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SALA 2018

August 24, 2018 By Belinda MacGill

Lines of Sight – Nick Hannaford

Nick Hannaford discusses inspiration and art technique while leading the Artist Walk & Talk at the Fine Art Kangaroo Island exhibition for SALA 2018

 

In Little Gidding, the last poem of The Four Quartets, T.S. Eliot writes, ‘With the drawing of this Love and the voice of this Calling/We shall not cease from exploration/and the end of all our exploring/Will be to arrive where we started/And know the place for the first time’ (1942, p. 29). In line with Eliot’s affecting lines so too was it for Nick Hannaford represented in these three images that conjure memories of his life as a child with his grandfather on the remote North side of Kangaroo Island at Middle River, Snellings Beach.

Aptly titled, Lines of Sight, these works reference fishing grounds and their associated lines that inform the composition of this mixed media triptych of watercolour, charcoal and pencil. South, South West Drift, 2 knots (2018) signifies a powerful memory of catching a Red Snapper with his grandfather and the knowledge passed on to him about the location of this reliable fishing ground close to the intertidal zone off Snelling Beach. The red and silver flickers of the Red Snapper represented in this composition coupled with marks of the fishing ground harks back to the specificity of this work in reference to the landmarks, such as tree lines on Constitution Hill and the acute angle of the edge of Pebbly Beach.  Memories of hauling up Red Snapper from this reliable fishing ground include the audible grumbles of Nick’s grandfather, Sir James Holden, and warbling sounds of children on the shore.

Figure 1: South, South West Drift, 2 knots. Water colour and pencil by Nick Hannaford, 60cm x 70cm
Figure 1: South, South West Drift, 2 knots
Water colour and pencil, 60cm x 70cm

 

Sir James Holden was a keen fisherman, inventor and manager of General Motors Holden Woodville who was knighted by Queen Elizabeth in 1963. Nick’s knowledge of fishing grounds off the coast of Snelling Beach was born out of his relationship with this intimidating figure and these watercolour, pencil and charcoal images of prized fishing grounds represent a larger narrative that floats amorphously around Nick and his work. Sir James Holden used his line-of-sight from the sea to align landmarks on the coastal dune area with other prominent landmarks on the cliff tops and hills in the distance as seen in Figure 1.

The point where the two lines intersect was the secret location where his fishing grounds lay. These works reveal the pages from Nick’s grandfather’s original markings and maps coupled with sketches and drawings of his own. Conjuring memories of Sir James Holden, and their days at sea when Nick was a young, the lanky bespeckled boy informs this series of work for SALA, 2018. This work is a returning to etched moments in time including standing in parallel to the ominous steel jinker and crank shaft that his grandfather invented to wrench up the heavy fibreglass boat, as well as the smell of early morning rum and a strong finger resolutely pointing out the landmarks whilst out at sea.

In a similar vein to his Grandfather’s prodigiousness, Nick also underwent tutelage from his Uncle Robert Hannaford, one of Australia’s leading artists. This current series of work at SALA, 2018 signifies a shift from his earlier apprenticeship in oil paint, composition and colour theory as a 15 year old. Living in the shadows of the greats is like standing entrapped under monolithic carved sculptures of your ancestors. Following in the traditions of these seemingly mercurial figures is a momentous challenge that led to the recent shift in Nick’s works exhibited for SALA.

Figure 2: Strong Northerly, Anchor Not Holding Water colour, charcoal and pencil, by Nick Hannaford, 60cm x 70cm
Figure 2: Strong Northerly, Anchor Not Holding
Water colour, charcoal and pencil, 60cm x 70cm

 

Like the compass located in Strong Northerly, Anchor Not Holding (2018) the cardinal direction of life’s winds sent Nick away from his work on canvas to a creative world of food and special events, running pyro-technic fantasies for large companies and resort style accommodation at Life-time Private Retreats on Kangaroo Island. Whilst creativity never failed him, this new body of work represents a move away from the traditional practice in which he was apprenticed.

Nick used the same principles of composition and the interplay of light as his Uncle Robert Hannaford, but mobilised them differently. Replacing thick oiled brush strokes with fine washed out strokes of water colour. His mark makings with charcoal, pen, pencil and ink on water colour paper recalls the work of his salt stained grandfather’s hand out at sea. Searching for a narrative and shifting from what Nick self-defines deprecatingly as a good copyist, he moves into an emerging representational practice realised in Strong Northerly, Anchor Not Holding. The simplicity of these intentional lines apparent in Strong Northerly is informed by his exploration of printmaking, including lino print and experimental potato stamps.

This image of Sir James’ treasured whiting ground also calls into play a histiographic tradition. The elevated glass fronted frame that the works sit under, serves the viewer with the privilege of looking through the azure into a Wunderkammer; a curious collection of data that continues to elude fishing folk still in search of these grounds. These works do denote a lost archive, revived through the accurate detailing of the lines of sight despite the diminished landmarks that have disappeared over the last 40 years. Regardless, the aesthetic quality of these works is strengthened by the juxtaposition of the various elements of the tonal rendering of watercolours, the washed out torn texture of the paper and balance of line work. The triptych sections stand firmly alone but collectively they evoke analytical archival work used to describe certain species of fish.

The sepia map, the archaic text and splashes of fish blood in these works act as a palimpsest over the memories of propriety embedded in these journeys where Nick was not only taught to catch fish, know where to catch them, but also required to pronounce the words “How Now Brown Cow” from his chest, rather than from his nose. There were layers of induction into the world which Sir James occupied far from these secret grounds.

Figure 3: Dodge tide, should have stayed in bed, by Nick Hannaford. Water colour, charcoal, ink and pencil, 60cm x 70cm
Figure 3: Dodge tide, should have stayed in bed
Water colour, charcoal, ink and pencil, 60cm x 70cm

 

In this final image, Dodge tide, should have stayed in bed (2018) there is an absence of fish on the sepia-toned, rust marked drawing. Instead, the fish remain uncaught under the sea moving with the tides strategically located in the background. The Phases of the Moon are marked on the compass signifying a dodge tide – when the fish do not bite. The fish represented in this work have an intaglio quality. The line work outlining the fishing grounds moves from foreground to background, but creates a seamless connection in this collage of mixed-media work, including a hint of Sir James’ favourite Green and Gold recipe. Colour scoping was reduced to sepias furthering a sense of reduction that helps build a narrative through harmonising these various mediums into a complex text. This final work, Dodge tide, should have stayed in bed (2018) clearly is breaking traditions and informs a new representational field that brings in the new whilst paying homage to the old.

This shift in Nick Hannaford’s work selected for the KI Cliff Tops + Coastal Dunes exhibition at SALA at the National Wine Centre reveals an interesting narrative, drawing out significant historical figures that in many ways highlight their contributions to South Australian history. These works are a libation to an ancestor and an illustration of memory coded fishing grounds embodied as a result of a deep and respectful relationship. After spending months conjuring his dead grandfather into a collaboration, these works stretched the paintbrush back in time aligning Nick and Sir James together – returning them back to the place they began, and as in the lines of Little Gidding, ‘knowing the place for the first time’ drawing and fishing out at sea.

 

References

D’Avezac, M. (1874). Aperçus historiques sur la rose des vents: lettre à Monsieur Henri Narducci. Civelli: Rome.

Elliot, TS. (1942). Little Gidding. The Four Quartets. Faber & Faber: London.

 

Filed Under: Artists, SALA, Uncategorized

Final Days of Kangaroo Island Artists Exhibition for SALA

August 25, 2017 By Sha Menz

Tony Bartram led a floor talk at the annual exhibition of How Do We Love Thee? Let Us Count The Ways… Kangaroo Island – The Intertidal Zone at the National Wine Centre in Adelaide

Still time to find a piece of stunning Kangaroo Island inspired art – but hurry!

KI is a unique arts destination and beloved home to hundreds of creative souls.

With a long tradition of captivating artists, the island’s uniquely evolved habitats and surviving species have again provided a wellspring of inspiration for those shortlisted to exhibit in the annual SALA exhibition at Adelaide’s National Wine Centre.

[Read more…] about Final Days of Kangaroo Island Artists Exhibition for SALA

Filed Under: Exhibitions, SALA

SALA Exhibition Brings Kangaroo Island Art to Adelaide

July 14, 2017 By Sha Menz

National Wine Centre Show so much more than an exhibition

“ Liminality, Cabinet of Curiosities” by Audrey Harnett a wonderfully unique piece featuring the much-maligned "puffer fish" found often on Kangaroo Island beaches
“ Liminality, Cabinet of Curiosities” by Audrey Harnett

It’s just three weeks ‘til the official opening of our SALA exhibition, “How Do We Love Thee? Let Us Count The Ways… KI − The Intertidal Zone”.

With every day bringing us closer to this, our 8th annual exhibition of Kangaroo Island art at the National Wine Centre, we’re excited to help the South Australian Living Artists Festival (SALA) celebrate its 20th Anniversary year. There’s creativity in the air, and we’re going all out to make sure the event has even more to offer than usual.

And there’s news…lots and lots of news.

[Read more…] about SALA Exhibition Brings Kangaroo Island Art to Adelaide

Filed Under: Exhibitions, SALA

SALA Competition to Celebrate Twenty Year Milestone

June 8, 2017 By Fleur Peters

Attend Our 2017 Kangaroo Island Artists exhibition Opening for your chance to win

Dave Clarke's "Nautilus" will feature in the 2017 SALA Festival exhibition of Kangaroo Island artists.
“Nautilus” by Dave Clarke

2017 brings with it a very special celebration for the iconic South Australian Living Artists festival, more affectionately known as SALA. The arrival of SALA festival this year celebrates twenty years as the largest open access visual arts event in Australia.

Fine Art Kangaroo Island will recognise this very special milestone in two ways. First, we welcome SALA Chair, the Hon John Hill, as our special guest. Mr Hill will officially open our annual exhibition of Kangaroo Island artists at the National Wine Centre  on Sunday 6 August at 2pm.  “How Do We Love Thee? Let Us Count The Ways…The Intertidal Zone” is the eighth edition of what has become one of the most sought after events on the SALA calendar.

But twenty years is such a wonderful achievement, we’ve decided to turn up the heat on your SALA celebrations this year. We’re launching a competition that could win you $300 to spend at the exhibition! Entry is free, and the winner must be present at the official opening of “How Do We Love Thee? Let Us Count The Ways…The Intertidal Zone” to collect their prize.

Each person who completes the official entry form will receive one entry, and extra entries can be earned by sharing the competition with your friends. Enter now and you could be coming home from this year’s exhibition with a fabulous piece of Kangaroo Island art all your own.

Humble beginnings

Since its beginnings, SALA has grown tenfold in both size and duration. From a festival lasting just a few days in a handful of galleries, to more than 4500 artists with work exhibited in over 600 exhibitions. All venues are accessible for free, with locations as diverse as Colleges, Law Courts, shops and cafes as well as traditional gallery spaces.

South Australian Artists are encouraged to take part regardless of experience level or medium. Their imaginative, entertaining and sometimes interactive outpourings are loved by audiences around the state, both die hard art lovers, and those who simply stumble upon a show in an unusual or unexpected venue.

Kangaroo Island’s artists have long been part of this uplifting celebration of South Australian art and artists. Contributions by those who draw their inspiration from life on Kangaroo Island are regular and varied.

In 2005 the spotlight turned to Kangaroo Island when it was chosen as the festival’s regional focus. In that year we hosted SALA founder Paul Greenaway OAM at two events, and exhibitions were held across the island.

In 2010 a brand new tradition was established when Fine Art Kangaroo Island convened the first “How Do We Love Thee? Let Us Count The Ways…” KI exhibition at Adelaide’s National Wine Centre. At a time of year when visitor numbers to the island are generally lower, SALA provided more visibility for Kangaroo Island’s artists among mainland audiences.

Our first exhibition at the Wine Centre was a huge success, with nearly 1000 people attending opening day. It was obvious from that very first day, that this was something truly special. Still attracting huge interest, the Kangaroo Island artists exhibition has become a “must-see” event on the SALA program.

Mainland audiences eagerly anticipate each year’s carefully chosen conservation theme, and flock to the National Wine Centre on opening day to catch first glimpse of the work it inspires. Two floors of the stunning Vines corridor  are abuzz with art lovers every opening day. For those looking to snap up an exquisite visual expression of the environment from a favourite artist or emerging island talent, there is no other place to be.

2017 theme turns focus on the mysterious and beautiful Intertidal Zone

This year’s exhibition theme ‘The Intertidal Zone’ focuses on the ever-changing realm between the high and low tides. Kangaroo Island has an extraordinary 540 km coastline, including some of the least disturbed shores in the temperate world.

Twenty three Kangaroo Island artists have produced more than 80 fascinatingly beautiful new works in a diverse and exciting range of materials and mediums.

Eleanor Scicchitano of Country Arts says “It has been great to see the artists working on pieces for the Wine Centre show, and what a wonderful theme has been chosen this year. I am really looking forward to seeing the work when it is up.”

Featured artists for 2017 are Audrey Harnett, Caroline Taylor, Cath Cantlon, Cecilia Gunnarsson, Dave Clarke, Dean Fox, Diana Keir, Fred Peters, Glen Ash, Janet Ayliffe, Jennifer Woodhouse, Jenny Clapson, Kenita Williamson, Maggie Welz, Merril Hansen, Michele Lane, Mishka Ammann, Nick Hannaford, Nicholas Burness Pike, Patti Blucher, Peggy Rismiller, Quentin Chester, and first timer Sara Hourez.

The exhibition will be officially opened by the Hon John Hill on Sunday 6 August at 2pm. The artworks will be curated on both the ground and first floors of the Vines Corridor, at The National Wine Centre. You’ll find the Centre on the corner of North Terrace and Hackney Road, Adelaide, and the exhibition can be viewed daily between 9am-6pm from August 4-27 2017.

SALA competition rules are available on the official entry form Click Here to enter

 

Filed Under: Exhibitions, SALA

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