2018 so far

Having spent the beginning of the year applying for everything possible some of those have panned out and makes me hopeful for the future.

I am currently showing work in the Adelaide Museum and at Guildhouse and I found out yesterday that I am a finalist in the Pro Hart Broken Hill Art Prize.

As a finalist in the Waterhouse Art Prize I was pleasantly surprised to find this at the opening. The piece is called Life Savings and is a commentary on the importance of Seed Banks in preserving biodiversity.

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My exhibition at Guildhouse includes some of the work from my Honours exhibition and is part of the SALA Festival.

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The finalist piece for the Pro Hart Art Prize is my beloved Flyscreen which will just keep becoming beautifully worn as time goes on.

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I haven’t forgone my painting practice as I have just completed a fantastic masterclass with the wonderful and generous hyperrealist painter Robin Eley.

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Just a little unfinished exercise I painted during the class. I’ll post the finished piece later.

I have also moved to a wonderfully appointed new ARI studio and exhibition space on the Parade in Norwood called Collective Haunt with 18 other talented and supportive artists so good things are happening.

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It’s Alive!

 

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It’s been a busy but rewarding year as I have just completed my Honours Degree at Adelaide Central School of Art.  While my painting practice was progressing  I needed to develop my sculptural practice further so I decided to pursue a sculptural project for the year while having a lot of fun making things.

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The Artist Statement in the graduate exhibition catalogue explains the work.

“Our everyday objects resonate with a vitality that cannot be diminished by time, wear and decay. The discarding of these objects is far from the end of their story, it is the possibility of the object freed from the burden of usefulness.

With love and care, responding to their unique history, materiality and relationship with their owner, I have rescued, rehabilitated and transformed discarded objects utilising a language of repair.

The objects become active participants in a transformative process that draws upon the energy and expressivity of our things.”

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Thankyou to my long suffering family, to all the very supportive staff and students at Adelaide Central School of Art and my wonderful supervisor, Roy Ananda.   I’m now ready to get back to some painting and further sculptural work in my studio at Floating Goose Studios.

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Disenthrall

 

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Portrait of the Artist as a Young Girl

In the practice of art we have the opportunity of creating compositions expressing the story of our emotional inner life. In doing so we may obtain personal empowerment by visually articulating and sublimating our personal truth.

This solo exhibition of my 2016 work was concerned with the exploration of the senses, faculties and mental activities of a young girl in the development of her unfolding consciousness.

As a young person, and particularly as a young girl, you feel the constant weight of people’s expectations and social ideals forced upon you, often manipulating and warping your sense of self just at the time when you are searching for connections and forging your identity.

My escape from these outside forces was to immerse myself in literature, imagination, creativity and in the intense contemplation of nature. Lying on the grass looking up through the tracery of leaves, watching insects working, gazing at the stars. Allowing the quiet tranquility of nature to consume me. These meditations, often dismissed as daydreaming, induce an embodied cognition shift that enables one to perceive both the routine environment and our unique view of the world.

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My greatest sanctuary was being submerged in water, be it sea, lake, pool or even in the bath. Being under water is to be immersed in a totally alien world where the senses are both subdued and heightened. You hear nothing of the outside environment but you can hear the blood pulsing through your ears. You can see clearly but the objects are altered and distorted. Your skin tingles with the perception of being totally surrounded with the one sensation. Submerged we are transported back to the womb, a private world of our own and free to experience the cleansing, renewing and transforming power of water.

Emerging from these meditations we are imperceptibly progressed towards a greater clarity of vision. Often it is necessary to stand on the outside of oneself to see things clearly.

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The Era of Hopeful Monsters

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During the SALA Festival 2015 I was able to achieve a long held dream of presenting my first solo exhibition.

The Era of Hopeful Monsters explores the mythology of the future in ethereal paintings referencing the themes of mutation, adaption and survival in the Darwinian fantasy of Kurt Vonnegut’s book, Galapagos. While evoking beauty and surrealism these images of genetically, magically or technologically devolved human creatures articulate the disquiet derived from looking past the boundaries of the human evolutionary landscape.

The exhibition uses the title of a mythical book in Galapagos as described here:
“I am reminded of one of my father’s novels, The Era of Hopeful Monsters. It was about a planet where the humanoids ignored their most serious survival problems until the last possible moment. And then, with all the forests being killed and all the lakes being poisoned by acid rain, and all the groundwater made unpotable by industrial wastes and so on, the humanoids found themselves the parents of children with wings or antlers or fins, with a hundred eyes or with no eyes, with huge brains, with no brains, and on and on. These were Nature’s experiments with creatures which might, as a matter of luck, be better planetary citizens than the humanoids. Most died, or had to be shot, or whatever, but a few were really quite promising, and they intermarried and had young like themselves.”
Kurt Vonnegut, Galapagos, 1985

I have always loved Kurt Vonnegut’s unique writing style and brilliant questioning mind.

Here are a few of my hopeful monsters.

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Medusa, 2015

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Ostara, 2015

The venue for the exhibition, Bibliotecha Bar and Book Exchange, reinforces the literary reference and adds to the atmosphere of these paintings as mysterious and enigmatic.  A mentor once asked me if I wanted my art to be a question or an answer. For me  and I think for Vonnegut definitely a question!

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My work was featured on a Channel 9 program called Banter as the backdrop to an interview with Penny Griggs about the SALA Festival and was also the starting point for the Urban Safari Tour of SALA. I made a very nervous first ever artist talk about my work. It’s much easier to talk about other people and their work than to talk about yourself which is why I prefer to express myself through what I make.

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All work and some play

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Since this exciting day last year when I won the inaugural Margarita Stipnietz Award for my painting “Biophilia” there has been much work and some play.  I’ve just realised how long it has been since I updated you all on what is going on.  I am still at Mint Studios and here is an example of some of the work I have exhibited this year.

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These sculptures were award winners in the 6th Solar Art Prize

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I was very honoured to be asked by ceramicist Klaus Gutowski to paint a ceramic frogcake for the Icons of South Australia Exhibition.  The fundraising exhibition for Mental Health Research was held in the amazing SAMHRI Building.

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Enough of the play now it’s back to work in the studio preparing for my next group exhibition at Brick +Mortar and first solo exhibition at Bibliotheca Bar and Book Exchange, both during the 2015 Sala Festival.

You can also catch me doing a portrait demonstration during the RSASA Portrait Prize Exhibition. On the 30th June at the RSASA I will be painting the portrait of Anita Zocchi, principal of Adelaide High.

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Rollercoaster 2014

This year has been a white knuckle ride with family accidents, illnesses, relocations and a near death experience for my precious daughter. That being said life is slowly settling back down to what used to be normal and there have been some good events squeezed into the cracks in the chaos.  I have shown work in three group exhibitions and managed to pick up the inaugural Margarita Stipnieks Award for painting with my bumblebee painting.

The events of this year have not just slowed production of new work but are influencing a change of direction. I am confident that next year will be very productive and enable me to establish more of a body of work inspired by my experiences.

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corletto_carolyn_Polar_2013  I Can’t Bear It

This new piece is indicative of the new direction I am pursuing. I made these building blocks from wood and painted two portraits which can then be mixed up. More sculptural paintings to follow.

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I am  inspired and looking forward to next year and leaving 2014 behind.

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Moving Day Mint Studios

Moving Day Mint Studios

So excited to join the enthusiastic crew at Mint Studios. It’s great to be surrounded by these gifted and committed emerging artists. Hopefully this is where inspiration and some serious work will happen. Visit our website at http://www.mintartiststudios.com or follow us on facebook.

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