2018 Feature Artists
Fiona Johnson is Willoughby local of 25 years after growing up in the country. She has exhibited in the Glenaeon Art Show for the past four years running and her work has sold consistently well. Her inspiration comes from many sources:
"sometimes it can be a photo, an image, a piece of music, a visit to a place that will move around in my head as I sleep. Often I will wake with the seed of an idea in my head. Mixed Media allows my ideas to take up residence on paper which is my preferred surface. Although I start with a general idea of how I think things will play out on the surface quite often the painting/drawing will start to tell me what direction it wants to go in... it's like a conversation. The process becomes more organic and sometimes I end up with something very different than my original idea but the seed is still there." – Fiona Johnson
We are delighted to welcome Fiona back again this year and feature a number of her works, including one in particular "Ghost Owl in the Grass" which Fiona has very generously donated as an auction item at this year's show. This means all proceeds from the sale of this artwork will go to Glenaeon School.
Tree Veneration Society
Louise Fowler-Smith • Amanda Farquharson • Elizabeth Perfect
We are thrilled to include works from a collection of artists from The Tree Veneration Society in our exhibition this year. The Tree Veneration Society aims to re-contextualise the historical practice of the worship and veneration of trees across nearly all cultures into a progressive contemporary community art project. While being environmentally conscious of the value of trees, particularly in inner-city suburbs, they also hope to bring some sense of the ritual created in forming a cross-cultural celebration of nature.
The Tree Veneration Society was founded in 2010 by artist and university lecturer Louise Fowler-Smith to encourage a focus on the importance of the Tree in our environmentally challenged world. Louise has been researching the Sacred Tree for the past decade and has found that the practice of venerating the Tree through decoration protects the Tree in countries such as India. Her research has led her to question whether it is possible for the artist to inspire a re-envisioning of the environment through the aesthetic; and whether sacredness can be transferred through artistic vision without transplanting any specific religious ideology.
“How we perceive and contemplate the land affects how we treat the land. If we see the land as separate from ourselves we are less likely to honour and respect it.” – Louise Fowler-Smith
Nynke Piebenga is a master-weaver and an active member of the NZ National Creative Fibre organisation. Her work challenges the traditional ideas of weaving as an artistic form.
"Our group of Professional Weavers in NZ, set themselves a challenge to work in 3D. Weaving usually produces very flat works, and it was a challenge to think 3D. These works are part of this journey.
"I love working with colour, and the loom is my tool to combine these colours, making something beautiful. I work mainly with natural fibres, but if some man-made fibre will enhance the work, I have no qualms in adding a bit here and there. Often it is necessary to dye my yarns to achieve a specific colour. As a weaver, I work with the restraints of the loom, which also provides me with a challenge.
"A good technical knowledge is essential for what I do. One has to know the basic ‘rules’, before trying to alter them, and ultimately play! One the designing is done and the weaving starts, I enjoy the rhythm of weaving. I feel that I am part of the loom and the loom is part of me!" – Nynke Piebenga