Jandamarra Cadd: United Journey
Caloundra Regional GallerOfficial Opening (starting
with a Smoking ceremony
and dancers Wednesday 20 June, 5.30 pm
Exhibition – Thursday 21 June – Sunday 12 August  

This exhibition of new paintings by Sunshine Coast-based artist Jandamarra Cadd considers relationships between Indigenous and Non-indigenous people, not one of more value than the other but in true harmony and equality. Cadd’s paintings depict a moment in time that tells of a journey of embracing, learning and understanding from one another in a truly symbiotic relationship – a United Journey.

The exhibition will include an interactive, children’s art activity space and will be accompanied by a fold-out catalogue with a new text by author Nycole Prowse.


Cath will help with her family’s thriving business and begin creating a new body of work to be presented in late 2018 at the Secrets on the Lake Gallery.

I must say there is never anything ordinary or traditional about Cath’s creations. I recall several years ago on one of my gallery hops through the Hinterland, arriving at Secrets on the Lake Gallery to view contemporary photographs by Cath. The body of work entitled Pulp was a series of photos depicting the harsh realities of living a less fortunate life. The images generated emotions and presented questions that took me far beyond my normal boundaries.  

Since leaving Queensland, Cath has been busy raising her two daughters and making a name for herself in the arts community in Victoria. Her decision to return home to Queensland is welcomed by family and friends, and we look forward with great expectation to her next series of works.

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  Artist and Director of Stevens Street Gallery, Yandina.

Tanya is a painter and sculptor who trained at RMIT, Melbourne.  She has exhibited at Arthouse Gallery, Sydney; Metro Gallery, Melbourne; and Schubert Gallery, Gold Coast for the last 25 years. She has an extensive bibliography and her work can be found in both public and private collections.

Tanya returned to the Sunshine Coast after 30 years in Melbourne, to open a small but bright and smart Art Gallery in the beautiful historic town of Yandina.  The gallery has been open for 12 months, and in that time has brought together the works of mid to late career artists, both local and national. It is a fresh new space for artists working in all mediums.

The next exhibition will be new work from Tanya Hoddinott, along with two younger artists also from Yandina, Sarah Handley and HerbRobert. Both artists work in new and innovative ways with an emphasis on linework.

Lines, Outlines and Boundaries  is the name of the exhibition and it will run from 6 December to 3 February.

Stevens Street Gallery, 2 Stevens Street, Yandina.


She has painted obsessively her entire life, filling sketchbooks with great menageries of animals.  Some paintings begin as landscapes of places she knows well that have an emotional resonance, and she uses these as ‘theatres’ for her characters to tell their stories. Every aspect of Karen’s paintings has symbolic meaning for her.  

Horses are a subject she returns to over and over, a profound love in her life, symbolic of freedom and power, and a link to her Scandinavian heritage and the horses of Norse myths.

Karen’s pugs have been constant companions throughout her life, and appear in her paintings regularly, always happy to model and pose. Their absolute loyalty, tragic faces, and clownish behaviour make them irresistible subjects.

Many paintings begin with a fragmentary image that lodges in Karen’s mind. She will often wake in the morning with a remnant of a dream that demands painting, and so she will begin, weaving threads of love, loss, strangeness and wonder that she has gathered over time.

Karen’s paintings are shown permanently at Montville Art Gallery, 138 Main Street, Montville, and are also shown on the gallery website www.montvilleartgallery.com.au


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Her illustrative style is dreamlike with a quirky edge of surrealism….her chosen medium, acrylic on canvas.  Using a variety of techniques, Alex creates poetic representations of her romantic ideas and emotions with an almost water colour softness.  


Flowers, clocks, pencils, paint brushes, glass jars, bricks and quaint European houses repeat themselves as story telling themes throughout the work. Undoubtedly the artist’s inspiration is drawn from her own colourful life.


‘My desire to physically paint stems from a fascination with an undefinable sort of beauty, and through the movement, texture and colour of paint I am sometimes able to find that.’


Though painting every spare minute of the day, Alex has also managed to master the beautiful language of love….French!

Alex has been exhibiting her art since 2004, and now in 2017 has had three successful French showings  – in Rouen, Osny and Paris.


In Australia, Alex’s work is available at Holloway Gallery in Moffat Beach on the Sunshine Coast. The Gallery exhibits a selection of originals on canvas and framed prints on paper.





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Driving Macca

Large-scale iconic sculptures run through the veins of this man. Chris McKenzie or ‘Macca’ realises his passion as an artist by living in the moment.

Macca had a yearning to draw from a very young age. In those days a grandfather would give a child a knife to whittle wood and learn the ways of handling sharp objects. For Macca those beginnings would shape his choice of tools of trade for the future. He was moved and inspired by other Indigenous artists who were able to express raw simplicity in their work. Large scale classical Roman and Greek paintings and monumental sculpture excited him the most.

Life lessons

Macca lists his many professions as sculptor, painter, teacher, boxer, and Executive Director of The National Save the Bilby Foundation (self appointed, he says with a chuckle). But he sees his greatest achievement as discovering the art of creating his own life.  Learning self-love and how to live in the moment has helped him drive away old demons. His key life lessons are about giving thanks, praising others, and creating instead of criticising, complaining and destroying. Hard work and endurance, and never shying away from a challenge are also keys to his success.

In living by these principles Macca has found himself becoming a teacher, helping to shape other peoples’ lives, in the same way as he sculpts the stone and rock of his artwork. He uses his life lessons to support young people and help them to realise their creative potential. Macca has incorporated these lessons into a system called ‘The Five Creative Acts’, which is sought after by companies wanting to develop their leaders.

Macca’s Art

Macca creates very large stone sculptures aimed at businesses seeking to invest in the arts. He creates unique monuments that he is able to imbue with the essence, beauty and energy of the world around him, while still producing very high quality pieces that will withstand weather and time.

Macca would like to see the Australian government philanthropy and corporate sector supporting artists to create large scale artworks as is the case in Europe, Asia and the United Sates, as this would raise the profile of this type of work. But he also recognises the need for Australian artists to step up and become more professional in order to be taken more seriously by the business world. He is a strong advocate of the notion ‘think globally, act locally’.    

The crazy side

As we chat in the local pub I’m moved by Macca’s humility, and I also observe threads of commonality with other artists who operate from that ‘other’ dimension, somewhere on the edge of reality.  He confides he can sometimes come across as a little ‘out there’, as he plays with and challenges social conformities.  But this edgy personality is what our logical society needs to push the limits and make the changes needed, if we humans are to evolve beyond past social limits.

After all you’ve achieved, what drives you now, Macca?

Enjoying life and having the courage to find that joy within, instead of seeking it in other things, other people and other places.  Seeking enjoyment in the now!

The most ambitious exhibition to date of work by Patricia Piccinini will open exclusively at Brisbane’s Gallery of Modern Art (GOMA) next March, becoming GOMA’s largest ever solo exhibition by an Australian artist.
Premier and Minister for Arts Annastacia Palaszczuk said that she was proud to partner with GOMA to deliver another iconic exhibition.
‘GOMA has established itself as a major player in the contemporary art world and this new exhibition by the renowned Patricia Piccinini will further cement Queensland’s international reputation,’ Ms Palaszczuk said. 
Patricia Piccinini: Curious Affection will feature more than 50 new and recent works by the globally renowned artist.
Occupying all of the Gallery’s ground floor galleries, including the Children’s Art Centre, the exhibition will include sculpture, photography, video, drawing and installation, as well as never-before-seen commissions including entirely immersive environments.
The exhibition also considers the challenging world of science and genetic engineering developments and nature, and how humanity will face its future.
Ms Piccinini is one of the world’s most popular contemporary artists and it is incredibly exciting that GOMA has been able to work with her to produce this exclusive-to-Queensland exhibition featuring major new works.
Queensland Art Gallery | Gallery of Modern Art (QAGOMA) Director Chris Saines said Patricia Piccinini was one of the most interesting Australian artists working today.
‘Piccinini explores the interrelationship of humanity and the natural world, and the social and moral impact of scientific research, genetics and biotechnology on people, animals and our planet,’ he said.   
‘Working with a skilled team of collaborators and computer technology, Patricia’s art collapses the boundaries between reality and artifice to create captivating environments populated by strangely compelling, often hybridised, startlingly realistic sculptures, that are foreign and strange looking, yet seemingly familiar.
‘The artworks in the GOMA exhibition will deliberately challenge our conceptions about what it means to be human and the power of empathy.’
The exhibition will run from 24 March to 5 August 2018 and will feature some of Piccinini’s most recognisable life-like sculptures, among them The Bond 2016, a woman lovingly cradling an ambiguous creature, along with Big Mother 2005, The Comforter 2010, and The Carrier 2012.
It will include a large-scale, newly commissioned inflatable sculpture suspended in GOMA’s atrium – a continuation of ideas the artist explored in the controversial hot air balloon work titled The Skywhale, a commission that marked the Centenary of Canberra in 2013.
The GOMA exhibition will also feature a major new installation The Field, a landscape of some 3000 genetically modified flower sculptures that will draw visitors into a vast, multisensory environment.
For more information or to purchase tickets to Patricia Piccinini: Curious Affection  visit www.qagoma.qld.gov.au.
Patricia Piccinini was born in Sierra Leone in 1965 and grew up in Australia. The Melbourne-based artist represented Australia at the 50th Venice Biennale in 2003 with We Are Family, an exhibition that also toured to Tokyo and Bendigo. Her other solo museum surveys have included ComCiência, CCBB Sao Paulo in 2015, touring to CCBB Brasilia, CCBB Rio de Janeiro, and CCBB Belo Horizonte in 2016; Relativity, Galway International Art Festival (2015); Hold Me Close To Your Heart, Arter Space For Art, Istanbul (2011); Once Upon a Time, Art Gallery of South Australia (2011); Relativity, Art Gallery of Western Australia (2010); Evolution at Tasmanian Museum and Art Gallery (2009); (tiernas) Criaturas/(tender) Creatures at Artium, Vitoria-Gasteiz (Spain, 2007); Hug: Recent Works by Patricia Piccinini, Frye Museum, Seattle, and Des Moines Art Centre, Des Moines (USA, 2007); In Another Life, Wellington City Gallery, Wellington (NZ, 2006); Call of the Wild, Museum of Contemporary Art, Sydney (2002); and Retrospectology, Australian Centre of Contemporary Art, Melbourne (2002).
Piccinini’s work has also been featured in Queensize at Me, Berlin (2015), Melbourne Now, National Gallery of Victoria, Melbourne (2013), Medicine and Art, Mori Art Museum, Tokyo (2009), The 2nd Asian Art Biennale, Taipei (2009), Global Feminisms, Brooklyn Museum, New York (2007), Uneasy Nature, Weatherspoon Art Museum, Greensboro, USA (2006), Becoming Animal, MASS MoCA, USA (2005), Bienal de La Habana, Cuba (2003) Face Up, Hamburger Bahnhof, Berlin (2003), Sydney Biennale (2002), Liverpool Biennale (2002) Berlin Biennale (2001) and Gwangju Biennale, Korea (2000).
In 2014 Piccinini was awarded the Melbourne Art Foundation Visual Arts Award and in 2016 she received a Doctor of Visual and Performing Arts (HonoraCausa) from the Victorian College of the Arts.

The story of 1950s art begins at the end of the Second World War, because it was such a rupture to the body of the world, that the post-war art beginnings extend from mid 1940s to the next decade. Slowly, as the world start recovering from the war trauma, new art movements used to develop worldwide. Major influences on the 1950s art were made by 1920s avant-garde movements, modernismsurrealism and abstract painting. There are only few art styles continued even throughout the period of the war, and those were withheld by individual practices of influential artists from pre-war era such as Pablo PicassoSalvador DaliMax ErnstMarcel Duchamp. For many artists, World Wars of 20th century brought the migration, and significant authors of 1950s decade were escaping Nazism in Europe by settling in United States, which make New York the world’s capital of art.

Hans Hartung -T1955 -Image courtesy of Widewalls and Hans Hertung

Cultural Panorama of 1950s Art

While the world was recovering from the war, two opponents derived from the ambivalent Allies of WW2 – Eastern, composed of the Soviet Union and its satellite states, and Western bloc United States, its NATO allies and others. Basically world was separated on the supporters of one or another competitive unions. A big distinction was in their concepts of prosperity and politics, since Eastern bloc continued implementing revolutionary propaganda forming communist regimes in Eastern Europe and Asia, the Western bloc reached the state of developed capitalism, insisting on free market, commercial design, popular print and advertising. In 1950s, Soviet Union and United States entered the nuclear and space race, the decolonization of the Third World was blooming, and the Great Two competed for ideological predominance in those newly formed countries. As the culture is mighty tool for imprinting political ideology and/or economical agenda, art of the 1950s was one of the battlefields for the ultimate and long-lasting victory of communism or capitalism as the proposals for the New World Order. From one hand, Soviet Union and other communist regimes of the East showed lack of understanding for the art practices of Modernism, interpreting non-representative forms of art as incomprehensible for the proletariat, while United States’ government through funding and organization directly supported rise of abstract artto show progressive and liberating character of capitalist society. In forthcoming years, it turned out that the both of them was wrong, as the developed movements in 1960s and 1970s heavily criticized the 1950s art world.

propaganda posters 1950

Political propaganda: Atomic War 1950s, America under socialism.  Image courtesy of Widewalls

Abstract Expressionism as Synonym for 1950s Art

As complex art movement in late 1940s, abstract expressionism was logical continuation of the anti-figurative aesthetic of the European abstraction and Modernist styles. During and after the war, United States and especially New York became the gathering place of European artists, dealers and collectors escaping Nazi regimes. At the time, New York hosted Yves TanguyMax Ernst, Peggy Guggenheim, Marcel DuchampAndré MassonAndré BretonMarc Chagall and Piet Mondrian and became art metropolis. Thus, American Abstract expressionism brought together influences of SurrealismCubismFauvism, and early Modernism as well as notable Bauhaus influences. Even though Abstract Expressionism movement was wide mainstream, it could be roughly divided between two major painting sub genres – Action Painting and Color Field Painting.

Action Painting

Action Paining is painting movement widespread in New York art scene from late 1940s to mid 1960s and is often seen as synonym of the abstract expressionism. The movement shifted the focus of the painting objects (finished artworks) to the very painting process and act of the creation. While Jackson Pollock insisted on physical act of painting, approaching the concept of Breton’s automatic writing, Willem de Kooning created the series of violated figurative paintings and Franz Kline focused on esthetic of the actual brush strokes in his calligraphic abstraction.

Willem De Kooning Ganesvoort Steet 1949 detail Action Painting

Willem-De-Kooning-Steet 1949.  Image courtesy of Widewall

Color Field Painting

Another style of abstract art, born in New York scene of 1950s was Color Field painting, which is largely influenced by European Modernism and its sublime geometric abstraction. As the name suggests, color was the main subject of the paintings, liberated from any objective context or the meaning in favor of expression of the sublime human emotions. One of the most significant authors within the movement was Mark Rothko who even denied his connection to abstract art, insisting on mystic spirituality of his canvases, while Clifford Stills landscapes contained primordial reminiscence on nature or human history. Robert Motherwell painted great open fields of colors, composited with lines and shapes and Barnett Newman tried to reflect Jewish history and tradition trough the language of pure colors.

Other Significant Movements of the 50s Art Scene

There are many art movements had started in 1950s and reached its peek in decades after. Notably the most important movement was abstract expressionism, but it influenced the many art practices wordwide, like modern sculpture, pop art, neo dada, art informel and lyrical abstraction. All these styles was deeply rooted in the fact that Abstract Expressionism was massively present within the art scene and art education in 1950s, which was, as we said politically motivated as contrapunkt to the Soviet realism.

Dmitry Zhilinsky Bathing soldiers The builders of a bridge 1959

Dmitry-Zhilinsky-Bathing Soldiers -The builders of a bridge 1959.  Image courtesy of Widewalls

this exhibition features favourite characters including Hairy Maclary, Slinky Malinki, Schnitzel von Krumm, as well as lesser known characters such as Sam Jam Balu and the Dudgeon. The Lynley Dodd Story traces the evolution of Dodd’s work revealing the magic behind her process. Discover how Hairy Maclary from Donaldson’s Dairy continues to capture the hearts of young and old alike.

This is a Moreton Bay Regional Council GLAM (Galleries, Libraries and Museums) partnership activity.

Official opening SOLD OUT!

6.30pm for 7.00pm, Thursday 7 December 2017.

Special guests: Dame Lynley Dodd and exhibition curator Penelope Jackson

RSVP now

Image Credit: Lynley Dodd, 1985, Hairy Maclary Scattercat, Gouache and pen, collection of the artist © Lynley Dodd. Reproduced courtesy of Penguin Random House and the Artist.


08 December 2017 – 17 March 2018


Monday – Saturday: 10.00am – 4.00pm


Redcliffe Art Gallery – 470-476 Oxley Avenue, Redcliffe




Redcliffe Art Gallery
Ph: (07) 3283 0415

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Creativity, Community, Culture