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Florabotanica

21 January 2014 - 14 February 2014

Morgan Allender, Nic Brown, Katia Carletti, Chris de Rosa, Helen Fuller, Angela Valamanesh, Lisa Young and George Zacharoyannis.

Florabotanica explores the botanical world and how eight South Australian artists are inspired by and respond to it in their practice.

Reception

No. Artist Title Year Medium Dimensions (cm) Price

H x W x D

1 George Zacharoyannis Untitled 2014 terracotta, appropriated plants, Variable POA

appropriated flower pot saucers

2 Angela Valamanesh A little bit of everything no. 4 2010 watercolour on paper 66 x 66 $2,200

3 Angela Valamanesh Untitled 1 2012 watercolour on paper 59 x 59 $2,200

Adelaide Central Gallery

No. Artist Title Year Medium Dimensions (cm) Price

H x W x D

4 Lisa Young Evil Cactus 2012 oil on canvas 30 x 40 $1,750

5 Lisa Young Heart 2012 oil on canvas 40 x 30 $1,250

6 George Zacharoyannis Honestly - Lamdha - Ozymandias 2014 terracotta, appropriated plants,

- Culture - Beautiful Lies - appropriated flower pot saucers variable POA

Something like that

7 George Zacharoyannis Untitled 2014 terracotta, appropriated plants, Variable POA

appropriated flower pot saucers

8 George Zacharoyannis Honestly - Lamdha - Ozymandias 2014 terracotta, appropriated plants,

- Culture - Beautiful Lies - appropriated flower pot saucers variable POA

Something like that

9 Lisa Young Magic Grove 2013 oil on canvas 40 x 40 $1,500

10 Lisa Young Stony Ground 2014 oil on canvas 45 x 40 $2,000

11 Lisa Young The Magician 2014 oil on canvas 45 x 40 $2,000

12 Lisa Young Submerged 2013 oil on canvas 40 x 40 $1,750

Version 20 January 2014

No. Artist Title Year Medium Dimensions (cm) Price H x W x D

13 Nic Brown In my home 2012 water-mixable oil on board 58 x 59 $1,220

14 Nic Brown No where near 1 2012 water-mixable oil on plate 25 x 25 $380

15 Nic Brown No where near 2 2012 water-mixable oil on plate 25 x 25 $380

16 Nic Brown No where near 3 2012 water-mixable oil on plate 25 x 25 $380

17 Nic Brown No where near 4 2012 water-mixable oil on plate 25 x 25 $380

18 Katia Carletti Botanischer Garten, Berlin 2 2013 Oil on board 32 x 25 $790

19 Katia Carletti Botanischer Garten, Berlin 1 2013 Oil on board 25 x 18 $640

20 Chris de Rosa Rosa glaucarubrifolia 2014 Pigment stain, watercolour, 35 x 31 $500

perforations on Magnani paper

and lino. Unique state.

21 Chris de Rosa Rosa pimpinellifoliaspinossissima 2014 Pigment stain, watercolour, 50 x 44 $600

perforations on Magnani paper

and lino. Unique state.

22 Chris de Rosa Rosa foetidabicolour 2014 Pigment stain, watercolour, perforations 90 x 45 $1200

on Magnani paper and lino. Unique state.

23 Chris de Rosa Rosa damascenatrigintipetala 2014 Pigment stain, watercolour, perforations 64 x 57 $1000

on Magnani paper and lino. Unique state.

24 Angela Valamanesh Egg/Seed #C 2009 - unglazed ceramic 26.5 x 140.0 x 4.0 $5,500

2012

25 Angela Valamanesh Egg / Seed #D 2009 - unglazed ceramic 26.5 x 137.5 x 4.5 $5,500

2012

26 Morgan Allender Dusk, December (A/P) 2013 giclee print and pastel on German 114 x 160 $1,100

etching paper (1/5, 2/5, 3/5, 4/5, 5/5)

27 Morgan Allender Golden Earth 2014 perspex, steel, stone, paint, fresh 135 x 45 x 120 NFS

flowers, foam and wire

28 Helen Fuller Wide flarring vessel 2014 coils of terracotta, oxides, white slip 20 x 24 $420

and patterns made from indentations

and pressing leaves

29 Helen Fuller A pair 2014 coils of terracotta, oxides, white slip 21 x 17 $420

and patterns made from indentations

and pressing leaves

30 Helen Fuller Bowl (leaf pattern) 2014 coils of terracotta, oxides, white slip 11 x 17 $250

and patterns made from indentations

and pressing leaves

31 Helen Fuller Tall pot 2014 coils of terracotta, oxides, white slip 33.0 x 26.5 $850

and patterns made from indentations

and pressing leaves

32 Helen Fuller Small vessel 2014 coils of terracotta, oxides, white slip 17 x 11 $250

and patterns made from indentations

and pressing leaves

33 Helen Fuller Small bowl 2014 coils of terracotta, oxides, white slip 11 x 21 $250

and patterns made from indentations

and pressing leaves

34 Helen Fuller Small bowl 2014 coils of terracotta, oxides, white slip 6.0 x 15.5 x 22.5 $250

and patterns made from indentations

and pressing leaves

35 Helen Fuller Bowl 2014 coils of terracotta, oxides, white slip 9.5 x 36.0 x 23.0 $395

slip and patterns made from

indentations and pressing leaves

36 Helen Fuller Rabbit ear handles 2014 coils of terracotta, oxides, white slip 26 x 20 $695

and patterns made from indentations

and pressing leaves

Morgan Allender

In her latest bodies of work, Morgan Allender continues her fascination with the Still-Life and Vanitas genres, exploring a range of media alongside, and integral to, her painting practise. After completing a Bachelor in Visual Art (Honours) from Adelaide Central School of Art, she has taken part in numerous solo and group exhibitions interstate and in Adelaide. She lectured in Painting at Adelaide Central School of Art for 3 years, and has now opened floral design studio, The Tenth Meadow, in parallel to her painting.

As tends to run through my art practise, these are, again, dark ‘paintings’. Except that in this body of work, I have chosen to work outside of my accustomed media of oil paint, instead focusing on tools and materials that are, in relative terms, new to me within a studio context: the camera, the built set, and fresh flowers and leaves.

I am strongly influenced by the moody palettes and concocted set-ups of 17th Century Dutch and Flemish Still-life paintings; their rich symbolism of life and natural decay.

Both Dusk, December and Golden Earth are explorations of ‘painting with flowers’; manipulating live materials to emulate the painted surface. Both endeavor to personalise the inherent symbolism – all the flowers in Dusk December, for example, were grown by me from seed or small plant, harvested by hand, and built into an arrangement. The photograph captured a grey evening moment, before the flowers continued to bloom, and ultimately decay, on the kitchen sideboard. In this way, the work has become about more than this held moment – following the cycle of life and decay in my own small corner of the earth.

Artists Statements

Katia Carletti

Katia Carletti is an Adelaide based visual artist. Upon graduating from Adelaide Central School of Art with Honours in 2011, she has shown work in solo and group shows in Adelaide, and has undertaken artist-in-residencies in both Reykjavik and Berlin. Creating both painted and sculptural work, Carletti’s practice explores ideas about landscape, home, emotion and ritualised experience.

These paintings were conceived in Berlin, with the series being completed here in Adelaide. As ever, I was drawn to the green spaces I found around me as I explored the city- the parks, gardens and forests, but also the potted plants on window ledges of apartments and the scraggily end-of-season flowers squeezing out of cracks in the pavement. Surrounding myself with cut flowers and photos of forests made me feel at home in a foreign environment.

Helen Fuller

Helen Fuller was awarded a Masters of Visual Arts Degree in 1994 from the South Australian School of Art. Over the past 30 years Fuller has exhibited in more than 25 solo exhibitions and 80 group exhibitions throughout Australia and overseas.

Her artworks are held in major Australian collections including the National Gallery of Australia, Parliament House (Canberra), Queensland Art Gallery, Art Gallery of South Australia, Queensland University of Technology Art Museum, University of Queensland and National Gallery of Victoria.

Four years ago I made a shift in my arts practice from painting to pottery. My vessels are my handwork.

Hand built terracotta coil pots: unglazed textured surface baring marks and irregularities from the hands in a direct relationship with the clay. Applied colour of oxides, underglaze and slip are used, and imprinted patterns and mark making are applied decoration to the green clay surface. The forms bare a quasi-reference to an interest in ethnology and anthropology collections particularly prehistory pottery with a slight backhand swipe at the domestic Modern vernacular - circa 1950 in Australia.

I tend to work intuitively allowing the clay to determine the form as I coil rather than start with a pre-concept.

I like to challenge my skill in building forms that push my clay to new possibilities. Sometimes the coils of clay feel thread like and akin to knitting, with variable tensions either tight or loose. I like the clay as a tactile and responsive material, it is earthing and has therapeutic qualities for me. I have always collected objects and now I make my own.

Nic Brown

Nic Brown is an Adelaide-based artist who works from Fontanelle Studios. She was awarded an Adelaide Central School of Art scholarship in 2007, majored in Painting and graduated from the school with Honours in 2008. In 2009-2010 she undertook post-graduate studies in Art History at The University of Adelaide.

Nic has participated in solo and group exhibitions in Adelaide and Melbourne at SASA Gallery; Fontanelle; Format; Adelaide Botanic Garden; Next Wave Festival; Queens Theatre; A Room of Her Own; Light Square Gallery and Adelaide Central Gallery.

In 2013 Nic was awarded the 2014 Australian Experimental Art Foundation CIBO studio residency at the British School at Rome. She was also Finalist for the Bank SA Award, Best Visual Art and Design and the Eran Svigos Award for Best Visual Art in 2013 and was awarded the Saint Ignatius Emerging Artist Prize in 2011; SALife Emerging Artist Award in 2010; and Kidman Art Prize for Watercolour in 2009.

In my work I explore ideas of memory, place and temporality within a painting and installation-based practice. I utilise the landscape image repeatedly, often in combination with found domestic items. I depict plant-life, geographical forms, weather conditions and natural phenomena and, coupled with an investigation of the properties of the paint medium itself, I seek a certain sensibility or atmosphere in my paintings. My subject matter is often derived from experiences hiking in various Australian national parks – recently in Tasmania and Queensland – as well as specific botanical settings in Adelaide. Since 2010 I have responded in a site-specific manner to both flora and architecture in the Adelaide Botanic Garden including the Australian Forest; Mallee Section; Francis Pavilion; and the Palm House.

Chris de Rosa

Chris De Rosa studied visual arts at the North Adelaide School of Art from 1988-92 where she majored in printmaking. She was a member of the South Australian Print Workshop from 1995-2001. Since 1993 she has participated in a significant number of group exhibitions showing print based works. In 2012 she was the recipient of the Swan Hill Print Award and of the Waterhouse Art Prize (Works on Paper Category). Last year she was selected to take part in the exhibition titled Heartland at the Art Gallery of South Australia. Chris’ works are in the collections of the Australian National Gallery A.C.T, Swan Hill Regional Gallery, and the Whyalla City Council, S.A. She lives and works at Port Elliot on the South Coast.

My aunt came to Australia from impoverished rural Italy in the 1950s as a stranger in a strange land. The floors of her and her neighbour’s houses were covered in linoleum which was functional, sanitary and thankfully in these austere times: decorative. The often floral patterns may have bordered on cliché but provided a welcome relief to mundane prosaic building materials. Although designed to mimic more expensive woven patterns the lino florals began to merge the idea of inside and outside spaces. These prints are drawn from rescued remnants of linoleum flooring. In a way I suppose they are readdressing the qualities of clichéd floral patterning that has become invisible due to its familiarity. Like worn shards of plates these patterns provide (amongst other things) a worn patterned patina of lives lived.

PO Box 225 Fullarton SA 5063 Glenside Cultural Precinct | Carpark C

7 Mulberry Road Glenside SA 5065 [via Gate 1, 226 Fullarton Road]T 08 8299 7300 info@acsa.sa.edu.au www.acsa.sa.edu.auAffiliated with Flinders University and the Helpmann Academy

This floor sheet accompanies Florabotanica Adelaide Central Gallery21 January 2014 - 14 February 2014

Exhibition sponsor:

Fisher Je�ries is a member of Gadens Lawyers National Practice

Angela Valamanesh

Angela Valamanesh was born in Port Pirrie, South Austalia in 1953. As a graduate of South Australian School of Art in 1977 her practice primarily involved ceramics. In 1993 she completed an MA in Visual Arts at University of South Australia and in 1996 was awarded an Anne & Gordon Samstag International Visual Art Scholarship with a one year residency at Glasgow School of Art. Since then her practice has broadened to include a wider range of media and a number of collaborative public and studio works with Hossein Valamanesh. Angela has exhibited her work widely within Australia and internationally. Her recent works consist of simple forms that often make links between plant, human and animal. Angela recently completed a PhD at University of South Australia and was the subject of the 2008 SALA (South Australian Living Artist) monograph.

The two Egg / Seed works explore the idea of diversity along with the similarities that exist between life forms. I am interested in the links between human, plant and mineral matter. The imagery evolved from biology textbooks and other early scientific illustration.

The use of clay to make these objects that relate to our own origin feels particularly appropriate. Clay lends itself well to modeling and making organic forms. Especially in its unglazed form it has obvious earthy qualities and is such a prevalent material that we are all connected to.

George Zacharoyannis

George Zacharoyannis graduated from the University of South Australia in 2010 with a specialisation in ceramics and minor in painting. He has continued his studies in ceramics at Tafe. George has shown work in group shows across South Australia and Interstate.

This work is essentially about representing mankind as in affinity with the earth. Culturally its a concept that has seemingly existed in the past with prevalence but its lost to many these days. Increasingly the capacity to enjoy our environments is something thats overwhelmed by our lives, which are increasingly overwhelming in various ways. So a component of human culture is lost to be reconstituted with worthwhile substitutes? An important issue that warrants examination. The complexity of the issue, the myriad of implications, et cetera, belie further statement. The question is of importance.

This work is also about making something which is relatively aesthetically engaging and pleasing. The approach of simplification is about creating a form thats recognizably human but not specific, not, for lack of a better word, antagonistic, elective. Simplification of the human form can create interesting representations. With these forms I wanted to emphasize the human condition and as such the eyes are like the eye sockets of a skeleton.

These works are tenable in the sense that they are sculptures that; can be left in the garden to thrive, thrive, or unthrive, as per the individuals intention; can be treated like a bonsai or a flower pot and carefully, patiently, meditatively worked with, etc. The ceramic body is porous and as such if the environment is right, if placed right moss and lichen may also grow.

Lisa Young

Lisa Young has a National Diploma in Design, Sculpture Special from Kingston School of Art in London and attended the Adelaide School of Art on arriving in Australia. She lectured in drawing and painting at the Adelaide Central School of art for 14 years and has conducted workshops at the Art Gallery of South Australia. She exhibits widely in group shows and is represented by BMG in Adelaide. She has done commissions in Australia the UK and Switzerland and is represented in the FH Faulding collection and national and international private collections.

My art practice has always been about recording the things around me, my current interests and meaningful events. I consider myself a formalist with a focus on composition, colour and pattern, working initially from my imagination and using references. Seventeen years ago I began to work from observation, studying light and became interested in the psychological potential of lighting and colour and the use of objects as metaphores to introduce ambiguity into my narratives. A knife paining is a splendid way of exorcising a betrayal, but the work can also be about the exquisite beauty of the inside of a split pomegranate. I worked solely from observation interpreting what I saw and making it more than what I was looking at. Lately I have returned to invention combined with observation and references using the understanding of my study of light behavior.

The artist statements in this brochure have been provided by the artists.

Angela Valamanesh is represented by Greenaway Gallery, Adelaide

Lisa Young is represented by BMG, Adelaide

Opening hours of Adelaide Central GalleryMon - Fri 9am - 5pmSat 1 Feb 1 - 4pm

Image Angela Valamanesh, Egg/Seed #C, 2009 - 2012, unglazed ceramic, 26.5 x 140.0 x 4.0cm

Cover image Lisa Young, Evil Cactus (detail), 2012, oil on canvas, 30 x 40cm