Without Pier Gallery in conjunction with Miele Australia opened an exciting exhibition showcasing Utopian Aboriginal Art. The work will be on display at the Miele Gallery Crn of Coventry and Moray Street South Melbourne until the 25 June. 5% of Proceeds will go directly back to the Community to help re-establish their own cattle Station.

Gladdy Kemarre Bush Men 88x114 Acrylic on Linen

Wally Pwerle Clark Footballers

Beanwood sculptures from Utopia Eastern Desert Art

EXHIBITION RUNS UNTIL 12 JUNE     [HAMPTON GALLERY] 

Sara PAXTON         Annie WHITE          Gilly JEDWAB

This is the current exhibition on at our Hampton Gallery.  If you would like to see anymore of the artists work visit our website, click on the Artist Directory tab and choose an artist!

SARA PAXTON

Sara was born in the UK and grew up in an environment of an artistic and creative family.  She chose painting as her creative medium and moved to Sydney in her early twenties.  Sara continued to study and develop her unique style and now draws inspiration from the Bellarine Peninsula where she now resides. She primarily paints with oils on canvas and her subject matter ranges across Still Life, Landscapes and Seascapes with a vibrant colour palette.

Sara is developing an international following with increasing demand from Europe, the Middle East and Asia.  Sara commenced showing at Without Pier in August 2006 and has quickly gained acceptance and a following by art collectors and decorators.

 ”I express my emotions, thoughts and feelings through my paintings.  Working mainly in oils, I use colour, texture and mediums such as gold leaf, to create a sense of expression.  The finished works are often an illusion, an impression, an emotion.”

“Painting to me is an ongoing journey of self-discovery and testing boundaries.  Once the desired effect is achieved, the viewer is invited to explore and experience, on both a visual and emotional level.”

ANNIE WHITE

Annie grew up in Geelong, Victoria.  She studied Art and Design, majoring in Graphic Design.  She then worked in design studios and advertising for 8 years before taking up illustration on a full time basis.

 Annie has been an illustrator for 30 years and has illustrated over 50 books for children. She likes to communicate ideas clearly and simply using expression and movement. 

Annie rediscovered painting in oils 10 years ago and over that time has been involved in several group exhibitions.

“I like my paintings to tell a story.  These are images of other worlds or maybe a slant on this world.  I like to create a picture that you can enter into and wander around.  Walk from rooftop to rooftop or sit on a swing and have a think.”

GILLY JEDWAB

Born 1961, Gilly grew up in Kibbutz Yasur, Israel, before migrating to Australia in 1989.  She studied Visual Art and majored in painting. Since completing her studies in 2001, Gilly has held six solo exhibitions and participated in many group exhibitions in a number of galleries.

Gilly’s recent body of work was inspired by her recent trip to the Northern Territory.

“My paintings are abstract expressions of the emotional, physical and spiritual elements from nature and the environment. In my work I do not wish to mirror real places, but rather try to capture the spirit, or reflect the mood of the spaces and images that inspire my identity.  I’m interested in exploring metaphorical and communicative links between landscapes and mindscapes and the complex relationship between mother nature and human nature.  I seek to evoke tension, depth and balance through the use of multiple perspectives, repetitive symbols and textured compositions.”

Exhibition Runs until 23 May

Grand Canal Facade
Oil on Begian Linen
90×90cm

LIVING ITALY

We are all aware of the symbols of Italy.  We see images of ancient buildings; the Roman Forum, the Colosseum, Pisa’s Leaning Tower, Venice.  We know the wealth of renaissance artworks.  We marvel at modern Italy’s stunning sophisticated design.  Then there is the food and wine.

But there are other aspects of Italy that become more apparent when living there.  There is the warmth of the people, a strong sense of community, a great lust for living, and a complete disregard for most forms of authority.  There are the age old traditions and superstitions.  And of course there is always the food and wine.    There is the wonderful symbiotic feeling of contemporary Italian life comfortably co-existing with an incredibly rich sense of history, no more so for me than in Venice.  Everywhere is a reminder of generations past.  This is the living Italy.  This is what I love to paint.

Rick Everingham

Pitigliano Houses Oil on Belgian Linen 30 x 30cm

Now Showing at Hampton

David Murphy & Sophie McPike

Poppy Suns Limited Edition Photography (30) Hahnemuehle 100% Cotton Rag 75 x 50cm

David Murphy

Born and bred in Smithton on Tasmania’s northwest coast, my early life was spent exploring the bush and river that was my Dads land, just outside the town boundary.
I have always been amazed by nature; the sights and sounds intrigue me. When I was 13, I received a Box Brownie and the first picture I took with it (of bales of hay in a paddock overlooking Mt Cameron) left a huge mark on me. I remember the “story” it told; the drama of the bales; the sea as a backdrop. This set in motion
my love of the photographic image. We moved to Moree NSW soon after and became my home for the next 26 years. Here, my interest in photography blossomed. I photographed everything, which was very fortunate as one of my children died at an early age of cancer. Along with family pictures, I loved taking landscape and abstract photographs, winning awards at the local Moree Show. After quite a few years of learning the art, I realised that it was an expensive hobby, developing a roll of film to get one good shot, so I limited the camera use to occasional shots only. I moved to my present home in Stanley North West Tasmania from Moree. Stanley is a beautiful seaside fishing village and tourist venue.
It was there that an associate of mine said the magical word “digital”. After they’d viewed a dusty series of albums I’d dragged around everywhere for years. It was explained to me that I needn’t go broke in pursuit of my passion by using digital technology. Within days, I had purchased a DSLR camera, and a number of lenses, and dragged the old tripod out and took off outside with a tremendous new interest in image creation. It soon became apparent that the “bales of hay” shot that ignited the mystery somany years ago was still alive in my mind and now my free time is built around the capturing of images of lovely little Tasmania; her coastline, her mountains, her rainforests, just generally her beauty. As an off shoot of this pursuit, I started an annual Exhibition, in Stanley, which has proved exceedingly popular. My love for photography can be summed up thus, through the culmination of the impacts of a number of related incidences; the “bales of hay” shot first and foremost, the horror and subsequent learning of how to disassemble and successfully reconstruct my first SLR camera after having said camera drown in a flood, the wonderful feeling in my chest when I saw my first framed, full-sized picture in a smiling customers arms and finally, the incredible buzz that I get when that shutter closes, when the image magically appears, and then, in the viewing screen, I can see something beautiful and unique, something that I captured for the first and only time.
Without Pier Gallery is delighted to present David Murphy and his photographs of
Tasmania in our new Hampton Gallery

Charlie Chapman

Sophie McPike

I paint because I simply do not know what to do if I don’t. I can relate to the silent era because I find it hard to express myself in words. In silent film the image is the most important thing, there is no need for words to convey a meaning, thus painting is how I articulate myself.  I begin a painting relatively technically and then as I start to build it up I become very relaxed and passionate, consciously making use of both conventional and creative techniques.I have nostalgia for the chivalrous past and am rapt by the ambiguity of the early 1900’s. Recently I discovered some photographs of my grandparents and great-grandparents: charming, elegant and sophisticated photos that resonate deeply with the manner of my work.