altitudeart

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ALTITUDE ART

Karen Casey

Being an artist with a strong affinity to the land I endeavour to maintain and express a sense of connectedness to the natural environment within the urban landscape. I feel that even in the city, the land beneath us retains an energetic memory of its past – a kind of primal echo that underpins our ability to feel at one with our environment.
Jane Dyer  

“Dyer’s abstracted artworks reference buildings, maps and landscapes, but not particular physical locations. Dyer layers these references with more ephemeral effects – heat, light, veils of colour, fog, smoke or haze. Her paintings operate as a state of flux, pointing towards an understanding of a site or history, but recognising that responses are momentary and individual: they shift with time.’

Lesley Harding, Curator, Australian Paper Art Awards 2001
Martin King
Like the moment between sleeping and waking, the subtle rhythms of the natural world are invoked in my work. The work requires contemplation and concentration, much as one might contemplate or concentrate on nature itself. The experience of the environment, the subtle organization of natural forms and the observation of seasonal phenomena is the subject of my work.
Jill Orr
My images, wether performed, painted, or captured for the camera, are about a large picture containing the psychic architecture where multiple identities can be seen, making visible pathways which are etched both in and on the land and in and on behaviours. Altitude, for me is the birds eye view encompassing land and the people within it.
Tony Scott
“For some years now Tony Scott has steeped himself in the visual history of Asian cultures, seeking out foreign encounters with architectures and human histories across China, Indonesia and Japan. In each instance the magnetic attraction to the specific features of a building or fabric decoration is driven by a deep sense of reverence for the living faces behind the physical object observed.”
Anna Clabburn Art Critic- Tony Scott A Tiger in the Grid, catalogue essay, August 2000
Damian Smith
Communicating an experience of place and history, wether in the context of a journey, or through remaining in a single location, has been the predominant focus of my recent work. It has also been guided by a fascination with how light travels, and illuminates, all that we see, creating both illusion and reality alike.
Catherine Woo
Investigating the connections between materiality and the subconscious, my work explores sensorial experiences of the landscape via the use of base, elemental materials and patterns that appear both natural and manmade. The use of raw materials, their interaction and interrelationships, is an important aspect of the work’s function, as they relate directly to the viewer as part of their physical world.
Dagmar Cyrulla
My work centres on a strong, figurative narrative and I will be searching for characteristics amongst the local people that represent the salt of the earth, qualities so often evident amongst rural identities. I hope to paint from real life sittings at Jeparit and at Lake Hindmarsh and in doing so, the visual and conversational triggers will present me with a solid sense of the human condition as it has been weathered and confronted by the unpredictability of life on the land, its seasons and the hardship of drought.
 
Jay Watson

As a photographic artist I plan to record the regions landscape in all its vagaries and moods while highlighting the environmental pressure the region faces; from the dry barren lake beds to the wildlife and plant life that remains in waiting for the lifeblood to return- water.

As a documentary photographer and videographer I will be recording the artists engagement both physically and emotionally with the region, the landscape, it's community, and the art that is created from it.

 
Anthony Pelchen
This project will result in a new body of work comprising drawing, painting and video. Central reference points will be the epic, empty space of Lake Hindmarsh, the nearby Pella Lutheran Church and the black waters of the Wimmera River downstream (where I live). These sites will provoke a consideration of the psychological disorientation associated with cycles of ‘environmental empty and full’. This will extend ongoing work reflecting on body and land depletion and processes of reordering, reorientation and regeneration.