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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

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

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 14 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