A World withOut End, an exhibition in 7 parts.
Curated by Shizico Yi
Imogen Eveson 'Southern Ocean 1.2.3 (next stop, Antarctica)'.
Intended as an exercise in light, colour, composition and atmosphere (capturing the feeling of a view where there’s only ocean between you and Antarctica), this series of three images has taken on more meaning since I shot it, from the end of a boardwalk at Southern Ocean Lodge, in July 2019. In January 2020, Southern Ocean Lodge was razed to the ground by the bushfire that ripped through the western end of Australia’s Kangaroo Island, causing untold destruction to the most beautiful and pristine of places and its remarkable wildlife. Southern Ocean Lodge will rebuild, and the rest of the island will recover in time, but Covid-19 has hampered efforts. At a time of unprecedented change and uncertainty, I look at these images now and feel comforted. The wild Southern Ocean remains ever-changing yet constant. This view is eternal. A world without end indeed.
Intended as an exercise in light, colour, composition and atmosphere (capturing the feeling of a view where there’s only ocean between you and Antarctica), this series of three images has taken on more meaning since I shot it, from the end of a boardwalk at Southern Ocean Lodge, in July 2019. In January 2020, Southern Ocean Lodge was razed to the ground by the bushfire that ripped through the western end of Australia’s Kangaroo Island, causing untold destruction to the most beautiful and pristine of places and its remarkable wildlife. Southern Ocean Lodge will rebuild, and the rest of the island will recover in time, but Covid-19 has hampered efforts. At a time of unprecedented change and uncertainty, I look at these images now and feel comforted. The wild Southern Ocean remains ever-changing yet constant. This view is eternal. A world without end indeed.

‘Rorschach Landscape’ Laura Courtney oil and wax on board 100 x 140 cm 39 x 56 in
After 7 years as an oil landscape painter, I incorporated cold wax medium into my practice and found its unpredictable and serendipitous nature gave me the developmental leap and expressive range that I was seeking and launched an entirely new oeuvre. These new works inspired by classical Mythologies and the romantic inspiration from specific French, Scottish, Spanish and Italian landscapes visited in the last 3 years, are woven into my evolving personal narrative. Cycles within cycles that can unwittingly and magically create patterns that take our breath away ‘Rorschach Landscape’ --Laura Courtney

Andrew McNeile Jones. It Was Something Like This. 60 x 80 cm, oil on canvas. This painting has the quality of an old
family snapshot, a half-forgoSen
memory of an ou#ng. The children
here may well be parents themselves
now, possibly even grandparents; in
this way the viewer can look back into
the past as well as forward, since
these things will return, and repeat
again. The high-key tones graduate
to darker swirls, depths that hint of
darker shadows, and overall the
dream-like colours point towards a
narrative that is far from
straight forward
Lu Xu, 'Roam in the Wild' - 1. 2
These two images are a series under the theme ‘Wanderer’.
"There must be a lot of difficulties if you try to go out for a trip and find yourself. However, heaven always leaves one a way out. I tried to describe different situations we might meet when we were wandering around in the wild, and add some imagination to the real world."---Lu Xu
These two images are a series under the theme ‘Wanderer’.
"There must be a lot of difficulties if you try to go out for a trip and find yourself. However, heaven always leaves one a way out. I tried to describe different situations we might meet when we were wandering around in the wild, and add some imagination to the real world."---Lu Xu

Warwick Stein. Social Gathering. Digital Medium format.
Hasselblad h3d
A pleasure activity that may not be possible ever again. People, some strangers, mixing together without fear.
Diverse mix of colours and people on Scarborough Beach. A scene which brings memories of times past that we took for granted.

Laura Courtney. Battle of Ten Kings with murmuration.
After 7 years as an oil landscape painter, I incorporated cold wax medium into my practice and found its unpredictable and serendipitous nature gave me the developmental leap and expressive range that I was seeking and launched an entirely new oeuvre. These new works inspired by classical Mythologies and the romantic inspiration from specific French, Scottish, Spanish and Italian landscapes visited in the last 3 years, are woven into my evolving personal narrative. Ancient battles that repeat again and again - man’s hubris against the backdrop of a sublime landscape and some magical natural phenomena. ‘Battle of Ten Kings’
Sandra Storey 'Cycladic Figure and Moorland Road' Drypoint and mixed media monoprint.
Storey is interested in the permanence of talisman like objects and enduring childhood memories of the natural world. This permanence sits in relationship to the actual fragility of our natural world, its habitat and species. |
Sandra Storey on her printmaking process:
Many of my works are drypoints. I apply a sharp steel scriber to score into either an aluminium or plastic plate, sometimes, plastic; Ink is then wiped onto the surface before being carefully wiped off to allow ink sits in the scored areas, I then deliberately left thick areas of ink in some places and also reapplied ink where I feel too much has been wiped away or where I want additional colour (a la poupée); and then, a piece of damp paper is placed over the plate before they are rolled through the press together to produce the print. Ink from the scored grooves is squeezed onto the paper along with traces of additional ink added a la poupée.
Another method I love to work with is Subtractive Monotype: That is created by first coating a surface , such as glass , with ink. Areas of ink are then rubbed, scratched or erased away to create the image. These are the white marks left when the image is finally printed on to paper. In this process, damp paper is placed over the plate. With some images, I applied pressure to the back of the paper manually, before carefully removing the paper to reveal the image.
Many of my works are drypoints. I apply a sharp steel scriber to score into either an aluminium or plastic plate, sometimes, plastic; Ink is then wiped onto the surface before being carefully wiped off to allow ink sits in the scored areas, I then deliberately left thick areas of ink in some places and also reapplied ink where I feel too much has been wiped away or where I want additional colour (a la poupée); and then, a piece of damp paper is placed over the plate before they are rolled through the press together to produce the print. Ink from the scored grooves is squeezed onto the paper along with traces of additional ink added a la poupée.
Another method I love to work with is Subtractive Monotype: That is created by first coating a surface , such as glass , with ink. Areas of ink are then rubbed, scratched or erased away to create the image. These are the white marks left when the image is finally printed on to paper. In this process, damp paper is placed over the plate. With some images, I applied pressure to the back of the paper manually, before carefully removing the paper to reveal the image.
Guilherme Bergamini. Amazon River. Macapá boasts that it is the only state capital to be bathed by the Amazon River. Between the high and low tides, the pair of beams turns into a football field popularly known as foot-mud. When the river goes down, the game begins, when the river rises, the match ends. The interaction of time as a factor of nature, with the simple passing of a rain, allows numerous shades. Between 15h 10 and 18h 50 when it’s at the low tide and colours vibrate in a unique and particular way of the State of Amapá. Group exhibitions: 6 in 2 countries. Review: 8 Vehicles, Magazines, Newspapers, TVs and Internet in 3 Countries.