June 11-July 15, 2014
Amy Dynan: Artist Statement & 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 February, 2021
Awards and achievements
Dianne Steggles private collection
Denis Clarke: Artist Statement & 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.
Sally Simpson: Artist Statement & Bio
Sally Simpson draws inspiration and materials from specific sites in order to capture our moment in time, a period of rapid change with anxieties about the future, she states. Her working process begins as time spent on site, contemplating and collecting. Transformation of collected materials acts as a metaphor for the state of flux and transformation of the sites she engages with.
Her intention is to represent the present for an unknown future museum. She creates objects which belong to a continuous cross cultural tradition of humans attempting to influence and manage the forces that affect the world around them. Simpson says she creates objects that belong to a continuous cross-cultural tradition - humans have and continue to attempt to influence and manage the forces that affect the world around them.
Simpson’s work reflects her fascination with the way values and meaning, assigned to land and the environment, change over time according to point of view, culture and situation. She uses unexpected methods to transform natural and man-made materials found at particular sites, creating sculptures that evoke artefacts and specimens and drawings that reflect the fragility of the environment.
Her process draws on the tradition of humans making sense of the natural world through making artefacts and drawings with local materials.
In 2014 she travelled to Lake Gregory/Parraku in northern WA with a group of artists and writers. This lake system is the site of the oldest artefacts in Australia, and presents a variety of cultural, archaeological and environmental layers.
Simpson began her studies at the South Australian School of Art in 1982 and completed her BA at the College of Fine Arts in Sydney. She was the recipient of the Meroogal Women’s Art Award in 2006 and the ANU Student Drawing Prize in 2007.
Her Master of Philosophy in Practice-Led research in Sculpture at ANU School of Art was informed by materials and influences from her life on a small farm near Berry, New South Wales and participation in Contested Landscapes (2010), a field studies project run by the Environment Studio at ANU, focusing on Lake Mokoan near Benalla, Victoria.
She currently lives on a small farm on the outskirts of Canberra.