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Fine Art Kangaroo Island

Gallery - Australian Art, Silver Jewellery

Kangaroo Island Easter Art Trail 2023 – Let’s Go!

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Starting your Easter trip to Kangaroo Island at Penneshaw? Get off to a stunning start with a visit to the Kangaroo Island Sculpture Trail – image

Whether you’re planning a long-awaited trip to KI for the Easter long weekend, or just an Islander who really needs to “get out more” there’s no better way to spend Easter in 2023 than hitting the Kangaroo Island Art Trail!

The bi-annual Kangaroo Island Easter Art Exhibition is definitely just the first in a long list of places and events where you can immerse yourself in the beauty, diversity and creativity of the Island’s arts community every Easter.

Come with us on an art-inspired journey you’ll never forget…

[Read more…] about Kangaroo Island Easter Art Trail 2023 – Let’s Go!

SALA 2019 – Kangaroo Island Artists Exhibition Returns

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Ocean Pebbles glass sculpture by glass artist Llewelyn Ash. Created for Kangaroo Island exhibition SALA 2019
Ocean Pebbles by Llewelyn Ash

SALA exhibition takes new Kangaroo Island art to Adelaide audience

South Australia’s living artists festival SALA is just around the corner. Already recognized as the largest and most accessible festival of visual arts in the State, SALA 2019 is set to break big records with the 2018 festival having attracted more than 850,000 visitors.

Sand Path, oil on canvas by Jennifer Macauley

Fine Art Kangaroo Island is excited to bring the Island’s leading artists to the wider South Australian community again as we present our tenth SALA tour to the mainland this August.

We are delighted to feature as Venue #117 in the 2019 SALA Festival program. Twenty-three of the Island’s leading artists are back at the National Wine Centre for the month of August. And as always, we look forward to seeing you for this most memorable exhibition yet. 

Our exceptional team will be hard at work this week as we bump in 150 new and specially created artworks, ready for the exhibition opening on Sunday, August 4.

Our tenth-anniversary theme

With so much to inspire the island’s artists, artworks featured in our exhibition space at Adelaide’s National Wine Centre bring to life thought-provoking themes from Island life. Our 2019 exhibition How Do We Love Thee? Let us count the ways… Sanctity + Protection has galvanised our artists like never before.

KI has one of the last remaining intact natural environments in Australia and indeed the world. In 2019 our artists highlight the current threats to this precious and beloved wilderness and their belief in its sanctity. Thus honouring and recognising the interconnectedness of all nine previous SALA exhibition themes.

The SALA Festival provides the perfect opportunity for communities across the state to recognise work by established and lesser-known artists.

We are committed to honouring the talents of 23 inspired artists by exposing their work beyond the horizons of Kangaroo Island. And so the excitement builds as we approach the staging one of the state’s most challenging touring art shows. Shipping over 100 multi-form artworks from the island to the mainland is one thing. Safely loading and unloading, and getting Island artists and team members to the mainland in the month of August sometimes brings added layers of complexity without warning!

Why you can’t miss this exhibition

As our tenth exhibition approaches, we are more than ready to celebrate the incredible journey of the artists who have told the Kangaroo Island story over a decade. But looking back on the more than 1000 individual works that have captured the hearts of thousands of art lovers and island lovers alike, there is a poignancy that comes with those memories.

The truth is, for the past 10 years, our artists have been at once celebrating the intricate and exquisite beauty of this place and crying out for it to be better honoured and protected. In every single How do we love thee? Let us count the ways… exhibition they have brought the island environment into sharp focus, helping us learn about and value it more. And yet, as we stand on the threshold of our 2019 exhibition, the work itself seems to echo the sobering message that still so much seems undone.

Whatever your connection to Kangaroo Island, this exhibition promises to touch you in a way you have not experienced before. More than a collection of works, this is simply a profoundly breathtaking expression of the way islanders feel about their home.

From those for whom Kangaroo Island holds a far-off fascination, to those who long to return, and most especially those for whom she is the beautiful bedrock of daily life, this event cannot be missed.

Kangaroo Island’s finest artists feature in month-long exhibition

Artists featured in How do we love thee? Let us count the ways…Kangaroo Island Sanctity and Protection include Audrey Harnett, Caroline Taylor, Cecilia Gunnarsson, Dave Clarke, Evette Sunset, Fred Peters, Gay de Mather, Janet Ayliffe, Jennifer Macauley, Jenny Clapson, Llewelyn Ash, Maggie Welz, Michele Lane, Mishka Ammann, Nicholas Burness Pike, Nick Hannaford, Patti Blucher, Peggy Rismiller, Quentin Chester, Rose Walker, Roslyn Stoldt, Sara Hourez and Thomas Reeves.

Public invited to attend Opening Event at National Wine Centre

We’re delighted to have Ann Prescott, Botanist and author of “Its Blue With Five Petals” give the key address and South Australia assemblage and installation artist Jane Skeer will officially open the exhibition at 2pm Sunday August 4 or drop in daily from August 2 – 26 between 9am and 5pm.

Enter via the main gates on Hackney Road, or walk through the Botanic Gardens pedestrian entrance from Botanic Road. Limited parking is available on Hackney Road, but be aware it is tricky to do a U-turn and return. In any case, it’s still super easy to get to the venue.

There is paid parking available in the Parking station at North Terrace House Car Park, 21 North Terrace, Hackney which costs $2 per hour with a maximum of $10. You’ll find more on how to get there and where to find parking right here. You can also leave your car further away and take advantage of free city bus and tram services.

Abundance, Sheoak petioles, gourd, linen thread by Gay de Mather

SALA 2018

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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.

 

SALA Exhibition Adelaide 2018

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Kangaroo Island comes to Adelaide for South Australian Living Artists Festival Exhibition

How Do We Love Thee?… Let Us Count The Ways –
Kangaroo Island Cliff Tops & Coastal Dunes

OPEN TODAY
9 am – 5 pm

The Vines Corridor
at the National Wine Centre

Corner of North Terrace and Hackney Road, Adelaide SA 5000

This highly-anticipated exhibition of Kangaroo Island inspired artworks will leave you breathless!

More than 120 exquisite pieces representing a variety of mediums and representing exhibition theme Kangaroo Island Cliff Tops & Coastal Dunes is open each day from August 3 – 26.

View Artworks by Audrey Harnett, Caroline Taylor, Cecilia Gunnarsson, Deborah Sleeman, Diana Keir, Fred Peters, Janet Ayliffe, Jenny Clapson, Kenita Williamson, Llewelyn Ash, Maggie Welz, Michele Lane, Mishka Ammann, Nick Hannaford, Nicholas Burness Pike, Patti Blucher, Peggy Rismiller,  and Quentin Chester. The exhibition features a wonderful array of brand new art jewellery pieces.

 

Read more about this captivating annual event and Kangaroo Island associated features and events at the National Wine Centre throughout the month of August here…

 

Gethin Creagh Bringing Artful Sounds to Kangaroo Island Audience

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Academy Award nominated Sound Artist seen in SA Weekender  coverage

Gethin Creagh featured in our sixth Sunset Winery exhibition, and continues to use sound as an artform in the KIX FM studio to this day.

It is no wonder Kingscote is where we have lived and worked in the arts for the past two decades. What a wonderful privilege to be a part of discovering and revealing the amazing hidden talents of people we have rubbed shoulders with in this community on almost a daily basis.

We were especially reminded of this when we saw Gethin Creagh included in the SA Weekender spotlight on the people of Kingscote which aired a couple of weeks ago.

Gethin Creagh is a retired film industry insider. He is an Oscar nominated sound mixer, recipient of numerous motion picture AFI and BAFTA awards and has been responsible for sound mixing for over 130 motion pictures including The Piano and The Lord of the Rings: The Fellowship of the Ring.

From our archives – the original invitation for Sights & Sounds at Sunset exhibition where Gethin artfully demonstrated the inexorable link between the two.

Gethin chose to build his home nestled within a stand of the island’s narrow-leaf mallee on the edge of the glorious Bay of Shoals. A tiny patch of private wilderness, just ten minutes from Kingscote, and 30 minutes by plane to Adelaide’s international airport. The best of both worlds is how Gethin described his lifestyle, between jobs and international travel, when he exhibited with us at The Sights And Sounds at Sunset exhibition a number of years ago for our sixth Art Feast at Sunset Winery.

Whilst he is not a visual artist, clearly Gethin is respected for his creativity at the highest level of his profession. In a wild fusion of art forms we brought together cinematic art with the works of local visual artists synthesized in a display of moving and static imagery. Gethin provided a visual sound backdrop to larger than life oil paintings, animated sculpture, vivid photography, and vector artwork inspired music and rhythms.

Ever wonder what it would be like to see a movie with no sound? Sound in movies has become as critical as the visual image. Exhibition goers were mesmerized by Gethin’s artistry in bringing to life sequences of well known movies on split screen audio presentations first without and then with full sound.

These days he is making waves of an entirely different kind. Now retired from film work, and an active member of local Radio Station KIxFM. Visitors who tune in are likely to also hear Gethin’s own voice as he broadcasts across the island.

Thinking back on what makes Kangaroo Island so special, not simply for those of use who live here, but also for those who come seeking works of art from our community, the attraction is not hard to understand. Kangaroo Island has a tranquility and natural beauty that draws creative people to its shores. Many talented people pursue a quiet life focussing on their vocation far from the gaze of the public eye, so there is no mystery in the treasure-trove of breathtaking treasures we see every day.

Of course Kingscote – the main township – and surrounds are home to almost half the Island’s population. For those who long to live close to urban amenities but surrounded by panoramic sea views, and bounded by tracts of undisturbed bushland, this is the perfect place. Here we can co-exist with resident mobs of kangaroos living on the town’s edges. Let’s face it, Koalas have even been known to wander into the main street from time to time.

So many more wonderful island artists have been a part of the Fine Art Kangaroo Island story over the years. Keep an eye out here as we dedicate some time to helping you get to know them from time-to-time.

~ Fleur