Arts and Humanities Commons^™

Graduate Exhibit: My Favorite Day_Mockup.Jpg, Chuck Davis

Chuck Davis

Graduate Exhibit: Practicing For The Next Garage Party_Chuck Davis 2018.Jpg, Chuck Davis

Chuck Davis

Graduate Exhibit: Living In A Sundown Town_Chuck Davis 2018.Jpg, Chuck Davis

Chuck Davis

Graduate Exhibit: Million Dollar Views_Chuck Davis 2018.Jpg, Chuck Davis

Chuck Davis

Graduate Exhibit: Practicing For The Next Garage Party_Chuck Davis 2018.Jpg, Chuck Davis

Chuck Davis

Elizabeth, Tara Thompson

Tara Thompson

Gold Stickpin, Tara Thompson

Tara Thompson

Ms. Hutton, Tara Thompson

Tara Thompson

The Eyes Have It, Tara Thompson

Tara Thompson

Zipper Landscape, Richard Morris

Richard Morris

Zipper Landscape is a thin horizontal delineation of painted fragments constituting a striking similarity to a horizon line view of the landscape. This linear configuration is dependent upon two key elements. The first is the numerous pieces of painted plywood components constituting the horizontal format, and secondly, the thick impasto butyl rubber extrusions in the form of painted lines which inhabit approximately four of the components. The collective effect of both elements, is the palpable depiction of a distant landscape typography. Unlike Tony Cragg’s assemblages mentioned above, Zipper Landscape is more dependent upon the traditional notion of a painted line …

Understory, Andy Collis, Richard Morris, Maria Watson-Trudgett

Richard Morris

The work ‘Understory’ investigates the notion of ‘Land’ as seen through the eyes of one Indigenous and two non-Indigenous artists. The work fuses two distinct approaches to Landscape painting traditionally at odds with one another. The first of these is the traditional Aboriginal ‘Dot’ painting technique, and the second encompasses the more Euro-centric approach of ‘En Plein air’ and ‘Allaprima’ painting. ‘Understory’ fuses these disparate approaches to landscape painting, in such a way that no hierarchy of styles prevails. Here the notion of Reconciliation becomes quite literally embedded in the physicality of the work, whereby, culturally and historically different approaches …

Puff, Richard Morris

Richard Morris

Sculpture 27 is a group exhibition which has been curated by Robin Gibson from the Robin Gibson Gallery. The primary focus of the exhibition is sculptural works by the gallery artists, and invited artists both Australian and International. Sculpture continues to play an important role in Australian art, as can be seen in the regular inclusion of sculpture in curated exhibitions at MOCA and the AGNSW, and NGA to name a few. The work Puff which I contributed to the exhibition is an assemblage made largely of painted plywood panels, and incorporated found objects.

Hover, Richard Morris

Richard Morris

The painting Hover in the exhibition Well Red, was formed by deconstructing pre-painted panels, into rectilinear modular units which were re-assembled to form the works’ final configuration. This methodology for constructing paintings involves discreet stages of production beginning with the painting of panels in enamels and oils prior to cutting them into smaller rectilinear components with a table saw and a guillotine. These rectilinear components are then assembled into configurations indebted to the new relationships and tensions amongst the works’ component parts. By utilising the compositional opportunities afforded by a horizontal grid, along with painterly variations inherent in the panels …

Dice & Shell, Andy Collis, Richard Morris

Richard Morris

The process of art-making, particularly in the Western World, tends to be, with some notable exceptions, the practice of the individual; a singular artist expressing individual ideas in a visual form. Collis and Morris are two artists that have worked and exhibited extensively individually in their own individualistic ways of expression. Collis is, generally, a figurative painter in acrylic and oils, working, usually, from the live motif; Morris is, generally, an abstract painter whose works often crossover into sculptural forms. In a broader area of research, they have ventured to examine the value and means of joining forces to both …

A Mile In My Shoes, Andy Collis, Maria Watson-Trudgett, Richard Morris

Richard Morris

Collaborations amongst artists have a rich International history in the Visual Arts. Collaboration amongst Indigenous, and non-Indigenous artists in Australia is a notion with a much smaller history. Such collaborations have become a special annual focus of the Gosford Regional Art Gallery as a means of showcasing artworks about Reconciliation, as it has impacted Australian culture and politics from the historic 1967 Referendum, and later, in the High Court Mabo decision. This group of three collaborators were successful in having work hung in last year’s Reconciliation, and continue to explore the collaborative exercise again here.

Bower, Richard Morris

Richard Morris

The work Bower which Richard Morris exhibited in Sculpture 28 is an assemblage made largely of painted wooden panels, and remnants of domestic furniture. There is a distinct relationship between the blue perimeter of the work, and the yellow oval form in the upper RHS, which play on the enclosed form of a literal Bower bird nest. The juxtaposition of a reductive palette plays a significant role in the work, creating a distinct asymmetrical compositional tension between the use of metallic blue, and yellow. Bower has both a figurative reference to a vertically oriented Bower bird nest, and a reference …

A Sri Lankan Tea Plantation Nursery, Gail Ormsby

Gail Ormsby

Each time you have a cup of tea, think about the toil that has gone into the production of the tea leaves. Women make up most of the workforce, who labour for years from the early age of twelve. Their ethnic origin is Indian Tamil, brought to Sri Lanka as labourers, denied citizenship, an education and their human rights, and forced to labour long hours in the plantation for little financial gain - a few cents per day. Overcrowded housing, the lack of suitable sanitation and water supplies creates an environment for domestic violence. They are imprisoned by circumstance, worse …

By Reason Of Maternal Duties, Gretchen Batcheller

Gretchen D Batcheller

Oil on canvas, 60x72 inches Artist's Statement: I am a woman, a spouse, a friend, a visual artist, a scholar, and a teacher created in the image of the triune God. I am forgiven and have a lifelong and prayerful relationship with Jesus Christ through the power of the Holy Spirit. I am a fallible, broken, redeemed child of God. I hold that human relationships are bound together by the Holy Spirit, through risk-taking in conversation and in endeavor. Faith is the foundation of who I am, and thereby, what I do. I hold that the visual arts tap into …

Independent, Vocal, Opinionated, Gretchen Batcheller

Gretchen D Batcheller

Oil on canvas, 48x48 inches

Artist's Statement:

I am a woman, a spouse, a friend, a visual artist, a scholar, and a teacher created in the image of the triune God. I am forgiven and have a lifelong and prayerful relationship with Jesus Christ through the power of the Holy Spirit. I am a fallible, broken, redeemed child of God. I hold that human relationships are bound together by the Holy Spirit, through risk-taking in conversation and in endeavor. Faith is the foundation of who I am, and thereby, what I do.

I hold that the visual arts tap …

Inner Discourse About Shortcomings, Gretchen Batcheller

Gretchen D Batcheller

Oil and acrylic on canvas, 12x12 inches

Artist's Statement:

I am a woman, a spouse, a friend, a visual artist, a scholar, and a teacher created in the image of the triune God. I am forgiven and have a lifelong and prayerful relationship with Jesus Christ through the power of the Holy Spirit. I am a fallible, broken, redeemed child of God. I hold that human relationships are bound together by the Holy Spirit, through risk-taking in conversation and in endeavor. Faith is the foundation of who I am, and thereby, what I do.

I hold that the visual …

Length And Duration Of This Process, Gretchen Batcheller

Gretchen D Batcheller

Oil and acrylic on canvas, 12x12 inches

Artist's Statement:

I am a woman, a spouse, a friend, a visual artist, a scholar, and a teacher created in the image of the triune God. I am forgiven and have a lifelong and prayerful relationship with Jesus Christ through the power of the Holy Spirit. I am a fallible, broken, redeemed child of God. I hold that human relationships are bound together by the Holy Spirit, through risk-taking in conversation and in endeavor. Faith is the foundation of who I am, and thereby, what I do.

I hold that the visual …

Husbands And Wives May Sit Together, Gretchen Batcheller

Gretchen D Batcheller

Oil on canvas, 40x30 inches

Artist's Statement:

I am a woman, a spouse, a friend, a visual artist, a scholar, and a teacher created in the image of the triune God. I am forgiven and have a lifelong and prayerful relationship with Jesus Christ through the power of the Holy Spirit. I am a fallible, broken, redeemed child of God. I hold that human relationships are bound together by the Holy Spirit, through risk-taking in conversation and in endeavor. Faith is the foundation of who I am, and thereby, what I do.

I hold that the visual arts tap …

Graduate Exhibit: Displaced Worker - Sams Club_Chuck Davis 2018.Jpg, Chuck Davis

Chuck Davis

The National Collage Society: 27th Annual Juried Exhibit, Steven Hughes

Steven E Hughes

"Composition #1," a small abstract of found and stained papers, was selected by jury (Del Rey Loven, Clare Murray Adams, and Ellen Rudolph) for online display as part of The National Collage Society's 27th Annual Juried Exhibit from November 1, 2011 to October 31, 2012. Acceptance into this exhibition counts toward the required 3 annual exhibits necessary to be granted signature membership in the organization.

Performance Highlights (2006 - 2008), Dan Rager

Dan Rager