Penaga Hotel will be hosting Australian sculptor, Dan Wollmering, as Artist in Residence during the months of June & July. During his stay, Wollmering will be researching and documenting architectural forms from a variety of sources in George Town − as a catalyst for new abstract sculpture. Using the rich and diverse cultural make-up of Penang and the built-environment structures emanating from Malay, Chinese and Indian influences, Wollmering will be locating and referencing unique constructs as a conduit to new sculptural forms in his practice. Using mainly cardboard and low-tech construction methods, he will be creating hypothetical sculpture maquettes with a chosen few being made in steel by a local sculpture fabrication firm in Penang. These new works will then be exhibited in the Penaga Hotel and at Flinders Lane Gallery; a commercial gallery in Melbourne that he has been exhibiting with since 1990.
Wollmering has been involved in making sculptures for close to 40 years in Australia. He has 25 solo-exhibitions and work in over 50 group exhibitions in Australia and Internationally. His work is in private, public and corporate collections in: Australia, Canada, China, Malaysia and the USA. He also writes about contemporary sculpture and public art and presents at International Conferences related to his research and practice.
Dan Wollmering holds a PhD, MFA and BA and is a Senior Lecturer in Sculpture + extended media in the Faculty of Art Design and Architecture at Monash University, Melbourne, Australia − where he enjoys the challenges of teaching and research and the energy that students bring to the Sculpture Studio under the motto: ‘think it − make it − talk it.’
Dan will be working in the Penaga Artist in Residence Studio on a regular basis and you are most welcome to pay him a visit and see how the work is progressing. His contact details are: [email protected]
Agustian Supriatna, an abstract painter, was born 1981 in Lampung, Sumatra, Indonesia. His composition is very unique. A combination of soft and bright colors, wild lines and brush strokes that create harmony, is bringing the audience to free explore his paintings. He also creates sculptures out of found metal objects.
Indonesia’s famous abstract painter Affandi the Maestro inspired him to be an artist. He studied with Indonesian elder painters and one of them was Roedyat Martadirejda who gave him the task of sketching every day for the rest of his life.
Agustian Supriatna moved to Bali 1999 and has been living there until now. His paintings and sculptures have been exhibit internationally and his recent solo exhibition at Art Expo Malaysia 2012 was sold out.
Represented in following countries over the world; America, Australia, Belgium, Denmark, France, Germany, Holland, Hong Kong, Malaysia, New Zealand, Singapore and Thailand.
Barbara Wildenboer was born in Pretoria, South Africa in 1973. She completed a BA (Ed) with majors in English literature, Psychology and Pedagogics at the University of Pretoria in 1996. In 2003 she obtained a Bachelor of Visual Arts from UNISA followed by a Masters in Fine Art (with distinction) from the Michaelis School of Art at the University of Cape Town in 2007.
Wildenboer has been awarded several international residencies such as the Unesco-Aschberg residency (Jordan, 2006), the Al Mahatta residency (Palestine, 2009) and the Red De Residencias Artisticas Local (Colombia, 2011) and the Rimbun Dahan artist residency (Penang, Malaysia, 2013). In 2011 she was nominated and subsequently selected as one of the top 20 finalists for the Sovereign African Arts Award for which she received the Public Choice Prize.
To find out more on Ms. Wildenboer, visit http://barbarawildenboer.com/
Sangeeta Sandrasegar works within a research-based practice, building narratives in which every new work connects to previous projects. Her practice consolidates postcolonial and hybridity theory, exploring her context within Australia and its relationship to migrant communities and homelands. Her work concerns itself within the overlap of cultural structures – sexuality, race and identity, in contemporary society – and interpreting and representing these shifts. These themes are explored through a visual language concerned with shadows. From installations of paper cutouts, material works and/or sculpture, the constructed shadows of the installation become a motif for themes of self-hood, otherness and in-between spaces. By extending the scope of the art object the cast shadows simultaneously engage with the history of the shadow in Art, and hint towards cognitive alternatives and sites of transformation.
In 2004 Sandrasegar completed a Doctorate of Philosophy across the Victorian College of the Arts and the Australian Centre at the University of Melbourne. The content of the exegesis was to formalize a visual practice centred on the creative space of shadows into a theoretical tool. She proposed that the shadow subject could be re-examined and liberated from its historical representations and to be employed as both a positive and salient visual device for representing the ideas being examined in post-colonial and hybridity studies.
Sandrasegar has been represented in group and solo exhibitions since 1996, and is the recipient of several fellowships and prizes. In particular, national showcases for emerging artists: Primavera, Museum of Contemporary Art, Sydney, NEW04, Australian Centre of Contemporary Art, Melbourne. As well as the Auckland Triennial and SCAPE: New Zealand Community Art & Industry Biennial in New Zealand and the Asia-Pacific Triennial of Contemporary Art 05, Gallery of Modern Art Queensland. Last year her work was shown in the Incheon Women Artists Biennale in Korea, and Slash: Paper Under the Knife, Museum of Arts and Design, New York.
I wanted to be completely open to new influences and subject matter during my time at Penaga as the artist in residence; to absorb the rich culture in Penang and respond to it as best I could, in the studio.
After exploring the town for a week, what stayed with me were the old faded photographs of faces I saw on temple and clan house walls. They resonated for me as a window into the past, a nostalgic glimpse of a rich culture.
I decided to do my best to recreate this feeling in paint. I took snap-shots of these photographs, often out of focus and partly obscured with reflections on their glass frames, and then set about interpreting them in watercolor, ink, acrylic and oil paint.
Dominic Johns (Australia), George Fishman (USA), Glenn Romanis (Australia), Helen Bodycomb (Australia) April 2010
The Shyness of Trees
Dominic Johns (Australia), George Fishman (USA), Glenn Romanis (Australia), Helen Bodycomb (Australia)