AMILTON D E S I G N G L A S S The artwork of Jeffrey Hamilton

Australian artist Rhett Brewer showed a new collection of landscape and seascape paintings in oils and acrylics at Project Gallery 90, Oxford Street Paddington for a three week stint in July 2019. I enjoyed the show very much; it was refreshing with many vigorous works full of energy, firmly rooted in the geometry teased out of rock formations and fault lines, juxtaposing mass and horizon.

Rhett and I go back a long way: we grew up together in Sydney's Georges
Hall and subsequently attended Condell Park High School. He then
vanished into the Public Service until we crossed paths once again while
Rhett was teaching Fine Art at the University of Western Sydney

These paintings hover between opacity and transparency and in addition to the spatial geometry I think that's what's so intriguing about them. Rhett's masterful handling of water is clearly evident in Bays entrance. The transparency he achieves in Floating Wall is arresting. And it is literal as well as metaphoric: in the midst of the standing wave, about to break, we are actually looking through a kind of glaze to the under-painting beneath.

As the title of the exhibition implies, all of the paintings are of or around Cape Banks, a very easterly promintory at Sydney's Little Bay. Covering bright sunshine and cold and gloomy days, Sydney's sandstone coastline lives through these paintings.

Fast Life is a collaboration between graphic designer Jacob Pramuk and product designer Leonard Velich. The project started about two years ago when they combined a graphic drawing, a functional product and the old craft of neon sign making to create a unique combination of art, light and function. The goal was to create handcrafted art objects that are not only visual pieces but also functional lighting products.

I managed to catch a superb exhibition of drawings by Australia's Brett Whiteley on its last day at the Art Gallery of NSW. Whiteley was not only a superb draftsman but a virtuosic artist with brush&ink, charcoal and pen. He used ink washes sparingly but to great effect. And drawing for Whiteley was no means to an end: it WAS the artwork.

Whiteley's line is so vigorous and full of life, and he has a knack of contrasting strong, simple forms with intense detail.

His line is so sinuous that at times it becomes sensuous. The famous "Road to Berry", inspired by a drawing of the same name and location in southern NSW by Whiteley's hero Lloyd Rees, is an early example where his landscape surreptitiously describes the female form.

A master of composition and invention, Whiteley also plays with perspective and the picture plane, attacking a canvas boldly.

These shots were taken rather hurriedly at the last minute, just before closing when I discovered there was no catalogue to the exhibition. And reflection is always a problem with works under glass.

The exhibition did include a set of Whiteley's timber sculptures-and rightly so as they are virtually drawings in space using timber as the medium. A sheet of concept drawings for the sculptures was displayed opposite.

Drawing is an integral part of my practice also. It is not only essential in creating a stained glass window but an enjoyable and therapeutic activity and though it does require discipline its a very satisfying way to make art; this exhibition inspires me to go out and draw more!

Its been a big year. The continuing project for new stained glass windows in the clerestory of St Peter's Anglican Church at East Maitland, NSW for which I installed two windows in 2016 and two in 2017, required three windows this year.

I did manage to squeeze in a solo exhibition at m2 Gallery in Surry Hills mid-September, just prior to the late October installation at East Maitland. I was rather desperate to exhibit as this was my first solo show in over a decade. I am pleased it was so well received, despite falling on the same weekend as Sydney Contemporary at Carriageworks.

The beginning of the year saw the team rebuild and install 12x decorative leadlight windows from the Oxford Room of St Mathias' Anglican Church in Paddington, having excavated the original windows the previous December. These leadlights were in the worst condition I have ever come across, and everyone in the Parish community was thrilled with the result.

With the St Matthias project underway I was concentrating on completing a new window for Wesley Uniting Church in Forrest, ACT with a very specific (and consequently rather difficult) brief. Featuring an angel bearing a lit candle, it was installed end of January after a long gestation.

Also in Jan/Feb I made a residential fanlight for a couple in Newtown which featured a lyrebird. They own a bush block up on the Central Coast of NSW frequented by lyrebirds and wanted to make special note of that in the Newtown property.

As soon as St Matthias was completed mid-February, the studio got underway with restoration of two lancets from a 5x lancet set of ornamental stained glass in what is now the Chinese Christian Church in Milson's Point. Completed in 1888, this handsome Victorian Gothic building was formerly a Congregational Church and the windows, on the point of collapse until we got them out, are quite pretty.

While all that was going on, I got away for two weeks in April/May with my boyfriend to Vietnam, travelling to Saigon, Da Nang and Nha Trang; it was my first trip to an Asian country and I had a great time.

So yeah, 2018 was a big year, finishing on a busy session of installations for a residential client in Balmain, restoration of a John Ashwin window from St James Catholic Church in Glebe and removal of the Main Hall windows at St Matthias Paddington, to be rebuilt early in 2019. There were various other smaller jobs throughout the year as well, and in amongst it all, slowly but surely Jon Doe and I made progress on a collaborative work which will be constructed in January for the exhibition titled INTERCHANGE at M16 Gallery in Griffith, ACT in February 2019. This exhibition will be a satellite show concurrent with the Ausglass/NZGAS CoLab Conference in Whanganui, NZ

The studio has been working on a series of windows for St Peter's Anglican Church in East Maitland, NSW for the past three years. In 2016 we installed two double lancet sets to the clerestory, two in 2017 and two more this year, which completes the set of six windows commemorating the six regional Parish Churches in the mother cathedral. And this year we also produced a third double lancet window, shown above, illustrating the Conversion of St Paul on the road to Damascus

As in the earlier windows of this set, I drew inspiration from historical reference points: for St Peter a Baroque sculpture by Pierre Etienne Monnot found in the Church of San Giovanni Lateranno in Rome and for St Andrew a sculpture by the little known artist Domenico Guido in Sant Andrea della Valle in Rome

For the design of the St Paul window I decided it was necessary to cast the image across both lancets, ignoring the stone mullion between. The Conversion of St Paul on the Road to Damascus has been painted by many different artists; a Google search will reveal hundreds. I drew inspiration from both Caravaggio and Ludovico Carracci., combining elements of each painting. The Sword of Truth in the quatrafoil above represents Paul's instrument of martyrdom.

My first major solo show for twelve years drew a large crowd for opening night and a steady stream of friends and curious visitors to m2 Gallery in Elizabeth Street Surry Hills.

For lots of photos of the Opening Night go to the m2 Gallery FaceBook page

UNPUBLISHED [and rarely seen] WORKS

THURSDAY 13th- MONDAY 17th SEPTEMBER 2018

Apart from a small two-person show at Glass Artists/Gauge Gallery in Glebe in 2016, this is my first solo for many years. The exhibition will comprise Works on Paper, Collage/Assemblage and Stained Glass.

Technically many of the works are not "Unpublished" at all, since they
feature on this website. But they have not been exhibited in a physical gallery before, hence the title. Some have had one or two outings in the past couple of decades, in group shows around the country, and three damaged works have been especially restored for this show. There will be one completely new work in stained glass.

m2 Gallery is located at 450 Elizabeth Street, Surry Hills, not far up the hill from my workshop at Central. It is a well-managed hire-space that has featured some excellent artists over the past few years. I will be in attendance for the 5x days of the show so if you are in Sydney please make an effort to drop in between 9am - 6.30 pm Thursday- Monday.

I do occasionally take time out from my art practice, albeit rarely. Late April early May saw me travelling through Saigon, Da Nang and Nha Trang, with side trips out to Ba Na, Hoi An, Tay Ninh and Vung Tao. Here is a short photo essay of my holiday.

Sabbia Gallery of Paddington in Sydney kicked off 2018 with a resoundingly successful iteration of their annual Masters series, this one titled Sketch. Some of the participating artists responded enthusiastically to the theme, others more obliquely or perhaps not at all.

Certainly Matthew Curtis is on the former category with his "Neodymium and Grey Incline" shown above, with a cut-out photograph of him drawing on the floor with his dogs curled around him making what appears to be a shadow cast by the glass tower.

Giles Bettison on the other hand has chosen to show us in intricate detail the planning that went into the making of "Chroma 2018 #4" as a framed sketch, while Tom Rowney has sketched the form he has made for the exhibition.

Showing by far the largest piece in the exhibition, Jenni Kemarre Martiniello has drawn into and onto the glass and inscribed the names of fallen Indigenous soldiers into her "Gallipoli Pole, 2015"

As part of my 5x week exploration of stained glass in Europe, I was invited to teach a workshop for Peli Glass in Zoetemeer, a suburb of The Hague, looking at principals of design as they apply to stained glass and glass painting in particular. It was a small workshop, with only three students, but no less exhausting for that.

We began on the Friday evening with a slide show and a session examining basic design through additive composition, the results of which can be seen in the group photo above.

Saturday morning kicked off with a series of quick sketches in brush & ink and then charcoal (above) to loosen up and familiarise themselves with the still life, the subject of a longer study in graphite and/or charcoal.

The students were then set the task of converting this drawing into something that could be cut out of glass, all the while deciding what is to be painted and what defined by leadlines.

Once the glass had been selected and all cut, students then placed theglass assembly over the original long study and began to paint the trace line.

We were certainly lucky having a well-equipped workshop to work in. It
meant that several firings could be accomplished in a day as well as
overnight. This allowed for another exercise to run concurrently, something much more free and experimental.

There wasn't time of course to actually build the panels but I was certainly pleased with the results and each student went away with a head full of new ideas and techniques. And I continued on my journey, catching the train back to Amsterdam to see firstly the Rijksmusem, then Cobra and Jan van der Togt Galleries before catching a train to Paris for 12x days.

My whole European sabbatical was structured around this workshop at Peli. It was the trip of a lifetime, with enough inspiration & photographs to fill twenty blogs!