natalie mccarthy - ius-trnavac.org
TRANSCRIPT
INTERNACIONALNI UMETNIČKI STUDIORadovan Trnavac Mića
INTERNATIONAL ART STUDIO
VALJEVO - SRBIJAmaj - jun 2011.
Natalie McCarthyAUSTRALIJSKI PEJZAŽI
AUSTRALIAN LANDSCAPES
INTERNACIONALNI UMETNIČKI STUDIORadovan Trnavac Mića
INTERNATIONAL ART STUDIO
Suvoborska 48/1, 14000 Valjevo, Srbijatel/fax: +381 14 225 155
Natalie McCarthy45 Catherine St Leichhardt, NSW, 2040 Australia
Natalie McCarthyAUSTRALIJSKI PEJZAŽI
AUSTRALIAN LANDSCAPES
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ISPOLJAVANJE DISTANCE UBEDLJIVOG
ili
kako višestrukim pojednostavljenjem obogatiti
Možemorećidasesadovoljnogodstojanjanajboljevidi!Trebasamoodmerenoprocenitigdejetagranica,predaleko–promašaj,preblizu–promašaj.Ovo jepričaouspešnompronalaženju„distanceubedljivog“–po-godak! PrednamasuslikemladeaustralijskeumetniceNatalieMcCarthy(Sidnej,1974.)podnazivom„Pustinjskipejzaži“kojiokupljajudvadesetšestpejzažarađenihtehnikomuljenapločiiakvarel.NatalieMcCartyje1999.godinezavršilalikovnuumetnostnafakultetu„Nacionalnadržavnaškola“uSidneju,izlagalasamostalnoigrupnonavišeizložbi,anagradeipriznanjadobijalauAustralijiiAmerici. Internacionalniumetničkistudio„RadovanTrnavacMića“,izmeđuostalog,imausvomizlagačkomkon-ceptuipromocijunovih,presvegamladihlikovnihumetnikaizsveta–ipolaževelikiznačajupravoupribližavanjunašojpublicimladihumetničkihglasova,kojisusamosvojniiupečatljivi–štokrozsamostalnulikovnuizložbupotvrđuje i slikarka izAustralije,NataliMcCarthy.Došavšiunašgradoplemenila je inašeprelepe,uzvišene iviseznačnepejzažedaljinom-blizinompejzažakojeonaslikaikojenosiusvomoku,svompamćenju,usvojojduši.Ovipejzažisuutonuliunaskaokrhotinakrikapticekojasejaviiznenadaunoćiirazbudije! Slikanjepejzažabilojeraširenojošuantičkomslikarstvu,jošvišeuvizantijskomiranomsrednjevekovnomslikarstvu.Pejzažkaokompaktniprostorslikepovezanjesaranomrenesansom.Kaoprviprikazpejzažagdejepredeoautohton,stojisamzasebesmatrasejedancrtežLeonardadaVinčija,kaoiakvarelnipejzažiAlberhtaDir-era.Impresionizamkaopočetaksavremeneumetnostiističeznačajboje,bojekaozasebnogfenomenaupejzažui„otvara“slikukroznijanseiigrusvetlostiisenkekaozasebnebojeinsistirajućinauspostavljanjukompletnog,celo-vitogpredela.Upravonacelovitosti,kompaktnostipredelainsistiranašaslikarka.Uprvomplanujeoblast,predeo,vidokrug...apotomopažamoionoštogaupotpunjujeičiniosobenim. Beziskustva,proživljenihdogađaja,njihovogprelamanjanarelacijamačovek(umetnik)–okolinapros-tor,ili,pakkarelacijičovek(umetnik)–drugabićainjihovunutrašnjisvemir,nemožepostojatineštoštozovemoistinskoumetničkodelo,bilodajeupitanjuslika,pesma,muzikailibilokakavumetničkigest.Odiskustveneos-novepolazimo,njojsevraćamo,uviremoiizviremogradećivlastituumetničkuistinu–jedinotakvaistinaostajeprimećena,zabeležena,ostvarena.Togajeitekakosvesnaslikarkačijiopustekotkrivamo,avećnamnudipregrštopipljivogiimaginarnogsna. Onastankuovihslikatrebaprozboritiparreči... Njihove skice su nastale na licumesta, a potom su dograđivane na osnovu utiska, te poseduju dubokuautentičnost.Takođe,imaslikakojesunastalenakonprocesa,ilikaoposledicaprocesa„sazrevanjadoživljenog“,kaonaknadniumetničkigest,kaoispoljavanjedistanceubedljivog.Slikekojesuprednamasuvišenegoubedljive,sveže,nove,zavodljivonasvukuunepoznatepredele,daihotkrivamo,doživimo,razmišljamoonjima,prosuđujemo,ocenjujemoištojenajvažnijekaodeonjihsanjarimoonjima. Autorkanamjeverodostojno,aimaginativnouistimah,prenelaslikeizCentralnepustinjeAustralije.Pu-tovanjeiputkao„konstanta“umetnostisuutisnutiusvakodeloiskorodnevničkipričajuovarijacijamapredela,
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vazduha,osećanjakojasupratila„putnike“poAlisSpringsuiIstočnomiZapadnomMekdonelRenžsukakobislikovitoreklaportugalskapesnikinja:„dužpeščanihnabora/senkaulaziutalase-/jošjednomore“,autojdubinimuzikasemešasazemljom. Slikemožemosamovideti,„ovlašbacitipogled“,možemostudioznoposmatrati,meritisveelemente,teh-niku,likovniiskaz,ubedljivost–onoštojenajvažnije,gledaliihuprolazuiliciljanoostavljajuutisak,budejakuemociju,prepoznatljivusamokadajerečopravojumetnosti.Pokretijasni,umetničkousmerenje–čvrsto,izlaganjevlastitogkoncepta–nedvosmislenouverljivo. Svojeslikenijeopterećivaladetaljima,akopodpojmomdetaljsmatramonekakveukrasenasamomradu– i time jepogodilapravoumetu, sa relativnomalopoteza rekla jevišenegodovoljno,pojednostavljenjem jevišestrukousložnilanašugaogledanjaiusmerilagaupravomsmeru. Pojednostaviti=obogatiti.Rečjedakle,obogatimslikama,opredelimaupečatljivihbojakojesenče,bojeiocrtavajunašudušudoksmosanjimanasamoboravimouzatvorenomprostoruiliizazovnimdivljinama.Oneseređajuusvomritmuičinetelo-slikukojepulsiranaradostisrećuživota,prostranstvakojejesimbolslobode(umetničkeisvakedruge).Taprostranstvanemožeomeđitiramslikenitizidovigalerije... Imamoutisakdaautorkinijebiloodpresudnogznačajakakavutisakćenjenipejzažiostavitikodpublikeilikovnekritike,akadjetakav,istinskiumetničkiijedinomogućljudskipristupupitanju,skorodanemagreške.UraduNatalieMcCarthybeskompromisanpristupsvakojslici,bezobziranatrenutnudopadljivostiline,rezultovaojekadrovimakojisepamte.Tikadrovisukodiraniuravnoteženimbojama,skladnimnanosima,veštimzapažanjima.Većinaslikajeutehniciuljenaploči(recikliraneploče)korišćenjemspecifičnogaustralijskogokerpigmentakojijekarakterističanzabojepodnebljakojejeovimpejzažimaobuhvaćeno.Sampovršinskislojpločajespecifičneteksture(štopružauradumogućnostviše)idajebojupozadinikojajepotpunoadekvatnazanastaleradove.Slike,nastalevodenimbojama,pak,suumetničkiodgovornakvalitativnepromenekojenastajuuvremeizlaskaizalaskasuncaikojekaotakvetrajuuprirodiinaslici.Posebnostpejzažaporedličnogpečataautorke,dajuimaterijalikojeonakoristiikojisuupotpunomsaglasjusaumetničkimizazovom. NataliMcCarthyjeizmeđuostalogidobitnicanagradezajavnoslikanje–slikanjenastenamaštosamoideuprilogtvrdnjidaseradiodinamičnomautorukojisenajboljesnalazinaotvorenom–u„svomposedu“,pastoga imamoživopisnepejzažeAustralijekoji semenjaju sapromenomdeladana,promenomvremena,ukojeuplovitamnioblakiliizkojihizronizračaksuncapružajućinamtimemogućnostdaovepejzaže,nasvojnačin,metaforično,doslikamo.Delojeotvoreno,svedaljejestvarnašeinventivnosti.
Dejan Bogojević multimedijalni umetnik
Napuštene dine –jedna svraka
kljuca poslednje bobice.*
FredHopman
*HaikuizAntologijesvetskoghaikua„Oblaciunajkraćojnoći“/„Cloudsintheshortestnight“,priredioDejanBogojević,str.35,Valjevo–Beograd,2009.
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ESTABLISHING THE CONVINCING DISTANCE or
How to enrich using multiple simplifications
Itissafetoascertainthattheoptimalperspectivedependsonthedistancefromwhichoneobserves.Allittakesisfortheobservertocarefullychoosetheviewpoint,becauseeitherhavingmovedawaytoofarorcomingtoonear-youhavemissedit!Thisisthestoryofestablishingtheconvincingdistance. We stand before the artwork collection of Australia’s Natalie McCarthy (born in 1974 in Sydney) entitled Desertscapes,encompassing26landscapesdoneinoilonboardandaquarelle.Nataliegraduatedinfineartfromherhome town’s National State School in 1999. Her work has been included in numerous collective and solo exhibi-tionsandwonawardsinbothAustraliaandtheUSA. Amongotherthings,theInternationalArtStudioRadovanTrnavacMićafocusesitspresentationalendeav-oursonpromotingnew,aspiringandpredominantlyyoungartistsfromaroundtheworld.TheStudiosteadfastlymaintains the importance of presenting original and striking artistic appearances.This policyfinds its ultimateconfirmationinthesoloexhibitionofNatalieMcCarthy’swork.Hervisittoourtownshedsnewlightonourownenchanting,sublimeandevasivelandscapesthroughtheapplicationofherfar-nearbrushstrokeinthelandscapesthatshepaintsandholdsdeartohereye,memoryandsoul.Theselandscapessinkintoourheartsresemblingshiver-ing shrieks of a bird disturbing the still of the night. LandscapingwasawidelyappliedgenreinancienttimesandevenmoresoduringtheByzantiumandEarlyMedievalperiods.Promotinglandscapesasindependentandcompactpaintingthemes,however,isdirectlyrelatedtotheEarlyRenaissance.FirstdepictionsofisolatedlandformsincludeadrawingdonebyLeonardodaVinciandaquarellelandscapesofAlbrechtDürer.Impressionism,whichmarksthebeginningofcontemporaryart,shiftsthefocusofpaintingtocolour,astheprimeandindependentphenomenonoflandscapes.Itsuseofnuancesandimagerybasedonthecontrastoflightanditsseparatecolouringcounterpartofshadow,introducedanoriginaladditiontotheinterpretationoflandscapesbyinsistingontheformationofacompleteandinseparablearea.AnditisexactlythiscompactnessandentiretythatNataliepersistson.Theforegroundofherpaintingsisfilledwiththelandforms,theirenvironmentandthehorizononlytomakewaytothecomplementinganddistinctivefeatures. Itishardtoimagineatrueworkofart,beitapainting,poemormusic,withouttheinterferenceofexperi-encesthatappearintherelationshipbetweentheman(artist)andhisenvironment,orbetweenthemanandotherbeingsandtheirinneruniverses.Thisempiricalfoundationisbothourstartingpointandourretreat.Itiswherewekeepreturningintheprocessofcreatingourownartistictruth,thusensuringthatitremainsnoticeable,recordedandfulfilled.Theartistwhosecreativeworkwearediscoveringismorethanawareofthisfact,offeringbeforeoureyes a multitude of tangible and imaginary dreams. Itisworthsayingafewwordsabouthowthesepaintingscametolife. Thesketchesforthepaintingsweredoneatlocation,onlytobesupplementedbytheartist’slaterimpres-sions,whichmakesthemprofoundlyauthentic.Furthermore,somepaintingswerecreatedafteraprocessofremi-niscingtheexperience,orasasubsequentartisticactthroughtheprocessofestablishingtheconvincingdistance.Therefore,theyareconvincing,freshandnew.Theirtemptingallureforcesustoexplore,experience,contemplate,evaluateandmostimportantlydaydreamabouttheunknownsceneries.
byDejan Bogojevićmultimedia artist
7* AhaikupoemtakenfromtheAnthologyofInternationalHaiku“CloudsintheShortestNight”,selectedbyDejanBogojević,p.35,Valjevo–Beograd,2009.
Theauthormanagestodrawahighlyauthentic,yettrulyimaginativeimageoftheCentralAustralianDesert.Travellingandjourneysareintheessenceofherart.Theyarestronglyimprintedinhereverypieceandbringforthanalmostdiary-likeaccountsofthevarioussceneries,atmospheresandemotionsthataccompanyherwandererstravellingthroughAliceSpringsandEasternandWesternMacDonellRanges.IntheinspiringwordsofaPortu-guesepoet-“Alongthesandcreases/ashadowentersthewaves/anothersea”.Itisinthesedepthsthatthemusicblends with the soil. Herpaintingscanbemerelyglancedatandyettheycanalsowithstandanin-depthscrutinyoftheirele-ments,technique,artisticexpressionandpersuasiveness.Mostimportantly,whetherwearetogivethemnomorethananimpatientglanceortoventureintomoresubtleinterpretations,theyarousestrongemotions,theonesthatcanonlyemergewithtrueworkofart.Clearbrushstrokesandstrongorientationcauseherartisticconcepttocomeout as unambiguously convincing. Herpaintingsarenotburdenedbydetails,ifbydetailsweunderstandanydeliberateornamentation.Thisconcept proves to be right on target, as a relatively small number ofmoves thatNataliemakes saymore thanenough.Throughtheprocessofsimplifying,Nataliemanagestomultiplyperspectivesandtopointourattentioninthe right direction. Tosimplifyistoenrich.Wearetalking,therefore,aboutpaintingsabundantinsceneriesofstrikingcolours;colourswhichtraceandshadeoursoulsregardlessofwhetherwearesecludedinprivatechambersorexposedtothevastnessoftheinfatuatingwilderness.Withtheirrhythmicalsetting,thesecoloursgivebirthtoabody-picturewhichreverberateswiththejoyoflifeandvastnessasthesymbolof(artisticoranyother)freedom.Thisvastnessrecognizesnoboundariesofpictureframes,orforthatmatter,anygallerywalls. Onegetstheimpressionthattheauthorisnotdeterredbywhatimpressionherlandscapeswillhaveonheraudienceorartcritics.Withsuchagenuineartisticandalmostonlypossiblehumanapproachresultsareinevita-ble.NatalieMcCarthy’suncompromisingconceptofeverypainting,withlittleregardforthedemandsofcurrenttrends,summonssomeremarkablymomentousscreenshotscodedinbalancedpalette,harmoniouscompositionsandshrewdobservations.Mostpaintingsweredoneinoilon(recycled)boardtechnique,utilizingtheauthenticallyAustraliansiennapigmentofitslandscapes.Thespecifictextureoftheboardsurfaceprovidestheartistwithnumer-ouspossibilitiesandsetsthebackgroundtonewhichfullycorrespondswiththenatureofNatalie’spaintings.Theaquarelles,ontheotherhand,ariseastheartist’sresponsetothequalitativechangesbroughtaboutbysunriseandsunset,whoseenchantingcontinuityappearsbothinnatureandimage.Inadditiontotheuniquelyoriginalmarkoftheartist,thesepaintingsarealsogivenaspecialqualitythroughthematerialsthatsheuseswhichareinfullaccordwith her artistic challenge. Amongothers,NatalieMcCarthyhasalsobeenawardedprizesforpublicpaintingonrocks,whichfurtherconfirmsherreputationasadynamicartistwhosefavouritefieldofoperationistheopenspaceofherrealm.ThisisprobablywhyherpaintingsshowpicturesqueAustraliansceneriesalteringwith thechangesofdaycyclesorweather.Asuddenarrivalofadarkcloudprotrudedbyasinglerayofsunlightprovidesuswithauniqueopportunitytocompleteherimageryinourown,metaphoricalmanner. NatalieMcCarthy’sworkisinviting.Everythingelsedependsonourinventiveness.
Forlorn dunes –a magpie
pecks on the last berries.*FredHopman
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NATALI MEKARTI
Kad nevidljivo postane vidljivo
Australija je drevni kontinent na kome se nalaze neki od najstarijih zem-aljskihkrajolikanastalihprevišeod3milijardegodina.Velikideoaustrali-jskogstanovništvanastanjenjeupriobalnimgradovima,aogromnapovršinaunutrašnjostidržaveveomajeretkonaseljena.NasuprotdoseljenicimakojisuuAustralijustiglipresamookodvaveka,narodAboridžinaovdeživivećstohiljadagodina.Aboridžiniverujudasuodzemljenastaliinepoznajupojamposedovanja zemlje.Oduvek su gajili veliko poštovanje prema zemlji kaoizvorištusvekolikogživota, testoganečudidaobredikojimaseslavesvabitnaobeležjazemljeiprirodečineneodvojivideoaboridžinskogpostojanja.NataliMekartiimalajetuprivilegijudaprovedeizvesnovremesaovimtradi-cionalnimčuvarimasvogazavičajaiverovatnosnažnijeodbilokogdrugogumetnika koga poznajem razvila osećaj poštovanja prema svetosti i lepotiaustralijskog reljefa i mitologije. Svetlost koja obasjava centralnu Australiju sasvimjedrugačijaodonepoznatestanovnicimaEvropeinaposebannačinnaglašavaiističekoloritinagostaustralijskeunutrašnjostiinjenogreljefa.Natalije,poputsvakogdobrogumetnika,samoukazalanastvarikojesusvevremetu,prednašimočima,aliprolazeneprimećene.Protkalajesvojeslikenitimaprošlosti,posvećenjaislavljenjaprirodnihlepotaaustralijskihpejzaža.Ovuznačajnuizložbupriredilajeumetnicavanrednogtalentaiosećajnosti.ImaosamtusrećudasaNataliproputujemdelovesredišnjeAustralijeidakroznjeneslikeustanovimdajeonoštojemomokunekadabilonevidljivo,najednompostalovidljivo.Stogavamtoplopreporučujemovuizložbu.
Teri Katklif
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NATALIE McCARTHY
Making the Invisible, Visible
by
Terry Cutcliffe
Australia is an ancient continent with some of the world’s oldest landforms datingbackmorethan3billionyears.MostofAustralia’spopulationlivesincoastalcitieswithonlyasparsepopulation in thecentreof thecountry.AboriginalpeoplehavelivedinAustraliaforabout100,000yearsandnonaboriginalpeopleforjustover200years.Aboriginalpeoplebelievethattheyareofthelandanddidnothaveaconceptof“owning”landandtheyalwaystreatthelandwithgreatrespectasitisthegiverofalllife.Sacredceremo-niescelebratingallaspectsofthelandandnatureareabsolutelyintegraltoaboriginallife.NatalieMcCarthyhashadtheprivilegeofspendingtimeinCentral Australia with traditional custodians of the land and more than any othernonaboriginalartistIknowhasdevelopedasensibilityastothesacred-nessofthelandforms,mythologyandbeautyofthelandscape.ThelightinCentralAustraliaisverydifferenttothelightofEuropeandaccentuatesandexaggerates the colour and starkness of the land and its features. Natalie has donewhatallgoodpaintersdoandthatistoshowussomethingthatwasthereallalongbutwhichwehadnotnoticed.Nataliehasimbuedherpaintingswitha sense of time and sacredness as well as a celebration of the natural beauty ofthelandscape.Thisisasignificantexhibitionbyanartistwithwonderfultalent and sensitivity. I have been fortunate enough to travel with Natalie throughpartsofCentralAustraliaandthroughherpaintingsIhavenowfoundthat what was invisible to me is now visible. I commend the exhibition to you.
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SkicaIstočnogMeka,NT(Severnateritorija),april2006,Uljenadasci,15x55cmEastMacsSketch-NTApril06,Oilonboard,15x55cm
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ZoranaElisHiltopu,NT(Severnateritorija),posećanju,2007,Uljenadasci,15x30cmAliceHilltopDawnNTMemory07,Oilonboard,15x30cm
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PustinjskiputNT(Severnateritorija),posećanju,jul2007,Uljenadasci,60x120cmDesertRoadNTMemoryJuly07,Oilonboard,60x120cm
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Sećanjenaplaninskivenac,maj2007,Uljenadasci,60x90cmMountainRangeMemory-May07,Oilonboard,60x90cm
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PutzaArltunguIINT(Severnateritorija),posećanju,avgust2007,Uljenadasci,20x120cmRoadtoArltungaIINTMemory-Aug07,Oilonboard,20x120cm
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PutzaArltunguVNT(Severnateritorija),posećanju,avgust2007,Uljenadasci,60x90cmRoadtoArltungaVNTMemory-Aug07,Oilonboard,60x90cm
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PutzaArltunguVINT(Severnateritorija),posećanju,septembar2007,Uljenadasci,19x120cmRoadtoArltungaVINTMemory-Sept07,Oilonboard,19x120cm
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PutzaArltunguIIINT(Severnateritorija),posećanju,maj2007,Uljenadasci,50x200cmRoadtoArltungaIIINTMemory-May’07,Oilonboard,50x200cm
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PutzaArltunguIVNT(Severnateritorija),posećanju,avgust2007,Uljenadasci,50x200cmRoadtoArltungaIVNTMemory-Aug07,Oilonboard,50x200cm
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BrdouCentralnojpustinjiNT(Severnateritorija),posećanju,maj2009,Uljenadasci,20x41cmCentralDesertHillNTMemoryMay2009,Oilonboard,20x41cm
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ZorauklisuriTrefinaIII,posećanju,2007,Uljenadasci,50x200cmTrephinaGorgeDawnIIIMemory2007,Oilonboard,50x200cm
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SumraknaJuntaputuS.A(JužnaAustralija),posećanju,mart2011,Uljenaplatnu,35x180cmTheYuntaRoadDuskS.AMemoryMarch11,Oilonlinen,35x180cm
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PoglednajezeroTorens,kasnopopodne,poskiciS.A(JužnaAustralija)septembar2010,Uljenadasci,27x58cmViewtoLakeTorrensLateAfternoonSketchS.ASept10,Oilonboard,27x58cm
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PoglednaKlisuruParačilna,zalazaksunca,poskici,S.A(JužnaAustralija),septembar2010,Uljenadasci,15x57cmViewtoParachilnaGorgeSunset-SketchS.ASept10,Oilonboard,15x57cm
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KlisuraBračina,podneS.A(JužnaAustralija),posećanju,mart2011,Uljenaplatnu,64x79cmBrachinaGorgeMiddayS.AMemoryMarch11,Oilonlinen,64x79cm
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PoglednaCentralniFlindersS.A(JužnaAustralija),posećanju,mart2011,Uljenaplatnu,46x66cmCentralFlindersViewS.AMemoryMarch11,Oilonlinen,46x66cm
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Pustinjskaravnica,posećanju,februar2011,Uljenaplatnu,46x65cmDesertPlainMemoryFeb2011,Oilonlinen,46x65cm
27VenacHejsen,poskici,kasnopopodne,mart2011,Uljenaplatnu,70x70cmHeysen Ranges - Sketch Late Afternoon March 2011, Oil on linen, 70 x 70 cm
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ABCvenac,podne,skica,mart2011,Uljenaplatnu,70x100cmABC Ranges Midday March Sketch 2011, Oil on linen, 70 x100 cm
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KlisuraParačilna,kasnopopodne,skica,septembar2010,Uljenaplatnu,56x66cmParachilnaGorgeLateAfternoonSketchSept10,Oilonlinen,56x66cm
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PoglednaBlinmanPuls,peške,zora,poskici,septembar2010,Uljenadasci,27x42cmViewtoBlinmanPoolsWalkDawnSketchSept10,Oilonboard,27x42cm
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ABCGorje,podne,poskici,avgust2010,Uljenadasci,11.5x29.5cmABC Hills Midday - Sketch August 10, Oil on board, 11.5 x 29.5 cm
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Pogledizkombija,svitanjefaza1,skicaseptembar2010,Uljenaplatnu,19x60cmViewfromVan-SunriseStage1SketchSept10,Oilonlinen,19x60cm
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Pogledizkombija,svitanjefaza2,skicaseptembar2010,Uljenaplatnu,19x60cmViewfromVan-SunriseStage2SketchSept10,Oilonlinen,19x60cm
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DATUM ROĐENJA11.septembar1974.god.
OBRAZOVANJE1999 Diplomiralajelikovnuumetnostnafakultetu“NacionalnaUmetničkaškola”uSidneju.
RADNO ISKUSTVOOd2004.dosada Koordinatorumetnikasainvaliditetom,RoomiesArtspaceandBoardingHouseProject Newtown Neighbourhood Centre
SAMOSTALNE IZLOŽBE2007 (oktobar) Desertscapes,Galerija“EdisonRoud”,Markvil,Sidnej
GRUPNE IZLOŽBE2009. (februar) RoomiesattheHouse-BoardingHouseArtistsandTheirMentors,Galerija“FountnKort”, ParlamentNovogJužnogVelsa,Sidnej.2008. (jul) MOST-(MarrickvilleOpenStudioTrail),Galerija“Upstairs“,Centar“EdisonRoud”, Markvil, Sidnej.2006. (april) VelikoBekstvo,Galerija“Kofer”,FestivalVeklikoBekstvoNjuingtonArmeri,Sidnej.2005. (jun) MOST-Galerija“Upstairs“,Centar“EdisonRoud”,Markvil. (septembar) SixYearsOut,Galerija“EdisonRoud”,Markvil.2004 (mart) Spectrum2004,NASAlumni,Parlament,UlicaMekjuri,Sidnej.2003 (jul) Pejzaži-DeoizložbemarkvilskogsavetaAjronsajd,Galerija“Vestsajd”,Markvil. (april) 4Umetnika-Galerija“Global”,Pedington,Sidnej2002 (oktobar) Allumination,NASAlumniizložbaNASGalerija“SelBlok”,Darlingharst,Sidnej.
NAGRADE I PRIZNANJAJul 2008. Markvilska nagrada savremene likovne umetnosti, Inner West, Sidnej. 3.april2005. Umetnostnastenama-Javnoslikanjeiizložba,TheRocks,Sidnej.2.april2005. IzložbafinalistaBrettWhiteleyTravellingScholarship,Studio“BrettWhiteley”,Surry Hills, Sidnej.1999. NagradaJefferySmartTravellingLifeDrawing-NAS,SydneyandNewYork.
NARUČENI PROJEKTI2005/2004 3xBackdropsforartistAnneZahalka’sTableauxPhotoPortraits Uključujući“Novocastrians”-odabranefinalisteCitygroupaPortraitPrize, AGNSW,20042000 “Cattleena”-MovingArtCow-StrandArcade,Sydney.
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DOB September11th1974
EDUCATION1999 BFA in Painting, National Art School, Sydney.
EMPLOYMENT 2004–current DisabilityArtsCo-ordinator,RoomiesArtspaceandBoardingHouseProjectNewtown Neighbourhood Centre
SOLO SHOWS2007Oct Desertscapes,AddisonRdGallery,AddisonRdGallery,MarrickvilleSydney
GROUP EXHIBITIONS2009Feb RoomiesattheHouse-BoardingHouseArtistsandTheirMentors,FountainCourtGallery, Parliament of NSW, Sydney. 2008July MOST-(MarrickvilleOpenStudioTrail),UpstairsGallery,AddisonRdCentre, Marrickville, Sydney.2006April GreatEscape,SuitcaseGallery,GreatEscapeFestival NewingtonArmery,Sydney.2005Sept SixYearsOut,AddisonRdGallery,Marrickville.June MOST-UpstairsGallery,AddisonRdCentre,Marrickville.2004March Spectrum2004,NASAlumni,ParliamentHouse,MacquarieStSydney2003July Landscapes-PartofMarrickvilleCouncilIronsideExhibition,WestsideGallery, Marrickville.April 4Artists-GlobalGallery,Paddington,Sydney2002Oct Allumination,NASAlumniExhibitionNASCellBlockGallery,Darlinghurst,Sydney.
PRIZES AND AWARDS2008/07 MarrickvilleContemporaryArtPrize,InnerWest,Sydney.2005/04/03 ArtonTheRocks-PublicPaintingandExhibition,TheRocks,Sydney.2005/04/02 BrettWhiteleyTravellingScholarshipFinalistExhibition,BrettWhiteleyStudio, Surry Hills, Sydney.1999 JefferySmartTravellingLifeDrawingPrize-NAS,SydneyandNewYork.
COMMISSIONS2005/2004 3xBackdropsforartistAnneZahalka’sTableauxPhotoPortraits including“Novocastrians”-SelectedfinalistinCitygroupPortraitPrize, AGNSW,20042000 “Cattleena”-MovingArtCow-StrandArcade,Sydney.
IZLOŽBASLIKA
Natalie McCarthyKnjiga
Book 32Izdavač
Publisher
INTERNACIONALNIUMETNIČKISTUDIORadovanTrnavacMića
INTERNATIONALARTSTUDIOUrednikEditor
Mirjana Vojić
PripremaidizajnPrepressanddesignSlobodan Rajević
Uvodnitekst Introductory textDejan Bogojević
PrevodTranslationIvan Manić
FotografijeslikaPhoto by
Philip KlaunzerUmetničkadelaopremioateljeArtworksequippedbystudio
ŠtampaPrinted by
VALJEVO PRINTTel.014/238-125
TiražCirculation
500maj 2011.
ISBN978-86-84653-20-0
