A FINE ARTS STUDIO RUN BY ARTISTS BILL MOSELEY AND GENEVIEVE CARROLL.
Tuesday, October 18, 2016
HILL END ARTS COUNCIL: Hill End Press at the Artisans in the garden, Sydn...
Monday, July 18, 2016
Bill Moseley - Finalist for the prestigious Fremantle Arts Centre Print Award 2016
Oh so very nice to have good news come by as your defrosting your fingers and toes. News to keep us going creatively, make it all seem worthwhile, warm and inspired!
And Hill End artists having a great July, with three of our artists being accepted into the Archibald and Wynne, we're all fired up here.
You can view the artists on http://www.hillendartscouncil.blogspot.com.au
You all know Bill's great love of antiquarian photographic processes and how he just keeps chipping away, tweaking, polishing old methods to bring them up to contemporary times.
Arts & Science that sums up Bill.
Well today we had an email to say!
Bill has been accepted into the Fremantle Arts Centre Print Award in Perth Western Australia.
To be held on the 23rd September - 12th November 2016. A premier print award that showcases fine art prints and artists books, it presents the best works from established and emerging artists across Australia.
 |
| Cool Burn Laura - Photogravure Copperplate |
Bill's evocative entry Cool Burn Laura is a photogravure of the landscape of Cape York, Queensland which we experienced through an artist camp organized and created by The CORRIDOR project. The cool burns on country is all about the Aboriginals managing and maintaining their vast landscape by the ancient method of fire. Bill developed and printed the image here at our studio at Hill End.
As Bill says
You can purchase this beautiful print from us at Hill End Press
$1,200
Edition of 10, signed by Bill Moseley
Printed on archival Somerset paper
Width 59cm x Height 51cm
or
you might like to learn how to create your own Copperplate photogravures,
if so, we run workshops on the process!
CONTACT US
for more details or go to our website for more information on all the creative endeavours we get up to!
at
info@hillendpress.com.au
For more information on the CORRIDOR project,
an ingenious creative think tank
go to
www.thecorridorproject.org/
For more information on the CORRIDOR project,
an ingenious creative think tank
go to
www.thecorridorproject.org/
 |
| Bill Moseley cranking through our hand built etching press a Copperplate photogravure. |
H I L L E N D
t h e m o s t u n i q u e l i t t l e p l a c e t o l i v e
Wednesday, July 13, 2016
HILL END ARTS COUNCIL: Hill End bursting with finalists in art prizes thi...
HILL END ARTS COUNCIL: Hill End bursting with finalists in art prizes thi...: HILL END is delivering snow, ice and rain, but between all these ephemeral elements this month, it's delivering something very spec...
Thursday, April 28, 2016
Cool Burn exhibition - Ancient light.
C O O L B U R N
at
at
the CORRIDOR project
Curated by Phoebe Cowdery and Aleisha Lonsdale
Curated by Phoebe Cowdery and Aleisha Lonsdale
ARTIST PROFILE - http://www.artistprofile.com.au/cool-burn/
HILL END ARTS COUNCIL http://hillendartscouncil.blogspot.com.au/
HILL END ARTS COUNCIL http://hillendartscouncil.blogspot.com.au/
As Bill heads out to the back verandah to have his morning cigar and coffee he informs me of the meaning of ancient light. It's meaning he conveys with a jovial enthusiastic urgency is one of an old English law.
(That's what I love about Bill, I'm constantly learning, his like having your own walking breathing google on tap.)
It goes like this.... that if a person is to live in a dwelling, that the person has the right to be able to see the sky in the upper part of a window from the base of the opposite wall.
It made me think about how subjective that thought for our idea of habit and co-existence is, of the vast contrasts of cultures.
It made me rethink about last June when we were invited by Phoebe Cowdery of the CORRIDOR project, a creative think tank, along
with 8 other Central West artists to take a group journey to Cape York. Starting from Sydney, flying to Cairns and heading to Laura & Old Mapoon in two troopys, right up to the very tippy top of Queensland, on the Gulf of Carpentaria.
 |
| Fire Earth Water |
The trip was all about the landscape and fire and we participated in fire workshops taught by aboriginal people using traditional fire management on country at Laura. Rural fire services from around Australia participated and a group from an American university were there as well. The only thing not there was a firetruck or fire extinguisher.
The event extruded an ancient confidence in knowing ones land.
Our ingrained mindset of bush fire as a threat and not as an organic tool to use, to be comfortable with fire and it's advantages other than the fireplace,
to imagine fire as cool, was such a revelation for me.
To stand in this landscape of Cape York with fires burning all around you, a paddock of fire rings, to walk amongst, to hear dingos howling in the distance responding to whirly whirlys dancing through the fire rings and to be calm was such an extraordinary experience.
Why a cool burn?
It's where the land is constantly maintained in rotation, mosaic burning. It's understanding the growth patterns and vegetation of the land and when
to burn. So if the land is burned on a regular seasonal basis when the
grass is low, then the animals and insects under the earth, in their
burrows such as goannas, termites in mounds and in the trees, birds and
the native bees are kept safe.
The temperatures of the fire is controlled between cool and hot burn (where an undesirable plant is totally eradicated).
For the aboriginal people their landscape view is vast and dependable, there is always a view, be it physical or within sacred myths.
It's a curious landscape within the Cape, it reveals itself in jewels that are scattered here and there among the vastness. One moment you can be navigating the bulldust, the next you can be in a tropical waterhole, then turn the corner and there's sand and mangroves.
The long kms are teased with these pockets of contrasts.
We were spoilt in the best possible way by the Old Mapoon community and with our guides Dianne and Marda Nicholls and Jason from the Land and Sea Rangers. Showing us their country, bringing with them a deep understanding of their country.
#Laura Dance Fest #dilly bags and water #no fear of fire #long kms in bulldust #termites #camping with crocodiles #circular fires #dingos whirling howling #school workshops #ghost nets #a whole lot of art #rangers and mangroves #plastic flotsam adrift #still life in new forms #green ants for afternoon tea.
I came back thinking it's all about views and viewpoints.
It's about making new friendships.
And that as much as we think the future is going to deliver the goods it's often about our ancient history that gives you the views and to give ones mind a shakeup in the best possible way.
Aleisha Lonsdale, Rebecca Dowling, Genevieve Carroll, Nyree Reynolds, Irene Ridgeway, Phoebe Cowdery, Jo Marais, Heather Vallance, Bill Moseley, Dianne Nicholls, Marda Nichols
Our trip was sponsored by
the CORRIDOR project
Foundation for National Parks and Wildlife
REGIONAL ARTS NSW
Mapoon Land and Sea Rangers
ARTS OUT WEST
Cowra Council
THE GREAT EASTERN RANGES
Kanangra = Boyd to Wyangala Link
 |
| Image courtesy of Regional Arts NSW |
In 'Burning at Laura', a flock of Kites wheel and dart amongst the flames picking up insects and small animals that fleet before the fire front of an Aboriginal land management fire.
Recent studies support Aboriginal contention that the birds will pick up burning twigs dropping them elsewhere in apparent symbiosis with the human inhabitants.
"White man's grave" shows a burial ground set within a bushy grove. Centrally, a stark concrete plinth supports a rusted cross that has been wrought from steel water pipe. Possibly that of a missionary to Old Mapoon, this grave significantly stands apart from the unmarked sites that surround it.
 |
| Ambrotype by Bill Moseley "White Man's Grave" |
Bill has used the nineteenth century techniques of Ambrotype and Photogravure to record his Cape York experience from our artists camp expedition in 2015.
Bill's interpretation of Aboriginal land management on country, was greatly informed by Bill Gammage's book, "The Biggest Estate on Earth" and found it invaluable in it's thorough analysis of historical evidence.
 | |||||
| Photogravure by Bill Moseley "Burning at Laura" |
G E N E V I E V E C A R R O L L
T H E W A T T L E R O O M
Chapter 9
My thoughts are walking round the table.
My art is an ongoing visual memoir called THE WATTLE ROOM and each one of my
exhibitions is a chapter of my life.
My art circumnavigates self, still life and eccentric abstraction of the world that I live in.
This installation is inspired by my journey to Cape York, which experiments with
expressing semi whimsical states of mind, organic associations and psychological moods
through painting and installation. Reactions to this new environment transpired into a
suspended vigilance of learning a new and different strange world that I hadn’t
experienced before.
Worlds within worlds, natural and man made.
What I know.
Supermarkets and growing my own food.
What I didn’t know.
Cool Burns, Aboriginal food, how to use a dilly bag and eating green ants.
Anxiety and absurdity was drawn from my new experience of different ways of seeing
food on the table, outback isolation, sleeping near crocodiles, green ants that hang from
cocoons in the gum trees, sleepless nights and long distance driving in bulldust.
.
 |
| Ceramics and rubber bands, ceramics handmade at La Paloma Pottery Hill End were inspired by the green ants that live in built cocoons from gum leaves and hang from the trees. |
 |
| Oil on board painting, looks at colliding worlds of how we view still life and food on the table. The painting depicts traditional European jugs and bowls juxtaposed with aboriginal dilly bags and the landscape of Cape York. |
 |
| My thoughts are walking round the table, sculpture using paper mache and found table. |
You can see more of our artwork at
Wednesday, March 30, 2016
Country Style and Hill End Press.
In the March issue of Country Style we had a lovely article written on us and all our endeavours, a gentle life here in Hill End and crazy good art going on, thankyou Country Style.
Tuesday, March 15, 2016
Thursday, March 3, 2016
John Beard exhibition - Collaborating with master printer Bill Moseley
As William Wright explained in 2014 “John (Beard) is a painter ... who you need to find, you need to discover. I have been watching over the years you get this sense of looking ... over time, you see it takes on another dimension. John is an artist like that.”
Kon Gouriotus, Profile magazine February 2016
A response from Barry Pearce, former Head Of Australian Art AGNSW
John's vision of The Raft of the Medusa allows one to inhabit the horrifying, almost uninhabitable Romantic grandeur of the great masterpiece and comprehend its powerful beauty better. No mean feat.
Detail (approximate size 40x52cm) from After the Raft of the Medusa (size of complete work 500x700cm)
I recalled the Kenneth Clark passage regarding Velasquez when standing in front of your panels based on The Raft of the Medusa; thinking about Manet looking at Velasquez and how his revelation of the Spanish master's texture, yet reining in the energy of execution with hard borders had such a quintessential influence of the modern movement in France ( a bit like Delacroix's response to Constable I suppose).
I think in your own way you too are looking to unravel the mystery of these great masterpieces but you secure the vision through a delicate system of tessellated marks, a process of engagement in your own language which is totally legitimate. Further, you seem to transmute an overpowering Romantic statement into something intimate. Quite miraculous really, like climbing inside and being caressed and absorbed by Gericault's neurones. Kenneth clark regarding Velasquez....
Kenneth Clark......One should be content to accept it without question, but one cannot look for long at Las Meninas without wanting to find out how it is done. I remember that when it hung in Geneva in 1939 I used to go very early in there morning, before the gallery was open, and try to stalk it, as if it were really alive. (This is impossible in the Prado, where the hushed and darkened room in which it hangs is never empty.) I would start from as far away as I could, when the illusion was complete, and come gradually nearer, until suddenly what had been a hand, and a ribbon, and a piece of silver, dissolved into a salad of beautiful brush strokes. I thought I might learn something if I could catch the moment at which this transformation took place, but it proved to be as elusive as the moment between waking and sleeping.
Kenneth Clark
Looking at pictures
London, John Murray 1960 pp 36-37 and sleeping
Photogravure etching from John Beard’s painting After The Raft of the Medusa ( in collaboration with Bill Moseley )
In collaboration with Bill Moseley, artist and master printer, the exhibition includes two editions of photogravure copper plate etchings ( one in red the other in black ) and a unique state ‘ambrotype’ consisting of 24 glass panels.
Monday, February 15, 2016
HILL END ARTS COUNCIL: Read up on how Blake Prize fnalists Bill Moseley &...
Sunday, February 7, 2016
HILL END ARTS COUNCIL: Australian artists self portraits at The Yellow Ho...
HILL END ARTS COUNCIL: Australian artists self portraits at The Yellow Ho...: BOUDDI FOUNDATION FOR THE ARTS Self portraits on paper A gala auction event will be held at The Yellow House 59 Macleay S...
Subscribe to:
Posts (Atom)