On September 8th, Prime Minister John Howard gave each of the 21 leaders of economies attending the APEC conference limited edition prints selected with the assistance of the National Gallery of Australia. Three limited edition prints were included in a hand made archival presentation folder. The countries represented by the leaders were Australia, Brunei Darussalam, Canada, Chile, Peoples Republic of China, Hong Kong China, Indonesia, Japan, Republic of Korea, Malaysia, Mexico, New Zealand, Papua New Guinea, Peru, The Republic of the Philipines, The Russian Federation, Singapore, Chinese Taipei, Thailand, United States, Viet Nam. 

One of the works is a linocut by the Sydney artist Peter Kingston and features Sydney Harbour and the Opera House where the leaders' meeting was held. There is a rural scene of a sheep station depicted in an etching by Pamela Griffith, and an etching of a Brolga by Arnhem Land artist Tim Djandjomerr. The gift package also included a hand-crafted pin designed by Sydney's Margaret Kirkwood, based on an interpretation of the APEC logo.

Pamela was delighted to be offered this commision, and pleased to work closely with the APEC Taskforce in guiding this unique project to a succesful conclusion. For the gift etching, the APEC Taskforce, under advice from Department of Prime Minister and Cabinet, nominated the rural Australian subject matter, including a gum tree.

Sheep Station Australia

Griffith has always worked on images that are close to the land. She insists that Australia needs more visual material that relates to our way of life. Westerners have been here for a very short period and are still learning about the land. Artists can make a contribution to this knowledge by their interpretation of the environment.Earlier in the year, 27 of Pamela's limited edition leather bound books 'Australia - an artists journey through the landscape' were used as gifts by the APEC Taskforce. The APEC Taskforce wrote that it "....would like to thank you for your contribution to the APEC Australia 2007 experience. It was a pleasure working with you in preparation for the Small and Medium Enterprises (SME) Meeting Hobart. Your beautiful art books were a wonderful pictorial representation of Australia, which our delegates were very pleased to receive".

APEC 2007 menu artwork

A feature of the APEC gathering was the abundance of beautiful wild flowers. Pamela was commissioned to carry this theme forward in a drawing and water colour of wattle and waratahs and other native flowers. This was used to illustrate the cover of a menu for a dinner hosted by Mrs Howard. The wattle is Australia's national flower and the waratah is the floral emblem of New South Wales.

The waratah featuerd in another of Pamela's public works. She provided a number of designs currently used by the New South Wales Government on various classes of drivers' licences. New South Wales drivers all carry a Pamela Griffith 'original' in their wallet or purse.

It is fair to say that Pamela Griffith has served Australia well as an artist. Her many public projects have assisted in showcasing Australia and our way of life. The APEC project is a highlight of her career.

 

  
Bungendore Wood Works Gallery
The PrintmakersPamela Griffith Exuberance, Nicholas Nicola Dance of the Dead Wolli Creek. Cooks River, Robyn Collier Blue Wren, Tess Barker Union, Theo Tremblay Deep Water, Glen Mackie Sulwul.

A group exhibition featuring the diversity of artistic approaches to printmaking and the roles of mentoring and guidance for emerging, new or established printmakers.

Opening Saturday 25th June at 2pm by Professor Margo Neale, Principal Indigenous Advisor and Senior Curator, National Museum of Australia.

Exhibition runs until 3 August, 2011.


The exhibition will feature work from 3 prominent printmakers. Each artist selecting an emerging or associate printmaker that the artist has mentored or in some way offered assistance to the development of that artist's journey in printmaking.

The Printmakers exhibition came about from several coincidental and unrelated ideas and happenings in and around the Gallery over the last year: the presence of Master printmaker Theo Tremblay on one of his flying visits to his second home of Bungendore from Cairns; the recent return to Canberra by printmaker Robyn Collier from British Columbia and her desire to again exhibit with the Gallery; and regular visits by myself to the very busy Griffith Studio and Graphic Workshop of the Gallery's longest standing visual artist, Pamela Griffith.
Theo Tremblay and Glen Mackie. Editions Tremblay NFP, Cairns. Theo Tremblay, Deep Water Monotone, Glen Mackie The Two Baja.

Theo Tremblay and Glen Mackie. Editions Tremblay NFP, Cairns.

Theo Tremblay, Deep Water Monotone, Glen Mackie The Two Baja.
Pamela Griffith's associate for this exhibition Nicholas Nicola, is a calm, unassuming and affable artist with a deep sensitivity to the Australian landscape and an artist who is humbled by the deeply spiritual relationship between Aboriginal Australians and their land that they refer to as "mother". The interaction between Nic and Glen's approach to the representation of the land will be evident in both their works on exhibit and in their, at times, "in common" aesthetic thinking, when the two artists meet here at the Gallery.
Pamela Griffith and Nicholas Nicola. Pamela Griffith The Lagoon, Nicholas Nicola Well of Life. Cronulla, Cooks River.

Pamela Griffith and Nicholas Nicola. Griffith Studio and Graphic Workshop, Sydney.

Pamela Griffith The Lagoon, Nicholas Nicola Well of Life. Cronulla, Cooks River.
Robyn Collier's long association with the Gallery has given rise to five previous solo exhibitions that have covered her long career in printmaking, including a retrospective exhibition that realised numerous sales from the floor of our Octagon ArtSpace while we were sorting out the works for exhibition. Dividing her time between Canberra and Canada has left little time to form substantial mentor relationships with young emerging printmakers in Canberra. Enter Tess Barker who joined the staff of the Gallery some 12 months ago coming to us as a recent arts and education graduate and dedicated printmaker. Tess has had a fairly rapid rise to success when she collected 2nd prize in the emerging artist youth section of the prestigious Waterhouse Natural History Art Prize Award, at the Art Gallery of South Australia. Robyn's ethereal muted etchings are an ideal contrast to Tess's richly coloured and mono-toned depictions of Australian flora and fauna. The two artists have been meeting on common grounds such as the Megalo Print Workshop in Canberra and at Robyn's home studio in preparation for the exhibition.
Robyn Collier & Tess Barker. Megalo Print Studio + Gallery, Canberra. Robyn Collier Kingfisher, Tess Barker Something Borrowed Something Blue

Robyn Collier & Tess Barker. Megalo Print Studio + Gallery, Canberra.

Robyn Collier Kingfisher, Tess Barker Something Borrowed Something Blue
All six artists in this exhibition are printmakers, teachers and people sensitive to their natural surroundings and the multi-cultural character of this great country. All acknowledge the priceless value of collaboration and learning from each other, and all will present work of exceptional quality and diversity that will make this one of the standout printmaking exhibitions in the Gallery's near 30 year history.
Stan d'Argeavel MA(VA) Exhibition Coordinator

THE PRINTMAKERS exhibition brochure and catalogue

Check out THE PRINTMAKERS exhibition on our website online for more information on the artists and the exhibition catalogue.


 

Bungendore Wood Works Gallery specialises in exhibiting and promoting Australian made wood art, sculpture, craft and contemporary furniture of a very high standard from the country's foremost designer/makers in wood.

We take pride in showcasing the skill and art of Australia's wood workers and the varied richness and beauty of our native timbers. The Gallery is a multi-tourism award winning attraction open every day situated just 30 minutes by road from Canberra, Australia's National Capital.

Kings Highway, Bungendore NSW 2621, Australia
Phone +61 2 6238 1682  Fax +61 2 6238 1817
http://www.bwoodworks.com.au

© 2011 Bungendore Wood Works Gallery


 

Pamela Griffith

an exhibition of etchings, lithographs and woodcuts

20th October to 29th November 2012
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Pamela Griffith is one of Australia’s most respected and gifted artists and printmakers.  Not a household name perhaps, but a printmaker and painter with a large and loyal following.  She has worked professionally in the arts for more than five decades, producing a vast body of work that has found its way into public and private collections in many parts of the world.  Pamela also supports one of the best equipped print workshops any artist could hope to find, working with a full time printmaker to produce her many editions of finely crafted etchings.

 

She has worked in many varied projects during her career.  She believes that Art is to be enjoyed and she accepts the challenge to reach every one.  This may mean designing a CD cover the jazz group Galapagos Duck, designing the waratah that we all see on our driver’s licence, designing the toile fabric to commemorate the Beatification of Mary McKillop seen in the Power House Museum or designing the embroidery hanging in the Joan Sutherland Performing Arts Centre, Penrith.

 

Over the years, Pamela has worked in oils, watercolours, pastels and acrylics, but this exhibition at Sassafras Creek provides an overview of some of the work from her printmaking studio.  Interpretation of the natural world is never far from her creative thoughts.  Pamela’s landscapes invariably convey her joy and fascination with all forms of flora and fauna.  Her extensive travel through out Australia, often roughing it in tent or caravan, has engendered a passion for the depiction of this ancient and fragile land.  Pamela strives for a sense of place in her etchings.  She has used the form of the 18th century naturalists’ illustration, weaving a composition from many disparate parts to tell a story about the environment.  She places vignettes and frames within the larger compositions of her bird and botanical subjects, playing off the detailed with the overall, the microscopic with the majestic.

 

Notes taken from Australia – an artist’s journey through the landscape by Pamela Griffith 2003

 

Further information

 

Natalie Smith

Sassafras Creek

83 Old Bells Line of Road

Kurrajong Village 2758

Ph: 4573 0988

Mob: 0417 269 846

 The Potter and the Painter: a Dialogue

The Potter and the Painter: a Dialogue (pots by Barry Blight; paintings by Pamela Griffth)
December 1 - 19, 2010
Peter Pinson Gallery
143 Edgecliff Road, Woollahra 2025
9369 1919  
www.peterpinsongallery.com <http://www.peterpinsongallery.com/
Hours: Wednesday - Saturday 11.00 - 5.30

 

Between 1961 and 1964, three young artists - Pamela Gittoes (later Griffith), Barry Blight and Peter Pinson -  studied together at the National Art School and the Sydney Teachers’ College. In December, 2010, half a century later, their divergent careers came together again to develop a fascinating inter-relating exhibition of painting and pottery.


In the years after their graduation, their art practices had taken different directions. Pamela Griffith returned to the National Art School and studied etching under Earle Backen. Barry Blight returned to the National Art School and completed the two year Ceramics Certificate course overseen by Peter Rushforth. Peter Pinson completed a masters degree in General Studies at the Royal College of Art in London.

 

 

 
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Pamela Griffith then set about establishing a formidable reputation as one of Sydney’s leading master printmakers, working with prominent artists to produce technically superb etchings and relief prints. At the same time, she maintained a personal exhibiting practice as a painter and etcher. She is a recipient of an Australian design award and has designed the waratahs that appear on the current Roads and Traffic Authority drivers’ licences, and also the toile fabric that was made for the Australian Bicentenary and the Beatification of Mary Mackillop. As well as designing the compact disc “Lonely George” cover for the jazz group Galapagos Duck, she collaborated with Don Harper to produce a CD, “Images of Australia” that went on to become the top selling jazz recording for the ABC in the Classics Section. She was commissioned by the Prime Ministers department to produce a limited edition etching that was presented to the Presidents of the 21 Nations represented at the  APEC Conference 2007.

 

 
banksia_robur_in_barry_blight_pot_final
 
banksia_ericifolia_in_barry_blight_amphora

 

 Meanwhile Barry Blight established a reputation for combining classic pot forms with surface decoration that was ornate and complex. Sometimes his surface decoration could be deliberately provocative in its relation to prevailing conceptions of “good taste”. For example, in a Potters’ Society exhibition in 1988, he ironically chose to reference his pots to the historical forms he most disliked - Baroque and Rococo ceramics - and to decorate them with bristling indigenous flora, combining over-the-top flamboyant Italian form with expressionist Australian imagery. Working within a circle of potters which tended to deride floral decoration, Blight set about challenging this convention by decorating his vessels with sharp and glorious banksias and sensuous garden flowers. He took this thematic provocation further, using motifs drawn from fruit (including lemons and oranges) and vegetables (ironically adopting such improbable subjects as artichokes, aubergines and radishes).

 

 mangoes_gerberas_and_clarice_cliff_pots  rare_clarice_cliff_pots

 

 In the late 1990s, Griffith exhibited still life paintings at the Maunsell Wickes Gallery, Sydney. Each work used ceramics by the English art deco designer Clarice Cliff as subject matter. (Griffith has a few Cliff pieces in her own ceramics collection.) Some of her other still life paintings of this time featured pieces by distinguished potters including Ivan England and contemporaries as content.  

 

As to the third member of this group, after retiring from the College of Fine Arts at The University of New South Wales, Peter Pinson established a gallery which specialised in exhibiting artists who established their reputations in the 1960s and 1970s. Developing the “art as the subject of art” angle of  the Maunsell Wickes exhibition, he, Blight and Griffith conceived the notion of an exhibition of Blight’s pots, allied with paintings by Griffith of those very pots, which would establish a mutually-resonating dialogue between the two art forms.

 

 
gum_blossom_pot_with_aboriginal_musical_instruments
 
ripening_mangoes

 

Unlike his earlier works, in which forms were painted in slips or underglazes, Blight’s recent pots utilise scraffito and carving to define the motifs. It is a technique which captures the biting, almost dangerous edges of banksia leaves, and the subdued languorous rhythms of gum leaves. The celadon glazes tend to gather in the carved troughs, defining the edges of the plant forms. They are pots that bring together two traditions: the Southern Sung celadon tradition, and the lively pots of Merric Boyd, which found their inspiration is the bush around his Melbourne home. Blight, in turn, finds much of his inspiration in the wilderness area surrounding his country refuge in Kangaroo Valley. 

 

white_gum_blossoms

 

 Griffith’s still life paintings play with the paradox of everyday vessels, decorated with the spiky, aggressive forms of the Australian bush, located in the closed, measured spaces of domestic interiors. They are paintings that fall within the tradition of still life painting that derives from 17thC Holland, but her thematic use of Barry Blight pots positions the paintings firmly in contemporary Australia. They are spirited paintings, about spirited pots. 

ROBERT ALEXANDER

 

The Potter and the Painter: a Dialogue (pots by Barry Blight; paintings by Pamela Griffth)
December 1 - 19, 2010
Peter Pinson Gallery
143 Edgecliff Road, Woollahra 2025
9369 1919  
www.peterpinsongallery.com <http://www.peterpinsongallery.com/
Hours: Wednesday - Saturday 11.00 - 5.30

new news
golden_vale_panorama.jpg

 

 

 

 

 

  "Golden Vale Panorama", acrylic on canvas, 91 x 120.5 cm, by Pamela Griffith

The Southern Highlands have been an inspiration for a number of my paintings and prints over many years. In particular I have been a frequent visiter to the National Trust property "Golden Vale" at Sutton Forest. Beauty is vitally important to the human condition and it troubles me that this agricultural area is subject to coal and coal seam gas exploration leases which would see test wells pepper the magnificent landscape. Almost two hundred years of human aspiration and toil could be undone in one generation.

In December 2012 ABC Arts presenter Anne Maria Nicholson covered a story for prime-time news, interviewing three artists who regularly paint Australian landscapes. Greg Hansell, Lyn Burns and I went to Gingenbullen Mountain where we had panoramic views of threatened land as far as the eye can see. The painting outcome was that our three works were sold to raise funds for the defence of the valley     

Ross Steele AM OLH

 

ross_steele.jpg

Ross Steele is Honorary Associate Professor of French in the School of Languages and Cultures at the University of Sydney. He was previously Associate Professor in the Department of French Studies where he specialised in the teaching of French language and culture, having introduced the Beginners French Course. He has written over thirty French language and culture books published in France, the USA and Australia. Professor Steele was a cofounder in 1976 of the Applied Linguistics Association of Australia and was the Association's President for sixteen years. He was a Vice-President of the International Association of Applied Linguistics (AILA) and Coordinator of the Scientific Commissions of AILA. He has given numerous invited lectures and conference papers in the USA, France and Australia on the methodology of integrating language and culture in foreign language courses. He has been a Committee Member and active participant in many cultural and charitable organizations as well as President of the Fédération des Alliances Françaises d'Australie.

 

Associate Professor Steele has had active participation in a wide range of arts-related organisations including the Art Gallery of NSW, publisher Currency House, La Perouse Museum, Opera Australia, Peggy Glanville-Hicks Composers’ Trust, Sydney Festival, Sydney International Piano Competition, Sydney University Arts Association (where he is Honorary Treasurer), and Woollahra Library Friends (where he is President). Associate Professor Steele is a Member of the Order of Australia (AM), was awarded the Centenary of Federation Medal for service to culture and the arts, and is a recipient of the University of Sydney Alumni Award for Community Achievement. He has also been awarded the French honours of Officier de la Légion d'Honneur, Officier de l'Ordre National du Mérite and Officier des Palmes Académiques. Associate Professor Steele is a member of the Board of Studies of NIDA (National Institute of Dramatic Art). 

Inferno, Anglo Australian Observatory, Warrumbungle National Park

inferno.jpg

 In February 2013 an inferno occured in the Warrumbungle National Park where the Siding Springs Anglo-Australian Observatory is situated. Many buidings were damaged but miraculously the observatory did not burn down. People lost their homes in the Coonabarabran area and the nation observed this dramatic bush fire on the news. The scene disturbed me so much I looked at the photographs coming on line and they were spectacular. I decided to do an imaginary view of the scene taking place, for the Wynne Prize. This oil on canvas is a major work and is part of a number of pictures I am doing to show the extremes of climate that Australia experiences, and in turn the resilience of the population.

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22 June to 23 July, 2013 in the Octagon Art Space Opening and meet the artists Saturday 22nd June from 2pm

A bungendore Wood Works gallery 30th year anniverSary exhibition 

y exhibition 

When Bungendore Wood Works Gallery opened its new doors to the current Gallery in 1994, Pamela Griffith was the first visual artist to grace the walls of the upstairs, exhibition specific Octagon ArtSpace. Two years earlier she had opened her woodworking brother Andrew Gittoes’ exhibition in the original Wood Works Gallery located in the historic Bungendore Store just across the road. A widely known and acclaimed artist, Pamela’s printmaking and painting skills have been apparent in the Gallery ever since, including her four solo and three group exhibitions.

 

In 2003 Pamela introduced friend, painter and printmaker David Voigt to the Wood Works. He had an exhibition at the Finnish Embassy in Canberra and she was concurrently showing her Colours of Green solo exhibition at this Gallery. David has since had five solo shows and participated in two group exhibitions here.The pair first worked together in 1984 as two of eight selected artists taking part in The Lord Howe Island Print Project. The project was the brainchild of French entrepreneur Michel Lefebvre, a devotee of everything Lord Howe, in association with Stan D’Hauticlot the Director of Stadia Graphics Gallery, Sydney’s first printmaking specific Gallery.The eight chosen printmakers travelled separately on two occasions each to Lord Howe Island to produce plates that captured natural and social aspects of the Island. The resultant etchings would vie for selection to become part of the intended Lord Howe Island Suite.

 

Pamela was awarded the first major commission for her then recently opened Griffith Studio and Graphic Workshop to produce the print editions of the eight artists’ selected works. The fully subscribed suites now sit in national collections.Prior to that the two artists had met at various exhibitions in and around Sydney. Born one year apart they grew up in the same suburb and attended secondary schools within a kilometre or two of each other.

 

She studied as an art teacher at Sydney Teachers College and East Sydney Technical College – The National Art School and later graduated from The Alexander Mackie Art School (now COFA). He studied fine art at The National Art School located in the Eastern Suburbs hub of Sydney’s vibrant arts community.Both have travelled similar paths to recognition and national and international acclaim. They were concurrent stars of the renowned Barry Stern Gallery in Paddington in the heady art rich heydays of the 1980s, and went on to share relationships with other Galleries in the Blue Mountains, Newcastle, suburban and regional Sydney and in Melbourne.David Voigt reminisces, “There was a restaurant culture in the 80s. We were all making buckets of money and sat around in cafés having five course lunches and dinners.

 

And it was a real feather in your beret, so to speak, if you managed to win a major art prize.” He won the Blake Prize in 1976 and 1981 and the Wynne Prize in 1981 for good measure. She believes art is there for everyone and her many public projects included: the original canvas for the cover of Australian jazz group Galapagos Duck’s Lonely George CD; the etchings to illustrate jazz musician Don Harper’s ABC produced Images of Australia CD; the Waratah image for the NSW Drivers Licence; designing the toiles for the Australian Bicentenary and for the Beatification of Mary MacKillop which drew particular comment from the Pope on the beauty of the fabric. The 21 Heads of Nations attending APEC in 2007 received her Australia – an artist’s journey through the landscape publication. Both artists have works in the collections of numerous state and regional galleries, and the National Gallery of Australia.Pamela Griffith and David Voigt are two artistic spirits traversing a shared parallel universe, their relationship and friendship spans over thirty years.

 

They have lived through the same time and space.She came to respect him as an artist, believing his work to be outstanding, she loved to watch him draw and the way he worked with colour. He is eternally grateful for her generosity in passing on her amazing technical skills and her ability for discovering and sharing new outlets for their work.Their skill sets, aesthetics and prolific outputs are equal, yet different, and hang together at complete ease in a state of symbiosis – attractive to the eye and meaningful to the mind.The personalities and visual output of this enduring, like-minded artistic duo have graced this Gallery with their collective presence for over thirty years. I highly commend this exhibition of their etchings, paintings and drawings to you as an important part of Bungendore Wood Works Gallery’s 30th Year Anniversary celebrations. 


Speaker…

I rise to acknowledge a resident in my electorate of Rockdale and an exceptionally talented individual. Pamela Griffith is an artist, a teacher and an inspiration to the Arts community and to the people of Rockdale. She, and her family before her are long time residents of the area.

Her paintings and drawings capture the essence of nation building and through her work Pamela has become part of that national building process. Barry Stern a renowned figure in the art world made the comment that Pamela ‘is an artist who is strong on determination. She is professional, sure of herself, but she also has the humility that reveals her quest for truth both as an artist and as a human being’.

 

Born into an artistic family, her grandmother, Lavinia Halpin was the only person to have painted the main street of Wollongong in the 19th century and this painting is now treasured by the Wollongong City Gallery.

Pamela trained as an art teacher at Sydney Teachers college and East Sydney Technical College and began teaching at a variety of institutions. She furthered her education by completing a Bachelors of Art degree at Alexander Mackie Art School  Since then she has had an enviable career presenting her works in over 150 exhibitions commencing in 1978. Over this period she has travelled the globe studying in places including but not limited to: England, Israel, USA, France, Hong Kong and the Galapagos. Her works are displayed in a variety of public, corporate and private collections including; The National Gallery of Australia, Canberra; The Federal and NSW Parliament Houses, NSW State Library;many Regional Galleries and St Ignatious and St Joseph's Colleges; the Vatican and universities such as Sydney, UNSW and Charles Sturt.

 

Her achievements are many:

She was commissioned by the Catholic Church in 1994 to create a ‘Toile’ or commemorative decorative fabric of Saint Mary MacKillop’s life. Pope John Paul 11 made particular reference to this piece when he visited the Powerhouse Museum during World Youth Day festivities in 1994 and he was presented with it by the children of Australia for the Vatican Collection. In 1988, for the Australian Bicentenary, Pamela was commissioned to design The Bicentennial Toile and also the Macquarie toile to mark the occasion. In 2007 she was commissioned by the Department of Prime Minister and Cabinet to create an etching edition for the APEC conference. These 21 prints were presented to the visiting heads of states of 21 nations. Her best selling book, 'Australia, an artists journey through Australia' has been used as an official gift on many occasions at State and Federal levels. Many people in NSW enjoy the iconic waratah images that we find on the NSW drivers licences.

 

Over the weekend of April 13-14 Pamela held an exhibition at Tempe House when it, and St Magdalene's Chapel were opened to the public. Tempe House was built in 1836 by Alexander Brodie Spark on the southern banks of the Cooks River. It was designed by the famous architect, John Verge and is a rare example of an 1800’s villa that is still able to be appreciated in its landscape setting. It has recently been restored by Australand. The exhibition and associated museum display was opened by Dr Robert Brodie Sparks, a direct descendant. Pamela has said that the object of the exhibition was to make people aware that this outstanding colonial building was made to display art and was a cultural mecca long before Sydney had an art gallery, and once again Tempe House could become a centre for the arts in Rockdale. The exhibition was a resounding success with over 1000 people in attendance. Various individuals and groups who attended have taken the opportunity to book functions in the building into the future.

 

I would also like to note that Pamela has been a pioneer for safe practices in art manufacture as artists have to deal with a range of toxic chemicals and hazardous materials. Pamela has made a conscious effort to reach the public, particularly teachers, to ensure that they work in properly ventilated environments as well as adequately covering parts of her body that would ordinarily come into contact with dangerous toxins and or materials.

 

We are privileged to have people of the calibre of Pamela in our community. People like Pamela Griffith enrich our cultural environment when they share their vision through their work. Their art enables us to have pride in our local area and as Australians. Madame Speaker we should all be very proud of our creative community. Art is an important part of any civilised culture and unfortunately is often not fully appreciated. Through art people tell their story and provide a diverse way of interpreting the world they live in.  Pamela Griffith’s pictures and paintings capture what it is to be an Australian in the 21st century. Record crowds attended the two major regional gallery exhibitions of her work that paid tribute to the outstanding contribution she has made to printmaking and in particular to etching. These two tribute shows held at Sutherland's Hazelhurst Gallery and Arts Centre in 2005 and 2010 are landmarks in her career. The exhibition at Tempe House attracted the same interest for people in the Rockdale area.

 

Professor Joanna Mendelssohn from the College of the Fine Arts UNSW says ‘Pamela Griffith is an artist whose work follows a great tradition, the tradition of craftsmanship and technical excellence which she applies to her decidedly contemporary work. In painting, drawing, printmaking and design she strives for work which is both artistically satisfying and technically masterful. Pamela is an acknowledged teacher much in demand. Her disciplines cover oil and acrylic painting, watercolour, portraiture and printmaking’.

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Wild life in the Cromarty Wetland area.  A project by Pamela Griffith.

In 2014 Pamela Griffith was invited by Mark Stoneman to spend time acquainting herself with the Cromarty Wetlands, an area South of Townsville that is rich in bird and animal life.  Mark Stoneman was a member of the Queensland Parliament for 15 years where he held senior positions including Primary Industries Minister, Shadow Treasurer, and Premier’s Representative in North Queensland.

Mark retired from politics in 1998 and has since become a spokesperson for the environment. Mark runs a small Brahman cattle stud near Giru and is patron of the Giru Show Society and Townsville Gun Club. He is knowledgable about wild life and particularly birds. This has led him to seek ways of saving wetland environments in Northern Queensland. When farms became overrun with weeds, Mark and fellow grazier Bruce Hill, found a way to restore the natural environment in a way that would not hurt their businesses. They used cattle to control weed outbreaks. They also found other ways of ridding areas of introduced weeds and work tirelessly to achieve this goal. In 1999 they co-founded the environment organisation Wetlands and Grasslands Foundation.

Pamela obtained a lot of material for her art practice while in the Burdekin area and is now working on a group of paintings intended for exhidition in the Perc Tucker Gallery, Townsville, in 2017. It is hoped that this will generate interest in saving the area from weeds and degradation. It is hoped that her work will provide images suitable for a book or booklets that will be useful when the wetland area has a visitors centre.

When Pamela visited in 2014, Wongaloo, the principal grazing property ambraced in the wetlands area, was into the dry season. This meant the water lagoons were rapidly drying which has the effect of concentrating the waterbirds into large numbers. A wide range of other well known and not so well known Australian birds, mammals, reptile and invertebrates inhabit the surrounding mountain forest and bush environments. She was able to draw large groups of swans, pelicans and ducks with Magpie Geese flying in and out to graze in freshly harvested cane fields.  Brolgas were gradually arriving as they gather for the annual congregation which in the past has been as great as 12,000 birds. Jabiru families were reproducing. Budgerigars were in evidence. The area was teaming with wild life, and native flora.

Some resulting artworks can be seen at Current Work.

Townsville Bulletin, May 30, 2015

A RENOWNED artist has offered to donate a series of paintings chronicling the life of shipwreck survivor James Morrill, worth more than $60,000, to Perc Tucker Regional Gallery. Pamela Griffith met with gallery director Shane Fitzgerald this week to offer to donate a series of paintings, in addition to some other prints, worth a total of about $100,0000, to the city. Now the offer will be considered by an art acquisitions committee before being considered by Townsville City Council, with a decision expected in September.

Griffith has been camping out at Cromarty Wetlands for several weeks to create a series of work based around the wildlife in the area, but is also at work on the James Morrill series, which she hopes to donate in 2017. Morrill joined a tribe of Aborigines in the Burdekin after being shipwrecked in 1846 and lived with them for 17 years. Griffith plans to create five or six large paintings of Morrill, each worth about $12,000. “The more you read, the more you fall in love with him,” she said. “It’s a lovely thing for me to know that this set of paintings that tell the story of this remarkably lovely young man, clever man, is going to be permanently in this collection up here telling his story.” Griffith has previously painted Australian historical scenes featuring significant people such as Governor Lachlan Macquarie and Mary Mackillop.

pamela

“Gradually I’m filling in a lot of Australian history but I see this as an incredibly important part,” she said. “People haven’t given him enough credit for what he achieved in terms of making peace and helping with language, exploring and so on.” Griffith has already completed two of the paintings. Mr Fitzgerald said all donations to the gallery have to go through a process before they can be accepted but the offer was appreciated. “It could have gone to the National Gallery,” he said. “It is quite an honour she would consider placing the collection up here.”

The gallery is currently worked on valuing its largest ever donation:, a collection of 426 European fine art prints estimated to be worth between $1.2 million and $1.5 million. Griffith is also in talks to have a show of her works from the Cromarty Wetlands and the new Morrill paintings at the Perc Tucker Regional Gallery in about March 2017. “It’s a prestigious thing to have a one-person show there, so I’m delighted that Townsville will have me,” she said. She anticipates creating 50 works featuring the wetlands and their wildlife.

And it is with great pleasure to tell you everything they knew and remembered sofosbuvir cost humanity will cry and ask sofosbuvir price affected my life.

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