminds me of the importance of the Women’s Liberation movement and the struggle for equality; what has been gained and what is still ahead.

About Paulina:

My art practice involves image appropriation; I often wonder what would the purpose be of creating everything from scratch when I am continuously surrounded by both screens and images, basically ready made “gone galore” it only takes noticing.
Door to Door has proven to be a perfect opportunity for chance and experimentation; the source images was given to me I had no say on what I would get and had to set my own preferences aside; both exciting and daunting at the same time.
My practice engages with different media, photos, collage, acrylic paint, stills from my own videos, drawings and large format prints. I use photo manipulation software in order to attain a particular effect inviting multiple interpretations and creating an alternative reality where different time lines co-exist. As my practice progresses, I feel increasingly comfortable with allowing for chance to take place, even a mistake might bring in new opportunities. At times it seems to me that it is the canvas and the colors that dictates how the creative process is going to progress

Link to Paulina’s Art Aviso Profile HERE

Paulina was supplied with the following page from Newnes’ Pictorial 
Knowledge Encyclopedia:

Newnes’ Pictorial Encyclopedia
Volume 7
Great painters of all Nations- How they lived and what they achieved.
Da Vincis Mona Lisa

 

Artist: Paulina Campos
Medium: Photocopy, acrylic paint and ink, bond paper, Japanese wrapping paper set on canvas paper (290 GSM)
Dimensions: A4
(50) Lynette Joy - On the eighth day Image
(50) Lynette Joy - On the eighth day
About this ArtworkWhen I looked at the original image, I saw the fear in the mother’s eyes and I felt sad that humans can cause such distress to our fellow inhabitants of the wonderful world we live in. ... Read More
Artist: Lynette Joy
Medium: laserprint and mixed media on paper
Dimensions: A4
(100) Karen Preston - Windsor Castle Landscape Image
(100) Karen Preston - Windsor Castle Landscape
About this artworkThe page which inspired my artwork is ‘The Home of England’s Sovereigns’, Newnes’ Pictorial Encyclopedia, Volume 2, The Romance of History. The caption under the image explains th... Read More
Artist: Karen Preston
Medium: Acrylic paint, gold and copper leaf.
Dimensions: A4
(28) Maria Paterson - The die is cast Image
(28) Maria Paterson - The die is cast
About this ArtworkWhen i first viewed this page, i was struck by its orderly, proper and appropriate serious expressions of characters in the scene. Nicely dressed soldiers in a pleasant rural setting, no ... Read More
Artist: Maria Paterson
Medium: Ink and gouache
Dimensions: A4
(137) Christopher Russell - Mayday and Toyland in The Red Square. 2020. Image
(137) Christopher Russell - Mayday and Toyland in The Red Square. 2020.
About this ArtworkA page from a children’s encyclopedia that was edited by Enid Blyton provided the stimulus for this artwork. The black and white image displays a May Day parade in Red Square Moscow dur... Read More
Artist: Christopher Russell
Medium: Acrylic on paper
Dimensions: A4
(97) Nada Murphy - Lost Chapter Image
(97) Nada Murphy - Lost Chapter
About this ArtworkThe Lost chapter reflects on a variety of indigenous fruits to include coral berries, blue quandong, wild strawberries, munties, desert quandong, gubinge, blue tongue and rosella. These p... Read More
Artist: Nada Murphy
Medium: Water soluble pen, pencil, and watercolour on paper
Dimensions: A4
(53) Garth Henderson - botanic_architecture/grandis_tower Image
(53) Garth Henderson - botanic_architecture/grandis_tower
About this artworkMy initial response to the title ‘A cactus as Tall as a House’, was to work on a collage of reference photos I had taken at Cactus Country in Strathmerton, Victoria. After consideration, it... Read More
Artist: Garth Henderson
Medium: unique state / giclée print on hahnemühle photo rag paper
Dimensions: A4
(171) Shona Hutchings - A Stitch in Time Image
(171) Shona Hutchings - A Stitch in Time
About this ArtworkI recieved page 251 of the Newnes’ Pictorial Knowledge EncyclopediaVolume 1The marvels of insect lifeA pair of Swallow tails... Read More
Artist: Shona Hutchings
Medium: Mixed Media
Dimensions: A4
(158) Samantha Harvey - David Attenborough Owl Keeps Guard Image
(158) Samantha Harvey - David Attenborough Owl Keeps Guard
About this ArtworkMy starting point was page 184: The Owl Keeps Guard. The photo and description show a ‘long eared owl’ who, unlike most owls, has ‘constructed quite a sound nest amidst the branches... Read More
Artist: Samantha Harvey
Medium: Mixed Media, mostly scrap and recycled on rag paper
Dimensions: A4
(156) Simon Bowland - SAK Bird - Beaks are birds knives and forks Image
(156) Simon Bowland - SAK Bird - Beaks are birds knives and forks
About this ArtworkAesthetically this work draws on my love of street art and its ability to directly engage with the public, providing an artistic outlet for unfiltered critical statements. Having sourced ... Read More
Artist: Simon Bowland
Medium: Archival print of digital composition ( with graphite sketch and background of acrylic on board)
Dimensions: A4
(33) Margaret Ingles - On thin Ice Image
(33) Margaret Ingles - On thin Ice
About this Artwork“Whilst the images provided from Newnes’ Pictorial Knowledge are of Antarctica, I painted a northern Arctic scene and added a polar bear. The stimulus pictures were from the 1950’s,... Read More
Artist: Margaret Ingles
Medium: oil on A4 canvas board, mixed media
Dimensions: A4
(19) Fay Valcanis - Red Fields Image
(19) Fay Valcanis - Red Fields
About this ArtworkPropaganda posters and images were one of the ways the Soviet Union tried to control its citizens. Such posters depicted the patriotism of the country with images of industrial productivi... Read More
Artist: Fay Valcanis
Medium: Lino print with hand color (1 of 4)
Dimensions: A4
(105) Emma Gardner - Serenading the Elfin Artist Image
(105) Emma Gardner - Serenading the Elfin Artist
About this ArtworkI was supplied with a beautiful poem from, Newnes’ Pictorial Encyclopedia Volume 9, ‘A Childrens Treasury of Verse-Little Masterpieces of Today and yesterday’ titled ‘The Elfin Ar... Read More
Artist: Emma Gardner
Medium: oil stick trace-monotype and pigment on 180 gsm paper
Dimensions: A4
(27) Valentina Tansley - Sealed Image
(27) Valentina Tansley - Sealed
About this ArtworkThis work is a response to an image of the sealing of the Magna Carter. Whilst the topic didn’t initially interest me, I was drawn to the composition of the image itself. As a designer at hea... Read More
Artist: Valentina Tansley
Medium: Dictionary pages, ink, charcoal
Dimensions: A4
(22) Deb K Williams - Knots and Constellations Image
(22) Deb K Williams - Knots and Constellations
About this Artwork‘Knots and Constellations’ is a work born out of a process of distillation. My page ‘Some Ensigns of Britain and the Commonwealth’ has been reduced to a single image containing tr... Read More
Artist: Deb K Williams
Medium: Digital collage, pencil on rag paper
Dimensions: A4
(134) Susan Lowe - Making Letters Big and Small Image
(134) Susan Lowe - Making Letters Big and Small
About this ArtworkLetters of the alphabet are an essential form of communication. Seen in recent demonstrations, and written on placards, they can send powerful political messages. During periods of cha... Read More
Artist: Susan Lowe
Medium: Unique State Archival Print
Dimensions: A4
(142) Lesley Ryan - COMMUNICATION Image
(142) Lesley Ryan - COMMUNICATION
About this Artwork“Communication”Communication is simply the act of transferring information from one place, person or group to another. Every communication involves (at least) one sende... Read More
Artist: Lesley Ryan
Medium: WATERCOLOUR AND PEN on paper
Dimensions: A4
(57) Javier BAEZ BONORAT- Vesuvius in Sepia Image
(57) Javier BAEZ BONORAT- Vesuvius in Sepia
About this Artwork‘Vesuvius in Sepia’ is dominated by splashes of sepia, in attempt to imply a gloomy, frightening scene instantly. The gesso base provides a layer of chaos, nurturing the dramatic scen... Read More
Artist: Javier Baez Bonorat
Medium: Oil and Gesso on Cardboard.
Dimensions: A4
(2) Julian Di Martino - Looting the village Image
(2) Julian Di Martino - Looting the village
About this ArtworkNot all stories in encyclopaedias get a one page illustration so ‘Looting a City of Treasure’ must be special to be deemed worthy. It is extraordinary that as a child you see a pictur... Read More
Artist: Julian Di Martino
Medium: Pencil on paper
Dimensions: A4
(89) Gennifer Anderson - Light of the World Image
(89) Gennifer Anderson - Light of the World
About this artworkIn response to the page ‘Artificial and Natural Lighting’ I have addressed the subject of belonging in this time of isolation through imagery of rooftops and homes thrown into shadow on the... Read More
Artist: Gennifer Anderson
Medium: Acrylic, aerosol, charcoal, resin and ink
Dimensions: A4
(14) Peta-Jayne Smith - Still doing the hard yards Image
(14) Peta-Jayne Smith - Still doing the hard yards
About this ArtworkWhen I first received my page my reaction was something of familiarity, it reminded me of the newsreel type of films that were shown in the darkened classroom of a Social Studies lesson. ... Read More
Artist: Peta-Jayne Smith
Medium: Watercolour on paper
Dimensions: A4
(141) Rose Agnew - Mrs Ramsay Image
(141) Rose Agnew - Mrs Ramsay
About this ArtworkMrs Ramsay is a whimsical reflection on the famous “Ram in a Thicket” sculpture. The meanings attributed to this mysterious object are bound up with so many western ideologies and myt... Read More
Artist: Rose Agnew
Medium: Water colour on paper
Dimensions: A4
(172) Stephen Cornwell - Bird-eating Spider Image
(172) Stephen Cornwell - Bird-eating Spider
About this ArtworkI find spiders pretty menacing at the best of times but this concept presents a slightly more surreal twist on a spiders confrontation with a bird that just might be its measure. The imag... Read More
Artist: Stephen Cornwell
Medium: Ink on paper (Archival digital Giclee) Signed - 1/5 limited edition A4
Dimensions: A4
(125) Beth Nelson - Interference Image
(125) Beth Nelson - Interference
About this ArtworkThe Newnes’ Pictoral Encyclopedia page ‘More than half a century old; The Telephone and How it works’ was provided as my inspiration. The print directed me to think about changes in... Read More
Artist: Beth Nelson
Medium: Photographic print of Multi Media Art
Dimensions: A4
(45) Michele England - Celebration Image
(45) Michele England - Celebration
About this Artworkfriends and family gatherings … party hats, music to dance to, fun food, laughter, even hugs… Hold onto those thoughts and dream of celebrations to come.Making this piece ... Read More
Artist: Michele England
Medium: paper, reclaimed wallpaper, thread
Dimensions: A4
(1) Aneta Bozic - Forever Flora on Ossified Mountains Image
(1) Aneta Bozic - Forever Flora on Ossified Mountains
About this ArtworkThe original work, ‘Cattle grazing beneath the snow-clad peaks of the Bernina Alps’, made me think of the controversy of cattle grazing in alpine national parks. The argument against ... Read More
Artist: Aneta Bozic
Medium: Pen on paper
Dimensions: A4
(133) Tasha Button - Gold Tut-ank-amen with Lion Image
(133) Tasha Button - Gold Tut-ank-amen with Lion
About this ArtworkThe original image from Newnes’ Pictorial Encyclopedia took me back to the Gold of the Pharaohs exhibition which influenced my art in high school. The catalogue which I was able to trac... Read More
Artist: Tasha Button
Medium: mixed media on paper.
Dimensions: A4
(192) Athenie Leckey - How Dots Make Pictures Page 390 Image
(192) Athenie Leckey - How Dots Make Pictures Page 390
About this ArtworkBeing sent Page 390 from Volume 9 of the Newnes’ Pictorial Knowledge Encyclopedia made my heart sing! ‘How Dots Make Pictures’ was the page title. The basic starting point of any ma... Read More
Artist: Athenie Leckey
Medium: Ink on Paper.
Dimensions: A4
(12) Susana Depetris - Red and Blue Image
(12) Susana Depetris - Red and Blue
About this artworkI received a page with many old time British Flags. Looking at how the current flag evolved got me thinking about the many elements that kept repeating and also changing to end up with the mode... Read More
Artist: Susana Depetris
Medium: Acrylic paint on 100% Cotton Acid Free Watercolour paper 425 gsm
Dimensions: A4
(196) Sheena Mathieson - House Keeping the Emu Image
(196) Sheena Mathieson - House Keeping the Emu
About this ArtworkAn interpretation. From one encyclopedia to another: The Newnes’ Pictorial Knowledge from the 1950s, to my very own 1963 Dean’s Supreme Book for Children, which I have rediscovered as... Read More
Artist: Sheena Mathieson
Medium: Mixed media: layering of cut outs, collage, print, watercolour, shellac
Dimensions: A4
(197)Louise D
(197)Louise D'Amico - Airplane Shapes
About this artworkMy art work is from Newnes’ Pictorial Knowledge Encyclopedia Volume 9 The importance of Shape. My art work is inspired by shapes and wings. I have done a picture of an airplane. I live ... Read More
Artist: Louise D\\\'Amico
Medium: Screen-printing, Acrylic paint and Inks
Dimensions: A4
(112)Somrita Watford - Mughal Life Image
(112)Somrita Watford - Mughal Life
About this artworkThe page I was given depicts a colorful incident, the entry of a King’s Champion into Westminster Hall to challenge anyone who opposed the sovereign’s right to the crown. I was inspir... Read More
Artist: Somrita Watford
Medium: Mixed Media (Gouache & Acrylic) A4 Size on 225gsm Pape
Dimensions: A4
(160) Julie Kala - FiVE AND THE BOXING KANGAROOS Image
(160) Julie Kala - FiVE AND THE BOXING KANGAROOS
About this ArtworkMy art reference was The boxing Kangaroos.My first book as a child were Enid Blyton books so when I saw the reference picture and the fact that Enid was the editor I knew the image ... Read More
Artist: Julie Kala
Medium: Acrylic on paper
Dimensions: A4
(6) Anna Jackson - Aggregate Image
(6) Anna Jackson - Aggregate
About this ArtworkFor this exhibition I received an Encyclopedia page from Newnes’ Pictorial Knowledge, Volume 9, Early Civilisations, Plate 2, Egypt. My collage is inspired by the colours, textures and ... Read More
Artist: Anna Jackson
Medium: Collage.
Dimensions: A4
(189) Marina Chamberlain-Son of the Puszta Image
(189) Marina Chamberlain-Son of the Puszta
About this ArtworkThe focus of this painting is a proud Hungarian cowboy pictured here in traditional dress. Formerly a semi-nomadic herdsman of the Hungarian puszta, or Great Hungarian Plain, these ... Read More
Artist: Marina Chamberlain
Medium: Collage with acrylic paint on A4 300gsm watercolour paper
Dimensions: A4
(3) Paula McLoughlin - The Road to Edith Image
(3) Paula McLoughlin - The Road to Edith
About this ArtworkI was sent a view of Mt Edith Cavell in Canada. I thought maybe I can do a ‘that was then this is now’ image. I found the view, it looks much the same, the road is paved and the trees... Read More
Artist: Paula McLoughlin
Medium: digital print screen print, sterling silver glass glitter, pencil
Dimensions: A4
(36) Mia Oehlmann - The Jewel in the Gardens Image
(36) Mia Oehlmann - The Jewel in the Gardens
About this ArtworkThe page given for inspiration of the work was from: Newnes’ Pictorial Knowledge Volume 3, The story of the world and its peoples, Crown of the Palace (Taj Mahal). Given such an iconic ... Read More
Artist: Mia Oehlmann
Medium: Mixed media on A4 paper, unframed.
Dimensions: A4
(177) Tony Rocha Newton - Lavender Lynx - The Cat with the Tufted Ears Image
(177) Tony Rocha Newton - Lavender Lynx - The Cat with the Tufted Ears
About this ArtworkIn our early forays into natural history, so-called exotic creatures that were not common to European or North American domestic life, such as the Lynx, inspired awe and mystery for reade... Read More
Artist: Tony Rocha Newton
Medium: Ink on native-ink dyed laserjet print on paper
Dimensions: A4
(90) Bev Plowman - Mont Saint Michel Image
(90) Bev Plowman - Mont Saint Michel
About this ArtworkWhen I received the image of Mont Saint Michel, from this amazing Encyclopaedia, I was delighted. A few years ago I went to France with my daughter and husband to visit a family in nearby... Read More
Artist: Bev Ploughman
Medium: Watercolour on paper
Dimensions: A4
(186) Eloise Nouvelle - A Great Fall Image
(186) Eloise Nouvelle - A Great Fall
About this ArtworkHumpty Dumpty had a great fall, and now he has a Polaroid to remember it by! I created this piece to put a fun and amusing lens on a classic story, but I wanted to keep the no... Read More
Artist: Eloise Nouvelle
Medium: digital print.
Dimensions: A4
(175) Chrissie McDonald - The Story of Our World is Told in Rocks Image
(175) Chrissie McDonald - The Story of Our World is Told in Rocks
About this Artwork“The story of our world is told in rocks”. The last sentence on my selected Encyclopedia page really resonated with me. I have scrambled over rocks since childhood. Walked along beach... Read More
Artist: Chrissie McDonald
Medium: Watercolour & Gouache on Arches Watercolour paper
Dimensions: A4
(188) Sonia Stewart - Time in Different Cities Image
(188) Sonia Stewart - Time in Different Cities
About this Artwork“Time in different cities” will instantly evoke “time zones”, as in who’s sleeping who’s awake on this planet earth. For me it is more about what would I be doing with my frie... Read More
Artist: Sonia Stewart
Medium: Photography, Digital
Dimensions: A4
(39) Sue McLeod - De Profundis Image
(39) Sue McLeod - De Profundis
About this ArtworkOver the millennia, from primitive organisms, and prehistoric creatures, life emerged from chaos in the depths of the ocean.This took profound intimacy, as converging organism... Read More
Artist: Sue McLeod
Medium: Photograph.
Dimensions: A4
(161) Elizabeth Haigh - Do we need a reminder? Image
(161) Elizabeth Haigh - Do we need a reminder?
About this artworkReferences ‘How Plants Live and Breathe from Newnes Pictorial Knowledge Encyclopaedia’ Vol 1 p 295.Half a century on from Newnes explanatory diagram showing ?... Read More
Artist: Elizabeth Haigh
Medium: Mixed media, Ink, watercolour, silver and cotton thread, plastic remnants, Inkjet print collaged on 300gms Canson watercolour paper, 30cms x 20cms, 2020
Dimensions: A4
(92) Melinda Rodnight - Comfrey/Symphytum Image
(92) Melinda Rodnight - Comfrey/Symphytum
About this ArtworkComfrey is a perennial herb, dating back over 2,000 years. It’s scientific genus is Symphytum; loosely translated it means ‘to unite’ or ‘grow together’, indicating the usefulne... Read More
Artist: Melinda Rodnight
Medium: Collograph, trace monotype and ink
Dimensions: A4
(41) Leah Mariani - Wise Old Bird Image
(41) Leah Mariani - Wise Old Bird
About this Artwork:The Wise Old Bird considers two nursery rhymes; The Wise Old Owl and the Owl and the Pussy Cat. In both these rhymes the language tells us that the Owl is male and certain characteristic... Read More
Artist: Leah Mariani
Medium: Digital print on A4 Hahnemuhle photo rag, using pigment ink on archival paper.
Dimensions: A4
(31) Lucinda Nicholas - What is precious seems hidden Image
(31) Lucinda Nicholas - What is precious seems hidden
About this ArtworkGiven the picture of precious stones, i was excited to see all the colours available to play around with. I tried to create a collage effect with many layers of the original picture, as w... Read More
Artist: Lucinda Nicholas
Medium: print on archival cotton rag paper
Dimensions: A4
(44) Viki Petherbridge - Animals in armour. The pangolin: May they suffer no more. Image
(44) Viki Petherbridge - Animals in armour. The pangolin: May they suffer no more.
About this ArtworkI was a bit intimidated to get the pangolin as my artwork as it is a highly contentious issue regarding the animals in China and how they are treated and their connection to the coronavir... Read More
Artist: Viki Petherbridge
Medium: Mixed media and type digital print.
Dimensions: A4
(49) Helen Braun - Dispersal Image
(49) Helen Braun - Dispersal
About this ArtworkWorking with 2D foliage prints on wax paper, I have sought to capture some of the essence of ‘The Old Dutch Toymaker’ within the picture I received and responded to. A playfulness of ... Read More
Artist: Helen Braun
Medium: ink on waxpaper on handmade paper
Dimensions: A4
(54) Shauna Willett - Animals of Prehistoric Times - Plate 2, A Landscape Image
(54) Shauna Willett - Animals of Prehistoric Times - Plate 2, A Landscape
About this ArtworkWith reference to the Newnes Pictorial knowledge; page ‘Animals of prehistoric Times’ I have created a number of overlay patterns from various elements of the selected animals themsel... Read More
Artist: Shauna Willett
Medium: Mixed media
Dimensions: A4
(69) Janine Hall - St Elmo Breakwater Lighthouse - Entrance to Grand Harbour - Valetta, Malta Image
(69) Janine Hall - St Elmo Breakwater Lighthouse - Entrance to Grand Harbour - Valetta, Malta
About this ArtworkWhen presented with an historic image of “In the Grand Harbour, Valetta, Malta”, it got me interested in its history. It has been a consistent defensive site against enemy attacks on ... Read More
Artist: Janine Hall
Medium: Acrylic on Arches watercolour paper
Dimensions: A4
(72) Susie Baxter Smith - Mosi-oa-Tunga Image
(72) Susie Baxter Smith - Mosi-oa-Tunga
About this ArtworkIn this work I have disappeared to the base of The Victoria Falls on the Zambesi River in Southern Rhodesia. Also called Mosi-oa-Tunya “the smoke that thunders”. The water is falling ... Read More
Artist: Susie Baxter Smith
Medium: mixed media and collage
Dimensions: A4
(74) Kathy Fahey - Winter Landscape Image
(74) Kathy Fahey - Winter Landscape
About this ArtworkOne of the major motifs of my work is the Australian landscape so when given my page from Newnes’ Pictorial Knowledge 1950s Encyclopedia ‘Snows of the Matterhorn’ I thought this is ... Read More
Artist: Kathy Fahey
Medium: Hand painted collage, acrylic paint, acid free glue on Stonehenge paper
Dimensions: A4
(77) Isabella Chan - Citizen Image
(77) Isabella Chan - Citizen
About this ArtworkFor this exhibit I re-created a rendition of Little Red Riding Hood focusing on key elements provided in my stimulus. I concentrated on the two overarching colours, red and green as well ... Read More
Artist: Isabella Chan
Medium: Pencil and Paint marker
Dimensions: A4
(23) Carolyn Roberts - Hedgerow Imagined Image
(23) Carolyn Roberts - Hedgerow Imagined
About this ArtworkDuring the early days of lockdown, whilst struggling to accept that I was trapped in Melbourne for the foreseeable future, desperately wanting to be in my other life in France, my Door to... Read More
Artist: Carolyn Roberts
Medium: Watercolour on paper
Dimensions: A4
(21) Wendy Grace - Mapping with Lawrence Image
(21) Wendy Grace - Mapping with Lawrence
About this ArtworkThe Delta region and desert have inspired artists for centuries. The illustration plates provided to me taken from Newne Pictorial knowledge, The first steps in geography presented 12 pla... Read More
Artist: Wendy Grace
Medium: Acrylic ink on paper
Dimensions: A4
(20) Bronwyn Rodden - Tigers of the Sea Image
(20) Bronwyn Rodden - Tigers of the Sea
About this ArtworkIn history, creatures such as sharks inspired terror and mythical stories about their danger to human beings. While some species are dangerous, we are much more dangerous to them. “Each... Read More
Artist: Bronwyn Rodden
Medium: Ink on native-ink dyed laserjet print on paper
Dimensions: A4
(62) Roma McLaughlin - Arctica 2020 (SOLD) Image
(62) Roma McLaughlin - Arctica 2020 (SOLD)
About this Artwork:A page from Newnes Pictorial Knowledge encyclopedia shows the painting ‘The Last Voyage of Henry Hudson’ (1881) by John Collier.The painting refers to the story of the disappearance ... Read More
Artist: Roma McLaughlin
Medium: Papercut with White Fabriano acid free paper and handpainted paper with acrylics
Dimensions: A4
(63) Lesli Bell - Page 222- ‘how fish keep warm’ Image
(63) Lesli Bell - Page 222- ‘how fish keep warm’
About this ArtworkPage 222- ‘How fish keep warm in winter’- I paint wildlife all day every day, so this page was the perfect subject for me! I live on a beach with a huge reef just offshore, so I went ... Read More
Artist: Lesli Bell
Medium: watercolour on paper
Dimensions: A4
(42) Chris Aspland - STAPHORST Image
(42) Chris Aspland - STAPHORST
About this ArtworkWhen I first read the Newnes’ Pictorial description of Holland (as it was known as at the time), it was described as the land of tulips, dykes, canals, and windmills, so I considered th... Read More
Artist: Chris Aspland
Medium: Mixed media and collage
Dimensions: A4
(91) Mark Seabrook - British Defence Force Uniforms Image
(91) Mark Seabrook - British Defence Force Uniforms
About this artworkAside from the occasional ink drawing, I don’t work on paper very often, so I took this opportunity to do something new and try watercolour. It was a lot more forgiving that I thought it woul... Read More
Artist: Mark Seabrook
Medium: watercolour on paper
Dimensions: A4
(110) Ruth Stone - All work and no play makes Jacqui a dull girl. All play and no work makes Jacqui a mere toy. Image
(110) Ruth Stone - All work and no play makes Jacqui a dull girl. All play and no work makes Jacqui a mere toy.
About this artworkThe image in my page from Newnes Encyclopaedia , hardworking Russian woman pack mud into the cracks of their log cabin to stop the chill of winter… what a different world that was!... Read More
Artist: Ruth Stone
Medium: Mixed media on watercolour paper.
Dimensions: A4
(99) Alissa Duke - How This Book was Built Image
(99) Alissa Duke - How This Book was Built
About this ArtworkThe title of the page ”How This Book Was Built” immediately brought to mind images of the traditional tools that have been used in bookbinding. Books have been “built” in one form... Read More
Artist: Alissa Duke
Medium: Watercolour Pencil. Original art scanned and printed Fabriano 200 gsm Watercolour Paper
Dimensions: A4
(4) Julie Milton - Challenging Times Image
(4) Julie Milton - Challenging Times
About this ArtworkChallenging times’ is a digital collage using a process of layering and blending imagery. The work is in response to the image of the sailing ship ‘Half Moon’ captained by the Engli... Read More
Artist: Julie Milton
Medium: Glycee print on rag paper
Dimensions: A4
(11) Fiona Knight - Strong and willing workers Image
(11) Fiona Knight - Strong and willing workers
About this ArtworkArtwork. Art is work. ‘Strong and willing workers’ reflects on how we rely on the Arts to entertain us and we expect artists, performers and creatives to give away our labour for a go... Read More
Artist: Fiona Knight
Medium: Collage soaked in ink
Dimensions: A4
(83) Beric Henderson - Marooned (SOLD) Image
(83) Beric Henderson - Marooned (SOLD)
About this ArtworkThe artwork “Marooned” is composed of white ink and pencil on black paper and is a response to the Encyclopedia entry about Captain Scott’s voyage to the Antarctic. I believe the pi... Read More
Artist: Beric Henderson
Medium: Ink and pencil on paper
Dimensions: A4
(84) Rosalie Duligal -"Mad day out " Image
(84) Rosalie Duligal -"Mad day out "
About this ArtworkResearching my subject I was to find Enid Blyton. Her stories were for children that in todays era would be thought of not politically correct. But reading about her she seems a warm hear... Read More
Artist: Rosalie Duligal
Medium: Water color
Dimensions: A4
(85) Jenny Davis - Iso Charging Machine Image
(85) Jenny Davis - Iso Charging Machine
About this ArtworkIso Charging Machine.Being ripped from our natural normal states, during unprecedented times, this machine collects our thoughts, ideas, emotions and turns them into in... Read More
Artist: Jenny Davis
Medium: Rust, iron, ink , gold thread on 400gsm. buried watercolour paper
Dimensions: A4
(70) Anne Warren - Monsieur Madames Loyal Image
(70) Anne Warren - Monsieur Madames Loyal
About this ArtworkI have referenced architectural shapes in the open curtains and on the wooden floor for the lecturn and have also referenced the colours in the abstract curtain shapes for the Monseur Mad... Read More
Artist: Anne Warren
Medium: Giclee Print on platinum cotton
Dimensions: A4
(102) Leanne Booth - Outbreak (SOLD) Image
(102) Leanne Booth - Outbreak (SOLD)
About this ArtworkMy reference “Electrical Fireworks” led me down a trail exploring Nikola Tesla’s Magnifying Transmitter and the conversion of low voltage electricity to high voltage, which jumps ou... Read More
Artist: Leanne Booth
Medium: Pen and Ink
Dimensions: A4
(8) Jo Lane - Complexity of Power Image
(8) Jo Lane - Complexity of Power
About this ArtworkWhile ‘stabbing’ of leaders is not new this has to be the quintessential betrayal in modern history. I have portrayed the painting of ‘The Murder of Caesar’ by Karl von Piloty (18... Read More
Artist: Jo Lane
Medium: Graphite and powdered pigment on Arches 300gsm paper
Dimensions: A4
(18) Jonathon Harris - The flames danced for hours (redacted) Image
(18) Jonathon Harris - The flames danced for hours (redacted)
About this Artwork:The title at the top of the supplied image was ‘Library in Chains’. This conjured an image of words that cannot be read or witnessed because of the thoughts and feelings of a p... Read More
Artist: Jonathon Harris
Medium: Digital print, ink and pencil. Sheet size A4 Print size 22cmx15.5cm Edition 25. 4 AP
Dimensions: A4
(10) Christine Lewis - The Shape of Flowers Image
(10) Christine Lewis - The Shape of Flowers
About this Artwork:I received page 294 of the encyclopedia, a black and white picture which is based on the anatomy of flowers. As I love my garden and spend a great deal of time in it, this proved to be a parti... Read More
Artist: Christine Lewis
Medium: Watercolour and pen on paper
Dimensions: A4
(64) Mary-Anne Stuart - Be Attentive to the Birds Image
(64) Mary-Anne Stuart - Be Attentive to the Birds
About this Artwork:The supplied page from Newnes’ Pictorial Encyclopaedia Vol 7 showed Giotto’s famous painting, St Francis and the Birds, and immediately spoke to me of my Catholic upbringing, my love for A... Read More
Artist: Mary-Anne Stuart
Medium: Watercolour, acrylic and gouache on 100% cotton rag Khadi paper
Dimensions: A4
(26) Linda Weil - Toybox of Dramas Image
(26) Linda Weil - Toybox of Dramas
About this Artwork:‘Dolls, Cars and Toys that Move’ prompted me to peer into the toybox of my childhood and imagination. Open the lid of this imaginary container and you instantly realise that my dolls led a... Read More
Artist: Linda Weil
Medium: Graphite and Colour pencil on Bristol Board
Dimensions: A4
(29) Simone Alesich - The people of the yeti Image
(29) Simone Alesich - The people of the yeti
About this ArtworkThis artwork was informed by my travel to north west Nepal in 2018, and by a caption in the encyclopedia page provided, that reads “the TIbetans, in whose country the mountain stands, a... Read More
Artist: Simone Alesich
Medium: Embroidery on calico
Dimensions: A4
(13) Karen Chappelow - Transformation Image
(13) Karen Chappelow - Transformation
About this ArtworkMy page is taken from the Newnes Pictorial Knowledge Volume 9, 1950s edited by Enid Blyton, A Childrens’ Treasury of Verse-Little Masterpieces of Today and Yesterday.... Read More
Artist: Karen Chappelow
Medium: Ink on yupo paper
Dimensions: A4
(73) Penelope Le Petit - How We Get the News | Stay in and Stream| My Daily Feed Image
(73) Penelope Le Petit - How We Get the News | Stay in and Stream| My Daily Feed
About this ArtworkHow We Get the News | Stay in and Stream| My Daily FeedOnline Updated Coronavirus Pandemic News, Stay In and Stream, Get Tough with Coronavirus, Virus of Complacency, S... Read More
Artist: Penelope Le Petit
Medium: Collage on Lithograph
Dimensions: A4
(38) Anne O
(38) Anne O'Connor - White Coal
About this ArtworkIn the 1950’s, the Tasmanian Hydro Electric Commission was formed. Their purpose was to create electricity out of Tasmania’s wild rivers, harnessed through the building of large dams.... Read More
Artist: Anne O'Connor
Medium: Mixed medium, ink, pastel and cotton thread onto acid free Canson water colour paper .
Dimensions: A4
(101) Sophia Franks - Insecta Vita Image
(101) Sophia Franks - Insecta Vita
About this ArtworkInsects are among the most numerous of all living creatures. They contribute to more than half of all living organisms, and their presence exists in all environments on the Earth. An impo... Read More
Artist: Sophia Franks
Medium: mixed media; Bio-material, cotton, coffee and charcoal on woven paper
Dimensions: A4
(108) Yudha Scholes - By A Master of Etching Image
(108) Yudha Scholes - By A Master of Etching
About this ArtworkI was very excited to see the image by Albrecht Durer. It brought back wonderful memories of the drawing studio at Art College, which had an image of his Rhinocerus hung high on the wall.... Read More
Artist: Yudha Scholes
Medium: Laseretching on polymer paint on paper
Dimensions: A4
(117) Sam Reiher - Passing In The Night Image
(117) Sam Reiher - Passing In The Night
About this ArtworkThe page I was given from the Newnes’ Pictorial Encyclopedia was titled “The Telephone and How it Works”. The telephone and the way it functions has changed dramatically over the de... Read More
Artist: Sam Reiher
Medium: lino print, ink on paper.
Dimensions: A4
(119) Googie Ann - Fragmented ecology Image
(119) Googie Ann - Fragmented ecology
About this ArtworkMy mixed media pieces are visions of ecologists that pose questions about layers and threads that run through present day realities and worlds. This work explores the personification of t... Read More
Artist: Googie Ann
Medium: collage pen pencil
Dimensions: A4
(120) Cam Michael - The Breath Image
(120) Cam Michael - The Breath
About this Artwork‘The Breath’ was inspired by my allocated page from ‘Newnes’ Pictorial Encyclopedia Volume 6Famous Inventions and how they were evolved – What master Minds ha... Read More
Artist: Cam Michael
Medium: Digital collage with hand coloured pastel layers on archival cotton rag
Dimensions: A4
(127) Genevieve Villaflor - Golden Lines Image
(127) Genevieve Villaflor - Golden Lines
About this ArtworkDrawing from the rich, vibrant colours within the encyclopaedia page. This work replicates the colours and lines that flow from the woman’s dress seen in the centre of the page. This was the ... Read More
Artist: Genevieve Villaflor
Medium: Alcohol Ink and Acrylic on Yupo paper
Dimensions: A4
(5) Xandra Connelley - A quote by Ptolemy written in maritime flags Image
(5) Xandra Connelley - A quote by Ptolemy written in maritime flags
About this ArtworkMy inspiration came from the ancient maps of Ptolemy and I responded by writing one of his quotes in maritime flags. I chose this particular quote to illustrate Ptolemy’s legacy as an a... Read More
Artist: Xandra Connelley
Medium: acrylic on canvas paper
Dimensions: A4
(7) Jennifer Baird - Retro meets Retro Image
(7) Jennifer Baird - Retro meets Retro
About this ArtworkMy page from the 1950 ‘Newnes’ Pictorial Knowledge, the story of the world and it’s peoples.’ was named ‘The Grandeur of a Norwegian Fjord’. As I was weavin... Read More
Artist: Jennifer Baird
Medium: Woven paper
Dimensions: A4
(98) Paulina Campos - Lisa got a friend Image
(98) Paulina Campos - Lisa got a friend
About this Artwork:Two different women, one in part is my own creation; I decided to approach the work by juxtaposing the images whilst using vibrant colors and a sense of whimsy. This work is an explorati... Read More
Artist: Paulina Campos
Medium: Photocopy, acrylic paint and ink, bond paper, Japanese wrapping paper set on canvas paper (290 GSM)
Dimensions: A4