Artist John Wolseley on adventure, painting and our need to connect with the earth. Loaded: 0% Progress: 0% John Wolseley at work See an excerpt from an upcoming NGV documentary showing artist John Wolseley at work in his studio near Bendigo. 27, 2015 Masons of Bendigo 25 Queen Street, Bendigo; 5443 3877 Tuesday-Saturday 12pm-3pm, 6pm-late A film crew arrived at John Wolseley's bush property recently to film him painting.
At lunch, he's clean and more composed, even if the spread of dishes we share is a little like one of his paintings: loads of colour, movement (implied, that is) and an abundance of delicate lines and textures. Artist John Wolseley at Masons of Bendigo. He is in a kurta – a brightly patterned thigh-length Indian shirt – and, as it turns out, we get through everything except a beef carpaccio that's meant to be one of the most popular selections at Masons of Bendigo. Advertisement The kataifi stuffed with goat cheese and pine nuts at Masons of Bendigo. John Wolseley: Carboniferous. The works in this exhibition trace the stages of a three year transition in my painting life from the dry Mallee Country of Northern Victoria to the wetlands of New South Wales and the swamps of the Camargue in Southern France.
During this time, I spent many months camping and drawing in areas of remnant scrub in both wetlands and drylands. In this article JOHN WOLSELEY writes about his exhibition Carboniferous (Roslyn Oxley9 Gallery: September / October 2010) and, in a short clip, JOHN and PETER HYLANDS discuss the relationship between art and science. When working on Murray Sunset Refugia with Ventifacts 2008/2009, I found a secret island of unburnt scrub remaining after the bushfires. This was a refugia or sanctuary in which plants and small creatures sheltered until the fire had passed and then gradually began to re-colonize the surrounding sand dunes. Roslyn Oxley and John Wolseley Most of these paintings start in a rather simple way. Even the Black-backed Heron is defiant. Nocookies. John Wolseley - artist, explorer, environmental activist. "HELLO, HELLO, HELLO" the voice booms from the intercom in disembodied Python parody.
"John Wolseley here. " He buzzes the security door, then leans over an internal balcony rail to guide me in sepulchral tones as I enter the courtyard. The building, a block of half a dozen flats, is imposing in its faded grandeur, a renovator's delight for its old world standards and touches. It's an apt metaphor, in microcosm, for the enveloping Melbourne suburb of St Kilda, itself in uneasy transition between boutiquification and bohemian basicness.
And as I discover over the next few hours, it's particularly suited as an environment for the artist I've come to meet. He is an explorer, a man equally at home camped for months alone in the desert, recording in great detail the sights, sounds and transitions he observes, or in discussing philosophic treatises in Melbourne's intellectual circles.
As it turns out, Wolseley is having a quiet day. Wolseley's home environment is a study in itself. Biennale Of Sydney. The 18th edition of the Biennale of Sydney (BoS), titled “all our relations,” crept into town in late June with very little fanfare as the laid back artistic directors, indigenous Canadian Gerald McMaster and Catherine de Zegher from Belgium, delivered their utopian vision of contemporary art practice that has the power to connect communities, foster collaboration, create dialogue and, it seems, cure the world’s ills.
This is the first time in the Biennale’s 39-year history that a curatorial duo has held the reins and one wonders if collaboration here might be a euphemism for compromise. What might have been a juggernaut in the hands of one artistic director—one thinks of the previous BoS in the hands of David Elliott or the stimulating challenges of the 2008 edition presented by Carolyn Christov-Bakargiev, both which achieved record breaking crowds—here proves to be a show that limps along as it explores an at times dense intellectual premise.
Seederssprouters. John. Buku5. Artist John Wolseley on adventure, painting and our need to connect with the earth. At Design and Art Australia Online. John Wolseley was born in Great Britain in 1938.
He studied at the Byam Shaw and St. Martin’s School of Art in London, which is widely regarded as one of the world’s leading arts and design institutions. In 1959 he lived in Paris and worked at Atelier 17 with S.W. Hayter, who was a highly influential printmaker of the twentieth century. John Wolseley: Art and nature. For Wolseley the history of the earth is inscribed in the frond of a fern, seeds, pollen, spores, insects, butterflies, birds are fine grained measures of the state of the world and they bear witness to its essential unity.
Intimate space and cosmic space are two facets of a single reality, one is the mirror of the other. JOHN WOLSELEY arrived in Australia in 1976 from England. Since that time JOHN has made an extraordinary contribution to the culture and science of his new home, reporting on the nature of Australia through his installations and large scale works on paper. Nocookies. Artist John Wolseley on adventure, painting and our need to connect with the earth. DOCUMENTARY - John Wolseley. John Wolseley - Artist Profile. Art Gallery of New South Wales, Sydney Art Gallery of South Australia Art Gallery of Western Australia, Perth Arts Council of Great Britain Araluen Arts Centre, Alice Springs Australian National University, Canberra BHP Collection, Melbourne Cheltenham College, UK.
John Wolseley. Over the past four years John Wolseley has explored the wetlands of Australia in a major series of new works commissioned by Sir Roderick Carnegie.
In this series of monumentally-scaled works on paper, the artist celebrates the variety and unique nature of water forms in Australia. The mangrove swamps in Roebuck Bay (W.A.), the flood plains of Garanalli in the Northern Territory, the Finke River in the Simpson Desert and the sphagnum swamps of Skullbone Plains in Tasmania are just some of the sites detailed in these impressive works. The different geographical features and unique plant and animal forms of these wetlands are depicted in the finely worked drawing and rich watercolour washes that characterise Wolseley’s work. Many also combine collage elements and markings made “in collaboration” with the natural environment.