Where the Wild Things Are - Mural Launch at Jugglers' Art Studios at Tarragindi with free community event

A new mural inspired by the friendly monsters of the children’s classic “Where The Wild Things Are” is covering the former Guide Hall and Hut at Tarragindi Reserve at 31 Newington Street, Tarragindi – currently being used as artist studios by Jugglers Art Space Inc.

The mural will be launched as part of a free family-friendly community event, involving arts & crafts, a lantern walk, food and entertainment on Saturday 12th September from 3pm.

With the support of Arts Queensland, Jugglers Art Space Inc have commissioned Artist Gimiks Born [www.gimiksborn.com/ International freelance muralist, street artist, illustrator and graphic artist] To cover the walls with Friendly Monsters that will inhabit, enliven and inspire Tarragindi Reserve.

Councillor Steve Griffiths has further supported the Launch through the Lord Mayor’s Suburban Initiative Fund,
For an event open to all local families to take part in workshops, lantern and mask making and a Twilight Procession:

- Tarragindi Scout Den will run a Lantern Making Workshop for families as well as a Sausage Sizzle.
- Tarragindi Kindy will run a Mask Making Workshop as well as a Tea and Coffee Stall
- Jugglers Artists-in-residence at the Guide Buildings will open their studios to the public.
- Lismore Lanterns will supply three giant friendly Monsters to lead the procession at Twilight.
- The whole procession of Monsters Lanterns and Masks will move to the drumming of AFROBEATS from approximately 5pm.

For more Information please contact Jugglers Art Space Inc on info@jugglers.org.au, or 07 3252 2552

This project is supported by the Queensland Government through Arts Queensland.

We hope you can join us for this fun event!

Jugglers 28/08/15

STAIRWELL PROJECT©

Stairwell Project – Live Video

Hey, check out this track on SoundCloud: Lachlan Hawkins Music “Let’s Escape” – Handpan live in the Stairwell!

Live music in the stairwell, foyer, admissions area and café at the Royal Brisbane and Women’s Hospital has been lifting spirits since it kicked off as an experiment in June 2015.

Behind this objective is a passion informed by experience and the well researched positive impact and elevation of well-being that music brings to people in these facilities including patients, staff and visiting friends and families.

From June 15 – August 8, 2015 a small group of professionally trained musicians associated with Paint it Red at Jugglers Art Space Inc and curated by Peter Breen performed live music in the public spaces on the Hospital campus each Monday morning from 8.30am – 11.00am.

The response has been overwhelmingly positive. The hospital executive has now invited Jugglers to prepare a long term proposal and schedule with a view to the expansion of the program and potential funding. Jugglers is very keen for potential partners to work with us in sponsoring this exciting project.

Please contact Peter Breen at info@jugglers.org.au for further information or make a tax deductible donation via Paypal or our Public Fund Account [BSB 484 799 Account Number 201184687]

Jugglers 24/08/15

Marie Ellis OAM Prize for Drawing People's Choice Award Winner

Congratulations to the 2015 Marie Ellis OAM Prize for Drawing People’s Choice Award winner Robert Vagg, with artwork Only Shadows.

Thank you to all those who took part in voting, William Platz for speaking on the opening night and Carolyn McKenzie Craig for announcing the People’s Choice award.

We are already looking forward to next year’s competition!

Marie Ellis Creative Director Holly Riding
Juggler Art Space Director Peter Breen

Jugglers 24/08/15

The Importance of Drawing and the Marie Ellis Prize

The Marie Ellis Prize is one of the few awards given to professional artists for their works in drawing. It is indeed a rarity in the today’s scene and yet one of the most important initiatives in Australian art.

Why do we need drawing? The immediate answer is that it is fast becoming a lost craft and that it cannot be expunged from society’s skillset, as it were. Yet many skills have been wiped out of practice, with no hint of mourning for the lost arts of butter churning, telegram composing or riverside clothes washing. There is a more profound reason, beyond simple traditionalism, that drawing must be kept alive.

During the late twentieth century there was a radical shift away from representation. Art, seemingly paradoxically, became anti-aesthetic. The painting on the wall became an emblem of an unnecessary critical distance: it could never invade the physical space of the viewer the way an object could. Not only drawing, but the ideology associated with the practice, fell out of fashion.

From the 1970s onwards, art’s new purpose was to perform upon its spectator. It was not enough to represent the surrounding world, as it must now find a place in that tangible and temporal reality. No longer a painting of cubes as in Picasso’s Ma Jolie but a physical cube in the gallery is in Tony Smith’s Die. No longer a painting of a chair, as by Van Gogh, but a chair to sit on, as by Joseph Beuys.

However, it is too easy to associate the non-representational with the direct. Would we see a pond the same way without Monet? Would we see the movement in a ballerina’s tutu without the flickering brushwork of Degas? Would we admire the beautiful woman across the street without the countless muses that fill galleries?

What was overlooked by the post-modernists’ assertion of the “real” is that art has a role in framing that reality from the outset. Put more simply, we cannot read the world around us without the prior knowledge of its representation. Drawing is then not simply a refined skill but a way of mediating, of framing, the world. Representation is not merely imitative of reality but makes up what is real around us.

Many artists in the show claim that, for them, drawing exudes a sense of authenticity. While this is a term held in a web of various meanings, I think drawing captures a particular type of artistic truth. Drawing not only celebrates line but the hand that drew it. The pleasure in the works is ultimately tracing the memory of the pencil, pen or now, computer mouse. In this way, the image cannot be separated from its creator. Drawing is then authentic in the way that installation cannot be. While a physical object may be more spatially and tangibly direct, it is un-composed, it holds little association with the artist. In a drawing, we see not only the object of the work but also the idiosyncrasy of its maker. We see the object processed by the artist: chewed up in the mind and spat out by the pen.

The winner, Jeremy Eden and runner up, William Platz, of the Marie Ellis prize are emblematic of the two prominent means by which this authenticity is realised. Platz’s work consists of two panels of life drawing: the first a triptych of a man and the second a triptych of a woman. The nudes themselves are rather ordinary yet his innovation lies in the beautiful line with which he has moulded them. Shapes of the body twirl and coil. Gestural lines ooze from the figures such that the space they occupy becomes part of the flesh. Platz leaves his fingerprints on the canvas, allowing them to build up into an intrusive haze over the figures. The fingerprints act as residues of the artist himself. They remind the viewer of the hands, the fingers, the skin from which the artwork emerged. Platz’s work is raw, personal and leaves us to dwell not so much on the image but the chaos of ink that undoes it.

Eden’s work can be thought of as the inverse to Platz’s. His technique leaves no evidence of the hand. The work is extremely crisp and appears with the reality of a photograph. However, this is not to say that his work can be understood on first sight; in fact, it is the opposite. Interest lies in Eden’s highly ambiguous and uncanny image. The drawing shows Eden with a plastic-wrap around his head, an X of duct tape holding it in place. Unlike Platz’s spacious composition, Eden fills the entirety of the page with this figure. Suffocation then is not only depicted but generated in the image: the figure is trapped both in the plastic and in the paper frame. It is not an image to glance over. The strangeness of Eden’s subject matter dislocates our prior processes of seeing. It takes a few moments to realise the work is in fact a portrait. Slowly and carefully the horror of the image takes its form.

The works in the show vary so much in technique, scale and genre that it is hard to find a constant thread between them. Minimal ink sketches, softly shaded landscapes and even collage feature in the finalists’ exhibition. I believe what connects all these works lies in the nature of drawing itself. Each artist has re-expressed the objective to create something intriguingly subjective. In each drawing exists some fragment of the artist.

- Article & Review by Jugglers Art Space Intern: Sophie Rose

Jugglers 17/08/15

Marie Ellis OAM Prize for Drawing Finalists' Exhibition Closing Party

If you were unable to make it to the opening night of the Marie Ellis OAM Prize for Drawing, don’t miss the closing party this Friday night!

Opening at 6pm our closing party guest speaker William Platz (2015 Honourable Mention prize winner) will be speaking at 6:45pm, shortly followed by the announcement of the 2015 People’s Choice award winner at 7pm by Carolyn McKenzie-Craig (2015 judge).

Go to our Facebook page to join the event.

Jugglers 17/08/15

2015 Marie Ellis OAM Prize for Drawing Prize Winners Announced

The 2015 Marie Ellis OAM Prize for Drawing Award Winners:
Major Prize Winner awarded to Jeremy Eden with Self-Portrait in Plastic.
Honourable Mention awarded to William Platz with Young Woman Yawning No. 1.

Thank you to all of this year’s finalists’ and entrants, our sponsors and judges for another terrific year.

Marie Ellis Creative Director Holly Riding
Juggler Art Space Director Peter Breen

Jugglers 10/08/15

Thank-you for the memories Inala Flexible Learning Centre!

The Emerging Artist Development Program with Inala Flexible Learning Centre has come to a close at Jugglers Art Space Inc. We would like to give our thanks to the beautiful young people that came along and participated in these workshops and made the space come alive! We are very grateful to artists Libby Harward, Lucks Shaare & Alex Lange for being apart of this program – their creative input and time have been invaluable. Furthermore none of this would have been possible without the love and care from devoted Inala FLC teacher Jo Campbell and Jugglers Workshop Facilitator Nina-Rae. EADP workshops are run to provide opportunities for young people to learn about varied arts practices and express themselves in a safe environment.

Thanks to our Sponsors Visible Ink for the support in making these workshops with Inala FLC possible.

Jugglers 09/08/15

Marie Ellis Feature Artist - Carolyn McKenzie-Craig

Carolyn McKenzie-Craig, Brisbane
- I draw every day and its physical potentials to engage with my subjective being keep my practice alive.

Where are you based?
I am based in Brisbane and Sydney. I work at the National Art School in Sydney and am a PHD candidate at the Queensland College of Art, where I have my studio.

Tell us a bit about yourself and your work
My current practice investigates how power is socially inscribed upon the body, focusing on how gestural and linguistic regimes may reproduce systems of power and shape subjective presence. Material investigations commence with the primacy of drawing and extend to engage with Printmedia, photography and digital arenas. I am particular interested in the historical nature of the photo archive in constructing truth and social hierarchies and how this may be both articulated and subverted with graphic potentials (both drawn and reprographic trace).

How would you compare the traditional practice of drawing to the digital approach?
Both traditional and digital drawing offer the artist rich tools for investigating the graphic arena. Some ideas are best realized within a digital form and some ideas require the haptic and kinesthetic engagement that traditional drawing materials offer. The convergence of both approaches can lead to exciting new developments with contemporary graphic practice, and activate “traditional” materiality by bringing them into new perspectives and outcomes. In considering the term digital I am referring to all the digital tools available such as scanning, photocopying as a drawing tool, illustrator and other direct drawing interfaces, film and video, digital still cameras which may draw with light or movement, 3D scanners and printers, data modeling, and architectural design elements.

How do you feel the practice of drawing evolved over the past 10 years?
The visible presence of drawing within high profile curated shows ( unfortunately mostly overseas) and drawing centres such as The Drawing Center ( New York ) and the Drawing Room ( UK) has given impetus to the practice of drawing based artists and increased the commodity value of such practices within the art market. This has translated into a renewed interest in the practice of the graphic mediums and expanded and traditional drawing.

Why are competitions like the Marie Ellis OAM Prize for Drawing important within Australian Arts culture?
The Marie Ellis OAM Prize for Drawing provides a review of current drawing practice and a tangible support for artist’s who work within the graphic mediums. The prize makes drawing visible, validates it as a medium of importance and importantly financially invests in artists through the generous provision of prize money.

Why is the practice of drawing important to you?
Drawing is the primary investigative tool within my practice. The kinesthetic action of graphic mediums activates process driven thought and experimentation that I can only articulate through the medium of drawing. The final outcome may not always be directly drawn but the initial phases of all experimentation is drawing. I draw every day and its physical potentials to engage with my subjective being keep my practice alive.

www.carolyncraig.com

Jugglers 05/08/15

Marie Ellis OAM Prize for Drawing Finalists' Exhibition Opening Night

This Friday is the well anticipated opening night of the 2015 Marie Ellis OAM Prize for Drawing Finalists’ Exhibition. The show will be up until the 21st of August, finishing up with a closing party to announce the winner of the People’s Choice Award Winner.

Opening Night Details
When Friday 6pm, 7 August
Where Jugglers Art Space, 103 Brunswick St. Fortitude Valley
Announcements 8pm announcement of the Major Prize Winner and Honourable Mention award winner

Jugglers 03/08/15

Drawn From Life- An exhibition by Jeremy Attrill, Meredith Macleod and Aaron Micallef

Please join us for the opening of an exhibition of illustrative works inspired by Life Drawing practice by three talented artists.

Opening: Friday 24th July 2015 from 6:00-9:00pm

To be opened by Jugglers Art Space Inc’s Director Peter Breen

Exhibition continues to Wednesday 29th July
Gallery Open:
Fri 24th July 12:00pm – 9:00pm
Sat 25th July: 10.00am -3:00pm
Sun 26th July: 10.00am – 2:00pm
Mon 27th July: 10.00am – 4:00pm
Wed 29th July: 10:00am – 4:00pm

Jugglers 22/07/15