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Border Art Prize
Friday 25 May 2018 to Sunday 15 July 2018
The Temporary Exhibitions, Boyd Galleries and M|Arts Precinct

The Border Art Prize is a biennial exhibition which supports the endeavours of artists living and working in North Eastern New South Wales and South East Queensland. The exhibition is open to all media and subject matter and attracts a wide variety of styles from both well-known and emerging artists.

On offer is a First Prize of $3,000 funded by Tweed Shire Council. Second and third prize, of $1,500 and $500 respectively, are funded by the Friends of the Gallery & Margaret Olley Art Centre Inc.

Long-term Gallery supporter, artist and teacher Shirley Kennedy, also funds $1,500 in Encouragement Awards comprising two $500 and two $250 awards for emerging artists.

The exhibition typically includes painting, photography, textiles, printmaking, sculpture and ceramics, and reflects the breadth of artistic endeavour in the region. The Border Art Prize is always popular with the public and provides the opportunity to purchase work from the region at some very reasonable prices.

Entries open early 2018. Interested artists should contact the Gallery to obtain conditions of entry and entry form. Information is available on the Gallery website, phone (02) 6670 2790 or email tweedart@tweed.nsw.gov.au

The Border Art Prize 2018 is proudly supported by Tweed Shire Council, Friends of the Tweed Regional Gallery & Margaret Olley Art Centre Inc. and artist/teacher Shirley Kennedy. Tweed Shire Council acknowledges M|Arts Precinct as a venue sponsor.





Robyn Sweaney
Oasis 2015
acrylic on linen
40 × 50cm
Winner, Border Art Prize, 2016
Photo courtesy of Robyn Sweaney

 
Subdivision - Georgie Maddox
Friday 25 May 2018 to Sunday 15 July 2018
Macnaughton Focus Gallery and Kelly Wall

Subdivision comments on the IKEA-inspired throw away generation of today. Local artist Georgie Maddox explores the effects of consumer culture on sustainability, as well as the broader environmental impacts on our natural landscape. Each work is created in oil on canvas and depicts an abstracted landscape within Northern NSW, where the artist states, “there is a constant battle between progress verses conservation of the natural land”. The works provide visual communication of these key issues through deconstruction – cutting, ripping, tearing – then reconstruction – compiling, realigning, restitching thus creating a new aesthetic and perspective of the original landscape artwork. The resulting artworks remind the viewer that once something has been destroyed, it can never be fully restored. Our natural environment is irreplaceable, precious and unique, just as our interaction with the land permanently alters and changes it for future generations.



Georgie Maddox
West Byron Development 2016
oil on canvas with cotton thread
39 × 39 × 10cm

 
Australian exotica
An MGA travelling exhibition
Friday 20 July 2018 to Sunday 23 September 2018
The Boyd Gallery

Australian exotica draws on Monash Gallery of Art’s nationally significant collection of Australian photographs and showcases a range of photographic work that engages with the theme of the exotic antipodes.

Ever since the fifteenth century, when European cartographers began including the contour of Terra Australis Incognita (‘the unknown land of the south’) in their speculative maps of the globe, the continent of Australia has been thought of as an exotic place. For many of the artists in this exhibition, this European vision is something that needs to be subverted and critiqued. For others, the idea of living in an eccentric environment, with surreal undertows, continues to inform a distinctively Australian sense of place.

Artists include Brook Andrew, Michael Cook, Destiny Deacon, Peter Dombrovskis, Marian Drew, Leah King-Smith, Joseph McGlennon, Tracey Moffatt, Darren Siwes, Robyn Stacey and Christian Bumbarra Thompson.

Australia exotica is an MGA travelling exhibition





Peter Dombrovskis
Lake Oberon, Western Arthur Range, south-west Tasmania 1988
pigment ink-jet print, 74.5 × 94.2cm

Monash Gallery of Art, City of Monash Collection, courtesy of the estate of Peter Dombrovskis

 
Exchange
Alison Allcock
Friday 20 July 2018 to Sunday 23 September 2018
Macnaughton Focus Gallery and Kelly Wall

Inspired by the view from the Gallery’s windows, this project focuses on the tension between culture and nature, forestry, mining and agriculture. It considers changes that have taken place in the landscape over the last two centuries and the conundrum that human society welcomes the benefits of ‘development’ while opposing, sometimes bitterly, the impact of extractive industries on our environment and biodiversity.

As the local supply of timber and rock is slowly exhausted, we have turned to manufactured alternatives such as plywood and plastic and human activity can be considered as a geological force; its key feature being the distribution of plastics in our oceans and soils.

Humans are one of earth’s least endangered species, not reliant on their immediate environment for food, shelter or physical needs. However, we live in a time of mass extinctions, pollution and climate change. We can no longer survive without modifying our surroundings, even though human impact may leave us caught in a trap of our own making.

Incorporating elements of sculpture and performance, this exhibition offers a subversive, serious and humorous view of these.

Alison Allcock
March, 2018



Alison Allcock
Suspense, performance developed 2017
hand woven net, dimensions variable

Photo: Chris Knowles. © The artist

 
Experimenta Make Sense
International Triennial of Media Art
Friday 27 July 2018 to Sunday 23 September 2018
The Temporary Exhibitions Gallery

Experimenta Make Sense: International Triennial of Media Art is an exhibition that expresses the disconcerting and delightful world of the digital age. Both playful and challenging, each artwork asks audiences to immerse their senses into a ‘thinking’, ‘feeling’ and ‘doing’ contemplation of what it is to be human in the digital age of technological acceleration.

Biologist E.O. Wilson believes ‘the real problem of humanity is the following: we have Palaeolithic emotions; medieval institutions; and godlike technology.’

Curated by Jonathan Parsons and Lubi Thomas, Experimenta Make Sense features over 20 leading international and Australian artists who engage directly with this conundrum.





Briony Barr
Drawing on Complexity (The Experimenta Series) (2017)
Photo by Theresa Harrison © The artist
 
Ryan Presley
Nancy Fairfax Artist in Residence Studio
Friday 3 August 2018 to Sunday 25 November 2018
The Friends Gallery

Brisbane-based artist Ryan Presley spent one month working in the Gallery’s Artist-in-Residence Studio to create new work for his solo exhibition in the Friends Gallery.

I am interested in customs and edifices associated with religion, economics, and conquest that are evident in many facets of our everyday lives. During my residency I wanted to learn more about the rise of the sugar cane industry that is a prominent part of the landscape and beautiful landscape vistas around Wollumbin.

Over the past few years I have sought to highlight the deeply embedded links between religion, economics, and power that have existed for centuries in colonial, and later postcolonial, societies of the ‘West’. I then focus on how these connections have manifested in Australian society, highlighting how they have negatively affected the lives of Aboriginal Australians.

As I was not familiar with the Northern Rivers region, I was keen to learn more about the colonial histories there to better understand the dispossession scenarios that took place in the area.

I have been using the vehicle of icon painting for its beauty and familiarity. I thought of their usage – to convert illiterates by using simple but elegantly rendered dramatic imagery – to be a particularly effective strategy of the church. For this show, I will continue to explore this form.

Ryan Presley, 2018



Ryan Presley
Photo by Alethea Beetson
 
Three Decades: celebrating the Tweed Regional Gallery collection
Friday 24 August 2018 to Sunday 30 June 2019
The Withey Gallery; Peter and Judy Budd Foyer

2018 marks the Gallery’s 30th anniversary. To honour this milestone, I have curated an exhibition from the collection which celebrates its development since 1988 and surveys the four focus areas that inform acquisitions.

Like many regional galleries, the gifting of artworks is a crucial element in the development of permanent collections. The support of private donors and artists has generously afforded the Gallery the opportunity to build a collection, of which visitors can enjoy and be proud.

This exhibition includes significant works of art that acknowledge the Gallery’s reputation in the arts sector and recognise the talent of artists living and working in our region. The exhibition also embraces our enviable geography, shares artists’ ideas and raises some issues that deserve to be raised – all of which bode well for the next thirty years.

Through the collection, Three Decades celebrates the realisation of an art gallery for the Tweed and the remarkable achievements of the many people who transformed a dream into reality. The exhibition celebrates a vibrant future ahead for the Gallery and our programs, and the continued, exciting development of your collection.

Susi Muddiman OAM
Gallery Director




Kenneth Macqueen (1897-1960)
Mount Warning and the Tweed River c.1930s
watercolour on paper, 32 × 40cm
Gift of the Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc., 2017.
© Revem Macqueen

 
Going to a Fancy Dress Party
Les Peterkin Portrait Prize
Friday 28 September 2018 to Sunday 2 December 2018
Macnaughton Focus Gallery and Kelly Wall

Children throughout the ages have enjoyed dressing up in costumes and engaging in dramatic roleplaying. Whether they are pretending to be a dragon, a fairy, a doctor or a super hero, dressing up allows children time to be whoever they want to be. In 2018, local primary school students were asked to let their imaginations run wild by creating a portrait of themselves in fancy dress costume. Asked to consider the theme, costume, pose, and expressions on their face,
these young artists have used a variety of media to create imaginative and vibrant portraits.

Ranging from the delightful paintings of kindergarten students to detailed illustrations by children in upper primary classes, Going to a Fancy Dress Party will display 40 framed prizewinning works on the wall and another 200 outstanding works in display folders. This increasingly popular prize is named after artist and art teacher Mr Les Peterkin and is a celebration of the artistic talent of local primary school students, giving a glimpse into how young people see the world.

The Les Peterkin Portrait Prize (LPPP) is a collaborative project of Tyalgum Public School and the Tweed Regional Gallery & Margaret Olley Art Centre, co-ordinated by artist and teacher, Marianne Galluzzo. The LPPP is generously sponsored by the Tyalgum P&C Association, the Friends of Tweed Regional Gallery & Margaret Olley Art Centre Inc., School Arts Supplies, Derivan, Bunnings and Office Max.





Tahmina Barikzai
The day my tooth fell out
Byron Community Primary School
First Prize (5–7 years), Les Peterkin Portrait Prize, 2017

 
Confessions
Graeme Drendel
Friday 28 September 2018 to Sunday 17 February 2019
The Boyd Gallery

My regime in the studio is just to paint, and rarely do I think in terms of an overall theme for a body of work. However, the work produced over a period of time seems to somehow have a sense of connectedness in spite of there having been no great need for this to be the case. It does stand to reason that as the canvases accumulate in the studio that they do in themselves influence one another and this of course does encourage a sense of dialogue from one painting to another.

I view the small works on paper in this exhibition as virtual short stories, featuring characters and objects that could possibly feature at some stage in a multi figure composition. Both the larger canvases and the small studies, I think, hone in on physically and psychologically isolated characters where communication, or lack thereof, is exposed as something with which many of us can identify.

Graeme Drendel, 2018

Graeme Drendel is represented by Australian Galleries, Melbourne and Sydney, and Beaver Galleries, Canberra.



Graeme Drendel
The Piper 2014
oil on canvas, 122 × 92cm
© The artist

 
Borrowed Time
Laith McGregor
Friday 5 October 2018 to Sunday 2 December 2018
The Temporary Exhibitions Gallery

Curated by Hamish Sawyer

For Laith McGregor, time is both a subject matter for his work, as well being a tangible measure of the artist’s labour. McGregor is best known for his labour-intensive, biro portraits, however in recent years his practice has expanded to include sculpture, video and print-making, and a range of subject matter. Borrowed Time brings together new and recent works by McGregor across a variety of media, focusing on ideas of time and labour.

Laith McGregor was born in Nambour, Queensland in 1977 and currently lives and works between Byron Bay, Australia and Bali, Indonesia. He completed a Diploma of Visual Arts at Cooloola Institute of TAFE in 1999 before continuing his studies in Brisbane and Melbourne, receiving a Bachelor of Fine Arts (Honours) at the Victorian College of the Arts, Melbourne in 2007.

McGregor has exhibited throughout Australia & overseas including the Museum of Contemporary Art (MCA), Sydney; Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Brisbane; The National Gallery of Victoria (NGV), Melbourne; and City Gallery Wellington, New Zealand.

Laith McGregor is represented by Starkwhite, Auckland and Station Gallery, Melbourne

This exhibition is presented in partnership with Caloundra Regional Gallery.





Laith McGregor
This Old Night 2017
pencil on paper, 211.5 × 17cm

Courtesy the artist, Station Gallery, Melbourne and Starkwhite, Auckland

 
Australia’s mangroves: living on the edge
Deirdre Bean
Friday 12 October 2018 to Sunday 17 March 2019
The Anthony Gallery

I developed a fascination for mangroves as a child when I swam amongst them in the Myall River, NSW. On learning more of their ecological importance and vulnerability, I undertook a self-funded project to document these unique plants.

A mangrove is a plant that thrives in the intertidal zone. They play an essential role in our tropical and subtropical coastal ecosystems as the breeding grounds for fish and crustaceans. Described as the lungs of the sea, mangroves form a protective buffer between ocean and land against runoff, storm surges and cyclones. Recent scientific research confirms that mangroves are vulnerable to increasing temperature in seawater and rising sea level, and so face a problematic future.

I studied 34 of Australia’s 47 species over a seven-year period. Each species was located in the field, collected, and painted from life. I encountered many hazards: torrential rain, mosquitoes, ants, heat, mud, dehydration and, of course, crocodiles. My equipment included my camera, water, insect repellant, collecting bag, and phone - with variable coverage. Once my specimens were secured, many hours were spent in the studio developing a botanically accurate watercolour painting, the results of which are featured in this exhibition.

Deirdre Bean, 2018

Deirdre Bean is represented by Mitchell Fine Art, Brisbane, and Stella Downer Fine Art, Sydney.



Deirdre Bean
Sonneratia caseolaris 2015
watercolour and graphite on Arches 300 gsm hot pressed paper, 48 × 40cm

© The artist

 
Margaret Olley: from the collection
Friday 19 October 2018 to Sunday 16 June 2019
The Margaret Olley Art Centre

This exhibition showcases the Tweed Regional Gallery’s outstanding collection of artworks by Margaret Olley as well as artworks relating to Olley such as portraits of the artist and responses to her famous Duxford Street home studio. Margaret Olley: from the collection includes paintings and works on paper from across Olley’s enduring career including a still life painted when she was just 15 years of age, and a magnificent view of Sydney Harbour painted in 2009/11 – the final years of her life.

The development of the Gallery’s collection is reliant on the generous support of donors. This exhibition will include recent gifts to the collection such as Danelle Bergstrom’s Conversation with Margaret Olley 2003 (Gift of the artist through the Australian Government’s Cultural Gifts Program, pending), Robert Barnes’ Portrait of the artist, Margaret Olley 1999 (Gift of the Tweed Regional Gallery Foundation Ltd. with funds contributed by the Gallery Donations Fund, 2017), Margaret Olley’s Sydney Harbour from The Rocks 2009/11 (Gift of Andrew Greig through the Australian Government’s Cultural Gifts Program, pending), and Early morning 1997 (Gift of the Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc., 2018)

Don’t miss this extraordinary collection of works celebrating the life and work of Margaret Olley – Australia’s most renowned painter of still life.



Margaret Olley (1923-2011)
Early morning 1997
oil on board, 61 × 92cm

Gift of the Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc., 2018

© Margaret Olley Art Trust

 
attached to the rest of the world
Carolyn Delzoppo
Friday 7 December 2018 to Sunday 17 February 2019
Macnaughton Focus Gallery and Kelly Wall

‘when one tugs at a single thing in nature, he finds it attached to the rest of the world.’ John Muir, American naturalist, environmental philosopher and pioneer glaciologist, 1838-1914

This body of work is a series of observational pencil drawings of details from nature highlighting the interconnectivity of all things, seen and unseen. Nothing in nature exists in isolation but is part of a complex and intimate relationship with the whole.

I am interested in the micro rather than the macro view of the world and believe that the ‘small picture’ is important. Ecologically the story has always been in the details - evolution and adaptation, balance and interdependence between all species and life forms, including humans. The work of nature is not static. Ceaseless cycles of creation and destruction make for a constantly changing and evolving place. The environment is simultaneously timeless and fresh, enduring and fragile, minute and vast.

My drawing practice is about looking, seeing and noticing.

Carolyn Delzoppo, 2018



Carolyn Delzoppo
connected to the rest of the world, series #3 2017
pencil, pastel and collage on paper, 15 × 42cm

© The artist

 
Marion Hall Best: Interiors
Friday 7 December 2018 to Sunday 17 February 2019
The Temporary Exhibitions Gallery

This exhibition colourfully charts the work of Marion Hall Best (1905 - 1988), one of Australia’s first and most influential independent interior designers, displaying original furniture, fabrics, furnishings and design schemes.

Best’s career spanned four decades from the mid-1930s, a period of transition from the department store decorators and art furnishers of the 1920s, to the independent professional designers of today.

Her interiors vibrated with bold colours and patterns and a signature of her commissioned interiors was her vibrant glazed painted finishes on walls and ceilings.

Best introduced the latest of international modernism in design to Australians through her shops in Rowe Street, Sydney and Queen Street, Woollahra, which were an inspiration to the local design profession.

Marion Hall Best: Interiors is a travelling exhibition from Sydney Living Museums. Exhibition partners: Supporting partner: Seidler Architectural Foundation Media partner: The Sydney Morning Herald





‘A room for Mary Quant’, display room designed by Marion Best, 1967
Caroline Simpson Library & Research Collection, Sydney Living Museums.
Photo © Estate of Mary White
 
Last Updated: 16 February 2018