Jo-Anne Barr

Jo-Anne Barr
JAMB Hats and Millinery

CREATIVE PRACTICE

Millinery – structured felt hats, wet felt hats, straw hats, sinamay hats and fascinators

ARTIST STATEMENT

I have had a passion for textiles from a very early age, learning dressmaking from my grandmother when I was 12. I consider myself a ‘fibre junkie’ and love to experiment and work with a large selection of fibres. I create hats and fascinators from a wide range of fibres including, superfine merino, alpaca, crossbred merino, banana leaf, silk, cotton, merino blends including merino and silk, paper, a range of straws. I make a range of hat accessories including changeable hat bands to jaze up your hat and macreame hat hangers. I have also explored upcycling pre loved, unloved and vintage hats, whereby I re-block them, and trim them with vintage belts and broches where possible.

One of my many occupations over the year has been a teacher as a result I enjoy sharing my skills and passion and teach wet felted cloche style hats to eager members of local communities.

Hats are my passion, I love to wear them and make them and often struggle to part with them.

BIO

I have a Bachelor of Applied Science in Textiles and Food.

I have undertaken a series of short millinery courses both in person and via zoom from milliners around the world.

A lot of millinery skills are from trial and error and hands on experimentation, applying my science background and understanding of textile fibres and how they behave

CONTACT

0425 272 155
joanne_barr@bigpond.com

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Julia Griffin

Julia Griffin

CREATIVE PRACTICE

Painter

ARTIST STATEMENT

I tend to choose my subjects by coming back to a spot which has consistently left me with a strong impression or by catching moments when the elements of a place are caught in the spotlight from the changing light. The weather is reflected in the landscape, as is the presence of man in the way he has delineated the landscape with roads and fences that follow the contours of the land, pegging out territory, asserting control and ownership. Whether it is a landscape or an interior I try to strike a chord of recognition, of a moment that was real and is familiar to me and the viewer. Homes that are abandoned hold a particular interest for me; these places hold memories and the remnants of another life and time. The date of a calendar bookmarking the time of abandonment and the interplay of shadowed empty rooms and light through lace curtains create a poignant stillness. It is the light that creates an inner life to these spaces and very often it is the sense of absence that becomes the present.

BIO

I began my practice after finishing my studies as a printmaker at Sydney College of the Arts where I met my future husband Stephen King. When I moved to Walcha in 1982 to live on Stephen’s family farm I continued my printmaking with monoprints and etchings but moved to painting in 1990 working in both watercolours and oils. Interiors, the fronts of houses and the backs of trucks held a fascination for me, but gradually I started to paint the landscape in which I live and particularly what I see from the road. Photography is an important tool in my painting practice. More recently we built a new printmaking and painting studio. I have returned to making multiple plate colour etchings of interiors and continue my exploration of light and the landscape close to home and remote locations to which I travel around Australia.

CONTACT

.juliagriffinking@gmail.com or use the form below.

Stephen King

Stephen King

CREATIVE PRACTICE

Sculptor

ARTIST STATEMENT

I make sculpture out of wood, sometimes figurative, sometimes abstract constructions. We have good hardwoods on our farm. I drag the logs to my studio and chop them into shape.

If I’m working on an abstract construction I mostly build a scaled marquette before I start the work so almost no creative decisions need to be made during the construction stage. I cut the logs into trussed beams of my own design, making constructions based on the grid.

BIO

Art school in Toowoomba, then thirty years exhibiting painting and sculpture in Sydney.

23 years teaching part-time in the sculpture studio at the National Art School. Working full time from Walcha for a decade now.

23 Solo Exhibitions.

18 times Sculpture by the Sea exhibitor.

Public commissions including the cities of Tamworth, Walcha and Glen Innes.

CONTACT

Via website.

James Rogers

James Rogers

CREATIVE PRACTICE

Sculptor

ARTIST STATEMENT

I make sculpture from steel. Compositions of elements, hand cut using the blow torch, are joined up with the aid of the electric welder. Nature’s rhythms are complicit in the organization of the aggregations and as the work finds its space and physical structure, the poetic dimension is invoked.

BIO

Art school in Toowoomba, then thirty years exhibiting painting and sculpture in Sydney.

23 years teaching part-time in the sculpture studio at the National Art School. Working full time from Walcha for a decade now.

23 Solo Exhibitions.

18 times Sculpture by the Sea exhibitor.

Public commissions including the cities of Tamworth, Walcha and Glen Innes.

CONTACT

Via website or using the form below.