Amy Dynan: Bio
Amy Dynan’s art practice uses the framework of beauty to explore the relationship between humanity and nature. Merging photorealism with abstract sensibilities, Amy’s monochromatic artworks document moments of sublimity, movement and fragility in nature. An award-winning artist, Amy is known for her dynamic approach to drawing and her nuanced balance of conceptual rigour and classical skill. Using techniques, which range from traditional chiaroscuro to gestural marks, her work reveals elements of both ﬁguration and abstraction – not as oppositions but as devices to bring about maximum expressivity.
“For me, drawing is a lens through which the spectrum of our existence is revealed, and a means to marvel at how lucky we are to feel it fully. To this end my work documents nature in flux and celebrates the beauty of what we stand to lose.”
Dynan, an award-winning early-career artist, has been recognised for her nuanced balance between conceptual rigour and classical drawing skills. Following a “tree-change” to Wagga Wagga in 2012, Dynan pursued her love of drawing and held her first exhibition, an experience which gave her the push to take things further.
Upon returning to Sydney, Dynan pursued a Master of Contemporary Art and Master of Fine Arts at Sydney College of the Arts to develop the conceptual undercurrent of her practice.
“As a visual artist, research can offer a deeper, more profound connection to the significance of one’s own art practice in a field beyond the studio. I knew that my passion for drawing, combined with rigorous institutional and art world scrutiny and support would provide the necessary framework to further my aesthetic.”
Amy Dynan sees drawing as a fundamental means of expression that is often overlooked as a preparatory stage in lieu of master artworks and is driven to continue to contribute to contemporary drawing in Australia. “For me, it is the most intuitive stage of the creative process and I want to continue to bring awareness to drawing as the veritable art form that it is.”
Most recently Dynan held her sold out solo exhibition, Water, at Stanley Street Gallery (July 2019), exhibited at Sydney Contemporary Art Fair and was selected as finalist in the Dobell Drawing Prize, an acquisitive award and major exhibition that explores the enduring importance of drawing within contemporary art practice. Currently Dynan is currently working on new projects incorporating soft pastels and oils, and in 2020 will be Artist in Residence in a number of AIR programs including Hill End, Mornington Peninsula Regional and Gunyah.
Amy Dynan: CV June, 2020
Awards and achievements
Dianne Steggles private collection
Andjana Pachkova: Bio
I am a cosmopolitan oddball, born in Ukraine, transported by family circumstance to Russia, blown by the wind of change to America and finally putting some sort of roots here in Sydney, on the gorgeous east coast of Australia.
I painted and drew all my life but circumstances of my upbringing were such that I ended up a Wall Street and then a Silicon Valley corporate lawyer. Fortune has been decidedly mine, however, to be able to devote myself to art full time as of 2013 and here I am now proudly a represented artist with Stanley Street Galley in Sydney, with my first gallery solo exhibition, another two solo shows coming up within a year and many group shows I took part in.
I did not come to art early or directly or easily but I am here to stay because this path is deeply felt, thought through and wished for. Besides, being an artist is one of those careers where having a life of experiences - good and bad - is a positive thing, experience gives meaning and context.
As a visual artist I am captivated by everything I see in the world around me. I am enthralled by the things we hear - music and exploration of sounds really help the development of my visual language and expression of my themes. Music especially is a primary source of inspiration in my work.
I am not doing this to make pretty pictures. I want to make true pictures all the while reflecting the complex aesthetics I have developed over a life span of travelling across the globe. I am now settled in Sydney with my husband and our young family of boys. Life is busy and I am happy when I am in the quiet of my studio, listening to music and painting.
Andjana (Andy) Pachkova comes from the traditional Russian art tutoring background. Following Perestroika, in the early 1990s, she took classes at Stroganov Moscow State University of Art and Industry, as well as studied with various private tutors.
In 1997 Pachkova won a prestigious Davis Fellowship and subsequently moved to the United States to pursue a graduate degree in liberal arts at Dartmouth College. While at Dartmouth, Pachkova took a visual arts class to enhance her drawing technique. After that she studied art at the night courses at NYU, and later, continued her studies here in Australia through a two-year study at Northbridge Visual Art School (“NVAS”) (earned Diploma of Visual Arts in 2014) and at the Willoughby Art Center (“WAC”) and the Wollarha Waverly Art School (“WWAS”). At WAC, NVAS and WWAS Pachkova studied with such notable local artists as Idris Murphy, Jo Bertini, Brandt Lewis, Denis Clarke and Tony Tozer, among others. Recently Pachkova started developing an interest in printmaking and ceramics which further informed her understanding of her artistic practice.
Andjana Pachkova holds a Master of Law from Harvard University (Cambridge, MA), Master of Arts in Liberal Studies from Dartmouth College (Hanover, NH) and a Bachelor of Laws from Moscow International University. Pachkova has lived and studied law and art in many countries and has had a wealth of experiences and imagery that she has been working on integrating in her art.
Having moved to Australia in 2013, Pachkova developed a keen passion for the Australian landscape and has enjoyed the local art scene ever since. The artist has passionately explored the Australian landscape through line and color. Pachkova is interested in understanding the subtle changes in the human psyche that occur when a person moves through a series of places. Her further interest lies in discovering how that mutual interaction of the human being and the landscape shapes both. Pachkova is captivated by the never-ending dance of the nature and the human, passionate and loving to be sure, yet mostly violent, and at times exploitative.
Pachkova lives and works in Willoughby, NSW with her husband and three young sons.
As of April 2017, Pachkova is represented by Stanley Street Gallery in New South Wales and Mercury Gallery in Moscow.
Andjana Pachkova: CV June, 2020
Awards and achievements
Pachkova's works are held in private collections across the United States, including Harvard Law faculty in Cambridge, Massachusetts, Russia, all over Australia, Iceland, Finland, Israel and Lebanon.
Reviews and publicity
Several appearances of Pachkova's paintings in the Secret City TV series, 2018-2019, available on Foxtel and Nextflix.
Music Album Cover Commissions:
Reza Naeemi: Castle in the Sky, July 1, 2018
The Best Pessimist: Drawing the Endless Shore, DRAMA November 2017
MUUI: Seminal relased on MicroCastle, February 2017
Paranoid Dancer/Patrik Carrera: Vacant, January 2017
Paranoid Dancer/Patrik Carrera: Type 7-9, December 2016
Paranoid Dancer/Patrik Carrera Whim, December 2016
Paranoid Dancer: Reset November 2016
Directorships and Community Involvement:
In 2017 Andjana Pachkova was elected to the Board of Director of Workshop Art Center in Willoughby, Sydney area. Andjana serves as the Chairwoman on the Programming Committee of the board.
Denis Clarke: Bio
Painting for me is a bodily thing. It involves the relationship between one’s self and making contact with the tactile. Why tactile? Because I am touching materials and feeling out my experience of looking at a subject such as landscapes, people and buildings.
Drawing is the whole key. Not drawing for its own sake but drawing to explore ideas for connecting with the world. Finish is irrelevant. These drawings serve the purpose of the painting and illuminate my imagination to the possibilities of new compositions. I am interested in the physicality and directness of drawing which often finds its way into my works on paper as well as my paintings.
My interest is what I would call 'creating a process of informed experiment'. I allow myself to risk and play with media while aligning my senses with the observed. It is the otherness or feel of a subject which provides the impetus to experiment and find new solutions with mark.
For me, working before a subject is deeply complex and a chance to explore visual language. The test is to find graphic statements and abstractions which truthfully parallel perceptions and travel towards a resolved image. Previously Unseen explores my reactions and connection with the urban which has been an important aspect of my painting for many years. It is a reference to my wish to try and see the world anew.
After completing a Diploma in Art Education at the National Art School and Alexander Mackie College in Sydney in 1975, Denis Clarke was awarded the NSW Travelling Art Scholarship and Moya Dyring residency at the Cite International des Arts in Paris. He was invited to participate in the 90th Birthday Exhibition for Desiderius Orban at The Bondi Pavilion Gallery and was also included in The Macquarie Galleries annual Young Painters exhibitions 1973/74. Clarke progressed to postgraduate studies in London at the St Martins School of Art, Byam Shaw and Morley College and set up a studio in north London. From 1975 to 1998, he lived and exhibited in London and Switzerland, teaching at the Camden School of Art and the Hamptead School of Art, London and exhibiting most notably in London at Gillian Jason Gallery, Boundary Gallery and three one-man shows at James Colman Gallery, Knightsbridge.
In 1986 Clarke exhibited in ‘50 years of British Drawing’ at Gillian Jason Gallery 1986, The Boundary Gallery, 1988/94, London, James Colman Fine Art,95/2000 London and Gallerie Ursula Wiedenkeller, Zurich as well as creating set designs and costumes for the experimental Opera Factory, in Zurich and London. In 1998 Denis returned to live and paint in Sydney and exhibited regularly at the Harris Courtin Gallery and in 2003 was awarded the Blackfriars Drawing Acquisitive. He has collaborated with several premier arts organizations such as Opera Factory in London and Switzerland, Warwickshire Arts Festival in the UK, and most recently as the artist in residence at Wollombi Valley Arts Council. Denis has been a sessional lecturer at the National Art School, Sydney, from 1999-2010 and tutored the Dobell School at the NAS from 2011 ongoing. He runs master classes and schools at the Mitchell School of Art, Charles Sturt University, Bathurst, the McGregor School, University of Southern Queensland, Cooee Bay Artists Camp, Yapoon, Queensland. He is represented in private and public collections in Europe and Australia, including The Art Gallery of New South Wales, Fitzwilliam College Cambridge and Lloyds of London. Since returning to Sydney in 1998 Denis has been an active exhibitor with the Australian Watercolour Institute at The Gosford Regional Gallery and Juniper Hall, Sydney.
Denis has exhibited widely both in Australia and internationally and has been represented in numerous Art Fairs including ‘Line Art, Ghent’, The Brussels Art Fair, The 20th Century British Art Fair, Royal College of Art, and The Islington Art Fair. Public Collections include: The Art Gallery of NSW.
Denis Clarke: CV May, 2020
Please note, this is a revised version of Denis Clarke's CV. To view the full CV (including pre. 2000), please contact the gallery.
Awards and achievements
Residencies & Workshops
Art Gallery of New South Wales, Sydney; Blackfriars Drawing Trust; The Fitzwilliam College Student Committee, Cambridge University, Cambridge, UK; General Accident Life, Headquarters, York, UK
Reviews and publicity
Waddell, Heather, London Australia Magazine, December 1979, review of NSW House London exhibition ‘Artists of Fame and Promise’ with special mention.
Boys, Larry, Australian Women’s Weekly, 9 January 1980, colour reproduction of painting to accompany short review of ‘Artists of Fame and Promise’ at NSW House London.
Borlase, Nancy, Sydney Morning Herald, 20 June 1981, review of solo exhibition of mainly London work at The Holdsworth Gallery, Sydney.
Miles, Brenda, The Daily Telegraph, 6 June 1981, ‘Painting a message’, reproduction of two drawings and article on the artist for solo exhibition at Holdsworth Gallery, Sydney.
McIntyre, Arthur, Art and Australia, Spring Issue 1982, Exhibitions of Note in 1981, special mention.
Phillpotts, Beatrice, Arts Review, London, May 1983, review of solo exhibition, NSW House Gallery, London, May-June 1983.
Bührer, E, Schaffhauser Nachrichten, 30 July 1984, ‘Die Welt als Bild und Bewegung’, review of solo exhibition at the Mini Gallery, Schaffhausen, 28 July - 25 August, 1984.
Atelier in der Mini-Galerie, ‘Brutalität und Idylle’, SchaffhauserAZ, 30 July 1984, review of solo exhibition at the Mini Gallery, Schaffhausen, 28 July - 25 August, 1984.
Waddell, Heather, ‘Lettre de Londres’, Vie des Arts, Montreal, Winter Issue 1984/5, review of solo show at NSW House Gallery, May-June 1983.
Waddell, Heather, New Art International, Winter 1986, review of solo exhibition at DM Gallery, Dover St, London, 5 - 30 September, 1986.
Elwes, Luke, ‘Australian Art Now and Then’, Galleries, April 1988, vol 5 No 11, review of ‘Australia Observed’, shared exhibition at Boundary Gallery, April-May 1988.
Russell Taylor, John, The Times, April 19, 1988, ‘Advance Australia fair and be recognised’, review of ‘Australia Observed’, shared exhibition at Boundary Gallery, April-May 1988.
‘Mother Earth encountered’, Hampstead and Highgate Express, April 29, 1988, review and reproduction of drawing from ‘Australia Observed’, shared exhibition at Boundary Gallery, April-May 1988.
Lucie-Smith, Edward, British Artists of the 20th Century, 1989, biographical details listed.
‘Summer in all its colours’, Hampstead and Highgate Express, August 17, 1990, review of group exhibition at Boundary Gallery, London with special mention.
Lovatt, Estelle, ‘The streets of London’, Southern Cross Magazine, December 13, 19995, review of solo exhibition at James Colman Fine Art, 21 Nov - 21 Dec 1995.
Art95, ‘London Contemporary Art Fair’, Catalogue, January 1995, reproduction of ‘Still Life, Studio Corner’, 1994.
Art96, ‘London Contemporary Art Fair’, Catalogue, January 1996, reproduction of ‘Soho Siren’.
‘Denis Clarke: New Work’, catalogue of exhibition at James Colman Fine Art, 30 October - 22 November 1997.
What’s On in London, 1997, reproduction of Man on a Park Bench and caption outlining exhibition at James Colman Fine Art, 30 October - 22 November.
Waddell, Heather, London Art and Artists Guide, 1997, ‘Interview with Denis Clarke’, reproductions of paintings.
Waddell, Heather, The London Art World 1979-99, 2000, photograph of artist in studio and paintings.
The Week, 25 March 2000, ‘Where to buy’, review of exhibition at James Colman Fine Art, April 2000.
‘Powerful urban images’, Collector, Wentworth Courier, May 16 2001, reproduction of painting and review exhibition at Polly Courtin Gallery, May 2001.
Gotting, Peter, Sydney Morning Herald, May 1 2001, ‘Spotlight’, reproduction and listing of exhibition at Polly Courtin Gallery, May 2001.
Kidd, Courtney, Sydney Morning Herald, May 2001, ‘Critics pick’ listings.
Sydney Morning Herald, 2002, ‘Spotlight’, reproduction, review and listing of exhibition at Harris Courtin Gallery, October 2002.
Sydney Morning Herald, 2004, ‘Spotlight’, reproduction, review and listing of exhibition at Harris Courtin Gallery, March 2004.
‘Walking the Line’, National Art School Academic Staff, Exhibition of Drawing catalogue, 2005.
'Tradition and Transformation', Taiwan-Australia Watercolour Exhibition Catalogue, 2012.
Elizabeth Kelly: Bio
My work in glass over the last 20 years has focussed on industrial handling processes of pressing and centrifuging to design works repeated in production incorporating a specific (largely transparent) colour range. During the last decade I have focussed on the composition of elements to construct larger objects, moving from utilitarian objects to a sculptural emphasis that still incorporates industrial methods of production but strongly draws from theoretical research for inspiration. This approach is informed by my work across other platforms prior to bringing this intent into my materially specific work.
I have always enjoyed changing scale; micro to macro cosmic observation has a way of changing perspective, and tailors to the aptness of purpose, and sets challenges in resolution of any work.
In these intricate iterations of cast, assembled and cold finished works my point of departure is the examination the origins of abiogenetic life and elemental organic geometry as inspiration. The theory of abiogenesis examines how the natural process of life has arisen from non-living matter, such as simple organic compounds. Furthermore I am examining chirality or the asymmetry of chemical structures in the triggering of growth sequences, elemental in the understanding of what trips this potential ‘life’ switch. Mindful of these chemical processes, my work has a strong serendipitous affinity with marine invertebrates, realised through compositions of rhythmic sequences
Elizabeth Kelly is an artist who has a committed to exploring colour and form through glass. Her current focus, explores the built environment and patterns in engineering. Underlying this subject is a fascination with the social and historic values imbued in architectural structures and the link to scale and perception.
Throughout her career, Kelly has worked collaboratively with architects, designers and sculptors on specific projects, and has continued a vigorous exhibition engagement.
Elizabeth initially trained as a glass blower before broadening into sculpture and applied design. She gained a Bachelor of Visual Arts from Australian National University, Canberra, and a Master of Visual Arts degree from Sydney College of the Arts, the University of Sydney.
Elizabeth Kelly established Studio Tangerine in 2003 from a need for a dedicated studio to research and develop small scale industrial processes of coloured glass applied to architecture, art and design.
Previous to Studio Tangerine, Kelly lectured at Sydney College of the Arts taking up the prestigious position of Head of Studio, and also lectured at JamFactory Contemporary Craft and Design Centre in Adelaide, South Australia. She has travelled extensively working in studio glass and has completed a Fellowship at the Creative Glass Centre of America, an Artist in Residency at the Seto International Ceramic and Glass centre in Japan. She was awarded the Capital Arts Patrons Organisation Fellowship in Canberra and most recently a Churchill Fellowship.
Elizabeth Kelly: CV January, 2020
**Please note that this is a revised version of Elizabeth Kelly's CV. To view Kelly's full CV, please contact the gallery.
Awards and achievements
Residencies & Workshops
Legislative Assembly of the ACT, Canberra, ACT
Lommel City Hall Collection, Belgium
National Gallery of Australia, Canberra, ACT
Australian Parliament House, Canberra, ACT
Seto City At Museum, Japan
Wagga Wagga City Art Gallery, NSW
American Museum of Glass, New Jersey, USA
Artbank, Sydney, NSW
ANU Collection, Canberra, ACT
Harley Oliver: Bio
Though best known for his career in television, Harley’s first love was painting. His Great, Great, Great Grandfather was well-known English portrait artist Samuel Massey, who married the sister of his friend and fellow painter JN Rhodes. His Grandfather who, along with Harley inherited the middle name of Rhodes as all first-born sons in his family have done, was also a painter. So it’s hardly surprising that when Harley picked up a brush at the age of eight, he felt a special affinity for the art form.
In the late 1960s Harley went to Wimbledon Art School in London, painting English landscapes in an era of abstract minimalism. Post art school, Harley’s career was in television as an editor at the BBC, then producer and director, making documentaries for National Geographic and the Discovery Channel as well as programs for TV channels in Australia and New Zealand. In between projects he continued to paint, but only recently decided to dedicate the majority of his time to being an artist.
Margarita Sampson: Bio
Human life to me has always been part of a rich and interconnected world, rising and falling, living and dying, interdependent: the mouth of a flower is also my mouth, the surface of a prickly pear is like testicles and soft anemone forms are like our own soft tissues. Healthy and unhealthy; reaching maturity and falling away. In my work, allusions to multiple forms are drawn but not cemented. For me, the power of the work comes from a rich soup of inferences which the viewer provides from their own experience. I say, “is this not unlike...” and you say “yes, but also...”.' The works bring up questions, invites narrative and suggests possible futures with any number of outcomes.
Margarita Sampson was raised on Norfolk Island, and the varied sea life made an indelible impression on her as a small child. As an adult, her sculpture and jewellery work draws upon this rich visual vocabulary. All works are meticulously hand-made by the artist, comprising of hand and machine sewn textiles. In Sampson's Infectious Desires series, the found furniture is sawn and altered, re-carved and gilded, before being overlaid with textile 'landscapes'.
Born in Nowra, NSW (1970), Margarita Sampson grew up on Norfolk Island, attending COFA in Sydney with a BA & M.Art in painting (1990, 92). She began textile sculptural work in response to the first Sculpture Sea (1997) & a photograph of her initial work ‘Urchins’ went become one of the defining images of the exhibition in its early days. Her following work “Fish Curtain’ received the People’s Choice in 1998. Her textile work is often inspired by her childhood summers spent moving between aquatic & terrestrial realms on Norfolk, and embraces hybrid soft forms that transition between human, animal, vegetative and mineral states.
After some 15 years away from Australia, Sampson returned in 2011 and won the Object section of the Waterhouse Art Prize in 2012 with her work ‘Anenome Incursions: Zsa-Zsa', and subsequent works been finalists in the Wynne prize, the Blake Prize, twelve Sculpture by the Seas Exhibitions and most recently won the Hillview Indoor Sculpture Award 2018. Her solo show ‘Infectious Desires’ at Stanley Street Gallery in 2015 received international press coverage and critical acclaim.
Sampson’s work often takes a domestic object and imagines a paradigm of excessive growth, where the soft parts grow and overtake the host, a reflection on current environmental unbalances and possible ecosystem collapse. The work is also very personal, as the objects contain lush openings, curvaceous forms, are provocative and often feminist; meditating on the artist’s aging body within society and spiritually reflecting the artist’s Buddhist practice. She currently lives in a meditation retreat centre.
Sampson works with commercially available textiles and found objects for her interior works, but also draws on her jewellery practice for work utilising enamel and copper, and wood and steel for large outdoor works.
Margarita Sampson: CV January, 2020
Awards and achievements
Tamworth Regional Gallery
University of New South Wales, Australia
Tjibaou Centre, New Caledonia
Royal Blind Society, Australia
Reviews and publicity
June 2013, Alphabeto di Marea, Design People, Architecture Digest Italy, http://adtoday.it/alfabeto-di-mare/
June 2012, Waterhouse Prize winners, ABC News
November 2011, Rocky Start for Unveiling of Mysterious Sea Creatures, Sydney Morning Herald
Sebastian Smee, February 2000, Sexy Sculpture? Swell!, review, SMH Metro
October 1998, Sculptures in the Sand, Sydney Morning Herald
Snem Yildirim, Margarita Sampson, Tor Larsen & A Time Of Gifts 2016 Artists
November 29-December 24, 2016
Oscar Martín de Burgos: Bio
Volume allows us to caress, to feel, to travel to each degree of a spherical perspective, in which we can experience the four dimensions. Time is also present, generative or degenerative evolution is part of the work itself. The fifth dimension waits beating inside us....
Oscar Martin studied Sculpture and Environmental Design at School of Art and Design of Alicante (Spain). And studied Urban, Environmental and Landscape Design too.
Along his professional career has received different grants and awards in Spain and France in recognition of his work. His pieces of art are in several public and private collections all over the world.
He is the author of various public large scale sculptures for Institutions and private companies. For example:
- Cid Campeador at A-1 highway, Ministry of Public Works, Spain Government.
- Neolito at HUBU (University Hospital of Burgos).
- Seed, a high relief mural at San Francisco Monastry from x. XIII, Cáritas Foundation of Spain.
Oscar Martín is almost the author of many representative sculptures as corporative art for international business groups and Public Institutions, in which stand out:
- Grupo Antolín
- Ciudad de Burgos Awards
- FAE de Oro Business Awards
- The official 3D image of the XVII Congress of the International Union of Prehistoric and Protohistoric Sciences
Oscar Martín de Burgos: CV January, 2020
Sculpture and Environmental Design at School of Art and Design of Alicante (Spain).
Urban, Environmental and Landscape Design. Alicante (Spain).
Awards and achievements
Grant Crea 012. CaixaBank. Spain.
Grant Crea 010. Caja de Burgos. Spain.
XXVII Vittel Art Fair. Silver Medal in Sculpture. France.
Grant Excellent Young Values 07. Caja de Burgos. Spain.
Grant Encuentra 05. Fundacioìn Norte. Uncastillo. Zaragoza. Mention of the Jury. Spain.
Young Art Award 04. C.14. Council of Alicante. Spain.
XV Exhibition Artists from Alicante. Artwork purchase. Council of Alicante. Spain.
Young Art Award 98. C-14. Council of Alicante. Spain.