Judged by Scott Maxwell
Section 1 Works on Canvas and Board
ROBIN FINLAY “Bunty” oil on board
What a wonderful use of colour! It gels well. The gold leaf background, the detai led decorative frame and her dress. Having a red underlay on the gold leaf brings out the best boost for a bright glow. The subtle use of light and shade and a very painterly modulation of paint texture gives good composure to the subject matter. And what a quirky position to sign the painting. I am assuming that the artist is someone who is strong, confident and quite bold ~ not merely a person who is content with hiding behind a painting.
GAYLE REICHELT “Storm Surge” resin
Good use of medium achieve a controlled chance effect ~ it really does resemble what we perceive as a surging storm.
MIKE WHITE “Donkey At Marrakech” acrylic on canvas
Good strong confident brush strokes with a striking, rich colour palette that exudes the vibrant streets flavours, walls and atmosphere that is Morocco. The placement of the strong harsh shadows give the painting a dynamic composition and accentuate the focal points.
Section 2- Works on Paper
ROBYN BAUER “Watercolourist at Work” ink on paper
What appears to look like a traditional, representational work of art from a distance portraying the quintessential Queenslander on a very bright sunny day with harsh, contrasty shadows, glary tin roof. However, when one gets closer, a more looser, whimsical style becomes apparent. Just like a gestural drawing – there are no straight lines, no overdone line work to tighten up the overall feel.
The technique is suggestive ~ highlights are created to achieve the composition ~ not contrived by being contained within the line work. Look closely at the trunk of the unmistakable Poinciana tree and with the loose line work, loose wash and sunlight white are quite abstract and exude character.
The overall composition is like a photograph taken by an ordinary person who has plonked the focal point (the watercolorist) directly in the centre, neatly framed by branches ~ this is a big NO NO ~ however, it works and it works well. You can almost detect the age of the old bloke, in his concentrative stance, from his silhouetted rear view.
I enjoyed the lack of detail, such as the absence of twigs, leaves, bushes, grass, weatherboards, garden chair, corrugated tin and un-uniformed palings . Yet it is all there…in suggestion. All the elements add up to a well mastered, yet understated work of art.
KATH DEMPSEY “You’ll Come to the Cliffs – Searching for Footholds in the Mind” etching. A very nice, uncluttered presentation highlighting a swirling mass of human shapes.
The colour work is well matched with the simple, stained wooden frame. It entices the viewer to look more closely to wonder at what they are doing AND why they are doing it?
CHRISTINE KIRKEGARD “Creek Embankment, Springbrook in Situ”
Nice understated use of colour. Good use of colour. Good use of white space to
accentuate the form of the embankment and suggestion of trees. The beauty of this
work is that the viewer fills in the picture frothier respective imaginations. The artist
provides the starting point.
Section 3 Photography & Digital Media
MARKSMAN In Arc Pelle Humana (In This Human Skin) “triptych” photo panels
You won it because you are weird… but wonderful. The placement of the panels was
spot on to achieve the effect of the overall composition. The repeated and altered cast
shadow design with scribble patch obviously tells a story… what story the viewer begs
to ask. It connects the images with a contemporary slant and appears to have an
indigenous spirituality (with a Rover Thomas layout).
This triptych could work just as well at postage stamp size or conversely, enlarged to fill
a factory wall space. This artwork begs clarification, theme, purpose and story
and hopefully, the Marksman will interpret the intent.
NICOLA DUNCAN “Cactus Dance”
This work utilises digital technology in an effective way ~ it almost looks like a very fine,
overworked, repetitively detailed work that seems to be too laborious to be hand painted
with a triple 0 sable brush, and yet, it is not… or is it? The joys of photoshop and giclee.
SUE O’SULLIVAN “Storm Brewing”
Very good composition. The low horizon level creates drama and the darkness at this
eye level accentuates the figures in the landscape.
Section 4- Sculpture
BILL GALE “The Dinner Party ll” polymer clay, stainless steel, wood
The composition works so well.
The striking colour is dynamic.
The unique forms are exquisite.
The presentation is well thought out.
The beautiful, polished opal is divine ~ what a wonderful focal point!
What really struck me was the shadow play ~ whether it was intentional or not ~ it was
a lovely overlapping backdrop. The symbolic ambiguity of the beautiful black forms ~
pairs of brolgas standing in unison or upstanding hands prised to pluck the precious
morsel. For something seemingly so simple, yet creating an air of mystery.
VAL WARING “The Red Hat” clay
The choice of the clay firing and well tanned skin was spot on for colour compatibility.
Simple highlights of bleached blonde hair and the crochet bikinis sitting under a wide
brimmed bikini hat in flamboyant red was wonderful ~ everything flowed together in
poise and colour ~ a great pose!
ZYGMUNT LIBUCHA “Chastity” marble
Classical smooth lines complimented with a symbolic and graceful expression ~ she
wants you to touch her to feel how soothing the marble really is.
Young Artist Prize –
MARIA VICTOROVA “Their Land”
Nicely executed in a Naive style, a cross between Grandma Moses and Henri Rousseau,
the meticulously detailed painting is highly decorative AND tells a story. These primitive
rainforest people, probably from a remote Nui Gini highland, are looking up at a drone or a
helicopter for the first time. What happens when ‘civilised’ man descends upon them?
Best Artwork In Show
F. J. ROWLAND WREGG “Walk to the Beach – Currumbin” acrylic on canvas
I know this particular spot at the Alley very well because it is my favourite surf break ~
it was instantly recognisable, despite the absence of the rock infill. The fluid flow of
paint forming the sky and swirling clouds was so well executed that the rocks, sans
infill, would let more that wondrous sky appear before the viewer. What a creative,
bold, determined statement (and black at that). From a distance the reflection of pooled
water on the sand, captures the rock infill ~ how wonderful is that!