David Pavich – local tutor to exhibit landscapes

 

Studio Residency David Pavichwithtone

Image: Studio documentation of David Pavich’s 2017 Gallery Lane Cove artist residency.

David Pavich has been teaching painting and drawing classes at Centrehouse Arts Centre for over 10 years and takes other classes all over Sydney. One of his students, Lavinia Foote-Morid talks about her experiences as a student with David.

“I have studied art under David Pavich for many years with the utmost enjoyment and learning. David, being a fully professional artist is quick to solve the most intricate painting technical challenges and colour blending issues. His experience and depth of knowledge of painting is elemental to being able to paint the full range of subjects chosen. David is also a great personality, being great fun to paint with and always kindly encouraging.”

An exhibiting artist, David has had many solo shows and featured in significant group exhibitions throughout Australia. Having worked as an artist in residence for Gallery Lane Cove, we are very pleased to be able to host his upcoming exhibition, Harbour and Beyond. David has a passion for landscape painting, he travels widely to capture the environment in all it’s guises. With a focus on the harbour foreshores surrounding Lane Cove along through to Lavender Bay and Middle Head, this exhibition will feature  spectacular views of the Sydney Harbour.

David’s 2017 Gallery Lane Cove artist residency provided the perfect location to explore his preoccupation with Sydney Harbour, a subject matter the artist has had close attachment to since childhood. Observing the changing light and colour on the Harbour through the seasons, as well as all the energy of boating activities has always provided a joyful experience. “As a painter” he says, “it is invigorating to watch these changes in the landscape and be constantly challenged by capturing its presence at a given time on canvas. Hopefully these feelings of beauty and pleasure are conveyed to the viewer from these painting subjects of some of our most iconic locations.”

Having been selected for the prestigious residency at the Tweed Regional Galleries Nancy Fairfax Studio in 2015, the exhibition also includes rural scenes from the landscape surrounding Murwillumbah, in particular the reoccurring image of Mount Warning serenely located outside his studio window. Mount Warning is a sacred mountain to the aboriginal people of Bundjalong and is the site of particular ceremonies. ‘Wollumbin’ the original aboriginal title of Mount Warning which translates to the ‘Cloud Gatherer’. Its monumental form dominates the landscape from most locations around Murwillumbah, making it a most desirable painting subject.

Sydney_Harbour_Middle_Head,_2016_Oil_on__Poly_Cotton,_40x60cm,_$1800[1]

Sydney Harbour Middle Head, 2016, oil on poly cotton, 40 x 60cm, $1800

Approaching Storm (Snowy River), 2014, Oil on Poly Cotton, 76x102cm, $3800withtone

Approaching storm (Snowy River), 2014, oil on poly cotton, 76cmx102cm $3800

David Pavich 'A Clear Day(Murwillumbah)' 2015 Oil on Poly Cotton, 102x77cm, $3800_withtone

A clear day (Murwillumbah), 2015, oil on poly cotton, 102cm x 77cm $3800

Mosman Bay Ferry 2015 Acrylic on Paper 21x30cm(Unframed) $100withtone

Mosman Bay ferry, 2015, acrylic on paper, 21cm x 30cm $100

The Sugar Mill Murwillumbah(Study), April 2015, Acrylic on paper, 21x30cm, (Unframed), $100_withtone

The sugar mill (study), 2015, acrylic on paper 21cm x 30 cm (unframed) $100

Towards Kingscliff from Murwillumbah(Study), April 2015, Acrylic on paper, 21x30cm, (Unframed), $100_tone

Towards Kingcliffe from Murwillumbah (study) 2015, acrylic on paper 21cm x 30 cm (unframed) $100

Scale has been an interesting exploration for David and the exhibition will feature both small scale intimate oil paintings with his larger format works. There will be some beautiful acrylic on paper works that have a great energy and immediacy and are very affordable.

Please join the team at Gallery Lane Cove and artist David Pavich on Wednesday October 4th 6 – 8pm for the opening of Harbour and Beyond.

The exhibition runs until October 28th, 2017.

David will speak about his exhibition and process on Saturday 14 October from 11am. Please bring your friends and family as this is a free event.

 

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LOOKING FOR SCULPTURE ARTISTS NOW!

Exhibit in Gallery Lane Cove’s Public Art Sculpture Plinth for FREE!
An exciting opportunity exists for artists working in 3D mediums to exhibit their work at no cost with Gallery Lane Cove.

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Yves Lee, ‘être-là (fleur)’, 2017, ceramics

The Lane Cove Council has provided a sculpture plinth in the middle of a busy public thorough fare outside the Lane Cove Library, to give artists the opportunity to exhibit their artworks in a public domain. If you would like to exhibit your sculpture, ceramics, wood work or installation, please send in an application to Gallery Lane Cove.

 

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Sally Aplin, Bags, enamelled copper, concrete, Varying sizes

Exhibition spaces are open for the remainder of the year.
Applications can be downloaded from here:
https://www.gallerylanecove.com.au/library-sculpture-plinth

A quick chat with Kirtika Kain the winner of the 2017 Lloyd Rees Memorial Youth Art Awards

Gallery Lane Cove would like to congratulate Kirtika Kain on winning the 2017 Lloyd Rees Memorial Youth Art Awards. Kain’s winning artwork 5 is a beautiful example of the printmaking process, a stunning text based work silk screen on 3 layers of Japanese rice paper fused together by paraffin wax.

Winner - Kirtika Kain

Image: artist and 2017 winner Lloyd Rees Memorial Youth Art Awards Kirtika Kain and her artwork 5.

Kain is a Sydney based artist, born in India and currently completing her Masters at National Art School. Her practice explores two divergent cultural systems, unraveling the contradictions and complexities of a global identity. Utilising the processes and aesthetics of the printmaking process her textured text pieces draw upon political writings from the archives of India’s history, screen printed and etched upon linoleum through toxic and corrosive chemical reactions. In an attempt to parallel meaning with the means of production, Kain’s experimentation with the alchemy of print is suffused with themes of language and the politics of identity.

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Kirtika Kain, Pariah ll, 2016, silk screened image on etched linoleum

Gallery Lane Cove caught up with Kirtika after winning the Lloyd Rees Art Awards to ask a few quick questions about her practice; how the printmaking process is used to explore and depict the themes developed within her practice and to find out what she plans to do with her prize money.

  1. Congratulations on winning the 2017 Lloyd Rees Memorial Youth Art Awards! Your winning work 5 is a stunning example of the printmaking process, can you give us an insight into the processes you did to create the artwork?

Thank you! Printmaking to me is alchemy; just like a science experiment, once you learn the method you can change all the variables. For this work, instead of traditional inks, I screen print my composition with loose black pigment over three sheets of rice paper. I then take this work over to a hotplate where I apply wax. This seals all three sheets and shifts the pigment in unexpected ways. I assure you, it comes at a high failure rate!

  1. Culture and identity play a key role in your printmaking practice, can you talk a little bit about why these themes are important to you and why the printmaking process has been your chosen medium to explore these ideas?

These themes define the experience of many Australians that exist between two entirely different cultures. I was born into the lowest caste group known as the Untouchables in India yet I was raised in Sydney with no idea of the implications of this. Screenprinting is the work of the labour class within textile industries in India yet I use it as a fine art medium. I often screen print with iron filings, silicon carbide and other heavy waste materials yet create refined prints to deal with this idea of pollution and filth associated with the Untouchables. Art is my way to challenge identity and printmaking is the means for this transformation of meaning.

  1. Text is depicted throughout much of your practice, would you be able to explain why?

The text I use was published in a historic essay that articulates the 15 rules and 5 duties to define the life of an Untouchable. My work is about redefining, re imagining and recasting the implications of this language. Sometimes I obliterate, layer, conceal and play with the text. I haven’t grown up in India so these rules form my only knowledge of caste as an outsider.

  1. The two artworks you submitted into the 2017 Lloyd Rees Memorial Youth Art Awards were both prints but were interestingly displayed on two different canvases. Your winning piece was printed on Japanese rice paper and your other artwork on etched linoleum, these are really interesting canvas choices, can you explain why you chose those materials and if that decision had any relationship with the themes you are exploring in the work.

When I’m working in the studio, my choice of material is not an intellectual decision. It’s only in hindsight that I consider the qualities of these surfaces to be fragile, to be flesh like. I heat the rice paper and when etching linoleum, I print with bitumen, pour corrosive caustic soda and scrub away at its surface to acquire the raised text. Both surfaces are so delicate yet the treatment of them is harsh and laborious. The Untouchables are relegated to cleaning and the disposal of waste. For me the meaning of the work becomes embodied in the process of scrubbing and working with these surfaces. Also, because caste is contextual, I focus on the process to encourage people to reflect on wider themes of power and subjugation.

  1. One part of winning the 2017 Lloyd Rees Memorial Youth Art Awards is a solo show in 2 years’ time and the other was winning $5000.00, how are you planning to utilizing that money towards your practice?

This prize is an extraordinary gift for any emerging artist. At the moment, I’m completing my Masters of Fine Art at the National Art School. The funds will see me through and the solo show will be a platform to showcase my works. I hope to see you there!

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Kirtika Kain, Pariah lll (detail image), 2016, silk screened chalk dust on Fabriano Artistico 300 gsm

If you would like to check out more of Kirtika’s work her website is www.kirtikakain.com

Gallery Lane Cove would also like to thank all the participants of this years Lloyd Rees Memorial Youth Art Awards, what a fantastic selection of emerging artists from around Australia and we look forward to doing it all again in 2019.